FAAR 011 by FAAR Fashion Art Magazine

FAAR—011

illustration-BECHA

Kada pokušavaš da dokučiš šta je na najdubljoj tački okeana... Zamisliš i izmisliš. Kada slušaš dobru (britansku) muziku i padaju ti (sa neba) na pamet dobre ideje. Kada Kejt Buš peva o Rajhu (ili samo peva)... Nekako obojiš nebo u roze. Kada pokušaš da napraviš original, trudiš se i uspeš (jer si verovao u svoju maštu). Upecaš sve oblake i ugledaš Mlečni put, Vasionu, Univerzum (Multiverzum)! Kad nacrtaš FAAR. To je po meni Cloudbusting, a za svakoga je nešto drugo.

ARTICLES

EDITORIALS

006—ANA’S CLOUDBUSTING Maja Uzelac

063—BOWIE : A LIVING LEGEND Jelena Karakaš

017—Intervju: ROKSANDA ILINČIĆ Nataša Višnjić Todorović

143—VILLAGE

023—L’IMPOSSIBLE Ksenija Marković 030—ABSOLUTELY FABULOUS Luna Lu 037—KAKO SMO SE PRAVILI ENGLEZI Maja Uzelac 040—WHEN DREAMS COME TRUE : JSP Ksenija Marković 048—LONDON FASHION WEEK Ksenija Marković 050—Intervju: STEFAN SIGEL : JUST A FASHION Jelena Đurović 055—SUBVERZIJA Ksenija Marković 060—HEROJI SA POSEBNIM POTREBAMA Jelena Đurović

003

When you keep trying to reach the deepest point of an ocean…You envision and fashion. When you listen to good (British) music and you come up with some good ideas (out of the blue). When Kate Bush sings about Reich (or just sings)… Somehow you paint the sky in pink. When you strive to make an original, you just keep trying and finally triumph (because you believed in your imagination). You bu(r)st all the clouds and suddenly see the Milky Way, the Cosmos, the Universe (Multiverse)! When you paint FAAR. For me, that what Cloudbusting is, but you may call it as you like.

147—BEST OF BELGRADE Belgrade event calendar 151—STIRRED AND SHAKEN Ivana Đurišić 154—ONE (IM)POSSIBLE Marina Đorđević 157—BELGRADE FASHION WEEK MONSTERS Ksenija Marković 164—WE’RE EVERYTHING TO EACH OTHER Maja Ćirić

007—NEVER FOREVER Photo—Miloš Nadaždin Designer—Ana Ljubinković

110—RETURNS Photo—Vladimir Miladinović Fashion Editor—Suna Kažić

066—IF I WERE HIS GIRLFRIEND Photo—Marija Aničić Art direction & Styling: Dejana Vučićević

120—LADY SWAN THE EDWAEDIAN BEAUTY Photo—Miša Obradović Styling—Elena Nikolaevna

074—NEW ROMANTICS Photo—Marijana Gligić Styling—Ivan Džolić

133—YOUNG BLOOD Photo— Nemanja Maraš, Ilija Milosavljević, Jovana Mladenović, Dušan Milenković, Marko Prelić

082—THE PICTURE OF DORIANA GRAY Photography, postproduction, concept, AD&D— Aleksandar Kujučev Fashion and Styling Art— Maja Atanasijević

166—GOSTOPRIMSTVO Bogomir Doringer

090—MEET YOU AT 5 Photo—Miša Obradović Styling—Jovana Božović

169—MILITARISM, RELIGION, EROTICA Vojin Rajović

102—BEAUTY IS A BEAST Concept & Photography— Miloš Gazdić

170—ENGLISH TEXT 183—BEST OF BELGRADE Barovi, restorani, klubovi 184—SHOPPING LIST

FAAR / fashionart magazine Glavni i odgovorni urednik Editor in Chief: Nenad Radujević Gost urednik / Guest Editor: Ana Ljubinković Ad: Ana Ljubinković Dizajn magazina Design Magazine by Filip Stamenković, Vesna Pešić-BECHA, Slađan Tasić Tipografija / Typography Tamara Pešić

Saradnici / Associates: Bojan Šašić Nataša Višnjić-Todorović Snežana Sredojević-Laurenčić Selena Pleskonjić Vera Petrović Prevod / Translation by Tina Trajković-Filipović Izdavač / Publisher: Click Fashion Studio Kralja Milutina 34, Belgrade, Serbia Phone: (+381 11) 306 72 97; 306 72 99, 362 99 11 e-mail: faar@click.co.rs www.faarmagazine.com

Direktor / Director: Nenad Radujević Finansije / Finance: Slobodanka Stanisavljević Public Relations: Nataša Višnjić-Todorović Sekretar redakcije Secretary newsroom: Vanja Stefanović

Fotografi / Photographers: Aleksandar Kujučev, Miša Obradović, Miloš Nadaždin, Vladimir MiIadinović, Miloš Gazdić, Marija Aničić, Marijana Gligić, Đorđe Tomić, Nemanja Maraš, Ilija Milosavljević, Jovana Mladenović, Dušan Milenković, Marko Prelić

NASLOVNA/FRONT PAGE

Photography, postproduction, concept, AD&D—Aleksandar Kujučev Fashion and Styling Art—Maja Atanasijević Makeup artist—Ljiljana Petrović Hair art—Marija Petrovski Model—Andrijana Belović @ Click models Vintage Misfits gloves by Evica Milovanov Penezić Shoes by Danijela Biškup CIP - Katalogizacija u publikaciji Narodna biblioteka Srbije, Beograd 64 FAAR : Fashionart Magazine / glavni i odgovorni urednik Nenad Radujević. - 2007, br. 1 - Beograd (Kralja Milutina 34): Modni studio Click, 2007 (Kolor pres) . - 30 cm

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Izdavač ne odgovara za sadržaj objavljenih oglasa

Štampa / Print: Kolor pres d.o.o www.kolorpres.com

Ivana Đurišić

Vesna Pešić

Jelena Đurović

Ksenija Marković

Jelena Karakaš

Loona Loo

Maja Uzelac

Ana Ljubinković

FAAR—011

Poreium etur aperrum adiae Raturepu dandell enienitiatia

illustration-BECHA

Ima tih ljudi na svetu koji se jedni na druge nadovezuju potpuno prirodno, da ne razmisle i da ne trepnu. To je tako jer svet u kom žive ima iste obrise, motive, boje, miris, ukus, sve ili nešto od toga. Oni možda uopšte ne znaju da je to njihov svet, misle to je svet. Takav je svet. A nije svet takav. Oni su. Tako je Kejt Buš opevala Vilhelma Rajha koga odvode u zatvor, odglumivši njegovog sina. Tako je Teri Gilijam osmislio spot za Kejt Buš. "Cloudbusting". I od Rajhove glatke ravne paralelne mašine za pravljenje kiše napravio dizajnersko "steampunk" ludilo. Tako je Ana Ljubinković prevela spot Kejt Buš u raj, gde nastaju ti oblaci koje je opsednuti Rajh jurio. I tako je BECHA napravila Anine oblake. Vazdušaste i bele kao cveće. Iz njih bi mogla da pada samo kiša od limunade. Zlatne jabuke iskušenja i pripadajući anđeli se podrazumevaju. Anin Orgonon je mesto na kom sme da se sanja u bojama sladoleda, šećer da krcka pod zubima cveće da se rascvetava porcelan da se presijava, ali gde nitne nisu zabranjene. Klovnovi, anđeli, poslastičarke i navijačice, guraju se da čuju muziku sfera.

006

A to je neka sanjiva i začarana, sumanutim glasom mlade Kejt. Koja zna ono što i Ana naslućuje, a Vilhelm je iskusio: Postoji kazna za lepotu. Kazna za maštanje van propisanog. Dođu ljudi u crnim kolima po tebe kao kod Gilijama i Kejt, moraš da kriješ svoje pravo lice, ili te napune strelama, kao kod Ane i BECHE. Ali, Ana se pravi kao da to ne zna, sve dok može. Samo tako će anđeli sa haljina i boje sa raskošnih rukava moći da začaraju deo po deo sveta. Dok ne naljute onaj drugi deo previše. Ali, tad ćemo o tome. A sve dotle, Ana otima deo po deo sumornog i grubog i smrdljivog i ispranog sveta za svoje obojeno i superherojsko i karnevalsko i mekano. Svet je hipnotisan, pa mu treba vremena da uoči predaju. Batrga se u mukama, a prepušta se nežnosti lagano. Brani se ironijom, pa posustaje i pada na kolena. U mekane pompom grudi na slici. Ne znam, ali sve nešto mislim: Tako izgleda pobeda. Maja Uzelac

There are people in the world, mutually connected in a completely natural way, without any thought of it whatsoever. This is so because the world in which they are living shares the same contours, motifs, colors, odors, taste – all or only some of these. Maybe even unaware of the fact that this is their world, they actually believe that this is the world indeed. This is the world it is. However, this is not the way of the world. Their world is the way. So has Kate Bush sung about Wilhelm Reich who was taken to jail, feigning his own son_ And so has Terry Gilliam created the Cloudbusting video for Kate Bush, turning Reich's smooth, flat, parallel rain-making device into a designer's steampunk madness. So has Ana Ljubinković translated Kate Bush's video into heaven, where the clouds pursued by the obsessed Reich are being formed? And so did BECHA created Ana's clouds – airborne and white as flowers. They can only be fraught with lemonade-rain, along with golden apples of temptation and angels. Ana's Orgonon is a place where you must be dreaming in icecream colors, where sugar is crunching under your teeth, where flowers are blooming, where porcelain is glistening, but where rivets are not banned. Here, clowns, angels, confectioners and cheerlead-

ers are jostling to hear the music of spheres – a dreamy and spellbound music, crazed by the voice of the young Kate, who knows all that Ana senses and Wilhelm experienced: There is a punishment for beauty, a punishment for fantasizing outside of what is prescribed. People in a black car are coming for you, as described by Gilliam and Kate; you have to hide your true face, or you could be filled with arrows, as in cases of Ana and BECHE. Ana avoids noticing this while she can. This is the only way for the angels from the colored dresses and the colors of the gorgeous sleeveless to stun the world, bit by bit. Until the other part gets angry way too much. But – everything in its own time. Until then, Anna will be kidnapping a piecemeal of the dull and rough and smelly and washed-out world for her colored and super heroic and carnival and soft world. The world is hypnotized and in need of time to perceive the surrender. It flails in agony, surrendering gradually to gentleness. Irony is its defense, while languishing and falling on its knees. Into the soft pom-pom breasts shown in the picture. I do not know – somehow I am prone to think: This is how victory looks like.

007

FAAR—011

Aliquam lorem. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Donec tristique, nisi et lobortis faucibus, lacus odio sodales nulla, ut egestas mauris sapien vitae odio. Ut elit. Donec metus enim, aliquet ac, consectetuer et, luctus quis, pede. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridicuIme Roksanda, izvedeno je od lus mus. Pellentesque habitant Roksana što na persijskom jeziku morbi tristique senectus et netus znači svetla, sjajna pa izgleda da je et malesuada fames ac turpis egesjoš na rođenju bila predodređena tas. Mauris id augue. Mauris risus. da bude uspešna. Danas ima čitav Maecenas posuere gravida metus. tim ljudi koji radi za brend Roksanda Phasellus blandit suscipit quam. Ilinčić, ima svoju proizvodnju i Vivamus sed enim. Proin id dui prodaju u više od 40 zemalja širom faucibus quam adipiscing egestas. sveta. Vrlo brzo je uspostavila Vivamus ut justo vitae dolor iaculis ozbiljan poslovni sistem, a zapravo viverra. Vivamus vel sem a mauris nije prošlo mnogo vremena od kada tincidunt tincidunt. Integer ullamje napustila rodni Beograd i stigla corper. Sed rutrum fermentum nisl. u London... Ona dolazi iz Srbije i u svim važnim interjvuima sa ponoLorem ipsum dolor sit amet, consom to ističe. U protekloj godini sectetuer adipiscing elit. Aliquam odeću sa njenim potpisom nosile pede quam, cursus ut, sagittis sed, su mnoge poznate ličnosti rhoncus vitae, mi. Morbi suscipit, Vojvotkinja od Kembridža, pede non hendrerit tincidunt, velit Michelle Obama, Samantha risus venenatis lectus, at faucibus Cameron, Jessica Chastain, Emma risus metus vel lacus. Vivamus Stone, Emily Blunt, Charlize Theron, pellentesque iaculis purus. Nullam

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accumsan dignissim ante. Mauris non metus nec libero faucibus dignissim. Fusce in libero. Duis a dolor vitae eros lacinia varius. Etiam tortor turpis, mattis eget, pharetra vel, scelerisque nec, tortor. Nunc hendrerit hendrerit leo. Vivamus ullamcorper, nulla et dictum semper, eros eros elementum velit, in vestibulum dolor lectus a ligula. Phasellus bibendum nisi sit amet purus. Vivamus mollis quam sit amet nulla. Pellentesque nisl. Proin tempus est vitae enim. Aliquam lorem. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Donec tristique, nisi et lobortis faucibus, lacus odio sodales nulla, ut egestas mauris sapien vitae odio. Ut elit. Donec metus enim, aliquet ac, consectetuer et, luctus quis, pede. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Mauris id augue. Mauris risus. Maecenas posuere gravida metus. Phasellus blandit suscipit quam. Vivamus sed enim. Proin id dui faucibus quam adipiscing egestas. Jessica Biel, Frieda Pinto, Amy Vivamus ut justo vitae dolor iaculis Adams, Gwyneth Paltrow, Keira viverra. Vivamus vel sem a mauris Knightley, Florence Welch, Lady tincidunt tincidunt. Integer ullamGaga... corper. Sed rutrum fermentum nisl. Studirala si arhitekturu i Fakultet primenjenih umetnosti u Beogradu kada si se odlučila da odeš u London. Šta misliš da li je upravo ta kombinacija arhitektura, poznavanje forme, talenat za crtanje, plus urođeni smisao za lepo ustvari tvoja dobitna kombinacija? To su definitivno neki od sastojaka, ali dobitna formula je mnogo složenija, a sastoji se od mnogo različitih stvari koje je često veoma teško definisati.

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aliquam pede quam, cursus ut, sagittis sed, rhoncus vitae, mi. Morbi suscipit, pede non hendrerit tincidunt, velit risus venenatis lectus, at faucibus risus metus vel lacus. Vivamus pellentesque iaculis purus. Nullam accumsan dignissim ante. Mauris non metus nec libero faucibus dignissim. Fusce in libero. Duis a dolor vitae eros lacinia varius. Etiam tortor turpis, mattis eget, pharetra vel, scelerisque nec, tortor. Nunc hendrerit hendrerit leo. Vivamus ullamcorper, nulla et dictum semper, eros eros elementum velit, in vestibulum dolor lectus a ligula. Phasellus bibendum nisi sit amet purus. Vivamus mollis quam sit amet nulla. Pellentesque nisl. Proin tempus est vitae enim. Aliquam lorem. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Donec tristique, nisi et lobortis faucibus, lacus odio sodales nulla, ut egestas mauris sapien vitae odio. Ut elit. Donec metus enim, aliquet ac, consectetuer et, luctus quis, pede. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridicuBearing the name of Roksanda lus mus. Pellentesque habitant – derived from the Persian name morbi tristique senectus et netus Roxana, meaning "luminous et malesuada fames ac turpis egesbeauty" – she appears to have the tas. Mauris id augue. Mauris risus. birthright to be successful. Today, Maecenas posuere gravida metus. supported by team working for her Phasellus blandit suscipit quam. brand, Roksanda Ilinčić has her Vivamus sed enim. Proin id dui own manufacturing and sales in faucibus quam adipiscing egestas. around 40 countries worldwide. Vivamus ut justo vitae dolor iaculis Very quickly she established a seriviverra. Vivamus vel sem a mauris ous business system, while in fact tincidunt tincidunt. Integer ullamit was not long ago since she left corper. Sed rutrum fermentum nisl. her home in Belgrade and arrived to London... She comes from Serbia, Lorem ipsum dolor sit amet, conpointing out this fact proudly in all sectetuer adipiscing elit. Aliquam her important interviews. In the pede quam, cursus ut, sagittis sed, past year, dresses with her signarhoncus vitae, mi. Morbi suscipit, ture were worn by many celebrities pede non hendrerit tincidunt, velit – the Duchess of Cambridge, Mirisus venenatis lectus, at faucibus chelle Obama, Samantha Cameron, risus metus vel lacus. Vivamus Jessica Chastain, Emma Stone, pellentesque iaculis purus. Nullam

Aliquam lorem. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Donec tristique, nisi et lobortis faucibus, lacus odio sodales nulla, ut egestas mauris sapien vitae odio. Ut elit. Donec metus enim, aliquet ac, consectetuer et, luctus quis, pede. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Mauris id augue. Mauris risus. Maecenas posuere gravida metus. Phasellus blandit suscipit quam. Vivamus sed enim. Proin id dui faucibus quam adipiscing egestas. Emily Blunt, Charlize Theron, JesVivamus ut justo vitae dolor iaculis sica Biel, Frieda Pinto, Amy Adams, viverra. Vivamus vel sem a mauris Gwyneth Paltrow, Keira Knightley, tincidunt tincidunt. Integer ullamFlorence Welch, Lady Gaga... corper. Sed rutrum fermentum nisl. In time when you decided to move to London you have studied architecture at the Faculty of Applied Arts in Belgrade. What was your winning formula? Was it the combination of architecture, having the knowledge of forms and a talent for drawing, plus the innate sense of beauty? Those are definitely some of the ingredients but, the 'winning formula' is much more complex, and it consists of many different things which are often hard to pinpoint.

FAAR—011

Šta ti je po tvom mišljenju donelo obrazovanje u Srbiji, a šta tvoje usavršavanje u Londonu na St. Martins Colleg-u ? Univerzitet za arhitekturu i Fakultet primenjenih umetnosti su mi dali dobar klasični temelj - ne samo istoriju umetnosti i arhitekture, crtanje ili kostim - naučili su me o radnoj etici: bez koje je nemoguće uspeti. London me je naučio kako da primenim ovo klasično znanje, kako da ga promenim, razložim, igram se sa njim - i na kraju pretvorim u nešto novo dajući mu svoj lični pečat. To mi je takođe dalo mogućnost da razvijem taj lični pogled na modu i pretvorim ga su sopstveni brend. Tvoja celokupna proizvodnja nekada se obavljala u Srbiji. Zašto si ipak u nekom trenutku svoj dizajnerski atelje pokrenula u Londonu i misliš li da Srbija ima neiskorišćene potencijale u modnoj industriji? Srbija ima dosta potencijala i talenta. Volela bih da moje omiljene krojačice Dana i Mira rade za mene ovde u Londonu - to nije samo zbog kvaliteta njihovog rada, nego i zbog posebne ljubavi i vere koje su imale u moj rad. Međutim, kada brend "poraste" prirodno mu je neophodna mnogo veća i lako dostupna infrastruktura. Upravo kada si ti odlazila iz Beograda, krajem 90-tih, pokrenut je prvi Fashion Week u istočnoj Evropi. Od tada do danas dizajnerska scena Srbije se prilično razvila. Pratiš li rad naših dizajnera i imaš li neki savet za njih, s obzirom na to da si ti u međuvremenu postigla neverovatan uspeh? Nažalost moj pretrpani raspored i vreme mi ne dozvoljavaju da pratim modnu scenu Beograda ili da tome posvetim onoliko vremena koliko bih zaista želela, međutim, ja sam veoma ponosna što je Beograd jedan od prvih istočnoevropskih gradova koji je dobio Fashion Week. Uvek je zabavno biti deo takvog profesionalnog i raznovrsnog predstavljanja nečijeg rada a ja se i dalje živo sećam jedne od mojih prvih prezentacija u Beogradu, u Paviljonu Cvijeta Zuzorić. Moj savet mladim dizajnerima bi bio: pratite sopstveni unutrašnji glas i otkrijte svoj put!

Anna Dello Russo

Poznato je da si na početku svoje karijere pronalazila često inspiraciju sa ovih, naših prostora... Koliko je teško da za svaku sezonu tvoje kolekcije budu konceptualno jake, a da pritom zadržiš svoju originalnost? Keira Knightley

018

Kate Middleton

Lady Gaga

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aliquam pede quam, cursus ut, sagittis sed, rhoncus vitae, mi. Morbi suscipit, pede non hendrerit tincidunt, velit risus venenatis lectus, at faucibus risus metus vel lacus. Vivamus pellentesque iaculis purus. Nullam accumsan dignissim ante. Mauris non metus nec libero faucibus dignissim. Fusce in libero. Duis a dolor vitae eros lacinia varius. Etiam tortor turpis, mattis eget, pharetra vel, scelerisque nec, tortor. Nunc hendrerit hendrerit leo. Vivamus ullamcorper, nulla et dictum semper, eros eros elementum velit, in vestibulum dolor lectus a ligula. Phasellus bibendum nisi sit amet purus. Vivamus mollis quam sit amet nulla. Pellentesque nisl. Proin tempus est vitae enim. Roksanda Ilinčić Aliquam lorem. Pellentesque pre fall 2013 habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Donec tristique, To je prilično lako, dokle god ostanisi et lobortis faucibus, lacus odio jete dosledni sopstvenoj viziji. sodales nulla, ut egestas mauris U mojim ranim kolekcijama inspisapien vitae odio. Ut elit. Donec meraciju sam pronalazila u našoj tus enim, aliquet ac, consectetuer zemlji – masivne i vajarski obet, luctus quis, pede. Cum sociis likovane tradicionalne narodne natoque penatibus et magnis dis nošnje, likovi iz bajki i pesama bile parturient montes, nascetur ridicusu neke od referentnih tačaka: lus mus. Pellentesque habitant elementi ili detalji tih oblika su i morbi tristique senectus et netus dalje prisutni u mom poslu danas. et malesuada fames ac turpis egestas. Mauris id augue. Mauris risus. Čiste linije, ošrto i glamurozno, Maecenas posuere gravida metus. reči su kojima modni stručnjaci Phasellus blandit suscipit quam. opisuju tvoje kolekcije. Koristiš Vivamus sed enim. Proin id dui jarke boje i specifične krojeve i faucibus quam adipiscing egestas. čini mi se da uopšte ne robuješ Vivamus ut justo vitae dolor iaculis trendovima? viverra. Vivamus vel sem a mauris Kada se bavite luksuznim biznisom tincidunt tincidunt. Integer ullami sa tako jakom konkurencijom corper. Sed rutrum fermentum nisl. onda ste vi dužni da izmišljate trendove, ne da ih pratite. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aliquam Stiče se utisak da ti uvek pede quam, cursus ut, sagittis sed, iznenađuješ. Voliš klasiku i rhoncus vitae, mi. Morbi suscipit, eleganciju ali daješ neki posepede non hendrerit tincidunt, velit ban pečat i tvoje kolekcije su risus venenatis lectus, at faucibus uvek drugačije. Šta je to po tvom risus metus vel lacus. Vivamus mišljenju što tvoj brend čini prepellentesque iaculis purus. Nullam poznatljivim?

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accumsan dignissim ante. Mauris non metus nec libero faucibus dignissim. Fusce in libero. Duis a dolor vitae eros lacinia varius. Etiam tortor turpis, mattis eget, pharetra vel, scelerisque nec, tortor. Nunc hendrerit hendrerit leo. Vivamus ullamcorper, nulla et dictum semper, eros eros elementum velit, in vestibulum dolor lectus a ligula. Phasellus bibendum nisi sit amet purus. Vivamus mollis quam sit amet nulla. Pellentesque nisl. Proin tempus est vitae enim. Aliquam lorem. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Donec tristique, nisi et lobortis faucibus, lacus odio sodales nulla, ut egestas mauris sapien vitae odio. Ut elit. Donec metus enim, aliquet ac, consectetuer et, luctus quis, pede. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Pellentesque habitant Veoma je važno da se u modi uvek morbi tristique senectus et netus ide napred, da se eksperimentiše et malesuada fames ac turpis egesi da stalno izazivate sebe i druge tas. Mauris id augue. Mauris risus. a da pritom sačuvate taj sopstMaecenas posuere gravida metus. veni DNK. Taj DNK mog brenda su: Phasellus blandit suscipit quam. hrabri osećaj za boje, jaki oblici Vivamus sed enim. Proin id dui i jednostavna odeća koja briše faucibus quam adipiscing egestas. granice između dnevne i večernje, Vivamus ut justo vitae dolor iaculis sportske i odeće za specijane priviverra. Vivamus vel sem a mauris like. tincidunt tincidunt. Integer ullamcorper. Sed rutrum fermentum nisl. U žestokoj konkurenciji među autorima poput Stelle McCartney i Victorie Beckham nedavno si dobila svog modnog oskara nagradu Britanskog modnog saveta u kategoriji "Red Carpet". Koliko je takvo priznanje bitno za jednog dizajnera i da li si pomišljala da će mnoge zvezde nositi odeću sa tvojim potpisom? Svaka nagrada, a posebno one koje dolaze iz same industrije, veoma je važna i naravno, znači mnogo. Ja to vidim ne samo kao priznanje za svoje uspehe, već i kao višu lestvicu za neka buduća očekivanja.

Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aliquam pede quam, cursus ut, sagittis sed, rhoncus vitae, mi. Morbi suscipit, pede non hendrerit tincidunt, velit risus venenatis lectus, at faucibus risus metus vel lacus. Vivamus pellentesque iaculis purus. Nullam accumsan dignissim ante. Mauris non metus nec libero faucibus dignissim. Fusce in libero. Duis a dolor vitae eros lacinia varius. Etiam tortor turpis, mattis eget, pharetra vel, scelerisque nec, tortor. Nunc hendrerit hendrerit leo. Vivamus ullamcorper, nulla et dictum semper, eros eros elementum velit, in vestibulum dolor lectus a ligula. Phasellus bibendum nisi sit amet purus. Vivamus mollis quam sit amet nulla. Pellentesque nisl. Proin tempus est vitae enim. Roksanda Ilinčić Aliquam lorem. Pellentesque pre fall 2013 habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Donec tristique, According to your opinion, what nisi et lobortis faucibus, lacus odio were the benefits of your educasodales nulla, ut egestas mauris tion in Serbia and what were those sapien vitae odio. Ut elit. Donec meof your training in London at Saint tus enim, aliquet ac, consectetuer Martins College? et, luctus quis, pede. Cum sociis The University of Architecture and natoque penatibus et magnis dis Faculty of Applied Arts gave me a parturient montes, nascetur ridicugood classic foundation- not just lus mus. Pellentesque habitant of history of art and architecture, morbi tristique senectus et netus drawings or costume – but also et malesuada fames ac turpis egesthey taught me about the work tas. Mauris id augue. Mauris risus. ethic: without which it’s imposMaecenas posuere gravida metus. sible to succeed. London taught me Phasellus blandit suscipit quam. how to use this classic knowledge, Vivamus sed enim. Proin id dui how to change, decompose it, play faucibus quam adipiscing egestas. with it - and eventually turn it into Vivamus ut justo vitae dolor iaculis something new, modern with a viverra. Vivamus vel sem a mauris voice of my own. It also gave me the tincidunt tincidunt. Integer ullampossibility to develop that personal corper. Sed rutrum fermentum nisl. view of fashion into the brand of my own. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aliquam Your entire production, including pede quam, cursus ut, sagittis sed, shoe manufacturing, once was rhoncus vitae, mi. Morbi suscipit, based in Serbia. Why then you pede non hendrerit tincidunt, velit have decided at some point to risus venenatis lectus, at faucibus launch your design studio in risus metus vel lacus. Vivamus London and do you think that pellentesque iaculis purus. Nullam Serbia is abundant with unused

accumsan dignissim ante. Mauris non metus nec libero faucibus dignissim. Fusce in libero. Duis a dolor vitae eros lacinia varius. Etiam tortor turpis, mattis eget, pharetra vel, scelerisque nec, tortor. Nunc hendrerit hendrerit leo. Vivamus ullamcorper, nulla et dictum semper, eros eros elementum velit, in vestibulum dolor lectus a ligula. Phasellus bibendum nisi sit amet purus. Vivamus mollis quam sit amet nulla. Pellentesque nisl. Proin tempus est vitae enim. Aliquam lorem. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Donec tristique, nisi et lobortis faucibus, lacus odio sodales nulla, ut egestas mauris sapien vitae odio. Ut elit. Donec metus enim, aliquet ac, consectetuer et, luctus quis, pede. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Pellentesque habitant potentials in the fashion industry? morbi tristique senectus et netus Serbia has a lot of potential and et malesuada fames ac turpis egestalent. I would love to have my tas. Mauris id augue. Mauris risus. favourite machinists Dana and Maecenas posuere gravida metus. Mira working for me here in London Phasellus blandit suscipit quam. – this is not just for the quality of Vivamus sed enim. Proin id dui their work but also for the special faucibus quam adipiscing egestas. love and belief they had in my work. Vivamus ut justo vitae dolor iaculis However, once the label grew it viverra. Vivamus vel sem a mauris naturally required a much larger tincidunt tincidunt. Integer ullamand more easily accessible infracorper. Sed rutrum fermentum nisl. structure. The first Fashion Week in the area of Eastern Europe was launched in Belgrade during the late nineties, just when you were leaving Belgrade. In the meantime, the design scene in Serbia has advanced to a rather high degree. Are you keeping track of the Serbian fashion scene and do you have any advice for the designers, considering the amazing success you have achieved in the meantime? Unfortunately my busy schedule and time does not allow me to follow the fashion scene in Belgrade or spend as much time as I would

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Well-known is the fact that, at the beginning of your career, you were often inspired by motifs from Serbia... How difficult is for you to maintain the conceptual strength Lorem dolor sit amet, conof youripsum collections from season sectetuer adipiscing elit. Aliquam to season, while keeping your pede quam, cursus ut, sagittis sed, originality? rhoncus Morbi It’s quitevitae, easy, mi. as long assuscipit, you stay pede nontohendrerit truthful your owntincidunt, vision. velit risus venenatis lectus, at faucibus risus metus vel lacus. Clear lines, sharp andVivamus glamorous pellentesque purus. Nullam are the wordsiaculis used by fashion accumsan dignissim ante. Mauris experts when describing your non metus nec libero faucibus digcollections. You are using vibrant nissim. Fusce in libero. Duis a dolor colours and specific tailoring and vitae eros lacinia varius. Etiam seemingly you don't to rely on tortor turpis, mattis eget, pharetra trends at all? vel, scelerisque tortor. Nunc When you are in nec, a luxury business hendrerit hendrerit leo. Vivamus and with such strong competition ullamcorper, ettrends, dictumnot your aim is tonulla invent semper, eros eros elementum velit, follow them. in vestibulum dolor lectus a ligula. Phasellus bibendum nisi sitalways amet The impression is that you purus. Vivamus mollis quam sit have something to surprise with. ametlove nulla. Pellentesque nisl.and Proin You both classic styles tempus est vitae enim. elegance, but you are provid-

ing your collections with some Aliquam hallmark, lorem. Pellentesque specific making them habitantdifferent. morbi tristique senectus always What makes your et netus et malesuada fames ac brand recognizable? turpis egestas.inDonec tristique, It is important fashion to move nisi et lobortis faucibus,and lacus forward, to experiment, to odio sodales nulla, ut egestas mauris challenge yourself and others while sapien vitae odio. Ut elit. Donec mealways preserving your DNA. tus enim, aliquet ac, consectetuer That DNA in my label are: brave et, luctus quis, pede. Cum sociis sense of colour, bold shapes and natoque penatibus et magnis effortless clothing which blursdis parturient montes, nascetur ridicuthe boundaries between day and lus mus. Pellentesque habitant evening, sportswear and occasion morbi tristique senectus et netus dressing. et malesuada fames ac turpis egestas. Mauris augue. Mauris risus. In the fierceidcompetition with Maecenas posuere gravida metus. authors like Stella McCartney Phasellus blandit suscipit and Victoria Beckham, youquam. had Vivamus sed enim.your Proinown id dui recently received Red faucibus quam adipiscing egestas. Carpet fashion - Oscar awarded by Vivamus ut Fashion justo vitae dolor iaculis the British Council. What viverra. Vivamus vel a recognimauris is the importance ofsem such tincidunt Integer tion for a tincidunt. designer and haveullamyou corper. Sed rutrum fermentum nisl. ever thought that many celebrities would be wearing the dresses with Lorem ipsum dolor sit amet, conyour signature? sectetuer adipiscing elit. Aliquam Every award, and particularly the pede that quam, cursus sagittis sed, ones come fromut, the industry rhoncus vitae, mi. Morbi suscipit, insiders, is very important and of pede non hendrerit velit course, means very tincidunt, much. risus venenatis lectus, at faucibus risus metus vel lacus. Vivamus pellentesque iaculis purus. Nullam

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photo: Mitchel Sams

like to – however, I am very proud that Belgrade is one of the first Eastern European countries to start with fashion week. It’s always fun to be a part of such a professional and diverse showcase of work and I still vividly remember one of my first presentations in Belgrade, in Paviljon Cvijeta Zuzorić. My advice to young designers would be: find your own voice and discover your own journey!

Roksanda Ilinčić pre fall 2013

THE GUARDIAN: " She understands how women want to dress and she listens to what her clients want" Ruth Chapman, CEO of Matches. VOGUE by Esther Adams: " My women should feel like they're in a second skin, even at an evening event, said Roksanda. It can't be too conceptual. At the end of the day, it's important women want to wear these pieces now, as soon as they see them" ELLE UK by Rebecca Lowthorpe: "Roksanda opened with the prettiest wool dress of the season so far in pale fondant pink cashmere, then worked in soft grey woven checks in long lean skirts and panelled dresses, occasionally punctuating the sweetness with a patent skirt or a searing orange fur collar. So far so dreamy looking." STYLE.COM Jo-Ann Furniss: "This season I wanted something unexpected for winter, and that is where the pink came in, Roksanda said. If Ilincic's last season was essentially about looking, this season is about feeling." I see it as something that doesn't only acknowledge your achievements but also sets the bar higher for future expectations. You're a big fan of costumes. Few people know that you are actually a vintage-lover, having several hundred of vintage YSL pieces in your wardrobe. Which other renowned creators influenced your work? Apart from YSL who is still my favourite, I also admire other female designers, such as Coco Chanel, Elsa Schiaparelli… Is classic style really eternal? Your design is sophisticated, balanced, aristocratic, confident... Are your design timeless and can you imagine some of your current dresses on a woman in about 50 years? Just as you're wearing YSL... "Reinventing the classic" as I call it is something that I have been aiming to achieve since the very beginning. To see somebody wearing and appreciating my designs in 50 years time would be proof that I am doing the right thing... Let’s wait and see! Recently, the Victoria and Albert Museum displayed some of the

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most beautiful dresses from the 1950's to date. These dresses were made by some of the most prestigious British designers working in England (e.g. Charles Frederick Worth, Alexander McQueen and Vivienne Westwood), including you... What does it mean to you in artistic way? I’ve been fortunate to live in a town that appreciates fashion and considers it as an artistic form of expression, and it’s a certainly an honour to have my dress exhibited amongst such great names at the wonderful V&A. Photos from your latest pre fall collection are published in this issue of the FAAR magazine.Is it possible to know something more about the collection? This Pre-fall 2013 collection is an in depth exploration into the fusion between casual American daywear of the 1940's and 50's, and a luxury sportswear aesthetic. Touching upon the work of the midcentury designer Claire McCardell as an initial reference point, the concept revolves around the idea of relaxed, effortless dressing that retains a sense of fun, whilst maintaining a core of elegant transitional pieces.

Veliki si ljubitelj kostima. Malo njih zna da obažavaš "vintage" i da u svom garderoberu poseduješ nekoliko stotina YSL "vintage" komada. Koji drugi renomirani kreatori su uticale na tvoj rad? Pored YSL koji je i dalje moj omiljeni poštujem rad i drugih ženskih dizajnera poput Coco Chanel i Elsa Sciaparelli. Da li je klasika zaista večna? Tvoji modeli izgledaju sofisticirano, odmereno, aristokratski, samouvereno... Da li je tvoj dizajn bezvremen i možeš li da zamisliš neku tvoju sadašnju haljinu na nekoj ženi za otprilike 50 godina? "Ponovno otkrivanje klasike" kako ja to zovem, je nešto čemu težim od samog početka. Doživeti da neko nosi i ceni vaš dizajn i za 50 godina bio bi dokaz da radim pravu stvar... Hajde da sačekamo i vidimo! Nedavno je u Victoria and Albert muzeju održana izložba nekih od najlepših toaleta iz perioda od 50-tih godina do danas. Izložene haljine dela su prestižnih britanskih dizajnera poput: Worth-a, McQueen-a, Vivienne Westwood... a među njima si i ti...Šta za tebe to znači u umetničkom smislu?

