matija cop: fashion and design: a different perspective

oris, broj 87, godina 2014 matija čop, Intervju202 203oris, number 87, year 2014 matija čop, Interview

Razgovarali u Zagrebu 17. ožujka 2014.

¶ Matija Čop je student na diplomskom studiju modnog diza-jna Tekstilno-tehnološkog fakulteta. Budući da je još uvijek student, možemo reći da je vrlo rano postao čak i slavan. U 2012. londonski internetski portal ArtsThread proglašava ga jednim od dvadeset najboljih mladih dizajera svijeta, dobitnik je dekanove nagrade, pobjednik je natječaja Mladi Kreativni Chevrolet gdje je zamislio putovanje električnim automo-bilom s produljenim dosegom – do Zagreba, grada s veli-kim brojem zelenih površina koje treba očuvati. Matija Čop najprije je pažnju usmjerio na temu mapiranja i kartografije,

matija čop

Moda i dizajn: druga perspektiva

Interviewed in Zagreb on 17 March 2014

¶ Matija Čop is a student of the Faculty at Textile Technology. Still a student, he became famous at an early age. In 2012, he was listed among the twenty best young designers of the world by the London Internet portal ArtsThread. He received the Dean’s Award, won the Young Creative Chevrolet compe-tition with an idea of travelling by an electric car to Zagreb, a city with many green surfaces to protect. Matija Čop first turned to the topic of mapping and cartography, that is, topography, referring to a specific location and its historical context from a far only (project City Lace). Next, he took the

matija čop

Fashion and Design: a Different

PerspectiveAnte Tonči VladislavićSilva Kalčić

razgovaraliinterviewed by

fotografije photographs by

portreti portraits

Arhiva Matije Čopa / Matija Čop's Archive Damil Kalogjera


odnosno topografije, tek se udaljeno referirajući na određenu lokaciju i njezinu povijesnost (u projektu City Lace). Potom, tijelo uzima kao metaforu za povijesne i geografske silnice identiteta koje se u njega utiskuju (slojeve). Projekt Object 12–1 načinom izvedbe odjeće upućuje na utor i pero način sla-ganja kamenih blokova na šibenskoj katedrali, što je proslav-ljena invencija Jurja Dalmatinca. Uslijedio je projekt Home-less in Heaven, koji se tiče figure beskućnika koji kao svoju najveću vrednotu, odnosno kao ono što jedino posjeduje, ističe odjeću i upravo zbog bivanja bez kuće vrlo je mobilan, odnosno pokretan – predstavlja figuru suvremenog urbanog nomada, ultimativno izmještenog i iskorijenjenog individu-alca. Svjedočimo promjeni mjerila grad – arhitektura – tijelo (odjeća) u privatnim pomacima u fokusu interesa Matije Čopa.

ORIS — S obzirom na vaš dosadašnji rad, može se reći da odjevni predmeti/objekti koje radite predstavljaju jedan cjeloviti koncept kojim propitujete kako materijalne, tako i oblikovne razine, pa bi nas zanimalo kako izgleda cjeloku-pni kreativni proces? ¶ Matija Čop — Kroz sam početak i kroz trajanje kreativnog procesa, ostajem u potpunosti otvo-ren prema mogućem ishodu. Tijekom procesa istražujem te usklađujem materijale, oblike i koncept. Početna ideja postoji, ali se često mijenja tijekom istraživačkog i kreativnog procesa. Upravo je otvorenost ono što sam primijetio i sebi objasnio kao karakteristiku svoga načina rada. Odnos prema ishodu uvelike se mijenja od projekta do projekta. Tako sam se u kolekciji Object 12–1 pokušavao postaviti u ulogu (iz moje perspektive zamišljenog) građevinara. Istraživao sam tehnike konstruk-cije/spajanja. Već sam se i u crtežu prilagodio arhitektonskom, reduciranom crtežu, što je također pridonijelo cjelovitom konceptu. Već sâm materijal, etilen vinil acetat (kojega sam koristio u projektu Object 12–1, a dolazi iz područja tehničkih materijala), zbog svojih karakteristika omogućio mi je da u spoju s posebnom tehnikom rezanja ostvarim konstrukcijske oblike. U kolekciji Object 12–1 sve je bilo podređeno ideji bliskoj arhitekturi – hladno, precizno, tehnički. Za razliku od projekta Object 12–1, Homeless in Heaven sasvim je drugačiji. U taj sam projekt ušao s istom otvorenošću, bez jasne ideje o ishodu. No ovaj sam se put pronašao u ulozi novinara-istražitelja; inter-vjuirao sam beskućnike, istraživao pravni aspekt beskućništva (kako i na koji način zakon i pravna regulativa utječu na druš-tvenu sliku). Primarna inicijativa potakne me na proces koji je uvijek putovanje, s nepredviđenim fazama puta.ORIS — Uvijek se bavite temom ili pitanjem identiteta. Tako-đer uslojavanja, odnosno na engleskome layera. I u osnovi projekta je Object, odnosno objekt je propitivanje odnosa

renesansne arhitekture i njezinog jezika, teme tehnologije, odnosno materijalnosti renesansne ahitekture, transponi-ranih u suvremenu modu. Montažna tehnika preuzeta iz drvodjeljstva, utor i pero, primijenjena u gradnji katedrale sv. Jakova u Šibeniku, postaje polazište za novi odjevni objekt. Kod spomena montažne tehnike, bavite se temom stalno-sti ili promjene koja može biti i modna – zamjene dijelova i promjene oblika. Znamo iz antičkog mita da je brod Argo, kojim su Argonauti putovali dugih deset godina, kad se vratio u polazišnu luku imao sve svoje dijelove zamijenjene; brod je raznesen u mnogim bitkama ili je prolaskom vremena bio oštećen pa popravljan. Iako više nije imao ni jedan izvorni dio, ipak je kao brod Argo uplovio u matičnu luku nakon putova-nja. Montažna tehnika koju koristite tiče se stalnosti (zamjena dijelova) ili modne promjene (promjena oblika). Vaši radovi otvaraju brojna pitanja tehnike, odnosno transfera tehnike. Kakav je u njima odnos spomenutih elemenata? ¶ Matija Čop — Tehniku sam započeo istraživati kroz metodu maketa, koje su u početku djelovale vrlo apstraktno. Isprobavanje je dovelo do zadnjeg oblika koji je postao funkcionalnim. Prvih nekoliko oblika bilo je u potpunosti nefunkcionalno. Nisu imali mnogo veze s konačnim, ali omogućili su da do njega dođem. Neka od pitanja na koja sam morao dati odgovor bila su: funkcionira li maketa, koliko je čvrst oblik kada se složi, koji

body as a metaphor for historical and geographical identity power lines (layers). The construction of clothes in Object 12–1 Project resembles the keyway-and-keyset manner of arranging stone blocks on the Šibenik Cathedral, which is the celebrated invention of Juraj Dalmatinac. Next project, the Homeless in Heaven; about a homeless person’s clothes as his precious, as his only possession, is precisely about the quality of having no house. It is very mobile – it represents a figure of the contemporary urban nomad, the ultimately displaced and uprooted individual. We are witnessing the change of scale city – architecture – body (clothes) in private shifts which are in the focus of Matija Čop’s interest.

