Gabi Suciu is a film producer with over 18 years of experience in film production and audiovisual content. She is the Vice Dean of the Film Faculty at UNATC and Director of the Master’s programs in Film and Content Production and TV Production. Her career consistently combines professional practice with academic research, she holds a PhD focused on international co-productions and is marked by major titles such as Crai Nou (2021), the first Romanian film to win the Golden Shell at the San Sebastián International Film Festival in its 74 editions, and When Night Meets Dawn, selected for the Quinzaine des Réalisateurs at Cannes. More recently, she became Vice President of the Alliance of Producers in Romania.

C&B: How would you describe yourself in a single sentence to spark the curiosity of people who do not know you yet?

Gabi Suciu: I am one of the people connecting cinema, education, and research in order to contribute to the development of a smarter, more empathetic, and more inclusive society.

C&B: If we were to look at the narrative thread of your career or business, what were the defining moments?

Gabi Suciu: I don’t really believe in defining moments. I would rather attribute my journey to the people I met along the way, people who made me passionate about this profession. Sorin Botoșeneanu was one of the people without whom I probably would not still be living in Romania today. He showed me that you can challenge deeply rooted norms and that change begins when you roll up your sleeves. Doina Maximilian trusted me enough to leave the Production Master’s program she had built with the care of a mother dedicated to her children’s education in my hands. Then, Ada Solomon brought screenwriter Andreea Cristina Borțun into my life, and with her I feel like I have been making films forever, always having several ideas in development together. Alina Grigore reinforced my belief that just as people sanctify places, they also sanctify films — that filmmaking is not about huge budgets or endless resources, but about passionate people who want to see a story told for what it truly represents. That is how we ended up making an award-winning debut feature for a director who had never formally studied film. I have a very long list of people who, one way or another, through a small decision or a few supportive words at the right time, helped me get where I am today.

C&B: What were the main challenges in turning your passion for art into a project with community impact?

Gabi Suciu: Challenges have been constant, and regardless of the number of awards or validations you accumulate, they continue to appear. The work of a producer involves a great deal of convincing potential institutional partners, financiers, or local authorities that art is not a luxury or just another box to tick, but a real instrument for social cohesion and transformation. There is still the perception that film is merely a form of entertainment, but what we try to do through our projects is precisely the opposite: not to let the audience simply relax. We want them to think, debate, stay alive, and remain engaged. This conversation is still ongoing in Romania.

Another challenge is structural: funding for culturally and socially driven projects remains fragile, dependent on the enthusiasm of a handful of people and on unpredictable funding cycles. The sustainability of a cultural project is not built from a single grant, but from layering multiple funding sources and building a community around the film — one that feels the project speaks to them and belongs to them.

And the third challenge, perhaps the most subtle one, is preserving artistic integrity when working with partners who have their own agendas. I have come to the conclusion that negotiating values is just as important as negotiating budgets.

C&B: Is there a dream or ambition that has always guided you, regardless of obstacles?

Gabi Suciu: Yes. To build the cultural infrastructure I wish I had found when I was starting out. I’m talking about an ecosystem where a talented young person without connections still has access to resources, mentorship, and a community that takes them seriously.

C&B: What were you like at the beginning of your journey, and how do you feel you have transformed over time?

Gabi Suciu: In the beginning, I was driven more by urgency than by strategy. I felt the need to do, produce, prove myself — it was powerful energy, but sometimes blind. Founding Atelier de Film with minimal resources taught me to stay flexible and find solutions where none seemed to exist. It also taught me to take risks that, looking back, I would probably manage differently today. Now I pay much more attention to the process and keep the final result in mind from the very beginning. But people continue to be the reason why I do what I do.

C&B: If we met your team or collaborators, what do you think they would say about you?

Gabi Suciu: That I am calm even in the middle of a storm. And probably that I am demanding but fair, that I have high standards both for myself and for others, but that I never ask anyone to do something I would not be willing to do first myself.

