№58
June 2017
ISSN
1990-4126

Russian

«Architecton: proceedings of higher education» № 37 March 2012

Design


Zheleznyak Olga Ye.

PhD (Art Studies), Professor, Chair of Design,
Irkutsk State Technical University,
Irkutsk, Russia

Ponomareva Oxana V.

PhD student and Senior Lecturer, Chair of Design,
Research supervisor: O.K.Los’, PhD(History), Associate Professor,
Irkutsk State Technical University ",
Irkutsk, Russia

Dyachenko Irina V.

PhD student, Chair of Design,
Research supervisor: Professor O.Ye.Zheleznyak, PhD(Art Studies).
Irkutsk State Technical University ",
Irkutsk, Russia

EARLY 20th CENTURY AVANT-GARDE TENDENCIES IN CONTEMPORARY FASHION: COSTUME DESIGN AND TECHNOLOGICAL SEARCH


The article is devoted to experimentation in the field of costume design as anticipated by creative developments of the early 20th century avant-garde artists L.Popova, V.Stepanova, A.Rodchenko, V.Tatlin, etc.

Today, 100 years on, fashion designers still use Constructivist ideas, for example, such methods of form production as transformation, kinetism, and combinatorics. Fashion designers take interest in ample opportunities provided by new textiles – neotechnological design – design of colour, light, smell and sound. Nanotechnology novelties are important not only in fashion, but also in military, industrial applications. The 21st century fashion industry demonstrates commitment to the concepts of expediency and universality proposed by Soviet constructivists, which manifest itself in multi-variant search for clothing which is essential for the active lifestyle in megacities. The philosophy of postmodernism has spiralled up to a new level in fashion design, turning fashion into entertainment business: fashion shows move on from catwalks into daily settings. Sketches produced by V.Stepanova and L. Popova, initially for industrial and sportswear, found their way into colour prints on today’s youth T-shirts. Youth fashion still treats colour as an "ornament", an accent, a dominant, which was characteristic of the avant-garde artists of the 1910-1930s. Digital printing has made it possible to make «picture prints» in haute couture clothes (Issey Miyake, Jean-Charles de Castelbajac, Christian Dior, etc.). Artistic experiments with clothing as an expression of various attitudes to life (nihilism, humour, environmental fears) have found their way into clothes made of nonconventional nonwoven materials, and some of the contemporary designers have given up sewing (seamless clothes). All this gives customers countless opportunities of self-fulfilment and creation of an individual image and a manner in which they want to wear their clothes.

Key words: avant-garde, costume design, transformable clothes, contemporary technologies in fashion, textiles


Russian text of this article

ISSN 1990-4126  Registration MCM el. № ФС 77-50147 of 06.06.2012 © USUAA, 2004-2017  © Architecton, 2004-2017