ART – Foster + Svensson branding agency

Foster + Svensson acquired original artwork created by Academician Ljubica Cuca Sokić

Vladimir von Bergdorff — Mon, 23 Feb 2026 07:59:18 +0000

Ljubica Cuca Sokić, a prominent Serbian and Yugoslav painter of the 20th century, was born in Bitola, North Macedonia. She received her secondary education in Belgrade, Serbia, where she began her art education under the mentorship of drawing professor Zora Petrović, one of the most significant representatives of expressionism in Serbian painting. Sokić continued to pursue her art education at the Royal School of Arts in Belgrade, under the guidance of professors Beta Vukanović, Ivan Radović, Jovan Bijelić, and Ljuba Ivanović.

Sokić’s artistic journey took her to Paris, France, where she exhibited her works. In 1939, she made her first independent exhibition at the Cvijeta Zuzorić pavilion in Belgrade. From 1948 to 1972, she dedicated her life to teaching as a professor at the Academy of Fine Arts in Belgrade. During her tenure, she became a corresponding member of SANU in 1968, and later a regular member in 1978, earning an Academician title.

Her painting style is characterized by its intimate nature. Initially, her artworks drew inspiration from still lifes, landscapes, figures, and portraits. Over time, her style evolved towards simplification of forms, geometrization, and moderate abstraction.

Throughout her artistic career, she received numerous accolades and awards. These include the award of the first October Salon, the “Golden Pen of Belgrade” Plaque for illustration, the Golden Plaque of ULUS, the Grand Prix of the First Biennial of Yugoslav Miniature Art, and also the Medal of Order for the People with Silver Rays of Merit.

Her artistic legacy is preserved in museums across Serbia. Ljubica Cuca Sokić passed away in Belgrade in 2009. She remains an esteemed figure in Serbian art history, recognized as an academician of SANU and a professor at the Academy of Fine Arts in Belgrade.

Photo: Composition 4, Ljubica Cuca Sokić.

We are delighted that Foster + Svensson has acquired the original artwork titled “Composition 4”, created by Academician Ljubica Cuca Sokić. This exquisite piece has been added to our private art collection, as a rare opportunity for reflection, study, and inspiration.

This proximity with original artworks from esteemed artists enables employees and collaborators to absorb the methods, techniques, and vision of these artists, informing innovation, strategic insight, and the company’s approach to creative endeavors. By bridging artistic mastery with professional practice, the collection nurtures intellectual curiosity, cultural literacy, and creative depth, which permeates Foster + Svensson work in design, branding, communication, and strategic projects for clients and partners.

Since its foundation, Foster + Svensson has cultivated a distinguished tradition of artistic engagement that reflects and reinforces the company’s enduring cultural values. The Foster + Svensson Private Art Collection is the result of a deliberate and sustained practice of acquisition, guided by internal principles and the expertise of a dedicated art advisory council. From inherited works connected to historical figures such as Ivan Meštrović to carefully chosen pieces by globally esteemed and emerging artists alike, the collection represents a considered balance of legacy and contemporary expression. Each acquisition is made with discernment, ensuring that celebrated masters and promising new talents coexist within a continuously evolving collection.

– The Art Preservation program embodies the company’s philosophy that art carries enduring cultural and intellectual value. More than a repository of visual works, it reflects a commitment to preserving heritage, inspiring inquiry, and enriching understanding. Each piece, whether a drawing, painting, photography, sculpture, poster, or print, is selected for its aesthetic merit and its capacity to illuminate creative processes and resonate with both historical and contemporary currents. This stewardship honors tradition while fostering forward-looking innovation, says Mag. Vladimir von Bergdorff, MA, Group Managing Director of Foster + Svensson.

Through the Private Art Collection and initiatives, Foster + Svensson exemplifies a corporate identity where cultural engagement, artistic excellence, and professional rigor converge. The artworks under the company’s stewardship stand as markers of artistic brilliance, embodying a refined appreciation for creativity as a defining human endeavor. By fostering this collection, the company honors the enduring dialogue between artists and audiences, between heritage and innovation, and between artistic insight and professional practice, a dialogue that continues to shape how we think, create, and contribute to the broader cultural landscape. Through this ongoing engagement, creativity, knowledge, and cultural awareness remain at the heart of Foster + Svensson vision, strategy, and enduring legacy.

Fervent support for the arts serves as a testament to our beliefs in the transformative power of creativity. We have been avid art collectors and creators for over years, showcasing a profound appreciation for artistic and cultural expression as our stronghold.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and advertising agency with heritage back in 1860 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 20 industries, agency provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Agency approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Raiffeisen Bank, Banca Intesa, Addiko Bank, AikBank, Visa, Mastercard, Ericsson, Nokia, Telenor Group, Apple, Vodafone Group, A1 Telekom Austria Group, T-Mobile, CNN, RTS, Ringier Axel Springer, Samsung, Cheil, Huawei, Hisense, Gorenje, Asko, Ahold Delhaize, Nestlé, Procter & Gamble, AstraZeneca, Richter Gedeon, Ursapharm, Inditex, Zara, BMW Group, Renault Group, Knight Frank. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

The Thread of Time exhibition by Nataša Šarić

Vladimir von Bergdorff — Sat, 08 Mar 2025 19:00:12 +0000

The National Museum of Pančevo, on Saturday, March 8, officially opened the exhibition “The Thread of Time” by Nataša Šarić, a famous Serbian fashion designer. The exhibition, with the support of the City of Pančevo, was previously presented in Versailles, Paris. The Thread of Time has now arrived in Serbia, at the National Museum of Pančevo, and will last until March 15.

The exhibition itself did not have a classic opening, addresses, or access, but a gathering in the friendly atmosphere of the Museum, where guests could share impressions and enjoy art, fashion, and an audio-visual experience.

The Thread of Time exhibition is truly unique, a combination of fashion, geometry, and electrical engineering inspired by the visions and discoveries of scientist Nikola Tesla. Through form, texture, and dynamic contrasts, energy revives Tesla’s genius in contemporary design.

Nataša is a true avant-garde fashion designer who manages to tame various materials from light ones like cotton, lace, silk, to heavy ones like tweed, fabric, rubber, metal, and add jewelry in the form of accessories that are carefully sewn into unique wardrobe masterpieces.

Invitation for Nataša Šarić art exhibition at National Museum of Pančevo.

More than a tribute, this is a dialogue between science and art with an eye to the future.

Nataša Šarić has received numerous recognitions and awards for her work in Serbia and abroad, including the award from the Tesla Foundation Serbia and the Tesla Science Foundation from Philadelphia, USA, for exceptional contribution and promotion of the character, work, and vision of scientist Nikola Tesla in 2016.

