Ženska strana modernizma dizajnerice školskog centra za dekorativnu umjetnost i industrijsko obrazovanje u Splitu

S obzirom da kroz razdoblje sedamdesetih godina prošlog stoljeća dolazi do prevazilaženja postojeće tradicionalne podjele na muška i ženska zanimanja te uključivanja žena u sve oblasti društvene proizvodnje to razdoblje jugoslavenske povijesti posebno je zanimljivo u svrhu proučavanja položaja žena unutar našeg društva. To je i vrijeme povećanog ulaska žena u obrazovni sustav, posebice u umjetničke i dizajnerske struke odnosno industrijsku proizvodnju te njihove povećane aktivnosti unutar polja vizualne kulture i dizajna. Ipak, s obzirom na njihov marginalan položaj, mnoge od njih nikad nisu stekle zaslužena priznanja, nagrade ni pohvale kao niti promaknuća, povećanje plaća ili trajan ulazak u memoriju građana koji im zasigurno pripadaju. Kroz skupinu žena koje su sedamdesetih završile Školski centar za dekorativnu umjetnosti i industrijsko oblikovanje te dostupne arhivske podatke autorica je analizirala uvjete odrastanja, školovanja, profesionalni rad i karijere bivših učenica Centra u korelaciji s položajem žena unutar jugoslavenskog društva. Rezultati rada predstavljaju prve rezultate takvog istraživanja uopće i temelj su za daljnji nastavak i rad.Considering the break from the traditional divide between male and female occupations which took place in the 70s and the inclusion of women into all aspects of social production, this period of Yugoslavian history is especially interesting with regard to the study of the position of women within our society. It is a time of enrolment of women in the educational system – especially within arts, design, and industrial production – as well as their increased activity within the fields of visual culture. Still, considering their marginalized position, many of them have never gotten their deserved recognition, awards, praise, as well as promotion, salary increase, or a permanent entry into the collective memory. With the help of testaments of a group of women who graduated the Center for decorative arts and industrial design in the 70s and the available documents in the school's archive, the author has analyzed the conditions regarding the upbringing, education, professional work and carriers of the Center's former students in the correlation with the position of women within the Yugoslavian society. The results of this work represent the first results of a research of that kind, and are the basis for further development and work