Style and silhouette in clothes. Types of silhouettes in clothes Silhouettes of clothes from geometric shapes
silhouette
constructive
decorative
constructive and decorative
Silhouette
constructive
Construction lines
There are also decorative decorative lines
Table 1. Silhouette uniforms.
| Silhouette | By geometrical form close | Correction | The nature of the lines |
| Straight | Rectangle; Square. Outlined by clear straight contour lines. | Versatile silhouette. Suitable for all body types. | Determined by material properties: hard contour - hard dense fabric; soft form- draped viscous fabrics. |
| Trapezoidal | Trapeze; The small base is the shoulder line, the large base is the bottom line of the product. The greater the difference between the bases, the greater the degree of flaring. | Does not emphasize the waist line; Recommended for overweight people with a small flare. | It is determined by the properties of the material: rigid contour - rigid dense fabric; soft form - draping viscous fabrics. |
| semi-adjacent | Converging lines at waist level; loose fit at the waist. | Most often used in clothing; Suitable for figures such as basic and inverted triangles. (see typology of figures) | mixed lines. |
| Adjoined | Converging lines at the waist; tight fit of the figure; emphasis on the waistline. | Emphasis on a beautiful waist. The silhouette has two solutions: X - silhouette - for tall and slender. "Hourglass" - not tall rounded figures. | X - rigid angular contour lines dominate; "Hourglass" - soft rounded contour lines. |
| Oval | Soft rounded contour outline; Rounded shoulder line, narrowing to the bottom of the figure; wide part - at the waist and hips. | Not recommended for small stature. | Softened rounded lines. |
The composition of the uniform is built on the lines different kind:
silhouette
constructive
decorative
constructive and decorative
Silhouette are called lines that describe the contours of the planar projection of the form.
To create the shape of the costume, one more kind of lines is needed, lines constructive- that connect the individual parts into a single whole.
Construction lines- contour lines of the form as a whole and its details, lines of connection of parts and details, i.e. seams, darts, folds, tucks. We took into account the properties of these lines when studying the theory of visual illusions.
There are also decorative the lines that define the design pattern of the costume inside the uniform are not related to the design. decorative lines- lines of various finishes that have a linear character: finishing seams, reliefs, lines, valves, cuffs, cord, piping, etc. those. lines that give originality, originality to the form.
Structural belts become structural and decorative if decorations are located at their level - decoration or jewelry.
When creating a suit shape that corresponds to the proportions of the human body, the designer relies primarily on constructive belts - the supporting lines of the human figure, from which one or another form of detail or articulation in clothing begins.
When choosing the shape of a suit, it is necessary to study these belts in a specific figure, based on knowledge of the proportions of the human body and identify the advantages and disadvantages. With the help of clothes, you can emphasize those belts that advantageously show the figure of a given person. So, if the waist line is accentuated in the figure and there are no problems of an elongated or shortened torso, you can choose an adjacent suit silhouette with a constructive tail belt.
All silhouette forms can be correlated with the dominant constructive belts of clothing.
Main constructive Belts are:
shoulder,
· travel,
femoral.
Depending on the decision of the shoulder girdle, the shape of the suit and its style change. The bottom line, as well as the shoulder line, is one of the main features of fashion. It determines the proportions of the whole figure.
2. Patterns of composition (proportionality, subordination,
composition center), i.e. structure integrity.
The art of composition is aimed at the task of creating a harmonious image, since in everything beautiful and harmonious there is a creative beginning, progress. And disharmony leads to destruction.
Harmony is an aesthetic category, a companion of beauty. As in art, harmony is based on the rules of composition. Let me remind you that the composition of a costume is the combination of all its elements into one whole, expressing a certain idea, thought, image.
The image of a person is perceived holistically when his voice, plasticity, behavior correspond to the chosen clothes and accessories.
Integrity- a holistic perception of the entire artistic form and the ability to abandon the superfluous.
The integrity of the composition is determined by three factors:
· Proportionality - the proportionality of the elements of the composition among themselves and with the human figure. To create a composition of form means to reveal the nature of all elements, to achieve their interconnection.
· subordination- subordination of secondary elements of the form to the main or compositional center.
· composition center
Proportionality in the composition is achieved by the quantitative ratio of the following factors and elements of clothing:
· Volumes of clothing (bodice, sleeves, skirts);
· Colors and textures of materials (blouses with a skirt, a finishing collar and a belt with a dress, fur cuffs and a collar with a coat);
· Details of clothing (collar, pockets, flaps, straps, etc.);
Finishing (stitches, embroidery, accessories, etc.).
The compositional center is the part that clearly enough expresses the main idea. The compositional center bears all the semantic load. The selection of the main thing in the composition is associated with the peculiarity of the visual perception of a person who fixes his attention, first of all, on a potent stimulus. Such stimuli can be movement, lighting effects, contrasts of sizes, shapes, colors.
Compositionally - organized form KA necessarily has its main part, or compositional center, to which other dependent parts are subordinate. The main part is the place of concentration of the main, most important connections between all elements, accent, dominant in a holistic composition.
