The peculiarity of modern society, which is (in)formed by the process of globalisation, is that the enclosed cultural identity of individual countries and peoples becomes increasingly unstable. Customs are disappearing at an alarming rate as the last bearers of rites take their final breaths. Indeed, the modern rhythm of life and social values do not contribute to the continuation and preservation of the hallmarks and foundations of group, communal, familial, and national identities.

Tradition is a core element of the social system, preserving, stabilising, and emboldening the connection between past, present and future. A refusal to archive and rethink rituals contributes to the disappearance of connections, which then create near-insurmountable obstacles to reproducing, fostering, and developing community. According to historical precedent, the survival and development of society are impossible when connections between the new and the old, those tissues of heritage, are snapped.

The destructive nature of globalisation with regards to the sustained growth of national identity can be minimized if we strive not to arbitrarily borrow global values and guidelines, but to embrace the experiences accumulated in the processes of modern reproduction of traditional practices. One such practice of preservation and artistic reproduction of Ukrainian traditions is the project "WEDDING CROWN", in which ZINAIDA intends to address the rites of Western Ukraine. In this work, the author seeks to research and re-contextualize the ancient tradition of weaving feathered wedding wreaths, a widespread practice in Prykarpattia.

In two villages in particular, Velyke and Male Klyucheve, brides and bridesmaids wear big, exuberant wreaths. Young women get married in such wreaths — according to ancient beliefs, a goose feather symbolises an easy married life. From the 1970s, this custom has been under threat of extinction.

Making the aforementioned wreath is painstaking work. Masters spend about six weeks manufacturing the wedding wreaths, using the feathers of some forty geese. All feathers must be twisted, of uniform size, and taken from under the wings. For a wedding wreath, it is only possible to use the feathers of a goose of pure white colour — it is believed that even a few grey or black feathers can cause illness. Masters combine five or six feathers into the shape of a petal, from which they then make a flower. A thin vein is placed inside, upon which multi-coloured beads are strung. Finally, a semicircular wreath is tied from such flowers.

According to the custom, there are two wreaths to be placed on the bride's head: smaller in front and larger behind. It is quite difficult to both prepare and wear this wedding dress, seeing as though it usually weighs five to eight kilograms. At first, the girl braids her hair into small tails and then puts two or three scarves on her head, from which the feather wreaths are then sewn. After the feather wreaths, a second, wider wreath of thick paper is added—on it is wound multi-coloured ribbons. This process of braiding the bride lasts two to three hours. According to the rite, the bride should wear the wreath for three days and two nights: at the first day before the wedding, at the next night, at the day of the wedding, and the night after it.

Residents of Velyke and Male Klyucheve have a longstanding belief that brides' wedding dresses can only be made by elderly women who have led a happy family life. The last master of weaving feather wreaths, Paraska Kushlyak, has sadly passed away. The rite she and so many other women excelled in preserving is vulnerable to lapsing into obscurity.