40 | Anti-fashion raises serious questions intimesduringwhichwe’re overburdened by information, exposed to inconsistent fashion stances that are triggered by the most common material interests and where all boundaries have been destroyed. Beauty has become an imperative in contemporary art and culture is seriously challenging authenticity. Contemporary fashion is based on various fusions between art and fashion, mainstreamandavant-garde, fast andslowfashion. Everything ismixed, soaclear boundarybetween formal fashionand itsopposite hasbeen lost.Thewholeconcept emerged inthe‘90sasa reactiontotheprevious fashiondecadeat amomentwhen the idealsof fashion were brought into question. Anti-fashion is an expression that tries to encompass certain phenomena in fashion that were previously egregious or don’t t intoanestablishedcategoryor styleof fashion, suchaspunk, grunge, conceptual fashionandeventraditional clothing. Itpresents ways in which designers and fashion-conscious individuals express resistance to the fashionestablishment. Ifweweretodescribe anti-fashion in one word, that word would be stability, while fashion is synonymous withchange.Moreover, simultaneously, all novelties are somehow anti-fashion. And that’s one of the paradoxes of fashion. The concept is closely related to the dynamics of fashion changes. In the 1920s, Gabrielle “Coco” Chanel sharply opposed then current fashion standards by suggesting that womenwear what had until then been exclusivelymen’s clothing. Shecreateda look thatwasmeant tomakewealthywomenvisually similar to ordinary women, of course for extraordinarilyhighsumsofmoney, but in exchange for newly-acquired freedoms. RudiGernreich’smonokini inthe1960s representedaseriousanti-fashionconcept, but also a sociological phenomenon, as were the worn designs of Rei Kawakubo in the ‘80s. This concept also encompasses every avant-gardedesignofVivienneWestwood’s punk phase. It is clear that the entire concept is possible only in the context of formal fashion. Fashion and anti-fashion are in a serious relationship, with changes in fashion stimulated by anti-fashion, which emergesasareactiontoformal fashion.And here we shouldn’t confuse fashion trends that somehowmake thisyear’sclothingdiffer from last year’s, but rather really serious changes in terms of ways of thinking and the social circumstances that manifest in what we wear. Today, when it seems di cult to come up with something not seen before, there are certain approaches that succeed in standingout.Contemporaryfashiondesignersare turning toa conceptual approach todressmaking that is developing beyond fashion trends.Alongsidetechnological innovations like 3D printers, there are also deconstructionsandexperimentsthat linkclothingand art installations. Some artists play with familiar elements, but change their purpose tocreateunexpecteddesigns, likeMargiela. Anotherdirectionthat’scatchingonreminds us thatwemust slowdown inour non-stop chasingof trendsandstart investinginbasic items that have nothing to dowith changes in fashion, but which have an enduring value based on the test of time, authentic processing methods, dying or decorating. For instance, Birkenstock sandals areagenuine example of an anti-fashion item that has become a classic. Standing out among today’sdesignerswhosuccessfully irtwith theanti-fashionconcept, creatingwearable andcommercial designs, are the likesofMiuccia Prada, Christopher Kane, RickOwens and Maison Margiela. The non-fashion concept promotes geographical andsocial di erences, thatwhich wepopularrefertoasoriginalityandauthenticity, while the fashion concept leaves the samestampeverywhere.Fashionhasaclearlyorganisedsystemfor change,whileevery departure fromthosestipulatedguidelines is anti-fashion. It is simple to conclude that this resistance toestablishednorms isactuallythemaindriverof fashioninthemodern world.Mostanti-fashionstyles fromthe60’s have become modern. The 1950s gave us, alongwithvariousnovelties, a serious fashion-based social rebellion of women who, insteadof sicklysweetdresses, jumped into jeans and plaid shirts. The minimalist style thatwas current in theearly‘90s andwhich impliedblack jeans andplainwhite t-shirts was characterisedasnon-fashionable, only to become a standard ten years later, proclaimed awless and timeless. In its simplicity, the Normcore trend opposed pretentious and often uncomfortable fashion trends, andof itwasbornthemassivelypopular Athleisure style. And don’t be fooled: the anti-fashion approach is neither cheap nor easily accessible, but it is both original and authentic. Gabrijel Koko Šanel prva se oštro suprotstavila važećim modnim standardima Gabrielle “Coco” Chanel was the first to sharply oppose current fashion standards MEJSON MARGIJELA / MAISON MARGIELA RIK OVENS / RICK OWENS SUZANA PERIĆ NA NEDELJI MODE U MILANU Naša kreatorka Suzana Perić učestvuje sa novom kolekcijom na Milanskoj nedelji mode (17–23. septembar) kao pobednica u kategoriji Winner For Mad Mood nacionalne nedelje mode. Na reviji će učestvovati i naša džez pevačica Lena Kovačević, čiji će glas i elegancija reviji dati sasvim novu dimenziju glamura. SUZANA PERIĆ AT MILAN FASHION WEEK Serbian designer Suzana Perić is set to participate in Milan FashionWeek (17th to 23rd September) with her new collection as the winner of the “Winner For Mad Mood” category of this year’s Serbia FashionWeek. Also participating in the show will be celebrated Serbian jazz singer Lena Kovačević, whose voice and elegance will provide the show with a completely new glamour dimension.