The compositional center can be any element, a section of the general form. The compositional center can be distinguished in different ways: quantitatively, by central location; qualitatively, as a semantic factor.
The center of the costume is almost always there. Even if you are dressed in black from head to toe, your hairstyle or makeup can be the dominant feature. For example, if the compositional center is a hat, then it must be of excellent quality and design, correspond to the “external” and “internal” lines of the person. Then the hat will attract and focus attention on the face. In this case, clothes and other accessories should serve as a background and not draw attention to themselves. In the considered example - composition center - head. The impression of such a decision is the strongest in its impact, it sets the character of the image.
To create the head compositional center, the following can be used:
clothing group:
Unusual solution in the area of the collar and neck
accessories group:
hats, scarves
Capes, ties
necklace, earrings
· hairpins
means of the "person" group:
hairstyle
The center of the composition, located in the center of the figure, focuses on the body - chest, waist, hips. This is a way to draw extra attention to the merits of the figure or hide flaws. This the ability to emphasize the femininity or sexuality of the image.
Formed by means of clothing group:
silhouette solution (slim-fitting)
change in the nature of the material in the area
special cut, trim and details
By means of the accessory group:
belts - belts, buckles, bags
beads, pendants
tie clips
By means of the "person" group:
gait
The compositional center is the hand and wrist. An expressive zone full of emotions, a tendency to play, revealing personality traits. Are used:
clothing group:
expressive solution in the area of the sleeve or cuff
accessories group:
bracelets
cufflinks
· gloves
means of the "person" group:
The compositional center is the legs and feet. The emphasis transferred to the lower part, to the legs, gives the image solidity and stability.
Can be educated:
means of clothing group:
the nature of the material on long models of skirts, dresses and trousers;
Features of the cut and decorative finishes on the above group of products.
accessories group:
means of the "person" group:
gait
If there is no compositional center, then the image is “unreadable”, seems blurry, unfinished or breaks up into separate fragments.
3. Means of composition (proportions and rhythm).
Proportion is the dimensional ratio of the elements of the form. Proportional relationships are the proportionality of elements, the unity of parts and the whole.
Proportion is one of the main means of composition, since with its help the harmony of a thing is achieved and its form is organized. Proportion is a calculated dimensional system in which the ratios of the elements of the clothing form organize a costume ensemble, considered as a single volume-spatial structure. If there is thoughtfulness of proportion, then there is also the integrity of the form.
Creating a costume, the fashion designer constantly remembers the proportions of the human figure. The image maker, choosing a suit, remembers that the shape of the suit is determined by the silhouette of the human figure, its proportions. Thus, in the development of spacecraft, the principle of the "golden section" is used, which underlies the structure of the human body. Harmonious proportions are based on certain mathematical relationships. This is the only means by which it is possible to "measure" beauty.
In practice, especially in architecture, many systems of proportions have historically developed. So, for antiquity, numerical, visually perceived proportions were characteristic; for medieval Gothic - geometric, incommensurable in numbers, hidden proportions; in the Renaissance, the leading concept in the concept of perfect proportion was the doctrine of the "golden section", especially used in sculpture. For example:
· "Triangle of Pythagoras" - a right triangle with angles of 30, 60 and 90 degrees and the corresponding harmonious aspect ratio of 3, 4 and 5 units. This simple proportional ratio of 3:4:5 is called the "Egyptian triangle".
· "Golden section", obtained by dividing the whole into two unequal parts, where the whole is related to the larger part as much as the larger to the smaller. This proportion can be represented as a series of integers: 2/3, 3/5, 5/8, 8/13…
· "Fibonacci squares" with a sharp decrease in the ratio of the sides to the diagonal.
In a costume, proportions play a particularly important role: the figurative expressiveness of the costume and the appearance of the person himself depend on the ratio in which its individual parts are between themselves and the figure of a person. Since the costume includes clothes, various accessories and a hairstyle, it is necessary to take into account the shape and size of the headdress or hairstyle, the shape and height of the heel of the shoe, the number and nature of the jewelry. Together, all these components affect the nature of the proportions.
Proportions in clothing and figure suggest horizontal division. To decorate a person, a suit must be proportionate to him. The comparative length, width, volume of the bodice and skirt, sleeves, collar, details - all this affects the visual perception of the figure in the suit, the mental assessment of its proportionality.
The suit will look elegant and proportionate if the tailoring following rules proportions:
· 
The principle of the "golden section"
(3:5, 5:8, 8:13) - causes the most harmonious perception, recommended for business style. Proportions are based on the length of the skirt. The most suitable length of the skirt is selected and the length of the jacket is calculated according to the golden section rule.
· Contrasting proportions
(1:4, 1:5) - more actively attract the attention of others. It is more expedient to use them for evening suits.
· Similar proportions (1:1) - cause a feeling of static, peace, are recommended for everyday and home wear.
Consider costume ensembles in percentage and proportional terms.
The figure shows 12 models, among which there are models of repeating proportions. But they look different.