The exhibition will be open until March 15.

People culture at Foster + Svensson

At Foster + Svensson we nurture and foster creativity and work-life balance. We believe that people get most of ideas outside of work, while being inspired at any place. Most of the ideas are coming out during open discussions too, which are human, more appealing and have greater impact than the one imposed. Therefore we foster friendly environment at work, so we allow our employees to explore client brands and products more deeply, than just getting the brief from them. From point of being creatively amazed, to point of being punctual towards client. Free to wonder, yet disciplined in work.

We also highlight the importance of constant informing and educating ourselves, either by upgrading formal education, or by workshops, trainings, conferences accessing and reading high quality literature, visiting museums, galleries, exhibitions, theatres, and events. That is why we encourage people at Foster + Svensson to read books, magazines and articles about art, design, architecture, history, people, photography, popular culture, lifestyle, travel, graphics, decorative arts, science, and technology, but also to educate and update ourselves on client industries, latest trends, reports, and news. Such information we collect, we use for upgrading ourselves in a process of constant exploration and learning, where we set future foundations in the industry we work.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and advertising agency with heritage back in 1860 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 20 industries, agency provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Agency approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Telenor Group, Ericsson, Apple, Vodafone Group, A1 Telekom Austria Group, RTS, Samsung, Cheil, Huawei, Hisense, Ahold Delhaize, Procter & Gamble, Richter Gedeon, AstraZeneca, Banca Intesa, Raiffeisen Bank, Mastercard, Inditex, Zara, Renault Group. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson is one of the founders of MAI Marina Abramović Institute.

Foster + Svensson ads two new artworks to its contemporary private art collection

Vladimir von Bergdorff — Fri, 08 Nov 2024 09:42:34 +0000

An award-winning European communications and advertising agency Foster + Svensson, continues to support contemporary artists, by adding two new artworks to its private art collection. ‪To our collection we added two artworks from the exhibition “Art for the soul – an Honest Book” organized during World Mental Health Day as support to people living with schizophrenia.

World Mental Health Day is marked every year October 10th. Serbian state owned Radio-television of Serbia (RTS), with the support of its partners, organized a special project to bring the world of people with schizophrenia closer to the general public. An exhibition of amateur painting artworks by people living with schizophrenia, which were created in the workshops of special psychiatric hospitals, were also presented.

The project and exhibition “Art for the soul – an Honest Book” aims to bring together worlds that rarely meet, people suffering from schizophrenia, who stay in two mental hospitals in Serbia, and the general public. Through painting workshops, in which family members of people living with schizophrenia also participated, a space was created for artistic expression, understanding and connection. These workshops were not only therapeutic but provided an opportunity for open dialogue and better integration of those people struggling with schizophrenia into society. During the duration of the exhibition at RTS Ceremonial Hall, the paintings were able to be reserved and purchased as a support and donation to medical institutions, which gives a humanitarian aspect to this project.

Video: © RTS Radio-television of Serbia, Dnevnik 1 (Gordana Stijačić, Ana Stamenković).

Through workshops in which people living with schizophrenia participated, 36 works were created. These small and big artworks introduce us to the world from the point of view of people who have this chronic mental disorder. The workshops were held at the Special Hospital for Psychiatric Disorders in Kovin and the Clinic for Psychiatric Disorders “Dr. Laza Lazarević” in Padinska Skela.

Photos: Artworks “Boje / Colors” (picture 1), “Boje i plaža / Colors and the beach” (picture 2).

The Foster Group (Fosterova grupa), which includes Apothecary and Foster + Svensson, are proud to have purchased two artworks from this exhibition, and added them to its Contemporary private art collection. Art and design are the core of Foster + Svensson. From our beginnings we spotlighted and supported some major art activities, like founding MAI Marina Abramović Institute, supporting exhibitions and buying art, like original artworks from Nadežda Petrović, two originals from Milan Konjović, work made by Jovana Stojanović from the Faculty of Applied Arts in Belgrade (Calligraphy and Typeface Design academic study course) in the class of Associate Professor Jana Oršolić, and original artwork from Dunja Jung.

We are committed to increasing awareness of global philanthropy and changing people’s culture towards better societies, as well as promoting a focus on social inclusion, art preservation and the common good of people. This very art we buy (sculptures, paintings, prints, drawings) is done from part of profit we make, and where we invest in future history by buying it and displaying at Foster + Svensson as our legacy and investment in contemporary art. It is also a way how we express our support, respect, recognition and contribution to the artists, as they created a timeless masterpieces. Art preservation represent one of three pillars within Foster + Svensson Foundation, where we identify, promote, buy and collect arts, that will become legacy for generations to come.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and advertising agency with heritage back in 1860 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 20 industries, agency provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Agency approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Telenor Group, Ericsson, Apple, Vodafone Group, A1 Telekom Austria Group, RTS, Samsung, Cheil, Huawei, Hisense, Ahold Delhaize, Procter & Gamble, Richter Gedeon, AstraZeneca, Banca Intesa, Raiffeisen Bank, Mastercard, Inditex, Zara, Renault Group. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

World Mental Health Day

Vladimir von Bergdorff — Thu, 10 Oct 2024 14:50:14 +0000

World Mental Health Day is marked every year 10th October. Radio-television of Serbia (RTS), with the support of its partners, organized a special project to bring the world of people with schizophrenia closer to the general public. An exhibition of amateur painting artworks by people living with schizophrenia, which were created in the workshops of special hospitals for psychiatric disorders, was also presented.

The project “Art for the soul – an Honest Book” aims to bring together worlds that rarely meet, people suffering from schizophrenia, who stay in two mental hospitals in Serbia, and the general public.

Video: © RTS Radio-television of Serbia, Dnevnik 1.

Through painting workshops, in which family members of people living with schizophrenia also participated, a space was created for artistic expression, understanding and connection. These workshops were not only therapeutic, but provided an opportunity for open dialogue and better integration of those people struggling with schizophrenia into society. During the duration of the exhibition at RTS Ceremonial Hall, the paintings will be able to be reserved and purchased as a support and donation to medical institutions, which gives a humanitarian aspect to this project. Through workshops in which people living with schizophrenia participated, 36 works were created. These small and big artworks introduce us to the world from the point of view of people who have this chronic mental disorder. The workshops were held at the Special Hospital for Psychiatric Disorders in Kovin and the Clinic for Psychiatric Disorders “Dr. Laza Lazarevic” in Padinska Skela.

The Foster Group (Fosterova grupa), which includes Apothecary and Foster + Svensson, are proud to have purchased two artworks from this exhibition, and added them to its Contemporary private art collection. We are committed to increasing awareness of global philanthropy and changing people’s culture towards better societies, as well as promoting a focus on social inclusion, art preservation and the common good of people.

