This thesis is devoted to the study of transformations that took place in the man's costume in the 1960s–1970s in Ukraine. Against the background of apid historical and social changes after the Second World War, modifications in cultural and artistic life are taking place. In its own way, clothing design reflects the transformations in society. The so-called "peacock revolution" of the man's costume goes back to domestic design, which is currently developing in a single Soviet style. In the 1960s–1970s, Ukraine is elaborating a design that develops in difficult conditions of internal confrontation, and becomes a basis for understanding modern suit, because it has all the hallmarks of modern man's fashion in its original form.
The scientific novelty of this research refers to the fact that the offered thesis is a comprehensive study of the man's costume in the focus of key social and cultural events during the sixties and seventies of the XX cent. in Ukraine. For the first time, in this presented for defense work Ukrainian man's costume of he specified period in the conditions of the world and Soviet fashion movement development is investigated; two main turning points in fashion development, that have influenced the modern look of man's clothing, are identified; basic stylistic directions of domestic man's clothing are singled out and classified; comparative analysis of the man's costume models, which were presented in advertising catalogues of the 1960s–1970s, is carried out (it indicates the processes of transformation in Ukrainian man's clothing, both formative and colour); the chronology of image style, silhouette and colour texture transformations of the man's costume in the 1960s–1970s is analysed and systematised; the author's elaboration of the actual collection for men and women in accordance with modern fashion trends was performed. In addition, the thesis specifies: historical and social preconditions in the world and in Ukraine as well, which took place before fashionable transformations of the defined period; interrelation between different branches of artistic practices: clothing design, literature, cinema etc.; features of men's clothing in different regions of Ukraine; the concept of gender, masculinity and femininity in clothing design. Further developments can be seen in approaches of studying the research source base, related to the man's costume in the context of changes in fashion, as well as in comparative analysis of modification course in men's clothing fashion in Ukraine.
The results can be used in pedagogical practice, in particular, in training courses related to the history of omestic fashion, specifically the man's costume, as well as in coaching specialists in design sphere. In order to perform the practical part of this thesis, sketches of men's and women's clothing model range were elaborated on the basis of the obtained research results with further development in the material of modern clothing collection.
Based on the approaches of scientists and practitioners who studied the man's costume, K. Blackman, T. Krotova, O. Weinstein, K. Bruard, H. Emis, E. Hollander, it becomes possible to state with confidence that men's fashion is a unique cultural phenomenon, and requires a separate full-fledged study. A large cohort of works on the costume history was analysed. The most informative ones are works devoted to the second half of the XX cent. Such scholars as O. Lagoda, Yu. Lehenky, N. Udris, and O. Shevnyuk focus on men's clothing in the 1960s–1970s. More and more authors focus their research interest on Ukrainian fashion of this period. All this allows to conclude that the chosen topic is unambiguous.
The thesis emphasises that the cultural and social fluctuations of the 1960s–1970s correlate with the change in the man's costume design. Different periods in fashion transform the costume according to the time demands – both in image and style trends, as well as in colour and texture. Stylistic and silhouette transformations generate the considerable assortment enlargement in men's clothing, which is supported by significant shifts in the industry. The analysed colour and texture changes, that often preceded others, also become markers of this period. The analysis of Ukrainian experience in the man's costume transformations of the 1960s–1970s, and the results of practical application complement some insufficiently studied areas in the design theory and practice.
Key words: the man's costume, fashion of the 1960s–1970s, Ukrainian fashion, dandy, men's images.
