Marija Kalentic and Neva: Packaging Design 1963 - 1985

Marija Kalenti and Neva : packaging design 1963-1985
Marijas Industry
of Beauty
Marija Kalenti
and Neva
packaging design
1963-1985
89
90
Marijas Industry of Beauty
Marija (Marina) Kalenti is a versatile designer who is experienced in

many areas of design from flat and
plastic to spatial expression,1 however
she has left her deepest mark in the
packaging design of the Neva company. During twenty-three years of her
work in Neva, she has systematically
shaped not only the visual identity of
one company, but also our living environment with balanced and thoughtful packaging design. Indicative of
the level of knowledge about the local history of design: her name is unknown even to the professional public,
although our collective memory is still
marked by her products. (It is equally
significant that the only existing examples of Nevas product packagings
survived only thanks to their designer.)
However, just like any other
piece of design, Marija Kalentis work
cannot be evaluated outside of the
context of industry within which she
worked, or outside of the context of
society for which she created: wider
social function of products is the key
to understanding the works of design.
However for understanding the history
of design, conditions of production as
well as consumption (as the production of meaning)2, are even more important than the esthetic component
which is important and they are
being largely ignored. With arbitrary
assessment of the beauty of design,
nostalgia which is inevitably evoked
by a rediscovered product is a pitfall
that is easy to fall into. That is why
Marija Kalentis body of work requires
consideration of a much wider area of

important, unavoidable issues, which
place her designs in the context of
space and time.
Seemingly banal topic of packaging is an extremely complex area
which is inextricably linked to the development of consumer society, in both
the West and the former Yugoslavia.
Extra attention is worth dedicating to
packaging intended for cosmetics
an area rich in symbolic connotations,
but also burdened with numerous controversies (production of cosmetics
during its turbulent history has been
denounced, in order, as witchcraft, promoter of promiscuity, womens oppressor and animal torturer).
In the history of design, packaging design is treated as an unwanted child of graphic and product
design, which was adopted by marketing. Even on global scale there is no
particular tradition of critical approach
to packaging design. The literature
on the subject is reduced mainly to
picture books with sparse text accompanied by effective studio photographs of products. In domestic terms,
for years discourse on the history of
packaging design does not record
the shift from Planineks bottle for
BIS, and Vulpes mythical packagings
for Pliva and Chromos (which today
are mostly known only by reputation).
Only for a moment a big donation of
collection of packaging by Ante Rodin
to the Zagreb City Museum received
media attention.
91
However, not to neglect the

already mentioned aesthetic component: Marija Kalenti graduated from
the Academy of Applied Arts, she was
a student of Vjenceslav Richter, Ernest
Tomaevi, Kosta Angeli Radovani,
and an EXAT by conviction, as is evident in her treatment of a design task.
Today what is fascinating is not only
her diversity of approaches to packaging design (compared to competing
cosmetic companies), but also the willingness of the company for which she
designed such often radical design
to accept it.
Vasiljevi, Lj. Oblikovanje kao dio ljubavi i ljepote.
Factory paper PLIVA, June 1982 (Conversation with
Marija Kalenti).
2
Dejan Kri, as well as Dean Duda, elaborate on
this subject in their contributions to exhibition catalog Socijalizam i modernost : umjetnost, kultura,
politika 1950. 1974. (ed. Ljiljana Kolenik). Zagreb
: Muzej suvremene umjetnosti, Institut za povijest
umjetnosti, 2012.
1
92
From flat
and plastic
to spatial
Marija Kalenti (ne Gerasimenko), daughter of Russian immigrants, was born in Subotica in 1930.
She was raised in a very stimulating
environment: ever since a young age,
along with native Russian and Serbian
languages, she learned German and
French as well as took piano lessons.
After graduating from Classical High
School in Novi Sad, the whole family moved to Pula due to her fathers
job. In 1948, Marija (whose nickname
is Marina) enrolled the Faculty of Architecture in Zagreb, but transferred
the following year to the newly established Academy of Applied Arts.
An interesting detail in the biography
of Marina Kalenti is the fact that she
was late for admission examination to
the Academy, and was solely admitted
on the basis of the quality of the sent
portfolio. picture / page 12
After three years of general
studies at the Academy she opted for
Department of Textile design. In 1954,
she graduated from the Academy as
academy painter - textile artist, in the
class of Professor Branka Hegedui, at
whose recommendation in the same
year she joined Krsto Hegeduis National Master Workshop. During the
two years of work in the Workshop,
Marija Kalenti collaborated on graphic
design of two books: Razgovor ugodni
naroda slovinskoga3 by Andrija Kai
Mioi and Latinske pjesni razlike4 for
which she created a large number of
initials and illustrations.
93
In 1956 she left the Workshop

(due to pregnancy) and continued
to work independently. In her home
studio in Kaieva Street, she made
numerous designs for fabrics and
silk paintings. She cooperated with
Zagrebaka industrija svile (Zagreb silk
industry) (for which, except for fabric
design, she also created elements of
visual identity) and Bosnian factory
Vunteks. At the same time, she complemented her household budget by
designing a series of New Years cards
for printing company Orbis and Poljoopskrba company.
In 1962, she applied for an
advert to work as a creator for the
Neva company. In Nevas studio in
Tukanova Street she worked mainly
alone, collaborating only with the engineers from Nevas laboratory and
with Nevas Department of propaganda. For Neva she designed packaging
for numerous lines of cosmetic products for skin care and hair care, toothpastes, perfumes and other products.
In addition to packaging, over the
years Marija Kalenti designed other
elements of Nevas visual identity (except for the peacock logo which was
accepted before her arrival): New
Years cards, product catalogs, various
diplomas and Nevas showrooms at
the Zagreb Fair.
In 1978, Neva company became OOUR Neva a part of SOUR
Pliva and Marija Kalenti became an
employee of the Department of pro-
94
paganda in which, with her, worked

several other designers. However,
Marija Kalenti remained in charge of
Plivas cosmetic lines until her retirement. She regularly participated in
ULUPUHs exhibitions, as well as on
exhibition Produkt dizajn 2 in 1972.
Marija Kalenti retired in 1985.
For the following 25 years she kept
her works in her apartment in Kaieva
Street. In 2010, she has donated them
to Design Collections of the Museum
of Arts and Crafts.
3
Kai Mioi, Andrija. Razgovor ugodni naroda
slovinskoga. Zagreb : Izdavako poduzee Zora,
1956.
4
urevi, Ignjat. Latinske pjesni razlike. Zagreb :
Izdavaki zavod Jugoslavenske akademije znanosti
i umjetnosti, 1956.
On Packaging
Packaging is an essential and

ubiquitous part of everyday life and a
faithful witness of our social and cultural history. Each packaging contains
multiple levels of information: the obvious information about the product it
protects and the company which produced it. Packaging also bears witness
of a society that used the product (or
maybe just craved after it). Quality and
type of packaging material say something about the level of technological development of the society, and
graphic and typographic solutions on
the level of visual culture.
Finally, development of mass
produced packaging was a driving
force of socio-economic upheavals:
packaging is a condition sine qua non
of mass production, distribution and
consumption. Only the packaging
container allowed the existence of
a shampoo, a deodorant and a detergent powder. Only the packaging
the protective and informative layer
added to the original product enabled mass self-sale of more or less
everything.
As elsewhere in the world, an
awareness of the importance of packaging was being developed in the
former Yugoslavia in parallel with the
emergence of the first self-services /
supermarkets5 - sale systems in which
the product advertises and sells itself.
Unsurprisingly, packaging was wholeheartedly embraced by domestic propagandists. The marketing power of
95
packaging was regularly emphasized

in the postwar textbooks on business
advertising as well as in professional
marketing journals.
At the end of the fifties, two influential domestic issues Ekonomska
propaganda by Josip Sudar6 and Propaganda reklama publicitet by Duan
Mrvo7 - for the first time notice the
potential of packaging, even though
far more attention had been paid to
the decoration of shop windows and
then very popular presentation at
fairs. Indicatively, best examples in
both books had been taken from the
international press. Equally significant,
head of publicity is accentuated
as the head of the packaging project
(with only technical assistance of a
draftsman). At that time, packaging
design was rarely a subject of educated graphic and industrial designers:
usually it was offered as an additional
free service by suppliers and manufacturers, which partly explains the low
quality of packaging in Yugoslavia.
Also, in the 1950s the domestic packaging was in its infancy, technological
processes were just adopted, and the
goods were mainly sold in bulk, making the packaging superfluous.
In the sixties of the twentieth
century self-services were springing
up like mushrooms after the rain (according to . Lonar it was expected
that by the end of 1967 there will
be 1000 newly opened self-services
in Socialist Federal Republic of Yugo-
96
slavia.)8, and at the time packaging

design flourished. A large number of
domestic companies specialized in the
production of various types of packaging from paper and cardboard to
glass, tin and plastic packaging. For
instance when producing packaging,
Neva collaborated with the Slovenian
glassworks Hrasnik, Ljubljanas manufacturer of tin packaging Saturnus and
Zagrebs Grafokarton.
The extent of how the packaging phenomenon took hold in the late
1960s can be seen in the fact that at
the Zagreb Fair, held in 1968, USA
presented themselves, among other
things, with the presentation techniques of modern packaging. To entertain younger people, Americans
have placed a packaging playground
in front of the pavilion, with large
pop-art shaped containers in which
children could play while their parents
viewed the exhibition.9
In his later textbooks on economic propaganda,10 Sudar paid far
more attention to packaging, using
a growing number of successful local
examples (true, using mostly companies with which he personally worked
Fotokemika, Saponia, Labud). Interestingly he states, already in 1971
edition, that one of the key motives
for buying is an aspiration for status, psychological and esthetic pleasure (status and prestige) the urge
almost always present when buying
beauty products.
Here we must mention Dr. Ante

