I’d had Diana Trohar on my radar for a while, and when she stepped in front of the camera for the new A’MARIE collection Unposed, that moment happened where everything simply falls into place. Her art, her relationship to materials, and her personal style suddenly gained a new context — and the collection gained someone who gave it an entirely new dimension.
After the shoot, I wanted to get to know her beyond the visuals, so we continued our conversation where I find her most interesting — in the studio. About how her art comes to be, what happens when the material takes control of the original idea, why mistakes actually matter to her, and how much the way she observes the world spills into everything she makes. Of course, we also talked about fashion, her personal style, and the pieces from the current A’MARIE collection she chose for this story. But more than the pieces themselves, I was curious about what stands behind her choices — why certain materials, cuts, textures, and those small departures from the classic draw her in, giving the whole look its character.
Diana is one of those people whose creativity is hard to separate from everyday life. It’s in the way she works, thinks, chooses, combines — even in the way she leaves room for things she doesn’t yet know. And that’s exactly what we talked about. About art that doesn’t always need an answer, fashion that doesn’t always need a rule, and the need to sometimes simply leave enough space for something new to find us.
TO START, INTRODUCE YOURSELF THROUGH WHAT YOU DO TODAY. HOW YOU DID YOUR PATH TOWARD ART EVEN BEGIN?
Today I work primarily in painting, although my work often steps outside its classic boundaries and includes different materials, techniques, and the occasional detour into other media. Most of my everyday life is tied to the studio — from the work itself and preparing materials, to developing new ideas, exhibitions, and projects that happen in parallel. I actually like that the days differ quite a bit from one another, and that alongside the making itself there’s always something else to figure out, learn, or solve. Right now, talk of a new studio space is slowly opening up, which is a really important part of everything happening at the moment. My path toward art didn’t have one big turning point. It happened more naturally. From the School of Applied Arts and Design to the Graphics Department at the Academy of Fine Arts in Zagreb, I kept encountering different techniques and media. Painting somehow set itself apart through all of that and, over time, became my primary way of expressing myself.
WHEN DID YOU REALIZE THAT ART, FOR YOU, ISN'T JUST AN INTEREST, BUT A WAY OF LIFE AND A WAY OF SEEING THE WORLD?
I only really became aware of that important moment after my studies, which actually makes sense, because before that what I did didn’t have a real professional shape. There had been earlier contact with an audience, with buyers, with people interested in my work, but there was no need to shape it all into one coherent whole — the kind where, day by day, I learn from my own mistakes and set my own rules.
Maybe at first that doesn’t sound like a particularly inspiring moment of further discovering your love for art, but for me it was an important turning point. The Academy does offer a safer, somewhat dreamlike framework — space to explore, develop, and realize your own potential, but also to enter a wider social context. You meet colleagues, people, different experiences, and become part of a much larger circle you can learn and grow within.
After my studies, everything I’d come to know, master, and learn had to somehow be carried into real life. If you want to keep the privilege of having your day start and end in an environment you’ve created yourself, spending time in the studio, creating and continuing to develop your work — all of that eventually needs some kind of business structure too. That’s when I started noticing how much I use creativity outside the ‘canvas field’ as well — in organization, decision-making, communication, and solving everyday problems. All with the same goal: not to give up on the need to create, to grow, and to build my own story, with the wish that painting stays its priority.
It was encouraging to realize that this kind of thinking, and the ability to let creativity have a hand in everyday life too, actually brings results. That’s something no one can take away from me.
YOUR VISUAL LANGUAGE IS VERY QUIET - FULL OF MONOCHROME, EARTHY, GENTLE TONES, TEXTURES, AND EMPTY SPACE. WHERE DOES THAT PARTICULAR NEED FOR SILENCE COME FROM, IN A TIME WHEN WE'RE SURROUNDED BY SO MUCH VISUAL STIMULATION EVERY DAY?
I’m not sure. It’s hard to pin down a starting point. I’ve been asked this often in conversations about my work, so I’ve thought about the how and why quite a bit myself. I have explanations from a few different angles, but I don’t give too much weight to any single one.
I’m drawn to the idea of transgenerational inheritance — that some of our needs, inclinations, and fascinations don’t necessarily begin with us. At the same time, I believe our own experience shapes us. I find it interesting to think about why certain things excite us more than others, and where our fascinations come from. I don’t feel the need to pinpoint the exact source of my interests and needs. What’s more interesting to me is watching how they appear, and what comes out of them.