ORIS — Referring to your work up until the present moment, we can say that clothes – the objects you create, represent a closed concept which questions material, as well as form. Therefore we would like to know what your creative process looks like. ¶ Matija Čop — In the very beginning and into the creative process, I am completely open to a possible outcome. During this process I explore and adjust materials, forms and concept. The initial idea exists, but it is often modified dur-ing research phase and throughout the creative process. This openness is what I noticed about myself, and explained it as a characteristic of my way of working. The relationship with the

outcome changes from project to project. Thus, in the Object 12–1 Project I tried to put myself in the role (from my perspec-tive of the imaginary role) of the civil engenieer. I researched the techniques of construction/conjoining. The drawing was executed as an architectural, reduced drawing, which also con-tributed to the entire concept. The characteristics of the mate-rial, the ethylene vinyl acetate (used in the Object 12–1 Project is a technical material), enabled me to employ a specific technique of cutting to produce construction forms. In the Object 12–1 collection everything was subjected to the idea close to archi-tecture, cold, precise, technical. However, Homeless in Heaven was different. I started it with the same openness, without a clear idea of the outcome. But, this time I found myself in the role of a journalist – a researcher; I interviewed homeless people, researched the legal aspect of homelessness (how the law and legal regulations influence the social image). The initial impulse is an incentive to embark on a journey, always one with unpredictable stages.ORIS — You always deal with the topic or question of iden-tity and its layers. Object is the basis of the Project, which is questioning the relationship between the renaissance archi-tecture and its language, the technology, that is, the mate-rial qualities of renaissance architecture transposed into the contemporary fashion. The montage taken from carpentry,


the keyway-and-keyset technique, applied in the construc-tion of the St. Jacob Cathedral in Šibenik, became the start-ing point for the new garment. Talking about the montage, you operate in terms of permanence or change– replacing parts and changing shapes – in fashion as well as elsewhere. The ancient myth tells us that the ship Argo, that carried the Argonauts for ten long years, returned to the harbor of origin with all parts replaced. The ship was destroyed in many battles or damaged in time and repaired. Still, that was Argo, without any original parts, sailing into its harbor of origin after the journey. The montage you employ is about the per-manence (replacement of parts) or change in fashion (change

of shape). Your work has opened many questions about the technique, more precisely, the transfer of technique. What is the relationship of the mentioned elements in them? ¶ Matija Čop — I began to research this technique though the models that seemed very abstract in the beginning. Trial and error lead to the last form that became functional. The first few forms were completely non-functional, and had not much in common with the final version, but they enabled me to reach it. Some of the questions I had to answer were: whether the model functions or not, how firm the form is when set, what the strongest form is, what shape enables me to manipulate most to obtain other possibilities when combining. The form resembling the archetypal Urform turned out to be the best; it also resembles the ground layout of the Šibenik Cathedral.ORIS — What turned out to be the potential of that lay-out considering it is neither conventional, nor symmetric? ¶ Matija Čop — It is interesting that I was not consciously using models to research the layout, but the architecture and the wooden constructions (examples of primitive construction found already in Ancient Greece). Juraj Dalmatinac was the first to use this technique in stone (no mortar, no sawing, and no connective materials). It was previously used with wood only. This was the link between the Object 12–1 Project and the Šibenik Cathedral. The models were created as a result of my wish to connect two planes without the use of glue

je oblik najčvršći, s kojim oblikom mogu najviše manipulirati da dobijem druge mogućnosti u slaganju. Najboljim se pokazao oblik koji je podsjećao na arhetipski praoblik, izgledom sličan tlocrtu šibenske katedrale.ORIS — Što se pokazalo kao potencijal toga tlocrta, s obzi-rom da on nije ni konvencionalan niti simetričan. ¶ Matija Čop — Zanimljivo je da nisam svjesno išao s maketama istra-živati tlocrt, nego arhitekturu i drvene konstrukcije (primitivne primjere gradnje pronađene još u Grčkoj). Juraj Dalmatinac ovu je tehniku spajanja (bez vezivnog tkiva; bez lijepljenja ili šivanja) prvi upotrijebio s kamenom – dotad se upotrebljavala samo s drvetom. Tu se dogodila poveznica projekata Object 12–1 i šibenske katedrale. Makete su nastale iz želje da se spoje dvije plohe, bez upotrebe šivanja ili lijepljenja. Pokušao sam naći način kako da spojim dva papira, ali bez vezivnog tkiva. Prvo sam zarezivao, no to nije funkcioniralo. Tako sam krenuo organizirati plohu s rupama i perima, što je ujedno i podsjećalo na tlocrt šibenske katedrale.ORIS — Možemo li reći da je to – kao što je vidljivo u ilu-stracijama, a kasnije i u radu – neki modul, jedinica koja se negdje povećava, postoji neki strukturalni potencijal u njemu. ¶ Matija Čop — To je sistem. Također, zanimljivo je što ste rekli za brod, Argo. Kada se modeli (Object 12–1) vraćaju s natjecanja, snimanja, iz muzeja ili filmskog seta, budući da su krhki, oštete se. No kako imam zamjenske module (segmente),

Kolekcija Object 12-1,

2012. – 2013.

Object 12-1 Collection, 2012–2013

Početna ideja postoji, ali se mijenja tijekom istraživačkog i kreativnog procesa

The initial idea exists, but it is modified during research phase and throughout the creative process


2012. – 2013., shema i modul

Object 12-1 Collection,

2012–2013, scheme and

module


zamjenjujem ih. Postoji mogućnost popravka, zamjene, nado-gradnje. Upravo zbog toga, kao i kod broda Arga, haljina više nije ona prvotna – zamijenjena je, ali oblik jest isti. To je otvoreni rad.ORIS — Homeless in Heaven uspoređujete s Wurmovom Narrow House. Tu je opet na djelu tema kuće, ili bolje, kon-cepta doma. Wurmova Narrow House je kuća izrađena u iščašenoj perspektivi, odnosno u perspektivnom suženju koje je klaustrofobično i propituje svakodnevna iskustva gleda-nja. U čemu uočavate poveznicu Narrow Housea i projekta Homeless in Heaven? ¶ Matija Čop — Homeless in Hea-ven je projekt sličan Wurmu i njegovoj Narrow House, zbog načina tretiranja teme/problema. Dakle, iščašena je perspektiva samoga problema. Beskućnike sam odjećom učinio privlačnima, sretnima, zadovoljnima te sam na taj način pokušao skrenuti pozornost na problem beskućništva. Kuća koju koristi Wurm, kao i odjeća koju ja koristim, zapravo su uobičajeni, no per-spektiva u kojoj su postavljeni je drugačija. Iza te perspektive krije se nešto drugo, kao kod Narrow Housea, gdje se gledatelj stavlja u očitu poziciju mijenjanja perspektive. Tako sam i sâm htio promijeniti perspektivu gledanja na problem beskućnika, neopterećenim pristupom raditi na opterećenoj temi.ORIS — Možemo li reći da je ovdje istraživanje ujedno i svojevrsna sociološka anketa ili čak da se njime propituje stvarnost kao materijal? Dakle, da kod projekta Homeless in Heaven jedan socijalni stratum postaje jednako tako gradbeni materijal? ¶ Matija Čop — Beskućnik je definitivno postao