C&B: What is the most important decision you made that changed your trajectory?

Gabi Suciu: Trying my hand at marketing, distribution, and market research for films that I had not produced myself. I learned enormously about the entire process that follows production and about how difficult it is to create an impactful campaign capable of further supporting the film’s message.

C&B: How did you build your leadership style or decision-making approach? Was it a natural or learned process?

Gabi Suciu: It was more a process of unlearning. I unlearned the idea that a leader must always have all the answers. I unlearned the belief that asking for help or admitting uncertainty is a sign of weakness. And I unlearned the assumption that the speed of a decision reflects its quality.

The international programs I have been involved in throughout the years helped me better articulate what I had been doing instinctively and understand that a leader’s sustainability inevitably depends on delegation and on building structures that continue to function even without you.

C&B: What do you think differentiates your business or professional approach from the rest of the industry?

Gabi Suciu: I try to keep one foot in artistic logic and the other in economic logic, without falling into the traps of either extreme. The fact that I combine production with academic research and institutional responsibilities gives me a broader perspective that you simply do not have if you work exclusively in production or exclusively in pedagogy.

C&B: What does a typical day look like for you now, and which moments bring you the greatest satisfaction?

Gabi Suciu: A typical day usually means living in several parallel worlds. The morning might involve a faculty meeting or a class with the students from the Master’s programs I coordinate, the afternoon a negotiation related to a co-production project or a production meeting, and the evening inevitably includes reading, a film, or simply a meaningful conversation with friends and family. And any of these moments can suddenly become a shoot, a grant application deadline, a last-minute online meeting, or a consulting session for someone in need. My calendar is divided into very clear time slots throughout the week, from 6:30 A.M. to 11:30 P.M. Very often, flights or filming schedules push me beyond that routine.

C&B: What is the mission of Follow Art and what does it bring that is new to Romania’s cultural landscape?

Gabi Suciu: In 2025, I decided to focus on production and my academic career, step away from film distribution, and leave Follow Art in the hands of my co-founders Cristina Simion, Alexandra Morariu, and Adriana Iancu. The mission of Follow Art starts from a very simple place: love for cinema. Not film as a consumer product, but film as a human experience, as an art form capable of reaching places where other means of expression cannot always reach.

What does it bring that is new to the Romanian cultural landscape? With a limited number of films distributed each year, every release becomes an experiential event that opens conversations around different artistic forms. Currently, audiences can watch the period drama Primavera in cinemas, an emotional story inspired by real events in which Cecilia, a young violinist with extraordinary talent who comes from an orphanage, becomes the student of Antonio Vivaldi, a relationship that profoundly shapes her path. Shot in natural light and candlelight to preserve the authenticity of the period, the film becomes an audiovisual experience built around the music of the great classical composer and truly meant for the big screen.

As for films we hope will also generate community impact, this summer we are preparing the release of Andreea Cristina Borțun’s debut feature Malul Vânăt, which will premiere in Romania at TIFF. The film is based on six years of research in the rural south of Romania and is the first part of a trilogy about love in rural communities. We are planning a series of caravans and public screenings followed by audience discussions in locations without access to cinemas, especially in villages and communes from Teleorman, Călărași, Giurgiu, and Argeș counties, places that either inspired the project or served as filming locations.

C&B: How was the Follow Art Association born and what inspired you to co-found it?

Gabi Suciu: The mission of the Follow Art Association is to democratize access to culture and build genuine bridges between art and community, beyond major urban centers and beyond established cultural circuits. What it brings that is new is its orientation toward the margins: toward audiences who are not usually targeted by high-quality cultural projects and toward artists who lack the networks necessary to make themselves visible.

C&B: What advice would you give to young artists and cultural entrepreneurs who want to create authentic projects?

Gabi Suciu: Read constantly and keep learning something new from every field you can access. Follow the news from verified sources, not from social media status updates. Build your support network before you actually need it. And enjoy yourselves along the way — enjoy the process too!