Rodin,11 an internationally recognized
expert and collector of domestic packaging, who systematically explored
technological and marketing aspects
of packaging and related industries.
Extremely rare (if not the only)
contribution to the topic of packaging
from the position of design came from
the Center for Industrial Designs magazine Dizajn:12 fifth issue of the magazine is entirely dedicated to the topic
of packaging. With Putars review of
the winners of the Yugoslav Oskar for
Packaging, the number brings a rare
article about typographic design, as
well as foreign texts devoted to the
status of packaging design in Europe
and the US.
As the only more or less arbiter
of quality for packaging in the former
Yugoslavia, the Yugoslav Oskar for
Packaging13 stood out and became
an annual event of the Center for the
Advancement of Trade and Packaging, established in 1957. The Center awarded prizes and certificates,
according to various criteria (from
secured raw material to quality appropriate for advertising processing
and its visual effect)14 and the award
winning models earned the right to
compete in European competition
EUROSTAR.
style packaging of Rosal cosmetic line,

1965; for a bottle of Rosal lotion, 1965;
and for a cardboard box with a pot of
Rosal cream, 1966.
The concept of self-services in the U.S. was developed in 1916, but it came to Europe just after World
War II. It did not take long for Yugoslavia to join the
trend - the first small supermarkets were opened
already in 1956 (Ivaneki magazin in Ivanec) and in
1957 (Konzum in Zagreb). The first large supermarket based on the American model (literally copied)
opened at Belgrades Cvetni trg in 1958.
6
Sudar, Josip. Ekonomska propaganda u teoriji i
praksi. Zagreb : Informator, 1958.
7
Mrvo, Duan P. Propaganda reklama publicitet.
Zagreb : Ozeha, 1959.
8
Lonar, ozef. Savropak 1967 : smotra dostignua
ambalaerske industrije // Dizajn 5(1967). Zagreb :
Centar za industrijsko oblikovanje, p. 20.
9
Vueti, Radina. Potroako drutvo po amerikom
modelu. http://www.academia.edu/2567232/Potrosacko_drustvo_po_americkom_modelu_jedan_pogled_na_jugoslavensku_svakodnevicu_sezdesetih.,
June 15, 2013.
10
Sudar, Josip. Ekonomska propaganda. Zagreb : Informator, 1971.; Sudar, Josip. Promotivne aktivnosti.
Zagreb : Informator, 1984.
11
Rodin, Ante. Ambalaa kao element marketinga.
Ludbreg : Grafiar, 1977.
Rodin, Ante. Ambalaa, distribucija, mjesto prodaje. Zagreb : Udruenje propagandista SR Hrvatske,
1984.
12
Dizajn magazine ran for only one year (1967),
a total of 12 issues was published.
13
Putar, Radoslav. Jugoslavenski Oskar za ambalau
// Dizajn 5 (1967). Zagreb: Centar za industrijsko oblikovanje, pp. 46.
14
Putar, Radoslav. Jugoslavenski Oskar za ambalau
1967. // Dizajn 5(1967). Zagreb : Centar za industrijsko oblikovanje, pp. 4 6.
15
Jones, Geoffrey. Beauty Imagined. New York : Oxford University Press, 2011.
5
For two consecutive years, Marija Kalenti and Neva won the Yugoslav Oskar for Packaging: for home
97
On packaging
beauty - in the
world and former
Yugoslavia
Fragrances and products for

skincare and beauty have been with
us for thousands of years, as is protopackaging in which cosmetics have
been packed. However, as noted by
Geoffrey Jones15: consumer attitude
towards cosmetic packaging has not
changed significantly to date. Cosmetic products are still being used
in the hope of a quick and painless
transformation, and packaging suggests that products possess such
magical power.
Yugoslavia, as well as in many
other things, in the segment of cosmetic products hung in the balance
somewhere between East and West.
Budgets of domestic companies were
nowhere near to the hundred million
dollars which were handled by foreign corporations,16 and the Yugoslav industry was lagging behind the
western producers by technological
capabilities, in introducing innovations, providing raw materials and
quality maintenance. However, unlike
the closed communist bloc that centralized the cosmetic industry in a few
large state-owned companies (SSSR)
or regarded the use of cosmetics as
the undesirable bourgeois habits
(PRC), in Yugoslavia many cosmetic
companies held their own production
and financially profitable licenses.
That is why Saponia represented Helena Rubinstein company, Zlatorog licensed Margaret Astor International,
Schwartzkopf, Piz Buin, Bac and Olivin, Neva licensed German Biersdorf
98
and Odol, American Sara Lee, Swiss

Juvena and French LOreal, Merima
licenced American Max Factor, Krka
kozmetika represented Yardley, Revlon, Vitamol and Lanvin, and Pliva
(before merging with Neva) Binella
and Ambre Solaire.
Many other companies operated on a very lively Yugoslav cosmetic
market: Slovenian Ilirija Vedrog and
Lek, Macedonian Alkaloid, Belgrade
Galenika, Novi Sads Kemikalija and
Niva (with the name and logo surprisingly similar to Neva), Leskovacs
Nevena In the seventies a little
propaganda war was waged between
Osijeks Saponia and Maribors Zlatorog on the pages of Zagrebs magazine Svijet. The two companies competed tirelessly with advertisements
for cosmetics, personal hygiene and
laundry detergents. Therefore, at
least in this market segment, we cannot talk about the lack of competition
in socialist economic system as the
reason for the stagnation of design.
For example, in the seventies at least
eight brands of hairsprays fought
for the favor of female consumers:
LOreals Elnett, Nevas Frilax and
Etic, Plivas Binaset, Saponijas Slap,
Leks Gabby, Schwarzkopfs Taft and
Pantenes Set de Pantene.
For instance, in 1966 the production of the U.S.
cosmetics industry was over $ 2.5 billion. (According
to Jones, Geoffrey: Beauty Imagined.)
16
99
On consumers of
cosmetic products
in Yugoslavia
Despite the significant socioeconomic differences between the

post-war Yugoslavia and the West,
one phenomenon essential for the
establishment of a modern consumer society had crossed the political
boundaries establishing the family
as the basic social unit in which the
man is a producer, and woman is a
chief consumer.
Already in 1907, W. H. Black in
his book entitled The Family Income
says: In all the duties of a good
womans life there is none more sacred than this the duty of Wise
Buying17 Fifty years, two world wars
and one political system later Duan
Mrvo wrote: Woman is the organizer of the distribution of household income all over the world and the main
buyer of wide consumer products.
If for example, we read that from a
mens paychecks women distribute
72,8% in Western Germany, and 80%
in the USA, it is similar more or less
everywhere, then the planners of appeals and messages will focus their
attention on relevant articles primarily on women. Woman buys for
herself, her husband, her child.18
Womens magazines, both in
the West and in Yugoslavia, won over
media coverage and worked as leverage for routing that consumption.
The development of a woman as a
consumer complies with the growing traditional values in Yugoslavia,
which is obvious in, so to speak, the
1 00
evolution of the topics covered in

womens press. In short twenty years,
woman in Yugoslavia transformed
from being a woman warrior (comrade) and a woman strike worker to a
housewife (consumer).19 Schizophrenia of domestic situation was in the
inner conflict of a society that tried
to promote both the New Woman
and conservative values, so it is quite
common to read in the same issue of
Svijet20 a feuilleton on inequality of
women in Yugoslavia, and a few pages later, tips on how to be a perfect
wife, mother and homemaker. The
cult of youth and beauty, the key to
an explosion of growth in cosmetic
industry in the twentieth century, was
firmly established in the new socialist society. Although, in this sense
the cosmetic industry very much deserved the feminist criticism, it must
be noted, however, that it was one of
the largest sources of jobs for female
workers, both skilled and unskilled.
The cosmetic industry was one of the
few industries in Yugoslavia that unquestionably accepted the presence
of female designers, chemists and
engineers.
of Women (AF) conducted an intensive campaign of elementary personal hygiene.
17
According to: Hine, Thomas. The Total Package.
New York : Back Bay Books, 1997.
18
Mrvo, Duan P. Propaganda reklama publicitet.
Zagreb : Ozeha,1959.
19
According to: Todorovi-Uzelac, Neda. enska
tampa i kultura enstvenosti. Beograd : Nauna
knjiga, 1987. The number of women employed in
all sectors of the economy from 1949 declined: from
the total number of workers and employees, in 1948
women accounted for 25.68%, in 1950 24.25%,
1951 23.26%, and 1952 21%.
20
Magazine Svijet is one of the most influential and
longest-running womens magazines in the former
Yugoslavia. It was published every 14 days from
1953 to 1992.
Also, one must not forget the

specific context immediately after
World War II in which cosmetic industry in Yugoslavia operated. In fact,
while in urban areas many women followed Western fashion and cosmetic
trends, at the same time in rural areas
(which accounted for the majority of
the population) the Antifascist Front
101
Marija Kalentis
Neva
Neva factory of hygiene and

