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Diplomsko delo z naslovom Oblikovanje kolekcije Luč na obzorju predstavlja proces oblikovanja modularne kolekcije ženskih oblačil z razstavljanjem posameznih oblačilnih kosov in sestavljanjem v nove izdelke. V teoretičnem delu diplomskega dela so predstavljene ideje, na podlagi katerih sem razvijala kolekcijo. Osebno počutje in vprašanja o smislu v “obdobju nesmisla” so me pripeljala do raziskovanja eksistencializma v likovni umetnosti. COVID-19 je pustil posledice v modni industriji. Oblikovalci v kolekcije prav tako vključujejo eksistencialistične tematike. Trajnostna moda postaja še aktualnejša, povpraševanje s strani potrošnikov še večje. Raziskovala sem meni zanimive trajnostne prakse, kot so kapsulna kolekcija, multifunkcionalnost in modularnost. Predstavila sem nekaj multifunkcionalnih in modularnih znamk, ki so me najbolj navdušile. V eksperimentalnem delu je prikazan razvoj kapsulne kolekcije ženskih modularnih oblačil. Raziskovala sem oblike razpadajočega listja, jih vključevala v kroje in silhuete. To sem prikazala z inspiracijskimi kolaži. Predstavljena je barvna lestvica z navdihom v slikarskih delih Jožeta Tisnikarja. Izbrani materiali s surovimi robovi podkrepijo tematiko razgradnje. Iz kolekcije pa kljub temačnem vzdušju “sveti upanje”. Cilj mojega diplomskega dela je bil oblikovati kolekcijo modularnih izdelkov, ki z razstavljanjem in sestavljanjem v nove povečajo število možnih kombinacij in so uporabni skozi vse leto. To po mojem mnenju poveča življenjsko dobo izdelka in hkrati zmanjša željo po novem, zato se mi zdi modularnost pomemben trajnostni pristop, vreden raziskovanja. My thesis titled “Designing the Collection Light on the Horizon” represents the process of designing a modular collection of women's clothing by disassembling individual pieces of clothing and assembling them into new products. The theoretical part of the thesis presents the ideas on which I developed the collection. Personal well-being and questions about meaning in the “period of nonsense” led me to explore existentialism in the fine arts. COVID-19 has left its mark on the fashion industry. The designers also include existential themes in their collections. Sustainable fashion is becoming more and more popular, consumer demand is even higher. I researched sustainable practices, such as capsule collection, multifunctionality, and modularity. I presented some of the multifunctional and modular brands that inspired me the most. The experimental part shows the capsule collection development of women's modular clothing. I researched the shapes of decaying leaves, incorporating them into patterns and silhouettes. I illustrated this with inspirational collages. A color scale with inspiration in the paintings of Jože Tisnikar is presented. Selected materials with raw edges underline the theme of decomposition. Despite the dark atmosphere, the collection "shines hope". My thesis aimed to create a collection of modular products, which by disassembling and assembling into new styles increases the number of possible combinations and can be worn throughout the whole year. This, in my opinion, increases the life expectancy of clothing items and at the same time reduces the desire for something new. That is why I find modularity a sustainable approach, worth exploring.

Upotreba prirodnih i recikliranih materijala za izradu odjeće nameće se kao nužan trend koji bi trebao smanjiti globalno zagađenje okoliša i prirodnih resursa. Vođeno tom idejom pokušalo se osmisliti i izraditi kolekciju haljina za djevojčice. Za izradu haljina izabrane su pamučne tkanine (jednobojno pamučno platno i platno s uzorkom), neiskorišteni ostatci vunene tkanine te prugaste pamučne krpe. Kao rezultat rada predstavljena su tri autorska modela koji su nosivi i prikladni za svakodnevne aktivnosti djeteta, pri čemu prirodni materijali omogućuju njihovu udobnost.

V teoretičnem delu diplomske naloge je podana zgodovina torb in nahrbtnkikov, poleg tega so pregledani nahrbtniki, ki se pojavljajo na slovenskem trgu. Pregled trajnostne mode in trajnostnih materialov se nanaša na eksperimentalni del naloge, kje je predstavljena kolekcija izdelana iz ostankov usnja, kot primer enega od načinov izdelave trajnostne kolekcije nahrbtnikov. V eksperimentalnem delu je predstavljena kolekcija nahrbtnikov z inspiracijo v naravi. Navdih so bili naravni listi rastlin različnih, nepravilnih oblik, ki se lahko poljubno prepogibajo in zlagajo v nove oblike. Kjer je list prepognjen, je nastala funkcionalna guba. Unikatni trajnostni nahrbtniki so izdelani iz ostankov usnja, ki ostanejo pri proizvodnji čevljev v Alpini, d.o.o. Za nahrbtnike so bili izdelani plani tehnoloških operacij, kosovnice in izračuni končnih cen, kar predstavlja tehnični razvoj kolekcije za potrebe proizvodnje. To je prispevek k trajnostnemu razvoju in naši prihodnosti ter praktičen prikaz principa trajnostne mode z uporabo ostankov usnja iz obutvene industrije. Theoretical part of my diploma is based on the review of historic development of backpacks and bags. It also contains information on the current market position of backpacks in Slovenia. Moving further from theoretical to experimental part of my diploma, I concerned myself with durability in durable materials. On this note I developed, designed and manufactured a backpack collection based on scrap leather as an example of how durability can be pursued withing developing textiles (in my case: backpacks). That being said, I designed, developed and manufactured a collection of sustainable backpacks inspired by nature. The main goal was to combine the convencional shape of a backpack and it's functions with natural appearance of leaves that grow on manifold plants. In order to accomplish that goal, I developed several functional folds and incorporated them into design itself – latter compliments the natural look of a leaf. Accordingly, plans for technological operations, BOM, and calculation for final prices were made in order to correctly satisfy all the necesities that need to be satisfied in terms of developing collection's tehcnical approach for mass production. My diploma is a contribution to our future where even more sustainable mindset accompanies the development. Furthermore, it demonstrates a practical approach on how to reuse, redesign and remanufacture scrap leather thus making final backpack products sustainable.

Bogat opus likovnih dela,ali i literarni spisi umetnika Leonida Šejke nastali su tokom pedesetih i šezdesetih godina 20. veka u Beogradu. Stvaralaštvo ovog umetnika, iako jednog od osnivača i aktivnih članova grupe Mediala, veoma je ka- rakteristično i predstavlja jedinstvenu pojavu na čitavom jugoslovenskom prostoru ovog doba. Služeći se koncep- tom kabineta čudesa, fenomenom karakterističnim za rano moderno doba, u ovom radu ponudiće se jedno od mogućih tumačenja sveukupnog Šejkinog stvaralaštva i aktivnosti. Analizirajući njegova likovna dela, zapise i osvrćući se na neke od zaključaka istoričara umetnosti koji su se do sada bavili analizom pojedinačnih dela i serija radova, ili feno- mena osobenih za njegovo stvaralaštvo, pokazaće se kako se Šejkin opus, te način života i razumevanja sveta, treba- ju sagledati u celini, kao konstantan put ka kreiranju svoje- vrsnog modernog kabineta čudesa. Šejkino umetničko po- našanje uporedivo je sa pojedinim modernim umetnicima 20. veka i poetikama koje se neguju u kontekstu dadaizma i nadrealizma. Najzad, ovakav Šejkin pristup otvorio je put i mnogim savremenim umetnicima-kolekcionarima na pro- storima bivše Jugoslavije, koji danas otvoreno koriste mo- dele postavke kabineta čudesa. A rich opus of artworks, but also the literary writings of the artist Leonid Šejka were created in Belgrade during the 1950s and 1960s. Although he was one of the founders and active members of the Mediala group, this artist’s work is very characteristic and represents a unique phenomenon in the whole Yugoslav area of this period. Using the concept of the cabinet of curiosities (Wunderkammer), a phenomenon characteristic of the early modern age, this paper presents one of the possible interpretations of Šejka's overall creativity and activities. By analysing his artworks and writings, and referencing some of the conclusions of art historians who have interpreted his individual artworks and art series or phenomena specific to his work, this paper shows that Šejka's opus, way of life and understanding of the world should be viewed as a whole, as a constant path to creating some kind of a modern cabinet of curiosities. Šejka's artistic behaviour is comparable to the work of some modern artists of the 20th century, and the poetics that were nurtured in the context of Dadaism and Surrealism. Finally, this approach of Šejka's opened the way for contemporary artists-collectors in the former Yugoslavia, who today openly use the settings of the cabinet of curiosities.

