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Cilj doktorske naloge je bil raziskati neverbalni oziroma likovni jezik oblačil. Ko raziskujemo sistem oblačenja in oblačilo kot likovni znak v sodobnih uprizoritvenih umetnostih in praksah, opazujemo, da skozi vizualni slog oblačil dobivamo družbene, kulturne in sociološke informacije. Oblačilo je tako vse bolj umetniško-estetski izraz kot zgolj del enega značaja ali situacije. Ko raziskavo preselimo tudi na vsakdanje oblačenje, ostaja osnovna funkcija oblačila, ne glede na vse, nespremenjena od začetka do danes. Pojem oblačila smo zato povezali s področjem bivše Jugoslavije predvsem zato, ker je bilo to področje družbeno-politično specifično in kompleksno urejeno od konca druge svetovne vojne do njenega razpada. Z raziskovanjem zgodovine oblačenja in sistema komunikacije oblačil, lingvistike ter likovne teorije smo pridobili ugotovitve in nova znanja za boljše razumevanje funkcioniranja neverbalnega oziroma vizualnega jezika. Če likovni jezik prevedemo v jezik oblačil in le-tega povežemo z uprizoritvenimi umetnostmi, pridobimo informacije o običajih, kulturi in kulturni dediščini, socialnem statusu, okusu, estetiki, odnosu posameznika do okolice itd. Raziskava ugotavlja pomembnost umetniškega izražanja skozi oblačila (osebni izraz v odnosu do kulture in družbe) ter s tem širši okvir razumevanja zgodovine in ureditve države. Prav tako v raziskavi ugotavljamo pomembnost oblikovanja, kostumografije ter oblačilne industrije za slovensko in jugoslovansko družbo. Prikazan je tudi odnos politike do ustvarjalnosti, spodbujanja kreativne umetnosti, industrije, gledališča … Prav zato je naloga pomembna tudi za razumevanje družbeno-kulturnega vizualnega diskurza v današnjem času. Raziskava tudi prikazuje pomembnost in razvoj družbe skozi vizualne kode ter sledi napredovanju in spremembam glede na politično-kulturne spremembe. Raziskavo oblačil smo umestili v čas med letoma 1945 in 1991, od začetka druge Jugoslavije do njenega končnega razpada. Jugoslavija se nam je zdela ustrezen in zanimiv primer zaradi svojih razlik v socialističnem kontroliranem sistemu. Zanimalo nas je, koliko svobode in kakšno interpretacijo lahko dobimo kot odgovor na omejenost ali svobodo take družbe. V delu raziskave, v katerem govorimo o oblačilih in tekstilni industriji v Jugoslaviji ter o gledališču, ugotavljamo, da tako zastavljen jugoslovanski sistem po kakovosti in razvitosti ni zaostajal za bolj razvitim zahodom. Uporabljene so bile metode analize, sinteze, deskripcije in kompilacije, s pomočjo katerih smo odgovorili na štiri postavljene hipoteze. Le-te so: 1.) Oblačilo, gledano v kulturno-družbenem in zgodovinskem kontekstu, predstavlja likovni znak, namenjen komunikaciji. 2.) Oblačilo kot likovni znak lahko deluje kot neverbalni jezik, ki ima lastnosti besednega/verbalnega jezika. 3.) Skozi oblačilo (oblačenje, kostum) sledimo spremembam v družbi ter lahko skozi likovni jezik oblačil najdemo tako vzrok za družbeno-kulturno stanje kot tudi posledico sprememb. 4.) Sistemi mode, kultura in gledališče so družbena dopolnila, ki se zrcalijo druga v drugi ter so druga od druge odvisne in jim lahko sledimo skozi likovni jezik oblačil na primeru bivše Jugoslavije. My doctoral dissertation focuses on the research of non-verbal, i.e. visual language of clothes. While researching the system of dressing and individual articles of clothing as a visual sign in contemporary performative arts and practices, I ascertained that their visual style provides social, cultural and sociological information. Clothing is thus becoming an artistic and aesthetic manner of expression that reveals a part of a character or situation. When everyday clothes are included into the research, the basic function of clothing remains the same from its very beginnings to today. I have focused on clothing within the territory of former Yugoslavia because this territory was socially and politically specific and complex from the end of World War II to its disintegration. By researching the history of clothes and the system of communication with them, linguistics and visual art theory, I have gained new knowledge that provides me with a better insight into the non-verbal, i.e. visual language. If we translate the visual language into the language of clothing and link this to performative arts, we can learn about rituals, culture and cultural heritage, social status, taste, aesthetics, the individual’s attitude towards the environment, etc. The research ascertained the importance of artistic expression with the use of various articles of clothing (personal expression in relation to culture and society) and with this provided a broader frame for the understanding of history and the organisation of the state. The research also ascertained the importance of design, costume design and the textile industry for Slovene and Yugoslav societies as well as revealed the attitude of politics towards creativity, creative arts, industry, theatre… It is because of this that the dissertation is important also for the understanding of the social and cultural visual discourse in today’s world. The research also reveals the importance and the development of society through visual codes and follows the advancements and changes in relation to political and cultural changes. In my research I focused on clothing between 1945 and 1991, from the beginning of the second Yugoslavia to its final disintegration. I believe Yugoslavia presented an appropriate and interesting case due to its differences in the socialist system. I wanted to know how much freedom and what sort of interpretation can be obtained as a response to the limitation or freedom within such society. In the part of the research in which I discuss clothing and the textile industry in Yugoslavia and Yugoslav theatre, I have ascertained that the Yugoslav system did not lag behind the developed West as regards quality and development. I have used methods of analysis, synthesis, description and compilation, with the aid of which I responded to the four hypotheses: 1.) Clothing, seen in the cultural-social and historic context, represents a visual sign aimed at communication. 2.) Clothing as a visual sign can function as non-verbal language with similar characteristics to verbal language. 3.) Clothing (wearing clothes, costumes) makes it possible for us to follow the changes in society while the visual language of clothes indicates the reasons behind the social-cultural state as well as the consequences of changes. 4.) The system of fashion, culture and theatre are social additions that are reflected in each other, depend on each other and can be followed through the visual language of clothing on the example of former Yugoslavia. |
