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RESUMO O guarda-roupa modernista é o conjunto dos mais variados tipos de registro da aparência de Tarsila do Amaral e Oswald de Andrade, e o cruzamento das fontes associa e articula os documentos, circunscrevendo tramas de relações que resultam desse método de confronto. A análise do tema do vestuário no âmbito do modernismo brasileiro revela que a aparência, as roupas e a moda são peças fundamentais no jogo das representações sociais, no percurso artístico e literário de Tarsila e Oswald. Além disso, a relação do casal Tarsiwald com a alta-costura francesa, especialmente a maison Paul Poiret, indica os trânsitos entre tradição e modernidade, e as negociações, com os agentes das vanguardas artísticas, em torno do gosto conservador das elites brasileiras. ABSTRACT The Modernist wardrobe comprises various types of records of the appearance of Tarsila do Amaral and Oswald de Andrade, and the crossing of sources associates and articulates the documents, circumscribing the webs of relationships that result from this method of confrontation. The analysis of apparel in the context of Brazilian Modernism reveals that appearance, attire and fashion were fundamental pieces in the game of social representations, and in the artistic and literary path of both Tarsila and Oswald. Furthermore, the relationship between the Tarsiwald couple and French haute couture, especially the maison Paul Poiret, indicates the transitions between tradition and modernity, and the negotiations, with agents of the artistic avant-garde, on the conservative taste of the Brazilian elites.

The paper covers the history of 20th century Serbian fashion from the 1920s through the 1980s, focusing on the problem of its historization. Based on established readings submitting 20th century Serbian fashion to politics thus distancing it from global fashion history, I aim to structure a possible historical narrative of fashion by identifying the elements of haute couture in 20th century Serbian fashion industry. Rather than contrasting Serbian fashion figures with their Western counterparts and deepening the West / East Europe fashion divide, the paper traces similarities between them, demonstrating that 20th century Serbian fashion responded to haute couture trends simultaneously with their emergence in the West.

The study conducted primarily examined the effect of Social Media Marketing Effect on Brand equity in creating Purchase Intention and Customer equity. For this purpose, we employed structural equation modeling using Smart-PLS 3.0, the data of 312 respondents were collected through structured questionnaire. The findings show a significant positive relationship between Social Media Marketing and Brand Equity. The role of social media marketing efforts through Brand equity directly affects customer equity: The role of social media marketing efforts through Brand equity has a direct significant effect on Purchase Intention. Brand equity relates positively to customer equity. Brand equity relates positively and significantly to purchase intention. Brand equity has a significant and positive mediating effect on the relationship between marketing efforts on social media (SMMEs) and consumer equity. The study unfolds an exciting dimension that social media marketing, a hype in the haute couture and Preto Porte have a significant impact on purchase intention and Customer Equity in the Pakistani market. A more comprehensive marketing strategy has to be adopted in the Pakistani market. The Pakistani customer is more influenced to purchase haute couture by testing and trial sessions besides purchasing online. There are few online Brand communities in the Pakistani market where customers can interact with other users who share common interests and can talk about luxury brands. Theoretically, this study ascertains the customer lifetime value of luxury brands. The intense competition in luxury fashion brands also leads to strong customer equity created by Social Media Marketing.

The study is devoted to the creative concept of art design in fashion design. The subject of research is design concepts in fashion design. The research topic is the diverse links between art and the fashion industry, which can be considered as the basis for the formation of the concept of art design. The purpose of the study is to identify the features of the interaction of art with the creative practice of fashion design and the reasons for representing the utilitarian object as a work of art. The hypothesis of the study is that the connection between art and the fashion industry can become an effective marketing strategy. The presentation of a design object as a work of art gives it additional symbolic value and increases the social status of its creator. The study applies тa culturological approach, which considers project activities in connection with the realities of the era, and a systematic approach that allows identifying the connection of aesthetic theories with the practice of design, art history and stylistic analysis.

During his lifetime, Karl Otto Lagerfeld (1933–2018) attained such industry renown that he became widely known as the Emperor of Fashion. Lagerfeld ran several fashion houses, such as Chanel and Fendi, leading them to unprecedented profits. He also created his own fashion label. Owing to his unremitting pursuit of excellence through creative expression, Lagerfeld’s creativity, energy and intuition for fashion trends seemed only to expand throughout his long career. The authors suggest that, through his creative approach to fashion, architecture, and publishing, Lagerfeld articulated and refined a core set of values-such as “Bildung,” “lightness” and “the unexpected”—that served as a Diltheyan “nexus” linking the Prussian-born designer with the global consumer. The authors apply two specific creativity theories to Lagerfeld’s life and work, namely the mini-c, little-c, Pro-c and Big-C creativity theory and Sternberg’s WICS-model (wisdom, intelligence and creativity). The article uses a psychobiographical case study design formulated according to a research paradigm of modern hermeneutics. First- and third-person data on Lagerfeld were collected and evaluated through a hermeneutically-informed syntho-analysis. Research ethics were followed. The findings demonstrate the interplay of mini-c, little-c, Pro-c and Big-C creativity throughout the subject’s lifetime, as well as the subject’s application of WICS, both of which led to the subject’s worldwide success. Conclusions are drawn and recommendations for future research and practice are provided.

The research cites the various hazardous waste generated in the textile industry. The method used is descriptive and comparative, the process consisted of the search and evaluation of information, both nationally and internationally. The results indicate: (1) Waste is generated from the alpaca fiber industry in the various stages of camelid rearing, they stand out for their dangerousness: excreta, residual fiber and yarn scraps. (2) The main hazardous waste generated by the tannery industry are: grease, hides, hair, plastic containers with traces of toxic substances, chips and pieces of leather with chrome. (3) Three companies' Solid Waste Management Plans were analyzed, randomly selected, and none of them detail waste treatment processes and warn of the lack of supervision by the authorities. It is concluded that the hazardous waste generated can affect human and environmental health. On the other hand, there is the possibility of taking advantage of certain hazardous waste such as manure and alpaca fiber, after treatment; while non-hazardous waste from the tannery such as yarn, panel weaving, cloth, scraps and thread; can be used to produce new products, generating a production chain in favor of the entrepreneur himself., La investigación cita los diversos residuos peligrosos generados en la industria textil. El método empleado es de tipo descriptivo y comparativo, el proceso consistió en la búsqueda y evaluación de información, tanto en el ámbito nacional como internacional. Los resultados señalan: (1) Desde la industria de fibra de alpaca se generan residuos en las diversas etapas de crianza de camélidos, destacan por su peligrosidad: excretas, fibra residual y retazos de hilado. (2) Los principales residuos peligrosos generados por la industria de la curtiembre son: grasas, pieles, pelos, envases de plástico con restos de sustancias tóxicas, virutas y trozos de piel con cromo. (3) Fueron analizados tres Planes de Manejo de Residuos Sólidos de empresas, seleccionadas de manera aleatoria, y ninguno detalla procesos de tratamiento de residuos y advierten la no supervisión de las autoridades. Se concluye que los residuos peligrosos generados pueden afectar la salud humana y ambiental. Por otro lado, existe posibilidad de aprovechar ciertos residuos peligrosos como el estiércol y fibra de alpaca, previo tratamiento; mientras que residuos no peligrosos de la curtiembre como el hilado, tejido de paneles, paños, retazos e hilo; pueden ser destinados para elaborar nuevos productos, generando una cadena productiva en favor del propio empresario.

The main purpose of this work project is to analyze Mugler’s capacity to boost and reach the full potential of its perfumes brand loyalty to retain consumers in Portugal. Beyond desk research, 30 in-depth interviews with Mugler consumers, social media listening, and mystery client were conducted and the loyalty drivers and the relationship with the brand were evaluated. Since it is missing a low level of affection and knowledge between consumers and the brand, several recommendations were suggested. The proposed revision in the portfolio and in its communication will link Mugler with its heritage and to leverage the brand’s perception.

Este Trabajo de fin de Máster tiene como objetivo describir el panorama de la moda en calidad de actividad artística a lo largo del siglo XX, uno de los temas de carácter cultural más importantes en toda Francia, donde, si hablamos de términos económicos, esta actividad tiene una fuerte presencia en el Hexágono, así como una reputación mundial gracias a sus numerosos creadores. Como todo tema cultural, la moda es también una especialidad que evoluciona al mismo tiempo que la historia y la sociedad, como vamos a señalar en este trabajo. Además, este trabajo pretende analizar las numerosas posibilidades con las que podemos trabajar este tema en clase de FLE, dado que se trata de una herramienta muy flexible en la enseñanza del francés. Para conocer mejor las diferentes alternativas didácticas de esta materia, este estudio se centra así en las diferentes perspectivas como la diferencia entre la Alta Costura y el prêt-à-porter, la evolución de la moda a lo largo del siglo XX y la vida de Coco Chanel, como ejemplo de una de las diseñadoras más emblemáticas de toda la historia de la moda., Ce mémoire de fin de master a comme but de dépeindre le panorama de la mode en tant qu’activité artistique tout le long du XXe siècle. Il s’agit de l’un des sujets culturels les plus importants, mais aussi elle octroie une notoriété reconnue dans le monde entier. Admettons également que la mode a également de l’importance en tant qu’activité économique. En tant que sujet culturel la mode est un domaine qui évolue en même temps que l’histoire et la société, comme il va être analysé dans cette étude. De plus, ce mémoire vise à analyser les nombreuses possibilités avec lesquelles ce sujet peut être intégré en cours de FLE. Afin de mieux connaître les différentes alternatives didactiques de ce sujet, cette étude se penche sur les différentes perspectives telles que la différence entre la Haute Couture et le prêt-à-porter, l’évolution de la mode au cours du XXe siècle et la vie de Coco Chanel, comme exemple de l’une des couturières des plus emblématiques de toute l’histoire de la mode., Departamento de Filología Francesa y Alemana, Máster en Profesor de Educación Secundaria Obligatoria y Bachillerato, Formación Profesional y Enseñanzas de Idiomas

Ce chapitre ne traitera pas à proprement parler de la photographie de mode. Il s'appliquera surtout à faire ressortir en quoi la conjonction de deux innovations du XIXe siècle, la haute couture et la photographie, a été la source d'un problème social tout à fait inattendu : celui des mannequins. Comment, en effet, l'univers très fermé et privilégié des clientes des grands couturiers s'est-il résolu à accepter que les créations de ces derniers soient valorisés pour les photographes et la presse par des femmes qui n'étaient pas issues du meilleur monde ?

