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The paper covers the history of 20th century Serbian fashion from the 1920s through the 1980s, focusing on the problem of its historization. Based on established readings submitting 20th century Serbian fashion to politics thus distancing it from global fashion history, I aim to structure a possible historical narrative of fashion by identifying the elements of haute couture in 20th century Serbian fashion industry. Rather than contrasting Serbian fashion figures with their Western counterparts and deepening the West / East Europe fashion divide, the paper traces similarities between them, demonstrating that 20th century Serbian fashion responded to haute couture trends simultaneously with their emergence in the West.

During his lifetime, Karl Otto Lagerfeld (1933–2018) attained such industry renown that he became widely known as the Emperor of Fashion. Lagerfeld ran several fashion houses, such as Chanel and Fendi, leading them to unprecedented profits. He also created his own fashion label. Owing to his unremitting pursuit of excellence through creative expression, Lagerfeld’s creativity, energy and intuition for fashion trends seemed only to expand throughout his long career. The authors suggest that, through his creative approach to fashion, architecture, and publishing, Lagerfeld articulated and refined a core set of values-such as “Bildung,” “lightness” and “the unexpected”—that served as a Diltheyan “nexus” linking the Prussian-born designer with the global consumer. The authors apply two specific creativity theories to Lagerfeld’s life and work, namely the mini-c, little-c, Pro-c and Big-C creativity theory and Sternberg’s WICS-model (wisdom, intelligence and creativity). The article uses a psychobiographical case study design formulated according to a research paradigm of modern hermeneutics. First- and third-person data on Lagerfeld were collected and evaluated through a hermeneutically-informed syntho-analysis. Research ethics were followed. The findings demonstrate the interplay of mini-c, little-c, Pro-c and Big-C creativity throughout the subject’s lifetime, as well as the subject’s application of WICS, both of which led to the subject’s worldwide success. Conclusions are drawn and recommendations for future research and practice are provided.

The French and Italian lexicon of the 20th century fashion illustrates the fashion of the time, its attitudes and feelings. In this contribution, the analysis of some cases highlights unexpected linguistic paths, which find the French matrix for reverse-loan words to Italian and vice versa, for internationalism, calques and loans. The reasons and modalities of the French linguistic influence on Italian language are investigated so as the influence that both languages receive from English language in this domain. The distribution of these language contacts can be different following two directions: the terminology corresponding to production (dresses, accessories, manufacts etc.) and terminology of fashion marketing and communication (how to communicate and promote these products in the fashion world). These two contexts bring out different lexical tendencies into the French and Italian lexicon of the 20th century.

Old men ought to be explorers Here or there does not matter We must be still and still moving Into another intensity For a further union, a deeper communion Through the dark cold and the empty desolation, The wave cry, the wind cry, the vast waters Of the petrel and the porpoise. In my end is my beginning.

Bu çalışma İtalyan moda tasarımcısı Roberto Capucci’nin 1950’li yıllarda ve sonrasındaki kırk yıl boyunca moda, Haute Couture ve Giyilebilir Sanat alanındaki çalışmaları ve Capucci’nin diğer tasarımcılara, moda takipçilerine ve moda sektörüne etkilerine değinmektedir. Roberto Capucci’ nin kendinden sonraki dönemlerde Giyilebilir Sanat ve Haute Couture alanında ilham kaynağına dönüşmesi araştırılacaktır. Capucci, 1930 yılında Roma’da doğmuş ve II. Dünya Savaşı'ndan sonra ortaya çıkan modern İtalyan moda endüstrisinin başlangıcı içinde doğan bir tasarımcı olmuştur. 1951 yılında yirmi bir yaşındayken, Floransa’da kendi modaevini açarak kendi koleksiyonlarını hazırlamaya başlamıştır. Moda konusunda geniş hayran ve müşteri kitlesine sahip olan Capucci, halen Roma’da yaşamaktadır. Malzeme, biçim ve renk konusundaki devrimsel tasarımlarıyla döneminde bilinen sınırları değiştirmiştir. Tasarımcı özel yenilikleri, zaferleri ve kaygıları arasında dolaşarak yaratımlarda bulunmuştur. Tasarımlarında doğa, mimari ve çağdaş sanattan ilham almıştır. Dünya gezileri düzenlemiş ve İtalya’ya döndüğünde önemli çağdaş tasarımlara imza atmıştır. Dünyanın sanat müzelerinin koleksiyonlarında yer alan; deneysel, gelişmiş, heykelsi ve doğa etkileşimli sanatsal çağdaş giysi tasarımları ve müzelerde sergilenen Giyilebilir Sanat anlayışındaki tasarımları ile tanınmaktadır. Tasarım koleksiyonları önemli sanat müzelerinin süreli sergileri olarak da yer almaya devam etmektedir. Çalışmada sanatçının giysi tasarımına farklı bakış açısı, moda tasarım kavramına, moda eğilimlerine yaklaşımı ve bahsi geçen tasarım koleksiyonları, sanatsal ve teknik açıdan incelenecektir.