Color Scope Imaginative-Aesthetic Features in Modern Design of the Republic of Kazakhstan
Kaldybaev GA1 and
1Department of the Vocational Education,
Kazakh State Female Pedagogical
University, Almaty, Kazakhstan
2Department of the Publishing and
Design, Al-Farabi Kazakh National
University, Almaty, Kazakhstan
- *Corresponding Author:
- Sara M. Krykbayeva
PhD, Associate Professor
Department of the
Kazakh State Female
Received Date: January 09, 2017; Accepted Date: January 14, 2017; Published Date: January 20, 2017
Citation: Krykbayeva SM, Rakhmetova NB,
Zhedelov KO, et al. Color Scope Imaginative-
Aesthetic Features in Modern Design of
the Republic of Kazakhstan. Global Media
Journal. 2017, 14:28.
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The article analyzes modern design development in Kazakhstan on the example of fashion designers of the XXI century. Attention is paid to the problems of color scope imaginative-aesthetic specificity in essentials’ products that is of great importance in development of author collections of high quality on the world fashion shows nowadays. Attention is also paid to artists’ design color trends in brand clothing development of the Republic of Kazakhstan. The article provides an adjective of art appreciation description of Ostwald Wart theory. The article is taking into account the factor that authors’ creative concepts and principles of color use in fashion design are perceived more difficult now in Kazakhstan. Therefore, this study is an attempt to consider the color scope as the basis for fashion design forming based on a multipronged approach by means of general and special methods of scientific research. It makes it possible to full in the gap in modern art history. The authors’ position comes to ideas about what level of fashion collections quality, including color combinations, does not compare with designer’s clothing sketches among the well-known European designers.
Color theory; Design; Imaginative-aesthetic of the Republic of
Kazakhstan; Traditional garb; Turned-on fashions
Color is an integral part of human life from ancient times. It is
the color what controls our attention, helps us to pay it to the
main, distracting from the minor or vice versa [1,2]. This article
contains knowledge about coloristics in the world of culture and
art, color theory and its harmonious combinations, perception
and psychological features of different colors in modern fashion
design of the Republic of Kazakhstan.
Referring to design of past centuries (although it did not have
such a status, classification and species at that time) this article
notes that people have always been and continues to be in a
constant search of colors attracting personal attention and giving
an optimistic attitude towards life [3-5].
Regarding the relevance of geographical aspects, territorially
expressed by means of Eurasian region – namely, the Republic
of Kazakhstan, we note that color contributed to the artistic
expression of Kazakh people at all times. In the context of
multiculturalism and multi-ethnicity of the planet, the color expressed in modern Kazakh designers’ fashion collections helps
the ethnic group to self-identify and to firm up their imaginativeaesthetic
specifics in a constantly transforming dynamics of
fashion world [6,7]. This issue is will always remain relevant on
the background of diversity of art analysis methods, principles
The contribution of this paper in the world of science is that its
authors greatly complemented the previously known study of
colors and ornamentation in fashion design. This article confirms
the position of foreign authors about the fact that color is an important component of design and a sustainable element
of artistic culture of each nation, Kazakhs, in particular. As the
foreign researchers, authors of this article state that the color
scope is both simple and complex phenomenon, which is a
specific sign system. This common position can help to enhance
the knowledge of color combinations’ symbolic features at the
level of world art science.
The study of color scope imaginative-aesthetic features in modern
design of the Republic of Kazakhstan is of particular relevance in
the context of globalization, the process of ethnic and cultural
identity of Kazakh people, their desire to preserve historical roots
of their culture, as well as in the study of important ethnic and
cultural problems of Eurasian region (design in the context of
indigenous peoples’ ethnogenesis). This paper studies the color
scope and the ornamental art in the works of fashion designers
living in the Republic of Kazakhstan.
The purpose of this article is to study design features in Kazakhstan's
history from 1991 to the end of 2015. It pays attention to the
main trends in fashion design, modern designer’s color scope
and national features interpretation in their collections. Color’s
nature, garment’s coloring are the main objects of the research.