Kroz ovaj rad proučava se život i opus jednog od najvećih modnih dizajnera 20. stoljeća i njegova načela stvaranja odjevnih predmeta. Kroz analizu i istraživanje proučavaju se njegova načela izrade odjeće, geometričnosti, jednostavnosti i sklada u modi. Iz istraživanja će proizaći vlastita kolekcija inspirirana tim načelima i stvaranje vlastite modne kreacije. Krajnji cilj ovog istraživanja je na vlastitoj kolekciji prikazati primjenu načela Cristobala Balenciage., This paper examines the life and work of one of the greatest fashion designer of the 20th century and his principles of creating garments. Through the analysis and research of his principles of geometry, simplicity and harmony in fashion are studied. From the research comes a collection inspired by these principles and new fashion creations are made. The final goal of this research is to present the application of the Cristobal Balenciaga principles into a new collection.

In this paper, we reconstruct the history of fashion shows and highlight the crucial role mediatization process have played in the turning of these events into marketplace icons. As the media and i...

The article analyzes the attitude of Charles Frederick Worth (1825–1895) towards the changes that took place in women’s fashion from the mid-nineteenth century. The key point of his activity was to present himself as an artist. The author presents both the genesis of such an attitude and its consequences for the next generations of designers. A complementary issue taken by the Author is the problem of applied arts and involvement of artists in the design of everyday objects. Both in France and in England, Worth’s homeland. Artykuł analizuje postawę Charlesa Fredericka Wortha (1825–1895) wobec zmian, jakie zachodziły w modzie damskiej od połowy XIX wieku. Zasadniczą kwestią jest prezentowanie siebie jako artysty. Autor przedstawia zarówno genezę takiej postawy, jak i jej konsekwencje dla innych projektantów. Uzupełniającą kwestię stanowi problem sztuk użytkowych i angażowanie się artystów w projektowanie przedmiotów codziennego użytku. Zarówno we Francji, jak i w Anglii, ojczyźnie Wortha.

The creation of a women's garment taking on the aesthetic concept of 'exoticism' between 1967 and 1970, in the Cold War, seeks to question how France perceives others in their atmospheric and socio-historical background. This dissertation attempts to understand the vectors of the aesthetic and iconographic construction of exoticism that is prone to political questioning in the consideration of the other and of oneself in a world of tension. The stylistic study showed that between 1967 and 1969, the productions, mainly of haute couture, adopted the iconographic and social aesthetics of the Orientalist movement, while at the time of the prêt-à-porter event, this aesthetic was modified to take on North American iconography. The medium of production then interferes with aesthetic design and is the vector of cultural transfers in the production of an 'exotic' aesthetic. But fashion is a commercial art that must seduce the population. In this framework, it is the French population inclined and oriented in a politicised atmosphere that illustrates the productions, choices and conceptions. The Gaullist policy legitimises its intervention in Africa by neo-colonial speeches and asserts France's independence on the international scene. As for the Pompidolian policy, after the Americanisation of French youth, conceives France as a 'dynamiter' of the world social and economic evolution, affirming its paternalistic role in the balance of power. It is within this framework that the exotic aesthetic in fashion between 1967 and 1969 takes up the codes of the Orientalist movement, and in 1970, the North American iconography.; La création d’un vêtement féminin prenant le concept esthétique dit « exotique » entre 1967 et 1970, en pleine guerre froide cherche à questionner comment la France perçoit les autres en fonction de leur atmosphère et de leurs antécédents socio-historiques. Ce mémoire tente de comprendre les vecteurs de la construction esthétique et iconographique de l’exotisme enclin à un questionnement politique dans la considération de l’autre et de soi dans un monde de tensions. L’étude stylistique a montré qu’entre 1967 et 1969 les productions principalement de haute couture reprenaient l’esthétique iconographique et sociale du mouvement orientaliste tandis qu’à l’avènement du prêt-à-porter cette esthétique se modifie pour prendre l’iconographie nord-américaine. Le médium de production interfère alors dans la conception esthétique et est le vecteur des transferts culturels dans la production d’une esthétique « exotique ». Mais la mode est un art commercial qui doit séduire la population. Dans ce cadre, c’est la population française encline et orientée dans une atmosphère politisée qui illustre les productions, choix et conceptions. La politique Gaulliste légitime son intervention en Afrique par des élocutions néocoloniales et affirme l’indépendance de la France sur la scène internationale. Quant à la politique pompidolienne, cette dernière après l’américanisation de la jeunesse française, conçoit la France comme « dynamiteur » de l’évolution sociale et économique mondiale, affirmant son rôle paternaliste dans l’équilibre des forces. C’est dans ce cadre que l’esthétique exotique en mode entre 1967 et 1969 reprend les codes du mouvement Orientaliste, et en 1970, l’iconographie nord-américaine.

In this work, a hand-woven fashion collection is designed. The aim is to create clothes that connect us with life and nature and make us feel that we are part of a vibrant surrounding. Following the idea of clothes as a social mean to connect to one’s environment, this work examines several concepts and techniques that already incorporate certain aspects of connectedness and directness. A particular interest lies in how the form of clothes can relate to the way they are made and the tools that are used – with focus on the weaving technique. Historical and cultural sources, as well as contemporary design research are consulted, that show how the form and material of clothing are developed simultaneously instead of separately. Throughout the process of this work, I want to practically explore the following questions: How can the process of making become tangible in the outcome? How can the way of making become a tool for artistic expression? This work aims to find practical answers to these questions in form of woven clothes. Weaving techniques are applied to the design of the garments. Tapestry techniques are used in order to create vertical slits/ openings for body parts. Garment forms are developed by experimenting with rectangular shaping/ block pattern making. The result is a collection of seven unique wearable pieces. They are one-of-a-kind luxury clothes, couture so to speak, made using different materials and woven structures on different types of looms. Last but not least the row of garments represent and show my learning process and adaption to a new way of working, a different way of designing and making clothes.

Old men ought to be explorers Here or there does not matter We must be still and still moving Into another intensity For a further union, a deeper communion Through the dark cold and the empty desolation, The wave cry, the wind cry, the vast waters Of the petrel and the porpoise. In my end is my beginning.

[ES] A lo largo de la historia, la arquitectura ha jugado un papel clave en la relación entre las firmas de Alta Costura y sus clientes. Además de servir de escenario para la moda en momentos puntuales como los desfiles, acerca el mundo creado por los diseñadores a las personas, mediante la tipología arquitectónica a estudiar: las boutiques. El diseño de estos espacios se convierte en la materialización arquitectónica de los valores y la línea estética de cada casa de moda. Desde los aspectos más visuales, como la materialidad constructiva o la iluminación, hasta otros más sutiles, como los recorridos planteados, estos proyectos consiguen elevar el trámite comercial a una experiencia sensorial única. Este trabajo de investigación pretende analizar las estrategias empleadas por los arquitectos para traducir a espacios físicos, la esencia de tres firmas de Alta Costura. Los casos objeto de estudio son: las boutiques de Issey Miyake y Jean Paul Gaultier en Nueva York, y la de la casa Valentino en Roma., [EN] All throughout history, architecture has played a key role in the relationship between Haute Couture houses and their clients. Not only does it serve as a main stage for fashion in specific moments such as fashion shows, but it brings the people closer to the world created by designers via the architectural typology to study : their boutiques. This establishments¿ design constitutes the architectural embodiment of each fashion house¿s values and aesthetic line. From the more visual aspects, like the constructive materiality or the lighting, to more subtle ones, like the planned circuit around the space, these projects elevate the commercial transaction to a unique, sensorial experience. This research work will analyse the strategies used by the architects to translate to physical spaces, the essence of three Haute Couture brands. The cases object of study are: Jean Paul Gaultier and Issey Miyake¿s boutiques in New York, and the boutique of house of Valentino in Rome., [CA] Al llarg de la història, l’arquitectura ha jugat un paper clau en la relació entre les signatures d’Alta Costura i els seus clients. A més de servir d’escenari per a la moda en moments puntuals com les desfilades, acosta el món creat pels dissenyadors a les persones, mitjançant la tipologia arquitectònica a estudiar: les boutiques. El disseny d’aquests espais es converteix en la materialització arquitectòni-ca dels valors i la línia estètica de cada casa de moda. Des dels aspectes més visuals, com la materialitat constructiva o la illuminació, fins uns altres més subtils, com els recorreguts plantejats, aquests projectes aconsegueixen elevar el tràmit comercial a una experiència sensorial única. Aquest treball de recerca pretén analitzar les estratègies emprades pels arqui-tectes per a traduir a espais físics, l’essència de tres signatures d’Alta Costura. Els casos objecte d’estudi són: les boutiques de Issey Miyake i Jean Paul Gaultier a Nova York, i la de la casa Valentino a Roma.