or sawing. I tried to find a way to put two pieces of paper together without the connecting tissue. First I made cuts, but that did not work. So I began organizing a plane with holes and feathers which resembled the layout of the Šibenik Cathedral.ORIS — May we say that – as it becomes evident from illus-trations as well as later in your work – it is a module, a unit enlarging at places, but one with a certain structural poten-tial. ¶ Matija Čop — It is a system. Also, it is interesting what you said about the ship, the Argo. When the models (Object 12–1) return from a competition, photo shoot, a museum, or a film set, they get damaged because they are frail. But, since I have replacement modules (segments), I replace them. There is an option to repair, replace, upgrade. This is the reason, as with the Argo, that the dress is no longer original, it has been replaced, but the form is still the same. It is an open work.ORIS — You compare Homeless in Heaven to Wurm’s Narrow House. You are dealing with the topic of the house, or more precisely, the concept of the home, again. Wurm’s Narrow House is done in a wrenched perspective, that is, the nar-rowing perspective which is claustrophobic, and questions

istraživački materijal. Za razliku od Objecta 12–1, radeći na projektu Homeless in Heaven nisam koristio makete, nego intervjue. Na neki način, sama kolekcija je vizualni tran-skript tih intervjua. U ovomu sam procesu preuzeo ulogu novinara. Kao takav istraživao sam stvarnost i osluškivao javnost. Problem koji me je zainteresirao postao je gradbeni

materijal samoga projekta. On me je usmjeravao prema boji košulje, odabiru materijala pa i korištenju magneta umjesto gumba (radi pojednostavljenja kopčanja i trajnosti magneta – gumba). Zanimljivo je i usporediti projekte prema skuplje-nome radnom materijalu, gdje je za potrebe projekta Homeless in Heaven upotrijebljeno oko 10 GB pohranjenog materijala, dok za Object računalnog materijala gotovo ni nema (osim samih krojnih dijelova napravljenih u vektorskom programu) iz praktičnih razloga; npr. radio sam i u Nacionalnoj i sveučilišnoj knjižnici gdje materijale nisam mogao digitalizirati.ORIS — Je li taj pomak u perspektivi neka vrsta igre s tako-zvanim lošim ukusom – prema Bernhardu Willhelmu – koji loš ukus smatra zanimljivim pomakom u perspektivi? Tako-đer, igre s pomakom u perspektivi na način kombiniranja boja koje ne idu zajedno, koje su blizu u spektru boja, koje su inherentno ženske boje na muškom nositelju i slično; koristeći nove svjetlucave ili svijetleće materijale, retrore-fleksivne ili koji emitiraju integrirano LED svjetlo, dakle nove generacije materijala koji su performativni po sebi... ¶ Matija Čop — Razmišljao sam o potrebama beskućnika koji živi na

our every day experience of observation. Where do you see the link between the Narrow House and the Homeless in Heaven Project? ¶ Matija Čop — Homeless in Heaven Pro-ject resembles Wurm and his Narrow House in its treatment of the topic/problem. Namely, the perspective of the prob-lem itself is wrenched. The clothes made the homeless people attractive, happy, satisfied, and thus I tried to draw attention to the problem of homelessness. The house used by Wurm, as well as the clothes I use, are actually ordinary, it is the perspec-tive that is different. The perspective hides something else, as with the Narrow House, where the observer is placed in the obvious position of shifting the perspective. So, I wanted to change the perspective of treating the homeless problem. To work on the burdened theme in an unburdened way.ORIS — Can we say that here the research is at the same time a kind of a sociological survey, or that it questions the reality as a material? Namely, that in the Homeless in Heaven Project a social stratum becomes construction material. ¶ Matija Čop — A homeless person definitely became research mate-rial. Unlike Object 12–1, working on the Homeless in Heaven


2012. – 2013., detalj

Object 12-1 Collection,

2012–2013, detail

Kolekcija ATW.MO6, 2011.

ATW.MO6, 2011 Collection


otvorenome. Materijal je morao zadovoljiti određene karakte-ristike: otpornost na atmosferilije, jednostavnost održavanja higijene, otpornost na trošenje – trajnost. Jedan od zamišlje-nih scenarija bio je, primjerice, spavanje na ulici. Kao i u uspo-redbi s Wurmom i ovdje se – u odabiru boje i uzorka materijala te konstrukcijskih rješenja – radi o pomaknutoj perspektivi. Koristim žutu i rozu boju, društveno shvaćene kao ženske boje, na muškom tijelu, kako bih skrenuo pažnju te omekšao pojavu samoga nositelja. Mislim da je i sam naslov kolekcije Home-less in Heaven dijelom pomak u perspektivi gdje sam, naravno, izabrao kao mjesto radnje – heaven – nematerijalno mjesto, prikladno za čovjeka bez imovine.ORIS — Spomenuti Berhnard Willhem derogira logotip kom-panije Tommy Hilfiger – prišivajući sličan logo, zastavu i slova USA naopako na odjeću. Budući da materijal koji koristite nije gotov, već na njemu intervenirate, gradite ga ili čak raz-građujete, pojasnite nam kako izgleda konceptualni, a kako radni, procesualni odnos prema materijalima koje koristite: filc (netkani impregnirani poliester), EVA, 3D poliester mesh...

¶ Matija Čop — Netkani impregnirani poliester koji ima pro-gramirani vijek trajanja, ovisno o pranju materijala, sukobio sam s konceptom tzv. večernje haljine. Naime, u kolekciji ATW.MO6 istraživao sam arhitektonske forme na primjeru pet tzv. večernjih haljina. Kako se večernje haljine po svojoj definiciji ne nose češće nego jednom, eventualno dvaput (što mi se učinilo zanimljivim zbog sukoba sa suvremenim definicijma odjevnog predmeta), materijal kojega sam htio koristiti morao je biti programiranoga trajanja. Netkani impregnirani poliester se s obzirom na takvo i druga svojstva (čvrstoća, lakoća, moguć-nost drapiranja), učinio najprikladnijim. U projektu Stratum sam koristio 3D air poliester mesh – tehnički materijal koji se koristi u automobilskoj, biciklističkoj te sportskoji industriji, pri izradi sjedala, tenisica, specifične opreme poput različitih štitnika, od kacige do rukavica. Stratum je zapravo istraživanje drapiranja na primjeru jakne/gornjeg odjevnog predmeta, od 20 kvadratnih metara materijala. Drapiranjem sam oblikovao odjevni predmet, kontrolirajući nabore pomoću vijaka. Učinilo mi se zanimljivim u modu uvesti materijal koji po svojoj pri-rodi imitira samu ljudsku kožu. Mnogo je zanimljivih projekata kada se svojstva specifičnih životinjskih ili biljnih sposobnosti prevode u tehno materijale (biomimetika), no u ovome mate-rijalu namijenjenom čovjeku dogodilo se da se svojstvo vlastite kože prevelo u jedan takav tehnički materijal. On propušta kisik, no ne i vodu; na njegovoj površini vidi se struktura nalik na kožu promatranu kroz povećalo i sastavljen je od nekoliko slojeva (stratuma). Tako sam napravio jaknu, kao od mikro-skopski uvećane ljudske kože. Etilen vinil acetat, skraćeno EVA, koristio sam u projektu Object 12–1. Za izradu krojnih Project, I did not use models, but interviews. In a way, the

