Dragoslav was football reduced to instinct, speed of thought, and pure exhibition. Quick, elusive, and endlessly inventive with the ball, he played with a confidence that bordered on arrogance. His technical ability was impeccable, his creativity disarming, and his relationship with the ball almost obsessive: it seemed glued to his foot, following every feint, drag and sudden change of direction.

Šekularac was one of the greatest showmen Yugoslav football ever produced, a genuine crowd magnet. In early-1960s Yugoslavia his popularity went far beyond the pitch, turning him into one of the most recognisable figures in the country, a cultural icon as much as a footballer. People came to watch him, not just the match.

Super-creative and sometimes downright indulgent, he embodied a style that today would make him a futsal phenomenon: rapid execution, a vast catalogue of skills, and an ability to humiliate defenders in tight spaces. This was football played for pleasure as much as for result, with imagination always taking precedence over discipline.

And therein lay the contradiction. For all his brilliance, Šekularac was often criticised for a lack of team play, for a tactical anarchism that irritated coaches and purists alike. Some questioned his effectiveness, pointing to a perceived imbalance between his extraordinary talent and his overall statistical output. Others saw his attitude as disrespectful to the collective nature of the game.

Yet reducing him to those criticisms would be misleading. Šekularac enjoyed a high-level career both at club and international level, winning the silver medal at the 1956 Olympic Games and delivering an outstanding European Championship in 1960. He was, unmistakably, a top-class Slavic talent , fantasy-driven, tactically free, allergic to sacrifice, but capable of changing the temperature of a match in a single moment.

A player of extremes: dazzling, frustrating, irresistible.