The practical significance of obtained results obtained is that
they can be used in understanding Kazakhstan fashion design’
and modern designers’ color scopes’ role and space in the world
community. At the same time, the results of the analysis can be
used in developing a number of training courses, in particular on
design, art theory and art history, color science, culture, history
and other humanities disciplines.
The novelty of the research is confirmed by colors’ multivariate
analysis in Kazakh works based on graphic and imaginative
designs’ characteristics. Previously these issues have not become
the object of adjective of art study.
The novelty of the article lies in the fact that the art in general
and the use of color in modern fashion collections, in particular,
are analyzed following the beginning of the XXI century. In
addition, the novelty is confirmed by the fact that this article paid
considerable attention to Ostwald W. color theory [8-10] that
strikes an impression during the analysis of identified issues. In
addition, the article presents the inclusive creative features of
modern Kazakh fashion designers, analyzed color scope trends in
new collections’ developing. The attention is paid only to fashion
design in order to conduct a deeper analysis of emotional and
imaginative expressiveness of color and coloring.
Methodology of the study is predetermined by its purpose and
objectives, as well as the originality of researched material.
Sources’ analytical study method clarifying their logic and
content is the basis of methodology. Grasped material specificity
requires a unique approach, associated with the need to attract
the methods of history and textual criticism to determine the
relationship of adjective of art color theories and coloristics, as
well as the relationship of original ideas that are correlated with
each other in terms of their continuity or adversarial position.
We used a systematic approach and traditional methods of
dialectical art, principles of historicism and specificity, as well as structural-functional method, which has revealed the color
scope structural components in the works of fashion designers
in the Republic of Kazakhstan. Problem-logical method is used to
analyze the logic and essential color characteristics in the works
of modern fashion designers in the Republic of Kazakhstan. The
use of phenomenological and comparative approaches was
of fundamental importance for this study, as they reveal the
methodological possibilities of conceptual values of color scope
imaginative-aesthetic features in modern fashion design of the
Republic of Kazakhstan.
Views on Coloristics History
Coloristics, color theory as science is a relatively new field of
knowledge in study of art, definitions, categorical apparatus of
which is only beginning to form. Multidimensional nature of
color and coloristics concepts systematically become the object
of research in general theory of design in art science, in the field
of humanities, applied sciences and STEM [3,6,7].
A number of scientists paid their attention to the ideas of "psychoaesthetic
resources of natural environment", "visual accessibility"
characterized by a structural approach [11-13].
"Coloristics" as constructively formulated concept was considered
in the works of Plato, so the modern concept of architecture
coloristics was not based on KG Jung assistant’s data .
There are a number of monographs, articles and dissertations
dedicated largely similar to our theme [5,7]. However, in his
works, the author does not dwell on the personalization of
modern fashion designers of the Republic of Kazakhstan and,
accordingly, does not analyze their personal contribution in color
scope development in turned-on fashions. Although, we must
recognize this work to contain a lot of valuable information,
studied aspects of coloristic-aesthetic schemes identification in
the context of imaginative traditions formation during cultural
ethnogenesis of Kazakhs.
We should also note the Volodevaya dissertation "Imaginative
traditions of the Kazakh national costume in modern practice
of Costume Design" , in which the author analyzes mainly
national component in turned-on fashions. This work also gave
an impulse to reflect the essence of the issues, indicating the way
to solve many urgent problems in the context of the chosen topic.
