Costume Design Research Articles

Modno oblikovanje pojedinca i društva u Tragediji o Magbetu Vilijama Šekspira i njenim reprezentacijama u filmskom kostimu i visokoj modi

The proposed paper concerns with fashion and clothing as visual and semiotic signifiers of both the individual and society in William Shakespeare's The Tragedy of Macbeth and its representations in other media: film (costume design) and haute couture (fashion design). As such, the language of fashion and the vestimentary frame of Shakespeare's tragedy are used as tools for visual and semiotic reading of sociocultural anxieties between the individual and the society as expressed through art. Given rich symbolic and metaphoric value of the language of fashion in Macbeth through which Shakespeare conceptualises his characters and their relationships with the societal framework they inhabit, the paper will thus demonstrate how such a relationship can be conveyed through film costume and fashion design. Analysed representations will consider costume design by Jacqueline Durran for Justin Kurzel's film Macbeth (2015) and fashion design by Alexander McQueen and his collection The Widows of Culloden (2006). In such analysis, fashion is, as fashion theorist Elizabeth Wilson defines it, seen as a cultural metaphor for the body and the material with which we write or draw a representation of the body into our cultural context.

Moderna umetnost i scenski kostim - slučaj Dragiljevog Ruskog baleta

Sergei Dragilev recognized the vitality of modern art that brought freshness to the culture, so all innovative artists of the time were invited to join his campaign and goal. And he reflected on the fact that ballet breaks the shackles of the traditional concept in the performance of dance, music, costume design, and scenography and imposes an element of challenge by introducing current contemporary tendencies in art and culture. All the famous names of the art of that time brought the latest achievements of modern art into the world of dance: Pablo Picasso, Natalia Goncharova, Henri Matisse, and Giorgio de Chirico. And with them, the design of scenography and costume design took the form of cubism, fauvism, futurism, surrealism, and other avant-garde movements, while refreshing the themes, which overall influenced ballet to become part of popular culture.

Costume, performance, and society: Engaging in a dialogue

Bearing in mind the potential of costume to construct and actively create meanings and to initiate, shape, and define a performance, the paper examines the nature and role of performance costume in projects and performances of several important Croatian artists who are either costume designers or performance artists or both, such as Vlasta Delimar, Ivana Popović, Ksenija Kordić, Tajči Čekada, and Ivana Bakal, and whose work significantly modified the notion and status of costume and costume design(er) in Croatian performing arts at the end of the 20th and the beginning of the 21st centuries. Furthermore, it focuses on the strategies of costume design(er) in articulating the relationship between costume, performance, and society with special emphasis on the position of costume design(er) and costume based performance towards producing, interpreting or performing various individual and collective identities, body, ecology, social activism, and the artist's social status.

The Most Famous Costume Designer: Reviewing Edith Head's Career through a Contractual Lens

ABSTRACT: Edith Head, possibly Hollywood's most iconic costume designer, won a record eight Oscar statuettes for Best Costume Design. Despite her popularity, Head has also sparked controversy; many detractors question her talent as a designer by arguing that her success rested merely on her self-promotional efforts rather than her work inside the wardrobe department. This article explores Head's career vis-à-vis the discourses surrounding her public persona to understand how she constructed her image as Hollywood's most famous costume designer, surviving for over five decades in an industry fraught with constant economic and political turmoil. In doing so, this article will shed light on the activities assigned to her as head of costume during and after the studio era.

