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Safronova D.A., Petruhina O.V. The evolution of expressive means of Russian folk costume in soviet and post-soviet screen animation of the 20th and Early 21st centuries. Journal of Clothing Science. 2025; 10(2). Available at: https://kostumologiya.ru/PDF/33IVKL225.pdf (in Russian).

The evolution of expressive means of Russian folk costume in soviet and post-soviet screen animation of the 20th and Early 21st centuries

Safronova Daria Alexandrovna
Saint Petersburg Stieglitz State Academy of Art and Design, Saint Petersburg, Russia
E-mail: safr.daria@gmail.com
RSCI: https://elibrary.ru/author_profile.asp?id=1270760

Petruhina Oksana Valerievna
Saint Petersburg Stieglitz State Academy of Art and Design, Saint Petersburg, Russia
E-mail: oks.petruhina@yandex.ru
RSCI: https://elibrary.ru/author_profile.asp?id=1053448

Abstract. The evolution of expressive means in the depiction of Russian folk costume in domestic screen animation from the 20th to the early 21st century is traced through the analysis of color, ornamental, plastic, and textural components of the costume image, which vary depending on historical, cultural, and technological contexts. The study covers over 70 animated films and series created from the 1930s to the 2020s and employs visual, semiotic, and comparative methods. Particular attention is paid to artistic techniques that influence the expressiveness of costume within the frame and the visual language of the character. Based on chronological reconstruction, the research identifies three consistent stylistic models of costume stylization: ethnographically oriented, conventionally decorative, and schematic. Each reflects the prevailing principles of visual culture of its period and corresponds to specific functions of costume-ranging from representational and symbolic to playful and brand-oriented. The analysis encompasses both classic hand-drawn films by Soyuzmultfilm and contemporary digital series, where folk costume is increasingly used as a component of branded visual codes. Special emphasis is placed on post-Soviet animation, where costume more often serves as a marker of visual identity, recognizable to mass audiences without detailed signification. The findings demonstrate that Russian folk costume in domestic animation is gradually transforming from a reconstructive form into a symbolic system, maintaining its expressive function and enabling visual identification of cultural affiliation within the landscape of popular media.

Keywords: Russian folk costume; animation; visual code; stylization; animated film; expressive means; visual culture

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