The American Journal of Social Science and Education Innovations
42
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TYPE
Original Research
PAGE NO.
42-45
10.37547/tajssei/Volume07Issue06-08
OPEN ACCESS
SUBMITED
24 April 2025
ACCEPTED
28 May 2025
PUBLISHED
17 June 2025
VOLUME
Vol.07 Issue 06 2025
CITATION
Jabbarova Latofat Tulkinjonovna. (2025). The Theoretical Foundations Of
The Principles Of Costume Exhibition Design In Museums. The American
Journal of Social Science and Education Innovations, 7(06), 42
–
45.
https://doi.org/10.37547/tajssei/Volume07Issue06-08
COPYRIGHT
© 2025 Original content from this work may be used under the terms
of the creative commons attributes 4.0 License.
The Theoretical
Foundations Of The
Principles Of Costume
Exhibition Design In
Museums
Jabbarova Latofat Tulkinjonovna
The teacher of the department of museology National Institute of Art and
Design named after Kamoliddin Behzod, Uzbekistan
Abstract:
This article analyzes the methods of creating
an exposition of clothes in the museums of Uzbekistan,
the design of an exposition, the development of
scientific concepts.
Keywords:
Clothing, exposition, design, showcase, re-
exposition, gallery, designer-artist.
Introduction:
Organizing museum exhibitions requires a
distinct art and skill. Unlike many past exhibitions,
today’s exhibitions play a key role in attracting visitors.
[1, 40].
“In museums, clothing from different periods and worn
by various peoples is widely exhibited. These garments
are classified according to the social living standards of
the respective cultures. Sometimes, the clothing may
have belonged to a specific individual. Such garments
are more commonly found in house museums. In
thematic exhibition complexes, clothing can be
displayed in different ways-for example, certain parts of
the attire, or the complete outfit, may be presented,
often accompanied by headwear and footwear as
additional elements.
When placing garments in display cases, attention must
be paid to the spacing between them. If the garments
are arranged too closely, their quality may be
compromised. Whenever possible, they should be
displayed on specially designed mannequins. Garments
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The American Journal of Social Science and Education Innovations
discovered during excavations are usually restored,
and sometimes they are reconstructed using modern
fabrics. It is important to protect the garments from
direct sunlight, as exposure can cause their colors to
fade.
Headwear and footwear are displayed separately if
they do not correspond to the outfit being exhibited.
Typically, footwear is placed in the lower part of the
display cases. To ensure they are properly visible,
special molds or paper fillers are inserted inside the
shoes.
“Jewelry is displayed in showcases either on special
stands or hung on the walls of the display case.
Additionally, they may be placed on fabric or shown as
part of an outfit. In some cases, molds of the jewelry
are also displayed beside them. The interior of the
display case is usually decorated with dark-colored
fab
rics to enhance the visibility of the jewelry’s colors.
Display cases containing valuable jewelry are
monitored using special security systems.
While past exhibitions were mainly created in a static
format, modern exhibitions are distinguished by their
multifaceted and complex conceptual solutions, vivid
and
dynamic
presentation
styles,
theatrical
approaches, and harmonious integration with
technical tools. Each museum exhibition is now being
developed as a unique authorial creation, discovering
distinctive methods of presentation unlike any other.
The organization of an exhibition is classified as
follows:
Exhibition planning; scientific planning, which involves
developing the main idea and precise content; artistic
planning, which involves creating architectural and
artistic solutions and principles; technical planning,
which involves the installation of the exhibition.
Re-exposition, which means partially updating an
existing exhibition.
The exhibition is organized based on the theme and the
museum’s colle
ction items, as well as the report on the
museum’s activities such as acquisitions and
restorations [3, 58].
An artistic concept is developed in two stages by
museum staff and artist-designers. A close collaboration
between the client and the designer, as well as a
complete understanding of the theme by the specialist,
is closely linked to the high-quality preparation of the
exhibition. After the artistic concept is developed by the
artist-designers, a project sketch is prepared. The
concept provided by the client comes to life in the hands
of the artist, and methods for presenting it to visitors
are developed.
Based on the museum’s concept, a thematic plan is
developed according to the designated project. The
completeness and proper organization of this plan play
a significant role in the next stage when artist-designers
develop the artistic concept. In many cases, the
structure of the exhibition is created in harmony with
the thematic plan. The structure-the sequence of
sections, the continuity of the content and meaning of
each section with the next-ensures the coherence of the
exhibition’s theme. In history museums, the progression
of events or historical and political incidents is usually
arranged in a chronological, continuous manner.
However, other types of museums are not required to
follow this principle [1,45].
