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MODA SİSTEMİNDE KÜLTÜRLERARASI ETKİLEŞİM BAĞLAMINDA YEREL DESENLER

Yıl 2020, Cilt: 5 Sayı: 11, 115 - 133, 31.12.2020

Öz

Belirli kültürel değerlere sahip olan her toplum kendi görsel kimliğini ortaya koyarak bunu günlük yaşamında kullandığı objelere yansıtmıştır. Günümüzde yerel desenlerin tasarımcı ve markalar tarafından giysi modasına yansıtılması ile bu desenlerin, toplumların kültür alışverişinde önemli bir rol üstlenmekte olduğu düşünülmektedir. Söz konusu desenlerin hem diğer kültürlere ait desenlerle hem de kent kültürüne ait siluetlerle birleşmesiyle melez tarzlar belirmiştir. Moda sisteminin eliyle yaygınlaşan bu farklı kültürlere ait unsurların karışmasıyla oluşan melez tarzların, aidiyet bilincini de yok ederek kültürlerarası sınırları bulanıklaştırdığı gözlemlenmektedir.
Konuda giyim modasında sıklıkla kullanılan ve çeşitli kültürlere ait yerel desenlerin; özgün kaynakları ve çağdaş moda içerisinde öne çıkan tasarımcı-markalara ait çalışmalarda yer almış yansımaları karşılaştırılmıştır. Araştırma bulgularının elde edilmesinde, kitap, dergi gibi basılı yayınların yanı sıra internet ortamında geniş bir arşive sahip olan Vogue resmi sitesinde yer alan çağdaş giysi tasarımları ve ayrıca çeşitli müzelerin resmi internet sayfalarından yararlanılmıştır.
Genel olarak özgün kültürel kodlara sahip yerel desenlerin; başka desen ve unsurlarla karıştırılarak sentez yapılmasıyla birlikte çağdaş tarzlar içerisinde yeni yorumlarla sunulduğu görülmüştür. Bu bağlamda çalışma, çağdaş modaya yansıtılan yerel desenlerin çok kültürlü bir düzlem yaratarak toplumsal aidiyet duygusunu yok eden yönü ve yine bu çok kültürlü düzlemin yarattığı, kültürel alışveriş üzerine dikkat çekmeyi amaçlamaktadır. Diğer yandan da modern toplumların giyim kültüründeki kimliksizliğin nedenleri üzerine bir inceleme niteliği taşımaktadır.

