A Study on the Artistic Features of Fashion Education in Uzbekistan

Etibor Yadgarovna Mirzanazarova

, Shakhlo Kurbanburievna Abdullayeva

and Umida Madrimovna Khamraeva

The National Institute of Fine Arts and Design, Tashkent, Uzbekistan

Keywords: Fashion, Libos, Toshkent Modalar Uyi, Silhouette, Milliy Libos, Honatlas, Bahmal, Adras, Bekasam,

Rassom-Designer, Collection, Designer.

Abstract: Despite the fact that the development of model art in the country is in line with the Soviet Union model art,

Uzbek artists have conducted to modern conditions. Clothes are created due to the plasticity of the human

body, body harmony, and constructive lines. In the mid-1950s, new images appeared in the modeling of

women's dresses. The dress was completely form-fitting, and light silhouette lines were formed. At the same

time, a wide summer national shirt was also worn.

1 INTRODUCTION

The evolution of human clothing throughout

history is closely intertwined with the concept of

fashion, establishing an inseparable connection

between clothing and style. Each era shapes its unique

aesthetic preferences. Examining the 1940s in the

20th century, with its striking yet restrained style,

provides insight into the remarkable progress of

fashion over several decades and highlights the

increasingly liberated approach towards clothing.

Fashion generally follows two main trends: ready-

to-wear (pret-a-porter) and high fashion (couturier).

This dichotomy reflects a shift in the artist's

perspective on clothing. In high fashion, a garment is

akin to a work of art, serving as a canvas for the

designer's creative potential, inspired by imagination

and extensive research.

Uzbekistan has witnessed the emergence of two

distinct trends in costume design, reminiscent of the

1940s and early 1950s. The dynamic interplay

between these trends has been a constant feature in

the artistic landscape, showcasing the evolving

relationship between them.

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2 MATERIALS AND METHOD

The progression of a nation's clothing, serving as the

exclusive reflection of its cultural identity,

continually evolves to establish a consistent

silhouette and maintain harmony in its condition. The

typical silhouette of a man's suit encompasses a jacket

with straight shoulders and wide trousers, while a

woman's jacket features straight shoulders, a

buttonhole chest, and similarly wide skirts. During

this period, there was a prevailing trend towards

embracing complexity in clothing, evident in the

inclusion of spoilers, slats (folds), frills, ruffles,

festoons, and reliefs, complicating the standard

design.

Despite the general shift towards modernity, the

national costume persevered, expressing its

uniqueness not only through distinctive shapes but

also in the favoured fabric colours, the use of Uzbek

shoulder blades, and specific methods of wearing.

Certain forms of traditional clothing, well-suited to

the climatic conditions, endured, such as loose-fitting

women's summer jackets and men's attire tailored for

agricultural tasks. While men traditionally

maintained their folded plumage, women's clothing in

national costumes experienced influences from the

era, resulting in more intricate wrist cutouts

resembling those found in European dresses.

1278

Mirzanazarova, E., Abdullayeva, S. and Khamraeva, U.

A Study on the Artistic Features of Fashion Education in Uzbekistan.

DOI: 10.5220/0012964400003882

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 2nd Pamir Transboundary Conference for Sustainable Societies (PAMIR-2 2023), pages 1278-1280

ISBN: 978-989-758-723-8

Nevertheless, a convergence of the two clothing

development directions was discernible.

In the mid-1950s, historical circumstances gave

rise to new fashion lines that replaced aesthetic norms

in clothing design, aiming to showcase the natural

beauty of individuals. This shift embraced creating a

tasteful and spiritually harmonious appearance,

resulting in more subdued and gentle silhouette lines

that complemented the human figure without overly

accentuating it.

The propagation of shared clothing forms while

preserving national identity became increasingly

prevalent. A unified model and construction approach

spanned across the Commonwealth, incorporating

innovations from artists in socialist states.

Following World War II, the introduction of new

materials significantly altered the structure and shape

of clothing. Influenced by historical changes, socio-

economic conditions, national traits, and evolving

societal aesthetic preferences, clothing transformed

from a utilitarian safeguard against climate to an

object of applied art. In the 1950s, women's clothing

modelling introduced new characters, emphasizing

modesty and adapting to showcase beauty and

mystery. National attire, including women's summer

wide jackets, persisted.

In the latter half of the 20th century, fashion

designers began recognising changing clothing

patterns, considering both All-Union fashion and

local peculiarities. Tashkent witnessed the

establishment of a clothing fashion house in 1948,

marking the emergence of professional-level

modelling. Over time, the institution underwent name

and location changes, evolving into the House of

Republican Clothing Models (RDMO) by 1971, and

subsequently, the Center of Varieties and Varieties of

the Republican Garment Industry in 1989. The

fashion house played a crucial role in popularising

dresses in Uzbekistan and producing fashionable

attire for the local light industry.

