The influence of Eastern fashion on the development of European costume in the second half of the 20th century. Fragment of the work for review

Stage costume basics

Questions

Primitive world.
Ancient Egypt 4000 - 1000 BC.
Costume of the peoples of Western Asia. 3000 - 1000 BC
Costume of ancient Persia. 1000 BC
Cretan-Mycenaean costume. 2600 - 1250 BC
Antique world. Ancient Greece 700 - 400 BC
Ancient Rome costume 500 BC – 500 AD
Costume in Byzantium during the fall of the Roman Empire (400 - 1500 AD).
Early Middle Ages.
Costume of the era of the developed Middle Ages.
Gothic aristocratic fashion.
Italian Renaissance costume.
Spanish renaissance costume.
French renaissance costume.
English Renaissance costume.
Russian costume before the Mongolian period.
Russian costume after the 13th century to the 18th century.
Costume of France in the first half of the 17th century.
Differences between aristocratic and folk costume.
Costume of France in the second half of the 17th century.
Costume of France in the first half of the 18th century.
Costume of France in the second half of the 18th century.
Costume in England at the end of the 18th century.
Costume of the French Revolution (1789 - 1799). Men's suit. Woman suit.
Empire. 1800 - 1815
Restoration fashion. 1815 - 1830 - 1850
Biedermeier 1825 - 1835.
Costume of the Second Empire. 1850 - 1870
Fashionable period. 1870 - 1890 years.
Modern. 1890 - 1900 years.
Suit 1900 - 1915.
World War I costume
Suit 1920 - 1930. Art Deco.
World War II costume.
1950s suit.
1960s suit.
1970s suit.
Clothing trends. Modern theatrical, ballet costume.

Recommended reading

Andreeva R.P. Encyclopedia of fashion. - St. Petersburg: "Litera", 1997.
Andreeva A.Yu., Bogomolov G.I. Costume history: Epoch, style, fashion. From Ancient Egypt to Modern. - St. Petersburg: Parity, 2001.
Budur N. Costume history.
Brun V., Tilke M. Costume history from antiquity to modern times. – M.: EKSMO-Press, 1999.
Bloom Stella. Everyday fashion of the twenties. – New York: Dover publications, inc, 1986.
Bloom. Stella. Everyday fashion of the thirds. – New York: Dover publications, inc., 1986.
Jo Anne Olian. Everyday fashion of the forties. – New York: Dover publications, inc., 1992.
Vasiliev A. Beauty in exile. - M., 1997.
Weiss G. History of culture. - Moscow: Eksmo, 2002.
Volodarsky, Rozanova, Sakharov. Interior in Russian art. - Publishing house "Art", 2002.
Gorbacheva L. M. Costume of the 20th century from Paul Poiret to Emmanuel Ungaro. - Moscow: "GITIS", 1996.
Gottenrot F. Illustrated history of material culture. - M .: LLC AST Publishing House, 2001.
Egyptian "Book of the Dead" (about the ceremonial clothes of the Egyptians).
Costume history. Styles and directions. Edited by E. B. Plaksina. - Moscow, 2003.
Illustrated encyclopedia "Russian traditional costume". - St. Petersburg: "Art", 1998
Kes D. Styles of furniture. - Moscow: V. Shevchuk publishing house, 2001.
Cawthorne Nigel History of fashion in the 20th century. - Publishing house "Trivium" with the participation of "Egmond Russia Ltd.", 1998.
Komissarzhevsky F. F. History of the costume. Monograph: Literature, 1998.
Costume of the peoples of Russia in the graphics of the 18th - 20th centuries. - VRIB "Soyuzreklamkultura", 1990.
Russian costume of the 15th early 20th centuries from the collection of the State Historical Museum. - Moscow: "Art-Spring", 2000.
Konemann 1998. Baroque.
Konemann 1998. Art of the Italian Renaissance.
Konemann 1998. Classicism and Romanticism.
Konemann 1998. Gothic.
Kireeva E.V. Costume history. - M., 1999.
Kirsanova R. M. Costume thing and image in Russian literature of the 19th century. "Pink xandreika and dreadlock's handkerchief". - Moscow: "Book", 1989.
Kirsanova R.M. Stage costume and theatrical audience in Russia in the 19th century. - M .: "Artist. Producer. Theatre, 1997.
Kirsanova R. M. Costume in Russian artistic culture of the 18th - first half of the 20th century. - M., 1995.
Mertsalova M.N. Costume of different times and peoples. – M.: Art, 1972.
Mertsalova M.N. Poetry of folk costume. - Publishing House "Young Guard", 1988.
Reasoc Jonh. The chronicle of western fashion from Ancient to Present Day. – Harry N. Abrams, Inc., Publishers, 1991.
Parmon F. M. Russian folk costume. - Moscow: Legprombytizdat, 1994.
Racinet Albert. Histoire du costume. – Booking international Paris, 1995
Tilke Max. costume patterns and designs. – New York: Rizzoli, 1990.
Modern encyclopedia. Fashion & Style. - Moscow: Avanta +", 2002

