Since our last edition, The Collection Fashion, Beauty and Art has launched a web platform, and expanded our network of partners and creative force.
This chapter is about the people behind it all- Who o ered their time and creativity- and reminded me that with such group of people anything is possible.
This edition also carries a special homage to Japan-a culture of craftsmanship, precision, and tradition. A major milestone for The Collection came with the invitation to create a brochure for EXPO 2025 in Osaka. As a nod to that honor, we've woven Japanese inspiration into these pages.
And perhaps, this was always meant to be.
At the very beginning of this journey , I received a Daruma Doll as a gift- a traditional Japanese symbol of perseverance and luck. It has watched over us ever since--a quiet reminder that
DREAMS TAKE TIME, VISION AND RESILIENCE.
So, what does it take to turn an idea into something real?
It takes people.
The ones who create it, support it and believe in it.
To Mia and Anja Radonjic, the driving force behind Samms and our earliest partnersthank you for your trust from the very beginning.
To Anja Tadic, Natalia Urbanova, Jelena Cejovic Vukcevic and Immanuela Srdarević - van Oosturm, whose works are featured in the following pages, and gave meaning to this issue.
And guess what - another Daruma Doll gift just arrived. So buckle up, because this is only the beginning!
Welcome back!
ZINA PUSEP
ReiKawakubo is one of the most original and in uential designers in the history of fashion.
She’s often called avant-garde, but even that feels too narrow. Her work doesn’t just challenge trends—it challenges the very de nition of fashion.
Minimal, oversized, asymmetrical, un nished: Kawakubo’s creations have always resisted what fashion is supposed to be. She once said her goal was “to design clothes that have never existed.” And for over ve decades, she has done exactly that.
Born in Tokyo in 1942, Kawakubo studied ne arts and literature. She worked in advertising before launching her own label in 1969 - Comme des Garçons - French for “like boys - a name that hinted at androgyny, independence, and a rejection of conventional femininity.
Her designs often appeared incomplete - stitched strangely, padded in odd places, or layered until the body underneath disappeared entirely.
In 1981, Kawakubo presented her rst collection in Paris. It was almost entirely black. Torn edges, oversized volumes, slashed knits, dropped shoulders. To a fashion world obsessed with glamour, color, and hourglass silhouettes, it looked post-apocalyptic. Critics called it “Hiroshima chic.”
Her impact was immediate. The collection marked the beginning of a new movement: Japanese designers entering the Western fashion world not to adapt—but to transform it. Alongside Yohji Yamamoto and Issey Miyake, Kawakubo brought an entirely new perspective. A quiet one. A disruptive one.
REI THE PIONEER
At the core of her thinking are Japanese design values: wabi-sabi - the acceptance of imperfection, ma - the importance of space and absence; and a deep belief that beauty does not require polish.
In 1997, she shocked the fashion world again with her “Body Meets Dress, Dress Meets Body” collection. It featured bulbous padding at the hips, back, and stomach - challenging not only silhouette but the idea of physical beauty itself. The industry called it “lumps and bumps.”
She called it another experiment in form.
Kawakubo's refusal to explain her work has made her one of the most mysterious gures in fashion, but also one of the most respected. In 2017, the Metropolitan Museum of Art honored her with a full retrospective - Art of the In-Between - the rst exhibition in decades dedicated to a living designer.
Her in uence is still everywhere: in the rise of genderless clothing, in the popularity of deconstruction, in the freedom to make something strange, wrong, or broken - and still call it fashion.
KAWAKUBO
COMME DES GARÇONS [ 1980'S ] BACKSTAGE
MM6 Maison Margiela
Tabi Loafers
INSPIRED WEST
I saw the rst pair in Amsterdam. My housemate at that time had the MM6 Tabi loafers- split toe, smooth black leather. My rst association was a hoof and the donkey from Shrek, even though his hoof is not split. Then I saw them again. And again. On curators, stylists, designers. People who weren’t trying too hard—but always got it right. That shape—that strange, silent silhouette— started following me. Once you notice the Tabi, you begin to see it everywhere, like a secret code passed between the fashion-literate.
