History Of Fashion Research Articles

“Functional Fashions for the Physically Handicapped”: Disability and Dress in Postwar America

In this essay, I argue that clothing played an important role in the establishment and maintenance of the postwar American project of independence and “normalcy.” Using previously unpublished sources, I trace the history of Functional Fashions, a clothing line of accessible garments for disabled persons in the United States that existed from 1958 to 1976. Designer Helen Cookman created the line as well as the associated non-profit Clothing Research and Development Foundation (CRDF). This essay establishes a history of both the Functional Fashions line and the CRDF, including Cookman’s design methodology behind the garments, how CRDF partnered with other important sportswear designers, and how they created the ideal Functional Fashions user. I ultimately show that the goal of the line was for Functional Fashions users to participate in the postwar American culture of bodily autonomy and that CRDF leadership framed this participation as a form of psychological rehabilitation.

Curatorial reflections in North American university fashion collections: Challenging the canon

Once-embodied garments take on new life through curation, where they have the potential to reveal histories, pose questions, inspire creativity, and challenge oppressive systems by bringing attention to inequalities and injustices through the lens of fashion. While the garment does this work materially, it is the curator and their team who conceptualize an exhibition, conduct in-depth research, design the display and author interpretive text, all of which empowers artefacts to convey a narrative. However, the very ‘elevation’ of fashion within major museums has been tethered to an ideological fabrication of fashion as a Euromodern phenomenon, which has created, produced, performed and sensationalized an exclusionary narrative of fashion history. At the same time, this narrative is being challenged through curation, especially in smaller institutions like community archives, tribal museums and university fashion collections. The contributors to this Special Issue reflect on the latter within the context of the United States. They write about the challenges of producing curated displays while offering insights into, and evidence of, the possibilities that curatorial practice offers institutions of higher education and the communities they serve. University collections in the United States create a space of learning that offers possibility for rethinking, reimagining and critiquing fashion. Education is the premise of the university collection and therefore world-building becomes possible through curation. While the university fashion collection is not without colonial baggage, corporate and industry connections, ideological interests and neo-liberal pressures, it is ideally a space premised on scholarly pursuit. This Special Issue grapples with the complexities of curating fashion in North American universities, and the potential of this work to agitate, challenge and resist dominant narratives.

Fashion, consumer markets, and democratization

AbstractPrevious research illustrates several attempts that consumers have made to create new markets when marketing organizations have not responded to their desires; however, individual efforts alone are insufficient to assure success in having voices heard. The effectiveness of these efforts heavily depends on the democratization of institutions. Discussions regarding the “democratization of fashion” have had some historical appeal in academia and popular media. However, an incomplete appraisal of democracy may have led to premature conclusions regarding fashion's democratization. Affirming that democracy requires acceptance of differences and empowerment of different groups as a principle, this study conceptually and critically examines the history of the outcomes of fashion consumers' attempts to have their voices heard and assesses the degree of democratization of the fashion market. Our research contributes to prior debates regarding the democratization of fashion by reviewing the pivotal chronological events in fashion history. Contrary to some previous views, it shows that diffusion of fashion to larger consumer segments across history does not automatically imply democratization of fashion, which has been greatly limited despite the potentials presented by the advents of sustainable fashion and digitalization in contemporary times. We conclude that the cycle of fashion becoming a principle of economic interest is largely the culprit for retarding democratization, and we offer reflections for key stakeholders in order to have a more democratic, sustainable, and inclusive fashion system.

Fashion and fashion design as a special field of knowledge

This article describes the strategies of teaching basic terms related to the concept of clothing and fashion design. It considers the ways of formation and the development of the terminology in the socio-linguistic aspect, taking into account the history of clothing and fashion, the milestones of English history and language. Additionally, it identifies a thematic group of terms, describes and justifies the periodization of terminology. clothing and fashion design as a special area of ​​human activity, clothing includes various types of integuments of the human body, the relationship between a person and a thing, fashion is one of the main extralinguistic factors, a professional “design industry” arises, opinion, L.V. Kokoreva in her research most clearly traces this connection, The term "design" is translated as construction, The periodization of the English terminology, The analysis of the terms clothing, The art of cutting and sewing reaches a high level, which is reflected in the terminology of that period.