I imagine the world as a kind of vast spectrum of possibilities, and within it we’re constantly positioning ourselves — sometimes right at the edge, almost set apart, and sometimes fully agglomerated within the mass. I’m interested in observing my own spectrum and playing with its possibilities. For me, emptiness isn’t a space where nothing exists, but a space where something can finally be noticed or experienced more intensely. To give something importance, we have to pull it out of the crowd, clear it of unnecessary content, and in that way open up space for visual play.
YOUR WORK IS CLOSELY TIED TO EXPERIMENT, MATERIAL, AND THE PROCESS OF MAKING ITSELF. WHAT DRIVES YOU MOST TODAY - AN IDEA, A VISUAL MOMENT, THE MATERIAL THAT HAPPENS TO BE AT HAND, OR SOMETHING THAT HAPPENS COMPLETELY BY CHANCE?
For a shift and progress to happen in the work, I insist on giving going to the studio priority on my list. And when other obligations start pressing in on the schedule, I don’t give up on spending time in the work environment. Inspiration — or I’d say the moment of entering a state of satisfaction and full energetic action — isn’t a constant. I don’t show up at the studio door with the same energy and creative confidence every day. The feeling of stagnation is often frustrating, but it’s exactly in those gaps, in the absence of results, that the biggest shifts tend to happen — we just have to be there to meet them.
Depending on where I am at that moment, different things drive me. Sometimes technique alone is enough — showing up in the work space and replacing a lack of inspiration with simple tasks. Preparing canvases for production, for instance. On another occasion, visual solutions, materials, and segments from different times start connecting. Something I’d only just scratched the surface of in an earlier work or attempt suddenly becomes essential. The theme starts taking shape, and the feeling that it has no end provokes a restless need to keep working again. And that’s the most wonderful feeling.
In that rush there are no rules. I make bolder decisions, I make mistakes, I try out different variations, I get fascinated by coincidences. The works appearing in front of me start determining the direction I move in next. It’s wonderful to be in the process.
IN YOUR WORK YOU USE MATERIALS LIKE PLASTER, CHALK, CERAMICS, HEMP, CONCRETE, AND GLUE, AND YOU OFTEN MOVE AWAY FROM THE CLASSIC IDEA OF A PAINTING. WHAT DRAWS YOU SO MUCH TO MATERIAL AND ITS IMPERFECTION?
Through continuous work and experimenting with materials, I was trying to find a way of expressing myself that allows full focus and doesn’t create distance between me and the work. Different materials are exactly what opened up the possibility for me to witness different visual expressions and stay in a natural, close relationship with abstraction.
From the very beginning I was drawn more to my hands than to the brush. In the process I use different tools, but my fingers and hands are almost always immersed in the material. I often model the piece, and only at the very end do I ‘paint’ it. What draws me is that material isn’t fully predictable — it has its own properties, resistance, and imperfections that can change what I originally imagined. Through that kind of work I got to know myself and my own ‘artistic character,’ and over time I’ve moved closer and closer to what feels intuitive to me. With experience, I understand my own interests and particularities better, and then I try to explore them even further and claim them as part of my own language.
HOW IMPORTANT IS FOR YOU TO HAVE THE FREEDOM FOR SOMETHING NOT TO TURN OUT THE WAY YOU ORIGINALLY IMAGINED? CAN A "MISTAKE" IN ART ACTUALLY OPEN THE DOOR TO SOMETHING BETTER?
The process of making a piece is complex. It’s as if, in every step of the execution, I’m both catching what was imagined and searching for the idea at the same time. It feels like the piece is coming into being from two directions at once. Those parallel events often have points where they overlap — there’s a controlled approach with clear intention, but also results that come from a more spontaneous, exploratory approach. There’s almost never a rule for when something different, new, and unplanned is going to appear. The process itself is reason enough for there to always be a possibility of heading in some other, unknown direction.
The point of overlap happens when I end up recognizing the ‘surprise’ as part of that very work, when it somehow settles into it. That’s where control comes back in, because for something that happened by chance to truly become part of the work, you have to decide whether it’s worth the attention, whether it enriches what you’re intuitively reaching for, and so on. Sometimes I want more and feel the work hasn’t yet grown into the feeling guiding me, and even with a lot of effort and persistence, I don’t get there easily. Then the process goes two steps forward, three back, and round and round, until a solution appears that ‘puts everything in its place.’ Mistakes are frustrating, but welcome at the same time.