collection itself is a visual transcript of those interviews. In this process I took over the role of the journalist. I explored the reality and listened to the public. The problem I found interesting became the building material of this project. It directed me to the color of the shirt, selection of materials, and use of magnets instead of buttons (for the simplicity of buttoning and the durability of the magnet – button). It is interesting to compare projects according to the collected working materials. For Homeless in Heaven I used about 10 gb of the stored materials, while for the Object there are almost no computer materials (except the cuts made in the vector program). For practical reasons, for example, I worked in the National and University Library where I was unable to digital-ize those materials.ORIS — Is this shift in perspective some kind of a game with the so-called bad taste – according to Bernhard Willhelm – who considered bad taste an interesting shift in perspective? Also, the game with a shift in the perspective, combining the

colors that normally do not combine well, but are close in the color wheel, which are inherently feminine colors on a male and so on? Use of the new glimmering or luminescent mate-rials, retro reflexive, or those emitting integrated led light, the new generation of materials which are performative in themselves... ¶ Matija Čop — I was contemplating the needs of the homeless person living out in the open – in the exterior. The material had to meet certain characteristics: it had to be resistant to environmental conditions, simple to maintain, resistant to wear and tear/durable. One of the envisioned scripts was, for example, sleeping in the street. In comparison with Wurm, here in the selection of colors and patterns, as well as construction solutions, there is a shifted perspective. I use yellow and pink, socially interpreted as feminine colors, on a male body to draw attention, and to soften the appear-ance of the carrier himself. I believe the title of the collection Homeless in Heaven is partially a shift in perspective, where I, naturally, chose the site of the event – Heaven – an immate-rial place appropriate for a man without property.ORIS — The aforementioned Bernhard Willhelm derogated the logo of the Tommy Hilfiger Company by sawing the logo, the flag and the letters usa, upside down on the garments. Since the material you use is not finished, instead you inter-vene, build it, or even tear it apart, please explain the con-ceptual and the working process relationship to the materials you use: felt (non-woven impregnated polyester), eva, 3D polyester mesh... ¶ Matija Čop — The non-woven impreg-nated polyester has a programmed duration depending on the washing, and I juxtaposed it with the concept of the, so-called, evening dress. Namely, the collection atw.mo6 explored the

Kolekcija Stratum, 2012.

Stratum Collection, 2012

Kolekcija Stratum,

2012., skica

Stratum Collection, 2012, sketch

Kolekcija Stratum, 2012.

Stratum Collection, 2012


dijelova (segmenata korištenih u kolekciji) potreban mi je bio materijal koji ću moći laserski rezati te zbog njegovih načina spajanja, specifičnih karakteristika: lagan je, čvrst i fleksibilan. Zahtjevi samoga proizvoda uvelike su odredili izbor materijala. Priprema je bila u potpunosti računalna; pomoću vektorskog jezika konstruirao sam krojne dijelove (segmente). Zanimljivo je da segmenti nisu jednaki, već gradirani. Mijenjaju se s obzi-rom na željeni konačni oblik, čime sam na neki način riješio i pitanje veličine odjevnog predmeta. U kolekciji Object 12–1 veličina se može nadograditi. Ostavljam nositelju da sam defi-nira oblik i preuzme na sebe novu ulogu, da bude sukreatorom samog odjevnog predmeta kojeg nosi. Važno mi je da nositelj nadvlada odjevni predmet, da subjekt ovlada objektom.ORIS — Moda je forma koja otvara put razumijevanju sva-kodnevnog života. Problem modnih izložbi predstavlja upravo pronalaženje načina izlaganja odjevnog predmeta, koji ostaje bez tijela i bez erotizma tijela. S druge strane, još Benjamin zaključuje kako filozofi imaju gorući interes za modu, upravo

architectural forms on the five evening dresses. As those dresses are per definition not worn more than once or twice (what I found interesting as it is opposes the contemporary definitions of an item of clothing), the material I wanted to use had to be of a programmed duration. The non-woven impregnated polyester seemed most suitable because of this characteristic, as well as others (durability, lightness, draping). In the Stratum Project I used the 3D air polyester mesh, a technical material used in the car, cycling and sports industry to produce seats, sneak-ers, specific equipment, such as different protective gear, from helmets to hand gloves. Stratum is actually a research in draping on the example of a jacket/upper body clothing item with 20 square meters of material. I formed the clothing item by drap-ing, controlling the form with screws. It was interesting to me to introduce in fashion a material which by its nature imitates human skin. There are many interesting projects wherein the features of specific animal or plant characteristics are translated into techno materials (biomimetics), however with this material

plastičnosti ograničava njihovu upotrebljivost, je li namjera jednoznačna ili je to vezano za predviđena mjesta, medije, situaciju, performans, događaj; može li se govoriti o potenci-jalu ovih objekata kao o protagonistima uprizorenja određene situacije, ne nužno dramaturški predvidljive? Dakle, o odjev-nim predmetima kao kostimima. ¶ Matija Čop — Opisivanje tijela, ne nužno njegovo uprizorenje u odjevnom predmetu, moja je zadaća kao dizajnera koju sam si sam prvo podsvjesno, a kasnije i svjesno nametnuo. Tijelo u bilo kojem obliku mora postojati, bilo kao prezenter odjevnog predmeta ili njegov daleki eho. Točno je da i sam, u sadašnjem radu, istražujem više granice odjevnog predmeta te tako možda hodam po rubu. No rubu koji postaje sve nevidljivijim. U suvremenome trenutku, računalni alati, high tech materijali te nedostatak tijela, spon-tano mi se nameću kao bitni za istražiti. Takav način rada zahti-jeva komunikaciju ostvarenu posredstvom stroja. Dok koristim laserski rezač ili 3d printer pa i vektorski program, komunici-ram s inženjerima koji su osmislili alat kojim se koristim. Ta

seamed together, because of its specific characteristics: it is lightweight, strong and flexible. The requirements of the prod-uct determined the selection of the material. It was completely computer prepared. I constructed the parts (the segments) with vectors. It is interesting that the segments are not identical, but graded. They change according to the wanted final form, which also solved the question of size. In the Object 12–1 collection the size may be upgraded. I left it to the user to define the shape, and thus take upon himself the new role, that of the co-creator of the clothing item he is wearing. It is important to me that the user should overpower the clothing item, that the subject should overpower the object.ORIS — Fashion is the form that paves the way to the under-standing of everyday life. The problem of fashion exhibitions is to find the way to exhibit a clothing item which has lost the body and its eroticism. On the other hand, Benjamin concluded that philosophers have a burning interest for fashion due to its extraordinary anticipation. Just the body makes clothing items three-dimensional spatial artifacts that always include a human body as a crutch. Today, new materi-als, high tech and new technologies which often radicalize the plasticity of clothing forms by making clothes resemble body installations, are increasingly researched. What is your opinion of this walking on the edge – the need to engage with emphasized structures resembling the sculptural and architectural thought, without actually producing a sculp-ture? Since the radicalization of plasticity limits its usability, can you say is the intention unambiguous or is it related to the certain places, media, situation, performances, events;