But this story doesn’t start in fashion circles.
It starts in 15th century Japan. The original tabi was a sock, designed for thonged sandals, and—according to some—linked to balance, posture, and even self-awareness. At rst, only the upper class wore them, due to the high cost of cotton. Colors were coded: purple and gold for the elite, blues for commoners, everyone in between. When rubber soles were introduced around the 1900s, jika-tabi were born— sturdy, outdoor versions worn by workers and martial artists. Their exibility made them ideal for movement, precision, grip. Unlike modern sneakers, they allowed the foot to feel the ground.To this day, they're part of Japan’s everyday utility wear.
Then came Martin Margiela.
He returned from Japan with a sketch in his notebook: a split-toe boot. He showed it in his debut collection in 1988. The shape was quiet but unsettling. Familiar, but not quite. Margiela wanted it to feel like a barefoot imprint placed on a heel. No cobbler would touch the design— until, as the story goes, a dinner with Italian craftsman Mr. Zagato changed everything. Zagato, intrigued by the challenge, agreed to prototype the shoe. He was crucial in bringing the design to life, solving the technical puzzle no one else dared to attempt.
And so the fashion tabi was born.
It wasn’t meant to atter. It was meant to challenge. And that’s why it endured. Season after season, the Tabi appeared on runways, then in concept stores, then— quietly—in the closets of people who understood what it meant.
It became cult. Iconic.
Today, through MM6, the Tabi continues to evolve: reimagined in sneakers, mules, metallics, ballet atsand most recently - a Louboutin collaboration! But the message remains the same.
It’s not just a shoe—it’s a philosophy
A BRIDGE BETWEEN MONTENEGRO & JAPAN
[ko ‘koro] noun • Japanese
the harmonious relationship between heart, mind, spirit and body; a complex combination of ideas, concepts and feelings in the heart
THE BRAND
A n j a T a d i c - t h e c r e a t o r o f K o k o r o
f o u n d h e r l i f e ’ s d e e p e s t i n s p i r a t i o n i n t h e c u l t u r e o f d i s t a n t J a p a n , a s w e l l a s i n t h e t r a d i t i o n s a n d a r t i f a c t s o f h e r n a t i v e M o n t e n e g r o T h e s e t w o
s e e m i n g l y d i f f e r e n t w o r l d s e ve n t u a l l y m e r g e d i n h e r c r e a t i v e v i s i o n
“ K o k o r o ” , w h i c h m e a n s “ H e a r t ” i n
J a p a n e s e , r e p r e s e n t s a n u n u s u a l
c o n n e c t i o n b e t w e e n d i s t a n t , y e t
s p i r i t u a l l y c l o s e l i v e s a n d v a l u e s .
F o u n d e d i n 2 0 1 7 , a f t e r t h e c r e a t o r ' s
t i m e l i v i n g i n T o k y o , K o k o r o i s
r o o t e d i n t h e d e s i r e t o r e i n t e r p r e t
a n d a p p l y t h e p h i l o s o p h y o f
J a p a n e s e m i n i m a l i s m t h r o u g h a
M o n t e n e g r i n l e n s , f o r m i n g a q u i e t
c u l t u r a l p o e t i c d i a l o g u e b e t w e e n t h e t w o .
