| Abstract [eng] |
The aim of the paper is, based on the insights of semiotics, fashion researchers and historians, to analyze the 2013 collection of designer Juozas Statkevičius’ spring-summer high fashion collection. It attempts not only to analyze the extent to which Statkevičius constructed ideals of women, but also to what extent they have a relationship with the fashion phenomenon, with the history of Renaissance costume, with Barbora Radvilaitė's images and Anželika Cholina's dance performance "Barbora Radvilaitė", for which the designer also created costumes, which later became parts of the analyzed collection. The first part of this paper explores the idea of possibility to analyze fashion as language which has a reserve of its own elements and is based on individual action actualizing elements of that language. When looking at fashion as a language, it can also be perceived as a linguistic conceptual whole - from this comes three distinct ideas of clothing, fashion and dressing. The second part of the paper looks at fashion as a phenomenon that has a flexible relationship with the individual and the community and sometimes creates tension between these two. Through fashion, an individual can create a relationship with the community, but can also can seek to stand out from it. The third part of the paper examines the relationship of fashion and time, emphasizing that the constant change of fashion is a sign of a dynamic social structure and, as a result, the latest fashion is often evaluated or defined as "strange", "capricious", even "unusual". As a result, fashion is seen as an unmotivated phenomenon, yet it encourages creativity. The fourth part looks at the problem of the ideal and image of a woman. Looking at the construction of a woman's image from a modern perspective, the biggest problem arises when a woman is assigned a double role in society: as a fashion follower and a subordinate gender. In the last few centuries, fashion and adornment were mainly attributed as phenomena closer to women, more important, so taking care of one's appearance, clothing and its meaning are still often seen as expressions of subordination and obedience. In the 20th century social and political changes have repeatedly shaken the relationship between fashion and gender, but after World War II, a standard of femininity was established which is relevant to this day. The fifth part examines the Renaissance woman's relationship with fashion and highlights the most important values of openness, completeness, and naturalness. They were reflected in the analysis of the historical images of Barbora Radvilaitė which and influenced Statkevičius, who created the costumes for Cholina's performance "Barbora Radvilaitė". The analysis of the collection shows there was an overlap between the fashion show and the dance performance, as models on the catwalk showed the costumes created for the performance. The analysis of the collection, carried out by segmenting the female looks of the collection and examining them from a plastic and axiological perspective, revealed that the collection has a conflict between historicism and modernity, fashion and costume. It was noticed that in order to present the renaissance Lithuanian fashion history as a part of Western culture, Statkevičius did not focus on the construction of a new woman's identity, but on the 20th century. Therefore, it is concluded that Statkevičius is not a fashion creator who reflects on modernity and offers a new identity of a Lithuanian woman - a full-fledged European - but aims to bring the Lithuanian clothing culture closer to the cannon of the middle of the 20th century, which is not so relevant in the context of modernity and does not offer a new way of thinking. |