radi njezine izvanredne anticipacije. Upravo tijelo čini da su odjevni predmeti trodimenzionalni prostorni artefakti, koji za svoj oslonac uvijek uključuju ljudsko tijelo. Danas se sve više istražuju novi materijali, high tech i nove tehnologije koje često radikaliziraju plastičnost odjevnih oblika, pribli-žavajući odjeću instalacijama za tijelo. Kakvo je vaše mišljenje o tom hodanju po rubu – potrebi da se bavite naglašenim strukturama bliskim kiparsko-arhitektonskom mišljenju, a da niste napravili skulpturalni predmet? Budući da radikalizacija

is intended for people, and the feature of the skin was trans-lated into the technical material. It transpires oxygen, but not water, and its surface reveals a structure which resembles the skin seen through a magnifying glass, consisting of several layers (strata). So I made a jacket which resembles the microscopically enlarged human skin. Ethylene vinyl acetate, or in short eva, I used in the Object 12–1 Project. To make the cuts (segments used in the collection) I needed a material that I could cut with a laser. Also, I needed eva because of the ways those parts are

komunikacija je suvremena, a njezin produkt može se doimati kao kostim. No, da bi se definirao produkt, nužno je shvatiti komunikaciju koja se događa izmedu dizajnera i alata s kojim radi. Stoga, takvi odjevni predmeti – na rubu – mogu imati različita značenja. Mogu funkcionirati kao skulptura, instalacija, eksponat te kao kostim. Oni ne pripadaju tradicionalnom mod-nom sustavu koji je određen modno-trendovskim ili sezonskim kalendarom kao najjačim aspektom modnog sustava.ORIS — Tematizirate li, na primjeru beskućnika, u hrvatskom

Kolekcija Homeless in heaven, 2013., modni časopis

Homeless in heaven Collection, 2013, Fashion magazine


i širem kontekstu aktualnu društvenu situaciju u kojoj ljudi ostaju bez krova nad glavom? ¶ Matija Čop — Beskućnik je idealan modni protagonist jer zapravo ne pripada modnom sustavu. On je pravni anti-modni lik. To je bio jedan od ključnih razloga zbog kojega sam radio na temi. Uz odjeću, dizajnirao sam i modni časopis u kojemu je biti beskućnik poželjan životni stil. Nisam interpretirao istrošenu, monokromatsku, prljavu odjeću, već sam lik beskućnika izvukao iz stereotipne situa-cije i moguće modne interpretacije te ga učinio zadovoljnim stanovnikom grada – u ružičastim i žutim skafanderima – jer sam ga postavio kao autentičnog modnog lika. Na neki način, takva iščašena perspektiva je otpor prema modnom sustavu, koji je orijentiran prema platežno dominantnom dijelu druš-tva. U modnom časopisu Homeless in Heaven predstavio sam odjevne predmete kao oblik reklame za odjeću, koju je nosio statist glumeći beskućnika. Osim njega, objavio sam i inter-vju s četvoricom beskućnika iz prihvatilišta Velika Kosnica te sam ispoštovao predložak modnog časopisa; s horoskopom i mnoštvom reklamnih poruka od kojih su neke – ROB ME, LOAN ME – kako i same govore, potpuno izvrnute, dakle nešto što je općim konsenzusom neželjena situacija postaje poželjno, čime sam komentirao to stvaranje poželjnoga, koje je toliko specifično za modni sustav. Beskućnici iz prihvatilišta Velika Kosnica suautori su modnog časopisa Homeless in Heaven, to je

njima bila prilika za iskazivanje i afirmiranje na društvenoj sceni.ORIS — Profesorica Vera Horvat Pintarić, u tekstu o ciklusu crteža Miroslava Šuteja pod nazivom Anti moda, lipanj 1971., kaže doslovce: Modeli te odjevne fantakstike očito nisu upotrebljivi u sadašnjosti. Nevažna stvar. Pomišljamo li na to kakva je uloga utopijskih projekata u povijesti čovjekova stvaranja, mijenjanja i otkrivanja. Napose ako ih predvodi mašta koja se služi sirovinama stvarnosti. Ovdje se nameću dva pitanja: koliko je izvor ove mode u sirovini stvarnosti, a koliko u fantaziji? ¶ Matija Čop — Izvor takve mode je u specifičnom odnosu između stvarnosti i fantazije, zapravo u

can we talk about the potential of these objects as that of the protagonists of a certain situation, not necessarily drama-turgically predictable? So, the clothes as costumes. ¶ Matija Čop — The description of the body, not necessarily its realiza-tion in the item of clothing, is my task as a designer that I set for myself unconsciously at first, and later fully consciously. The body in any form must exist, whether as a presenter of an item of clothing, or its distant echo. It is true that I explore the boundaries of clothing items in my work, and thus may be walk-ing on the edge. But the edge that is becoming ever more invis-ible. In the contemporary moment, computer tools, high tech materials, and the lack of a body emerge as points of interest. This method of work requires communication realized via the machine. While I am using a laser cutter, or a 3D printer, even the vector program, I communicate with the engineers who invented the tool I use. This communication is contemporary, and its product may resemble a costume. Still, it is necessary to understand the communication happening between the designer, and the tool used to define the product. Therefore, such clothing items on the edge may have various meanings. They may function as a sculpture, installation, an exhibition item and a costume. They do not belong to the traditional fashion system determined by the fashion-trendy or seasonal calendar, as the strongest aspect of the fashion system.

ORIS — Does your project explore the homelessness in the Croatian, as well as the wider social context, one where people are increasingly loosing roofs over their heads, their homes...? ¶ Matija Čop — A homeless person is an ideal fashion protagonist because he actually does not belong to the fashion system. He is a true anti-fashion character. This was one of the main reasons I decided to work on this theme. In addition to the clothes, I also designed a fashion magazine which portrays the homeless as a desirable life style. I did not interpret the worn-out, monochromatic, dirty clothes; instead I took the figure of the homeless person out of this stereo-typical situation, and the possible fashion interpretation, and turned him into a satisfied city inhabitant in pink and yellow jump suits – I turned him into an authentic fashion character. In a way, this wrenched perspective is a resistance to the fashion system that is oriented towards the financially dominant part of the society. In the Homeless in Heaven fashion magazine I presented items of clothing as a form of clothes advertising, which was worn by a stand-in who acted a homeless person. In addition to him, I published an interview with four homeless people from the shelter in Velika Kosnica, and I followed the pattern of the fashion magazine, inserting a horoscope, many ads, such as: rob me, loan me, which are evidently entirely out of joint. Therefore, a situation which is, according to the

Kolekcija Homeless in heaven, 2013.

Homeless in heaven Collection, 2013

Kolekcija Homeless in heaven – How to do it

Homeless in heaven Collection – How to do it

Robert Morris, Bez naziva (Prsten sa svjetlom), 1965. – 1966.

