D izajner Igor Todorović kreira gotovo tri deceni- je. Spajajući znanje i talenat, osmislio je modni izraz, koji krase elegancija, ženstvenost i origi- nalna rešenja u koja su utkani njegovi životni principi. Za njega je moda umetnost. – Reč moda , od latinskog modus , znači način i kada se okrenete etimologiji, pronaći ćete gomilu načina ne- verbalne, vizuelne, estetske i koloritne komunikacije, što potvrđuje da je ona umetnost. Masovna proizvodnja, ugrožavanje životne sredi- ne i eksploatacija radnika u velikim modnim kom- panijama danas su gorući problemi? – Mi, srećom, nismo uprljani tom proble- matikom. Pojedine svetske kuće jesu izgu- Tekst / Words: Jelena R. Milenković Fotografije / Photography: Vesna Lalić
D esigner Igor Todorović has been creating for almost three decades. By combining his knowhow and talent, he devised a fashion expression that’s characterised by elegance, fem- ininity and original solutions, into which his life principles are woven. For him, fashion is art. “The word‘moda’[fashion], from the Latin modus, means‘meth- od’, and when you turn to etymology, you will nd a multitude of methods of non-verbal, visual, aesthetic and colourful communica- tion that con rms that it is art.” Mass production, threats to the environment and the exploita- tion of workers by major fashion companies are burning issues today. “Fortunately, we are not besmirched by this issue. Individual fash- ion houses around the world have lost their ethics and that’s a
problem conditioned by globalisation and the need to cater to large markets. Sustainable fashion is very important. It is good that we can recognise that certain people are refusing to cooperate with fashion houses that neglect their ethics and don’t want to wear their products.”
JA SAM DOSADNI ČOVEK U TEGET BOJI I’M A BORING MAN IN DARK BLUE
bile etiku, i to je problem uslovljen glo- balizacijom i potrebom da se pokriju velika tržišta. Održiva moda je ve- oma važna. Dobro je što prepo-
znajem da pojedini ljudi odbija- ju da sarađuju sa kućama koje zanemaruju etiku i ne žele da nose njihove stvari.
Are conditions more di cult for our designers than for creators abroad? “We de nitely don’t lack crea- tivity, but we do lack opportunities that are conditioned by the market. Another aggravating condition is that it’s more di cult for us to com- municate online with the world, be- cause we are still only exploring this eld. When you go to Italy, you re- alise that fashion has found a glob- al code of communication.” Are your plans linked to the world market? “I would really love to present myself
Da li je našim dizajne- rima teže nego kreato- rima u inostranstvu? – Nama definitivno ne
nedostaje kreativnosti, ali nam nedostaju mogućnosti koje su uslovljene tržištem. Još jedna otežavajuća okol- nost je to što mi sa svetom te- že komuniciramo onlajn jer na tom polju i dalje istražujemo. Ka- da odete u Italiju, shvatite da je mo- da pronašla globalni kod komunikacije. Da li su vaši planovi vezani za svet- sko tržište? – Veoma bih voleo da se ozbiljnije i šire pred- stavim svetu. Radim na tome i to jeste plan za buduć- nost, ali svet ide previše brzo da bih znao sve nove kora- ke. Na neke od njih nisam ni spreman, ali je važno uvek ići napred jer svako putovanje počinje prvim korakom. Kada je reč o vašim kolegama, da li biste nečiji rad posebno izdvojili? – Moj večno zapisani kontakt je onaj sa Đanfrankom Fereom, koga sam sreo u Parizu. Upoznao sam tada izu- zetno zanimljivog čoveka. Na Pjaca Mijaneli sam Valen- tinu Garivaldiju sramežljivo postavio nekoliko pitanja, a zatim sam razmišljao da li su bila dostojna tako velikog čoveka. Moj omiljeni dizajner je i Kristobal Balensijaga, čije je izražavanje mode fantastično. Ma koliko bio ču- dan Džeremi Skot, kreativni direktor Moskina, izvanred- na je modna pojava. Volim luksuz Toma Forda, a izdvo- jio bih i Fridu Đanini, bivšu kreativnu direktorku Gučija. Znanje je sticao na prestižnoj akademiji u Italiji, a u svom beogradskom ateljeu stvara kreacije istančane estetike. Iza njegovih modela krije se ljubav prema modi kao umetnosti
He acquired his knowhow at a prestigious academy in Italy, and at his Belgrade studio he shapes creations of sophisticated aesthetics. Hidden behind his designs is a love for fashion as an art form “My eternally inscribed contact is with Gianfranco Ferré, whom I met in Paris. I met a very interesting man then. At Piazza Mianella, I timidly asked Valentino Garibaldi a few questions, then later wondered if they were even worthy of such a great man. My favourite design- er is Cristóbal Balenciaga, whose expressiveness in fashion is fantas- tic. Regardless of how strange he is, Jeremy Scott, the creative direc- tor of Moschino, is an exceptional phenomenon in fashion. I love the luxuriousness of Tom Ford, and I would also single out Gucci’s former creative director Frieda Giannina. You graduated from Rome’s famous Koe a International Fash- ion Academy. How do you recall your student days? “That period perhaps had the greatest impact not only on my ca- reer, but also on my life. I went to Italy very young and matured there, to the world more seriously and in a broad- er way. I’m working on that and it is a plan for the future, but the world’s moving too fast for me to know all the new steps. I’m not even ready for some of them, but it’s always important to move forward, because every journey starts with rst steps.” When it comes to your colleagues, is there anyone in particu- lar whose work you would single out?
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