Nidžara Mustafić
A Classic Vintage Home in the Heart of Zagreb
Discovering the Home of Nidžara, Creator of the Vintage Brand Mango Sticky Rice
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© Nidžara Mustafić, owner of the vintage shop Mango Sticky Rice
“Contemporary life is imbued with social ideas and questions of the collective, and the artist cannot stand outside the collective, because art and life are one.”
– Drago Ibler, Croatian architect and pedagogue, a precursor of modernism and one of the founders of the “Zagreb school of architecture“
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© Ana Malnar: the living room is connected with double doors with the bedroom and the children’s room. The herringbone parquet is embellished with the Bukhara wool carpet, beautiful ornate style of classic carpets from the Turkmenistan part of East Asia. Biedermeier dining table and chairs. Blue child’s room furniture from Meblo (second hand).
Not so often can a simple photograph of someone’s home provoke an immense wish to discover the inhabitant’s universe in person. This was the case with Nina, orNidžara Mustafić, owner of the vintage store Mango Sticky Rice located in Ljudevit Posavski street in Zagreb, in the proximity to the Zagreb’s iconic Tvornica kulture (the Factory of Culture) venue, a multipurpose “event production” facility. Inspired by a photo of her salon, I decided one day to randomly open the door of Nina’s vintage paradise Mango Sticky Rice. Immediately, I sensed that her concept goes way beyond that of a simple second-hand shop. As an adept of vintage clothing for 20 years, it was her experience in London as an au-pair that inspired Nina to open her own vintage “living room” in Zagreb seven years ago.
Today, Mango Sticky Rice is not just a well established brand but also a promoter of domestic culture in terms of fashion design, painting and literature. A unique place where we can find the latest example of the Croatian Kàko magazine, with stories about creative individuals, keepers of tradition, quality living, amazing places and social phenomena or fashion pieces of domestic creators such as Žuži Jelinek, Keti Balog, Mirjana Marić or Mirjam Krajina, or even works of domestic painters of the younger generation such as Luisa Pascu, Nika Vrbica, and Tara Beata Ratz, among other names.
Though a lot of findings, that arrive locally to the store, include some of the staple pieces of the ex-Yougoslavian heritage, like hand-embroidered tablecloths or Zwiebelmuster porcelain dining sets, one can find amazing haute couture items from designers such as Fendi, Louis Vuitton, Cavalli, Christian Dior or Comme des Garçons. I was glad to spot a book about Dušan Džamonja, a Yugoslav sculptor of Serbian ancestry, and to return home with the latest number of Kàko magazine and a little bottle of the vintage Wiener Bouquet perfume, eager to prepare my visit to Nina’s home.
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© Nidžara Mustafić: boutique window of Mango Sticky Rice
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© Ana Malnar: an example of a modernist architectural building from the 30s, Zagreb, Croatia
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© Ana Malnar: the entrance to Nidžara’s building
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© Ana Malnar: the glass elevator, stair coverings made of polished concrete slabs
The apartment of 105 square metres is located in the classic example of a modernist building of the 1930s, characterized by simple lines, spacious and functional interiors and overall lack of ornamentation. The modernist style of architecture in Zagreb appeared in the beginning of the 1920s, and was driven by architectures such as Zlatko Neumann, Josip Pičman, Drago Ibler, Juraj Neidhardt and later on Drago Galić, one of the key participants in the creation of the Zagreb school of architecture in the period between the two world wars. This new style was a consequence of the scarce post-war resources and the need to provide as soon as possible a large number of adequate housing and administrative units in the place of those destroyed during the war. The main principle was to ensure a good standard of living within the framework of the economy. As Nina explained, the apartment was a former residence of diplomats for generations, and a meeting place of Zagreb’s cultural elite of the time. “Renowned artists such as the painter Edo Murtić or the costume designer Latica Ivanišević used to gather in this apartment”, she adds.
“Microlocation is a huge thing for me. This apartment is well positioned in that regard. The street is vibrant, there is a library, a park, the Culture Factory, colleges and hospitals. We have two lots nearby and two tram stops in the immediate vicinity. Perhaps the negative thing is the traffic, considering that we are near the center and the bus and railway stations”, explains Nina.