Discover the story of Gabi Suciu, one of Romania’s most active film producers, involved in the development of cinema and cultural projects with social impact. From internationally acclaimed productions to initiatives such as Follow Art, the interview offers an authentic perspective on the film industry and the future of art in Romania.

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Paul Luculescu is a percussionist who knew from childhood that music was his calling. Fascinated by the concerts he watched on television, he dreamed of the world’s great stages, without realizing at the time how naturally that path would eventually unfold.

He began studying music at the “Dinu Lipatti” Music High School in Bucharest, initially focusing on piano, since percussion studies only began in the fifth grade. Later, he followed his true calling, dedicating himself to percussion with discipline and perseverance. He graduated from the National University of Music Bucharest and continued with master’s studies.

Throughout his career, he has collaborated with prestigious institutions such as the George Enescu Philharmonic, the Romanian Radio National Orchestra, and the Radio Chamber Orchestra. Since 2007, he has been a member of the Pitești Philharmonic, and since 2016, a permanent collaborator with the Comic Opera for Children.

He has performed alongside major international artists such as Plácido Domingo, Jonas Kaufmann, Angela Gheorghiu, Yuja Wang, and José Carreras.

In addition to his artistic activity, he is also a cultural manager, organizing festivals and coordinating his own private orchestra. He is an active and highly appreciated presence on stages across Romania.

C&B: If we were to look at the narrative thread of your career, what were the key moments that defined you?

Paul Luculescu: The decisive moment was when I started studying percussion in the fifth grade. From then on, everything evolved naturally and steadily toward performance excellence. At 16, I had my first collaboration with a professional orchestra — that was when I truly understood the responsibility and energy of a major stage. By 21, I was already employed at the Pitești Philharmonic. It was a gradual process, without shortcuts.

C&B: What was the most difficult moment in your journey, and how did you overcome it?

Paul Luculescu: The pandemic period, overlapping with the loss of my mother. She was the first person who believed in me and supported me unconditionally. I don’t know if moments like these are ever truly “overcome.” I think you accept them and learn to live with them. Music was a quiet but profound support.

C&B: Was there a dream or ambition that always guided you?

Paul Luculescu: I viewed performance differently. Many people dream about the great stages; I focused on individual study. Concerts came as a natural consequence of daily work. Music is honest: it gives you exactly as much as you give to it.

C&B: What were you like at the beginning of your journey, and how do you feel you have transformed?

Paul Luculescu: At the beginning, I was disoriented, as anyone naturally is. I couldn’t fully grasp the entire process. The transformation came through perseverance, discipline, and the belief that this was my path.

C&B: What would your collaborators say about you?

Paul Luculescu: They would probably say that I am a perfectionist and demanding, first of all with myself. I want things to be done thoroughly, and I build teams, not just collaborations. I aim high, but I remain open to dialogue.

C&B: What was the most important decision that changed your trajectory?

Paul Luculescu: Understanding that talent is not enough. Daily work, patience, and constant practice are the only “magic formulas.”

C&B: What made you pursue classical music?

Paul Luculescu: The desire to perform percussion at the highest level. The institutions I became part of are consequences of study and determination, not obsessively fixed goals. I try to give my absolute best regardless of the stage I perform on or the orchestra I play with during a concert.

C&B: What challenges does the role of principal timpanist involve?

Paul Luculescu: The responsibility for sonic balance and absolute precision. The timpanist supports both the rhythmic architecture and the foundation of the entire orchestra; it is an extremely important role, rhythmically as well as musically.

C&B: What does an ordinary day look like for you?

Paul Luculescu: Study, rehearsals, concerts. Multiple projects. When time allows, I dance salsa and travel. I enjoy creating memories and spending quality time.

C&B: What values guide you?

Paul Luculescu: Honesty with yourself. Being aware of where you are and the direction you want to go. Doing good whenever you can, and if not, at least not doing harm. And remaining grateful for what you have.