Robert Morris, Untitled (Ring with Light), 1965–1966


odgovoru fantazije na pitanje koje postavlja stvarnost. Fanta-zija nastupa rješavajući stvarnost na svoj vlastiti način – ona je odgovor na pitanje koje postavlja sirovina stvarnosti. Jedan od takvih odgovora nalazi se i u samome naslovu projekta Home-less in Heaven. Radi se o heavenu kao o nemjestu – tipič-noj fantaziji stanovnika stvarnosti. Beskućnik nema imovinu, nego odjeću koja je njegova jedina stvarnost, jedino mjesto koje odgovara specifičnom načinu razmišljanja; antimodnom, ponovno da naglasim.ORIS — Da, njemu je odjeća važnija nego drugim ljudima jer je to jedino što posjeduje, jedina zaštita od okoline, sklonište. ¶ Matija Čop — Izuzetno mi je bilo zanimljivo popisivati nji-hovu imovinu. Sastojala se od deset čarapa, šest majica, jedne jakne. Bio je tu jedan televizor i putni kovčezi koji se mogu ponijeti. Kovčeg, a i televizor su dodaci, modni dodaci odjeći. Radi se zaista o jednoj nadrealnoj, fantastičnoj situaciji koja proizlazi iz monokromatske, opterećene stvarnosti. Upravo zbog toga sam htio takvu monokromatsku stvarnost obojati; učiniti je privlačnom, vidljivom.ORIS — Čini se da u ovome projektu postoji jedan izraženi angažman: angažirane projekcije, angažirane ideje o stvarno-sti, o modi uopće. Danas se može reći da je upravo to prava dekonstrukcija. Dekonstrukcija je također jedna vrsta pro-mjene perspektive, o čemu smo govorili na početku. Valerie Steel je u jednoj izjavi koja se često citira izjavila da je moda zapravo čedo kapitalizma, s čime se lako složiti. Kakvi su vaši pogledi na odnos silne snage današnje mode i jedne neurav-notežene raspodjele na one koji dizajniraju, naručuju i kon-zumiraju modne inovacije svake sezone, i one koji u neljud-skim okolnostima, za mizernu plaću, proizvode te odjevne predmete? ¶ Matija Čop — Modni sustav, zbog ogromnog profita kojim raspolaže, ima i svoje nehumano lice. Protiv sam izrabljivanja, u bilo kojem obliku. Modni sustav često izrabljuje, no ništa više ili manje nego i ostali slični sustavi. Pitanja u vezi izrabljivanja radnika u modnoj industriji su specifična, jer se većina toga proizvodi u zemljama gdje je radna snaga i inače

general consensus, undesirable, became a desirable situation, which was my comment on the formulation of the desirable, which is so specific to the fashion industry. The homeless from the shelter in Velika Kosnica are the co-authors of the Homeless in Heaven fashion magazine, which was their chance to present themselves to the social scene.ORIS — Writing about Miroslav Šutej’s cycle of drawings titled Anti Fashion in June 1971 Professor Vera Horvat Pintarić said: The models of this garment fantastic are obviously not usable in the present. Irrelevant. Do we think about the role of the utopian projects in the history of human creation, chang-ing or discovering. Especially if they are lead by imagination using the raw materials of the reality. There are two ques-tions here: how much is the source of this fashion of the raw material rooted in reality, and how far off it is in fantasy? ¶ Matija Čop — The source of such fashion is in the specific relationship between reality and fantasy, actually, the response of the fantasy to the demands of reality. Having resolved the reality in its own way, fantasy appears. It is the response to the question put by the raw material of the reality. One of those responses is in the title Homeless in Heaven. It is a Heaven as a non-place – a typical fantasy of the inhabitants of reality. A homeless person has no property, only clothes that are his only reality, the only place corresponding to the specific manner of thinking; the anti fashion, if I may emphasize again.ORIS — Yes, to him the clothes are more important than to other people, because it is the only thing he possesses, the only protection against the environment, a shelter. ¶ Matija Čop — Making a list of their property was very interesting. It consisted of ten socks, six T-shirts, one jacket. There was a tv set and luggage. Luggage and the tv set were accessories, fashion accessories to clothes. It is really one surreal, fantas-tic (fantasy) situation resulting from the monochromatic, burdened reality. That is the reason I wanted to color such a monochromatic reality. Make it attractive, visible.ORIS — It seems that there is an expressed engagement in

this project: engaged projections, engaged ideas about real-ity, about fashion in general. Today, we can say that this is the true deconstruction. Deconstruction is also a type of a change in perspective, as we have discussed in the beginning. Valerie Steel said in the often quoted statement, that fashion is actually a descendent of capitalism, and it is easy to agree with that. What are your views on the relationship of the immense power of fashion industry today, and the unbal-anced division onto those who design, order and consume fashion innovations every season, and those who produce those clothes in inhuman circumstances for a small pay? ¶ Matija Čop — The fashion system, due to enormous profits at its disposal, has its inhumane face. I am against exploitation in any form. The fashion system often exploits, but no more or less than other similar systems. Issues of exploitation of work-ers in fashion industry are specific, because most products are made in countries where the workforce is less paid anyway. Such a capitalist method of business has up until the present day resulted in many catastrophes, even deaths. Still, it is a fact that we are a part of this reality. For me it was unconscious in the beginning, while it later became a conscious engage-ment. A kind of a contemporary deconstruction of the fashion system. I am rebellious and, although it is perhaps not vis-ible at first glance, it is so indeed. If we analyze even the first project/collection of the so-called evening dresses made of a deteriorating material, we could come to a conclusion that it is a rebellion. Thus, in the projects that followed I oppose the system and its demands: presentation of two seasonal collections, launching of trends, and production of innova-tion. Unfortunately, such a tempo makes it hard to present all this, thus it often happens that the collections only present variations in color. I believe the question of the alternative is being posed increasingly. I feel it also in other students of fashion design from different faculties in Europe. A change in the approach to fashion and clothes is necessary. My need to make something simple just does not happen fast enough as the fashion system requires of me. I felt the situation, the condition, when I do not wish to start a new project because I simply do not feel the need for it. I find myself in a situation when I work on several projects at the same time. Right now it is important for me to listen to myself and my changes, which places me in opposition to the rhythm of the fashion system. It is interesting that the last three projects, City Lace, Object 12–1 and Homeless in Heaven deal with similar topics.ORIS — It is possible to deal with fashion through anti-fash-ion. Anti-fashion is also fashion. Although it is the criticism of the fashion theme. Today, fashion represents some form

Opisivanje tijela, ne nužno njegovo uprizorenje u odjevnom predmetu, moja je zadaća kao dizajnera koju sam si sâm prvo podsvjesno, a kasnije i svjesno nametnuo