MODA VE SANAT BAĞLAMINDA ROBERTO CAPUCCİ ÖRNEĞİ VE GİYİLEBİLİR SANAT Özet Bu çalışma İtalyan moda tasarımcısı Roberto Capucci’nin 1950’li yıllarda ve sonrasındaki kırk yıl boyunca moda, Haute Couture ve Giyilebilir Sanat alanındaki çalışmalarına ve Capucci’nin diğer tasarımcılara, moda takipçilerine ve moda sektörüne etkilerine değinmektedir. Roberto Capucci’ nin kendinden sonraki dönemlerde Giyilebilir Sanat ve Haute Couture alanında bir ilham kaynağına dönüşmesi araştırılacaktır. Roberto Capucci, 1930 yılında Roma’da doğmuş ve II. Dünya Savaşı'ndan sonra ortaya çıkan modern İtalyan moda endüstrisi tarihinin başlangıcı içinde doğan bir tasarımcı olmuştur. 1951 yılında yirmi bir yaşındayken, Floransa’da kendi modaevini açmış ve kendi koleksiyonlarını hazırlamaya başlamıştır. Moda konusunda geniş hayran ve müşteri kitlesine sahip olan Capucci, halen Roma’da yaşamaktadır. Renk, materyal ve form konusundaki devrimsel tasarımlarıyla kendi döneminde bilinen sınırları değiştirmiştir. Tasarımcı özel yenilikleri, zaferleri ve kaygıları arasında dolaşarak yaratımlarda bulunmuştur. Tasarımlarında doğa, mimari ve çağdaş sanattan ilham almış ve etkilenmiştir. Dünya gezileri düzenlemiş ve İtalya’ya döndüğünde önemli çağdaş tasarımlara imza atmıştır. Dünyanın çeşitli sanat müzelerinin koleksiyonlarında yer alan; deneysel gelişmiş heykelsi ve doğa etkileşimli sanatsal çağdaş giysi tasarımları ve müzelerde sergilenen Giyilebilir Sanat anlayışındaki tasarımları ile tanınmaktadır. Tasarımlarından oluşan koleksiyonları önemli sanat müzelerinin süreli sergileri olarak da yer almaya devam etmektedir. Çalışmada sanatçının giysi tasarım alanına getirdiği farklı bakış açısı, moda tasarım kavramına ve moda eğilimlerine yaklaşımı ve bahsi geçen tasarım koleksiyonları, sanatsal ve teknik açıdan incelenecektir. Anahtar Kelimeler: Moda, Haute Couture, Giyilebilir Sanat, tasarımcı. Anahtar Kelimeler: Anahtar Kelimeler: Moda, haute couture, giyilebilir sanat, tasarımcı. ROBERTO CAPUCCI EXAMPLE IN THE CONTEXT OF FASHION AND ART AND WEARABLE ART ROBERTO CAPUCCI EXAMPLE IN THE CONTEXT OF FASHION AND ART AND WEARABLE ART Abstract This study is about Italian fashion designer Roberto Capucci's works during the 1950s and after 1950's, fashion, Haute Couture and Wearable Art and also the effects of Capucci on other designers, fashion followers and the fashion industry. It will be explored as a source of inspiration in art and Haute Couture. Roberto Capucci will be investigated as a source of inspiration in Wearable Art and Haute Couture. Roberto Capucci was born in Rome in 1930; Born in the beginning of the history of the modern Italian fashion industry that emerged after World War II. After World War II, in 1951, at the age of twenty-one, he opened his own fashion house in Florence and began to design his own collections. He has great number of customers and admires. He still lives in Rome Italy. He has changed the boundaries of garment design with his revolutionary designs in terms of color, material and form. The designer made his contributions by traveling through special innovations, victories and concerns. He was inspired and influenced by nature, architecture and art in his designs. He organized world trips and when he returned to Italy, he put his signature under important contemporary designs. In the collections of various art museums of the world; He is well-known for his designs in experimentally sculptural and natural interactive artistic contemporary clothing designs and wearable art concepts exhibited in museums. The collections of his designs continue to take place as permanent exhibitions of important art museums. In this paper, his experimental, advanced, sculptural nature influenced and revolutionary high fashion designs and collections, which are among the collections of world museums are examined by their artistical and technical qualities. Key Words: Fashion, Haute Couture, art, designer. Keywords: Key Words: Fashion, haute couture, art, designer.

We analyse the emergence of Italy as a fashion country with a reconstruction of the history and impact of the collective fashion shows that Giovanni Battista Giorgini organised in Florence ...

Diplomski rad podjeljen je na teorijski i eksperimentalni dio. U teorijskom dijelu opisani su i analizirani pojmovi haute couture, pret-a-porter i korzet. Kroz eksperimentalni dio razrađen je model korzeta te je izrađena mini kolekcija za jesen/zimu 2020./2021. godine pod nazivom 'Il Ponte'. Cilj rada je prikazati korzet u suvremenoj kolekciji odjeće koji oblikuje figuru, ali i dalje omogućava pokret te ujedno zadržava estetsku vrijednost i daje dašak luksuza. Kolekcija sadrži tri haljine i tri korzeta koji su prikazani na slikama. Namjenjena je samosvjesnim, zdravim ženama koje žele odjećom naglasiti svoju ljepotu i ženstvenost. Odjevni komadi se mogu kombinirati na više načina te nositi i na dnevnim i svečanijim događajima., The master thesis is divided into theoretical and experimental part. Terms haute couture, prêt-a-porter and corset are described and analyzed in the theoretical part. Corset model was developed through the experimental part and mini colection ' Il Ponte' was developed for fall/winter 2020/2021. The collection contains three dresses and three corsets which are shown in the pictures. The main intention of this thesis is to present corset in contemporary fashion collection that shapes the figure, but still allows movement and at the same time retains it's aestetic value and gives a touch of luxury. It was made for self-conscious and healthy women who want to emphasize their beauty and femininity with clothes. All the pieces from this collection can be combined in several ways and be worn at both daily and festive events.

Dans les pays anglo-saxons d’abord depuis plus d’un quart de siècle, en France ensuite depuis une dizaine d’années, l’histoire générale des styles, du costume, du design industriel et des objets d’art a cédé la place à de nouveaux développements. Pour les spécialistes versés dans ces domaines, il s’est agi avant tout d’utiliser les méthodes en vigueur dans les sciences historiques afin de faire reconnaître la légitimité d’un nouvel espace de recherche. En effet, longtemps tiraillé entre, d’un...

Ovaj diplomski rad obraditi će temu „Migracije i moda u kontekstu održivosti nacionalnog identiteta“. Rad se bavi analiziranjem utjecaja migracija i napuštanja ruralne sredine s gubitkom nacionalnog identiteta i njegovom održivošću. Isto tako propituje razne čimbenike i okolnosti koje utječu na promjene nacionalnih identiteta te kako utjecaj života „zapada“ utječe na samo odijevanje i tradiciju sela. Ovaj diplomski rad će pokušati objasniti sličnosti između visoke mode i narodne nošnje. Također propituje kako tradicionalnu odjeću pretočiti u suvremeni modni dizajn. To će se objasniti kroz poglavlje rada na kolekciji gdje će se prikazati cijeli proces izrade kolekcije od skice do gotovog proizvoda. Cilj ovog rada je ukazati na probleme koje se događaju u vremenu kojem živimo i direktno utječu na budućnost mladih ljudi u Hrvatskoj. Isto tako pokušat će se istražiti je li tradicija živa i održiva u današnje vrijeme gdje utjecaj globalizacije mijenja sve iz temelja te stare tradicije, običaje i odijevanje koji se nikako ne uklapaju u moderni način života i samo društvo., This master theses will work on the title "Migration and fashion in the context of national identity sustainability". Theses are analyzing the impact of migrations and abandoning rural environment without losing national identity and their sustainability. As well as questioning different facts and circumstances who impact on national identity changes and how the west type of living affect clothing and tradition of the village. This master theses will try to explain the similarities between Haute Couture and traditional folk costume. Also, questions how to translate traditional costume in contemporary fashion design. That will explain through chapter; working on the collection where will be described the whole process of making, from sketch to the finished product. The main goal of this these is to indicate actual problems that are happening in this present time and directly affects the future of young people in Croatia. As well will try to investigate is tradition alive and sustainable nowadays where effects of globalization change everything for the scratch and old traditions, customs and clothing which does not fit into a modern lifestyle and society alone.

Ovaj završni rad podijeljen je u tri tematske cjeline. U prvoj se raspravlja o odnosu mode i umjetnosti, drugu čine život i djelo Christiana Diora, a u trećoj se cjelini analizira odnos umjetnosti i mode na primjeru Christiana Diora, s naglaskom na analizu nekoliko njegovih odjevnih predmeta. Odjevnim se predmetima pristupa s dva različita gledišta-odjevni predmet kao umjetničko dijelo i odjevni predmet kao produkt dizajna. Završni rad, osim analize radova, obuhvaća i kraću biografiju Christiana Diora kao modnog tvorca i ikonu koja je inspiracija dizajnerima danas. Kroz cijeli rad naglasak je stavljen na apstraktno mišljenje, naročito pri analizi Diorovih odjevnih predmeta. Korišteni su i paralelni primjeri iz svijeta mode i svijeta umjetnosti. Na temelju podrobne analize dolazi se do zaključka da se odjevni predmeti sagledavaju u cjelini jer svi predstavljaju gotovo savršenstvo spoja umjetnosti i dizajna., This work is divided in to three thematic units. The first part describes the relationship between art and fashion, the second the life and work of Christian Dior and in the third part, the text analyses the connection between art and fashion on the example of Christian Dior, with the emphasis on the analysis of several Dior's pieces. In the analysis, the garments are viewed from two different view points - as works of art and as productsof design. This text, besides the analysis of his work, includes Christian Dior's short biography, for he is a fashion designer and an icon that inspires designers even today. Through out the work, emphasis was placed on abstract thinking, especially in the analysis of Dior's clothing. Parallel examples from the world of fashion and the world of art are also used. Based on the analysis conducted in this text, it is safe to conclude that fashion items have to be viewed as a perfect combination of both art and fashion.