EVEN THOUGH ART IS YOUR PRIMARY LANGUAGE, CREATIVITY CLEARLY DOESN'T STOPE AT THE STUDIO DOOR. HOW IMPORTANT IS FASHION TO YOU AS ANOTHER FORM OF CISUAL EXPRESSION?
It’s extremely important to me, but I approach it completely without pressure. I wear simple, comfortable cuts, and, just like in my art practice, materials matter a great deal to me. I love touching every piece that ends up in my closet, so online shopping is almost never an option for me — maybe only for fashion accessories. ;) I prefer shopping in person, because what draws me in is usually the texture, the weight of the material, or some detail that would definitely be lost online.
Some pieces in my closet have their own story, others ended up in my hands completely unplanned. I enjoy the game of mixing and combining — there’s no end to the imagination in that. A piece meant for one function often ends up becoming multifunctional. Sometimes I just turn a t-shirt, a shirt, or some other piece the way that works for me, rather than the way the label says it should be worn.
Vintage pieces are also an essential part of it, adding charm to every outfit. Classics are definitely my favorite, but I often complete them with my own spontaneous ideas.
WHAT FIRST CAUGHT YOUR ATTENTION IN A'MARIE'S AESTHETIC, AND DO YOU RECOGNIZE SOMETHING IN IT CLOSE TO YOUR OWN SENSIBILITY?
The color palette, the cuts, and the choice of materials are definitely close to my own sensibility — it’s a lovely interplay between the classic and details that carry something contemporary. But what’s special to me, and something you manage in your own kind of magical way, is that almost every piece dances between two feelings: ‘this is cool, but this is also so elegant.’
From the ‘Unposed’ collection, I’d pick out the pieces with the high, modular collars and cuts you can shape according to your mood. I often pull out similar cuts from my own closet, because they give a sense of a kind of armor, ‘tailored to my own measure.’
IN THE CURRENT COLLECTION YOU FOUND A FEW PIECES YOU FELL ESPECIALLY IN LOVE WITH. WHICH ONES GOT UNDER YOUR SKIN AT FIRST SIGHT - AND WHAT MADE YOU CHOOSE THEM?
I was most drawn to the pieces that already, at first glance, carry a real autumn character, while still working beautifully for the in-between season.
The SONAA coat with the contrast collar was one I especially loved, because it can be combined with pieces that still hint summer is only just behind us. What gives this piece its full charm is the contrast collar — it lets you shelter comfortably from the wind, while also emphasizing the elongated silhouette and giving the whole look a dose of elegance.
The LIDA brushed-leather jacket completely changes the character of a combination, because its shape simply dominates. I find the emphasized sleeves especially interesting — they give the body a new silhouette and lend the whole piece a somewhat sculptural character. It carries an interesting duality within it — it feels powerful and self-assured, while at the same time being completely soft, comfortable, and easy to wear.
I’d also pick out the KOYA blouse with the shawl collar. Beyond the cut and the soft draping, I was especially won over by the fabric made from bark fibers, and the way it falls on the body.
IF YOU COULD KEEP ONLY THREE PIECES FROM THE CURRENT A'MARIE COLLECTION FOR YOUR OWN CLOSET, WHICH WOULD THEY BE?
Definitely a leather jacket — and since shades of brown have completely taken over my closet lately, I’m torn between KLO and ONYA. ONYA does have that asymmetrical moment that gives the whole piece a distinctive character, so I might give it a slight edge.
Even though dresses aren’t my first choice for daytime looks, I consider them an essential part of an autumn wardrobe. My favorite is SIENNA in dark grey — I can picture it with elegant shoes just as easily as with sturdy boots, worn with a leather jacket or blazer over it.
My third choice would be the YALI sweater with the collar. I love feeling really warm and comfortable, but it’s just as important to me to choose pieces that don’t depend too much on trends and can evolve along with my wardrobe. Its cut leaves a lot of room to play — just changing what I wear underneath gives it a completely new character.
IS THERE A PIECE OF CLOTHING THAT FIT YOU SO WELL IT REVEALED A NEW VERSION OF YOURSELF?