The description of the body, not necessarily its realization in the item of clothing, is my task as a designer that I set for myself unconsciously at first, and later fully consciously

manje plaćena. Takav kapitalistički princip poslovanja do sad je već rezultirao mnogim katastrofama, čak i smrtonosnim. No činjenica je da smo dio takve stvarnosti. U početku je kod mene bio podsvjesni, a kasnije i svjesni angažman. Svojevrsna suvremena dekonstrukcija samoga modnoga sustava. Bunto-van sam i premda taj bunt možda nije odmah primjetljiv, on postoji. Ako bi se analizirao čak i prvi projekt/kolekcija – tzv. večernje haljine od propadajućeg materijala – možemo zaklju-čiti da se radi o pobuni. Tako se i kroz iduće projekte sukoblja-vam sa sustavom te s onim što on zahtijeva: prikazivanje dvije sezonske kolekcije, plasiranje trenda te proizvodnja inovacije. Nažalost, u takvom tempu teško je sve to prezentirati, stoga se često dogodi da se u kolekcijama varira samo u boji modela. Mislim da se sve češće postavlja pitanje alternative. Osjetim to i kod drugih studenata modnog dizajna s različitih fakulteta u Europi. Potrebna je promjena u pristupu modi i odijevanju. Meni se potreba da nešto napravim jednostavno ne događa dovoljno brzo, kao što to modni sustav od mene traži. Osjetio sam situaciju, stanje kada ne želim započeti novi projekt, jer jednostavno nemam potrebu za time. Nađem se i u situaciji kada radim nekoliko projekata paralelno. U ovome trenutku važno mi je osluškivati sebe i svoje promjene, zbog čega na neki način stojim nasuprot ritmu modnog sustava. Zanimljivo je da su posljednja tri projekta – City Lace, Object 12–1 te Homeless in Heaven – tematski vrlo slični.ORIS — Temom mode moguće se baviti kroz anti-modu. Anti-moda je također moda, mada je to i kritika modne teme. Danas moda predstavlja neki oblik resursa za mnoge umjet-nike. Jezik mode kao da se osamostalio, uputio prema medij-skim prostorima. U zadnjih dvadesetak godina svjedoci smo mnogim izložbama koje propituju relaciju mode i umjetnosti. Između mnogih, svakako treba spomenuti izložbu Skin and Bones: parallel practices in fashion and architecture koja je održana u MoCA-i u Los Angelesu 2007., a 2008. u galeriji Somerset House. Relacija odjeće kao kućice za tijelo pris-podobiva je ideji temeljne funkcije arhitekture, što se može smatrati dosta očitim, osim razlike u metrici. Čini se da mnogi modni autori danas u radovima koriste arhitektonske datosti, dovedene do mjere ljudskog tijela. Kakav je vaš stav? Koliko je ideja arhitekture konceptualno bliska vašim istraživanjima? ¶ Matija Čop — O arhitekturi razmišljam kao i o odjeći. Kako razmišljam o kući, tako razmišljam i o bijelom T-shirtu. Razlika je jedino u mjerilu. Onoliko koliko je arhitektura povezana s umjetnošću, toliko je i moda. Odjeća, osim funkcionalnoga dijela, kao i arhitektura, sadrži i konceptualni aspekt. Koncept modi osigurava zbližavanje sa suvremenom umjetnošću, i to vrlo uspješno. Suvremena moda bavi se pitanjima kojima se


of resource for many artists. The language of fashion seems to have gained independence, moved to the media. In the last twenty years we have witnessed many exhibitions that explore the relation between fashion and art. Of the many we should certainly mention the exhibition Skin and Bones: Par-allel Practices in Fashion and Architecture, held at the Moca-i in Los Angelesu in 2007 and Somerset House gallery in 2008. The idea of clothes as a house for the body resembles the idea of the basic function of architecture, what may be considered quite obvious, except for the difference in the scale. It seems that today many fashion authors use the architectural base downscaled to the human body. What do you think about it? How much is the idea of architecture conceptually close to your research? ¶ Matija Čop — I think about architecture as I think about the clothes. I think about the house in the same way I think about a white T-shirt. The difference is in scale. The only difference. Architecture is linked to art as much as fashion is. In addition to the functionality, the clothes, as well as architecture, have a conceptual aspect. The concept ensures fashion the closeness with contemporary art, and very suc-cessfully so. Contemporary fashion deals with the same issues as contemporary art. It uses the full potential of art, and not only art, but also sciences and economy. Very skillfully. What the two disciplines share, and this is where I find the common denominator of fashion and architecture, is time. Both visual disciplines are subject to change over time and to the option to deteriorate, to be replaced, cast out, modified, upgraded. As before, the difference is again in the scale, in quantity and in method. At this time.ORIS — The basis of fashion and architectural project today is the programming of the duration of both, fashion and

bavi suvremena umjetnost. Ona vrlo vješto iskorištava potpuni potencijal umjetnosti, ali ne samo umjetnosti, nego i znanosti, a i ekonomije. Slično objema disciplinama, u čemu i pronala-zim zajednički nazivnik mode i arhitekture je i vrijeme. Obje vizualne discipline podložne su promjeni tijekom vremena te mogućnosti propadanja, zamjene, odbacivanja, promjene, nadogradnje. Ponovno, kao i ranije, razlika je u mjerilu, koli-čini, načinu. Za sada.ORIS — U osnovi modnog i arhitektonskog projekta danas je programiranje trajanja jednog i drugog, pa i promjena namjene: prenamjena, recikliranje i re-use. Ovdje se nameće pitanje odnosa mode i identiteta pa je potrebno spome-nuti jednu znakovitu izložbu koja se bavila pitanjem mode i umjetnosti, izložbu Aware: Art Fashion Identity, koju je organizirala Kraljevska akademija umjetnosti u Londonu.

Pitanje identiteta postaje važno od trenutka kad se dijelu praktične uloge odjeće dodaje simbolička vrijednost. Budući da odjeća uvijek predstavlja osobno iskustvo, ona je neodvo-jiva od individualnosti; predstavlja, dakle, subjekt kao knjigu. Odjeća komunicira, predstavlja kompleksni semantički sustav. Ovakvom odjećom koju stvarate, identitet se nameće kao izuzetno individualan i unikatan subjekt. Budući da tek kon-tekst može odrediti neku prividno stabilnu definiciju odjeće, zanima nas koji kontekst predviđa punu realizaciju vaše kre-ativne modne i odjevne namjere? Nositelj odjeće stvara sliku o sebi, imago, daje svoj portret prema drugima. Prema Wolfu Sugeru, odjeća ili moda nudi imago kao zavodljivu sliku, koju nudi na interakciju s drugima... U kojoj mjeri vaši projekti izmiču ili odgovaraju funkcionalnom i komunikacijskom kri-teriju mode? ¶ Matija Čop — Ne razmišljam što će pojedini odjevni predmet značiti svome nositelju. Želim ponuditi što više mogućih značenja te ih dati na raspolaganje nositelju, samome suradniku s odjevnim predmetom. U većini projekata moj zadatak bio je učiniti odjevni predmet što univerzalnijim, kako bi mogao što jasnije komunicirati s različitim identitetima koji će ga doraditi prema sebi. Projekti su otvoreni, podložni promjeni i mogućnostima transformacije. Nositelj preuzima moju ulogu te završava odjevni predmet prema sebi. Odjevni predmeti iz projekata vrlo su često neutralni, plain. Omogu-ćuju ostvarenja različitih uloga; tako to može biti kostim za predstavu, eksponat u muzeju, odjevni predmet na modnoj pisti. Zanimljiv je primjer Object 12–1 koji je bio eksponat na dvije izložbe, koncepcijski potpuno različite: Future Fashion u Eindhovenu i Image-ination u Zagrebu, o odnosu suvremene umjetnosti i odjeće, kostima... Projekt je u potpunosti pripa-dao objema izložbama upravo zbog tog višeznačnog karaktera