Kaynakça

  • Akbulut, D. (2012). Küresel Siyaset, Kimlik ve Sanat, İnönü Üniversitesi Sanat ve Tasarım Dergisi, 2 (6), 403, 409
  • Barrett, M. (Ed), (2013). Interculturalism and Multiculturalism: Similarities and Differences, Strasbourg: Council of Europe Publishing.
  • Bazin, G. (t.y.). Baroque and Rococo, London: Thames & Hudson.
  • Bilgi, H. (2007). Çatma ve Kemha: Osmanlı İpekli Dokumaları, Istanbul: Sadberk Hanım Müzesi Yayını.
  • Boas, F. (2006). The Anthropology of Art, Primitive Art, Ed: Howard Morphy, Morgan Perkins, United Kingdom: Blackwell Publishing.
  • Broug, E. (2000). Tradition, Innovation, and New Experiments in Islamic Geometric Design, M. Uğur Derman Festschrift, Papers Presented on the Occasion of His Sixty-Fifth Birthday, Ed: İrvin Cemil Schick, Sabancı Üniversitesi Yayınevi.
  • Brunhammer, Y. (1983). Art Deco Style, London: Academy Editions.
  • Cantle, T. (2012). Interculturalism: The New Era of Cohesion and Diversity, Hampshire England: Palgrave Macmillan.
  • Fogg, M. (Ed), (2014). Turkey, Istanbul: Hayalperest Yayınevi.
  • Güney, K. Z. and Güney, A. N. (t.y.). Osmanlı Süsleme Sanatı, Ankara: SFN Yayıncılık. Jones, O. (2006). Decorative Ornament, New York: Tess Press.
  • Justema, W. (1976). Pattern: A Historical Panorama, London: Paul Elek.
  • Lou, T. (1978). The Indo-Chinese Influence on British Chintz Design, No. 6 September, Museum Ethnographers Group. Retrived from 20.09.2016. http://www.jstor.org/stable/pdf/40838590. pdf
  • Maclagan, R. C. (1897). The First Uniform Tartan, The Scottish Antiquary, or, Northern Notes and Queries, Edinburgh University Press. 12(45) July, 97,101 Meyer, L. (1995). Art and Craft in Africa, Italy: Editions Pierre Terrail.
  • Racinet, A. and Dupont-Auberville M., Racinet August., Dupont-Auberville A., Dupont-Auberville Batterham, D. (2009). The World of Ornament, Köln.
  • Rowe, W. (1989). Original Art Deco Allover Patterns, New York: Dover Publications. Sanat Ansiklopedisi, (1958). 1. Cilt, Maarif Vekaleti, Ankara.
  • Seeling, C. (2000). Fashion: The Century of the Designer, 1900-1999, Könemann.
  • Sennett, R. (2013). Kamusal İnsanın Çöküşü, (Trans. S. Durak, A. Yılmaz), Istanbul: Ayrıntı Yayınları.
  • Shand, P. (2002). Scenes from the Colonial Catwalk: Cultural Appropriation, Intellectual Property Rights, and Fashion, Cultural Analysis, 2002, 3, The University of California. Retrived from 26.06.2020. https://www.ocf.berkeley.edu/~culturalanalysis/volume3/pdf/shand.pdf
  • Skarratt, B. (2018). Case study editors: Scarlett Mansfield, and Professor Christopher McKenna, From India to Europe: The Production of the Kashmir Shawl and the Spread of the Paisley Motif, Case Study #4, August, Oxford Centre for Global History, University of Oxford. Retrived from 29.06.2020. https://globalcapitalism.history.ox.ac.uk/sites/default/files/globalcapitalism/ documents/media/case_04- the_paisley_0.pdf
  • Striner, R. (1990). Art Deco: Polemics and Synthesis, Winterthur Portfolio, 25(1) Spring, The University of Chicago Press. Retrived from 02.07.2020 https://www.jstor.org/ stable/1181301?seq=2#metadata_info_tab_contents
  • Tarih Boyunca Sanat - Dünya Sanat Tarihinde Üsluplar ve Akımlar, (2015). Yapı Kredi Yayınları. Toman, R. (Ed), (1998). Baroque, Architecture, Sculpture, Painting, Könemann.
  • Toynbee, A. (2011). Lectures on the Industrial Revolution in England, Cambridge University Press. Van Roojen, P. (2001). Ornamental Design, Amsterdam: The Pepin Press.
  • Winckelmann, J.J. (2012). Antikçağ Sanat Tarihi, (Trans. O. Özügül), Istanbul: Say Yayınları. Yetkin, S. K. (1976). The Aesthetics of Turkish- Islamic Plastic Art, Sanat Dünyamız, 3(7), Mayıs, Yapı ve Kredi bankası Yayınları.
  • Yetkin, S. K. (1977). Barok Sanat, Istanbul: Cem Yayınevi.
  • Internet References http://tdk.gov.tr/index.php?option=com_bts&arama=kelime&guid= TDK.GTS.57c96ca11b68a5.14626149 02.09.2016
  • Codinha, A. (2016). Stella Jean Fall 2016 Ready to Wear. Vogue. https://www.vogue.com/fashion- shows/fall-2016-ready-to-wear/stella-jean (22.06.2020)
  • Flaccavento, A. (2014). Etro Spring 2015 Ready to Wear. Vogue. https://www.vogue.com/fashion- shows/spring-2015-ready-to-wear/etro (21.06.2020)
  • MET,2020. Skirt Isikhakha or Umbhaco https://www.metmuseum.org/art/collection/search/316786 (30.06.2020)
  • Mower, S. (2017). Mary Katrantzou Spring 2017 Ready to Wear . Vogue. https://www.vogue. com/fashion-shows/spring-2017-ready-to-wear/mary-katrantzou/slideshow/collection#5 (13.06.2020)
  • Cardini,T.(2018).Versace 2019 Resort.. Vogue. https://www.vogue.com/fashion-shows/resort2019/ versace/slideshow/collection#15 (21.06.2020)
  • Banon, T. (2012) Tarun Tahiliani hits a high with Ottoman pret. India Today February 18, 2012 New Delhi. https://www.indiatoday.in/india/north/story/tarun-tahiliani-hits-a-high-with- ottoman-pret-93472-2012-02-18 (20.06.2020).
  • Mower, S. (2020). Burberry Fall 2018 Ready To Wear. Vogue. https://www.vogue.com/fashion- shows/fall-2018-ready-to-wear/burberry-prorsum/slideshow/collection#51 (28.06.2020)

