XX a. trečiojo dešimtmečio Lietuvos drabužių mados

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Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Lietuvių kalba / Lithuanian
XX a. trečiojo dešimtmečio Lietuvos drabužių mados
Alternative Title:
Mode of the Lithuanian dress in 1930's
In the Journal:
Liaudies kultūra . 2004, Nr. 2, p. 36-46
LDB Open.
Lietuviška mada; XX a. trečiojo dešimtmečio Lietuvos kultūra; XX a. trečiojo dešimtmečio mada; aprangos istorija
Summary / Abstract:

LTObjektas: XX a. trečiojo dešimtmečio lietuviška mada. Tikslas: išsiaiškinti pagrindinius veiksnius, daliusius įtaką madingos aprangos atsiradimui Lietuvoje, ir atskleisti sąsajas su europietiška mada; nustatyti pagrindinius prieštaravimus tarp modernios kultūros bei tautinio savitumo; aprašyti trečiojo dešimtmečio madą bei išsiaiškinti jos atsiradimo priežastis. Tyrimo metodai: istorinis lyginamasis, kultūrologinis, komparatyvinis, sisteminis bei retrospekcinis. Išvados: keičiantis istorinėms, kultūrinėms sąlygoms, visuomenė peržiūri tautiškumo sampratą ir kartu keičia aprangos koncepciją. Trečiame dešimtmetyje tai atspindi viešas renginys „Madų teismas". Apžvelgiant šio dešimtmečio madą, daugiausia dėmesio kreipiama į veiksnius, dariusius įtaką rūbų raidai - trečiojo dešimtmečio lietuvišką spaudą, ypač specialius madų žurnalus (vėliau aprangai pradėta leisti gausybę žurnalų), ekonomiką, vaizduojamąją bei taikomąją dailę, to laikotarpio fotografiją, archyvinę medžiagą bei vakarietiškas rūbų tendencijas. Galime konstatuoti faktą, kad tarpukario Lietuvoje plito dauguma pagrindinių Vakarų mados tendencijų. [Iš leidinio]

ENBasic tendencies of the dress of the 3rd decade have been thoroughly described and the suppositions and causes of its appearance in Lithuania explained in the article with the focus on the dress of the 3rd decade because the 3rd decade has essentially changed woman's and less significantly man's dress. As the independence was regained the middle layer of townsfolk has been formed in Lithuania, which became a fulcrum for the investigation of people's culture and garnments. The development of fashion was closely related to the changes within society, in cultural and economic life. This period's development of clothes is not an exception. Their forms, proportions and colours were reflected in art works, architecture, painting, sculpture and poetry. Over the two decades in the interwar period two antagonistic, quite different trends stood side by side. The first one represented a lucid geometric trend converting woman's body into a rectangle with the waistline on hips and with a skirt short enough to expose knees. The fashion contrary to the former one appeared in the 4th decade with the waist line in its natural place, a maximally tightened corset and a skirt covering knees and with a silhoutte forming the X style of two triangles. Short fair curly hair was in vogue. Understandably the costume was considerably influenced by the prevailing culture, economics and unstable psychology throughout both the first "geometric" and the second "plastic" period.The third decade became a tunning - fork for the entire century with its spirit directed towards the future. This eventful decade with a vast majority of discoveries and manifestations, of power and expression ended very unexpectedly and the following fourth decade got to he treated as the pre-war period. Particularly the fourth decade has brought a lot of new periodicals not exeptionally for women but simultaneously for the issues on fashion, beauty, body care and etc.: "Styles, tailor's art - periodic journal" (1933), "Woman and the world" (1937-1940), "Woman's magazine (1937). Daily papers presented the news on fashion — a novelty in Lithuanian print. The attitudes towards the mode were changing, there were many discussions explaining whether or not a thing was stylish, refined. To be fashionable was inseparable in one's daily life. It would be wrong to make statements that the mode was non-existent in Lithuania or to claim that it appeared not long ago or was not Lithuanian. With this kind of statements it would be likely to accept the claim that we had no art or culture during the interwar period altogether. Old and deep-rooted traditions of the stylish outfit - the history of mode are with us. In my article I attempted to name and categorize them and to provide extensive descriptions and weighty arguments. [From the publication]

Related Publications:
Kauno komercinė fotografija 1918-1940 / Mindaugas Kaminskas. Iš Panevėžio praeities: fotografijos kontekstas ir paveldas : konferencijos pranešimai, Panevėžys 2006 12 14. 2006. P. 42-76.
2018-12-17 11:23:25
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