„Gabardyna” kontra „Obrus” – ku typografii westymentarnej

The article presents a comparative analysis of two typography designs for Lidia Amejko’s novel, Obrus, który został zaproszony na obiad (A Tablecloth Invited to Dinner; originally Gabardyna [Gabardine]), exploring their conceptual frame­works, functional attributes, and aesthetic impacts on the reader. It introduces the notion of “vestimentary typography”, an approach tailored to the protagonist’s dual identity as a garment and a sentient being. The study scrutinizes the nov­el’s textile-related metaphors, with particular attention to the “gabardine weave” and its semiotic implications. It situates the novel in its historical and cultural milieu, examining themes of displacement and identity within post-war Wrocław. The analysis extends to Amejko’s philosophical reflections concerning the nature of soul, body, and creation. On this basis, the author investigates typographical techniques applied in the projects, highlighting the interplay between verbal and visual elements. By comparing the original design by Barbara Kaczmarek with the published edition, the study underscores the disparities in their handling of visual components and textual organization. Ultimately, the paper asserts that Kaczmarek’s design more adeptly embodies the novel’s essence through its in­novative typographical features and integration of visual aspects, i.a. through the multidimensional use of slash.