Cette thèse est une enquête dans un domaine peu étudié des relations internationales. Elle s’intéresse au rôle de la mode vestimentaire féminine dans les relations franco-américaines de 1946 à 1960. L’analyse est concentrée sur les acteurs français, soit les pouvoirs publics et les organes diplomatiques, les couturiers parisiens et les industriels du textile. Cette orientation fait ressortir les deux terrains sur lesquels ceux-ci souhaitent voir se manifester une influence de la mode aux États-Unis, soit la propagande commerciale et la propagande de prestige. Ces deux formes de propagande peuvent être effectuées par des actions indirectes (diffusion des défilés dans la presse) ou des actions directes (manifestations en faveur de produits spécifiques ou de la production française dans son ensemble). Cette analyse est complétée par l’intégration de la perspective des professionnels américains de la mode (presse spécialisée, confectionneurs et détaillants) et celle de la diplomatie américaine en France, ainsi que l’étude des statistiques douanières. Cela permet d’évaluer, du point de vue des acteurs historiques, le degré de succès de la mode en tant qu’instrument d’influence française aux États-Unis par rapport aux attentes françaises. La problématique à laquelle cette thèse répond est la suivante : quelle est l’importance de la mode en tant qu’instrument d’influence française aux États-Unis après la Seconde Guerre mondiale? Afin d’y répondre, l’analyse procède en trois étapes. D’une part, le croisement des contextes historiques de la mode et des relations franco-américaines met en lumière l’importance de l’avènement de la superpuissance américaine. Celle-ci impose aux Français de s’adapter sur le plan de leur méthode de production et de leur rapport à la conception américaine de la modernité libérale et démocratique. D’autre part, la recherche repose sur une approche chronologique distinguant entre les périodes 1946-1951 et 1952-1960. La première précède l’intervention étatique en faveur des couturiers et la seconde est dominée par l’Aide publique à la couture-création parisienne. La thèse montre que l’influence commerciale de la mode aux États-Unis ne s’est pas matérialisée, contrairement aux prétentions des couturiers et aux attentes des industriels du textile. En revanche, en ce qui a trait à son influence sur le plan de la propagande de prestige, la situation est différente. Longtemps considéré comme un ersatz à la finalité commerciale de la propagande par l’État, à l’exception de la diplomatie qui l’apprécie particulièrement, à partir de 1957, le rayonnement de la France par la diffusion des idées de mode devient clé pour les dirigeants français. Il s’agit alors de profiter de l’engouement pour les idées parisiennes afin d’assurer une présence française, au-delà de la mode, sur le marché américain, espace de consommation de masse difficile à pénétrer et le plus important au monde., This thesis is a survey of a rarely studied field of international relations. It is interested in the role of women’s sartorial fashion within the Franco-American postwar relations between 1946 and 1960. The analysis takes on the French perspective through the prism of the public authorities and diplomatic bodies, Parisian couturiers, and textile manufacturers. This orientation highlights the two fields on which these actors wish to see manifest an influence of fashion in the United States, namely commercial and prestige propaganda. In their perspective, these two forms of propaganda can be implemented either through indirect actions (press coverage of their fashion shows) or direct actions (shows organized to promote specific products or French production as a whole). The analysis is then completed by integrating the perspective of American fashion professionals (specialized press, manufacturers and retailers) and that of the American diplomatic bodies in France, and the study of customs statistics in order to evaluate, from the viewpoint of these historical actors, the degree of success of fashion as an instrument of French influence in the United States in regard of the initial French expectations. The research question answered by this thesis is: How important is fashion as an instrument of French influence in the United States after the Second World War? In order to answer it, the analyses procedes in three steps. On the one hand, the intersection of the historical contexts of fashion and Franco-American relations highlights the importance of the advent of the American superpower. This requires the French to adapt in terms of their production methods and their relationship to the American perspective of liberal and democratic modernity. On the other hand, the research was based on a chronological approach distinguishing between the 1946-51 and 1952-60 periods. The first one precedes the state intervention in favor of the Parisian couturiers and the second one is dominated by the state-sponsored Aid to Parisian couture. The thesis shows that the commercial influence of Parisian fashion in the United States did not materialize contrary to the couturiers’ claims and to the textile industrialists’ expectations. However, with respect to its influence through prestige propaganda, the situation is quite different. Long regarded as an ersatz to the commercial purpose of propaganda by the state – with the exception of the French diplomatic bodies that particularly appreciate its prestige purpose –, from 1957, France’s “rayonnement” through the dissemination of fashion ideas becomes key to French leaders. From then on, its role is to take advantage of the craving for Parisian fashion ideas to ensure a French presence – beyond fashion – in the American market: a mass market otherwise difficult to penetrate, being the largest in the world.

Ever since the couture maison Christian Dior (CD) joined the Chambre Syndicale De La Haute Couture, it has been presenting its biannual runway shows for approximately 70 years. “Aesthetic elegance” the essence of haute couture is what couturiers in Christian Dior have to portray in their garments. However, Raf Simons, who took over Dior after John Galliano, was unable to do this. This paper proves this fact by using the criteria set by Suzuki from his working experience with Guy Laroche in 1980s. Using this criteria, examined are Galliano's 11 AW and Simons' 14 AW as well as his 12 AW as appearing in the film “Dior and I,” which describes the designing and manufacturing process of the collection. The study confirms that while Galliano met the standard of haute couture, Simons did not in that he did not compromise with the brand in his minimalism even though he did in terms of color. Simons' career cannot be termed as that of a true couturier. If his minimalism continues, haute couture, which necessitates gorgeousness, will disappear in CD. It was also revealed that the ateliers of couture maisons cannot do efficient work without well-trained couturiers. The paper confirms and concludes that couturiers affect the existence of couture maisons., Article, 日本感性工学会論文誌. 15(5):589-601 (2016)

İnsanlık tarihi boyunca tanık olunan politik, ekonomik, sosyolojik, kültürel değişimlere paralel olarak sanat akımlarının; dönemlerin estetik algıları dâhilinde paralel bir gelişim izlediği gözetilmektedir. Henüz moda teriminin kullanılmadığı dönemlerde bile toplumların öznel giyim alışkanlıklarının, dönemlerin sanat ve estetik unsurlarının ilhamı ile geliştiği söylenebilir. Sanayi öncesi toplumlarda giyim alışkanlıkları bireylerin toplumsal yapıdaki konumlarının göstergesi niteliğindeydi. Sanayi Devrimi sonrasında beliren tüketim algısı, giyinmeyi ihtiyaç olmaktan çıkarıp endüstri kültürünün döngüsüne alet etmiştir. Fransız İhtilali sonrasında beliren moda terimi; giyimi klasik ürünü olarak belirlemekle birlikte davranış, yaşama ve giyinme biçimi gibi geniş ifadeleri nitelemektedir. Zamanla kavramsal karakterini ön plana çıkaran moda terimi her alanda etkili bir rol üstlenmeye başlamıştır. Zanaat ve sanat kavramlarının birbirine yaklaşması ile başlayan moda ve sanat etkileşimi, temeli tasarıma dayanan bu iki alanın birbirine bağlanacağının ilk habercisi olarak görülebilir. Sanat ve modanın arasındaki sembiyotik ilişki kendini modernleşmenin ilk zamanlarından itibaren gözlemlenen sanatçı ve moda tasarımcılarının birlikte gerçekleştirdikleri çalışmalarda göstermeye başlamıştır. Bazı yorumcular iki alanın birbirlerinden farklı olduklarını sıklıkla dile getirirken, moda ve sanat ifadelerinin bir disiplin çatısı altında olamayacağını savunmuşlardır. Zamanla etkileşim sürecinin izlediği yol bizi disiplinlerarası sanat yorumlarına götürmektedir. Değişen estetik algı ile birlikte başkalaşan bu eserler, kendilerine moda ve sanat alanlarını ayırt etmeksizin bir yer edinmeye başlamışlardır. Yirminci yüzyılın ikinci yarısında sanatın genel karakteri ile var olan değerler ve kesin yargıların zamanla aşılmaya başlanması, geniş sınırlara sahip post-modern yaklaşımı ortaya çıkarmıştır. Post -modern dönemin esnek karakteri ve farklı estetik algıları ile ortaya çıkan eserlerde sanatçıların ana fikri izleyiciye en etkili biçimde geçirmeyi denerken yararlanabilecekleri malzeme ve kurgu biçimlerinin yelpazesi sınırsızdır. Sanatçılar farklı disiplinleri tek paydada buluşturarak etkileşimin ötesinde birbirlerinin alanlarında sınır gözetmeksizin yer almalarını sağlarken; estetik biçimlerden, malzeme ve konu seçimlerine kadar özgür davranabilme yetisine sahip olmuşlardır. Bu çerçevede ortaya çıkan giyilebilir eserlerin post -modern dönem estetik yargılarına bağlı bir sanat yorumu olduğunu, farklı perspektiflerden bakarak söyleyebiliriz. Bu araştırmanın amacı; giyilebilir sanat tasarımlarına farklı perspektiflerden bakarak postmodern dönem yapısı içerisinde sanat eseri olarak algılanabilir olduklarına ışık tutmaktır. Disiplinlerarası sanat ortamında yeşeren bu giyilebilir sanat eserlerine gelinceye kadar geçirilen süreçte giyim teriminin ve giyinme fiilinin kavramsallaşması, haute-couture kavramının tarih boyunca geçirdiği başkalaşım ile yaratılan sanat formlarına dönüşümü sanat tarihinin kronolojik sırası ile incelenmiştir. Yapılan araştırmalar sonucunda modayı dönemin estetik algısına dayanan bir sanat formu olarak ele alan kaynak sayısının kısıtlı olduğu görülmüştür. Günümüzde disiplinlerarası sanat faaliyetlerinin son derece artmış olmasının araştırmanın konusunu önemli kıldığı düşünülmektedir. Araştırmanın özü sanatın tanımına dayandığı için konu sanatın doğuşu ve farklı sanat yorumları ile başlamaktadır. Sanat tarihinde moda teriminin doğmasına ortam hazırlayan önemli sosyal, toplumsal, siyasi ve ekonomik gelişmelere yer verilirken görsel sanatlar sanat kavramının; giysi modası ise moda kavramının ifadesi olarak belirlenmiştir. Devam eden bölümlerde giyilebilir sanat kavramı postmodern dönem sanatı ve estetik yapısı ele alınarak görsel bulgular dâhilinde incelenmiştir. Çalışma nitel araştırma tekniği ile yapılmıştır. Veri toplama tekniği olarak doküman analizi kullanılmıştır. Türkçe ve yabancı dilde konu ile ilgili olarak düzenlenen kaynaklar analiz edilmiştir. Betimsel analiz tekniği ile belirlenen veriler, belirtilen yargıyı ifade edecek görsellerle desteklenmiştir. Atıf ve alıntılar çalışmanın bölümlerine göre düzenlenmiş, ulaşılan bulgular bölümler dâhilinde yorumlanmıştır. In parallel with the political, economic, sociological and cultural changes witnessed by the history of humanity, it is seen that the artistic currents have been developed within the aesthetics of the period. Even when the term fashion was not used, it can be said that the subjective clothing habits of the societies developed with the inspiration of the art and aesthetic elements of the periods. In pre-industrial societies, clothing habits were indicative of the position of individuals in the social structure. As the industrial revolution increased consumption requirements eliminated the dressing need and attached it to the cycle of industrial culture. Clothing has been a classical product for the fashion term that has included some broad expressions such as behavior of life and dressing types was appeared after French Revolution. In time, the term fashion eye, which brought the conceptual character to the forefront, started to play an effective role in every field. Fashion and art interaction started with convergence of art and craft concepts can be seen as precursor of these two design- oriented fields to connect to each other .The symbiotic relationship between art and fashion has begun to show itself in the works of artists and fashion designers who have been observed from the early days of modernization. Some of the art organizations, rather than the creators of fashion and art, have been reluctant to embrace the place of fashion in the art world, suggesting the differences that exist between these two areas. But, the art community has accepted fashion as a legitimate form of art with a different aesthetic since the late twentieth century. In time, the process of the interaction process leads us to interdisciplinary art interpretations. Together with the changing aesthetic perception, these works have begun to gain a place without distinguishing themselves from the fields of fashion and art. The post-modern approach having wide borders was revealed with the existing values by means of the general character of art and definite overcome judgements existed in second half of the twentieth century. Materials and design types spectrum of the Post-modern era flexible character and the work emerged with different aesthetics, is infinite. Different disciplines met in a single denominator and they were able to act free from aesthetical forms, techniques, material and subject choices while they were in the fields of each other beyond the mutual interaction. We can say from the different perspectives that wearable works emerged within this framework are an art interpretation based on post-modern aesthetic judgments. The purpose of the research is to reveal that wearable art design can be perceived as an art work in the post-modern period structure by looking at them from different perspectives. The concept of clothing and dressing in the process from the interdisciplinary to the wearable works of art and the transformation of the concept of the haute-couture into the art forms created by the metamorphosis of the history have been examined chronical order of art history. As a result of the researches, the number of sources that treat fashion as an art form based on the aesthetic perception of the period is limited. It is thought that the increase of interdisciplinary art activities today has made the subject of study important. As the result of the research is based on the definition of art, the subject begins with the birth of art and different art interpretations. In the history of art, the term of art with visual art and also the term of fashion with dressing fashion were examined while giving importance to the important social, social, political and economic developments that created the platform for appearance of fashion term. In the following sections, the concept of wearable art was examined in the context of post-modern art and aesthetic structure. The research is a qualitative research. In this context, document analysis is used as data collection technique. Resources on Turkish and foreign languages were analyzed. The data obtained are supported by the visuals that are thought to be suitable for sampling the problem. Descriptive analysis was used as data analysis technique. Quotations and references were made, the data were summarized and interpreted according to the themes and the themes were related to each other. 151

