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The purpose of the study: to reveal the construction of the “world order”, the content and significance of ornamental symbolism in traditional Ukrainian folk costume, and to outline ways of using this knowledge in the training of designers. Methods: the descriptive method was used to analyse the artistic features of traditional ornamental compositions; the structural-analytical method to classify folk costume ensembles by function, cutting techniques and technologies; the structural-compositional method to examine the “world order” model in costume; the comparative-historical method to identify factors in the change of ornamental motifs; the dialectical method and synthesis to consider the evolution of traditions in connection with contemporary design trends. Scientific novelty: the reflection of the “world order” model in the structure, form-making and ornamentation of traditional Ukrainian costume is revealed – from the headdress (the celestial level) to shoulder and waist garments (the earthly level); the symbolism of ornamental signs as the language of ancient Slavic beliefs is generalized and its transformation in the contemporary vyshyvanka and in “ethno” and “folk” style clothing design is traced. Results: the spiritual foundations of traditional Ukrainian art are shown to lie in ancient Slavic notions of the unity of humans and nature, reflected in symbolic signs of the sun, earth, water, plants and animals that adorned handmade objects and served as protective talismans. The costume embodied a model of the cosmos, and each person shaped “their own destiny” through ornamentation and embellishment. The results have been implemented in courses for costume designers. Conclusions: knowledge of the spiritual dimension of traditional Ukrainian culture is the basis for understanding, preserving and applying its distinctive creative language in modern life and costume design; the contemporary vyshyvanka results from combining new trends in form-making with folk art.
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Ольга Омельченко (2026) studied this question.
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