cosmetic products21 was registered in
Zagrebs commercial register on June
26, 1947 as a de facto legal successor
of the company Beiersdorf Zagreb. A
year later, Neva merged with domestic
company Rave, and Neva then moved
into Raves premises at the corner of
Vrbanieva and Tukanova Street. It
is assumed that the name of the new
company was derived from the most
popular Beiersdorfs brand Nivea.
According to available data,
the beginning of the fifties in Neva
was characterized by its own modest
production. One of the most popular
products from this period was the famous Alga za masau, a very successful pre-war product of the pharmaceutical company ALGA Suak, which
Neva produced until 1950.
Due to the lack of production
program, company very soon established contact with foreign business
partners. In 1954, Neva signed a contract with pre-war owners Hamburgs
Beiersdorf22 on business and technical
cooperation. According to the advertisement from the same year, Neva
introduced to the Yugoslavian market
several Beiersdorfs products: Nivea
posip za djecu, Nivea creme, Nivea
and Pebeco toothpastes. At the same
time, Neva was working on its own
range of products such as Nevasol
oxygen bath salt, Neva and Neva Baby
cremes and Nevadont mouthwash.
1 02
During the fifties, Neva shyly renewed such product categories reminiscent of the pre-war range of Rave23
company: by 1955 Neva was selling
(and maybe producing) Chanels perfume and Nevas production program
included eau de toilettes, perfumes,
powders, creams, lipsticks, nail polishes, hair products and products for
hairdressers.24 They were mainly small
production lines, i.e. more or less artisan production. At that time, along
with the companys name, peacock
logo made its first appearance, designed by an unknown author.
In 1963, Neva employed designer Marija Kalenti to a work position of creator. Marija Kalenti worked
hard on redesigning the existing products and bringing order to Nevas colorful production program. By comparing the available archival propaganda
material of the then domestic producers, what is obvious is Nevas purity of
expression and high level of uniformity
of product lines. In the sixties, Neva is
not by far the most powerful player on
the Yugoslav market of cosmetic products, but it is an absolute leader in
consistently conducted company design. Foreshadow of her future ascetic
approach to design Marija Kalenti
can be seen in her first packaging design for Neva Creme, which had gone
previously through a few unfortunate
transformations. Already after two
years of work, with the redesign of Rosal product line (total of six products)
Marija Kalenti attracted attention
of experts and won three aforementioned Yugoslav Oskars for Packaging. Well aware of global trends (she
traveled extensively throughout Europe and regularly followed expert
magazines such as Graphis), Kalenti
with her restrained design, it seems,
was the closest to the esthetics of
Chanel, Yardley, Helena Rubinstein
and Clinique cosmetic companies
that through packaging emphasized
their scientific, medical approach to
beauty.25 Besides, such modernist approach fitted Nevas image, and was
familiar to Marija Kalenti, in the best
possible way it coped with the technological shortcomings and limitations
(virtue from the lack of means!).
From this early period we should also
mention lines of shampoos, baby powders and proposals for households
creams. All of them, in fact, were characterized by equally restrained, refined
design and highlighted whiteness of
the background (association of the
name Neva?) and a keen sense of typography (All my letters Ive derived
from the Roman capital or Helvetica. I
very much praised Helvetica!).26
Since its establishment, Neva
nurtured a good relationship with the
hairstyling profession: in addition to
the range of products manufactured
for professional use, it often sponsored
shows and professional hairdressing
competitions (for which Kalenti designed certificates). Within the company, a hair salon worked where new
103
products were tested (on male and

female volunteers). Such an engaged
approach to market development was
certainly taken from a foreign good
practice: LOreal company (otherwise,
one of Nevas partners) since the beginning of the 20th century27 opened a
demonstration room and a hairdressing school, and issued a regular newsletter for hairdressers.
Marija Kalenti designed a line
of shampoos Frilax, which was, except
in the then popular cushions, offered
in practical one liter bottles. The design of the bottle was a specific design
task because the form had to satisfy
the special requirement - to prevent
the bottle from slipping out of hairdressers hands.
Portfolio of perfumes and eau
de toilettes was most likely developed
on the basis of partnership with Odol
Werke company, with which Neva
worked from the mid-1950s on the
oral hygiene products (Odol toothpaste and mouthwash).28 The first perfume that Marija Kalenti designed for
Neva was Andrea, in 1968 (unfortunately, the bottle was not preserved,
only the cardboard packaging): fully in
line with the already mentioned, strictly restrained modernist aesthetics.
By far were more playful packagings for Crna maka (1971) and
Tabac (1971). Although these were licensed perfumes (Crna maka / Chat
Noir was Odols and Tabac was originally produced by Murer & Wirtz),
1 04
packaging for Nevas versions were

designed by Marija Kalenti. Specifically, eau de toilettes were often sold
in bulk, from liter bottles, and filled
in the bottles that customers had
brought with them.
A line of Nevas perfumes and
eau de toilettes in different volumes
soon followed: Chypre, Chantilla,
Neva Extrait and Tabac. Again what
is striking is Chanel-like purity and restraint in design of new Neva bottle.
In the early eighties, when Neva
became just one of OOUR in SOUR of
Pliva29, started the production of new
lines of perfumes and eau de toilettes
Laas and Elle, Chris, Iv and Deny. Unfortunately, the new organization of
work meant the loss of designer independence in the designing of the
product: while the cardboard packaging was made in a recognizable decent style of Marija Kalenti (and, for
that time, in a luxury packaging), the
bottle belonged to a completely different, inferior aesthetics.
One of the common tactics of
Nevas business operations was introducing its own line of products a few
years after the launch of equivalent licensed lines.30 So, after Nivea cream
followed Neva Creme; after Odol toothpaste and mouthwash followed Optodent paste and Nevadent mouthwash;
after LOral nail polishes and shampoos
Etic and Frilax were introduced and after deodorant 8x4 - Deofen.
Deofen was manufactured in

1973 as a line of stick deodorants (Andrea, Maria and Rene). Two years later, the line was redesigned, renamed
(Rosee, Fresh and Tabac) and extended
with spray deodorants. Several models
for a new product lines in stick were
preserved, and they offer us an insight into the mode of Marija Kalentis
work. By her admission, she had never
sketched new products but immediately proceeded to create models everybody can understand. Her precision
in creating boxes and skill in the treatment of the material is probably best
reflected in complex models for redesign of Rosal line (1980).
In the early 1980s, Neva decided to strengthen its modest supply
of toothpastes31 first with humorously
solved design of Dentasept toothpaste, then with the entire line of Plidenta toothpastes (1984). With Rosal,
Plidenta is the only Nevas brand of
that era that still exists today.
In those years and probably as
a result of termination of cooperation
with LOreal - Neva developed one
of its most influential cosmetic lines:
Irel shampoos and hairsprays. In addition to the common plastic formats of
shampoo pads and hairsprays, Marija
Kalenti developed for Irel two very
modern, practical solutions for bottles
with straps.
Among the last works of Marija
Kalenti for Neva was a line of cosmetics Corona (1983 to 1984), which is still
very much present in the collective

memory. Shortly after, Marija Kalenti
retired. Neva remained as a part of
Pliva to 2003, when it was taken over
by Atlantic Grupa.
Extremely extensive information about the history of the Neva company was collected by Branimir Zoraja in an unpublished text Fragmenti Nevine
povijesti.
22
Beiersdorf AG Hamburg is a German cosmetic
concern established in 1882 year, and their most
successful products include brands Nivea, Atrix, Eucerin, Pebeco, 8x4.
23
Zagreb-based company Rave d.d. was established in 1922 by pharmacists Stjepan Rac and
Dragutin Vergles. Among the most important products were Rave sunscreen Orahol, toothpastes and
mouthwashs Optodent, cream Optoderma, various
anti-sweat products and depletive Gastol. Additionally, the company was selling perfumes and eau
de toilettes 4711 by German manufacturer Murer
& Wirtz, razors and condoms, pads, wipes and the
like. As a curiosity it is worth mentioning that in
the thirties the company collaborated on design of
publicity materials with authors like Sergije Glumac
and Andrija Maurovi.
24
Information: Branimir Zoraja (note 21).
25
For example, Helena Rubinstein often posed
for photographers in a white lab coat to support
her companys motto: The science of beauty. See:
Peiss, Kathy. Hope in a Jar. New York: Henry Holt
and Company, Inc., 1998th
26
From conversations with Marija Kalenti, June
2013.
27
LOreal founder Eugene Schueller, launched a
whole series of actions to convince suspicious experts (and also customers) in quality of then brand
new product - synthetic hair dyes. See: Jones, Geoffrey. Beauty Imagined. New York: Oxford University
Press, 2011.
28
According to: Branimir Zoraja (note 21), Odol was
a manufacturer of the famous eau de toilette and
aftershave Pitralon, but also a series of perfumes,
of which probably the most famous was Chat Noir.
29
System of company management in former Yugoslavia.
30
According to: Branimir Zoraja (note 21)
31
In the seventies Neva produced exclusively licensed Binaca Medical (by U.S. company Sara Lee)
while Saponia offered at least three strong brands:
Zirodent, Kalodont and Kaukor.
21
105
Hand of
a designer
Over one hundred and fifty

works models and products created in a period of twenty-three years,
give us an extraordinary insight into
the development of the domestic
cosmetic industry and design of cosmetic packaging from its bumpy beginnings to maturity. Marija (Marina)
Kalenti introduced the house style
deliberation on the totality of companys visual identity years ahead
of the rest of the cosmetics industry,
and she had sufficient influence within the collective to implement her
ideas. Follower of the Bauhaus idea
on enlightening role of design, she
believed that design should create a
better social environment.
Packagings of Marija Kalenti
speak to us about the time before recycling, before market research and
focus groups, before printing packaging content in 23 languages. At the
same time, it was the time of shortage
of raw materials, uneven paper quality32, and outdated technology. Finally, as a reminder for todays design
students it was the painstaking time
of making countless cardboard models, drawing letters, modeling forms
of the future of plastic or glass bottles
in clay. Marija Kalenti witnessed the
vanishing of mtier, indispensable
qualities of a skilled designer of time
in which only an extremely skilled and
trained hand could overcome the limitations of the tools.
1 06
And today - in her mature eighties, Marina will in a jiffy accurately

draw a letter on a piece of paper
which is derived from the Roman
capital, while patiently explaining the anatomy of the grapheme.
As the author herself says: The design is linked to the development of
other industries such as production
of packaging, paper, plastic, glass,
and decorative materials ... This is
why freedom in the implementation
of certain tasks moves in boundaries
dictated by the industry, and it also
concerns the speed and technology
of production as well as production
of packaging materials. In all of this
artistic attire is actually the only freedom in which imagination, invention and knowledge of designer can
come to the fore. Only at the stage
of practical realization high quality
materials and good design can offer the desired look of the imagined
idea. Designers hand needs to be
an essential factor in the creation of
packaging from design to its implementation as an indivisible whole,
because only the author can successfully correct any results. (M. Kalenti,
in an interview for Pliva magazine,
July 1982).
That is why, donations such as this

they do not only round up the body of
work of unjustly neglected designer,
but also of one factory as well (and
through it, the whole branch of industry) they are of inestimable value for
the history of domestic design.
Author would like to thank Marija Kalenti for the

