2024, Vol. 9, No. 1. - go to content...

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Shapiro B.L., Nevolina O.S. Kinetic properties of crinoline design. Journal of Clothing Science. 2024; 9(1). Available at: https://kostumologiya.ru/PDF/19IVKL124.pdf (in Russian).

Kinetic properties of crinoline design

Shapiro Bella Lvovna
Russian State University for the Humanities, Moscow, Russia
E-mail: b.shapiro@mail.ru
ORCID: https://orcid.org/0000-0001-5616-8898
RSCI: https://elibrary.ru/author_profile.asp?id=768626

Nevolina Olga Sergeevna
Moscow Art Theatre School named after V.I. Nemirovich-Danchenko
at the Moscow Academic Art Theater named after A.P. Chekhov, Moscow, Russia
E-mail: nevolina_olga@list.ru
ORCID: https://orcid.org/0009-0005-9055-6938

Abstract. The crinoline on steel hoops as a structure supporting a wide skirt appeared more than one and a half hundred years ago. At first it was used for its intended purpose; then — in various fields of art and design. The most original seems to be the use of the main property of the steel «cage» of crinoline — flexible connection — in experiments in the field of theatrical costume, which appeared at the dawn of the emergence of kinetic art, in the 1910–1930s. At this time, artists of various directions: radiant artists, expressionists, futurists, constructivists explored and developed in their work the idea of overcoming statuary. Movement has become the main means of countering the endless repetition of artistic forms, construction is the basis of the artistic image, and dynamics and speed are its key elements. The impact of these ideas was pervasive. Architecture, literature, music, design and, of course, theater as a territory of synthesis of arts came under his influence. Here, not only the principles of spatial organization and artistic aesthetics of performance design, but also the very perception of stage costume underwent radical changes. The crinoline as a volumetric-spatial structure, possessing properties that are key and necessary for the spatial-dynamic experiments of the performing arts of the Russian avant-garde (this is, first of all, mobility, the ability to transform, lightness, variability, functionality, frame) were absolutely necessary and irreplaceable. This study is based on authentic historical costume items — primarily, frames of crinolines from different years from museum collections and private collections, and authentic archival materials from the Russian State Archive of Literature and Art.

Keywords: history of costume; kinetic art; kinetic frame; set design; theatrical costume; shaping of stage costume; Russian avant-garde art; Meyerhold

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