| 97 When the spotlights illuminate the creations of Bata Spasojević at Belgrade’s Belexpo Centre on 4th November, it will beagreatopportunity torecaponthe tracks leftover the course of the two decades of the existence of his“Individual”brand and the quarter of a century of his presence on the local fashion scene. These two major anniversaries won’t only be commemorated with numerous surprises at the aforementioned show, but also at other performances throughout the year, one of which was recently recorded in the hub of fashion that is Paris, where he presented himself more than successfully on one of the platforms of the French capital’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 himcloser toworld standards. His rst showat the city’s Students’ Culture Centre, entitled“NewSpice”, as well as his work on costumes for Narcisa Darijević’s short lm Magija (a segment of the Raskršće [Crossroads] 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 combinationwith that which is carried by rockmusic. The styles of punk, dark and theManchester rock scene were – and remain - recognisable in his work, as well as experiments with these sharp forms and asymmetries. Whenrecallingthosebeginningstoday,Spasojevićsaysthat itwasan era duringwhich everyonewanted tobe 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… Theworldhasbecomeaglobalvillageover thelast twentyyears. Howmuch has fashion changed during this period? -Alot. Styleswerede nedthroughout the20th century. Itwasknown whatwasworn inthe‘50s,‘60s,‘80s... Everydecadebroughtdistinctivesilhouettes.However, fromthe‘90sbeganthateclecticismthat 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 Renaissance.Theadventof the internetcompletelychangedtheperspectiveon things.Thatwas alsosomehowinevitable. Entering thenewmillennium creatednewviews of everything, including fashion, andeverythingglobalised. 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 according 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 jojmeri supotisnuti oni koji suostali dosledni lepoti umetnosti u modi. Srećom, oni ipak koliko-toliko opstaju, alimorali sudaseprilagodedanašnjemvremenu. Nova era nameće idejuda je sve roba i da sve mora da se proda. Sve, nažalost, ide ka komercijalnoj liniji i ka tome da saldo mora da se zadovolji. U takvoj trci gubi se individualnost. To je jednostavno rezultat potrošačkog društva. Da li ipakpostoji danasneko imeusvetumode kod kojeg prevladava ta umetnička crta? – Apsolutno da. Comme de Garcons je jedno od njih. To jebrendkoji gaji potpuni art. PaondaVivijen VestvudiliJamamoto.Njegovekolekcijeprostoodišu otkačenošću. I oni imajuprodajne linije, ali kada rade autorskekolekcije, i tekakoseosećaumetničkanota. Da bi danas nešto privuklo pažnju, mora da budespektakularno.Gdesepreklapajuspektakl i moda? –Kaomladi dizajner imao sammnogo vizija, ali su često mnogo koštale. Stoga sammislio da je dovoljno da prikažem svoju modu i da nije neophodno praviti spektakl od revija. Međutim, tačno je to da je danas postalo neophodno napraviti spektakl jer ljudsko oko traži senzaciju. Meni lično to ne pada teško jer mi je interesantno da kroz performans predstavim svoj rad. Ali da bi se došlo do neke senzacije, mora se prvo raditi na kvalitetu. Dakle, prvo razmišljamo tome šta ćuda uradim, pa tekonda kako. Jer spektakl sam po sebi gubi smisao. Mora da postoji sadržaj, pa tek onda da se taj sadržaj oblikuje. Jedno bez drugog ne mogu. Danas su često u upotrebi reciklirani materijali. Koliko utiču na modu i u kojoj meri formiraju stil? – Sve je više ekološke osvešćenosti. Tehnologija ide toliko daleko da se u mnogo čemu ne vidi razlika između pravih i veštačkih materijala. Veštačko krzno izgleda toliko uverljivo da sve dok ga ne pipnem, nemogudakažemdanije životinjsko. Ekološka svest vodi ka tome da nemoramo više da ubijamo životinje i pravimo krzna, već da i ona veštačka mogu dobro i atraktivno izgledati. Na kom nivou je srpska moda? – Beograd se uvek isticao po tome što su ljudi 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, imamo razvijen gen za lepo. Danas je, međutim, prevladala hiperprodukcija. Mnogi su postali kreatori samo zato što je to atraktivno ili zato što imaju finansije. Dešava se tako da se žena nekog fudbalera ujutru probudi i odluči da postane kreatorka. E, ne može tako! Ne postaje se modni kreator preko noći. To je dug razvojni proces. Samo zbog toga srpska modna scena postala je degutantna. Voleo bih da se definiše i da semodna industrija vrati tamo 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 dobija novi duh i postaje vidljiva. Jer kada je osoba harizmatična, 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
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