U ovom završnom radi biti će prikazan život i znanstveni opus Nikole Tesle. Zatim će biti predstavljeni umjetnici koji su svoj rad inspirirali njegovim djelom, te će na istu temu biti realizirana kolekcija radova uzoraka tekstila. Životopis će biti objašnjen u dva dijela, sa kronologijom događaja, a potom i objašnjenim memoarima nastalim upravo iz Teslina pera. Također će biti realizirana kolekcija dizajna tekstila od ukupno 15 radova.

Namen diplomskega dela je bil oblikovanje unisex kolekcije z izhodiščem v športu polo, v sodelovanju z drugim ustvarjalcem, ter kolekcijo nato predstaviti skozi modni editorial. V teoretičnem delu sem raziskoval šport in modo ter zgodovino športnih oblačil, podrobneje oblačil v športu polo. Nato sem raziskoval zgodovino unisex oblačil, od prvih pojavov, do vpliva zvezdnikov in oblikovalcev do sedanjosti. Predstavil sem tudi nekaj sodobnih znamk, ki delujejo na tržišču z unisex ciljno skupino. V zadnjem poglavju sem raziskoval sodelovanja v modi, od prvih pojavov do danes, kjer bi lahko izpostavil zelo veliko primerov, zato sem sodobne primere strnil na najbolj odmevne. V eksperimentalnem delu sem prikazal proces oblikovanja in razvoj kolekcije. Dodatno sem oblikoval kolekcijo oblačil in dodatkov, v katero sem vključil elemente polo oblačil ter elemente konjeniške opreme. Modni dodatki niso bili izvedeni in so v diplomskem delu predstavljeni le v skicah. V procesu oblikovanja sem izhajal iz estetike polo oblačil iz prve polovice 19. stoletja. Elemente in detajle iz jahalne opreme sem v sodelovanju z oblikovalko usnja prenesel na nove unisex silhuete. Cilj kolekcije je bil ustvariti nove oblike in pridobitev novih znanj na podlagi sodelovanj. Kolekcija je bila nadgrajena z modnim editorialom, kjer sem izvedel še eno sodelovanje za scenografijo na fotografijah. The purpose of this diploma thesis was to design an unisex collection, inspired by polo, in a collaboration with another creator. I also presented the collection through a fashion editorial. In the theoretical part, I researched sport and fashion. I analysed the history of polo clothing and origin of the polo shirt, which was first designed for tennis players and later taken-over by polo. Further, I researched the history of unisex fashion, from the first occurrences to the influence of celebrities and designers up until now, when nearly all clothing is unisex. In the last chapter, I researched collaborations in fashion, from the first examples until today, when fashion collaborations are widely spread, therefore I summed up the most well-known examples. In the experimental part, I presented the process of designing and developing my collection. I designed a collection of clothing and accessories, in which I included the elements of polo clothing and equestrian equipment. In the process of designing, my inspiration was the aesthetic of polo clothing from the first half of the 19th century. The elements and details from equestrian equipment were made in a collaboration with a leather designer, and then transferred onto new unisex silhouettes. The collection was upgraded with a fashion editorial, where I started a new collaboration for the scenography behind the photos.

Ovaj završni rad objašnjava proces izgradnje android aplikacije koristeći java programski jezik i razvojne servise koje pruža firebase okvir. Aplikacija omogućava registraciju i verifikaciju korisnika. Prilikom registracije određena pravila moraju biti zadovoljena kako bi se korisnik mogao registrirati. Jednom kada je korisnik registriran, sprema se u firestore kolekciju te nakon toga može rezervirati termine u školi za jahanje i vidjeti sve termine koje je rezervirao. Administrator sustava može dodavati nove zaposlenike koje aplikacija koristi prilikom izrade termina. This work explains the process of building an Android application using the Java programing language and the Firebase framework. The application enables the registration and verification of users. The registration requires certain rules to be met and if they are the user can be registered. Once registered the users are stored in a Firestore collection and can then create appointments in a school for riding horses and are able to see their scheduled appointments in a list. The admin of the system can create new employes which the system uses when creating appointments.

The paper discusses the historical circumstances of a book collection gift to the burnt library of the Åbo Academy, which then belonged to the Duchy of Finland, Russian Empire. Such a support was organised by the supreme government of Russian Empire and Emperor Nicholas I. Examination of official documents (The Book of Donations to the Vilnius University, 1820-1832; The Activity Daybook, 1823-1832) of the Vilnius University Library; Lists of donated books, preserved in the National Library of Finland and in the Vernadsky National Library of Ukraine, enabled specification of chronology of this charity act, discovering its effectors in Vilnius, and provided qualitative and quantitative parameters of donated books. It was identified, that the shipment of books delivered from Vilnius no earlier than 1829 February 28, consisted of 1481 volumes, mainly duplicate books on different topics, which were deposited to the Helsinki University. Alexander Wiktor Bohatkiewicz, a librarian and a bibliographer in the Vilnius University Library, played a crucial role in the selection of the books. At present, the best part of the donated books is preserved in the National Library of Finland. Specimens from private libraries of Georg Albinius, Nicolaus Decius, Fabian Birkowski, Leo Sapieha, Jan Kazimierz Wojsznarowicz, Georg Forster, Ludwig Heinrich Bojanus etc., and also from institutional libraries of Jesuit Colleges in Grodno, Słuck, Smoleńsk etc. were found within this collection. Completed bibliographical and provenance research of survived books makes a premise to a historical digital reconstruction of the donated collection. The results of provenance research may contribute greatly to the synthetic library history of the Grand Duchy of Lithuania.