These costume ensembles (2 and 8; 3 and 11; 4 and 10; 5 and 9; 7 and 12) are formed by combining clothes of various assortments and using various lengths of each product group. Pay attention to figure 4 and 10: the same proportion of ½ to ½ can be obtained by making a skirt and jacket of different lengths into a suit. The most important thing is that both products, combining into a single ensemble proportionally, form a single whole from equal parts.
We know that the proportions of clothes do not make sense if they are not aligned with the human body. Therefore, the ratio of the details of the costume is determined by the structure of each specific figure. Turning to proportional indicators, i.e. balanced figure, we will analyze various variants of the proportions of the KA and the corresponding proportions of the human body.
| The ratio of longitudinal dimensions - along the length of the body | High growth - the best KA - 4; 5; 6; 7; 10. According to the laws of composition about proportionality and subordination *, the upper part of the presented KA subjugates the lower part, the gaze moves from larger to smaller (down); growth is visually reduced. | Low growth - the best KA - 1; 2; 8; 11; 12. According to the laws of composition of proportionality and subordination, the upper part of the spacecraft is smaller than the lower part and is subordinate to the latter. The gaze, moving from the larger part to the smaller, tends upward; growth visually increases. |
| The ratio of longitudinal dimensions: torso to legs. | Long torso - "low waist" - KA: 1; 2; 3; 8; 11. | Short torso - "high waist" - KA: 4; 5; 6; 7; 9; 10; 12. |
| The ratio of the upper (to the knee) and lower legs | Elongated upper leg (short from knee to floor) - KA: 9; 12; 3; 6; 8. | Elongated lower leg (short legs from groin to knee) - CA: 2; 4; 7;10; eleven. |
Subordination* occurs when two unequal elements are related or the form is divided into unequal parts.
Using the principle of the "golden section", it is necessary to find the most proportional ratios in the composition of shoes, bags, clothes, jewelry. First, a relationship is found between the main quantities, for example, the entire length (shoes, clothes) in the corresponding silhouette image and the length of its greater part, determined by division; then between the larger part and the smaller.
The compositional tool is rhythm.
Rhythm, as a means of composition, meaning the regular alternation of commensurate or sensually perceptible elements, is one of the most important formative means. Rhythm is inherent in various phenomena and forms of nature, labor processes, works of art. The rhythmic structure is characteristic of everything living, growing, moving.
Decreasing rhythm systems - in the structure of a tree trunk, its branch, leaf. Rhythmically alternate seasons, days of the week. It is difficult to be indifferent to the beauty of the rhythmic melody and the measured movement of the sea waves. Rhythmic laws obey any movement, development - heartbeat and the structure of a living cell.
The word "rhythm" itself is Greek. rhythmos, means flow. Therefore, the essence of any rhythm lies in movement.
Rhythm - the alternation of any elements (volumes, articulations, areas, details, lines) that occurs with certain sequence and frequency. Rhythm in plastic art is understood as the regular repetition and alternation of proportionate elements, leading them to harmonic integrity and giving clarity, harmony, and special expressiveness to the composition.
A lot is built on the rhythm in KA:
folds, tails, shuttlecocks, assemblies;
· fabric with stripes, plaid, with ornaments, rapport fabrics;
· finishing with edging, tucks, puffs, frills, stitches, stitch, embroidery, fringe, glass beads;
Rhythmic repetitions of tissue layers;
· fasteners on buttons, buttons, various accessories, lightnings, ties, bows.
· Reliefs, ornaments, rubber bands.
The repetition of elements, motifs and forms is of two types:
1. simple ( static or metric)
2. complex ( dynamic).
A static rhythm series (or metric rhythm) is a simple
the manifestation of rhythm with repetition in the composition of the same forms at equal intervals between them. Metric repetition expresses peace, balance; inherent in a static composition. The metric organization is often used in costume composition, and its manifestation can be ordinary and axial.
Ordinary metric does not tell the form of active movement and creates a sense of order and uniformity. The axial metric is manifested in the location of pockets, valves, cuffs.
This type of organization can also include the order of distribution of vertical constructive and constructive-decorative lines - reliefs, seams, darts, folds, ornamental stripes. Axial metric repetition is always determined by the human figure and its vertical axis of symmetry.
Let's now look at examples of the use of simple rhythm in a suit.
An example of the manifestation of a uniform rhythm without intervals can be observed in the alternation of simple pleats, as well as small folds of the "pleated" or "corrugated" type on the skirt (see photo 1). Here a simple uniform rhythm is built vertically. The same construction of the rhythmic organization, but already horizontally, is shown in photo 2. In the model of the dress, frills of the same size evenly alternate.
| Photo 2 |
| Photo 1 |
| Photo 4 |
| Photo 3 |
The same simple uniform rhythm is expressed festoons, formed by lace, which forms the bottom of the model shown in photo 3. The rhythm is manifested in the arrangement of buttons or hinged loops (photo 4). An example of a simple uniform alternation of elements with an interval is shown in photo 5. The flounces on the dress are located in a simple uniform rhythm, but in a different construction - not close to one another, but at intervals - intervals evenly alternating with elements of the main form.