LOCAL PATTERNS IN THE CONTEXT OF INTERCULTURAL INTERACTION IN THE FASHION SYSTEM

Yıl 2020, Cilt: 5 Sayı: 11, 115 - 133, 31.12.2020

Öz

Every society with certain cultural values established their visual identity and reflected it in the objects they use daily. Nowadays, these patterns are considered to play a vital role in the cultural exchange of societies within the presentation of the local patterns on clothing fashion through designers and brands.
Hybrid styles have emerged with the said patterns in combination of both patterns belonging to other cultures and the silhouettes belonging to city culture.
It has been observed that the hybrid styles which are composed of the mixture of factors belong to these different cultures that prevalent through fashion system, blur the intercultural boundaries eliminating the sense of belonging.
Mostly used local patterns of various cultures selected by prominently featured and the patterns have been selected from those who have general characteristics of cultures fed by geography, beliefs and traditions; some original sources and reflections of designers who stand out in contemporary fashion were compared. Printed publications such as books and style magazines (especially Vogue magazine, since it has a wide design archive), newspapers, museums and contemporary designs on the internet were used to obtain research findings.
In general, it has been seen that in the local patterns used in today’s fashion system, original cultural codes are interpreted in contemporary styles. Within this context, this study can be seen as a study aiming at drawing attention to the aspect that local visual elements reflected in fashion by designers affect the social belonging sense by creating a multi-cultural plane and, on the other hand, as a study on the reasons of the misidentification of the clothing culture in modern societies.