C&B: How do you prepare for an important concert?

Paul Luculescu: Through rigorous daily study. Rehearsals with the orchestra come only after confirming the work you have already done on your own, by learning all the material that will be performed in that concert.

C&B: What was the most difficult concert?

Paul Luculescu: Every concert has its own challenge. The important thing is to remain focused; music is born every single time it is played — it is born from the present moment.

Through discipline, perseverance, and a genuine passion for music, Paul Luculescu continues to inspire through every stage performance and cultural project. His journey reflects the dedication required for excellence in classical music and the importance of consistent work in building a strong artistic career.

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Felix Crainicu is a director, writer, and veteran of social dance. He dedicates a good part of his time to cultural projects, with those from the Erasmus family being the most representative.

C&B: How would you describe yourself in a single sentence, in a way that would spark curiosity in those who don’t know you yet?
Felix Crainicu: My passion is life. Is one sentence enough? It says exactly what it should about me and also stirs curiosity. At least I think so.

C&B: If we were to look at the narrative thread of your career or business, what were the key moments that defined you?
Felix Crainicu: The word “career” doesn’t really represent me. I never set out to build a career in the classic sense of the word. Rather, I just did what I enjoy. Always. And I was lucky enough to get paid for it, which, from my point of view, is truly spectacular.

C&B: What were the main challenges in establishing a cultural organization in Romania?
Felix Crainicu: Bureaucracy, I’d say. Although now it’s much simpler than twenty years ago. I don’t think it was very complicated, in a way, especially since everything happened organically. I had the team, I had the knowledge and experience, I had many potential collaborators in mind. On top of that, if you add a bit of luck (or synchronicity, if you prefer), everything has gone quite smoothly from the beginning until now.

C&B: Is there a dream or ambition that has always guided you, regardless of obstacles?
Felix Crainicu: I mentioned it earlier: to do what I love. To get involved in activities that bring me joy and inspire me. I like to exist here and now, so everything I do revolves around this concept (hic et nunc). I don’t have anything to prove to anyone, I’m not in competition with anyone. Plus, I don’t really believe in the idea of obstacles. There are situations, and there’s my ability to respond to them in one way or another. It’s not about obstacles, but about moments (or people) that help me grow, to become better.

C&B: What did things look like at the beginning of your journey, and how do you feel you have transformed since then?
Felix Crainicu: If we’re talking about the beginning of the European Art Workshop Cultural Association, it started during the pandemic. The artistic activities I was involved in (theater and social dance) were blocked. I felt the need to do something good, something that mattered. I made two phone calls, and that’s how the association was born. And now, just a few years later, it has gathered more than ten Erasmus projects, hundreds of workshops with seniors and children in Bucharest (we have a wonderful partner in DGASPC Sector 6), several documentary films, and much more.

C&B: If we were to meet your team or collaborators, what do you think they would say about you?
Felix Crainicu: I have no idea, that’s something they should answer. I hope they would say I’m someone passionate about life.

C&B: What is the most important decision you’ve made that changed your trajectory?
Felix Crainicu: To always be here and now. To never wait for anything. To create my own luck, not hope it will come from somewhere, someday. To find that thing that makes me burn and to burn for it.

C&B: What is the mission of the European Art Workshop and what values does it promote through its projects?
Felix Crainicu: The European Art Workshop Cultural Association represents a force for change in the community, dedicated to promoting art as a tool for social inclusion and personal development. Our activities take place in foster homes, social apartments, and high schools, where we implement cultural projects that address the real needs of young people.

We focus on two main artistic directions: film production and dance – areas that reflect the passion and experience of our members.

Our Values

Art – We use artistic expression as a universal language

Inclusion – We build bridges between young people from different backgrounds

Equality – We promote equal rights and opportunities for all

Friendship – We cultivate authentic relationships and fruitful collaborations

Perseverance – We embrace and value diversity

C&B: What do you think differentiates your business or professional approach from the rest of the industry?
Felix Crainicu: I don’t know how to answer that. I think it’s the kind of thing others should say about you. We just do what we know best, as well as we can, and we deliver on time. Every time.