Prava sam srećnica što živim u gradu koji ceni i doživljava modu kao umetničku formu izražavanja a svakako je čast što je moja haljina izložena među tako velikim imenima u muzeju Victoria i Albert. Fotografije tvoje poslednje pre fall kolekcije za 2013 godinu objavljene su u ovom broju magazina FAAR. Možeš li da nam kažeš nešto više o toj kolekciji? Ovogodišnja, pred-jesenja kolekcija za 2013. je detaljno istraživanje spoja neformalne američke dnevne odeće 40-tih i 50-tih godina i luksuzne sportske estetike. Osvrćući se na rad dizajnera s polovine veka, Claire McCardell, kao uzor, ovaj koncept se zasniva na ideji opuštenog, jednostavnog i zabavnog odevanja, koje istovremeno zadržava suštinu elegancije promenljivih detalja. Nataša Višnjić Todorović

photo: Nikola Sokolov

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English text on page 170

Zasnovan na ideji o traganju za nadrealnim izrazom kroz modni ekspresionizam, projekat L’impossible dao je priliku Ani, Ivani i Đorđu da se predstave publici London Fashion Week-a na način koji zasenjuje tržišne i ekonomske kategorije, podvlačeći autorsku kao imperativ modnog dizajna. Projektom je, u okviru izložbe International Fashion Showcase, promovisan ne samo rad ovo troje dizajnera, već, šire, nacionalna autorska modna scena čiji su dometi prikazani kroz magazin FAAR, njegove editorijale i evoluciju kao opipljive pokazatelje ovdašnjih modnih dešavanja i kretnji. Organizacija projekta poverena je Beogradskoj nedelji mode – instituciji sa bogatim iskustvom u realizaciji događaja kojima se pledira značaj mode u izgradnji kulturnog života zajednice. U saradnji sa dizajnerima, koncept

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izlaganja formulisali su Nenad Radujević, direktor projekta i mr Ksenija Marković, kustos izložbe. Kosmopolitsku težnju srpskih ekspresionista Crnjanski imenuje rečju sumatraizam (po ostrvu Sumatra u Malajskom arhipelagu), terminom čije se značenje odnosi na čežnju za daljinama i verovanje u vezu među prostorno udaljenim. Odbacujući logično i očekivano, kao načine kojima se intonira jasan smisao stvari i poretka, ekspresionisti su se odrekli i eksplicitnih žanrovskih određenja, stvarajući granične forme i začudne sinteze, a sa ciljem ekspresije čiste ideje materijalizovane mimo klasičnih normativa. "Čista ideja" bila je inspiracija projekta L'impossible, koji je po uzoru na (ovo i ovakvo) umetničko nasleđe za cilj postavio negiranje spoljašnjeg i vidljivog kao obrazaca za kreiranje novog u vidljivom svetu. Drugim rečima,

naše smernice bile su suprotne fakticitetima modne realnosti, mimezisu trenda i aktuelnog trenutka. Pokušali smo, i čini se uspeli, da u sebi oživimo, a zatim prikazom opišemo savremeni modni sumatraizam – autorski doživljaj jedinstva sveta pretočen u modne forme vanvremenske i vanprostorne estetike. Zajednička crta stvaralaštva Ane Ljubinković, Ivane Pilje i Georga Stylera jeste postojanje specifičnog stila. Njihove radove odlikuje svojevrstan dečiji odnos izražavanja – emotivan, povremeno naivan pristup stvarnosti, kojim se proizvodi emotivni naboj sadržaja i postupka, vizuelizacija nad(i ne) realnog. Njihova poetika potpuno je različita, nepovezanih stilova i likovno suprotstavljenih načina; razmeštena od satire do ljubavne poeme, ali podjednako zaokupljena subjektivnom slikom stvarnosti. Apstrahujući kompleksne,

međusobno različite, inspiracije, te istražujući veze kojima bi markirali stvaralačke kretnje, sve nas upućuje na svojevrstan kosmizam generacije mladih autora - njihov lirski doživljaj jedinstva sveta u kome se spajaju svudpostojeći humanistički doživljaji i sumnje. Rad Ane, Ivane i Đorđa lišen je kategorija mesta i vremena, te iako u inspiraciji autora postoje jasne veze sa nasleđem i uticajima, proizvod su geštalti u kojima se svi predeli i trenuci stapaju u sveopšte, nadčulno i nadistorijsko jedinstvo. Kontekstualizujući svoju nadrealnu estetiku u teorijski utvrđen koncept, ilustrator Vesna Pešić stvorila je L'impossible scenografiju u kojoj se ujedinjuju raznoliki modni narativi, potenciranjem njihove različitosti, ali i zajedničkih sumatraističkih težnji. Tako je dizajn predstavljenih autora smešten u njemu pripadajući okvir, imaginarni

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IZ KNJIGE UTISAKA… "All three designers were exciting in such different ways. It’s so great to see an international presence here in London. The Serbian designers were particularly talented and really stood out. If the three that exhibited are a typical example, then there is certainly a place for Serbian fashion talent in the UK press. We were particularly taken with the knitwear and would love to see more examples of this" Robyn Kotze, Senior Fashion Assistant, InStyle UK "I absolutely loved the Serbian Showcase! The team were so lovely and it's such an exciting group of designers. I'll definitely be covering the showcase. Intrinsically Florrie, UK Fashion Blogger "Thank you for inviting us to come and see these collections, they were some of the most exciting we have seen. I am really keen to use pieces for editorial. Laurent Richer, Fashion Director, Tirade Magazine "Blow was particularly impressed and excited by the creative standard of the participating designers. Each one presented an impressive technical and innovative collection. We identified strengths in the organization, execution and presentation of the event. The press interested and feedback on the event was particularly positive and comparisons with other participating countries have led us to firmly believe that the Serbian showcase was one of the most successful in terms of attendance, response and feedback." BLOW PR AGENCY, Darrell Vydelingum

photo: Nikola Sokolov

designer: Ana Ljubinković, photo: Miloš Nadaždin

svet prošlog i budućeg, u kome težnja za shvatanjem pojedinačnih tematskih fokusa, ustupa mesto imaginaciji i samorefleksiji posmatrača. Iako je Anina pastoralna, Ivanina entomološka i Đorđeva pank-etno inspiracija jasna, ovako formatirani, njihovi modni elementi menjaju svoja osnovna značenja postajući simboli stvaralačke transcedencije o kosmičkom položaju čoveka. Drugim rečima, insekt, ptica ili "candy" oblak, upakovani u mističnu šumu iz Vesnine imagincije, usložnjavaju svoju simboličku funkciju, pa prezentujući specifične ideje autora, prezentuju i nadčulno kao suštinu L'impossible koncepta. Dok ranije pravce odlikuje istraživanje umetničkog načina, ekspresionizam čini potraga za sadržajem. Umetnički čin kao medijum saznanja duboko psihološkog, svoj vrhunac doživeće sa nadrealizmom: postupcima slobodnog asociranja, metodom automatskog pisanja i kolaž tehnikom kojima je (kroz reč i/ili sliku) izražavan "diktat misli u odsustvu svake kontrole razuma i izvan svake estetske i moralne preokupacije" (Breton). Beogradski nadrealizam živeo je kroz časopis "L'impossible"; kroz ovde objavljivane eseje, pesme, rejograme, kolaže, asamblaže i crteže - stvaralački eksperimentalne i politički aktivne. O uspehu ovog pokreta svedoče njegove veze sa Parizom i umetnicima širom tadašnje Evrope, koji su iako granicama odvojeni, svojom umetnošću do istog stizali: da su problemi i emocije čoveka univerzalna kategorija. Ovaj zaokružen ciklus, kojim se od istraživanja ličnog dolazi do globalno prisutnog, a kroz kreaciju kao način zadovoljenja primordijalnih potreba za samospoznajom i pripadanjem, odredio je diskurs ovom projektu imenovanom po slavnom uzoru iz prošlosti, časopisu "L'impossible". Socijalno subverzivne ideje ovog pokreta, kao i njihova potreba za razmenom iskustva na nadnacionalnom nivou, inspirisali su nas i potakli na ideju da se, možda neskromno, deklarišemo kao modni nadrealisti, te ovakvim osećanjem (bar) ojačamo samopouzadanje, posredno i uspeh. I samo ime semantički odgovara kontekstu jer srpski modni dizajn je u mnogome "nemoguć", nemogućeg nastanka i opstanka na nestabilnom tržištu društva sa još nestabilnijim odnosima. Baviti se modom ovde znači boriti se protiv prilika, težiti ličnom maksimumu i vidljivosti, nasuprot socijalnim "nemogućnostima".

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"You brought over the right designers, created a display that articulated both the work and the cultural circumstances underpinning it. The reference to the Serbian surrealism was inspired and the quality of the work on show was excellent. Display was imaginative and was designed and produced to a high standard. One of the strongest exhibitions in the showcase, and certainly a favourite amongst people we spoke to. One of the few exhibitions to propose almost exactly what they ended up showing, you had a very clear idea of what you wanted to achieve" British Council,Lauren McKirdy Project Manager, International Showcases

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designer : George Styler, photo: Nikola Sokolov, artwork: Luka Ukropina

Ipak, na International Fashion Showcase krenuli smo verujući da srpski dizajn, neuslovljen (slabo postojećim) tržištem, nudi svež kreativni impuls, iskren i lični pristup; podsećanje na subverzivni i stvaralački karakter mode, koji je savremena hiperprodukcija prilično eutanizirala. Zato smo rešil da svoj "londonski nastup" i "odbranu" koncepta utemeljimo na stavu da: samo modni dizajn potaknut unutrašnjim doživljajem može stvoriti originalni modni jezik, načiniti pomak iz poznatog i dati podstrek promenama neophodnim za održivost mode. Želeli smo da ovo prikazivanje iskoristimo, ne kao mogućnost za plasiranje "proizvoda", već priliku za plasiranje ideja i namera – slanje istinite poruke o tome kakvi smo, u kojim granicama stvaramo, a kakve priželjkujemo. Magazin FAAR, kao platforma nacionalne krativnosti, poslužio je ovim namerama i kao evidencija iste. Reakcije publike na ono u njegovim brojevima viđeno, obradovala nas je i iznenadila – deluje da je srpska autorska moda naprednija nego što mislimo da jeste.

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designer : Ivana Pilja, photo: Milana Bosnić, headpiece: Đurđica Ivanović, makeup: Mina Abramović, shoes: LILU by Danijela Biskup

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Učestvovati na ovakvom događaju, te biti u prilici (nenamernog, mada neminovnog) odmeravanja snaga, podrazumeva ozbiljnu pred-procenu sopstvenih moći, prednosti, ali i mana. Istina je da u smislu mogućnosti produkcije kvantitativno, kao ni kvalitativno, srpski autorski dizajn ne može parirati zemljama sa daleko razvijenijim tržištem ovog tipa, ali je baš zato naša mogućnost da budemo slobodniji u imaginaciji. Izložba u Srpskom paviljonu dokazala je pretpostavku – Anin, Ivanin i Đorđev dizajn ocenjen je pridevima "neobičan", "drugačiji", "interesantan", "iznenađujuć". Namera da ponudimo neočekivani estetski doživljaj je realizovana, a česti komentar posetioca: "Nadrealno!" potvrdio je da je definisani koncept uspešno vizuelizovan. Pohvala Britanskog saveta za modu da je "ovako kontekstualizovana izložba sjajno povezala rad dizajnera i kulturne okolnosti zemlje" čini nas istinski ponosnim, ali i definitivno sigurnim u činjenicu da je kreativnost moćno sredstvo interkulturalnog dijaloga. Izložba je ocenjena kao originalna,

odlično osmišljena i relizovana na najvišem nivou; kao jedna od "omiljenih" stručne javnosti i jedna od retkih koja je ostala dosledna predefinisanim idejama. Učešće Belgrade Fashion Week-a i posvećenost njegovih organizatora realizaciji zamišljenog, procenjena je kao dokaz postojanja dobre infrastrukture za promociju modnog dizajna, a isto je otvorilo vrata sjajnim predlozima za saradnje čiji efekti tek slede. Na kraju, interesovanje svetskih stilista i modnih novinara za prikazane modele omogućilo je "vetar u leđa" Ani, Ivani i Đorđu, te proizvelo ono njavažnije: novostečenu sigurnost u soptveni rad, sada dokazan kao dobar među dobrima. mr Ksenija Marković

IMPRESUM INTERNATIONAL FASHION SHOWCASE LONDON 2013 Direktor projekta: Nenad Radujević Dizajneri: Ana Ljubinković, Ivana Pilja, George Styler Kustos: Ksenija Marković Dizajn i ilustracije: BECHA Menadžer projekta: Adriana Spirito Asistenti: Andrea Varga, Vanja Stefanović, Selena Pleskonjić Grafički dizajn: Filip Stamenković i Vesna Pešić-BECHA PR Srbija: Nataša Višnjić Todorović i Bojan Šašić PR UK: BLOW Projekat pomogli: Ministarstvo spoljnih poslova i Ministarstvo kulture u Vladi Republike Srbije, Ambasada Republike Srbije (London), SIEPA, Turistička organizacija Srbije, JAT Airways i British Council ( Srbija)

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Davne 1840. godine Theodore Hook je, u nameri da ismeje poštanskog radnika, poslao prvu razglednicu sa njegovom karikaturom. Prve razglednice bile su bez poštanskih marki, samo sa pečatom i smatra se da su bile jeftinije za slanje od pisama. Tek 1894. britanski izdavači su dobili dozvolu od strane "Royal Mail" za proizvodnju i distribuciju razglednica sa slikama, koje se mogu slati poštom. Prve razglednice su štampane od strane "Stewarts" štamparije u Edinburgu i na njima su bile slike poznatih znamenitosti (najčešće Katedrala svetog Pavla i Londonski most), scenski prikazi, crteži ličnosti. Tridesetih godina dvadestog veka široko rasprostranjene postaju "bezobrazne" razglednice, čija je prodaja došla do 16 miliona godišnje, ali ih je pedesetih godina

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novoizabrana konzervativna vlada u Britaniji zabranila, jer je smatrala da utiču na propadanje morala. Sedamdesetih i osamdesetih kvalitet umetničkih dela, ali i humora na razglednicama je opadao. Ipak ostalo je zabeleženo da se krajem dvadestog veka dnevno slalo preko 4000 000 razglednica. U poslednjih dvadeset godina mnogi mladi umetnici iz Srbije nastavili su ili izgradili svoje uspešne karijere u inostranstvu. U ovom izdanju Faar-a, uz podršku Kancelarije Vlade Republike Srbije za saradnju sa dijasporom imaćete priliku da vidite njihove razglednice, poslate iz svih krajeva sveta.

In 1840, Theodore Hook mailed the first postcard with a caricature of post office workers in order to mock them. Those first postcards did not have postage stamp, only postal seal, and sending them was considered to be cheaper than sending letters. Not earlier than 1894, British publishers were given permission by the Royal Mail to manufacture and distribute picture postcards, which could be sent through the post. The first postcards were produced by printing firm Stewarts of Edinburgh and early postcards were pictures of famous landmarks (mostly St. Paul’s Cathedral and London Bridge), scenic views and drawings of celebrities. In the early 1930s, cartoon-style saucy postcards became widespread, and their sale reached a

massive 16 million a year. But in the early 1950s, the newly elected Conservative government in the UK decided on a crackdown on these postcards because they were concerned at the apparent deterioration of morals. During the 1970s and 1980s, the quality of the artwork and humour started to deteriorate. However, it was recorded that over 4,000,000 postcards had been sent on a daily basis at the end of the twentieth century. In the past twenty years, many young artists from Serbia continued or build their successful careers abroad. You will have a chance to see their postcards, sent from different parts of the world, in this edition of FAAR magazine.

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English text on page 170

"Absolutely Fabolous" skraćeno "Ab.Fab". Kultna serija koja nam je pomogla da preživimo 90te, ostavila nam je u amanet Petsi i Edi i kultne replike: Eddie: "Get ready for this sweetie. " Patsy: "It's fabulous darling!" Pitanje koje se nameće početkom 2013. može biti i šta bi "Sweetie" - moglo biti "Absolutely Fabulous darling", a da dolazi iz Srbije i da je referentno i da te čini mislećim delom čovečanstva inače zaronjenog u skrolovanje strana na tabletima? Šta je ono što preživi "tajmlajn" i "tviter" gde se iz sekunda u sekund prelivaju misli, bojleri, pozivi na demonstracije, apeli za O pozitivnu krvnu grupu i pobednici takmičenja sa "X" ili "Y" faktorom? Novak Đoković - čarobna kombinacija slova. Superheroj zemlje koji nas je razmazio svojim pobedama i učinio da bi orao sa naše zastave trebalo umesto krune da nosi teniski reket. Okej, ali on je nekako kao nekakva konstanta. "Where are you from?" "Serbia". "Sirberia?!? Wow, darrrrling, people actually live there?" "No, no - no Sirija! No Sibir! Srbi-ja, you know: No-va-k Djo-ko-vic" "Aaaa! Nole! Yeahx Naravno, tu je i Roksanda Ilinčić, za modno prosvetljene i Emir Kusturica za ljubitelje filma i arhitekture te gradnje u kamenu. Ali, "sweetie", ove godine smo briljantno startovali i to na polju na kom nikad nismo bili:

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SRDAN GOLUBOVIĆ – "KRUGOVI" "Sandens". Ta ključna reč u istoriji modernog nezavisnog filma. "Krugovi" reditelja Srdana Golubovića su prvi film ne samo iz Srbije, nego iz jugoistočne Evrope, "darling",

koji je ikada ušao u selekciju na "Sandens" i imali su tu priliku da otvore "World Dramatic Competition" program, koji ima ukupno 12 filmova. Istiniti događaj koji je inspirisao autore "Krugova" dogodio se 21. januara 1993. godine. Pripadnik Vojske Republike Srpske Srđan Aleksić našao se u grupi srpskih rezervista koji su legitimisali ljude na trebinjskoj pijaci. Kada su naišli na muslimana Alena Glavovića, počeli su da ga tuku. Srđan je priskočio u pomoć Alenu koji je pobegao, a četvorica srpskih rezervista kundacima su pretukla Srđana koji je šest dana kasnije preminuo od zadobijenih rana. Srđanov otac Rade u čitulji je napisao: "Umro je vršeći svoju ljudsku dužnost". Srđan Aleksić bio je juniorski rekorder u plivanju, bavio se amaterskim pozorištem, a imao je 26 godina kada je ubijen. Jedan od četvorice napadača poginuo je nekoliko meseci kasnije na ratištu, dok su ostala trojica bili osuđeni na po dve godine i četiri meseca zatvora. Film govori o posledicama jednog herojskog čina i o ljudima koji pokušavaju da izađu iz začaranog kruga događaja koji im je obeležio život. I skoro u dan, na godišnjicu od Srđanove smrti, stigla je vest da su "Krugovi" i Srdan Golubović osvojili jedno od priznanja "Sandens" festivala - za umetničku viziju u kategoriji svetskog filma. Time je je još jedan krug na tako snažno simbolički način zaokružen. Neophodan nam je bio film koji će na vrlo direktan način progovoriti o oproštaju i jednoj posleratnoj katarzi kroz koju svi moramo proći (kad tad) ne bismo li išli dalje. Pritisnuti predugim potiskivanjem spoznaje da je ovaj rat bio rat anti-heroja, već sama pomisao da je postojao heroj kakav je Srđan Aleksić pomaže mnogim generacijama da zatvore tu priču jer eto bilo je zasigurno bar jednog dobrog momka sa naše strane. "Krugovi" govore i o našoj potrebi da izađemo iz te senke rata i tog zla koje nam se dešavalo i koje nas i dalje prati i to kroz katarzu i tačno preispitivanje

Absolutely Fabolous stars Jennifer Saunders, Joanna Lumley

onoga što nam se desilo. Film je i o krivici, o posledicama jednog herojskog čina, o frustraciji herojstvom, o senci prošlosti i potrebi da se iz te senke izađe. Reč je i o kukavičluku i nemoći koja vodi ka osveti, o spoznaji besmisla osvete, i o oproštaju. Film prati živote ljudi koji su učestvovali u događaju koji im je promenio živote. Radnja se dešava 12 godina kasnije i bavi se pitanjem ima li herojstvo smisla. Ostavlja li herojski čin jednog čoveka ikakve posledice na druge ljude? "Da li je biti heroj isto što i biti budala i da li je život izgubljen u odbrani drugog ljudskog života kao kamen bačen u bezdan?" - objašnjava Srdan Golubović. Svoj uzbudljiv život "Krugovi" nastavljaju preko Berlina, FESTa, domaćih bioskopa pa dalje u neizvesnost osvajanja gledalaca i profesionalaca na planeti Zemlji, "darling". Ali, svakako najdirljivije prikazivanje filma će biti u Trebinju, gradu gde se tragedija dogodila, gde se film snimao i gde i dalje živi Srđanov otac, a koji je inspirisao lik koga maestralno glumi Aleksandar Berček - suvereni vladalac

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krupnog kadra. Koliko je samo daleko zvučalo kako će premijera Baz Lurmanovog rimejka "Velikog Getsbija" biti maja 2013. A evo, to je takoreći za par dana. Film koji će svakako u trendseterskom smislu jako uticati na to šta će se nositi, kako će se šišati, koji će se brkovi uzgajati, šta će se piti i do kog stepena dekadencije se može eskalirati ove godine, "darling". Edi i Petsi će ga obožavati. Na samu pomisao na te hektolitre "Moeta" koji teku, Petsi je već spremna da zaroni na dah. A čovek kome je originalna adaptacija romana Skot Ficdžeralda donela kultni status, upravo je osnivač "Sandens festivala" – "old s-cool" ikona: Robert Redford. Predstavljajući ovogodišnju selekciju, on je zaključio: "Kada sam počeo da se bavim filmom početkom 60ih, to je bilo romantično vreme. Seks i romansa bili su povezani. Sada, skoro 50 godina kasnije, vidimo seksualne veze u kojima romanse gotovo da nema. Veze su se promenile zbog vremena koje su redefinisale nove tehnologije".

MAJA MILOŠ - "KLIP" Možda je Robert odgledao, a ako nije svakako mu preporučujemo sad već kultni film "Klip", prošlogodišnju internacionalnu senzaciju koja je Maji Miloš donela "Tigra" na "Roterdamu". "Postoji Forman Miloš, a mi imamo našu Maju Miloš!" - moto je ponosnih koji od srca čestitaju ovoj neverovatno darovitoj rediteljki i scenaristkinji neverovatan uspeh. "Ljudi uvek žele sebe što bolje da predstave, pa kada vide stvarnost koja nije ružičasta, to izaziva reakcije. Bila mi je ideja da nateram mlade ljude da počnu sami da postavljaju pitanja šta se događa i koji je njihov udeo u svemu tome. Stvar je u tome kako je ta njihova energija sa 13 i 14 godina, koju ne znaju kako da kanališu i koja ide u jedan paralelni svet prepun strasti, besa, agresije i destrukcije - rastući problem. Taj njihov svet je i šaren i lep, ali je s druge strane i jako grub. U javnosti se bavimo samo ekstremima, a ja time nisam želela da se bavim u filmu. To je ono što dolazi na naslovne strane, a ja sam htela nešto što je ispod radara, što je

uobičajeno. Time se ne bavimo, a to čini mnogo veći procenat od ekstrema u društvu. Kada bismo se bavili većinom sprečili bismo da dođe do ekstrema. Ja u filmu nisam želela da dajem rešenje, već da postavim pitanje. Snaga umetnosti i filma upravo i jeste u tome da postavlja pitanja. Umetnost utiče na ljude, a oni sami mogu da dovedu do nekog rešenja diskusijom i razmatranjem. Najveći problem je što se naše društvo ne bavi javno takvim pitanjima." "Amen to that", Maja "darling". Očekivala sam da će ovaj film pokrenuti diskusije i panele, da će se razbiti neki tabui i da će se stvari pokrenuti sa tačke ćutanja. Naravno, nisu. Jer dok očevi lome poslednje zube na otvaranje pivskih flaša, majke gledaju "Sulejmana" - ćerke im se slikaju gole pored pokvarenih bojlera. "Jazak" ili ti sramota što bi rekli u haremu kod "Veličanstvenog". Ali, neprocenjivo je što imamo "Klip" u istoriji naše kinematografije i navijamo za drugi film gopođice Miloš.

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ISIDORA ŽEBELJAN - "DVE GLAVE I DEVOJKA" U međuvremenu "izdominirali" smo što bi rekle klinke iz "Klipa" na još jednom polju i to polju opere. Zamisli, "sweetie", ovu situaciju, Sijena, sav krem EU visokog društva sa sve holandskom kraljicom na čelu sluša premijerno operu "Dve glave i devojka", na srpskom. Eeeeej, bre - na našem maternjem jeziku peva internacionalna ekipa vrhunskih solista, a sve to zahvaljujući kompozitorki Isidori Žebeljan. Isidora je najmlađa članica SANU (Srpska akdemija nauka i umetnosti), autor je opere "Zora D", prve srpske opere koja je imala premijeru u inostranstvu u Amsterdamu 2003. Tokom studija bila je član grupe mladih kompozitora "Sedam veličanstvenih", koja je na inovativan i nekonvencionalan način prezentovala svoju muziku. Njihovi koncerti na "Kolarcu" bili su podjednako posećeni kao koncerti "Ekatarine Velike" u SKC-u. Muziku Isidore Žebeljan izvode svetski ansambli poput "The Academy of St Martin in the Fields" iz Londona, orkestar RAI iz Torina, "London Brass", "Brodsky Quartet", "Nieuw Ensemble" iz Amsterdama. Ekskluzivni izdavač muzike Isidore Žebeljan je izdavačka kuća BMG Ricordi. Najnoviju operu koja je postala apsolutni hit u Sijeni "2 glave i devojka", napisala je upravo za ovaj festival, a nastala je zahvaljujući porudžbini "Fondacije Akademije Kiđana" Isidori su ruke bile odrešene u pogledu izbora teme, ali i odabira kompletne umetničke ekipe. Isidorin suprug Borislav Čičovački je potpisao libreto, baš kao i za prethodnu Isidorinu operu "Simon izabranik". "Borislav je napisao izvrstan, vrlo slojevit libreto, filozofski nastrojen, a istovremeno duhovit. Zasnovan je na motivima staroindijske legende, koja je inspirisala i novelu Tomasa Mana "Zamenjene glave". Reč je o dva drugara i jednoj devojci, ljubavni trougao, u kome se dešava štošta, uključujući i zamenu glava i tela, a sve to zbog devojčinog stalnog nezadovoljstva i potrage za nedostižnim. Da li će devojka izabrati lepo telo prijatelja i pametnu muževljevu glavu ili ostarelo telo muža i lepu ali ne tako pametnu glavu njegovog drugara. Da li joj je muž tamo gde mu je telo ili glava? I Petsi i Edi bi se do beskraja mogle upustiti u ovu tako zabavnu, a tako kompleksnu dilemu, e moj "sweetie". Isidora kaže da je odavno maštala o tome da napravi neku bajku, koju bi komponovala kao operu. "Ovo jeste bajka, ali i duboka misaona

priča, nad kojom se čovek zamisli." Opera je komična bajka u jednom činu, sa uvodom i pet scena na srpskom jeziku. U internacionalom izvođačkom ansamblu su sopran Aneta Ilić, baritoni Ajvan Ladlou (Velika Britanija) i Pjotr Prohera (Poljska/Nemačka), sopran Ajle Asonji (Estonija), klarinetista i performer Alesandro Karbonare (Italija), a u ulozi naratora pojavljuje se Nikola Đuričko. Muziku izvodi "Žebeljan orkestar", a dirigent je Premil Petrović. Isidori je najznačajnija muzička prekretnica bilo otkriće muzike Sergeja Prokofjeva: "Još u muzičkoj školi njegovu muziku sam svirala dušom, srcem i celim svojim bićem. Inače, na svaku muziku sam uvek reagovala. Posebno na pevanje i igranje iz banatskih krajeva, jer je to kraj iz kojeg potiču moji preci. Uvek sam volela neobičnu muziku. I moja je baš takva. Kao što su bajke u literaturi. Tu postoji neka "zlatna spona" između muzike koju volim i neobične književnosti. Dopada mi se narodna muzika, posebno instrumenti kao sopile, zatim džez, pa i tehno muzika. Koristila sam sve to u radu za film i pozorište." Nekoliko godina, tokom devedesetih, Isidora je bila aranžer muzike Gorana Bregovića i lepo su funkcionisali. Na pitanje da li doživljava sebe kao umetnika i da je drugačija od drugih, Isidora odmahuje glavom – "Ne, iako drugi, moguće je, doživljavaju umetnike kao posebne ljude. Ali, svoju umetnost osećam kao najprirodniji deo mog bića. Doduše, sin mi je jednom prilikom rekao: "Pa, zar nisi mogla da se baviš nekim normalnijim poslom?" Nema umetnika koji se i sam ponekad to nije zapitao. Jer biti umetnik je itekako stresno zanimanje. I kad imate i kad nemate posla, "darling", stres je tu.

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Slavimir Stojanović, illustration

MILOŠ LOLIĆ - "OTELO" Miloš Lolić je hrabro i vanserijskim rešenjima postavio "Otela" pred publiku JDP-a, prvi put posle 1977., decembra prošle godine. Učinio nas je važnima te se njegovim uspehom takođe možemo bilo gde na svetu pohvaliti. Na pitanje - šta je strašnije: sedeti na premijeri sopstvene predstave, u sali sa publikom, ili van nje?, Miloš odgovara – "Nikada na premijeri nisam sedeo sa publikom, tako da horor koji doživljavam izvan sale nemam s čime da uporedim." Ovaj višestruko nagrađivan reditelj godištem spada u generaciju koja je odrastala pod Miloševićem u sigurnoj oazi kluba "Industrija", ključnog kluba koji je slavio elektronsku muziku od euforije sredine 90ih. Tada započeta

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prijateljstva je pretvorio u svoje saradnike, a jedna od njih je Maria Jelesijević, kostimograf. Kada se scena čije je rešenje radila Jasmina Holbus otvori, mi u publici bivamo potpuno očarani likovnošću kostima junaka "Otela". "Nemam osećaj da se bavim šivenjem kada radim sa Lolićem. To je više istraživački rad. Scenski pod je ovoga puta prekriven žutom bojom i to je za mene bio veliki problem, jer ta izrazito žuta, simbolično je razmišljao Lolić, drži budnim. Uspavljuje, iritira ili nam donosi nemir. Publika je u stalno pripravnom stanju, a onda sve više i više ne možete da izdržite takvo stanje. Bilo mi je jako komplikovano da uklopim kolorit, jer žuta naspram drugih jarkih tonova jeste zapravo kič. Izgleda suviše plastično i plakatno. Zato sam se koristila jesenjim bojama zemlje koje su stapaju sa žutom. Namerno sam se odlučila za taj kolorit jer iz te žute treba da izađu boje koje je smiruju. Tu su tonovi maslinasto zelene, razne nijanse okera, od svetle boje peska, do boje cigle, zatim boje neba. Opet, treba napraviti sklad između žute i plave. To mogu da budu veliki kontrasti. Dakle, to je bukvalno bilo toniranje koje ima i funkciju balansiranja" – otkrila nam je Maria. Lolić je još od studija maštao da će se jednom sasvim posvetiti "Otelu". "Nisam razmišljao zašto na repertoaru za njega nema mesta kao za druge Šekspirove drame. "Otelo" je kompleksne dramaturgije, imamo trinaest glumaca u podeli, zahtevan je i u tehničkom i u organizacionom smislu. Tu su i dve različite lokacije: Prvi čin u Veneciji, ostala četiri se dešavaju na Kipru. Postoje i dva vremenska toka koja se prepliću i sukobljavaju. Takođe, "Otelo" nudi više od tri ključne teme s kojima se susrećemo i u savremenom društvu - problem "drugosti" i šta ona izaziva, iznevereno poverenje, sumnja, pa sve do onih intimnijih kao što je ljubomora. Ali, svakom Šekspiru je danas teško naći mesto. U svakoj tragediji zahvata mnogo tema, dok mi tražimo mnogo fokusiranije priče na jednu temu. Na kraju, ipak, to dopire do publike koja nam se pridružuje u našem posvećivanju ovom piscu." Ova priča o manipulaciji, spletkarenju, podmetanju. itekako je aktuelna. kao što živimo u eri i okruženi ljudožderima vegetarijancima tako je ovo vreme - vreme Jaga. "Jago nam je razumljiviji od Otela i Šekspirov "bezobrazluk" je u tome što je ovaj lik napisan našim govorom, našim rečima. Otelo je uzvišen, nedostižan, neka vrsta

The play Otelo, photo: Nenad Petrović

Opera Two heads and a girl, photo: Isidora's Arhives

Scenes from the movies: Clip and Circles, photo: Baš Čelik

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idealnog tragičkog junaka koji tako "priziva" Jaga. Na neki način i nas. Izbegavamo identifikaciju s Jagom, a ona je utkana u ljudsku prirodu i međuljudske odnose. Već na početku rada smo shvatili da koliko god se teoretičari pitali o Jagovim motivima i zlu, njegove reakcije su gotovo svakidašnje. Viđamo ih svuda i stalno. I kad ih ne shvatamo, imamo ih u svom iskustvu i okruženju. Jago pokušava da uništi jedan odnos. Možda svako od nas to ima u svom iskustvu, bilo svesnom ili nesvesnom. Uviđamo i da je on jedan od ozbiljnijih negativaca u istoriji drame, ali on ne radi ništa što mi već nismo radili. Treba se suočiti s tim: destrukcija nešto i donosi, ne samo odnosi. I kroz mučan život, patnju, idete napred. I negativitet je deo ringišpila. Kad ignorišete drugu stranu novčića, niste je ni svesni, naivni ste. Ipak, zlo i dobro ne treba miriti. Nije reč o pomirenju već o osvešćivanju." - poručuje Miloš. 034

SLAVIMIR STOJANOVIĆ - "YOU ARE AN IDIOT, PLEASE ACT ACCORDINGLLY" A jedan od junaka iz ove "Apsolutno fantastične" epopeje u ovom FAAR-u, sa kojim završavamo ovaj niz ljudi koji svojim delima mogu da nas predstavljaju u po crne noći bilo gde na svetu svojim delima i načinom na koji sažimaju stvarnosti je Slavimir Stojanović. Njegova izložba "You are an IDIOT, please act accordinglly" posle Pariza, Sarajeva svoje parče pažnje dobila je i u Beogradu, u galeriji "Podroom", "Kulturnog centra Beograda". Jedan od najpoznatijih domaćih dizajnera Slavimir Stojanović, školovao se na FPU u Beogradu, a usavršavao u Geteborgu i Ljubljani. Za svoja grafička rešenja dobio je više od 200 nagrada na prestižnim svetskim festivalima, a njegovi radovi su deo kolekcija u muzeju "Pompidou" u Parizu, "Muzeju

umetnosti i reklame" u Hamburgu i u "Muzeju plakata" u Varšavi. Slavimir kroz različite umetničke forme dekonstruiše reklamne slogane, naredbe, ukaze, logotipe poznatih robnih marki i na taj način stvara nove lucidne i ironične mentalne slike. Za tvorca FUTRO brenda, brejkdensera i amaterskog (izvini Slavimire) fudbalera, izazov je stvarati "pomerene stvari". "Najviše se trudim da probudim autoironiju kao lekovito svojstvo koje bi možda moglo da pomogne našem društvu" Industrija masovne kulture nastoji da nas uniformiše, ali kao da ne uspevaju u tome, "darling". "Iako je tretiran kao deo stada, pojedinac percipira masovne poruke kroz medije na svoj autentičan način", kaže Slavimir. Ostati svoj uprkos i u inat svemu, to je misija za ceo život. Slavimir ima još jedan putokaz. "Svaki čovek ima određenu količinu želja koju sebi može da priušti. Ako dobiješ želju koja ti je servirana, ti moraš

tačno da znaš koju želju sebi možeš da ispuniš, a koju ne. Ako ne ostvarimo distancu, odnosno ako se ne odnosimo autoironijski prema životu, brendovima i svemu ostalom, onda smo zreli za hospitalizaciju". A u stvaranju te prekopotrebne auto-ironije dosta pomaže alkohol. Za Edi, Petsi i sve koji nas inspirišu da budemo najbolja verzija sebi – dignimo ovu čašu i uzviknimo sad skupa - živeli! I bravo ljudi što prebacujete granicu i pravite promaju u ovoj zemlji gde je vazduh neophodan! Loona Loo

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A projekcije su jednom, pa za par godina opet. Pošto je "Jugoslovenska kinoteka", znate, u vrhu evropskih. Ima strašno mnogo filmova. I sad, svi oni treba da se izvrte. Radi se na tome najozbiljnije. Znam, pošto sam imala tog prijatelja Vladu Pogačića. On kad je bio direktor Kinoteke, skupio je, onako mršav, svojim rukama veliki jedan deo toga. Posle je umro, jer je bio star, ali svi ga pamtimo, ne samo po njegovim filmovima, a on je bio izuzetan reditelj, nego i po svim tim tonama kinotečkih rolni za koje se po belom svetu izborio. Dakle, filmovi, pa škola. Tim redom je bilo. A škola je u Kameničkoj. To je strma ulica kroz pijacu, od Autobuske stanice do Zelenog venca. Tuda prođeš, i mirišeš na ribu. Takav dođeš u Kosovsku, kupiš kartu od para za užinu, često tek tad pogledaš šta se daje. Pa je nekad neki hit, i guraš se, nekad je prazno, i zamišljaš kako si u svom zamku u Škotskoj, sišao u svoju privatnu projekciju, i samo ti fali čaša s viskijem u ruci. Osvrćeš se u iščekivanju batlera i pitaš se kad će već jednom to da ti doda. Ali, onda stiže i Teta Iz Prvog Reda, ona jedna neizbežna, sa šeširima. Obično plače dok gleda. I filmski kritičar s belom bradicom i naočarama. On je besan i ništa mu ne valja. Sad je već to realnija priča. "Kinoteka" koju znaš. Nema veze za viski. Nego, počne Antonionijev "Blow Up". I uploviš u "Swinging London" kroz objektiv Hemingsovog fotoaparata, natrčiš na auto prepun modsa s licima ofarbanim u belo, naletiš na Verušku s onom velikom kosom u izrezanoj tunici na šljokice.

