costume silhouette folk artistic

“Silhouette” is a French word that refers to the external outline of any object, its “shadow”.

Silhouette is a flat, monochromatic image of an object or clothing.

At the same time, the silhouette gives a clear idea of ​​the volume of the clothing, since it is a projection of the volumetric shape of the clothing onto a plane. The silhouette characterizes the shape of the suit.

The shape of the costume should be considered as a volumetric-spatial characteristic of objects.

The silhouette becomes important in connection with the development of fashion, since fashion at a certain period of time is characterized by certain shapes and, consequently, silhouettes of clothing. Thus, the silhouette is a means of expressing fashion, it makes it possible to determine the characteristic fashion changes in a suit over a certain period of time.

The silhouette represents the frame within which clothing is decided.

To more accurately characterize the silhouette, it is compared with certain geometric shapes:

• * rectangular;
• * trapezoidal;
• * oval;
• * in the form of two triangles with truncated vertices.

Rice. 2.1. The shape of the suit, which is based on a geometric figure: 1 - rectangle; 2 - circle; 3 - triangle

It would not be amiss to remind you that silhouette should not be confused with such concepts as model, style, cut, which relate to the field of clothing design.

It is also incorrect to say “tight-fitting silhouette” or “loose silhouette”, since the degree of fit of a product is a feature of its cut, shape, and not silhouette.

The silhouette can be classified according to the degree of fit of the product to the figure (Fig. 2.2):

A semi-adjacent silhouette is a silhouette of clothing that, repeating the shape of the body, seems to be a short distance away from it.

Fitted - a clothing silhouette that fits tightly to the body and accurately follows its shape.

Fitted has several varieties, which differ from each other in the nature of the fit of the bodice and skirt to the body, and their shape. All solutions are characterized by a tight fit along the waistline, which can be accentuated with a belt.

Loose is a silhouette of clothing that, held on by supporting structural belts (shoulder belts, waistline), may not be in contact with the body at all.

The oval, “barrel” silhouette is rarely offered by fashion and is not maintained for a long time, since it contradicts the natural proportions of the body and visually looks unstable.

The silhouette can be frontal or profile.

Sometimes the silhouette is compared in shape to letters: A-shaped, X-shaped.

Rice. 2.2. Types of silhouette shapes of the suit: 1 - semi-adjacent; 2 - adjacent; 3 - fitted; 4 - free

In addition to strict definitions, silhouette solutions often receive figurative “nicknames” that immediately give an idea of ​​their character: for example, trousers - “pipe”, “cigarette”, “gaucho” (flares the width of a whole skirt; they are worn by shepherds South America, living in the mountains - gauchos), “bananas”.

In costume modeling highest value have shape and color. The color issue is quite easy to solve with the help of paints. The situation is more complicated with the form. Poorly shaped suits look simple and crude. To avoid this, you need to find dramatic but relevant details and introduce them into the model.

In this task we will give short description changes in the silhouette of clothing from different eras. However, one should not think that the shape of the costume is important only in historical clothing; it is also important when modeling a horse costume in a comedy or modern suit astronaut

The pictures depict women and men's suits, ranging from the early Middle Ages to the thirties of this century.

A costume of any era is a work of art, because a person always thinks of himself as some kind of artistic image that meets his aesthetics. The change in the silhouette of a suit is influenced by the social structure of society, the presence and appearance of new fabrics, a person’s desire for change, which gives birth to fashion, etc. In ancient centuries, fashion and, accordingly, the costume changed very slowly; later this process accelerated significantly, and nowadays fashion changes almost every year.

WOMAN SUIT

Early medieval dress is simple, flowing easily to the ground from the chest line, emphasizing full hips. The first images of Adam and Eve show the female forms fashionable at the time: small breasts, a large belly, and thin arms. Medieval clothing should emphasize this. Shoes - without heels, on the head - a simple mantilla (veil), covering the cheeks, chin and neck, hair is not visible at all. Gradual transition to late medieval costume is still characterized by emphatically small breasts, dresses that are not cut off at the waist, the waist is high, picked up by a belt that collects large folds. The sleeves widened and took on a bell shape. The headdress has not changed, but is now worn on “horns”.

