Mados fenomenas: mada kūrybos visuomenėje
LTŠi kolektyvinė monografija yra Kazimiero Simonavičiaus universiteto Kūrybos visuomenės ir ekonomikos instituto Mados industrijų studijų programos dėstytojų ir jų kolegų mokslinių tyrimų rezultatas. Kolektyvinės monografijos tikslas - parodyti mados industrijų įvairovę, kuri plečiasi, atverti problemines sritis bei įvertinti, kokių pokyčių patiria mada sparčiai kintančioje kūrybos visuomenėje ir kaip jie gali indikuoti pačios visuomenės raidos trajektorijas. Mados fenomenas neretai apibūdinamas kaip nuo gyvenimiškos tikrovės atsietas reiškinys, tarsi savarankiška išskirtinio, tam tikro psichologinio tipo individų elgesio maniera (stilius), tačiau jo esmė ta, kad pasireiškiančiomis madingomis tendencijomis seka tik dalis konkrečios visuomenės narių, o kiti - arba joms abejingi, arba stengiasi jomis tik sekti. Viena iš klaidingų nuomonių apie mados fenomeną ta, kad jis susiformavo vadinamaisiais naujausiais laikais. Madų, kaip suprantamos šiandien, apraiškų konstatuota ir primityviose visuomenėse. Pirmosios išvaizdos madų apraiškos - savaiminės, grindžiamos jgimtu žmogaus gebėjimu imituoti, mėgdžioti, domėtis savimi ir kitais, gėrėtis. Priežasčių ir faktorių gali būti labai daug, kodėl apranga, daiktai, veikla, procesai, medžiagos ar technologijos tampa madingi. Akivaizdu, kad prie madingos tendencijos atsiradimo ištakų stovi konkretūs kūrėjai ir bendrovės. Vadinasi, mada - tai ir kūryba, ir industrija vienu metu. Nors mados (mada) kyla iš visuomenės (o tiksliau - individo), joms (jai) būdingi santykinai greita ir ritmiška kaita, naujų kūrybinio ir daiktiškųjų pavidalų požymiai. Su žmonių kūrybine, menine, gamybine veiklomis ir technologijų pažanga glaudžiai susijęs mados, kaip elgesio, fenomenas suformuoja prielaidas vis naujai įvertinti galiojantį visuomenės gyvensenos modelį, kultūros turinį ir vertybes [Iš Įvado].
ENThis collective monograph is the product of research carried out by the teachers of the Fashion Industry Curriculum of the Institute of Creative Economy at Kazimieras Simonavičius University and their colleagues. The purpose of the collective monograph was to highlight the fashion industries, which are undergoing an expansion, reveal problematic areas, and assess the changes that fashion goes through in the rapidly shifting creative society and how those changes can indicate the trajectory of the development of the society as such. The fashion phenomenon is often described as something removed from the everyday reality; a stand-alone behavioural manner (style) of unigue and psychologically peculiar individuals, yet in essence, the emerging fashion trends are followed by only a fraction of the members of a particular society, while the rest either remain indifferent to, or try to follow it/them. One misconception of the fashion phenomenon is that it took form in the so-called modern times. Fashion as it is perceived today has its manifestations rooted in primitive societies. The first displays of fashion of appearance were spontaneous and were based on the human being's inherent ability to imitate, mimic, engage with, take interest in oneself and in the others, and to admire. There can be many reasons and factors affecting why clothes, items activities, processes, materials, or technologies become trendy. Evidently, one can always trace the origins of a fashionable trend back to specific creators and companies. Which makes fashion a creative process and an industry all rolled into one. Even though fashion(s) stem out of the society (or rather an individual), they are defined by the rhythm of relatively swift variation, traits of the creative and material novelty of form.The phenomenon of fashion as behaviour that is closely tied with human creative, artistic, manufacturing activities and technological advancement creates preconditions to re-evaluate the established model of the society's lifestyle, cultural content, and values. The history of art and fashion is tightly intertwined. The processes and creators of fashion affect artists, and vice-versa: art trends, styles, and movements influence fashion. What are the activities and points of contact where this comes into play? Today's world of fashion and art are working very closely together, erasing the boundaries, just like the rest of the interdisciplinary phenomena that have emerged in the process of time shift. Time has come when fashion no longer relies on the catwalk and the press to display a new assortment of models. To promote interest in their collections, in addition to the conventional approaches to fashion demonstration, fashion houses are also making a move to the modern media. These are the internet, fashion movies, virtual shows, fashion installations, art of movement, performances, special events, and so on. In the beginning of the 21st century, fashion is starting to target both spaces that represent modern art and traditional art museums. And it captures quite the audience. Historically, fashion styles have always been affected by art movements. Designers get their ideas from and try to represent the latest cultural developments in reliance on art as a reflection and expression of everything. However, while in one case it was an informal process of influences without emphasising the cooperation with artists, in another, it was a licensed phenomenon that sometimes prioritised on the artist. [...].