We also note the fundamental work of Krykbaeva "The essence of
Kazakh women's clothing in the context of Applied and Decorative
Arts", which also has some interesting data in the context of
current study . The sources of foreign researchers occupy
a special place in the study [11,13,14]. The work of Ostwald
W. "Coloristics. Color theory"  is of great importance in this
article preparation, it has become the fundamental in theoretical
understanding of the concept-"color", its division, perception
and use in the work of fashion designers in general. This work
also allows enhancing the theoretical part of the publication
with visual maintenance in the form of drawings (annexes to the
Yet, it should be stated that a complex position in the context
of coloristics development as a basis for fashion design in
Kazakhstan's history from 1991 to the end of 2015 has not formed yet. In connection with the appearance of new fashion
collections in terms of form and color content in imaginativeaesthetic
space of the Republic of Kazakhstan, the study acquires
The renowned artist Leonardo da Vinci raised the question of
a harmonious color scope in art. He not only discovered the
phenomenon, which it found that a variety of colors may be
limited, because "there are only six colors: white, yellow, green,
blue, red and black" , but at the same time, he drew people’s
attention to two aspects of possible colors: namely- imaginative
In turn, the famous German poet Johann Wolfgang Goethe
created a huge (1,400 pages) work "On the doctrine of color.
Chromaticism" , and appreciated it above all his poetic works.
He regarded color as an integral complex that takes into account
the psychological and physiological aspects .
Scientists around the world still have not reached a consensus
about the color’s nature [7,11]. At this point, there are two
opinions, according to which color can be seen towards Physics
(Newton) and Imaginative Aesthetics (Goethe). Based on
Newton’s developments, we consider the fact that "Whoever
wants to interpret the subjective color development must not
dwell on the evaluation of only different color characteristics
and their self-expression. The most important thing is the
overall tone in general, then the position of each color in
relation to another, their movement, brightness, lightness or,
conversely, quietness, proportion, structure and rhythms of
color scheme" to be true .
Goethe believed that color exists objectively. While Newton, the
first to investigate the properties of light and color, suggested that
"there is objectively only white and other colors in the nature-it is
a reaction of our eyes at a certain wavelength" .
The dispute between physicists and "lyrics" did not come to a
common consensus until now; this promotes art experts to
engage into discussion and to seek the necessary answer. Goethe
J.W did not try and did not seek this opportunity to explain the
phenomenon of color in terms of Physics. He was interested in
aesthetic and moral aspects of the issue, thinking about how
people perceive colors and feelings, at the same time, their
emotions are recognized on the face.
Using the information on the work of Isaac Newton, Goethe
J.W., Leonardo da Vinci, a dominant position in the article we
give, nevertheless, to the color conceptualization laid down in
the works of Friedrich Wilhelm Ostwald . Scientist presented
all the colors "as a closed color space of two cones united by a
common base. The single axis of the cones is neutral range: upper
point- white, lower-black.
There are located the most saturated spectral colors (rainbow
colors) on the base circumference are. They are arranged in a
certain order: red-orange-yellow-green-blue-blue-purple "[8,17]
Figure 1: W. Ostwald’s theory of colors.
Characteristic of Color Combinations
Color combinations can be restrained or vibrant, cold or warm, light or dark in terms of color’s nature or they can be bright,
somber, fading etc. in terms of color intensity. Color forms a
complex composition and unique interaction with other colors
in any work of art, including fashion design. In this context, the
development of W. Ostwald – color wheel-is very interesting [8,17]
(Figure 2). This figure became the basis for the development of
W. Ostwald-color wheel-one of the color harmonies. The color
wheel was built under contrasting pairs: red-green, yellow- blue,
four main colors, which are on the ends of the circle diameter.
There are intermediate colors (from yellow to red, from red to
blue, from blue to green, from green to yellow) between the
main colors. We have already noted that the color has a symbolic
meaning and expression means, in addition, the color has a
strong psychological impact. Goethe said that "different colors
evoke a certain state of mind: yellow-joy, blue evokes sadness,
calming green" .
In ancient times, colors had symbolic meaning. For example, the
white color has been intended for aristocracy, green, gray and
brown-for ordinary citizens. Black, purple, dark green and gray
color expressed sadness .
Color is an important element in modern fashion design, in
fact, thanks to the color, we can learn more about the aesthetic
function of clothes, their appointment to any social or age group.
