consumer requirements, and aesthetic preferences. It is important that each such story
remains sort of incomplete, elusive, provoking the spectators’ reflections and fantasies
about the hero of the collection and the style of his/her life. Thus, the process of
narration continues indefinitely. The viewer reads the image and consumes the
narrative, experiencing a certain emotional state that forms the attitude to the presented
costume and, accordingly, the creativity of the designer or a particular brand. Emotions
that are experienced by the recipient are not necessarily positive or associated with
aesthetic pleasure and contentment. In the modern world, negative emotions, the ability
of which to acquire attraction for users requires a separate detailed study and is related
to the psychology of designer creativity and psychology of perception, are often and
more clearly perceived. In any case, all of these processes are based on self-
identification, self-presentation and human personification that occur due to
visualization of the wearer’s appearance.
CONCLUSION
Fashion shows are a dynamic format of fashion clothes representation, which is
characterized, first of all, by the scenario approach to the organization itself,
theatricalization of the action, the performance and game aesthetics. This format is
characterized by expressive imagery, which is realized through a costume and its
wearer and is amplified by the context of the representation. It should include, first of
all, the location of the show, place and time of action, environment and scenery,
lighting and musical accompaniment. All of these components of representation are
interconnected and based on a single narrative, which is a life story, a fragment of the
life of the collection hero, a real or imaginary character, whose interpretation of the
image induces the viewer to fantasies and certain emotional experiences.
As a format of a fashion costume representation, the shows have more than one
hundred and fifty years of history of development, within which they have been
transformed from behind-the-scenes demonstrations of costumes for the elite of the
society to large-scale entertainment shows for different categories of consumers.
During its development, fashion shows experienced conceptual changes in the
principles of presenting a fashionable outfit: first, there was the principle of positioning
a costume directly as a fashion product; later it became the positioning of a costume on
a person as a reference model; and later on, from about the 1960s, the principle of
demonstration of a person in a costume becomes dominant. This shows the
conceptualization of the representations themselves, as well as the personalization and
individualization of the costume. In the above-mentioned processes, the models
demonstrating the clothes become of particular importance, which resulted in a peculiar
cult of supermodels in the 1990s.
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