The purpose of the article. The article explains the ways to find harmony in modern clothing design projects. The research methodology consists of the analysis application in the field of fashion, as well as methods of source, aesthetic and structural-compositional analysis. The scientific novelty of the work lies in determining and systematizing the main ways of searching for harmony in clothing design 2010-2020. Conclusions. Design forms and expression, its orientation change not only due to a technology change but primarily due to changes in social demands, value systems, mental guidelines, of which the search for harmony is also important – external and internal. Designers solve this aspect in various ways: from formalized proportioning and the color wheel usage to the use of natural motifs and folk art archetypes. Another way is “green”, ecological, “ethical”, “sustainable” fashion – directions that not only demonstrate the possibilities of processing but also generate a particular worldview, draw attention to the artist’s ability to return people to the beauty and diversity of the world.
Мета дослідження -з'ясувати особливості творчості німецького художника школи Баугауз Оскара Шлеммера та означити його вплив на сучасний дизайн одягу; виявити можливості застосування художніх засобів і прийомів «Тріадного балету» в проєктній діяльності дизайнерів одягу. Методи дослідження. Методологічні засади дослідження базуються на комплексному мистецтвознавчому аналізі творчого доробку Оскара Шлеммера, історико-біографічному вивченні творчих робіт студентів ваймарської школи, що були презентовані в авангардній постановці «Тріадного балету». Нау кова новизна. В роботі простежено головні концепти творчого здобутку Оскара Шлеммера та виявлено вплив «Тріадного балету» на сучасний дизайн одягу. Практична реалізація дослідження знайшла своє відлуння в авангардних рішеннях, застосованих у навчально-мистецькому проєкті, присвяченому 100-річчю заснування школи Баугауз. Вис новки. Оскар Шлеммер своєю діяльністю виявив потребу глибинного підходу до мистецтва, що має стати результатом поєднання художніх ідеалів, нових технологій і майстерності. Його тріадний підхід у проєктній діяльності проявляється у тісній взаємодії важливих концептів, які визначають художньо-естетичну цілісність дизайну. «Тріадний балет» став тим рево-
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.
Research aim. The article is devoted to the review of modern clothing design projects in the context of quoting the stage images of hard rock and heavy metal musicians of the 1970s-1990s. Research methods. The source analysis method was used to find out the level of scientific development of the problem. Collecting factual material method was used to search for visual information. To describe and process the visual information of stage images of musicians and shows of leading designers’ collections, the Art history methods, aesthetic and structural-compositional analysis, as well as the comparative method, were used. The theoretical generalization method was used to formulate the conclusions. Visual material is taken from printed publications and the Internet. Scientific novelty is in identifying the main stylistic features of the stage costume of performers of the hard rock and heavy metal musical genres in the 70s and 90s of the 20th century, as well as in comparing and finding quotes of stage images of musicians in modern catwalk clothing collections. Conclusions. The development of the stage costume design of hard rock and heavy metal genres with its wide influence on street fashion, as well as “official fashion”, was due to a significant spread of media technologies popularization at the end of the 20th century. Stage images of artists were imitated and introduced into an everyday wardrobe, firstly, by their fans; secondly, its distribution was facilitated by high-profile advertising companies promoting bands and performers; thirdly, it spread through the fashion industry and the work of talented designers who sensed the mood of society and were able to predict the commercial success of the new aesthetic. In the 21st century well-known brands and designers actively quote performers’ stage costumes. Ways of quoting are very diverse: from completely copying images or borrowing a separate assortment, copying forms and details of clothes to the imitation of cut, decoration, and trimming. The most popular quoting is the use of band mascots or logos to print and design materials, various patches, and stickers. Borrowing a characteristic combination of the assortment in creating a general image has recently become the most popular. From the general trends of today, we come to the conclusion that experiments with the form itself and its material components are significantly inferior to experiments with the emotional filling of images, which are successfully provided by quoting the stage costume with its hyperbolized spectacularity and expressiveness.
The study pioneers the naturalistic search of Bashkirtseva as an artist, which was expressed in her involvement in the creation of a new movement in art, including painting, defined as naturalism. Several aesthetically significant and self-sufficient stages of its development in the creative activity of Maria Bashkirtseva are presented. It is noted that in this process the noblewoman's high education at home with her interest in the interaction of literature and painting, which in due course was understood as aesthetically valuable for painting and the artist, was initially obtained. The importance of the next naturalistic stage of Bashkirtseva is underlined, which is conditioned by her rapid acquisition of the European urban culture, one of the specific features of naturalism, first of all, the French one with the priority of Parisian peculiarities. In this way, it is emphasized that Bashkirtseva was not only focused on the development of critical and pictorial-literary trends in naturalism but also involved in their creation, developing the synthesis of literature and painting. It is emphasized that Bashkirtseva in the mastery of Dostoevsky largely anticipated the concept of Bakhtin, “following” the images of the Russian classic, giving them their naturalistic meaning.
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