The color of clothes is a signal of our personality that reflects the
attitude of people, expresses the lifestyle and temperament. For
example, people who prefer bright colors in clothing are more
sensitive and emotional by nature. If a preference in clothes is
given to neutral colors, then such a person is characterized by
strict self-control, fundamental and less emotional attitude
toward the world.
We will fragmentarily consider color values, referring to the
theory, the authors of which are Cooper and Matthews .
Following their opinion, the red color of dress reflects the
willingness to act, impulsivity, power. It affects positively when
it takes no more than 50% of the overall personal appearance;
blue color gives solidity, confidence, spirituality and respect for
tradition; yellow-the color of joy, good mood, relieves the feeling of tiredness and lethargy. It helps to activate the mental activity,
lingers long in memory, but in combination with other colors it
can cause conflicting emotions. For example, greenish-yellow
and blue-yellow colors represent envy, hypocrisy and disgusting
act; dark green is the stability, solvency, conservatism; the dress
in brown tones evokes a feeling of confidence, stability and
predictability; light gray suit expresses restraint and intelligence,
gray, combined with rose-elegance; white creates a distance,
therefore, it must be used with caution in a formal dress .
With regard to the process of graphic design schools formation in
Kazakhstan, the Kazakh designers had clearly task to use only the
colors that would exactly meet the graphic works’ objectives, as
well as the design in imaginative-aesthetic aspect.
Obviously, the colors in Kazakhs design create a unique national
coloring (from the Latin color-the color, the paint) with a peculiar
set of colorful diversity, the use of warm and cold colors with
a special expressiveness. In the Republic of Kazakhstan, red,
orange, yellow are considered as a way of contrast and expression
formation. Therefore, design coloring of the Republic of
Kazakhstan is a method of concept interpretation of the author’s
particular art object.
Providing direct examples, we note that the design of Kazakh
women's headwear demonstrates the predominance of white,
traditionally used as the color of Allah. According to tradition, red
color begins to dominate in women's ethnic headwear only after
her marriage, and as a result, the change of social status.
Color palette modeling in interior design of the Republic of
Kazakhstan in the third millennium is realized by means of art
deco and modern minimalism styles. It is a significant fact that
art experts study art deco and minimalism as a completely new
technology in design. Interior Design Color Scope in the Republic
of Kazakhstan is formed on the contrast principle. For example,
dark floor (dark brown, dark gray or black shades) and white
ceiling and walls. Similarly, designers use other white and black
attributes as the color contrast: black lights, white-black fake
fireplaces or wall décor elements.
Design and color scope of the State Flag of the Republic of
Kazakhstan is of particular interest (Figure 3).
Figure 3: State Flag of the Republic of Kazakhstan.
The State Flag of the Republic of Kazakhstan-sky-blue rectangular
cloth with the image of the sun with rays in the center and a
soaring eagle under it. There is a vertical strip with a national
ornament at the flagpole, as it can be seen in the application. As
for the image of the sun, its rays, eagle and national ornament,
they all are magnificent golden.
Each color has its own meaning in tradition of heraldry, as well
as in design. For example, sky-blue color symbolizes honesty,
loyalty and perfection. It is known that the sky-blue color has a
deep symbolic meaning in Turkish culture, as ancient Turks have
always revered the sky-their godfather. Consequently, their skyblue
banner was a dedication to father-grandparent. On the
national flag of Kazakhstan, this color symbolizes the sky, peace
and prosperity, and background monolithic character indicates
the unity of the country and ethnic group.
Taking into account the specificity of heraldic canons, we note
that the sun on the flag represents the symbolization of wealth
and abundance of life and energy; therefore, the sun's rays on
the flag have a grain shape, symbolizing wealth and prosperity.
Illustration of the sun is a confirmation of adherence to universal
values, the new young state, full of vital energy, is open to all
countries of the world for partnership and cooperation.
A vertical stripe with the original national ornament stamped on
the flagpole is a significant element in state flag’s design. Kazakh
ornament is a kind of unique imaginative perception of the world,
strictly corresponding to the aesthetic tastes of the ethnic group.