I taman si u tome do kraja, i hoćeš na aerodrom pravo sa projekcije, pa odatle u taj tamo London…kad zafale neke teniske loptice. I tako, oni igraju tenis, a loptica nigde nema, a ti se pitaš odjednom sto stvari. Pa od razmišljanja zaboraviš da otputuješ. Izađeš napolje posle filma, prijatelji te pitaju - kako ti se svidelo. Prezreš ih zbog ometanja trenutka, prođeš bez reči. Odeš kući da praviš tortu, jer tog dana se slavi Morisijev rođendan. Da, da. Svake godine na dan kad se rodio S.P., bivši lider "Smitsa" i opevavač naših tadašnjih života, skupljali smo se kod nekog iz društva i duvali svećice. Možda on to nikada neće saznati, ali nema to veze. Mi učestvujemo u toj svečanosti, jer nam ona pripada, obučeni u leviske s karanfilima koji vire iz zadnjeg džepa. Patetični i ponosni na to. Onda su se vremena malo smirila. Ja sam se već ozbiljnije vrtela oko filma. U "Kinoteku" sam se vraćala da vidim kako montira Nikolas Roug, ili kako menja stilove Toni Ričardson. Nije prestalo da me fascinira ni kako baca opasne poglede Italijanka Monika Viti kao večna Modesti Blejz u filmu Džozefa Louzija, ni kako Džek Trbosek u londonskoj magli završava sagu o Lulu, mojoj heroini Luiz Bruks, kod Nemca Pabsta, ni kako se doktor Džekil pretvara u Mister Hajda, po mitu Roberta Luisa Stivensona, pa neka je film i američki. … Tako smo sticalli neku ideju o tradiciji. I svest Kraljevstva o otporu i promeni uporedili sa svešću zemlje seljaka na brdovitom Balkanu. Pokupili smo modu, saznali smo stil.

… Putovala sam mnogo. Nikad nisam stigla u London. … "Jugoslovenska Kinoteka", i dalje s istim nazivom, ovih dana je dobila novu zgradu, vrednu njenog značaja i veličine, u samom centru, divne starinske arhitekture i modernog dizajna. Za mene će "Kinoteka" zauvek biti podrum u Kosovskoj. Koji, "nomen est omen", valjda odlazi u legendu. A skoro da niko više i ne pokušava da se pravi Englez. Maja Uzelac

illustration-BECHA

Sedim u podrumu Kosovske otvorenih usta, dok na platnu Gaga Nikolić, mlad i zdrav kao ruža, šalje proročke poruke iz prošlosti obučen u košulju s velikim printom britanske zastave. Okrećem se oko sebe, da još na nečijem licu potvrdim kako vidi isto što i ja. Vičem. Bar mi se čini da vičem. Smejem se. Film Joce Jovanovića iz 1971, tada prikazan na Pulskom festivalu, pa hitno "zabranjen bez zabrane", prikazan je prvi put posle toga na FEST-u 2006. Nisam bila u zemlji, i prvi put ga gledam, prirodno - u Kinoteci, odmah potom. Gaga, novotalasni duh pobune, bombom na blagostanje, srednji prst društvu po meri čoveka (samo kog?), sve dok kamera igra i bacaka se, puške i pištolji pucaju, lepe gole žene šetaju, Beograd seksi kao nikad kasnije. I ta košulja od zastave. Koju odmah jezivo želim. Drugo vreme, isto mesto. Srednja škola, već su neki razni protesti svaki dan. Probijam se kroz stampedo niz stepenice podruma, da otmem sebi sedište od raspalog crvenog pliša. Daje se "Ako…", Lindzija Andersona. Zatim Kjubrikova "Paklena pomorandža", snimljena iste godine kao Jocin "Mlad i zdrav kao ruža". Da se gleda Malkolm Mek Dauel kao britanski Gaga Nikolić. Ili je beše obrnuto. Nema veze. Sve u duhu slobode, o slobodi se tu radi. O provokaciji. I o pobunjenim mladima. U tom času, mi smo ti. I skroz bismo nosili beli kombinezon s crnim polucilindrom i štapom. U budućem Ujedinjenom kraljevstvu ili sadašnjoj Zemlji Srbiji, svejedno. A život zavisi od toga tih dana. Gledao si film, i znaš stvari o stvarima. Ili nisi gledao, i ne znaš.

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Photo: Brian Rasic, www.brianrasic.com Styling: Tijana Pavlov, www.tijanapavlov.com Model: Apichai Tragoolpadetgrai / Lek / Greasy Cafe ,www.greasy-cafe.com

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Drago mi je da pišem o JSP. Ovo osećanje nema veze sa konzumerističkim dopadanjem, brojem garderobe sa JSP potpisom i radošću kada u programu BFW-a vidim njihovu reviju, već sa zadovoljstvom zbog prilike da rečima oblikujem sliku postojanja ozbiljnog modnog brenda koji 20 godina živi, ne preživljava, na ovom našem malom, vrlo nestabilnom, tržištu. Puno puta sam pisala o ovdašnjoj modnoj sceni i za nju specifičnim "dečijim bolestima", te se ne bih ponavljala, posebno u rođendanskom kontekstu. Zato, samo na početku, htela bih da podvučem da kontinuirano uspevati i isto činiti u neprilikama, dijalektički se razilazi u značenju, jer prvo podrazumeva kvalitet, istrajnost i sticaj dobrih okolnosti, a drugo prva dva u značajno većoj meri. Ostao mi je u pamćenju početak jednog njihovog intervjua "Oduvek smo znale šta hoćemo". Ova izjava čini mi se kao dobar šlagvort za narativ uspeha, dobra najava u

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programu (zamišljenog) predavanja o pravilima preduzetništva kreativnog stvaralaštva. Poštovanje sopstvenih htenja i razumevanje načina za ostavarivanje istih jesu preduslov uspeha u svakoj, pa i modnoj delatnosti, koja, kao takva, zahteva još originalnost i umetnički dar – neophodne prefikse pomenute samosvesti. Poznavanje sopstvenosti podrazumeva i shvatanje sopstvenog stvaralačkog bića – sopstvenih ideja, nagona i interesovanja, znanje ličnih mogućnosti koje ne limitira već tera na učenje i nova traganja. Sudeći po "proizvodu", reklo bi se da gore pomenuta izjava sestara Proković nije floskula već cela istina, jer kako je njihov dizajn samo njima dosledan, dobro prepoznatljiv, a ipak varijabilan u ideji, tako se može "okititi" pridevom uspešan, a one kao stvaraoci onime u prethodnim rečenicama navedenom. Brend JSP nastao je pre 20 godina, predstavljajući se publici revijom odeće i modnih dodataka. Kape i šeširi imali su važno mesto u

ovoj kolekciji, a naklonost detalju kao elementu "stayling-a", ali i kao integralnom delu odevnog komada, ostaće prisutna u svim daljim radovima. Ono što povezuje različite modne priče, pripovedane tokom dve decenije, jeste stabilnost koncepta, dorečenost i neodstupanje od jedinstvene ideje u pozadini, ozbiljnost razrade – krojne i tematske, dobar odnos eksperimentalnog i utilitarnog. Silueta, boje, dezeni i forma variraju iz kolekcije u kolekciju, shodno sezonskoj inspiraciji autorskog dvojca, najčešće zadržavajući blago androgeni "look" koji ne deseksualizuje i ne izjednačava polove, već eksplicitnu ženstvenost i/ili muževnost blago redukuje urbanom uniseksualnošću. Njihove kolekcije često se interpretiraju kao uniformom inspirisane, mada ja nisam spremna da ovakvu konotaciju u potpunosti prihvatim. U tom smislu, dopada mi se objašnjenje dizajnerki da se ovde pre radi o strogom konceptu i principu replikacije, nego o samoj

fascinaciji uniformom koja, iako postoji, ne dominira obavezno temom i inspiracijom. Tražeći načine očulotvorivanja trenutne zamisli, Jelena i Svetlana Proković ne beže od naizgled neizvodljivog, i ispitujući "sirovinu", obradu, konstrukciju (...) najčešće uspevaju da željeni ideal postignu. Posmatrajući njihove kolekcije deluje da su u svakoj našle neki novi način, kome su se obradovale, te isti istražile i primenile, dovoljno, da se približe onome što same smatraju zatvorenom celinom. Otuda JSP revije malo kada ne iznenade neočekivanim: svežom interpretacijom teme, materijala, pa i samog odevnog komada. Vremenom je, na ovaj način, stvoren priličan broj JSP "izuma", od kojih su mnogi kasnije reinterpretirani i od strane drugih autora. Takođe, sam stil ovog brenda, na svojevrstan način postao je jedan od vizuelnih znakova srpske mode, deo ovdašnjeg modnog žargona, ali i prepričavana priča – nekada uspešno, a nekada ne.

Njihove revije oblikovane su adekvatno identitetu žene i/ili muškarca koji se pojavljuju na pisti; sa muzikom, scenografijom, koreografijom i kastingom takvim da odgovara onom izmaštanom u procesu stvaranja. Tada, u tih 15-ak minuta publika ima priliku, ne samo da vidi nove modele, već i nazre ideju u njihovoj pozadini, pri čemu podvlačim ovo nazre, jer je upravo nebukvalnost bitna vrednost JSP rada. Inspiracija jeste i treba biti lična stvar autora, te unutrašnji svet kolekcije tek u obrisima vidljiv, ne neonskim svetlom osvetljen, publikovan, a time i deintimiziran. Jelena i Svetlana ovoga su svesne, pa predstavljanje njihovih kolekcija, ma koliko bilo bogato scenskim elementima, uvek zadržava odstupanje – u muzici, svetlu, scenskom dekoru, "stylingu"... Ovom namernom "pukotinom" u konceptu intimni svet autora ostaje zaštićen, a gledalac dobija priliku da, bar u jednom delu, na bazi ponuđenog, projektuje sopstvenu fantaziju. Zahvaljujući velikom angažovanju tokom niza godina, Jelena i Svetlana kontinuirano, uspevaju da održe zavidni normativ produkcije (čak i u uslovima česte društvene regresije). Takođe, svestranim ineteresovanjem i učešćem u različitim projektima koje povezuje prisustvo odela kao elementa vizualizacije određene umetničke ideje, svoje delovanje one su proširile u različite sfere umetnosti, obogaćujući na taj način sopstvenu biografiju, ali i dajući doprinos kulturnom životu Beograda i Ljubljane. Pored modnih kolekcija radile su i rade scenski kostim za pozorište i film, muzičke spotove, reklame. Svaki stvoreni komad, koje god namene bio, biva tema studioznog promišljanja, odraz zvuka, izvođača, dramskog dela ili (reklamiranog) proizvoda, ali i odraz biti autora koji za sobom uvek ostavljaju JSP trag. mr Ksenija Marković

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JSP fashion shows archive

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illustration-JSP

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INTERVIEW

THE MOST IMORTANT dates/collections/ projects/awards...

Svojim radom vezani ste, pored savremenog odevanja, u velikoj meri za kostim i muzičku scenu. U kolikoj meri se razlikuju pristupi svakoj od tih oblasti i kako funkcionišete kao kreativni dvojac, s obzirom na to da živite u različitim državama? Kada radimo za svoj brend imamo najviše kreativne slobode, pošto smo samo sebi odgovorne za realizaciju zamisli, dok je rad za pozorište, film, tv, ili muzičare u funkciji određenog projekta, tada vizuelno dopunjujemo nečiji rad. U našem slučaju fizička razdvojenost nije veliki problem jer su mentalno- telepatsko-rodbinske veze jake, a tehnologija nam omogućava brzu komunikaciju.

1992 HATS FASHION SHOW SKC - Belgrade (Click's final fashion show 1st competition for young designers) 1993 20’s & 30’s Cultural Center - Belgrade (Click's Multimedia project) 1994 Ethnographic Museum – exhibition Costume village and town between two centuries Playboy – Styling for album cover

1996 Baby Doll, Ritam srca – styling for album cover

Koji je prelomni trenutak u vašoj karijeri i u kom smeru biste želele da razvijate vaš brend u budućnosti? Za nas je 2000. godina bila ključna. Tada smo napravile sopstvenu radionicu i počele svakodnevno da radimo za svoj brend. Naša baza je Beograd, a poslednjih godina i prisutnost na slovenačkoj modnoj sceni je značajna, a nadamo se da ćemo u budućnosti uspeti da svoj brend dugoročno plasiramo na još nekom tržištu.

1997 CHINA GIRL - Belgrade Fashion Week 1997 LACE - Belgrade Fashion Fair SREBRNI METAK – Srđan Radojković /Cyber film/ - costume for the movie

Kako vidite srpsku modu sada u odnosu na vreme u kom ste počinjali svoj rad, a kako će se po vama ona razvijati u budućnosti? Modna scena Srbije se konstantno razvija, mada to ide polako i sa puno problema, ali nadamo se da će taj proces biti brži u budućnosti. Kada smo mi počinjale nije se moglo govoriti o postojanju srpske modne scene, ali sa nastankom Belgrade Fashion Week-a stvari su polako počele da se menjaju. Danas postoji dosta autora i što je najlepše oni svoj rad ne prezentuju samo na revijama već imaju i svoje radnje gde sve to može i da se kupi - to je veliki pomak u poslednjih par godina. Naravno svi imamo slične probleme: nabavka materijala, komplikovane uvozno-izvozne procedure, nepostojanje "pay pall-a", uticaj ekonomske krize, ali je ipak moguće raditi . A budućnost?! ... Ostaje da vidimo šta će nam doneti.

1998 REPLICANTS - Belgrade Fashion Week AWARD for the best styling at the Brooklyn Video Awards - Belgrade SMIRNOFF FASHION AWARDS – Belgrade 1999 CHUPA CHUPS FASHION AWARDS top award for costume – Ljubljana FASHIONART CALENDAR Click Fashion Studio - styling

2000 OPPOSITE - Ljubljana 2001 GET MIXED - Belgrade Fashion Week ONA VOLI ZVEZDU – Marko Marinković /Horizon/ costume for the movie 2002 NEKI NOVI KLINCI - RTS, costume for the series

2004 HIPNOTISM - Belgrade Fashion Week BAZART AWARD - The best fashion show in Belgrade Fashion Week 2005 FRANTIC - Belgrade Fashion Week KENT EXPLORA AWARD - the best collection in Belgrade Fashion Week 2006 SUPERFINE METAL FUSION Belgrade Fashion Week VOJDAN 41. MACEDONIAN THEATRE FESTIVAL – Award for best costume in Crnila performance 2007 MAD MAX - Belgrade Fashion Week BAZART AWARD - the best fashion show in Belgrade Fashion Week 2008 EIGHT – Ljubljana Fashion Week VOLILNI MOLK - Boris Petković / Vertigo -emotions films/ 2009 RECYCLIQUE – Belgrade Fashion Week RANDEZ-VOUS PARIS – show room 2010 RED HEAD – Belgrade Fashion Week STANJE ŠOKA - Andrej Košak / Vertigo - emotions films/ BAZART AWARD - The best fashion show in Belgrade Fashion Week ZUBUN PROJECT – Serbian folklore in contemporary fashion design 2011 HEROINAS - Ljubljana Fashion Week 2012 BIRD OF PRAY - Ljubljana Fashion Week X FACTOR - SLO1, costume for the TV show 2013 XX - Ljubljana Fashion Week XX - Belgrade Fashion Week

2003 MECHANICS - Belgrade Fashion Week MIRROR - Belgrade Fashion Week

photo: Aleksandar Kujučev/JSP Frantic 2005 042

01-JSP, 2011; 02-Baby Doll, 1996; 03-Aleksandar Kujučev FAAR editorial; 04-Theatre play Mefisto, 2011; 05-ZUBUN project–Serbian folklore in contemporary fashion design, 2010 043

FAAR—011

DANIJELA BIŠKUP, modni dizajner

Sa Jelenom i Svetlanom tesno sarađujem preko 11 godina. Imamo zajedničku firmu ili kako bi nas tri to najčesće rekle – živimo u savršenom braku. I ako mi verujete, ni jedan jedini nezgodan trenutak nije se desio za tih 11 godina. Nas tri smo ponosne na to. Najvažnije za mene u toj saradnji je bilo to, što su me svih prethodnih godina inspirisale, pokretale i što smo jedne drugima bile oslonac kada je to potrebno. Sve njihove revije od 2001. godine prati moja obuća. Nikada nisu tražile od mene da uradim željeni model, uvek je to bila moja ideja, koja naravno treba da se uklopi uz njhovu osnovnu ideju cele revije. Da nije njih, ni ja u svom radu ne bih bila ista. Međusobni uticaj sigurno postoji i on je sigurno pozitivan. Njihov ućinak za srpsku modu je nemerljiv. Sve novo, buntovno i kreativno u domaćoj modi je sa njihovim potpisom. Nikada nisu podilazile publici, ali ih je baš zbog toga publika obožavala i poštovala. Mislim da su najviše učinile za srpsku muzičku scenu, jer bi mogao da se izdvoji čitav muzički pravac obojen JSP bojama. SONJA VUKIĆEVIĆ, balerina Aristokratkinje u svetu mode. Kostimske poete u teatru. Apostoli u svom studiju. Svetlana i Jelena Proković koje mogu od ničeg da stvore nešto, a to nešo obogaćuje put rediteljima, glumcima, manekenima, kostimografima... Njihova apsolutna čar je nestvarna skromnost.

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EVICA MILOVANOV PENEZIĆ, modni dizajner Sestre Proković su svojim radom, dobro osmišljenim i razrađenim modelima, uspele da izgrade i sačuvaju svoju poziciju u samom vrhu beogradske modne scene. Tokom nedavne retrospektive revija JSP, sa zadovoljstvom sam primetila da su veoma uspešno sačuvale i razvile odlično izbalansiran odnos urbanog i avangardnog. Takvo razmišljanje je prisutno i u drugim sferama njihovoga rada u kojima su isto tako vrlo uspešne i prepoznatljive i samim tim vrlo bitan deo gradskog modnog i kulturnog života. Naša dugogodišnja saradnja za mene je uvek bila mnogo više zadovoljstvo nego posao.

SRĐAN ŠVELJO, modni novinar, dj, stilista Postoje oni dizajneri na domaćoj sceni koji vas neprestano inspirišu, pokreću, koji daju neku novu energiju srpskoj modnoj priči, ali i konzumentima mode u koje sebe svrstavam. JSP su definitivno jedne od retkih koje mogu da svrstam u tu grupu. Iza njih, tačnije nas, su dve decenije njihovog rada, i neverovatno je koliko je ta estetika svih tih ranih JSP radova, kada i nisam znao za njih, uticala na mene i bivala mi tada, devedesetih, bliska i nekako svojstvena mom razmišljanju, emocijama - kada povežem muziku i modu...Iza nas je decenija zajedničke saradnje, jedan lep period moglo bi se reći koji je prerastao i u malo bliskiji, prijateljski odnos, a ne samo muzičko modni. Svih tih deset godina iza nas uvek je bilo dovoljno da dobijem samo nagoveštaj, temu, ime kolekcije, inspiraciju i da se negde muzikom uklopim u celu priču koja je podjednako bitna kao i svaki detalj koji nosi kolekcija, od Lilu cipela pa do nekih novih modnih detalja na glavi. Muzika kao deo kolekcije njima je podjednako važna i srećan sam kada pravimo te divne modne predstave koje publika voli. Drago mi je što sam na taj način deo ove prelepe modne priče koja ima svoj koncept, smisao, ideju i koja svakog od saradnika čini podjednako bitnim a samim tim i ponosnim što je tu. ALEKSANDAR KUJUČEV, fotograf Dvadesetogodišnje prijateljstvo sa Svetlanom i Jelenom, naša bliska saradnja i isprepletani profesionalni počeci su obeležili deo mog profesionalnog fotografskog rada koji mi je najdraži. Kroz rad na omotima albuma i muzičkim video spotovima dale su vizuelni pečat jednom vremenu i važnom delu naše pop i rok muzičke scene. Mnogo im dugujem i neke od najboljih stvari koje sam uradio jednostavno ne bi bile to bez njih. Ceco i Jelena, hvala!!!

DRAGANA ĆOSIĆ, novinarka

IGOR TODOROVIĆ, modni dizajner

Sklona sam da verujem da pravi dizjneri imaju i velike saradnike. Jelena i Svetlana Proković ugo sarađuju sa fotografom Aleksandrom Kujučevim, modelom Sanjom Lukjačenko, grupom Playboy... Kada zbrojimo jedan i jedan dolazimo do jasnog zaključka - odlični idu sa odličnima. Devedesetih godina, u opštem sivilu, na domaćoj modnoj sceni, pojavio se FASHION BUNT. Bio je to JSP. One su bile, izrazito, mlade, a stil im je bio malo rok, malo seksi. Međutim, bilo je tu i bejzik komada za sva vremena i tako se desilo da na rođendansku JSP žurku dođem u mantilu (revijski model) od pre deset godina i da nisam smešna. Ne samo da su im stari modeli i dalje nosivi, nego su i same tkanine inovativne i nove, a izrada je i dalje kvalitetna. Istine radi, moram napisati još jednu činjenicu: na samom početku bile su Jelena i Svetlana Proković, a onda smo mi saradnici, prijatelji i poštovaoci to skratili na JSP i pustili ih da zaplove srpskim modnim brzacima!

Sestre Jelena i Svetlana Proković, svakako da predstavljaju modni toponim koji ima svoje zasluženo i relevantno mesto na regionalnoj modnoj sceni. Nesumnjivo je i vrlo egzaktno njihovo bavljenje modom kao kreativnom, inovativnom ali i socijalnom formom kroz koju su postavile standarde autorskog i modnog iskaza koji može da ima prepoznatljivost i autentičnost bez obzira na konzumističke postavke mode u poslednjim dekadama, što ih čini značajnim predstavnikom naše modne scene i autorskim delom koje ostavlja dubok modni trag za budućnost.

DUŠAN JOVANOVIĆ, reditelj, pisac Jelena Proković je prvorazredna kostimografkinja. Studiozna i analitična, odvažna i kreativna. Klasične istorijske modele nadahnuto nadgrađuje u savremeno oblačenje. Jelena ume da duhovno, nevidljivo, prevodi u polje vizuelnog, vidljivog. Ima svoj prepoznatljiv stil. Jelena je duhovita. ŽANINA MIRČEVSKA, dramaturg, dramski autor i profesor dramskog pisanja na AGRFT, Ljubljana Sa Jelenom P. sarađujem već nekoliko godina pri različitim teatarskim projektima u nekoliko pozorišnih kuća u Sloveniji. Jelena kao kostimograf i ja kao dramaturg ili autor teksta imamo posebnu metodologiju rada … Jelena je retki kostimograf koja prodire u dramsko dramaturški material kao pravi dramaturg. Njena kostimografska rešenja čak dopunjavaju dramaturško rediteljski koncept. Svaki detalj njenih kostima proizlazi iz fokusa interpretacije dramskog materijala. Precizna, maštovita, spretna, posebna i pre svega inteligentna kostimografkinja koja svakoj predstavi da poseban pečat i ujedno smisao …

MARINA KOSANOVIĆ STEFANOVIĆ, media expert Kada su Jelena i Svetlana u pitanju, verujem da će se neki budući ozbiljan modni teoretičar post-jugoslovenske mode - koga ovdašnja modna scena još uvek iščekuje – suočiti sa popriličnim izazovom: gde na modnoj mapi ove zemlje (i ne samo ove) smestiti opus sestara Proković? I kako ga odrediti? Dizajn koje su njih dve potpisale tokom poslednje dve decenije odavno se sa klasične modne piste izlio u druge kreativne sfere (ili, možda pre da nazovem to "formate"?), unoseći u teatar, film, muziku, advertajzing, televiziju, izložbe...prepoznatljivu JSP estetiku. Sestrinski tandem je tako, dejstvujući po gotovo svim relevantnim poljima mas-kulture postao istinski "rara avis" našeg dizajnerskog jata, čije "mapiranje" u startu zahteva daleko širi kriterijum od modnog. Možda je sve bilo slučajno, možda namerno, a ja bih rekla da je bilo savršeno logično Sestre Proković proslavljaju dve decenije rada. Uz veliku istinu da svakome ko toliko istraje u ovoj zemlji u bilo kom poslu - a naročito u tako teško isplativom, a tako fascinantnom kao što je modni - treba čestitati, ne mogu a da ne pomislim o nečemu drugom… Koliko li je u tih 20 godina, pored brojnih nagrada i aplauza, stalo i neprospavanih noći, uzaludnih "briefinga", nikad nerealizovanih ideja, dugih pregovora, teških sastanaka, ispeglanih tuđih sujeta, nategnutih budžeta, suza i smeha… Ne znam. Jedino što sigurno znam jeste da je njihova posebnost, ta "one of a kind" – kreativnost bila ključ kojim su otvarale sva vrata. Ključ - crn, blještav, težak, unikatan, moćan…kao onaj privezak koji

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sam jednom davno dobila posle njihove revije, a koji i danas nosim u sasvim posebnim prilikama. I uvek me pitaju čije je to… SANJA LUKJANČENKO, umetnica, ex model Dvadeset godina nije ništa, to je bio samo zalet, sestre Proković su se sad razmahale i najbolje tek dolazi! '-) Čini mi se nepotrebno naglašavati učinak JSP za srpsku modnu scenu, njihov izraz i snaga su autentični i vizionarski i na širem, globalnom nivou. Suviše smo često videli elemente, čak čitave teme njihovih kolekcija, koju sezonu kasnije kod velikih dizajnerskih imena. Mogle bi da se zovu Prorokovićke! '-) U svakom slučaju sam sigurna da im je mnogo žena zahvalno na trudu i istrajnosti, a ja se, sa moje strane, osećam privilegovano da sam bila deo njihovog puta, i zahvalna sam za dragoceno prijateljstvo koje sam na tom putu stekla. ALEKSANDAR PROTIĆ, modni dizajner Jelenu i Svetlanu poznajem od samog početka njihove karijere odnosno sa Fakulteta primenjenih umetnosti gde sam i upoznao Jelenu. Uvek mi se dopadalo ono što rade i u njihovim kolekcijama uvek se mogao osetiti uticaj muzike, filma, savremenog. Svi ti uticaji su došli do izražaja i u muzičkim spotovima, pozorišnim predstavama, filmovima koje su uvek sjajno radile. Iza njihovog uspeha ne stoji samo talenat već veliki rad, ljubav i posvećenost poslu i samo zato opstaju i postoje već 20 godina na modnoj i kreativnoj sceni. Naravno da ćemo slaviti i 40 godina njihovog rada i nadam se da neće ovako brzo proleteti! BOŠKO JAKOVLJEVIĆ, TV lice, ex model U okruženju u kojoj imena ulica imaju vek trajanja od jedne do deset godina, a koliko sutra može da vam se desi da se probudite u zemlji koja se potpuno drugačije zove, jedan od najvećih kvaliteta izuzetnih umetnika je pre svega trajanje. JSP, odnosno sestre Proković, su ostavile trag u mnogim stvarima koje se danas smatraju kultnim, uvek dosledne sebi, precizne, sofisticirane, inteligentne i nepokolebljive u ideji da ih ne pokori imperativ instanta, već da svojim

radom i talentom udahnu smisao posebnosti svemu što rade… a toga je dosta… kvalitetnog i u različitim sferama…i traje svih ovih godina … "Respect"! SLOBODAN UNKOVSKI, reditelj Prvi put smo radili u Novoj Gorici. Moja prijateljica mi je rekla da postoji u Ljubljani jedna odlična kostimografkinja, koja možda nije imala pravu šansu do tada. Tako se pojavila Jelena, i razlila svoj pozitivni duh po teatru i po mom konceptu. I tada je radila lako a kompleksno, razvijajući ideje koje su neočekivane, nepredvidive a nekako izvučene duboko iz komada koji radimo. Visoka moda joj je glavna inspiracija, i znajući za relativno slabu upućenost reditelja u tu materiju, voli da im pokazuje gotove modele, fotografije iz nedohvatljivih časopisa, slike sa interneta koje samo ona može da prepozna i pronađe. Uvek sam bio fasciniran kako pogađa suštinu liku, kako se lagano a sigurno probija u stil igre koji je u razvoju, i kako tačno prepoznaje ko je gde od glumaca i kako napreduje u teškom poslu pravljenja karaktera. Nalazili smo se i gubili, radili smo i u Beogradu, i u Skoplju, i u Vizbadenu u Nemačkoj. Možda još negde. Na nekim mestima je njen koautor bila i sestra Svetlana, posvećena i temeljna, veliki majstor tkanih materijala, nemogućih krojeva i radosti kompozicije. Ono što se vidi u mojim predstavama, to su najpre moji saradnici. Moja velika sreća, moja radost, bolja slika o meni, to se sve temelji na predivnom i uzbudljivom unutarnjem svetu značajnih autora sa kojima sam imao mogućnost da sarađujem. Jelena Proković je bila i jeste, moja tajna muza, nedohvatljiva poezija boja, moj nežni ali beskompromisni kritičar, moja radost u stvaranju novog sveta na pozornici.

01-Frantic, 2005; 02-Funeral Fashion Show, 2012; 03-ZUBUN project–Serbian folklore in contemporary fashion design, 2010; 04-Heroinas, 2012; 05-Plejboj, cover album; 06-Mad Max a/w 2007, Belgrade Fashion Week; 07-Mad Max a/w 2007, Belgrade Fashion Week; 08-Van Goghcover album "Hodi", 1994.

FAARâ&#x20AC;&#x201D;011

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FAAR—011

"L‘impossible ekipa" bila je u Londonu; još bolje: na Nedelji mode; nabolje: učestvujući na istoj. Utisci su beskrajni i, medijskim žargonom govoreći, "nadmašuju očekivanja". O prikazanim kolekcijama ne bih se raspisivala. Izveštaja te vrste je puno, pa izvolite! Ono što je interesantno za obradu jeste atmosfera i struktura, a poriv za paralelnom analizom "dokle smo mi stigli" ovog puta probaću da ignorišem. Mislim, da i nije veliko otkriće da je srpskoj modi potrebno još mnogo da se približi britanskom nivou – iznad svega, u smislu postojanja sistema koji (na državnom nivou) podržava (subvencioniše, razvija i tržišnim uslovima pomaže) modno stvaralaštvo i proizvodnju. London Fashion Week AW13 održan je u Somersat house-u, neoklasičnom zdanju sa prostranim unutrašnjim dvorištem u kome je, ovom prilikom, postavljen balon – centralna "prostorija" gde se održavala većina revija. Prostorije same zgrade, podignute na temeljima nekadašnje Tudor palace, pretvorene su u "show room-ove" i galerije u kojima su priliku da izlože svoje kolekcije i modne projekte dobili oni najbogatiji i/ili (po proceni organizatora) najuspešniji. Istina je da su ova dva kriterijuma, najčešće, u neraskidivoj vezi. Možda je surovo reći da ozbiljno baviti se modom podrazumeva i ozbiljna ulaganja, ali surovo ili ne, moda jeste biznis – biznis čiji je cilj profit, a put do cilja kvalitet, svake vrste. Mi smo skloni da verujemo da je "tamo preko" veća stvaralačka sloboda, a uslovi za plasman lakši - samo uz pravi pasoš i dobar koncept. Istina je da je tu "preko", modnih (kreatora, novinara, kupaca, analitičara, ljubitelja i ljubimaca) "preko glave" pa je i samo za ulazak na reviju potreban dobar plasman – debljinom portfolija, CV-ija ili novčanika. Naravno, to ne znači da samo dobar finansijski "background" obezbeđuje željeni "feed-back". – Originalnost dizajna, kvalitet izrade i srećna zvezda sastojci su bez kojih nema kolača uspeha, ali da bi se zamešeno ispeklo u "pećnici javnog mnjenja" (Nušić, Narodni poslanik) potrebni su: prilika + PR paketić = ulaganje.

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Publika ovog događaja deluje kao "pravo modna", a takav utisak proizvod je njihovog izgleda koji u mnogome nadmašuje poznate kodekse i kodove u oblikovanju spoljnog izgleda. Ne znam da li kulturno-prihvatljivoj naraciji odgovara termin "modni frikovi", ali (u nedostatku boljeg) ovim bih opisala priličan broj posetilaca LFW-a. Apstrahujući simpatije (i/ ili antipatije) prema istim, moram primetiti da je odevno-subverzivni duh Britanaca (i onih koji se tako osećaju) i dalje prisutan. Ipak, koliko je isti deo dublje subverzivne akcije, a koliko samo estetska reakcija ostaje za razmišljanje. U svakom slučaju, zanimljiv je prizor stotine ljudi koji se, stilizovani ekstravagantnije od većine revija, skupljaju na ulazu Somersat Courtyard-a čekajući pass koji im pripada. Još je zanimljivije, da ni kilt, sajber naočare i vanserijska kombinacija polnosti i boje pomenuti pass ne garantuje. - "Da li ste novinar, kritičar, analitičar, kupac – za koga, kako i koliko?... Da li imate potvrdu, aplikaciju, akreditaciju, identifikaciju, vlas kose za DNK analizu..." - "U nas" se tvrdi da su Jacobs cipele, Prada kaput i stav "mnogo sam moderan/na" dovoljni za ulazak na ovakav događaj. Nisu! Ovo je sistem – uređen, možda i preterano, ali kao takav namenjen održanju auratičnosti (Walter Banjamin) mode. Čini mi se da balkanski spirit ovakva forma ne može a da ne učini anksioznim, ali imati priliku da "odeš i vidiš" (Cezar), a isto zahvaljujući svom radu, "spirit" čini zadovoljnim. Baš! Kad smo kod "spirit-a" da pomenem: za duh ovosezonske LFW kampanje zadužen je Manolo Blanhik. Tako su London ukrasili bilbordi, plakati i zastave sa njegovim ilustracijama. Ipak, usudiću se da kažem – bez euforije s ovim u vezi! - Osrednjim akvarelima (sa par izuzetaka) najveća vrednost bio je potpis. Promišljajući o ovoj odluci odgovornih, a u svetlu svega viđenog, rekla bih da ja namera bila demarkirati događaj konceptom: jednostavno + lično + ručno rađeno = luksuz. Imajući to u vidu izbor je opravdan, jer modna scena počinje da gravitira ka ovom pravcu.

Najzad, ovakvu postavku stvari treba shvatiti što je šire moguće – luksuz, ne mora obavezno biti ime (kao u slučaju LFW plakata), već i unikatnost, istinska posvećenost, umetnička vrednost dizajna. Pored glavnog koji čine revije od jutra do mraka, LFW uključuje i prateći program izložba, "show room-ova" i različitih modnih događaja od kojih je jedan od najbitnijih IFC na kome su učestvovali i naši dizajneri. Sadržaja je više nego puno i nemoguće je sve obići i videti, mada je česta pojava zanimljivog i inovativnog baš van piste i glavnog "balona". Zato modni poznavaoci i starosedeoci trče sa jednog mesta na drugo tražeći "young blood", a zadovoljstvo mi je da primetim da je nekolicina traženo našla baš u Srpskom paviljonu. Nama se dopala vijetnamska preciznost i izrada, inspirisana prirodom, novim tehnologijama i nacionalnim kostimom; slovačka trans-medijalna i multi-senzorna prezentacija; ali više od svega kreativni mentalni haos – proizvod "kontemplacije" preko dvadest različitih nacionalnih priča. Kako je "presek" najčešći imperativ analize, recimo da je, generalno govoreći, u ovosezonski pirkazanom ima i dobrog i osrednjeg i lošeg ... "nije zlato sve što sija" (srpska narodna poslovica). Drugim rečima dospeti na, ili u okoliš, LFW-a, zahteva ozbiljan filter, ali konačnom ishodu prethodi još jedan: teško propusni filter profesionalne javnosti. Ipak, zajednička crta i uspelog i onog na suprotnom kraju jeste ozbiljnost izrade – sve i blizu LFW-a mora da zadovolji ovaj kriterijum. U tih par dana, svako i sve što ima veze sa modom, trudi se da priđe što bliže Somersat Courtyard-u, te prikaže, ponudi, plasira i proda. Tim redosledom. Ponoviću: "moda je biznis", te u izložbenim prostorima i pokraj kreatorskih šendera samo što ne stoji kasa. Cilj velike većine prikazivanja jeste prodati kolekciju – iskoristiti prisustvo "fashion buyer-a" iz celog sveta i "napraviti pos’o". Nije to sušta komercijalizacija jer u ponudi je svašta: avantgardno, koliko i simple ready to "wear". Ipak cilj određuje

pravila igre pa je sve, s rukavom ili tri, sezonski definisano (AW13), do kraja izvedeno, pretežno od vrhunskih materijala i moguće obući - bez asistencije troje ljudi. Izložba (ujedinjenih) Skandinavskih zemalja dobar je primer ovoga. Državne i paradržavne institucije Švedske, Norveške, Danske (...), ujedile su sredstva, te svojim kreatorima obezbedile prostor u centru centra dešavanja. Izložbe "per se", praktično, nije ni bilo – izlaganje je činilo par "ready to wear" stilizovanih lutaka i redovi štendera na kojima su dizajneri (sa sve etiketom s veleprodajnom cenom) izložili modele za jesen zimu 13/14. Dobar položaj, besprekoran dizajn, još bolji kvalitet, kao i fakat aktuelnosti scandi. estetike, obezbedili su ovim izlagačima sjajnu posećenost, posredno i uspeh u realizaciji komercijalnih namera. Istina, iste ideje su imali i drugi, manje ili više eksplictno. Tako je Estonija u svom predstavljanju, jasnom tematskom odrednicom i diskretnom estetikom, zadržala formu izložbe, ali i ovde je jasan komercijalni pristup – kako dizajna, tako i celokupnog izlaganja. Zanimljivo za Estonce je i to što je predstvaljeno potpuno odgovaralo nečemu sa etiketom "made in England", a ovu refleksiju treba tako i shvatiti – pokušaj demarkiranja da li je u pitanju dobro istraživanje tržišta na kome se predstavlja ili konkretno-postojeći uticaj engleskog stila, ostavićemo za drugi put. U svakom slučaju ova izložba je nagrađena kao najbolja. Za kraj, opšta atmosfera. Duchamp-ova izložba, lampioni ostali od Kineske Nove Godine u SOHO-u, TATE i pored Globe, radost i klaustrofobija na Portobello-u, žal za nedočekanim izložbama Lichtenstein-a i David Bowie-ja, vetar uz reku na putu do kuće, skulptura LOVE na Covent Gardenu, večite turističke simpatije prema londonskom autobusu, taksiju, metrou i poštanskom sandučetu, razočaranje Milenijumskim mostom i oduševljenje količinom starih i novih prijatelja koji veruju u srpski dizajn. mr Ksenija Marković

photo—Nikola Sokolov

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English text on page 174

Stefan Siegel illustration by BECHA

Stefan Sigel, osnivač portala "Not just a label" nije vaš tipični modni urednik. Obučen je relativno neupadljivo, ne govori preglasno i ponaša se diskretno. Niko ne bi rekao da je u pitanju bivši bankar a sadašnji "pigmalion", koji otkriva nove sfere u modnoj umetnosti. Sigelova životna priča skoro da je filmska – odrastao je u južnom Tirolu, pohađao vojnu akademiju, magistrirao ekonomiju u Beču i potom se zaposlio u "Investicionoj

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banci" u Londonu. U trenutku kada je za građane zapadne hemisfere promena posla predstavljala veliki rizik, 2008. godine, Stefan se vraća svojoj velikoj pasiji – otkrivanju novih talenata i darovitih modnih stvaralaca. On i njegov brat osnivaju sajt NJAL, koji vrlo brzo postaje relevantan u svetskim okvirima. Pored skoro 10.000 kreatora koje predstavlja, portal se bavi i fenomenima iz sveta mode, kao i refleksijom društvenih kretanja na svet estetike i odevanja. Prolazak kroz NJAL je mini put oko sveta – zastupljeni su brendovi iz više od 90 zemalja, a mnogi komadi mogu da se naruče i kupe. Stefan insistira da sam vidi sve ono što će se naći u prodaji na sajtu, jer smatra da je deo modne umetnosti i dobar "kraft" spajanje kvalitetnih materijala i besprekorne izrade.