The exhibition lasts from October 10th to October 17th, 2024, in the RTS Ceremonial Hall at 10 Takovska Street in Belgrade, from 10am to 8pm.

Article and video: © RTS Radio-television of Serbia, Dnevnik 1, Ana Stamenković, Gordana Stijačić.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and advertising agency with heritage back in 1860 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 20 industries, agency provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Agency approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Telenor Group, Ericsson, Apple, Vodafone Group, A1 Telekom Austria Group, RTS, Samsung, Cheil, Huawei, Hisense, Ahold Delhaize, Procter & Gamble, Richter Gedeon, AstraZeneca, Banca Intesa, Raiffeisen Bank, Mastercard, Inditex, Zara, Renault Group. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Captivating impact of Dior created what would become one of the most influential luxury company in the world

Vladimir von Bergdorff — Mon, 24 Jun 2024 07:00:07 +0000

Dior (Euronext Paris: CDI) is a French multinational luxury house founded in 1946 by fashion designer Christian Dior. Year later in 1947 Christian Dior Parfums were established with introduction of “Miss Dior” as first fragrance of the house. Dior revolutionized the perfumery industry with the launch of the highly popular “Miss Dior” parfum, which was named after Catherine Dior (Christian Dior’s sister). Soon afterwards, Dior expanded its business with both luxury ready-to-wear fashion and perfumes, by reaching USA, Australia, UK, Chile, Mexico, Cuba, Canada, Italy, among first international markets in the world. As popularity of Dior goods grew, so did counterfeiting. This illegal business was supported by women who could not afford the luxury goods.

The House of Dior was established at 1946 in Paris. However, the current Dior corporation celebrates “1947” as the opening year. Dior was financially backed by wealthy businessman Marcel Boussac, who had originally invited Dior to design for “Philippe et Gaston”, but Dior refused, wishing to make a fresh start under his own name rather than reviving an old brand. The new couture house became a part of “a vertically integrated textile business” already operated by Boussac. Its capital was at FFr 6 million and workforce at 80 employees. The company was really a vanity project for Boussac and was a majorly owned affiliate. Nevertheless, Dior was allowed a then-unusual great part in his namesake label (legal leadership, a non-controlling stake in the firm, and one-third of pretax profits) despite Boussac’s reputation as a “control freak”.

In 1947, Christian Dior launched his first fashion collection for Spring–Summer. However, the new collection went down in fashion history as the “New Look” after the editor-in-chief of Harper’s Bazaar Carmel Snow exclaimed, “It’s such a new look”! The “New Look” was a revolutionary era for women at the end of the 1940s. When the collection was presented, the editor in chief also showed appreciation by saying: “It’s quite a revolution, dear Christian”! The debut collection of Christian Dior is credited with having revived the fashion industry of France. Along with that, the “New Look” brought back the spirit of haute couture in France as it was considered glamorous and young-looking. The silhouette was characterized by a small, nipped-in waist and a full skirt falling below mid-calf length, which emphasized the bust and hips, as epitomized by the “Bar” suit from the first collection. The Bar suit was a contribution from the head of Dior’s tailoring atelier, a young Pierre Cardin, who was employed by the house from 1947 to 1949. The collection overall showcased more stereotypically feminine designs in contrast to the popular fashions of wartime, with full skirts, tight waists, and soft shoulders. Dior retained some of the masculine aspects, as they continued to hold popularity through the early 1940s, but he also wanted to include more feminine style.

Photo: Christian Dior.

The New Look

The “New Look” became extremely popular, its full-skirted silhouette influencing other fashion designers well into the 1950s, and Dior gained several prominent clients from Hollywood, the United States, and the European aristocracy. As a result, Paris, which had fallen from its position as the capital of the fashion world after World War II, regained its pre-eminence. The “New Look” was welcomed in western Europe as a refreshing antidote to the austerity of wartime and de-feminizing uniforms and was embraced by stylish women such as Princess Margaret in the UK. Dior’s designs from the “New Look” did not only affect the designers in the 1950s, but also more recent designers in the 2000s, including Thom Browne, Miuccia Prada, and Vivienne Westwood.

Not everyone was pleased with the “New Look”, however. Some considered the amount of material to be wasteful, especially after years of cloth rationing. Feminists were outraged, feeling that these corseted designs were restrictive and regressive, and that they took away a woman’s independence. There were several protest groups against the designs including, the League of Broke Husbands, made up of 30,000 men who were against the costs associated with the amount of fabric needed for such designs. Fellow designer Coco Chanel remarked, “Only a man who never was intimate with a woman could design something that uncomfortable”. Despite such protests, the “New Look” was highly influential, continuing to inform the work of other designers and fashion well into the 21st century.

Available references contradict themselves whether Christian Dior Parfums was established in 1947 or 1948. The Dior corporation lists the founding of Christian Dior Parfums as 1947, with the launch of its first perfume, Miss Dior. Dior revolutionized the perfumery industry with the launch of the highly popular Miss Dior parfum, which was named after Catherine Dior (Christian Dior’s sister). Christian Dior Ltd. owned 25%, manager of Coty perfumes held 35%, and Boussac owned 40% of the perfume business, headed by Serge Heftler Louiche. Pierre Cardin was made head of the Dior workshop from 1947 until 1950.

Expansion from France began by the end of 1949 with the opening of a Christian Dior boutique in New York City. By the end of the year, Dior fashions made up 75% of Paris’s fashion exports and 5% of France’s total export revenue. In 1950, Jacques Rouët, the general manager of Dior Ltd., devised a licensing program to place the now-renowned name of “Christian Dior” visibly on a variety of luxury goods. It was placed first on neckties and soon was applied to hosiery, furs, hats, gloves, handbags, jewellery, lingerie, and scarves. Members of the French Chamber of Couture denounced it as a degrading action for the haute-couture image. Nevertheless, licensing became a profitable move and began a trend to continue “for decades to come”, which all couture houses followed.

Christian Dior was the exclusive designer of Marlene Dietrich’s dresses in the Alfred Hitchcock film “Stage Fright”. A bit later, actress Ava Gardner had 14 dresses created for her by Christian Dior for the Mark Robson film “The Little Hut”. Actress Elizabeth Taylor ordered twelve Dior dresses. Dior haute couture graced the bodies of Princess Grace of Monaco, Nicaraguan First Lady Hope Portocarrero, Princess Alexandra of Yugoslavia, and Lady Pamela Hicks (Lord Mountbatten of Burma’s younger daughter) for the wedding of The Prince of Wales and Diana Princess of Wales.

