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U doktorskoj disertaciji Suvremena moda i tijelo - novi mediji i transformacija modnog događaja, pokušat će se uspostaviti nužan interdisciplinaran odnos između područja i pojma suvremene mode koja se pojavljuje nakon 1980-ih godina 20. stoljeća, novih medija kao nove mogućnosti razvoja modnog procesa i događaja te njihova značajna utjecaja na razumijevanje mode i teorija mode nakon postmoderne kao nove vizualne semiotike. Ova disertacija u istraživačkom i znanstvenom smislu, razvit će tezu kako suvremena moda ne opstaje bez utjecaja medija na tijelo i odjevni objekt te istovremeno mijenja logiku djelovanja u virtualnom svijetu na način da se moda-slika pojavljuje na zaslonu medijskih ekrana kao nova slika, ali i u performativnom obliku kao moda-tijelo. Rad će također pokazati mogućnosti suvremene mode i načine reprezentacije tijela u modi kroz ulogu novih medija i izvedbenih umjetnosti. Suvremena moda se pojavljuje medijski kao reinterpretacija i reizvedba događaja. Tijelo u modi sada je u nesvakidašnjem djelovanju, iz razloga što moda, posebno nakon 1990-ih godina 20. stoljeća, predstavlja sjecište različitih novomedijskih i izvedbenih oblika te će se u disertaciji pokazati zašto dolazi do nužne korelacije područja. Preciznije, zašto su mediji ti koji sada povezuju pojam mode i tijela u modno tijelo. U ovom doktorskom radu polazimo od postavke suprotne uobičajenom pristupu dvoznačnosti mode. Naime, nerijetko se dvojna narav suvremene mode razmatra ili kao rezultat vizualne semiotike – označitelj, označeno, znak u slikovnoj reprezentaciji tijela–ili pak kao tijelo u procesu postajanja Drugim i različitim. Povezujući tekst i sliku, znakovni sustav i vizualni kod, nastojat ćemo pokazati zašto se i na koji način u virtualnom svijetu moda pojavljuje kao tijelo u događaju. To znači da preuzimamo iz suvremene estetike i filozofije umjetnosti ključan pojam za čin ove sinteze teksta i slike. Riječ je o pojmu događaja, kako su ga tematizirali mislioci francuskoga poststrukturalizma, osobito Deleuze i Derrida. Moda u svojem suvremenom načinu izvedbe postaje interaktivni događaj. Na taj se način može modi dati mogućnost autonomnog jezika vlastite stvaralačke moći nastajanja novih tendencija, stilova, trendova, a umjesto podjele na realnu i eksperimentalnu modu posrijedi je moda koja svoj identitet stvara u procesu događanja performativnosti tijela. Stoga je nužno izvesti kako se semiotički model u novim medijima premjestio s teksta na ekran, iz jezika u kod te kako se moda istražuje kao nova mogućnost tjelesnog događaja u modnom objektu. Cilj ove doktorske disertacije i istraživanja jest:(a) dovesti u vezu pojam mode u interdisciplinarnom području humanističkih znanosti s istovjetnom situacijom u suvremenoj umjetnosti i vizualnoj kulturi; (b) objasniti kako su se teorije mode razvile danas do zasebnog polja autonomne discipline u preklapanju s različitim izvedbenim studijima kulture (performance studies); (c) pokazati raznolike mehanizme djelovanja medija na tijelo u modi (modno tijelo) i na događaj u modi (modni događaj). Naposljetku, doktorski rad ima za cilj redefiniranje pojma modnog tijela koji se pojavljuje u teorijama mode danas. Razlog možemo vidjeti u tome što su novi mediji u digitalno doba uvelike već promijenili ne samo našu percepciju o tjelesnosti tijela, već i čitav spoznajni okvir u kojem se moda od pasivne reprezentacije društvenog kazališta uzdiže do interaktivnog događaja koji se može razumjeti jedino ako pristupimo modi interdisciplinarno, razmatrajući je složenim fenomenom društveno-kulturalnoga procesa nastanka novih identiteta. Modno tijelo se, dakle, ne može više misliti kao puku izvedbu tijela iz područja društva, kulture, umjetnosti na ono što preostaje modi u takvom činu redukcije. Umjesto toga, potrebno je modno tijelo osloboditi bilo kakve stege i funkcionalne uklopljenosti u druge mehanizme društvene reprodukcije. Za takav pristup nužno je razviti posve drukčije shvaćanje ne samo mode, već i performativnoga događaja i onog što novi mediji u svojem ubrzanom razvitku tehnološko-estetskih mogućnosti otvaraju kao temeljni problem ─ odnosa između kreativnoga dizajna i preobrazbe tijela u sklop s onu stranu razlike prirode i kulture, ljudskog i neljudskog. In my PhD dissertation Contemporary fashion and body - the new media and fashion event transformation I will try to establish the necessary interdisciplinary relationship between the field and the notion of contemporary fashion that emerges after the 1980s of the 20th century, new media as new opportunities for the development of the fashion process and events and their significant influence on the understanding of fashion and fashion theories after the postmodern as the new visual semiotics. This dissertation in the research and scientific sense will develop the