Kao gost Belgrade Fashion Week-a, Sigel je imao priliku da vidi upravo ono što voli da afirmiše – sveže ideje, nove ljude, originalan pristup modi. Tokom razgovora hvali ovdašnje dizajnere, i veoma mu se sviđa Beograd. I baš zato što ne deluje kao neko ko laska da ne bi uvredio domaćine, ove komplimente shvatili smo ozbiljno… Po povratku u London, Stefan je za svoj portal napisao tekst o poseti jugoistočnoj Evropi, a za "Faar" je odgovorio na pitanja koja se tiču modne industrije ali i njegovih ličnih afiniteta: Brend NOT JUST A LABEL sledeće godine obeležava petogodišnjicu svog postojanja. Koji su problemi s kojima se susrećete u svom poslu a, s druge strane, koje su dobrobiti? Da li ste već izradili petogodišnji plan poslovanja i koliko toga ste

ostvarili od prvobitno osmišljenog plana tokom ovih pet godina? Za mene je najviša dobrobit ovog posla to što sam ostvario svoj san i što mogu da radim ono što volim. Pa, upravo zato se lakše suočavam sa poteškoćama, preprekama i brojnim problemima na koje nailazim. Zapravo je veoma teško raditi na menjanju postojećeg ili stvaranju nečeg novog. Planovi postoje – jedan za narednu godinu, jedan za narednih pet i čak jedan za narednih deset ili dvadeset godina. Ali, to su samo planovi. Naš posao je uzbudljiv, stvari se menjaju preko noći i tako već sledećeg dana radimo na nečemu potpuno novom i neočekivanom. Međutim, trudimo se da ne skrećemo s puta, da se u poslovanju krećemo ka već jasno određenom cilju.

Vaš stil nije ekscentričan niti odaje utisak da želite da budete nečiji modni guru. Mnogi modni dizajneri imaju veoma poseban stil oblačenja (poput sebi svojstvene uniforme) ili nose isključivo odeću crne boje. Koliko je Vama odevanje važno? Da li Vi samo posmatrate modu kao dizajner ili ste ponekad u ulozi potrošača u nekoj ekscentričnoj odevnoj kombinaciji? Mišljenja sam da ekscentrično oblačenje ne podrazumeva da pratimo modne trendove. Zapravo je to potpuno pogrešno viđenje mode. Neobično je da su upravo oni koji menjaju modnu stvarnost na pravi način zapravo veoma blagorodni ljudi, pritajene elegancije. Moda je medijum koji nam omogućava da izrazimo sebe – ja to činim kroz sebi svojstven stil. Sve ostalo liči mi na jeftini maskenbal. NUTJUSTALABEL.com anonimne dizajnere lansira pravo u zvezde – njihove kreacije nose poznate ličnosti na crvenom tepihu. U Vašem radu postoje oblasti u kojima ne prezate od kritike modnog establišmenta, ali se bavite i nekim kontroverznim temama u modnoj umetnosti. To govori da ste društveno odgovorni. Zašto mislite da je neophodno ukrojiti društvenu odgovornost sa iluzijom koju moda često pruža i promoviše?

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Ascione

Odrastali ste u različitim evropskim kulturama što je verovatno odredilo Vaše viđenje stila. Danas, kada neprekidno putujete, susrećete se s raznolikim modnim kulturama. Svaka oblast Evrope ima svoju kuhinju, na primer. Kakav bi onda bio italijanski, francuski, skandinavski, nemački ili pak modni karakter jugoistočne Evrope? Neću govoriti o skandinavskoj jednostavnosti, pragmatizmu u nemačkom dizajnu ili romantici italijanskog stila jer su to stereotipi. Međutim, u suštini je to zapravo potpuno tačno ali ja ipak verujem da je ovaj svet jedno globalno mesto. Kreativni ljudi, naročito modni dizajneri, putuju i žive na različitim mestima gde na njih utiču različite kulture. Modu treba poštovati upravo zbog nje same a ne zbog toga iz kog dela sveta ili iz koje kulture potiče.

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Naši čitaoci s nestrpljenjem žele da saznaju i nešto osobno: koje brendove/dizajnere poštujete, koji su po Vama najuzbudljivi gradovi modne scene, koja poznata ličnost bi mogla biti ujedno primer modne zrelosti i intelekta? Poštujem svih deset hiljada brendova s kojima sarađujemo u gotovo sto zemalja širom sveta. Ne uzimam stvari zdravo za gotovo i ne navikavam se ni na šta. Dopada mi se da uvek negde budem stranac a neprekidna putovanja mi omogućavaju da nepres-

tano otkrivam. Dešava se da mi se dopadne neki grad za koji sam isprva mislio da će biti potpuni promašaj. Isto se događa s ljudima i uzorima. Radili ste u sistemu investicionog bankarstva i potom doneli tešku odluku i prešli u varljivi svet mode baš u trenutku kada je svetska ekonomija bila pogođena recesijom. Šta vas je navelo na tako rizičan korak? Iskreno rečeno, mnogo mi je teže bilo kada je trebalo da se iz tog sistema izvučem. Za mene je to bila vrsta ličnog eksperimenta ali i prilika da svojim roditeljima dokažem da mogu da imam posao koji svi žarko žele. Okušao sam se i napustio ga zbog mnogo uzbudljivijih stvari. Rekoh vam, ne vezujem se na duže staze... Budući da ste preduzetnik, iako se bavite modom, sigurno pratite i ekonomsku situaciju. Koje vebsajtove prelistavate izjutra? Jesu li to modni portali ili oni u vezi s ekonomskom situacijom u svetu? Postoje li modni portali koje cenite i verno pratite? Uglavnom pratim pet elektronskih novinskih izdanja – dva britanska, dva nemačka i napravim još jedan izbor između italijanskog ili izdanja Sjedinjenih država. Dopada mi se raznolikost mišljenja o sličnim temama. U popodnevnim časovima, kada imam vremena za odmor, posećujem uobičajene modne portale, uključujući tridesetak blogova i vebsajtova. Posetili ste Srbiju i sarađivali ste s modnim dizajnerima sa Balkana. Smatrate li da modna scena jugoistočne Evrope ide u korak sa Zapadom? Ne, a i zašto bi? Da je tako, ja ne bih ni imao želju da posetim Srbiju. Za mene je osobenost imperativ!

Una Burke

Čini se da je Evropa Vaš dom i da je Vaš lični i profesionalni život veoma dinamičan. Da li postoji neki grad ili neko mesto koje možete nazvati "svojim"? Voleo bih da takvo mesto postoji, a moj dom je zapravo tamo gde sam srećan, tamo gde je srce. Već sutra putujem u Alpe i to će u nekoliko narednih dana biti moj dom. Nakon toga, možda to bude Sao Paolo, Njujork ili Los Anđeles, sem ako se ne pojavi devojka koja bi me ubedila da se konačno "skrasim".

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Niels Peeraer

Volim da provociram i izazivam sukob mišljenja. Uživam u raskrinkavanju nekih elemenata koje je društvo pokušalo da zaobiđe, zaboravi ili koje jednostavno nije ni želelo da razume. Publika treba da sagleda čitav niz tih elemenata i tek tada će moći da slobodno odluči i izgradi sopstveno nezavisno mišljenje. Nažalost, društvo je ipak bezbrižnije kada neko drugi kreira njihov svet.

STEFANOVE IMPRESIJE O BEOGRADU

NOT JUST A LABEL IN EASTERN EUROPE-SERBIA

by Stefan Siegel and Maxwell McBride Peterson, published in November 2012 at www.notjustalabel.com I landed in Serbia as if I were in a dream. Over 20 degrees and beaming sunshine I drifted from the plane to the car and dozed as I headed towards the city centre. As one of the oldest cities in Europe, Belgrade has seen it all. Pre-Roman kingdoms, attacked by Attila, occupied by Ottomans, decimated by both World Wars and recently a violent independence in the 1990s, this city's turbulent past is a testament to it’s importance. Sitting at the confluence of the Danube and Sava rivers, the White City, as it is known, seems to have it all. For many of us who have never been, perceptions of Belgrade are tragic. The shadow of their recent violence is one they are actively trying to shake off by going to great lengths to be one of the most attractive and vivid cities in the Balkan region. And they are succeeding. Belgrade Fashion Week is just one of the cultural events proving that this reinvented city is developing; but it is in no way the youngest. Since its inception in 1996, founder and creator Nenad Radujević – of Fashion Studio Click – has made it his mission to link

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the domestic fashion scene with local and international fashion markets. I had the pleasure of attending the 32nd edition of the event with some fantastic results. The café next to my hotel is called Znak Pitanja, or "Question Mark", since the oldest pub in Belgrade had changed names so many times before. And with a question mark in my head I started wondering and exploring the city. Why was it the first time I travelled to this fascinating place, marked by so many interesting cultures? Why are the local creatives still undiscovered, while those who have left – Roksanda Ilincic for example – achieved success the world over? With so much going on, this city was ripe with ideas that could work back in London. The Belgrade Design District is an initiative to support emerging designers by giving them empty retail space in an attempt to revitalize the urban shopping landscape. When I met Belgrade’s Deputy Mayor, Tatjana Pašić, at the former Royal Palace, now City Hall, she asked me if NJAL could assist in spreading the word that Belgrade is much more than its reputation. In fact, beyond the mild climate and seething nightlife, the city has been investing heavily to attract foreign investment while supporting local creative talent. Besides fashion, tech start-ups as well as the music and film industry have found a haven in this Balkan state and are growing with prosperity. While designers face many structural issues such as a limitation on exports of precious metals, the low avail-

ability of tools such as PayPal as well as logistical services, the creativity is still here. When reviewing the shows of designers such as Ivana Pilja, George Styler or Jovana Markovic one understands these talents struggle to actually develop their ideas in real life. Be it the missing fabric quality, or the lack of funds for the right models or photographers, one must look beyond the fact that things might not be perfect; but with the right injection of knowledge, tools and support, these designers could easily redefine our idea of Serbian fashion. The brains behind NJAL’s jewellery sensation Koishi, Ivana and Miloš, met me at the local concept store СУПЕРМАРКЕТ, to go through their brand setup and talk shop. I couldn’t believe how hard it was to run this brand considering the issues they were facing, when at the same time the brand was heavily requested by VIP and celebrity customers on NJAL. "It is all about hard work", Ana Ljubinković told me in her small shop in Belgrade’s Design District. In fact I wish I could have assured these designers that they do have a place in this world. The local talent at times seemed very humble and almost too shy to prove their value and look abroad. When I asked Nenad Radujević, the godfather of all things fashion in Serbia, about what message he would like to share with our readers, he modestly said: "I want people to understand we have been creative all this time, since 1996." In fact, Belgrade now aims to re-connect with its neighbours, and overcome past difficulties. Designers from Croatia and Ljubljana were

invited to participate at this season’s fashion week and therein might be the answer. Could Belgrade become the creative hub of the Balkans? Tatjana Radonanov, Director of SEPIA, the Serbian Investment and Export Promotion Agency, confirmed that her office is willing to support anyone with a good idea in order to change the perception of Serbia’s creative economy. The agency already offers to cover over 50% of all expenses designers face when showcasing and selling abroad, something that even the local designers did not know. So while I pack my bags, and my Eastern European trip comes to an end, I once again rediscover this feeling that I had when starting NJAL. Sometimes we just need to leave our comfort zone and create something new. For this to happen, someone needs to lead the way and show those that follow. As a creative of this world, it is not our job to complain and wait for the ecosystem to change; we must initiate change ourselves. Some cities and designers on this trip have shown what is possible, others will have to do the same in their own countries. But most importantly, we residents of the Western world need to open our eyes and look beyond the familiar. Eastern Europe happens beyond Berlin and Vienna. Fantastic opportunities are right in front of us – just a short flight from London – and a growing European Union and consciousness will make it possible to finally connect and trade with our neighbours. This was a trip of a lifetime, one for the heart and for the soul, and I cannot wait to be back!

The opening of London boutique sex—former teacher Vivienne Westwood (right), her partner Malcolm McLaren (third from left) and their employees, 1970s (from the book: Fashion—The Century of the designer 1900-1999)

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POP kultura šezdesetih godina u Engleskoj započela je kao pobuna protiv konzumerističke i kapitalističke ideologije; kao destrukcija poznatih vrednosti koja je za cilj imala konstruisanje novih. Ovaj tekst bavi se analizom kako je pobuna doživela "pobedu" pa kako su mini suknja, uniseks džins i koža + nitne završili na ulici danas. Elementi POP i/ili pank stila nekada su bili u funkciji određenih subverzivnih ideja, a danas je buntovni stil težnja "per-se". U takvim okolnostima, značenje odevnih komada menja se i gubi suštinu, dok naše vreme postaje slab proizvođač novih značenja i novog smisla. Vreme revolucija je prošlo. Zadovoljni nismo, ali u šerpe ne lupamo. Bolje bismo hteli, ali uzimamo koliko se pruža i, nekako naučeno, verujemo da je više, više nego nemoguće. Čini mi se da je prećutno prihvatanje datosti pružilo solidnu osnovu za autocenzuru snova, pa "tako je kako je" postaje ključ u definisanju izbora, zaštitna mreža za pad sa nivoa želja na onaj mogućnosti. Zaobilazeći dublju analizu (ovim izazvane) hipertrofije emocija, zadržimo se na samoj površini, na onom vidljivom, neverbalno iskazanom kroz "appearance" – redak model socijalizacije u kome, još uvek, imamo slobodu izbora. Danas prisutni "street" stilovi, nastali su, jednom, sa određenom svrhom, a podsetiti se kako i gde dobro je koliko radi inspiracije, toliko i radi shvatanja onoga što stavljamo na sebe. Narativ postanja ulične mode, vremenski je idealno smestiti u drugu polovinu prošlog veka; prostorno, u Englesku, rasadnik mladalačkih andregraund kultura koje su u samo par dekada izmenile tokove mišljenja, posredno

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i odevanja. Nova muzika, umetnost, dizajn, parole (...) bile su proizvodi jedinstvene ideje - oblikovanja novog stila življenja, koji nije bio težnja "per se" već demarkcija novog sistema vrednosti. Kontrakultura, o čijem stvaranju je reč, bila je "protiv" nametnutih autoriteta, klasnih razlika, rasizma, rata i dominacije kapitala; mada se isto može reći: bila je "za": sušastvenu demokratičnost sistema, jedinstvo i ravnopravnost, pacifističku politiku, kosmopolitizam, neksenofobiju… Rečju, stvaranje pop kulture šezdesetih, može se analizirati na dve ravni: ravni subverzivnog delovanja sa ciljem rušenja zatečenog sistema i ravni stvaralačkog delovanja, sa ciljem kreiranja novog. Ukoliko se ima u vidu uspeh u postizanju dobrog dela postavljenih ideala, kao i nedvosmisleni kvalitet dela ove kulture, fer je prihvatiti da, iako buntovna, delovanja mladih šezdesetih su više stvorila nego uništila. Takođe, kako popularnost amnestira "krivice" revolucionarnih početaka, pop vrednosti postale su sveprihvaćene, opšte dobro i merilo novih društvenih odnosa.

Velike ideje, često naveliko bivaju osuđivane, a ono zbog čega se "baby boom" generacija poziva na odgovornost jeste unifikacija i stvaranje novih modela pripadnosti. Istina je, da je novonastala kontrakultura imala jasna obeležja u materijalnom svetu, ali ovaj fakticitet ne bi trebalo koristiti za izvođenje bukvalnih zaključaka da je pobuna za individualnošću odvela masovnom prihvatanju samo jednog tipa "self-a", egzistencijalnog šablona "Sex, drugs & rock 'n'roll". Govoreći o odnosu "baby boom" generacije prema konzumerizmu, treba imati u vidu da, oni jesu bili načelno protiv potrošnje, ali, pre svega, u onom njenom segmentu, koji se odnosio na to da potrošnja predstavlja metod statusnog uraznoličenja. Postojeća ponuda bila je meta njihovog napada, ne samo kao primer kapitalističkih manipulacija, već i kao robni reprezent postojeće kulture. Ne želeći da budu kao njihovi roditelji, mladi su se odrekli onoga što je bilo obeležje roditeljskog stila života, a zatim počeli da stvaraju nove proizvode - sopstvena obeležja. Tako

English text on page 175 je stvoreno novo, "mladalačko" tržište proizvoda adekvatnih "pop habitusu". The swinging sixtiess Upravo je ono redefinisalo standarde, proizvelo dominaciju "ready to wear" i butik mode. U Londonu, na "Kings Road-u" i u "Carnaby Street", otvara se "Bazaar", kasnije "Biba" i slični butici koji su nudili odeću, aksesoar i šminku, čiji akcenat nije bio na imenu i prestižnom kvalitetu - dotadašnjim vrednostima, beznačajnim buntovnoj generaciji protivnoj etiketom intoniranoj robi. Po prvi put u istoriji, a na svim nacionalnim modnim tržištima, ulična moda ulazi u sferu visoke. Jeftini "handmade" komadi, postaju inspiracija vrhunskim brendovima i dizajnerima čije kolekcije dosledno prate krojeve, siluetu, dezene i kombinacije materijala potekle na "Kings Road-u". PVC haljine geometrijske forme, psihodelični printovi, neusklađeni dezeni, go-go čizme i veštačke trepavice, iz klubova stižu na piste; ulica biva trendseter - tvorac globalnog stila, kako mladih

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cilj – samoafirmaciju pojedinca. Tako i fiksna modna pravila zamenjuje traženje sopstvenog načina vizuelne identifikacije i neobaveznost stilskih determinanti. Modni ukus ove dekade kretao se od "back to nature" do "glitter glam-a"; od kemp estetike do frigidnog poslovnog "look-a"; od uniseksualnosti do hiperseksualnosti; ne zadržavajući se ni na jednom i zadržavajući se na svakom. Poslovni "look" jeste bio proizvod feminizma, a "glam-rock" i "disco", povezani sa dešavanjima na polju muzičke industrije, pa opet ne može se neopozivo tvrditi da je stil bio odrednica kulturnog života pojedinca. Ni jedna andergraund kultura nije se razvila u onoj meri da bude vodeća, niti se na tržištu kulturnih dobara izborila za prioritet svojih proizvoda. Mladi se ne opredeljuju za jedan pravac, a i kada to čine, vrlo ga brzo menjaju krećući u drugom. U tom smislu, identifikacija vodi multipersonalnosti, a kontrakultura postaje plural – ne jedan jedinstveni pokret, već mnoštvo kontra dešavanja, čija se "kontrarnost" dovodi u pitanje samom činjenicom nedostatka jasnih odrednica dominantnog kulturnog modela. Ipak, dominacija ulice, kategorijalno određivanje stilom i kontradelovanja preživela su na jednom mestu - u Engleskoj. Pankeri su bili protiv sistema, protiv društva, protiv prošlih, ali i novih normativa, protiv "flower-power" i protiv "povratka prirodi". Izrazito jak antagonizam zamenio je parolu "Ljubav i mir" sa "Sex i nasilje"; prirodne materijale plastikom; duge kose ekscentričnim frizurama, a floralne i apstraktne simbole agresivnim printovima i svastikama. Anti-establišment ideologija panka bazirana je na osporavanju, na potrebi da se iskaže revolt i njenom zadovoljavanju kroz anarhističko delovanje. Ova kontrakultura, za svoje delovanje, crpela je razloge u socijalnoj nemaštini, manjkavosti institucija i sistema, nezaposlenosti, političkom uljuljkivanju u konformističke ideale da će se "radi i trud isplatiti" i stavu da je popularizacija muzike šezdesetih dovela do industrijalizacije ove umetnosti, pa da je omasovljavanjem pop izgubio svoj osnovni smisao – subverzivnost. U skaldu sa prethodnim, i u sferi odevanja, ideja je bila kreirati modu koja će biti šamar dobrom ukusu; kreirati stil koji će odgovarati muzici i modne elemente koji će predstavljati iste ideje kao predistorzirane gitare, teški bubnjevi i kritikujući tekstovi pesama bendova "The Sex Pistols",

Mary Quant center foreground—mother of the mini skirt 1967

i negaciju imperativa prirodne polnosti, te nepotenciranje polnih razlika odećom, već korišćenje sličnih i istih elemenata u muškom i ženskom odevanju. Proces odevne deseksualizacije, pratio je razvoj ideologije, pa zenit doživljava na kraju dekade (od 1968.) kada zvoncare, ručno bojene tunike i bluze, kaftani, sandale i marame (...) postaju rasprostranjena muško-ženska odeća, praktično, bez razlika. Unifikacija polova u jedinstveni stil mnogo je revolucionarniji "podvig" nego što sa današnje distance deluje, a činjenica da se isti desio za nepunih deset godina govori u prilog neverovatnoj brzini razvoja i hiperprodukcije pop kulture. Ipak, treba imati u vidu, da pop nije bio jedinstveni i stabilni model, već aktivno i promenjivo delovanje koje je kao proizvod imalo razne podkulture. One su se pak preplitale, proizilazile jedna iz druge ili potpuno razdvajale, kreirajući "melting pot" raznovrsnih ideja i njihovih fizičkih ispoljenja. Najveća vrednost svih dešavanja šezdesetih jeste da su ona stvorila, po prvi (i, možda, poslednji) put ono što Markuze naziva "afirmativnom kulturom". Ona je omogućila divergentno mišljenje i delovanje u skladu sa unutrašnjim nagonom; napuštanje nasleđeno racionalnog i prepuštanje kolapsu koji kada prevaziđe nihilizam može dostići visoki stepen kreativnosti. Od "glitter shick-a" do antimode panka. Pop ulazi u sedamdesete kao ostvarena, pobednička, ideologija. Živeći pop flozofiju, mladi su se izborili za svoj način, nemetnuli sopstvene kriterijume i obezbedili da odrasli shvate kako budućnost pripada njima. Kult mladosti uspeo je da se nametne, ali oni mladi koji su ga stvarali, odrastaju, pa slogan "Nikad ne veruj nekome preko 30" postaje paradoks. Pojavljuju se nove generacije – nova mladost, koja, kao ni prethodna, nije bila oduševljena postojećom situcijom, ma koliko ona bila "love and peace". Nekadašnji saborci jedinstvenog revolta protiv homofobije, rasizma, rata i patrijarhata, već na početku nove dekade gube autohtonost grupe, deleći se na frakcije od kojih se svaka bori za svoju stvar, što donosi nove manifeste, često distopijske u odnosu na ideale šezdesetih. Ekonomski napredak koji je počeo pedesetih doživljava zatišje, pa prirodno entuzijazam zamenjuje depresija. Fokus sa kolektivnog, prelazi na personalno, a ovo će implicirati i promene u kulturnim delovanjima koja dobijaju novi

Festival held in London in 1967

"buntovnika" tako i ostatka sveta. Na pitanje "ko je izumeo mini suknju Vi ili Andre Courreges?", Mary Quant je odgovorila "Niko, izmislila ju je ulica" Shvatiti senzaciju mini suknje nije moguće bez sagledavanja posledica njenog nastanka. - Raniji period, pedesetih godina, obeležio je specifičan izgled žena, nastao kao kombinacija "famme fatal" i uzorne domaćice. Mini donosi ne samo do tada nenošeni odevni predmet, već potpuno novi smisao za privlačno i seksi; novi koncept, u duhu ravnopravnosti i slobode "odelo-tvorene" jednostavnim formama, "no bra" grudnjacima, vunenim hulahopkama i ravnim čizmama; novim idolima ženstvenosti: Twiggy, Jean Shrimpton i Penelope Tree. Godina nastanka mini suknje je 1964., a iste godine Bitlsi snimaju album "A Hard Day's Night" i istoimeni mjuzikl koji prikazuje jedan dan u životu rok grupe. Kao što film podvalači liberalističke ideje, sukob starije i mlađe generacije; postojanje klaustrofobije izazvane slavom, ali i simbolički prevodi ovo lično osećanje na opšte-društvenu potrebu oslobađanja iz inertnog i tesnog kalupa; tako i (pre)kratka suknja, podvlači odluku one, koja je na sebe stavlja, da svemu navedenom da "odevnu sliku". I reči pesme "Can't buy me love" demonstriraju kako ličnu dramu, tako i odnos prema prodanim simbolima materijalnih vrednosti kojih se mladi odriču. Iako deluje neprirodno modnom dodeliti konotaciju nematerijalističkog, i suština mini suknje, simplifikovanog proizvoda čija kupovina pretpostavlja moć stava ne finansijskih sredstava, leži u odricanju od vrednosti koje "money can buy". Šezdesete su eksploatisale temu seksualnosti na svim poljima, pa po početnom verbalnom oslobađanju u onome što je do tada bio tabu društvene komunikacije, dolazi do insistiranja na potrebi za (javnim) preispitivanjima seksualnog opredeljenja, alteracija istog, značaja suprotnog pola i pripadnosti sopstvenom. Zato su se mnogi pop sadržaji zasnivali na ovoj temi - seks i seksualnost postali bitan termin kontrakulturnih dela, dok se u modnom kontekstu isto ostvaruje postepenom deseksualizacijom – od anoraks jakne zaštitnog znaka modsa do uniseks hipi stila. Konzumerizam prethodne dekade, do početka šezdesetih, postajao je sve čulniji, senzualniji, provokativniji; holivudske zvede su fetišizovane, a razlike među polovima naglašene. Suprotno tome, kultura pobune opredelila se za androgenost

from the book: Fashion—The Century of the designer 1900-1999

Flower power in a miniskirt (from the book: Fashion—The Century of the designer 1900-1999)

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"The Clash", "The Buzzcocks" i "The Exploited", koji nastaju kao odgovor na ono što je smatrano pretencioznim progresivnim rokom sedamdesetih. Stvarlaštvo punk-a zasnivalo se na nihilizmu kao načinu kreiranja - biranju elementa neadekvatnih određenom kontekstu, izvrtanju naličja i izborima suprotnim od očekivanih. Za modne simbole panka, formalno je neprikladno koristiti taj termin, jer ovo delovanje težilo je anti-modi i anti-estetici. Banalni, fetišistički, elementi zavodničkog stila (mreža, animal printovi, crna koža) bili su osnova, koja je dalje dorađivana tako da dorada bude jasno vidljiva. Željeni "trashy" utisak dodatno je postizan detaljima: zihernadlama, aplikacijama, iscepanim čarapama i začudnom frizurom. Ideja u pozadini pank "look-a" bila je ostaviti utisak namerne distorzije prihvaćeno lepog; vulgarizovati seksualnost kako bi se skrenula pažnja; i koristiti sopstveno telo i pojavu kao pokretni manifest. Iako je proizvod svega bivala stvar izrazito diskutabilne "odevnosti", a posebno imajući u vidu rad autora poput Vivienne Westwood, bitno je naglasiti da je mnoštvo stvorenog bilo istinski promišljeno, a da je utisak neurednog, neumešnog i konfuznog dizajniran, ne slučajno postignut. Uobičajena asocijacija na pank stil je dominantno crna silueta sa jakim kolorističkim akcentima, plastičnim i metalnim detaljima, morbidnog ili vulgarnog izgleda. Ipak, pank kao ulični stil nije obavezno odlazio u ovakve krajnosti. Kao i u drugim mladalačkim podkulturama, i u ovoj, džins je bio najčešći odevni komad dorađen po principu destrukcije - osmišljenim cepanjem i ispisivanjem simboličkog značenja. Printovi na majicama, ironične parole, aplikacije, zihernadle, lanci i tamponi korišćeni kao "nakit" ono su što predstavlja ključne elemente pank dramaturgije i dizajna, stilske simbole kroz koje nihilistička idologija dobija svoj "odevni kod". U tom smislu čini mi se zanimljivim primetiti da je ovde moguće govoriti o dve linije označavanja: prvom, kada neodevna stvar (poput lanca iz toaleta) postaje termin modnog sistema korišćenjem u kontekstu odevanja; i drugom, kada novostvoreni znak postaje označivač određene buntovničke ideje stavljanjem u celokupni kontekst životnog stila i delovanja grupe. Zato, posmatrano sa aspekta dizajna, ovaj stil se može oceniti kao hiperkreativan, a u smislu njegove ideološke pozadine kao potpuno dosledan. Šta više, britanski pank dokazuje da: kada

potreba za izražavanjem stava pronalazi kanal kroz različita kreativna delovanja, dela, bez obzira na (ne) ostvarenost formalne vrednosti, postižu vrednost označavanja i simboličkog interpretiranja, čime postaju kategorija kulturnog dobra. ...i nazad na početak Mladalački pokreti nisu nestali sa popom i pankom, ali su upravo ideologije analiziranih kontrakultura dale bazu za kasnija slična reagovanja. Metod povezivanja osećanja, reakcije i spoljne manifestacije usavršen je u godinama o kojima je ovde pisano, a nije pogrešno tvrditi ni to da je samo "tada i tamo" ova veza bila istinski stabilna, te i nadproduktivna. Ova stabilnost, pre svega, se odnosi na međusobnu uslovljenost ideja i delovanja, bez obzira na kasniji život proizvoda interakcije ovog dvojca. Rečju, bez obzira na kasniju komercijalizaciju dela kontrakulturnih stvaralaštva, u trenutku nastajanja, ona su za razlog imala isključivo manifestovanja stavova koje takvo, nije počivalo na ekonomskim i finansijskim potrebama već imanentnoj potrebi za zadovoljavanjem onih htenja koja su bila razlog subverzije. Utopističke namere realizovanja ideologije u konkretnom, fizičkom svetu, počele su nestajati krajem osamdesetih, da bi već pre početka novog milenijuma proces nestajanja bio konačno finaliziran. U današnjim okolnostima, bunt je zamenjen predstavom bunta, a važan element produkcije ove predstave čini buntovni stil, ipak bez potrebne suštine. Nekako, najlakše bi bilo za ovo optužiti industriju, komercijalizaciju i omasovljavanje, ali isto ne bi bilo baš tačno. Živimo u vremenu estetike koje pruža neverovatno bogatstvo vizuelnih znakova, preuzetih iz prošlosti ili savremeno kreiranih, ali njihovo značenje moramo sami stvoriti ...ipak, to retko činimo. Naši simboli možda i imaju značenje, ali je ono više nego površno, jer kao što pritiskom na opciju "join" više ni ne mislimo da li da odemo, tako se i stilom obeležavamo, a da iza njega stoji ništa ili nešto sasvim drugo. Na ovaj način rabimo postojeće, bez stvaranja novog, te dolazimo u ozbiljnu opasnost da naš istorijski trenutak bude lišen sopstvenih artefakta. mr Ksenija Marković

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Bogomir Doringer, konceptualni umetnik iz Srbije, diplomirao je na Rietveld Akademiji u Amsterdamu i trenutno živi i radi u Holandiji. — Bogomir Doringer, conceptual artist from Serbia, graduated from the Rietveld Academy in Amsterdam currently lives and works in the Netherlands.

Proučavajući koncept službenog odevanja i uniforme Austrije perioda nakon 1945. godine, Doringer je bio inspirisan da sačini projekat koji bi povezivao "modu i beznađe" sa aktuelnim društvenim kontekstom te zemlje. Doringer je u Beč stigao sa idejom da bi udela u njegovom umetničkom projektu moglo imati njegovo austrijsko poreklo, ali nesumnjivo i slučaj Nataše Kampuš, koja je bila žrtva kidnapovanja, zlostavljanja i utamničenja u austrijskom podrumu. Doringer je bio fasciniran ovim slučajem kada je pročitao Natašinu izjavu za medije koja je zvučala zrelo, jasno, što je bilo gotovo neočekivano od strane jedne tako mlade žrtve. Tokom svog istraživanja, Doringer je bio zapanjen time da austrijska televizija jednom mesešno emituje talkshow Nataše Kampuš. Činjenice o

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njenom životu su dokumentovane i predstavljenje kroz časopise, upravo poput života kakvih pop zvezda ili elitne klase Austrije. Austrija se 2008. godine suočila s još jednim skandalom seksualnog zlostavljanja, kidnapovanja i držanja u kućnom zatočeništvu – bio je to slučaj Fricl. Ta dva slična slučaja inspirisala su Doringera da dopre do teme službenog odevanja i uniforme kao modnog pravca. Ili je zapravo moda ta koja predstavlja uniformu? Doringer se odlučio da usporedi međunarodni imidž Austrije koji je ona imala pre nego što je slučaj Nataše Kampuš zaplenio naslovnice, i onaj koji je stekla nakon toga. Slučaj Kampuš je postao novi brend Austrije, mnogo delotvorniji od svežih proplanaka u filmskom ostvarenju Moje pesme, moji snovi.

Following the political costume and uniform after 1945 in Austria, Doringer was challenged by curators to present a project which could connect "fashion and despair" to the present context of Austrian society. He arrived to Vienna with the starting points that his future art-work could be attached to dig in his original Austrian origins or more probably to the image of Natasha Kampusch. The person who had been kidnapped, raised and abused in the basement, Doringer’s fascination with Kampusch had begun with her written statement for the media, which seem to be mature, clear and unexpected from the side of a victim at that early age. While he was doing research on the subject, Doringer was surprised with the information about Kampusch’s talk show running monthly on the Austrian TV program. Her life was

documented and present in the magazines, amongst pop-stars and the elite of Austria. In 2008 Austria had to face one more scandal connected to sexual abuse, kidnapping and home imprisonment, the Fritzl case. Two similar cases brought Doringer’s focus to the subject political costume and uniform as fashion? Or, fashion as a political costume or uniform? Doringer decided to compare the international image of Austria before and after the case of Natasha Kampusch reached the front pages all over the world. Kampusch became the new brand of Austria, more visible than healthy landscapes presented in the movie "Sound of music".

Austria is famous for its mountains and landscapes, healthy lifestyle and environment. As part of his project Doringer created a series of his own postcards. At first glance they appeared as any other postcard. But after scrutinizing one red point, spot or clearly shaped figure under a red hood it becomes clear that the red spot represents the person dressed in red. By placing the popular fairytale "Little Red Riding Hood" in Austrian landscape, he illustrated the resemblance between the story of Natasha Kampusch and the fairytale itself. Everything seems alive and romantically seductive, except the figure. She is always obscure but challenging. The atmosphere is uncanny, which is the case in most of Doringer’s work.