It is a harmonious combination of different shapes and lines,
an expressive tool of inner world interpretation, as well as the
outlook of Kazakh people. National ornament along the flagpole
on the state flag symbolizes the culture and traditions of Kazakh
Representation of Modern Designers of the
Republic of Kazakhstan
Studying the color scope imaginative-aesthetic features of fashion
design in the Republic of Kazakhstan, we found out that there
is an increased number of designers in the Republic that have
obtained currency not only at home but also abroad. Several local
designers, the most successful in the fashion industry, received
great popularity due to their creative work. Among them-Kuralaj
Nurkadilova, one of the most famous designers in the Republic
of Kazakhstan, who founded her own "Kuralaj" Fashion House in
Her work is well known not only at home, but also abroad; the number of elite clients is more than 50 000 people in Kazakhstan
and Russia. In 2007, Kuralaj Nurkadilova has won an award
"Men of the Year" according to "Harper Bazaar" magazine and
"Entrepreneur of the Year" .
"Kuralaj" Fashion House was chosen as the main dress uniform
creator for the national teams.
Kuralaj became famous thanks to the original style of cocktail
dresses and corsets. In addition, we note that almost every
product has clearly visible Asian motifs.
Describing designer’s summer collection, we paid attention on
the fact that, as a rule, they traditionally include models that
meet all the main trends of the summer. We are talking about
long dresses with floral prints and graphic flight suits made of
satin or the same colorful as the dresses are.
Among the accessories designer uses luxury bags of sizable and
openwork traditional Kazakh patterns; each cord, each sequin
and stone in them is sewn by hand. That is a proprietary highlight
of Kuralaj. Headwear with a similar pattern and elements that
look like separated from it goes in a set with the handbags. These
patterns are applied in different ways: as hats, brooches etc.
In autumn-winter 2010-2011 collection, the designer used bright
colors in a much-metered style, noting that berry color replaces
the bright red, which was more relevant in summer. There were
scum white jackets combined with dark bottom and shirts in
neutral shades in this collection; elongated jackets in black, blue,
brown designed for both business meetings and dates.
Khaki color become the leader of this season in Kuralaj creativity,
expressed in shirts of thick cotton, soldier type trousers, which
have been recognized as the trending. However, designer decided
to mix military theme with lace, silk or chiffon, to emphasize the
femininity and tenderness of clothes. The designer believes that
military theme gives more sexuality and adds brightness and lace
reminds sentimentality and fragility. Right shoes were no less
important, namely, high boots or ankle boots in brown, beige or
dark green on a cork-soled completes the Kuralaj created look.
"Kuralai" Fashion House, which is the official designer of the
contest "Miss World", provides original dresses for the participants
of this competition with a scattering of precious stones and handmade
fabrics. Such works visually bring excellent results.
Designer also created some of the Muslim clothing collections.
Her first presentation was held on March 1, 2012 under the
name "Kuralai-Muslim", it was created with Esimova Gulmira.
We note that the De-lux collection was created from expensive
high-quality fabrics, with hand embroidered stones and crystals;
new collection’s garment was designed for the holidays, major
events in the life of a Muslim woman. Kuralaj also created a set of
ornaments for this collection in the best traditions of the ethnic.
Later, the designer plans to release "Goodwill" collections for
woman’s everyday life.
“Kuralaj” Fashion House introduced a new “Nisa” collection of
"Muslim" special line on the "Islamic Fashion Festival". A feature
of the collection is that this line was sheathed strictly by all the
canons and rules of Muslim fashion. It includes maxi dresses, headwear with a predominance of bright, juicy colors. Beautiful
Muslim clothes is a rarity, so modern Islamic designers try to
improve the general understanding of traditions. They believe
that people can look stylish and even sexy in clothes that almost
completely cover the body . This Kuralaj collection was risky
for Islamic fashion, and, if the appearance of flight suits in the
collection no one disputes, it can be assumed that the designer
has created a revolution in this fashion field.
