This paper is a contribution to the consideration of the role of rulers' clothes (textiles and textile metaphors) in the processes of cross-cultural transfer on the example of the Serbian prince Lazar Hrebeljanović (1371–1389) and the Wallachian prince Neagoe Basarab (1512–1521).

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 16^th 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.

Encouraged by the studies of clothing and fashion, we have observed the uniform and fashion clothing in Serbia from the middle of the 19^th to the beginning of the 20^th century. We have paid special attention to the performativity of the Serbian army uniform, which is what it has in common with modern fashion clothing, and it relates to the discipline of the individual, the fixation of identity and social differentiation.

Attention has been drawn to the changes in the appearance of the Serbian army during the 19^th and at the beginning of the 20^th 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 19^th century had in the construction of collective identity.

The tragic end of Queen Draga Obrenović reflected badly on the status and reputation of her belongings through which she sought to demonstrate her ruling legitimacy and promote the image of the first queen of Serbian origin since medieval times. In this sense, the fact that the auction of the most valuable part of her movable property, consisting of luxurious clothing items, pieces of jewellery and women's decorations, was held abroad, came as no surprise. The physical absence of the said valuables, i.e. the fact that following the auction at Christie's of London on 8^th December 1904, these items became integral parts of private foreign collections, has not hampered the possibility of identifying the items' artistic, cultural and historical properties relevant to the environment from which they were extracted. The messages that these items treasure about the deceased Queen have remained readable thanks to the surviving verbal and visual reminders, but also to the aesthetic experience conveyed on stage, as well as through TV and film adaptations.

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.

Typography makes the basis for every work in the field of graphic communications. How the message will be conveyed depends on the quality of the typographic letter, as well as on the author's knowledge of making a good typographic composition. As we live in the country whose national heritage is based on the specifics of the Cyrillic alphabet, which is not so widespread in the world, it is very important that we nurture and develop the field of typography. First of all, I think that we should invest in the education of the new generations of future designers of typographic letters, and then, in the generations of those who are trained to properly and functionally determine the text's typographic composition, and harmoniously combine the text and the image. Serbian history of typography is not so long, but it has certainly given rise to several world famous names in this field. Among those names is the name of Ivan Boldižar, who promoted the Cyrillic alphabet and dedicated his entire life to the development and design of it, dealing with both reconstruction of the existing and design of the original typefaces. These typefaces have later found wide application. Unfortunately, there is very little literature dealing with the topic of Serbian or Yugoslav typography. Therefore, this research is mostly based on the conversations held with the surviving protagonists of those times, and on reviewing documentary footage found in the archive of the artist's family. This text is an attempt to contribute to the creation of literature on an important, but insufficiently researched filed – Serbian typography.

To understand longevity of Wiehler's Gobelins in the Socialist Federal Republic of Yugoslavia one needs to treat them as specific social artefacts. This text is based on the presentation and interpretation of social and cultural processes that influenced great popularity of Wiehler's Gobelins in this country, seen as pseudo historical decorative objects that for a period of time represented a significant instrument for democratic levelling of different national cultures. At the same time, these needlecraft products are also valuable for understanding the continuing practice of Mittel Europe's uncritical cultural models' import. Gobelins, as construction instruments of gender and class identity, are discussed as industrially manufactured patterns and products that enabled members of our society to make their first steps towards consumerist society. The history of Jakob Wiehler's factory is also presented in this paper, as well as further interpretation of twofold poetic exploitation of the original works of art and their reinterpretation in the form of industrially manufactured Gobelins' patterns – the problem of transposing the original works of art into the socially available goods. This paper further identifies the main motives for such a process and considers the issue of imitating the luxurious objects with massive frames and dominating pastoral scenes.

