Journal 16 / 2020 (Museum of Applied Art. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Printed edition)
PDF of the printed edition (3.0 MB)
Editor in Chief: Ljiljana Miletić Abramović, МА
Issue Editor: Andrijana Ristić, МА
Jelena Erdeljan, PhD (University of Belgrade, Faculty of Philosophy, Belgrade)
Claudia Casali, PhD (International Museum of Ceramics, Faenza, Italy)
Miroslav Karić (Museum of Contemporary Art, Belgrade)
Slobodan Danko Selinkić (University of Novi Sad, Faculty of Technical Sciences, Novi Sad)
Ljiljana Miletić Abramović, МА (Museum of Applied Art, Belgrade)
Slobodan Jovanović (Museum of Applied Art, Belgrade)
Andrijana Ristić, МА (Museum of Applied Art, Belgrade)
Issue Editorial Assistant: Slobodan JovanovićAll the papers in the sections Contributions, Polemics, Critic Reviews and Reviews are peer reviewed.
Danijela Velimirović, PhD, University of Belgrade, Faculty of Philosophy – Department of Ethnology and Anthrophology
Milena Dragićević Šešić, PhD, University of Arts in Belgrade
Professor Jelena Erdeljan, PhD, University of Belgrade, Faculty of Philosophy – Department of Art History
Draginja Maskareli, Senior Curator, Museum of Applied Art, Belgrade
Jelena Matić, MA, Art and Media Theorist, Belgrade
Jelena Mežinski Milovanović, Serbian Academy of Sciences and Arts, SASA Gallery, Belgrade
Jelena Perać, Museum Advisor, Museum of Applied Art, Belgrade
Maja Petrović, MA, Associate Professor, University of Arts in Belgrade, Faculty of Applied Arts – Costume Design Department
Nikola Piperski, PhD, University of Belgrade, Faculty of Philosophy – Department of Art History
Bojana Popović, Museum Advisor, Museum of Applied Art, Belgrade
Professor Simona Čupić, PhD, University of Belgrade, Faculty of Philosophy – Department of Art History
Olivera Stojadinović, PhD, University of Arts in Belgrade, Faculty of Applied Arts – Applied Graphics Department
Contents of the Jouurnal 16 / 2020 (Museum of Applied Art. Online)
CORRESPONDENCE BETWEEN PAINTED, PRESERVED AND METAPHORICAL CLOTHES ON THE EXAMPLE OF PRINCE LAZAR AND WALLACHIAN PRINCE NEAGOE BASARAB
The transfer occurs within the cultural dynamics of religions and visual culture in the territory of the medieval Serbia and the principality of Wallachia, as parts of the extended Mediterranean world, in the first half of the 16th century. The interaction between the three dominant religions – Christianity, Islam and Judaism, during the ambitious Ottoman conquest and the great waves of migration are what constructs the visual identity of this region. Therefore, this paper is a contribution to the understanding of the social changes that can be perceived in the circulation of textiles (clothes), or rather in the correspondence between painted, preserved and metaphorical clothes.
MILITARY UNIFORM AND FASHION FROM THE MIDDLE 19TH TO THE BEGINNING OF 20TH CENTURY
Attention has been drawn to the changes in the appearance of the Serbian army during the 19th and at the beginning of the 20th century, which fits into the main trends of European military fashion. The uniform, as modern clothing, encouraged a new way of production, and the officer's suit was an incentive for the development of consumer culture in Serbia. It was also an important constituent in fixating social identities.
Men's civilian suit was often described as 'uniform', while the colourful vividness and decorativeness of the uniform were the characteristics that brought it closer to the way a woman's body was dressed. Due to its splendour, the parade uniform, like a woman's dress, attracted attention, but other types of military clothing were also in service of constant supervision over the uniformed body in public. Military uniform shared strict rules of wearing with men's clothing, depending on the occasion, which was another way of disciplining an individual.
Comparing military uniforms and civilian clothing, noticing their similarities and differences from the point of view of their meanings and functions in society, provides an opportunity to better understand the role that clothing in Serbia in the 19th century had in the construction of collective identity.
LOST FASHION ARTEFACTS OF QUEEN DRAGA OBRENOVIĆ: Between the Auction Sale and Later Stage and TV Evocations
The awareness of lost heritage can always be raised by means of a creative act which, unlike historiography, is not easily subjected to alteration and censorship 'from above'. This was exactly our starting point from which we have addressed the question of alienation of Queen Draga's fashion artefacts and their resurgence in social imagination – on stage and TV / film screen. The stagings (Miloš Crnjanski's play Konak) and adaptations (TV series The End of the Obrenović Dynasty), including a rather arbitrary and highly romanticised Hollywood portrayals of the ill-fated Serbian queen (e.g. Pola Negri in A Woman Commands, 1932), have been discussed in this paper as an alternative or parallel memory, capable of creating a long-lasting effect on viewers, thus provoking further heritage and memory processes.
THE SOUND OF THE LETTER: ABOUT THE LIFE AND WORK OF IVAN BOLDIŽAR
GOBELINS AS NEGOTIATING PICTURES OF THE GENDER AND CLASS IDENTITY CONSTRUCTION
PHOTOGRAPHS AND PAINTED PORTRAITS OF SERBIAN PRINCE MILAN OBRENOVIĆ BY FELIX NADAR STUDIO IN PARIS
FASHION AS AN ARTIFACT OF THE YOUTH COUNTER-CULTURES IN THE 1960s AND 1970s
UTICAJ UMETNOSTI NA SLOVENAČKU MODU
Tokom druge polovine XX veka, slovenačka odevna industrija je iz malih preduzeća prerasla u važan faktor u privredi zemlje. Paralelno sa razvojem svojih proizvodnih kapaciteta, firme su razvijale i modni dizajn koji je imao značajan uticaj na slovenačku modu. Pored moćnog modnog dizajna, slovenačka odevna industrija je bila svesna važnosti uključivanja raznolikih kreativnih aktivnosti u sam proces stvaranja kolekcija. Tako je početkom 1970-ih, firma Prebold pozvala tri slovenačka slikara – Andreja Jemeca, Janeza Bernika i Jožeta Horvata – da dizajniraju uzorke tekstila. Rikard Gumzej je kasnije od ovog materijala dizajnirao odeću za firmu Gorenjska oblačila. Nekoliko godina kasnije, 1987. godine, slikar Klavdij Tuta je sarađivao sa firmom Ideal iz Nove Gorice i njihovom dizajnerkom Vidom Slokar na razvoju jedinstvene kolekcije. Promene u društvenom kontekstu krajem 1980-ih, na koje odevna industrija nije reagovala, dovele su do pojave stvaralaca koji su ispitivali umetnički izraz u medijumu odeće. Alan Hranitelj, Ema Kugler, grupa autora Linije sile, Mojca Pungerčar, Lidija Bernik, Ksenija Baraga i drugi stvarali su odevne forme koje su prevazilazile stroga funkcionalna i proizvodna ograničenja u odnosu odeće, mode i tela. Odevne forme su tako ušle u polje kostimografije, performansa i umetničkih predmeta. Rad ovih autora s kraja 1980-ih i početka 1990-ih ogledao se u radu nezavisnih modnih dizajnera, koji su se pojavili kao paralelni akteri u slovenačkom modnom prostoru.