thesis that contemporary fashion cannot survive without the media influencing the body and and fashion object, and at the same time changes the logic of acting in the virtual world by fashion-image appearing on the display of the media screen as the new image, but also in the performative sense as the fashion-body. The work will also show the possibilities of contemporary fashion and ways of representing the body in fashion through the role of new media and performing arts. Contemporary fashion appears as the reinterpretation and re-performance of the event. The body in fashion nowadays has an unusual role, because fashion, especially after the 1990s, represents the intersection of various new media and performative forms, and this dissertation will show why there is a necessary correlation of the domains. More precisely, the question we need to answer is why the media nowadays combine the terms fashion and body into the fashion body. Identification of the fashion language as well as the sign system of fashion is of great importance in the research, as we explore the attempt to create a new identity construction, gender/sex problems within fashion, as well as the transition from class-social model to visual semiotics in the postmodern theories of fashion. This dissertation represents the thesis of the ambiguity of fashion: on the one hand fashion as visual semiotics, and on the other fashion as the body in the process. Contemporary fashion design thus is one of the most complex forms today. Its relation between design and body is even more complex to display in theory. The construction of such an image of contemporary fashion design reveals different aspects of the body. Images and bodies are linked in this case of understanding contemporary fashion. The difficulty of understanding contemporary fashion design and its subject/body lies in the text of the image, or to be precise in the texts of images. Texts of images of the body reveal true meaning. But one must ask, if there is true meaning in contemporary fashion design and if contemporary fashion design has its subject/body? Finding this new language, this new text means gaining new meaning. Furthermore, it is in question if this meaning is true? The way and process of constructing new images, new texts and new bodies now get wined together when exploring the problematic of understanding contemporary fashion. Contemporary fashion perceived only as an image lacks meaning although its visual component is of importance. However, visual in contemporary fashion paradoxically is not its prime importance. Language on the other hand is not imageless. Discovering meaning in contemporary fashion, in this case, must follow the path of revealing what the image part in language is. By exploring image and language separately, we gain knowledge and meaning, however when it comes to understanding meaning of contemporary fashion it must be always put into context with its body/subject. The body/subject depends on this inter winding process. Furthermore, the main problem of this particular process in contemporary fashion lies in the problematic of fragmentation of image, language and subject/body. In that case we do not comprehend the whole meaning as it has already been transformed in the process of fragmentation. Understanding images of contemporary fashion consequently means understanding the impact of new media on both image and language. Not only have new media brought a different way of understanding in general but also a completely new birthplace of image and language. New media are always plural and by being so they offer different levels of meanings. If we were to put into perspective the complex issue of image, language and body/subject when exploring contemporary fashion, we must firstly become aware of the presence of a filtered image, language and body/subject. The debate on language and image of new media are crucial as they help position the body of contemporary fashion. To understand fashion means not only to explore consequences of the language and image of new media, but to place the body/subject of contemporary fashion into variable context. It has become clear that without understanding language and image, it is difficult to begin exploring the body/subject problematic. These perception ploys are well present in contemporary fashion and help redefine the body/subject. Fashion in semiotics appears as a text whose layers have different levels of meaning, while in performing in the virtual world fashion appears as the body in an event. The event is now crucial as a place for the new interpretations of fashion. It is therefore necessary to show how the semiotic model in the new media has moved from text to screen, from language to code, and how fashion is explored as the new possibility of a physical event in a fashion object.