Natural Practices: The Creative Autonomy Encoded within First Nations Dye and Weaving Processes of the Chilkat Blanket

This article describes two research residencies undertaken at the American Museum of Natural History (AMNH) during the months of August and October 2019, wherein Dr. Mark Joseph O’Connell looked specifically at weaving and dye techniques found in a form of ceremonial dancing blanket called the Chilkat. The examination of these artifacts provides valuable information on pre-colonial First Nations industry, the ongoing impacts of colonial processes, and also offers clues to a pre-colonial fashion history, one that re-contextualizes these exquisitely crafted garments and thereby re-situates them within previously held notions of political and social spheres of community life. This research provides a more nuanced and inclusive framework of Canadian fashion history, as well as information concerning pre-colonial First Nations industry and the ongoing impacts of colonial processes; It also to highlights the extraordinary techniques and iconography employed in their manufacture. Efforts toward cultural preservation through creative labor can also be examined through Chilkat artistry, as craft-based agency has served as a conduit for preserving cultural history as well as providing an ongoing means of ensuring First Nations autonomy and agency.

Fashioning Spanish Cinema. Costume, Identity, and Stardom by Jorge Pérez

Reviewed by: Fashioning Spanish Cinema. Costume, Identity, and Stardom by Jorge Pérez Francisco Fernández de Alba Pérez, Jorge. Fashioning Spanish Cinema. Costume, Identity, and Stardom. U of Toronto P, 2021. 265 pp. ISBN: 978-4875-0911-8. This interdisciplinary new book by Jorge Pérez is full of illuminating insights about fashion and costume design in Spanish films. Some scholars who have previously devoted attention to the topic are Paul Julian Smith, Kathleen Vernon, and Eva Woods Peiró, though none dedicated monographs to the subject as completely as Pérez. Five chapters compose this book. The introduction is a foundational theoretical discussion regarding the difference between costume design and fashion, or the tension between feminist theory and fashion. The remaining chapters are meant to stand independently, and the author warns that they do not build to a general history of fashion and film. Neither are they organized chronologically. Instead, the book is driven by specific topics such as fashion labels and film directors, the examination of costume choices, and the supplemental meanings that costumes generate beyond characters' authenticity or verisimilitude. Despite the author's warning, I nevertheless perceive a general organizational principle in which the first and second [End Page 170] chapters focus on synergies generated by the collaboration between high fashion and film; in which chapters three and four aim to illuminate what is missing (more on this later); and in which the final chapter addresses the self-fashioning of stardom, or actors' off-screen need to produce and curate their personal brand as yet another professional skill. Chapter 1 discusses master couturier Cristóbal Balenciaga and his work for actors such as Conchita Montenegro, Sara Montiel, and Rocío Dúrcal. This chapter is a must-read for anyone interested in Balenciaga because it offers new details about his professional practice vis-à-vis the film industry. The chapter contains nuanced readings of several films and the way in which Balenciaga's designs functioned in (and out of) the films. Chapter 2 similarly focuses on labels and directors, in this case Almodóvar and the house of Chanel. Pérez concludes that the participation of designers in making costumes for film goes beyond symbiotic publicity, that we should consider as well the agency of actors, the interaction with design labels, and that couture, a spectacle into itself, creates narratives and affects independent of the films in which it is displayed. I mentioned earlier that chapters 3 and 4 could be conceptualized as "what is missing." Men's costume is often a missing part of fashion or film studies. Pérez's response is to start from the beginning, with the first piece of clothing many western men put on each day, by dedicating chapter three to thoroughly exploring men's underwear. From the comedia sexy to cine quinqui, men in underwear are represented as backward or modern, ridiculous comedic relief or sexual objects. Pérez argues that we can mark the stages of development of Spanish culture throughout the twentieth century by the type of underwear worn and the circumstances in which we see actors in their undergarments. In Chapter 4, Pérez details the ways in which immigrants are (un)dressed in recent Spanish films. Missing in some movies, Pérez tells us, are clear references to the scopic regime and awareness of the coloniality of power. The chapter explores how clothes (re)produce or confront dominant race relations by oversignifying non-white actors' attire or the lack of it. Even when movies are pushing for equality and integration, race and ethnicity continues to be marked in film by the sartorial hyper-visibility of the non-white immigrant body. Pérez concludes that the evolution of these films moves from exotifying and eroticizing through garment choice to, in the most recent movies, the possibility of a non-sexual transnational community emerging through fashion and style choices. Chapter 5 takes the readers from the screen to the red carpet. In a chapter that feels a rushed at the end, Pérez explains how having a personal sense of style has recently become a requirement for actors. From Victoria Abril to Penélope Cruz, briefly touching on...