Despite the company’s strong European following, more than half of its revenue was generated in the United States by this time. The first Dior shoe line was launched in 1953 with the aid of Roger Vivier. The company operated firmly established locations in Mexico, Cuba, Canada, and Italy by the end of 1953. As popularity of Dior goods grew, so did counterfeiting. This illegal business was supported by women who could not afford the luxury goods. By the mid-1950s, the House of Dior operated a well-respected fashion empire. In honour of Princess Margaret and the Duchess of Marlborough, a Dior fashion show was held at the Blenheim Palace in 1954 as well. Christian Dior launched more highly successful fashion lines between the years of 1954 and 1957. However, none came as close to the profound effect of the New Look.

Dior, but without Dior

The death of the head designer left the House of Dior in chaos, and general manager Jacques Rouët considered shutting down operation worldwide. This possibility was not received graciously by Dior licensees and the French fashion industry. The Maison Dior was too important to the financial stability of the industry to allow such an action. To bring the label back on its feet, Rouët promoted the 21-year-old Yves Saint Laurent to Artistic Director the same year.

Saint Laurent had joined the House’s family in 1955 after being personally picked out by the original designer for the position of the first ever and only Head Assistant. Saint Laurent initially proved to have been the most appropriate choice after the debut of his first collection for Dior in 1958. The clothes were as meticulously made and perfectly proportioned as Dior’s in the same exquisite fabrics, but their young designer made them softer, lighter and easier to wear. Saint Laurent was hailed as a national hero. Emboldened by his success, his designs became more daring, culminating in the 1960 Beat Look inspired by the existentialists in the Saint-Germain des Près cafés and jazz clubs. His 1960 bohemian look was harshly criticized, and even more in Women’s Wear Daily. Marcel Boussac was furious, and in the spring, when Saint Laurent was forced to leave the house of Dior, having been called up to join the French army, the Dior management raised no objection. Saint Laurent left after the completion of six Dior collections.

Saint Laurent was replaced at Dior by designer Marc Bohan in late 1960. Bohan instilled his conservative style on the collections. Bohan’s designs were very well esteemed by prominent social figures. The Dior perfume “Diorling” was released in 1963 and the first men’s fragrance “Eau Sauvage” was released in 1966. Three years later, Dior Parfums was sold to Moët-Hennessy (which would itself become LVMH) due to Boussac’s ailing textile company (the still-owner of Dior). This, however, had no effect on the House of Dior operations, and so the Christian Dior Cosmetics business was born in 1969 with the creation of an exclusive line. Following this, Bohan launched the first “Christian Dior Homme” clothing line in 1970.

In 1980, Dior released the men’s fragrance “Jules”. After the Willot Group went into bankruptcy in 1981, Bernard Arnault and his investment group purchased it for “one symbolic franc” in December 1984. The Dior perfume “Poison” was launched in 1985. That same year, Arnault became Chairman, Chief Executive Officer, and Managing Director of the company. On assuming leadership, Arnault did away with the company’s mediocre textile operations, to focus on the Bon Marché department store and Christian Dior Couture. Operations for Christian Dior drastically changed for the better under Arnault. He repositioned it as the holding company Christian Dior S.A. of the Dior Couture fashion business. On the 40th anniversary of Dior’s first collection, the Paris Fashion Museum dedicated an exhibition to Christian Dior. In 1988, Arnault’s Christian Dior S.A.’s took a 32% equity stake into the share capital of “Moët-Hennessy Louis Vuitton” through its subsidiary Jacques Rober, creating what would become one of the leading and most influential luxury goods companies in the world. Under this milestone merger, the operations of “Christian Dior Couture” and “Christian Dior Parfums” were once again united.

Italian-born Gianfranco Ferré replaced Bohan as head designer in 1989. The first such non-Frenchman, Ferré left behind traditional Dior associations of flirtation and romance and introduced concepts and a style described as “refined, sober and strict.” That year, a boutique was opened in Hawaii and the LVMH stake by Jacques Rober rose to 44%. Further Dior boutiques were opened in 1990 in upscale New York City, Los Angeles, and Tokyo shopping districts. The stake in LVMH rose again, to 46%. In 1991, Christian Dior was listed on the spot market and then on the Paris Stock Exchange’s monthly settlement market, and the perfume “Dune” was launched.

Dior was now reorganized into three categories:
– women’s ready-to-wear, lingerie, and children’s wear
– accessories and jewellery
– menswear

Licensees and franchised boutiques were starting to be reduced, to increase the company’s control over brand product. Licensing was in fact reduced by nearly half because Arnault and Vindry opted “for quality and exclusivity over quantity and accessibility.” Wholly company-owned boutiques now opened in Hong Kong, Singapore, Kuala Lumpur, Cannes, and Waikiki, adding to its core stores located in New York City, Hawaii, Paris and Geneva. This held a potential to increase direct sales and profit margins while maintaining high-profile locations.” In 1992, “Dior Homme” was placed under the artistic direction of Patrick Lavoix, and the “Miss Dior” perfume was relaunched. Under the influence of Anna Wintour, editor and chief of Vogue, CEO Arnault appointed British designer John Galliano to replace Gianfranco Ferré in 1997.

This choice of a British designer, once again instead of a French one, is said to have “ruffled some French feathers”. Arnault himself stated that he “would have preferred a Frenchman”, but that “talent has no nationality”. He even compared Galliano to Christian Dior himself, noting that “Galliano has a creative talent very close to that of Christian Dior. He has the same extraordinary mixture of romanticism, feminism, and modernity that symbolised Monsieur Dior. In all of his creations, his suits, his dresses, one finds similarities to the Dior style.” Meanwhile, Dior licenses were being reduced further, where Dior also took over all thirteen boutique franchises from Japan’s Kanebo.

Photo: Christian Dior.

Contemporary masculine concept

Like many other brands in the late 1990s, notably Gucci, featured suggestive images in their ads to draw public attention, Dior ads had such an impact that such publicity became a trend in most fashion ads. Galliano ignited the escalation of erotic advertisements, which culminated with Ungaro’s zoophilic ads, shot by Mario Sorrenti, and another ad for Gucci that featured a model with pubic hair shaped like the signature of Gucci logo. As a matter of fact, it is considered that Galliano had revolutionized Dior more through his advertising campaigns than through his designs. Though its advertising campaigns since beginnings, House of Dior collaborated with some of the most prominent people of our time, including Alain Delon, Isabelle Adjani, Monica Bellucci, Carla Bruni, Charlize Theron, Sharon Stone, Jude Law, Natalie Portman, Johnny Depp, Anya Taylor-Joy.

In 2000, Dior Homme lead designer was replaced by Hedi Slimane. Notable Dior releases that year were watches such as the distinctive “Malice”, which features bracelets made of “CD” links, as well as the “Riva”. Year later, the “Dior Homme” boutique in Pairs was reopened with a new “contemporary masculine concept” instilled by its designer Hedi Slimane. Slimane used this concept in the creation of his first Dior Homme collection. Soon, Dior Homme gained prominent male clientele including Brad Pitt and Mick Jagger.