For contemporary fashion designer Iris van Herpen, technology is not an afterthought but central to her approach and vision. Her experimental designs have pushed the boundaries of textile thinking in fashion. The Dutch couturier, who is renowned for her extraordinary 3D printed dresses, focuses on the transformative power of technology. By experimenting and innovating, Van Herpen not only pushes the boundaries of fabric and craftsmanship but also the boundaries of couture. Such an emphasis on the material and process is crucial for her dress-object making. It is precise, carried out with the meticulous rigour of aesthetically motivated scientists, but there is a warmth there, a naturalness as seen in her shows such as Ludi Naturae from 2018.

Sustainable fashion is an approach to fashion that is socially and environmentally responsible, ethical regarding nature, the environment, people but also conscious regarding the profession. The results of the research of the Croatian designers’ attitudes regarding concept of sustainable fashion have shown that most of the respondents are acquainted with this concept through documentaries (Holy and Borčić, 2018). That is not surprising because there are many attractive documentaries on the topic of fast fashion unsustainability and promotion of sustainable concepts in the fashion industry. This work explores how documentaries frame the concept of sustainable fashion and of fast / cheap fashion, which emotional appeals appear in films, how narrative is done and how fashion in general is presented. The content analysis will be conducted on following documentary films: True Cost, The Next Black, Slow Down Fast Fashion, Unravel, River Blue and Ethical Fashion Documentary. The aim of the paper is to explore whether documentaries that promote ethical concepts in fashion industry use manipulative, propagandistic persuasion techniques.

O Madonni možemo govoriti kao postfeminističkoj ikoni, „kvintesencijalnoj slavnoj osobi“ i „transformativnoj kulturnoj sili“ (van den Berg & ter Hoeven 2013), pop-kulturnom i medijskom fenomenu koji je obilježio industriju zabave u posljednjim desetljećima 20. stoljeća. Madonna je, kao javna i slavna persona, od samog početka karijere prožeta ambivalencijama, kontradikcijama i kontroverzama. U svom ukupnom umjetničkom izričaju (vizualna re/prezentacija, tekstovi pjesma, glazbeni spotovi itd.) i javnom djelovanju Madonna je komunicirala višeslojne poruke koje su u javnosti izazivale dijametralno oprečne reakcije i komentare. Tijekom cijele karijere propitivala je mnoge tabue, različite oblike seksizma i mizoginije, a posljednjih se godina fokusirala na demaskiranje ageizma, dvostrukih standarda starenja i dobnih normi. U radu kritički propitujemo Madonnin medijski anti-ageistički angažman, prakse kršenja dobnih normi te reakcije globalnog auditorija (fanova, aktivističke i dijela [američke] akademske zajednice) na njih.

This paper explores the ways in which contemporary fashion and the concept of ‘architectural wear’ and clothing create new ways of understanding contemporary culture and society, as well as how does fashion now appear as a new way of understanding body- space. Fashion is inextricably linked with the body and creates new time/space categories, but more important new corporeal experience especially when dealing with the concept of architectural wear and objects. Fashion for survival or refugee wear especially in the era of great political change is of great importance, because it detects how societies treat or rather don’t treat this specific problem within contemporary fashion. Moreover, this problematic opens up another interesting field within fashion studies and fashion history and that is the notion of art in fashion as well, specifically the relationship between architecture and fashion. With close comparative reference to a range of examples including: Studio Orta’s Refugee Wear project, Kosuke Tsomura’s Final Home, Hussein Chalayan Afterwords collection, Rick Owens architectural 2017 men’s collection, this paper will argue that within the concept of architectural wear and performance, fashion gains new meaning and the body can be re-performed in various forms so it can easily move and inhabit various areas. Fashion in contemporary culture can no longer be perceived as an image or a process. Instead, these two polarities wind together and form new body architecture. The main aim of this paper is to display how ‘architectural clothing’ creates new ways of recasting the body garment as well as the body itself. The body is not a spectator, but rather a medium through which we engage with the world and it exists in relation to the space it inhabits. The ways in which the body garment is assembled and then worn on the body expresses new bodily situations. The body is always ‘emplaced’ in a world that is constructed of objects and other subjects. This paper will also try to elaborate why contemporary fashion, after the 1990s changed its relation both to body and dress due to social, cultural and political change, especially in terms of refugee wear and clothing.