À partir de Siegfried, Jouvet fait appel à de grands couturiers parisiens pour réaliser les costumes de ses pièces, notamment pour les œuvres de Giraudoux même si les éditions ne le mentionnent pas toujours. Robes des vedettes ou intégralité des costumes, achats ou prêts, les modes de participation diffèrent, ce qui pose un certain nombre de questions puisque cette collaboration économique autant qu’artistique contribue à donner une certaine image de l’auteur., From the production of Siegfried onwards, Jouvet called on major Parisian dressmakers to create costumes for his plays, notably for Giraudoux’s works, even though the published editions did not always mention them. His varied approach—whether he obtained dresses for the leads or the whole cast, or bought or hired them—raises a number of questions, since this commercial and artistic collaboration contributed to creating a certain image of the author.

Метою статті є визначення факторів та критеріїв формування модних тенденцій та проектних образів в індустрії моди, заснованих на асиміляції різних проявів офіційної та вуличної моди, з урахуванням розвитку та трансформації в часі соціально-культурних стан­дартів суспільства масового вжитку. Методологія дослідження передбачає застосування системного підходу до процесу проектування костюма, що проявляється у класифікації про­ектно-типологічних засобів формування асортименту та проектування сучасного одягу ма­сового вжитку в індустрії моди. Наукова новизна. У роботі обґрунтовано, що в 70-і роки XX ст. на формування модних тенденцій активний вплив справляли не тільки значною мірою поширені молодіжні субкультури, а і вулична мода як віддзеркалення потреб і побажань ма­сового споживача. Визначено, що модні тенденції, створювані модельєрами та кутюр ’є, більше не були догматичним диктатом, а виконували функцію рекомендацій, увібравши в себе потреби, інтереси та побажання клієнтів. Обґрунтовано, що в той же час активно розвивалися національні і регіональні ринки модного одягу, модельєри і дизайнерські бренди, в яких ефективніше відображалися місцеві культурні тенденції і споживацькі побажання та смаки. Висновки. Початок 70-х років XX ст. дав могутній поштовх розвитку індустрії модного одягу. Під впливом демократизації моди «haute couture» й активного розвитку мо­лодіжних рухів соціально-культурного характеру (у тому числі і субкультур), сформувалася нова естетика в суспільстві, пропагована масовим виробництвом модного одягу для широ­ких верств споживачів. Модний одяг prêt-a-porter, який пропонували всі провідні Будинки мо­ди та дизайнерські бренди, представляв моделі широкого повсякденного вжитку, орієнтовані на клієнтів з активною життєвою та соціальною позицією. Саме в 70-і роки XX ст. індустрія моди виходить за межі Франції, як єдиного законодавця моди. Активне становлення і розвиток промисловості, зокрема текстильної і швейної, що прийшов на зміну всесвітній економічній кризі, сприяє тому, що і в Італії, і в США, і, безумовно, у самій Фран­ції з ’являються нові бренди і торгові марки модного одягу, які визначають тенденціїрозви- тку силуету, асортименту, колориту та інших характеристик модного одягу масового вжитку. У результаті стає очевидним, що єдиної моди більше не існує - вона поділяється на окремі напрями, стилі, прив ’язується до потреб різних груп споживачів і можливостей окремих сфер діяльності текстильної і швейної промисловості., Цель работы - характеристика факторов и критериев формирования модных тен­денций и проектных образов в индустрии моды, основанных на ассимиляции различных про­явлений официальной и уличной моды, с учетом развития и трансформации во времени со­циально-культурных стандартов общества массового потребления. Методология данного исследования определяется применением системного подхода к процессу проектирования костюма, что проявляется в классификации проектно-типологических средств формирова­ния ассортимента и проектирования современной одежды массового потребления в инду­стрии моды. Научная новизна. В работе обосновано, что в 1970-е годы на формирование модных тенденций активное влияние оказывали не только в значительной мере распростра­ненные молодежные субкультуры, но и уличная мода как отражение потребностей и по­желаний массового потребителя. Определено, что модные тенденции, создаваемые модельерами и кутюрье, больше не были догматичным диктатом, а выполняли функцию ре­комендаций, впитав в себя потребности, интересы и желания клиентов. Обосновано, что в то же время активно развивались национальные и региональные рынки модной одежды, мо­дельеры и дизайнерские бренды в которых эффективнее отображали местные культурные тенденции и потребительские пожелания и вкусы. Выводы. Таким образом, начало 70-х го­дов ХХ ст. дало могучий толчок развитию индустрии модной одежды. Под воздействием демократизации моды «hautecouture» и активного развития молодежных движений соци­ально-культурного характера (в том числе и субкультур различного толка), сформировалась новая эстетика в обществе, пропагандируемая массовым производством модной одежды для широких слоев потребителей. Модная одежда pret-a-porter, которую предлагали все ве­дущие Дома моды и дизайнерские бренды, представляла модели широкого повседневного на­значения, ориентированные на клиентов с активной жизненной и социальной позицией. Как бы то ни было, именно в 70-ые годы ХХ ст. индустрия моды выходит за пределы Франции как единственного законодателя моды. Активное становление и развитие промышленно­сти, в частности текстильной и швейной, что пришло на смену всемирному экономическо­му кризису, способствует тому, что и в Италии, и в США, и, безусловно, в самой Франции появляются новые бренды и торговые марки модной одежды, которые определяют тен­денции развития силуэта, ассортимента, колорита и других характеристик модной одеж­ды массового спроса. В результате становится очевидным, что единой моды больше не существует - она делится на отдельные направления, стили, привязывается к потребно­стям разных групп потребителей и возможностей отдельных сфер деятельности тек­стильной и швейной промышленности., Purpose of Research. The purpose of the article is to define the description of factors and criteria offorming offashion tendencies and project images in fashion industry, based on assimila­tion of different forms of official and street fashion, provided to the development and transformation of the social and cultural standards in the society of mass consumption. Methodology. The basis of the research methodology is formed by the method of design of the systems, which determines effi­ciency of application of system approach to the process of planning of costumes. The principles of the system approach are highlighted in the classification of typical and projective facilities ofform- ing the assortment and planning of modern clothes of mass consumption in fashion industry. Scien­tific Novelty. In the article, the author proves that in 1970th the forming of fashion trends was under the influence of the widespread teenagers ’ subcultures and the street fashion as the reflec­tions of necessities of a mass consumer. It is defined that the fashion tendencies, created by design­ers and couturier, did not have the character of dogmas. They functioned as recommendations, absorbing necessities, interests and desires of clients. It is also grounded, that at the same time there was the active development of national and regional markets offashion clothes, designers and designer brands. The local cultural tendencies and consumers ’ wishes and tastes were represented properly. Conclusions. Thus, the 1970s gave a powerful impetus to the development of fashion in­dustry. A new aesthetics in society, propagandized by the mass production of fashionable clothes for the public, formed under the influence of the democratization of «haute couture» fashion and active youth movements of the socio-cultural nature (including various subcultures of different sense). The fashion pret-a-porter clothes, offered by all leading fashion houses and designer brands, was represented by the models for a wide range of daily use and was oriented to the clients with an active lifestyle and social position. Anyway, in 1970th fashion industry went outside France as a unique fashion legislator. The active formation and development of industry, particularly tex­tile and sewing, that had replaced the world economic crisis, promoted the creation of new brands and trademarks in Italy, the USA and France. Those brands and trademarks determined the pro­gressive trends of silhouette, assortment, colour and other descriptions of fashion clothes of mass demand in modern fashion industry. Thus, the unique fashion does not exist anymore. It is divided into separate directions, styles, related to the necessities of different groups of consumers and pos­sibilities of separate spheres of activity of textile and sewing industry.