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© Ana Malnar: view from the salon on the tram station. OBO stackable butterfly chairs by Tubax, circa 1970, Bukhara wool carpet, Biedermeier dining chair
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© Ana Malnar: the hall view from the kitchen
Probably the most timeless charming element of the apartment is the herringbone parquet, a pattern named after the bone structure of the herring fish skeleton. This pattern started to be used in parquetry in the 16th century in France, and symbolizes status and elegance to this day. One of the first examples of wooden herringbone flooring can be seen at the Francis I Gallery at the Château de Fontainebleau, which was installed in 1539. Today, this style remains one of the most popular types of flooring in Zagreb’s interiors of the 20th century .
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© Ana Malnar: chair from the 1950s made in Yugoslavia. Below the chair the Charlotte Perriand floor lamp for Philips, from the 1970s
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© Ana Malnar: chair from the 1950s made in Yugoslavia. Below the chair the Charlotte Perriand floor lamp for Philips: close-up
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© Ana Malnar: Biedermeier dining table and chairs, Bukhara wool carpet, Mid-Century mahogany wood serving bar cart
The Biedermeir dining set is the central piece of the salon composed of a dining and living area. Born in a period of relative peace after the Congress of Vienna in 1815, the Biedermeir style reflected the aspirations of the middle classes for a more stable and refined way of life. However, its influence extends beyond Austrian borders, influencing neighboring regions such as Germany and other parts of Central Europe, including former Yugloslavian states, where Germanic heritage remains deeply rooted. Simple and refined, the Biedermeier furniture, made of light wood such as birch, maple or cherry, highlights the natural beauty of the materials. Straight lines and geometric shapes dominate, with varnished surfaces to accentuate their shine.
This dining set harmoniously matches the Bukhara wool carpet. Originating from the region of Bokhara in present-day Uzbekistan, Bukhara carpets are testament to the enduring tradition of rug-making in Central Asia. They are most famous for their deep red or burgundy colour, although they can also be found in a range of other colours, including greens, blues, and browns. The designs are typically symmetrical and consist of repeating oval or diamond shapes, often referred to as ‘guls’.
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© Ana Malnar: close-up of the Mid-Century mahogany wood serving bar cart with the “Ikebana” sculpture by Dragutin Drobnjak
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© Ana Malnar: “Ikebana”, blown glass sculpture by Dragan Drobnjak, 1975-76
As a great admirer of quality art produced in the former Yugoslavia, Nina delicately showcased the Ikebana sculpture by Dragan Drobnjak. A graduate from the Academy of Applied Arts in Belgrade, Drobnjak was the first sculptor in Serbia to graduate using glass as a medium. Drobnjak’s ‘Ikebana’ design was devised around 1975-76 and put into production at 9.October in Prokuplje a little later in two sizes – pattern number 605 at 12in (30cm) high, and pattern number 606 at 8in (20cm) high. It had a dual function – to hold flowers, or act as a lampshade. We can sense in this object the influence of the Space Age era born on the American west coast in the 1960s. Thus, round, organic and cellular shapes, geometric patterns, mischievously reproducing the scientific principles of nuclear power were a common fascination of the artist from that period.
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© Ana Malnar: the salon is connected with double doors with the bedroom and child’s room. View from the child’s room. Restored vintage Thonet rocking chair, cca 1950, Corner dresser containing a Zwiebelmuster porcelain dining set
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© Ana Malnar: Zwiebelmuster porcelain set. On the top of the dresser, reproduction of the famous sculpture “The History of Croats”, by Ivan Meštrović
As interiors speak not just about the furniture but also habits of a population, tradition and culture, it is important to give a special place to Zwiebelmuster porcelain, a true treasure for any housing in this part of central Europe. As Nina adds: “Zwiebelmuster is always one of the most popular finds in the store. As soon as I get a hold on it, it solds out immediately.” The rich tradition of the history of the “Zwiebelmuster” (Onion) motif dates back to ancient China, the original country of porcelain. European artists from the 18th century took up this motif with great enthusiasm at this time in the name of Chinese fashion. They then created autonomous settings which have still lost absolutely none of their fascination today. Designed by C. Teichert, the “Blau Zwiebelmuster” collection, blue onion pattern, has been manufactured since 1930 by Hutschenreuther. This prestigious set is a treasure in every housing, and decorates the table only on special occasions.
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© Ana Malnar: Rocking chair designed by Michel Thonet and fabricated in Varaždin, northern Croatia
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© Ana Malnar: Rocking chair designed by Michel Thonet and fabricated in Varaždin, northern Croatia
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© Ana Malnar: salon details, Nagel vintage modular candles, the golden Chrome and Acrylic Eyeball Table Lamps by Guzzini for Meblo.produced in Yugoslavia, 1970s. The Monstera plant is sitting on Arne Jacobssen’s Butterfly chair 3107, near to the graphics of Eugen Kokot. On the table are two artworks: Collage by Tara Beata Racz and “The Dancers” by Luisa Pascu.