valuable donation of works to the Design Collections of the Museum of Arts and Crafts and the pleasant cooperation during the exhibition and catalog
preparation. Also, the author is extremely grateful for
the generous expert help of Rada Bori, Jasna Galjer,
Ph.D., Ana Pani and Branimir Zoraja.
32
Neujednaen kvalitet papira utjee na proizvodnju. // Dizajn 5 (1967), Zagreb : Centar za industrijsko
oblikovanje, p. 22.
In a society which mainly treated design works with disparaging,

packaging is one of the most vulnerable historical sources. It is created, after the product is sold, to be rejected.
107
MARIJINA INDUSTRIJA LJEPOTE
katalog
1.
PREDLOAK ZA ILIM ROMBI EU
Akademija primjenjene umjetnosti /
Zagreb, 1953. / papir; kreda / 31,3 x 22
cm / MUO 10083
TEMPLATE FOR RUG ROMBI EU
Academy of Applied Arts / Zagreb, 1953 /
paper; chalk / 31,3 x 22 cm / MUO 10083
2.
SUKNJA STECI
Likum / Zagreb, 1959. / platno; tisak /
93 x 72 cm / MUO 48283 /Prema
svjedoenju autorice, kroj suknje tiskan
je na samom materijalu.
SKIRT STECI
Likum / Zagreb, 1959 / textile; print /
93 x 72 cm / MUO 48283 / According to
the author, cut of the skirt was printed
on the material itself.
3.
SUKNJA PLAVO-CRNO
Vunteks / Odak (BiH), 1960.1961. /
platno; tisak / 93 x 72 cm / MUO 48284
/ Prema svjedoenju autorice, kroj suknje
tiskan je na samom materijalu.
SKIRT PLAVO-CRNO
Vunteks / Odak (BiH), 1960-1961 /
textile; print / 93 x 72 cm / MUO 48284
/ According to the author, cut of the skirt
was printed on the material itself.
4.
TKANINA
Tvorpam / Zagreb, 1958. / mercerizirani
pamuk; tvorniki tisak; / 88 x 260 cm /
MUO 48285
FABRIC
Tvorpam / Zagreb, 1958 / mercerized
cotton; factory print / 88 x 260 cm /
MUO 48285
5.
TKANINA
samoinicirani rad / Zagreb, 1958. / svila;
runo slikano / 130 x 93 cm / MUO 48286
FABRIC
self-initiated work / Zagreb, 1958 / silk;
hand-painted / 130 x 93 cm / MUO 48286
6.
TKANINA
samoinicirani rad / Zagreb, 1958. / runo
slikana svila / 40 x 95 cm / MUO 48287
FABRIC
self-initiated work / Zagreb, 1958 /
hand-painted silk / 40 x 95 cm /
MUO 48287
108
7.
TKANINA
samoinicirani rad / Zagreb, 1958.1960. /
svila; runo slikano; kairano / 27 x 22 cm /
MUO 48288, 48289
FABRIC
self-initiated work / Zagreb, 1958-1960 /
silk; hand-painted; laminated / 27 x 22 cm
/ MUO 48288, 48289
8.
TKANINA
svila; runo slikano; kairano / 34 x 34 cm /
MUO 48290, 48291
FABRIC
self- initiated work / Zagreb, 1958-1960 /
silk; hand-painted; laminated / 34 x 34 cm
/ MUO 48290, 48291
9.
TKANINA
ZIS Zagrebaka industrija svile / Zagreb,
1959. / svila; tvorniki tisak; kairano /
25 x 22 cm / MUO 48292, 48293
FABRIC
ZIS Zagrebaka industrija svile / Zagreb,
1959 / silk; factory print; laminated /
25 x 22 cm / MUO 48292, 48293
10.
PREDLOCI ZA TISAK TKANINA
samoinicirani rad / Zagreb, 1958.1960.
/ karton; tu; pastela / 49 x 48 cm;
50 x 50 cm / MUO 48294-1-8
TEMPLATES FOR PRINTING FABRIC
self-initiated work / Zagreb, 1958 1960 /
cardboard; ink; pastel / 49 x 48 cm;
50 x 50 cm / MUO 48294-1-8
11.
PREDLOCI ZA TISAK TKANINA
karton; tu; pastela / MUO 48294-930
TEMPLATES FOR PRINTING FABRIC
self-initiated work / Zagreb, 1958-1960 /
cardboard; ink; pastel / MUO 48294-9-30
Radovi za tvornicu Neva
(1962. 1978.)
12.
NOVOGODINJA ESTITKA NEVA
1963.
Zagreb, 1962. / karton; tisak / 20,5 x 17,8
cm / MUO 48295 / Objavljeno u knjizi:
J. Sudar, Ekonomska propaganda, 1963.
NEW YEARS CARD NEVA 1963
Zagreb, 1962 / cardboard; print / 20,5 x
17,8 cm / MUO 48295 / Published in a
book: J. Sudar, Ekonomska propaganda,
1963
Marija Kalenti i Neva : dizajn ambalae 1963.-1985.
13.
1964.
Zagreb, 1963. / karton; tisak /
20,5 x 17,8 cm / MUO 48296
Zagreb, 1963 / cardboard; print /
20,5 x 17,8 cm / MUO 48296
14.
1965.
20,5 x 17,8 cm / MUO 48297
20,5 x 17,8 cm / MUO 48297
15.
1966.
Zagreb, 1965. / karton; tisak / 17 x 17 cm
/ MUO 48298
17 x 17 cm / MUO 48298
16.
PREDLOAK ZA NOVOGODINJU
ESTITKU NEVA 1966.
Zagreb, 1965. / karton; tu / 17 x 17 cm
/ MUO 49304
TEMPLATE FOR NEW YEARS CARD
NEVA 1966
Zagreb, 1965 / cardboard; ink /
17 x 17 cm / MUO 49304
17.
PREDLOAK ZA NOVOGODINJU
ESTITKU NEVA 1967.
Zagreb, 1966. / karton; tu / 17 x 17 cm
/ MUO 48305
TEMPLATE FOR NEW YEARS CARD
NEVA 1967
Zagreb, 1966 / cardboard; ink /
17 x 17 cm / MUO 48305
18.
PREDLOAK ZA POZIVNICU 25
Zagreb, 1973. / karton; lijepljenje /
21 x 10,2 cm / MUO 48306
TEMPLATE FOR INVITATION 25
Zagreb, 1973 / cardboard; gluing /
21 x 10,2 cm / MUO 48306
19.
DIPLOMA PRVENSTVO FRIZERA
HRVATSKE
30,5 x 38 cm / MUO 48318
20.
DIPLOMA NEVA PRAKTIKUM
40 x 38 cm / MUO 48317
DIPLOMA NEVA PRAKTIKUM
40 x 38 cm / MUO 48317
21.
DIPLOMA X. MEUNARODNI FESTIVAL
FRIZURA
Zagreb, 1965. / karton; tisak / 33 x 45 cm
/ MUO 48319 / Napomena: simbol elja
nije dizajn M. Kalenti
DIPLOMA X. MEUNARODNI FESTIVAL
FRIZURA
Zagreb, 1965 / cardboard; print / 33 x
45 cm / MUO 48319 / Note: The comb
symbol is not designed by M. Kalenti
22.
KUTIJE NEVA CREME SPECIAL
Zagreb, 1963. / lim; tisak / manja: vis.
1,3 cm, promjer 5,1 cm / vea: vis. 1,5 cm,
promjer 7,7 cm / MUO 48314, 48313
BOXES NEVA CREME SPECIAL
Zagreb, 1963 / tin; print / small: h. 1,3 cm,
diameter 5,1 cm / big: h. 1,5 cm, diameter
7,7 cm / MUO 48314, 48313
23.
KUTIJA CLIFFORD POUDRE
Zagreb, 1963. / karton; tisak; plastina
folija / 9,5 x 6,7 x 0,7 cm / MUO 48315
BOX CLIFFORD POUDRE
Zagreb, 1963 / cardboard; print; plastic
foil / 9,5 x 6,7 x 0,7 cm / MUO 48315
24.
KUTIJA CLIFFORD FONDE DE TEINT
Zagreb, 1963. / karton; tisak / 5 x 5 x 5 cm
/ MUO 48316
BOX CLIFFORD FONDE DE TEINT
5 x 5 x 5 cm / MUO 48316
25.
KUTIJA S TUBOM ROSAL CREME
GRASSE
Zagreb, 1964.1965. / karton; lim; tisak
/ kutija: 16,4 x 4,4 cm; / tuba: 15 x 4 x
2,5 cm / MUO 48299-1,2 / Jugoslavenski
Oskar za ambalau 1965.
BOX WITH A TUBE ROSAL CREME
GRASSE
Zagreb, 19641965 / cardboard; tin; print
/ box: 16,4 x 4,4 cm; / tube: 15 x 4 x
2,5 cm / MUO 48299-1,2 / Yugoslav
Oscar for packaging 1965.
DIPLOMA PRVENSTVO FRIZERA