Kuralaj design risk lay in other interesting facts, namely, the trench
and flamenco themes, which in Muslim clothes looked more than
appropriate, and almost disappeared in the collection. Color
scope was presented saturated in terms of shades of green, pink
and orange, which were perceived by the audience positively.
Designer gas a playful collection called "Alice in Wonderland"
with bright colors and unusual proportions in garments, with
bright little things, hats, pins of unusual size, unexpected color
combinations. In this collection, you will not meet moderate
colors, simple fit and straight lines, but only something, that
can be surprising and truly burst of emotion. Consequently,
fashionable bows, combination of silk and drab fabrics, futuristic
notes in design are the main theme in designer’s work.
Designer lured her daring ideas into original and still wearable
collection; the basis of the lineup was a short dress of asymmetrical
fit with bare shoulders, tight or loose, with a plunging neckline.
Collection was complemented with loose skirts and corsets,
breeches and jackets; color scope specialty was the use of ground
tint and contrasting strips- bright yellow, red, pink with black or
black with green.
Kazakh designer Kuralaj Nurkadilova has also created a sample
of a new form for the stare "Airastana" operating airline. Its
characteristic feature is the use of national ornament and design
elements in the uniform for flight attendants and ground service
Aida Kaumenova became a popular Kazakh fashion designer
after studying at the Italian school of fashion in 2006 and the
creative Fashion House "Aida" KaumeNOVA foundation. In 2008,
the designer has become a part of the team that developed the
uniform for the Olympic team of the Republic of Kazakhstan. Aida
clothing is desirable for domestic show business; collection has
femininity and even "hidden sexuality." Although this aspect,
designer is also involved in the creation of clothing for women
Oksana Corby is also known in the highest circles of Kazakhstan
Fashion Design , after 3 years of silence, she recently
returned to internal market of fashion industry. In 1997, after
graduation, Oksana has founded "Oksana Corby" (previously
called "OXI") Fashion House. Some of the outfits created by the
artist for celebratory events are currently stored in museums of
Kazakhstan. According to the designer, all the clothes created
by her fashion house are exclusive and presumed on wealthy
consumers. Designer pays attention mainly on wedding, evening
and cocktail dresses.
Designer prefers compositionally complex colors, which are
obtained in terms of main colors’ overlapping. Among them, for example, the ocher, green-marsh or tea color. Based on my
experience, the designer points out that Asians prefer bright
shades: turquoise, emerald, fuchsia (rich raspberry), ultramarine
Balnur Asanova- Kazakh designer, artist and art director of
"Symbat" Fashion House . She is a multiple winner of
international competition of high fashion national costume held
in Moscow, as well as a permanent participant of fashion weeks
in cities such as Washington, Moscow and Dubai.
The basis of her SilkWay collection was laid with models designed
specifically for modern creative women, who are able to
understand and appreciate designer’s exclusive clothes. Models
of cocktail dresses, sweatshirts, trousers, skirts and coats, seem
simple at first glance, but they have perfect elegance fit. Besides
all, the latest designer’s collection is made exclusively from Italian
fabrics of season 2016-2017 .
All collections have masterly decoration and professional color
combinations. Her models are often figured with sophisticated
embroidery of arabesques of different techniques: cornely
embroidery, "patchwork" applications, hand-made bedazzler and
glass beachanese embroidery that always allows the designer
to achieve higher idea conceptualizing and exclusiveness. With
regard to ornamental motifs of decoration, they primarily reveal
the organic relationship between the artist with the art of the
East, namely, in costume and applied and decorative arts of the
Republic of Kazakhstan.
Taking the fact that all fashion trends are usually preassigned in
several seasons as a basis, we can note that the dominant colors
or some general trends appear in designer’s collections not by
chance. Working on a particular model, Balnur Asanova takes the
main canons of design and inserts in them something of her own.