This article aims to present and reflect on the course of the fashion designer Charles Frederick Worth. Some of the major moments of his professional career and his relevance for the study of the Fashion History will be pointed out. The study highlights the years 1850’s and 1860’s, the period of the ascension of Worth, in an age known as the Second French Empire. Este artigo tem por objetivo apresentar e refletir sobre o percurso do criador de moda Charles Frederick Worth. Serão apontadas algumas das principais etapas de sua carreira profissional e sua importância para o estudo da História da Moda. Esta pesquisa destaca as décadas de 1850 e 1860, momento de ascensão do costureiro dentro da época que ficou conhecida como Segundo Império Francês.

The present text analyzes the paradoxes of fashion from the perspective of other fields of study related to Fashion, such as anthropology, sociology, semiology and history. Fashion is usually treated only as an industrial and commercial phenomenon, sometimes as a superficial manifestation of society, but it is a system of signs that responds to the deep needs of society. Fashion contains as many contradictions and paradoxes as the society and the contemporary human being: that’s probably where its success lies. El presente texto analiza las paradojas de la moda desde la perspectiva de otros campos de estudio relacionados con la Moda, como la antropología, sociología, semiología e historia. La Moda suele ser tratada únicamente como un fenómeno industrial y comercial, en ocasiones como una manifestación superficial de la sociedad, pero es un sistema de signos que responde a necesidades profundas de la sociedad. La moda encierra tantas contradicciones y paradojas como la sociedad y el ser humano contemporáneo: ahí radica probablemente su éxito. O presente texto analisa os paradoxos da moda a partir da perspectiva de outros campos de estudo a ela relacionados, como a antropologia, a sociologia, a semiologia e a história. A Moda comumente é analisada unicamente como um fenômeno industrial e comercial, às vezes como uma manifestação superficial da sociedade; no entanto, é um sistema de sinais que responde a necessidades profundas da sociedade. A moda encerra em si as contradições e os paradoxos da sociedade e do ser humano contemporâneos: aí radica provavelmente o seu êxito.

Мета роботи. Метою статті можна визначити художньо-образну характеристику та суспільне обгрунтування основних модних тенденцій 1960-х років та їх вплив на формування основних напрямів індустрії моди сучасності, зокрема у формуванні актуальних проектних образів у дизайні костюма. Методологія. Для досягнення поставленої мети в роботі застосовуються базові принципи дизайну систем, спрямовані на проектування різних видів сучасного модного одягу в умовах промислового виробництва. Метод історико-логічного розвитку дає можливість дослідити костюм у процесі розвитку та взаємодії з навколишнім середовищем. Наукова новизна. Обгрунтовано, що модні зміни 1960-х років сприймаються критиками і оглядачами моди не як щосезонні коливання споживацького смаку або переваг, а як інновації, що впливають на еволюцію модних процесів, перегляд суспільних цінностей і моральних засад, що залишили незабутній слід у розвитку моди. Визначено, що з того часу альтернативна мода, або так звана антимода, постійно і настирливо вплітається у творчість модельєрів «haute couture» і навпаки - часто висока естетика реалізується через «вуличну моду». Висновки. Як показує аналіз еволюції моди першої половини XX століття, до початку 1960-х років основними споживачами моди були представники вищих верств суспільства столиць і великих міст Європи, в основному Парижа, Мілана, Відня, які беззастережно несли в маси елегантні пропозиції відомих кутюр'є. З іншого боку, демократичні зміни в суспільстві та покращення соціальних стандартів 1960-х років призвели до внутрішньої особистісної розкутості кожного індивіда та зміни способу життя суспільства в цілому. У «споживацькому суспільстві», що формувалося, створювалося все більше умов для задоволення купівельних потреб, а так звана «американська мрія» дедалі активніше завойовувала симпатії європейських споживачів життєвих благ. Немало цьому сприяв активний розвиток засобів масової інформації (у тому числі телебачення), спрямованих на формування і розширення споживацького попиту. Отже, одним з досягнень цього періоду, безумовно, необхідно назвати взаємодію Високої моди і моди вуличної, на стику яких одержали розвиток нові напрями дизайну костюма, формування моди для масового споживача, індустріалізацію і демократизацію моди. При цьому змінам піддалися не тільки розробка і виробництво модного одягу, а й система його розповсюдження і реалізації: ЗМІ, реклама, система бутиків та магазинів, іншими словами - активно формувалася структура індустрії моди в сучасному її розумінні., Цель работы. Целью статьи можно определить художественно-образную характеристику и социально-общественное обоснование основных модных тенденций 1960-х годов и их влияние на формирование основных направлений индустрии моды современности, в частности при формировании актуальных проектных образов в дизайне костюма. Методология. Для достижения поставленной цели в работе применяются базовые принципы дизайна систем, направленные на проектирование разных видов современной модной одежды в условиях промышленного производства. Метод историко-логического развития предоставляет возможность исследовать костюм в процессе развития и взаимодействия с окружающей средой. Научная новизна. В работе обосновано, что модные изменения 1960-х годов воспринимаются критиками и обозревателями моды не как ежесезонные колебания потребительского вкуса или предпочтений, а как инновации, которые влияют на эволюцию модных процессов, пересмотр общественных ценностей и моральных основ, которые оставили неизгладимый след в развитии моды. Определено, что с того времени альтернативная мода, или так называемая антимода, постоянно и настойчиво вплетается в творчество модельеров «haute couture» и наоборот - часто высокая эстетика реализуется через «уличную моду». Выводы. Как показывает анализ эволюции моды первой половины XX века, к началу 1960-х годов основными потребителями моды были представители высших слоев общества столиц и крупных городов Европы, в основном Парижа, Милана, Вены, которые безоговорочно несли в массы элегантные предложения известных кутюрье. С другой стороны, демократические изменения в обществе и улучшение социальных стандартов 1960-х годов привели к внутренней личностной раскованности каждого индивида и изменения образа жизни общества в целом. В формировавшемся «потребительском обществе» создавалось все больше условий для удовлетворения покупательных потребностей, а так называемая «американская мечта» все активнее завоевывала симпатии европейских потребителей жизненных благ. Немало этому способствовало активное развитие средств массовой информации (в том числе и недавно появившегося телевидения), направленных на формирование и расширение потребительского спроса. Таким образом, одним из достижений этого периода, безусловно, необходимо назвать взаимодействие Высокой моды и моды уличной, на стыке которых получили развитие новые направления дизайна костюма, формирование моды для массового потребителя, индустриализация и демократизация моды. При этом изменениям подверглись не только разработка и производство модной одежды, а и система ее распространения и реализации: СМИ, реклама, система бутиков и магазинов, другими словами - активно формировалась структура индустрии моды в современном ее понимании., large cities of Europe mainly Paris, Milan, and Vienna were the basic fashion consumers. They unreservedly got across elegant suggestions of famous couturiers to mass customers. On the other hand, democratic changes in the society and improvement of social standards have led to the internal relaxedness of an individual and the overall change of the society.

La Haute couture naît à Paris, au XIXe siècle. Elle est connue comme un milieu assez fermé, car très peu de marques sont reconnues comme "maisons de haute couture". Nous partons à la rencontre de deux étudiantes en mode et d'une brodeuse professionnelle ayant cotoyé plusieurs de ces maisons.A travers cet entretien, nous découvrons les procédés et techniques de fabrication, l'impact économique et la clientèle de la Haute Couture.

Founded in 1875, Maison Lemarié is one of the last remaining plumassiers (feather-makers) anywhere in the world. In highly concentrated and minutely detailed work, the artisans at Lemarié painstakingly treat, dye and apply fragile feathers to haute couture garments. Mindful of preserving these rarefied skills, Chanel (a global fashion empire) purchased the workshop in 1997 as part of ‘Paraffection’. Paraffection, which roughly translates to ‘for the love of it’, is a Chanel subsidiary company established to preserve and promote the heritage, craft and manufacturing skills of highly specialized fashion ateliers. By enacting a visit to Maison Lemarié, this article demonstrates how its heritage and skills are embodied not only in the artisans working there but also in the feathered remains used and housed in the workshop. Unravelling the stories held in human and avian bodies, we suggest, enables a series of broader geographical reflections on skill, gender and Paraffection.