additional literature

Zakharzhevskaya R.V. Costume history. – 4th ed., revised. And extra. – M.: RIPOL classic, 2009

Bolgov N.N.: The history of clothing and costume in Byzantium. - Belgorod: GiK, 2009

It’s not easy to talk about Style: this is an elusive, subtle story, this is the soul that they are trying to synthesize into a visual space ... Therefore, in this post there will be a lot of words, turns and terms that I myself come up with on the go: "juleogisms" - this is to at least somehow describe your state on the way to yourself and your Style. Please be understanding, I hope this will not cause you much discomfort.

So, it all started with this shot from the old Soviet film "Aladdin's Magic Lamp" and "Princess Budur's Diagnosis", which I was given when I just started doing style in early 2012.

I was identified in the "refined east" and made very beautiful selection things, but it was not about me at all ... Well, either not about me at that time, or about me, but not in this form ... In general, when I imagined that I needed to wear these light, sophisticated clothes, I felt scary: I directly heard how it all burst and was torn to shreds from my almost militant energy, sharpness and agility ...

And then, when you don’t have “observation”, art history education, you don’t have a huge baggage of images behind you - and you, you can say, already an adult European person is told - “well ... this is the east, comrades, cheers and no doubt”! In short, I got sick for a long time, instead of a decision on style, but I got serious problem no longer "wardrobe character" ...

Time passed, but the "east" still did not take root, then they "prescribed" me new history: the theme of the circus. Which was very acceptable and understandable for me, but I didn’t have enough depth at all ... And I didn’t even begin to work on this topic. Then I returned to my selection and looked only at those images that “responded” to me and I easily imagined myself in them.

And then my friend and I unexpectedly got together and went to rest in Sri Lanka!
Many great couturiers say that taste develops only by "observation": by comparing the familiar and the new, and only in contrast is it possible to see the difference and feel the imagery. I subscribe to every word - it's true! Sri Lanka opened the borders, turned the worldview upside down and explained what the east is. Certainly suitable for me, in my reading.

The first thing that became obvious is that the theme of Buddhism exists in me and definitely plays the strongest role and impact on the personality. This became clear when we arrived at the Temple of the Tooth Relic in Kandy - the Mecca of world Buddhism, the most important shrine that preserved the teacher's tooth. You can write a separate post about the meaning of this tooth and its role in the history of the island - if you are interested, you can find out these facts. But now I want to say that the state I fell into on the territory of the temple, I have never experienced before. It was a poignant hysteria, such a touching feeling of harmony and happiness, like a meeting with something very dear, which I never knew, but I was in search of all my life ...

Here is the descendant of the tree under which the Buddha was enlightened.

The leaf of this tree, the shape of which explains the shape of the temples. I still have the sheet, it has browned a little, but it still looks great!

Here is the tooth. Once a year, he is "walked" on the most beautiful elephant, incredibly decorated in honor of this festive ceremony.

Well, why not a fairy tale?! :)

I learned a lot about myself in this country.