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English text on page 176

Mel Brooks and Robyn Hilton in Blazing Saddles 1974

Everything great in the world comes from neurotics – Marcel Proust

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Istorija stvaranja fikcije jeste istorija neuroza, narcisizma i mesijanskog kompleksa. Prometej je bio ludo hrabar kada je ljudima poklonio vatru, svestan da kazna neće biti samo deset po turu…Nastavak je poznat: ovaj Titan je visio na steni godinama, dok su se orlovi naslađivali njegovom džigericom, koja se preko noći obnavljala. Antigona, stvorena za ljubav, ne za mržnju, neproračunato i pomalo sumanuto, želela je da sahrani svog brata kako dolikuje, a njena sudbina potom je bila nezgodna. Smrt, taj uvek neprijatni završetak grčkih tragedija. Da li su Mojsije, Hrist, Buda i Muhamed bili pri čistoj svesti dok su ulazili u borbe i poduhvate daleko ispod sopstvenih mogućnosti, bez dovoljno ljudstva i strategije? Naravno da ne. Iako izmišljeni likovi, proroci i mitski junaci, ako ih posmatramo kroz prizmu modernog doba, mogli bi da se okarakterišu kao "blago udareni" ili ćaknuti. "Fast forward "u današnje vreme. Proteklu godinu fanovi pop kulture najviše će pamtiti po serijama. Dok u Srbiji milioni drhte nad sudbinama likova iz "Sulejmana" i "Rođaka sa sela" u paralelnoj stvarnosti, koja korača u ritmu XXI veka, strepi se nad sudbinom Keri Matison, Vila Mekevoja, ili Sare Lund. Čak je i Šerlok, stari ljubimac narodnih masa, postao daleko kompleksniji tip od, tradicionalno slikanog ljubitelja opijuma sa violinom – u verziji BBC-a, a po scenariju Stivena Mofata, Holms je višestruko problematična, kapriciozna osoba merkurijalnog temperamenta. Fantastično pametan, neodoljivo sarkastičan sa nerazjašnjenom seksualnom preferencom. Ipak, on takav kakav jeste, besprekorno upravlja najnovijim gedžetima, i koristi tehnologiju da usavrši znanja koja

mu je kreativni otac, Sir Artur Konan Dojl, ostavio u amanet. Heroji ovog vremena, detektivi i glavni junaci koji nam kroz TV ekrane ulaze u sobe, sve više liče na nas same. Došlo je vreme kad gledaocima prija da vide ljude pomalo oštećene, sklone dobroj kapljici ili još boljem sedativu, kako spasavaju svet od propasti. Oni bi mogli biti mi, a svi smo mi pomalo oni, i zato sipajte još jedan viski Donu Drejperu, tom neverovatnom šmekeru, frontmenu iz ekipe "Mad Men". Džejms Stjuart u filmu "Vertigo" tumači lika koji je napustio posao u policiji zbog straha od visine i depresije. Njegova fobija zapravo jeste centralni motiv zapleta i ključ mnogih legendarnih scena u Hičkokovom ostvarenju. Ali detektiv Džon Ferguson (Stjuart) nije čovek sa perikom i nožem koji vreba iza zavese, nije negativac kakav je Norman Bejts u "Psihu". Ferguson je tu da pomogne, da reši, da bude naš super-junak. Pa kako heroj sme da se plaši nečega tako trivijalnog kao što je visina? Alfred Hičkok je voleo složene psihološke profile, i postavljao nove lestvice u spajanju saznanja iz psihoanalize i pristupu "saspensu" u gledalištu, toj nervozi posmatrača koju je majstorski umeo da izazove. Umeo je da se nasmeje na sopstveni račun i cenio je parodiju – kada je Mel Bruks, čuveni komičar, snimio "High Anxiety", simpatičnu pošalicu na Alfredove filmove, Hičkok mu je, u znak poštovanja, poslao kutiju najfinijeg vina "Château HautBrion". Legat neurotičnih detektiva, alkoholisanih heroja i histeričnih heroina koje je Holivud promovisao pedesetih i šezdesetih godina prošlog veka, traje do dan danas. Najuočljiviji je upravo na najmasovnijem mediju, "malom ekranu teve prijemnika". Ameriku spasava Keri Metison. Glavna junakinja višestruko nagrađivane serije "Homeland", koju igra Kler Dejns, redovno pije klonazepam, nasledno pati od bipolarnog poremećaja ličnosti ali je najbolji i najvredniji agent Zgrade sa velikim Z u gradu Lengli, civilima poznatoj i kao CIA. Svetsko novinarstvo i ugled profesije, iz gliba će izvaditi sjajni Džef Denijels, koji u seriji autora Arona Sorkina "The Newsroom" tumači lik voditelja Vila Mekevoja. Vil je impulsivan, trapav u odnosima sa kolegama, voli da dune marihuanu a pred kraj prve sezone počinje da posećuje psihijatra. Međutim, njegov pristup uređivanju vesti,

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stav o tome kako mediji treba da se postave u kriznim situacijama i romantična ali nemoguća emocija prema bivšoj devojci a sadašnjoj saradnici Mekenzi MekHejl čini ga savršenim TV idolom. Sa ove strane Okeana, u Skandinaviji, čekaju nas Sara Lund i Saga Noren. Hiper-aktivne, odlučne i neobične detektivke rešavaju najteže slučajeve u serijama "Bron" i "Forbrydelsen". Saga Noren ("Bron") je zgodna i komplikovana plavuša, koja ne može da ostvari bliži kontakt sa ljudima, usled blažeg oblika Aspergerovog sindroma. Ona je dragoceni analitičar i nezaustavljiv borac policijske stanice u Malmeu.

Sara Lund ("Forbrydelsen" ili u američkoj verziji "The Killing") svoj detektivski posao vidi kao misiju. Uvek u karakterističnom džemperu (ručni rad, isti možete kupiti na internetu za 300 eura od lokalne manufakture u Danskoj), Sara je emotivno distancirana, ali je i dalje najsjajnija zvezda odeljenja za ubistva u Kopenhagenu. U sofisticiranijoj atmosferi, stajliš kancelarijama, fenomenalnom stajlingu i daljoj prošlosti, događa se serija "Mad Men". Šest sezona, impresivan broj nagrada, uticaj na modu i ponovna atraktivnost zaposlenja u advertajzing agencijama, samo su neke od posledica našeg druženja sa junacima sa Medison

avenije, koje traje od 2007. godine. Junaci? Neprestano piju, puše i varaju žene. Žene su pak proračunate, koriste seksualnost kao oružje i metod borbe. Svi oni, na čelu sa ključnim likom, Donom Drejperom, u nedrima gaje velike tajne. Poslednja sezona nam je donela scene u kojima direktor agencije Rodžer Sterling uživa u čarima droge LSD. Pa tako, ako ste pomalo nervozni, incidentni, neurotični ili skloni poroku, možda se pitate: kuda idu ljudi (ludi) kao ja? Na televiziju, očigledno. Jelena Đurović / www.agitpop.me

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photo: Brian Duffy

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Legenda živi! David Jones. Ziggy Stardust. Thin White Duke. Otac. Muzičar. Ikona. Biseksualac. Trendseter. Buntovnik. Kameleon. Fantastični David Bowie! On je pojava koja je zauvek obeležila muzičku, ali i modnu scenu. Iako se iz javnosti povukao 2004. godine, posle srčanog udara koji je doživeo na turneji u Nemačkoj, sjaj Bowieve zvezde nije nimalo potamneo. Njegova supuga Iman u tom periodu uporno je isticala da je on pre svega David Jones, uzoran suprug i otac male Alexandrije koju svakodnevno prati u školu u Njujorku. Ipak, ta fasada uobičajnog života nije prevarila njegove fanove koji su ga zavoleli zbog njegovih beskompromisnih 063

stavova, neverovatne hrabrosti i eksplozivne energije koja je pozivala na promene. Dok su fanovi iznova i iznova vrteli stare ploče, dotle su modni dizajneri posegnuli u Davidovo bogato modno nasleđe. Ziggyeve modne bravure Bowie se beleži kao prva androgina muzička ikona, a upravo je ovakav izgled danas u prvom planu kada je moda u pitanju. Njegov izmaštan lik Ziggy, koji je na scenu dolazio u najneverovatnijim kombinacijama predstavlja nepresušnu inspiraciju dizajnerima u XXI veku. Sam Bowie odrekao se ovog lika u strahu od šizofrenije, jer je počeo da sumnja u sopstveni zdrav razum. Možda je Ziggy Davida gurnuo u paranoju, ali je modnim dizajnerima pružio

mnoštvo materijala za prepisivanje. Miuccia Prada pre nekoliko sezona na pistu je poslala komplet inspirisan kombinezonom sa jednom nogavicom kakav je on nosio još 1973. godine. Ricardo Tisci rekreirao je sako sa crno-belim prugama iz Stardustovih zlatnih dana. I kreator Dries Van Noten je njegove kreacije iz sedamdesetih prekrojio u modele za moderna vremena. Poslednjih nekoliko godina sve jasnije možemo uvideti Bowiev uticaj na modu i svedoci smo velikog povratka glam roka. Njegov imidž toliko je uticao na modnu scenu, da se Kate Moss u dva navrata fotografisala za najpopularniji modni magazin "Vogue" po uzoru na ovog muzičara. Prvi put 2003. godine za britansko izdanje, a zatim i osam godina kasnije za

francusko izdanje "Vogue" magazina. Vrhunac Bowievog uticaja na savremeni svet, on je ponovo dokazao da je njegova životna energija nepresušna i da još uvek ima toliko toga da ponudi. Iako je delovalo da su male šanse da se David, koji sada vodi prilično povučen život, u svojoj 66 godini ponovo vrati na scenu i odigra neku novu ulogu upravo se to dogodilo. Izgleda je baš ova, 2013., godina slavnog povratka velike zvezde! Društvene mreže usijale su se u trenutku kada je u etar puštena Bowieva nova pesma "Where are we now". Posle 10 godina iščekivanja fanovi su napokon dobili ono što su želeli, legenda nastavlja da živi!

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Trend večne mladosti Fanovi često kopiraju svoje idole, ali moda teži da ostane spontana i nepredvidljiva, da unese glamur u primitivizam, da transformiše trendove, da oplemeni univerzum, u suštini – da prilagodi pravila jednog sveta marginama društva i ostvari jedan savršen spoj čulnog doživljaja i večne mladosti. I tako ona rizikuje da razloži suštinu rok stila kako bi dobila čistiji oblik,

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sterilisan i dosadan doživljaj sveta. Ljudi imaju potrebu za arhetipima kako bi imali orjentacionu tačku u ovom velikom svetu, a muzičari su ti koji postaju arhetip. Ne može se pobeći od mode. Onda kada joj se najstrašnije protivimo zapravo joj se najviše pokoravamo. Ona sugeriše neke stvari u kojima se ceo svet prepoznaje – jednu mešavinu nesvesnog kolektivnog i andergraunda, popularnog i elitnog u isto vreme, nešto što pripada istoriji samo po sebi, ali nešto što će zauvek biti u modi. Zato što u svakom od nas ima pomalo Bowiea... Jelena Karakaš

Photo by Masayoshi Sukita

David Bowie is... Ne samo da je za mart najavljen novi album sa 17 pesama, već je David ponovo i u žiži modne javnosti, ovoga puta njegov izgled kao inspiraciju iskoristio je Jean Paul Gaultier. Njegov neobični imidž ne živi samo kao referenca za moderno oblačenje, već će svet ove godine imati prliku da na jednom mestu sagleda celokupan imidž David Bowiea. Londonski muzej "Victoria&Albert" (V&A Museum) predstaviće privatnu kolekciju na kojoj će biti izloženo sve povezano sa njim: od umetničkih dela, instrumenata i kostima, do tekstova, video snimaka, fotografija i filmova. Ovo je prvo arhiviranje života i karijere Davida Bowiea koje istražuje različite aspekte njegovog talenta kao i saradnju sa umetnicima, modnim i grafičkim dizajnerima i filmskim radnicima. U Londonu će predstaviti kostime koje je dizajner Freddy Buretti kreirao za Ziggyja Stardusta. Ziggyju, koji pokušava da spasi svet pomoću rock'n'roll muzike, Bowie je posvetio svoj konceptualni album "The Rise and Fall of Ziggy Stardust and the Spiders From Mars" iz 1972. godine. Na izložbi će biti prikazane i fotografije Briana Duffyja, Terryja O'Neilla i Herba Rittsa, radovi ilustratora Guya Peellaerta za album "Diamond Dogs" iz 1974. godine, kao i isečci iz SF filma "The Man Who Fell to Earth" sa Davidom u glavnoj ulozi. Kao posebna zanimljivost tu će biti i kaput, rad kreatora Alexandera McQueena, u kom se Bowie pojavio na omotu svog albuma "Earthling" iz 1997. godine. Uz sve to, javnost će moći da pogleda Bowieve skice, crteže, citate iz dnevnika i ručno ispisane tekstove pesama. Izložba "David Bowie is" trajaće od 23. marta do 28. jula. Na jednom mesto moćićemo da vidimo sve Davidove faze i u mnogima prepoznamo obrise modnih trendova od sedamdesetih na ovamo.

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inspired by Oliver Twist, Model: Nada VasiljeviÄ&#x2021;

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FAAR više od pet godina na osoben, prvenstveno umetnički način popularizuje trendove u modnom dizajnu, fotografiji, grafičkom dizajnu...dajući punu slobodu svojim saradnicima. Zahvaljujući takvom pristupu postao je nezaobilazni poligon za adekvatnu promociju domaćih etabliranih, ali i mladih fotografa. U prethodnom izdanju pokrenut je konkurs Young Blood za mlade fotografe, koji je izazvao ogromno interesovanje kod mladih kreativaca koji su u tome prepoznali mogućnost promovisanja svog rada izuzetnoj čitalačkoj publici FAAR magazina. I ovoga puta želja izdavača je da okupi i promoviše još uvek neafirmisane, a talentovane umetnike fotografije, kao i da im se omogući profesionalno objavljivanje njihovih radova. Više stotina zainteresovanih poslalo je svoje radova, a na sledećim stranama ćete videti one koje je žiri u sastavu: fotografi Aleksandar Kujučev i Miša Obradović, dizajner Slavimir Stojanović i urednik FAAR-a Nenad Radujević, odabrao kao najbolje. Takođe, u ovom izdanju FAAR-a možete videti i samostalan editorijal Marijane Gligić koja je prva pobednica ovog konkursa. Ona je uradila editorijal na zadatu temu iz britanske pop kulture "New Romantic", na osnovu muzičkog pravaca New Wave...Duran Duran, Spanday Ballet, Adam Ant, Boy Goerge, ABC, Malcolm Mc Laren, Steve Strange.... pankerski antimodni stav, nerazlikovanje elmenata stila polova, jaka šminka, dramatične firzure, romatični detalji...

Photo—Nemanja Maraš Photo assistant—Dragan Asanov Styling—Tijana Žunić Makeup—Cecilija Vurdelja Drobac Hair—Studio Prostor Models—Milica Milinković, Nikola Momčilović @ Click Models Nikola: shirt—Zara Milica: top—Jelena Gagić, west—Tijana Žunić 133

Svi fotografi zainteresovani za Young Blood konkurs svoje prijave, odnosno radove, mogu slati na adresu faar@click.co.rs tokom cele godine. Cilj je da konkurs postane internacionalnog karaktera, pogotovo za zemlje u regionu, kako bi postao jedinstven generator nove, umetničke fotografije.

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YOUNG BLOOD

Photo—Ilija Milosavljević Makeup—Željka Janković Hair—Dušan Petrović Model—Mila Mihaljčić @ Fox Models left photo: Shirt, skirt—Mihano Momosa Behind (model—Ivan Milivojev) Coat—Marija Stanišić right photo: Blazer, shoes—Studio Prostor Skirt—Dejana Ivanišević

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Photo—Jovana Mladenović Styling—Majda Cupać Hair—Dragoljub Vujčić Makeup—Aleksandra Zlatanović Set design—Tijana Trailović Models—Nikola Momčilović, Teodora Vučetić, Bojana Tošić, Neda Krstić @ Click Models Special thanks to Zaplet 2.0 / Nikola: men’s shirt—Klasa Neda: dress—Ines Atelijer, hat—IglaIgla Bojana: dress—Ines Atelijer Teodora: hat and shirt—Klasa, black skirt—Dressing

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Photo—Dušan Milenković Styling—Adela Jovanović Makeup—Irena Miletić Hair—Đuđica Ivanović Đuka Model—Ana Boltić @ Click Models Assistant—Mišo FIlipovac Location—special thanks: Kuća na ravnom bregu

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left photo: Coat—Jovana Marković Shirt—Zorana Stojanović Klasa Skirt—Ivana Murišić Belt—stylist's own

right photo: Sweater—Roi et moi - L’atelier Shorts—Ines Janković Sunglasses—Maison Martin Margiela - L'atelier Boots—Alaia - L'atelier

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YOUNG BLOOD

Photo—Marko Prelić Assistant—Jakov Marković Styling—Elena Nikolaevna Styling assistant—Sara Younis Makeup—Irena Miletić Hair—Zoran Ćumura

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Bracelet—No Brothers No Sisters Leather bracelet—Nikita denmark Necklace—SestreS Jacket—Oboy Dress—Patrizia Pepe

Sweater—Kolabs Belt—SestreS Boots—Patrizia Pepe Ring and earrings—Koishi

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What do you do to get noticed, who’s going to see you through the crowd, you with your little website. How are you supposed to compete? There’s always support? Corporations, governments, local councils, they’re always throwing money at the arts, right? Or so we’re told. Where is this money, why haven’t you seen any of it? You’re amazing; they just haven’t noticed you that’s all. Village is about you, it’s about giving you a voice, giving you a proper platform to finally get noticed. We will level the playing field, informing you about awards, funding, initiatives, programmes, competitions and collaborations. We want you to mingle with other like-minded people. Village isn’t about getting several hundred likes, it’s about being in the company of other creatives, your peers. There are many so called sites that will claim to give you this platform, but all they do is just provide you with a page, you still need to attract browsers to your page. We want to our residents to grow, gain friends, knowledge and employment. That’s why we’ll always work with our residents, promoting them, giving them a space to perform and show what they’ve got, so others can see. For instance, our logo was created by one of our residents, Expanded Eye (www. expandedeye.co.uk). Our web creator, our online newspaper editor, our PR, our journalists, our artists, our adverts, all created by our residents. We want to give creatives equal opportunities to promote

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their work to a global audience, regardless of their economic position or what part of the world they happen to live. That is why Village is so important and an essential portal for any creative. We want to have every country represented from all creative sectors; city, town or Village, welcome to your new home. The Village Manifesto: WE WANT YOU TO HAVE A PROPER PLATFORM TO SHARE YOUR WORK WE WANT YOU TO COMMUNICATE WITH OTHER LIKE MINDED INDIVIDUALS, GROUPS AND PEERS WE WANT YOU TO HAVE KNOWLEDGE, KNOWLEDGE IS POWER WE WANT YOU TO UPLOAD YOUR WORK WE WANT YOU TO GAIN EMPLOYMENT WE WANT YOU TO COLLABORATE WE WANT VILLAGE TO BE A LEVEL PLAYING FIELD, WHOEVER YOU ARE AND WHEREVER YOU’RE FROM WE WANT TO MAKE YOU PROUD AND SPREAD THE WORD WE WANT VILLAGE TO HAVE INTEGRITY WE WANT YOU TO BE HAPPY To register and sign up for free, please visit www.villageblock.com

Expanded Eye—illustrators—title ‘six pence’

Welcome to the Village, a place where all your hope and dreams can be fulfilled, your new destination. The Village is a place where emerging and established creatives can come and socialise, share their work and finally meet others, like you.

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English text on page 177

DOBRODOŠLI U BEOGRAD Nazivaju ga gradom kulture, inspiracije, sporta i festivala. Beograd se menja i razvija brzo, čuvajući svoju bogatu i raznoliku istoriju, uz jedinstvenu mešavinu kulture, arhitekture i urbanog duha. Sa nekim od najatraktivnijih lokacija, Beogradskom tvrđavom – najstarijem kulturno istorijskom spomeniku, Skadarlijom – boemskom četvrti u centru grada, Knez Mihailovom ulicom, Starim i Novim dvorom, zgradom Narodne skupštine, Hramom svetog Save, Zemunom i mnogim drugim, Beograd je nesumnjivo kulturni centar jugoistočne Evrope. Jedan od najstarijih evropskih gradova, sa istorijom dugom preko 5000 godina, Beograd neguje svoje nasleđe, obeležja i spomenike, tradicionalnu umetnost i čuvene atrakcije. BOHEMIJSKI STIL Skadarlija je počela da stiče svoj karakter poslednjih decenija 19. veka. Skadarlijske kafane su do sada ugostile mnoge svetske ličnosti poput Alfreda Hičkoka, Džimi Hendriksa, Josip Broz Tita, špankog kralja Huan Karlosa I i mnoge druge. Današnja Skadarlija, kratka i pokaldrmljena ulica, znamenita je beogradska atrakcija sa kafanama poput Tri šešira, Šešir moj, Dva jelena, Zlatni bokal, Ima dana, Putujući glumac, Dva bela goluba.. BEOGRADSKA TVRĐAVA Beogradska tvrđava, sa parkom Kalemegdan, je fortifikacija koja datira iz 3. veka i jedan je od najstarijih i osnovnih delova grada. Nadgleda ušće reke Save i Dunav, 147

i upravo to mesto, uz spomenik Pobednik čuvenog vajara Ivana Meštrovića, jedan je od najdivnijih prizora Beograda. ZEMUN Nekada zaseban grad, Zemun je danas romantičan i poetičan deo Beograda. U Glavnoj ulici nalazi se Zavičajni muzej i Opera Madlenijanum. Obala Dunava na kojoj se Zemun nalazi, Zemunski kej, je kilometrima duga promenada sa nizom splavova, zabavnim parkom i nekada najvećim hotelom u Beogradu a danas kockarnicom Grand Casino. Noću, splavovi postaju epicentar života, otvoreni do ranih jutarnjih časova. Kula Gardoš je najprepoznatljiviji simbol Zemuna. Ovaj kraj je sačuvao stari izgled, sa uskim kaldrmisanim ulicama i kućama. Pored Kule, kafe restoran nudi panoramski pogled i prijatan odmor od gradske vreve. BEOGRAD NA REKAMA: SAVA I DUNAV Ušće Save u Dunav predstavlja najatraktivniju tačku ispod Beogradske tvrđave i, zajedno sa Velikim ratnim ostrvom je oaza netaknute prirode u sred modernog grada. Obale reka nikada ne spavaju: na brojnim čamcima, restoranima i kafićima na vodi posetioci mogu da popiju kafu, uživaju u ukusnom ribljem specijalitetu, slušaju muziku i dobro se zabave. BEOGRADSKI FESTIVAL IGRE Zaokružujući deceniju postojanja, jubilarni 10. Beogradski festival igre se ove godine održava pod pokroviteljstvom delegacije EU u Srbiji. Publika će imati prilike da vidi Balet

Jazz Montreal, Balet Preljokaž, Danski plesni teatar, Bečki državni balet, Peeping Tom, I po prvi put u regionu, Pekinški plesni teatar iz Kine. www.belgradedancefestival.com MIKSER Multidisciplinarna, multikulturalna platforma za organizovanje takmičenja, izložbi, kulturnih događaja, konferencija, edukativnih seminara i predavanja, posebno je popularna među mladim talentovanim ljudima i predstavlja progresivnu silu Beograda. www.mikser.rs BELGRADE FASHION WEEK April u Beogradu je vreme za usvajanje novih modnih trendova i stilova. Selekcija originalnih i impresivnih lokacija, mladih i renomiranih modnih umetnika i vizionara, elitne publike i urbane atmosfere, čini Beograd modnim centrom regiona. Održava se krajem marta i krajem oktobra. www.belgradefashionweek.com BELGRADE DESIGN WEEK Ovaj događaj godišnje okuplja mlade predstavnike kreativnih industrija Istočne Evrope. Izložbe modernog dizajna garantuju dobru zabavu i kreativnost. www.belgradedesignweek.com NOĆNI ŽIVOT (U SVOJ SVOJOJ RAZLIČITOSTI) Nedavno Beograd je nazvan "novom prestonicom cool-a", zahvaljujući raznolikosti noćnog života. Muzička scena zadovoljiće svačije afinitete, bilo da ste ljubitelj džeza, elktronskih zvukova, rokenrola ili indi-

popa. U centru grada, džez klub Ptica, disko klub Tube koji gosti domaće i strane DJ-eve, dub step i drum ‘n’ bass klub poput Francuske sobarice kao i mnogi drugi, nalaze se u komšiluku na Dorćolu. Odmah pored Brankovog mosta, na strani starog dela grada, nova "cool" mesta kao što su Mladost, Ludost, i Underground Kulturni centar Grad, preuzeli su ovaj kraj i postali nova omiljena mesta mlade, urbane populacije i hipstera. GASTRONOMIJA Srpska kuhinja je mešavina mediteranske, mađarske, turske i austrijske, uz veliki izbor pratećih pića. Makar jedan riblji specijalitet se mora probati u nekom od restorana na rekama. A dok ste u gradu, iskoristite priliku da probate nešto tipično domaće: ćevapčiće, gibanicu, karađorđevu šniclu, itd. Čuveno domaće piće je rakija, najpoznatije šljivovica ili lozovača. CITY BREAK BEOGRAD City Break Beograd je paket za individualne i grupne posete, dostupan iz: Londona, Berlina, Amssterdama, Milana, Pariza, Soluna, Istanbula, Tel Aviva, Geteborga, Stokholma, Kopenhagena, Moskve, Ciriha, Beča, Rima, Dizeldorfa, Larnake i Brisela. Uključuje dve noći u hotelu sa 3, 4 ili 5 zvezdica i razgledanje grada.

www.travel-belgrade.com

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Timothy John Byford

Njegove serije su obeležile detinjstvo miliona u bivšoj Jugoslaviji. Posle iskustva na BBC-ju, osvojene nagrade BAFTA, Timoti Džon Bajford se sedamdesetih godina prošlog veka preselio u Beograd. "Neven", "Poletarac", "Babino unuče", "Nedeljni zabavnik" bili su pravi televizijski blokbasteri, i potvrda da, uz znanja koje je stekao na "najboljoj televiziji na svetu" i odlične uslove koje je imao na ovdašnjoj Radio Televiziji Beograd, Bajford može da o domaćoj kulturi, temperamentu i Jovanu Jovanoviću Zmaju progovori bolje od mnogih rođenih Jugoslovena.

Inserti iz serije "Neven" 1973.

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Već četrdeset godina Timoti Džon Bajford živi i radi u Beogradu, govori naglaskom koji se naziva "bajfordski" a kada je javnost saznala da, zbog birokratskog nemara, on nema

prava na nacionalnu penziju, internetom je počela da kruži peticija koju su potpisale hiljade ljudi. Danas, on više nije "illegal alien", već je u januaru 2012, više nego zasluženo dobio tu penziju koja je namenjena umetnicima od nacionalnog značaja. Bajfordov doprinos našoj kulturi meri se emotivnom vezanošću svakog od gledalaca prema divnom načinu kojim je edukovao i zabavljao Jugoslovene, a njegova ljubav prema pticama i briga za šumu na Banjici ozvaničena je tablom-zahvalnicom koja danas stoji na ulazu u ovaj park. Reditelj, scenarista, ornitologhobista, prevodilac, Englez, Srbin, Jugosloven, Beograđanin – Timoti Džon Bajford. Jelena Đurović / www.agitpop.me

Tower Bridge, courtesy of British Council

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2012. je bila značajna godina za Veliku Britaniju i njenu kulturu. Na globalnom prostoru, čini se, nijedna zemlja nije dala tako snažan pečat u domenu inovacija, kreativnosti, komunikacija i medija. Olimpijska 2012. godina je sigurno doprinela koncentraciji svih nacionalnih kreativnih resursa kako bi "Ostrvo" obasjalo planetu: Kraljica je proslavila 60 godina na čelu monarhije, London je po treći put bio domaćin Letnjim olimpijskim i paraolimpi-

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jskim igrama, serijal filmova o Džejms Bondu je obeležio svoju 50-godišnjicu filmom SKYFALL koji je ujedno finansijski najuspešniji Bondov film ikada, svet je proslavljao 200 godina od rođenja Čarlsa Dikensa, 100 godina od propasti Titanika, Adel je obarala sve rekorde u globalnoj muzičkoj industriji, Piter Higs je doživeo potvrdu svoje teorije o postojanju "božje čestice", Šekspirova dela su se izvodila u čuvenom "Glob teatru"

na 38 jezika, uključujući i srpski… Iako je Stela Makartni ponela titulu britanskog dizajnera godine za olimpijsku kolekciju dizajniranu za nacionalni tim Velike Britanije, u samom finišu 2012-te Roksanda Ilinčić, naš najuspešniji modni dizajner u svetu, je osvojila RED CARPET AWARD za kreacije koje su nosile Mišel Obama i Vojvotkinja od Kembridža. Refleksije savremene i tradicionalne britanske kulture su oduvek bile okosnica rada "British

Council-a". Sve ono što stoji iza velikih dostignuća: obrazovanje, praksa, inovativni pristupi i metodologije prezentacije, je uvek bilo u središtu aktivnosti i projekata koje ova organizacija sprovodi u Srbiji i širom sveta. FASHION IN FOCUS Ovog februara, "British Council" je još jednom potvrdio da je vodeća globalna organizacija u uspostavljanja kulturnih veza – "Fashion

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Billy Cowie, In the Flesh, photo: Matthew Andrews

Week" u Londonu bio je prilika ne samo za promociju modnih giganata, već i da se skrene pažnja na brojne talentovane dizajnere iz celog sveta kroz projekat "International Fashion Showcase". Žiri sastavljen od predstavnika eminentnih britanskih institucija: "British Council-a", "British Fashion Council-a", "Telegraph-a", "Royal College of Arts", "Victoria and Albert Museum-a". Komesar za Srbiju na ovom jedinstvenom internacionalnom modnom događaju je Nenad Radujević ispred "Beogradske nedelje mode". Projekat BFW-a je visoko ocenjen u velikoj konkurenciji koja je vladala tokom selekcije dizajnera i zahvaljujući tome, kolekcije Ane Ljubinković, Ivane Pilje i Georga Styler-a će biti prezentovane u okviru ovog takmičenja. Ambijent "Srpske kuće" u ulici Dering, u samom centru Londona, će tako postati svojevrsni srpski "fashion" izlog. Osim toga, naši 152

mladi dizajneri su učestvovali u pratećim događajima u okviru LFW-a. DON’T MISS THEIR NEXT STEP! Savremeni ples je oblast koja je poseban prioritet u radu "British Council-a" u Srbiji. Dugi niz godina ova organizacija pomaže razvoj savremene plesne scene kroz kontinuirane plesne radionice sa najeminentnijim britanskim koreografima, promociju britanskog plesnog stvaralaštva, razmenu iskustava i zajedničke projekte. U 2013. godini se očekuje još veće učešće na sceni savremenog plesa zahvaljujući izuzetnoj koprodukciji dve plesne kompanije od kojih je svaka naročito značajna za sredine u kojima stvaraju: koprodukcija "Jasmin Vardimon Company" iz Londona i "Bitef Dance Company" iz Beograda. Plesna predstava "Yesterday - Seti se da zaboraviš", koju Jasmin Vardimon ekskluzivno postavlja za igrače plesne kom-

DREAMS DO COME TRUE Još jedna plesna priča će biti ispričana u ovoj godini. Priča koja govori o siromašnom momku sa Kube, koji zahvaljujući velikom radu, upornosti i nesvakidašnjem talentu uspeva da se izdigne iznad prašnjavih ulilca predgrađa Havane i stane rame uz rame sa božanstvima baleta 20. veka – Rudolfom Nurejevom i Mihailom Barišnjikovim. Karlos Akosta, prvak "Kraljevskog baleta" iz Londona gostovaće sa svojom partnerkom Zenaidom Janovskom na "Beogradskom festivalu igre" sa predstavom ON BEFORE, 10. aprila na sceni opere "Madlenianum". Sa nestrpljenjem očekujemo ovo ekskluzivno gostovanje koje će nas ponovo dovesti u susret sa briljantnim britanskim koreografom Raselom Malifantom, a upoznati sa koreografijama Kima Brandsturpa i Edvarda Lianga. U međuvremenu, naša preporuka za čitanje je autobiografski roman Akoste NO WAY HOME. Od potpunog poricanja do životne posvećenosti umetnosti igre put može biti kratak ali su rad, samodisciplina i vera u sopstveni talenat neophodni u ogromnim količinama. Bajka o Pepeljuzi ne bi bila toliko omiljena i dugovečna da se nije nebrojeno puta ostvarila. Nadamo se da će ova bajka Karlosa Akoste biti podsticaj nekim mladim ljudima u Srbiji da se opredele za plesnu karijeru. DANCE THROUGH THE LENS Savremeni ples, kao i savremeni teatar, ima najrazličitije pojavne oblike koji su naročito rasprostranjeni u britanskoj plesnoj praksi. Jedan od umetnika koji je veoma inspirativan je Bili Kauvi (Billy Cowie) – genijalni koreograf, kompozitor i filmski stvaralac. Njegovi 3-D plesni filmovi predstavljaju potpuno novo iskustvo interdisciplinarnosti i nesvakidašnji doživljaj. "British Council" će u godini pred nama predstaviti rad ovog umetnika beogradskoj publici sa namerom da podstakne kreativne impulse domaćih stvaralaca da istražuju ples van okvira scene. Takođe, nadamo se da će opus Bilija Kauvija podstaći veću sinergiju između filmadžija i koreografa u pravcu

eksploatacije žanra plesnog filma, koji u Velikoj Britaniji ima brojne predstavnike, na prvom mestu Lojda Njusona i njegov legendarni DV8. SILENT HITCHCOCK Kada smo već dotakli film, 2013. će biti godina Hičkoka. Iako se čini da se o Hičkoku već sve zna, a njegovi filmovi imaju status obavezne filmske literature, postoji jedna faza u Hičkokovom radu koja je prethodila njegovom angažmanu u Holivudu i planetarnoj popularnosti. Upravo na ovaj deo Hičkokove bogate filmske biografije nas je podsetio "Britanski filmski institut" kada je završio ambiciozan projekat digitalizacije 9 Hičkokovih filmova iz faze nemog filma, snimljenih između 1925. i 1929. godine. Da je reć o filmovima sa velikim uticajem govori i podatak da je francuski reditelj Mišel Aznavičijus našao inspiraciju upravo u jednom od Hičkokovih nemih filmova ("The Ring", 1927) za svoj film "The Artist", za koji je na poslednjoj ceremoniji dodele "Oskara" osvojio čak 5 nagrada. "British Council" se uključio u globalnu promociju restauriranih Hičkokovih filmova ali i specijalno komponovanih muzičkih pratnji za koje su angažovani savremeni britanski kompozitori. Pratite festivale i bioskope u okruženju za novi pogled na kralja jeze. SELECTOR Od kako su "Bitlsi" pre 50 godina izdali svoj prvi LP, britanska muzička fabrika nije prestala sa "proizvodnom linijom" rok i pop ikona, muzičara koji su generacijama iz korena menjali pogled na svet. Besmislen je svaki pokušaj nabrajanja ili sastavljanja "all star" plejliste. Istorijski osvrt na razvoj tako prepoznatljivog ostrvskog zvuka uvek nas dovodi do toga da se zapitamo kakvi su bili počeci. Upravo iz tog razloga i u cilju ranog "detektovanja" novih muzičkih trendova i njihovih rodonačelnika, "British Council" je pokrenuo globalni projekat radija SELECTOR. Ovaj radijski program iz nedelje u nedelju promoviše novi britanski zvuk, muzička komešanja iz kojih nastaju ozbiljni projekti, današnju alternativu koja će postati okosnica sutrašnjeg mejnstrima. I tako u krug. Za sve vas koji ste davno prerasli MTV a želite da slušate najnoviji britanski zvuk iz "prvog reda", pratite radio SELECTOR "online" ili putem radio talasa rastuće mreže

lokalnih emitera u Srbiji. THIS ISN'T THE END Ako se sećate spektakularnog otvaranja "Olimpijade" u Londonu u režiji Denija Bojla, Velika Britanija se predstavila svetu kao spoj tradicionalnog i savremenog, kolevka panka, naučnih dostignuća, savremene tehnologije i dizajna, zemlja siromašnih i bogatih, Šekspira i Harija Potera, i sve to osvetljeno olimpijskim bakljama Tomasa Hedervika. Ako su vam te slike još u sećanju, biće vam conlakše Lorem ipsum dolor sit amet, da uočite rad "Britishelit. Council-a" sectetuer adipiscing Aliquam u vašem okruženju. Većsagittis 73 godine pede quam, cursus ut, sed, neprekidno. rhoncus vitae, mi. Morbi suscipit, pede non hendrerit tincidunt, velit Ivana Đurišić lectus, at faucibus risus venenatis Direktor programa umetnosti risus metus vel lacus. Vivamus ipellentesque obrazovanja /iaculis Britishpurus. Council Srbija Nullam accumsan dignissim ante. Mauris www.britishcouncil.rs non metus nec libero faucibus dignissim. Fusce in libero. Duis a dolor vitae eros lacinia varius. Etiam tortor turpis, mattis eget, pharetra vel, scelerisque nec, tortor. Nunc hendrerit hendrerit leo. Vivamus ullamcorper, nulla et dictum semper, eros eros elementum velit, in vestibulum dolor lectus a ligula. Phasellus bibendum nisi sit amet purus. Vivamus mollis quam sit amet nulla. Pellentesque nisl. Proin tempus est vitae enim. Aliquam lorem. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Donec tristique, nisi et lobortis faucibus, lacus odio sodales nulla, ut egestas mauris sapien vitae odio. Ut elit. Donec metus enim, aliquet ac, consectetuer et, luctus quis, pede. Cum sociis natoque penatibus et magnis dis parturient montes, nascetur ridiculus mus. Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas. Mauris id augue. Mauris risus. Maecenas posuere gravida metus. Phasellus blandit suscipit quam. Vivamus sed enim. Proin id dui faucibus quam adipiscing egestas. Vivamus ut justo vitae dolor iaculis viverra. Vivamus vel sem a mauris tincidunt tincidunt. Integer ullamcorper. Sed rutrum fermentum nisl. Lorem ipsum dolor sit amet, consectetuer adipiscing elit. Aliquam pede quam, cursus ut, sagittis sed, rhoncus vitae, mi. Morbi suscipit, pede non hendrerit tincidunt, velit risus venenatis lectus, at faucibus risus metus vel lacus. Vivamus pellentesque iaculis purus. Nullam

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Alfred Hitchcock, The Ring (1927)

panije iz Beograda je već doživela međunarodni uspeh i vrhunske kritike. Beogradska verzija, čija je premijera bila u marta, je obogaćena domaćim senzibilitetom sjajnih mladih igrača.

