The thesis is the first comprehensive study of historicism in the design of clothing of the second half of the XX - beginning of the XXI century in the aspect of genesis, dynamics and stylistic peculiarities. Theoretical and methodological basis for the analysis and synthesis of empirical material is the definition of historicism as a coherent creative study of multiple artistic styles of the past and contemporary costumes (narrow understanding) or devoid of stylistic certainty of historical sources (broad understanding) with the purpose of solving actual artistic and design tasks.
Based on the analysis of the leading world designers works, it was established that the main directions of updating historical sources in the design of clothing from the 1950s and 1970s became creative interpretation of forms, silhouette, construction, to a lesser extent, the decor of the historic costume of Rococo and Neo-rococo combined with the rebirth of the aesthetics of Belle époque in the style of "New Look" (1950s - the first half of the 1960s); reflection in the work of one designer of multiple historical inspirations of the Middle Ages, Renaissance, Rococo, Empire, consistent with current trendy trends and subject to the author's concept of form (1950s - first half of 1960s); ironic game combination ironic game complex, inspired by the artistic practice of early postmodernism, in one collection or model of elements of historical costumes of different eras, ethno, retro, modern forms, silhouette, elements of decoration on the basis of aesthetically motivated dialogue, synthesis or contrast-conflict (the end of the 1960s - 1970s).
It was argued that it is possible to outline the 1980s and 2000s as an independent stage in the development of design-historicism, marked by consistent integration into the design creativity of the principles of the aesthetics of postmodernism. On the material of the collections of leading world designers, itwas found that features of historicism in design of clothes of 1980-2000-ies. became actualization of the experience of the whole world culture; ironic citation and parody interpretation of traditions; an arcade game, an eclectic mix of costume elements of different eras in one collection or model; an eclectic mix of costume elements of different eras in one collection or model; intertextuality; synthesis or contrasting comparison of historical, retro and ethnomotypes, elements of historical costume, actual and classical forms; application in the processing of historical sources, along with traditional methods of clothing design methods of deconstruction, inversion, etc.
Based on a detailed analysis of leading world designers works, it was found that the main source of historically inspired design searches of the 1980s and 2000s. became historical costumes of the XVIII - XIX centuries, to a lesser extent - historical costumes of the Ancient East, the Middle Ages, the Renaissance, the XVI century.
It was argued that the initial integration of aesthetic installations of post-modernism, reflected in a moreholistic, based on cultural dialogue, comprehension of historical artistic styles and their contemporary costumes, acquired an important role in the evolution of historicism in the modern design of clothing.
It was proved that the synergy between the historical and national vectors of stylisation, reflected in the development of "historical ethnics" and combined elements of European historical costumes of different epochs with Baroque as a dominant of national sensation is feature of historicism in the national design of clothing.
