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Regular version of the site
Of all publications in the section: 29
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Article
Bernheim N. Теория моды: одежда, тело, культура. 2011. № 18. С. 44-69.
Added: Feb 7, 2012
Article
Островская Е. С. Теория моды: одежда, тело, культура. 2010. № 18.
Added: Dec 15, 2011
Article
Рогинская О. О. Теория моды: одежда, тело, культура. 2004. № 2. С. 97-100.
Added: Oct 29, 2010
Article
Рикитянская М. Ю. Теория моды: одежда, тело, культура. 2011. № 20.
Added: Jan 30, 2012
Article
Островская Е. С. Теория моды: одежда, тело, культура. 2010. № 17. С. 231-235.
Added: Dec 15, 2011
Article
Ярская-Смирнова Е. Р., Романов П. В. Теория моды: одежда, тело, культура. 2013. № 30.
Added: Nov 14, 2013
Article
Осминская Н. А. Теория моды: одежда, тело, культура. 2008. № 8. С. 13-17.
Added: Feb 21, 2013
Article
Кулиничева Е. А. Теория моды: одежда, тело, культура. 2020. № 55.

Ekaterina Kulinicheva offers her paper ‘Cultural Appropriation’ as a Tool in Modern Olympic Uniform Design: How It Is Used and Received. The author examines the specific range of visual tools that are used in the design of Olympic parade uniforms in order to pay homage to the host country or region. As a rule, these include adapting particular items of clothing, patterns or images associated with the cultural stereotypes linked with that country or region, or reproducing directly the designers’ particular vision of the local vestimentary ‘specialities’. These methods could be termed ‘Olympic cultural appropriation’. Kulinicheva’s research leads her to conclude that this group of tools corresponds to the function of Olympic parade uniform that could be termed ‘themed costume’, the theme being the host location. The ways in which these design methods are used are on the whole similar to the processes usually branded ‘cultural appropriation’ in cultural industries, especially where the designers are working with well-known cultural stereotypes. Olympic outfits, however, appeared and are used in a very different context to that which accompanies other items in the fashion industry, and this, most likely, explains the difference in attitudes towards these products. Whilst cultural appropriation within the fashion industry is today frequently subjected to criticism, the author failed to find any sources that would be critical of Olympic uniform in the same way. At the same time, the use in Olympic uniform design of symbols representing other cultures has at times been criticised for a different reason, due to its apparent contradiction of a key function of present-day Olympic uniform, that of visually asserting the national identity of the wearer. This would appear to show that this function of Olympic outfits, although it may not be the only one, is largely seen as the most important.

Added: Apr 18, 2020
Article
Запорожец О. Н. Теория моды: одежда, тело, культура. 2014. Т. 33. С. 143-161.

The paper is focused on the subway user's experience. Based on the field research of two subways in Russian cities (Moscow and Kazan), it supposes that modern urbanites are competent and skillful enough to manage their everyday experiences using subway as the means of regulation.

Added: May 14, 2014
Article
Романов П. В., Ярская-Смирнова Е. Р. Теория моды: одежда, тело, культура. 2011. № 18. С. 91-116.
Added: Feb 26, 2011
Article
Минина Ю. Д. Теория моды: одежда, тело, культура. 2016. № 40. С. 129-140.
Added: Sep 3, 2018
Article
Мещеряков А. Н. Теория моды: одежда, тело, культура. 2018. Т. 47. № 3. С. 263-273.

The article is devoted to the evolution of the perception of their habitat by Japanese.

Added: Sep 25, 2018
Article
Зеленина Г. С. Теория моды: одежда, тело, культура. 2008. № 8. С. 19-36.
Added: Feb 3, 2011
Article
Андреева А. Н. Теория моды: одежда, тело, культура. 2013. № 28. С. 229-251.
Added: Oct 8, 2013
Article
Бакина Т. В. Теория моды: одежда, тело, культура. 2020. № 56. С. 9-30.

The paper Feathers, Fruits and Mallows: Extravagance in 1920s — 1940s Hollywood Costume Design focuses on unusual and over-the-top dress in classic Hollywood movies. Taking a detailed look at the factors behind this phenomenon, the paper also examines the importance of these costumes within the overall structure and plot of specific films. The author sets out by analysing the design of stage and performance costumes for 1930s — 1940s Hollywood musicals, pointing out in particular the influence of Broadway revue shows, primarily the theatrical revues of Florence Ziegfeld, Jr. In the second part of the paper, the author looks at the expressive impact of masquerade costumes in films. The aithor also examines the visualisation of the external transformation of female characters through changes in their external appearance, dress, and style. The paper then discusses the tendency towards symbolism in screen costume design, pointing in particular to the frequent use of animalistic imagery. Sexuality, the author argues, is often portrayed through the incorporation in dress and accessories of edible symbols, such as colourful fruit and berries, or pastries and sweets. The author concludes by stressing that the exaggerated imagery and spectacular effects in Hollywood costume design were not due merely to the specific plot of this or that film, or even to the evolving role of costume at this or that stage in the American film industry’s development. These visual images were also used to attract attention, to produce a vivid impression among the audience, and ultimately, to develop an almost sensory level of film appreciation through a focus on corporeality and fi ne detail in the costumes.

Added: Jul 21, 2020
Article
Алябьева Л. А. Теория моды: одежда, тело, культура. 2018. № 49. С. 8-9.
Added: Oct 5, 2018
Article
Алябьева Л. А. Теория моды: одежда, тело, культура. 2017. № 46. С. 8-9.
Added: Oct 5, 2018
Article
Алябьева Л. А. Теория моды: одежда, тело, культура. 2016. № 39. С. 8-9.
Added: Oct 5, 2018
Article
Алябьева Л. А. Теория моды: одежда, тело, культура. 2017. № 45. С. 8-9.
Added: Oct 5, 2018
Article
Алябьева Л. А. Теория моды: одежда, тело, культура. 2018. Т. 47. № 1. С. 8-9.
Added: Oct 5, 2018
Article
Кимерлинг А. С. Теория моды: одежда, тело, культура. 2007. № 3. С. 81-99.
Added: Sep 23, 2011
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