Hidden Materialities

Hidden Materialities Michele Pierson (bio) Genevieve Yue. Girl Head: Feminism and Film Materiality. New York: Fordham University Press, 2021. 185 pages. $110.00 cloth. $32.00 paperback. While it is important to place Genevieve Yue’s Girl Head: Feminism and Film Materiality within a history of feminist scholarship that has been less concerned with matters of cinematic representation than with investigation of the circumstances in which films get made and circulated, this book also strikes out in exciting new directions. Feminist film and media scholars working in the burgeoning field of production studies have expanded on early studies of women’s roles in the film and television industries by turning their attention to both production at the margins of these industries and alternative production communities. Yue makes an important distinction between these studies and her own interest in film production when she writes that “I neither begin from nor drive toward the empirical woman of social relations, such as the many female screenwriters, directors, producers, actors, editors, casting directors, costume designers, script-girls, and other film industrial workers that would be central in a historical materialist study” (14). Yue’s eye is instead on women’s hidden roles in film production processes, technical processes that have tended thus far to escape feminist notice. Take “Girl Head” in the book’s title. We learn that this is another term for “China Girl,” a reference image found from [End Page 109] the mid to late 1920s onward in commercially produced films. For most of the twentieth century a China Girl image, invariably featuring an attractive white woman, was used by laboratory technicians to calibrate color, tonal density, and the overall aesthetic appearance of a film. For “every leading lady, there is,” Yue observes, “a corresponding leader lady laboring behind the scenes” (59). The central argument and provocation of Girl Head is that cultural understandings of gender are “baked into” film production practices and processes at every stage in the life of a film (14). Most feminist studies of media production tend, as Yue puts it, “to partition materiality (technical or institutional processes and support) from gender (woman as cultural actor or mediatized subject), and only later reconnect them, if at all” (14). The China Girl is a technical image, an aide to quality control in the making and duplicating of 35mm and 16mm film prints. There is nothing about this process, however, that mandates that the reference image be a woman. In Girl Head, then, materiality refers first to objects and processes (and we are given to understand that digital film production is as much a material practice and process in these terms as analog film production). Second, materiality is theorized in relationship to the virtual (and here Yue draws on Anne Friedberg’s thinking about the virtual in The Virtual Window: From Alberti to Microsoft).1 The virtual refers to the realm of image and appearance. Representation and appearance are related in this theoretical framework but not coextensive. Rather than starting with representation, Girl Head begins by inquiring into the nature of appearance. In Yue’s words, “Appearance, in this sense, is not only a matter of how one looks but the conditions by which an image can be seen. This book aims to restore a fuller picture of what film production beneath the surface appearance of representation has been” (8). Each of this book’s three case studies is organized around investigation of the relationship between materiality and appearance. Each takes a particular production matrix as its focus: the practice of using images of women as reference images in the film laboratory, editing practices that blur the distinction between special or visual effects and editing, and the historical and theoretical premises for the constitution of the film archive. The first two case studies focus on material processes that determine the look and feel of a film but also go undetected by viewers. In all three, a woman’s body is revealed to have been suppressed—sometimes through “violent excision” and sometimes just by being overlooked or forgotten. The balance between historical research and theoretical speculation shifts from one case study to the next. The first offers an [End Page 110...

Research on the Cultivation Mode of Talents in Clothing and Costume Design in the Context of New Liberal Arts

The construction of the new liberal arts is a matter of national comprehensive national strength, cultural confidence and the need for the integration and development of talents in many aspects. The design discipline has been classified as an interdisciplinary discipline, reflecting a shift in the development of the discipline. As a design discipline under the major of fashion and apparel design, there are still problems such as insufficient value leading, single ability cultivation, insufficient branding design concept and lack of crossover in the faculty team in the process of talent cultivation. The article combines teaching practice and proposes a new model of interdisciplinary and interprofessional cross-fertilization of talent training from four aspects: talent training objectives, curriculum system construction, teaching platform construction and talent training methods, in order to meet the new demand of society for diversified and composite talents.