The examples considered above illustrate such a feature: equal in size or identical elements, following one after another at regular intervals, line up in a simple metric row. This type of rhythm is one of the simplest manifestations of it in the composition of clothes, its use requires a special sense of proportion, since it very often leads to a feeling of monotony and monotony.
The use of only one time signature in rhythmic organization is a rare phenomenon. More often you can see a rhythmic combination of elements of various sizes.
A dynamic rhythmic series is a complex manifestation of rhythm with the sizes of elements and the intervals between them changing with a certain regularity. The dynamic rhythmic series suggests following changes:
· Increase or decrease the element in size at equal intervals.
· Increasing or decreasing interval in magnitude with equal magnitude elements.
· Increasing or decreasing in size of elements and intervals.
Sets the form of active compositional movement, associated with the manifestation of dynamism and compositional balance.
In contrast to the metrical repetition, the pattern of rhythm is expressed in gradual quantitative changes in a series of alternating elements - in the increase or decrease in the alternations of volume or area, in the thickening or rarefaction of the structure, tone strength, etc.
Yes, on photo 6 a dress model with side flounces is shown. When building this model, one can see a proportional increase in the elements of the composition towards the bottom of the product (from smaller to larger). Each subsequent decorative detail is larger than the previous one, while the spacing of the location increases. In the model of the dress, located next to it in Fig. 6b, there is an increase in the intervals between decorative elements with a simultaneous increase in their perimeter on the surface of the product.
| Photo 6b |
| Photo 6a |
And on photo 7 a proportional-sequential rhythm is manifested in the construction of parts of the skirt - each of the subsequent parts increases in size with a simultaneous increase in the size of the cell on the fabric.
The same pattern of proportional increase or decrease of elements or intervals can also be manifested in a different rhythmic organization - progressive rhythmic sequence. The progressive rhythmic series is based on the patterns of arithmetic or geometric progression.
Elements of the costume can be subjected to rhythmic organization in vertical(photo 8), horizontal(photo 9 )
, spiral(photo 10), radial(photo 11), radial(photo 12) and combined directions (photo 13).
| Photo 13 |
| Photo 12 |
| Photo 11 |
| Photo 8 |
| Photo 9 |
| Photo 10 |
Rhythmic construction can be achieved using various elements of symmetry:
- axis of rotation,
- mirror plane,
- transfers along rectilinear and curvilinear axes, etc.
But unlike symmetry, which is a special case of rhythm, rhythmic construction does not require the absolute sameness of repeated motifs.
Axial rhythm manifested in the location of pockets, cuffs or valves. The axial metric can also include the order of distribution of finishing seams, decor, color, texture inclusions. So, pockets, as a rule, are located at the same distance from the center line of the body. The same arrangement is for the vertical seams.
A very important issue in composition is the rhythmic organization of color. The rhythm of color- an active means of costume composition in creating artistic and figurative content. Color can be considered as the main organizing element capable of expressing the intent of the composition - an example of application is the layout of a men's business classic suit. In this regard, the psychological characteristics of color associated with the perception of the form and its surface are of decisive importance. The most important requirement in this case is the achievement of color harmony. The rhythmic organization of color patches is very often associated with metric interspersing of color: metric most often appears in a suit through a fabric pattern, for example, stripes with an equal width of color and gap. When rhythmizing the color, it is important to take into account that the figure must be visually kept in a stable position, which means that the “heavy” color must be placed at the bottom of the suit, otherwise it will overturn the figure.
A characteristic example of the rhythmic organization of color are striped or polka dot fabrics (photos 14 and 15).
| Photo 15 |
| Photo 14 |
The compositional rhythm in a costume begins with the rhythmic order of the main forms. Those in the suit are three quantities:
three forms fitting the head (collar, hood, headpiece)
body (bodice and skirt)
hands (sleeves)
The general rhythmic structure of large forms is complemented by the rhythm of small articulations.
Usually, several types of rhythms are used in a costume composition, since all the properties of the form, its parts and details are subject to rhythmization: volumes of forms inside the costume, constructive and decorative lines, textures, light and color relationships, size and arrangement of details, etc.
We list the types of rhythmic movements in the CA:
the relative position and correlation of the silhouette with the shape of the headdress, hairstyle and accessories;
Rhythmic articulation of clothing by parts made of materials of various colors and textures (elements of the costume - blouses, skirts, collars, sleeves, cuffs, etc.);
horizontal and vertical division of clothes by means of belts, coquettes, inserts;
embossed division of clothing decorative seams, folds, gathers, etc.;
Rhythm associated with the use of fabrics with printed and woven patterns in clothing.
4. Techniques for harmonizing composition
(contrast, nuance, identity, scale, scale, symmetry, asymmetry, statics and dynamics).
Techniques for harmonizing costume composition - these are the means by which the costume becomes outwardly more balanced, integral and beautiful. The methods of harmonizing the composition of the costume include:
· contrast, nuance, identity;
· scale and scale;
· symmetry and asymmetry;
· dynamics and statics.