HRVATSKE
30,5 x 38 cm / MUO 48318
109
26.
DEMIE GRASSE
Zagreb, 1964.1965. / karton; lim; tisak /
kutija: 16,4 x 4,4 cm; / tuba: 15 x 4 x 2,5 cm
/ MUO 48300-1,2 / Jugoslavenski Oskar za
ambalau 1965.
DEMIE GRASSE
/ box: 16,4 x 4,4 cm; / tube: 15 x 4 x 2,5
cm / MUO 48300-1,2 / Yugoslav Oscar for
packaging 1965.
27.
HYDRATANTE
Zagreb, 1964.1965. / karton; lim; tisak /
kutija: 16,4 x 4,4 cm; / tuba: 15 x 4 x 2,5 cm
/ MUO 48301-1,2 / Jugoslavenski Oskar
za ambalau 1965.
HYDRATANTE
/ box: 16,4 x 4,4 cm; / tube: 15 x 4 x 2,5 cm
/ MUO 48301-1,2 / Yugoslav Oscar for
packaging 1965.
28.
KUTIJA I STAKLENKA ROSAL CREME
NOURISSANTE
Zagreb, 1964.- 1965. / karton; staklo; tisak
/ kutija: 5 x 5 x 5 cm / staklenka:
vis. 4 cm, promjer 4,8 cm / MUO 48302-1,2
/ Jugoslavenski Oskar za ambalau 1966.
BOX AND JAR ROSAL CREME
NOURISSANTE
Zagreb, 1964-1965 / cardboard; glass;
print / box: 5 x 5 x 5 cm / jar: h. 4 cm,
diameter 4,8 cm / MUO 48302-1,2 /
Yugoslav Oscar for packaging 1965.
29.
STAKLENA BOICA ROSAL LOTION
DEMAQUILLANTE
Zagreb, 1964.1965. / staklo; tisak; plastina
masa / 15 x 4 x 4 cm / MUO 48272 /
Jugoslavenski Oskar za ambalau 1965.
GLASS BOTTLE ROSAL LOTION
DEMAQUILLANTE
Zagreb, 1964-1965 / glass; print; plastic
/ 15 x 4 x 4 cm / MUO 48272 / Yugoslav
Oscar for packaging 1965.
30.
STAKLENA BOICA ROSAL LOTION
TONIQUE
Zagreb, 1964.1965. / staklo; tisak;
plastina masa / 16 x 5 x 3,3 cm /
MUO 48271
GLASS BOTTLE ROSAL LOTION
TONIQUE
Zagreb, 1964-1965 / glass; print; plastic
/ 16 x 5 x 3,3 cm / MUO 48271
110
31.
KATALOG PROIZVODA ROSAL
Zagreb, 1964.1965. / papir; tisak /
21 x 10,2 cm / MUO 48303
ROSAL PRODUCT CATALOG
Zagreb, 1964-1965 / paper; print /
21 x 10,2 cm / MUO 48303
32.
MAKETA BOICE ZA DJEJI PRAAK
Zagreb, 1966. / karton; crte /
18,2 x 7,2 x 2 cm / MUO 48274
MODEL OF BOTTLE FOR BABY
POWDER
Zagreb, 1966 / cardboard; drawing /
18,2 x 7,2 x 2 cm / MUO 48274
33.
MAKETA KUTIJE I TUBE SIO
Zagreb, oko 1966. / karton; lim; crte /
kutija: 12,2 x 2,8 x 2,5 cm / tuba:
10,6 x 3 cm, promjer 2 cm / MUO
48307-1,2 / Pasta za ienje mrlja.
MODEL OF BOX AND TUBE SIO
Zagreb, around 1966 / cardboard; tin;
drawing / box: 12,2 x 2,8 x 2,5 cm /
tube: 10,6 x 3 cm / MUO 48307-1,2 /
Paste for cleaning stains.
34.
MAKETA KUTIJE I TUBE CHROMLUX
kutija: 15,5 x 4,8 x 3 cm / tuba: 14 x 4,5
cm, promjer 3 cm / MUO 48308-1,2 /
Pasta za ienje metala.
MODEL OF BOX AND TUBE
CHROMLUX
drawing / box: 15,5 x 4,8 x 3 cm / tube:
14 x 4,5 cm, diameter 3 cm / MUO
48308-1,2 / Paste for cleaning metal.
35.
MAKETA KUTIJE I TUBE SUPRA
kutija: 15,5 x 4,8 x 3 cm / tuba: 14 x 4,5 cm,
/ promjer 3 cm / MUO 48309-1,2 / Pasta
za ienje ruku.
MODEL OF BOX AND TUBE SUPRA
drawing / box: 15,5 x 4,8 x 3 cm / tube:
14 x 4,5 cm, diameter 3 cm / MUO
48309-1,2 / Paste for cleaning hands.
36.
BOICA DJEJI POSIP
Zagreb, 1968. / plastina masa; tisak /
12 x 4 x 5 cm / MUO 48273
BOTTLE DJEJI POSIP
Zagreb, 1968 / plastic; print /
12 x 4 x 5 cm / MUO 48273
37.
KOLANI PRIKAZ ETIKETA EN
SHAMPOO
Zagreb, oko 1964. / papir; tisak; kairano
na kartonsku podlogu / 12 x 18 cm /
MUO 48325
BOX WITH TUBE OF TOOTHPASTE

OPTODENT
ZAGREB, 1969 / cardboard; tin; print /
box: 15 x 4 x 3 cm / tube: 12,6 x 3,8 cm,
diameter 2,6 cm / MUO 48332-1-2
COLLAGE DISPLAY OF LABELS EN

SHAMPOO
Zagreb, around 1964 / paper; print;
laminated on cardboard / 12 x 18 cm /
MUO 48325
43.
KUTIJA I JASTUI ZA
OSVJEAVAJUE MARAMICE FRESH
Zagreb, 1970. / karton; aluminijska folija;
tisak / 8,2 x 6,2 x 2,2 cm / MUO 48333,
48334
38.
ETIKETE ZA FRIZERSKE I DRUGE
PROIZVODE
Zagreb, 1964.1966. / papir; tisak;
kairano na kartonsku podlogu /
22 x 28 cm / MUO 48326
BOX AND CUSHION FOR REFRESHING

WIPES FRESH
Zagreb, 1970 / cardboard; aluminum
foil; print / 8,2 x 6,2 x 2,2 cm / MUO
48333, 48334
LABELS FOR HAIRDRESSING AND

OTHER PRODUCTS
Zagreb, 1964-1966 / paper; print;
laminated on cardboard / 22 x 28 cm /
MUO 48326
39.
NASLOVNICA KATALOGA FRIZERSKIH
PROIZVODA
Zagreb, oko 1966. / karton; tisak /
20,5 x 20,5 cm / MUO 48327
COVER OF CATALOGUE FOR
HAIRDRESSING PRODUCTS
Zagreb, around 1966 / cardboard; print /
20,5 x 20,5 cm / MUO 48327
40.
KUTIJA S TUBOM PASTA ZA IENJE
MRLJA SIO
Zagreb, 1967. / karton; lim; tisak /
kutija: 12 x 2,7 x 2,3 cm; tuba: 11 x 3 cm,
promjer 2 cm / MUO 48328-1-2
BOX WITH TUBE PASTA ZA IENJE
MRLJA SIO
Zagreb, 1967 / cardboard; tin; print /
box: 12 x 2,7 x 2,3 cm / tube: 11 x 3 cm,
diameter 2 cm / MUO 48328-1,2
41.
KUTIJA S TUBOM ZATITNE KREME ZA
RUKE OCTA
Zagreb, 1968. / karton; lim; tisak / kutija:
15,8 x 4,2 x 3 cm / tuba: 14,3 x 3.8 cm,
promjer 2,3 cm / MUO 48329-1-2
BOX WITH TUBE OF PROTECTIVE
HAND CRME OCTA
box: 15,8 x 4,2 x 3 cm / tube: 14,3 x 3,8 cm,
diameter 2,3 cm / MUO 48329-1-2
42.
KUTIJA S TUBOM ZUBNE PASTE
OPTODENT
15 x 4 x 3 cm / tuba: 12,6 x 3,8 cm,
promjer 2,6 cm / MUO 48332-1-2
44.
KUTIJA ZA OSVJEAVAJUE
MARAMICE GURMAN
8,6 x 6,2 x 2,2 cm / MUO 48335
BOX FOR REFRESHING WIPES
GURMAN
8,6 x 6,2 x 2,2 cm / MUO 48335
45.
ETIKETE ZA SERIJU PROIZVODA ZA
KOZMETIARE KOZMOSAL
Zagreb, 1970. / papir; tisak; kairano na
kartonsku podlogu / 28,5 x 28,5 cm /
MUO 48336
LABELS FOR PRODUCTS SERIES FOR
BEAUTICIANS KOZMOSAL
Zagreb, 1970 / paper; print; laminated on
cardboard / 28,5 x 28,5 cm / MUO 48336
46.
BROURA KOZMOSAL
Zagreb, 1970. / papir; tisak /
12,5 x 20,5 cm / MUO 48337
BROCHURE KOZMOSAL
Zagreb, 1970 / paper; print /
12,5 x 20,5 cm / MUO 48337
47.
MAKETE STICKOVA DEOFEN
Zagreb, 1972.1973. / plastina masa;
papir; lijepljenje / vis. 9,3 cm, promjer
3,1 cm / MUO 48310-1-3
MODELS OF STICKS DEOFEN
Zagreb, 1972-1973 / plastic; paper;
gluing / h. 9,3 cm, diameter 3,1 cm /
MUO 48310-1-3
48.
MAKETE STICKOVA DEOFEN
Zagreb, 1972.1973. / plastina masa;
papir; lijepljenje / vis. 9,3 cm, promjer
3,1 cm / MUO 48311-1-3
MODELS OF STICKS DEOFEN
Zagreb, 1972-1973 / plastic; paper;
gluing / h. 9,3 cm, diameter 3,1 cm /
MUO 48311-1-3
111
49.
MAKETA TUBE OPTODENT
Zagreb, 1968. / lim; papir; lijepljenje /
13 x 4 cm, promjer 2,5 cm / MUO 48312
MODEL OF TUBE OPTODENT
Zagreb, 1968 / tin; paper; gluing /
13 x 4 cm, diameter 2,5 cm / MUO 48312
50.
ETIKETA ZA SPREJ ASEPSAN3
Zagreb, oko 1970. /papir; tisak /
17,5 x 13,2 cm / MUO 48345
LABEL FOR SPRAY ASEPSAN3
Zagreb, around 1970 / paper; print /
17,5 x 13,2 cm / MUO 48345
51.
KUTIJA ZA PARFEM NEVA EXTRAIT,
10 ml
8 x 3 x 2,3 cm / MUO 48346
PERFUME BOX NEVA EXTRAIT, 10 ml
8 x 3 x 2,3 cm / MUO 48346
52.
KUTIJA ZA KOLONJSKU VODU NEVA
EXTRAIT, 60 ml
10,5 x 4 x 3,1 cm / MUO 48347
EAU DE TOILETTE BOX NEVA EXTRAIT,
60 ml Zagreb, 1971 / cardboard; print /
10,5 x 4 x 3,1 cm / MUO 48347
53.
KUTIJA ZA KOLONJSKU VODU NEVA
EXTRAIT, 90 ml
13,5 x 4,7 x 4 cm / MUO 48348
EAU DE TOILETTE BOX CHANTILLA,