Hedi Slimane left “Dior Homme” in 2007 and completely rejuvenated “YSL Yves Saint Laurent” brand, by introducing fine lines, avant-garde style, minimalism and contemporary concept, not only in fashion design, but also in retail, where Hedi Slimane redesigned store interiors. Such changes also affected on logo redesign and renaming from Yves Saint Laurent to “Saint Laurent”, where in popular culture public didn’t welcome well such change, but later accepted it as modern. This change of logo created some kind of mass logo redesign movement among luxury houses, where plenty of them redesigned their original logos and aligned with minimalistic, strict and tight typography. Such changes affected over the coming years Balenciaga, Balmain, Berluti, Burberry, Celine, Hugo Boss, Paco Rabanne, Rimowa. However, YSL logo originally designed in 1961 by graphic designer Cassandre was kept until now as interlocking emblem and standalone design marvel. Back at Dior, Hedi Slimane was replaced by Kris Van Assche, while Hedi continued to work on its own line and later joined Celine with yet again rejuvenation of the brand. Dior also worked on their logo where “CD” monogram was even more stylized and became fluid where two letters became closer and more connected, while “Dior” became to be stylized with uppercase “DIOR”.

House of Dior held many popular and iconic designers, which oversaw designs, such as Christian Dior himself, Pierre Cardin, Yves Saint Laurent, Marc Bohan, Gianfranco Ferré, Patrick Lavoix, John Galliano, Victoire de Castellane, Hedi Slimane, Kris Van Assche, Raf Simons, Maria Grazia Chiuri, Kim Jones.

Photo: Christian Dior.

Major therapeutic discoveries in skincare with regenerative medicine, stem cell research and genome editing

However, during those years House of Dior did not focus only on fashion, accessories, jewellery and fragrances. Dior signed a unique Research partnership between Dior Research (LVMH Research and Development at Hélios) and the CiRA Laboratory at Kyoto University, a centre directed by Professor Shinya Yamanaka, winner of the Nobel Prize in Medicine, and stem cell specialist. Under the direction of CiRA Director Shinya Yamanaka, winner of the 2012 Nobel Prize in Physiology and Medicine, the CiRA is the leading centre for Induced Pluripotent Stem Cell (iPS) research. It is conducting innovative research for medical such as regenerative medicine and drug development to realize new treatments. A part of the result has led to clinical trials for some intractable diseases such as Parkinson’s disease and amyotrophic lateral sclerosis (ALS). With a keen interest in the Dior scientists’ latest discoveries in stem cells in the cutaneous domain, the CiRA laboratory led by Associate Professor Knut Woltjen will provide iPS cells from healthy aged donors and expertise in genome editing. This marks the first time that a CiRA laboratory has entered a scientific partnership with a French luxury cosmetic house.

This is a major sign of recognition for Dior Science, now with 20 years’ experience in stem cell research, which has given rise to 17 discoveries in the cutaneous domain and some 55 publications, as well as several academic partnerships. Inspired by Professor Yamanaka’s discovery of reprogramming adult cells into stem cells, Dior Science recently made successful progress that opens new doors in the evolution of stem cells with age. This unique partnership, as well as the long-term exchanges between Dior Science (LVMH R&D) and the CiRA, create hope for major therapeutic discoveries in the skin, and cutaneous rejuvenation.

The captivating impact of Dior’s creative fashion genius earned recognition as one of history’s greatest fashion figures and brands, creating what would become one of the leading and most influential luxury goods companies in the world. House of Dior is controlled and chaired by French businessman Bernard Arnault, who also heads LVMH Louis Vuitton Moët Hennessy (Euronext Paris: MC).

About LVMH Group

LVMH is a French multinational holding and conglomerate specializing in luxury goods, consisted of Houses such as Acqua di Parma, Belmond, Belvedere, Berluti, Bvlgari, Celine, Cheval Blanc, Christian Dior, Dom Pérignon, Domaine des Lambrays, Fendi, Hennessy, Hublot, Givenchy, Guerlain, Kenzo, Krug, Maison Francis Kurkdjian, Mercier, Le Parisien, Loewe, Louis Vuitton, Marc Jacobs, Moët & Chandon, Pucci, Radio Classique, Rimowa, Sephora, STELLA by Stella McCartney, TAG Heuer, Tiffany & Co., Veuve Clicquot, Zenith.

A family-run group, LVMH strives to ensure the long-term development of each of its Houses in keeping with their identity, their heritage and their expertise. The oldest House within LVMH Group is Domaine des Lambrays. Located in Morey-Saint-Denis on the Route des Grands Crus, Domaine des Lambrays is one of Burgundy’s oldest and most prestigious vineyards. There are references to the estate in the records of the Abbaye de Citeaux dating back to 1365.

Sources:

LVMH Group, Christian Dior, Musée YSL Yves Saint Laurent Paris, The Metropolitan Museum of Art, Victoria & Albert Museum, Highsnobiety, The New York Times, Condé Nast, Vogue magazine, Harper’s Bazaar, Marie Claire, Grazia, Da Man, The Daily Telegraph, The Guardian, The Independent, Bloomsbury Publishing, Global Cosmetics News, Wikipedia, Billboard, Los Angeles Times, Business Insider, Deutsche Welle, Journal du Luxe, Radio Classique, CBS News, CNN, WWD, MSNBC.

People culture at Foster + Svensson

We also highlight the importance of constant informing and educating ourselves, either by upgrading formal education, or by workshops, trainings, conferences accessing and reading high quality literature, visiting museums, galleries, exhibitions, theatres, and events. That is why we encourage people at Foster + Svensson to read books, magazines and articles about art, design, architecture, history, people, photography, popular culture, lifestyle, travel, graphics, decorative arts, science, medicine, pharmacy and technology, but also to educate and update ourselves on client industries, latest trends, reports, and news. Such information we collect, we use for upgrading ourselves in a process of constant exploration and learning, where we set future foundations in the industry we work.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and advertising agency with heritage back in 1860 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 20 industries, agency provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Agency approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Telenor Group, Ericsson, Apple, Vodafone Group, A1 Telekom Austria Group, RTS, Samsung, Cheil, Huawei, Hisense, Ahold Delhaize, Procter & Gamble, Richter Gedeon, AstraZeneca, Banca Intesa, Raiffeisen Bank, Mastercard, Inditex, Zara, Renault Group. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

In memoriam: Sculptor and academician Svetomir Arsić Basara passed away

F + S — Fri, 10 May 2024 22:00:18 +0000

Sculptor and writer, academician Svetomir Arsić Basara, passed away in Belgrade at the age of 96.