INSIPRATION
T h e i n t e n t i s n o t t o m i m i c J a p a n e s e f o r m s ,
b u t t o c h a n n e l a s h a r e d s e n s i t i v i t y I t ' s a b o u t
c a p t u r i n g t h e e s s e n c e , n o t j u s t t h e a e s t h e t i c
N o w h e r e i s t h e s p i r i t o f r e f i n e d m i n i m a l i s m
s o h a r m o n i z e d w i t h e v e r y d a y l i f e a s i t i s i n
J a p a n e s e c u l t u r e
I n t e r e s t i n g l y , t r a d i t i o n a l M o n t e n e g r i n l i f e a n d
c u l t u r e b e a r u n e x p e c t e d s i m i l a r i t i e s
e s p e c i a l l y i n t h e e t h i c a l a s p e c t s o f a w a r r i o r
c u l t u r e a n d a s t i l l - l i n g e r i n g p a t r i a r c h a l
s t r u c t u r e N a t u r e a l s o c o n n e c t s t h e m : J a p a n , a n a r r o w l a n d s u r r o u n d e d b y o c e a n , a n d
M o n t e n e g r o , a r o c k y M e d i t e r r a n e a n t e r r a i n
"Among the grasses a ower of unknown name blooms in white.
-haiku by Masaoka Shiki
EXPO 2025 UNIFORM
D e s i g n i n g t h e u n i f o r m s f o r
M o n t e n e g r o ’ s t e a m a t E X P O 2 0 2 5 i n
O s a k a b e c a m e a n a t u r a l e x t e n s i o n o f t h e K o k o r o v i s i o n
W o m e n ' s u n i f o r m d r a w s i n s p i r a i t o n f r o m M o n t e n e g r i n f o r m a l n a t i o n a l a t t i r e ( p h o t o 2 ) - r e i m a g i n i n g t h e e l e g a n c e o f t h e “ k o t u l a ” s k i r t a n d t h e s t r u c t u r e o f th e “ z u b u n ” c o r s e t . T h e
s i l h o u e t t e i s h i g h - w a i s t e d a n d s h a r p , s u g g e s t i n g b o t h p o s t u r e a n d p r i d e .
Y e t , i t i s s o f t e n e d w i t h f l o w i n g l i n e s
t h a t h i n t a t J a p a n e s e k e n d o u n i f o r m s
W o m e n i n b o t h c o u n t r i e s a r e a t o n c e
g e n t l e a n d r e s i l i e n t , s h a p e d b y p a t r i a r c h a l s t r u c t u r e s y e t i n f u s e d w i t h q u i e t s t r e n g t h
Enhancing art of living though design - Numen is a new story in Montenegro that embodies timeless and iconic beauty through designer furniture and lighting, home decor objects, artworks and a lot more.
NUMEN Showroom | Art Gallery | Interior Store
www numen3 me Podgorica | Montenegro
PHOTOGRAPHER JELENA
DRESS
instinct LEAD with
The original plan was simple: to take one editor’s portrait for this issue
The intention was for the photo to serve as a canvas a space for creative collaboration, where every element held meaning.
The portrait was envisioned as a meeting ground for different talents, each bringing their own vision. That’s why I chose to work with photographer Jelena, whose eye I deeply admire; to shoot in Numen, the beautifully designed interior space, recently opened by Marija Šerbek; and to wear Nurban, the expressive, theatrical label by Natalia Urbanova Each part was chosen for its creative value and the story it carries.
