The Nineteenth Century Costume in the Design Practice of Women's Fashion in 2006 – Fall-Winter Collections

Analyzing the fashion design through the prism of the “long-term orientation” of the Dutch sociologist and culturologist Geert Hofstede, we can state that it is related to fashion shows – the long-term is that the fashion of women's costume manifests itself in different historical periods as a certain style that is located in a specific segment on the time axis. On the other hand, fashion, especially contemporary fashion, has a certain season in which the costumes on offer are fashionable, then they go out of fashion. In this way, the long-term orientation is also tied to the short-term goals – fashion as an aspiration will always exist, but as a specific need, its satisfaction will be related to certain “whims”, the solution of which is related to the work of fashion houses, designer collections and double for each year's fashion seasons. On the other hand, practical decisions in the field of fashion, whether in the field of haute couture or ready-to-wear, are closely related to the theoretical questions devoted to fashion. Roland Barthes is very aware of this problem when expressing his views on both semiotics and fashion. The implication of historical costume in contemporary fashion can itself be a lever to modernize society, when the traditional in society tries to return, the explanation comes again: why fashion must constantly deliver new and diverse things. It becomes obvious that you cannot directly copy and absolutely blindly repeat models that were once considered fashionable, although the basics of fashion segments clearly reflect attributes of elements that have once been proven as successful and are already verified as such. Keywords: historical costume, culture, implication, contemporary fashion