The female silhouette of the Tudor era1 became more square. The bodice of the dress is rigid, the waist is slightly high, the bottom of the sleeves is bell-shaped, turned away and forms a heavy cuff. The top dress can have a slit in the front; the square neckline emphasizes the massiveness of the figure.

The Tudors were a royal dynasty in England from 1485 to 1603.

The silhouette of a woman from the era of Queen Elizabeth1 is exaggerated with the help of padding: the bodice of the dress is rigid and now elongated, the thin waist is emphasized by a wide skirt, the face is framed by a round, flat, rigid collar.

This rigidity of lines is replaced by a softer, rounded silhouette. The collar becomes soft, the skirt loses its rigidity, the long pleated peplum is replaced by scallops, and the waist line rises again. This softness of the lines continues throughout the Restoration period (1814-1830), only the waist falls back into place.

Artificiality in 18th-century fashion leads to further exaggeration of forms. A long, drawn-out corset skirt with crinoline on the sides appears, and the more cumbersome the toilet is, the more fashionable it is considered. Many dresses are made in a pastoral spirit - high-society ladies like to imagine themselves as shepherdesses. By the middle of the 18th century, the emphasized pomp moved from the sides to the back, and the small muslin cap turned into a large cap covering the wig with a high hairstyle. By the end of the century, the waistline is under the bust, the silhouette becomes long and narrow, reminiscent of the ancient Greek. Gaining popularity thin cloth, imported from India.

Stiffness -- distinguishing feature The long Victorian era was reflected in the bell skirt (1840), a tiny waist, tightly cinched in a corset. By the eighties of the 19th century, flirtatiousness in women's clothing was replaced by prim severity and severity, while skirts began to have bustles. In the 1900s, waists remained thin, but wedges appeared in skirts, which made movement easier, sleeves ballooned to the shape of a ham (gigot), and hats became larger. By 1910, both hats and hairstyles became huge, well-developed figures came into fashion, and a very narrow skirt around the knees balanced the upper part of the silhouette.

The war of 1914-1918 gave women some emancipation, which was reflected in clothing. By 1920, the corset was no longer a mandatory part of the toilet, the waist turned out to be low, the silhouette of a boyish figure with straight lines was fashionable, and for the first time the results became visible! In the thirties, feminine softness appears, but the mobility of the silhouette remains.

MEN'S SUIT

In the early Middle Ages, men wore a simple tunic and hood, with loose trousers tied around the legs with straps. Over time, this silhouette becomes dapper. Gradually, the sharp outlines give way to more square ones and by the beginning of the 16th century they take on the shape now known from the portraits of King Henry VIII and the figures depicted on playing cards. By the time of Queen Elizabeth, decorative slits and cotton pads appeared in men's clothing, as well as in women's clothing. Men wear long camisoles with a keel-shaped chest padded, sleeves and trousers with puffs. The face is framed by a round, rigid, puffed collar.

During the reign of King Charles I, slits in clothing were still in fashion, with ribbons adorning the softer silhouette. In the middle of the 17th century, the costume became very extravagant; excessive lace and ribbons combined with a large powdered wig and huge boots create a comic effect.

An early 18th-century fashionista wears a garment (Westcoat) that is open in the center, with fan-shaped pleats at the sides and wide cuffs. The hair is neatly combed back and braided, there is a cocked hat on the head, and thin lace around the neck and wrists. Subsequently, the silhouette narrows, and the Westcoat loses its folds that fly out on the sides. By the end of the century, the front flaps of the westcoat, frock coat and tailcoat were cut off, and the collar became the main decoration. The frock coat and tailcoat of the 1840s are strict.

Gradually men's clothing becomes calm and modest. The trousers and top hat take on their normal shape. By the end of the 19th century, the suit we are accustomed to today came into fashion. New types of jackets are emerging - tuxedos, blazers, etc., giving the clothes a less formal look.

