Journal of Clothing Science
Journal of Clothing Science
           

2022, Vol. 7, No. 3. - go to content...

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Adamyan M.A., Makarova T.L. Creative interpretation of the motifs of traditional Armenian ornaments in the design of a modern costume. Journal of Clothing Science. 2022; 7(3). Available at: https://kostumologiya.ru/PDF/09IVKL322.pdf (in Russian).


Creative interpretation of the motifs of traditional Armenian ornaments in the design of a modern costume

Adamyan Mariam Andranikovna
SAVAGE, Moscow, Russia
E-mail: masyamus@yandex.ru

Makarova Tatyana Lvovna
Moscow Institute of Art and Industry, Moscow, Russia
E-mail: sunnyimage11@gmail.com
RSCI: https://elibrary.ru/author_profile.asp?id=622882
ResearchGate: https://www.researchgate.net/profile/Tatiana_Makarova2
SCOPUS: https://www.scopus.com/authid/detail.url?authorId=24758853100

Abstract. The most obvious citation in the design of the modern costume of the elements of the Armenian folk costume, the interior and the images of culture in general is the use of motifs of traditional ornaments taken from the ornamentation of carpets and embroideries on the costume. Decorative patterns of individual parts of a set of national clothes are also found in the carpets of Armenia. This article provides examples of the use of carpet ornaments and embroideries in the design of a modern costume by various fashion designers of our time. Some costume designers are more attracted to the motif of a tree (the Tree of the Family), others are more attracted to the motif of a pomegranate, a paradise fruit, and others are rhomboid motifs, a dragon ornament. A lot of designers like gold and silver embroidery on plain velvet, woolen fabrics (suits, dresses and coats). Floral patterns and patterns from tree branches, leaves are suitable for literally every designer to create a collection, as can be seen in the examples presented. In general, many ornaments are repeated — their structure, color, structure of elements are similar to the national costume. But in the modern vision of fashion trends, taking into account the imposed fashion (by various trend bureaus of our time), new colors appear that are initially alien to the Armenian costume. Therefore, they look strange against the backdrop of the complex richness of colors of the traditional costume — too simple, thus belittling the dignity and grandeur of the image built over the centuries. The designer must be careful and if he introduces a new color, he must revise the structure, and often the composition of the ornament, in order to give it a new harmonious sound — and not just shock the viewer. The harmony of the presented models speaks of their demand. The modern consumer has a more developed taste and greater “watchfulness”, and there are many clothing brands, which is why it is more difficult to please him and bring things to purchase (especially if he is a domestic consumer of the collections of Armenian designers, a representative of their own culture: he remembers the meanings of all ornaments or is familiar with them).

Keywords: motif; ornamental motif; image; traditional image; costume image; Armenian costume; color in a costume; color symbolism; image symbolism; ornament semantics; color pragmatics; Armenian costume; Armenian designers; ethnic costume

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