Serbian prince and future king Milan Obrenović (1854-1901) took over the throne in 1872. The following year, he officially visited Paris (8^th September – 22^nd October, 1873) and, during this stay, he was photographed in famous Nadar Studio. These photographs were later produced for the Nadar Studio albums, and are currently preserved in Paris (National Library of France (BnF); MAP). Milan Obrenović is presented in half profile or frontally, in his military general's uniform, or in elegant clothes. Photographs are rectangular or medallionshaped. Their formats are of card of visite or carte for album. Four of these photographs are also kept in four museums in Serbia. Two of them are dated: Paris 1873. Nadar Studio also produced representative portraits of prince Milan, painted in oil on canvas and modelled on one of the above-mentioned photographs from 1873. The portraits were completed by the 8^th of March 1874, when prince Milan wrote a letter to Felix Nadar regarding their handover. He asked Nadar to offer two of these portraits: one to the prince's mother, and the other one to Marquis du Lau d'Allemans. The letter is kept at the Manuscript Collection of the National Library of France (BnF), in Paris. Today, two of these portraits are owned by two museums in Serbia: the National Museum in Belgrade and the Military Museum in Belgrade, while the third one is owned by the National Museum of Montenegro, in Cetinje. The painted portraits present a three-quarter figure of the standing prince, wearing his military general's uniform, with his face in half profile. The inscription: Ateliers Nadar Paris 1874 is written at the bottom right corner. It can be assumed that the author of the painted portraits is Adrien Alban Tournachon, Felix Nadar's younger brother. In that case, these portraits represent rarely preserved artworks of the artist, whose oeuvre is yet to be discovered and valorised.

The subculture of the 1960s began as a rebellion against consumerist and capitalist ideology; as the destruction of well-known values, aimed at constructing the new ones. The need for freedom, in the broadest sense of the word, was manifested in the abandonment of traditional and the creation of pop norms which became a cultural determinant by their general acceptance. Thus, subversion overcame a previously dominant cultural model while its production exceeded expectations, creating a (youthful) market of its own products intended to express pop habitus. However, due to its victory, pop has lost its subversive prefix, which questions the surviving of its essence and poses the thesis that antimaterialist ideas of rebellion neglected themselves once the Beatles and miniskirts became a global phenomenon. This paper analyses the paradigm of pop as a subversive action that has become mainstream and analyses the fashion scene of the 1960s and 1970s as an artefact and a significant segment of youth counter-cultural creativity in these years. Starting from the thesis that, in addition to their market function, products have a symbolic function, and that the market redefinition of subculture is not the same as the creative process of making its goods, the author proves the ideological authenticity of the youth market created in the 1960s and draws conclusions about the fashion form as a “counter-act”.

У Словенији је веза између моде и уметности остварена кроз четири различите синергије: уметност као извор инспирације за колекције модних дизајнера, уметнике који активно учествују у развоју модних колекција, одећу и/или моду као уметнички предмет, и модне дизајнере који истовремено раде и као костимографи.

Током друге половине XX века, словеначка одевна индустрија је из малих предузећа прерасла у важан фактор у привреди земље. Паралелно са развојем својих производних капацитета, фирме су развијале и модни дизајн који је имао значајан утицај на словеначку моду. Поред моћног модног дизајна, словеначка одевна индустрија је била свесна важности укључивања разноликих креативних активности у сам процес стварања колекција. Тако је почетком 1970-их, фирма Преболд позвала три словеначка сликара – Андреја Јемеца, Јанеза Берника и Јожета Хорвата – да дизајнирају узорке текстила. Рикард Гумзеј је касније од овог материјала дизајнирао одећу за фирму Горењска облачила. Неколико година касније, 1987. године, сликар Клавдиј Тута је сарађивао са фирмом Идеал из Нове Горице и њиховом дизајнерком Видом Слокар на развоју јединствене колекције. Промене у друштвеном контексту крајем 1980-их, на које одевна индустрија није реаговала, довеле су до појаве стваралаца који су испитивали уметнички израз у медијуму одеће. Алан Хранитељ, Ема Куглер, група аутора Линије силе, Мојца Пунгерчар, Лидија Берник, Ксенија Барага и други стварали су одевне форме које су превазилазиле строга функционална и производна ограничења у односу одеће, моде и тела. Одевне форме су тако ушле у поље костимографије, перформанса и уметничких предмета. Рад ових аутора с краја 1980-их и почетка 1990-их огледао се у раду независних модних дизајнера, који су се појавили као паралелни актери у словеначком модном простору.