Basara taught at the Higher Pedagogical School and the Academy of Arts in Priština. He is the founder of the Art Colony in Dečani, and he initiated the establishment of the Club of Fine Artists of Kosovo and Metohija. Basara sculpted his first work, “Girl’s Head”, in 1950. He wrote studies on sculpture, art criticism and short stories.

It is recognizable by its monumental cycle of sculptures inspired by national history and its heroes. With his works, he immortalized not only the progenitors of the Serbian state and identity, such as Simeon Nemanja and Saint Sava, but also the archetypes of our forefathers, the knights as a paradigm of Serbian historical existence in the territory of Serbia. Basara entered the Serbian House of Science and Knowledge in 1995. At the Academy of Sciences last spring, he presented an autobiographical collection of stories, “Road to Dečani” (Put za Dečane).

Photo credits © Snežana Krstić, Ringier.

Condolences

Serbian President expressed his condolences to the family highlighting the greatness of Svetomir Arsić, and his ability to combine the eternal and the earthly.

It is with deep sadness that we received the news of the death of one of the most important Serbian sculptors and artists of the second half of the 20th century, academician Svetomir Arsić Basara. Foster + Svensson sends its sincerest condolences to family, friends and admirers. We remain thankful for remarkable cultural and artistic impact, made as national long-lasting legacy. Rest in peace.

The funeral

The funeral of academician Svetomir Arsić Basara will be held on Tuesday, May 14th, 2024 in the Alley of Deserving Citizens at the New Cemetery in Belgrade, Serbia.

Explore the artwork of Svetomir Arsić at www.basara.rs

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and advertising agency with heritage back in 1860 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 20 industries, agency provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Agency approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Telenor Group, Ericsson, Apple, Vodafone Group, A1 Telekom Austria Group, RTS, Samsung, Cheil, Huawei, Hisense, Ahold Delhaize, Procter & Gamble, Richter Gedeon, AstraZeneca, Banca Intesa, Raiffeisen Bank, Mastercard, Inditex, Zara, Renault Group. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

UniCredit presents Uni Sonos at Milan Design Week 2024

Vladimir von Bergdorff — Fri, 12 Apr 2024 10:39:16 +0000

A project that stems from UniCredit’s ongoing commitment to supporting women’s empowerment and an important collaboration combining design and culture. Uni Sonos is formed in partnership with the Arena di Verona and Studiopepe, an international design studio led by two women. Featuring a never-before-seen collection of stunning costumes of Aida and female figures created for the 100th Arena di Verona Opera Festival 2023 by Stefano Poda, an installation that merges music and architecture, the worlds of finance, art and design bringing them together.

This landmark collaboration is derived from the concept of “Uni Sono”, where voices with different timbres and characters unite to resonate with the same frequency and pitch, reflecting UniCredit and Studiopepe’s shared values of unity, support, and togetherness. Uni Sonos is born of two institutions working together who are a natural fit with each other, as Studiopepe’s extraordinary and innovative approach to design aligns perfectly with UniCredit’s commitment to excellence, being forward-thinking, and acting for change.

The project also attests UniCredit’s well-established partnership with Fondazione Arena di Verona, the only Italian opera foundation directed by a woman, Cecilia Gasdia (currently in her second term). Uni Sonos showcases the very peak of female creativity and culture in a unique setting that mirrors the iconic Arena di Verona, with contemporary amphitheater-shaped structures that serve as both a stage for performances and a communal gathering space. Its inviting, curved forms encourage exploration and the pleasure of discovery. The Auditorium will also host discussions, uniting thought leaders and innovators to delve into topics related to Italian culture, societal trends, and aspirational design.

Photo credits © UniCredit Group.

Milan Design Week 2024

Andrea Orcel, UniCredit Group CEO, said: “UniCredit is proud to make its debut at Milan Design Week 2024, a renowned and historic event, as well as a symbol of Italian and international creative capacity. Uni Sonos fully represents UniCredit’s belief in women’s empowerment, equity, and inclusion, thanks to installations and performances that represent the cutting edge of design by Italy’s most innovative women designers. We are proud to collaborate with Studiopepe, celebrating a partnership that provides a platform to showcase the work of these young women designers. This event testifies that inclusive and sustainable growth, driving communities to progress, and unlocking the potential of our clients and people, are all at the heart of our daily commitment to all our stakeholders”.

The event is open to the public.

Location: UniCredit Building, Via Borromei 5, 20123 Milan, Italy.

Dates: From April 15 to 21 daily from 10:00 AM to 20:00 PM with two daily performances at 17:30 PM and 19:00 PM.

Talks:
Women & Design – Tuesday, 16 April at 18:00 PM
Economics of Art & Culture and Women Empowerment – Friday, 19 April at 18:00 PM
The Female Characters of the Opera – Saturdat, 20 April at 18:00 PM

Since 1994 UniCredit has been a Major Partner of the Arena di Verona Opera Festival, the most spectacular opera festival in the world. Conscious of culture’s value as an engine of social and economic development, we have been supporting this Italian excellence for more than 25 years. In line with our purpose of Empowering Communitities to Progress, we believe that building strong relationships with our key stakeholders creates long-term value and collective growth.

UniCredit is a pan-European commercial bank with a unique service offering in Italy, Germany, Central and Eastern Europe. The purpose of UnCredit Bank is to empower communities to progress, delivering the best-in-class for all stakeholders, unlocking the potential of its clients and people across Europe. UniCredit Bank serves over 15 million customers worldwide. Digitalization and commitment to ESG principles are key enablers for the services of UniCredit. They help to deliver excellence to stakeholders and create a sustainable future for its clients, communities, and people.

People culture at Foster + Svensson

This is the very reason why we always recommend visiting a museum, gallery, and specially Milan Design Week 2024 in Italy.

Published by UniCredit Group.
Article written and copyright © UniCredit Group.
Photos credits and copyright © UniCredit Group.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and advertising agency with heritage back in 1860 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 20 industries, agency provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Agency approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Telenor Group, Ericsson, Apple, Vodafone Group, A1 Telekom Austria Group, RTS, Samsung, Cheil, Huawei, Hisense, Ahold Delhaize, Procter & Gamble, Richter Gedeon, AstraZeneca, Banca Intesa, Raiffeisen Bank, Mastercard, Inditex, Zara, Renault Group. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Provocative performance artist Abramović returns to Amsterdam

Vladimir von Bergdorff — Thu, 21 Mar 2024 10:57:39 +0000

Performance art pioneer Marina Abramović turns to the Dutch television interviewer sitting next to her and tells him to take his clothes off. And he obliges.

