The historical way of embroidery of traditional clothing

Purpose of the article. Trace the historical origins and genesis of embroidery decoration of traditional Ukrainian clothing and analyze the implementation of technological and technical innovations in the decoration of Ukrainian clothing. The methodology is based on the principles of historicism, art history analysis, scientific objectivity, and consistency in the study of the genesis of the decoration of the Ukrainian dress. Scientific novelty. The current state of embroidery decoration of traditional Ukrainian clothing is revealed and the issue of introducing innovative technologies in modern clothing design is raised. Conclusions. Based on the results of the study, we can conclude that modern decoration imitates the traditions of folk dress, including more and more the latest technologies. The unique experience of modern masters is analyzed and the ways of development in the direction of the art of embroidery decoration are determined. A variety of embroidery techniques with limitless skillful potential appear alongside machine embroidery works. Keywords: traditions, fashion designer, embroidery, creativity, innovation, education.

Virtual tour of Circassian costume exhibition created by Madina Hatsukova

This article explores the works of the famous Kabardian fashion designer Madina Alisagovna Hatsukova, whose costumes are worn by the guards of the King of Jordan, artists of Kabardino-Balkaria and Karachay-Cherkessia, prominent statesmen of the Chechen Republic, popular singers and musicians, and numerous ladies for their wedding ceremonies. The article represents a panoramic overview of the works of Madina Hatsukova, taking into account all aspects of interest of the designer. Description is given to various types of activity of the fashion designer – from hand embroidery and lace weaving to creating sewing patterns and scientific research on decoding of the ornaments in the museum samples of ancient costumes. This publication is inspired by the Madina Hatsukova’s personal exhibition “Princess of the Sun”, held in the North Caucasus branch of the State Museum of Oriental Art in Maykop in September-October 2021. The novelty of this article consists in comprehensive analysis of the works of Madina Hatsukova, which are widely known in North Caucasus and not so much to the Russians audience interested in modern ethnic costume. Although Madina’s works are intentionally limited to the traditional patterns and configuration, she experiments with different types of fabrics, their combinations and color solutions. National costume for a symbol of cultural revival, rather than a symbol of the past; it is the symbol of ethnic identification. Madina Hatsukova contributes to high symbolic load of the traditional costume, forms empathy of not only Circassians, but the entire multicultural population of the Russian Federation.

Labouring up and down Prisunic’s styling streams: The creative studio of a retail chain in 1960s France

This article looks at the French retail chain Prisunic’s fashion production in the 1960s and, in particular, at the collective and invisible labour of its creative studio established in 1953. It examines the processes by which Prisunic evolved from selling clothes, infamous for their shabbiness, to selling fashion during the 1960s. First, this article focuses on the organization of Prisunic. Second, it turns to the interactions between Prisunic as a fashion producer and cultural intermediaries such as forecasting agencies. Specifically, it analyses how Maïmé Arnodin’s ‘colour books’ became instrumental to Prisunic’s design process. Third, it considers the diversity of occupations within the studio, including stylist, fashion designer, fashion photographer, graphic designer and typographer, and considers their interactions. Fourth, the article delves into the interpersonal relations of studio members with fashion journalists and editors, as well as structural interactions between fashion producers and fashion media. Especially, it questions the role of French Elle in the visual and discursive construction of Prisunic’s commodities as the product of creative labour. The article draws on sociologist Michel Callon’s focus on ‘agencies’ and ‘material devices’, which are instrumental in shaping markets and the cultural economy. Further, it builds on sociologist Liz McFall’s characterization of material devices as shaped by the interaction of institutional, organizational and technological arrangements to analyse the studio’s labour practices within Prisunic, upstream with its suppliers and downstream with the press. This article traces the processes, interactions and arrangements that make up Prisunic’s styling streams.

Evolving ‘places’: The paradigmatic shift in the role of the fashion designer

This study examines the concept of ‘place’ in the design process and the evolving role of the fashion designer. The contemporary fashion marketplace has reached unprecedented levels of abundance. This is altering society’s relationship with design. Consumers’ basic needs are being over-met and have moved well beyond the material realm; consumers are increasingly driven by their search for meaning and emotional fulfilment through design. The result of this process is the altering of their perception of design ‘value’ from the tangible to the intangible. While the traditional values of aesthetics and function remain essential components to design, a product’s ability to deliver ‘emotional value’ to the user must increasingly become the focus for designers. To succeed, a designer must shift his/her sense of ‘place’ ‐ namely, the figurative ‘place’ from which he/she designs. Rather than creating fashion from myopic, personal biases, future designers must enter the ‘place’ of the design process by rigorously researching their consumers’ psychographics and emotional needs to ‘design emotion’. The new role of the fashion designer ‐ the ‘Designer-As-Social-Scientist’ ‐ takes a much broader view of the consumers’ needs. The evolution of the ‘place’ of the design process will result in products having greater meaning and emotional value; designers standing out in the oversaturated market; and businesses increasing consumer loyalty and resultant sales by offering only those products that are truly desired by their target audience.

