Архів категорії: ethno fashion

Using of traditional Ukrainian costume elements for creating modern fashion collections

Olesis Hryn

Tradition is a guide and not a jailer

W. Somerset Maugham

The processes of globalization in the modern world lead to the formation of universal culture and, simultaneously, to weaken local (regional) ethnic cultures. Integration of the latter into a single space is irreversible, so effective mechanisms for their preservation are required. Popularization of national elements through fashion is one of these mechanisms.

Roksolana Bogutska

Roughly speaking, clothing exists in two main opposite forms: traditional costume and modern fashion. In traditional culture, clothing retains its original meaning, because it contains unique information that has been laid down over many generations. This initial meaning differs significantly from the meanings that modern clothing has received in the course of evolution. Additional semantic “layers” in the costume brought fashion, which took a prominent place in the European creative culture of the new time.

In traditional culture, clothing contains unique information that has been stored for many generations

Ukrainians are characterized by the predominance of emotionality over rationality, sentimentality and poetic perception of nature, which are fully reflected in the picturesqueness, patterns, rich decorative products of folk art. At the same time, Ukrainians are characterized by such contradictory features as individualism, creative resistance to others and, at the same time, fascination with artistic samples of other cultures.

The unwillingness to assimilate other people’s cultural patterns was the reason for the negative attitude to foreign fashion, ridiculing its supporters. This is clearly reflected in the plays of M. Staritsky “Not happened” (1881), “For two hares” (1883) and “In a fashionable way” (1887). They caricature characters who care too much about their outfits of fashionable styles, and all the positive characters wear national costumes. This perception of fashion prevailed in the Ukrainian countryside until the late 1960s. Most likely, the Ukrainians saw the changes in fashion as a symptom of social disorder, introduced by the rapid development of purchase and sale relations.

Marta Wachholz

However, during the years when Ukraine was part of the USSR, the shortage of beautiful clothes of its own production led to a passion for imports, which were perceived as more prestigious and fashionable, although contraband, mostly outdated or low-quality items got into the country. Thus, at the mental level, a cult of imports has been formed, which is still manifested in the fact that Ukrainians prefer goods from foreign manufacturers. This is one of the main obstacles to the full development of the domestic fashion industry.

 In terms of fashion, Ukrainians have formed a cult of imports on a mental level.

The development of national fashion is an important condition for the simultaneous modernization of the ethnic layer of culture and the preservation of its cultural identity. In modern society, fashion performs specific functions that are unique to it: it provides a monotony of cultural patterns, regulates the transition from the past to the future, supports the innovative nature of culture, and changes the prestige of artistic characteristics of objects. Thanks to all this, it can influence the perception, preservation and popularization of national traditions.

Although fashion, like art, is not nationally defined, it is impossible to fit it into the framework of a single ethnic culture, clearly highlighting national characteristics in its creations, but it can promote those elements that are perceived and evaluated by the nation as “their own”. 

Fashion can use and promote those elements that are perceived and evaluated by the nation as “their own”

Wearing national clothing shows an individual’s acceptance of national values, pride in belonging to a particular ethnic group.

The activity of reviving folk costume and including its elements in fashionable clothing has always been and remains a means of expressing patriotic feelings, one of the levers of the development of national identity. Therefore, one of the most relevant fashion trends is ethnic.

When creating ethno-collections, most often there is a formal borrowing of samples of traditional costume without its deep understanding. In modern design, there are practically no dynamic design methods aimed at solving the problem of cultural imbalance between traditions and innovations. The novelty of this approach includes an art criticism analysis of traditional costume and modern fashion, their understanding in the context of the synthesis of traditional and modern layers of culture.

Marta Wachholz

When interpreting folk costume by fashion design, traditional sources should be considered as a combination of utilitarian, semiotic and aesthetic functions, formal (constructive), material and technological qualities. For all these areas, the costume should be adapted to fashion trends, taking into account recent technological innovations. At the same time, elements of traditional culture act as meaning, while modern fashion is only a form that corresponds to such short – term characteristics as seasonal trends, bestsellers, and must haves.

