Although you already have many professional theater engagements (in set and costume design) behind you, you are still a young artist with your creative peaks yet to come. Each premiere is a challenge (and even a stress), but a world premiere is something not all artists get to experience. What emotions did this evoke in you—from the first agreement to the premiere?

This is a significant ballet project, similar to The Nutcracker, which I worked on in 2021. The Croatian National Theatre in Osijek will have a new, large-scale production for all generations. I'm pleased to work again with the show's choreographer, Svebor Sečak, with whom I collaborated in 2014 on the highly successful ballet La Fille Mal Gardée. That was a great opportunity; we created a fantastic show on a modest budget. Like any major theater production, I began preparing six months in advance. We are now in the final stages of creating the set elements and costumes. I am again collaborating with three students from the Academy of Arts and Culture in Osijek, who are dedicated to finishing the costumes and headpieces for the dancers and crucial set elements. There are over 70 headpieces alone.

How long did the research preparations last before you drew the first sketches?  

My journey began with sketches in the summer, delving into a myriad of books and films. However, the heart of my process lies in collaboration with the choreographer. Together, we navigate through the creative landscape, arriving at a visual solution that resonates with our shared vision. As we progress, I meticulously search for the perfect color palettes for each costume, drawing inspiration from fabrics, decorative trims, and similar materials. Alongside these visual sketches, I also craft technical ones, a crucial element for the production in the workshops, ensuring every detail is captured with precision.

How many sketches have you drawn, including those that didn't become costumes?  
I have created over 45 visual sketches and about the same number of technical ones related to the costumes and specific scenic designs, which I work on using a computer. When working on a large production, I always add a few extra sketches, and it usually becomes clear later how much is excessive or lacking. There are many changes during the production process, and I am always prepared for that. Right now, I am working on something unexpected: a cloak for the role of the sorceress, which wasn't planned initially. It's these unexpected twists that keep the design process exciting and fresh.

Costumes in ballet must reflect the role's character (in terms of design and colors). How do you manage to be clear enough without being literal?  
It depends on the work in question. For example, there is a significant difference between designing a costume for a classical ballet and for a contemporary one. So far, I have worked on only one abstract ballet; everything else has been classical, which suits me well. The costume carries the production in classical and neoclassical ballet, just like the set design. The visual elements determine the time and place the action takes place. We also have animations by Zagreb artist Zdenko Bašić in this production, which will complement my set design.

You can read the entire interview here.