Blood & Couture: Dracula by Eiko Ishioka (石岡 瑛子)

In this paper, through a bibliographical research and debate, we intent a filmic and artistic analysis of the feature film ‘Bram Stoker’s Dracula’ (Francis Ford Coppola, 1992), specifically its costume design, signed by the Japanese designer and art director Eiko Ishioka 石岡 瑛子 (1938 – 2012). The film’s critical reception as well as its consequent elevation to a ‘canon’ status among the adaptations of the homonymous novel by Bram Stoker were taken into consideration. This paper proposes a new approach of Ishioka's costume design legacy, that flirts significantly with the Parisian ‘haute couture’ for its uniqueness. Our intention is to develop an in-depth study on the elements that make the costumes of this movie so singular, such as its intentional lack of historical accuracy and the ode to an overly exaggerated symbolism and decay.

The Practice of Combining Chinese and English Culture in Fashion Design in Cross-Cultural Context

The program aims to combine the unique traditional costume characteristics of China and the UK in a cross-cultural context. After two semesters of study planning, different costume designs are created by comparing and recreating traditional Chinese and Western costumes. The thesis is divided into the following parts. The first part is a literature review to analyze and compare the different characteristics of Chinese and Western traditional costumes from a theoretical level. The second part is my personal development and improvement plan, including improving my design thinking ability and establishing a clothing brand. The next part is my time planning, following two semesters to plan theoretical study and design research. Finally, through the accumulation of theory and practice, the design project will be analyzed into a preliminary design and a final design with the specific elaboration of the design based on a comprehensive comparison of Chinese and British traditional costumes.

The Gaza Monologues: Palestine, Representation, and Reciprocity

The Gaza Monologues Palestine, Representation, and Reciprocity Samer Al-Saber (bio), Jeanmarie Higgins (bio), Ryan J. Douglass (bio), Jeanmarie Higgins (bio), and Michael Schweikardt (bio) Introduction: What-Where is Prompt? Materiality in the Digital Space Prompt: A Journal of Theatre Theory, Practice, and Teaching is a generative space where theatre artists, educators, and scholars converge to exchange ideas that prompt new thoughts and practices. We, the coeditors, created this online, open-access journal in 2020. Responding to a moment when digital space became the default site of learning and theatrical storytelling, we sought to investigate issues of materiality and liveness in those spaces. Prompt hosts conversations between artists, teachers, and scholars in theatre and performance studies. Each volume puts two sets of materials in conversation. Our first volume, "Teaching Theatre with Things," grew from the MFA graduate pedagogy seminar at the Pennsylvania State University. When we switched to remote learning, the graduate students—designers, directors, and technologists—met over Zoom to complete an exercise we had begun in our live seminar: How might we teach each other something about theatre using a humble object? A costume design student taught us about creating character using socks. A scenic designer illustrated the difference between 2D and 3D [End Page 54] design using a knife and a bagel. We took six videos from this experiment and asked scholars to respond to them. A second issue of this volume produced six more teaching videos. Prompt, volume 2021, pairs discarded scenic design models with plays. Each playwright is asked to write a play that takes place in a discarded scenic model's world. As of this writing, we have produced two issues of this volume, and a third will feature one-minute musicals. In this way, Prompt is both an homage and a reframing of the dramaturgy used in Imagined Theatres, conceived and edited by Daniel Sack. Just as each "imagined theatre" contains both a theatre and its gloss, so we reached out to scholars and playwrights and teachers, asking them to write something in response to an artifact of a fellow theatre artist's practice. We have plans for future volumes, all of which will continue to grow this public space where theatre artists, educators, and scholars converge to exchange ideas that engender innovation. A feature of every issue is a podcast with a theatre theorist we admire. We have interviewed Ariel Nereson about theory and dance, Jane Barnette about theories of dramaturgy, and in our current issue, "Monologues," we interviewed Samer Al-Saber about a broad range of subjects, including the monologue as a Palestinian form, performance as solidarity, and his own work as a playwright. What follows is an excerpt from that interview. The full interview transcript can be found at www.promptjournal.org. The Gaza Monologues jeanm arie higgins: So can you tell us about The Gaza Monologues, what is the project? How did you discover it? How can we engage with it? samer al-saber: I discovered The Gaza Monologues when I was in Ramallah about ten years ago. ASHTAR Theater did a full production that I saw at the cultural palace there. I was amazed by the language, by the production itself, by the acting, by the presence of everyone there. I don't remember how many people were there, but it was in the hundreds. A full house. And so the experience of the young people in Gaza during a war, being under siege, under attack, and being able to engage with theatre, being able to tell their stories was quite powerful. And then when I was coming up with the concept for an anthology of plays produced in Palestine, created in Palestine by Palestinians for Palestinians in Palestinian theatres, the monologues had to be there and so, Gary English and I edited this anthology called Stories Under Occupation: [End Page 55] And Other Plays from Palestine, which has The Gaza Monologues in it. When the latest events were happening in May [2021], the air raids, the attacks on Gaza, I was in a bit of a paralysis of not being able to do anything. And I opened the anthology and there were those plays. And I thought...

