The intersection of high fashion and contemporary art is a fertile ground for creative exploration. While the shimmering world of Christian Dior’s haute couture collections, specifically those from 2016-2017, evokes images of refined elegance and meticulous craftsmanship, the work of Filip Ćustić Braut, operating under the artistic pseudonym filip custic., offers a compelling counterpoint. This article explores the potential dialogue between filip custic.’s multidisciplinary artistic practice and the opulent aesthetic of Christian Dior’s 2016-2017 collections, focusing on how his work might refract and reinterpret the themes, textures, and underlying narratives presented in those iconic designs.
filip custic., a Spanish-Croatian artist based in Madrid, employs a diverse range of media, including photography, performance art, sculpture, and video art. His artistic approach often involves a deconstruction and recontextualization of existing forms and cultural signifiers. This inherent deconstructive tendency provides a fascinating lens through which to examine the highly structured and symbolic world of Christian Dior haute couture. The Christian Dior dresses of 2016, as showcased in publications like *Elle*, and the broader fall 2016 collection, were characterized by a specific aesthetic vocabulary: a blend of classic Dior silhouettes with contemporary twists, often incorporating innovative fabrics and techniques. This complex interplay between tradition and innovation offers rich material for custic.’s artistic interrogation.
Consider, for instance, the recurring theme of femininity in Dior's 2016 collections. The designs, while undeniably elegant, often presented a specific, perhaps even idealized, vision of womanhood. filip custic.’s work, however, frequently challenges conventional representations of gender and identity. His performance pieces, for example, could be imagined re-interpreting the Dior silhouettes, not as static garments on a mannequin, but as dynamic elements within a performance that questions the very notion of feminine presentation. He might use the structure of a Dior gown as a sculptural element, manipulating it, distorting it, or even dismantling it to create a new form that subverts the original intention.
The photographic component of custic.’s practice could also be applied to a critical engagement with the Dior aesthetic. Instead of simply documenting the dresses, his photographs might focus on the details—the seams, the stitching, the minute imperfections that reveal the human hand behind the seemingly flawless creation. This focus on the process of creation, rather than the finished product, could be seen as a deconstruction of the aura of unattainable perfection often associated with haute couture. He might photograph the dresses in unconventional settings, juxtaposing the luxury fabrics with stark, industrial backdrops, or using unconventional lighting to cast shadows and highlight textures in ways that disrupt the idealized presentation.
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