There is power in creating alongside women who lead with instinct and, more importantly, know how to translate it into something tangible
The creative process took over unplanned and full of momentum At one point, Jelena suggested meeting again at 4 a.m. to photograph at dawn. That spontaneous idea became a two-day, unscripted editorial guided by intuition, light, and creative flow
The editor’s portrait stands on its own But the images that followed tell a broader story Though I’m in them, this story isn’t about me It’s about what unfolds when women create freely, led by shared energy
-Zina Pusep [ Editor-in-chief ]
From the Photographer’s Perspective
Portrait photography has always been a deep passion of mine especially when it comes to capturing women. Every session is a chance to connect, to listen, and to find that quiet, unfiltered energy that makes someone truly who they are That’s what drives my ongoing Portrait project: documenting women from all walks of life in their most authentic form
This editorial was no different in its essence, even though its form was more styled, more constructed. What mattered to me was staying true to that raw core letting the subject’s presence shine through the concept I worked in both digital and analog, blending precision with intuition Analog photography, in particular, lets me slow down and feel the moment, which is something I always come back to
The morning of the second shoot happened almost by accident. We had already shot several looks, but there was one dress by Natalia that I couldn’t let go of It deserved its own setting, its own light So I suggested we meet again at dawn I’m obsessed with natural light, and there’s something about that early hour that strips everything down to the essentials
Working with women who are willing to surrender to the creative moment, who are open to flow and improvisation that’s endlessly inspiring to me It’s in those unplanned, spontaneous shifts that the real magic happens And looking back at the photos now, all I can think is I’d do it all over again The process itself sparked new ideas, new visions
-Jelena Cejovic Vukcevic [ Photographer ]
Based in Porto Montenegro and working internationally, A&A Interior offers full-service residential and hospitality design for both interiors and exteriors, project management, delivery of furniture and art objects, and more. Established by professionals with global experience, the A&A team has designed some of the most prestigious apartments and villas in the Adriatic region. Many of them published in Architectural Digest, ELLE, Vogue and other publications, which have featured A&A as one of the leading design studios in the Adriatic region.
EDITOR’S PICK:
STORES
FASHION GALLERY
Clothing | Shoes | Accessories WOMEN | MEN
A: Obala bb, villa Tara, Porto Montenegro, Tivat 85320
Brands: 24 Bottles | Acchitto | Agolde | Andreadamo | Anine Bing | Anton Heunis | Aristide | Atelier Rebul | Atlein | Babalú | Be Maad | Boy London | Coperni | Cult Gaia | Culti | Reina Olga | Rita Row | Ruksag
BELODORE - SPLIT
Beauty | Fragrance WOMEN | MEN
A: Mall of Split, Ul. Josipa Jovica 93, 21000, Split
T: +385 99 538 5416
IG: belodore.hrvatska
W: www.belodore.hr
Brands: Acqua di Parma | Borntostandout | Dr. Barbara Sturm | Edition de Parfums Frederic Malle | Mancera | Matiere Premiere | Montale | Nishane| Santa Maria Novella | Swiss Perfection | Tiziana Terenzi | Widian | Xerjoff
CROATIA
GALERIJA EMPORIUM
Department Store WOMEN | MEN | KIDS
A: Prešernov trg 4b, Ljubljana, Slovenia
T: +386 41 377 500
IG: @galerijaemporium
W: www.emporium.eu
Brands:
Paris Texas | Rains | Patrizia Pepe | Dolce & Gabbana | TOD's etc.
IHAN STORE
Clothing | Shoes | Accessories WOMEN | MEN
A: Miklošiceva cesta 4, Ljubljana
T: +386 31 607 500
IG: @ihan_store_ljubljana
W: www.ihanstore.com
Brands:
Acne Studios | Alexander Wang | Ami Paris | Balenciaga | Brunello Cucinelli | Burberry | Casablanca | Chloè | Coperni | Courreges | Mason Kitsuné | Mason Margiela | MM6 | Off White | The Row | Ferragamo | Forte Forte | Givenchy | Gucc | Etoile | Jacquemus | Rick Owens | Saca | etc.
ALBANIA
COIN
Department Store WOMEN | MEN
A: Papa Gjon Pali II, Tirana
T: +385 99 538 5416
IG: @cointirana
Brands: Paris Texas | FAY | HOGAN | Giuseppe Zanotti etc.
PIRRO
Jewellery | Watches WOMEN | MEN
A: Rruga e Kavajes Nr 39, Tirana
T: +355689028913
IG: @artisticjewellerypirro
W: www.pirro.al
[
EPOQUE ]
WHY YOU SHOULD INVEST IN VINTAGE VALENTINO
BY IMMANUELA SRDAREVIĆ-VAN OOSTRUM
ADVICE FROM SOMEBODY WHO’S BOYFRIEND WORKS IN FINANCE, IS 6,2 FOOT AND HAS BLUE EYES
It’s June 2023. I started working for Gucci. The last remnants of Alessandro Michele’s reign were still in stores, following his departure in 2022. Our product storytelling was focused on his genius—something I’m incredibly grateful to have been part of.