C&B: What does a typical day look like for you now, and which moments bring you the greatest satisfaction?
Felix Crainicu: Some days I have time to swim and read for hours. Other days, I don’t even have time to eat sitting at a table. Between these two extremes, anything is possible. What makes me happy is knowing that, by the end of the day, I’ve lived those hours to the fullest, no matter how the day went.

C&B: Is there a story or project that has shown you the real impact of the association on people?
Felix Crainicu: Each of them has. They all mattered in their area of action. I’ll mention the newest project – We Frame The Change. For example, here we started from the idea that art is a bridge between our desire to take action and the target audience that can help us bring about beautiful change. This project started at the European Art Workshop, which reached out to trusted European partners. Together, we created this youth exchange (within a ten-month project), which teaches participants how to use art as a way to encourage active citizenship and generate proactive behavior in society.
More specifically, our project’s goal is to encourage active citizenship through visual storytelling.
Participants will gain a better understanding of the concept of active citizenship, the barriers to participation, and how to use storytelling through images to highlight and address community issues.
Participants will acquire: a) skills in using the photovoice method to document community issues, and b) storytelling techniques for effective communication and motivating action.
Through visual stories, participants will develop an active mindset for improving their community and motivating others to join them.

C&B: What advice would you give young people who want to build sustainable and impactful cultural initiatives?
Felix Crainicu: I don’t like giving advice. I never do. But I can say that if something is done out of passion, out of a real need to express something, to send a message, then it has real chances of turning out well. On a personal level, I also think it would make a big difference to engage with real, tangible, and breathable art, rather than focusing exclusively on the digital universe.

Felix Crainicu is living proof that passion for life, culture, and art can build real bridges between people and communities.

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Andrei Tache is an architect and graphic designer, founder of Vertical Web Project – Fabrica de Design in Bucharest, founder of the ceramics workshop Studio mud., as well as founder of the association Designers, Thinkers, Makers, which operates in the cultural field. An occasional illustrator, organizer of public events and summer schools, with 20 years of activity, he has earned several recognitions for product design, graphic design, as well as nominations or awards for cultural projects carried out by the association. He has more of a freelancer profile, oriented towards arts, design, and interdisciplinarity in the cultural sphere, with perspectives for growth and organizational development.

C&B: How would you describe yourself in a single sentence, so as to intrigue those who don’t know you yet?
Andrei Tache: I am an untamed spirit when it comes to exploring artistic fields and forms, and at the same time extremely passionate about business mechanisms, social phenomena, and anything that connects with the public. Without having the coverage of a Renaissance or “universal” man, I know my specific skills and limits well, and I always enjoy exploring and expressing myself freely across different projects.

C&B: If we were to look at a narrative thread of your career or business, what were the key moments that defined you?
Andrei Tache: Chronologically, I would think of my first high school award, received for an application where the user could explore spaces, with games and elements of knowledge or discovery themed around light. The application was created with Macromedia Flash, together with two classmates. Then, I believe the few months I spent in employment were defining. I worked as a German translator in high school and a graphic designer for Revista Regard in my first year of college. There are also a few projects that nurtured me spiritually, perhaps the most remarkable being the opportunity to illustrate a children’s book by Nina Cassian, published by Editura Frontiera. And not least, I would say awards are also milestones where “remarkable work” is somewhat proven or more precisely marked. I also believe that the projection of the future (a professional defect for architects), though intangible or still non-existent, acts like a magnet that keeps me going in what I do. Many encounters with various people have contributed, brick by brick, to my formative journey.

