Finding our own true meaning through clothes. This is a concept that the Bosnian-born, Portugal-based designer Lidija Kolovrat is hung up on and seems to continue to explore throughout her collections for her eponymous label, Kolovrat. But not only that, she has many ideas that she wants to explore through other mediums like the audiovisual, as she has been involved in making short films and creating art installations for galleries; as a matter of fact, she does it all. What all of these endeavours have in common is the narrative aspect, Lidija’s main role would be that of a storyteller – all she wants is to convey a story through her work, and just by taking a look at her clothes, we already know we’re in for a ride.
Could you briefly introduce yourself to our readers? Who is Lidija Kolovrat?
I was born in Bosnia, in a small town near the forest. I highly believe in the universe, in nature, in individuality and the human potential. From the beginning, I was interested in cinema as much as in fashion.
How would you say your Bosnian background has influenced your work?
Well, Bosnia is an energetic country. It is spontaneous, intuitive by people’s behaviour, almost naïve. It made me see the impact of living the moment and I have learned how to respect its uniqueness.
Why did you decide to move to Portugal? And what drew you and made you stay in the city of Lisbon?
It was my husband who suggested it. It was an unknown and cosy country and a place to start a new life. At that time, we used to call it small California, so we understand why it is so popular at the moment. What made me stay in Lisbon were mostly the light and the ocean.
I’ve read that you actually studied cinema. What connections do you find between this discipline and fashion design? For example, when it comes to the campaigns and editorials, do you think you take more of a cinematic approach?
The connection between them is all about knowing yourself. I didn’t finish my cinema course, though I did some short films and projects with video installations as exhibitions in galleries. Also, in the last year, I created costumes for two movies, Sérgio Tréfaut’s Rage (2018) and Emily Wardill’s No Trace of Accelerator (2017). In fashion and in cinema, there is a connection: they both tell us stories.
Also, which period of film history would you say inspires you the most?
I wouldn’t say there is a specific period that inspires me more, it’s more about the subject and how you tell a story and how you bring a contradiction that you underline.
Generally speaking, you’re an artist. As you’ve mentioned, you regularly exhibit video art installations in galleries and museums. What do you get from making these exhibitions that is different from designing clothes? Not having to think of the customer, but having to create a communal experience?
Yes, you’re right! On the other hand, it is just a different language.
On your website, you have mentioned that the brand Kolovrat dresses people on the outside, but that they first need to ‘undress in the inside’. Does that mean getting rid of any preconceived notions that someone may have?
In many ways, we are formatted by major commercial ideas, we try to get more individual and find our own meaning through clothes, eventually. ‘Undress the inside’ also means being yourself.
Your latest collection is titled Passport and explores “the identity returned to the individual”. Could you elaborate on its meaning?
In some African places, like Guinea-Bissau, you make your face carved in wood – a mask. It’s called passport, in comparison to ours, which is full of numbers.
Also, on a lighter note, I loved those kitschy plastic fish for shoes you showed on the runway. How did you come up with that idea? And, in contrast, what about those Victorianesque, glittery shoes?
The Victorian shoes have to do with dreaming – that was the mood of the collection –, and the fish shoes have to do with one particular dream.
How would you describe someone who typically wears Kolovrat?
Someone who is able to eliminate stereotypes and recognise a need for the handcrafted and can conceptually get involved to see clothes as fun. They need to show their difference and can accept the difference in others.
Other than your own brand, what does the future hold for you?
I see myself going in different directions and places that I haven’t been to. For example, working within small communities, learning their techniques and developing new ones and exchange them. You take a challenge from their culture and you bring something new to leave behind.