Raster graphics editor application for costume design

Raster graphics editor application for costume design

Особенности этнической направленности развития творческого почерка омской школы дизайна костюма (Omsk fashion design school OFDS)

The paper explores the emerging of ethnic orientation of the creative style of the Omsk fashion design school, systematizes the experience in studying the ethnic direction and its implementation in the educational process. Considerable attention has been paid to the activities of the Siberian Ethnic Festival, aimed at developing ethnic culture and national roots of the Siberian region. The study considers the path to the birth of the festival itself, which is a logical result of many years of research and creative work of an ethnic and national character. It also describes the introduction of folk socio-cultural traditions into the system of higher education and development of aesthetic education with the help of folklore and national costume from the beginning of the existence of the Omsk fashion design school. The preservation and cultivation of national traditions in the Omsk fashion design school has several incarnations and is a kind of fundamental layer of spiritual education and familiarization with the roots in the educational environment. Firstly, on the basis of the Russian folk costume as an artistic and design source of creativity, the school builds training in the basics of costume design. Secondly, the Department of Fashion Design has conducted fundamental and applied – archaeological and ethnographic studies of a significant part of the territory of the Western Siberia. Such attention to folk costume, its study, interpretation of artistic design and semantic components naturally found embodiment in a new form of artistic expression and popularization of ethnic roots – All-Russian Siberian Ethnic Festival of Arts and Design, which is now a platform for dissemination of spiritual and material culture.

A Semiotic Study in Film Orlando from the Feminist Vision

With the development of mass media, many literary works have been remade into films, that are converted from literal symbols to cinematic symbols, thus creating value in the work once again. The creation of modern semiotics has broadened the theoretical, artistic, and technical study of cinema. This article uses the principles of semiotics to analyse the film Orlando and to illustrate the specific use of Roland Barthes's semiotics in the creation of the film in terms of costume design, character performance, and scene shaping. At the same time, based on feminist theory, this paper examines the breakthrough of absolute gender identity and the reconstruction of the complete "person" in Orlando.

Virtual simulation of Yue Opera costumes and fashion design based on Yue Opera elements

Yue Opera is known as the second most important national opera in China. The costume is an important part of the performance of Yue Opera, which carries the culture and history of Yue Opera. The purpose of this paper is to attempt a virtual simulation of Yue Opera costumes through an understanding and analysis of Yue Opera costumes, as well as to use the extracted elements related to Yue Opera costumes for modern fashion design based on Yue Opera costume style. The research method of this paper is to draw 12 sets of traditional costumes of Yue Opera by understanding and studying the costume culture of Yue Opera and transform them into a 3D digital virtual presentation of the costumes. The costume elements are then extracted for costume design so that the designed fashions can reflect the cultural characteristics of Yue Opera, and then virtual simulation technology is used for costume display to realize the dissemination of Yue Opera costume culture. The use of three-dimensional virtual simulation technology to digitize costumes contributes to the preservation and dissemination of Yue Opera costume culture. Secondly, the design of modern fashion using the concept of Yue Opera plays a role in the preservation and dissemination of Yue Opera costume culture.

