Analysis of transfer and application of the conceptual dimensions of the historical costume from the xix century in the practice of the fashion designers of women's fashion in the beginning of the XXI century – year 2000

Kertakova, Marija (2020) Analysis of transfer and application of the conceptual dimensions of the historical costume from the xix century in the practice of the fashion designers of women's fashion in the beginning of the XXI century – year 2000. Knowledge International Journal, 43 (6). pp. 1315-1326. ISSN 2545-4439

[thumbnail of 4624] Text

Download (4kB)


At the beginning of the XXI century, fashion remains one of the main phenomena of human activity that affect all segments of society. All that is the peak of the discoveries of the XIX and XX centuries is already history, which fits into the golden fund of discoveries and achievements of the entire fashion world. Unlike previous centuries, when we can talk about haute couture as a well-established phenomenon with its clear parameters, the conversation about the fashion of the XXI century is not easy. According to researchers, the reasons for this can be formulated as follows. First is the phenomenon of "overlapping of events". In addition, the historical development and practice of fashion in the last few years at the end of the twentieth and the first decade of the twenty-first century is marked by the experience of the discoveries and philosophical doctrines of structuralism and post-structuralism. Fashion as a human activity is influenced by many sciences and different practices. It is understandable that society is looking for new images, and the widespread adoption of computer technology and computer networks based on them are increasingly embedded in the life of modern society and increasingly integrate it into an information body, which Buckminster Fuller and Marshall McLuhan define with the term "global village". Most features in this sense are the parameters of fashion – it has long become global, but now with the prefix "hyper". In order to be able to successfully represent haute couture, although it has long since found its structural principles in Charles Worth's doctrine, at the end of the twentieth century it was forced to modify them in accordance with computer-mediated communications. The showy spectacles of fashion shows take this into account, integrating all the advantages that, according to Castells, the "new information society" gives them. It can be said that the transfer and application of all that potentially contains the historical costume of the nineteenth century acquires new strength in the implication of its principles – conceptual and neo-conceptual, in the practice of prominent designers of the late twentieth and early twenty-first century. Historical borrowing is in full swing in the new century, including the year 2000. There is no prominent designer who is not inspired and does not use the historical heritage of the nineteenth century. The moments of crisis that accompany developed societies have an impact on haute couture – its social base is narrowing. Individual orders are declining, and the competition for profit in markets and customers is intensifying. Taking into account all these factors and circumstances, the focus of this text on the implication of fashion trends in the twenty-first century becomes clear. On the other hand, such a phenomenon as fashion has long been developed by the "anti-crisis antidote", manifested even as a psychological phenomenon. When the economic crisis falls on people, their thoughts in accordance with them – the work of designers is always focused on the interpretation of patterns from some, metaphorically call it "sugar age", which serves as a kind of psychological buffer of the realities of crisis reality. After the Millennium, the contours of a general and deep economic crisis, which continues to this day, in which the leading designers turn to past epochs, are particularly well outlined. This return was accompanied by a manifestation of the revolt, again as an anti-crisis psychological measure. An example of this is the rebellious mood of Vivienne Westwood, who influenced John Galliano and his colleagues who work in the field of haute couture – Alexander McQueen, Jean Paul Gaultier and with them the transfer of such practices and moods in the fashion of the XXI century. Like any phenomenon and material human activity, it does not fall from the sky, but has its roots and protoforms. So it is with the fashion of the XXI century. That is why we have to look very briefly at these protoforms, which then successfully explain what is happening on their basis.

Item Type: Article
Subjects: Humanities > Art (arts, history of arts, performing arts, music)
Divisions: Faculty of Technology
Depositing User: Marija Kertakova
Date Deposited: 04 Oct 2021 10:28
Last Modified: 04 Oct 2021 10:28

Actions (login required)

View Item View Item