90 ml
13,5 x 4,7 x 4 cm / MUO 48351
57.
KUTIJA ZA PARFEM TABAC, 15 ml
8 x 2,7 x 2,2 cm / MUO 48352
PERFUME BOX TABAC, 15 ml
8 x 2,7 x 2,2 cm / MUO 48352
58.
KUTIJA ZA KOLONJSKU VODU TABAC, 60 ml
11,8 x 4 x 3,3 cm / MUO 48353
EAU DE TOILETTE BOX TABAC, 60 ml
11,8 x 4 x 3,3 cm / MUO 48353
59.
KUTIJA ZA KOLONJSKU VODU CRNA
MAKA, 60 ml
11,8 x 4 x 3,3 cm / MUO 48354
EAU DE TOILETTE BOX CRNA MAKA,
60 ml / Zagreb, 1971 / cardboard; print /
11,8 x 4 x 3,3 cm / MUO 48354
60.
KUTIJA ZA PARFEM CRNA MAKA, 10 ml
8 x 2,7 x 2,2 cm / MUO 48355
EAU DE TOILETTE BOX NEVA EXTRAIT,

90 ml Zagreb, 1971 / cardboard; print /
13,5 x 4,7 x 4 cm / MUO 48348
PERFUME BOX CRNA MAKA, 10 ml

8 x 2,7 x 2,2 cm / MUO 48355
54.
KUTIJA ZA PARFEM CHANTILLA, 10 ml
8 x 2,7 x 2,3 cm / MUO 48349
61.
KUTIJA ZA PARFEM ANDREA, 10 ml
6 x 4 x 1,8 cm / MUO 48356
PERFUME BOX CHANTILLA, 10 ml

8 x 2,7 x 2,3 cm / MUO 48349
PERFUME BOX ANDREA, 10 ml

6 x 4 x 1,8 cm / MUO 48356
55.
KUTIJA ZA KOLONJSKU VODU
CHANTILLA, 50 ml
11 x 4 x 3,3 cm / MUO 48350
62.
KUTIJA ZA PARFEM ANDREA, 10 ml
7 x 5 x 2.5 cm / MUO 48357
EAU DE TOILETTE BOX CHANTILLA,

50 ml
11 x 4 x 3,3 cm / MUO 48350
112
56.
KUTIJA ZA KOLONJSKU VODU
CHANTILLA, 90 ml
13,5 x 4,7 x 4 cm / MUO 48351
PERFUME BOX ANDREA, 10 ml

7 x 5 x 2.5 cm / MUO 48357
63.
LIMENKA LAKA ZA KOSU FRILAX
Zagreb, oko 1972. / lim; tisak /
25,2 x 6 cm / MUO 48320
HAIRSPRAY CAN FRILAX

Zagreb, around 1972 / tin; print /
25,2 x 6 cm / MUO 48320
64.
JASTUI MINI AMPONA I
REGENERATORA FRILAX
Zagreb, oko 1972. / plastina folija; tisak /
8,5 x 5,9 cm / MUO 48322
STICK DEODORANT DEOFEN ROSEE,

TABAC
Neva / Zagreb, 1975 / plastic; tin; print /
h. 9,3 cm, diameter 3,1 cm / MUO 48341-1,
48343-1, 48344 / Printing error was made,
instead of Tabac on the green stick was to
write Fresh.
CUSHION OF MINI SHAMPOO AND

CONDITIONER FRILAX
Zagreb, around 1972 / plastic foil; print /
8,5 x 5,9 cm / MUO 48322
70.
SPREJ DEZODORANS DEOFEN FRESH,
ROSEE, TABAC
Neva / Zagreb, 1975. / plastina masa;
lim; tisak / vis.18,3 cm, promjer 4,3 cm /
MUO 48341-2, 48342, 48343-2
65.
JASTUI MINI AMPONA I
REGENERATORA FRILAX
Zagreb, oko 1972. / plastina folija; tisak /
8,5 x 5,9 cm / MUO 48323-1-4
SPRAY DEODORANT DEOFEN FRESH,

ROSEE, TABAC
Neva / Zagreb, 1975 / plastic; tin; print /
h. 18,3 cm, diameter 4,3 cm /
MUO 48341-2, 48342, 48343-2
CUSHION OF MINI SHAMPOO AND

CONDITIONER FRILAX
Zagreb, around 1972 / plastic foil; print /
8,5 x 5,9 cm / MUO 48323-1-4
Radovi za SOUR Pliva, OOUR Neva

(1978.1985.)
66.
PLASTINA BOCA S ETIKETOM (1000
ml); frizerski proizvod
Zagreb, oko 1972. / plastina masa; tisak /
25 x 5 x 9 cm / MUO 48275
PLASTIC BOTTLE WITH LABEL
(1000 ml); hair product
Zagreb, around 1972 / plastic; print /
25 x 5 x 9 cm / MUO 48275
67.
KOLEKCIJA ETIKETA ZA FRIZERSKE
PROIZVODE
Zagreb, oko 1972. /
papir; tisak; kairano na kartonsku podlogu
/ 28,5 x 28,5 cm / MUO 48324-1-5
LABEL COLLECTION FOR
HAIRDRESSING PRODUCTS
Zagreb, around 1972 / paper; print;
laminated on cardboard / 28,5 x 28,5 cm /
MUO 48324-1-5
68.
STICK DEZODORANS DEOFEN
ANDREA, MARIA, RENE
Zagreb, 1973. / plastina masa; tisak / vis.
9,3 cm, promjer 3,1 cm / MUO 48338 48340
STICK DEODORANT DEOFEN ANDREA,
MARIA, RENE
Zagreb, 1973 / plastic; print / h. 9,3 cm,
diameter 3,1 cm / MUO 48338 - 48340
69.
STICK DEZODORANS DEOFEN ROSEE,
TABAC
Neva / Zagreb, 1975. / plastina masa;
lim; tisak / vis. 9,3 cm, promjer 3,1 cm /
MUO 48341-1, 48343-1, 48344 / Uinjena
je greka u tisku, umjesto Tabac na
zelenom sticku trebalo je pisati Fresh.
71.
KOLANI PRIKAZ BOICA I ETIKETA ZA
SERIJE KOLONJSKIH VODA
kartonsku podlogu / 22 x 28,3 cm / MUO
48358 / Redizajn serije parfema.
COLLAGE DISPLAY OF BOTTLES
AND LABELS FOR SERIES OF EAU DE
TOILETTES
cardboard / 22 x 28,3 c / MUO 4835 /
Redesign of perfume line.
72.
BOICA ZA PARFEM CHYPRE, 10 ml
Zagreb, 1980. / staklo; plastina masa;
papir; tisak / 6 x 2,3 x 2,3 cm /
MUO 48276 / Redizajn serije parfema.
PERFUME BOX CHYPRE, 10 ml
Zagreb, 1980 / paper; print / 6 x 2,3 x 2,3 cm
/ MUO 48276 / Redesign of perfume line.
73.
BOICA ZA PARFEM NEVA EXTRAIT,
10 ml
PERFUME BOX NEVA EXTRAIT, 10 ml
Zagreb, 1980 / glass; plastic; paper; print /
6 x 2,3 x 2,3 cm / MUO 48277 / Redesign
of perfume line.
74.
BOICA ZA KOLONJSKU VODU
CHYPRE, 70 ml
papir; tisak / 11,5 x 3,5 x 3,5 cm /
113
EAU DE TOILETTE BOX CHYPRE, 70 ml