And now about Style, it started with a sari store, with a choice of fabric. I firmly decided that I would sew my own sari, lengthening the top to the waist so that I could wear it when I arrived back. By the way, the Sri Lankan sari differs from the Indian one: these are 3 independent things: a top, a skirt, and a cape made of a huge piece of pleated silk. This is an element of decoration, which, if desired, is worn over and fastened with pins to the skirt. The Indian sari is a 5-6-meter monolithic silk fabric that is expertly draped around the body.

So the "east" is all very different! Even in the past, one nation is different. And compare, for example, Japan and Turkey! It is very difficult for us, Europeans, to understand the subtle things of the East ... And even to understand these subtleties ...

Here are some tips I use to give my wardrobe some oriental touch:

After a long inner work, I managed to find my Style a little and find my Budur in myself. Then the idea was born to capture it in a photo shoot. I came up with a fashion story, thought through each image in detail, picked up clothes and accessories. Then I made a brief for the photographer and makeup stylists. The photographer found suitable locations and we started this shoot.
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I want to thank my Essentia Style team for this work: photographer Andrey Pugach, makeup artist Nani Kogua, and makeup artist-hair stylist Anastasia Pavlenko. Guys, thank you so much for your deep, subtle feeling and understanding... For the way you get involved in the work and do it with such enthusiasm! And for the atmosphere and pleasure :)

Diplomas, term papers, abstracts, control...

coursework

104612 The influence of Oriental costume on the fashion of the early XX century (1900-1950) (abstract, term paper, diploma, control)

Introduction
Chapter 1. The history of oriental costume
- 1. 1. General information about the costume
- 1. 2. Costume History of the Far East: Japan, China, India
- 1. 3. Costume of the Arab East
Chapter 2 Reasons for the influence of the costume of the East on the European costume
- 2. 1. Turn of the century. Costume changes
- 2. 2. Eastern influence in the middle of the 19th - early 20th centuries. Japanism style
Conclusion
Bibliography

From the very beginning of the 20th century, the couturiers of the West experienced the strongest influence of ethnic motives, that is, such movements that appealed primarily to folk, original creativity, to folklore traditions associated with the diversity of world cultures. We are talking about tours of Russian ballet in Europe. The essence of this period was most clearly represented by the greatest French couturier Paul Poiret. After working with Doucet and Bort, he opened his own company in 1903 and by 1905-1907. created a revolutionary style. He claimed many innovations: primacy in the abolition of the corset, although this claim was disputed by Vionnet (who worked for

Doucet in 1907) and Lucille, but Poiret definitely contributed to the appearance of a bra that separates and rounds the chest. This couturier created his models for a young, slender and flexible body, which was to become the ideal of the twentieth century. Exceptionally sensitive to trends in painting and design, Poiret was the first fashion designer to discard the soft tones of the previous Edwardian period. He introduced the intense open color used by the Fauvist painters; ethnic exoticism and oriental motifs of sketches by Bakst and Benois for the Russian Ballet were also reflected in his tunics, turbans, harem skirts, Turkish trousers and evening wear. Fashion was influenced by the army, not only European, but also colonial, which brought the exoticism of the beautiful art of Morocco and Tunisia, China, India, and the Arab countries. Simplicity of forms women's costume often offset by lavish decoration. The next significant appeal to the ethnic and its use in costume was Poiret's look at the Middle East and borrowing from there, primarily from Turkey, some elements of clothing. In 1929, the dresses fit closely not only on the sides, but also on the hips; the neckline on the back, sometimes reaching the waist, now returned to a more natural position. Poiret pantaloons, or ladies' bloomers like in a harem, had a small number of adherents, but in the late 1920s. fashion designers again began to offer pajamas or Turkish suits with trousers made of brocade or other expensive fabrics for an evening at home. FROM evening dresses around 1908, tulle bows were sometimes worn in the US, and oriental turbans were popular with avid fashionistas in Europe and the US from 1911 to 1914. From 1910-1920s. wore headbands and sometimes feathers, but in the second half of the 1920s. sometimes flowers or a turban remained the only headdress. The toes of shoes and boots also experienced an "overseas" influence: they were very long and sharp until the 1920s, when wide, blunt socks appeared on some day shoes, similar to socks on men's shoes. Boots as an ethnically colored element came into fashion with the appearance in 1924 of high women's boots, called "Russian" and lasted until 1926.

