Costume designer Neven Mihić once again enriches the ballet scene of the Croatian National Theatre in Split with his distinctive artistic signature, this time through the production of the ballet diptych Class Concert / Scheherazade. His passion for theatrical costume design, complemented by extensive experience in fashion design, is reflected in the lavish and meticulously crafted costumes.

Inspired by the Oriental heritage and luxurious fabrics he encounters in Dubai, where he lives and works, Mihić skillfully blends historical authenticity with a modern sensibility. In this interview, he reveals the process of costume creation, the importance of fabrics and colors, and his vision of the visual aesthetics of a ballet that evokes the exotic mystique and sensuality of Scheherazade’s tale.

Scheherazade is known for its lavish, exotic costumes inspired by Oriental motifs. How did you approach the costume design for this Split production? Did you rely more on historical sources or original Bakst sketches, or did you introduce contemporary elements?

This is my third ballet production at the Croatian National Theatre in Split. I am delighted to return as part of the creative team alongside choreographer Denis Matvienko, with whom I worked on the ballet Don Quixote in Ljubljana last year. As always, through discussions with the choreographer, I envision how our upcoming production should look.

Class Concert's costumes are dominated by ballet tutus with minimal embellishments and clean lines, in contrast to Scheherazade. Scheherazade will be a traditional production, and the audience will likely expect richly detailed and colorful costumes inspired by the opulent Oriental aesthetic. Having lived in Dubai for over eight years, I have had the opportunity to see a variety of Oriental fabrics at local bazaars or in the world’s most luxurious hotel, the Burj Al Arab. The hotel’s interior showcases Arab opulence combined with modern elegance and various Oriental influences, including elements inspired by Islamic, Persian, and Middle Eastern aesthetics and Mughal and Moroccan architecture.

I have studied many available ballet productions and the sketches of Léon Bakst. What stands out in his work is the artistic technique and how he captures dancers in motion. However, my primary source of inspiration always begins with the fabric—everything unfolds from there.

You are also responsible for creating tiaras and headpieces. How long did it take you to make them?

I often design tiaras and headpieces for musical productions, including Scheherazade and Class Concert. The design is closely connected to the costumes, enhancing the overall impression of the dancer and the character. Tiaras and headpieces are commonly made for classical ballet, where I can use various materials.

For this production, I crafted oversized turbans, head coverings adorned with beads, feathers, and appliqués, and an intricate tiara for Scheherazade. I created around 40 headpieces for Scheherazade and 16 tiaras for Class Concert.

How important is the use of specific materials and colors in Scheherazade's costume design? Were there particular fabrics or techniques you used to achieve the desired effect of opulence and sensuality?

For the costumes, I used a variety of materials, as well as decorative ribbons to enhance the designs. These include brocades, lace, satin, velvet with Oriental patterns, silk, and generally lightweight and elastic fabrics suitable for ballet. Rich textures, vibrant colors, intricate embellishments, and flowing fabrics define this costume design.

Many decorative elements came from my archive, as I collect details from previous productions or private projects. The production features various kaftans, harem pants with golden motifs, belts adorned with gold appliqués, corsets, armbands, collars, and more. The silhouette and choice of fabric colors, including emerald green, gold, deep red, turquoise, and purple, are fundamental to me.

Scheherazade is known for its sensuality, provocation, and mysticism. How did you try to convey these emotions and the story's atmosphere through costume design? Is there a particular detail you are incredibly proud of?

Before sketching, I spend a lot of time in stores looking at fabrics, ribbons, appliqués, and similar materials. Classical ballet always requires extensive preparation and inspiration. Every project teaches you something new, and the success of the costume design depends on many factors, such as budget and production time.

I began with a collage of ideas that included details like this project's color palette, jewelry, makeup, and fabric types. Then, I created artistic sketches using my favorite collage technique. I attached various appliqués and papers to the sketches to create a three-dimensional effect. Additionally, I prepared technical sketches with all the details of the costume-making process.

I aimed to make each costume group visually striking. One of my favorite costume elements is Scheherazade’s cape, made from two types of lace and enhanced with elaborate Oriental ribbons. Another highlight is the plush harem pants for the soloists, featuring traditional Oriental motifs.

Split is already well acquainted with your work. Most recently, we saw your costumes in The Snow Queen, which captivated young and adult audiences. How do you find working in Split, and is there a project you would like to work on in the future?

This is my third ballet in Split, following Onegin in 2022 and The Snow Queen in 2023. I have been coming to Split since high school and even helped create headpieces for the Split Summer Festival. I enjoy working here—the tailoring workshops are fantastic, and the creative chaos creates a positive and motivating work atmosphere.

I always strive to prepare thoroughly before starting a project. The tailors bring my sketches to life or collaborate to find the best solution for each costume. I must also praise my assistant, Antonija Bilonić, who has worked with me for the third time. I wish to work on the Split Summer Festival, particularly on an opera at Peristyle.

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NEVEN MIHIĆ was born in 1988 in Osijek, where he completed his education at the School of Textile, Design, and Applied Arts, specializing in Fashion Design. During his studies in 2002, he joined the Croatian National Theatre in Osijek as a dance ensemble member. Over four years, he performed in numerous opera, drama, and ballet productions, which would greatly influence his future artistic career.

He graduated in Fashion Design from the Faculty of Textile Technology in Zagreb in 2010 and earned a master’s degree in Theatre Costume Design in June 2012. In 2016, he moved to Dubai, United Arab Emirates, where he began teaching in the Design Department at the American University in the Emirates. He has been working there as an Assistant Professor since the fall of 2018.

Mihić has received several accolades, including the Dean’s Award for Best Student in his second year of studies. In July 2010, he was awarded the prestigious Top Scholarship, recognizing him as one of Croatia’s top students. He has also organized several fashion shows and six major solo exhibitions.

In 2012, he began working actively as a costume designer, creating costumes and occasionally stage designs for opera, operetta, ballet, drama, and children's theater productions. In 2015, he was one of four European finalists for a scholarship at Teatro dell'Opera di Roma, specializing in theater design. To date, he has designed costumes for over thirty theater productions, collaborating with renowned Croatian and international directors, including Damir Lončar, Želimir Mesarić, Krešimir Dolenčić, Helena Petković, Mario Kovač, Richard Simonelli, Robert Bošković, Petar Vujačić, Svebor Sečak, Kobie Van Rensburg, Vasilij Medvedev, and Denis Matvienko.

Mihić has made a name for himself with his work on operas and operettas such as Carmen by Georges Bizet, Don Giovanni by W.A. Mozart, La Bohème by Giacomo Puccini, The Aquarelle of Split by Ivo Tijardović, and The Merry Widow by Franz Lehár. He has also designed costumes and sets for ballets, including The Nutcracker by P.I. Tchaikovsky, Eugene Onegin by P.I. Tchaikovsky, Don Quixote by Ludwig Minkus, and The Snow Queen by Davor Bobić.

He was the only Croatian designer to participate in the prestigious Dubai World Cup horse races for three years, showcasing his unique fascinators. At the 2023 Croatian Theatre Awards, he was nominated three times: for set and costume design for the ballet Eugene Onegin and set design for the operetta The Merry Widow.

With the ballet Class Concert / Scheherazade, he marks his third collaboration with the Croatian National Theatre in Split and his second partnership with choreographer Denis Matvienko, following their work on Don Quixote in Ljubljana. He has been a Croatian Association of Dramatic Artists member since 2013.

Portrait photography: Jonas Sergio

Costume photography: Mario Buličić