Cilj diplomskega dela je oblikovanje komercialne kolekcije oblačil na osnovi obstoječe eksperimentalne kolekcije Imprinted. V teoretičnem delu naloge sem predstavila pojem »komercialno« in raziskala, kaj naredi modno kolekcijo komercialno. Raziskala sem trende naslednjega leta in pregledala komentarje priznanih modnih spletnih strani o predstavitvah smernic na mednarodnih tednih mode. Osredotočila sem se na slovenski trg in opravila intervjuja s trgovinama Emporium in Omara. Na ta način sem izvedela, kateri kosi so najbolj prodajni, ali so večbarvni ali enobarvni ter kakšna je cena najbolj prodajnih kosov. Izvedla sem anketo potrošnikov o njihovih navadah kupovanja oblačil. V procesu sem se vedno vračala k izhodiščni kreativni inspiraciji Memphis stila in ga zato še bolj raziskala. V eksperimentalnem delu sem glede na pridobljene podatke razvila kolekcijo ženskih oblačil Imprinted + na osnovi eksperimentalne kolekcije Imprinted. Kose prejšnje kolekcije sem preoblikovala v bolj uporabne glede na kroj in materiale. Na podlagi ugotovitev teoretičnega dela o tem, kaj naredi kolekcijo komercialno, sem dodala detajle, kot so kapuce, zadrge, žepi, patenti in elastike. Ohranila sem splošne karakteristike primarne kolekcije z ohranjanjem podobne barvne palete in vzdušja, spremenila pa njeno namembnost. Pojasnila sem inspiracijo in vzdušje kolekcij, predstavila razvoj kolekcije, njeno ciljno skupino, uporabljene tehnike, barvno paleto in vzorce, materiale ter skice posameznih oblačil obeh kolekcij. Rezultat diplomskega dela je komercialna kolekcija ženskih oblačil, poimenovana Imprinted +, ki zajema pet končnih videzov in skupaj šteje devet oblačilnih kosov. The goal of the dissertation is designing a commercial line od clothing based on the experimental collection Imprinted. In the theoretical part of the assigment I have focused on the term »commercial« and directed my research towards finding out what makes a fashion collection commercial. I looked into trends for the following year and scoured through renowed fashion websites to find comments on presentations of new ideas directed by international fashion weeks. I decided to put the Slovenian market in the center of my interrogative strategy and conducted interviews with shops Emporium and Omara. With this i found out which types of clothing sell best, wheather they are colorful or monochromatic and what is their place on the price scale. I have also put together a questionnaire for consumers about their buying habits. Along the process i kept using Memphis style as the source of my inpiration and therefore thoroughly examined it. The experimental part served as an opportunity to transform all of the gathered information into a new line of womenswear Imprinted +, using the previous collection Imprinted as a base. I increased the functionality of pieces from the previous collection by reconsidering their cutting patterns and materials. Details such as hoodies, zippers, pockets, elastic bands and ribbing were added based on the research I have conducted in the theoretical part. I kept the general characteristic of the primary collection (Imprinted) by maintaining the same color scheme and style, changing only its functionality. I explained my inspiration, listed significant qualities of the collection, offered an insight into their development, target groups, methodology, color palette and pattern, materials and sketches of individual pieces. The result of the dissertation is a commercial line of womenswear titled Imprinted +, which includes five looks and consist of nine pieces.

Izhodišče za oblikovanje ženske kolekcije sta moda in glasba sedemdesetih let prejšnjega stoletja, ki ponujata močno vizualno podobo. Teoretični del magistrske naloge Oblikovanje ženske kolekcije z izhodiščem v modi 70-ih prikazuje povezavo med modo sedemdesetih let in legendarnim rokovskim pevcem in kitaristom Jimijem Hendrixom, njegovim oblačenjem in življenjskim slogom. V teoretičnem delu je fokus na ključnih letih njegovega glasbenega ustvarjanja, natančneje koncu šestdesetih in začetku sedemdesetih let. Pomemben vpliv tega časa ima hipijevska kultura. V današnji modi se prepletajo tako elementi iz preteklih obdobij kot tudi elementi sedemdesetih let. Ti se preoblikujejo v nove oblike. V eksperimentalnem delu so se skozi proces razvijanja ideje pojavile različne možnosti interpretiranja sedemdesetih let v modi danes. Cilj magistrske naloge je razvoj ženske kolekcije ready to wear za pomlad/poletje 2019. V kolekciji so elementi mode sedemdesetih let. Ti so izraženi v silhuetah, detajlih, materialih in ročnih tekstilnih tehnikah. Posamezni kosi kolekcije so oblikovani tako, da se kljub različnim silhuetam med seboj kombinirajo in ustvarjajo nove videze. The inspiration for Designing women's collection with inspiration in 70s fashion comes from the strong visual identity of the '70s of the last century. The theoretical segment of the master's thesis revolved around creating a women's collection and verbalizing the impact of legendary rock musician Jimi Hendrix, his life and work on the fashion trends of the '70s. It focuses on the critical years of his musical career, in particular, the late '60s and early '70s. The hippy culture of the time also made a notable impact. In today's fashion, a variety of elements from previous eras morph to create new forms. In the experimental segment of the thesis, we follow the various visual interpretation of '70s fashion in the context of modern fashion by following the process of developing ideas. The goal of the thesis is to create a ready-to-wear women's collection for spring/summer 2019. They are expressed in silhouettes, details, materials, and hand made textile techniques. The individual pieces are shaped so that, despite the variety of silhouettes they create, they can be combined in different ways to bring a breath of aesthetic innovation in everyday fashion.

Predmet obravnave diplomske naloge je oblikovanje ženske kolekcije z elementi športne mode. Namen je oblikovati sodobno žensko kolekcijo, ki se navdihuje v smučarski modi. Šport in športna moda sta skozi zgodovino močno vplivala na vsakodnevno oblačenje in še danes močno vplivata na oblikovanje vsakodnevnih oblačil, saj ta postajajo vse preprostejša in bolj funkcionalna. V teoretičnem delu sem raziskovala športno modo, kako se je ta spreminjala skozi zgodovino ter kako je nanjo vplival šport. Osredotočila sem se na smučarska oblačila ter modo 70. in 80. let dvajsetega stoletja. Raziskala sem zgodovino ter značilnosti smučarske mode in njen posredni vpliv na današnjo modo. Največ sem se ukvarjala z elementi in detajli opreme, ki se v tem športu uporablja, in s preoblikovanjem njihovih form v nove oblike in silhuete. V eksperimentalnem delu sem prikazala proces oblikovanja in razvoja kolekcije. Oblikovala sem kolekcijo, v katero sem integrirala elemente smučarske mode. V procesu oblikovanja sem izhajala iz estetike smučarske mode 70. in 80. let 20. stoletja. Specifične elemente in detajle sem izolirala ter jih prenesla na nove ženske silhuete. Cilj kolekcije je bil ustvariti sodobna oblačila z uporabo tehničnih materialov in preoblikovanjem krojev že obstoječih modelov. V procesu oblikovanja sem izdelala tudi različne forme in teksture, ki sestojijo iz gub, robčkov in polnila. Videz klasične silhuete sem nadgradila z eksperimentiranjem z različnimi materiali in oblikami. Subject of consideration in my diploma thesis is design of ready-made women’s collection with elements of sports fashion. Purpose of the collection is designing modern women’s collection inspired with skiwear. Sport and sports fashion have historically, as well as today, had major impact on everyday fashion and still have a major impact on the design of everyday wear, as they are becoming simpler and more functional. In the theoretical part, I explored sports fashion, how it has changed throughout the history, and how sports have influenced it. I focused on ski clothing ad fashion in the 70s and 80s of the twentieth century. Most of all I researched the history and characteristics of ski fashion and it’s influence on today’s fashion. I was mostly attention to the elements and details of the equipment used in skiing and transformation of those forms into new shapes and silhouettes. In the experimental part I showed the process of designing and developing collection. I designed ready-to-wear collection in which I integrated the elements of ski fashion. At the beginning of my design process I was inspired by the fashion of the 70s and 80s. I isolated the specific elements and translated them to the new silhouettes. The aim of the collection was to create contemporary clothes using technical materials and redeveloping new patterns out of the existing ones. In the design process, I also made various shapes and textures consisting of wrinkles, fillings and sewed edges. I upgraded the look of the classic silhouette by experimenting with different materials and shapes.

