Cubism with its aesthetic paradigms as an avant-garde cultural-artistic movement and an art principle for creating analogue fashion solutions

Design in applied art is a process of creating and developing a plan for an aesthetic and functional object, which requires appropriate research, thinking, modeling, adaptation and creation. Aesthetics today appears in various forms of art. Therefore, when we talk about something that creates an aesthetic experience, we are usually talking about some form of art. The focus of aesthetics is not limited but directed towards aesthetic ideas, ideals and sublime appearance. Cubism as an artistic movement is a new way of representing the world. We could associate the beauty of Cubism with the unconventional value, because its aesthetic paradigms penetrate the elements that surround our environment. The works are deformed, illogical, irrational, broken down into small details. Still life and portraiture are like a set of geometric shapes that interact with each other. This direction with aesthetic paradigms turns into a special form of the avant-garde, where sharp angles, straight lines and neutral colors play a dominant role. Artistic pictures - still life, portrait – do not have to look real, they are like a puzzle that the viewer has to mentally put together, while the consumer has to feel fashion and always need change, because it itself changes daily in direction of something new and different. The very idea of designing analog fashion solutions on the theme of “Cubism“ is derived from the feeling and perception that Cubism is an artistic movement, which finds the most ordinary spatial patterns and configurations of things, phenomena that represent all the complexity and diversity of life. At its core, Cubism perceives the world through geometric forms. It can be seen that the works are dominated by the concept of geometric simplification of the forms of the human body. All these aspects combine into a simple and unique form or symbol, but each of them provides a key to interpretation, each offering a distinct “reading“ of the image. A person's abilities and imaginations are sometimes simply amazing, because they develop and express their creativity in different ways. From such a concept came the cubist style, a style of something extraordinary and interesting. Cubism as a cultural artistic movement, with its artistic principles, shows free forms, bizarre construction of figures and objects, as if light currents passed through the objects and tried to show the object from different angles. Thanks to the created creations on the theme of cubism, the world is introduced to the style of flat forms without perspective with completely new and unusual colors, which communicate with each other. This artistic movement, possessing all these aesthetic paradigms and artistic principles, still manages to influence the creation of absolutely unconventional analog fashion solutions today. Keywords: cubism, art, avant-garde, unconventional, art principle, fashion design

Годишна изложба на студентите од Технолошко-технички факултет 2022

На 31 Мај 2022 година се одржа годишна изложба на која студентите од Технолошко-техничкиот факултет од насоката Дизајн на текстил и облека ги претставија своите дела работени во текот на изминатата учебна 2021/2022 година. Ментори кои раководеа со проектите и кои работеа со студентите беа проф. д-р Марија Ќертакова, проф. м-р Јордан Ефремов, доц. д-р Силвана Жежова. Предмети по кои се работени овие проекти се: модна илустрација, историја на облека, современа уметност и дизајн, историја и теорија на дизајн, основи на дизајн, техники на цртање, технологија за изработка на облека и практична настава. Настанот беше посетен од страна на професорите од Ликовната и Музичката Академија и Техничко-технолошки факултет, студентите од целиот Универзитет, како и од страна на реномирани уметници, ликовни педагози и културно-уметнички аналитичари и критичари

New ways of fashion presentation in the digital age period

The tendency of dressing in the new so-called “digital age“ in the new not only fashionable but also global period is this – the individual needs to feel modern and unique, in that order it is necessary for him to be a part of the new world filled with avant-garde, co-formism, eclecticism, mega-popular goals, semiotic universals, to be outside the limits of the normal, generally accepted and conventional. Of course the same goals are in sync with the global world, its policies, social arrangements, rules and principles, not only in fashion but also in life in general. The fact that events in life and global changes (regardless of their nature) affect the changes that take place in fashion and the fashion world is undeniable. Today, we encounter modern materials, a product of new technology and science in general, which enable a greater level of sustainability and usability. Their representation in the collections is not accidental, the fact that the fashion shows are becoming ultra-modern, which are presented in an absolutely unconventional way by ultra-modern supermodels, requires the appropriate production of the same models from suitable materials that will correspond to the technology of the new century. The idea is to present a fashion collection in the most modern way possible - virtually, with the latest technology, through a modern mix of social platforms, supported by the most avant-garde models, in the most exotic places, in the most unusual way possible, complemented by modern technology, complemented by brilliant stage effects. Keywords: Fashion, modern society, visual, personal identification, digital age

Analiza prve autohtone subkulture u istoriji mode – Antimodni stil Enkroajabla i Mervejeza („Incroyables” i „Merveilleuses”)