Rad će pokazati mogućnosti neprestanih preobrazbi suvremene mode u načinu reprezentacije tijela kroz promijenjenu ulogu novih medija i izvedbenih umjetnosti. Suvremena moda se pojavljuje u svojim najznačajnijim ostvarenjima kao reinterpretacija i reizvedba događaja. Tijelo u modi sada je postavljeno u središte izvedbenog djelovanja iz jednostavnog razloga što moda, posebno nakon 1990-ih godina XX. stoljeća, predstavlja stjecište različitih novomedijskih i izvedbenih oblika. Za razliku od tradicionalnog pristupa modi kao pokazatelju društvenih promjena u doba modernosti, ovdje se nastoji oko dekonstrukcije ne samo društva, već i modernog shvaćanja kulture.

Tehnologija i modni dizajn su oduvijek bili povezani, no posljednjih desetak godina sve je veća vidljivost tehnologije u suvremenoj modi. U tom se smislu sada svijetlost koristi kao integracijski dio odjevnog objekta. Svjetlost postaje glavni element samog tijela u modi, naglašavajući tako pokret tkanine, ali i obrise novoga tijela. Tkanina je nova koža tijela, a tehnologija pomaže da se tkanina prilagodi tijelu. Da bi se stvorilo originalno iskustvo tijela dizajneri koriste svjetlost koja naglašava performativnost tijela. Naši odjevni objekti sada komuniciraju različitim metodama. Oni komuniciraju, transformiraju, provode energiju i svjetlost, dok im je tijelo komunikacijski alat. Sada imamo priliku komunicirati svim osjetilima s okolinom na drugačijoj razini.Pametni tekstil se uklopio u ovaj fenomen na način da koristi sva ljudska osjetila kao nov način prikupljanja informacija o subjektu i tijelu.

This paper explores the ways in which contemporary fashion and its hybrid, eclectic form creates new ways of understanding the construction of the body within fashion performance. Fashion can be perceived both as an image (Roland Barthes, 1967) and as a process, especially under the influence of various cultural elements as well as technology. Fashion is inextricably linked with the body and creates new time/space categories but more important new corporeal experience. Although he does not explore fashion per se in his writings, Maurice Merleau-Ponty and his phenomenological approach created a new framework for understanding bodily experience as well as its ‘corporeal’ nature (The Phenomenology of Perception, 1962). In fashion, we engage with the world and the term ‘body’ in a philosophical sense, it is crucial to be explored if we want to fully comprehend the link between body and dress, in this case, body movement. Nevertheless, contemporary fashion after the 1990’s adheres the bodily experience, especially in fashion performance. The performativity of fashion now seems to appear as a groundbreaking field within fashion theory, linked with both theatre, fashion and body design. With close comparative reference to a range of examples including: Tilda Swinton’s performance in Oliver Staillard’s The Eternity Dress, Croatian performance artist Tajči Čekada, together with the work of Hussein Chalayan, Viktor & Rolf and Rei Kawakubo’s 1997 collection Body-Meets Dress-Dress-Meets-Body, this paper will argue that within performance, fashion gains new meaning and the body can be re-performed in various forms. Fashion in contemporary culture can no longer be perceived as only an image (the semiotics of fashion) or only a process. Instead, these two hypotheses wind together within the form of fashion performance. This complex field of fashion and performance and their strong impact on body-image and body- process is crucial if we want to understand the chaos of contemporary fashion and its constant re-enactment.