V zaključnem delu smo predstavili kolekcijo kopalk in več-funkcionalnega izdelka, ki temelji na zgodovini, prikazani kot razvoj kopalne mode v različnih zgodovinskih obdobjih. Spoznali smo se z različnimi konteksti, oblikami, materiali, kroji in tehnološkimi novostmi, ki so se spreminjali čez čas. Izrisani modeli kopalk temeljijo na inspiracijskem panoju, ki definira nabor izbranih poletnih barv, ki nas asociirajo na svežino letnega časa. V kolekciji enodelnih in dvodelnih kopalk so uporabljeni idejni vzorci. Za vizualni vtis smo kombinirali tehnike šivanja, tiskanja in pletenja, saj smo ugotovili, da kopalk s temi motivi ni na tržišču ali pa se uporabljajo v zelo majhnem deležu. Izdelane modne skice smo nadgradili s konstrukcijskimi skicami, na podlagi katerih je možno realizirati skico v krojne dele. Kot dodatek h kopalni modi smo še oblikovali več-funkcionalni modni dodatek, ki smo ga posebej opredelili in predstavili na načine, ki nam jih izdelek lahko nudi. In the final work we presented a collection of modern time swimwear and multi-functional acessories, which is based on history shown as a development of bathing fashion through different periods. We focused on the design of various swimwear models, their cutting parts and materials for their creation. For drawned swimwear models we used an inspiration board and restrict ourself on selected colors, which should represent the time period for swimsuit wearing. It means on summer colors and objects in these colors, which associate us on freshness during the time of the season. We combine sewing, printing and knitting techniques, since we found that such bathers are not yet in the market or are used in a very small proportion. Sketches were prepared with technical drawings on the basis of which it is possible to realize the sketch in the final product. As addition to the bathing fashion we have also created a multi-functional fashion accessory, which we have specially defined and presented in the ways that product can offer us.

Cilj diplomske naloge je bil izdelati kolekcijo oblikovalsko dovršenega nakita v minimalističnem slogu. Izdelani kosi nakita dopolnjujejo vizualno podobo uporabnika in mu dajo svoj pridih ekstravagance. Posamezen kos nakita pritegne pozornost mimoidočega oziroma opazovalca. V teoretičnem delu sem se posvetila razvoju nakita, materialom in tehnikam izdelave. Opisala sem, kako se je nakit skozi obdobja spreminjal in kaj je vplivalo na sam razvoj oblikovanja nakita. Raziskava je bila ključna za razvoj in izdelavo kolekcije nakita. V praktičnem delu sem oblikovala pet kolekcij nakita, ki so sestavljene pretežno iz prstanov, uhanov in brošk. Izhodiščni material je pri vseh kolekcijah je žica, s katero sem lahko na minimalističen način izrisala motive cvetlic. Da si kolekcije ne bi bile preveč podobne, sem manipulirala žico in ji dodajala tekstilno prejo. Tako sem ostala pri istih motivih in samo z manipulacijo žice izdelovala različne kose nakita. Procesu oblikovanja kolekcij sem se posluževala linijskega izrisa rož in tekstilnega oblikovanja. Osnovna ideja je bila izdelati kolekcijo nakita za žensko, ki si upa pokazati svoj jaz, biti ponosna nase. Z motiviko rož sem poudarila njeno ženstvenost. Želela sem opomniti na lepoto narave, še posebej rož in narave, na katero danes večkrat pozabimo. The goal of this diploma thesis is to produce a collection of jewelry that is well designed and minimalistic. Produced pieces of jewelry complement the appearance of the user with its extravagance. Each individual piece of jewelry attracts people’s attention. In the theoretical part I focused on the development of jewelry, materials and techniques of production. I described how jewelry has changed through different time periods and what influenced the development of jewelry design. Research was crucial for the development and production of the jewelry collection. For the practical part I designed five jewelry collections that mostly consist of rings, earrings and brooches. The starting material for all collections was wire which made it possible to outline floral motifs in a minimalistic way. To prevent the collections from being too similar I manipulated the wire and added textile thread. I kept the same motifs and produced different pieces of jewelry only by manipulating the wire. In the process of designing collections I used the line tracing method for flowers and knowledge from textile design. The basic idea was to make a jewelry collection for a woman who dares to show her true self and be proud of herself. The floral motifs were used to emphasize femininity. I wanted to put the beauty of nature, especially flowers, in focus as it has become something that is often forgotten.

The collection of pure cultures of algae and cyanobacteria deposited at the Nature Research Centre is a unique and diverse culture collection in Lithuania. It was initiated on the basis of a few national projects in 2010 as an outcome of ecological and molecular studies on invasive and harmful bloom-forming algae and cyanobacteria. To date, the collection holds more than 500 strains, which belong to ten classes, over 70 genera and 140 species. Strains were isolated from Lithuanian freshwaters and the Curonian Lagoon. The collection serves for various research topics including species interactions, molecular analysis, biotechnology (remediation of wastewaters, cell wall disruption, high- and low-value bioproducts), as well as for teaching purposes., Gamtos tyrimų centro dumblių ir melsvabakterių kolekcijoje palaikoma didelė iš Lietuvos gėlų vandens telkinių ir Kuršių marių izoliuotų rūšių įvairovė. Kolekcija įkurta 2010 m., vykdant invazinių ir potencialiai toksinių, vandens „žydėjimus“ sukeliančių dumblių ir melsvabakterių ekologijos ir genetinius tyrimus Lietuvos mokslo tarybos finansuojamų projektų laikotarpiu. Šiuo metu kolekcijoje yra daugiau nei 500 kamienų, priklausančių 10 klasių, apie 70 genčių ir 140 rūšių. Algologiškai gryni kamienai naudojami moksliniams eksperimentiniams tyrimams ir edukaciniams tikslams. Gamtos tyrimų centro tyrėjų grupė, vykdanti algologinius tyrimus, toliau aktyviai plėtoja biotechnologinius taikomojo pobūdžio darbus, susijusius su nuotekų vandenvala, ląstelių sienelių ardymo technologijomis, vykdo komerciškai vertingų bioproduktų paiešką.

Ovaj rad je zamišljen kao pokušaj da se sagleda uticaj ruskih emigranata kao dobrih poznavaoca antikviteta na formiranje Zbirke ikona Sekulić. Zbirka ikona Sekulić predstavlja jednu od najznačajnijih beogradskih kolekcija ikona. Ikone i druge umetničke predmete prikupljali su arhitekta Milan Sekulić i njegova supruga Pava punih 40 godina. Kolekcionarstvo je jedan fenomen koji se takođe znatno razvijao pod uticajem ruskih emigranata, međutim tom pojavom se na ovom prostoru manje bavilo. Analizom do sada nepublikovane građe iz dokumentacije Zbirke za likovnu i muzičku umetnost do 1950. godine iz Muzeja grada Beograda težiće se rasvetljavanju upliva ruskih emigranata na oblikovanje javnog i privatnogukusa u kulturi međuratnog perioda u Jugoslaviji, što je imalo odjeka na opremanje i prezentaciju kolekcije u porodičnom domu Sekulićevih. Soba u ruskom stilu, uređena u duhu tradicionalnih ruskih enterijera, u kojoj se nalaze mahom ruske ikone, reprezentativan je primer takvih uticaja. This paper was composed as an attempt to uncover the influence of the Russian immigrants, known as reliable connoisseurs of antiques, on the formation of the Sekulić Collection of Icons. This collection represents one of the most significant collections of icons in Belgrade. The icons, among other pieces of art, were collected by the architect Milan Sekulić and his wife Pava over 40 years. Art collecting is a phenomenon that was significantly developed under the influence of the Russian immigrants, but this topic was never fully researched. The practice of art collecting is always a reflection of a general taste of the society. The aim to analyse the unpublished material from the Collection of Fine Arts and Music before 1950 of the Belgrade City Museum will shed some light on the influence of Russian immigrants on the formation of public and private tastes in arts and culture in Yugoslavia, between WW1 and WW2, which also affected their preparation and presentation in the Sekulić family residence. The revival of national thought caused the Byzantine art to become the appropriate expression of the Serbian ethnicity roots, thus functioning as a medium of a collective self representation in the period between the two global wars. Serbian culture owes a significant part of this process to Russian culture. Due to this influence, Milan Sekulić decorated one of the main chambers in his residence following traditional Russian interior design and adorning it mainly with Russian icons dating from the 18th and 19th centuries that evoked the spirit of the Russian culture.