Contrast - a sharp difference in shapes, sizes, plastics, colors, textures, styles, etc. The presence of contrasting elements in a suit makes the image more vivid and memorable, but at the same time ambiguous. So, for example, a mixture in one suit of classic andcasualstyle will give your image a special flavor and charm. Also, the contrast can be expressed in the product, where a soft and delicate texture is combined with a hard and shiny one. The black suit with white piping is the epitome of color contrast. The contrast in the lines is familiar to you: angular clear straight lines contrast with soft curved round ones. And the contrasting combination of different fabric patterns in the suit brings a sense of dynamics and movement. However, by combining contrasting things in a suit, you should always remember the integrity of the whole image - contrast should always be justified by the design.
Contrasting composition is always visually more active, because the collision, the opposition of at least two principles gives expressiveness to the form, makes it noticeable, raises it above the ordinary. The composition of spacecraft built on contrast always attracts attention: it is unusual, original, such a solution always has the goal of highlighting the object against the general background.
The principle of contrast is advisable to use:
· When the image needs to be given dynamism, youth, originality, individuality, maximalism.
· To emphasize the person's belonging to creativity, innovation.
· For festive situations, for active pastime.
It is important to know that CA, built on the principle of contrast, quickly causes fatigue and becomes boring with frequent use. The principle of application: "I came, I saw, I conquered."
Contrast is a very active means of composition. It cannot be applied between all its elements! Contrast can be used in one or two elements, the rest must be solved according to the principle nuance or similarity.
Nuance - transitional state from contrast to similarity. The nuances in clothing can be manifested in constructive lines, details, color, textures and, finally, in the ratio of the forms themselves. When creating outfits from ready-made things, combinations of things with nuances in color are most often used. Color nuances are manifested in a combination of different shades and halftones in the overall color scheme of the costume. A nuanced suit usually looks much richer, more complex, and more sophisticated than a one-color suit. When using nuance, a slight difference in elements should be clearly perceived, read by the eye, so that there is no feeling of fuss or uncertainty. When using the principle of contrast and similarity, the nuance is a harmonious link for a holistic solution to the costume ensemble. Clothing based on the principle of nuance has much more possibilities for transformation, i.e. transformations.
Similarity (identity) - equality of characteristics of shapes, sizes, plastics, colors, textures. It is one of the most important methods of costume harmonization.
The simplest example of identity can serve as a men's plain classic suit. In such a suit, both the equality of textures and the equality of the colors of all its elements are simultaneously observed.
Identity in the composition of the costume can also be manifested in the repetition of the same detail or its properties in different elements of the costume. For example, decorative metal trim can be present in the same suit both on boots and on a jacket. An even more common example of identity in a suit is the combination of several things of the same color. So, in a classic suit, all accessories are often designed in one single color. In the 50s, this principle of completing a suit was very popular and even mandatory for stylishly dressed ladies. Today, such a technique seems too correct, devoid of any fantasy and individuality.
Solved according to the principle of similarity, KA demonstrates everyday life, monotony, peace, stability, balance. This principle underlies the choice of business conservative casual clothing. Represents the static nature of the KA. Typical for the elderly.
Scale- the relative size of the subject. A lot is built on the scale in the composition of the costume. The size of each element of the composition of the costume, in essence, determines its proportionality with other elements and the harmony of the entire composition as a whole. Via right choice the scale of things, you can achieve the creation of truly beautiful and balanced proportions.
At the compositional level, the formation of a large-scale character
There are many senses of perception of the environment, one of them is visual, it has great explanatory power.
The first visual impression of a suit put on by a person consists of the degree of volume of this suit and its silhouette. In the direction of fashion, the silhouette is a generalized expression of a planar graphic representation of the main features of its form.
The silhouette is like a frame, within which, limited by its contours, they develop the volumetric shape of the product as a whole and its individual constructive and decorative lines. At the same time, the silhouette to some extent determines the shape of the product, but does not reflect its design.
The design of the product is determined by its cut and is developed on the base drawing. Contour lines of the main details of the product (line of the armhole, neckline, shoulder and side cuts, bottom of the product), as well as waist lines, darts or relief lines are applied to the grid of the base drawing. Separately, drawings of the base of the sleeve and skirt are developed.
The cut of the product is determined by the special cut of the sleeve, the division of the main parts, the location of the tucks, seams, etc. The main cuts of the sleeve include:
classic set-in sleeve with an okat of different heights; raglan sleeve and its varieties; one-piece sleeves with a different slope from the shoulder cut; combined; shirt-cut sleeves (straight folk cut). Skirts of the same silhouette shape can also have the most varied cut, depending on the presence and location of longitudinal and transverse seams.
The choice of cut depends on the properties of the fabric used, its width, plasticity, scale and direction of the pattern, on the purpose of the model, and most importantly, on fashion recommendations and a specific figure.
In modern clothes, the shape of the sleeves is very diverse. So, one-piece sleeves can be of any volume, with and without a gusset, cut "bat".
The shape of raglan and semi-raglan sleeves is varied and complex: from a soft three-dimensional shape to a raglan shoulder strap. Set-in sleeves can be of a classic cut, with a full head, functional (with a slightly lowered rim), ham-shaped (with gathers along the rim and narrow at the wrist); shirt cut, as well as straight cut in the traditions of Russian folk clothing with gussets, wedges and without them, narrow at the bottom and on the cuffs.
