2025
TV program “The Nineties”, curated by Danijela Purešević and transmitted on the 3rd Channel of the RTS - Serbian Radio Television network
Within “The Nineties”, invited by the art-historian and curator Danijela Purešević, I curated five-minute features on emerging fashion designers and phenomena called “Fashion in Belgrade”.
Although we managed to film only three episodes, the opportunity to showcase experimental, alternative, artistic, strange, ironic, and bizarre fashion on one of the leading TV channels of the national network was a big deal for all of us.
My task was to find designers and creatives, conceive a way to present them on video, organise shooting and filming, find a location and models, and write a brief intro.
These texts are brief intros of TV features, which included Hristina Radović, Mladen Tušup and a collective Eržike LSD.
The first clip, featuring Hristina Radović’s work, was made in March 1991, probably days or weeks before the Croatian War of Independence escalated with the Plitvice Lakes incident on 31 March, when Croatian police clashed with Serb forces, marking an increase in ethnic conflict. This event, known as "Plitvice Bloody Easter," resulted in casualties on both sides and prompted the Yugoslav People's Army (JNA) to intervene, contributing to the wider breakup of Yugoslavia.
In Belgrade, we were still full of hope that this escalation wouldn't go further. Instead, it led to nearly ten years of bloody conflicts on the territory of the former Yugoslavia.
Hristina Radović Andrić was born on January 15, 1970, in Belgrade.
Until her first book, "The Canoe with Thin Letters Goes Faster," she led an exciting and emotionally rich life, from being Tito's pioneer to a student at the Academy of Applied Arts and a protester in her bleak youth. Early on, she explored fashion. Later, her creative pursuits included interior design, drawing, painting, and digital collages. Most of her career was spent as a graphic designer. Eager for challenges and constant change, she spent seven years as a creative partner in a nightclub, organising music and other programmes, as well as managing a small, dark, yet highly artistic gallery.
1991
HRISTINA RADOVIĆ
The young Belgrade fashion designer Hristina Radović captures the spirit of her era by creating collections inspired by reflections on the past. She plays with primary lines and meanings that should hint at something new. Her work reflects a state in between, a kind of transitional flow where revival, appropriation, and variation of previous fashion styles give rise to just outlined and announced new forms.
Her fashion is eccentric and extravagant. It serves as a stand she takes against the violence of the political reality around us. She consciously references Kitsch, consumerism, elitism, snobbery, and everything that evokes artifice as a technique for (creative) survival.
Gillo Dorfles, in his book “Fashion”, states: “Fashion is often identified with kitsch; instead, it uses elements of kitsch, making them modern.”
Hristina Radović goes along with this affirmation; she uses consumable materials such as audio tapes, plastic foils, and makes witty applications out of them.
Her creations blend humour, irony, and glamour, and through their fantasy and playfulness, they advocate for the creation of a new identity.
Garments and accessories are objects in their own right. They are pushing the limits of fashion's functionality. Her designs have a loose connection with traditional concepts of fashion and utilitarianism.
Models and forms she creates venture into the realms of costume, alterity, the concept of life, freedom of expression, and ultimately, an attitude.
For “The Nineties” TV program on art and culture, for the 3rd channel of the national broadcasting network RTS (Radio Televizija Srbije)
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