Straipsnio tikslas - 20]8 m. Architektūros muziejus švęstų savo 50-metį. Tačiau tokios šventės nebus, nes jau 12 metų, kai šis muziejus buvo uždarytas, o jo kolekcijos išsklaidytos. Šiuo metu Vilnius yra vienintelė Europos valstybės sostinė, neturinti architektūros muziejaus ar tokio profilio nuolat veikiančios ekspozicijos. Nors idėja turėti Lietuvoje architektūros muziejų vis atgimsta, išprofiliavus buvusią muziejaus kolekciją tai padaryti būtų labai sunku. Atrodo, kad esantieji valdžioje iš praeities klaidų nesimoko, su kultūros įstaigomis elgiasi taip, tarsi jos visuomenei menkai reikalingos. Kultūros ministerijos planuose nuolat skamba žodžiai „prijungti", ,,sujungti", ,,reorganizuoti". Primindami architektūros muziejaus istoriją, siekiame parodyti, kaip atsakingai reikėtų elgtis su, kad ir nedidelėmis, bet tam tikrai visuomenės daliai reikalingomis kultūros įstaigomis. Lithuanian Architecture museum wa s established on August 1st, 1968, as the branch of Lithuanian History and Ethnography museum (now the National mu ­ seum of Lithuania). There wer e plans to form a separate, autonomous Architecture museum in the future. Formation began having nothing, there wer e no exhibits or vision of the future museum, its function, collections or structure. The first exposition wa s opened in •Lily, 1972, at the Church of St. Michael the Archangel and all the exhibits for this exhibition wer e borrowed. As ordered by The Council of Ministers of the Lithuanian SSR presidium's Committe e of Current Affairs, on Novembe r 27th, '986 , the whol e monastery ensembl e nearby the Church of St. Michael wa s given to the Ministry of Culture to expand the Architecture museum. The fact, that the museum wa s started at the church complex, wa s one of the main reasons for its future demolition. After the restoration of Lithuanian independence, former Lithuanian History and Ethnography museum became the National museum of Lithuania; structural changes wer e initialized, that disallowed the possibility to preserve a continuous architectural collection, which at that time consisted of 33.6 thousand items. At the begi nning ot 1994, Architecture museum wa s transitioned to the Heritage Protection System. The museum became one of the sections of the Cultural Heritage Center. In Septembe r of 1994 at the 7th congress of International Confederation of Architectural Museums - ICAM, in Madrid, Lithuanian Architecture museum became a membe r of ICAM. The museum's exhibitions wer e presented at the newsletter of the Confederation (ICAM News), the speech wa s given at the congress in ICAM-8 . In the year 1992-1998 museum was engaged on other international Architecture organization - Docomomo (Documentation and conservation of buildings, sites and neighbourhoods of the modern movement). An expert working group wa s established, which selected architecture objects that were believed to be worthy to be included in the registry of Docomo ­ m o ; the special booklet wa s released. When the first exposition after the restoration of the church wa s closed, in 1989-1990 a display of Lithuanian architecture evolution in 20th century wa s exhibited. Man y temporary, thematic and personal (anniversary) exhibitions wer e displayed as well. Some of the thematic expositions wer e a novelty in Lithuanian museums' history: "From the History of Urban Planning of Vilnius " (1989-1992 ) which studied urban evolution of the capital city; "Lithuanian Neo-Gothi c Churches " (1992) wa s very informative for the architects working on new churches; "From the history of one object - State Theatre in Kaunas " (1998) reminded the public how attentively the architects looked at architectural heritage in the first part of 20th century. The knowledge of Architecture mu ­ seum staff and owne d collection made it possible to prepare anniversary expositions of big scope, that wer e displayed not at own premises. Two expositions, in 1978 and 1988, devoted to Vladimiras Dubeneckis wer e displayed in the History museum of Kaunas. The exhibition addressed to Vytautas Landsbergis-Žemkalnis centenary wa s opened 1993 at Vilnius Town Hall. When Lithuania regained its independence, all the ecclesiastical property was started to be given back to its legitimate owners. Guided by the Act of Restitution of the Status of Catholic Church in Lithuania, as well as other Laws, on June 23rd, 1993, Vilnius City Council decided that the Church of St. Michael and the monastery ensemble located nearby, should be returned to the Curia of Archdiocese of Vilnius. The Architecture museum was left without a premises. According to the Law: evicted company, institution and organisation as well as citizens should be provided with new, suitable accomodation. However, the provision was not respected. During the time, the ministry of Culture and Heritage protection organizations did not make the agreement of who should take the responsibility for the new Museum premises. In 2006, March 20th, the director of the Department of Cultural Heritage, to which the Cultural Heritage Centre belonged, Albinas Kuncevičius, signed the agreement Nr. Į-098. "Concerning the Cultural Heritage Center's Heritage Registers, Doccumentation and Information, transfer of the collections and exhibits of the Museum of Architecture to the National Museum of Lithuania". A committee was formed for the transmission of the collections from Museum of Architecture to the National Museum. The National Museum took over 55,5 thousand items architectural collection. As it turned out later, about 20 thousand records, which were not approved by the National Museum were transferred to the Vilnius Regional State Archives. Just like that, an integral architectural profile exhibits' collection find itself in two different depositories. Citizens, who donated the exhibits to the Museum of Architecture were disappointed, the job of architectural historians was made a lot more difficult. Lithuania was left without an institution, which would contain a serious architectural exhibition, and the possibility to become acquainted with the development of LIthuania architecture in 20th century.