architecture, even the change of purpose: repurposing, recy-cling and re-use. The issue of the relationship between fash-ion and art gains prominence. Hence a significant exhibition dealing with the issue of fashion and art, Aware: Art Fashion Identity, organized by the Royal Academy in London needs to be mentioned. The question of identity became important at the moment when a portion of the practical role of clothes was added a symbolic value. Since clothes always represent a personal experience, they are inseparable from individuality, representing the subject as a book. Clothes communicate, represent a complex semantic system. With clothes you create an identity as an exceptionally individual and unique subject. Since only the context may determine some seem-ingly stable definition of clothes, we would like to know what context predicts the full realization of your creative fashion and clothing intention. The wearer of clothes creates a self image, an imago, gives his portrait to others, according to Wolf Suger, clothes or fashion offer the imago as an attrac-tive image, for the interaction with others ... to what extent do your projects escape or correspond with the functional or communicational criteria of fashion? ¶ Matija Čop — I do not think about what an individual clothing item will mean to its wearer. I want to offer as many possible meanings and give them to the wearer, the collaborator in the production of the clothing item. In most of the projects my task was to make the clothing item as universal as possible in order to communicate with various identities more clearly, so that they may adjust it to themselves. The projects are open, subject to change and the possibilities of transformation. The wearer takes up my role and finishes the clothing item to fit his needs. The cloth-ing items from the project are very often neutral, plain. They

Kolekcija City Lace, 2012.

City Lace Collection, 2012

Kolekcija City Lace, 2012., raster zagrebačkih ulica

kao predložak

City Lace Collection,

2012, Zagreb street raster as a

template


kojeg u sebi nosi. Također kroz medij performansa – modeli su šetajući po pozornici u potpunosti iskomunicirali koncept s publikom.ORIS — Nakon višemjesečnog studijskog boravka u Švedskoj, zanima nas kakva su vaša iskustva sa studiranjem i izlaganjem u inozemstvu? Postoji li mogućnost usporedbe s obrazovnim sustavom kod nas, ponajprije na području modnog dizajna? Čime se mislite nastaviti baviti? Kako vidite svoj profesionalni put nakon diplomiranja? ¶ Matija Čop — Proveo sam jedan semestar u Švedskoj, na Sveučilištu u Borasu. Volim se izložiti različitim sustavima, utjecajima i mišljenjima pa je boravak u Švedskoj za mene bio koristan. Takva iskustva pridonose definiranju vlastitog principa rada. Izlazeći iz vlasitih sigurno-snih zona, ubrzavam proces definiranja. Do sada sam osvojio 11 nagrada u Hrvatskoj i inozemstvu te imao 16 izložbi. Od izložbi u inozemstvu, svakako bih spomenuo Modebelofte ‘13 Future Fashion u Eindhovenu, koja mi je bila potvrda za rad. Osjećao sam da pripadam toj izložbi, iako sam bio jedini sudi-onik koji je još uvijek student. Tema izložbe bila je budućnost mode. Kustosi su odabrali radove koji propituju budućnost mode. Među odabranim autorima našao sam se i ja, s projek-tom Object 12–1 – projektom neovisnim o ikakvim utjecajima trenutka (trenda), a opet nastalim u sadašnjem, suvremenom trenutku i jednom izmještenom prostoru. Na izložbu je uvr-šten vjerojatno zbog univerzalne vrijednosti projekta. Volio bih i dalje raditi takvim neopterećenim načinom u kojemu se bavim autentičnim, vlastitim problemima, na suvremeni način, bez osvrta na trendove. Imam različite planove kako doći do nekakvog konačnog cilja, no držim ih potpuno otvo-renim. Ne želim se unaprijed odrediti. Otvoren sam i odlučit ću o budućim situacijama kada dođe vrijeme za to. Odluke će biti vezane uz ono na čemu ću trenutno raditi. Osluškujem za čime imam potrebu. Zanimljivo je i kako sam se počeo baviti modom: nakon tri godine studiranja na Filozofskom fakultetu i nenalaženju modaliteta kroz koji bih se mogao izraziti, odlučio sam promijeniti studij. Upisao sam modni dizajn, jer sam se želio izraziti kroz modu. Ne bavim se modom radi mode, nego zato jer ono čime se bavim trenutno funkcionira kao izraz u modi. Medij je trenutno prikladan.

Ostavljam nositelju da sam definira oblik i preuzme na sebe novu ulogu, da bude sukreatorom samog odjevnog predmeta kojeg nosi

I left it to the user to define the shape, and thus take upon himself the new role, that of the co-creator of the clothing item he is wearing

enable the realization of various roles. It may be a costume for a play, an exhibition item, a clothing item on the runway. Object 12–1 is an interesting example. It was presented at two exhibitions, conceptually very different: Future Fashion in Ein-dhoven and Image-ination in Zagreb. They were about the relationship between contemporary art and clothes, costumes ... The project fully belonged to both exhibitions because of this inherent ambiguous character. Also, through the perfor-mance – the models which walked down the catwalk com-municated the concept with the audience in full.ORIS — After a couple of months of study in Sweden, can you share your experience of studying and exhibiting in a foreign country? Is there a possibility to compare this to the educa-tion system here, primarily in the field of fashion design, and what do you plan to do in future? How do you envisage your professional life after graduation? ¶ Matija Čop — I spent a semester in Sweden, on the University of Boras. I like to expose myself to various systems, influences and opinions. Thus my stay in Sweden was useful to me. Such experiences contribute to the definition of my work principle. Exiting my own safety zone accelerated this process of definition. I have won 11 awards in Croatia and abroad, and had 16 exhibitions. Of the foreign exhibitions I would like to mention the Modebelofte ‘13 Future Fashion in Eindhoven which I saw as a confirmation of my work. I felt I belonged to that exhibition, although I was the only par-ticipant that was still a student. The topic was the future of fashion. The curators selected works that questioned the future of fashion. Among the selected authors I found myself with my Object 12–1 Project. The project is independent of any current influences (trends), but still arose from the present, contem-porary moment, and one displaced space. The criterion for the selection was probably the universal value of the project. I would like to – in this unburdened way – continue to deal with the authentic, with my own problems in a contemporary manner, without paying attention to trends. I have various plans to reach the final goal, but I will keep my options open. I do not wish to limit myself in advance. I am open and will decide about the future when the time is right. Decisions will be a result of my work at that point in time. I am attentive to my needs. It is inter-esting how I came into fashion. After three years at the Faculty of Humanities and Social Sciences, and not finding the modality to express myself, I decided to transfer to the Faculty of Textile Technology. I chose fashion design to express myself through fashion. It is not because of the fashion itself, but because of what I currently do functions as an expression in fashion design. The medium is presently suitable.

matija cop: fashion and design: a different perspective

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