IMOD S.A. – Romania’s Forgotten Fashion Research Institute

Tucked away on Georges Clemenceau Street No. 2 (formerly Gabriel Peri Street) in Bucharest, the building that once housed the Institutul de Cercetare a Modei IMOD S.A. (Fashion Research Institute) is a silent witness to Romania’s once-organized and centralized fashion industry. Designed in 1891 by Swiss architect John Elisee Berthet for businessman Jean Braikoff, the building is a prime example of neoclassical architecture. However, beyond its imposing façade, a remarkable artistic treasure lies within: a painted ceiling that graces what is now a spacious bedroom but was once an office used by the Electronum Enterprise in the 1970s.

The ceiling, framed by richly ornamented stucco coffers, showcases a celestial scene filled with fluttering birds, butterflies, and three groups of angels soaring through the sky. Although the painting underwent extensive retouching after 1957, its origins date back to the final decade of the 19th century, likely created by an artist deeply influenced by French mural decoration and well-versed in the laws of ceiling perspective.

The Role of IMOD in Romania’s Fashion Industry

Before 1990, fashion in Romania was a highly organized and state-controlled system. The concept of an independent fashion designer was virtually nonexistent, and creative ateliers functioned within state-owned garment factories, where designs were conceived for trade fairs and exhibitions. Initially, designs were created under the supervision of specialists within a centralized department, but over time, an institute dedicated to fashion research—IMOD—was established. This institute focused on trend forecasting and industry analysis, playing a crucial role in shaping Romania’s textile and clothing sector.

IMOD became the go-to institution for Romania’s elite, dressing some of the country’s most prominent figures. To own a piece from IMOD was a sign of distinction, as the institute was associated with exclusivity and quality rather than mass-produced fashion.

A Struggle for Survival

The institute’s director, Manuela Moise, had high hopes for IMOD, aspiring for it to become an internationally recognized name that would bring prestige to Romania. However, as political and economic changes swept through the country, IMOD faced a slow but deliberate dismantling. In a 2007 interview, Moise lamented:

“Many people are interested in IMOD, not just in the building itself. It remains a profitable company with a small yet dedicated workforce. Important clients still come to us, seeking quality garments where value is defined by craftsmanship, not by a label.”

Despite Moise’s efforts, the institute’s fate was sealed, as the post-communist fashion landscape shifted towards privatization and global brands took center stage. Today, the former headquarters of IMOD stands as a forgotten relic of a time when Romania’s fashion industry was a structured and esteemed field, rather than the fragmented market it has become.

A Building with a Fading Legacy

While the future of the building remains uncertain, its past tells a story of ambition, artistry, and the quiet disappearance of an institution that once defined Romanian fashion. The painted ceiling remains an overlooked masterpiece—one of the last traces of an era when fashion was not just a business but a carefully curated national endeavor.

Source: Povești cu plimbări, Revista muzeelor și monumentelor, seria Monumente istorice și de artă nr. 2, 1974.

Photos & text: Alex Iacob