Nogometaš Sergio Barrano ističe da njegov pristup odijevanju nije rezultat sezonskih diktata ni želje za društvenim odobravanjem, već ima bazu u individualnosti i emotivnom doživljaju odjeće.
Barrano stil ne vidi kao reprezentaciju statusa, nego kao proces, neprestano istraživanje forme, strukture i osobnog identiteta kroz tkanine, siluete i kontekst. Njegova garderoba nije tek zbirka brendova, već paleta ideja u kojoj se slobodno prepliću luksuz i svakodnevica, eksperiment i introspekcija.
Glasses: Oakley (Collector’s Edition), Hoodie: Enfants Riches Déprimés, Pants and Shoes: Rick Owens, Bag: Hermès Birkin.
„Vrlo lako mijenjam stil“, kaže. „Jedan dan mogu izgledati kao da sam sišao s modne piste, a sljedeći potpuno minimalistički, inspiriran japanskom estetikom ili streetwear scenom. Ne postavljam si granice, za mene je najvažnije da se osjećam dobro i da ono što nosim ima smisla u tom trenutku.“ Upravo u toj fluidnosti leži njegova modna snaga: sposobnost da modni izraz ne bude kostim, nego produžetak osobnosti.
Velik dio njegove estetske imaginacije proizlazi iz japanske kulture, posebice animacije.
Barrano tu inspiraciju ne tumači površno, nego konceptualno. Japanski crtani filmovi, kaže, fasciniraju ga slobodom izraza i ekspresivnošću oblika.
T-shirt: Enfants Riches Déprimés, Pants and Shoes: Rick Owens, Scarf: Isabel Marant, Glasses: Givenchy, Bag: Louis Vuitton Speedy 25;
;„Mnogi se iznenade kad čuju da inspiraciju nalazim u crtićima, ali japanska animacija ima nevjerojatnu vizualnu dubinu. Od boja do silueta, sve je u njoj sloboda. U tim referencama pronalazim poticaj da budem svoj, umjesto da slijedim pravila.“ Taj pristup odražava suvremeni postmoderni pogled na modu, shvaćanje da estetika može nastati iz neočekivanih izvora, iz kulture koja miješa visoko i popularno, luksuzno i svakodnevno.
Barrano prati modne trendove, ali ih promatra s distance. Ono što ga privlači nije logo, već kroj, struktura i osjećaj koji komad izaziva.
„Najvažnije nije tko je potpisao odjeću koju nosiš, nego kako ju nosiš. Samopouzdanje, stav, način na koji se krećeš, to određuje imaš li stil ili ne.“ Njegov pristup odgovara filozofiji „modne autentičnosti“, ideji da odjeća dobiva posebno značenje u dodiru s tijelom, pokretom i samopouzdanjem onoga tko je nosi.
Na popisu njegovih omiljenih dizajnera nalaze se Rick Owens, Chrome Hearts, Louis Vuitton, Vetements i Balenciaga. Posebno mjesto zauzima Rick Owens, čiji rad Barrano opisuje gotovo antropološki: kao istraživanje odnosa tijela i forme.
Full Outfit: Louis Vuitton with Nike Air Force x Off-White (Virgil Abloh), Bag: Louis Vuitton Speedy P9 by Pharrell Williams, Glasses: Givenchy
„Owens ima taj futuristički moment koji mi jako odgovara. Njegova odjeća nije samo modna, već skulpturalna. Kad je nosim, osjećam se snažno, ne zbog ega, već zato što znam da sam autentičan. Ljudi se često boje odijevati onako kako bi htjeli jer ih koči mišljenje drugih, ali to nema smisla. Moj štit je moje samopouzdanje.“
U Barranovom poimanju, moda je i sredstvo komunikacije, odnosno neverbalni jezik kroz koji prepoznajemo sličnost i pripadnost.
„Odjeća zaista komunicira“, kaže. „Ponekad, kad sretnem osobu čiji stil odmah primijetim, ne trebamo ni progovoriti. Pogledi se sretnu i sve je jasno. Prepoznaješ ukus, znaš je li netko sklon luksuzu, minimalizmu, eksperimentiranju. To je jezik bez riječi, koji često otkriva i koliko je netko u skladu sam sa sobom.“ Ta ideja „modnog dijaloga“ ukazuje na šire sociološko značenje odijevanja, činjenicu da stil funkcionira kao oblik identifikacije, ali i introspekcije, kao vizualna kartografija osobnosti.
Premda se ne ustručava eksperimentirati, Barrano jasno razlikuje originalnost od imitacije.
Krivotvorine naziva „otrovom industrije“, smatrajući da narušavaju samu bit kreativnosti i poštovanja prema autorstvu. Time zauzima stav koji odražava svijest o modi kao kulturnom i etičkom sustavu, ne samo estetskom.
