Dragana entered the fashion industry as a painter. While studying painting at Belgrade’s Academy of Arts, she began working as a graphic and interior designer, and later designed costumes for film and theater, as well as for Serbian, Italian and American apparel companies.
Shape tailoring and high quality fabrics have always been Dragana’s signature. Dragana’s dedication to fine and monochromatic vision attracted a loyal clientele.
Dragana has been presenting her collections annually since 1992, and now shows in three to four local and international fashion shows per year. She has presented her work in Italy, France, Austria, Mexico, Cyprus, Hungaria, Romania, Bulgaria, England (Institute of Modern Art London) and USA (Miami Fashion Week).
Currently, Dragana is designing costumes for the Parisian Theatre d’Atelier.
Over the past several years, Dragana’s toned-down collections have created quite a stir in the media: Book Moda, Elle, La Republica, Der Standard, Wallpaper, Herald Tribune, New York Times, Nylon, Harpers Bazar and others have all covered her collections.
Her work has also been presented on Fashion TV, TV Rai Uno, TV5 and Mexican National TV and several American TV stations.
In 1999, the d.o. brand expanded its product line to include d.o. home, offering home accessories made of wood, metal, glass, porcelain, paper and wax.
In 2002, d.o. fashion introduced yet another new line: “software”, a line of moderately priced casual wear. Today, d.o. also offers women’s ready-to-wear handbags, shoes, leather goods, jewelry and other accessories.
In 2009 d.o. je is expanded one more in d.o. Flowers, flower shop.
Dragana now boasts four shops in downtown Belgrade (Serbia), a studio and a production facility.
Since her student days at the Academy of Fine Arts to this day Dragana Ognjenović has been projecting her visions in different ways. She applies her personal artistic experience equally to fashion and to the design of people's everyday environment, including utility objects in it. Her ideas travel through various segments and she leaves her mark on everything she touches. She has found alternatives, different directions for her painting, which lead to highly inventive projects invested also with a humane note. Namely, under her supervision the story woven around My Little Table is also being written by those who are seldom supported and encouraged – children suffering from arrested development. She devotes to them all the time in the world, patiently nourishing them with art.
She is capable of finding the opportunity for creation in every element of the reality. And yet, fashion is indubitably the first thing that comes to mind when her name is mentioned. She offers us a simply dressed woman who moves along the catwalk decently, in a restrainedly cut dress that can be worn both in daytime and in the evening. A specific performance happens during her shows. In the resounding silence her models come and go, emerging from subdued light. Then they stop for a moment and offer this chiaroscuro to our eyes. It is her initial formula of expression which she has observed throughout her creative time. But even if her art preserves its physiognomy, it is nevertheless increasingly enriched by various suggestions and hints; she is always herself and she never repeats herself. Dragana’s colour, which is almost always the focus of the expressive research of her colleagues, has its steady place only in a contrasting black-and-white dialogue. Her sketches, her drawings become wearable dresses made of different fabrics which are offered to the public eye with a photographic camera. And indeed, if we cast our minds back to the early black-and-white (or sepia) photographs, we have to admit that they were highly suggestive and that they did not lack colour. The photography, therefore, opened to art in black and white. The blue sky was white and the sea, for instance, black. In fact, we had a photograph as a segment of visible art deprived of colour offering us nonetheless the best possible perception of that particular picture of life and we see it in all its fullness. Although this or that colour may prevail depending on the season, Dragana offers us her quite classical attire. When everything comes to a stop, her girls step from fiction into reality leaving the clothes so that somebody else can put them on. The next moment it is all over and the author remains silent, wondering how her ideas were received. An artist can express his or her ideas in different ways, live in dual reality, express his or her need for a complex idea in the simplest way possible and through his or her identity show evidence of the desire to expand the scope of his or her creativity.