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z.stefan027@gmail.com
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INFLUENCES OF JAPONISME AND JAPANESE FASHION ON SERBIAN FASHION (1920-2020)
Зборник 18/2022 (Музеј примењене уметности), страна 63-73
Категорија чланка: ?????????? ?????? ???
УДК:
391(497.11)"1920/2020"
391(529)"1920/2020"
316.7:391
Апстракт:
???????? ????????? ? ???????? ????? ??????????, ???? ????????? ????? ?????? ?? ???????? ?????????? ???????? ?????? ???? ??? ????????, ???? ?????? ? ???? ????????, ??????? ?? ????????? ? ???????? ? ?????? ???????? ? ??????????? ??????? ????. ???????????, ??????? ???????? ???? ?? ?????? ???? XX ? XXI ???a ??? ???? ?? ???????????. ?????????? ??? ????? ??????? ?? ?????? ???? ????????? ??? ????? ??????? ?????? ??????? ???? ? ???? ??? ???????? ????????? ?????? ????????????? ??????????? ? ?????? ??????? ?????? ? ?????????? ?????? ?????? 1920. ? 2020. ??????. ?? ????? ???? XX ???? ??????? ??????? ???? ????????? ???????? ??????? ??????? (????? ????) ? ???????????? ?????? ???????? ??????, ???????? ? ????? ??????? ???????????, ?? ????????????? ?????? ? ?????? ??????? ?????????? ??????????? ? ?????? ???????. ? ????????? ???? XXI ???? ???? ????????? ??????? ???????? ????????? ?? ?????????? ????????? ?????? ??????e?? ? ?????????? ????????? ??? ?????????? ?????? ????. ?????????? ????????? ???????? ????????? ? ??????? ????, ???????? ??????????? ??????? ????, ?? ???? ???????? ????????? ?????? ??????? ??? ?????? ??????? ???? ?? ????????? ?????, ??????????? ?????? ????????? ????? ?????? ??????????????? ????????? ????????? ???? ???????? ????.
Кључне речи:
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Summary:
As Japonisme in Serbian fashion of the first half of the 20th century was the result of Western fashion influences, its inception in the national fashion system can be traced in Milena Pavlovi? Barillis 1920s works as pioneering representations of westernized Japanese modern girls Modan garu. With the restoration of bilateral relations between Serbia and Japan after the Second World War, Kenzo Takadas global impact in the 1970s is revealed in An?elka Slijep?evi?s writings. At the same time, Aleksandar Joksimovi? resorted to self-orientalization by turning Romanian folk costumes in kimono-resembling forms as a response to Dior and Saint Laurents appropriations of Japan, whereas in the 1980s Ljiljana egarac designed actual kimonos. After Tokyos positioning as a global fashion capital in the 1980s and the foundation of Belgrade Fashion Week in 1996, the influence of Japanese avant-garde designers Issey Miyake, Yohji Yamamoto, and Rei Kawakubo can be identified at the end of the 20 th and the beginning of the 21 st century Serbian fashion. By analyzing the collections of contemporary Serbian fashion designers, it is noticeable how the Japanese avant-garde has encoded itself in their expression as a denouncement of tradition. The Japonisme discourse in Serbian fashion is thus completed through an insight into the most recent fashion practices. While not a dominant aesthetic and stylistic tendency in Serbian fashion, Japonisme marked it to an extent, allowing both its contextualization within Serbian fashion history and the strengthening of Serbian fashion within global fashion, welcoming further studies on the subject.
Translated by the author
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