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Бојана Б. Богдановић * Текст је резултат истраживања обављеног при Етнографском институту САНУ, за чију је реализацију средства осигурало Министарство просвете, науке и технолошког развоја Републике Србије. 1 Залагањем проф. др Весне Вучинић Нешковић, предмет Урбана антропологија установљен је на Одељењу за етнологију и антропологију Филозофског факултета у Београду према наставном програму из 2002. године; о успостављању, структури, динамици и резултатима спровођења наставе урбане антропологије видети у раду Весне Вучинић-Нешковић Настава урбане антропологије на терену: проучавање расељавања Рома у Београду у овом темату.

Fashion, by definition, implies (and requires) constant changes and innovations. This paper, using the example of the fashion production Sirogojno Style, follows the process of the adaptation of the narrative about the past, by which the fashion production Sirogojno Style was recognizable for many years in the Yugoslavian and international fashion scene, to the context of contemporary fashion. The focus, on this occasion, is George Styler's collection NetWork, presented in 2014 at London Fashion Week; more specifically, the part of the collection that was made in collaboration with the ?Sirogojno Company?. The study of the new narrative function of Sirogojno knitwear in the context of contemporary fashion was based on written and visual sources as well as on data gathered during a semi-structured interview done in April 2021 with the fashion creator George Styler. The aim of this study is to contribute to contemporary anthropological studies of fashion and clothing.

The focus of this paper is a research field that has (until now) remained outside the main academic theoretical frameworks - the question of the visual identity of Belgrade seen (and experienced) from the perspective of children. In methodological terms, the paper relies on the results of field research conducted in March 2021 at the Kneginja Milica (Princess Milica) Primary School in New Belgrade, which included a sample of 60 children from Years 1 to 4. The aim of the paper is to discuss from an anthropological perspective some of the key issues of perceiving the appearance of the capital as a visual entity per se: 1) Which visual markers of Belgrade, in the opinion of children, are key to its visual identity and what are the central points on the symbolic map of the capital?; 2) What is the main symbol of Belgrade and what criteria guide the participating children when selecting this central visual marker?; 3) (To what extent) are individual children?s perceptions of the panorama of the capital compatible with each other and what are the characteristics of the general children?s image of the capital?; 4) (In what way) Is the children?s image of the city in harmony with the ?official? image of Belgrade? and 5) Is the child?s perception of the visual identity of the capital the result of direct or indirect urban experience?