The Most Famous Costume Designer: Reviewing Edith Head's Career through a Contractual Lens

The Most Famous Costume Designer: Reviewing Edith Head's Career through a Contractual Lens

THE ROLE OF THE UKRAINIAN FOLK COSTUME IN THE CREATION OF SCREEN IMAGES IN CINEMATOGRAPHY OF THE 20TH CENTURY

Relevance. The Ukrainian national costume recognized by all domestic researchers as a nation code has gained a new life in many artistic branches. Thanks to its skillful use in cinema and theater arts there were created screen images that have not lost their relevance to this day. Therefore, the purpose of the article is to study the role and place of traditions of the Ukrainian folk costume in the national cinematography of the 20th century. We chose staged movies that appeared on screens at different decades as a source for studying the said issue. To perform the set goal, we needed historical and art methods. The most important among historical methods are historical-biographical and historical-comparative methods. They allowed to highlight a number of the most important costume designers who developed patterns for the first domestic movies, forming national school of stage apparel. The historicalcomparative method allowed to determine the main trends in the approaches to the production of national costumes for movies in different historical periods. The art toolkit allowed separately to reveal artistic features of costumes in every chosen movie. Such approach used in the study determined the novelty of the article, both in terms of topic and methods. Conclusions. The studied corpus of domestic movies, mostly historical ones, allowed to make several important conclusions: well-known Ukrainian artists came into the cinema mainly from theater industry, having received their professional experience there. Simultaneously they all went through the study of traditional clothes, its architectonics and coloristics, as well as folk life in general in different ways. During the entire period of development of domestic cinematography, the national costume did not lose its relevance and became a face of historical, and later “poetic” cinema.

한국복식 콜라보레이션 사례 분석

Collaboration marketing has various advantages, such as increasing sales, creating new customers, and changing brand image. In this study, to understand the type and flow, the collaboration cases of Korean costumes were collected from 2011 to 2021, analyzed, and organized by year and subject type. First, the annual analysis of Korean costumes shows that, from 2011 to 2013, it was a fashion picture among Korean costume companies. The collaborations in the form of exhibitions appeared since 2014, and from 2015 to 2016, collaborations with other brands began to expand into various fields. In 2017, collaborations in cultural content appeared, and in 2018, collaborations between K-Pop singers and hanbok designers/brands were made. From 2019 to 2021, the collaborations mentioned above appeared in various ways. Second, the analysis by the collaboration subject of Korean costume could be categorized by Korean costume companies, public agencies, and cultural contents. Korean costume companies, which accounted for the most significant percentage, were Korean costume brands or designers. The public agencies were the Ministry of Culture, the Ministry of Sports and Tourism, affiliated organizations of the Cultural Heritage Administration, KCDF, Hanbok Promotion Center, Korean Cultural Center in each country, and local governments. Other cultural contents included Webtoon writers, illustrators, film producers, game producers, and animation producers. Third, the collaboration types of Korean costume could be analyzed by the collaborations between Korean costume companies and companies/brands in other fields and the collaboration between Korean costume companies and cultural contents. The expression form of the collaboration between Korean costume designers and the companies/brands in other fields were pictorials, exhibitions, fashion shows, and the production inspired by Korean costumes. The expression form of the collaboration between Korean costume companies and cultural contents were pictorial, film and exhibition posters, game character costumes, exhibitions, talk concerts, performances, fashion shows, and animated videos. Korean costumes will create and develop higher value through this study by combining new brands or cultural contents and further help set and present marketing directions for Korean costumes in the future.