Apstrakt: Ovaj pregledni rad analizira jedan autentičan i prilično intrigantan modni stil, koji otkriva u kojoj meri društveno-politički događaji mogu uticati na izgradnju potpuno novog kostima koji se radikalno razlikuje od kon�vencionalnog. Jedan od glavnih ciljeva ovog rada je preispitivanje i kritička analiza kostima najbuntovnijih mla�dih ljudi koji su živeli krajem 18. veka. Takozvani „Incroyables” i „Merveilleuses”, pojavili su se kao prva autohtona subkultura u istoriji mode, dajući svoj doprinos modi kroz karakteristične elemente i varijacje muškog I ženskog ko�stima određujući, na taj način, potpuno novi društveni ideal lepote. S druge strane, istraživanje ovog novog načina strukturiranja kostima, objašnjava pojavu novih grupacija mladih ljudi, pojavu novih subkultura nakon druge polovine 20. veka. Dizajneri novog doba mudro koriste istorijski materijal u svojoj stvaralačkoj praksi prilagođava�jući ga duhu vremena. Zbog činjenice da je moda složen fenomen i ima različite manifestacije, koristila sam metod multidisciplinarnosti, strukturne i sistematske analize oslanjajući se na kulturološki i sociološki aspekt istraživanja. Ključne reči: prva autohtona subkultura, „Incroyables” i „Merveilleuses”, moda s kraja 18. vek

Different aspects of fashion

Fashion and clothing are not nearly identical phenomena. But clothing represents the most signifi-cant area, through which fashion actually appears. Considering that, the suit represents the external self-shap-ing of man, so that suit is an expression of that’s how that person would like it to look. More specifically, the suitin a way, is an expression of human self-knowledge and his understanding of himself. Therefore, this includesthe space in which that fashion is quite pronounced. The clothes themselves are simple, short-lived and fleeting,in fact as fashion itself is. The main characteristic of fashion is that, it can suddenly impose and accept a cer-tain new rule or norm, i.e. to impose and accept something that in the past was only an exception or a certaincharacter thread. This is what fashion does, to be able later in time, to leave that exception or that unique char-acteristic thread that it had, because over time that uniqueness has become something that is ordinary andeveryday, or has become something that everyone can afford. The first major explanation of fashion, relatesfashion to a modern society with a system of open layers, where the elite tends to stand out and rise above therest of the people, thereby launching exclusive ways and behavior patterns. In order to symbolically equate withthem, members of the the lower layers accept that style as a rule of their own behavior. Keywords: Fashion, Types of individual, Society, Socio-Cultural environment, Psychology

The aesthetic factor as a formative element in industrial design, from the aspect of industrial aesthetic in the fashion industry

Formative elements of industrial design, i.e. design factors, represent components of its content, where together with the form of the design, they form an indivisible whole. Besides the aesthetic component, the other formative elements are not visually precisely defined, therefore an analysis is needed to determine their value. In the modern science and theory of industrial design, new knowledge and changes are constantly incorporated into the essence, in the value and in the meaning of certain formative elements of industrial design, where the interdisciplinary approach in creative activity is emphasized. With the development of mass production and consumption, the satisfaction of aesthetic factors in industrial design has an increasing importance. Also, with the development of the social standard and the general culture, the need for the design to be more and more attractive automatically opened up. The aesthetic characteristics that are most acceptable to people are: Compliance of the form, harmony, proportions of the dimensions, the unity of the product, the choice of color etc. Styling – Styling indicates the way in which something is made, designed or executed. Styling is a method and direction in design, in which designers impose inappropriate shapes on certain products, thus, in an unnatural or artificial way, they try to only seemingly change the shape of the objects, in order to get the impression that it is a new product. Fashion is a collective social phenomenon, but when it comes to industrial design, it is short-lived. It has a growing importance for certain categories in industrial design and is used as a tool for successful design. The influence and significance of fashion in industrial design cannot be neglected and has a decisive influence on the placement, and therefore on the existence of producers. Keywords: Industrial design, Fashion, Clothing, Styling, Industrial Aesthetic, Factors of industrial design

Кирилицата, магичниот мост на уметноста

Студентите од четврта година при Технолошко-техничкиот факултет, УГД Штип учествуваа со своја модна ревија на „Меѓународни денови на модата“ во Бугарија. Настанот беше организиран од факултетот за уметности при Југозападниот Универзитет ,,Неофит Рилски”, Благоевград. Колекцијата е составена од 12 модели на детски капути изработени од чоја, на кои беше претставена азбуката преку полнети перничиња. Оваа колекција е продолжение на колекцијата посветена на браќата Свети Кирил и Методиј, која студентите секоја година традиционално ја изработуваат и претставуваат на манифестација „Меѓународни денови на модата“, организирана од Технолошко -техничкиот факултет при Универзитетот „Гоце Делчев“ од Штип. Детската колекција секоја година се изработува и подарува на децата без родители. Во продолжение погледнете ја галеријата од настанот

Културното наследство низ призма на ликовната дејност - изложба

Како дел од проектот под исто име во организација на Завод и музеј - Штип и Ликовната академија од УГД - Штип, се случИ групна изложба на професори од УГД чии дела реферираат на културното наследство од градот. Изложбата се отвори во септември 2021 во просториите на Музејот, а беше придружена со модна ревија