Play-element in the space of fashion
The article analyzes the relationship between the concepts of fashion play and fashionable space. The purpose of this study was to reveal the presence of the game component in modern fash-ion. In the process of finding the answer, the game-culture relation was determined, and came to the conclusion that the game is a cultural phenomenon, it does not precede culture, but is generated by it. Based on the study of the culturologist of J.Huizinga, it was traced how much fashion until the end of the twentieth century showed the characteristics of the game. We came to the conclusion that fashion is a free activity, connected with the observance of rules, the presence of mystery and variability. Thus, it has the same characteristics as the game, but since the early 20's. In the twentieth century, we observe transformations in fashion, which in our opinion are of a total nature and transform fashion into a space of fashion. Totality is confirmed by global fashion changes, its democracy, brand diffusion, and segmentation. It was the cardinal changes in fashion that gave birth to the discourse of her death. This position is argued by the following provisions: total fashion managerization, focused not on creating excellence, but on making a profit; the lack of professionals in the fashion industry; fashion no longer represents holistic images, a certain style of life and has lost the axiological component; the exit of the fashion out of aesthetic.
The results of the research testify to the transition of fashion into a state of a space of fashion, possessing a heuristic and prognostic potential, which is realized at the personal level (through self-presentation and self-identification of the individual) and on the general cultural (through in-tentionality). However, in the space of fashion, the game component disappears, which demonstrates the presence of a vital force in the culture that represents the transition of culture to the state of civilization.
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