Modern fashion is just a creative medium that contains seasonal landmarks: trends, bestsellers, and must have

The measure of proximity of a modern suit to the traditional source is chosen by the designer himself. However, fashionable clothing made in an ethnic style should never turn into a copy of a folk costume. The more subtle and delicate the association with the source of creativity, the more harmonious the result looks.

  The main elements for the development of fashion clothing based on traditional ones are the principles of shaping, materials, and sewing technologies, finishing methods, semiotics and the manner of using things.

Chernikova

If in Soviet times, the state-approved fashion approved of externally decorative folklorism, at the present stage, the tradition, passing through the filter of the artist’s individual consciousness and adapting to the requirements of the time, turns into a new artistic quality that embodies the modern understanding of expediency and beauty. This is the principle used by many Ukrainian designers. They enrich world fashion trends with the use of national traditional components (a combination of colors, materials, ornamentation, proportions, compositional techniques, ways to combine costume elements).

 Tradition, passing through the filter of the artist’s individual consciousness and adapting to the requirements of the time, turns into a new understanding of expediency and beauty

Traditional embroidery, merezhka, sewing, weaving, painting add artistic expressiveness, originality, and handiwork to fashion collections. Such preservation of connection with traditions can become the basis for standing out in the global world fashion, forming and promoting the Ukrainian style.

Karavay ss 2015

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Traditional costume of Akha VS Valentino fw 2019/2020 Haute Couture

Akha traditional costumes

The Akha are an ethnic group who live in small villages at higher elevations in the mountains of Thailand, Myanmar, Laos, and Yunnan Province in China. Their number is more than 500,000 people.

Akha traditional costume

Women wear broad leggings, a short black skirt with a white beaded sporran, a loose fitting black jacket with heavily embroidered cuffs and lapels. Akha women are known for their embroidery skills. 

Akha traditional costumes

The headdresses worn by the women are the most spectacular and elaborate items of Akha dress.  Akha women define their age or marital status with the style of headdress worn. At roughly age 12, the Akha female exchanges her child’s cap for that of a girl. A few years later she will begin to don the jejaw, the beaded sash that hangs down the front of her skirt and keeps it from flying up in the breeze. During mid-adolescence she will start wearing the adult woman’s headdress. Headdresses are decorated by their owner and each is unique. Silver coins, monkey fur, and dyed chicken feathers are just a few of the things that might decorate the headdress. The headdresses differ by subgroup.

Traditional headdresses of Akha
Akha traditional costumes
Akha traditional costumes

Traditional headdresses of Akha inspired Pierpaolo Piccioli for Valentino fw 2019/2020 Haute Couture collection.

Valentino fw 2019/2020 Haute Couture
Valentino fw 2019/2020 Haute Couture
Traditional headdresses of Akha by Valentino fw 2019/2020 Haute Couture
Valentino fw 2019/2020 Haute Couture

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Valentino fw 2019/2020 Haute Couture

Roksolana Bogutska Autumn Winter 2020

Roksolana Bogutska Autumn Winter 2020
Roksolana Bogutska Autumn Winter 2020
Roksolana Bogutska Autumn Winter 2020
Roksolana Bogutska Autumn Winter 2020
Roksolana Bogutska Autumn Winter 2020
Roksolana Bogutska Autumn Winter 2020

Roksolana Bogutska is one of the best Ukrainian fashion designers. In her collections Bogutska mainly inspired by Ukrainian folk traditions. Her Autumn Winter 2020 collection was no exception and demonstrates gorgeous prints and embroideries based on vytynanka (that is “cut out” -a type of ancient Slavic, in particular Ukrainian folk decorative art).

Roksolana Bogutska’s site: https://roksolanabogutska.com/uk/

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BEAUTY IN DETAILS: Etro FALL 2014 READY-TO-WEAR

ETRO FALL 2014 READY-TO-WEAR

ETRO FALL 2014 READY-TO-WEAR was the most accomplished show by Veronica Etro, confident in its layering of textures, patterns, colors, and embroideries.

ETRO FALL 2014 READY-TO-WEAR

ETRO FALL 2014 READY-TO-WEAR was a timeless collection with a handful coats and dresses had the feeling of an exquisite vintage find.