Gucci’s transformation from the ultra-chic Frida Giannini period to the groundbreaking Alessandro Michele era was the main reason I became interested in high fashion back in 2017. Before that, my focus was on sourcing the most unique and high-quality pieces from vintage and thrift stores, regardless of the brand or designer. But when I saw how many Gucci runway pieces resembled garments I had found, I fell in love with Michele’s vision.
I remember my former boss telling me that meeting Alessandro for the first time was like meeting God. It probably helped that he looked the part—long dark hair, eyes full of emotion, and an aura of creative divinity.
Alessandro & Valentino, An
Unexpected Pairing
It was only a matter of time before the fashion world discovered which legendary house Alessandro’s magic would touch next. But Valentino? That wasn’t my rst guess. Over my 10 years as a vintage trader, I’ve come across many Valentino and Oliver pieces in stores and online. I always bought them for their impeccable quality—Valentino is, after all, one of the most recognisable and prestigious luxury brands in the world. Even today, I have a large collection of Valentino wool and silk garments. But groundbreaking? I had never really thought of Valentino in that way.
Turns out, I had never truly explored the history of the house. So, here’s what I learned…
A BRIEF HISTORY OF VALENTINO
Valentino Garavani founded his eponymous luxury fashion house in 1960. His international debut took place in 1962 in Florence, then Italy’s fashion capital. In 1967, Valentino broke away from the psychedelic patterns dominating the era with his “No Color” collection—white, beige, and ivory designs that stood in stark contrast to the trends of the time.
Women’s Wear Daily declared in 1968: “Americans go crazy for this Italian who has become king of fashion in a short time.” After the dazzling all-white show, lled with sculptural cloaks and barely draped dresses, his success snowballed, season after season.
The couturier quickly became the leading force of Italian fashion, dressing aristocrats, socialites, and Hollywood royalty, including Jacqueline Kennedy Onassis, Princess Diana, Audrey Hepburn, and Elizabeth Taylor.
If there’s one signature element synonymous with Valentino, it’s the red dress.
Introduced in his rst Spring-Summer 1959 collection, the strapless mid-length tulle dress named La Fiesta marked the birth of Valentino Red—a color so iconic it has its own Pantone formula (100% magenta, 100% yellow, 10% black).
Valentino’s obsession with red started in his student years when he attended an opera in Barcelona. He recalled:
“Enthralled, I saw a woman with grey hair in one of the boxes, very beautiful, dressed in red velvet. Among all the colors worn by the other women, she looked unique, isolated in her splendor. I told myself that if I were ever going to become a designer, I would do lots of red.”
And so he did.
In 1999, Valentino brought in Maria Grazia Chiuri and Pierpaolo Piccioli as accessory designers, a duo that would go on to shape the brand’s modern identity. By 2003, they introduced Red Valentino, the brand’s di usion line.
Valentino stepped down in 2007, passing the creative baton to Alessandra Facchinetti, who lasted only a year before being replaced by Chiuri and Piccioli as co-creative directors. In 2016, Chiuri left to lead Dior, leaving Piccioli as the sole creative director—a position he held until early 2024, when Alessandro Michele was announced as his successor.
ALESSANDRO’S VALENTINO DEBUT: A LOVE LETTER TO THE ARCHIVES
Now that we’re all caught up on Valentino’s history, let’s talk about why we’re here: Alessandro Michele’s rst Haute Couture collection for the house.
