58 | / 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 People in Serbia during the early 19th century were still wearingan‘anterija’(alongrobe)over‘dimije’baggytrousers.Thiswas slowly replacedby‘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 storywe can see all the social changes that Serbiaunderwentduringthe19th century. Fashionchanged and developed alongside the gradual liberation fromOttoman rule and the modernisation of society. At the beginning of the century,withSerbiastillunderTurkishrule,Ottomanfashiondominated, while in the second half of the century Serbia was welcomed as an independent state dressed in European fashion. In the Serbianurban class, clothingbecame a symbol of social success and visual identity. Theneed for anational costumealsoarose, whichemerged as a fashion hybrid, so women in Serbia wore modern Europeandresseswith libade jackets, emphasising theirwaistlineswith bajader belts. Rebellionagainst theformerconquerorswasalsoexpressed through the incorporating of formerly forbidden parts of Ottoman dress into their own costume. At the same time, tailors’ salons inBelgradefollowedfashionchanges inEuropeandbrought magazines that servedtoprovidepatterns for ladies toordernew Na izložbi Moda u modernoj Srbiji kustosa Draginje Maskareli, otvorenoj do 31. januara 2020. u Muzeju primenjene umetnosti, prikazana je dinamična promena modnog sistema i društva u 19. veku. Svake srede u 17.30 h stručnjaci iz zemlje i inostranstva držaće predavanja u vezi s modom, dok će svakog petka u 17.30 h utiske o izložbi s posetiocima deliti gosti-vodiči The exhibition “Fashion in Modern Serbia”, curated by Draginja Maskareli and running until 31st January 2020 at the Belgrade Museum of Applied Art, shows the dynamic change of the fashion system and society during the 19th century. EveryWednesday at 5.30pm, experts from the country and abroad give lectures related to fashion, while guest guides share their impressions with visitors every Friday at 5.30pm. dresses. Fashion changes were embraced most rapidly by the younger generations and, somewhat unusually, by menmore than women. European fashion was muchmore prevalent on the street than in rare photographs from that era, where the national costume was selected for portraits. Andthestoryof thefashionof theearly19th century canonlybeginwiththeanterija–a longrobewornover baggy dimije trousers.With the disappearance of dimije from ladies’wardrobes, the anterija lost its neckline cut and became a closed dress with a cut that dependedon thecurrent trend. Fashionhistorycontinuedwith thebindalli dress thatwasworn inthemid-19th century, still under Ottoman in uence. Itwas lavishly decorated withgold thread embroidery that resembledblossoming branches, hence the name bindalli, which means a thousand branches in Turkish. They were most often worn during wedding ceremonies, and were passed downthroughgenerationsaspartofmarriagedowries. Among the changes to fashion came one that has remainedtothisday.You’veguessed–it’sthewhitewedding gown. This idea is so close to us that most people think ithasalwaysexisted.But thewhiteweddinggown onlybecame typicalweddingattire inthemid-19th century. It was the wedding of Queen Victoria and Prince Albert in 1840 that attracted the attention of theworld public, ensuring thewhitewedding gownworn by the queenwouldbecomefashionable.Whiteweddingdresses have since followed the fashion lines of their time, to return to the original Victorian model in the mid-20th century. Prior to the fashion of white wedding gowns, brideswould,accordingtotheirstatus,wearaceremonial dress for theirwedding, or themost beautiful they had. Head garlands and veils have long been characteristic of bridal attire. The veil protected against conspicuous eyes and the looks of othermen, while thegarland representeda symbol of fertility andwardedo evil spirits. In the second half of the 19th century we entered theperiodof EuropeandresseswithS silhouettes.They were worn with a corset, while the crinoline that we all knowwasreplacedbyabustle,apaddedundergarment that was only worn at the back of the dress. Our local hybridwas a corset dress withwide skirts, over which a richly embellished libade jacket was worn, with a short upper part that was left unbuttoned and wide sleeves. Libadejacketswerewornuntil the1950s.AndSerbiaentered the last century by continuing to follow European fashion trends, while those trends began changing quicker thanever before, every tenyears. Fashion inspirationbegandrawingfromthepastat somepoint, soto thisday there remains akindof unwrittenbut accepted rule that trends returnwithevery newdecade. Still, this ismerely inspirationfromindividual elementsor silhouettes, though packed di erently each time. In the Serbia of the 19th and 20th centuries people hadhairstyles,capsandhatsofvariousshapes,butwhich weresimplerandmuchmoresedatethaninthe17th and 18th centuries. Most hairstyles involved hair raised in a bun, themain roleofwhichwas tosupport a capor hat, which were amandatory 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 timewhen fashion dictated closed dresses.
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