66 | Destinacija » Destination MODA / FASHION ST E FAN ĐOKOV I Ć, ART I ST 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 PIANISTANDFASHIONDESIGNER STEFAN ĐOKOVIĆ IS A multitalented artist who is making his mark in classical music, but also in the fashion that he creates. Educated at the Faculty of Music in Belgrade, wherehe completedhis piano undergraduate and master’s studies, he completed his studies in opera inLondon.He recently receiveda uniqueopportunityamong the creative artists of his generation: topresenthiscollectionofuniquehautecouture gowns at Paris Fashion Week, whichdelighted true trend connoisseurs.We start this interviewby askinghimwhat the process of creating anhautecouturedressentails–from initial sketches to the catwalk…Pitamo ga na početku kako izgleda proces nastanka jedne couture haljine – od skice do piste? “Everything begins from inspiration... In my case, that’s some 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, music, emotion, the person who will wear the gown... After that, I start a pretty complicated process linked to detailed sketches and tailoring. If the work in question is a dress with hand sewn embroidery, the cut is digitalised and I create a draft of the embroidery to work from, complete with the choice of beads, crystals and other details. Every piece is unique, which is one of the most interesting aspects of haute couture.” Does haute couture “look down” on us, or is it more relevant today than ever before? How do you harmonise its boutique nature with the social movements of the digital age? “Haute couture is the crowning glory of fashion creativity. It is the stage that lays the foundations of trends that are then further filtered through an imaginary funnel to other segments of fashion – from ready-to-wear garments to accessories, and even to the way cosmetics are branded. It thus finds a way from its boutique environment to daily life.” Paris has played a crucial role in creating haute couture’s global scene throughout the history of fashion. Did that represent a challenge 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 expect during the making of this collection, so I perhaps felt less pressure over how everything would be received. My biggest challenge was to implement all the ideas in practise, which we hopefully succeeded in doing. And I must admit that my heart was pounding, especially after the catwalk show and greeting the audience, who really reacted wonderfully.” Who represents the clientele for haute couture creations today? I assume that has changed – compared to, say, a decade ago – given the current socioeconomic and geopolitical shifts? “The clientele for haute couture pieces have always been members of the higher economic 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 also includes collections adapted to other occasions, as well as pieces that are more affordable – it’s never 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 experts on the world scene? “Confirmation of quality from the world’s media and critics re-
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