The silhouette is the main factor in choosing fashionable form products. The silhouette form of clothing is based on the simplest geometric figure - a rectangle, a triangle, a cylinder, a trapezoid, an oval, etc. The construction of these figures is by no means provided with the help of a compass, but it is from them that the artist and designer proceed when modeling clothes.
The design of any product is determined by the silhouette shape and is based on the base drawing.
At each stage of the development of modern fashion, the same clothing silhouette can be represented by several options, differing in volume along the chest line, the shape of the shoulder line, and the width of the bottom. This important factor should be kept in mind when creating strictly individual clothing. Changing the volume of silhouette forms contributes to a variety of style solutions and types of clothing for various purposes for figures of different age groups. Therefore, before building a design drawing or developing a pattern, it is necessary first of all to clarify the silhouette shape, determine all its nuances and then embody them in the design drawing of the future product.
There are the following clothing silhouettes: straight, adjacent, semi-adjacent and trapezoidal. In different periods of fashion, preference is given to one or another silhouette.
Straight silhouette
offered in several versions.
The basis of a straight silhouette is an elongated quadrilateral, with a natural line of the shoulder, such a silhouette is suitable for women of different ages.
Fashion dictates an expanded rectangle, the silhouette takes on this shape when the pattern expands along the shoulder line.
A narrow rectangle, which is typical for products with a straightened shoulder line, this shape is acquired by raising the shoulder line, shoulder pads.
Square with truncated top corners. Products of this silhouette, voluminous in the area of the shoulder and chest girdle, have a rounded, significantly elongated shoulder line; the direct shape with a clear extended shoulder girdle and narrowed bottom is expressive.
Semi-adjacent silhouette
differs in a slight fit along the line of the chest, hips. The waistline is slightly expressed, it can vary from the original up or down, depending on the style. The bottom of the product, the skirt of the trousers is expanded to the bottom. The semi-adjacent silhouette barely noticeably highlights the outlines of the figure. For older women and slightly overweight, this is a great find.
adjoining silhouette
designed mainly for products cut off along the waistline, with models that include a belt, belts. Loose fit along the hip line, possibly cascading, bouffant skirts. There are reliefs or figure-hugging tucks along the chest line from the shoulder seams. The fitted silhouette is designed for women with a well-built figure.
Trapeze silhouette
comes into fashion and varies from moderate to active forms, moderate or strong fit along the bust and shoulder line, and a wide skirt down, flared, flounced pleats are possible, increasing the volume at the bottom.
In products for young girls, it is possible to use belts and active expansion at the bottom of the product, for older women, more restrained and close to traditional forms are preferred.
The form of clothing is a three-dimensional perception of it on a human figure.
The form of clothing can be conditionally associated with geometric bodies. The geometric appearance of the form is determined by the degree of volume, the contours of the form and the surface. According to the degree of fit, there are three main forms of clothing: adjacent (Figure 2.1.1), semi-adjacent (Figure 2.1.2), loose (Figure 2.1.3).
Figure 2.1.1 - Adjacent form of clothing
Figure 2.1.2 - Semi-adjacent clothing
Figure 2.1.3 - Free form of clothing
A silhouette is an image of a shape on a plane.
Shape and silhouette are intertwined. The silhouette gives a clear idea of the volume of the form of clothing.
There are the following types of clothing silhouettes:
Straight silhouette - geometrically, it is close to a rectangle or square, depending on the ratio of vertical and horizontal dimensions. Clothes with a straight silhouette are perfect for all types of figures, as it successfully masks their possible shortcomings. In such clothes, the waist line is not accentuated and the horizontal dimensions are approximately the same at all levels of the figure. Clothing of a straight silhouette may have a rigid, rounded shape, which is determined by the plastic properties of the materials from which the suit is made.
Trapezoidal silhouette - typical for flared clothing. Geometrically, this silhouette corresponds to a trapezoid, in which the upper base is the shoulder line, and the lower base is the bottom line of the product. The greater the difference between the sizes of these bases, the greater the degree of flaring. In this silhouette form, the waist line is also not emphasized. Clothing of a trapezoidal silhouette with a slight flare downwards visually makes the figure more slender, so this form can be recommended for people of full and short stature. This version of the trapezoidal silhouette is also called "silhouette-A"
Semi-adjacent silhouette - characterized by moderate proportions, close to the natural proportions of the human figure. Semi-adjacent clothing repeats the shape of the body, but does not fit it, having sufficient volume. The waistline is clearly defined here and is located in a natural place. The composition of a semi-adjacent costume does not involve the use of contrast - the ratio of the sizes and masses of its individual parts and elements is built on the principle of nuance. This silhouette form can be recommended for people with different figures and body types. The semi-adjacent silhouette for outerwear is especially characteristic.
Adjacent silhouette - emphasizes the dignity of their figure. The concept of "adjacent silhouette" refers to two forms, which are commonly called "silhouette-X" and "hourglass". Both of these varieties have common features: a tight-fitting bodice, an emphasis on a thin waist, emphasized by the design of the product or belt. However, they differ significantly in their geometric appearance.
