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Rukavi s naglašenim gornjim i suženim donjim delom karakteristični za to vreme zvali su se ažibo, što znači but The sleeves with an accentuated upper part and tapered lower part that were characteristic of the period were called ažibo, which means loin
dresses. Fashion changes were embraced most rapid- ly by the younger generations and, somewhat unusu- ally, by men more than women. European fashion was much more prevalent on the street than in rare photo- graphs from that era, where the national costume was selected for portraits. And the story of the fashion of the early 19 th century can only begin with the anterija – a long robe worn over baggy dimije trousers. With the disappearance of dim- ije from ladies’ wardrobes, the anterija lost its neckline cut and became a closed dress with a cut that depend- ed on the current trend. Fashion history continued with the bindalli dress that was worn in the mid-19 th century, still under Ottoman in uence. It was lavishly decorated with gold thread embroidery that resembled blossom- ing branches, hence the name bindalli, which means a thousand branches in Turkish. They were most often worn during wedding ceremonies, and were passed down through generations as part of marriage dowries. Among the changes to fashion came one that has remained to this day.You’ve guessed – it’s the white wed- ding gown. This idea is so close to us that most people think it has always existed. But the white wedding gown only became typical wedding attire in the mid-19 th cen- tury. It was the wedding of Queen Victoria and Prince Albert in 1840 that attracted the attention of the world public, ensuring the white wedding gown worn by the queenwouldbecomefashionable.Whiteweddingdress- es have since followed the fashion lines of their time, to return to the original Victorian model in the mid-20 th century. Prior to the fashion of white wedding gowns, brides would, according to their status, wear a ceremonial dress for their wedding, or the most beautiful they had. Head garlands and veils have long been characteristic of bridal attire. The veil protected against conspicuous eyes and the looks of other men, while the garland rep- resented a symbol of fertility and warded o evil spirits. In the second half of the 19 th century we entered the period of European dresses with S silhouettes. They were worn with a corset, while the crinoline that we all know was replaced by a bustle, a padded undergarment that was only worn at the back of the dress. Our local hybrid was a corset dress with wide skirts, over which a richly embellished libade jacket was worn, with a short upper part that was left unbuttoned and wide sleeves. Libade jackets were worn until the 1950s. And Serbia en- tered the last century by continuing to follow Europe- an fashion trends, while those trends began changing quicker than ever before, every ten years. Fashion inspi- ration began drawing from the past at some point, so to this day there remains a kind of unwritten but accepted rule that trends return with every new decade. Still, this is merely inspiration from individual elements or silhou- ettes, though packed dierently each time. In the Serbia of the 19 th and 20 th centuries people had hairstyles, caps and hats of various shapes, but which were simpler and much more sedate than in the 17 th and 18 th centuries. Most hairstyles involved hair raised in a bun, the main role of which was to support a cap or hat, which were a mandatory part of dress. When the bust and cleavage were emphasised, the hair was let down to the shoulders, while the hair was raised high during the time when fashion dictated closed dresses.
Na izložbi Moda u modernoj Srbi- ji kustosa Draginje Maskareli, otvorenoj do 31. januara 2020. u Muzeju primen- jene umetnos- ti, prikazana je di- namična promena modnog sistema i društva u 19. ve- ku. Svake srede u 17.30 h stručnjaci iz zemlje i inostranst- va držaće predavan- ja u vezi s modom, dok će svakog pet- ka u 17.30 h utiske o izložbi s poset- iocima deliti gos- ti-vodiči The exhibition “Fash- ion in Modern Ser- bia”, curated by Drag- inja Maskareli and running until 31st January 2020 at the Belgrade Museum of Applied Art, shows the dynamic change of the fashion sys- tem and society dur- ing the 19th centu- ry. Every Wednesday at 5.30pm, experts from the country and abroad give lec- tures related to fash- ion, while guest guides share their impressions with vis- itors every Friday at 5.30pm.
P eople in Serbia during the early 19 th century were still wearing an‘anterija’(a long robe) over‘dimije’baggy trou- sers.This was slowly replaced by‘bindalli’dresses, which had, by the end of the century, given way to dresses of a European cut worn with‘libade’jackets and a‘bajader’(belt). Through this fashion story we can see all the social changes that Serbia underwent during the 19 th century. Fashion changed and developed alongside the gradual liberation from Ottoman rule and the modernisation of society. At the beginning of the century, with Serbia still underTurkish rule, Ottoman fashion dom- inated, while in the second half of the century Serbia was wel- comed as an independent state dressed in European fashion. In the Serbian urban class, clothing became a symbol of social suc- cess and visual identity. The need for a national costume also arose, which emerged as a fashion hybrid, so women in Serbia wore modern Europe- an dresses with libade jackets, emphasising their waistlines with bajader belts. Rebellion against the former conquerors was also expressed through the incorporating of formerly forbidden parts of Otto- man dress into their own costume. At the same time, tailors’ sa- lons in Belgrade followed fashion changes in Europe and brought magazines that served to provide patterns for ladies to order new
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