The social semiotic context of the fashion show

A fashion show is a form of social activity which is worth examining on several counts, including in terms of the preparation of garments, the space in which they are presented, and the way of presenting them. In this study, the fashion show is evaluated within the boundaries of social semiotics, which is widely accepted as a subfield of semiotics. Single garments are not presented in the show. Instead, a collection of garments created by a fashion designer in the context of a particular theme and style is presented. The collection made by the designer also forms the discourse of the designer. There are fashion models who present the collection of garments in front of clients. Although the models are on the podium, they are, in fact, in the position of the voice of the fashion designer. It is the models who present the elements of discourse on the podium to the recipients. Accordingly, this paper first scrutinizes the theory of social semiotics. In this context, the place of the subject, object, and the discourse are examined. Then the obtained data is used for the analysis of situations in the show.

Fashion Designer Sebagai Alternatif Keterlibatan Perempuan Maroko Di Ruang Publik

Maroko pada dasarnya tidak jauh berbeda dengan negara-negara Arab lainnya, yang mana perempuan memiliki akses yang terbatas di ruang publik. Sikap konservatif dan tradisi patriarki mengantarkan perempuan ke tingkat yang sulit untuk terlibat aktif di sektor publik. National Strategy for Equity and Equality di Maroko menginisiasikan untuk mengurangi tingkat diskrimasi terhadap perempuan, tetapi fakta lapangan menunjukkan sebaliknya. Kebiasaan dan tatanan sosial di masyarakat menjadi faktor yang menghambat proses perubahan. Tulisan ini mengkaji berbagai upaya yang dilakukan oleh pemerintah Maroko untuk meningkatkan keterlibatan perempuan. Selain usaha yang dilakukan pemerintah, karya ilmiah ini juga memaparkan peran aktif yang dilakoni oleh perempuan Maroko secara langsung pada saat negara tampak tidak maksimal dalam mereduksi ketidakadilan bagi mereka. Nama-nama tokoh penggerak perempuan dari negeri Maghribi ini kemudian mulai bermunculan, seperti Fatima Mernissi, seorang sosiolog yang menaruh banyak perhatian terhadap persoalan perempuan. Namun, fokus tulisan adalah perempuan Maroko yang menunjukkan ketertarikannya di bidang fashion desainer yang kemudian memiliki label dan jangkauan pasar yang luas. Pengakuan sosial mulai didapatkan oleh Sofia El Arabi dan Ilham Benami melalui bidang ini. Rosaline Delmer menyebutkan bahwa perempuan memiliki kemampuan untuk memajukan kepentingannya didasarkan kepada pemahaman yang mereka yakini. Perempuan Maroko menemukan tempat untuk mereka di ruang publik melalui profesi sebagai desainer. Berkarir di bidang ini menjadi sebuah apresiasi bagi mereka tanpa harus terlibat konfrontasi dengan laki-laki di ranah publik.[Morroco has not especially differences among Arab countries, in which woman have limited access in public sphere. Conservative tradition and patriarchy lead woman to difficult level to be actively involved in public field. National Strategy for Equity and Equality in Morroco initiate to decrease inequity of woman, despite the reality has denoted of divergence. Custom and social order are preventation of change in society. This paper examines various efforts which was made by Morroco’s government to expand woman’s involvement. In addition, the article will explain how far woman contributed in directly activity when the government is not earnestly to reduce injustice for woman. Then, names of female activists from Morroco began to appear, such as Fatima Mernissi, a sociologist who lay down her interest in women’s issues. Nevertheless, this article only focus on Morocco’s women who show interest in fashion desaigner, through this field they have their own label and extend market places. Social recognition has been earned by Sofia El Arabi and Ilham Benami from this field. Rosaline Dalmer addresses, based on comprehension every women has ability to extend her needs and desires. Morrocan’s women have actively found their role as designer in public sphere. A career in this field is an appreciation for them whose they can be spared with men from confrontation in public field.]