The influence of Ukrainian embroidery on the fashion of the 60s of the twentieth century

The purpose of the article is to highlight a little-studied problem in domestic science, which is associated with the production of fashionable clothing and the use of traditional Ukrainian embroidery in the 60s of the twentieth century. The methodology is based on the principles of historical, art history, culturological analysis, and methods of systematization of factual material and typological analysis. The personal contribution of fashion designers in the rise of artistic embroidery in the 60s of the twentieth century is revealed. The scientific novelty lies in the disclosure of historical sources, artifacts that testify to the presence of ornamental embroidered elements in the decoration of Ukrainian women's clothing of this period. The production of clothes with embroidery on the territory of Ukraine is connected with shops, artel, and industrial productions. The state of Ukrainian embroidery with the use of modern fashion trends in the clothing of the 60s of the twentieth century is analyzed. Conclusions. Having conducted a study of fashion trends in Ukrainian clothing of the 60s of the twentieth century. and summarizing the art of its production, we can note the following: the production of compositionally completed collections of contemporary clothing, developed through the efforts of creative associations of fashion houses, light, and local industry, taking into account national Ukrainian traditions, took place to meet the demand of growing population and its cultural education. The implementation and realization of exquisite masterful, thematic ideas coordinated and directed the activities of the garment, textile, and knitwear industries. The national costume and its stylized elements with traditional motifs of Ukrainian embroidery attracted special and great attention to the fashion of the past times of the XX century. Key words: embroidery, clothes, technology, industry, fashion designers.

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.

Traditional Clothes and Jewelry of Surkhandarya Oasis

In the oasis of Surkhandarya, local craftsmen sew traditional shoes, make such shoes as takaki, charik, hakkari, mokkas, tashtovan. In the Surkhan oasis, women wore jewelry such as beads, earrings, rings and bracelets, which were worn and sewn on the forehead, hair, ears, neck, arms, legs and chest. In the Surkhandarya oasis, which combines ancient and national costumes of Uzbeks, women's clothes are rich in historical and factual materials. Women's clothing is divided into winter, spring, summer, autumn clothes depending on the seasons; casual, holiday and ceremonial clothing according to the condition in which it is worn; divided into underwear, top, head, shoes, depending on which part of the body is worn.

Segregation: There Is No Restriction on Men and Women Mingling

There is a strong correlation between a restrictive view on women’s clothing as detailed in Chap. 10.1007/978-3-030-83582-8_16 and a restrictive view on women’s participation in public life. Combined with the jurists’ extending of the “elite” rules applicable only to the Prophet’s wives to all women while re-interpreting them to boot, this leaves women in many societies with too little room in public life. This also runs contrary to the historical evidence of women’s natural and proactive involvement in society.

The Dichotomy of Intimate Garments: Women’s Stays and Pockets in Georgian Britain

In John Collet’s 1777 print, Tight Lacing, or Fashion Before Ease a woman is depicted holding onto a bed poster as her maid and husband strain to tighten the lacing on her stays. Meanwhile, a large tie-on pocket can be seen hanging from the woman’s waist. Although they were worn closely together on the female body stays and pockets have been studied independently from each other. This is understandable, as at first glance, they appear incomparable. Stays were the precursor to nineteenth century corsets and they moulded the body into the desired and fashionable shape. Pockets on the other hand were utilitarian bags meant for carrying necessary items; separate from women’s clothing they were tied around the waist with string and were hidden under the skirts. Despite the initial differences, these garments did not function independently from each other. Using caricatures, etiquette books, and physical examples found in museum collections, this study demonstrates that when examined in tandem it becomes apparent that stays and pockets served distinct, yet overlapping functions in women’s lives. They informed women’s relationships with their surrounding environments, strengthened women’s connection to the domestic realm, yet also gave women freedom to move outside the home and participate within the public sphere. Furthermore, both items also acted as private spaces, which allowed women to actively partake in romantic courtship and sexual flirtations in a gender appropriate way. By juxtaposing stays and pockets this study contributes to the growing historical discussion surrounding these items, but also begins to piece together a larger picture of the role undergarments, as a whole, played in women’s lives.

Sustainability and Transparency—Necessary Conditions for the Transition from Fast to Slow Fashion: Zara Join Life Collection’s Analysis

Starting from the concept of sustainability in fashion, the aim of our research is to analyse to what extent the Zara Join Life collection is sustainable, environmentally friendly (as advertised), and transparent, in terms of the information provided to the consumer, in order to offer Zara’s fashion consumers a set of aspects to take into account when intending to buy responsibly, such as the composition of the product, the percentage of recyclable materials used, its origin, etc. Our practical goal is to generate a gradual change in Zara consumers’ behaviour by creating a set of basic skills to transform one from a fast, superficial consumer into a slow, conscious customer with decision-making power. We analysed the Zara Join Life collection, which is advertised on the company’s website as supporting sustainability as a continuous project. The methodology consisted of a documentation-learning stage in order to reach the stages of data collection, data processing, and information organization—the methods used for the analysis of fashion consumers’ behaviours. The analysis was conducted on 40 Zara Join Life collection garments (10 women’s clothing items, 10 men’s clothing items, and 20 garments for kids, both girls and boys) sold online on Zara’s website. The collected research data were analysed and interpreted within the case study.