The collection of all objects on display can be called an
exhibition. However, a museum exhibition has unique
characteristics. It is not based on just any objects, but on
those that possess specific signs and features. In an
exhibition, these objects acquire a new legal status: they
become exhibits. All parts of the exhibition are
interconnected and together form its thematic
structure [2,144]. Accordingly, exhibition materials are
divided into structural units called exhibition
complexes, which are groups of objects connected to
each other by content or other characteristics. An
exhibition complex can also be understood as an
exhibition hall created according to a single project and
possessing a unique appearance.
In decorating a clothing gallery, the exhibition of textiles
also holds significant importance. Before displaying
textiles in an exhibition, it is necessary to determine
when and where they were made, the country or
regional craft center, which master weaved them,
whether they are handmade or machine-made, and the
name of the fabric.
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Textiles in exhibition complexes are displayed as works
of art and decoration to illustrate the history of
industry and their role in domestic and foreign trade.
Textiles also indicate the level of production
development. In museum exhibitions, textiles are
shown either as cut pieces or as garments made from
these fabrics. If clothing from a certain period is to be
presented but no fragments have survived, drawings
based on the traditions of that era may be displayed
instead. Small textile samples (10
–
20 cm²) are placed
under glass frames with cardboard borders.
Samples of textiles, especially ancient ones, are
displayed in slanted or flat, tall display cases. New
textiles are not exhibited together with ancient ones,
as chemicals in the new fabrics may adversely affect
the older materials. Worn or decayed textiles are
recommended to be placed in horizontal display cases.
When placed in vertical cases, such fabrics may suffer
further deterioration due to their own weight pulling
on weakened areas. Worn textiles made of cotton
gauze are laid on light fabrics like silk or thin duxoba
cloth, while heavier fabrics are placed on leather
supports. It is advisable to place textiles in glass display
cases. When exhibiting textiles, their width, edges, and
in some cases, the reverse side may also be shown.
If displaying textiles in a spread-out form does not
seriously affect their preservation, this method can
also be used in exhibitions. Additionally, special
attention must be paid to the color of the textiles when
placing them in display cases. It is important to protect
textiles in showcases from strong light and harsh
shadows. Under bright lighting, shiny fabrics may
appear attractive. However, generally, museum
exhibitions require textiles to be shown not as they
would be in store displays, but systematically and as
part of a curated collection of exhibits.
Museums create not only permanent but also
temporary exhibitions
—
both stationary and traveling
exhibitions. The temporary nature of these is reflected
in the composition of the exhibits. Often, exhibitions
feature objects from other museums, private
collections, as well as items that cannot be stored
anywhere other than long-term reserve storage
facilities.
One of the important aspects of an exhibition is the
development of its scientific project. Creating a
scientific project is a complex process involving
research, creativity, and technical-production work,
requiring close collaboration among researchers, artists,
designers, museum educators, and engineers. It
systematically defines the scientific content of the
exhibition, its architectural and artistic solutions, and
technical equipment.
Therefore, the components of an exhibition project are
as follows:
Scientific planning - developing the main ideas and
specific content of the exhibition; artistic planning
—
implementing
the
theme
expressively
and
proportionally; technical and working project
—
precisely determining the placement of each exhibit,
text, and technical equipment [4, 12].
In recent years, social and cultural changes have begun
to take place in Uzbekistan’s museums, leading to a new
approach to exhibition work. Museums have been
tasked with creating exhibitions that are expressive and
capable of leaving a strong impression. This has
encouraged viewing exhibits as sources of emotional
impact
and
has
prompted
a
fundamental
reconsideration and transformation of the ways
museum collections are displayed.
With the combination of various types of art and
technical means, a new concept emerged in museum
exhibition design
—
namely, exhibition and display
design. This, in turn, has begun to fundamentally and
positively transform the appearance of modern
museum exhibitions in Uzbekistan. The exhibition of the
Museum of Cinema Art in Tashkent was the first result
of the collaborative work between museologists and
designers.
From the very early days of our independence, great
attention has been paid to creating exhibitions that
genuinely reflect the rich cultural heritage of the Uzbek
people, their place in human history, and the stages of
development, as well as the prospects for modern
progress. This is done with the aim of introducing the
country’s rich histor
y and current achievements to the
global community and promoting the unique exhibits
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preserved in museums on an international scale, in
accordance with the ideas of national independence.
In conclusion, it is important to thoroughly familiarize
oneself with the general conditions for displaying
clothing and related items, such as jewelry, footwear,
fabrics, and so on, before including them in an
exhibition. After that, each exhibit intended for the
clothing gallery should be individually studied in detail,
its history researched, and the years taken into
account when organizing the exhibition. As noted
above, it is essential to consider factors such as the
colors and decorations of the clothing and fabrics, the
historical period to which they belong, and other
relevant aspects.
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