Balnur holds a degree of an artist, so the collections have a lot of
creativity, which manifests itself mainly through the embroidery,
different species of which together with a variety of Kazakh
ornament displayed in a new collection in the light of the inner
We note one interesting, although somewhat controversial
point in Kazakhstan's fashion design related to the fact that
some officials and civil society activists have started to promote
the idea that Kazakhs do not have to wear their national dress.
Some experts believe that the national dress can be adapted to
the conditions of modern life in order to wear it every day .
Nevertheless, young people think that such clothing "is not very
Currently, there are various types of Kazakh national dressnamely,
dress with ruffles, camisole, shapan that became
attributes of celebrations and weddings. In everyday life, they are
hardly worn, but the clothes in national style adapted to modern
life is still produced.
Ethnic trend in fashion design becomes more popular, occupying
leading positions in designer’s work each year. In Kazakh
designers working in this direction, the Kazakh national costume
is the source of inspiration, as part of the rich cultural heritage
of their people. Designers appreciate it for centuries; challenged artists form a unique design, fitting parts, organic combination of
jewelry, color, all those qualities that can be successfully used in
the creation of modern clothing.
Regarding the traditional color scope, we must say that men's
robes (Sapa), are often made of red fabric and are completely
covered with cornely embroidery. Its main motive-solar circles,
symbolizing the sun and the planets made of white, yellow, black,
blue, green silk thread .
Men and women clothes’ decoration traditionally stopped at the
choice of green, brown and red color, which are an integral part of
the Kazakh costume. In this case, the priority of green ornaments
is explained, apparently, by the fact that green is one of Islam
colors, the sacred color banner of the Prophet Muhammad.
Thus, the general trend of the national costume and color palette
with red, white, black, green, yellow, blue, proves the connection
with ancient archetypes, are indicative of stable long-aesthetic
traditions of Kazakh people. The use of traditional elements in
national costumes’ design, which were popular since 1980, is
rapidly becoming relevant in the first decades of the XXI century.
Currently, the Republic of Kazakhstan has several major fashion
houses and a large number of creative mutually independent
fashion designers with original style and good technical platform.
These people regularly presented new collections with inherent
ethnic ambitions. However, we must highlight the fact that a large
number of designers created garments of the so-called pseudonational
style since the second half of the XX century. This, in
turn, negatively affected the formation of public misconceptions
about the artistic structure of the Kazakh national costume. Only
in recent years, it is possible to observe the trend towards a
more careful handing with ethnic thin material in the context of
increasing interest to a deeper and responsible study of Kazakh
culture among the population of the Republic of Kazakhstan.
At the beginning of the XXI century, fashion designers of the
Republic of Kazakhstan begun to search for a unique style that
integrates the characteristic features of traditional culture with
the current trends of modern fashion. A sense of self-worth of
the nation can be realized due to the synthesis of traditional and
modern, as well as its material and spiritual consolidation. This
aspect has a direct bearing on the question of compliance with
the basic concepts of modern international design, as well as on
the question of worldview expression through the artistic image
formation, having traditional spiritual-aesthetic grounds.
Due to all noted above, the lack of specially developed complex
of art studies, the subjects of which is directed to imaginative
structure features identification, composition and rhythmic
structure, design and semantic specifics of Kazakh national
costume as a creative source, is particularly acute.
Comprehensively analyzing the Kazakh national costume, there is
a need to consider a number of factors that significantly influence
the formation of its structure. Among them: the natural and
climatic characteristics of the region; number’s role and use in
daily practice; ways of clothes making; traditional imaginativeaesthetic
ideas and canons; conditions and opportunities of
other cultures’ influence.
Research on color scope imaginative-aesthetic features in modern
fashion design of the Republic of Kazakhstan made it possible to
make a number of important scientific findings.
Firstly, we found out that the trend towards the use of image
characteristics based on the specificity of traditional costume,
inherent every modern fashion designer of the Republic of
Kazakhstan. These trends are highly relevant and perspective
for national design development. Many creative garments of
domestic designers, the work on the image of which intend the
broad use of designers’ methods with associative overtones,
prove this fact.
