Marko Mitanovski the Serbian designer has been based in London, a city once at the forefront of amorously eerie culture. Since graduating from the College of Design Belgrade in 2009, he has since lashed out against conventional styling and opted for an infusion of old-age flamboyance with other-worldy translucency. Five years ago he was chosen as one of four designers from all over the world to present his debut collection; Lady Macbeth at the ‘Ones to Watch’ show during London Fashion Week, his collection captured the imagination and attention of leading international publications, which gained him features on some world renowned sites. With Marko having studied literature before studying fashion, his work is a mixture of classic and modern culture; sculptural, and theatrical complex. Technically detailed construction and precise geometry set against the freedom and energy of creating characters and narrative.
Marko Mitanovski is undoubtedly a strong favourite at London’s home of quirky fashion – Fashion Scout in the Freemasons Hall. What he delivers is narrative art, with each season progressively different from the last. The colour palette being the only thing that remains consistent. Marko has a passion for the colour black, he describes it as being his favourite colour, Marko feels that black allows you to play with different textures and forms. With black being such a dark colour he adds jewellery to make it more glamourous and not so dark. This season Marko tried to externalise his inner emotions and communicate with the audience through his pieces, with a hope that the audience would be able to relate. Fashion is art and Marko relentlessly proves this. His collection looks outside of the scope of marketability, with a jiving of natural, architectural and historical aesthetics.
Marko’s Spring/Summer 2016 collection is inspired by the amorphous forms found in nature, and contemplates the phenomena of pain, rage and fear. Which was translated impeccably with the rock-like surfaces of some of the pieces, with their uneven shape giving the appearance of stalactite growths. Using faces bursting out of the pieces to capture the different emotions, symbolically he wanted to portray the freeing of letting go. Focusing on the visualization of cathartic pain release, expressionist artist Munch’s ‘The Scream’ and Hitchcock’s ‘The Birds’ and ‘Psycho’, helped build the collections dramatic and organic form and texture, which is dominated by leather and latex. Marko collaborated with four remarkable sculptors this season, Sonja Gajic, Ivan Stevanovic, Miki Lakobrija and Milan Stosic who contributed to the illustration of abstract shapes and figuration of emotions, throughout the collection. Distinct and striking jewellery and headpieces was created by the talented jeweller of the brand De Mode.
The all black palette is a perfect contrast against a completely white background and aids the dark presence, shimmers of silver and reflective beading was apparent too, but not distracting from the predominately black pieces. The model's hollowed gaze posed a melancholic emptiness to the obviously packed room. Grudgingly creeping across the runway to Bjork’s “Army of Me”, everyone was silently in awe over what trolled in above them, the achingly slow movements of the models only twisted the already intense mood of the room. Organic material was replicated using leather and latex, to create corseted short dresses which were paired with black bandages wrapped around the lengths of the models legs, cape like sleeves, heavily beaded detailed head pieces adorned the models heads, and in some cases the models faces were covered with dull jewelled masks, shoes were provided by Lilu, muted nude make up by Issidora and her team, and slicked back hair by Nina Budden to accommodate the headwear was all effluent through this show. Stylist and Art Director Claudia Behnke helped in enveloping the models into pain stricken muses.
This season of all that I witnessed, I can safely say as always, this show felt like something worthy of Fashion Scout, Marko never disappoints. He manages to build up a silent hysteria, and has us hanging on the edge of our white wooden bench, in anticipation to see what he has in store for us. He creates sheer art in a tangible visualisation of beautiful horror.
Written by Li Thane-Kitson Interview by Shanika Ocean
Every season, it’s more and more obvious that Pam Hogg is the show that everyone is desperate to see. Be it for the wacky looks, unexpected fabrics or impressive frow-ers like Noel Fielding, the show is always a knock out with the press.
This year, held once more at Fashion Scout in London’s Freemasons Hall, was no different. The queue stretched far down the street, and notorious for a late start, almost an hour after the official start time, around 100 ticket wielding fans of the brand were turned away due to the venue hitting capacity. Why so popular?
Known for an odd mix of inspiration, Hogg’s collection this season was full of excitement, confusion and renowned extremism. It’s clear why this was a must see.
With a mixture of male and female models, Hogg sent a soiree of odd down the runway. Think acid bright 60s colours meets Edwardian art with a little sci-fi thrown in. Not your average collection, but an exciting one none the less.