Kaynakça

  • Akbulut, D. (2012). Küresel Siyaset, Kimlik ve Sanat, İnönü Üniversitesi Sanat ve Tasarım Dergisi, 2 (6), 403, 409
  • Barrett, M. (Ed), (2013). Interculturalism and Multiculturalism: Similarities and Differences, Strasbourg: Council of Europe Publishing.
  • Bazin, G. (t.y.). Baroque and Rococo, London: Thames & Hudson.
  • Bilgi, H. (2007). Çatma ve Kemha: Osmanlı İpekli Dokumaları, Istanbul: Sadberk Hanım Müzesi Yayını.
  • Boas, F. (2006). The Anthropology of Art, Primitive Art, Ed: Howard Morphy, Morgan Perkins, United Kingdom: Blackwell Publishing.
  • Broug, E. (2000). Tradition, Innovation, and New Experiments in Islamic Geometric Design, M. Uğur Derman Festschrift, Papers Presented on the Occasion of His Sixty-Fifth Birthday, Ed: İrvin Cemil Schick, Sabancı Üniversitesi Yayınevi.
  • Brunhammer, Y. (1983). Art Deco Style, London: Academy Editions.
  • Cantle, T. (2012). Interculturalism: The New Era of Cohesion and Diversity, Hampshire England: Palgrave Macmillan.
  • Fogg, M. (Ed), (2014). Turkey, Istanbul: Hayalperest Yayınevi.
  • Güney, K. Z. and Güney, A. N. (t.y.). Osmanlı Süsleme Sanatı, Ankara: SFN Yayıncılık. Jones, O. (2006). Decorative Ornament, New York: Tess Press.
  • Justema, W. (1976). Pattern: A Historical Panorama, London: Paul Elek.
  • Lou, T. (1978). The Indo-Chinese Influence on British Chintz Design, No. 6 September, Museum Ethnographers Group. Retrived from 20.09.2016. http://www.jstor.org/stable/pdf/40838590. pdf
  • Maclagan, R. C. (1897). The First Uniform Tartan, The Scottish Antiquary, or, Northern Notes and Queries, Edinburgh University Press. 12(45) July, 97,101 Meyer, L. (1995). Art and Craft in Africa, Italy: Editions Pierre Terrail.
  • Racinet, A. and Dupont-Auberville M., Racinet August., Dupont-Auberville A., Dupont-Auberville Batterham, D. (2009). The World of Ornament, Köln.
  • Rowe, W. (1989). Original Art Deco Allover Patterns, New York: Dover Publications. Sanat Ansiklopedisi, (1958). 1. Cilt, Maarif Vekaleti, Ankara.
  • Seeling, C. (2000). Fashion: The Century of the Designer, 1900-1999, Könemann.
  • Sennett, R. (2013). Kamusal İnsanın Çöküşü, (Trans. S. Durak, A. Yılmaz), Istanbul: Ayrıntı Yayınları.
  • Shand, P. (2002). Scenes from the Colonial Catwalk: Cultural Appropriation, Intellectual Property Rights, and Fashion, Cultural Analysis, 2002, 3, The University of California. Retrived from 26.06.2020. https://www.ocf.berkeley.edu/~culturalanalysis/volume3/pdf/shand.pdf
  • Skarratt, B. (2018). Case study editors: Scarlett Mansfield, and Professor Christopher McKenna, From India to Europe: The Production of the Kashmir Shawl and the Spread of the Paisley Motif, Case Study #4, August, Oxford Centre for Global History, University of Oxford. Retrived from 29.06.2020. https://globalcapitalism.history.ox.ac.uk/sites/default/files/globalcapitalism/ documents/media/case_04- the_paisley_0.pdf
  • Striner, R. (1990). Art Deco: Polemics and Synthesis, Winterthur Portfolio, 25(1) Spring, The University of Chicago Press. Retrived from 02.07.2020 https://www.jstor.org/ stable/1181301?seq=2#metadata_info_tab_contents
  • Tarih Boyunca Sanat - Dünya Sanat Tarihinde Üsluplar ve Akımlar, (2015). Yapı Kredi Yayınları. Toman, R. (Ed), (1998). Baroque, Architecture, Sculpture, Painting, Könemann.
  • Toynbee, A. (2011). Lectures on the Industrial Revolution in England, Cambridge University Press. Van Roojen, P. (2001). Ornamental Design, Amsterdam: The Pepin Press.
  • Winckelmann, J.J. (2012). Antikçağ Sanat Tarihi, (Trans. O. Özügül), Istanbul: Say Yayınları. Yetkin, S. K. (1976). The Aesthetics of Turkish- Islamic Plastic Art, Sanat Dünyamız, 3(7), Mayıs, Yapı ve Kredi bankası Yayınları.
  • Yetkin, S. K. (1977). Barok Sanat, Istanbul: Cem Yayınevi.
  • Internet References http://tdk.gov.tr/index.php?option=com_bts&arama=kelime&guid= TDK.GTS.57c96ca11b68a5.14626149 02.09.2016
  • Codinha, A. (2016). Stella Jean Fall 2016 Ready to Wear. Vogue. https://www.vogue.com/fashion- shows/fall-2016-ready-to-wear/stella-jean (22.06.2020)
  • Flaccavento, A. (2014). Etro Spring 2015 Ready to Wear. Vogue. https://www.vogue.com/fashion- shows/spring-2015-ready-to-wear/etro (21.06.2020)
  • MET,2020. Skirt Isikhakha or Umbhaco https://www.metmuseum.org/art/collection/search/316786 (30.06.2020)
  • Mower, S. (2017). Mary Katrantzou Spring 2017 Ready to Wear . Vogue. https://www.vogue. com/fashion-shows/spring-2017-ready-to-wear/mary-katrantzou/slideshow/collection#5 (13.06.2020)
  • Cardini,T.(2018).Versace 2019 Resort.. Vogue. https://www.vogue.com/fashion-shows/resort2019/ versace/slideshow/collection#15 (21.06.2020)
  • Banon, T. (2012) Tarun Tahiliani hits a high with Ottoman pret. India Today February 18, 2012 New Delhi. https://www.indiatoday.in/india/north/story/tarun-tahiliani-hits-a-high-with- ottoman-pret-93472-2012-02-18 (20.06.2020).
  • Mower, S. (2020). Burberry Fall 2018 Ready To Wear. Vogue. https://www.vogue.com/fashion- shows/fall-2018-ready-to-wear/burberry-prorsum/slideshow/collection#51 (28.06.2020)
Toplam 32 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Araştırma Makalesi
Yazarlar

Irmak Bayburtlu Bu kişi benim

Gülay Kaygusuz Bu kişi benim

Yayımlanma Tarihi 31 Aralık 2020
Yayımlandığı Sayı Yıl 2020 Cilt: 5 Sayı: 11

Kaynak Göster

APA Bayburtlu, I., & Kaygusuz, G. (2020). LOCAL PATTERNS IN THE CONTEXT OF INTERCULTURAL INTERACTION IN THE FASHION SYSTEM. Uluslararası Disiplinlerarası Ve Kültürlerarası Sanat, 5(11), 115-133.