V svojem diplomskem delu Moška kolekcija z izhodiščem v umetnosti bom predstavil proces oblikovanja moške ready-to-wear kolekcije. Umetnost je dejavnost, ki je neposredno vpletena v modo že od samega začetka civilizacije. Danes pa je verjetno ena izmed glavni smeri, ki z roko v roki sodelujejo pri nastajanju novih kolekcij. V teoretičnem delu sem se osredotočil na razvoj moške mode v drugi polovici 20. stoletja in razvoj lepotnih idealov, ki so spreminjali podobo moškega tako v umetnosti kot pri načinu oblačenja. V eksperimentalnem delu sem zasnoval moško kolekcijo, katere glavna inspiracija je umetnik Thomas Mailaender in njegovo delo Illustrated People. To delo je serija fotografij moških in ženskih teles, na katera je umetnik s pomočjo UV svetlobe razvijal fotografije. Na podlagi tega me je proces vodil do kulture sončenja v Evropi, ki je bila v prejšnjem stoletju v polnem razmahu in je še danes zelo prisotna. Prav tako sem raziskal kroje klasičnih moških oblačil, katerih detajli so me vodili v nastanek novih, dekonstruiranih moških oblačil. Tako sem pri izbiri materialov posegel po že uveljavljenih materialih kot tudi po materialih, ki niso nujno oblačilni in so večkrat uporabljeni pri izdelavi ženskih kolekcij. Rezultat je moška ready-to-wear kolekcija, ki na humoren način spreminja klasična moška oblačila in s tem omogoča raznoliko sestavljene ter sodobne silhuete. In my diploma thesis Menswear collection with inspiration in art I will introduce the process of designing men's ready-to-wear collection. Art is an activity that has been directly involved with fashion from the very beginning of civilization. Today, however, it’s probably one of the main courses that hand-in-hand participate in the formation of new collections. In the theoretical part of my work, I focused on the development of men's fashion in the second half of the 20th century and the evolution of beauty ideals, which have changed the image of a man both in art and the way of dressing. In my experimental work I designed men's collection, whose main inspiration is the artist Thomas Mailaender and his project “Illustrated people”. This project is a series of photographs of male and female bodies on which the artist developed photographs with the help of UV light. Consequently, the process led me to a culture of tanning in Europe, which has been in the past century and still is in full swing and very present. I also explored patterns of classic men's clothing whose details have led me to the creation of new, deconstructed men's clothing. That is why I decided to reach for the already established materials as well as materials, which are not necessarily used in ready-to-wear clothing, but are often used in designs of women's collections. The result is a men's ready-to wear collection, which in a humorous way changes the classic men's clothing and allows diversely structured and modern silhouettes.

Ilustracije nastanejo kot odsev občutij avtorja samega. Ekspresionistične ilustracije še najbolj prikažejo ilustratorjevo doživljanje, saj gre za niz trenutnih doživetij, misli in dražljajev. Umetniki svoja opažanja prikažejo tako, da se osredotočijo na občutke, ki jih doživljajo. Te prikažejo z močnimi barvami in različnimi motivikami. Ženske so pogost motiv umetnikov, saj jim največkrat služijo kot muze in inspiracija za njihovo ustvarjanje. Feminizem je izraz za vse teorije, ideologije, gibanja in zavzemanja za boljše pravice žensk v družbi in večjo enakopravnost med spoloma. Ženske, ki se borijo za svoje politične, socialne in moralne pravice, ki se ne bojijo izpostaviti in glasno izraziti svoja prizadevanja, so dobile izraz feministke. Vendar feminizem ni samo politično gibanje, temveč predstavlja pogled na svet skozi oči žensk, in sicer njihovo počutje ob tem, ko njihove pravice niso kompatibilne z moškimi. Žensko telo je večkrat tarča seksizma in neprimernih pogledov, ženska sama odloča, kako ga bo oblačila ali pa razkazovala. Sposobna je ustvariti novo bitje in ga spraviti na svet. Linija je sled nekega gibanja, ki zvablja oči, da ji sledijo. To je tudi njena glavna likovna lastnost. Linije so lahko tudi zelo ekspresivne, saj z različno dinamiko risanja prikažemo razpoloženje. Konture lahko predstavljajo začetno fazo v slikarstvu ali pa nastopajo kot samostojna umetniška upodobitev. Čeprav je konturno upodabljanje zelo minimalistično, se je hkrati možno s to tehniko izražati, saj liniji tako dovolimo, da ustvari neko gibanje. Illustrations are the reflection of the author’s senses. Expressionistic illustrations reflect their inner experiences best, since they are a string of current experiences, thoughts and stimulus. Artists express their observations through the focus on the sensations they experience. These are then portrayed with bold colours and different motifs. Women are a recurrent motif of artists, being the muses and inspirations for their work. Feminism is the term applied for the theories, ideologies, movements and assertions for the improvement of women’s rights in society and equality among the sexes. Women who fight for their political, social and moral rights, are not afraid to expose themselves and speak up about their aspirations are deemed feminists. Feminism is not only a political movement it also represents an outlook on the world through the eyes of women, how they feel when their rights are not equal as those of men. The woman’s body is too often the target of sexism and inappropriate looks, but the woman alone decides how she will dress and show her body. She is capable of creating and delivering a new human being into the world. The line is a trace of movement, which is its main artistic characteristic, louring the eyes to follow. They can be very expressive, since the mood can be portrayed with different drawing dynamics. The contours can represent the beginning stage in painting or an independent artistic depiction. Even though contour depicting is very minimalistic, at the same time the technique enables one to express oneself, since the lines create some kind of movement.

Apie kunigą ir kolekcininką Konstantiną Kuprį-Kuprevičių (1874–1947) ir jo paslaptingą kolekciją iš tiesų žinome labai nedaug. Kunigas nuo 1935 m. pateko į Valstybinės archeologinės komisijos ir, aišku, žiniasklaidos akiratį, kai įsigijo kunigo Juozapo Žiogo (1868–1935) archeologinę kolekciją. K. Kuprys- Kuprevičius nusipirko kolekciją 1935 m. prieš pat J. Žiogo mirtį šiandien nebežinomomis aplinkybėmis. Aišku viena, kad kunigas J. Žiogas prieš tai savo kolekciją testamentu buvo paskyręs Kauno Vytauto Didžiojo kultūros muziejui. 1935 m. gruodžio 27 d. K. Kuprys-Kuprevičius įsigytą senienų kolekciją kartu su savo rinkiniais parodė parodoje Kretingoje, Šv. Antano Misijų kolegijoje. Nuo tada Lietuvos archeologų ir muziejininkų dėmesys, tiksliau – nesėkmingi bandymai perimti ar perpirkti J. Žiogo kolekciją, lydėjo K. Kuprį-Kuprevičių iki gyvenimo saulėlydžio. Todėl nieko keista, kad Lietuvos archeologijos istoriografijoje apie K. Kuprį-Kuprevičių įsitvirtino gana negatyvi nuomonė. Šis straipsnis skirtas pamėginti bent kiek praskleisti uždangą nuo K. Kuprio-Kuprevičiaus gyvenimo kelio, jo filantropinės veiklos, aistringo įvairių senienų ir archeologinių radinių pomėgio ir jo kolekcijos, vadintos net „muziejumi“. K. Kuprys-Kuprevičius kaip kolekcininkas priklauso tipiškai kartai XIX a. pabaigos – XX a. pradžios senienų rinkėjų, kuriuos vedė kolekcionavimo aistra ir domino daugybė meno, mokslo ir kultūros sričių. Susidaro įspūdis, kad K. Kuprys-Kuprevičius rinko monetas nuo antikinių iki šiuolaikinių, ir ši kolekcijos dalis buvo gausi bei vertinga, į ją pakliuvo monetų „iš viso pasaulio“. Kolekcijoje taip pat buvo įvairių senų banknotų, medalių, pašto ženklų, paveikslų, plakatų, etnografinių dirbinių ir archeologinių radinių bei kitų eksponatų. Apie K. Kuprio-Kuprevičiaus archeologinį rinkinį žinome labai nedaug. Žinoma, kad apie 1933 (?) m. dalis radinių iš ardomų Paalksnių pilkapių pateko Pašilės klebonui K. Kupriui-Kuprevičiui. 1932–1934 m. gyvenant Budriuose, kiek vėliau Kretingos vienuolyne (1934–1940 m.), žmonės kunigui atidavė ar perdavė už pažadą atlaikyti mišias radinių iš ardomų Kretingos rajono kapinynų, tokių kaip Užpelkiai (antkaklė, apyrankės, ietigaliai), Ankštakiai (plokščia segė), Kveciai (ietigalis), Raguviškiai II (žalvariniai papuošalai ir ietigaliai) ir Lazdininkai (nemažai Romos monetų ir kitų radinių) bei iš nenustatyto paminklo Salantuose (1 pav.). Gaila, bet ir šio straipsnio autoriams daugiau duomenų, apibūdinančių kunigo archeologinę kolekcijos dalį, rasti nepavyko. Todėl lieka neaiškus ir jo archeologinės kolekcijos dydis, radinių kilmės vietos ir šios kolekcijos sudėtis. Labiausiai apmaudu, kad sprendžiant iš trumpučių žinučių spaudoje vertinga jo kolekcijos numizmatinė dalis, taip pat ir pajūrio kapinynuose rastosios Romos monetos, yra prarastos, geriausiu atveju jų likimas nežinomas. Tačiau dėl archyvinės medžiagos trūkumo ir paslaptingai išnykusios ar susimaišiusios su J. Žiogio rinkiniu K. Kuprio-Kuprevičiaus kolekcijos straipsnyje keliami klausimai toliau lieka neaiškūs. We have little information about the priest and collector Konstantinas Kuprys-Kuprevičius (1874–1947) and his mysterious collection. He became known in cultural circles only when the State Archaeological Commission and the media mentioned him in 1935, because he acquired the archaeological collection of Fr Juozapas Žiogas (1868–1935) under unclear circumstances. Before his death, Fr Žiogas left his collection in his will to Kaunas’ Vytautas the Great Museum of Culture. On 27 December 1935, Fr Kuprys-Kuprevičius showed his acquired collection of antiquities, along with his own pieces, in an exhibition at St Anthony’s Missionary College. After that, and until the death of Fr Kuprys-Kuprevičius, Lithuanian archaeologists and museum staff unsuccessfully attempted to take over or to repurchase the Žiogas collection. It is therefore not surprising that there was a negative opinion about Fr Kuprys-Kuprevičius in Lithuanian archaeological historiography. This article will try to illuminate the story of his life, his philanthropic activities, his passionate love of antiquities and archaeological artefacts, and his collection, which is sometimes referred to as his "museum". However, due to a lack of archive data, and the mysterious disappearance of the Žiogas collection, some questions still remain.

