In 30 Years After, like in Bosnian Girl, the artist presents herself in a portrait that echoes the style of high-end fashion imagery, with vibrant colours reminiscent of glamour magazine aesthetics. This bourgeois haircut was typical in the 1960’s for women, and featured in movies like Breakfast at Tiffanies. Kamerić’s face is obscured by white-gloved hands adorned with extravagant jewellery, rendering her faceless and blind. This image reflects the harsh realities of capitalism that have taken hold in many former Eastern Bloc countries, where the allure of wealth and luxury has not brought universal happiness or a stable livelihood. Instead, it suggests that the pursuit of glamour and riches can lead to a sense of blindness, loss of individuality, and a diminished sense of self (Art Collection Telekom, 2006).