Zagreb, 1980 / glass; plastic; paper; print
/ 11,5 x 3,5 x 3,5 cm / MUO 48278 /
Redesign of perfume line.
75.
BOICA ZA KOLONJSKU VODU TABAC,
70 ml
EAU DE TOILETTE BOX TABAC, 70 ml
Zagreb, 1980 / glass; plastic; paper; print /
12 x 3,5 x 3,5 cm / MUO 48279 / Redesign
of perfume line.
76.
ETIKETE ZA KOLONJSKE VODE I
PARFEME
kartonsku podlogu / 22 x 28,3 cm /
MUO 48360-1-3
LABELS FOR EAU DE TOILETTES AND
PERFUMES
cardboard / 22 x 28,3 cm / MUO 48360-1-3
77.
KUTIJA I TUBA GELA ZA KOSU IREL
17 x 5 x 3,2 cm / tuba: 16,5 x 4,7 cm,
promjer 3 cm / MUO 48380-1-2
BOX AND TUBE OF HAIR GEL IREL
box: 17 x 5 x 3,2 cm / tube: 16,5 x 4,7 cm,
diameter 3 cm / MUO 48380-1-2
78.
SERIJA BOICA AMPONA IREL, S
VEZICOM
Zagreb, 1980. / plastina masa; tisak;
pamuna vezica / vis. 17,8 cm,
promjer 5 cm / MUO 48381,
MUO 48383, MUO 48385
SERIES OF SHAMPOO BOTTLES IREL,
WITH LACE
Zagreb, 1980 / plastic; print; cotton lace /
h. 17,8 cm, diameter 5 cm / MUO 48381,
MUO 48383, MUO 48385
79.
SERIJA TUBA AMPONA IREL, S
VEZICOM
Zagreb, 1980. / plastina masa; tisak;
pamuna vezica / 16,8 x 4,3 cm /
MUO 48382, MUO 48384, MUO 48386
SERIES OF SHAMPOO TUBES IREL,
WITH LACE
Zagreb, 1980 / plastic; print; cotton lace /
16,8 x 4,3 cm / MUO 48382, MUO 48384,
MUO 48386
114
80.
JASTUII AMPONA IREL, 3 komada
Zagreb, 1980. / plastina folija; tisak /
6 x 11 cm / MUO 48387-1-3
CUSHIONS OF IREL SHAMPOO,
3 PIECES
Zagreb, 1980 / plastic foil; print /
6 x 11 cm / MUO 48387-1-3
81.
LAK ZA KOSU IREL
Zagreb, 1980. / lim; tisak; plastina masa /
vis. 25,2 cm x promjer 6 cm / MUO 48388
HAIR SPRAY IREL
Zagreb, 1980 / tin; print; plastic /
h. 25,2 cm, diameter 6 cm / MUO 48388
82.
KUTIJA S BOICOM KOLONJSKE VODE
DVERCE
Zagreb, 1980. / karton; papir; tisak; staklo;
plastina masa / kutija: 15 x 4,5 x 4,5 cm
/ boica: vis. 13,3 cm, promjer 3,5 cm /
MUO 48390-1-2 / Boicu nije dizajnirala
M. Kalenti.
BOX WITH BOTTLE OF EAU DE
TOILETTE DVERCE
Zagreb, 1980 / cardboard; paper; print;
glass; plastic / box: 15 x 4,5 x 4,5 cm
/ bottle: h. 13,3 cm, diameter 3,5 cm /
MUO 48390-1-2 / Bottle was not designed
by M. Kalenti.
83.
KSAVER
plastina masa / kutija: 15,2 x 4,4 x 4,4
cm / boica: vis. 13 cm, promjer 3,5 cm /
MUO 48393-1-2 / Boicu nije dizajnirala
M. Kalenti.
TOILETTE KSAVER
glass; plastic / box: 15,2 x 4,4 x 4,4 cm /
bottle: h. 13 cm, diameter 3,5 cm / MUO
48393-1-2 / Bottle was not designed by
M. Kalenti.
84.
KUTIJA S BOICOM KOLONJSKE
VODE ELLE
plastina masa / kutija: 14 x 4,7 x 4,7 cm /
boica: 12,8 x 2 x 3,6 cm / MUO 48397-1-2
/ Boicu nije dizajnirala M. Kalenti.
TOILETTE ELLE
glass; plastic / box: 14 x 4,7 x 4,7 cm /
bottle: 12,8 x 2 x 3,6 cm / MUO 48397-1-2
/ Bottle was not designed by M. Kalenti.
85.
CRIS
plastina masa / kutija: 14 x 4,7 x 4,7 cm /
boica: 12 x 2 x 3,5 cm / MUO 48400-1-2
TOILETTE CRIS
glass; plastic / box: 14 x 4,7 x 4,7 cm /
bottle: 12 x 2 x 3,5 cm / MUO 48400-1-2 /
Bottle was not designed by M. Kalenti.
86.
IV
plastina masa / kutija: 14 x 5 x 3 cm; /
boica: 12 x 4,5 x 2,5 cm / MUO 48395-1-2
TOILETTE IV
glass; plastic / box: 14 x 5 x 3 cm; / bottle:
12 x 4,5 x 2,5 cm / MUO 48395-1-2 /
87.
KUTIJA KOLONJSKE VODE LAAS
Zagreb, 1980. / karton; tisak / kutija:
14 x 4,7 x 4,7 cm / MUO 48403
EAU DE TOILETTE BOX LAAS
Zagreb, 1980 / cardboard; print / box:
14 x 4,7 x 4,7 cm / MUO 48403
88.
KUTIJA S BOICOM PARFEMA LAAS
plastina masa / kutija: 11,8 x 4 x 4 cm /
boica: 9 x 2 x 2,4 cm / MUO 48405-1-2 /
Boicu nije dizajnirala M. Kalenti.
BOX WITH BOTTLE OF PERFUME LAAS
glass; plastic / box: 11,8 x 4 x 4 cm /
bottle: 9 x 2 x 2,4 cm / MUO 48405-1-2 /
89.
KUTIJA S BOICOM PARFEMA DENY
plastina masa / kutija: 11,8 x 4 x 4 cm; /
boica: 9 x 2 x 2,4 cm / MUO 48405-1-2 /
Boicu nije dizajnirala M. Kalenti.
BOX WITH BOTTLE OF PERFUME DENY
glass; plastic / box: 11,8 x 4 x 4 cm; /
bottle: 9 x 2 x 2,4 cm / MUO 48405-1-2 /
90.
PREDLOCI ZA PRIVJESKE ZA
KLJUEVE I ZNAKE
Zagreb, 1980. / lim; privreno na
kartonsku podlogu / 33,7 x 15,8 x 4 cm /
MUO 48280
TEMPLATES FOR KEY RINGS AND

BADGES
Zagreb, 1980 / tin; attached to cardboard
surface / 33,7 x 15,8 x 4 cm / MUO 48280
91.
PREDLOAK ZA NASLOVNICU
KATALOGA KOZMETIKIH PROIZVODA
Zagreb, oko 1980. / karton; kola /
23 x 25 cm / MUO 48363
TEMPLATE FOR CATALOGUE COVER
OF BEAUTY PRODUCTS
Zagreb, 1980 / cardboard; collage /
23 x 25 cm / MUO 48363
92.
PREDLOAK ZA NASLOVNICU
KATALOGA KOZMETIKIH PROIZVODA
Zagreb, oko 1980. / karton; kola /
23 x 25 cm / MUO 48364
TEMPLATE FOR CATALOGUE COVER
OF BEAUTY PRODUCTS
Zagreb, 1980 / cardboard; collage /
23 x 25 cm / MUO 48364
93.
PREDLOAK ZA KUTIJE ROSAL (srebrno
polje)
vea kutija: 13,3 x 5 x 5 cm / manja kutija:
5,3 x 6 x 6 cm / MUO 48365, 48366
TEMPLATE FOR BOXES ROSAL (silver
field)
big box: 13,3 x 5 x 5 cm / small box:
5,3 x 6 x 6 cm / MUO 48365, 48366
94.
PREDLOAK ZA KUTIJE ROSAL (zlatno
polje)
Zagreb, 1982. / karton; ljepljenje /
vea kutija: 13,3 x 5 x 5 cm / manja kutija:
5,3 x 6 x 6 cm / MUO 48367, 48368
TEMPLATE FOR BOXES ROSAL (gold
field)
big box: 13,3 x 5 x 5 cm / small box:
5,3 x 6 x 6 cm / MUO 48367, 48368
95.
PREDLOAK ZA LONI i BOICU
ROSAL (zlatno polje)
Zagreb, 1982. / plastina masa; papir;
ljepljenje / loni: vis. 4,6 cm, promjer
5,6 cm / boica: vis. 12,4 cm, promjer
4,5 cm / MUO 48372, 48374
TEMPLATE FOR POT AND BOTTLE
ROSAL (gold field)
Zagreb, 1982 / plastic; paper; gluing /
pot: h. 4,6 cm, diameter 5,6 cm / bottle: h.
12,4 cm, diameter 4,5 cm /
MUO 48372, 48374
115
96.
PREDLOAK ZA KUTIJE ROSAL
(zlatna slova)
13,3 x 5 x 5 cm / MUO 48369
102.
ETIKETA ZA TEKUI KREM SAPUN
SAVON
17,7 x 13,1 cm / MUO 48410
TEMPLATE FOR BOXES ROSAL (gold

letters) Zagreb, 1982 / cardboard; gluing /
13,3 x 5 x 5 cm / MUO 48369
LABEL FOR THE LIQUID CREME SOAP

SAVON
17,7 x 13,1 cm / MUO 48410
97.
PREDLOAK ZA LONI I BOICU
ROSAL (zlatna slova)
lijepljenje / loni: vis. 4,6 cm, promjer
5,6 cm / boica: vis. 12,4 cm, promjer
4,5 cm / MUO 48373, 48375
TEMPLATE FOR POT AND BOTTLE
ROSAL (gold letters)
Zagreb, 1982 / plastic; paper; gluing /
pot: h. 4,6 cm, diameter 5,6 cm / bottle: h.
12, 4 cm, diameter 4,5 cm / MUO 48373,
48375
98.
PREDLOAK ZA KUTIJE ROSAL
(ruiasto polje)
vea: 13,3 x 5 x 5 cm / manja: 5,5 x 6 x 6
cm / MUO 48370, 48371
TEMPLATE FOR ROSAL BOXES (pink
space)
Zagreb, 1982 / cardboard; gluing / big:
13,3 x 5 x 5 cm / small: 5,5 x 6 x 6 cm /
MUO 48370, 48371
99.
KUTIJA S LONIEM KREME ROSAL
Zagreb, 1982. / karton, tisak; plastina
masa, tisak / kutija: 6,3 x 6,3 x 5,8 cm /
loni: vis. 5,5 cm, promjer 6 cm / MUO
48376-1-2
BOX WITH POT OF CREME ROSAL
Zagreb, 1982 / cardboard; print; plastic;
print / box: 6,3 x 6,3 x 5,8 cm / pot: h.
5,5 cm, diameter 6 cm / MUO 48376-1-2
100.
KUTIJA ZA MLIJEKO ROSAL
16 x 5,7 x 5,7 cm / MUO 48377
BOX FOR ROSAL MILK
16 x 5,7 x 5,7 cm / MUO 48377
101.
BROURA ROSAL
11,5 x 11,5 cm / MUO 48378
BROCHURE ROSAL
11,5 x 11,5 cm / MUO 48378
116
103.
PREDLOAK ZA PLAKETU I OVITAK 60.
GODINA PLIVE
12,7 x 19 x 0,5 cm / MUO 48411
TEMPLATE FOR PLAQUE AND JACKET
60. GODINA PLIVE
12,7 x 19 x 0,5 cm / MUO 48411
104.
PLAKETA U OVITKU 60 GODINA PLIVE
1921.1981.
Zagreb, 1981. / karton; metal /
14,8 x 9,2 x 0,5 cm / MUO 48414
PLAQUE IN JACKET 60 GODINA PLIVE
1921.1981.
Zagreb, 1981 / cardboard; metal /
14,8 x 9,2 x 0,5 cm / MUO 48414
105.
PREDLOAK ZA ZA DIPLOMU 60
GODINA PLIVE
12,7 x 19 x 0,5 cm / MUO 48412
TEMPLATE FOR DIPLOMA 60 GODINA
PLIVE
12,7 x 19 x 0,5 cm / MUO 48412
106.
DIPLOMA 60 GODINA PLIVE 1921.
1981. (1 tuljac s 2 diplome)
Zagreb, 1981. / karton; papir; tu / tuljac:
vis. 32 cm, promjer 7 cm / diploma:
42 x 31,5 cm / MUO 48413-1-3
DIPLOMA 60 GODINA PLIVE 1921.
1981. (one scroll with two diplomas)
Zagreb, 1981 / cardboard; paper; ink /
scroll: h. 32 cm, diameter 7 cm / diploma:
42 x 31,5 cm / MUO 48413-1-3
107.
PREDLOAK ZA PRIZNANJE
100 GODINA FARMACEUTSKOG
FAKULTETA
Zagreb, 1982. / papir; lijepljenje /
34,7 x 24,5 cm / MUO 48415
TEMPLATE FOR ACKNOWLEDGMENT
100 GODINA FARMACEUTSKOG
FAKULTETA
Zagreb, 1982 / paper; gluing /
34,7 x 24,5 cm / MUO 48415
108.
PREDLOAK ZA ZNAK 100 GODINA
FARMACEUTSKOG FAKULTETA
Zagreb, 1982. / papir; crte tuem /
12,5 x 17 cm / MUO 48416
TEMPLATE FOR A SIGN 100 GODINA
FARMACEUTSKOG FAKULTETA
Zagreb, 1982 / paper; ink drawing /
12,5 x 17 cm / MUO 48416
109.
PRIZNANJE 100 GODINA
FARMACEUTSKO-BIOKEMIJSKOG
FAKULTETA 1882.1982.
Zagreb, 1982. / karton; papir; tisak /
34,7 x 24,5 cm / MUO 48417
ACKNOWLEDGMENT 100 GODINA
Zagreb, 1982 / cardboard; paper; print /
34,7 x 24,5 cm / MUO 48417
BOX MODEL WITH TOOTHPASTE TUBE