Bakalaura darba “Tematiskās kolekcijas izveide Latviešu folkloras krātuvē: novadpētniecības metodikas pielietojums” mērķis ir izveidot tematiskās kolekcijas struktūru, balstoties uz novadpētniecības metodiku. Tiek skatīta novadpētniecības materiālu saglabāšanas forma – tematiskās mapes, un to pielāgojums Latviešu folkloras krātuves tematiskajai kolekcijai. Darba teorētiskā bāze veidota pēc Stenlija Milgrama Mazo pasauļu teorijas un Džefrija Lēha Piecām valodas funkcijām. Izmantojot anketēšanas un klasteru analīzes metodes, darba autore nosaka struktūras elementus novadpētniecības mapēm, bibliotēku sadarbību novadpētniecības darbā un novadpētniecības mapju aktualitāti. Rezultāti liecina, ka novadpētniecības mapju struktūra ir pielāgojama tematisku kolekciju veidošanai. Bibliotēku sadarbība notiek, tomēr to nevar noteikt pēc novadpētniecības tematisko mapju satura. Novadpētniecības mapes ir aktuāla novadpētniecības krājuma sastāvdaļa, kura tiek pārnesta uz digitālo vidi., The aim of the bachelor thesis “Thematic Collection Development in Archives of Latvian Folklore: Local Studies Methodical Approach” is to create the structure of the thematic collection based on the methodology of the local research. The method of preservation of local history materials is considered (thematic folders), as it is adapted to the Archives of Latvian Folklores’ collection. The theoretical basis of the work is based on Stanley Milgram’s Theory of Small Worlds and on the Geoffrey Leech’s Five Functions of Language theoretical model. Using questionnaires and cluster analysis methods, the author determines the structure elements of local history folders, library collaboration in local studies librarianship and the significance of local history folders. The results indicate that the structure of the local history folders is adaptable to the creation of thematic collections. Library co-operation takes place, however it cannot be determined by the content of the thematic folders. Local history folders are an important part of local studies librarianship, that is transmitted to the digital environment.

Lietuvos mokslų akademijos Vrublevskių bibliotekoje saugomi kunigo Pranciškaus Tičkovskio rankraščiai, knygos, grafikos kūriniai ir ekslibrisai, senienos ir dantiraščiai, taip pat laiškai ir atvirukai, kurie XX a. ketvirtajame dešimtmetyje buvo atiduoti Vrublevskių bibliotekai. Devintajame dešimtmetyje iš nemažos kolekcijos ir asmeninio archyvo dalies, išsaugotos Bibliotekos Rankraščių skyriuje, buvo suformuotas Pranciškaus Tičkovskio fondas (F147). Tačiau kita kolekcijos dalis, apie kurią žinoma iš pavienių spaudinių ir grafikos kūrinių, dar nėra mums pažįstama. Straipsnio tikslas yra aptarti P. Tičkovskio kolekciją, surinktą skirtingais gyvenimo laikotarpiais, atskleisti šios kolekcijos ir archyvo ryšį. The Rare Book Department in the Wroblewski Library of the Lithuanian Academy of Sciences is home to the collection of Father Franciszek Tyczkowski (1891–1982), which features manuscripts, books, graphic art prints, bookplates, a collection of antiquities and a set of unique cuneiform tablets. Father Tyczkowski donated this collection and his personal archive to the Wroblewski Library, which had been founded in the early 20th century and opened to public in 1935. At that point there was not enough time to establish a proper Tyczkowski collection, and the latter was formed only in the eighties based on manuscripts and other documents which had fallen into the holdings of the Manuscript Department. The rest of the collection, whose existense may be deduced from individual publications and art prints, was split among different other collections and so is not always easily recognizable by researchers. Based on archival evidence, the article aims to characterize the Tyczkowski collection amassed and handed over to the library in the period from the second to the fourth decade of the 20th century, according special attention to chronological issues. The article also addresses the relation of this diverse collection to the Tyczkowski archive. Tyczkowski started collecting at a young age. Research shows a particular importance of his archive’s different sub-collections. They are likely tied to different periods in the collector’s life: to his studies at the University of Warsaw, and then, in the third decade, at the Pontifical Biblical Institute; to the St Archangel Michael Church at the Vilnius Bernardine Monastery, where he was rector until the mid-thirties; to the Akmenynė estate (the present Šalčininkai district) owned by the Reniger family and the construction of St. Therese of the Child Jesus Church in the late twenties. Acquired by Tyczkowski over the thirties, his bookplates make a separate sub-collection. Both the latter and a majority of letters addressed to Tyczkowski are a testimony to an active exchange of bookplates he maintained with collectors from Vilnius and Kaunas, from Warsaw and other Polish cities; as well as from Italy, Latvia, Portugal and other countries.