"Silhouette-X" - resembles two trapeziums interconnected by small bases along the waistline. Such clothes have a noticeable contrast between the extended lines of the shoulder girdle and the bottom of the flared skirt and thin waist. X-line clothing is well suited for tall, slender women.
Products with an hourglass silhouette have a small, fitted bodice and a narrow non-flared skirt. Here, the small volume of the bodice is combined with the small volume of the skirt, separated by the waistline. This silhouette is not as active as the "Silhouette-X", and is best suited for slender women of short stature, emphasizing their petiteness and turning it into dignity.
"Oval": in fact, it is a modification of a straight silhouette, but unlike the latter, it has a rounded shoulder shape and a narrower bottom line of the product. Thus, the widest part of the oval silhouette clothing is the waist and hips.
The rounding of the shoulder line can be achieved in various ways - due to the design of the product (for example, raglan or semi-raglan cut), using details of a certain shape (for example, a large, high collar or a wide stand-up collar). In clothes of this silhouette, shoulder pads are either not used at all, or the latter are round in shape.
Tapering down can be obtained by constructive details, for example, darts or a stitched belt, or by pulling the bottom of the product with a cord or elastic band. Oval silhouette clothes are not recommended for women of short stature, as they visually “ground” the figure.
Within these silhouettes, their various modifications are possible. For example, clothing can shrink and lengthen, thus creating a more dynamic active shape. Or, conversely, when the length of the product is shortened and its horizontal proportions are expanded, the clothes become static and stable. Variations of models based on the basic silhouette form always depend on the aesthetic and style requirements of the current fashion.
Figure 2.1.4 - Types of silhouettes in clothes
The developed models in the course work have different silhouettes: a straight silhouette is shown in the model shown in Figures 1.2.1, where the whole shape fits into a rectangle: the line of the shoulder, waist, hips and bottom are at the same level; in figure 1.2.2, the model of the A-shaped silhouette, it is characterized by a narrow, tight-fitting top and a free bottom, which allows it to fit into the contour of the letter "A"; the model in Figure 1.2.3 is a trapezoidal silhouette - a narrow upper line of the model and a wide lower one, which, when visually perceived, remind us of a trapezoid; in figure 1.2.4, an oval silhouette model - the shape of the dress skirt resembles this geometric figure, the silhouette lines are smooth and calm; the model in figure 1.2.5 reminds us of the letter "X" and allows us to say that this model X-shaped silhouette, i.e., with visual perception, we can distinguish two trapezoids located with narrow bases to each other.
How to choose your style in clothes? How to choose the right silhouette, color of clothes? All these questions are useful if you want to look elegant.
The nature of your clothes depends, first of all, on its style. According to the style decision, the whole variety of forms of clothing can be reduced to three main groups: classic style clothing, sports style clothing and fantasy or feminine style clothing.
Basic clothing styles
It is very important to find exactly your style of clothing. Businesswoman prefer the classic style, which is distinguished by rigor and smartness. Fashion does not make drastic changes to it, it only slightly corrects the shape: a slightly wider or slightly narrower shoulder, a tighter or looser waist, a wider or narrower lapel. There are very few details in such clothes and only the necessary ones: a turn-down or English collar, welt pockets in a frame with a leaflet, a flap. Such clothes often have patch pockets that are simple in shape without excessive decoration.
Sports-style clothing has always been free-form, providing comfort on the move. It emphasizes the sportiness of the figure, harmony and smartness. Sports style is characterized by an abundance of details. Collars, pockets, fasteners - the most diverse. Sleeves are often shirt and raglan.
Sports style option for girls - denim skirts and other denim clothing. These are jeans, as well as a variety of products from denim: sundresses, dresses, coats, jackets.
Such clothes are sewn with a large number of various patch and mortise pockets and other practical details. Additions to clothing: sports shirts, knitted T-shirts, vests, pullovers, scarves, embroidered hats made of thick cotton, blended, raincoat fabrics, leather and suede.
The charm of the girl is emphasized in clothes in the style of "feminine". Clothing of this style is distinguished by a complex cut, unusual shapes, and complexity of decoration. The details are original and bold, which will give room for imagination. Collars can be very diverse: cape collars, hooded collars, draped collars, collars with embroidery and trim. Flounces, frills, frills, metal molds are also details of a feminine style.
Clothing style inspired by motifs folk art called folklore. The heritage of the folk costume is a variety of straight cut options. The simplicity of the cut, the manufacture of clothes without much fitting, contains the age-old wisdom of the people. Folklore style - a variety of embroidery and decoration, bright clean colors.
Four basic clothing silhouettes
With all the variety of forms of modern clothing, four silhouettes can be identified that have been constantly in fashion over the past decades: straight, semi-adjacent, fitted and trapezoidal. Each has several options, more voluminous or more calm, classic.
Straight silhouette is the leader. It can be narrow and elongated or wider, approaching a square. A straight silhouette with rounded shoulders and slightly narrowed down resembles the letter "O", the same ironed, but with a clearer shoulder - the letter "U".
