The visual component – style, designs


“Today I’m crazy”?! Nooo… I’ve been “crazy” for decades. :-)

Aside from the uniqueness of her voice and her commitment to music, which is her passion and her life, Josipa also built her strong artistic individuality through her visual recognisability. Her hairstyles, the fashion designs in which she appeared and the make-up which went along with them, as a rule, provoked attention. Many of these designs, together with exceptional portraits, were displayed at the photography exhibition of Željko Koprolčec in 1998, which followed the presentation of the compilation CD The Best Of, in the Museum of Arts and Crafts in Zagreb.

skulptura1Josipa’s fashion awareness has been acknowledged over the decades, in parallel with her musical achievements. For example, in the late 60s and early 70s she was already appearing in a painted dress and toga. During the 80s she wore a wig made of paper and an ikebana hairstyle that would, at MESAM in 87, in a spectacular performance with 100m2 of sheath dress, “embrace” the whole stage. The 90s are remembered for her purple hair and the stylish dresses, 2000 and the album Life for the aluminium dress-sculpture. All these, as well as turquoise hair, which followed in the era of digitisation, are unforgettable trademark images. Because of these kinds of images – which were once undoubtedly the subject of ridicule and derision, then simply shock and surprise, and over the years became more and more appreciated as an unavoidable hallmark of her style – in the category of best-dressed singer at the first Croatian Fashion Oscars in 2004 there was simply no doubt. And Josipa’s remark, upon receiving this award, that she, it seems, has also finally come into vogue, was confirmed two years later, when she received the same statuette for the second time. In 2004 Elle magazine presented her with the “Elle Style Award” for lifetime achievement.

However, Josipa, to numerous queries of a fashion-cosmetic nature, will emphasise that the dress can’t be stronger than the song and that she actually only dresses up her songs for stage performances. She stresses: “The song has its own personality.” In concert we can easily see that a playful approach to the songs enable them to retain their freshness. Likewise, bestowing upon them new fashion designs, she carries them with style. In this her playfulness was helped by collaborators from the world of fashion whose designs she wore: Mila Višnjić, Alan Hranitelj, Ida Stipčić-Jakšić, Staša Čimbur i Ksenija Vrbanić.

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