In this presentation titled Contemporary Fashion as an Event: The New Media and Body Transformations I will try to establish the necessary interdisciplinary relationship between the field and the notion of contemporary fashion that emerges after the 1980s, new media as new opportunities for the development of the fashion process and events and their significant influence on the understanding of fashion and the articulation of the interdisciplinary fashion studies. In the research and scientific sense this presentation will develop the thesis that contemporary fashion cannot exist without the influence of the media on the body and the fashion object. At the same time it changes the logic of acting in the virtual world by fashion-image appearing on the display of the media screen as the new image, but also in the performative sense as the fashion- body. The work will also show the possibilities of constant transformations of contemporary fashion in the way of representing the body in fashion through the altered role of new media and performing arts. Contemporary fashion appears as the reinterpretation and re- performance of the event in all its most noted actualizations. The body in fashion is nowadays in the centre of the performing action because fashion, especially after the 1990s, represents the intersection of various new media and performative forms. Unlike the traditional approach to fashion as an indicator of social change in contemporary society, this approach deconstructs not only the society, but also the modern understanding of culture. It seems necessary to follow the path of understanding the culture that unites the concepts of identity, communication and the emergent network. Contemporary fashion in analogy with conceptual and performative art at the end of 20th century is determined by corporeality in all its aspects of appearing. Body, however, cannot be understood just as a function or a structure of an immediate human action in a pre-set world anymore, but more as an autonomous event in a network of an image representation. Thus, fashion refers to the visual construction of the body as an event and in this way shows an irreducible lifestyle phenomenon in the spectacle of today's society. With close comparative reference to a range of examples including: Tilda Swinton’s performance in Oliver Staillard’s The Eternity Dress, Croatian performance artist Tajči Čekada, together with the work of Hussein Chalayan, Rick Owens, Viktor & Rolf and Rei Kawakubo’s 1997 collection Body Meets Dress, Dress Meets Body, this paper will also argue that within performance, fashion gains new meaning and the body can be re-performed in various forms due to new media influence. Fashion in contemporary culture can no longer be perceived as only an image or only a process. Instead, these two hypothesis wind together within the form of fashion performance. This complex field of fashion and performance and their strong impact on body-image and body-process is crucial if we want to understand the chaos of contemporary fashion and its constant re- enactment. Why the media nowadays combine the terms fashion and body into the fashion body? Identification of the fashion language as well as the sign system of fashion is of great importance in the field of research, as we explore the attempt to create a new identity construction, gender/sex questions within fashion, as well as the transition from class-social model to visual semiotics in the postmodern theories of fashion. For these reasons this dissertation will focus on the ambiguity of fashion: on the one hand fashion as visual semiotics, and on the other fashion as the body in the process. Fashion in semiotics appears as a text whose layers have different levels of meaning while in performing in the virtual world fashion appears as the body in an event. Thereat, this epistemological difference suggests the intensified research of the relationship between the text and image, which afer Roland Barthes became crucial since an image in the digital context cannot be decoded anymore simply by using the language as a universal signifier. The event has become a crucial category of the new interpretations of contemporary fashion. It is therefore necessary to show how the semiotic model in the new media has moved from text to screen, from language to code, and how fashion is explored as the new possibility of a physical event in the fashion object.

Rad istražuje pojam i pojavu male crne haljine u teoriji mode od 1920.-ih godina XX. stoljeća do pojave japanske dekonstrukcije u modi.

U izlaganju će se istražiti mogućnosti suvremene mode i načini reprezentacije tijela u modi kroz nove medije i performativnost. Suvremena moda se pojavljuje kao konstantna reinterpretacija i reizvedba događaja. Tijelo izvođača u modi sada je u nesvakidašnjem djelovanju, iz razloga što moda, posebno nakon 1990-ih godina 20. stoljeća, predstavlja sjecište različitih izvedbenih oblika. Prepoznavanje modnog jezika, kao i znakovnog sustava mode, od važnosti je u istraživanju izvedbenih umjetnosti jer se istražuje pokušaj nove konstrukcije identiteta, ali i rodno/spolne problematike unutar suvremene mode. Moda se može sada usporediti s eksperimentalnim kazalištem i plesom kod pojedinih suvremenih modnih dizajnera, no ono što ju odvaja od drugih izvedbenih oblika je mogućnost neprestane reinterpretacije tijela. Konstrukcija i reprezentacija modnih revija kao događaja, preispituje uloge subjekta, stvara nove interpretacije tijela, ali i zamagljuje granice u razumijevanju što modna revija predstavlja. Promjenom revije u događaj, moda zauzima mjesto preklapanja suvremene mode i suvremene umjetnosti. Preklapa se ono što je modno, umjetničko, ali istodobno i društveno-političko. Namjera je ovoga izlaganja pokazati kako se mediji i performans međusobno dopunjuju u događaju suvremene mode.