T-shirt: Vêtements, Pants: Louis Vuitton, Shoes: Nike Jordan Off-White Chicago, Bag: Louis Vuitton Speedy 25 Red;
Za Barrana, odjeća nije tek površinski ukras, već svakodnevna praksa istraživanja vlastitog identiteta.
Stil je za njega prostor slobode, način da bude autentičan, neovisno o očekivanjima okoline. U njegovim modnim kombinacijama, od Rick Owensovih skulpturalnih krojeva do streetwear elemenata, zrcali se suvremeni duh individualizma: ideja da je istinska elegancija uvijek osobna, a ne propisana.
HERRINGBONE TWEED # povijesni stilski uzorak početak ima u rimskoj arhitekturi
Sergio Barrano: A Fashion Introspection on Freedom, Authenticity, and the Aesthetics of Everyday Life
For Sergio Barrano, a footballer whose style has increasingly captured the attention of the fashion world, dressing is not the result of seasonal dictates or a desire for social approval. His approach to fashion is rooted in individuality and emotional connection to clothing.
Barrano sees style not as a representation of status but as a process, a continuous exploration of form, structure, and personal identity through fabrics, silhouettes, and context. His wardrobe is not merely a collection of brands but a palette of ideas in which luxury and everyday wear, experimentation and introspection, blend freely.
“I can easily change my style,” he says. “One day I might look like I’ve just stepped off a runway, and the next I’ll dress in a completely minimalist way, inspired by Japanese aesthetics or streetwear culture. I don’t set boundaries, what matters most is that I feel good and that what I wear makes sense to me in that moment.” It is precisely this fluidity that defines his strength in fashion: the ability to make style an extension of personality, rather than a costume.
Much of Barrano’s aesthetic imagination stems from Japanese culture, particularly animation.
He doesn’t approach this influence superficially but conceptually. Japanese cartoons, he explains, fascinate him with their expressive freedom and visual intensity.
“People are often surprised when I say I find inspiration in cartoons, but Japanese animation has incredible visual depth. From color to silhouette, it’s pure freedom and expression. I find motivation in those references to stay true to myself rather than follow rules.” This perspective reflects a contemporary, postmodern understanding of fashion, the idea that aesthetics can emerge from unexpected sources, from a culture that merges high and popular art, luxury and the everyday.
Barrano keeps an eye on trends, but always with critical distance.
What attracts him is not the logo but the cut, the structure, and the feeling a garment evokes. “The most important thing isn’t who designed what you’re wearing, but how you wear it. Confidence, attitude, the way you move, that’s what determines whether you have style or not.” His philosophy aligns with the notion of “fashion authenticity”, the idea that clothing gains meaning only in relation to the body, movement, and self-assurance of the wearer.
Among his favorite designers are Rick Owens, Chrome Hearts, Louis Vuitton, Vetements, and Balenciaga.
Rick Owens holds a special place in his aesthetic universe, which Barrano describes almost anthropologically, as an exploration of the relationship between the body and form.
“Owens has that futuristic energy that really resonates with me. His clothes aren’t just fashion, they’re sculptural. When I wear them, I feel powerful, not out of ego, but because I know I’m being authentic. Many people don’t dress the way they’d like to because they’re afraid of what others will think. But that makes no sense. My shield is my confidence.”
In Barrano’s view, fashion is also a form of communication, a nonverbal language through which people recognize similarity and belonging.
“Clothing truly communicates,” he says. “Sometimes, when I meet someone whose style immediately stands out to me, we don’t even need to speak. Our eyes meet and everything is clear. You can recognize taste, whether someone leans toward luxury, minimalism, or experimentation. It’s a language without words, and it often reveals a lot, even about someone’s social background or how comfortable they are in their own skin.” This idea of a “fashion dialogue” points to the broader sociological meaning of dress, that style functions both as identification and introspection, as a visual map of one’s personality.
Though he enjoys experimentation, Barrano draws a clear line between originality and imitation. He describes counterfeit pieces as “the poison of the industry,” arguing that they harm creativity and disrespect the artist’s work. In this stance, he reflects an awareness of fashion as both a cultural and ethical system, not just an aesthetic one.
For Sergio Barrano, clothing is not a superficial decoration but a daily practice of self-discovery. Style is, above all, a space of freedom, a way to be authentic without the need for validation. In his combinations, from Rick Owens’s sculptural tailoring to streetwear influences, we see the contemporary spirit of individualism: the belief that true elegance is always personal, never prescribed.
XD Xenia Design jesen/zima 25/26 # moda kao snoviti pokret, bljesak trenutka. Nova linija XD Couture analizira i demonstrira pojam luksuza
Vuna kao budućnost održivih materijala @ TTF # istraživanja, inovacije i lokalna praksa