МЕТОДИКА ВИКЛАДАННЯ ДИСЦИПЛІНИ «ВИГОТОВЛЕННЯ МОДЕЛЕЙ»: ЕТНОКУЛЬТУРНИЙ КОНТЕКСТ

Theoretical and practical aspects of teaching methods of the discipline «Model Manufacture» are briefly presented in the article. An innovative approach to the formation of design and compositional thinking of students, their skills of practical work in the design process - the embodiment of creative ideas in the material on the example of clothing models (costumes) different in the system of formation and range based on ethnocultural traditions, is revealed. Nowadays Ukrainian fashion designers’ creativity is difficult to imagine without folklore and ethnic orientation. The cultural heritage of each nation has always been a source of inspiration for fashion designers. Usage of modern technologies of ethnic clothing in various techniques makes it possible to develop a modern, stylish and competitive range, creating both ready-to-wear industrial collections and author's, exclusive collections that express the idea of transferring Ukrainian national ornament to modern European costume design. Successful advancement in the formation of future designers' professional skills is possible by identifying the complex impact of all aspects of national culture along with the method of teaching the discipline «Model Making» is based on a combination of technical aspects of studying material and techniques of the artistic and figurative approach of ethnocultural images. Considerable attention should be paid to teaching methods and projects based on materials of national culture, taking into account the specifics of different regions of our country. In our opinion, the activities of educators-innovators and projects of Ukrainian designers in line with national traditions should be more widely covered in the media and supported at the state level. It is necessary to form complex programs, the target projects of which involve both scientists, designers and heads of public and private enterprises and employees. All mentioned above can significantly strengthen scientific ties, promote the implementation of developments in production, develop ethnodesign, represent Ukrainian brands with dignity in foreign countries. Key words: teaching methods, work in material, ethnodesign, art-project preparation, formation of skills.

Demonstrative symbolization of national identity in the design of the Olympic ceremonial costume

The purpose of the article is to analyze the Olympic ceremonial costume of the XVIII Winter Olympic Games "Nagano-1998" and set the components demonstratively symbolizing the national identity in the design of clothing of the Olympic ceremonial costume. Methodology. Heuristic methods in art analysis were used to solve the set tasks, namely: visual observation; description; an attempt to establish components demonstratively symbolizing national identity in the design of Olympic ceremonial costume clothing; logical generalization of the obtained results. Scientific Novelty. According to the results of the art analysis of the Olympic ceremonial costume of foreign teams participating in the competitions (USA, China, Greece) of the XVIII Winter Olympic Games "Nagano-1998", one of the determinants of artistic and informational identification of the Olympic ceremonial costume was established for the first time and its components, which demonstratively symbolize a national identity in the design of clothing. Conclusions. Art analysis of the Olympic ceremonial costume, the reflection of socio-political influences of the historical context on its formality and informational compliance with the principles enshrined in the Olympic Charter [5, p. 11–12] competitions, give us reason to establish for the first time a demonstrative symbolization of the national identity of the design of clothing of the Olympic ceremonial costume as one of the determinants of artistic and informational identification. Given the ceremonial guidelines for identity in costume, which have been followed by all teams since 1936, the most important manifestation in this period (1998) is the semiotic accent in costume. Expression of their state independence, national identity, as well as the importance and identity of their culture at the turn of the era, with the help of such demonstratively symbolizing national identity in the design of Olympic ceremonial costume components, such as 1) Construction - the formation of the suit and the material used are tectonically displayed on the figures of athletes. By designing items of clothing, a visual image is built, which allows obtaining a silhouette identifying result; 2) Sign - stylization of the sign/signs is done by applying a pattern, graphic elements, combinations of graphic elements, embroidery, and possibly other creative innovative stylizations on clothes and accessories. Signs visually identify athletes, allow you to read the underlying meanings of the semantic information content of the costume; 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known objects of cultural heritage are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and its outflow, its compliance with the values in the host country and the prevailing trends overtime is taken into account. 3) Color – appealing to the colors of the national flag and reproducing with the help of color images of well-known cultural heritage sites are the most popular methods of identifying the country during the Olympic parade. However, when choosing a color and shade of color, its compliance with the values in the host country and the prevailing trends of the time is taken into account. It is worth noting that the visual image that translates national identity can be obtained by combining these components in the design, both together and separately, which was found during the art analysis of the Olympic ceremonial costumes of sports teams of the United States, China, and Greece. Key words: design, costume, Olympic ceremonial costume, identity, identification, symbolization, demonstration.

