STEFAN ŽARIĆ
Nezavisni istraživač, Kula, Srbija
z.stefan027@gmail.com

UTICAJI JAPANIZMA I JAPANSKE MODE U SRPSKOJ MODI (1920–2020)
INFLUENCES OF JAPONISME AND JAPANESE FASHION ON SERBIAN FASHION (1920-2020)

Zbornik 18/2022 (Muzej primenjene umetnosti), strana 63-73

Kategorija članka: originalni naučni rad

UDK:
391(497.11)"1920/2020"
391(529)"1920/2020"
316.7:391

Apstrakt:
Fenomeni japanizma i „japanske modne revolucije”, koju iniciraju Kenzo Takada te japanski avangardni kreatori visoke mode Rej Kavakubo, Isej Mijaki i Jođi Jamamoto, temeljno su istraženi i izlagani u okviru istorije i muzeologije zapadne mode. Istovremeno, uticaji japanske mode na srpsku modu XX i XXI veka još uvek su neistraženi. Predloženi rad stoga nastoji da pokaže kako japanizam kao modno kretanje unutar zapadne mode i moda kao kulturni označitelj Japana dijahronijski funkcionišu u modnom sistemu Srbije u vremenskom okviru između 1920. i 2020. godine. Na planu mode XX veka predmet analize biće predstave „japanske moderne devojke” (modan garu) u stvaralaštvu Milene Pavlović Barili, tekstovi o Kenzu Anđelke Slijepčević, te aproprijacije kimona u modnom dizajnu Aleksandra Joksimovića i LJiljane Žegarac. U kontekstu mode XXI veka biće ispraćeni uticaji japanske avangarde na produkciju pojedinih modnih dizajnera i dizajnerki okupljenih oko Beogradske nedelje mode. Mapirajući različite elemente japanizma u srpskoj modi, prisutne posredstvom zapadne mode, te kroz usvajanje japanskih modnih matrica kao opštih kretanja mode na globalnom nivou, istraživanje otvara mogućnost novog čitanja japanskosrpskih kulturnih kontakata kroz istoriju mode.

Ključne reči:
istorija mode, japanizam, japanska avangarda, kimono, srpska moda

Summary:
As Japonisme in Serbian fashion of the first half of the 20^th century was the result of Western fashion influences, its inception in the national fashion system can be traced in Milena Pavlović Barilli’s 1920s works as pioneering representations of westernized Japanese modern girls – Modan garu. With the restoration of bilateral relations between Serbia and Japan after the Second World War, Kenzo Takada’s global impact in the 1970s is revealed in Anđelka Slijepčević’s writings. At the same time, Aleksandar Joksimović resorted to ‘self-orientalization’ by turning Romanian folk costumes in kimono-resembling forms as a response to Dior and Saint Laurent’s appropriations of Japan, whereas in the 1980s Ljiljana Žegarac designed actual kimonos. After Tokyo’s positioning as a global fashion capital in the 1980s and the foundation of Belgrade Fashion Week in 1996, the influence of Japanese avant-garde designers Issey Miyake, Yohji Yamamoto, and Rei Kawakubo can be identified at the end of the 20 ^th and the beginning of the 21 ^st century Serbian fashion. By analyzing the collections of contemporary Serbian fashion designers, it is noticeable how the Japanese avant-garde has encoded itself in their expression as a denouncement of tradition. The Japonisme discourse in Serbian fashion is thus completed through an insight into the most recent fashion practices. While not a dominant aesthetic and stylistic tendency in Serbian fashion, Japonisme marked it to an extent, allowing both its contextualization within Serbian fashion history and the strengthening of Serbian fashion within global fashion, welcoming further studies on the subject.

Translated by the author

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