“Reptiles are Here for Good”1

Reptile skins have been sought-after materials for fashionable accessories for the last two centuries at least. This article traces the trend from its historical roots to the present day, with a special focus on the 1920s and 1930s, when “exotic leather” was in particularly high demand for ladies’ shoes, bags, belts etc. Dependent on technical innovations and economic conditions, the development of “reptile fashion” was determined by complex cultural phenomena where orientalism played a significant part. The perception of the material, often connoted as “strange” or “different”, was deeply ambivalent: it oscillated between attraction and rejection, between allure and disgust, between seduction and indignation. Accessories made from the skins of snakes, crocodiles, lizards and other exotic species have been imbued with the ambivalence that surrounded the living animals — an ambivalence shaped by ancient mythology and superstition. On the one hand they are appealing, tempting and attractive, on the other they are repulsive, offensive or even menacing. Aesthetics, ethics and symbolics all combine in shaping our perceptions of these animals and their skins — then just as now. Today’s discussions on the topic seem very much dominated by contemporary ethical considerations centered on the question of cruelty to animals, environmental destruction and ideological as well as economic colonialism. These aspects however were already present in earlier considerations. Despite long standing debates and criticisms the enduring fascination for reptile skins and their associated exoticism, rarity and sensuality still exists today as we can see in contemporary fashion shows.By means of a material culture approach — using images, written sources and extant objects — the article sketches several interdependent layers of perception within the field of aesthetics and ethics. Touching on current issues of sustainability, animal well-being and colonialism, the article highlights subjects such as orientalism, exotism and gender constructions within the realm of fashion history.

THE PROBLEM OF THE HISTORIZATION OF 20TH CENTURY SERBIAN FASHION 1920-1980

The paper covers the history of 20th century Serbian fashion from the 1920s through the 1980s, focusing on the problem of its historization. Based on established readings submitting 20th century Serbian fashion to politics thus distancing it from global fashion history, I aim to structure a possible historical narrative of fashion by identifying the elements of haute couture in 20th century Serbian fashion industry. Rather than contrasting Serbian fashion figures with their Western counterparts and deepening the West / East Europe fashion divide, the paper traces similarities between them, demonstrating that 20th century Serbian fashion responded to haute couture trends simultaneously with their emergence in the West.

THE PROBLEM OF THE HISTORIZATION OF 20TH CENTURY SERBIAN FASHION 1920-1980

The paper covers the history of 20th century Serbian fashion from the 1920s through the 1980s, focusing on the problem of its historization. Based on established readings submitting 20th century Serbian fashion to politics thus distancing it from global fashion history, I aim to structure a possible historical narrative of fashion by identifying the elements of haute couture in 20th century Serbian fashion industry. Rather than contrasting Serbian fashion figures with their Western counterparts and deepening the West / East Europe fashion divide, the paper traces similarities between them, demonstrating that 20th century Serbian fashion responded to haute couture trends simultaneously with their emergence in the West.

