The paper presents an analysis of the photographs of the Karađorđević royal family made by the photographer Vladimir Benčić in 1923 at the birth of Crown Prince Peter II, and articles about the event published in daily press.

Attention is first drawn to the role of mass media, as a practical means of disseminating royal ideology in public, while establishing the new position that European monarchs and the monarchy as an institution had to take in the life of a th nation during the 19 century. It was believed that the popularity of the ruling dynasties depended on how successfully they managed to represent themselves as a combination of the ordinary and the serene with the aim of establishing a specific communication and emotional ties with their subjects.

The paper further analyzes the coverage of the Crown Prince's birth in print and visual media in the Kingdom of Serbs, Croats and Slovenes. The photographs of the Karađorđević royal couple with the newborn Crown Prince show an image of the royal family that is close and acceptable to the masses and that enables them to be indirectly involved in the Crown Prince's birth. These photos are infused with functional emotionality and they are marked with an informal visual presentation. The marriage between the King and the Queen is depicted as the epitome of an idyllic and harmonious marriage, a model for their subjects, while the Queen is shown as an ideal woman, wife and mother. The newborn Crown Prince was seen as the symbol of the newly established Kingdom of Serbs, Croats and Slovenes. His birth not only ensured the continuity of the dynasty but it also confirmed the stability of the newly founded state, which was particularly highlighted in newspaper articles.

Univerzitet Nortvud (Northwood University), privatna poslovna škola, osnovana je 1959. godine u srednjem Mičigenu, sa ciljem da obezbedi priliv stručnjaka širokog obrazovanja u različite sfere poslovnog sveta. Jedan od značajnih principa škole, verne idejama slobodnog preduzetništva, bio je isključivo samofinansiranje kroz školarine i priloge zainteresovanih kompanija i pojedinaca. U tom cilju, slično volonterskim grupama u crkvama, organizuje se Ženski nacionalni odbor, koji sy sačinjavale ugledne, talentovane članice lokalnih zajednica. Odbor je pomagao u prikupljanju donacija, afirmaciji škole i u realizaciji brojnih kulturnih programa. Jedna od članica Odbora, vikontesa Harijet de Rozijer (Harriet de Rosière), došla je na ideju, sredinom osme decenije XX veka, da zamoli svoje mnogobrojne prijatelje iz svetskog džet seta, da u svojim garderobama pronađu primerke haute couture koje više nisu želeli da nose i da ih proslede na adresu sedišta Ženskog odbora u Hjustonu (Nortvud je 1984. godine otvorio svoj drugi kampus u blizini Dalasa). Kolekcija služi kao sredstvo za očiglednu nastavu na Odeljenju za modni marketing i promet, ali i kao izložbeni materijal na raznim svečanim skupovima i izložbama visoke mode. U tom prvom prikupljanju, u kolekciju je stigla i prelepa večernja haljina koju je NJeno visočanstvo kneginja Barbara od Lihtenštajna (i Jugoslavije), supruga kneza Aleksandra (Pavla) Karađorđevića, nosila 1977. godine. Toaleta koja je izrađena od tamnoljubičastog svilenog žerseja sadrži brojne elemente koji nedvosmisleno ukazuju da je ovu veoma neobičnu haljinu kreirala čuvena Madam Gre (Madame Grès), jedna od najtalentovanih couturieres XX veka koja je i u periodu posle Drugog svetskog rata ostala verna ručnom modeliranju i izradi svake toalete, lišavajući se tako profitabilnog licenciranja svoje etikete (masovna proizvodnja prête à porter odeće). Iako je veliki broj njenih skica uništen prilikom zatvaranja pariskog salona 1988. godine, primerci izrađene odeće su mnogobrojni i brižno se čuvaju u najvećim svetskim privatnim i muzejskim zbirkama.

Queen Natalija (Natalie of Serbia) was a fashion icon of her time and similarly to women rulers at European courts, she paid special attention to the dress that was meant to represent her sovereign body. The fashion at the court in the second half of the 19^th century reflected both politics and personal tastes. Through dress, the Queen's body was turned into a symbol.

Queen Natalija expanded the scope of costume's influence: she carried out a genuine fashion revolution by tailoring costume for each of her roles, which she had many, instead of sticking to two dress styles: for private and public spheres. Among photographic documents we can find examples that show her various identities: a femme fatale, a wife, a mother, a Serbian woman, a fashion icon. We can see her as a young woman flirting with the beholder in a dress tailored with the idea of emphasizing her feminine attributes and eroticism, but we can also see her as a lady who seduces by hiding the body under the folds of lace, which suggest more than they reveal. In the private sphere, the Queen was shown as a modest and balanced woman dressed in simple and practical clothing, alluding to women's intellectual side, in response to the eroticization that occurred in public life. The role of a mother was another important sphere because the family was considered to be a nucleus in the 19^th century and the royal family was supposed to be an ideal to be striven for by all citizens. Finally, we can see the Queen in the folk dress, which she used to emphasize her commitment to the country, its history, tradition and culture.

Despite the many identities placed before Queen Natalija, she managed to appear dignified. In the medium of photography, Queen Natalija can be seen as a modern woman who both consumed and dictated the fashion of her time.

