joj meri su potisnuti oni koji su ostali dosledni lepo- ti umetnosti u modi. Srećom, oni ipak koliko-toliko opstaju, ali morali su da se prilagode današnjem vre- menu. Nova era nameće ideju da je sve roba i da sve mora da se proda. Sve, nažalost, ide ka komercijal- noj liniji i ka tome da saldo mora da se zadovolji. U takvoj trci gubi se individualnost. To je jednostav- no rezultat potrošačkog društva. Da li ipak postoji danas neko ime u svetu mo- de kod kojeg prevladava ta umetnička crta? – Apsolutno da. Comme de Garcons je jedno od njih. To je brend koji gaji potpuni art. Pa onda Vivijen Vestvud ili Jamamoto. Njegove kolekcije prosto odišu otkačenošću. I oni imaju prodajne linije, ali kada rade autorske kolekcije, i te kako se oseća umetnička nota. Da bi danas nešto privuklo pažnju, mora da bude spektakularno. Gde se preklapaju spek- takl i moda? – Kao mladi dizajner imao sam mnogo vizija, ali su često mnogo koštale. Stoga sam mislio da je do- voljno da prikažem svoju modu i da nije neophod- no praviti spektakl od revija. Međutim, tačno je to da je danas postalo neophodno napraviti spektakl jer ljudsko oko traži senzaciju. Meni lično to ne pa- da teško jer mi je interesantno da kroz performans predstavim svoj rad. Ali da bi se došlo do neke sen- zacije, mora se prvo raditi na kvalitetu. Dakle, prvo razmišljam o tome šta ću da uradim, pa tek onda ka- ko. Jer spektakl sam po sebi gubi smisao. Mora da postoji sadržaj, pa tek onda da se taj sadržaj obliku- je. Jedno bez drugog ne mogu. Danas su često u upotrebi reciklirani ma- terijali. Koliko utiču na modu i u kojoj me- ri formiraju stil? – Sve je više ekološke osvešćenosti. Tehnologi- ja ide toliko daleko da se u mnogo čemu ne vidi ra- zlika između pravih i veštačkih materijala. Veštač- ko krzno izgleda toliko uverljivo da sve dok ga ne pipnem, ne mogu da kažem da nije životinjsko. Eko- loška svest vodi ka tome da ne moramo više da ubi- jamo životinje i pravimo krzna, već da i ona veštač- ka mogu dobro i atraktivno izgledati. Na kom nivou je srpska moda? – Beograd se uvek isticao po tome što su lju- di ovde znali da prepoznaju šta je lepo. Bio je uvek centar mode na Balkanu. U našem okruženju žene su uvek bile obučene sa stilom. Jednostavno, ima- mo razvijen gen za lepo. Danas je, međutim, pre- vladala hiperprodukcija. Mnogi su postali kreato- ri samo zato što je to atraktivno ili zato što imaju finansije. Dešava se tako da se žena nekog fudba- lera ujutru probudi i odluči da postane kreatorka. E, ne može tako! Ne postaje se modni kreator pre- ko noći. To je dug razvojni proces. Samo zbog toga srpska modna scena postala je degutantna. Voleo bih da se definiše i da se modna industrija vrati ta- mo gde je bila osamdesetih godina, a da svako ko je zaista relevantan ostane tu gde jeste. Šta je lepota? – Lepota je u harizmi. Sa harizmom, lepota do- bija novi duh i postaje vidljiva. Jer kada je osoba ha- rizmatična, zrači lepotom. Bilo da radi na gradilištu ili u pozorištu, harizma je čini drugačijom i lepom, izlazi na videlo i upotpunjuje. Samo tada i obično oko prepoznaje lepotu.
Belgrade has always stood out for the fact that people here know how to recognise what’s beautiful Beograd se uvek isticao po tome što su ljudi ovde znali da prepoznaju šta je lepo
W hen the spotlights illuminate the creations of Bata Spa- sojević at Belgrade’s Belexpo Centre on 4 th November, it will be a great opportunity to recap on the tracks left over the course of the two decades of the existence of his“In- dividual”brand and the quarter of a century of his presence on the local fashion scene. These two major anniversaries won’t only be commem- orated with numerous surprises at the aforementioned show, but also at other performances throughout the year, one of which was recent- ly recorded in the hub of fashion that is Paris, where he presented him- self more than successfully on one of the platforms of the French capi- tal’s fashion week event. Already with his rst fashion show at Belgrade’s e National Theatre in the mid-1990s, while he was a student at the Faculty of Applied Arts, Spasojević foretold the style that would, throughout the years to come, bring him closer to world standards. His rst show at the city’s Students’ Culture Centre, entitled“New Spice”, as well as his work on costumes for Narcisa Darijević’s short lm Magija (a segment of the Raskršće [Cross- roads] omnibus of then young lm directors), presented his stamp as an author and represented the unique re ection of fashion for which he has remained authentic – futurism in combination with that which is carried by rock music. The styles of punk, dark and the Manchester rock scene were – and remain - recognisable in his work, as well as experi- ments with these sharp forms and asymmetries. When recalling those beginnings today, Spasojević says that it was an era during which everyone wanted to be di erent, individually dressed, speci c. And this idea of individuality brought him numerous awards and acknowledgements – not only here, but also around the world… The world has become a global village over the last twenty years. How much has fashion changed during this period? - A lot. Styles were de ned throughout the 20 th century. It was known what was worn in the‘50s,‘60s,‘80s... Every decade brought distinctive sil- houettes. However, from the‘90s began that eclecticism that I love.That’s because I’m also committed to mixing styles. I simply nd it interesting to mix religious motifs with rock ones, or contemporary with Renais- sance. The advent of the internet completely changed the perspective on things. That was also somehow inevitable. Entering the new millennium created new views of everything, including fashion, and everything glo- balised. The large systems that emerged, such as those of Zara or H&M, in uenced the masses, directed them and commercialised the market. I don’t like that much, because I’m bothered by uniformity. Fashion is simpli ed, reduced. Not much consideration is given to visual identity. And it is very important. The initial visual impression says a lot about a person. We can immediately conclude, based on dress, how someone breathes, how they think. That’s because people pro le themselves ac- cording to the way they dress. Has this fusing of styles and yielding to large systems possibly led to fashion today no longer being an art? - Fashion has always been an applied art. It is a modi cation of all other arts. It fuses lm and epochs, architecture and painting and
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