Lidija Kolovrat 179
054
TFD_libro.indb 179
26/11/09 15:52:35
Bosnian-born artist,
designer, healer,
and teacher, Lidija
Kolovrat, has been
based since 1990 in
Lisbon, Portugal.
Her local studio is
the platform for sale,
research, work, and
discoveries. Working
womenswear and
accessories since
her early years in
Zagreb, Lidija started
showing her rst entire
menswear collection in
March 2006 at Lisbon
Fashion Week. With
a strong, innovative,
and crashing vision,
her menswear has
been around now
for years. She has a
multidisciplinary
approach to her work,
taking everything
from the particular to
the whole, observing
everything in its
entirety. In her words,
design follows the
inherent nature that
goes, ows, and talks
in objects. She regards
fashion as a eld where
one can express and
melt art, politics,
human behavior, and
social need.
Lidija Kolovrat
www.kolovratconcept.com
© Gonçalo Gaioso
TFD_libro.indb 179 26/11/09 11:39:05
TFD_libro.indb 180
26/11/09 15:52:36
© Patricia de Melo Moreira
© Patricia de Melo Moreira
© Alexander Koch
531 INSPIRATION. Before I start the
collection, I recognize my feelings–that
is the initial start of any reasoning. It is
therefore more like a sensation from which
the themes and sensations come out of
organ ically.
532 D
EVELOPING A COLLECTION. Because
things start from initial reason-feeling,
everything that gets developed falls into a
place or it’s eliminated.
533 C
OLORS. It is like a melody. It tunes
the light. Therefore it can be lighter or
heavier. Again, it is something intuitive, it
comes to express the same feeling or take
away from the initial idea and use it as a
contrast.
534 B
RAND VA L U E S . I promise research
and constant appreciation.
535
I
NDIVIDUALITY VS. GROUP
BELONGING. I pretty much
defend freedom and, therefore,
individuality. I work from that
point. It is also very interesting
to nd and use common
sense. These two ideas are
not necessarily opposite. Just
through the matter of liking
them or not, I can decide between
perspectives: individual or group
belonging.
© Patricia de Melo Moreira
180 1,000 Ideas by 100 Fashion Designers
TFD_libro.indb 180 26/11/09 11:39:06
Lidija Kolovrat 181
TFD_libro.indb 181
26/11/09 15:52:43
© Ricardo Quaresma Vieira
© Patricia de Melo Moreira
© Ricardo Quaresma Vieira
536 COMMUNICATION. Communication
is very important for me, but that does not
mean that I am good at it.
537 E
VOLUTION. I feel that I need to
be alive at every moment and to interact.
Therefore, in some way there is always
work being generated.
538 I
S FASHION ART? I think I have the
posture of an artist but what my exercises
are about is that my body is mind-need
situated and vice versa, as well as body
with the object and reverse. My latest
project is relating mind and space with the
body in the middle.
539 A
DVICE. The original feeling
of things will always give the result
accordingly, it is mathematical.
540 A
CKNOWLEDGEMENT. The best
praise is when people love my work!
TFD_libro.indb 181
26/11/09 11:39:06
TFD_libro.indb 182
26/11/09 15:52:51
© Fernanda Calfat
© André Calvente
© André Calvente
© Lovefoxxx
541
G
OOD HABITS. Don’t worry about
trends and the market. Stretch
beyond the super cial and become
more authentic.
542 INSPIRATION. We work on two
collections at the same time. This means
that most of the time we are involved
in creation and we like to think about
sensations, the music that we hear, the
moment that we are living. We never
start this creation process with just one
reference, we put everything we like
together and step-by-step start to create a
new image. After this the clothes start to
appear.
543 C
OLORS. We think any color goes
with any other color...always! So, our
biggest worry is about creating happy and
colorful clothes to cause the same kind of
feeling in the people that see them. We try
making different shapes or prints, simply
because we like it this way and this is our
best motivation. Without it, everything
becomes boring.
544 E
VOLUTION. We feel the necessity
to improve ourselves, to get up all the
time. With every collection we dedicate
a lot of energy and time to be better than
the last one, being careful with each
piece–remaking the prints ten times if
necessary and starting the piece over again
and again.
545 C
OMMUNICATION STRATEGY. We
never thought about one communication
strategy, but we always worry about
our job’s image. We have always loved
beautiful images and we like to do this.
Almost intuitively we create a strong
identity, starting from our name,
Amonstro. We haven’t worried about
following the rules, and this became a point
of difference.
182 1,000 Ideas by 100 Fashion Designers
TFD_libro.indb 182
26/11/09 11:39:06
Lívia Torres, Helena Pimenta/Amonstro 183
TFD_libro.indb 183
26/11/09 15:53:00
© Carlos Días © Pierre de Kerchove
© André Calvente
© Fernanda Calfat
546 STYLE. Individuality is always
enduring and everyday it has more value.
You lose the liberty of creation if you
turn the focus entirely to business. We
believe that when you start to worry about
prices and what is current in fashion, your
creativity becomes blocked.
547 T
RADITIONAL MANUFACTURING VS.
EXPERIMENTATION. Our job’s base is in
experimentation. We think about every
part of the process and try new techniques,
new ways to do things. The result
sometimes is not what we expect but can
surprise us, and this is great.
548 W
ORKPLACE. When we started to
look for a place to be our atelier, we took
one year to nd the house. This is very
important for us: the place that we work
has to have good energy and life–plenty of
light with lots of plants and all of our books
and magazines.
549 A
DVICE. You cannot be super cial!
550 A
CKNOWLEDGEMENT. Create
beautiful images.
TFD_libro.indb 183
26/11/09 11:39:06
..................Content has been hidden....................
You can't read the all page of ebook, please click here login for view all page.