THE HISTORY OF LUXURY IN RUSSIA: RUSSIAN FUR FASHION IN THE XVIII CENTURY PROPERTY DOCUMENTS (1701-1759)

The research of fur fashion, which development closely connected with the factor of demonstrative consumption, conducted on the materials of property inventories of private individuals (Russian aristocracy and townspeople) and family and legal acts accompanying marriages in the XVIII century. The documents of the Romanovs (Peter I and Catherine I, their daughters Elizabeth and Anna, the tsar’s sister Natalia Alexeevna, his first wife Eudocia Lopukhina, tsarevna Anna Ioannovna) have been considered. We also examined the documents of M. P. Gagarin, the Dolgorukov clan, E. I. Naryshkina (married to Razumovskaya), E. R. Vorontsova (married to Dashkova), E. D. Razumovskaya (married to Bestuzhevoy-Rumina), I. P. Golitsynaya (married to Dolgorukova), N. B. Sheremeteva (married to Dolgorukova), D. A. Rimskaya-Korsakova (married to Meshcherskaya), M. Golovkin and others. We analyzed general and special types of fur fashion: outerwear, hats, accessories, interior items, as well as stocks of valuable furs in the homes of Russian aristocracy. The result of this research allows us to the inclusion of these documents in the range of relevant and popular, but still little studied sources on the History of costume and fashion, as well as on the History of demonstrative consumption (History of luxury). Key words: Eighteenth-century Russia, Peter the Great reforms, demonstrative consumption, history of costume, history of fashion, fur fashion.

Interior Architecture and Its Impact on Women's Costume in The Baroque Era

The Baroque style appeared in the late sixteenth century in Italy and continued in Germany and America until the eighteenth century, which is considered an independent stage of the modern style.The Baroque style is one of the famous styles, which is distinguished by its luxury and many details, with a strong movement in the designs, it revived the Greek and Roman style, as it is generally considered a fusion of classical styles in both the Renaissance and the rich old styles, to produce a new style called the Baroque style, which is characterized by warmth, richness, sophistication, and exaggerated formations and decoration.The word Baroque in Portuguese means (Barroco), which means irregularly shaped and oddly asymmetric pearls. (Reola Barroca).Several factors affected the emergence of Baroque art in Western Europe, including the revolution and rebellion of many artists against the Renaissance styles based on balance and symmetry, as well as the desire of rulers to create an artistic style that distinguishes their palaces and glorifies their works and their periods of rule.The Baroque style and its renaissance was also linked to the revival of religious subjects after the Renaissance abandoned them. As a result, many designs of a heavenly and religious nature emerged.Objectives: The research aims to shed light on the Baroque style, which is considered one of the most important historical styles influencing the history of arts and distinguished in a different way and nature from the rest of the styles, by studying both interior architecture design and women’s fashion design.Secondly, it aims to find the relationship between the design of both interior architecture and fashion design for women in the Baroque era through monitoring, analysis and comparison.Lastly, to confirm the importance of this style and to find the different relationships between fashion design and interior architecture design. The research follows the comparative analytical method to confirm and highlight the importance of this style, which is still influential in many contemporary designs, whether in interior design, furniture or fashion.Significance: The importance of the research comes in finding the extent of the influence of this style and its importance with regard to the design of interior architecture with its various elements, and to what extent it affected fashion design in the Baroque era. Many previous studies dealt with the design of interior architecture in the Baroque era, and many other studies related to architectural design as one of the most important types of arts affecting the rest of the arts. Many books and studies also dealt with the history of fashion in the Baroque era, but the researcher did not encounter, during the conduct of the research, any research linking or comparing the design of interior architecture and women’s fashion design in the Baroque era, hence came the importance of the research for the work of this comparative analytical study that monitors and compares between them.Methodology: The research took the comparative analytical approach through a study of the Baroque style in both interior architecture design and women's fashion design, addressing the concept of design, its shape and features in each of them. Results: The research deals with a study of the form of interior architecture in the Baroque era and its relationship to fashion design. The results of the research answer several questions, the most important of which are: Did the design of interior architecture affect fashion design in the Baroque era.? Is the concept and form of design related to both interior architecture and fashion design in the Baroque era?

