The most valuable items are often those that you do not need to highlight, but you wear them with confi dence
Boris Ćalić, fashion designer
The magazine “Diplomacy & Commerce Montenegro” interviewed fashion designer Boris Ćalić, who spoke about his personal journey in the fashion industry. He began his connection with the London College of Fashion, and the experience he gained while working with top designers like Roksanda Ilincic, has further shaped his unique style. Boris emphasizes how his work refl ects a blend of tradition, culture, and contemporary trends, while also revealing his vision for the future of the Montenegrin fashion scene. Additionally, we discussed his doctoral research on the traditional costumes of Montenegro, which presents the fi rst fashion-anthropological perspective on this important segment of Montenegrin culture.
Boris, your journey in fashion design began quite early. You studied at the prestigious London College of Fashion. How has that experience shaped your design style and professional approach to fashion?
London has truly served as a catalyst for expressing my creativity in a more striking and avant-garde manner, which is refl ected in use and play with construction through 3D forms and the application of new technological materials. The beauty of British style lies in the fact that it is created in and dictated by the streets, rather than being a product of magazines, media, and the show-business, as is unfortunately the case with us. Studying in London taught me professionalism, and it gave me a clear perspective on what is required from a designer to be successful in their work. My artistic expression has evolved over the years. As I change, so my various inspirations come. The London fashion scene is rich and embraces good design, and regardless of what is important for the avant-garde fashion scene, it is possible to fi nd your place. A designer himself needs to conclude which environment, city or country provides him with a sense of comfort, belonging, and inspiration. My sensibility, however, belongs to cities like Paris or New York City.
Besides the professors who work for the most prominent fashion houses such as Celine or Dior, there is a brilliant cooperation with colleagues who have gathered from the entire world to elevate their knowledge and creativity to the highest level, being at one of the best fashion colleges in the world. The experience gained from the education has taught me to be resilient, to have a clear and strong vision when creating, and that design is a comprehensive process that requires teamwork and professionalism. Initially, they may keep the reservations and distance towards you. Over time, as they get to know you and are convinced that you are here because you are valuable, their perspective on you is changing. I would be lying if I said it is not cruel and stressful to work in an environment with wolves where the spirit of competition is constantly present. Only if you work hard, believe in yourself, and do not look sideways, you can succeed in coping with all the downsides of this job.
You worked for Roksanda Ilinčić in London, which is an exceptionally valuable experience, having insight into her model, includes many famous persons such as Kate Middleton and Michelle Obama. What have you learned the most from that period and how has it influenced your own brand?
One of the most beautiful and spontaneous things that happened to me in London was exactly working in Roksanda Ilinčić’s studio. I remember that morning when I was called by the studio to attend a meeting with the director of the atelier. While I was waiting for the meeting to start, Roksanda entered the studio, hurriedly placing flowers in a vase, and she looked at me as I smiled and said in Serbian, “Good morning,” which surprised her in the middle of London. After that, a conversation followed where she expressed a desire to look at my portfolio, which she liked and gave her an impression that my creative universe could contribute to her brand. Thus, the collaboration began. She is a person who captivates with her charisma and kindness. The aesthetic she wears simply radiates, and you can see that, starting from the way her office is arranged to the clothing and jewelry she wears. The experience I gained during those six months working in her studio is priceless. I had the opportunity to see how a world-famous brand operates, from the initial inspiration to the final product. By being there, I met many people from the creative industry. I remember, while I was preparing my master’s collection and searching for the fabrics and textiles, during that period, representatives from the most significant fabric manufacturing factories came every day, and thanks to that, I found innovative materials for my (own).
The Montenegrin fashion scene is gradually developing, but still lacking significant international visibility. What do you see as its future, and in your opinion, what needs to be done to become highly recognizable on the world fashion map?
The Montenegrin fashion scene reflects our weak economy and relatively underdeveloped fashion market, which is also small, thus providing fewer opportunities. I believe it has to possess a high degree of personalization, which is one of the most important aspects of expressing creativity and imagination in fashion creation. The hardest part is being an individual and not following beautiful trends, as clothing ultimately becomes just a crown or an adornment that a woman wears on herself.
How much the Montenegrin clients are open up to innovative designs and are you noticing changes in their style and fashion habits?
The clothing I create reflects this and may become more prevalent. My designs are simple yet exceptionally sophisticated. I believe that luxury does not have to be loud or extravagant; rather, true luxury lies in carefully crafted pieces that provide the wearer with a sense of confidence and elegance. In a world where fashion trends change rapidly, inspiration in discreet luxury represents a stable point. It serves as a reminder that the most valuable things are often those that do not need to be highlighted, but are worn with assurance. My philosophy of creating clothing is to inspire people to explore their unique expression through subtle details and simple elegance.
The fashion expression in Podgorica is diverse and dynamic, and reflects the spirit of the capital of Montenegro. It is characterized by a unique combination of tradition, culture, and modern influences, which is evident in the style of its residents. In Podgorica, one can notice a wide range of fashion expressions, from casual and relaxed combinations for everyday life to sophisticated and elegant styles for special occasions. The city’s inhabitants tend to follow current fashion trends, but often add their personal touch of authenticity to their combinations. Furthermore, Podgorica is a space for a variety of cultural events, contributing to the diversity of fashion expressions. After concerts, exhibitions, theater performances, and other events, people often choose outfits that reflect their artistic and creative side. Additionally, Podgorica has its local fashion brands and designers that enrich the city’s fashion expression. Essentially, the fashion expression of Podgorica is a story of diversity, inclusivity, and creativity. It reflects the spirit of a city that is constantly changing and adapting to modern trends while preserving its rich cultural heritage.
You have recently defended the PhD thesis at the Faculty of Arts of the University of Donja Gorica (Podgorica), titled “Folk Costumes of Montenegro in the 19th – 20th Century – Primary and Secondary Meanings”. What is the essence of your work?
My PhD thesis primarily focuses on the anthropological aspects of folk costumes in Montenegro. This work is dedicated to understanding the relationship between folk costumes and fashion. By challenging the reduction of folk costumes to anti-fashion, which is perceived as something objective and inherent, this research aims to examine in an original way, the relationship between anti-fashion and fashion. Montenegrin folk costumes are constructed during the establishment of the Montenegrin national state: based on artifacts, a ceremonial costume emerges, which soon acquires a protocol function at the Montenegrin court, and then becomes an element of Montenegrin national identity. Montenegrin folk attire includes decorations and techniques that perfectly carry specific meanings, as details that arise within the framework of pre-modern social structures. The choice of materials, the composition of patterns, metrics – all of this implies a symbolic framework whose transparency is lost in subsequent interpretations, or rather in modern semantic frameworks. The meanings of Montenegrin folk attire are established in every historical context, in the framework of modern epoch, in a different manner. In that sense, its reception is different at the time of the emergence of the Montenegrin modern state, different at the time when Montenegro, faced with Serbian hegemony, loses its national characteristics in the “first Yugoslavia”. Its socialist reception and the subsequent critique of this reception during the crisis of the socialist system represent a new form of understanding.