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Diplomirali ste na čuvenoj akademiji Koefija u Ri- mu. Kako pamtite studentske dane? – Taj period je možda i najviše obeležio ne samo mo- ju karijeru nego i život. Veoma mlad sam otišao u Itali- ju i tamo sam odrastao, stekao važna uverenja i estetske principe, pa moji roditelji znaju da u najpozitivnijem smi- slu kažu da su me Latini pokvarili. Svaki povratak u Ita- liju je novo rađanje jer se vraćam prvoj ćeliji, od koje su nastale sve priče. A moj susret sa modom je bio poput velikog praska. Kao student odlazili ste u studije Diora i Valenti- na. Šta ste tamo naučili? – To bi se danas zvalo vork šopovi, a ranije se naziva- lo posete. U Dioru i Valentinu negovali su čarobne zana- tlije, koje nisu sprovodile u delo samo neku ideju već su od parčeta tkanine i nekoliko začinskih elemenata pra- vili nestvarne stvari koje su deo modne istorije. Ma koli- ko da se razlikujemo po tržištu i mogućnostima, trudio sam se da ta iskustva prenesem u svoj atelje. Kako je izgledalo kreiranje prve kolekcije? – Prva ozbiljna priča desila se na Nedelji visoke mo- de u Rimu, davne 1992, kada je nas nekoliko studenata predstavljalo akademiju i svoje kolekcije. Inspiracija je bio Luj Četrnaesti, kralj Sunce. Odjednom sam se suočio sa sudom javnosti, prešao put od skice do revije i bio veo- ma zadovoljan jer sam nešto završio. Inače, imam strah od nedovršenog. Sećam se i da je moj tata sedeo u smo- kingu u drugom redu i to je meni bilo veoma važno. Po- sle je sve išlo svojim tokom. U aprilu ove godine predstavili ste se na 45. „Per- vol fešn viku“ u Beogradu, i to modelom inspiri- sanim Milenom Dravić...
gained important convictions and aesthetic principles, and my par- ents sometimes say in the most positive sense that the‘Latins’spoiled me. Every return to Italy is like being reborn, because I return to the rst cell from which all stories emerged. And my encounter with fash- ion was like a big bang. As a student, you went on placements at the studios of Dior and Valentino. What did you learn there? “That would today be called“workshops”, while earlier it was called “visits”. At Dior and Valentino they nurtured magical craftsmen who didn’t only convert some idea into a creation, but rather used a piece of fabric and some spicy elements to create unbelievable things that have become part of fashion history. What was it like to create your rst collection? “The rst serious story occurred at Haute Couture Week in Rome, way back in 1992, when a few of us students represented the acad- emy and our collections. The inspiration was Louis XIV, the Sun King. I suddenly found myself confronting the judgement of the public, passed the journey from sketches to show, and was very satis ed to have nished something. I generally have a fear of things being left un nished. I also remember that my dad sat in a tuxedo in the sec- ond row and that was very important to me. Afterwards, everything owed in its own way. This April saw you present yourself at the 45 th Pervol Fash- ion Week in Belgrade, and you did so with a model inspired by Milena Dravić... “Despite her acting prowess, she was always“that Milena Dravić”, and beside her was inevitably her husband Dragan Nikolić. When we received the theme, I decided that the model would be in the spirit of the show“Cheek to cheek”, which they presented together. Milena should be among the vanguard of our role models. I wouldn’t want to sound sentimental, but she didn’t only leave a great mark as an ac- tress, rather also as a person. The model that was worn on the catwalk by Olivera Kovačević depicts a story about Milena. What secrets are hidden behind your other dresses? “Each dress has its own unique I.D. number. There are those that left the workshop without stress and appeared as though they de- manded a lot of time. There were also dresses that seemed to be made quickly, but behind which are days of work. I’m really privileged to have my own people and together we’re some kind of strange fellowship. We understand each other on the y and resolve things quickly, even when we have to make a 154-piece topcoat. When we nished the job, I asked them where the pattern was for the coat’s cut, because we keep the patterns for all models. In unison they told me that they’d thrown it away, so that it would never cross my mind for us to make something similar again [laughs].” How did you fall in love with fashion in the rst place? “I fell in love primarily with art, partly because of my family sur- roundings. My family wasn’t vocationally orientated towards art, but in it there was always a need for that kind of spiritual nutrition. I rst graduated from graphic design school, and then headed in the direc- tion of fashion. It was a privilege for me to be able to study at one of the best fashion schools in the world and to experience fashion as a very inspirational and interesting eld. I’ve never been in love with fashion in the sense of manifestation. I fell in love with it as in artistic discipline.” You claim that women in Serbia have a gift for fashion, but al- so that there are men who follow fashion and depart from the expected. Aren’t you in that group? “I’m a step away from wearing that uniform. During my studies, I liked to experiment, but I never wanted to go to any kind of extreme. And while I like to skip certain boundaries in my work, I’ve long since nailed down my style. I’m a boring man in dark blue colours and my fa- vourite is always a shirt. My wife tells me she doesn’t know how many of them I have, while my friends say they all look like one model.”
Napravio je fascinantni mantil od čak 154 dela He has made a fascinating 154-piece topcoat
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