The work displays why has technology changed the structure of designing clothing especially in contemporary fashion and adheres the connection between fashion, technology and new media.

Sveučilište u Zagrebu Tekstilno-tehnološki fakultet 26. siječnja 2016. godine obilježilo je svoju 25 godišnjicu kao i 55. godišnjicu tekstilnog studija na Zagrebačkom Sveučilištu.

This paper questions in what way new media influence image and text transformations and their communicative identity. The relation between images and texts in the digital age of new media has been changed due to the process of immersion of virtual reality. Visual culture is now experimenting with different communication channels, using new media manipulation to shape new possibilities of reality or realities. New realities create new visual experiences and produce fragments of digital images. The multiplication of images and texts in images results in a different way of understanding visual culture in general. Understanding new media and the process of intermediality gives us a new perspective of image-text relation. Is it possible to revive the power of images and texts in the age of new media simulation? Moreover, new media constantly re-explore the true meaning of both images and texts, as well as new time-space categories linked to reality. The visual construction of culture now consists of different layers of new media communication which need to be decoded if one wants to comprehend the new visual reality and its symbolic meaning. Images and texts are now significantly different, always in function of media, never revealing what is their logic. Understanding the new communication of visual culture today not only explains the new tools being used in a complex system, but also the way in which communication creates new artificial realities.

Rad istražuje odnos islama i suvremene mode u doba “ukidanja” multikulturalizma, posebice u Europi. Problematika islama u odnosu na suvremenu modu leži u potpunom ukidanju tijela ali, paradoksalno, i u oslobađanju tijela uslijed radikalnih restrikcija koje ono trpi. Tijelo nikada nije bilo više izloženo kritici kao tijelo u islamu. Radi li se o potpunom obuzdavanju ženskog lika u povijesti ili je situacija drugačija? Rad istražuje na koji se način ovi procesi odvijaju, prije svega kroz povijesni pregled i kontekst ženskog tijela u Iranu. Razlikovanje odnosa unutar zemalja islamskog opredjeljenja važan su dio ovog procesa određivanja kakvo žensko tijelo jest i kakvo ono može biti. Ima li tijelo u islamu mogućnosti modifikacije? Ukoliko je odgovor pozitivan, na koji način te iste modifikacije tijela utječu na identitet žene? Kakve su mogućnosti ženskog tijela u odnosu na muško, te ima li tijelo uopće mogućnosti izbora u suvremenoj modi ako pripada islamskom religijskom krugu?

Autorica istražuje važnost fiskalne transparentnosti i najbolje prakse za povećanje fiskalne transparentnosti od strane međunarodnih organizacija. Posljednih godina fiskalna transparentnost postala je značajna tema u javnim raspravama radi povećanja svijesti građana te poboljšanja javne odgovornosti središnje države, ali i lokalnih jedinica. Glavno je pitanje istraživanja utječe li razine fiskalne transparentnosti na zaduživanje gradova u Republici Hrvatskoj te utječe li razina fiskalne transparentnosti na proračunske deficite gradova u Republici Hrvatskoj. Da bi se dobili odgovori na pitanja korišteni su podaci iz proračuna 14 gradova dobiveni iz arhive lokalnih proračuna Ministarstva financija za razdoblje od 2002. godine do 2010. godine. Provedbom regresijske analize prikazuje se da razina fiskalne transparentnosti nema utjecaj na proračunske deficite, dok fiskalna transparentnost na zaduživanje gradova ima signifikatan utjecaj.

Last few years fame and celebrity issues have become more visible in social sciences and humanities, creating incredibly stimulating interdisciplinary field. Although it is a relatively new area of academic interest it seems that some important issues still remain invisible. World of fashion, and particularly world of fashion modelling industry, for decades has produced a special kinds of celebrities – fashion models celebrities. Modelling as profession and public supermodel persona are both permeated with ambivalent and contradictory meanings – on the one hand „the beauty myth“ (Wolf 1991) is being differentiated and pluralized, but on the other hand youthful appearance and super-slender body still remain dominant standards in the context of fashion / modeling / media landscape.