Semi-adjacent silhouette slightly emphasizes the shape of the figure, can be shorter or longer. It is a moderate fashion silhouette. The shape of the fitted silhouette may resemble the letter "X". This shape can be created by an extended line of the shoulder, the bottom of the product and a thin waist. The fitted silhouette can have a narrow or loose bodice, an extended or tapered skirt.
Trapeze silhouette- This is a silhouette in which the shape expands from the line of the shoulder or armhole. The extension can be quiet or more significant with large, mobile coattails. Sleeves are also diverse in their forms - set-in and one-piece, raglan and raglan shoulder straps, shirt sleeves, etc.
The form of clothing is created by constructive and decorative lines: tucks, reliefs different instructions, assemblies, puffs, draperies, tucks, undercuts, tails, flares. Clothing design should not be random, it should correspond to the silhouette and form a single whole with it. The tuck can be located on the edge of the part or in its middle, be closed or open, simple or figured.
Raised seams- these are connecting seams, which are at the same time a design element. They can be complemented with or without darts, strictly vertical or curly. Gathering also creates volume and is obtained by pulling the material together with one or two parallel stitches.
Puffs create a relief on the surface of the material and therefore are at the same time a finish. They can be machine and manual.
Drapery- free-lying or falling folds of various nature with their subsequent fixing. It is usually performed on thin elastic fabrics of silk and wool crepe weave. To get smooth flexible lines, it is better to cut the fabric in the oblique direction of the thread.
Pintucks- these are numerous small folds or tucks closely spaced from one another. They are partially built up and end with soft folds. With the help of tucks and assemblies, you can get free forms of products.
undercut- a kind of artistic design. The fabric is partially cut to create a bulge in the hips, chest.
coattails can be obtained by cutting "flared" (cutting out funnel-shaped parts at an angle of 45 ° to the warp threads). Soft tails are formed under the weight of the fabric.
See How to sew a sun skirt.
Shuttlecocks are of two types. Sometimes these are straight strips of fabric cut along an oblique thread. The stitched side is collected or laid in frequent small folds. In other cases, shuttlecocks are cut out in strips in a spiral or in a ring and stitched to the product with internal cuts. Such frills are usually performed in elegant items made of silk fabrics.
Frill they are strips of material of various widths, gathered on one side and sewn to the product on the same side. Cut them out along the grain line of the fabric.
See Bias Ruffled Skirt.
ruffles- these are also strips of material, but gathered in the middle. The edges in them must be finished by machine or by hand. Ruffles are made both from the fabric of the product and from various finishing materials.
jabot- removable or set-in neck trim. In cut it is an incomplete circle or drop shape. When finished, the frill is laid in uniform coattails.
coquilla- this is a finishing detail formed by two circles drawn from one point with a smooth decrease in radius until the outer circle intersects with the inner one. The mold is attached to the middle of the front with an inner cut. The outer cut drapes freely under the weight of the fabric.
For centuries, colors have been used to express certain feelings and concepts. So, Wedding Dress they are most often made white, little girls buy pink clothes, and blue clothes for boys. dress for prom- light: white, pale pink. Official men's clothing- dark color.
Each fashion has its own specific color scheme. Colors can be bright or calm, light or dark, pure or complex. The colors grey, white and black have become classic. Women's clothing more complex in color. Youth - colorful and bright. Very important point is a combination of colors. Color combinations can be tonal or contrasting. A tonal combination is a combination of two or three similar colors, for example, light, medium and dark shades of a color in one suit. The contrasting combination of colors makes the clothes bright and emotional.
The combination of colors in clothes also affects its shape. By the successful use of color, we can create various visual illusions. It must be remembered that light and warm colors (yellow, orange, red) are "protruding", they visually increase the shape of clothing, so they are not recommended for full figures. Fat women are more suitable colors "retreating". These are cold colors (blue and green) or dark saturated ones. Also overweight women Contrasting color combinations should be avoided.
It is necessary to divert attention from those parts of the figure that are unprofitable to emphasize. So, if a person has a too dense physique, a color finish that attracts attention is placed somewhere near the neck. Black shoes and a black hat with a light suit emphasize height. A dark skirt can visually narrow the hips, a dark blouse can reduce the size of the bodice. It is good if all products and additions to the wardrobe - hats, gloves, shoes are linked by color. This can be achieved if we take one color as the basis. The choice of the main color in the wardrobe may depend on the color of the hair, eyes, skin color and character of the woman.
The pattern of the fabric also affects the shape of the product. The combination of color and fabric pattern affect appearance clothing, its expressiveness. Fabric with a large pattern gives the impression of a large relief and bulge. A full and low figure in clothes made of such fabric will seem even fuller and squat. In this case, you need to choose a fabric with a small pattern. Rare horizontal stripes located in different areas visually expand these areas.
For thin, tall women, dresses made of fabric with a large pattern, plaid, peas, which visually make the figure look fuller, are acceptable. These visual illusions can be used in modeling clothes, if it is necessary to visually change the entire figure or its individual parts.