ETRO FALL 2014 READY-TO-WEAR

ETRO FALL 2014 READY-TO-WEAR also was a multi-ethnic collection and we can find a lot of details, that we can use making a modern collection in the Ukrainian style.

ETRO FALL 2014 READY-TO-WEAR
ETRO FALL 2014 READY-TO-WEAR
ETRO FALL 2014 READY-TO-WEAR
ETRO FALL 2014 READY-TO-WEAR
ETRO FALL 2014 READY-TO-WEAR
ETRO FALL 2014 READY-TO-WEAR
ETRO FALL 2014 READY-TO-WEAR
ETRO FALL 2014 READY-TO-WEAR
ETRO FALL 2014 READY-TO-WEAR

Look also: Vyshyvankas from Roksolana Bogutska Fall 2015 collection

Discovery: Thea Porter

Thea Porter was popular in late 1960-1970th. She born in Jerusalem to an Irish missionary and was raised in Damascus, Syria. She moved to London in 1966, at the age of 40. She opened her own textile and fashion boutique — Thea Porter Decorations.

The shop sold Eastern textiles and caftans imported from Persia, Syria, and India. The caftans began to sell so quickly that her imports couldn’t keep up with the demand, so she began designing and producing them herself. Her clothing range is easily identifiable by intricately decorated, hand painted, and layered fabric.

Her clothing was erotic, yet comfortable. Her customers included Lauren Bacall, Bianca Jagger, Mick Jagger, Inaara Aga Khan, Princess Margaret, Elizabeth Taylor. She was so widely popular in the late 1960s, that one critic even commented in 1969 that “The audience at the London premiere of the hippy musical Hair seemed to be completely dressed by Thea Porter.”

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ETHNIC-INSPIRED COUTURE BY GIORGIO DI SANT’ ANGELO

Sincerely yours,

Myroslav Melnyk )

Vyshyvanka from Lutsk (вишиванка з Луцька)

Lutsk Fashion Weekend was held 10 – 12 June. Two shows with vyhyvankas – by ukrainian brands Videi and Edelvika – occupied a prominent place in the shedule of the event.  

On the wave of patriotism and the search for national identity vyshyvanka remains very fashionable in Ukraine. VIDEI proposed its own approach to vyshyvatka – to create the embroidery together with their customers.

EDELVIKA showed very harmonious ready-to-wear vyshyvankas for all family.

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KHURSHED SATTOROV at ODESSA FASHION WEEK FW 2016

KHURSHED SATTOROV is talanted designer from Tajikistan. Khurshed showed his couture collection with handmade embroidery at Odessa Fashion Week  FW 2016. I can’t say the collection is very fashionable, but designer’s love and respect for the Tajikistan national traditions is very touching and this is exactly that thing we lack in today’s global world of commercial trends and brands.

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Найяскравіша колекція

ODESSA FASHION WEEK

Sincerely Yours,

Myroslav Melnyk )

https://www.facebook.com/modoslav/

Kozaks of the XXI century

Giorgiana Giuroiu presented her collection on the catwalk of the  graduation show of Fashion Department at University of Art and Design Cluj-Napoca in 2014. With her futuristic kozaks  Giorgiana succeeded to make a strong impression. Her collection titled Folcloriada stood out through the originality of the inspiration source, the novelty in interpreting a traditional theme and the innovative materials introduced.

Despite the similarity with the Ukrainian Kozaks, the collection has its roots in Romanian folklore and the title refers to a “healing” journey meant to recover the authentic values of cultural heritage. In many ways, this collection epitomizes designer’s personal quest, that moved from her passion of studying specific elements of Romanian traditional costume (headpieces, peasant coats, masks and belts) to the challenge of converting them into comprehensive contemporary outfits. The ironic twist also helped a lot.

The clothing ensembles resulted from this creative experiment succeeded to integrate folk elements in contemporary style, abstracting the traditional costume silhouette and proposing new solutions for the textile surfaces. The techno shepherds on the catwalk wore outfits made out of quilted plastic filled with raw wool, holographic leather jackets, impressive belts and handmade knitwear paired with sneakers and metallic leggings.

Below, there are  a few images from Giorgiana Giuroiu graduating collection at University of Art and Design Cluj-Napoca (2014).

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Sincerely Yours,

Myroslav Melnyk )