Montenegrin Artist Dimitrije Popović Unveils “Myth of Fashion” in Milan

In Milan, the global fashion capital, the exhibition “Myth of Fashion” by Montenegrin artist Dimitrije Popović has opened at the Luciana Matalon Foundation. This showcase features approximately fifty works, including paintings, drawings, sculptures, and installations, all exploring the complex nature of fashion as an aesthetic, philosophical, and social phenomenon. A standout piece, titled “Golden Hand,” pays tribute to the late designer Giorgio Armani, further deepening Popović’s dialogue with a city that closely identifies with the fashion spectacle.

The “Myth of Fashion” series represents an ambitious visual investigation. Popović approaches fashion not as a fleeting trend or mere industrial function but as a deeply rooted cultural, symbolic, and semiotic phenomenon. The works do not chronicle the history of fashion nor treat it as a sequence of aesthetic epochs; instead, they focus on narratives emerging from the very essence of fashion—examining the relationship between the body and its attire.

During a recent interview, Popović discussed the significance of his exhibition’s return to Milan, following its debut in Zagreb. He noted that the timing of the exhibition coincided harmoniously with the atmosphere in Milan, especially following the recent passing of Armani. “The exhibition extends what occurred on the fashion runways during Milan Fashion Week,” he explained. “It belongs to the phenomenon of fashion but exists outside the everyday understanding of it as merely the creation of exclusive clothing.”

The Luciana Matalon Foundation, with its expansive space of 500 square meters, accommodated the display of Popović’s fifty-six works. This layout facilitated a dual focus on aspects of fashion as spectacle and glamour while prompting contemplations on its radically different relationship to the female body and its functions in the 20th and 21st centuries.

A critical distinction in the exhibition’s title is the use of “myth of fashion” instead of “myth about fashion.” Popović emphasized this difference, stating, “The word ‘myth’ signifies a story. My series does not recount the history of fashion or pay homage to specific fashion epochs. Instead, it narrates a story generated from fashion itself, focusing on the relationship between the body and what it wears.”

Exploring this idea further, Popović highlighted how the concept of fashion began in the Judeo-Christian tradition when Adam and Eve, feeling shame, covered their bodies. “Fashion originated from this act of covering and has evolved over time, encompassing aesthetics, eroticism, and fetishism. The body has always played a central role in this evolution.”

Popović also addressed the paradox of fashion “killing itself to live.” He explained that when a fashion style reaches its peak, it often prepares for its own demise, paving the way for new trends. “Fashion is dynamic and creative, continuously oscillating between radical changes and a return to tradition,” he noted.

As the conversation turned to the philosophical and theological dimensions of fashion, Popović mentioned that the historical continuum from the biblical Adam and Eve to modern models illustrates how fashion transforms cultural symbols and meanings. He sought to capture this transformation in his work, portraying the body as a protagonist in an ongoing process of self-articulation.

The exhibition also reflects on the societal implications of the “fashion body.” Popović pointed out that today’s fashion often seeks to conceal and reveal simultaneously. He referenced the insights of the French philosopher Roland Barthes, who noted that bodies are often hidden to create a more alluring aesthetic. “The fashion body is a social construct that reflects the era in which it exists, increasingly shaped by virtual reality and contemporary culture,” he added.

Throughout the discussion, the impact of modern trends, including body aestheticization through procedures like botox and filters, emerged as a significant influence on Popović’s artistic reflections. He expressed concern that these trends often dictate societal expectations for beauty and perfection.

When asked about the relationship between fashion and art, Popović asserted that the lines are increasingly blurred. He cited examples of prominent designers, including Armani and Alexander McQueen, whose creations have been showcased in esteemed museums, affirming that fashion is inextricably linked to the realm of high art.

Reflecting on the “societies of spectacle,” Popović noted that these phenomena inspire, rather than burden, contemporary artists. “Every artist reacts to their time and society through their own lens,” he stated. “Art must penetrate the essence of existence, not merely serve decorative purposes.”

In his works, fashion becomes a critical commentary on society. Popović believes that art must engage with the realities of the world rather than retreat into escapism. “Fashion is one of the symbols of human transience,” he remarked, suggesting that the concept of the “myth of fashion” serves as a metaphor for human existence and our ongoing quest for identity amidst impermanence.

As “Myth of Fashion” continues to captivate audiences in Milan, Dimitrije Popović’s exploration of the multifaceted relationship between fashion, identity, and culture offers profound insights into the modern human experience.