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© Nidžara Mustafić: golden Chrome and Acrylic Eyeball Table Lamps by Guzzini for Meblo.produced in Yugoslavia, 1970s
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© Ana Malnar: Collage by Tara Beata Racz and “The Dancers” by Luisa Pascu
Supporting young talented emerging artists, creating a place of cultural exchange and giving importance to domestic artistic production are all things of major importance for Nina, and it shows even in her interior decoration. Here she displayed two beautiful artworks that deserve some attention. The first painting “The Dancers” is an artwork of Luisa Pascu, an art student and figurative painter from Zagreb. In her work Pascu explores the very tasks of the human body and contextualizes them in the triangle between our ideas about our own body, the way we would like to be presented in front of others and the impression our appearance leaves on others. Tara Beata Racz, the author of the Collage is a painter, psychologist and practitioner of the Expressive Art Therapy from Zagreb. Her art reveals the interest in the human psyche, the study of human character, and its emotions.
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© Ana Malnar: Eugen Kokot’s graphics, OBO stackable butterfly chairs by Tubax, circa 1970
Another beautiful display is the graphics of Eugen Kokot, a renowned Croatian artist born in Labin in 1940, professor of drawing and graphic design at the School of Applied Arts and Design in Zagreb and at the Academy of Fine Arts in Zagreb. He was the author of the Collection of Matija Vlačić Ilirik (1975), one of the pillars of Luther’s Reformation. In Croatia’s cultural landscape Kokot is remembered for his engagement in graphics, restoration of cultural monuments, book design and illustration.
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© Ana Malnar: second-hand Meblo child’s room
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© Ana Malnar: second-hand Meblo child’s room
From the salon we entered the child’s room, which previously had a function of a dining room. The room is principally furnished by Meblo furniture, a former Yugoslavian giant in furniture design, today reduced to the fabrication of mattresses for beds under the name MebloJOGI. This Slovenian company was founded in 1948 when Gorizia craftsmen joined forces and founded the Furniture Factory, later named Edvard Kardelj, after the communist leader and national icon of World War II.. In 1950 the name changed to MEBLO, a synonym for high quality, modern and functional design. The factory produced plastic chairs and tables, plasticised metal garden tables and chairs, plastic chairs for sports halls, plastic flower beds, mirrors and plastic bathroom equipment (designed by Luigi Massoni), wooden set of club tables, buffet carts and mirrors (designed by Gianfranco Grattini) and Harvey Guzzini lamps. Some of Meblo’s most iconic pieces include the space-age plastic Jurček stool by Bogomir Zorman & Ljerka Finžgar from the 1970s, the mid-century red plastic Albatros lamp from the 1970s, and their mid-century armchairs.
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© Ana Malnar: Grandessa rocking chair by Lena Larsson
The period after the Second World War marked an era of prosperity, optimism and development. As a result, the design that took shape at that time reflected the spirit of the times and created pieces that exude positivity and represent a vision of a modern, bright future. America and Scandinavia were the bearers of this style and gave birth to many famous names in furniture design, but this era also left its mark and influenced the design created in the former Yugoslavia. A perfect example of the Scandinavian influence is the rocking by the Swedish interior designer Lena Larsson in the child’s room. Rocking chairs are almost an ideal piece of furniture for children, as they evoke feelings of relaxation, tranquility and daydreaming. Said in the words of Wallis Simple, the Duchess of Windsor: “There is a peacefulness, an air of reflection, about a rocking-chair that attaches to no other moving object.”
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© Ana Malnar: the bedroom in neutral, sober tones
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© Ana Malnar: wooden wedding chest. On the chest the painting “Snjeguljica” (Snow White) by the Slovakian painter Lydia Patafta
The centerpiece of the bedroom, on the opposite side of the child’s room, is the wooden wedding chest. In the 19th century and the beginning of the 20th century, the chest played a special role in wedding customs throughout Croatia. It was an integral part of the bride’s equipment, or dowry, which was transferred or transported to the house of the young couple. The wedding chest was always beautifully decorated and richly equipped, because it was also an indicator of the property status of the family. The chest can also be seen as an object of the woman’s intimate life, that is, as a place where the girl kept her belongings and personal items. The motif of flowers combined with tendril branches with green oblong leaves is thought to originate from the Renaissance, and in the 19th century it became typical for furniture throughout Europe.
