“A costume that isn’t functional isn’t a costume” – with this simple yet powerful statement, Amna Kunovac Zekić sums up her philosophy of costume design. In the world premiere of the opera Diocletian, this award-winning costume designer faced the challenge of shaping a complex historical world without any prior performance references. Balancing fidelity to the Roman era with the emotional depth of the characters, Kunovac Zekić created a rich visual layer for the production through a careful selection of fabrics, colours, and textures.

The opera "Diocletian" is set in the period of the Roman Empire, but it also follows an intimate family story and explores political intrigue. How do you approach balancing historical costume authenticity with the expressive needs of characters on stage?
This complex historical story, the significance of a work that had never been fully staged, and my respect and fascination with the figure and work of Mr. Ivo Tijardović led me to approach this task with great care, fully appreciating the era and the setting in which the action takes place. However, that was just the framework within which I tried to portray these truly lifelike and realistic characters, their roles in society, and their diverse personalities. When the historical period leaves little room for experimentation in form—as is the case in this production—there are still colours, textures, details, and of course, makeup and hair.

You mentioned in a previous interview that fabric is both a source of love and inspiration for you. What materials and textures did you choose for this production, and how do they contribute to the atmosphere and character development?
I tried to choose fabrics that are close to those used in that period, because not only is it the easiest way to place the action where it belongs, but it also helps the performer immediately step into that world and their role—through the feel and weight of the fabric, but also its appearance and visual effect. Especially in productions like this, where there are often numerous people on stage, fabric becomes extremely important. I would say it’s the first thing you see when the curtains open—its colour, texture, impression... Fabric reveals social status, and colour in Roman times made a significant distinction between the rich and the poor. I tried to be precise in that as well. We used a variety of fabrics, including cotton, linen, silk, and some that imitate silk. The only slight deviations from Roman colour palettes were in cases where symbolism or the visual concept of the scene demanded it.

Considering that Diocletian has never been fully staged before, how challenging was it to work on the costumes?
It was both easy and challenging at the same time. Difficult because I believed it was important—and felt a particular responsibility—to respect the original vision of the opera’s creators for this world premiere. At the same time, free from any references, I had the freedom to create a visual concept that was entirely my own, without any deliberate or unintentional influence from possible past interpretations. The entire production was a challenge for me, not only because it was my first collaboration with the Croatian National Theatre in Split, but also due to the complexity and scale of the performance. About twenty soloists who change costumes from scene to scene, different military and civilian costumes for the large chorus, a ballet with six separate numbers, and grand ceremonial scenes—all of this required research, careful planning, and, in the end, precise organisation to ensure everything could be brought to life.

Costumes in opera often need to support both the movement of performers and their vocal performance. How do you reconcile aesthetic and technical requirements, especially in such a monumental production?
Given that my career has primarily been built on designing ballet costumes, and that I’ve been working in costume design since 1998, aligning costumes with performers' movement is something that’s already embedded in my initial vision—I don’t even think about it anymore; it’s a given. A costume that is not fully functional for its intended purpose is not a costume. I always strive to consider the weight of the fabric, its composition, cut, ease of dressing, and the maintenance of costumes for all future performances, as much as possible without compromising the visual impression. Of course, some small compromises must always be made in theatre, both on my side and the performers’. Finding a solution that satisfies everyone involved in the creative process is, to me, the essence of costume design.

Finally, is there a costume in this production that holds particular symbolic meaning for you?
Symbolism, for starters, is woven into the specific color palette chosen for each of the opera’s nine scenes—each of which often involves a time jump or unfolds in a different geographical setting. Every scene has its unique drama, its emotional tone, and I tried to express that through colour. The performance begins with brightness and light, and ends in darkness and heaviness. All of that has its reasons. Within that framework, every soloist’s costume evolves, adapting to changing circumstances and their personal emotional and psychological states. I would say that symbolism is woven throughout.

Amna Kunovac Zekić graduated from the Academy of Fine Arts, Department of Product Design, in Sarajevo. She has received numerous awards and recognitions for her professional achievements. In addition to regularly designing costumes for theatre productions, she is also a successful fashion designer.