ANALYSIS OF TRANSFER AND APPLICATION OF THE CONCEPTUAL DIMENSIONS OF THE HISTORICAL COSTUME FROM THE XIX CENTURY IN THE PRACTICE OF THE FASHION DESIGNERS OF WOMEN'S FASHION IN THE BEGINNING OF THE XXI CENTURY – YEAR 2003 (SPRING-SUMMER COLLECTIONS)

Abstract

As a researcher, my attention is drawn to the fashion costume throughout the 19th century and its replicasthat we find in the fashion costume at the beginning of the 21st century. I am convinced that the issue of„implication” in fashion has not been considered from a scientific point of view, both by public consciousness (inthe specialized circles of fashion designers) and by the individual consumer. On one hand, the potential that containsthe implication in the fashion costume is increasingly penetrating the artistic culture of designing and producingfashion clothes and accessories. On the other hand, the wide consumption and strong influence of fashion on humanlife impose the need not only for a philosophical or sociological analysis of the new phenomena of culture, but alsofor a comprehensive and in-depth scientific-theoretical study of the implication in fashion covered by postmodernistideas. In the context of my work on the implication of 19th-century costume in fashion trends in 2003, I am alsoreminded of Ambrose Bierce's statement about fashion as „a despot whom clever people sneer at but obey”. And itseems to me that this subjugation (among other things) underlies the industrial production of fashion clothing today,as well as the implication of 19th century costume in contemporary fashion. Even the French philosopher PierreBoast admits that „many women have died as martyrs to the fashion that forced them to sacrifice modesty fornudity”. This bright and aphoristic thought very well illustrates the relevance of the topic of fashion in clothing. Itnot only has deep historical roots, it is not only a plastic or aesthetic phenomenon, but it is also a phenomenondeeply related to human health. With this example, I want to emphasize that the implications of fashion today have asignificant meaning for man. This is important to researchers because many of the fashion designers who worked inthe 20th century drew heavily from the fashions of generations long gone. In conclusion, I would like to remind youthat my aim was for my research of the phenomenon to follow the internal logic of the transfer of artistic (materialand spiritual) values during the researched period. The text seeks to organize and show the various ways and levelsat which the implication has manifested itself in fashion since the turn of the Millennium. The possible, boththeoretical and practical, ways in which contemporary artists working in the field of fashion benefit from theexperience gained before them in the field of costume in the 19th century are described and analyzed.