Among the modern fashion designer of the Republic of
Kazakhstan, who develop this line in their work; Akkenzhe
Deviatko, Saltanat Baimukhamedova etc. Collections of fashion
designer of the Republic of Kazakhstan are presented by means
of correlation between the values of the era of information and
technical progress with the values of traditional nomadic culture.
Implementation of axiological approach eventually allowed the
designers to implement one of the three possible outcomes in
the form of contradistinction, separation and synthesis.
In the context of turned-on fashions in the Republic of Kazakhstan,
several imaginative-aesthetic trends can be differentiated; they
can be determined under produced collections’ appointment.
Among them: pret-a-porte ( "TextiLine", "Semiramide"); prêt-aporte
de luxe ("Symbat", "Makpal" Saltanat Baimukhamedova,
Dilbar Alshimbaeva, Azikhan Said, Sergey Shabunin, Aida
Kaumenova, Zhanara Mirzazhanova, Aigul Kasymov); haute
couture (Akkenzhe Deviatko, "OXI" and "KURALAI"); scenic and
image clothing (Muslim Zhumagaliyev, Berik Ismailov, Svetlana
Sohoreva, "Symbat", "Erke Nur"); sportswear and uniform
The intensive use of traditional Kazakh costume materials,
for example, felt similarly translates many possibilities for
designing modern samples, taking into account the seamless
garment species and development, leather perforation etc. This
phenomenon largely meets all the requirements in the field
of modern design keeping within the general tendency of its
development in the Republic of Kazakhstan. The elements of the
Kazakh national ornament have a role in decorative structure
fragments’ formation in different types of clothing. Ornament has
been a rhythmic element of design for a long time; sometimes
ornamental motifs became an important compositional center,
which is characteristic for most designers’ works.
Ways and reasons for creative transformation and reflection of
reality are diverse in the works of modern fashion designers of the
Republic of Kazakh. Most representatives of modern design are modeling a variety of structural elements of the Kazakh national
costume. National elements interpretation in fashion design,
especially with different methods of such elements’ designing,
can be implemented by conventional color palette and reflected
in a variety of garment fits. It can be also implemented in virtue
of traditional materials combined with modern fit, silhouette,
technology, traditional colors, ornamental elements of traditional
Kazakh national costume, figurative characteristics of Kazakh
national costume, eclecticism (combining elements of traditional
Kazakh costume with stylistic features of other cultures).
It was found that preserving the traditions of the Kazakh national
costume still is a dominant vector in modern design. In addition,
there is a task of adaptation and complexity of the Kazakh
national costume traditions, correlated with the requirements of
the modern fashion design.
The concretization of imaginative-compositional characteristics
of the Kazakh national costume helped to formulate a clear
definition of expression and ideas as a basis in the process of
creating an artistic image, design, elegant clothes, costumes,
A specific feature of the Kazakh national costume is a large variety
of accessories, the dominant role of which belongs to headwear.
This item of clothing can differentiate the carrier by age, gender
and social status. Concerning the composition structure of the
costume, it can be noted that both the hats, and shoes and
other items function primarily as a compositional center or stand
In the course of this research a similar features have been revealed
in modern and traditional Kazakh national costumes at the same
time. Namely, the costume style, which has remained unchanged,
with the presence of vertical axis and horizontal tiers; ornament
and stylistic forms; headwear (Treukh, bridal headwear); costume
fabric and colors (especially in models for the elderly).
The distinctive features in modern and traditional fashion designs
are the disappearance of many women’s headwear, traditional
soft shoes, long men's clothing, as well as the emergence of more
open forms of women’s clothing.
To our opinion, the perspective issue is the continued evaluation
of modern designers’ creativity in the Republic of Kazakhstan,
the color scope imaginative-specifics in new fashion collections.
Kazakh designers’ creative characteristics help to acquaint with
national design heritage more deeply, which completes modern
fashion collection of world-class designers.
The expansion characteristics of the topic would be useful for
both the professional art experts and for gentleman of virtue
interested in fashion trends and turned-on fashions.
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