One thing that stood out immediately? His many references to early Valentino Garavani designs. But should we be surprised? Alessandro has always drawn from vintage and antique garments— it’s a cornerstone of his creative process. At Gucci, however, there wasn’t as much room for high-fashion historical references, given the brand’s roots in travel and leather goods. With Valentino, Alessandro nally has the playground to explore couture traditions. And he’s making the most of it.
I’ve put together side-by-side comparisons of his debut couture collection and the archival Valentino pieces that inspired them. Scroll down to see the connections for yourself.
VALENTINO’S CREATIVE EVOLUTION
In 1999, Valentino brought in Maria Grazia Chiuri and Pierpaolo Piccioli as accessory designers, a duo that would go on to shape the brand’s modern identity. By 2003, they introduced Red Valentino, the brand’s di usion line.
Valentino stepped down in 2007, passing the creative baton to Alessandra Facchinetti, who lasted only a year before being replaced by Chiuri and Piccioli as co-creative directors. In 2016, Chiuri left to lead Dior, leaving Piccioli as the sole creative director—a position he held until early 2024, when Alessandro Michele was announced as his successor.
Alessandro’s Valentino Debut: A Love Letter to the Archives
Now that we’re all caught up on Valentino’s history, let’s talk about why we’re here: Alessandro Michele’s rst Haute Couture collection for the house.
One thing that stood out immediately? His many references to early Valentino Garavani designs. But should we be surprised? Alessandro has always drawn from vintage and antique garments—it’s a cornerstone of his creative process. At Gucci, however, there wasn’t as much room for high-fashion historical references, given the brand’s roots in travel and leather goods.
With Valentino, Alessandro nally has the playground to explore couture traditions. And he’s making the most of it.
I’ve put together side-by-side comparisons of his debut couture collection and the archival Valentino pieces that inspired them. Scroll down to see the connections for yourself.
Why Vintage Valentino Is a Smart Investment
Let’s talk strategy—fashion investment strategy. While my boyfriend talks stocks before I’ve even had my morning co ee, my portfolio is a little di erent: I invest in vintage fashion. And right now, Vintage Valentino is a ‘stock’ worth buying.
But this isn’t just about trends. For me, investing in vintage is about something bigger: a better future. The fashion industry is one of the most polluting industries in the world, and by choosing vintage, we extend the life cycle of beautifully made garments rather than supporting endless production cycles. Beyond sustainability, there’s the magic of wearing something with history. Vintage pieces last longer, are often made with higher-quality materials, and allow you to be truly unique in a world of mass production. When you wear a vintage Valentino gown, you’re not just wearing a dress—you’re carrying a piece of fashion history, a legacy of craftsmanship.
With Alessandro Michele drawing heavily from the house’s archives, there’s no better time to invest in original Valentino pieces. Just like in nance, the key to fashion investment is spotting patterns—what goes up must come down, and what was once overlooked can suddenly become highly populair. Michele’s references to past decades will inevitably drive up demand for vintage Valentino, making now the perfect time to buy before prices skyrocket.
Look for classic pieces: impeccably tailored Valentino Red gowns, structured wool coats, silk blouses with signature detailing. These are the ‘blue-chip stocks’ of the fashion world—timeless, valuable, and likely to appreciate over time.
So if you’re looking to diversify your wardrobe assets, consider this your insider tip: vintage Valentino is the next big thing. And unlike stocks, you get to wear your investment.
With all my love, Immanuela
Read more on:
substack: @epoquevintage
IG : @epoque____
IMMANUELA SRDAREVIĆ -VAN OOSTRUM IS A BALKAN NETHERLANDS-BASED FASHION AND COSTUME HISTORIAN, VINTAGE COLLECTOR, AND SUSTAINABILITY ADVOCATE. WITH 10 YEARS OF EXPERIENCE IN THE (LUXURY) FASHION INDUSTRY, SHE SPECIALIZES IN WRITING ABOUT FASHION HISTORY AND HOW TO WEAR VINTAGE CLOTHING WITH A MODERN APPROACH.