2.2 Eastern influence in the middle of the 19th - early 20th centuries. Style "Japanism" This innovation had a significant impact on fashion at the beginning of the 20th century: from now on, the artificial silhouette of the dress, born thanks to the corset, gave way to the natural form of the dress, shading the lines and curves of the female body. By the time the Russian-Japanese war (1904-1905), cultural the influence of Japan has already been called "Japonism." Both Orientalism and Japaneseism made a significant contribution to the development of art and literature of that era. Designers of the fashion house Poiret and the fashion house of the sisters

Kallo drew inspiration from the exotic, sensual beauty of the East. They admired the rare patterns and bright colors of the fabrics, they were attracted by such unusual outfits for the West as loose harem-style trousers and exquisite Japanese kimonos. The flat cut of the kimono helped shape a whole new approach to clothing, how it should fit the figure. Huge volumes could be written about the influence of Japan on European fashion. The inhabitants of Europe were intrigued by the mysterious Japan, the goods brought from there illegally or legally were always in great demand. The sources that I used say that Europeans began to recognize the uniqueness of Japan's culture only in the 2nd half of the 19th century, when it opened its borders. But despite this, back in the 18th century, the Dutch East India Company imported Japanese kimonos, which in Europe men wore as home clothes. For a long time, Japan remained a state closed to foreigners. During the reign of Emperor Meiji, an era of reforms began: the country opened its borders and began to develop trade with the West. In 1859, after the opening of the port of Yokohama, Japan began to export silk to Europe, and mainly high-quality expensive fabrics were exported. European young ladies and ladies began to wear quilted home dresses made from the habutae variety. The opening of Japan to international trade aroused the interest of Europeans in everything Japanese, and in the early 1880s a trend called “Japonism” appeared in fashion, which lasted until the 1920s. The action of many novels, plays, ballets and operettas began to take place in the Land of the Rising Sun with its indispensable exotic landscape. An incredible success with the public caused, staged in Paris in 1906, the opera Giacomo

Puccini's "Madama Butterfly". It's funny that in 1907, a certain champion of women's rights, Anna G. Noyes, who was perceived by many as an eccentric, advocated new clothes that women could put on without outside help, and which would not squeeze the body, allowing them to move in it naturally. She also wanted women to wear fabrics that were pleasant to the body, easy to wash and clean, and not starchy. She also advocated that women wear gloves in winter instead of annoying muffs, lighter hats, and not huge grotesque, well, more comfortable shoes. Thus, the kimono appeared in women's dress just in time. Women were just looking for new, simple forms for their toilets. And its structure and simplicity were the embodiment of the spirit of freedom. At first, the kimono was purely home wear. But, over time, the Japanese theme has penetrated into everyday and even evening wear. Japanese-style evening capes (cloaks) were incredibly popular at the beginning of the 20th century. For example, such beautiful coats and robes were exported from Japan to Europe by Iida stores.

Takashimaya, who traded kimonos. Above are examples of the "theatrical coat". “Designed after the Chinese mandarin formal robe of the Qing Dynasty, this outfit was made in Japan for export” (Fashion History, Kyoto Costume Museum). All these items are distinguished by a subtle sense of color and exquisite embroidery. Stylized oriental dresses by the English company Liberty were very popular in the late 19th and early 20th centuries. Liberty & Co., founded in London in 1875