With most pieces, the moment I take them off the hanger and head toward the changing room, I can already picture them on myself and guess how they’ll fit. With the ERAN dress, it was different. The fabric is fairly heavy, the cut isn’t entirely obvious at first glance, and only once it settles onto the body and is further shaped by the tie does the dress find its true form. The click didn’t happen right away, but the longer I wore it, the more I had that feeling: ‘ah, so it can work this way too.’
It’s interesting how some pieces dance between how we experience ourselves and how others see us. This dress, in particular, got the most enthusiastic reactions from others, with comments that it really carried my character well. I love those small shifts, and the chance to see myself in something different. That’s exactly why surprises like this are so interesting to me — they nudge the image we hold of ourselves, and show us that something we might never have chosen on our own can actually suit us.
BOTH ART AND FASHION DEMAND A PERSONAL SIGNATURE. WHAT DOES HAVING YOUR OWN STYLE MEAN TO YOU - IN DRESSING, BUT ALSO IN ART?
For me, having your own style means, above all, feeling good in your own skin. I think that through any form of expression, we get to know ourselves and slowly build our own micro-world where things work by our own rules. That world keeps swaying between what feels close to us and what we’re still exploring. Once you have that starting point, you’re more confident in your own decisions and waste less energy on what belongs to others. It’s nice to be part of the variety that surrounds us, but it’s just as important to build a space where we feel like ourselves.
IN YOUR WORK YOU TALK A LOT ABOUT AUTHENTICITY, EXPLORATION, AND STEPPING OUT OF YOUR COMFORT ZONE. WHAT DOES BEING A STRONG WOMAN MEAN TO YOU TODAY?
I’d say I look at my own strength from more than one angle. I grew up in a family surrounded by far more men than women. Because of that, I sometimes felt special, sometimes privileged, and sometimes like I had to fight for my place in certain topics and spaces. Growing up in a large family left an even bigger mark on me. It’s an invaluable gift to sometimes blend into the crowd — quietly and unnoticed developing your own interests, keeping mistakes to yourself, hiding your plans, and feeling free in an environment where you’re not always the center of attention.
And then, when it’s needed, you learn to step forward and say: here I am, this is what I do and how I think.
I think that environment shaped a good part of my relationship to strength. It taught me that I can be completely independent in what I do, without cutting myself off from others. And that’s still the relationship that suits me today — working alone, making my own decisions, and then bringing what I’ve made out in front of others and letting it start living outside the studio.
LOOKING AT WHERE YOU ARE TODAY, AFTER ALL THE EXHIBITIONS, PROJECTS, RESEARCH AND EXPERIMENTS - WHAT WOULD YOU LIKE THE NEXT CHAPTER OF DIANA TROHAR TO BE?
The next chapter is actually already quietly taking shape. I’m looking forward to a new studio that should open up more space for work, experimentation, and new formats. I’m also drawn to stepping outside the classic exhibition format now and then, to collaborating across other creative fields, and to situations where my work can be seen in a completely new context.
I think there’s still a lot I want to do, but I don’t feel the need to define it all in advance. Right now, what interests me most might be leaving enough space to let my own work take me somewhere I haven’t been yet.
IF YOU COULD DESCRIBE YOUR LIFE TODAY IN ONE COLOR - WHAT WOULD IT BE?
Definitely something from the spectrum of light, unsaturated tones.
WHAT'S YOUR FAVORITE SOUND?
Gentle nature, and people in a good mood.
WHAT YOU WOULD LIKE TO KNOW, BUT DON'T YET?
How to ski well.
IS THERE A PLACE WHERE YOU THINK DIFFERENTLY?
I think the best and worst places are often the ones inside us, so it matters to me to be aware of where I am at any given moment. It’s interesting to watch how sometimes we pack up easily and go a different way, and sometimes it’s as if we realize we made a mistake because we didn’t take a return ticket right away. When I don’t have that return ticket, I really love physically going somewhere I can quiet the noise in my head, see something astonishing, and feel alive. I love the sea, the salt, the wind, and some perfectly ordinary sights we often take for granted.
IF YOU COULD BORROW SOMEONE'S VIEW OF THE WORLD FOR A DAY - WHOSE WOULD IT BE?
A little anecdote: a preschool teacher asks, ‘What do you want to be when you grow up?’ After police officers, footballers, and similar answers, my nephew Karlo says: ‘I want to be a butterfly.’
The possibilities are endless. I’d love to see the world through those eyes.
Thank you to Kolekcionart gallery for lending us the space for the photo shoot.
Photography: Mateja Sučević