“I’m still shaking. But when Marina Abramović tells you to take off your clothes, you do it,” Max Terpstra, 25, a journalist for the NPO1 television channel said as the interview ended.

Amsterdam’s Stedelijk Museum of modern art is hosting a retrospective exhibition featuring around 60 of the boundary-pushing works of Abramović, regarded as one of the world’s foremost avant-garde performing artists. From mid March 2024, visitors can immerse themselves in the world of Abramović (77), whose career spans five decades since she emerged from her birth city of Belgrade in the former Yugoslavia in the 1970s, moving to Amsterdam and New York.

The edgy exhibition, simply titled “Marina Abramović”, features famous works including the 1974 “Rhythm 0” and a re-performance of the provocative 1977 work “Imponderabilia”. In “Imponderabilia”, visitors have to squeeze between two naked performers, one male, the other female, to enter into the exhibit. Another work, called “Luminosity”, features a naked woman suspended on a bicycle seat against a wall.

“Four Crosses: The Good” (2019), “The Current” (2017), “The Artist is Present” (2010), “The Hero” (2021). Photo credits © Marina Abramović archives.

In “Rhythm 0” seen on video at the Stedelijk Museum, Abramović sat motionless on a chair for six hours, while the audience could select from 72 objects to be “used” on her in any way they liked. The objects included flowers, honey and grapes, but also knives, a scalpel, scissors and a gun. At the time, the self-proclaimed “grandmother of performance art” emerged from the experience almost naked, crying and bleeding, with rose thorns embedded in her stomach. One man even pointed a loaded gun at her.

Her work often challenged the boundaries of human endurance with her mind and body paying a toll. “But it was worth every minute. I would never change a thing,” Abramović told AFP in an interview.

Beautiful things

Abramović Amsterdam exhibition represents a homecoming for her, said Stedelijk Museum director Rein Wolfs. Marina Abramović holds a Dutch passport, has a bank account here and even maintains a bicycle in Amsterdam, the Stedelijk Museum said.

“Marina has a lot of history here. Some of her most important works started to come out during that period, so she is very much linked to Amsterdam,” Wolfs told AFP. It was here she first met and later lived with her closest collaborator, the late Frank Uwe Laysiepen, better known as “Ulay”.

“Amsterdam is full of memories and beautiful things. It is so emotional for me to come back,” Abramović told AFP a few days ahead of the opening of her exhibition. “I was really attracted by the human aspect here. The freedom to be able to say whatever you want,” she said. “But everything is going backwards these days,” she lamented.

“It’s not just Amsterdam, not just Holland, but the entire world. All that political correctness in so many ways really restricts the freedom of artists,” she said, adding: “It’s so difficult to find the right kind of balance”.

Dressed in her trademark black dress, fingernails painted bright red and walking with a cane, Marina Abramović reflected on her work. Asked about telling a journalist to disrobe during an interview, Abramović said it was not part of performance art, but a response to a comment he made about nudity in her work.

“You know, this young kid was talking about nudity. He was looking at ‘Luminosity’ with this naked woman on the wall, saying he was very uneasy with it… afraid of his own nudity. I said, it’s OK. You’re now with me. We do exactly the things we are afraid of. Can you take your clothes off and get rid of your fear right here?” she said.

“That was the weirdest interview of my life,” said NPO1 journalist Terpstra. “I am a huge fan of Abramović, but what she just did there was next level.”

The largest retrospective of her work ever held in the Netherlands

Over 60 key works spanning five decades trace the development of the prolific oeuvre of the pioneer of performance art, from her early work, created in former Yugoslavia and in Amsterdam, to the pioneering performances with her partner Ulay and works from her solo practice, in which she is still active today.

The survey features photos, videos, sculptures, and live reperformances of four iconic performances that will be staged in the Netherlands for the first time: Art Must Be Beautiful, Artist Must Be Beautiful (1975), Imponderabilia (work with Ulay) (1977), Luminosity (1997) and The House with the Ocean View (2002). As a visitor, you are invited to take part in two performances: Work Relation (work with Ulay) (1978) and Counting the Rice from the Abramović Method.

THERE ARE SO MANY DIFFERENT FORMS OF ART, PERFORMANCE IS ONE OF THE MOST DIFFICULT, THE MOST IMMATERIAL, AND THE MOST REAL. — Marina Abramović

Marina Abramović has been a prominent figure in performance and body art since the 1970s and is considered one of the most important founders of this art form. She brought performance art from its experimental beginnings into the mainstream. Using her body as her medium, Abramović consistently tests her mental and physical endurance. Together with artist Ulay, whom she met in Amsterdam in 1975 and became her partner, she caused an international sensation with long-durational performances that pushed their boundaries to the limit. In her later solo work, she focuses on spirituality and creating an exchange of energy between herself and the audience.

There are daily performances in the exhibition at Stedelijk Museum Amsterdam from 10:30AM to 17:00PM. The performances will be reperformed at different times, sometimes for hours or days at a time, by performers trained in the Abramović Method. The live performances can be both intimate and confrontational.

The exhibition Marina Abramović is organized by the Stedelijk Museum Amsterdam and the Royal Academy of Arts, London. The exhibition is curated by Karen Archey and Nina Folkersma at the Stedelijk Museum Amsterdam, and Andrea Tarsia at the Royal Academy of Arts, London.

The exhibition is generously supported by Art Mentor Foundation Lucerne, the Blockbusterfonds, the benefactors of the Marina Abramović Circle, Fonds 21, the benefactors of the Stedelijk Museum Fonds and the Mondriaan Fund, and sponsored by ABN AMRO Bank. Marina Abramović work can be seen at the Stedelijk Museum in Amsterdam (The Netherlands) until July 14, 2024.

People culture at Foster + Svensson

This is the very reason why we always recommend visiting a museum, gallery, and specially exhibition of Marina Abramović at Stedelijk Museum in Amsterdam.

Published by France 24 and Stedelijk Museum Amsterdam.
Article written and copyright © ANM, AFP, France 24, Stedelijk Museum Amsterdam.
Photos credits and copyright © Marina Abramović – Four Crosses: The Evil (positive), 2019 (detail). Courtesy of the Marina Abramović Archives, Stedelijk Museum Amsterdam, Foster + Svensson.

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and advertising agency with heritage back in 1860 and incorporated in 2013 in Serbia, who put forward well-considered contemporary design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 20 industries, agency provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Agency approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500 and top-tier companies, such as HVB Bank, UniCredit Bank, Telenor Group, Ericsson, Apple, Vodafone Group, A1 Telekom Austria Group, RTS, Samsung, Cheil, Huawei, Hisense, Ahold Delhaize, Procter & Gamble, Richter Gedeon, AstraZeneca, Banca Intesa, Raiffeisen Bank, Mastercard, Inditex, Zara, Renault Group. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson in one of the founders of MAI Marina Abramović Institute.