Diplomsko delo Oblikovanje kolekcije z izhodiščem v športni modi predstavlja proces oblikovanja »ready-to wear« kolekcije ženskih oblačil. Šport in športna moda predstavljata enega izmed največjih vplivov na sodobno »ready-to-wear« modo. Modni oblikovalci ustvarjajo v športni modi navdihnjene kolekcije, vračajoč se videz športne mode 90ih let je danes popularen modni trend mladih, že pozabljena imena športnih znamk sodelujejo s »high-end« modnimi znamkami. To so le nekatere posledice in dejavniki porasta popularnosti in pomembnosti športne mode danes. V teoretičnem delu sem se v prvem segmentu poglobila v zgodovino in razvoj športne mode ter športne mode na olimpijskih igrah, v drugem pa osredotočila na ulično modo, današnje trende in vplive športne mode na »ready-to-wear« modo. V eksperimentalnem delu sem zasnovala »ready-to-wear« kolekcijo z inspiracijo v športu ter slovenskih motivih in barvah. Raziskala sem slovenske simbole in na podlagi le-teh oblikovala logotip kolekcije. V silhuetah specializiranih športnih oblačil sem poiskala zanimive detajle, ki sem jih aplicirala na oblačila. Za Oblikovanje kolekcije z izhodiščem v športni modi sem se odločila, saj sem se sama profesionalno ukvarjala s športom in brisanje mej med športno modo in visoko modo se mi je vedno zdelo zanimivo. Kolekcija dokazuje, da se lahko slovenske tradicionalne simbole in identiteto uporabi tudi na zelo sodoben in aktualen način, v skladu s trenutnimi trendi. Oblačila so urbana, nosljiva in prepoznavna. Nakazujejo smer oblikovanja, kjer bi tudi slovenski športniki na svetovnih tekmovanjih lahko nastopali v bolj ambiciozno oblikovanih oblačilih. Bachelor thesis Collection design based in sports represents the process of designing a ready-to-wear womenswear collection. Sports and sports fashion are one of the biggest influences on contemporary »ready-to-wear« fashion. Fashion designers are creating collections inspired by sports, 90-s look is coming back and is popular among youth, the forgotten names of sports brands are collaborating with »high-end« fashion brands and setting trends…These are the consequences and factors of how popular and important sports fashion is today. In the theoretical part of my thesis I looked into the history and development of sports fashion and sports fashion at the Olympic Games. In the second part of my thesis, I focused on streetwear fashion, current trends and influence of sports fashion on ready-to wear fashion. In the experimental part of thesis I planned a ready-to-wear collection inspired by sports and Slovenian motives and colours. I designed a logotype with research in Slovenian symbols. In silhouettes of specialised sports garments I found interesting details and applied them to garments in the collection. The main reason for Collection design based in sports is my own professional career in sports and interest in blurring the lines between sports fashion and high fashion. This collection proves that Slovenian traditional symbols and identity can be used in a very contemporary way and in accordance to fashion trends. Garments are urban, wearable and recognizable. They show a way of design that Slovenian athletes could use at international events in more ambitious outfits.

V diplomski nalogi sem predstavila zgodovino jahalne mode skozi čas. Raziskovala sem posamezne kose oblačil in njihove detajle. Idejo za raziskovanje diplomske naloge z naslovom Modna kolekcija z izhodiščem v jahalnih oblačilih sem dobila ob spominih na najstniška leta, ko sem se tudi sama ukvarjala z jahalnim športom. V zgodovini jahalne mode sem preučila detajle, materiale, barve in vzorce, ki sem jih v novi obliki uporabila za razvoj sodobne kolekcije ženskih oblačil. Ciljna skupina kolekcije so mladostne, skrivnostne in elegantne ženske z močnim karakterjem, zato so oblačila oblikovana v mehkih linijah, romantičnem stilu in v kombinaciji močnih karo vzorcev. Zaradi posameznih jahalnih disciplin se jahalna oblačila med seboj ločijo po obliki, materialu in barvi. Oblačila so oblikovana v slogu angleških jahalnih oblačil, iz katerih sem črpala največ idej. Pri teh je pomemben športen in eleganten videz ter kakovost in udobje. Za izbrano kolekcijo sem uporabila naravne materiale: 100 % volna, 100 % bombaž, 100 % viskoza in 100 % usnje. Izbrane barve so v jesenski barvni lestvici rjavih odtenkov. This diploma thesis contains history of riding fashion. The research has been performed on particular pieces of outfits and their details. The latter two changed through time, and were noticed some details that were projected in my collection. The idea to research a thesis titled Fashion Collection Based on Riding Outfits came to me while my adolescence was being remembered. Some equitation were done that period. However, the inspiration for the design came while riding fashion were researched, its details, materials, colours and patterns through history. They were reused in a new form to develop a modern collection of women clothing. A target group for this collection are youthful, mysterious and elegant women with strong character. Therefore, clothes are designed in soft lines, in romantic style, which is combined with strong diamond patterns. Due to various riding disciplines, riding outfits differ according to shape, material and colour. The clothes are designed in the style of English riding outfits. By those the most important things are sporty, elegant look, quality and comfort. Natural materials were used for the chosen collection: 100 % wool, 100 % cotton, 100 % viscose, 100 % leather. The chosen colours are in the autumn colour scale of brown shades.

Valenki so ruski polsteni volneni škornji z dolgo tradicijo, njihov namen je zaščita pred mrazom in udobje. Videz škornjev ni bil primarnega pomena, zato so valenki kljub udobju nezanimivi za moderne ženske, ki sledijo trendom. S sledenjem modnih trendov prihaja do teženj po novih, zanimivih produktih, atraktivnih oblik in barv. V našem magistrskem delu so bile preučene uporabnice po stanfordski metodologiji v fazah empatije, definicije, ideacije, prototipiranja in testiranja. Tako smo prišli do spoznanj in rezultatov, ki so nas usmerjala v oblikovanje ženske kolekcije modernih valenkov. Valenki are felted boots of Russian origin with a long tradition, their purpose being comfort and protection from frost. The design of the boots is not of primary importance, therefore, they are not interesting to modern women who follow the latest trends. However, following fashion trends results in the need for interesting new products of appealing forms and colours. Therefore, in this thesis, we studied female users by Stanford's methodology in phases: empathy, definition, ideation, prototyping, testing and hopefully we will come to conclusions and results which guided us to designing a collection of modern Valenki.

Projekto analitinėje dalyje nagrinėjami atlikti lazerio įtakos tekstilės medžiagoms moksliniai tyrimai. Išanalizuoti Lietuvos senosios architektūros elementai, pateikiamos simbolių ir etnologinių motyvų reikšmės. Taip pat apžvelgiamas etnografinių elementų aprangoje naudojimas Baltijos šalyse bei Lietuvos dizainerių kūryboje. Atlikta vartotojų apklausa, kurios duomenimis išsiaiškintas darbo tikslingumas. Nustatyti pasirinktų medžiagų pagrindinių techninių charakteristikų parametrai. Paruošti lazerio kiauro deginimo bei graviravimo bandiniai, parenkant tinkamiausius dviejų galingumų lazerio nustatymus. Bandiniai paruošiami subjektyviam vertinimui, juos išskalbiant bei varginant specialiu vargintuvu. Atliktas bandinių vertinimas pagal vertinamas savybes. Sukurta koncepciją atitinkanti gaminių kolekcija ir jos devizas. Taip pat sudaryti prototipo konstrukciniai bei lazerinio deginimo vietų brėžiniai. Pritaikoma gaminio pasiuvimo technologija ir pasiuvamas prototipinis vyriškas bliuzonas., The analytical part of Bachelor thesis examines the scientific research of laser effect on textiles. The research is based on Lithuania's old architectural elements as well as symbols and the values of ethnological motifs. In addition, the ethnographic elements on clothing in Lithuanian and Baltic countries designers works is also analyzed. This paper work presents the consumer survey which clarifies the objectives of the Bachelor thesis. The main technical performance parameters of selected materials were set. Selecting the most suitable two-power laser settings the leaking and burning laser engraving samples were prepared. The samples were examined for the subjective evaluation whilst they were washed out and afflicted with the fatigue testing machine. The evaluation of samples was based on the certain characteristics. The concept of equivalent products collection and motto was developed. In addition, the prototype design and laser incineration drawings was created. The prototypical man's jacket was designed and tailored while using the sewing technique.