Creative searches in the genre of national ballet: “Sultan Baibars” and “The Legend of Turanga”

The return to the full-scale format of the ballet performance and the approval of the prominent names of young choreographers marks the result of creative searches in the national art of dance over the past 30 years. Composers, set designers, visual artists, and costume designers turn their attention to such a genre as ballet with renewed interest, which results in the two latest works by Russian choreographers on the national theme: "Sultan Baibars" (choreography by Mukaram Avakhri) and "The Legend of Turanga" (choreography by Anvara Sadykova). In the article, using their example, the authors attempt to consider ballet as a part of art in general and, in particular, to understand ballet as a repository of the emotional experience of perception accumulated in society over generations and, in turn, also value-oriented to society itself. This is the purpose of the study. To achieve this goal, the authors choose some methods of the system-based and synergetic approach, which in recent years has been actively introduced into humanities research, including art history. The approach focuses on phenomena as unstable systems and uses various methods for a complete and qualitative analysis during research. Its principles of feedback and intellectualization are implemented in ballet if one takes a holistic approach to art: as an object of socio-cultural nature. During the study, it becomes clear that the ballet performance is the product of the co-creation of choreographers and a lot of other authors who feel the direct connection between art and the world when a separate object or phenomenon makes sense only as part of the whole. The changing moral values of modern society, the influence of the new ideologies of national identification, and the environmental movement, along with new trends in visual perception, are directly reflected in the performances of young Kazakh choreographers. Through the principles of the systemic interaction "theater-society" and the consideration of art as a repository of historical memory, the authors try to understand the mutual influence of the national ballet and the socio-cultural field. Thus, on the example of the two latest works by Avakhri and Sadykova, the search for new themes and plots, their artistic and technical, visual and musical design, the prospects for the development of the plastic language of national ballet are seen in the understanding of art as an unstable system that is in continuous development and interconnection not only with internal but also external factors.

FASHIONGRAPHICS AND COSTUME DESIGN IN UKRAINE IN THE 1920s

The purposeof the paperis to study the fashion peculiarities in Ukraine based on the analysis of fashion graphics of “Fashion Magazine”, which was published in Kyiv and Kharkiv in the 1920s. The events of fashion life in Ukraine are considered in the context of current world fashion trends. Methodology. The methods of historical-chronological and comparative analysis, methods of visual information systematization have been used in the paper. Results. The social conditions for the first specialized fashion publication in Ukraine have been identified.The description of fashion trends of the 1920s has been given based on the analysis of women’s clothing models presented on the pages of “Fashion magazine”.The analysis of changes in Western fashion during the twenties in the Soviet Union has been carried out.Featured artistic expression means of fashion graphics, compositional solutions of magazine centerfolds have been considered. The connection between popular fashion images and events in the Ukrainian republic has been shown, namely: changes in the women’s role in society, the spread of sports, new formats of leisure. The reasons for the transformation of the figurative language of fashion graphics of the early twentieth century have been generalized, the connection of the magazine fashion graphics evolution with the general changes in the world fine arts has been analyzed.The scientific novelty is that there have been introduced the facts of publishing the first domestic magazines on fashion, analyzed the specifics of fashion in Ukraine in the 1920s on the basis of fashion graphics samples from Ukrainian magazines for the first time in the context of Ukrainian fashion history. The practical significance lies in the fact that the information offered in the article fills certain gaps in the Ukrainian fashion history.The practical works of artists who created relevant fashion images in the early twentieth century by means of graphics can be used today both in the process of designing new clothes and in order to promote new costume design ideas.