Projections of the works of the Ukrainian avant-garde in the design of brands of patriotic accessories
Abstract
The purpose of the article is to investigate the use of artistic graphic images of avant-garde works of fine art in the prints of patriotic brands’ accessories, in particular, scarves. The research methodology involves the use of a systematic approach, as well as a set of scientific methods: analytical, synthetic, art history, historical and cultural, semantic, which allow a comprehensive consideration of the given problem in order to obtain substantiated research results. The scientific novelty of the work consists in the actualisation of the modern use of images of artistic works of representatives of the Ukrainian avant-garde on printed images of such patriotic accessories as scarves, which are gaining popularity at the modern stage. Conclusions. Summarising, we note that the use of images of artistic paintings by Ukrainian avant-garde artists as prints on modern patriotic accessories, in particular scarves, the production of which is gaining increasing popularity in the wake of national-patriotic uplift, serves not only as a fashionable brand and a means of individual expression, but also as a form of representation of national cultural identity with the use of cultural artefacts, a means of popularising the artistic heritage of Ukrainian artists. The use of prints of author's works of art on items of modern clothing next to the more widespread tradition of embroidered clothing is a modern form of cultural and artistic, value representation of Ukrainian culture, which, in addition, strengthens the functions of symbolic meaning of modern society and actualising the achievements of national culture
Keywords
Suggested citation
Copy citationReferences
Show all references[1] Androschuk, N.H. (2012). Informational and semiotic paradigm of fashion. Ukrainian culture: Past, present, ways of development. Scientific Notes of the Rivne State Humanities University, 18, II, 173–177.
[2] Volotko, L. (2018). Genesis of the Ukrainian artistic avant-garde. Youth and the Market, 8(163), 140-145.
[3] Haludzina-Horobets, V.I. (2019). Historicism in clothing design of the second half of the 20th – beginning of the 21st century: Genesis, dynamics, stylistic features. (Autoref. thesis... candidate time, Kyiv).
[4] Haranina, O.O. (2022). Adaptation of trends during the war and Ukraine's influence on world fashion. In Collection of abstracts of reports of the VI International scientific and practical conference of textile and fashion technologies (pp. 91-92). Kyiv: KNUTD.
[5] Dubrivna, A. (2017). Peculiarities of the Ukrainian avant-garde movement and its importance in the formation of abstract art of Ukraine. Bulletin of theLviv National Academy of Arts, 31, 109-119.
[6] Kasian, M. (2017). Motives of Maria Pryimachenko's creativity, realised in the visual practices of Ukrainian artists. Student Scientific Bulletin, 41, 137-138.
[7] Kolosnichenko, M.V., Pshinka, N.M., Pashkevych, K.L., & Ostapenko, N.V. (2019). Author's prints in the design of handkerchief and scarf products. Art and Design, 2, 74-86.
[8] Koliastruk, O. (2022). Re-Ukrainisation of avant-garde art as a process of identification of Ukrainian cultural heritage. Scientific Notes of Mykhailo Kotsyubynskyi VDPU. Series: History, 40, 51-58.
[9] Kostiuk, L.K., & Novachuk, A.S. (2016). Ukrainian avant-garde painting as a subject of research in national historiography. Current Issues of Cultural Studies: Almanac of the Scientific Society "Athens" of the Department of Cultural Studies and Museum Studies, 16, 185-190.
[10] Lavreniuk, O. (2022). Motifs of works of fine and decorative and applied art in the design of modern accessories. Demiurge: Ideas, Technologies, Design Perspectives, 5, 2, 333-345.
[11] Polovynchak, Yu.M. (2016). Symbolic representation of civic identity in an interactive information space. Science and Education a New Dimension. Humanities and Social Sciences, 4(18), I.: 109, 66-69.
[12] Romanenko, Yu.V. (2011). Mechanismsof symbolic interaction in communications, politics, art: Visual-analytical and socio-symbolic aspects. Kyiv: DUIKT.
[13] Salata, O. (2021). Kazimir Malevich in avant-garde discussions of 1928-1930. Kyiv Historical Studies, 2(13), 36-41.
[14] Sklyarenko, H. (2009). Avant-garde in Ukraine: Scope of the phenomenon, stages of development. Ukrainian art History: Materials, Research, Reviews, 9, 318-322.
[15] Stolyarchuk, N. (2014). Ukrainian cubofuturism: Ester's variant. Scientific Bulletin of Lesya Ukrainka East European National University, 18, 134-140.
[16] Turchak, L. (2021). Oleksandra Ekster's contribution to the artistic culture of Ukraine and the world. Modern Art, 17, 219-228. doi: 10.31500/2309-8813.17.2021.248461.
[17] Homa, N.M. (2015). Patriotic fashion or fashion for patriotism: Clothing as a way of selfidentification. Bulletin of the Mariupol State University. Series: History. Political Science, 12, 322–-329.
[18] Khoma, N.V. (2016). Symbolising political reality: Body and clothing as an expression of self-identification. Political Institutions and Processes, 1, 132-139.
[19] Khrapko, P.Yu. (2012). "Aesthetic ideology" by K. Malevich: An attempt to define the concept. Humanitarian Journal, 4, 39-45.
[20] Chursin, O.V. (2012). Avant-garde searches in modern plein-air painting of Ukraine. Herald of KhDADM, 8, 124-131.
[21] Shapoval, A., Ostapenko, N., & Smazhenko, V. (2018). Design-projection of handkerchief-scarf products using author's works. In Actual problems of modern design: A collection of materials of the international scientific and practical conference (pp. 261-264). Kyiv: KNUTD.
[22] Shevchuk, K. (2023). Origins and prerequisites of the formation of avant-garde art: Aesthetic and philosophical analysis. Scientific Notes of the National University "Ostroh Academy". Philosophy, 24, 15-20.
[23] Official website of Zitkani. (2023). Retrieved from https://zitkani.com/product/z015/.
[24] Official website of OLIZ. (2023). Retrieved from https://oliz.com.ua/.