In this paper, Christian Dior's New Look is presented primarily as a text to be analyzed and interpreted with regard to the context in which it was created and texts with which it comes into contact. The theoretical framework of the paper relies on the works of Roland Barthes, Umberto Eco, Yuri M. Lotman and the fashion theorist Malcolm Barnard.

In this study, dress is seen as a constituent part of the historical and cultural milieu in which dress practice takes place, as well as an individual response to the prevailing fashion discourse. Creators of fashion, just like any authors, certainly imprint messages on their works, whose creation is influenced not only by authors' intentions and available knowledge but also by the ideological sphere and communication circumstances under which they are created. The work thus contains codes that we seek to analyze in the process of "contextual interpretation." As far as the New Look is concerned, we have established that the context endows a garment with meaning because it is the context that enables us to read polysemic messages in a certain way. By tracking Dior's New Look through examples in fashion and dress practice, with special emphasis on the adoption of the New Look silhouette in the clothing practice of the Federal People's Republic of Yugoslavia, we have confirmed that it was subject to an unlimited process of generating meanings. The New Look has also become a symbol of the Dior fashion brand, a status symbol, a symbol of decadence in fashion, a symbol of fashion nostalgia, elitist fashion, fashion for the masses, fashion for working women.

By coining syntagm “the distribution of the sensible”, the French philosopher Jacques Rancière refers, from a philosopher's point of view, to the life of the early 20^th -century art avant-garde – the distribution of the sensible between politics and art, the omnipresent decorative character of the planarity of depicted signs and its ornamentality, the unstable interweaving of the power of speech and the images, the distribution of the sensible between the fine and decorative arts, etc. However, as a contemporary, he advocates for the recognition of those forms of sensibility in the works of contemporary artists which most convincingly create a redistribution of the sensible as an “equivalent principle of art's 'plastic' revolution and the shared political experience within the community” – reflecting some of the most convincing positions of the modern world and the most mature solutions in the opuses of contemporary art.

The works of Serbian artists – Bora Iljovski, Slobodan Trajković, Dejan Kaluđerović and Milica Rakić – integrate a specific vision of the ornamental and the style, as simultaneously variable, cross-cutting and complementary plastic and ideological categories, but also something that Rancière would designate as the creation and exchange of new "aesthetic acts". This might be the practices that indicate the revival of the spaces in which poetic and political experiences of (common) life gradually intertwine and the formal boundaries of traditional aesthetics are being shifted.

The paper seeks to present the complexity of the structure and the specific perception of the south façade of the Harp concert and conference Centre in Reykjavik, while highlighting the use of the fractal geometry of nature. The Harp architectural complex, designed by the architect Henning Larsen, is a segment of the extensive spatial plan for the eastern port of Reykjavik. The remarkable façade of this building is a work of the renowned Danish and Icelandic artist Olafur Eliasson. It was designed in 2011 in a multidisciplinary project that involved collaborators from various areas.

In the construction of the south façade, glass quasibrick modules were used; they were created in the experimental laboratory of the Studio Olafur Eliasson as a result of the long-term exploration of geometric shapes. The leading contributor in this study was the architect Einar Thorsteinn, who defined the quasi-brick based on his I5SSDO formula. The invention of the quasi-brick form and its binding potential rely on natural quasi-crystals. The regularly irregular shapes of the quasi-brick correspond to the forms of the fractal geometry of nature and their innovative genesis is an enrichment to "crystalline" glass elements that are already known in art history and architecture.

In his work, Eliasson highlights the importance of the synthesis and dialogue between the ethics and aesthetics of nature – culture, ecology and responsibility to people in a global world. His art addresses both individual beholders and the general public, acting as a supplication. Among other things, it suggests to beholders, who are reflected in and united with the image of the natural environment reflected in the south façade of the Harp, that it is necessary to use natural resources of our planet, time and new technologies in a rational manner.

The paper contextualizes history, the affirmation and the professionalization of the vocation of a costume designer through the prism of student practical work and knowledge transfer while working on a large theatre project Orpheus and Eurydice, carried out jointly by four faculties within the University of Zagreb. It offers an analysis of the mentor–student knowledge transfer and vice versa, as well as a comprehensive overview of student work, largely inspired by the Bauhaus school of art. The paper demonstrates the successful outcome of the collaboration between the mentor and the students reflected in a unique imprint on the whole body of costumes, which looked as if they had been created by a single designer. This is an example of original visual qualities and the excellent workmanship demonstrated by the students in creating costumes adjusted to the requirements of the performance and made in the tailoring, painting and sculpturing workshops (established specially for this purpose) within the Faculty of Textile Technology. A liberal approach on the part of the mentor in the form of mutual knowledge transfer – in which a mentor transfers to the students the knowledge gained through the education system, as well as through life-long practical work, while students, with their fresh approach and youthful innovation, transfer their enthusiasm to the teacher/mentor – led to the creation of costumes whose authors were the costume students, while the teacher/mentor expanded her knowledge and her creative limits through collaboration with students while creating the visual imprint of the opera production. The project received two Rector's Awards and was selected for the Prague Quadrennial (PQ 2015) as part of the Croatian national student selection. The Graduate Programme in Costume Design at the Faculty of Textile Technology has justified its existence under the auspices of this institution, where students are offered an opportunity to get both theoretical and practical training at art, textile and technology workshops dedicated to costume making and organized by the Faculty of Textile Technology within the inter-faculty collaboration at the University of Zagreb aimed at creating a stage production.