C&B: What has been the most difficult moment in your journey so far, and how did you overcome it?
Andrei Tache: I remember with amusement a moment in the early period when I couldn’t deliver something quite simple because I depended on an external collaborator who was busy and less willing to make sacrifices for the job. It wasn’t a big deal, but for someone around 20 years old, it was huge pressure. Perhaps this is also the most educational moment. Of course, it was resolved in the end. In the rest of my journey, there have been difficult moments with people—these are inevitable—but currently, they occur at a low intensity.

C&B: Is there a dream or ambition that has always guided you, regardless of obstacles?
Andrei Tache: I have always had an almost intrinsic motivation to work. The process itself, the results of each project, and the desire to always create something new—which happens to me organically—all keep me on track. Until recently, I also had a financial goal to achieve, and for the future, I aim to expand it. I remember as a child wanting to earn my own money. I sold various things, and even published a magazine in elementary school with two friends. We made crosswords and other content, printed on my own black-and-white printer… This reflects a somewhat creative approach to finances, intertwined with content and value. Within the NGO, we try to combine—so to speak—two apparently distinct worlds: profit and culture.
I believe money is an extraordinary resource, not for consumption, but for all kinds of investments, experimentation, learning, and philanthropy. I share the dream many have of generating passive income, reaching a level of independence, and dedicating myself to others in whatever way is appropriate at the right moment.

C&B: What did you look like at the beginning of your path, and how do you feel you’ve transformed to the present?
Andrei Tache: The novice graphic designer was, of course, an immature person but confident in his abilities and eager to achieve. Not necessarily big things, but to give something to the world, to the people I interacted with. Interested in different disciplines, very interested in architecture, and always thinking that great achievements were somewhere in the future.
In the meantime, I’ve accumulated life experience and experience in different areas, which I believe makes me suitable for more complex projects that combine adjacent fields. Architecture and graphic design; or architecture, product design, and graphics; graphic design, copywriting, and experience design; or, to give a recent smaller-scale example, I work on a pop-up book, which opens an entire universe based on graphics, illustration, creative thinking, and what is called “paper engineering.” Or a summer school where we combine understanding of text, graphics, media production—in one word, design, think & make.
I feel this broad horizon is very beneficial. It offers freedom and could lead to a position as an artist-entrepreneur, concentrating value and delivering high-value outputs on demand. In conclusion, I still feel, as 15 years ago, on the launchpad, somewhat satisfied with past projects, but very curious about the challenges that will align along the way. A few recent awards received by the association I’m part of give me confidence that we’re at a good level.

C&B: If we met your team or collaborators, what do you think they would say about you?
Andrei Tache: I’m not sure it’s an objective marker, because those who have stayed with me would probably have good things to say. I don’t want to anticipate too many compliments, but I believe they are satisfied with the collaboration because I take deadlines seriously and, perhaps, because I add creative value—the key ingredient in the fields I practice. It’s about being alive and going the extra mile—even though I often feel I need to do it with moderation to remain sustainable. And compared to other graphic designers or professionals working long hours at a computer, I’m quite patient. We are a guild that faces a lot of pressure at times, and at other times we encounter various expectations outside the rigor of the profession. This makes me think that the ability to mediate between execution and creative consultancy is appreciated—a good balance between flexibility and rigor, which fortunately meets clients who are equally balanced.

C&B: What is the most important decision you’ve made that changed your trajectory?
Andrei Tache: I believe the thing that changed the course of my activity and opened up a whole world was founding the association. Designers, Thinkers, Makers was founded in February 2017, with the desire to provide architecture students with the much-needed encounter with the subject, details, and, in fact, a type of pragmatic thinking that I had always sought but had not gained in college. It was founded almost imperceptibly, without mature thinking or full understanding of the implications, but it seems “it had to be that way,” because it evolved. Like many other things in life, this journey was a mirror toward self-awareness. The association later changed its composition and focus and became a driving force toward new horizons. This year, it has a European award and a development grant in sight, which pushes us to grow further in our mission.
This is how I discovered my vocation in the heritage field, and today we have prospects to build bigger things in the domain, hopefully relevant to Romanian society. From a heritage interpretation center that highlights all the culturally important assets in Romania, to schools and workshops, to innovative processes supporting these inherited assets, within which we live our lives and are obliged to preserve them.

