Received 09.10.2024, Revised 07.02.2025, Accepted 26.03.2025
The relevance of the study was driven by the growing interest in combining traditional Ukrainian art with modern fashion, which contributes to the preservation of cultural heritage and the development of creative industries. The purpose of this study was to explore the creative potential of the synthesis of Ukrainian art and fashion, to investigate the artistic and compositional features of the major works of the Ukrainian artist Paraska Plytka-Horytsvit for the purposes of designing a modern collection of women‘s clothing. The study employed the following methods: literary and analytical approach, historical and biographical methods for researching information sources; for the analysis of artistic features – visual-analytical method, system-structural, imagestylistic analysis. The study characterised the methods of adapting Ukrainian artistic heritage in the collections of international and Ukrainian design brands and covered their motivation. A series of international and Ukrainian brands (Maison Margiela, Rodebjer, Dior, Anna K, Vozianov, Serebrova, Syndicate, Bevza and Etnodim) were analysed, which confirmed the fact that the integration of traditional art into fashion has significant potential for innovation and identity development in contemporary design. The study revealed a close connection between art and fashion, highlighting the role of Ukrainian traditional art as a source of inspiration in contemporary fashion design. The study rethought the creative output of P. Plytka-Horytsvit in the search for methods of adapting the figurative properties of P. Plytka-Horytsvit‘s works to the artistic and figurative structure of modern costume. The significance of the cooperation of creative industries, namely the development and adaptation of artistic solutions of naive art in the development of modern clothing collections, was highlighted. The practical value of this study lies in the adaptation of the artistic heritage of Paraska Plytka-Horytsvit into modern clothing design, which will contribute to the development of fashion, creative industries, and the preservation of cultural identity
fashion; naive art; culture; vytynanka; minimalism
[1] Black Circle (1923) by Kazimir Malevich. (n.d.). Retrieved from
https://www.artchive.com/artwork/black-circle-kazimir-malevich-1923/.
[2] Buchatska, K., Levi, I., Ostrovska-Liuta, O., Radchenko, K., & Shevchenko, N. (2019). Paraska Plytka-Horytsvit. Overcoming gravity. Kyiv: Mystetskyi Arsenal.
[3] Cherevach, V. (2023). Fashion as a cultural practice: Identification by key characteristics. Bulletin of the National Academy of Managerial Staff of Culture and Arts, 3, 88-93.
doi: 10.32461/2226-3209.3.2023.289820.
[4] Cymbala, L.I. (2020). Transmission of national traditions in contemporary Ukrainian design practices. In Actual problems of contemporary design: Proceedings of the International scientific and practical conference (pp. 95-100). Kyiv: Kyiv National University of Technologies and Design.
[5] Decker, L., Trocchianesi, R., & Vacca, F. (2019). The transcultural identity of Batik in the relationship among craft, art and design. Strategic Design Research Journal, 12(2), 167-176.
[6] Denysіyuk, Z. (2023). Projections of the works of the Ukrainian avant-garde in the design of brands of patriotic accessories. Notes on Art Criticism, 23(2), 47-52. doi: 10.32461/2226-2180.44.2023.293912.
[7] Diab, A. (2025). Mexican folk art as a source of inspiration for creative fashion design innovations. International Design Journal, 15(1), 269-280. doi: 10.21608/idj.2025.395734.
[8] Female Torso (c.1933) by Kazimir Malevich. (n.d.). Retrieved from https://www.artchive.com/artwork/female-torso-kazimir-malevich-c-1933/.
[9] Foltyn, J.L. (2024). Collaborative and fair-trade models in the fashion industry: The case of Peruvian Connection. In A. Schramme & N. Verboven (Eds.), Technology, sustainability, and the fashion industry (p. 18). London: Routledge. doi: 10.4324/9781032658506.
[10] Garkin, P.V. (2024). Ethnic motifs in the identity of modern Ukrainian designer clothing brands. In Scientific events of the department of decorative arts and restoration. Kyiv: Borys Grinchenko Kyiv Metropolitan University.
[11] Gorban, D. (2019). Portrait Against the Mountains: When the soul is free, the body can fly. LB.ua. Retrieved from https://lb.ua/culture/2019/05/01/425558_portret_tli_gir_koli_ti_dusheyu_ie.html.
[12] Grothén, E. (2020). A first look at Rodebjers spring and summer 2021 collection. Elle. Retrieved from https://www.elle.se/mode/rodebjer-varmode-2021/4912630.
[13] Hårstad, I., & Magnus, M. (2020). Rodebjer displays art-inspired collection under Copenhagen Fashion Week. Costume. Retrieved from https://costume.no/mote/moteuker/rodebjer-copenhagen-fashion-week.
[14] Holyk, R. (2017). Cultural memory at the crossroads of science: Theoretical problems. Modern Ukraine. International intellectual journal. Retrieved from https://uamoderna.com/demontazh-pamyati/holyk-collective-memory/.
[15] Jansen, M.A. (2020). Fashion and the phantasmagoria of modernity: An introduction to decolonial fashion discourse. Fashion Theory, 24(6), 815-836. doi: 10.1080/1362704X.2020.1802098.
[16] Kachkan, V. (2008). Letters of Paraska Plytka: An unexplored source of ethnoculture. Folklore Studies Journal, (11), 143-156.
[17] Khemiy, M. (2021). How Ukrainian clothing brands refer to art. Bazilik Media. Retrieved from https://bazilik.media/iak-ukrainski-brendy-odiahu-zvertaiutsia-do-mystetstva/.
