Milana Simić: From Fast Fashion to Slow Transformation
- Savina Ražnatović
- Apr 8
- 5 min read
By turning used clothing into artwork, Milana Simić unveils the concealed narratives of consumer culture, exposing how our everyday garments bear witness to societal shifts. She repurposes used textiles into striking artworks that interrogate issues ranging from the complexities of identity development to the relentless volatility of fast fashion. Her work pushes us to reconsider material culture as a means of expressing the complex relationship between individual identity and collective memory, as well as a form of criticizing consumerism and environmental negligence. As Milana herself notes, “My works do not focus on the individual's experience, but rather on the experience of the collective and society,” which underscores her commitment to exploring a shared human narrative.
Her use of practical resources is an essential aspect of her artistic approach. She carefully chooses textiles based not only on their visual appeal but also on their tactile qualities. As she explains, “I choose cotton, mostly. It is important to me that the material is comfortable to work with and flexible.” This considered choice ensures that every fabric, bearing remnants of a previous existence, is ready to be transformed into a new narrative. She creates a metaphor by rearranging used clothing, encouraging viewers to reconsider commonplace items, each of which has historical and cultural significance, and to recognize the ways in which they can be reinterpreted and given new meaning. Ultimately, her work challenges us to reevaluate our own interactions with these everyday garments and to acknowledge the deep cultural meaning hidden behind what we often discard away.
Elevating cultural awareness by demonstrating how personal belongings shape our collective memory, Simić repurposes fabrics from numerous wardrobes to illustrate how individual experiences intertwine with shared history. As she states, "My works do not focus on the individual's experience, but rather on the experience of the collective and society." Instead of treating clothing as disposable, she transforms old garments into objects imbued with memories and communal narratives, thereby uncovering a cultural story that unites us all. This approach resonates with broader debates in art and cultural studies, particularly those centered on sustainability and material culture. Drawing on critical frameworks that challenge the traditional boundaries between art and waste, her practice echoes the ideas of theorists like Bruno Latour and Walter Benjamin, who argue that everyday objects possess intrinsic histories and potential for reinvention. By recycling discarded textiles, her art not only critiques the aesthetics of consumerism but also reinterprets the lifecycle of materials, urging us to reconsider our relationship with items we deem disposable.
In her earliest pieces, the outcomes were shaped by impromptu interactions with materials. In contrast, her current practice is marked by a methodical, controlled approach that functions as a direct critique of society. This transition from spontaneity to deliberate technique appears to mirror the methodical character of mass production and consumption, extending beyond mere aesthetic development. Her careful consideration of each fold and crease creates a comparison between the organized procedures of the consumer industry and the creation of her artwork, triggering viewers to consider not only the ephemeral nature of contemporary commercial goods but also the underlying structures that influence our attitudes and actions. Moreover, her art confronts the throwaway culture of modern production by turning discarded clothing into tangible reminders of the environmental costs inherent in our consumption-driven society. She challenges us to think more carefully about the wider effects of our decisions on the environment and society by reexamining topics like consumerism, the ecological crisis, and unsustainability through her reused textiles.
Her approach to transforming fabrics resembles broader developments in contemporary art. In this light, her work can be seen as part of a growing movement that redefines traditional media in response to global challenges, merging aesthetic innovation with socio-political critique. Her approach suggests a reassessment of traditional media while challenging consumer culture in a time when sustainability and socio-political critique are increasingly influencing creative practice. Her work is now situated within a dynamic discourse that challenges conventional ideas of identity and worth while bridging the gap between personal memory and collective experience. Her work aligns with contemporary movements which promote repurposed materials and recontextualization. Moreover, while Simić does not explicitly state that her work is designed for sensory interaction, the tactile qualities of the repurposed textiles naturally invite a deeper visual and emotional engagement, allowing viewers to perceive layers of history and meaning embedded in each piece. Her creations function as sites where past and present converge, and where remnants of consumer culture are imbued with new meaning through artistic transformation.
Furthermore, her work engages with both local and global narratives. While it speaks directly to issues such as environmental degradation and the unsustainable practices of fast fashion, it also touches on universal themes of memory and identity. The discarded clothing she repurposes carries echoes of personal histories while simultaneously reflecting the homogenizing force of global consumerism. This duality adds complexity to her work, inviting viewers to consider how everyday objects can serve as conduits for both intimate recollection and broader societal critique.
Drawing inspiration from figures such as Rachel Whiteread, Franziska Reinbothe, Alberto Burri, and Lucio Fontana, Simić situates her practice within a larger artistic dialogue. Yet, her distinct focus on textiles allows her to probe themes of intimacy, legacy, and social existence in a unique way. Her provocative inquiry—“Why clothing? Where does the clothing that is no longer worn end up? What defines us?”—pushes the conversation beyond materiality and into the realm of identity, challenging us to rethink the lifecycle of discarded objects and the narratives we attach to them.
In a context where rapid consumption and mounting environmental challenges dominate our cultural landscape, Milana Simić's work offers a thought-provoking counterpoint. By reconfiguring second-hand textiles, she challenges the disposable mindset of contemporary society, endowing worn garments with a renewed sense of history and cultural resonance. More than merely transforming materials, her art invites us to reflect on the values we attach to everyday objects and the legacies they carry. In doing so, Simić redefines identity in a consumer-driven world, opening up new possibilities for understanding sustainability and memory.
Milana Simić (b. 1995, Prijedor, Bosnia and Herzegovina) is a contemporary artist based in Novi Sad. Her multidisciplinary practice spans painting, installation, photography, and video. She earned her BA in painting at the Academy of Fine Arts in Trebinje (2019) and her MA in painting at the Academy of Arts in Novi Sad (2021). A member of the Association of Fine Artists of Vojvodina and the Association of Fine Artists in Prijedor, Simić has held twelve solo exhibitions and participated in numerous group shows across the region. Her work critically examines personal identity, social relationships, and the artist’s role in society—currently translating textile materials into her unique artistic language. She has also organized exhibitions for emerging artists and worked as an independent photographer at the Museum of Contemporary Art of Vojvodina. Simić lives and works in Novi Sad.
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