Fashion designer Nataša Šarić won the prestigious BIG SEE Fashion Award for 2023

F + S — Sun, 01 Oct 2023 14:00:02 +0000

Fashion designer Nataša Šarić, who has been creating in Belgrade for more than three decades and was the only one from Serbia to participate in the “Berlin Fashion Week” event a few years ago, once again delighted the public in Serbia by winning the “BIG SEE Grand Prix”, a prestigious European award in the fashion industry and design for its latest collection of shirts called “NA.ŠA. SHIRT”. This prize is awarded for the territories of 21 European countries and covers about 340 million people who can participate and show their creativity and ideas.

The collection of shirts called “NA.ŠA. SHIRT” is connected with the entire fashion oeuvre of the Serbian fashion designer, showing her love for art and craft research. It represents a combination of imagination and skills that result in a different understanding of a very universal form of clothing. In the process of creation, the limits of the conventional rules that apply to this piece of clothing are tested, where the author plays with it, combines it with other elements, combines classic, natural with hi-tech fabrics, adding a third dimension, which opens up the possibility of transforming the shirt from a classic fashion objects into an art object.

– First, I want to thank BIG SEE for inviting and nominating me to this wonderful and significant festival in the region and thank all my friends and colleagues for their love and support in receiving this prestigious award. The “NA.ŠA. SHIRT” project was created from typical elements that I like to use in my design, which create my authentic expression as an author and gave me the opportunity to transform a classic fashion item into a work of art. It also introduced a new and different quality of shirts that are like small works of art, but completely wearable and functional in everyday life, the fashion designer stated and continued:

– My shirt as a garment is treated as a sculpture, with lots of sculptural shapes and details that are well connected to the shirt as a whole, and the whole itself is well connected to the details. The “NA.ŠA.” shirt line is made in small batches and each one is unique. The materials are chosen very studiously and carefully, and they are mostly natural fabrics combined with some high-tech materials that give my designs another dimension. On this project, I also pushed the boundaries of design rules for such a traditional item as a shirt. Depending on the structure of each shirt, different elements are playfully connected, so that my shirts are more contemporary, unconventional, skilled and confident pieces of clothing. As such, the shirt sublimates my previous fashion oeuvre, artistic pursuits and craft research and represents my entire skill, gift and imagination in that garment. I also want to thank Belgrade Fashion Week (BFW) and director Nenad Radujević for supporting and promoting Serbian designers for 32 years, said Nataša Šarić on receiving the “BIG SEE Grand Prix” award.

The BIG SEE from Ljubljana, Slovenia, brings together 21 countries and 340 million people in what they say they feel, claim and shout is the most compelling, creative region in the world. BIG SEE has a unique view of Europe and the wider world beyond it and is able to step out of the usual Eurocentric view and offer something a little different – different in terms of interpretation and production. BIG SEE brings together fashion experts and audiences from the following countries: Albania, Austria, Bosnia and Herzegovina, Bulgaria, Croatia, Cyprus, Czech Republic, Greece, Hungary, Israel, Italy, Malta, North Macedonia, Moldova, Montenegro, Romania, Slovakia, Slovenia, Serbia and Turkey.

Photo from Belgrade Design Week 2023
NA.ŠA. shirt from Nataša Šarić

Photography by: Đorđe Tomić

ABOUT FOSTER + SVENSSON

Foster + Svensson is an award-winning European branding, communications, and advertising agency with heritage back in 1860 and founded in 2013 in Serbia, who put forward well-considered design, digital and innovation. Operating worldwide as part of Fosterova grupa, Foster + Svensson is positioned as professional services company, providing broad range of services and solutions in area of marketing. Having bold experience and specialized skills in more than 14 industries, agency provides services to all company sizes. People at Foster + Svensson design brands, use digital technology, data, and strategy to create contemporary visual identities, services, and experiences to help corporate clients improve their performance and manage sustainable business value for stakeholders. Foster + Svensson design and drive innovation to improve the way world works and lives. Agency approach is to be precise, punctual, and reliable to its clients, where it ran more than 2000 projects while working for major companies to be found in Fortune Global 500, such as HVB Group, UniCredit Group, Telenor Group, Ericsson, Apple, A1 Telekom Austria Group, RTS, Samsung, Cheil, Huawei, Hisense. Work culture and ethics includes business excellence and delivery of outperforming results.

Foster + Svensson is one of the founders of MAI Marina Abramović Institute.

Marina Abramović and Hans Ulrich Obrist in Conversation

F + S — Wed, 13 Sep 2023 08:56:35 +0000

Ahead of her show at London’s Royal Academy, Marina Abramović speaks with friend, curator and critic, Hans Ulrich Obrist about her teaching methods, the threat of technology, and her close brush with death.

This is my 18th conversation with Marina Abramović. It’s a conversation about some big themes of art – death, hope, life, fear. And these themes are, of course, at the core of her practice. Our first recorded conversation took place on a bullet train from Tokyo to Osaka in the 1990s. We travelled together through Japan for a conference at the Center for Contemporary Art Kitakyushu. Since then there have been conversations on trains, in train stations, in cars, hotel rooms, over games of dominoes, in opera houses and so on.

The next instalment of our conversation will take place while she crosses the sea by boat to come to Europe for her show at London’s Royal Academy, opening in September. As we discuss here, she cannot currently travel by plane. This will be my first boat conversation – a conversation on the slow-move.

Marina never works on just one thing – it’s like in quantum physics: there are always multiple parallel realities, many dimensions to her work at one time. While she is focusing on the Royal Academy show, her institute’s curated group show at the Southbank Centre’s Queen Elizabeth Hall and her opera, 7 Deaths of Maria Callas, at English National Opera will also open in London this autumn. Then there are several artist books and publications, even her own line of beauty products incoming – her own brand, in a way.

It was, of course, very magical to sit down with her for this Zoom, to add another chapter to our ever-growing collection of conversations.

AnOther Magazine cover page
Photography: Jordan Hemingway
Styling: Ellie Grace Cumming
Text: Hans Ulrich Obrist
Lead image: Marina Abramović is wearing Comme des Garçons

“We should always look at the ideas that are in the rubbish, because they’re the ones we’re afraid of, they’re the ones we don’t have the guts to make” – Marina Abramović

This article is taken from the Autumn/Winter 2023 issue of AnOther Magazine
Jumpsuit with bows and tutu (worn underneath) in polyester by COMME DES GARÇONS

Photography by: Jordan Hemingway

Styling by: Ellie Grace Cumming

Read the full article at AnOther Magazine