Standardization of medieval European dress patterns

2017

The purpose of this paper is to systematize contemporary clothing design practice that based on medieval costume patterns. The authors have analyzed clothes collections and have registered historical prototypes for each model. In conclusion, the statistics of different medieval costume elements application in modern design is defined.

2021

The article is devoted to the reflection in historical memory of the introduction of shaving and wearing «German» dresses by Peter I. This measure was aimed at overcoming religious prejudices and instilling a European way of life. It is fixed in the cultural memory of the post-Petrine era as a metaphor for the rebirth of Russia and the image of «Europeanization». Historians, publicists, and writers in their writings combined it with the metaphor «window to Europe» and constructed the image of Peter I, who cuts beards with an axe. Thus one of the myths about Peter I and his era arose. Today this view defines the historical memory of him in modern society.

2013

The article deals with the modern fashion collections for use in products of elements of the historical cut. The authors revealed levels of adaptation to the historical design elements with modern fashion designs. The frequency of occurrence of cutting elements of different eras in the collections of clothes 2005-2013 years is determined.

This paper is designed to identify the main trends in the studies of the European Barbaricum nations’ costume of the late antiquity undertaken during the 25 years since the publication of M. Tempelmann-Maczynska’s research. It consists of several parts: 1) a chapter about general studies of the costume history, 2) a chapter focusing on the most important discoveries of various age costumes and credible reconstructions based on them, 3) a chapter including the basic concepts and definitions used in paleocostume studies, and certain points of theory subjects under discussion, and 4) a chapter analyzing major works in costume history in Northern, Western, Central and Eastern Europe. The paper arrives at the following conclusions. Lately, the costume has been etudied as an object of textile archaeology: in terms of localization of costume remains, as an «archaeological costume» or garment; dress accessories, as separate categories of finds in object studies; with iconography works having their own significance. Studies involving all types of sources can be considered comprehensive. Public awareness of achievements of various sciences is raised by popular science publications. K e y w o r d s: costume, clothing (dress, garment), dress accessories, textile archaeology.

The article attempts to assess dress accessories as an indicator of social stratification of the society represented by memorials of the Cherniakhov archeological culture. The results of historical studies are briefly presented. Due to the analysis of the grave ritual and grave goods, the archaeologists identified graves of slaves, community members with different possessions, community elders, and nobility. The task of this work is to characterize the dress accessories of different social layers of Cherniakhov culture carriers. The research was based on 3184 graves from 77 memorials. The dress accessories and their combinations (models) were analyzed generating the following conclusions: dress accessories accompanied 37 % of the Cherniakhov graves; in particular, gold jewelry accompanied 0.4 % and silver jewelry 2.8 % of the graves. The nobility and warriors wore clothes with and without fibulae. The noble women’s models of dress accessories were very diverse. 3.7 % of the inhumations were in pits of extraordinary sizes. But this feature can not be considered to be determinant. The analysis of graves with a glass bowl led to an interesting conclusion: the glass bowl was a prestige item for men during the whole of the Cherniakhov culture time while dress accessories, e. g. silver doubleplate fibulae, were prestigious for women. The unification of the costume tradition is demonstrated by the analysis of the dress accessories in different ritual groups. The expected results were obtained due to the analysis of north oriented inhumations of different archeological-social types (AST): the biggest percentage of graves with dress accessories (83 %) was found in 3a AST and the smallest (37 %) in the group without pots. Moreover, the idea about domination-subordination relations receives evidence. K e y w o r d s:cemetery,grave, the criteria

2017

The article demonstrates findings in analysis of modern clothes collections based on historical prototypes and the appropriate database development. The authors have showed the wide scope of historical costume application in modern design practice. The database structure, content, functionality, and fields of application are described.

NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD

The purpose of the article is a comprehensive approach to the study of Ukrainian folk costume in socio-cultural context of modernity. Analysing ethnic-style clothing in the wardrobe of the First Ladies of Ukraine, there is an urgent need to consider it as a combination of national clothing traditions and modern approaches to its interpretation in the society. The methodological basis of the study included general scientific methods, such as generalisation, systemic-structural and structural-functional methods that made it possible to identify and analyse traditional and innovative foundations of the Ukrainian folk costume and its elements in modern designer clothing of Ukraine at the beginning of the 21st century. The scientific novelty of the study consists in the fact that source and factual material on the chosen topic has been collected, analysed and systematised, the prerequisites of "revival” of the Ukrainian costume have been analysed, and the peculiarities of using the ...

Aпстракт: Во текстот се претставени два примера на ретка средновековна облека, кои се спомнуваат во пишаните извори, едната дел од лесното вооружување, а другата дел од благородничката облека. Во недостиг од археолошки артефакти што би можеле да ни кажат повеќе за нејзината употреба, побарани се аналогии во фреско-сликарството. Преку наведените примери заклучивме дека е можно споме натите облеки да биле претставени како реални, современи артефакти на нашите фрески.

The draperies in clothing are free and fixed ones. The free draperies are got in only one detail without the help of another detail. The forming of the fixed draperies needs the help of another detail. The paper presents a facilitating geometrical model of pattern making of fixed draperies and design of dresses using this type of draperies.

Teorìâ ì praktika dizajnu, 2022

Представлено антропософську теорію архітектури, яка припускала що світ і людина пронизані різними типами духовних сил, які завдяки формам об'єктів видимого світу можуть бути зміцнені або послаблені. Репрезентовано розуміння гармонії форм у формотворенні сакрального простору, а також використання їх антиіндивідуалістичного потенціалу для відродження соціальних та релігійних спільнот. Розглянуто архітектуру сакральних споруд, зведених за принципом класицистичної архітектури. Визначено, що форми, створені Фолькером Гіенке, Йозефом Гочаром та Аладаром Аркайем, не належать до жодної із «мов» архітектурного виразу, які були створені дотепер. Представлено погляд на таємничу природу з'єднання людей у суспільствіблизький до видів зв'язків, що пов'язують релігійні громади, а також концепція архітектури як мосту між небом і землею, яка також змінила підхід до будівлі як виключно матеріального об'єкта. Проаналізована форми сакральної споруди та способу організації інтер'єрів, що дозволило зробити висновок, що ідеї відродження єдності навколишнього ландшафту, схильність використовувати місцеві матеріали (насамперед камінь), але також більш загальне, філософське ставлення, що дозволяє розглядати архітектуру як елемент, який пов'язує сили космосу з життям людини, що поєднує вірян різних конфесій. Розглянуто використання метафоричної мови архітектури засноване на світі візуальних людських виробів та їх іконографічних відмінних рисах. Виявлено необхідність враховувати взаємозв'язок між певними формами та повідомленнями, що через них передаються у формотворенні сакрального простору. Також представлено спробу адаптувати принципи модернізму до потреб формотворення сакрального простору. З'ясовано, що проблеми формації нового стилю виникли внаслідок змін у самій архітектурі, та труднощі у визначенні його характерних рис-внаслідок змін в історіографії. Виявлено тенденції формотворення сакрального простору у ХХ ст. Ключові слова: формоутворення, сакральний простір, сакральна архітектура, традиція, архітектурний модернізм, символ, мистецтво.