Magistrsko delo raziskuje področje tradicionalnih ročnih tekstilnih tehnik v visoki modi in analizira njihove značilnosti kot navdih za oblikovanje kolekcije. Namena raziskave sta eksperimentiranje z možnostmi in aplikacija ročnih tekstilnih tehnik v oblačilne principe oz. unikatno kolekcijo, ki se navdihuje s principi visoke mode. Teoretični del se osredotoča na pomen ročnih tekstilnih tehnik v sodobni modi in se ukvarja s problemom oživitve starih ročnih tekstilnih tehnik, ki so namenjene novi uporabi. Predstavljene so zanimive novodobne aplikacije tekstilnih ročnih tehnik v oblačilne principe. Razložena sta pomen in prihodnost tradicionalnih ročnih tekstilnih tehnik. Osnovni element kolekcije je gobelin, pri katerem z uporabo novih, netipičnih materialov in barv ter s kombinacijo ročnih tekstilnih tehnik oblikujemo nove oblike in silhuete. Princip oblikovanja povzema načine iz visoke mode, kjer je vsak kos unikat in večkrat nastaja sproti. Kolekcija temelji na inovativnem oblikovanju, kjer so vzorci gobelina nadgrajeni s 3D izgledom. S kombinacijo tekstur in struktur je ustvarjen videz prosojnosti vezenja. Vbodi so posodobljeni in se sestavljajo v celoto z zanimivimi barvnimi kvadratki. V oblikovani kolekciji so prepletene zgodbe podob in iluzij. Izhodišča so gobelin, računalništvo, arhitektura, pletenine in visoka moda. Rezultat magistrskega dela je sodobna unikatna kolekcija, ki zasleduje principe visoke mode, je prepoznavna in edinstvena ter utemeljena na uporabi in inovativni implementaciji ročnih tehnik. V tehniki prevladuje gobelin, uporabljeni pa so tudi drugi ročni tekstilni principi, kot so makrame, kvačkanje, pletenje in vezenje. The master's thesis explores the field of traditional hand-made textile techniques in high fashion and analyzes their characteristics as inspiration for the design of the collection. The purpose of the research is experimenting with the possibilities and applications of manual textile techniques in clothing principles or a unique collection inspired by the high fashion principles. The theoretical part focuses on the importance of manual textile techniques in contemporary fashion and deals with the problem of reviving old hand-made textile techniques intended for a new use. New interesting applications of textile hand techniques in clothing are presented. The meaning and the future of traditional hand-made textile techniques are explained. The basic element of the collection is gobelin, in which we use new, untypical materials and colors and a combination of hand-made textile techniques to form new shapes and silhouettes. The design principle summarizes the modes of high fashion, where each piece is unique and is repeatedly produced on a regular basis. The collection is based on innovative design, where gobelin patterns are upgraded with a 3D look. A combination of textures and structures creates the appearance of embroidery transparency. The stitches are updated and are made up of interesting color squares. In the created collection, stories of images and illusions are intertwined. The starting points are gobelins, computer science, architecture, knitwear and high fashion. The result of the master's thesis is a contemporary unique collection that follows the principles of high fashion, is recognizable and unique and is based on the application and innovative implementation of manual techniques. The technique is dominated by gobelins and other hand-made textile principles, such as macrame, crochet, knitting and embroidery.

Cet article examine la création et la production des collections de haute couture de la maison Jean Patou, mettant en lumière les tensions entre personnalisation de la mode dans la figure du couturier et travail intrinsèquement collectif. Les ateliers de couture, qui sont le lieu d’élaboration de ces collections, obéissent à une organisation strictement hiérarchisée. À leur tête, les premières d’atelier occupent à la fois les fonctions de chef de service, essayeuse et modéliste. Le processus de création fait intervenir de multiples acteurs, y compris Jean Patou lui-même dont le rôle a pu être réévalué. Le peu de modifications avérées des modèles commandés par la clientèle particulière ou professionnelle laisse à penser que la maison Patou a œuvré en faveur d’une standardisation de ses modèles. Cela participe d’une rationalisation plus large des modes de productions chez Patou, qui passe par une mécanisation des ateliers et une optimisation de la communication entre les services, corollaires de l’organisation scientifique du travail alors mise en place. Cependant, la modernité supposée de la production chez Patou est davantage discursive qu’opérationnelle : la production reste tributaire des pratiques développées au sein de l’industrie de la couture depuis le XIXe siècle. Dépendant de travailleuses hautement qualifiées, la maison Patou mène une politique de salaire avantageuse, tout en imposant de strictes limitations contractuelles pour attirer et retenir les meilleures d’entre elles. La mobilité des ouvrières contribue au dynamisme de la haute couture parisienne en permettant la transmission d’un héritage artistique, technique et organisationnel. Par ailleurs, la diffusion des meilleures pratiques en interne a favorisé la longévité de l’entreprise Patou après le décès du couturier en 1936. This article discusses the creation and production of haute couture collections at the house of Jean Patou, and unveils the tension between the personalisation of fashion in the figure of the couturier and the intrinsically collective nature of fashion labour. The organisation of couture workshops, where the new designs were elaborated, was strictly hierarchical. At the helm, the heads of workshops worked both as managers (chefs de service), dressers (essayeuses), and designers (modélistes). The creation process involved many actors, including Jean Patou himself whose specific role is reassessed in the present article. The apparent lack of changes in the designs ordered by both private and professional customers suggests that the house of Patou tried to standardise its creations. This fits into the broader picture of production rationalisation at Patou, which also entailed mechanising the workshops and optimising communication between different departments, both corollaries to the principles of scientific management being more widely implemented at the time. However, the supposed modernity of production lines at Patou was more discursive than operative : the process remained largely indebted to practices developed in the couture industry since the 19th century. Dependent on highly skilled workers, the house of Patou offered particularly attractive wages while imposing strict contractual obligations. Workers’ mobility across firms it contributed to the dynamism of Parisian haute couture industry as it disseminated successful artistic, technic and organisational legacies. Incidentally, the diffusion of best practices within the Patou company fostered its longevity after the death of the couturier in 1936.

Purpose. The main purpose of this investigation is to formulate basic vectors of development of fashion industry in its modern understanding, and also to descript main factors of mass fashion formation as reflections of preferences of wide layers of consumer society. Determination of criteria of assimilation of “mass” and “high” fashion is considered in a context of new standards of forming of fashion project appearance in the design of a suit. Methodology. Research methodology consists in application of complex of scientific principles. During work with visual materials the objective analytical method is applied. For collection, systematization and generalization of scientific, publicistic and journalistic sources of literature the literary-analytical method is used. Originality. In the article basic directions of development of industry of fashion in the second half of ХХ century are determined. It is grounded, that this period is characterized by the radical innovations not only in the form of but also in maintenance of fashion appearances. The factors of becoming of mass fashion as reflections of advantages of wide layers of consumer society are described. Main criteria of assimilation of “haute couture” and “mass market” fashion for creation of actual fashion tendencies and appearances are determined. It is grounded, that economic growth as well as social and cultural innovations (including fashion), productively influence the forming of society way of life, at both national and international levels. Conclusions. Thus, 1960th are undeniable proof of the fact that economic growth and socio-cultural innovations (including fashion), are productively interdependent in the process of forming of society way of life, at both national and international levels. The objective factors of development surely influence the subjective perception of environment: purchaser ability and consumer requirements grow, life standards rise and possibility of their use increases, including due to development of industrial production of material achievements, – in other words, consumer society broadens actively. Exactly due to these descriptions, 1960th can be named the critical stage of fashion industry development in ХХ century., Цель исследования заключается в формулировке основных векторов развития индустрии моды в ее совре- менном понимании, а также характеристике факторов становления массовой моды как отражения предпочтений широких слоев потребительского общества. Определение критериев ассимиляции «массовой» и «высокой» моды рассматривается в контексте новых стандартов формирования модного проектного образа в дизайне костюма. Методология исследования заключается в применении комплекса общенаучных принципов. При работе с визуаль- ными материалами применен предметно-аналитический метод, а для сбора, систематизации и обобщения научно-литературных источников и журналистских изданий используется литературно-аналитический метод системати- зации. Научная новизна. В работе определены основные направления развития индустрии моды во второй поло- вине ХХ века. Обосновано, что этот период характеризуется радикальными инновациями не только в форме, но и в содержании модных образов. Охарактеризованы факторы становления массовой моды как отражения предпочтений широких слоев потребительского общества. Определены критерии ассимиляции «высокой» и «массовой» моды при создании актуальных модных тенденций и образов. Выводы. 1960-е годы являются неопровержимым доказательством того, что экономический рост и социокультурные инновации (в том числе в моде), продуктивно взаимовлияют на формирование образа жизни общества как в национальном масштабе, так и в интернациональном. Объективные факторы развития, безусловно, влияют и на субъективное восприятие окружающей среды: растет покупательная способность и потребительские требования населения, повышаются стандарты жизни и растет возможность их использования, в том числе за счет развития промышленного производства материальных достижений. Другими словами, активно расширяется потребительское общество. Именно благодаря этим характеристикам 1960-е годы можно назвать переломным этапом становления индустрии моды в ХХ веке., Мета дослідження полягає у формулюванні основних векторів розвитку індустрії моди в її сучасному розу- мінні, а також характеристиці чинників становлення масової моди як віддзеркалення переваг широких верств споживацького суспільства. Визначення критеріїв асиміляції «масової» та «високої» моди розглядається у контексті нових стандартів формування модного проектного образу в дизайні костюма. Методологія дослідження полягає у застосуванні комплексу загальнонаукових принципів. У роботі з візуальними матеріалами застосовано предметно- аналітичний метод, а для збирання, систематизації та узагальнення науково-літературних джерел та журналістсь- ких видань використано літературно-аналітичний метод систематизації. Наукова новизна. Визначено основні напрями розвитку індустрії моди в другій половині ХХ століття. Обгрунтовано, що цей період характеризується радикальними інноваціями не тільки у формі, а й у змісті модних образів. Охарактеризовано чинники становлення масової моди як віддзеркалення переваг широких верств споживацького суспільства. Визначено критерії асиміляції «високої» та «масової» моди у створенні актуальних модних тенденцій та образів. Висновки. 1960-і роки є незаперечним доказом того, що економічне зростання та соціокультурні інновації (у тому числі в моді), продуктивно взаємовпливають на формування способу життя суспільства як в національному масштабі, так і в інтернаціональному. Об'єктивні чинники розвитку, безумовно, впливають і на суб'єктивне сприйняття навколишнього середовища: зростає купівельна спроможність і споживацькі вимоги населення, підвищуються стандарти життя і зростає можли- вість їх використання, в тому числі за рахунок розвитку промислового виробництва матеріальних здобутків. Іншими словами, активно розширюється споживацьке суспільство. Саме завдяки цим характеристикам 1960-і роки можна назвати переломним етапом становлення індустрії моди в ХХ столітті.