Jasmin Vardimon for Bitef Dance Company, Yesterday, photo: Jelena Janković

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"Narodna biblioteka Srbije" osnovana je 1932. godine voljom kneza Miloša Obrenovića. Imala je burnu nomadsku istoriju i dva puta je stradala: u Prvom svetskom ratu, koji je dočekala u "KapetanMišinom zdanju", bombardovanjem je uništen deo njenog književno fonda; u Drugom svetskom ratu, 6. aprila 1941. godine, zgrada "Narodne biblioteke Srbije, koja se tada nalazila na Kosančićevom vencu, srušena je do temelja, a sa njom i čitava srpska i svetska kulturna baština. Zapaljivim bombama uništeno je skoro dve hiljade ćirilskih rukopisa i povelja od 12. do 17. veka, preko 4 000 vrednih časopisa, dragocene karte, inkunabule, stare štampane knjige, celokupna prepiska značajnih ličnosti iz kulture i političkog života Srbije… Kada bi se u prostoru zamislila večnost, bila bi nalik biblioteci, njenom najskrovitijem delu – trezoru, u kome su pohranjene knjige. Ako bismo tu večnost čitali u hrišćanskom ključu, umesno je zapitati se da li bi se novopridošli našao u raju, paklu ili u čistilištu. Ako bismo taj beskonačni prostor sagledali kao lavirint, uhvatila bi nas vrtoglavica. Čovek bi se našao, poput hičkokovskih junaka, nevino optužen, ali u sasvim drugačijem okruženju. Alberto Mangel tvrdi da je logika biblioteka lavirintska, a taj podatak nalazimo i u "Imenu ruže"

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Umberta Eka gde monah Horhe od Burgosa upravlja jednom lavirintskom bibliotekom. Ako se složimo dalje sa Mangelom da je malo onih koji ne uviđaju da našim životima manjkaju smisao i svrha, izlaz se nameće u razrešavanju logike lavirinta biblioteke, pod uslovom da savladamo vrtoglavicu. Nove generacije od sredine pedesetih godina 20. veka i pojave pop-arta na američkoj i britanskoj kulturnoj sceni nisu imale vremena za restriktivni elitizam visoke kulture i prihvatile su popularnu kulturu kao oslobađajuću silu. Ako bismo naziv pionirskog dela pop-arta Ričarda Hamiltona "Šta je to što čini današnje domove tako različitim, tako privlačnim?" donekle preformulisali i preusmerili na zonu u kojoj borave knjige, postavili bismo pitanje koje je ne samo aktuelno nego i goruće: Šta je to što čini današnje biblioteke tako različitim, tako privlačnim? Ključna osobina pop revolucije bila je integracija umetnosti u život, njeno širenje na sveukupnu životnu sredinu, pri čemu su umetnici bili svesni potrošačke masovne kulture i načina na koji ona komunicira sa publikom, kao i njenih klišea i manipulacija. Sledeći dalje putokaze pop-arta, lavirintska biblioteka može postati i prostor "hepeninga". "Hepening" se u pop-artu mogao odigrati u supermarketu, tokom vožnje autoputem,

The National Library of Serbia before 1941

u kuhinji kod prijatelja. Zašto onda ne zamisliti jedan takav u biblioteci? Na koncu, "hepening" se u pop-artu mogao odigrati ni pred kim. U takvoj režiji, posetilac bi sam došao u biblioteku, oslušnuo tišinu i pokušao da napravi buku. Kada je 1973. godine napravljena zgrada "Narodne biblioteke Srbije" na vračarskom platou, posle svoje neverovatne viševekovne nomadske istorije, to je učinjeno sa misijom da ona bude ne samo trezor, hram knjige, monumentalno zdanje koje obeležava sećanje na kulturni genocid počinjen u bombardovanju 6. aprila 1941. godine, nego prva prava svetska integracija nacionalne biblioteke u jednoj kulturnoj oblasti. Tada je prvi put ljubiteljima knjige omogućen izlazak iz duhovnog provincijalizma. Sedamdesetih godina prošlog veka, kada je novim zdanjem i simbolički pokazano da "rukopisi i kulturna baština ne gore", nacionalnu biblioteku podržali su Žan Pol Sartr, Andre Malro i drugi veliki umovi toga vremena, poklanjajući našoj nacionalnoj biblioteci svoje rukopise i retka izdanja knjiga. Ovim činom, svi su bili pozvani u univerzum srpske, ali i svake druge Biblioteke. Danas, u sveopštem pomanjkanju smisla, Biblioteka ima novi zadatak. Kompjuterizovana, ona danas može naći bilo koju informaciju i podatak, ali ne i njen smisao, koji mu može dati jedino posetilac. Na samom ulazu u "Narodnu biblioteku Srbije", ovovremenski posetilac nailazi na prvi putokaz: veliku zelenu kocku sa brojevima 1 i 0 koja nas podseća da ipak ne živimo s one strane stvarnosti (ni u paklu ni u raju), niti u vreme pop-arta šezdesetih godina prošlog veka, niti u vreme Sartra i Malroa, nego u doba digitalizovane epohe u drugoj deceniji 21. veka, u kojoj knjiga ništa manje nije naša sudbina, ali joj je pristup posve drugačiji. Prateći putanju crne trake, ovovremenski hodač prolazi kroz prvi nivo nacionalne biblioteke. Traka ga upućuje na razna odredišta/ čitaonice u zavisnosti od zadatka koji ima da razreši – da li će se baviti rukopisima starim nekoliko stotina godina pisanim na pergamentu, tragati za "Politikom" s početka veka, opipati listove njene hartije stare sto godina, ili će naići na čitaonicu u kojoj su izloženi radni sto, pisaća mašina, fotoaparat i fotografije Miloša Crnjanskog, radna soba i lična biblioteka Milana Rakića, ili će poput Kafkinog junaka 155

Jozefa K istraživati zakone i propise u pravnoj čitaonici, ili se popeti na galeriju sa koje se vide stotine (ne) umornih tragača, stvar je ličnog izbora, potreba i datih zadataka. Ono što tragače spasava vrtoglavice i hičkokovskih zapleta u rešavanju bibliotečkog lavirinta, raja i/ili pakla jeste što svako u njoj ima svog Vergilija i Beatriče koji iz lavirinta trezora donose željenu publikaciju. Nju iznose iz večnosti, a posetilac se sa njom suočava u sadašnjosti. Istovremeno, sa tišinom neumornih čitača, sa tragačima za svojom ili tuđim sudbinama, raskrinkavačima besmisla i svakojakih prizemnosti svakodnevice, mimo putanje crne trake, nacionalna biblioteka otvara prostor za pomenute pop-artovske "hepeninge", ukoliko i sam dolazak u svojstvu istraživača nije "hepening" po sebi. Holovi nacionalne biblioteke postali su pravi prostor za buku kulture - mlade talentovane muzičare, slikare, književnike, naučnike iz srpskog i svetskog kulturnog prostora. Dirigenti takvog orkestra su oni poput Sartra i Malroa nekada, a danas, i u našoj zemlji, Dinka Davidova, Milana Cileta Marinkovića, Miodraga B. Protića, Rajka Maksimovića, Miodraga Bate Kneževića koji su nedavno darovali biblioteku svojim umetninama i pozvali nas da živimo u zajedničkom kulturnom prostoru sa svima onima koji su pohranjeni u trezoru "Narodne biblioteke Srbije", prostoru večnosti koji ne postoji dok o njemu ne progovorimo. Milena Đorđijević Narodna biblioteka Srbije

The National Library of Serbia today

BFW Monsters illustration by BECHA

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The 32nd Belgrade Fashion Week once again succeeded in its well-known mission – introducing Serbian fashion and evaluating its potentials. BFW has overcome popular problems, managing to maintain its quality, along with an outstanding line-up, featured by various exciting events. However, these problems we face could sometimes provoke innovation and creativity; Click Fashion Studio, the organizer of BFW, succeeded in proving the very fact. Among innovations, the Zone 45 Project, a serious and visionary venture initiated by the Belgrade Fashion Week team with the intention of establishing Balkan Fashion Week. The project hosted two fashion shows and eight regional fashion designers – Ivana Pilja (Serbia), Link by Ogi Antunac i Zoran Mrvoš (Croatia), DIORALOP by Andreja Bistrić and Maja Merlić, Peter Movrin, Zoran Garevski (Slovenia), Ivana Murišić (Montenegro) and Aleksandra Mitkovska, and Viktorija Džimrevska (Macedonia). A very important ambition of Belgrade Fashion Week is in finding innovative and creative approaches in promoting Serbian design. In other words, Serbian design needs to be institutionalized in the context of social and global market changes. BFW introduced fashion shows of renowned designers who represent the essence of Serbian fashion design, as well as fashion shows of artists to be. Ana Ljubinković, Bata Spasojević, Iva Stefanović, Ljuba Sikimić and Jelena Stefanović introduced their fashion solutions for the current season, including their distinctive style but in a new concept which is determined by the structural touch of fall/winter collections. One of the individual fashion collections for the following season is presented by Doda Komad, who once again confirmed her distinctive style and her serious creative approach to fashion design. PWL and Martini Vesto, Serbian brands on the 32nd Belgrade Fashion Week, set an example of how a good concept is the key to overcoming economic crisis.

The 32nd Belgrade Fashion Week also introduced the work of student and graduates of the Faculty of Applied Arts, Faculty of Fine Arts, Mod’Art Belgrade (École de Création et de Management de la Mode) and Accademia dell Lusso, thus announcing potential talent in Serbian fashion design. We have seen the work of young designers, already recognized, such as Mihano Momosa and Jovana Marković, and collections by Marta Miljanić, Milica Pešić with Everblazing, Tamara Paunović, Julija Đerković, Milica Opačić and George Styler whose work is marked by conceptuality and high quality design. As a memento of her past work and her influence on fashion of today, Dobrila Smiljanić, the founder of Sirogojno brand, was given the Special BFW Award for the Contribution to the Development of Fashion as an Art for her success in promoting the skills of the knitters of Zlatibor Mountain and in making this form of fashion a true artistic creation. The following BFW will introduce a photography exhibition of the brand. The line-up was featured by ELLE Style Awards, the anniversary exhibition of Belgrade Design District, a video exhibition introducing the two decade-long project of JSP brand whose work also included music and theatre production, Fashion Vignettes, set in the beautiful gallery of the Museum of Contemporary Art in Belgrade, including authors among which Tatjana Tatalović and Boris Bogdanović, Ines Janković, Ivana Damjanović with Koishi/Lamat, Ana Vasiljević, Gordana Manojlović and Aleksandra Lalić, who introduced concepts in which they understood the ambiguity of fashion design by an adequate synthesis of both the commercial and the artistic aspect. New circumstances have set new possibilities also inspiring the outstanding line-up of the Belgrade Fashion Week, a venue that once again celebrated the triumph of creativity. Ksenija Marković (M.A.)

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087 BFW Monsters illustration by BECHA

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089 BFW Monsters illustration by BECHA

illustration-BECHA

MARTA MILJANIĆ SHERRI HILL PWL

IVANA PILJA

Raturepu dandell enienitiatia LIDIJA ANDRIĆ FACULTY OF APPLIED ART

LJUBA SIKIMIĆ LINA LEKOVIĆ ACADEMY OF FINE ARTS

PETER MOVRIN/Slovenia UGG/Australia

MIHANO MOMOSA TAMARA PAUNOVIĆ MARINA DŽALETA ACADEMY OF FINE ARTS

PETRA KOSNIĆ ACCADEMIA DEL LUSSO IVA MIRKOVIĆ ACCADEMIA DEL LUSSO DANICA ALEKSIĆ MOD'ART EMILIJA ĆORIĆ MOD'ART

MINA JANKOVIĆ FACULTY OF APPLIED ART

DODA KOAMD

JELENA STEFANOVIĆ MARTINI VESTO

DRAGANA KNEŽEVIĆ MOD'ART DANICA ALEKSIĆ MOD'ART

TIJANA MILUTINOVIĆ FACULTY OF APPLIED ART JULIJA ĐERKOVIĆ JOVANA MARKOVIĆ JULIJA ĐERKOVIĆ ACCADEMIA DEL LUSSO

BILJANA TIPSAREVIĆ ACCADEMIA DEL LUSSO

VIKTORIJA DŽIMREVSKA MARINA MIĆANOVIĆ ACCADEMIA DEL LUSSO IVA STEFANOVIĆ

BATA SPASOJEVIĆ LJUBA SIKIMIĆ MILICA OPAČIĆ JOVANA MARKOVIĆ

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MIRJANA ŠARAC ACADEMY OF FINE ARTS

BOŽIDAR KOMNENIĆ ACCADEMIA DEL LUSSO

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ALEKSANDRA MITKOVSKA

DIORALOP by ANDRIJA BISTRIČIĆ i MAJA MERLIĆ Croatia

LINK by OGI ANTUNAC i ZORAN MRVOŠ Croatia

ANA LJUBINKOVIĆ

UGG Australia

ZORAN GAREVSKI Slovenia

L'ORÉAL PARIS SHOW powered by Dragan Ognjenović

GEROGE STYLER

ALEKSANDAR JANKOVIĆ ACCADEMIA DEL LUSSO

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DODA KOAMD

EVERBLAZING

IVANA MURIŠIĆ Montenegro

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Incredible Bob, Ivan Grubanov; Adria Julià; Vesna Pavlović; Dalija Aćin Thelander Curated by Maja Ćirić Has the fizzing boiling swell of globalisation and its dominant post-capitalist regime blocked all escape routes? Is there a counterweight to the sovereign neoliberal global paradigm? Reverse to dizzying phenomena of biennales, tourism, market demands?

Incredible Bob, Peoplemeter - Spider's studio, exeprimental movie, 2013

Incredible Bob, Peoplemeter - Nebula, experimental movie, 2013

WE’RE EVERYTHING TO EACH OTHER

Incredible Bob, Peoplemeter - Spider at work, experimental movie, 2013

LGP - Lanchester Gallery Projects, Coventry, UK LAUNCH: THURSDAY 25th APRIL 6–8 pm EXHIBITION: 26 APRIL–26 MAY 2013

Izvanredni Bob; Ivan Grubanov; Adria Julià; Vesna Pavlović; Dalija Aćin Thelander Kustos: Maja Ćirić Da li su razarajući talas globalizacije i preovlađujući post-kapitalistički režim zatvorili sve izlaze? Postoji li protivteža neprikosnovenom globalnom neoliberalnom načelu? Da li ćemo se iznova opredeliti za haos bijenala, turizma, tržišne potražnje?

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Može li biti kulturnog identiteta izvan neoliberalne mašinerije džentrifikacije i komodifikacije? Mesta su uslovljena i uređena složenim istorijsko-političkim narativima, ali različitim lokacijama. Zaista? Beograd? A, Koventri? Kako bismo odredili Koventri? Kao Provincijsku post-industrijsku periferiju koja predstavlja značajan spomenik modernističkim idealima u svojoj Katedrali i Gibsonovim urbanističkim planovima? Simbol suprotstavljenih ideologija ugrađen u središte grada, čini strukture moći smešno očiglednim. Sukob modernog i tradicionalnog na renoviranoj srednjevekovnoj ulici

stvara neprirodan naboj. Da li se to Ikea svojim jednostavnim dizajnom ruga betonskoj utopiji grada? Kakva besmislica. Možda, ali samo u Koventriju. Lanchester Gallery Projects je pozvao Maju Ćirić da uredi izložbu četvoro umetnika MI SMO JEDNI DRUGIMA SVE koja se bavi kustoskom praksom u nadnacionalnom kontekstu i transkulturnoj politici predstavljanja. U potrazi za pejzažima Vesne Pavlović prati jednu stvarnu američku porodicu na njihovom putu oko sveta šezdesetih godina prošlog veka. Usputne fotografije članova

porodice u egzotičnim pejzažima otkrivaju uspon američkog statusa moći i predstavljaju antropološku studiju percepcije različitog. Dugotrajni istraživački projekat Ivana Grubanova Zli slikar je model za strvaranje anti-javnosti i disukrs za nepokolebljiv identitet. Adria Julià kroz svoje Beleške o nestalom uzdahu slika filmski portet holivudskog promašaja Inčon. Julià pažljivo rekonstruiše filmske slike Korejskog rata i intervjuiše članove glumačke ekipe da bi ogolio film kao produkt istorije zaglibljene u propagandu, ratnohuškaštvo i tajne sporazume.

Incredible Bob, Peoplemeter - Transition, experimental movie, 2013

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Can cultural identity exist outside of the neoliberal machinery of gentrification and commodification? Places are conditioned and ordered by complex historical political narratives but singular destinations, really? Belgrade. And Coventry? What brand do you fashion for it? A provincial post-industrial periphery that holds the great monument of Modernist ideals in its Cathedral and Gibson’s design? Symbol of conflicting ideologies built into its centre, power structures so comically evident. The regular, faithful, aggression contained on its re-constructed medieval street on a Friday and Saturday night. Ikea and its easy living designs mocking the city’s concrete utopian hopes? Pure fiction. So, you know, have Coventry like. LGP has invited Maja Ćirić to curate WE’RE EVERYTHING TO EACH OTHER, an exhibition of four artists that examines curatorial practice in a transnational context and transcultural politics of representation. Pavlović’s Search for Landscapes follows a real American family on a 1960s world trip. The casual snapshots of domestic posing against exotic landscapes reveal the climb of America’s status of power and an anthropological study of the perceived other. Grubanov’s long-term research project The Evil Painter is code for formulating a counterpublic and a discourse for a resistant identity. Notes on the Missing Oh is Adria Julia’s film portrait of Hollywood flop movie Inchon. Julia gently reconfigures the Korean War film’s landscapes and interviews cast members to disclose a film and history mired in propaganda, war mongering and underhand deals.

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INSERTI IZ TRANSKRIPTA INTERVJUA KOJI ČINE OSNOVU IZLOŽBE I ISTRAŽIVAČKOG RADA .... Gatti: Po vašem mišljenju, da li osiromašeni uranijum izaziva zdravstvene probleme kod vojnika?

"Gospodin Doringer jednako je poznat po svojim transformacijama u karijeri, umetnosti, kao i u nekolikim aspektima privatnog života i identiteta, kako tematski, tako i hronološki. Poznate artističke ideje odsutnosti, nedostatka i nestabilnosti identiteta definisale su i značajno uticale na rad gospodina Doringera, koji je prošao različite faze: od modnog dizajna preko vizuelne umetnosti da bi okončao u filmskoj umetnosti". - Zlatan Gruburović, Faar 008 166

Sociolog, diplomac "Ritveld akademije" iz Amsterdama, multitalentovani umetnik sa master radom "Filmske i TV akademije" iz Holandije, modni "ilegalac", i, na veliko zadovoljstvo izdavača urednik Faar-a 008 - Bogomir Doringer, nakon projekata "Ilegalna stolica", "Deranged", "Fashion and Despair", "Conflict Box" predstavio nam je izložbu "Gostoprimstvo" u beogradskoj galeriji "12HUB". Izložba je rezultat projekta tokom kog se autor bavio fenomenom psihičkih i fizičkih promena kroz koje su prošli vojnici po povratku iz vojnih sukoba (Persijski zaliv, Balkan, Irak, Avganistan idr.). O ozbiljnosti sa kojom autor pristupa temi svedoči i podrška važnih institucija koje su stale uz ovaj projekat - Ministarstvo kulture i informisanja Republike Srbije, BKVB Fond, Mondrijan Fondacija, Holandska Filmska i TV Akademija. Bogomir Doringer je pet godina istraživao Balkanski i Zalivski

sindrom kao fenomen i razgovarao ne samo sa vojnicima i njihovim familijama već i sa naučnicima koji se bave nastalim devijacijama. Po povratku iz vojnih misija (Persijski zaliv, Balkan, Irak, Avganistan idr.) psihičko i fizičko stanje vojnika se drastično menja. Simptome koji se kod njih pojavljuju lekari najčešće prepoznaju kao različite oblike raka. Međutim, povećani broj incidenata kao i mutacija do kojih dolazi, izazvali su, među stručnjacima, sumnju o uzrocima bolesti a zatim doveli i do nepoverenja javnosti. Oboleli ulaze u stanje potpune neizvesnosti, prepušteni sami sebi, iščekujući rešenje ili objašnjenje, ili, pak, samu smrt. Horor kroz koji prolaze u medijima je poznatiji kao Balkanski sindrom ili Zalivski sindrom. Uzrok ovakvih zdravstvenih problema se vezuje za upotrebu naoružanja sa osiromašenim uranijumom kao i za postojanje nevidljivih nanočestica u atmosferi, koje ulaze u telo žrtve. Rezultat ovog istraživanja pred-

stavlja osnovni materijal video instalacije u okviru koje se u ambijentu svedočanstva pojavljuju portreti sagovornika ali tako da ih ne možemo u potpunosti sagledati. Nalik zamagljenoj istoriji savremenog čoveka, realnost dobijenih iskaza ostaje da lebdi u prostoru između nas - publike, i nevidljivog. Autor nas poziva da pogledamo iza površine ekrana. Kao novi model istraživača, umetnik kopa po dokumentima današnjice, sakuplja iskustva i emocije drugih, u cilju da osvetli one procese koji se dešavaju izvan naših pogleda. Zajedno sa skulpturom od ferofluida i radom "Zlatna biopsija" ova izložba gradi memorijal onom svetu u nama i izvan nas koji iz sopstvenog straha ne opažamo. Nazvana "Gostoprimstvo" izložba se poigrava i sa pojmovima gosta i domaćina ukazujući na zastrašujuće forme koje oba termina mogu preuzeti.

Ne, ja ne mislim da je bolest vojnika koji su se vratili sa Balkana ili iz Avganistana rezultat izloženosti radijaciji osiromašenog uranijuma. U njihovim biopsijama ja sam pronašla nešto dosta drugačije što se može dovesti u vezu ne sa samim osiromašenim uranijumom već sa ekplozijama takvih i drugih bombi koje proizvode ekstremno visoke temperature pri udaru. Priroda ovakvog tipa bombi sa osiromašenim uranijumom je takva da kada pogode metu, one dostižu temperaturu iznad 3000 stepeni što dovodi do totalne dezintegracije, kako bombe tako i mete, na sićušne delove, nano-metričkih dimenzija, koje se onda rasprše u vazduhu. Ovo ne samo da dovodi ljude, koji su u blizini eksplozije, u opasnost od udisanja ovakve prašine, već ovi novi, hemijski kompleksni, zagađivači, koji sadrže supstance i iz materijala bombe i iz same mete, ulaze u lanac ishrane zagađujući travu, povrće i voće koje onda jedu ljudi i životinje; njihova tela su direktno zagađena ovom prašinom, koja se zadržava tamo, i ne raspada se zbog svojih "bio-rezistentnih" svojstava. ...

Gatti:

Laccetti:

Kako se osećate kad otkrijete novi slučaj i novu priču?

... Bilo je preteško, zaista mnogo teško, i samu reč rak, kada si ti u pitanju, teško je izgovoriti glasno. Zato što uvek misliš da se te stvari dešavaju drugim ljudima, tako nešto ne može nikad tebi da se dogodi. ...

Ponekad dobijemo uzorke biopsije u kojima nađem neke neobične materijale ... ... Ovo podrazumeva dosta istraživanja i intenzivan rad, neki slučajevi zahtevaju dane; za jedan slučaj su nam trebali meseci - četiri meseca za jednog pacijenta ... ... Na žalost, jedino ukoliko razumemo uzrok možemo i pronaći lek za određenu bolest, dok još pacijent ne uđe u stanje neizlečivosti, kad je oštećenje toliko da se više ništa ne može učiniti. Laccetti: Definitivno sam bio izložen osiromašenom uranijumu poslednjeg dana rata, kada smo bili svedoci suludog bombardovanja, koje nije bilo opravdano. ... Cinelli .... Tako sam te noći osamnaestog, pored njegovog kreveta, držeći ga za ruku, budna do jedan po ponoći, pala potpuno iscrpljena, nisam više mogla da izdržim. ... ... Odjednom sam budna, zurim u njega dok leži u krevetu, vidim kako mu veoma brzo opada ritam srca sa 80 na 50 i nastavlja dalje da opada. Sećam se kako sam ga zvala, plakala "Paskal, ljubavi moja, ne ostavljaj me!". ...

Mariarosaria:

Attianese:

Kako objašnjavate prisustvo zlata u njegovorm telu?

... Činjenica da sa 32 godine ne možeš da imaš decu baš i nije dobra. Ne znam kako da......sa 32 godine živim sa kateterom....za urin. U takvoj sam situaciji, stvarno ne znam kako to da opišem... Vi probajte.

Bio je unutar džamija, istočnih pravoslavnih crkava i u sarajevskoj biblioteci; mesta na kojima jaka eksplozija (sa osiromašenim uranijumom) može da mikronizuje minerale kao što je zlato. Na paradoksalan način, Fabio je otrovan istim tim kulturnim nasleđem koje je želeo da sačuva.

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Mariarosaria: ... I onda je trebalo ponovo da shvatim ko sam; zato što sam, u suštini, poslednjih dvadeset godina svog života živela sa njim, i bez njega nisam imala čvrst identitet; uvek je to bilo samo ja i on. Nedostajao mi je deo mene, veoma bitan deo mene; ... Paul: Bio sam u vojsci ukupno šest i po godina. U Bosnu sam išao dva puta. ... ... Ja sam u stvari operisan šest puta posle toga, ukupno sedam puta. Svaki put su mi vadili drugačiji broj tumora. Sve u svemu oko 70 tumora su mi izvadili iz tela. Lon van Dop: ... Zato što je, kako je sam govorio, znao da umire. To mu je bilo jako teško. Jedno oko mu već nije radilo. Opadala mu je kosa. Ležao je u krevetu sa velikim gipsom. Ćelave glave. Da, i onda pokušaji prihvatanja realnosti, prihvatanja činjenice da umireš. ... ... Ništa nije ostalo, samo je kostur ostao da leži na krevetu. Nisam više mogla sopstveno dete da prepoznam. Leggiero: Kažu da osiromašeni uranijum može izazvati fatalne malformacije. Da li znate za neki takav slučaj u Italiji Primetili smo da uranijum ima još jedan efekat, tačnije, može dovesti do genetskih mutacija kod fetusa ... ... Bili smo u Iraku kako bi sakupili

fotografske dokaze abnormaliteta kod fetusa, tih monstrum fetusa koji....tih monstrum beba koje su se rodile. ... Gatti: Postoji li način da se "očiste" ćelije sperme u kojima se nalaze nano čestice i teški metali? Da li ste pomagali vojnicima da dobiju decu? Kada smo analizirali zagađeno seme vojnika, pitali smo se da li je za njih bezbedno ili ne da imaju decu. .... ... Ovo znači da partnerka koja primi zagađeno seme doživi senzaciju vreline, praćenu zagađenjem unutrašnje maramice što pak može dovesti do krvarenja i razvoja takvih rana koje se medicinski ne mogu lečiti. ... Laccetti: ... Posle povratka sa misije, krajem '99, otkrio sam da sam oboleo od veoma ozbiljne bolesti: akutne limfocitne leukemije. Gatti: ... Ono što me je najviše pogodilo je kako su bili zbunjeni – ljudi koji su otišli zdravi, tri do šest meseci nakon povratka bi oboleli i to od ozbiljnih nepopravljivih zdravstvenih problema. Budu potpuno izgubljeni i zbunjeni jer nemaju ideju šta im se događa. Traže lekove za simptome koje imaju, ali ne mogu ništa adekvatno da nađu i često ne mogu da nađu ni objašnjenje šta im se zapravo događa. ... Leggiero: Ukupno ima 2.538 slučajeva, od kojih je 181 smrtni slučaj. Ovo su brojevi na koje možemo da ukažemo nakon ispitivanja podataka Druge istražne parlamentarne komisije i Ministarstva odbrane, kao dodatak podacima kojima raspolaže Vojna opservatorija. Ali ovi podaci nisu prepoznati od institucionalnih tela.

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photo: Miloš Nadaždin

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Vojin Rajović–sculpture "Militarism, Religion, Erotica" , materials: acrylic glass and inox

U stvaralaštvu Vojina Rajovića možemo pratiti dve konstante njegovog dela. Skulptura Vojina Rajovića ne pristaje da bude potkupljena isto kao što nikad neće dopustiti da bude izazvana tuđim razlogom! On smelim gestom "zaseca" prostor i u njega useljava svoje delo. Drugu konstantu diktira siromašan teren na kom se vajar školovao i na kom dela. Okolnosti će, dakle, pred njega postavljati škrt izbor materijala ne pitajući ga za sklonosti a on će snažnim kreativnim nabojem uspešno rešavati "zadatke". Uvek će prepoznati "govor" materije, uvažavati je, "pripitomiti" i prevesti u znakovitu formu koja neće u metalu ponavljati refren nađen u terakoti, niti će "melodiju" drveta prepevati na klirit.

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Vojin Rajović je u kliritu stvorio delo koje uvažava materijal, ali u njemu ne prepevava svoj prepoznatljiv izraz, "zaštitini znak" sopstvenog stvaralačkog identiteta zazirući pred novim izazovom. U tradicionalnom smislu stilski heterogen Rajović je poput malobrojnih (značajnih) stvaralaca odredio nova pravila u prosuđivanju. Dakle, neće biti važne stilske karakteristike dela - relevantan će biti stil rada. Jer, njegov je stvaralački impuls vaspitan na rasplamsavanju izazova pred nepoznatim, škrtim, na dovođenju beznačajnog do značenja i smisla. Savo Popović

In the artistic creativity of Vojin Rajović there are two constants we can follow. Sculptures of Vojin Rajović refuse to be bribed, just as they would never allow to be provoked by the reasons of other people! With a bold gesture he "cuts" the space and moves his creation into it.The second constant is dictated by the meager landscape where the sculptor was educated and where he works. Circumstances will, thus, face him with a stingy choice of materials, not even asking him for his propensities, while he will be successfully resolving "tasks" using his powerful creative charge. He will always recognize the "voice" of the material, appreciating it, "taming" it and translating it into a meaningful form, where neither the refrain

found in terracotta will be repeated in metal nor the "tune" of wood will be sung in clyrite. In clyrite, Vojin Rajović has created his feats that respect the material; but here, suspicious in the face of a new challenge, he does not repeat his distinctive expression, the "trade mark" of his own creative identity. Stylistically heterogeneous in the traditional sense, Rajović, like the few (significant) artists, has defined new rules of judging. Thus, stylistic features of the piece will not be of importance – what will be relevant is the style of work; because his creative impulse was nurtured upon the eruption of challenges in the face of what is unknown, stingy, upon the transformation of what is insignificant into something meaningful and profound.

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L'IMPOSSIBLE Ksenija Marković (M.A.) Based on an idea of searching for expressionistic phrase, through mass media-like fashion, this project has given Ana, Ivana and, George an opportunity to express themselves in a way that dazzles market and economic categories, highlighting author’s, as a fashion design imperative. The project, as a part of the International Fashion Showcase exhibition, promoted not only the work of these three designers but also the Serbian fashion scene which is presented in FAAR Magazine, through its editorials and the evolution of Serbian fashion a tangible indicator of local fashion events and movements. The organization of the project was entrusted to Belgrade Fashion Week - an institution with extensive experience in the implementation of events that advocates the importance of fashion in the construction of the cultural life of the community. In collaboration with designers, the concept of the project was created by Nenad Radujević, as Project Manager and Ksenija Marković (M.A.), as the curator of the exhibition. Cosmopolitan aspiration of the Serbian expressionists Crnjanski names sumatraism (after the island of Sumatra in The Malay Archipelago) the term whose meaning refers to pretensions towards distances and belief in a connection among things no matter how far away they are. Casting off logical and expected, as ways of intoning a clear meaning of matters and order, the expressionists had given up explicit genre definitions, creating border forms and wondrous synthesis with an aim to express pure idea materialized by conventional standards. "Pure idea" is the inspiration of the L’impossible project, which after the fashion of (this) artistic heritage leans on denying imperatives of external and visible as patterns for creating of something new in the visible world. In other words, our directives are opposite to affectation of fashion reality and mimesis and fashion sensation sumatraistic – out- oftime and out-of-space. Appreciating the genuineness of the author’s design, by this project, our intention is to emphasize his authenticity which in order to really become that, it has to stay true to the inner world of designers, to be indecisive and disintegrated into the "system". The common feature of creativity of Ana Ljubinković, Ivana

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Pilja and George Styler is the existence of characteristic style of the authors. Their works are differentiated by unique children’s manner of expressing – emotional, occasionally naïve approach to reality, which produces emotional tension of subject matter and manner, visualization of surreal and unrealistic. Their poetics is completely different, with incoherent styles and opposite pictorial modes; shifted from satire to long love poem but comparably concerned with the subjective picture of reality. Abandoning complex, mutually different inspirations and exploring connections to mark creative moves, everything points to specific cosmism of generation of young authors – their lyric sensation of the unity of the world where omnipresent humanistic sensations and doubts unite. Work of Ana, Ivana, and George is freed from the category of time and space although in author’s inspiration there are clear connections with the heritage and influences, the products are unities where all moments and scenery merge into universal, metaphysical, and timeless unity. Searching for the outline which would unite diverse fashion narrative and emphasizing their diversity but also the common sumatraistic aspirations, Vesna Pesić’s illustrations were created whose surreal aesthetics created collage L’impossible. In this manner the design of introduced authors is placed in the corresponding scope, in imaginary world of the past and the future where the pursuit of individual perception of thematic focus gives way to imagination and self-reflection of the observer. Even though Ana’s pastoral, Ivana’s entomological and George’s punk – ethno inspiration is distinct, formatted in this way, their fashion elements change their fundamental meaning and become the symbols of creative transcendence of man’s cosmic position. In other words, an insect, a bird or a candy cloud, wrapped up in a mystic forest from Vesna’s imagination, complicates its symbolic function and by expressing specific ideas of the author it also expresses the metaphysical as the essence of the concept of L’impossible. While the earlier art trends have been characterized by the research of artistic manner, expressionism is consisted of the search for the content. The artistic act as a medium of profound psychological discovery will experience its culmination with surrealism: by

manners of free associations, by method of automatic writing and collage technique by which (through a word or a picture) "the dictation of thoughts in absence of the mind control and out of every aesthetic and moral preoccupation" (Breton) has been expressed. Belgrade surrealism has lived by way of a magazine "L’impossible"; through essays which have been published here, poems, reyograms, collages, assemblages, and drawings – creatively experimental and politically active. The success of this movement, is witnessed by its bonds with Paris and with the artists of Europe of that time, who though were separated by the boundaries managed to achieve the same goal through its art: that the problems and emotions of a man are supranational and universal category. This encircled cycle by which we come to globally present from exploring the personal and through the creation as a way of satisfying primary needs for self-knowledge and affiliation, has determined discourse to this project named after the eminent model from the past, the magazine L’impossible. And the name semantically fits the context because Serbian fashion design is quite "impossible", impossible inception and existence on unstable social market with much more unstable relations. To be engaged in fashion here means to fight against circumstances, to try hard and test the limits of your own power in the struggle – aspiring the personal maximum, visibility, and placement of work. Therefore, we believe that the Serbian design unconditioned by the market (poor in its existence), offers a fresh creative impulse, honest and personal approach; reminder of the subversive and creative nature of fashion, which the modern hyper-production quite euthanized. We think that only fashion design deprived from "seasonal" requests, but driven by internal experience can create original fashion language, make a shift from a known, and provide spur for changes necessary for viability of the fashion. We wanted to use this project, not only as the possibility to place "the product" on the market, but as a possibility to present ideas and intentions - sending truthful messages about who we are, what are the limited spaces we create in, and what the real spaces we wish for. FAAR Magazine as a national platform of creativity, succeeded in introducing our intentions. We were

delighted and surprised by the way the audience reacted - it seems that the Serbian fashion scene is much more evolved than we think it is. Participating in such an event is giving us the opportunity to face our rivals (unintentionally, yet inevitably) which is a serious pre-judgment of one’s possibilities, advantages, and disadvantages as well. It is true that in terms of production Serbian fashion design cannot quantitatively nor qualitatively compete with countries with a much more developed fashion industry, but on the other hand, Serbia has a possibility to afford more freedom in imagination. The exhibition was a true proof – the work of Ana, Ivana and George was praised as "unusual", "different", "interesting", and "surprising". The intention of offering an unexpected aesthetic experience was accomplished and we heard frequent comments such as "surreal" which proves that the defined concept was successfully materialized. We are very proud of the British Council’s compliments – through such a fine context, this project succeeded in connecting the designers’ work and the cultural situation in the country. These words also make us well aware of the fact that creativity is a powerful tool of intercultural dialogue. The exhibition was appreciated as original, well-designed and at the highest level of realization; it was praised as the critics’ "favourite" and as a project which remained faithful to predefined ideas. The participation and the commitment of Belgrade Fashion Week was assessed as a proof of good infrastructure for the promotion of Serbian fashion design which also offered various new collaboration proposals of which the effects are yet to come. The interest of international designers and fashion journalists for the project encouraged these three authors and led us to the following conclusion – they have found renewed confidence and their work was proven to be real good work. ABSOLUTELY FABULOUS by LoonaLoo Absolutely Fabulous, aka Ab Fab – the famous British sitcom which helped us in surviving the 90s, leaving us with Patsy and Eddy and their unforgettable quotes: Eddy: Get ready for this, sweetie... Patsy: It's fabulous, darling! The year of 2013 in Serbia is a quest for its own absolutely fabulous, something different and outstand-

ing, someone who can inspire you to feel like a sane individual in the insane world of tablet PC obsession. Who can survive the deranged world of Facebook and Twitter – photographs taken in bathrooms, riot invitations, and appeals for blood type O negative donors and reality show winners with an X or Y factor? Novak Đoković – the magical Serbian superhero who actually spoiled us with his numerous victories, thus implying that the Serbian flag eagle should be wearing a tennis racquet instead of a crown. However, Novak is simply omnipresent. Where are you from? Serbia. Siberia?!? Wow, darrrrling, people actually live there? No, no - no Sirija! No Sibir! Srbi-ja, you know: No-va-k Djo-ko-vić. Aaahhha! Nole! Yeah! By all means, we also have Roksanda Ilinčić’s fashion enlightment and Emir Kusturica’s filmmaking and architectural endeavours. However, sweetie, we have had a brilliant start in a completely new area of art – Sundance Film Festival – the key word in history of modern independent film. Srdan Golubović - Circles Darling, Srdan Golubović’s film Circles is the first film, not from Serbia, but from the entire Southeast Europe, which was included in the official selection of the Sundance Film Festival, and was screened at the opening of World Dramatic Competition, which included twelve films. Golubović was inspired by a true story which took place on January 21st in 1993 when group members of the Army of the Republic of Srpska legitimized a green market in Trebinje, and one Serbian soldier, Srđan Aleksić was part of that group. Once they have determined that one of the legitimized people was Alen Glavović, a Bosniak, they began to harass and beat him. Then Srđan tried to help Alen Glavović and four soldiers, instead Glavović, beaten Srđan with rifle butts. Since the beating, Srđan fell into a coma and died six days later. Srđan’s father wrote in the obituary: He died carrying out his human duty. Srđan Aleksić was 26 years old when he died. He was a junior swimming champion and was engaged in a local amateur theatre. One of the four assailants was killed several months later in the war, while the other three were convicted to two years and four months in prison each. Circles is film about consequences of one heroic act. About the struggle of people who were witnesses and participants of one tragic event and their need to step out from the shadow of the accident

