“grow” to the level of meta narrative and legend. Such a narrative can be understood
as a principle of representation: a costume, a costume on an individual, an individual
in a costume. It demonstrates the meaningful transformation of the concept and shifting
emphasis in representations.
CONCLUSION
The scientific approaches to the study of costume have been systematized, which
allowed substantiating the direction of research, formulating its basic provisions,
carrying out an analysis of existing models of representations of costume design,
identifying their peculiarities and establishing the appropriate classification.
A model is developed that reflects the interconnections of different forms of
representations caused by the presence of a basic narrative in them. Here the levels
(typographical-printed representative practices, performance and virtual representative
practices) have sub-levels that determine the forms of representations.
Illustration of fashion is a fixation or reflection of a costume, using stylisation by
design and artistic means. Photo illustration reflects costume by fixing and
transforming it with technical means. Both forms use themes, plots that reflect
fragments of everyday culture and routine. They can be both documentary and staged.
Artistic photo illustration, as a synthesis of artistic and technical means of
representation, is more conceptual, filled with different contents, which duplicate,
amplify, and sometimes deny each other. Illustration of fashion, conditionally,
represents the costume itself. Photo illustration represents a costume on an individual,
and an artistic illustration represents an individual in a costume.
Sub-levels: a fashion show (a runway walk) is a dynamic form; a display of
costumes in a museum is a static form; a display in a window is a mixed form of
representations belonging to the performance representative practices. A runaway walk
positions a costume on an individual or an individual in a costume. In this
representation form, the context dominates, and the narrative can be transformed many
times.
Displays in museums and in windows have many common features: they are long-
term and static; are formed as works of modern art, installations; use a mannequin as a
simulation of a costume wearer, which is, at the same time, a special exposition
equipment; apply special lighting, additional exposition materials. However, a costume
in museum is an artefact, a work of art. A costume in window is a commodity.
Virtual representations forms are the most accessible and, at the same time,
exclusive and elitist. They are hybrid because they apply the achievements of other
forms of representations in a manner convenient to them or in accordance with the
concept. They position both a costume and a costume for an individual or an individual
in a costume. On certain sites one can see situational assertions, where a person is
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