JOVANA NIKOLIĆ
Independent researcher, Belgrade, Serbia
joa1nikol@yahoo.co.uk

KOSTIM NA FOTOGRAFIJAMA KRALJICE NATALIJE OBRENOVIĆ U FUNKCIJI VIZUELNE REPREZENTACIJE KRALJIČINOG TELA
DRESS IN THE PHOTOS OF QUEEN NATALIJA OBRENOVIĆ IN THE SERVICE OF THE VISUAL REPRESENTATION OF THE QUEEN`S BODY

Journal 12/2016 (Museum of Applied Art), pages 27-35

Article category: scientific review

UDC:
7.05:391.2(497.11)”18”

Abstract (original language):
Rad se bavi kostimom kneginje, a potom i kraljice Natalije Obrenović i istražuje načine reprezentovanja kraljičnog tela u vizuelnoj kulturi Srbije druge polovine XIX veka. Rad će se bazirati na fotografskoj građi. Kraljica Natalija bila je modna ikona svog vremena i, poput vladarki evropskih dvorova, posvećivala je posebnu pažnju kostimu kojim je predstavljala svoje vladarsko telo. Moda na dvoru je u drugoj polovini XIX veka bila odraz politike, ali i ličnog ukusa. Kraljica Natalija je uvela pravu modnu revoluciju jer je umesto dva načina odevanja, za privatnu i javnu sferu, birala kostim za svaku svoju ulogu, a igrala ih je mnogo. Među foto-dokumentima izdvojiće se oni primeri koji ukazuju na kreiranje ovih uloga – fatalne žene, supruge, majke, kraljice, modne ikone.
Kroz kostim, kraljičino telo postaje simbol. Moda je bila jedan od načina kojim su vladarke dokazivale sopstvenu besmrtnost. Odevanje je pripadalo vešto isplaniranom ritualu prikazivanja lepote, a lepota je označavala zdravlje, vitalnost, snagu i na kraju, besmrtnost, kako vladarke, tako i dinastije i države. Analizom kostima kraljice Natalije dolazi se do zaključka da je vladarka aktivno učestovala u kreiranju poruka koje odevanje prenosi, kao i stvaranju moćnog simbola kraljičinog tela.

Key words: (original language)
kraljica Natalija Obrenović, kostim, moda, reprezentacija, kraljičino telo

Summary:
Queen Natalija (Natalie of Serbia) was a fashion icon of her time and similarly to women rulers at European courts, she paid special attention to the dress that was meant to represent her sovereign body. The fashion at the court in the second half of the 19th century reflected both politics and personal tastes. Through dress, the Queen's body was turned into a symbol.
Queen Natalija expanded the scope of costume's influence: she carried out a genuine fashion revolution by tailoring costume for each of her roles, which she had many, instead of sticking to two dress styles: for private and public spheres. Among photographic documents we can find examples that show her various identities: a femme fatale, a wife, a mother, a Serbian woman, a fashion icon. We can see her as a young woman flirting with the beholder in a dress tailored with the idea of emphasizing her feminine attributes and eroticism, but we can also see her as a lady who seduces by hiding the body under the folds of lace, which suggest more than they reveal. In the private sphere, the Queen was shown as a modest and balanced woman dressed in simple and practical clothing, alluding to women's intellectual side, in response to the eroticization that occurred in public life. The role of a mother was another important sphere because the family was considered to be a nucleus in the 19th century and the royal family was supposed to be an ideal to be striven for by all citizens. Finally, we can see the Queen in the folk dress, which she used to emphasize her commitment to the country, its history, tradition and culture.
Despite the many identities placed before Queen Natalija, she managed to appear dignified. In the medium of photography, Queen Natalija can be seen as a modern woman who both consumed and dictated the fashion of her time.

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