[18] Kosytska, Z. (2019). The place in the interior of traditional Ukrainian dwellings: Local ensembles. Art studies, 2, 38-51.
[19] Kosytska, Z. (n.d.). Hutsul artist Paraska Plytka-Horytsvit. Ethnography. Retrieved from https://ethnography.org.ua/content/guculska-maystrynya-paraska-plytka-gorycvit.
[20] Krpan, P., & Popinjač, L. (2025). Slowing down: Labour and sustainable textile practices in teaching and creating textile art (CROSBI ID 871402). In Do we even know what is going on? Performance in higher education and beyond: Rethinking norms. Zagreb: Scientific and Technological Foresight Project.
[21] Lavreniuk, O. (2022). Motifs of fine and decorative-applied arts in the design of modern accessories. Demiurge: Ideas, Technologies, Perspectives of Design, 5(2), 333-345. doi: 10.31866/2617-7951.5.2.2022.266928.
[22] Lehenkyi, Y., & Arefieva, Y. (2022). Ethno art traditions in fashion and music as factor of the artist’s national identity formation. Notes on Art Criticism, 22(2), 3-9. doi: 10.32461/2226-2180.42.2022.270301.
[23]MacKrell, A. (2005). The impact of art on fashion and fashion on art. London: Batsford Books.
[24] Margiela <3 Malevich. Juxtaposing the Russian constructivist‘s pioneering drawing with Margiela‘s recent designs. (2014). Dased. Retrieved from https://www.daseddigital.com/fashion/article/21314/1/margiela-3-malevich.
[25] Melnyk, M. (2013). Minimalism. Myroslav Melnyk’s Fashion History Blog. Retrieved from https://modoslav.blogspot.com/2013/06/blog-post_18.html.
[26] Mifetu, G.M., & Trippeer, B.C. (2025). Bantu knots. In International textile and apparel association annual conference proceedings (81(1), 1-4). Long Beach: ITAA Proceedings. doi: 10.31274/itaa.18849.
[27] Pandey, A. (2022). Some iconic textile craft of hand block prints in India. International Journal of Research – GRANTHAALAYAH, 10(3), 129-137. doi: 10.29121/granthaalayah.v10.i3.2022.4546.
[28] Papeta, H. (2020). Ethnic motives in designer collections of clothing by Lyudmyla Semykina. Demiurge: Ideas, Technologies, Perspectives of Design, 3(2), 241-248. doi: 10.31866/2617-7951.3.2.2020.220083.
[29] Petter, O. (2022). Dior debuts a couture collection inspired by Ukrainian artist. The Independent. Retrieved from https://www.independent.co.uk/life-style/fashion/dior-couture-ukraine-olesia-trofymenko-b2115957.html.
[30] Presentation of the Serebrova collection in collaboration with artist Ivan Marchuk. (2020). JetSetter. Retrieved from https://jetsetter.ua/event/presentatsiya-kolektsiyi-serebrova-v-kolaboratsiyi-z-hudozhnykom-ivanom-marchukom.
[31] Radzikhovska, O. (2020). Swedish brand Rodebjer created a collection inspired by Ukraine. Bit.ua. Retrieved from https://bit.ua/2020/08/rodebjer/.
[32] Rodebjer + Masha Reva collaboration. (2020). FORMA. Retrieved from https://formaarchitects.com/works/masha-reva.
[33] Rubinstein, R.P., & Steele, V. (1994). Women of fashion: Twentieth century designers. Woman‘s Art Journal, 15(1), 42. doi: 10.2307/1358496.
[34] Rykhlitska, O.D., & Kosyk, O.I. (2021). Ornamental motifs in contemporary design practices. Ukrainian Journal of Design, 1(8), 59-65. doi: 10.17721/UCS.2021.1(8).13.
[35] Shadryna, A. (2019). Paper patterns: The history of Ukrainian paper cuttings. UA Modna. Rettieved from https://uamodna.com/articles/paperovi-viserunky/.
[36] Syvash, I. (2024). Motifs of ethnodesign in contemporary visual culture. Ukrainian Journal of Design, 2, 131-138. doi: 10.32461/2226-3209.2.2024.308373.
[37] The Trypillia Culture: BEVZA SS 2021 collection. (2020). Vogue Ukraine. Retrieved from https://vogue.ua/ua/article/fashion/brend/tripolskaya-kultura-kollekcii-bevza-vesna-leto-2021.html.
[38] Ukrainian designer Anna K conquered Madrid with a collection dedicated to Maria Prymachenko. (2016). Ukrinform. Retrieved from https://www.ukrinform.ua/rubric-world/2087100-dizajner-anna-k-pidkorila-madrid-kolekcieu-prisvacenou-marii-primacenko.html.
[39] Viruk, O. (2019). New Syndicate collection featuring Masha Reva‘s drawings. The Village Ukraine. Retrieved from https://www.village.com.ua/village/service-shopping/style-news/282117-nova-kolektsiya-syndicate-z-malyunkami-masha-reva.
[40] Vozianov. (n.d.). Retrived from https://vozianov.design/en/.
[41] Why you should visit the exhibition of artist Paraska Plytka-Horytsvit. (2019). Vogue Ukraine. Retrieved from https://vogue.ua/article/culture/art/kto-takaya-paraska-plitka-goricvit-i-pochemu-nuzhno-shodit-na-ee-vystavku-v-mysteckiy-arsenal-38414.html.