This work is devoted to the collection of theatre costumes design based on M.A. Bulgakov's novel «Master and Margarita». It used in work the own method of transforming literary images and symbols of the novel into visual concepts of stage costume. This approach includes an analysis of the key motives of the novel, an analysis of the characters in terms of a quotation description of their characters and costumes, as well as the dynamics of their changes throughout the work. It interprets them in terms of artistic and symbolic meanings, as well as creating images based on interdisciplinary methods.
The result of this work was the creation of the theatre collection of clothing that can be used in everyday life. The collection successfully reflects the philosophical and mystical context of the novel, which expands the possibilities of using literary works in scenic and fashion design. The work contributes to the development of visual design methods in the field of stage costume, combining theoretical and practical approaches.

The article is dedicated to exploring the possibilities of artificial intelligence (AI) as a fundamental element of conceptual clothing design for smart offices. The relevance of the topic is driven by changing requirements for ergonomics, functionality, and aesthetics of professional wardrobe in the context of the new (hybrid) work format for IT specialists, project managers, marketers, and employees of creative industries. Particular attention is paid to the role of AI as a tool that enhances the creative potential of designers rather than replacing them. The research identifies key advantages and limitations of this approach and formulates practical recommendations for its implementation in educational and production processes in the field of costume design.

The article analyses the principles and characteristics of Russian Constructivism of the 1920s-30s, which emerged as a response to the social upheavals of its time and offers a relevant toolkit for addressing the challenges of contemporary design. Drawing on the analysis of architectural landmarks in Novosibirsk and fashion industry references from the 20th century, the study examines the potential of Constructivist methodology for developing an ethical, functional, and inclusive approach to modern everyday costume design. Particular attention is paid to the sequential transformation in the perception of the «Russian style» within Western costume design culture—from early stylizations within the «à la russe» paradigm to the meaningful adoption of Constructivist structural principles in later collections by leading designers—while also tracing the further evolution of these concepts in current design practice.

This paper explores the hierarchy and decorative art of Ming and Qing dynasty Beijing court textiles. Through analysis and discussion of historical documents, physical remains, and related research, this paper reveals how court textiles reflected the strict hierarchy of "high and low, rich and poor" through materials, craftsmanship, colors, patterns, and occasions of use. Furthermore, this paper examines the decorative artistic characteristics of Ming and Qing court textiles from an artistic perspective. By analyzing the structural foundations of the hierarchy, the textile usage norms of different social groups, the similarities and differences between textiles of different classes, and the pattern design and color matching, this paper reveals the unique form, function, and cultural connotations of these textiles. This research demonstrates that Ming and Qing court textiles were not only practical objects and decorative elements but also carriers of power and ritual. Their hierarchical norms and artistic expressions fully reflect the characteristics and aesthetic orientations of Ming and Qing court culture, and profoundly reflect the social structure and cultural values of the time. The study of these textiles provides a deeper understanding of the complexity and diversity of ancient Chinese society. This research provides valuable insights into the ritual system, material culture, and decorative art of the Ming and Qing courts.

This article presents a study of marginal visual practices through the example of punk zine graphic design, a field that has long remained outside the focus of academic attention. The aim of this work is a comprehensive analysis of the evolution of the aesthetics and ideology of punk zines, beginning with their origins in the 1970s. The article examines the genesis of punk culture as a response to social stagnation and the commercialization of music, as well as the fundamental role of the DIY ("do it yourself") principle in shaping a unique visual language. The works of key figures such as Jamie Reid and Neville Brody are analyzed, along with characteristic techniques: collage, pastiche, and non-trivial typography. The main conclusion of the research is that a fundamental transformation of zines has occurred: from an initial text-centric form, where visuals were secondary, to a contemporary form dominated by an aggressive visual image. This evolution is explained by the subculture's adaptation to the "clip consciousness" of modern society, in which visual content is assimilated more effectively than text.

The article is devoted to the study of the phenomenon of the "red memory" of Chinese immigrants in Russia as a transnational cultural resource. Based on the material of visual images of the XX-XXI centuries, the evolution of this heritage in a global artistic context is analyzed. The methodology combines the approaches of visual anthropology and art history. The analysis shows how the emigrant artists balanced between the state order and ethnic identity. The study of exhibition practices reveals the transformation of communication channels from traditional exhibitions to digital platforms. The key conclusion is the identification of contradictions in the structure of "nation–class– international". This tension is expressed through visual techniques: color contrast, collage, and working with space. In the future, heritage can be integrated into global discourse through digital technologies and intercultural dialogue. The Red Memory is seen as a resource for building a community with a common destiny for humanity.

This article is devoted to one aspect of the study of the regional specificity of art in Northeast China and focuses on the geographical, climatic and ethnic peculiarities, as well as the peculiarities of the historical development of Heilongjiang Province and their influence on the artistic features of oil landscape painting in this region. Historical factors such as the activities of the Russian emigration in Harbin in the 1920s and the intensive cultural exchange between Russia and China in the middle of the 20th century are highlighted; the leading geographical factors are the long spaces and harsh climate; from the ethnic point of view the region is very diverse and at the same time tends to unite and reveal the common character traits of the inhabitants of the region, which formed the regional type: simple, honest, courageously facing the harsh natural conditions of man. All these features are reflected both in the choice of subjects and in the choice of artistic means: compositions with extended perspective, sharp color contrasts, large brushstrokes.

Currently, we are witnessing the demonstration of clear signs of the enormous potential for the development of China's creative industries as one of the strategic directions of its economic activity. At the same time, the process of globalization carries alternative scenarios for positioning the unique identity of the heritage of Chinese culture in an international interpretation. The article substantiates the need to search for the roots of national artistic culture as the fundamental basis of identity for the further successful development of the creativity of modern Chinese designers. Using illustrative examples of modern design practice, the author, through the prism of the general characteristics of cultural heritage, examines ways to integrate the spirit and attributes of traditional culture with modernity, identifies the importance of this relationship, outlines the prospects for the development of the latest design culture in China.

Against the backdrop of digital and intelligent transformation, artificial intelligence (AI) is reshaping the development path of modern art museums in China. Faced with the challenges of collection digitization, diversified audience demands, and innovative curatorial work, this article systematically examines the practical applications of AI in the art museum sector, focusing on how it can reshape curatorial, operational, and service models through data-driven approaches. Research demonstrates that AI can leverage techniques such as image recognition to uncover the inherent connections within collections and activate previously unexhibited artworks; enable personalized guided tours and enhance the visitor experience through behavioral analysis; and broaden curatorial thinking through crossdisciplinary connections. Drawing on case studies from the Nanjing University of the Arts Art Museum and the Shanghai Minsheng Art Museum, this article further explores the practical value of AI in document reconstruction and human-computer collaboration, proposing innovative approaches centered around distinctive smart products, the integration of immersive technologies, and the paradigm of human-computer collaboration. As an auxiliary tool, AI is driving the transformation of art museums into open, interactive platforms for cultural co-creation, providing new impetus for the development of the art ecosystem.