The study analyzes the stages and prospects of development the digital fashion industry, taking into account the growing raw material and environmental problems. In the course of analysis change the model of its functioning from linear to cyclic, multidisciplinary problems have been identified that it is advisable to solve based on an ecosystem common digital platform. To identify the essence, stages and role of digitalization in the fashion industry transformation, a content analysis of the digital design tools evolution was carried out, the results of which were compared with a historiographical analysis of fashion industry transformation of a post-industrial society. As a result, it was found that the readiness of the fashion industry for transformation depends from the stage of digitalization, from the innovative ecological fashion design development and from the presence of motivated coherence actions among all fashion market subjects, as well as from the formation for them a new style of using clothes. In the course of the study, the structure of digital fashion industry innovative potential was determined as a part of the factors of art-aesthetic, technological, sociocultural, economic, environmental and administrative nature. An approach to managing of the digital fashion industry transformation processes was proposed, based on the balance regulation between processes by redistributing the system total resources to eliminate the "bottleneck" and support the "weak element". Based on the formulated approach, a model of the strategy was proposed for managing the transformation of the fashion industry. The model is based on the decomposition of the main influence factors into relatively independent components, the regrouping of components based on the same nature with the regulation of the balance between these groups by redistributing common resources. The model is based on the decomposition of the main influence factors into relatively independent components, the regrouping of components based on the same nature with the regulation of the balance between these groups by redistributing common resources

The purpose of the article. The article explains the ways to find harmony in modern clothing design projects. The research methodology consists of the analysis application in the field of fashion, as well as methods of source, aesthetic and structural-compositional analysis. The scientific novelty of the work lies in determining and systematizing the main ways of searching for harmony in clothing design 2010-2020. Conclusions. Design forms and expression, its orientation change not only due to a technology change but primarily due to changes in social demands, value systems, mental guidelines, of which the search for harmony is also important – external and internal. Designers solve this aspect in various ways: from formalized proportioning and the color wheel usage to the use of natural motifs and folk art archetypes. Another way is “green”, ecological, “ethical”, “sustainable” fashion – directions that not only demonstrate the possibilities of processing but also generate a particular worldview, draw attention to the artist’s ability to return people to the beauty and diversity of the world.

Research aim. The article is devoted to the review of modern clothing design projects in the context of quoting the stage images of hard rock and heavy metal musicians of the 1970s-1990s. Research methods. The source analysis method was used to find out the level of scientific development of the problem. Collecting factual material method was used to search for visual information. To describe and process the visual information of stage images of musicians and shows of leading designers’ collections, the Art history methods, aesthetic and structural-compositional analysis, as well as the comparative method, were used. The theoretical generalization method was used to formulate the conclusions. Visual material is taken from printed publications and the Internet. Scientific novelty is in identifying the main stylistic features of the stage costume of performers of the hard rock and heavy metal musical genres in the 70s and 90s of the 20th century, as well as in comparing and finding quotes of stage images of musicians in modern catwalk clothing collections. Conclusions. The development of the stage costume design of hard rock and heavy metal genres with its wide influence on street fashion, as well as “official fashion”, was due to a significant spread of media technologies popularization at the end of the 20th century. Stage images of artists were imitated and introduced into an everyday wardrobe, firstly, by their fans; secondly, its distribution was facilitated by high-profile advertising companies promoting bands and performers; thirdly, it spread through the fashion industry and the work of talented designers who sensed the mood of society and were able to predict the commercial success of the new aesthetic. In the 21st century well-known brands and designers actively quote performers’ stage costumes. Ways of quoting are very diverse: from completely copying images or borrowing a separate assortment, copying forms and details of clothes to the imitation of cut, decoration, and trimming. The most popular quoting is the use of band mascots or logos to print and design materials, various patches, and stickers. Borrowing a characteristic combination of the assortment in creating a general image has recently become the most popular. From the general trends of today, we come to the conclusion that experiments with the form itself and its material components are significantly inferior to experiments with the emotional filling of images, which are successfully provided by quoting the stage costume with its hyperbolized spectacularity and expressiveness.

Мета роботи полягає в уточненні понятійного апарату дизайну екологічного спрямування та визначені основних настанов досягнення «екологічності» та забезпечення sustainability на прикладі дизайну одягу. Використані методи філософського, літературного, соціокультурного, мистецтвознавчого аналізів. Визначено, що найбільш загальним й опрацьованим поняттям в рамках екологічної тематики є "sustainable дизайн". Sustainable дизайн виражає концепцію створення замкнутого циклу співіснування людини та природи. Встановлено, що термін «дизайн» в поєднанні з «екологічністю» та sustainable використовується для означення ціннісної світоглядної основи, що направляє діяльність не тільки самого розробника, диктуючи йому формальні критерії, стратегії та методи створення продуктів, а й створює концептуальні настанови діяльності виробника, поведінки споживача, устрою суспільства в цілому. Поки суспільство рухається згідно зі старою парадигмою техногенного існування, намагаючись врахувати окремі аспекти та шляхи поліпшення екологічної складової, вже сформувалась нова парадигма, що змінює першопочаткові настанови. Кожне дизайнерське рішення повинно першочергово відповідати sustainable світогляду, й вже потім керуватися певними принципами. До них пропонується віднести: використання матеріалів з низьким рівнем впливу на оточуюче середовище, мінімізацію відходів, сприяння довговічності відношень між споживачами та продукцією, зміщення способу споживання від особистого володіння до представлення послуг по тимчасовому володінню. Ключовим аспектом є те, що всі сфери повинні розглядатися у комплексі, й девальвують основу sustainability враховані окремо. Sustainable дизайн, можна розглядати як спосіб вирішення глобальних завдань, що охоплюють матеріальні та духовні сфери людської діяльності й спробу пошуку нового гармонійного середовища.

287X кандидат технічних наук, доцент, доцент кафедри дизайну і технологій Київського національного університету культури і мистецтв (Київ, Україна