PLIDENTA FRESH
Zagreb, 19831984 / cardboard; tin;
paper; gluing / box: 16,5 x 5 x 3,2 cm /
tube: h. 16,2 cm, diameter 2,4 cm / MUO
48361-1-2
114.
PREDLOAK ZA KUTIJE ZUBNE PASTE
PLIDENTA ASEPT, PLIDENTA HERBAL,
PLIDENTA
Zagreb, 1983.1984. / karton, lijepljenje;
kairano na kartonsku podlogu /
21,8 x 27,8 cm / MUO 48362
TEMPLATE FOR TOOTHPASTE BOXES
PLIDENTA ASEPT, PLIDENTA HERBAL,
PLIDENTA
Zagreb, 1983.1984 / cardboard; gluing;
laminated on cardboard / 21,8 x 27,8 cm
/ MUO 48362
110.
PLAKETA U OVITKU 100 GODINA
Zagreb, 1982. / karton; metal /
12 x 12 x 0,8 cm / MUO 48418
PLAQUE IN JACKET 100 GODINA
Zagreb, 1982 / cardboard; metal /
12 x 12 x 0,8 cm / MUO 48418
111.
KUTIJA S TUBOM ZUBNE PASTE
DENTASEPT
Zagreb, 1983. / karton; tisak; lim; tisak /
kutija: 15,2 x 4,2 x 4,2 cm / tuba: vis. 15
cm, promjer 2,6 cm / MUO 48420-1-2
BOX WITH DENTASEPT TOOTHPASTE
TUBE / Zagreb, 1983 / cardboard; print;
tin; print / box: 15,2 x 4,2 x 4,2 cm / tube:
h. 15 cm, diameter 2,6 cm /
MUO 48420-1-2
112.
BOCA INSTANT NAPITKA VITAMALT
tisak / vis. 19 cm, promjer 8,5 cm /
MUO 48281
INSTANT DRINK BOTTLE VITAMALT
Zagreb, 1984 / plastic; paper; print /
h. 19 cm, diameter 8,5 cm / MUO 48281
113.
MAKETA KUTIJE S TUBOM ZUBNE
PASTE PLIDENTA FRESH
Zagreb, 1983.1984. / karton, lim; papir,
lijepljenje / kutija: 16,5 x 5 x 3,2 cm /
tuba: vis. 16,2 cm, promjer 2,4 cm /
MUO 48361-1-2
117
118
NAKLADNIK
PUBLISHER
Muzej za umjetnost i obrt

Museum of Arts and Crafts, Zagreb
ZA NAKLADNIKA
FOR THE PUBLISHER
Miroslav Gaparovi
urednica
editor
Koraljka Vlajo
AUTORICA IZLOBE I KATALOGA
AUTHOR OF EXHIBITION AND CATALOGUE
Koraljka Vlajo
FOTOGRAFIJE
PHOTOGRAPHS
Sreko Budek
Vedran Benovi
PRIJEVOD NA ENGLESKI
ENGLISH TRANSLATION
Dunja Neki
redaktura
edited by
PROPAGANDA
PUBLIC RELATIONS
Fernando Soprano
PEDAGOKI PROGRAM
EDUCATIONAL PROGRAMME
Malina Zuccon Marti
LEKTURA I KOREKTURA
LANGUAGE ADVISING FOR CROATIAN
TEXT AND PROOF READING
Anelka Gali
OBLIKOVANJE KATALOGA,
POZIVNICE I PLAKATA
CATALOGUE, INVITATION
AND POSTER DESIGN
Bili_Mller Studio
PRIPREMA ZA TISAK
PRE-PRESS
Bili_Mller Studio
DIGITALNA OBRADA FOTOGRAFIJA
DIGITAL PROCESSING OF PHOTOGRAPHS
Sreko Budek
Anelka Gali
MULTIMEDIA
Zoran Svrtan
POSTAV IZLOBE
EXHIBITION DESIGN
TISAK PRINT
Printera, Zagreb
TEHNIKI POSTAV
INSTALLATION TEAM
NAKLADA
CIRCULATION
500
Bili_Mller Studio
Katarina Bence
tehnika sluba MUO
MUO technical team
MARKETING
Vesna Ledi
Muzej za umjetnost i obrt 2013.

ISBN 978-953-7641-33-7
CIP zapis dostupan u raunalnom
katalogu Nacionalne i sveuiline
knjinice u Zagrebu
pod brojem
Muzej za umjetnost i obrt

Museum of Arts and Crafts
Trg marala Tita 10, HR 10000 Zagreb
t. +385 1 48 82 111, f. +385 1 48 28 088
e - mail: muo@muo.hr
www. muo.hr
119
120

Marija Kalentic and Neva: Packaging Design 1963 - 1985

Hochgeladen von

Dokumentinformationen

Originaltitel

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

Marija Kalentic and Neva: Packaging Design 1963 - 1985

Hochgeladen von

Copyright:

Verfügbare Formate

Marija Kalenti and Neva : packaging design 1963-1985

Marijas Industry of Beauty

Marija Kalenti and Neva : packaging design 1963-1985

Marija (Marina) Kalenti is a versatile designer who is experienced in

consideration of a much wider area of

Marijas Industry of Beauty

However, not to neglect the

Marija Kalenti and Neva : packaging design 1963-1985

Marijas Industry of Beauty

In 1956 she left the Workshop

paganda in which, with her, worked

Marija Kalenti and Neva : packaging design 1963-1985

Packaging is an essential and

Marijas Industry of Beauty

packaging was regularly emphasized

slavia.)8, and at the time packaging

Marija Kalenti and Neva : packaging design 1963-1985

Here we must mention Dr. Ante

style packaging of Rosal cosmetic line,

Marijas Industry of Beauty

Fragrances and products for

Marija Kalenti and Neva : packaging design 1963-1985

and Odol, American Sara Lee, Swiss

Marijas Industry of Beauty

Despite the significant socioeconomic differences between the

Marija Kalenti and Neva : packaging design 1963-1985

evolution of the topics covered in

of Women (AF) conducted an intensive campaign of elementary personal hygiene.

Also, one must not forget the

Marijas Industry of Beauty

Neva factory of hygiene and

Marija Kalenti and Neva : packaging design 1963-1985

Marijas Industry of Beauty

products were tested (on male and

packaging for Nevas versions were

Marija Kalenti and Neva : packaging design 1963-1985

Deofen was manufactured in

very much present in the collective

Marijas Industry of Beauty

Over one hundred and fifty

Marija Kalenti and Neva : packaging design 1963-1985

And today - in her mature eighties, Marina will in a jiffy accurately

That is why, donations such as this

Author would like to thank Marija Kalenti for the

In a society which mainly treated design works with disparaging,

MARIJINA INDUSTRIJA LJEPOTE

Marija Kalenti i Neva : dizajn ambalae 1963.-1985.

DIPLOMA PRVENSTVO FRIZERA

MARIJINA INDUSTRIJA LJEPOTE

Marija Kalenti i Neva : dizajn ambalae 1963.-1985.

BOX WITH TUBE OF TOOTHPASTE

COLLAGE DISPLAY OF LABELS EN

BOX AND CUSHION FOR REFRESHING

LABELS FOR HAIRDRESSING AND

MARIJINA INDUSTRIJA LJEPOTE

EAU DE TOILETTE BOX CHANTILLA,

EAU DE TOILETTE BOX NEVA EXTRAIT,

PERFUME BOX CRNA MAKA, 10 ml

PERFUME BOX CHANTILLA, 10 ml

PERFUME BOX ANDREA, 10 ml

EAU DE TOILETTE BOX CHANTILLA,

PERFUME BOX ANDREA, 10 ml

Marija Kalenti i Neva : dizajn ambalae 1963.-1985.