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© Ana Malnar: Thonet white chair and Arne Jacobsen 3107 chairs, “Snjeguljica” painting by Lydia Patafta , Bauhaus industrial table lamp
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© Ana Malnar: the classic, white kitchen
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© Ana Malnar: Marcel Breuer chrome and smoked glass vintage dining table and chrome vintage dining chairs by Willy Rizzo for Cirdue, 1970s
The timeless white kitchen creates a light, inviting atmosphere while allowing to personalize the space with personal touches, such as the outstanding set of Willy Rizzo vintage chrome chairs and Marcel Breuer’s glass table. Photographer of the stars turned designer of the jet-set, Willy Rizzo has always loved beautiful things, beautiful antiques, and knew how to create contemporary furniture that blended in perfectly with the old. influenced by big names like Le Corbusier or Mies Van der Rohe, he favored noble materials such as wood, marble, brass, stainless steel. Nina added a touch of personality to the chairs with floral coasters whose patterns remind of vintage needlepoints.
The smoked glass table, which was extremely popular in the 70s, is the design work of Marcel Breuer, the master of tubular steel, a key design figure of modernism and a Bauhaus student. The smoked glass gives a sleek, modern touch to the dining area, while enhancing the shine of tubular chrome table legs and chairs. It is also a perfect display for vintage objects such as the Sanyo Electric radio from 1977 and Dragan Drobnjak’s mid-century red blown glass vase. A kitchen with access to a balcony that overlooks the courtyard is a frequent architectural solution in buildings from this period. In addition to contributing to the lighting of the space and relaxation during the warmer days, they often serve as a practical storage solution or place for drying laundry, hidden from the street view.
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© Ana Malnar: pocelain coffee mugs from Zaječar, a giant porcelain factory in former Yugoslavia. Red glass vase Dragan Drobnjak. Vintage radioplayer Sanyo Electric M2420 cca 1977
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© Ana Malnar: the study room is composed of a Natuzzi sofa, secretary desk in the Biedermeier style, OBO chair and Fase desk lamp In chrome and aluminum
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© Ana Malnar: Faro 70-G desk lamp from Fase, Spain, 1970s
A sober study room in neutral tones is composed of three key furniture elements: the Natuzzi sofa, a secretary cabinet in a somewhat Biedermeier style and a Faro table lamp from Fase. The Italian brand Natuzzi, a synonym of classic luxury, has been well embraced in Croatia for its elegantly streamlined aesthetic that harmoniously fits in any indoor setting. The iconic Faro 70-G desk lamp is probably one of the view lighting items that has made its way on the big screens, serving as a prop in several iconic movies, from the 1975 comedy film The Return Of The Pink Panther with famous actor Peter Sellers as inspector Clouseau, the film Cuba, portraying the build-up to the 1958 Cuban Revolution and in the 2019 Spanish crime mystery film El Silencio De La Ciudad Blanca. A perfect example how just one staple design piece can create a character of the room! With the simple, functional design of the OBO chair we could add that the room respects the principles of the Mid-century Modern design, characterized by cleaner lines, bolder colors, rounded shapes and a Scandinavian touch. The desire is to combine functionality with aesthetics, making the space much more refined with objects that all have a specific functionality.
Her passion for Modernism also applies to the architecture of the city: “As far as design goes, I prefer Modernism. That was a time when the architect Drago Galić created, and there are two of his skyscrapers in Vukovarska street, in Zagreb. In my opinion they are perfect examples of post-war architecture that had a very democratic impact on the housing culture. They consist of two-story apartments that simulate a house with a garden. They look at two sides of the world and in front of the entrance to the apartment they have large stone vases full of flowers. I would say that these are the most desirable apartments for living in Zagreb.”
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source: https://www.arhitektura-zagreba.com/zgrade/vukovarska-43. Multi-apartment building built in 1955/1957. according to the project of Drago Galić in Vukovarska street, Zagreb
With the thought of Drago Galić I end this inspirational interior design discovery and thank Nina for her generosity and for making me see Zagreb with a new, fresh perspective.
Contact details:
Mango Sticky Rice
15 Kneza Ljudevita Posavskog street, 10 000 Zagreb
Instagram: @mangostickyricevintage
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