The importance of digital lightening fashion technique in creating innovative fashion marketing

During the later decades of the previous century and the first decade of this century, the global textile market saw considerable changes, in today's market, which is defined by fierce rivalry, understanding and applying marketing principles is critical for achieving great business results in the fashion industry, that is why fashion marketing is becoming more important and playing a significant part in the management of upcoming developments, and Because of the applicability of marketing to fashion products and services, a new discipline of marketing known as fashion marketing has emerged. The development of the market through the history of fashion in the beginning occurred due primarily important inventions, technological innovation, the socially large-scale events and global processes and phenomena in various spheres of life, especially in the field of culture, and politics. Thanks to technological advancements, fashion visual perception aspects, and other factors, modern fashion design has attained average function and performance, they sell as a sign of social and cultural connectedness by demonstrating modern people's sensitivity and readiness to express themselves. This article will attempt to bring together both the practical and conceptual aspects of fashion marketing leading to a set of guidelines which may be used to emphasize the role of digital lightening fashion technique and the conceptual aspects of fashion marketing otherwise, designers of digital lighting clothes do not invent new lighting technologies but dynamically integrate them into developed models. The range of lighting and electronic devices applied in clothes design, is very broad: from tiny light emitting diodes to liquid crystal (LC) screens, from diode lasers to electro fluorescent radiators. Integration of such devices into modern clothes design increases the esthetic, ergonomic, information and biological parameters.

“A Day in the Life of Daisy the Blouse Maker in 1916”: Storytelling as a Creative Research and Teaching Methodology in Fashion History

“A Day in the Life of Daisy the Blouse Maker in 1916”: Storytelling as a Creative Research and Teaching Methodology in Fashion History

The Play of Words / Representations / Meanings

This article introduses proceedings of the international scientific conference “Puns, Neologisms, Reservations, and Shifts in Russian Culture in the 18th–20th Centuries,” held at the Faculty of Liberal Arts and Sciences at St. Petersburg State University on November 27–28, 2020. It took place in the interval between the first and the second wave of the pandemic, when the very possibility of a face-to-face meeting of speakers seemed unique. The article opens with a description of the specifics of the mixed format in which the conference took place, and then reconstructs the discussion among its participants, which greatly expanded the scope of the research of the problem. While the initial intention was to focus on Russian culture, limiting the discussion to the period between the reforms of Peter the Great and the present, as the discussion unfolded, it became clear to the participants that there is no Russian specificity in this project. On the contrary, it is much more interesting and relevant in a broader, sociocultural context. As for the timeframes, they were removed in order to provide an opportunity to talk about the play of words and images, having the opportunity to resort to broad and quite unexpected comparisons and analogies. Philologists, philosophers, cultural anthropologists, historians, art historians, specialists in visual studies, history and theory of fashion saw in comparative typology a common ground for dialogue in which it was possible to talk about the practices of word and image play, namely puns, neologisms, communication disorders and shifts. We were able to distinguish three conceptual fields in which the polemic unfolded: the play of words, the play of representations, and the play of meanings.

Sichtbarmachung von Kriminalität. Gestaltungsund Funktionsweisen von Gefangenenkleidung im 19. und beginnenden 20. Jahrhundert

Clothes make the man. This is especially true for those who are outside the norm, such as prisoners. In her study of prison violence, Bereswill emphasizes that the misappropriation of clothing through threats is part of everyday prison life. On the one hand, this strengthens the position in the prisoner hierarchy. On the other hand, the need for new clothes is also satisfied. A discussion of prisoner clothing, if one wants to disregard the concentration camp prisoner clothing, has so far only been rudimentary. The reason for this seems to be that a more extensive study of clothing does not represent a worthwhile research object due to “its everyday banality”. There are empirical, contemporary-oriented works on clothing in prison from a cultural and legal perspective. They dealt with the functions and meanings of clothing and fashion in women's prisons. Ash's study of the development of prison clothing from a historical perspective with contextual references to legal, social and, in particular, fashion history refers to the Anglo-American world. In her analysis of striped concentration camp clothing, Schmidt provides some information on the history and development of prisoner clothing in German prisons in the 19th and 20th centuries. Due to their respective focus of interest, the studies by Ash and Schmidt lack a more detailed reference to the penal system, which Einsiedler emphasizes very clearly. The following investigation approaches prisoner clothing in the context of their design and functionality, which has so far received little attention. The central thesis is that prisoner clothing serves the purpose of prison-specific rationalization and enforcement of prison discipline in the sense of the concepts of Foucault and Goffman. The focus is on the following questions: What was the prisoner’s clothing made of and what did it look like? Which “general” functions did it fulfill and which further functions did it fulfill in the context of the prison? What were the implications of this for the prisoners? Were these subject to change?

