opposed as an individual and his/her costume. Unique is Valentino Garavani virtual
fashion museum, which represents the creativity of the designer, using different forms
of costume representations.
All levels and sub-levels are subordinated. Their interaction can be ensured by a
single basic or meta-narrative, which, if necessary or on the designer’s design, can be
realized, showing the image of the design product, in any of the forms.
BIBLIOGRAPHICAL REFERENCES
1. Byistrova, T. (2017). Thing, form, style: Introduction to design philosophy.
Moscow, Yekaterinburg : Kabinetnyiy uchenyiy.
2. Pocheptsov G. (2009). Theory of Communication. 2-e izd., ster. Moscow :
Smart Buk.
3. Kadyirova, R. (2012). Theory of Narrative and Narrative Analysis in
Psychologists. Vektor nauki TGU. # 2(9). 126-127.
4. Detkin, V. Lega, Yu. (2013). Comfort theory: Monograph. Kiev: FenIks.
5. Boychuk, A. (2013). Design space: Monograph. Kharkov: Nove slovo.
6. Lola, G. (2011). Design Code: Creative Culture. St. Petersburg: ELMOR.
7. Lahoda, O. (2007). Artistic-figurative features of a suit in the design of clothing
late XX – early XXI century. (Dis. Cand. of Art criticism). Kharkov State Academy of
Design and Arts, Kharkov.
8. Danylenko, V. (2006). Design of Ukraine in the world context of artistic and
design culture of the twentieth century. (Dis. Doc. of Art History). National Academy
of Arts, Lvov.
9. Lola, G. (2016). Design code: methodology of semiotic discursive modelling.
St. Petersburg: IPK Beresta.
10. Lipskaya, V. (2012). Costume in the cultural system: philosophical and
cultural analyse. St. Petersburg: SPGUTD.
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