MODA / FASHION
PIANIST AND FASHION DE SIGNER STEFAN ĐOKOVIĆ IS A multitalented artist who is making his mark in classical music, but also in the fashion that he creates. Edu- cated at the Faculty of Music in Bel- grade, where he completed his piano undergraduate and master’s stud- ies, he completed his studies in op- era in London. He recently received a unique opportunity among the crea- tive artists of his generation: to pres- ent his collection of unique haute cou- ture gowns at Paris Fashion Week, which delighted true trend connois- seurs. We start this interview by ask- ing him what the process of creating an haute couture dress entails – from initial sketches to the catwalk…Pita- mo ga na početku kako izgleda pro- ces nastanka jedne couture haljine – od skice do piste? “Everything begins from in- spiration... In my case, that’s so- me kind of bigger picture from the outset. When I think about a collection or just a single piece, prior to starting the work I also consider the surroundings, mu- sic, emotion, the person who wi- ll wear the gown... After that, I start a pretty complicated proce- ss linked to detailed sketches and tailoring. If the work in question is a dress with hand sewn embro- idery, the cut is digitalised and I create a draft of the embroidery to work from, complete with the choice of beads, crystals and ot- her details. Every piece is unique, which is one of the most intere- sting aspects of haute couture.” Does haute couture “look down” on us, or is it more relevant today than ever be- fore? How do you harmo- nise its boutique nature with the social movements of the digital age? “Haute couture is the crowning glory of fashion cre- ativity. It is the stage that lays the foundations of trends that are then further filtered throu- gh an imaginary funnel to other segments of fashion – from re- ady-to-wear garments to accesso- ries, and even to the way cosmeti-
cs are branded. It thus finds a way from its boutique environment to daily life.” Paris has played a crucial role in creating haute cou- ture’s global scene through- out the history of fashion. Did that represent a chal- lenge to you, as a creator? “I was aware of which market I was creating the collection for, and even more aware of where it would be presented and what kind of audience it would be rated by. I didn‘t know exactly what to expe- ct during the making of this colle- ction, so I perhaps felt less pre- ssure over how everything would be received. My biggest challen- ge was to implement all the ideas in practise, which we hopefully su- cceeded in doing. And I must ad- mit that my heart was pounding, especially after the catwalk show and greeting the audience, who re- ally reacted wonderfully.” Who represents the clien- tele for haute couture crea- tions today? I assume that has changed – compared to, say, a decade ago – given the current socioeconomic and geopolitical shifts? “The clientele for haute co- uture pieces have always been members of the higher econo- mic classes. The high prices don’t stem only from the reputation of a brand’s name, but really from the hundreds or even thousands of hours needed to produce them. My task, and the task of every brand that has such collections, is to have a range of designs that al- so includes collections adapted to other occasions, as well as pieces that are more affordable – it’s ne- ver been my desire for my work to be available only to a certain social stratum, just as I’ve always placed an emphasis on us making models in all sizes.” How do you now feel when you see the reactions of the world‘s media and top ex- perts on the world scene? “Confirmation of quality from the world’s media and critics re-
STEFAN ĐOKOVIĆ, ARTIST
of haute couture How do haute couture creations emerge and for whom are they intended; can haute couture soar to even higher heights and how does Paris breathe? All of this and more is revealed by this creator who’s had a unique opportunity to promote Serbian culture and fashion around the world THE ANATOMY
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