Sejarah Gaya Berbusana Perempuan Kota Jambi Tahun 1900 – 1970

This research is about the history of women's fashion style in Jambi in the 1900s - 1970s. Aims to add to the repertoire of writing about the history of gender and historical fashion in Jambi. This study describes how women's fashion style travels in Jambi City, as well as the influence of the entry of modernity and the impact it has on women's clothing styles in Jambi City. This research uses the historical method which has 4 stages, namely heuristics, source criticism, interpretation, and historiography. Kebaya clothing is a clothing that is often used in the daily life of women in the city of Jambi. But along with the times and culture, it began to shift with the presence of clothing from western countries such as dresses, mini skirts and midi skirts that showed the feminine side and also became a trend, especially for urban teenagers. The 1970s was a decade that was quite influential in the fashion sector in Indonesia, because this yearfashion designers began to appear and in Indonesia experienced freedom in dressing. For Jambi, this year is the year Jambi City women started wearing pants as their daily clothing. However, it does not make the existence of the kebaya and clothes brackets disappear.

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.

Dana Goodin, Jasmine Helm, and Joy Davis. Unravel: A Fashion Podcast. 2015–2020, Podcast audio. https://www.unravelpodcast.com/. April Calahan and Cassidy Zachary. Dressed: The History of Fashion. 2018–present. Podcast audio. https://podcasts.apple.com/us/podcast/dressed-the-history-of-fashion/id1350850605.

Dana Goodin, Jasmine Helm, and Joy Davis. <i>Unravel: A Fashion Podcast</i>. 2015–2020, Podcast audio. https://www.unravelpodcast.com/. April Calahan and Cassidy Zachary. <i>Dressed: The History of Fashion</i>. 2018–present. Podcast audio. https://podcasts.apple.com/us/podcast/dressed-the-history-of-fashion/id1350850605.

Fashion in Copenhagen films and TV shows

This article examines the representations of fashion and clothing through the history of Copenhagen films and TV shows. Because a comprehensive study of Copenhagen media does not yet exist, we have reviewed, compiled and analysed many examples of historical and contemporary films and television shows that have a special relationship with the city and its fashion. We examine the ways in which the city is mediated, how various film genres (including social realism, historical costume dramas and contemporary lifestyle dramas) and TV shows (ranging from historical and political dramas to Nordic noir crime series) use the characters’ clothing as signifiers and representations of class, careers, lifestyles and identities. The clothing and fashion in these works reveal many underlying cultural messages, motivations of the characters, as well as important social, cultural and political commentary on the city as a microcosm for society at large. Our methodology is grounded in cultural history, fashion history and media analysis, with a particular attention to the cultural, political and urban transformations in Copenhagen over the decades, and the role fashion plays in the city’s cultural landscape.

Stage costume and problems of theatrical symbolism in Ukraine

Theater as a form of cognition of the phenomenon of man and society is of interest to researchers in various fields. This is a consequence of the syncretism of all the elements that shape the art of theater. An important place in the art of theater is a costume, according to modern theater critic Patrice Pavi, as one of the main elements of the organization of stage space, which directly affects the integrity of the scenery and its integration with the actor's body. They open the image of each character: by determining the age, sex, character, profession, emphasize individuality or typify the person. The costume is a sign of a person and at the same time a means that allows reincarnation into another person. With the help of staging, the principle of the inner composition of the play is determined: the interaction of the costumes with each other in terms of cut, shape, color, material and place in the overall scenography of the design. The problems of costume in the system of Ukrainian theater remain little studied, in contrast to folk costumes or the history of fashion.