C&B: How did you build your leadership style or the way you make decisions? Was it a natural process or learned?
Andrei Tache: The way my activities have aligned doesn’t really qualify me as a leader yet, being more of a solitary and incisive “entrepreneurship,” based on a lot of value and few human resources. What I can say, however, is that over time a working style has been honed that tames the inherent risks of a creative profession—a particular way of managing processes.

C&B: What do you think differentiates your business or professional approach from the rest of the industry?
Andrei Tache: I believe the spearhead lies in something I mentioned earlier: a sort of complete trust that people have in my ability to deliver on time and on target, especially in the realm of graphic design. Then, the association has a very good capacity to deliver cultural services beyond expectations. The team with Alexandra Mihailciuc is highly skilled when it comes to the complexity of works specific to the cultural domain: product design, graphics, text, strategy—everything that can be involved in a cultural project. In both cases, I believe it’s about good communication and applying innate qualities at the right time.

C&B: What does a typical workday look like for you now, and which moments of the day bring you the greatest satisfaction?
Andrei Tache: A typical workday includes… a lot of work, a good meal, more pleasant or more demanding interactions, and many thoughts on different topics—from professional to personal, to the larger theme of the unseen mechanics of the world—what unseen laws govern the events of our lives?
I think the greatest professional satisfaction comes from achievements—whether a good thing comes out of our hands, or the beneficiaries are very pleased with the result. Operating in creative fields, the things delivered are always new, custom-made, adapted to needs, and that makes it very personal, with a healthy dose of emotional depth. There is something deeply human in this process. What from the outside may seem a simple exchange of resources often turns out to be something of profound depth—or at least that’s how we feel it.

C&B: What values or principles guide you in what you do, and how do you apply them day to day?
Andrei Tache: This is a good question, because since adolescence, and perhaps even more during college, I felt the need for a value system for life, which would then feed my profession. I didn’t see architecture as something that could be done without answering the dilemma of the reason for a human being’s existence. It may sound a bit forced, but this seemed to me the only serious or profound approach to work. Otherwise, the profession feeds on trends, partial or superficial understandings, uncorrelated with a larger plan. It seemed almost arbitrary to choose otherwise. Consequently, faith and the values established in two thousand years of Christianity remain for me the cornerstone. I try as much as possible to be a good Christian, and I know that this also makes me a good professional.

C&B: How did the idea come to open this business and choose its name?
Andrei Tache: Fabrica de Design was born in a period of life when things happened more intuitively than calculated. I think I felt the calling toward multiple forms of commercial graphic design, and it came naturally. Perhaps also from an unspoken dream of having a real factory, an open space from which we could deliver beautiful forms to the world. It hasn’t happened yet, but it remains a beautiful dream in itself. Maybe its time will come.
Likewise, the name of the association, “Designers, Thinkers, Makers,” was chosen naturally—it is similar because it covers a spectrum of things, from abstract thinking to drawing and fabrication. It is important because some elements without others are incomplete. I also wanted to avoid a banal name or one based on wordplay. I am still satisfied with both choices, even if they were early inventions.

C&B: If you were to give a message to people who follow your example, what would it be?
Andrei Tache: I think in order of importance, I would suggest being kind, enjoying whatever life brings, then seeking to deliver value, and indeed generating around us an aura of well-being. More manifest or discreet, depending on the case, but in any form, a state of well-being for ourselves and for those around us. The world greatly needs balance, love, and understanding, and our society perhaps even more than others. I believe it’s important that this spirit is reflected in everything we undertake.

Andrei Tache exemplifies creativity and engagement, successfully combining his passion for art, design, and culture with organizational and entrepreneurial vision. Through his projects, he inspires and delivers value to the community, proving that dedication and constant curiosity always open new horizons.

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