This article discusses the creation and production of haute couture collections at the house of Jean Patou, and unveils the tension between the personalisation of fashion in the figure of the couturier and the intrinsically collective nature of fashion labour. The organisation of couture workshops, where the new designs were elaborated, was strictly hierarchical. At the helm, the heads of workshops worked both as managers (chefs de service), dressers (essayeuses), and designers (modélistes). The creation process involved many actors, including Jean Patou himself whose specific role is reassessed in the present article. The apparent lack of changes in the designs ordered by both private and professional customers suggests that the house of Patou tried to standardise its creations. This fits into the broader picture of production rationalisation at Patou, which also entailed mechanising the workshops and optimising communication between different departments, both corollaries to the principles of scientific management being more widely implemented at the time. However, the supposed modernity of production lines at Patou was more discursive than operative : the process remained largely indebted to practices developed in the couture industry since the 19th century. Dependent on highly skilled workers, the house of Patou offered particularly attractive wages while imposing strict contractual obligations. Workers’ mobility across firms it contributed to the dynamism of Parisian haute couture industry as it disseminated successful artistic, technic and organisational legacies. Incidentally, the diffusion of best practices within the Patou company fostered its longevity after the death of the couturier in 1936.

Giyim olgusu, insanlık tarihi ile birlikte ilerleyen bir süreçtir. Bin yıllardır süregelen bu ilerleyiş, zaman ve ortamın etkisi ile farklılıklar göstermiş, günümüze kadar birçok değişim geçirmiştir. Her toplum, dünya üzerindeki varlığının uzun yıllar sürmesini arzu eder. Toplumlar kendi nesillerini devam ettirecek evlilik kurumunu oluştururken, önem atfettikleri noktalarda, kültürlerine bağlı kalarak bir takım ritüeller gerçekleştirir. Bu özel olayı, bir dizi gelenek görenek silsilesi ile anlamlandırır. Günümüzde bu durum devam etmekte, yerini ve önemini korumaktadır.Evlilik gerçekleşirken gelinin giyimi, tarih boyunca zamana, yaşam biçimlerine, kültürlere göre değişim göstererek, farklılıklar sunsa dahi tarihin her devrinde önemini korumuştur. Çünkü bir kadının yaşamında evlilik, dönüm noktalarından biri, belki de en önemlisi sayılır. Böyle bir geçiş döneminde giyilecek giysinin, durumun ciddiyetine paralel olarak önem kazanması kaçınılmazdır. Düğün günü giyilecek giysiler, özellikle kadınların hassasiyetle üzerinde durdukları bir konudur. Çoğu zaman günlerce önceden, her ayrıntısı düşünülerek dikilen düğün giysileri, evlilik töreni ve diğer merasimlerde giyilmek üzere hazırlanır. Türk kültüründe kadına verilen değerle birlikte gelişen gelinlik giyiminin, başlangıçtan bu yana nasıl ilerlediği araştırmanın ana temasıdır. Anadolu insanının düğünlerde uyguladığı gelenek ve göreneklerin kökenleri ve bunların günümüze yansımaları araştırılmıştır. Buradan yola çıkılarak ulaşılabilen gelinlik ve abiye giyim örnekleri incelenmiş, basılı kitap, makale, fotoğraf albümü gibi farklı kaynaklardan bilgiler derlenmiştir. Sonuç olarak; gelinlik ve törensel giyimlerin, kültürler çerçevesinde şekillenerek, toplumların geçirdiği evreler ve moda olgusu ile birlikte, döngüsel bir süreçte hareket ederek izlediği yol ortaya konulmaya çalışılmıştır. Elde edilen bilgiler sonucu, kültürümüze ait unsurların bir kısmı ya da uzantıları tüm olumsuzluklara rağmen halen devam etmektedir. Sahip olduğumuz, Türk kültürüne ait ögelerin günümüzde unutulmaya başlaması, terk edilmesi ya da önemsenmemesi, dayanaksız bir kültürel dönüşüme sebep olabileceği düşüncesi ile bu ögelerin korunması ve geleceğe sağlıklı aktarımı önemlidir. Clothing fact is a process advancing with the history of humanity. This advance ongoing for thousand years has differed by the influence of time and atmosphere and undergone many changes until today. Every society wants to survive for long years. As societies establish the institution of marriage, which will continue their own generations, they realize some rituals by sticking their cultures in the manners they attach importance. They give its meaning of this special event by a series of traditions. The clothing of the bride getting married even differed by undergoing changes according to time and life style throughout history, it has protected its importance in every period of history. Because the marriage is accepted as one of the most important turning points in a woman's life, maybe the most important one. It is inevitable that the dress, which will be used in such transitional period, is being got important in parallel to the seriousness of the situation. The cloths, which will be worn on wedding day, is a subject what mostly women overstresses. Wedding cloths, which are sewn by being taken its every detail into consideration mostly many days before, are prepared to be worn in wedding ceremony and others. How wedding wear advanced from the beginning until today within the value given to woman in Turkish culture is the main theme of the research. The roots of traditions applied by Anatolian people and their reflections to our day have been researched. The samples of wedding gowns and evening dresses have been examined by being started from this point of view and knowledge has been compiled from different sources like printed books, articles and photo albums. Finally, it has been tried to achieve the wedding and ritual dresses' following route by moving in a circular process within the periods spent by societies and fashion concept. As a result of acquired knowledge, some of the facts belonging to Turkish culture or their continuations still goes on in spite of all negativities. Protection of these facts belonging to Turkish culture, what we have, and their transferring to the future regularly are important in terms of its being started to be forgotten, its being left or being neglected them. 182

Tema rada analiza je kreativnog doprinosa Cristóbala Balenciage estetici suvremenih modnih dizajnera na kontekstualnoj povijesno-kulturalnoj podlozi europske visoke mode sredinom 20. stoljeća. Posebna pažnja posvećena je Parizu, gdje ujedno u 50-im i 60-im godinama nastaju najznačajniji radovi koji odjeke šalju u siluetu mode druge polovice stoljeća. Centralna os analize kreće se linijom neobičnih i revolucionarnih volumena koje dizajner umeće između ženina tijela i odjeće, rušeći tako standardizirani model ženske siluete pješčanog sata. Osvrtom na nekoliko modnih dizajnera druge polovice 20. st. i početka 21. stoljeća slijedila sam logičnu progresiju ideje i mutacije siluete, koja, premještena iz konteksta haute couture mode u doba još njene legitimne vezanosti za društvo, nastavlja dalje u postmodernoj modi kroz hiperdimenzionirane naglaske, posebice analizirane kod dizajnera japanskog podrijetla koji dijele jednaku eksperimentalnu i plastičnu kvalitetu koju uočavamo u radovima Cristóbala Balenciage., The paper explores the creative contribution of Cristóbal Balenciaga to the aesthetics of contemporary fashion designers within the context of historical and cultural backdrop of European high fashion of the mid 20th century. A fair amount of attention was given to Paris, where the most significant work was produced during the 50's and 60's, which continues to perpetuate its echoes through the fashion silhouette of the second half of the 20th century. The axis of the paper is concentrated along the lines of unusual and revolutionary volumes which the designer inserts between the women's body and the clothes, and by doing so tears down the standardized model of the female hour glass silhouette. By analyzing a few designers of the second half of the century and the beginning of the 21st century I followed a logical progression of ideas and the silhouette mutability, which, translated from the haute couture fashion still tied to its legitimate connections to the social, continues on within the postmodern fashion through hyperIII inflated accents, especially revised through the work of Japanese designers, which share the same experimental and plastic quality observed in Cristóbal Balenciaga's work.

The purpose of this study was to clarify the pattern and construction of a Nina Ricci evening dress on the Bunka Gakuen Costume Museum, once worn by Fubuki Koshiji at a recital in 1979. It appears the dress was imagined and constructed as a gorgeous rose on the black velvet body, because the red satin crape, seen on the face of the dress, was utilized on the inside of the bodies as well as the foundation supporting the dress. The pattern of the bodice, cut at the high-waist position, was development in a near circle pattern with joined tucks to construct a three-dimensional rose –like shape. As for the sewing method which took stage costume into consideration, we were able to clarify various techniques such as the following: the use of two layers on the inside of the bodice foundation as well as a wire fitted inside the train’s seam to keep the train from becoming disarranged when moving about on stage

Our purpose was to clarify the sewing techniques and structural characteristics for haute couture stage costume using a Koshiji Fubuki evening dress in the Bunka Gakuen Costume Museum. For the method, the pattern which was extracted from actual measurements and draping, was verified by construction of a tree-dimensional from using toile and material similar to the original; concerning data, informational on structure, sewing and decoration techniques was collected using photographs of the details and a replica of the original dress was produced. The results produced a noticeable difference between the left and right sides conformed to Ms. Koshiji’s figure. Seam allowance width for the maintenance of silhouette and design, underlining and heavy padding were also utilized. Special characteristics for stage costumes, such as the difference in embroidered bead spacing and use of two types of shoulder strap fasteners, were seen. We hope the research data attained through this research can be expanded and our study continued.

Among the many haute couture costumes in the Bunka Gakuen Costume Museum，an asymmetric strapless Nina Ricci dress，once worn by stage actress Koshiji Fubuki，was chosen for the purpose of clarifying the sewing，pattern and construction of the dress. The following methods were used: photography, drawing and measurement of the actual costume. For the pattern，a three-dimensional form based on actual measurements was made，fabric similar to the original used, and the representation and original were then compared. The results: we were able to clarify the relationship between the sewing，pattern and construction of the dress. These results can be used as research data and educational material for students in the costume field. As the Tsubouchi Memorial Theatre Museum at Waseda University possesses similar theatrical costumes，this research can be used for exhibition descriptions as well as study material for both museums

U ovom diplomskom radu istražujem razvoj visoke mode u 20. stoljeću sa naglaskom na francusku visoku modu – haute couture. Velika društvena i tehnološka postignuća unutar 20. stoljeća utjecala su na razvoj visoke mode, stoga je cilj ovog rada ukazati na najvažnije čimbenike koji su pridonijeli promjenama u svijetu mode. Osim toga, stavljen je naglasak na najvažnije dizajnere unutar pojedinog povijesnog razdoblja te je vidljiv njihov veliki doprinos u promjeni modnih koncepata. U radu je pojašnjeno i značenje izraza haute couture, uloga sindikata visoke mode te struktura kuće visoke mode.