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which changed their lives. Almost on the very day of Srđan’s death we learned that Srdan Golubović won one of Sundance’s highest recognitions with Circles – Word Cinema Dramatic Special Jury Award for artistic vision in the category of the world film. It was a true symbolic closure of one more circle for Serbia. We needed a film which is to directly deal with forgiveness and a postwar catharsis which we all have to experience in order to move on with our lives. Even though we have been ignoring the fact that this war was actually a war of anti-heroes, a hero such as Srđan Aleksić could be an inspiration to many generations to finally end the neverending war story because ‘Circles’ show that there was definitely at least one good guy on our side. ‘Circles’ is a film about our need to step out of the shadows of war and of our evil past which is still following us through catharsis and individual past lives of each one of us. It is also about cowardice and helplessness leading to revenge, about the realization of the senselessness of revenge. The film is about people whose lives are changed by a single event. The story takes place twelve years later and deals with the question whether a heroic act is meaningless, or does it provoke certain moral acts in the future. Are there consequences of a heroic act on other people? Is being a hero the same as being a fool? Is a life that is lost defending another human life like a stone cast into an abyss? – says Srdan Golubović. Darling, Circles will be introduced in Berlin, then on FEST in Belgrade, and in Serbian theatres on its exciting adventure with the public and with film connaisseurs. However, the premiere in Trebinje, where the tragedy actually took place, where the film was made and where Srđan’s father still live, is supposed to be a very touching one. The character of Srđan’s father was brilliantly played by the great Aleksandar Berček. Baz Luhrmann’s remake of The Great Gatsby is scheduled for May of 2013 which is practically really close now. The film will be quite trendsetting, thus influencing fashion styles, hair styles and moustache growing, but also creating our drinking menus, and defining to what extent of decadence one can escalate this year, darling. Eddy and Patsy will worship this film. At the very thought of all the gallons of Moët flowing around, Patsy is ready for some breath-holding diving. The man who starred the original adaptation of Scott Fitzgerald’s novel is actually the founder of the Sundance Festival – the old school icon, Robert Redford. At the opening of the event, Redford said: When I got into the

film business in the early '60s, it was a romantic time. Sex and romance were pretty well tied together. Now, 40, 50 years later, we see that sexual relations have moved to a place where it doesn't feel like there's so much romance involved. ... Relations have changed, and they've changed because of changing times and because of new technology. Maja Miloš - Klip Maybe Robert has already seen the Serbian film Klip (if not, it is highly recommended), last year’s international sensation directed by Maja Miloš, the Tiger Award winner of the International Film festival in Rotterdam. The world film has Miloš Forman, but the Serbian film has Maja Miloš! – say the proud ones while congratulating this incredibly talented director and writer for her fantastic success. People always tend to show themselves in their best. But, when they realize that life is no vie en rose, they react in a certain manner. My idea was to somehow inspire young people to start asking questions about the world around them and to even question their own place in that very world. The problem is that those 13 or 14 year olds possess a huge flow of life energy which they cannot direct in a proper way and which therefore creates a parallel universe of passion, anger, aggression, and destruction. They see that universe as something beautiful and enjoying which is actually very difficult. In public, we only deal with extreme situations, and that was not my subject of choice. The extreme is what we see everyday on covers of magazines, and I wanted to treat a subject that is apparently hidden but depicts everyday life. This is a subject we do not really deal with, but it is what our society is really about. If we could think of it as a serious problem and a threat to society maybe then we could even escape the possibility of having these extremes I mentioned before. The film is not offering any solutions; it is all about asking questions. The power of this film, but of art in general, is based on asking the right questions. Art had a deep impact on people, and they are the ones to find solutions through discussion. The biggest problem of all is that our society never really deals with any of these questions. Amen to that, Maja, darling. I have been expecting various discussions on this film, maybe some taboo breaking or question being asked and solutions being found. But, none of it happened. Fathers getting drunk while opening beer bottles with what is left of their teeth, mothers watching Turkish TV series and their daughters taking naked photographs in

their bathroom besides broken boilers. Yazik, as the Turkish would say in that TV show. The presence of Klip in Serbian cinematography is priceless and we are waiting for Ms. Miloš’s next accomplishment. Isidora Žebeljan - Two Heads and a Girl Meanwhile, we have reached success in other fields – opera! Just imagine, sweetie... Sienna, crème de la crème of the EU high society, including even the queen of the Netherlands, on the premiere of Two Heads and a Girl, in Serbian! Freaking A! An international ensemble of greatest solists in the world performing in Serbian, thanks to the composer Isidora Žebeljan. Isidora is the youngest member of SANU (Serbian Academy of Sciences and Arts), the author of the opera Zora D, the first Serbian opera which had its premiere in Amsterdam 2003. During her studies she was a member of a group of prominent young composers, The Magnificent Seven, who had an innovative and unconventional way of presenting their music. Their concerts in Kolarac were as popular as those of Ekatarina Velika in the Students’ Cultural Centre in Belgrade. Isidora Žebeljan’s music is performed by ensembles worldwide – The Academy of St. Martin in the Fields, London, RAI Orchestra of Turin, London Brass, Brodsky Quartet, Nieuw Ensemble from Amsterdam. The exclusive publisher in her music is the record company BMG Ricordi. Her latest opera Two Heads and a Girl has become an absolute success in Sienna and she wrote it exclusively for this festival, commissioned by the Accademia Chigiana. Isidora was to choose the subject of the opera and the entire artistic crew herself. The libretto is by Borislav Čičovački, Isidora’s husband, who also wrote the libretto for her previous opera, Simon, the Chosen. Borislav wrote an excellent and a rather complicated libretto, quite philosophical but funny at the same time. It is based on motifs from an Indian legend, which also inspired Thomas Mann to write ‘The Transposed Heads’. The opera tells a story of two boys and a girl, an exciting love triangle, where heads and bodies will be displaced, because of the girls constant discomfort. Will she choose her friend’s beautiful body and her husband’s wise head or her husband’s aged body and his friend’s not so much wise head? Does a husband need both the body and the wisdom? Patsy and Eddy would be happy to enter this both exciting and complex neverending dilemma, sweetie. Isidora says that she always dreamed

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of making a fairy tale opera. My opera is a fairy tale but also a philosophic story which will make one think. It is a one act fairy comic chamber opera, with an introduction and five scenes in Serbian language. The international ensemble – Aneta Ilić from Serbia and Aile Asszonyi from Estonia (sopranos), Ivan Ludlow from Great Britain and Pitor Prochera from Poland (baritones), Alessandro Carbonare (clarinet), narrated by the Serbian actor Nikola Đuričko. The music is performed by The Žebeljan Orchestra, conducted by Premil Petrović. Isidora’s most important musical milestone was the discovery of Sergei Prokofiev: Back when I was in lower music school I played his music with my soul, my heart, my entire being. I have been reacting to different sort of music since I was a little girl, especially to the singing and dancing from Banat, where my ancestors come from. I always preferred extraordinary music. And I think mine is just the thing. Extraordinary – just like fairy tales in literature. There is a mysterious link between the music I like and fiction literature. I also like folk music, my preferred instrument is sopile (Croatian bagpipes), I like jazz music and techno music as well. I used different kinds of music genres while working for film or theatre. During the 90s, Isidora was the music arranger for Goran Bregović’s films and they had a quite successful collaboration. Does she see herself as an artist different from others? No, even though other people see artists as special people, says Isidora. However, I do feel my art as the most natural part of my body. My son told me once: Couldn’t you have chosen a job that is a bit more normal? Every artist is bothered by the exact same question. There is a lot of stress in an artist’s job. Whether you work or you don’t, darling, believe me, the stress is inevitable. Miloš Lolić – Othello Miloš Lolić is the courageous metteur en scène of Othello in the Yugoslav Drama Theatre, played last year in December, for the first time since 1977. He made us all proud and we are happy to boast of his success. He was once asked – what scares you more? To attend the première of your own play in the audience or to stay backstage? I have never seen any of my plays from the audience and the horrors I experience while the play is on is beyond any comparison. This young highly acknowledged director belongs to a generation which spent its nights in the true oasis of Industrija night club, a Belgrade club promoting electronic music at the time when

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the horrible 90s triumphed the music scene, in the era of Slobodan Milošević. Friends he made at the time are now his colleagues, and one of them is Maria Jelesijević, a costume designer. The audience becomes captivated with the costumes of Othello’s characters at the very beginning of the play and the scenographic idea of Jasmina Holbus. When I work with Lolić I am not only a designer, I turn into a true explorer. The scene is covered in yellow, which at first occurred as a big problem. Lolić thought that the yellow is what is keeping the audience awake. But, it can also lull one to sleep, irritate, or bring discomfort. The audience is in constant preparedness and than comes the moment when you cannot handle the situation anymore. It was very difficult to fit in the colour, as opposed to other bright tones yellow is really kitsch. It looks too plastic, artificial, which is why I used autumnish colours of the soil which create a fusion with the colour yellow. I deliberately chose this solution because what is supposed to come out of this bright yellow are actually the calming colours – shades of olive green, various shades of ochre, from a light sandy colour to the colour of the bricks, then the colour of the sky. Then again, I succeeded in creating a true harmony of yellow and blue, given that they could make a cruel contrast. So, it's literally been a project of colour toning and balancing – says Maria. Ever since he was a student, Lolić dreamt about his artistic dedication to Othello. I wondered why ‘Othello’ was not good enough for the Serbian theatre like other Shakespeare’s dramas. Othello is a complex drama, including thirteen actors and very demanding in terms of technique and organisation. It also includes two locations: the first act takes place in Venice and the other four in Cyprus and two time schemes which overlap and collide. Othello introduces more than three major issues that we deal with in everyday life – the theme of ‘otherness’ and its consequences, the theme of betrayal and one of the most intimate issues, jealousy. However, it is quite difficult to set Shakespeare in the modern times. Each of his tragedies includes numerous themes, while we are prone to focus only on one subject at the time. In the end, the audience really seems to accept the multi-thematic Shakespearean form, and then inspired to devote to the work of this genius. ‘Othello’ is a story about manipulation, intrigue, and conspiracy, a story belonging to the present times. Given that we live in the era of vegetarian cannibals, this would also be the era of Iago.

The character of Iago is much more close to us than Othello’s. Shakespeare was lucid enough to create Iago’s character through words and attitude that are so familiar to us. Othello is supreme, hard to reach, some sort of a tragic hero: somehow, Iago also becomes one. We are not happy do identify ourselves with him, but we should be aware that his tragic flaw is already in our nature, defining our relationships with other people. When we started working on this piece, we understood Iago’s behaviour as very popular one, even though theoretic still speculate the motifs he was driven by in evil. That same behaviour is to be seen anywhere, at all times. Sometimes, we cannot understand such behaviour but we still experience it. Iago is trying to ruin a relationship. I am sure that every one of us had a conscious or an unconscious experience of the kind. We also learn that Iago is one of the greatest villains in the history of drama, but he does nothing that we have not done ourselves already. We should face the facts: destruction can sometimes be creative. Hard living and suffering also mean moving forward. A negative perspective is also a part of the marry-goround called life. When you ignore the other side of the coin, you are not even aware of its existence, you prove your naïveté. However, good and evil are not to be reconciled. We should become aware of both ... – says Lolić. Slavimir Stojanović - You Are An Idiot, Please Act Accordingly Among many talented people introduced in the Absolutely Fabulous épopée in this edition of FAAR Magazine, the people we are proud of for their work and their vision of reality stands a true hero – Slavimir Stojanović. His exhibition YOU ARE AN IDIOT, PLEASE ACT ACCORDINGLY, right after Paris and Sarajevo, was set in Belgrade in Podroom Gallery of the Cutural Centre of Belgrade. Slavimir Stojanović, one of the most popular Serbian designers, studied at the Faculty of Applied Arts in Belgrade, and then in Gothenburg and Ljubljana. His work in the domain of visual design was highly recognized – he received more than two hundred acknowledgment on prestigious world art festivals and his achievements make part of collections in Centre Pompidou Virtuel in Paris, the Museum of Art and Advertising in Hamburg and the Museum of Posters in Warsaw. Slavimir’s work focuses on deconstructing advertising slogans and logotypes of well known brands creating new lucid and ironic mental images. The founder of FUTRO brand, a brake dancer and an ama-

teur football player (my apologies, Slavimir), this artist is inspired by the extraordinary. My idea is to use auto irony as a remedy that could possibly help our society. Darling, I tell you, the industry of mass culture is constantly trying to uniform the society but still keeps failing it. Even as a sheep in a flock, each man has its own authentic perception of messages received through the mass media, says Slavimir. One should never give up his wishes and dreams; it is a true life mission. Yet, Slavimir has another mission. Each man has a certain amount of wishes that he can normally afford. But, today only imposed wishes are to come true. A distance should be kept from every day life. If we don’t understand life, brands, and other things through irony, then we could end up completely insane. Alcohol is an inevitable part of creating this auto irony. We should make a toast to Eddy, to Patsy, and to all those who inspire us to be the best we could possibly be. Raise your glasses – salute! And thank you all for moving beyond the boundaries of reality and for introducing changes in Serbia, the country in which those changes are an imperative! LONDON CALLING TO A BELGRADE BASEMENT, Maja Uzelac I am sitting in a basement in Kosovska Street in Belgrade, truly amazed, while the screen is introducing Gaga Nikolić, young and healthy as a rose, sending prophetic messages from the past, in a shirt with a large British flag print on it. I'm turning around, to find one of the like-minded. I'm shouting; at least it seems to me that I'm shouting. I'm laughing. Joca Jovanović’s film from 1971, shown at that time on the Pula Film Festival, and then urgently banned without being banned, was shown afterwards for the first time on FEST in 2006. I was out of the country at that time, and my first time of watching it was when I came back, in the Yugoslav Film Archive. Gaga, the new-wave spirit of rebellion, the anarchism, the urge of sticking up the middle finger to the society chosen by men (what kind of men?), while the camera is dancing and frisking, rifles and guns are shooting, beautiful naked women walking, Belgrade is sexier than ever. And that flagprinted shirt – I want it now! Another time, same place. High school – protests are already taking place on a daily basis. I fight my way through the stampede down the basement stairs to grab a seat covered with torn red velvet. Lindsay Anderson's If ... is on, followed by Kubrick's A Clockwork Orange, shot the same year as Joca's Young and Healthy as a Rose – Malcolm Mc-

Dowell as the British Gaga Nikolić. Or was it the other way around? All in the spirit of freedom, it was all about freedom after all, and about revival, and the rebellious youth. At this point, we are those rebellious people, wearing white overalls with black bowler hats and canes. In the future United Kingdom or in the present Land of Serbia, it's all the same. Life depended on the sense of freedom these days. You have seen the movie, and you knew what you needed to know. Or you haven't seen it, and yet you didn’t know anything. There was only one single screening, and then the next one in a couple of years or so, even though the Yugoslav Film Archive is among the best European film archives, preserving loads of great films, and they all needed to be shown. This was a very serious task at the time. I know it, because I had this friend Vlada Pogačić. Whilst he was the director of the Film Archive, he amassed the greatest part of the film collection himself. Later he died, a very old man, but we all remember him, not only by his films, but also by his excellence as a film director, and by tons and tons of archive film rolls for which he was successfully struggling worldwide.Films came first and then school. My school is in Kamenička Street, a steep street passing by the green market, from the train station to the Zeleni Venac. After passing through it, one smells like fresh fish and then brings this fish odeur to Kosovska Street, buys a ticket from the lunch-money, only then checking what is playing. Sometimes a popular film is playing, and then you are making your way through the crowd; sometimes there’s no one there, and you imagine that you're in your own castle in Scotland, sitting on your private screening, and all that you need is a glass of whiskey in your hand. You are looking around, waiting for your butler, and wondering where your whiskey is. But then arrives the inevitable Lady from the First Row with her distinctive hat. She's usually crying while watching. Besides her, a film critic, a white beard and glasses. He is angry and nothing is good enough for him. Now, the story is more realistic. This is the Film Archive you are familiar with. Never mind the whiskey. Then plays Antonioni's Blow Up. Through the lens of Hemings' camera you are landing into the Swinging London, crashing on a car packed with mods with their faces painted in white, running into Veruschka with that big hair in a cutout tunic with tinsels. And you're just in it all the way, dreaming of reaching the airport right after the screening, and then reaching London ... Suddenly, there are some ten-

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nis balls missing. And so, they are playing tennis, with no tennis balls, and you’re sitting there all confused. Thinking makes you forget about London. When you leave the screening your friends are asking for your opinion on it. You despise them for disturbing the moment of contemplation and pass by without saying a word.You are going home to make a cake, because it’s Morrissey's birthday. Every year, on the day when S.P., the former leader of The Smits and the person who poeticized our life was born, we would gather and blew the candles together. Maybe he will never know it, but it doesn't really matter. Dressed in jeans with carnations protruding from the back pocket, we enjoyed this ceremony because it belonged to us. We were pathetic but proud of ourselves. Then, times have calmed down a bit. I was already seriously involved in films. I was visiting the Film Archive to see Nicholas Roeg’s editing or Tony Richardson’s changes in style. I was still fascinated by the flirtatious glances of the Italian actress Monica Vitti in the role of the eternal Modesty Blaise in Joseph Losey’s film, or by how Pabst makes Jack the Ripper ending the saga of Lulu, my heroine Louise Brooks, in the London fog, or how doctor Jekyll turns into mister Hyde in Robert Louis Stephenson's myth, even though the film is American. ... This was how we understood tradition, and how we compared the Kingdom's awareness of resistance and change with the awareness of the peasants' country on the hilly Balkans. We loved their fashion, we accepted their style. ... I've travelled a lot. I never got to London. ... These days, the Yugoslav Film Archive was moved into a new building of beautiful old architecture and modern design, worthy of its importance and size, in the very centre of Belgrade. I will always remember The Film Archive as a basement in Kosovska Street, which apparently becomes history. And not many of us left there dreaming of London. Dragan Gaga Nikolić – Serbian actor and film legend; both in his young and (say) old days, corresponding the most to the image of a dandy, charmer, buck, dude, gentleman ...as seen by Serbian girls, women, mothers, housewives, aunts, grandmothers, ladies. Yugoslav Film Archive – a must-visit if you stumble upon Serbia. Until then, get informed on www.kinoteka. org.rs Young and Healthy As a Rose –

buried into oblivion as soon as finished upon the order of J.B. Tito, as some claimed. When exhumed thirty-five years later, it was a shock the cultural scene; the power and freshness of its rebellion and the cinematics of each of its frame have no counterpart in the local film industry; these are also seldom at the global level. After creating this masterpiece, Jovan Joca Jovanović had few opportunities in film directing – most of his later life he spent in Slovenia. CASE STUDY OF A SUCCESS STORY - JSP, Ksenija Marković (M.A.) I am glad to be able to write about JSP. This feeling has nothing to do with the consumerist way of liking, neither with the number of wardrobe carrying the JSP signature, nor with the joy of attending their show on the BFW; instead, it is coming from the opportunity of shaping the image of existence of a serious fashion brand that is living – rather than surviving – for 20 years in our small and highly unstable market. Many times I have written about the Serbian fashion scene and its specific 'childhood diseases', and I would like to avoid repeating these, especially in this anniversary context. Therefore, to begin with, I wish to underline that succeeding in a continuous manner and doing so even in troublesome situations, is not the same in a dialectical sense, the former implying quality, persistence and the convergence of good circumstances, the latter implying all these but amplified to a significant degree. What comes to my memory is the beginning of one of their interviews: "We have always known what we want." This statement seems to be a good slogan for a narrative of success, a great announcement for the program of an (imaginary) lecture on the rules of entrepreneurship of artistic creativity. Commitment to the own volitions and understanding the ways of their achievement are prerequisites of success in any area of activity, including fashion, which by its nature requires additional originality and artistic gift – which are the necessary prefixes of the above selfawareness. Being aware of the your personality also implies understanding your own creative self – your own ideas, instincts, interests, and personal abilities, pushing towards new insights and explorations rather than limiting. Judging by the "product", one could say that the above statement of the Proković sisters is not a mere platitude but the whole truth. Given the consistent and the well-distinguishable nature of their design, also hallmarked by the variability of ideas, it can be "decorated"

by the adjective successful, while the sisters can be recognized by the facts stated about creative artists in the above sentences.The JSP brand was created 20 years ago, being introduced to the audience with a fashion show of clothing and accessories. Caps and hats were ranked high in this collection, while favoring details as elements of styling, but also as integral parts of the clothing product, remains present in all their further creations. What relates the various fashion stories of these two decades is conceptual stability, explicitness, adherence to the unique background, seriousness of elaboration – both in terms of tailoring and the idea – and a good ratio between the experimental and utilitarian aspects. Silhouettes, colors, patterns and forms are varying from collection to collection, according to the authors' seasonal inspiration, often retaining the somewhat androgynous look and replacing slightly the explicit femininity and/or masculinity with urban unisexuality rather than desexualizing and equalizing the genders. Their collections are often interpreted as inspired by uniforms, although I'm not ready to fully accept this connotation. In this regard, I like the explanation of the designers that this is rather a strict concept of using the principle of replication, instead of being fascinated with uniforms, which although present, is still not necessarily a prevailing theme and inspiration. Seeking ways of realizing the current ideas, Jelena and Svetlana Proković are not avoiding what is seemingly unfeasible; examining the "raw material", the way it was processed, its structure (...), they often succeed to achieve the desired ideal. Looking at their collections, the impression is that they found a new way in each of them, investigating and applying it to a sufficient degree to achieve what they consider to be a rounded totality. Hence, seldom are the occasions when JSP shows fail to surprise with something unexpected: a fresh interpretation of a specific theme, materials, and even the clothing piece itself. Eventually, a number of JSP "inventions" have been created in this way, many of them being later reinterpreted by other authors. In a specific way, the very style of the brand also became one of the visual hallmarks of Serbian fashion, part of the local fashion jargon, and a recounted story – sometimes successfully, sometimes not. Their shows are adequately designed to suit the identity of women and/or men appearing on the runway, with the choice of music, scenography, choreography and casting in agreement with what is imagined in the process of creation. Then, in

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these fifteen minutes, the audience has the opportunity not only to see the new models, but also to perceive the background idea. The term perceive is highlighted, because it is figurativeness what is the essential value of the JSP brand. Inspiration is and should be a personal matter of the author. Therefore, the inner world of the collection is visible only in contours, instead of being illuminated by neon lights, publicized and deprived of the veil of intimacy. Jelena and Svetlana are well-aware of this; regardless of richness of scenography on the presentation of their collections, they still retain an escape route – in music, light, stage decor, styling ... Using this deliberate "crack" in the concept, the authors' intimate world remains protected; on the other hand, based on what is presented, viewers are getting the chance of projecting their own fantasies, at least partially. As a result of the huge involvement over the years, Jelena and Svetlana continually manage to maintain an enviable norm of production (even in conditions of frequent social regressions). Also, being interested and participating in various projects where clothing is present as the element of visualization of a certain artistic idea, they extended their activities to the different areas of art, enriching thereby their own biography and contributing to the cultural life of Belgrade and Ljubljana. In addition to fashion collections, they were and still are involved in designing costumes for the theater, movies, music videos and commercials. Any piece created, regardless of its purpose, is subject to studious consideration – reflection of sound, a performer, a dramatic piece or an (advertised) product, but also a reflection of the two authors who created the JSP brand. STEFAN SIEGEL, Not Just A Fashion – FAAR interview Stefan Siegel, founder and editor of the www.notjustalabel.com Stefan Siegel, founder of the "Not Just a Label" website is not your typical fashion editor. Dressed relatively unobtrusively, he keeps his voice low and behaves discreetly. No one would say that he is a former banker and a present "Pygmalion" who reveals new horizons in the fashion art. Siegel's life is almost a film-like story – grown up in South Tyrol, attended a military academy, graduated with an MA in the field of economics in Vienna and then worked for the "Investment Bank" in London. In 2008, the time when job change became a nightmare for the people of Western Hemisphere, Stefan returns to his great passion – discovering new talents and

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gifted fashion designers. He and his brother are establishing the NJAL website, which quickly becomes relevant at a global level. In addition to nearly ten thousand designers of which it introduces, the website also discusses the phenomena of the fashion world, reflecting social tendencies to the world of aesthetics and dressing.Travelling through NJAL is like a miniature trip around the world – brands are represented from more than ninety countries, while many pieces can be ordered and purchased. Stefan insists to see everything being sold on the site, because he believes that good "craft" – merging high-quality materials and impeccable craftsmanship – also should be part of the fashion. As a guest of the Belgrade Fashion Week, Sigel had the opportunity to see exactly what he likes to promote – fresh ideas, new people, and an original approach to fashion; he praises local designers, and he became very fond of Belgrade. And just because he gives the impression of a flattering guest trying not to offend the locals, we have taken these compliments seriously...Upon his return to London, Stefan had written an article for his website on his visit to Southeast Europe, while for the FAAR Magazine he answered some questions regarding the fashion industry, but also discussed his personal preferences: Next year "NOT JUST A LABEL" brand celebrates fifth birthday. What are the major problems in this business and what are the rewards? Is there a new "5 year plan" on the table yet, and what is the percentage of the ideas from the original plan that came to life over the last five years? Following your dream and doing what you love is full of rewards. By doing so you accept the difficulties, hardships and problems you face along the way. It will never be easy to change something, or to create something new. We do have plans, one for the next year, one for the next 5 and one for the next 1020. But then, these are plans. Our venture is exciting, things can happen over night, and we find ourselves working on something completely different the next day. However, it is my duty to remain on the same course we have set ourselves on, a straight line to achieve You grew up under the influences of various European cultures and it probably defined your perception of style. Today you travel a lot as well and you are in touch with different fashion cultures. Each European region has it’s own cuisine, but what would be Italian, French,

Scandinavian, German or southeastern European fashion character? I hope you don’t expect me to speak about Scandinavian simplicity, German design pragmatism and Italian romanticism. Of course these are all stereotypes and at the core, there might be some truth behind them, but I really believe we live in a global place. Creatives, and especially fashion designers travels and live abroad and are influenced by a wide range of surroundings and cultures. We always try to appreciate fashion for what it is, and not where it comes from. Your style does not seem to be eccentric and your clothes do not shout "hey, I’m a fashion guru". Many fashion designers dress have a very unique style (like their own uniforms) or wear only black. How important your clothes is to you? Do you just observe fashion or do you sometimes take part in the fashion game as well, and dress a bit eccentric? I don’t think being somehow part of the fashion game forces you to dress up. Actually dressing up is a completely wrong concept of fashion. For some reason, those who actually are the movers and shakers in the industry are usually those who speak softly, with an understated elegance. Fashion is a medium that allows us to express ourselves; I do that via my choice of style. The rest is usually a fancy dress party. NOTJUSTALABEL.com can turn anonymous designers into fashion stars overnight, and make their designs appear on a red carpet, worn by VIPs. Also, in various sections on your website you don’t shy away from provoking fashion establishment and touching upon controversial fashion topics. There, one can see socially aware side of your personality. Why do you think it is important to combine social consciousness with the illusion that fashion often provides and promotes? I would say I like to provoke and polarize, I find it interesting to put a light on certain elements that people perhaps tried to ignore, forget or did not care to understand. Only by presenting the audience the full range of available information, they can make a neutral decision and build on their own independent opinion. Unfortunately the masses today prefer to live in a world created by others for them. Our readers would certainly like to hear about your personal style: which brands/designers you cherish and respect, which cities are most exciting when it comes to fashion, which public persona

could be both fashion and intellectual model figure? I would probably have to mention all the 10,000 brands we work with in close to a 100 countries worldwide. I am someone with a short attention span, I don’t get used to things to then keep them. I like the notion of the ‘new boy in town’, hence why the constant travelling allows me to discover the new. That way I realise I perhaps like a city that I would have not thought it would suit me. The same goes with people or role models. You worked for an investment bank... it must have been quite a decision to move into volatile fashion industry at the moment when the world economy was hit hard by recession. What made you take that risk? To be honest, the step into investment banking was tougher than getting out of it. For me it was always a personal experiment, maybe to prove to my parents I could land the job that everyone wants. I tasted the fruit, and I left…on to more exciting things. I told you, my attention span is quite short… You are entrepreneur so you must keep an eye on the state of the economy but your business is fashion. Having that in mind, which websites you read first thing in the morning, economy related or fashion portals? Are there any fashion portals that you appreciate and follow regularly? I usually get up and read five different newspaper websites, two from the UK, two German and usually one Italian or American. I like to see different opinions on similar subjects. I also have a list of fashion portals that I go through when I have a quiet afternoon, there about 30-40 blogs and websites in there. You’ve been in Serbia and you’ve worked with Balkan fashion designers. Honestly, do you think that south-east Europe ticks in the same rhythm as the West? No, and why should it? If it did, I would not need to come to Serbia. Individuality is everything! It seems to me that Europe is your home. That both your personal and professional life are very dynamic. However, there must be a city, or a place, that you call "mine"? I wish it was so, but in the end I always find myself at home when I am happy in a specific moment in my life. Tomorrow I am travelling to the Alps, I will call the white mountains my home for the next few days. After that it might be São Paulo, New York or L.A, unless a girl comes along and convinces me to settle down.

SUBVERSION – A PATHWAY TOWARDS CREATION, Ksenija Marković (M.A.) The time of revolutions is over. Though not satisfied, we do not really object. We would want better, but we take what is being offered, and somehow we believe that getting more is more than impossible. The tacit acceptance of what is given seems to me to provide a solid basis for the autocensorship of dreams, and the "better than nothing" principle becomes the key in defining the choices, a safety net when dropping from the level of desires to that of the possibilities. Not going into deeper analysis of emotional hypertrophy induced by the above, let us stick to the surface, to what is visible, expressed in a non-verbal manner through appearance – a rare model of socialization in which we still have the freedom of choice. The today's street styles were created once with a specific purpose; to remind ourselves where and how they were created is good both for inspiration and for understanding the clothing we are wearing. In terms of time, the narrative of emergence of street fashion ideally can be placed into the second half of the last century; in terms of space, it is England, nursery of youthful underground cultures. Only in a couple of decades, these cultures altered the flows of thoughts and indirectly of dressing. The new music, art, design, slogans (...) were the products of unique ideas – forming the new style of living, which was rather a distinction for the new system of values than representing the mere pursuit per se. Counterculture, the creation of which we are actually speaking, was against the imposed authorities, class differences, racism, war and the domination of capital. On the other hand, one might also say that it was for the system of substantial democracy, unity and equality, pacifist politics, cosmopolitanism, non-xenophobia... In a word, the creation of the 1960's pop culture can be analyzed on two levels: the level of subversive action, with the aim of demolishing the current system and the level of creative activity, with the goal of creating something new. Taking into account the success in achieving a good part of the ideals set, as well as the unambiguous quality of part of this culture, it is fair to accept that, though rebellious, the youth of sixties was more creative than destructive. Also, since popularity excuses the "culprits" of revolutionary beginnings, pop values have become generally embraced as a public good and the measure of new social relations. Great ideas are often widely condemned, and what makes the baby

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boom generation condemned for is unification and the creation of new models of belonging. The truth is that the emerging counterculture bears the clear marks of the material world; however, this fact should not be used for deriving the literal conclusion that claims for individuality have led to the mass acceptance of only one type of self – the existential pattern of Sex, Drugs and Rock 'n Roll. Speaking of attitudes of the baby boom generation towards consumerism, we should bear in mind the fact that they were generally against consumption as the method of status diversification. What was currently offered was the target of their attacks, not only as an example of capitalist manipulation, but also as a commodity representative of the existing culture. Not wanting to be like their parents, young people were giving up what was characteristic of their parents' life style, beginning to create new products – their own hallmarks. Thus, a newly-formed, "youthful" product market has been created, appropriate to the "pop appearance". The swinging sixties Indeed, this was what redefined the standards, resulting in the dominance of the ready-to-wear boutique-fashion. The Bazaar had began to work on Carnaby Street and Kings Road in London, followed by Biba and other boutiques that were offering clothing, accessories and makeup – these were not focused on the name and the prestigious quality, i.e. the previous values, insignificant to the rebellious generation opposing to the branded and intonated goods. For the first time in history, street fashion penetrates the sphere of high fashion in all national fashion markets. Cheap handmade pieces are becoming the inspiration of top brands and designers whose collections consistently follow the tailoring, silhouette, patterns and combinations of materials originated from Kings Road. Geometrically shaped PVC dresses, psychedelic prints, mismatched patterns, go-go boots, and artificial eyelashes are arriving from clubs to catwalks; the street is starting to set trends, creating a global style of both the young "rebels" and the rest of the world. Asked "Who has invented the miniskirt you or André Courrèges?" Mary Quant replied: "Nobody, it was invented by the street." Understanding the appearance of miniskirt is not possible without understanding the consequences of its appearance. The previous period (of the 1950's) was marked by a distinctive look of women emerging as a femme fatale/ housewife combination. In addition

of being a previously unworn piece of clothing, miniskirt introduces also an entirely new sense of attractiveness and sexuality – a new concept in the spirit of equality and freedom enabled by simple forms, no-bra bras, woollen tights and flat boots, as well as by the new idols of femininity: Twiggy, Jean Shrimpton and Penelope Tree. Miniskirts are dating back from 1964, same as the Beatles' "A Hard Day's Night" album and musical about a day in the life of a rock group. Similar to the movie stressing liberal ideas, the conflict of generations, the fame-induced claustrophobia, but also projecting symbolically this personal feeling to the general social need for being released from the inert and stringent mold, the (overly) short skirt is focused on providing the above with "clothing image." The lyrics of "Can't Buy Me Love" are demonstrating both the personal drama and the attitude towards the mundane symbols of material values denied by the young. While assigning fashion with metaphysical properties seems to be unnatural, the essence of miniskirt, a simplified product the purchase which assumes the power for non-financial resources, is in the abandonment of values that money can buy. The sixties have exploited the theme of sexuality in all fields. What has been emphasized upon the initial verbal liberation of what had been the taboo of social communication, is the need for (public) scrutiny regarding sexual orientations, their alteration, towards the importance of the opposite sex and the affiliation to the own sex. Thus, pop culture has been largely based on this subject – sex and sexuality becomes an essential part of counterculture, while in the fashion context this has been achieved by gradual desexualisation – from the anorexic mod-jackets to the unisex hippie style. Consumerism of the preceding decade, before the early sixties, has become increasingly sensual and provocative, Hollywood stars were fetishicized and gender differences highlighted. In contrast, the culture of rebellion opted for androgenity and the negation of imperatives of natural sexuality, using the similar and same elements in men's and women's dressing instead of highlighting gender differences through the clothes. The process of desexualisation of clothing was accompanied by the development of ideology, reaching its peak by the end of the decade (since 1968), when flare-jeans, hand-coloured tunics and blouses, kaftans, sandals, and scarves (...) become widespread male/female clothes, practically with no differences whatsoever. Gender unification to a unique style

is a much more revolutionary "feat" than seems from the present-time perspective, while the fact that it happened in less than a decade speaks in favour of the incredible speed of development and overproduction of pop culture. However, it is necessary to bear in mind that pop was not a unique and stable model, but an active and variable action which has resulted in various subcultures. They in turn were intertwined, arising from one another or completely separated, creating thus a melting pot of a variety of different ideas and their physical manifestations. The highest value of all the sixties' developments is that they have created, for the first (and perhaps last) time, what Marcuse called "affirmative culture". It has made divergent thinking and acting in line with the internal drive possible; it has enabled the abandonment of inherited rationality and surrendering to collapse which, when overcoming nihilism, can result in high levels of creativity. From the glitter shick to the antimode punk androgenity Pop enters the seventies as a materialized, victorious ideology. Living the pop philosophy, young people have created their own way, imposing their own criteria, and making adults understand that future belongs to them. The cult of youth was established, but the young people who have created it are now adults, and the "never-trust-anyoneover-30" slogan becomes a paradox. New generations are appearing – a new youth that, similar to the preceding, is unimpressed with the current situation, no matter how loveand-peace it is. Former comrades of the unified revolt against homophobia, racism, war and patriarchy are losing their autochthonous nature, being divided to fractions, each of which is fighting for its own cause, which brings new, often dystopian manifestos as compared to the ideals of the sixties. The economic progress that began during the fifties is losing its momentum, making enthusiasm naturally replaced by depression. The focus is shifting from the level of what is collective to the level of what is personal, implying also changes in cultural activities, which are now aimed at the individual's self-affirmation. Thus, fixed fashion rules are now substituted by seeking the own visual identification and the casualness of style determinants. The fashion of this decade ranged from back to nature to glitter glam, from campaesthetics to the frigid business look, from unisexuality to hypersexuality, not being committed to any of these, yet being focused on each of these. Business look was indeed the product of feminism, while glam-