Arthur Lazenby Liberty (1843−1917) and specialized in goods from the East and Far East, was strongly influenced by the Art Nouveau style. The company was so often associated with him that in Italy they began to call everything sinuous, curvilinear - "Liberty". Well, the well-known popularizer of the "kimono" cut - Paul Poiret. Author's works of Poiret were distinguished by luxurious exotic decorations with a bold, rich color palette. He created harem-style wide trousers, as well as a tapered skirt, aptly called "lame" by critics. Giving back to Dan-Oriental culture, the designer brought turbans into fashion. His costumes are inspired by dreams of distant lands: bewitching, mysterious, they beckoned, inspiring many artists. A similar trend arose at the end of the 19th century, when the works of Orientalist artists appeared, and the publication at the beginning of the century of the translation of the fairy tales “A Thousand and One Nights” only increased public interest in the culture of the East. The sensational performance of Russian dancers, which took place in Paris in 1909 as part of Diaghel's "Russian Seasons", distinguished by exotic splendor, further strengthened the fashion trend. Despite the fact that “officially” Japaneseism ceased to exist in the 1920s, in fact, this is not entirely true (as we see above). fashion designers constantly "blow up" the world with their incredible outfits and definitely influence the overall fashion trend.

Ethnic style in world fashion has been successfully adapting the folk costume for modern clothes for a long time, borrowing designs from the costume of the “third world countries”: saris, sarongs, ponchos, etc. Japanese designers are making especially attractive experiments with European designs. Taking into account the relevance of the problem of ethnocultural identity in modern clothing design, it is obvious that there is a need to deepen the study of national cultures, especially applied art and costume, both of the ethnic groups of our country and world cultures. The coverage of the implementation of ethnic components in fashion by clothing designers justifies the relevance of the work. There is no doubt about the influence of folk tradition, the so-called "ethnic influences", on the work of stylists in a number of foreign countries (for example, France, Italy, Japan, etc.). M. N. Mertsalova, a fashion historian, wrote: “The ability of an artist to abstract an artistic idea from a specific form of historical or folk costume and give this idea new life, to catch the possible points of contact between the past and the present and the language contemporary art to express what was found in the figurative solution of a contemporary costume - this rare ability is characteristic only of real talents. The current mechanism of tradition contributes to the preservation of folk costume in the 20th century, and the use of ethnic elements in modern clothes is stimulated by youth fashion, which has given rise to an independent direction - folk style. Thus, the study of fashion and the influence of folk costume on it, especially in those areas where they have the place of targeted cultural contacts, facilitates the processes of cultural adaptation, opens up great opportunities for both theoretical understanding and practical implementation, confirming the thesis that folk costume is a cultural and historical phenomenon in the fashion of the 20th century.

