The paper offers an analysis of fashion press in Serbia in the 20^th century as a medium that both transferred fashion news and fostered stereotypes about women's needs, obligations and opportunities. Fashion magazines cannot be analyzed separately from women's press, whose sections dedicated to fashion, illustrations and photographs contributed to the affirmation of some established models, while also influencing the shaping of taste and public opinion. By placing individual journals in the context of the period when they were current, and when their design and content were being changed, it is possible to trace a whole series of social and political changes in Serbia in the 20^th century. The same magazines often had the role of arbiters of fashion taste and served as a source of practical advice in times of crisis and saving.

In the early 20^th century and especially between the two world wars, in accordance with the rise of mass culture, press in Serbia followed the models set by European press.

Quite oppositely, after World War II, a new socialist culture took shape which would, since the mid-1950s, begin to seek stylistic models in the West, reinterpreting them according to the then current tastes of the socialist community. The period of economic growth led to a rise in the standard of living and an increased consumer spending, which was reflected in the press through regular reporting on fashion shows, the rise of the national textile industry and Yugoslav fashion design, especially in the late 1960s and throughout the 1970s.

Products of fashion industry originating in the West were carefully selected for reproduction in magazines in accordance with the need to meet the classical ideals of a socialist dress code. By the end of the 1980s, women's press included an increasing number of texts on fashion, which influenced the shaping of individual desires to imitate international models, while in the 1990s many national magazines were discontinued and attention was switched to international ones and their offer.

Tekst predstavlja pokušaj analize istorije Bijenala industrijskog dizajna tokom prvih dvadeset godina njegovog postojanja. U središtu naše pažnje biće najvažniji organizacioni aspekti: napori vezani za ustanovljavanje Bijenala, definisanje njegovih ciljeva i uloge, te njegovih dostignuća i, na kraju, ali ne manje važno, potreba da se revidira temeljni koncept ove manifestacije.

U Jugoslaviji, glavni cilj Bijenala industrijskog dizajna bio je povezivanje dizajnera sa industrijom. Ova manifestacija je sa velikim uspehom ispunjavala tu funkciju, naročito tokom prve decenije postojanja, kada je Bijenale industrijskog dizajna u LJubljani, zajedno sa Milanskim trijenalom, bilo jedna od najvažnijih manifestacija u vezi sa dizajnom u Evropi. Pored toga, bilo je to i jedino bijenale te vrste na svetu. Na Bijenalu je učestvovao veliki broj dizajnera kako iz Zapadne, tako i iz Istočne Evrope. Uz redovno učešće italijanskih, nemačkih i autrijskih dizajnera, Bijenale je nudilo više od pukog uvida u istoriju i razvoj jugoslovenskog dizajna. U okvirima datog koncepta i u različitim periodima, Bijenale je na jednom mestu okupilo različite pristupe nekih od vodećih evropskih dizajnera kako u pogledu tehnologije, tako i u pogledu forme. Tokom prve dve decenije postojanja, Bijenale je prilično uspešno ostvarivalo svoj cilj – povezivanje dizajnera i industrije. Ipak, osamdesetih godina XX veka, u vreme postmodernizma, kao i nakon dvadeset godina postojanja, modernistički koncept više nije bio prihvatljiv.

The paper examines the concept of originality, its historical sources and the different forms of its manifestation in the field of creativity. Special attention is paid to the problem of originality in the field of clothing, so the phenomenon of fashion is treated, more from the perspective of a slicker than of a fashion designer. The overview of the development of historical conditions in the culture and society that preceded the rise of the value of originality should create assumptions for its understanding, i.e. of the reason for which this term has been imposed as one of the supreme values of the modern age. Originality is viewed in the light of the possibilities of aesthetic expression of the individual, which finds the means of identification in the manifestations of personal taste, but also the means for realization of its individuality, and authentic existence.

In its nature and structure, the book has always been interactive. However, the paper does not deal with the primary interactivity of books. In the mid-20^th century, new types of books appeared which required a different, completely new, dynamic way of reading. The new book has appeared which offers new opportunities. Although this approach was a surprise to readers, the book's new nature was in accord with everything that was happening around it – the society of the spectacle. The earliest interactive books were stories which involved the reader in their creation – the socalled gamebooks (in which readers could choose among several possible endings). They were followed by interactive books for children, lift-the-flap books, tactile books, soundcreating books, books that smell when rubbed, etc. Along with being interactive, the book has also become a toy. With the rise of desktop computers, and, subsequently, laptops, and the expansion of computer and network activities, the book was transferred into that domain. At first, it was the electronic book whose underlying structure was the same as that of today's Internet pages (hyperlinks). As technology has developed, via interaction through animation and lavish illustration, the book has turned into an application. Nowadays, the book is a form of multimedia content, which alters the linear reading into parallel and multidimensional reading. The question arises whether this constitutes a new future of the book or merely another form/dimension of the book, where the reader will be able to choose the preferred form.