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rock and disco were related with developments in the music industry; however, the individual's cultural life cannot be unequivocally claimed to be determined by style. None of the underground cultures is developed to the extent that would enable it of being a leading culture, and none of them succeeded to impose the priority of its products to the market of cultural goods. Young people did not opted for a specific movement, and when they did so, it was a short lived decision, replaced quickly by some another. In this sense, identification leads to multipersonality, with counterculture becoming a plural ideology – not a single unified movement but rather a multitude of counter-events, the "counter" nature of which being challenged by the lack of clear guidelines required by the prevailing cultural model. However, dominance of the street, the categorical determination based on style and counter-action have survived in one place – England. Punks were against the system, against society, against both past and new standards, against the flower-power and against "back to the nature". Given the explicitly strong antagonism, the "Love and Peace" slogan was replaced by "Sex and Violence"; natural materials were replaced by plastic, long hair by eccentric hairstyles, floral and abstract symbols by aggressive prints and swastikas. The anti-establishment punk ideology is based on denial, on the need for expressing indignation and satisfying this need through anarchist actions. Actions of this counterculture were induced by social destitution, institutional and system deficiencies, unemployment, the political misbelief in conformist ideals that "work and efforts are worthwhile," as well as the belief that popularization of the music of sixties has led to industrialization of the art, and that by being accepted by masses pop has lost its original purpose – subversion. In compliance with the above statements, in the area of dressing, the idea was to create a fashion that would be a slap in the face of good taste; to create a style that will suit the music and to create fashion elements that would represent the same idea as the overdistorted guitars, heavy drums and the criticizing lyrics of The Sex Pistols, The Clash, The Buzzcocks and The Exploited, arising as a response to what was seen as a pretentious progressive rock of seventies. Punk creativity was based on nihilism as a way of creating – selecting particular elements not suiting the given context, exposing the reverse-side and making choices opposite to what is expected. Formally, using the term of punk fashion symbols is

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inappropriate, given that this movement has pursued anti-fashion and anti-aesthetics. Its banal, fetishist elements of seductive style (mesh, animal prints, and black leather) were the foundation, which was further finished so that finishing is clearly visible. The desired trashy impression was further achieved by using details: safety pins, applications, ripped socks and weird hairdo. The idea behind the punk look was to leave the impression of deliberate distortion of what is accepted as handsome, to vulgarize sexuality for the purpose of drawing attention, and to use the own body and appearance as a moving manifest. Although the product of all these was a thing of highly questionable practical value, particularly bearing in mind the work of authors such as Vivienne Westwood, it is important to emphasize that the bulk of creations was truly created deliberately, and that the impression of disorder, confusion and clumsiness is not reached accidentally. Punk style is commonly associated with the predominantly black silhouette with strong colourful accents, plastic and metal details of morbid or vulgar looks. However, as a street style, punk did not necessarily stray into such extremes. Here, as in other youthful subcultures, jeans was the most common piece of clothing, fine-tuned according to the principles of destruction – by meaningful tearing and writing symbolic massages. Prints on T-shirts, ironic slogans, applications, safety pins, chains, and tampons used as "jewellery" are the key elements of punk dramaturgy and design, the style symbols through which the nihilistic ideology is given a "code of clothing". In this sense, it seems interesting to note that here we can speak of two lines of expression: the first is when a non-clothing object (like a bathroom chain) is becoming part of the fashion system by its use in the context of dressing, while second is when the newly created token becomes the tagger of a specific rebellious idea by being involved in the group's context of lifestyle and operation. Thus, from the aspect of design, this style can be taken as hyper creative, while in terms of its ideological background as entirely consistent. Moreover, the British punk has proven that when the need for expressing the views finds its way through various creative activities and actions, regardless of their formal value, they achieve the value of labelling and symbolic interpretation, becoming thereby parts of the cultural property.... And back to the beginning Juvenile movements have not disappeared along with the pop and punk – ideologies of the ana-

lyzed countercultures provided the foundation for subsequent similar reactions. The manner feelings, reactions and external manifestations were related has been improved in years of which is written here, and it is not wrong to argue that only "then and there" this relationship was truly stable and overproductive. This stability is primarily related to the mutual causality of ideas and actions, regardless the subsequent life of products of their interaction. In a word, regardless of the subsequent commercialization of pieces of countercultural arts, their sole purpose at the time they were conceived was to manifest the attitudes that were not based on economic and financial needs, but rather on the imminent need for meeting the aspirations by which the subversion was induced. The utopian intentions of realizing the ideology in a specific physical world began to disappear in the late eighties, while the process of disappearance was ultimately finalized before the beginning of the new millennium. In current circumstances, rebellion is replaced by the mimic of rebellion, with the rebellious style being an important element in the production of this mimic, however, without the necessary substance. Accusing industry, commercialization and turning counterculture into a mass culture would somehow be the easiest way, but it would not be quite true. We are living in a time of aesthetics that provides us with an incredible abundance of visual symbols, either taken from the past or contemporary designed, but their meaning needs to be created by ourselves... However, we are seldom doing so. Our symbols may contain a meaning, but it is more than superficial, because as by clicking the join button we are not thinking of leaving, so we are marked by style – behind it there's nothing or something completely different. In this way, we are exploiting the existing without creating anything new, being seriously jeopardized by the fact that our historical moment can be deprived of its own artefacts. DERANGED TV SERIES’ HEROES Everything great in the world comes from neurotics – Marcel Proust. The history of making fiction is the history of neurosis, narcissism and the messiah complex. The fearless Prometheus gave humankind fire, aware of the severe punishment that was waiting for him. We all know what happened: the brave Titan was nailed to a cliff and an eagle was sent to daily feed on his liver while the organ was regenerating during the night. Antigone, who was born to join in love, not hate, was not cunning enough and we could say a

little deranged when she attempted to secure a respectable burial for her brother, and then faced her unfortunate fate. Death, the omnipresent and the unpleasant ending of Greek tragedies. Were Moses, Christ, Buddha and Mohamed sane enough when experiencing adventures for which they did not have the capacities, nor the people or strategies? Certainly not. Even though they are fictional characters, those prophets and mythical heroes could be characterized as slightly deranged or cuckoo. Fast forward of the present. Pop culture connaisseurs will remember the year of 2012 by TV shows. While millions in Serbia are worrying about the destinies of characters from the Turkish Magnificent Century and the Serbian Moj rođak sa sela (My Cousin from the Countryside) TV series, in the parallel universe, in the rhythm of the 21st century, we fear for the destinies of Carrie Mathison, Will McAvoy or Sarah Lund. Even Sherlock Holmes, the TV audience’s pet, became a much more complex type than the traditional one, the violin playing and opium enjoying gentleman. In the new BBC version, created by Steven Moffat, Holmes is introduced as a problematic and a capricious individual, mercurial in temperament. He is outstandingly wise, irresistibly sarcastic, and of unknown sexual orientation. As he is, Holmes perfectly uses the latest gadgets and modern technology in order to improve the knowledge bequeathed on him by his creator, Sir Arthur Conan Doyle. Heroes of the present times, police detectives and main characters enter our lives through our TV screens, beginning to look exactly like us. The time has come when the audience is pleased with heroes saving the world from its end, but those are slightly deranged, quite sottish or often sedated. They could be common people like us, and there’s a bit of each one of them in every one of us, perhaps that could be Don Draper, the irresistible ladykiller from Mad Men.Vertigo stars James Stewart as former police detective who has been forced into early retirement due to vertigo and clinical depression. Actually, his phobia is the central motif of the plot and the key to many legendary scenes in Alfred Hitchcock’s film. However, detective John Ferguson is not the man with a wig and a knife lurking behind the curtain, he is not the bad guy such as Norman Bates was in Psycho. Fersugon is deus ex machina, he is there to be our superhero. But, how can a hero be afraid of something as trivial as heights? Alfred Hitchcock admired complex psychological profiles and he went forward in connecting psychoanaly-

sis and suspense on film, resulting by the anxiety of the beholder which only Hitchcock himself could create. Hitchcock made jokes at his own expense and he appreciated parody. When the famous comedian Mel Brooks made High Anxiety, a pleasant parody on Alfred’s suspense films, as a token of his appreciation, Hitchcock sent Brooks a case containing six magnums of 1961 Château Haut-Brion wine. A true legacy of neurotic police detective, drunken heroes and hysterical heroines promoted by Hollywood in the 50s and the 60s of the 20th century is still omnipresent. It is fully recognizable through the most popular mass media – our television sets.The USA is being saved by Carrie Mathison. The Homeland series, highly acknowledged, stars Claire Danes, is addicted to clonasepam, suffering form a bipolar personal disorder but also the best and the most agile agent of the Counterterrorism Centre in Langley, Virginia, a part of the CIA. The true rescue of world journalism and its prestige comes with the outstanding performance of Jeff Daniels in Aaron Sorkin’s series The Newsroom as anchor Will McAvoy. Will is impulsive, a bit awkward when it comes to relationship with his fellow workers, an occasional pot-smoker who stars seeing a psychiatrist at the end of the series’ first season. However, his news editing approach, his image of the role of media in crisis situations, his romantic but hopeless affection for his ex girlfriend and actual coworker MacKenzie McHale all make Will a perfect TV idol. On this side of the Pacific, in Scandinavia, we have Sarah Lund and Saga Norén, two wild, determined, and unusual women detectives solving the toughest cases in Bron i Forbrydelsen. Saga Norén (Bron) is an attractive and mysterious blonde, unable to establish closer relationships with other people, suffering from a mild form of Asperger syndrome. She is a true analyst and the lead homicide detective in the Malmö police station. Sarah Lund (Forbrydelsen) understands her police work as a mission. Wearing her distinctive sweater (hand knitted; one can buy the same online for 300 Euros from a local Danish manufacturer), Sarah is an emotionally distant person but still the brightest star of the homicide department in Copenhagen. A very sophisticated atmosphere, stylish offices, outstanding styling and depicting the 60s – Mad Men series. The aftermath – six seasons of the series, an impressive number of recognitions, renewed interest in fashion of the 60s and in employing in advertising agencies, all since the year of 2007. Who are these heroes

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really? They are addicted drinkers, smokers and prone to having affairs. Women are more cautious – they use their sexuality as a weapon and a method of combat. All of those characters, led by Don Draper, have their own dark secrets. The last season revealed scenes in which Roger Sterling, one of two senior partners of the company, enjoys the magic of LSD. So, if you seem to be a bit nervous, agitated, neurotic or prone to vice, maybe you will find yourselves asking: where are all the (in)sane people headed? To the TV screen, beyond any doubt. Jelena Đurović www.agitpop.me BOWIE – A LIVING LEGEND, Jelena Karakaš David Jones. Ziggy Stardust. Thin White Duke. A father. A musician. An icon. A bisexual. A trendsetter. A rebel. A chameleon. The fantastic David Bowie! A true phenomenon, Bowie defined the world music and fashion scene for all times. Even though he reduced his musical output in 2004, after experiencing a heart attack on tour in Germany, Bowie never lost his popularity. During that period, his wife Iman kept emphasizing that Bowie really is David Jones, a loyal husband and the father of little Alexandria whom he is taking to school every day. However, theses façades of everyday life never could have fooled Bowie's fans who loved him in the first place for his uncompromising attitude, his outstanding bravery, and his explosive energy which was quite revolutionary. While the fans kept listening to old records over and over again, fashion designers have dealt with Bowie's rich fashion legacy. Ziggy's Fashion Bravery Bowie was the first androgynous music icon, of physical appearance which is very popular in fashion of today. His alter ego Ziggy Stardust, who walked the stage in extraordinary outfits, represents a never-ending inspiration for fashion designers of the 21st century. Perhaps that Ziggy affected David's paranoid personality, but he gave fashion designers an infinite source of inspiration. Miuccia Prada introduced an outfit inspired by the one-legged overall Bowie wore back in 1973. Ricardo Tisci recreated the black and white striped jacket for Stardust's golden era. The fashion designer Dries Van Noten recreated his outfits from the 70s into models for modern times. In the last few years, Bowie's influence on fashion is becoming more and more obvious and we are witnessing a true glam rock revival. His looks affected modern fashion trends thus much that Kate Moss covered Vogue UK

in 2003 and, later in 2011, Vogue Paris, transformed herself into 1970s-era David Bowie. This was the climax of Bowie's influence on the modern world; he again proved that his life energy is immortal and that he still has a lot to offer to the world. Even though it seemed that there was little chance for Bowie's comeback and a new stage role, given that he now leads a very quiet life at the age of 66, the very thing happened. The year of 2013 is the year the star's glorious revival! Speculation on social networks grew to fever frenzy around the date of Bowie's new release "Where Are We Now"– ten years of waiting paid off – his fans finally got what they wanted, the legend lives on! David Bowie is...Besides his new album scheduled for release in March, including 17 songs, David is again in focus of the fashion world; this time, he's inspiration to Jean Paul Gaultier. David's unusual look is not only a reference for modern clothing and his entire fashion image will be presented to the public this year – the London Victoria&Albert Museum will be introducing a private collection showing the retrospective of Bowie's career: various work of art, musical instruments and costumes, handwritten lyrics, music videos, films, photographs, etc. The exhibition will explore the broad range of Bowie’s collaborations with artists and designers in the fields of fashion, sound, graphics, theatre, art, and film. The exhibition will include bodysuits designed by Freddie Burretti for Ziggy Stardust. In 1972, Bowie dedicated his conceptual album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" to Ziggy Stardust, who is trying to save the world with the help of his rock' n' roll music. The exhibition will also curate photography by Brian Duffy, Terry O'Neill and Herb Ritts, album sleeve artwork by Guy Peellaert created for the Diamond Dogs album (1974), visual excerpts form the film The Man Who Fell to Earth starring Bowie himself and a coat designed by Alexandar McQueen for the Earthling (1997) album cover. Alongside these will be more personal items such as never-before-seen storyboards, handwritten set lists, and lyrics as well as some of Bowie’s own sketches, musical scores, and diary entries, revealing the evolution of his creative ideas. The exhibition will be taking place from March 23rd to July 28th, exploring the creative processes of Bowie as a musical innovator and cultural icon, tracing his shifting style and sustained reinvention across five decades.

The Everlasting Youth Fans often imitate their idols, yet fashion tends to stay spontaneous and unpredictable, to introduce glamour into primitivism, to transform certain trends, to enrich our universe, that is, to adapt the rules of the world to the margins of society, and to create a perfect combination of sensual experience and everlasting youth. Fashion thus risks breaking down the essence of rock style in order to get a purer form, a purified and insensitive experience of the outside world. People need archetypes in order to have an orienting point in this cruel world, and musicians are the ones who become these archetypes. One can not get away from fashion. The more we oppose it, the more we actually surrender to it. Fashion suggests some things that the whole world recognizes in - a mélange of the collective unconscious and the underground, the popular and the elite at the same time, something that is history itself, but something that will always be in fashion.There is a bit of Bowie in every one of us... BELGRADE EVENT CALENDAR 2013 Proudly named the City of Culture, City of Inspiration, City of Sports and Festivals, Belgrade develops and changes fast, protecting its rich and diverse history within the mixture of culture, architecture and urban spirit. With some of the most attractive locations, Belgrade Fortress – the oldest cultural and historical monument, Skadarlija – the bohemian quarter in the city centre, Knez Mihailova street; Old and New Royal Court, Federal Parliament, Temple of St. Sava, Zemun and many others, Belgrade makes the cultural centre of South East Europe.Being one of the oldest European cities with the heritage which lasts over 5000 years, Belgrade cherishes the history, landmarks, monuments from the past, traditional art and famous attractions. Bohemian Style Skadarlija began to acquire its bohemian character in the last few decades of the 19th century. Skadarlijan inns or kafanas have hosted many celebrities over the decades, such as Alfred Hitchcock, Jimi Hendrix, Josip Broz Tito, King Juan Carlos I of Spain, chess player Anatoly Karpov and many others. The present Skadarlija, a short and curved street, is a remarkable attraction with some of the famous inns Tri šešira (Three Hats), Šešir moj (This old hat of mine), Dva jelena (Two Deer), Zlatni bokal (The Golden Chalice), Ima dana (There will be days), Putujuci glumac (Traveling Actor) and Dva bela goluba (Two White Doves).

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Belgrade Fortress Belgrade Fortress, known as Kalemegdan, is a defensive structure built around 3rd century, and is the oldest and the core section of the city. It overlooks the confluence of the Sava and Danube rivers and, that very spot, next to the statue Pobednik (The Victor), done by the famous sculptor, Ivan Meštrović, is probably the most beautiful lookout in Belgrade. Zemun Once a separate city, Zemun is nowadays known as a romantic and poetic part of Belgrade. In its main street (Glavna ulica), it has a Homeland museum and Madlenianum Opera and Theatre, that underlines the beauty of this street with beautiful sopranos, mezzo-sopranos, tenors, baritones and basses of renowned national and international opera singers. The bank of the Danube where Zemun is situated, Zemunski kej, is a kilometres long promenade, with barges-cafés, amusement park and formerly largest hotel in Belgrade, now Grand Casino. At night, these barges-cafés are the epicentre of a night life, open till dawn. Gardoš Tower is the most recognizable symbol of Zemun. This neighborhood preserved its old looks, with narrow, mostly cobblestoned streets and individual residential houses. There is a cute café/restaurant near the Gardoš tower that offers panoramic view of Belgrade and a pleasant rest from the sounds of city traffic. Belgrade on the river banks: Sava and Danube The confluence represents the most attractive point under the Belgrade fortress, and along with the Big War Island is a real natural oasis in the heart of a modern city. The river banks never sleep: on numerous boats, restaurants and cafes visitors can have a cup of coffee, eat a fish speciality, listen the music and have fun. Belgrade Dance Festival Rounding a decade of existence, the jubilee 10th Belgrade Dance Festival will be held under the auspices of the EU Delegation to Serbia. The audience will have the opportunity to enjoy Ballet Jazz Montreal, Ballet Preljocaj, Danish Dance Theatre, Vienna State Ballet, Peeping Tom from Belgium and for the first time in this region the Beijing Dance Company from China. www.belgradedancefestival.com Mikser Being a multidisciplinary, multicultural platform for organizing competitions, exhibitions, cultural events,

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conferences, educational courses and lectures, it is especially popular among young talented people and represents the progressive force of Belgrade. www.mikser.rs/ Belgrade Fashion Week April in Belgrade is the time for acquiring new fashion trends and styles. The selection of original and impressive locations, young and renowned fashion artists and visionaries, elite audience and amazing urban atmosphere makes Belgrade the epicenter of fashion in the region. www.belgradefashionweek.com Belgrade Design Week This annual event gathers young representatives of creative industries of the Eastern Europe. Modern regional design exhibition guarantees good fun and creativity. www.belgradedesignweek.com Night life (in all its variety) Recently Belgrade was named ‘the new capital of cool’, thanks to its night life in all its diversity. The music scene here will feed your music hunger no matter whether you’re into jazz, electronic beats, rock ’n’ roll or indie pop/rock. Downtown, jazz clubs such is Ptica (Bird), disco clubs such is Tube that hosts local and international DJs, dub step and drum ‘n’ bass spots such is Francuska sobarica (French maid), and many more, are located in Dorćol neighbourhood. Right beneath the Branko’s bridge, on the Old town side of the Sava River, new cool spots, such as, Mladost, Ludost, and underground cultural centre – KC Grad, are taking over the neighbourhood being the new favourite places of young urban population and hipsters. Gastronomy Serbian cuisine is a mix of Mediterranean, Hungarian, Turkish and Austrian, accompanied by a large diversity of beverages. At least one meal with fish is a must down in one of the restaurants by the rivers, on the water. But when in town, use the opportunity to try out something typically Serbian, like ćevapčići (small rolls of mixed minced meat), all kinds of grilled meat, gibanica (pastry leaves mixed with eggs, cheese or spinach, or meat), karađorđeva šnicla (meat stake) etc. The famous local alcohol beverage is rakija – especially šljivovica (plum brandy) and lozovača (grappa). As for the wines, there is a wide range of it from Mediterranean and continental types. Probably the best place to try out the local cuisine is Skadarlija – the

bohemian quarter. City Break Belgrade City Break Belgrade insures a good deal for individual and group visitors and is available from: London, Berlin, Amsterdam, Milan, Paris, Thessaloniki , Istanbul, Tel Aviv, Athens, Goteborg, Stockholm, Copenhagen, Moscow, Zurich, Vienna, Rome, Frankfurt, Dusseldorf, Larnaca and Brussels. Includes two nights in 3, 4 or 5 star hotel, agency fee and one of the sightseeing tours.Tourist Organization of Belgrade, www. travel-belgrade.com STIRRED AND SHAKEN Daring ideas come from the island. 2012 was a significant year for the UK and its culture. At the global level, it seems, no country has made such a strong impression in the field of innovation, creativity, communications and media. Olympic 2012 has certainly contributed to the concentration of all national creative resources to make "the island" shone on the planet: The Queen celebrated 60 years at the helm of the monarchy, London hosted Summer Olympic and Paralympic Games for the third time, James Bond film series marked its 50th anniversary with SKYFALL, financially the most successful Bond film ever, the world was celebrating Charles Dickens bicentenary, 100 years of the Titanic sink, Adel broke all the records in the global music industry, Peter Higgs has seen the proof of his "God particle" theory, Shakespeare's works were performed in the famous Globe Theatre in 38 languages, including Serbian ...Although Stella McCartney won the title of British Designer of the Year, for the Olympic collection designed for the national team of the United Kingdom, in the finish of 2012 Roksanda Ilincic, Serbia’s most successful fashion designer internationally, won the RED CARPET award for the creations worn by Michelle Obama and the Duchess of Cambridge. Reflections of contemporary and traditional British culture have always been the main focus of the British Council work. Everything that supports great achievements: from education and skills to innovative practices and presentation methodologies, has always been at the centre of activities and projects implemented by this organization in Serbia and around the world. FASHION IN FOCUS This February, the British Council once again confirmed it is the leading global organization for cultural relations – the upcoming London Fashion Week will be promoting the greatest fashion labels, but back to

back of LFW catwalks, many talented designers from around the world will be on spot thanks to the International Fashion Showcase project and competition. A jury panel consisted of eminent representatives of: British Council, British Fashion Council, the Design Museum, the Guardian, the Royal College of Arts, Victoria and Albert Museum's, will decide on the Emerging Talent Award 2013. Commissioner for Serbia at this unique international fashion event is Nenad Radujević, founder of the Belgrade Fashion Week. BFW's L’impossible project was highly ranked in the close competition of international projects and finally, Ana Ljubinković’s, Ivana Pilja’s and George Styler’s collections will be showcased. The ambient of House of Serbia at Dering street, in the heart of Mayfair, will become a unique Serbian fashion shop window. DO NOT MISS THEIR NEXT STEP! Contemporary dance is the area of great importance for the work of the British Council in Serbia. For years this organization have been supporting the development of the dance scene through continuous dance workshops with the most renowned UK choreographers, promotion of contemporary UK dance productions, exchange of experience and collaborative projects. British Council announces even greater engagement in this area in 2013, thanks to exceptional coproduction of two dance companies, each of them equally important for the communities they are working in: Jasmin Vardimon Company from Ashford and Bitef Dance Company from Belgrade. Dance production YESTERDAY - Remember to forget, choreographed by Jasmin Vardimon, exclusively remounted for the Bitef Dance Company from Belgrade has already been through international success and received excellent reviews. Belgrade's version, scheduled to premiere in March, will be enriched by unique sensibility of Serbian dancers. DREAMS DO COME TRUE Another dance story will be told in this year. A story that tells of a poor boy from Cuba who thanks to his hard work, determination and extraordinary talent manages to rise above the dusty outskirts of Havana and stand shoulder to shoulder with the deities of the 20th century ballet - Rudolf Nureyev and Mikhail Baryshnikov. Carlos Acosta, the principal of London Royal Ballet will perform with his partner Zenaida Janowsky in production ON BEFORE at the Belgrade Dance Festival, 10 April at Madlenianum Opera in Belgrade.We are so looking forward

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to this exclusive visit that will bring us together again with the brilliant British choreographer Russell Maliphant, and make us more familiar of the works by Brandsturp Kim and Edward Liang. In the meantime, we warmly recommend reading of the Acosta’s autobiographical novel NO WAY HOME. From total denial to total commitment to art of dance the road may be short , but work, self-discipline and belief in one’s own talent are required in huge quantities. Cinderella tale would not be so popular and lasting if it hadn’t proved so many times. We hope that this tale of Carlos Acosta will encourage some young people in Serbia to dedicate to a career in dance. DANCE THROUGH THE LENS Modern dance and contemporary theatre are wealthy of variety of forms, particularly notable in the recent British dance practice. One of the artists extremely inspiring is Billy Cowie - a brilliant choreographer, composer and filmmaker. His 3-D dance films are whole new universe of interdisciplinary and unusual experience. In the coming year, British Council will present Cowie’s work to the audience in Belgrade aiming to encourage creative impulses from local artists to explore dance beyond stage boundaries. Nonetheless, we hope that Billy Cowie’s opus will encourage greater synergy between filmmakers and choreographers in the direction of dance film development - a genre which is so nicely diverse in the UK, pioneered by Lloyd Newson’s DV8 and followed by many. SILENT HITCHCOCK As we have already touched on film, 2013 will be year of Hitchcock. Although it seems everything about Hitchcock and his movies is known and his films have "must see" status, there is a stage in Hitchcock's work that preceded his Hollywood career and global fame. British Film Institute is reminding us of this part of the rich Hitchcock film biography by completing an ambitious project of digital re-mastering 9 Hitchcock’s silent films from 1925 to1929. Some of these films were very influential for the contemporary filmmakers: The Ring (1927) was inspirational to French director Michel Hazanavicius for his 2012 global success film THE ARTIST, accessorised with dozens of highest awards in the industry. British Council joined the global promotion of Hitchcock’s re-mastered silent films and new commissions of music scores by contemporary British composers. Check-out the festivals and cinemas near you for a new look at the King of Suspense.

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SELECTOR Since the Beatles released their first LP 50 years ago, a British music factory didn’t stop the "production line" of rock and pop icons, musicians who critically influenced many generations and their views. It is pointless to attempt any counting or compiling ultimate all-star playlist. Historically over viewing of "the island's" distinctive sound often leads us to wonder what the beginnings were. It is for this reason and in order to early detect new music trends and their initiators, the British Council has launched a global project SELECTOR radio. This radio program each week promotes new British sound, latest music commotions as a basis for serious music projects, today's alternative that will become the backbone of tomorrow's mainstream. For all of you who have long since outgrown MTV and want to listen to the latest British sounds from the VIP box, follow radio SELECTOR online or via growing network of local radio stations in Serbia. THIS ISN’T THE END If you remember the spectacular opening of the London Olympics, directed by Danny Boyle, Great Britain was portrayed as a blend of traditional and contemporary, a cradle of punk, scientific achievements, modern technology and design, land of rich and poor, Shakespeare and Harry Potter, and all that illuminated with the Olympic torches designed by Thomas Heatherwick. If you still keep that memory it will be easier for you to spot the work of the British Council in your area. They are around for 73 years already. ONE (IM)POSSIBLE VISIT TO THE NATIONAL LIBRARY OF SERBIA If one could imagine eternity in space, it would look like a library, like its most hidden part – the depot, where the books are stored. If one see that eternity according to the Christian doctrine, it would be appropriate to ask if the newcomer would find himself in heaven, hell or in purgatory. If we perceived that endless space as a labyrinth, we would be dizzy. A man would find himself, like a Hitchcockian hero, wrongly accused, although in totally different surroundings. Alberto Mangel claims that the logic of the library is a labyrinthine one, and we find the same datum in The Name of the Rose by Umberto Eco, where monk Jorge de Burgos runs a labyrinthine library. If we further agree with Mangel that there are few who do not see that our lives lack meaning and purpose, the way out shows itself in the solving of the logic of the library’s labyrinth,

on condition that we overcome the dizziness. The new generations from the middle of the fifties of XX century and the appearing of pop art on the American and British cultural scene had no time for high culture restrictive elitism and accepted popular culture as a liberating force. If we somewhat rephrased the name of the pioneer work of pop art by Richard Hamilton Just what is it that makes today’s homes so different, so appealing? and redirected it to the zone of books, we would ask the question, which is not only relevant but urgent too: Just what is it that makes today’s libraries so different, so appealing? The key feature of the pop revolution would be integration of art into life, its expansion to the entire environment, with the artists’ having in mind the consumer mass culture and the way it communicates with the public, as well as its clichés and manipulations. Following the further road signs of pop art, the labyrinth library can become a place for happenings as well. In pop art a happening could take place in a supermarket, during a highway ride, in the friend’s kitchen. Why then not imagine something like that in a library? After all, a happening in pop art could happen in front of no one. Such direction would include a person visiting the library alone, listening to the silence there and trying to make some noise. When in 1973 the building of the National Library of Serbia was finished on Vračar plateau, after its amazing centuries-old nomadic history, it was done with the mission that it be not only a depot, a temple of books, a monumental building marking the memory of the cultural genocide committed in the bombing on 6 April 1941, but also the first true world integration of a national library in one cultural field. It was then that book lovers were enabled to come out of spiritual provincialism for the first time. In the seventies of the last century, when the new building also symbolically showed that "manuscripts and cultural heritage cannot burn," the National Library was supported by Jean-Paul Sartre, André Malraux and other great minds of the time, giving our National Library its manuscripts and rare editions of books. Through that act they were all invited into the universe of the Serbian Library, as well as any other. Today, in a total lack of sense, the Library has a new assignment. Being computerized, today it can find any information and datum, but it cannot find its sense, which can be provided by its visitor only. At the National Library of Serbia’s very entrance, the visitor of this time comes across the first sign: a large green cube with figures 1 and 0, which reminds

us that we, after all, do not live on the other side of reality (either in heaven or in hell), or in the time of the pop art of the sixties of the last century, or in the time of Sartre and Malraux, but in the digitalized age of the second decade XXI century, in which the book is our fate indeed, though with a completely different approach.Following the black line, the walker of this time goes through the first level of the National Library. The line directs him to various destinations / reading rooms, depending on the task he is to do – to deal with manuscripts several centuries old, written on parchment, to search for Politika from the beginning of the last century, to feel the pages of its paper one hundred years old, or to come across the reading room in which there are the desk, typewriter, camera and photographs of Miloš Crnjanski, the study and personal library of Milan Rakić, or to examine laws and regulations in the law reading room like Kafka’s hero Josef K., or to go to the gallery from which hundreds of (un)tired searchers can be seen – which is a matter of personal choice, needs and given assignments. What rescues the searchers from the dizziness and Hitckockian plots in the solving of the library labyrinth, heaven and/or hell is the fact that each one of them in it has his Virgil and Beatrice that bring the wanted publication from the labyrinth of the depot. They bring it out from eternity, and the visitor faces it in the present. At the same time, with the silence of tireless readers, with the searchers for its own and other people’s destinies, with the exposers of senselessness and of all sorts of everyday meanness, outside the black line, the National Library opens the space for the mentioned pop art happenings, though the very arrival in the role of a researcher is probably a happening in itself. The halls of the National Library have become a real space for the noise of culture – for you talented musicians, painters, writers, scientists from the Serbian and world cultural area. The conductors of the orchestra are the ones like Sartre and Malraux once, and today, in our country, like Dinko Davidov, Milan Cile Marinković, Miodrag B. Protić, Rajko Maksimović, Miodrag Bata Knežević, who recently donated their works of art to the Library and invited us to live in a common cultural space with all of those stored in the depot of the National Library of Serbia, the space of eternity that does not exist until we talk of it. sa srpskog na engleski preveo Dragan Purešić.

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SWATCH www.swatch.com

SALSA Jeans www.triple-jump.com

S&L www.s-l.co.rs

SISLEY www.sisley.com

SPORT

SPRINGFIELD www.spf.com

ADIDAS www.adidas.com

ST.GEORGE www.st-george.rs

N SPORT www.n-sport.net

UNITED COLORS OF BENETTON www.benetton.com

CONVERSE www.triple-jump.com

URBAN SHOP www.urbanshop.co.rs

PUMA www.n-sport.net

TFY www.tfybrand.com

PWL www.pwlfashion.eu

WOMEN'SECRET www.womensecret.com

BELGRADE DESIGNERS

JELENA STEFANOVIĆ jelenastefanovic.store@gmail.com

ANA LJUBINKOVIĆ www.ana-ljubinkovic.com

JOVANA MARKOVIĆ www.jovanamarkovic.com

ANA ŠEKULARAC www.boutique.anasekularac.com

LADA DRAGOVIĆ lada_dragovic@yahoo.com

ATELJE ALTERNATIVA Daniela Glišić, Olja Ćaćić, Tijana Žunić www.ateljealternativa.com

LJUBA SIKIMIĆ www.railwaymoda.com

ZARA www.zara.com ZEKSTRA www.zekstra.com XYZ Fashion Center www.sportina.rs

MARTINI VESTO www.martinivesto.rs

ACCESSORIES

MASSIMO DUTTI www.massimodutti.com

ACCESSORIZE www.accessorize.com

MISS SIXTY www.fashioncompany.rs

ALDO www.aldoshoes.com

MONA www.mona.rs

DISTANTE www.distante.rs

MONSOON www.monsoon.co.uk

DVE ŠMIZLE www.dvesmizle.rs

MOVEM FASHION www.movem.rs

FREY WILLE www.frey-wille.com

NICOLA’S www.nicolas.rs

LaDoLa Lu www.facebook.com/ladolalu

N FASHION www.n-sport.net

LA GATTA www.lagatta.rs

PATRIZIA PEPE www.patriziapepe.com

LIDIJA JOVANOVIĆ www.lidijajovanovic.net

PINKO www.pinko.com

OFFICE SHOES www.officeshoes.rs

PWL www.pwlfashion.com

PIERRE LANG www.pierre-lang.com

P1 Kralja Petra 75

SHERRI HILL info@sherrilhill.rs

184

FUNDUS Sonja Krstić, Dijana Mihajlović, Jelisaveta Tatić fundus3@gmail.com

REPLAY www.fashioncompany.rs

BATA SPASOJEVIĆ www.bataspasojevic.com BLEYZER www.bleyzerfashion.com DAMSEL in distress www.damselindistresslingerie.com DARKO KOSTIĆ www.facebook.com/DarkoKostic

IDENTITY www.jspfashion.com INES JANKOVIĆ www.inesjankovic.com IRENA GRAHOVAC www.irenagrahovac.com IVA SOKOVIĆ www.ivasokovic.com IVANA MURIŠIĆ ivana.murisic@gmail.com JASMINA SANADER jasminasanader@gmail.com

MIHANO MOMOSA www.facebook.com/MihanoMomosa MILICA OPAČIĆ www.milicaopacic.com NATAŠA ŠARIĆ www.natasasaric.com NINA KARLAVARIS ninakarlavaris@gmail.com

DEJAN DESPOTOVIĆ despotovic.dejan@gmail.com

NO BROTHERS NO SISTERS www.tijanapavlov.com www.sestres.com

DESIGNERS HOUSE office@designershouse.rs

PEĐA NERIĆ pedjaneric@yahoo.com

DRAGANA OGNJENOVIĆ www.draganaognjenovic.com www.softwarebeograd.com

SESTRES www.sestres.com

DRESSING SHOWROOM Ana Grebec, Marija Sinđelić, Milica Martić, Ana Vasiljević, Katarina Vučetić, Marta Miljanić, Nenad Stamenković modni.studio.dressing@gmail.com EMILIJA PETROVIĆ Belgrade Design District Čumićevo Sokače, lok 10

TAMARA RADIVOJEVIĆ www.tamararadivojevic.com VERICA RAKOČEVIĆ www.vrcompany.com VIKTORIJA DŽIMREVSKA www.viktorijadzimrevska.com ZORAN STANIĆ Belgrade Design District Čumićevo sokače, lok. 14a