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Bibliography

Andreeva R. P. fashion encyclopedia/ R. P. Andreeva - St. Petersburg: Litera, 1997. - 411 p.
Andreeva , A. Yu. Costume history . Epoch. Style. Fashion: from Ancient Egypt to Art Nouveau / A. Yu. Andreeva - St. Petersburg: Parity, 2001.- 356p.
Baldano I. Ts. Fashion of the XX century: encyclopedia / I. Ts. Baldano - M .: GITIS, 2002.- 564 p.
Blokhina I.V. The World History costume, fashion and style/ I. V. Blokhin - Minsk: Harvest, 2007. - 399 p.
Brun W. The history of the costume from antiquity to modern times/ V. Brun - M.: EKSMO, 1995. - 464 p.
Budur N. Costume history / N. Budur. - M.: Olmapress, 2001. - 368s.
Gadzhieva E. A. land of the rising sun. History and culture of Japan / E. A. Gadzhieva. - Rostov-on-Don: Phoenix, 2006. - 256 p.
Gorbacheva L. M. XX century costume from Paul Poiret to Emmanuel Ungaro/ L. M. Gorbacheva - M.: Gitis, 1996. - 120 p.
Hoffman A. B. Fashion and people: A new theory of fashion and fashion behavior / A. B. Hoffman- M., 1994. - 160p.
Grigoryeva T. P. Japanese artistic tradition/ T. P. Grigorieva. - M., 1979.- 516s.
Zakharzhevskaya R.V. Costume history: from antiquity to the present / R.V. Zakharzhevskaya.- M.: Slovo, 2005. - 287 p.
Zeling S. Fashion. Century of fashion designers 1900.-1999 / S. Zeling. - Koln: Konemann, 2000.- 634s.
Icons of style: the history of fashion of the XX century / per. from English. Y. Gurko. - St. Petersburg: Amphora, 2009. - 191 p.
Ilyinsky M. M. Her Majesty Fashion/ M. M. Ilyinsky. - M: Slovo, 1997. - 415 p.
Art of Japan - [Electronic resource: CD.]. - M.: Directmedia Publishing, 2005.
Fashion History from the 18th to the 20th Century: Collection of the Kyoto Costume Institute. - M.: ART-Rodnik, 2003. - 735 p.
Kaminskaya, N. M. Costume history / N. M. Kaminskaya. - M.: Light Industry, 1977; Legprombytizdat, 1986. - 168 p.
Kibalova, L. The Illustrated Encyclopedia of Fashion/ L. Kibalova, O. Gerbenova, M. Lamarova. - Prague: Artia, 1986. - 608 p.
Kozlova T. V., Ilyicheva E. V. Style in 20th century costume. Tutorial for HIGHER EDUCATION INSTITUTIONS / T. V. Kozlova, E. V. Ilyicheva .- M .: MSTU im. A. N. Kosygina, 2003. - 160 p.
Komissarzhevsky, F. F. Costume history / F. F. Komissarzhevsky. - Minsk:, 1998 - 496 p.
Cowthorn N. History of fashion in the twentieth century/ Per. English L. Knysha. - M.: Trimium Egmont LTD, 1998. - 176 p.
Mertsalova, M. N. Costume history / M. N. Mertsalova. - M.: Art, 1972.-345s.
Mertsalova, M. N. Costume of different times and peoples. In 4 volumes / M. N. Mertsalova. - M.: Fashion Academy, 1993−2000.
Plaksina E., Mikhailovskaya L., Popov V. Costume history. Styles and directions / E. Plaksina, L. Mikhailovskaya, V. Popov - M .: Academy, 2003. - 224 p.

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The Ancient East is a collective historical image of the states and traditions of Ancient Egypt, Sumer, Babylon, Assyria, Ancient Judea, Ancient China and India. These countries were united by geographical, socio-economic principle, but differed by natural, climatic and socio-cultural conditions. This determined the huge difference in the preferences, tastes and ideals of the peoples who inhabited the Ancient East.

Clothing in ancient Mesopotamia

In Mesopotamia, all outfits were made from woolen fabric, which was woven from the wool of sheep and goats, since the climate did not allow mass cultivation of flax. Linen fabrics were brought from, such a luxury was “affordable” only for clergymen and kings. The inhabitants of the region preferred bright colors in clothes (reddish, yellow, bright red, dark red, red-brown, gray, blue, apple-green, red-lilac blue-violet and other colors) and striped ornament.

Men wore sleeveless tunics with a smooth collar or trimmed with piping and loincloths made of long fabric (up to 5 meters) trimmed with fringe.

Women's clothing also consisted of a tunic with side slits, knee-length and narrower at the top, which allowed them to support the chest. Sumerki wore skirts with a belt, which were sewn from horizontal fabrics, half a meter wide.

Fashion in Ancient Babylon and Assyria

The men's suit consisted of a kandi - a tunic with one-piece short sleeves. Its length and luxury testified to the social status of the owner and his wealth. The kings had the exclusive right to wear several robes and wear a purple cloak with a special cut, with rich embroidery and gold plates. Trousers were used for military affairs.

Women wore long, rectangular dresses with narrow long sleeves.

Clothing style of ancient Judea

The clothing trends of the ancient Jews fell under the influence of the states that conquered them, and had oriental features. The costume consisted of a shirt-like apron and a colorful carpet that draped over the shoulders. Common people dressed in wet and woolen shirts. Later, clothes were made from thinner fabrics, decorated with rich finishing materials. The top dress with short sleeves reached the knees and was tied with a belt with a buckle and tassels. Often a mantle of a special cut was used, which was fastened on the right shoulder.