ІНТЕРТЕКСТУАЛЬНІСТЬ У ДИЗАЙНІ ОДЯГУ ДРУГОЇ ПОЛОВИНИ ХХ – ПОЧАТКУ ХХІ ст.

Охарактеризовано феномен інтертекстуальності в культурі постмодернізму. Розглянуто загальнокультурні,естетичні і художньо-проектні передумови, сутність, функції, основні типи, прийоми і засоби інтертекстуальності вдизайні одягу другої пол. ХХ – початку ХХІ ст. Визначено образотворче і формотворче значення інтертекстуальності утворчості провідних світових дизайнерів і творчо-пошукових стратегіях Будинків Мод (Yves Saint-Laurent,Gianni Versace, Gianfranco Ferre, John Galliano, Alexander McQueen, Ann Demeulemeester, Naeem Khan, GabrieleColangelo, Jeremy Scott, Світлани Тегін, Carven, Valentino, Andrew Gn), заснованих на інтеграції у дизайн одягу текстівобразотворчого та декоративно-ужиткового мистецтва, архітектури, фотографії, літератури шляхом цитування,ремінісценцій, алюзій, стилізації.

Fashioning Holy Figures

This chapter chronicles how the fashion industry again expanded its use of Christian elements by placing Christian holy figures onto designer garments in the 1990s. Prior to this decade, designers shied away from incorporating representational religious figures in their designs—a trend influenced by iconoclastic controversy in the history of Christianity. The chapter first examines early instances of this trend with the designs of Rei Kawakubo, Kansai Yamamoto, and Gianni Versace. It then analyzes the controversy, lack of comment, and celebration that accompanied subsequent designers’ forays into more figural designs. The chapter places a particular emphasis on Dolce & Gabbana’s “Stromboli” collection, which incorporated numerous images of the Virgin Mary and was the first collection thoroughly dedicated to a Christian theme. It met with widespread celebration from fashion critics and helped establish a Marian focus in fashion design.

Sociopaths as Antiheroes of Streaming Media

Unlike their traditional counterparts, contemporary TV antiheroes are becoming increasingly non-empathetic. Despite their dislikable qualities, they succeed in attracting audiences. I consider two factors that may be influencing their popularity. The first involves viewers’ increasing familiarity with storytelling techniques and their resulting gravitation towards narratives capable of challenging their story schemas. The second aspect concerns the entertainment industry’s transformations. Aware of their well-watched audiences’ expectations, studios are turning to novelists to pursue more defamiliarizing forms. I discuss The Assassination of Gianni Versace 2018 as an example of a series that experiments with viewers’ affective responses towards its sociopathic protagonist. I argue that the writer’s choices extricate Versace from the formulaic justice-is-served narrative, thus appealing to those consumers additionally motivated by, what researchers call, eudaemonic concerns.

En Vogue: The Risks of Brexit to the European Fashion Industry

Coco Channel, Yves Saint Laurent, Gianni Versace, and Thomas Burberry, all iconic names that are synonymous with fashion and the fashion industry. Further, they are all European designers. From Paris Fashion Week to Milan Fashion Week, Europe is arguably the center of emerging fashion. It can be theorized that the reason for strong intellectual property rights within the European Union (EU), in the area of fashion design, is due to the significance of the fashion industry within Europe. Within the EU, there has long been a recognition of the significance of design protection, which sets its IP protection apart from other places in the world. Several of the protections that the EU has implemented can be traced back historically to attempts by the countries in the region to protect their textile markets, and to protect regional innovations which were being developed within early textile industries. Even in the early stages of the EU's history, there were attempts to create uniformity within the area of design. The desire to create uniformity in this area is continuous, but Brexit threatens a path towards uniformity.