U vreme kada se muzeji i arhivi suočavaju sa velikim finansijskim, društveno-ekonomskim i digitalnim izazovima, saradnja itekako ima smisla. Zato uspostavljanje zajedničke osnove koja nudi rešenja za potrebe i probleme partnera predstavlja jedno od najvećih dostignuća projekta Europeana Fashion. Projekat Europeana Fashion finansiran je u okviru Programa za konkurentnost i inovativnost Evropske komisije (CIP), tema: Agregacija sadržaja za portal Europeana (Aggregating Content for Europeana); projekat je dobio trogodišnju donaciju za izradu tematskog agregatora koji bi prikupljao digitalne sadržaje u vezi sa modom.

Konzorcijum Europeana Fashion činila su 22 partnera čiji je zadatak bio da na portal Europeana postave 700.000 digitalnih zapisa, koji sadrže digital- ne slike različitih predmeta, od istorijskih kostima i aksesoara, do crteža, časopisa, skica, forografija, video zapisa, modnih kataloga i dr.

Projekat Europeana Fashion finansiran je u okviru Mreže najbolje prakse (Best Practice Network) i morao je da ispuni sledeće ciljeve:
• agregirati i međusobno uskladiti postojeće digitalne sadržaje iz najvažnijih i najzanim- ljivijih evropskih modnih zbirki;
• postići bolju interoperabilnost rasutih i heterogenih zbirki;
• omogućiti pristup digitalnim sadržajima kreiranjem posebnog portala posvećenog modi;
• razviti alate i servise za integraciju sadržaja koje kreiraju korisnici;
• angažovati evropsku modnu zajednicu u muzejima, na univerzitetima i u privatnom sektoru.

Projekat se formalno završio u februaru 2015, a nakon toga ga je ocenila Evropska komisija. U oceni je zaključeno da je projekat ostvario sve zacrtane ciljeve, a da je u nekim segmentima prevazišao očekivanja.

Nakon okončanja projekta, opstanak portala Europeana Fashion omogućen je zahvaljujući dvema inicijati- vama:
• Međunarodnom udruženju Europeana Fashion (Europeana Fashion International Association)

U avgustu 2014. godine osnovano je Međunarodno udruženje Europeana Fashion, koje je je registrovano u Italiji. Zahvaljujući ovoj inicijativi, Europeana Fashion je postala pravno lice koje se finansira prilozima članova.
• Europeana Fashion u okviru Infrastrukture digitalnih servisa portala Europeana (Europeana Digital Service Infrastructure)

Krajem septembra 2014. godine, Fondacija Europeana, tj. pravno lice koje je nosilac incijative Europeana, podnela je predlog projekta u okviru još jednog programa koji finansira Evropska unija – Instrumenta za povezivanje Evrope (Connecting Europe Facility). Ove inicijative će omogućiti projektu Europeana Fashion da opstane, proširi postojeću mrežu i realizuje konkretne akcije.

In the town of Corfu there is a church dedicated to St Spyridon of Tremithus, built in 1590. It keeps the relics of one of the ancient saints of the Christian church – St Spyridon the miracle worker, the Bishop of Tremithus and the patron of the island and town of Corfu. The Church of St Spyridon abounds in valuable liturgical objects. The most numerous among them are vigil lamps donated by Greek, Venetian and Russian donors. Items donated by two Serbian donors can also be found among the works of applied art in the Church of St Spyridon.

The first votive gift is the silver vigil lamp donated by the Trieste merchant Hristofor Tuzlić in 1862. The second item is a silver diadem, donated by Marija Kovačević of Trieste. The diadem was made between 1874 and 1883 in the form of a flower garland; it is used on festal occasions, when it is placed as a decoration upon the reliquary which contains the relics of the saint. It may be observed that the items donated by Serbian donors conform to the stylistic tendencies of the European applied art of the 19^th century. Having in mind that both Hristofor Tuzlić and Marija Kovačević were citizens of Trieste, we may assume that both votive gifts originated in some of the goldsmith's workshops of Trieste. The votive gifts made to the church of St Spyridon on Corfu by the mentioned Serbian donors were an expression of personal piety and the veneration of St. Spyridon. Nevertheless, they confirm of the presence of the veneration of the saint among of the wealthy Serbian bourgeoisie in Trieste.