The second half of the 20th century saw various

initiatives for yarn and silk gauze fabric preparation,

contributing to the fashion house's continued

activities. Notable developments included the

creation of a women's national clothing type for

Gulistan in 1977. Exchanges of expertise and

experience were actively pursued, with specialists

travelling for seminars and training sessions to

enhance skills in garment industry templates and

artistic finishing of fabrics. The house actively

participated in national and international events,

showcasing planned women's dresses, costume

dresses, sundresses, and dresses for the elderly in

1986.

3 RESULTS & DISCUSSIONS

On January 9, 1985, the House of Fashion Models of

the Republic made a decision to send the chief

designer, chief artistic director, and chief technologist

on a 4-day business trip to the March 8 Sewing

Association in Samarkand. The purpose of this trip

was to provide practical assistance in creating new

clothing models. Additionally, on January 14, 1985,

the House of Fashion Models organized a 10-day

business trip for four specialists to a garment factory

in Karshi. Their task was to form a collection of men's

and children's shirts under the index "New."

Several measures were taken by state bodies

during the 1970s to introduce innovations in women's

clothing and transition the wearing of European-style

clothing to local customs ("urf") rather than national

clothing. Notably, the technical creativity of

Tashkent's industrial enterprises, such as the

Tashkent Textile Mill, "Malika," "Krasnaya Zarya,"

and "Zvezda," achieved significant results in the

introduction of scientific and technical advancements

in production.

Despite the influence of European-style clothing

in the Republic, locally crafted fabrics like "atlas" and

"adras" were not neglected. These fabrics,

particularly the pure silk ones, played a crucial role.

In 1986, Western fashion designers took notice of

Uzbek national fabrics, including honatlas, during a

fashion show attended by 30 US statesmen and

women. The convergence of styles showcased

Western mini-skirts, suits, and maxi coats alongside

the Uzbek Atlas, illustrating the blending of fashion

boundaries.

The late 1950s and early 1960s were marked by

significant global events, including the first festival

of youth and students in Moscow, Yuri Gagarin's

historic spaceflight, and Mary Quant's revolutionary

shortening of skirts. The first international Fashion

Congress in Moscow in 1961 saw the participation of

Alexandra Poviskaya (Shakhnazarova), the sole

model from Uzbekistan. She later appeared in a

modern fashion show in London in 1961, presenting

traditional dresses made of Khan satin.

International meetings on modelling bolstered

cooperation between socialist states, contributing to

the development and application of fabrics

comparable to foreign products. The functionality and

aesthetics of dresses were key considerations during

this period, as artists studied both the historical

heritage and changes in national costumes.

The use of fabrics like acetate with viscous mass

and the emergence of new types, such as xonatlas and

beqasam, were associated with the increased

A Study on the Artistic Features of Fashion Education in Uzbekistan

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influence of folk-applied art. Changes in traditional

"kokrakburma (rainbow)" dresses were minimal, with

alterations mainly in collar shape, silhouette length,

cuff length, and upholstery.

The size and length of dresses evolved in response

to changes in life circumstances, leading to

adjustments in pattern design. As seen in the pages of

"Moda" magazines, fashion in the second half of the

20th century in Uzbekistan was shaped by the

development of modern costumes, with a focus on

showcasing national fabrics like Bahmal, dukhoba,

and honatlas.

In terms of business trips, the House of Fashion

Models sent specialists to provide practical assistance

in creating new clothing models at various sewing

associations and garment factories. The development

of clothing modelling in the Republic followed a

unified stream of all-Union modelling, with Uzbek

artists conducting research on forms of comparative

figurative clothing suitable for modern conditions.

Local fabrics like snipe and banoras, combined

with traditional details, contributed to the creation of

unique dresses and pantsuits for women. The fashion

house successfully incorporated the features of

Monandese nationality into modern designs,

preserving elements like wrists, silhouettes, stripes,

details, fabrics, and accessories.

The work of Uzbek artists reflects the harmony

between national and international modelling

principles. The study "The Path to National Identity"

aimed to harmonize the aesthetic ideal of a modern

person's appearance with their inner world. Uzbek

modelers received high praise for their contributions

to gaslama.

4 CONCLUSION

In summary, to truly grasp the transformations and

shifts in the history of clothing from 1948 to 1980, a

brief return to the early 20th century is sufficient.

During that period, men's, women's, and children's

attire exhibited uniformity in both summer and winter

seasons. Professionals wore the same outfit, with

distinctions only between work and leisure attire. It is

noteworthy that, at present, the factors that previously

delineated and accentuated differences among them,

such as social, age, family, and national

characteristics, have dissipated.

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