Metallic and skin-baring mesh clung to models, embellished in metal hardware and sky high, thigh high boots. After the darkness of Hogg’s AW15 collection, the introduction of brights was well received, and mixed with sharp panelling gave a new meaning to colour blocking. A new trend for the up and coming warmer climes? Perhaps.
Fringed, skin hugging two pieces were juxtaposed with floor length, flared trousers and oversized blazers, leaving little room for dislike from any style of audience.
Full of surprises, Pam Hogg has proved once more that she can always find something new, exciting and enticingly strange, but if you’re planning on attending her AW16 show… I’d start queuing now.
Marko Mitanovski took London Fashion week by storm this season with his breath-takingly dramatic catwalk. The Serbian designer transformed the catwalk into a physical art gallery, described by some as bizarre, but I thought the whole thing was perfectly put together, true artistic genius!
I must confess that I wasn’t familiar with his previous designs, but once I did some research and stumbled across his previous creations I knew I was in for a treat, the invitation alone predicted that a dark story was due to unfold. I am not one to compare, but Marko’s style of work almost has an Alexander McQueen feel to it, pleasing us with his fascinating conceptual design, while offering a brand new take on life and the mysteries it tries to conceal.
The models were sent down the catwalk covered head to toe in black paint, with the exception of the final model who was painted in white, such a great contrast. As one of the last designers to showcase his wares at the bi-annual event at Fashion Scout, the best was certainly left till last. This Autumn/Winter collection stayed true to the designer’s trademark avant-garde elegance, with the evident absorption of the outside world flowing through his creations.
The ghoulish, zombie looking models, of which half were covered in paint, adorned the catwalk in latex and leather designs, which were said to be inspired by nature and architecture. To add to the unique artistry of this show, the models features were obscured completely by shiny oil paint, and their faces accessorised with black diamond-like facial jewels. Undisputedly the most stunning show seen this season, with the haunting walk of the models, the almost demonic like distorted music, theatrical, sculptural creations and the dark body paint, all combined, created a beautiful mystical allure.
Marko made it impossible for the audience to take their eyes off of his imposing avant-garde shapes, of which he drew his inspiration from nature, birds, reptile skeletons, and further imbued with architecture juxtaposed with historical Renaissance and the Victorian era. The London based Serbian designer showcased elements outside of fashion, to create overtly original pieces that transformed into astonishing almost wearable art. While his collection was based on many different influences, Marko’s visionary decision to paint the models in black was simply down to his taste in colour. He was quoted to have said: “I chose to do the whole collection in black because it’s my favourite colour. [This collection] is about celebrating life in a weird way, I do not believe it’s dark – It’s about something mystical, not about something that is negative.” Marko further went on to say that he closed his last collection with someone solely in white, and he decided to do the same this season, as well as the model this season being painted white contrasting with the other models.
The captivating show kick started with the first model walking down the catwalk in a fishnet bodysuit paired with an elaborate bejewelled headpiece, and a voluminous ruffled cape. This collection was made up of mostly all black ensembles, with the exception of the all-white final statement piece. An exaggerated collar was common amongst most of the pieces, all of the collars structured giving them a modern, clean look with a historical edge.
Their slow walk proceeded them, adding to the already intense atmosphere, as they sashayed down the catwalk to the rhythmic beat of a glock, extraordinary detailing was witnessed via sections of fine corsetry that decorated oversized leather and latex infused sculptured skirts and skin-tight laced trousers. This intricate technique was furthermore phenomenally executed on the final all white creation, adorning practically the entire skirt, and with the meticulously crafted nose high collar that finished just below eyesight. Other fabrications that stood out was the sheer bodysuits with a black overlaid patterning; a cropped cape formed from tiny layers of black crepe resembling a bird of prey, and long faux hair fringing seen on arms and on the headpieces creating a three-dimensional silhouette. Exaggeration was the main on the menu, as jackets with structured high collars, huge stand out shoulder pads, leather midi skirts with accentuated hips worn with fishnet tights, and renaissance inspired sleeves resounded through the collection. The accessorizing oozed masquerade style, with head masks that were heavily detailed with strands of chain, faux hair and beading, ultimately forming fabulous futuristic shapes.
Mitanovski is a new designer relatively speaking, but after this season and hitting the front page of all the headlines following this show, I can safely say he has remained consistent and true to his style of design he has become known for with his latest artistic vision. The intricacy required to bring this collection to life is evident, the show was a great depiction of his potential, creativity and depth of knowledge he possesses for subjects outside of fashion.
Marko Mitanovski is one to watch for further greatness.