Cultural Biography of Haute Couture: the Story of Aleksandar Joksimović's Vitraž Collection

The term "grandiose pseudo-clasicism", introduced to the study of fashion in socialism by Djurdja Bartlett, does not hold ground in the case of Yugoslav/Serbian offical fashion industry. Instead, I claim that a more appropriate term would be "grandiose exotism", since Yugoslav/Se...

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Autor principal:	Danijela Velimirović
Formato:	article
Lenguaje:	EN FR SR
Publicado:	University of Belgrade 2016
Materias:	Anthropology GN1-890
Acceso en línea:	https://doaj.org/article/da7df93abac14b35b2061645d97ac470
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id	oai:doaj.org-article:da7df93abac14b35b2061645d97ac470
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spelling	oai:doaj.org-article:da7df93abac14b35b2061645d97ac4702021-12-02T01:42:55ZCultural Biography of Haute Couture: the Story of Aleksandar Joksimović's Vitraž Collection0353-15892334-8801https://doaj.org/article/da7df93abac14b35b2061645d97ac4702016-03-01T00:00:00Zhttp://eap-iea.org/index.php/eap/article/view/450https://doaj.org/toc/0353-1589https://doaj.org/toc/2334-8801The term "grandiose pseudo-clasicism", introduced to the study of fashion in socialism by Djurdja Bartlett, does not hold ground in the case of Yugoslav/Serbian offical fashion industry. Instead, I claim that a more appropriate term would be "grandiose exotism", since Yugoslav/Serbian fashion did not build its identity on the pseudoclassical esthetical models, but on the incorporation of exotic motives and patterns form the national thesaurus. "Grandiose exotism" was a part of the wider project of "national-style" fashion that dominated the history of Yugoslav/Serbian fashion during the 1960s. This form of fashion production was a convenient means for the presentation of Yugoslav idiosyncrasies. Since it corresponded with the characteristics of the social and political milieu of the Yugoslav state, "national-style" fashion symbolically represented the aspects of the identity of Yugoslavia as a socialist and non-aligned country. Therefore, the socialist regime gave a highly representative and commercialized role to grandiose exotism, as an exclusive style in national fashion. However, in the domain of everyday practices, exclusive fashion production was denied high cultural value, since its products were subjected to processes of commoditization and exchanged for very low sums of money. Parallel to the processes of commoditization, there was the process of informal singularization carried out by groups who had access to warehouse stocks of haute couture. Unfortunately, the lack of data on the further cultural biography of these objects disables us to fully study the destiny of exclusive pieces of Yugoslav fashion production in socialism.Danijela VelimirovićUniversity of BelgradearticleAnthropologyGN1-890ENFRSREtnoantropološki Problemi, Vol 1, Iss 2, Pp 91-104 (2016)
institution	DOAJ
collection	DOAJ
language	EN FR SR
topic	Anthropology GN1-890
spellingShingle	Anthropology GN1-890 Danijela Velimirović Cultural Biography of Haute Couture: the Story of Aleksandar Joksimović's Vitraž Collection
description	The term "grandiose pseudo-clasicism", introduced to the study of fashion in socialism by Djurdja Bartlett, does not hold ground in the case of Yugoslav/Serbian offical fashion industry. Instead, I claim that a more appropriate term would be "grandiose exotism", since Yugoslav/Serbian fashion did not build its identity on the pseudoclassical esthetical models, but on the incorporation of exotic motives and patterns form the national thesaurus. "Grandiose exotism" was a part of the wider project of "national-style" fashion that dominated the history of Yugoslav/Serbian fashion during the 1960s. This form of fashion production was a convenient means for the presentation of Yugoslav idiosyncrasies. Since it corresponded with the characteristics of the social and political milieu of the Yugoslav state, "national-style" fashion symbolically represented the aspects of the identity of Yugoslavia as a socialist and non-aligned country. Therefore, the socialist regime gave a highly representative and commercialized role to grandiose exotism, as an exclusive style in national fashion. However, in the domain of everyday practices, exclusive fashion production was denied high cultural value, since its products were subjected to processes of commoditization and exchanged for very low sums of money. Parallel to the processes of commoditization, there was the process of informal singularization carried out by groups who had access to warehouse stocks of haute couture. Unfortunately, the lack of data on the further cultural biography of these objects disables us to fully study the destiny of exclusive pieces of Yugoslav fashion production in socialism.
format	article
author	Danijela Velimirović
author_facet	Danijela Velimirović
author_sort	Danijela Velimirović
title	Cultural Biography of Haute Couture: the Story of Aleksandar Joksimović's Vitraž Collection
title_short	Cultural Biography of Haute Couture: the Story of Aleksandar Joksimović's Vitraž Collection
title_full	Cultural Biography of Haute Couture: the Story of Aleksandar Joksimović's Vitraž Collection
title_fullStr	Cultural Biography of Haute Couture: the Story of Aleksandar Joksimović's Vitraž Collection
title_full_unstemmed	Cultural Biography of Haute Couture: the Story of Aleksandar Joksimović's Vitraž Collection
title_sort	cultural biography of haute couture: the story of aleksandar joksimović's vitraž collection
publisher	University of Belgrade
publishDate	2016
url	https://doaj.org/article/da7df93abac14b35b2061645d97ac470
work_keys_str_mv	AT danijelavelimirovic culturalbiographyofhautecouturethestoryofaleksandarjoksimovicsvitrazcollection
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Cultural Biography of Haute Couture: the Story of Aleksandar Joksimović's Vitraž Collection

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