Let's look at the historical evolution of the costume using examples:

• 1. So for gothic style The 12-14 centuries that developed in Western Europe, reflecting the religious-idealistic philosophy of that time - scholasticism, based on church dogmas, was characterized by an asymmetrical solution, emphasized by color, a general desire for the shape of an elongated triangle gives the costume dynamism.
• 2. In the Renaissance, which replaced the Middle Ages, in contrast to its gloomy Catholic worldview, a new, life-affirming worldview emerged. The proportions of the suit changed dramatically, they began to match the proportions human body. Rich, dense fabrics such as velvet and brocade were used.
• 3. The Renaissance gave way to the Baroque style, which is characterized by theatricality and enchantment. The Baroque style is characterized by pomp, pretentiousness, and the disappearance of a specific form. Multi-layered, heavy, non-functional suits arrived. Women's metal corsets are typical.
• 4. The word "rococo" comes from the French rocalle, which means "curl, shell." It is often called the "gallant style". The costume increasingly denies its utilitarian function and submits only to the aesthetic one, acquiring theatrical and prop features. Wigs, whitewash, blush powder belong to men's and women's toilets.
• 5. During the period of transition from the feudal system to the bourgeois system, the style of classicism developed. The formation of this style led to a new appeal to ancient art as an ideal model.
• 6. The beginning of the 19th century is characterized by the appearance of the Empire style in art (from the French “empire”). The Empire style differed from classicism in being more static, pompous, splendid and pompous. The silhouette of the empire style suit tended to the cylindrical outline of a tall and slender column. The composition of the costume is static, the decorative solution prevails over the constructive one.

The second half of the 19th century in the history of costume is called the second Rococo. Characteristic feature Women's costume of this period is the variety of its assortment according to purpose: morning dresses, suits for walks, lunch and evening dresses.

7. At the beginning of the 20th century, the Art Nouveau style, which had established itself in women's costume back in the 19th century, continues to have a great influence on the silhouette, use of fabrics, and decorative design of the costume. The most interesting is the profile silhouette, which is created using an S-shaped corset.

Clothes of the second decade of the 20th century are characterized by soft lines and moderate volumes. New ones appear comfortable views clothes: wide and loose coats, jackets, business suits various shapes, work and industrial clothing.

The main feature of fashion in the first half of the third decade was freedom of form. The most characteristic is the “barrel” silhouette.

Rice. 2.3

The main and only silhouette of the top women's clothing in the second half of the third decade it becomes straight, the width fits the hips, and the length reaches the middle of the knees. The ideal appearance of a woman of the 30s is an elongated, slender figure with a narrow waist and hips, and a flat chest. The silhouette of the clothes matches the figure. The range of women's outerwear is quite diverse; suits, skirts, coats, women's pants. Clothes of the 1940s were shortened (to the knees) and widened at the shoulders with shoulder pads. The waist is clearly defined in its natural place with the help of a wide belt. The assortment of women's outerwear is dominated by coats and jackets of straight and fitted silhouettes.

Clothes of the late 40s - early 60s were very diverse in silhouette. For women's outerwear, the typical silhouettes are straight and oval, A-shaped and others. Characteristic of the fashion of these years is sloping shoulders and increased length.

For the 60s, the characteristic silhouette shapes of women's outerwear were straight and semi-adjacent, somewhat flattened in front and on the back. The leading silhouette is semi-adjacent, using vertical and horizontal reliefs.

In the 70s (first half), a straight silhouette was widespread in women's outerwear. This is a voluminous, soft form, not similar to the form of the 60s, although it retains the principle of geometricization in a somewhat relaxed manner. The wide shoulders that predominate in the silhouette for visual balance required some expansion of the shape downwards.

By the end of the 70s and beginning of the 80s, fashion, bypassing relatively short period the so-called cutless clothing and simplified flat cut (on the principle of folk clothing cuts), moves on to the establishment of a more complex feminine line, characterized by the simultaneous coexistence of many different cuts and shapes. Fashion ceases to be unambiguous. The proportions of the conventionally ideal figure of this period are generally feminine, with a clearly defined waistline, oval hips, and suggest, however, widened, straight shoulders. This circumstance determines the leading role of the straight silhouette.

The principle of variety of shapes makes it possible to solve them with different degrees of volume on the front, back and sleeves, and different nature of the transition from the volumes of the upper part to the volume in the waist, hips and bottom. Moreover, in each specific case, the proportions of the rectangle into which the form fits are different: from narrow, elongated to wider and shorter.

The 80s were characterized by different interpretations of the vertical shapes of products - the shoulder section was geometrized; softened oval shape in the hip area. In practice, this difference was made not so much constructively, but by tightening the waist more tightly with a belt and redistributing the gathers (along the waist closer to the center).

Sleeves play a significant role in the silhouette of clothes of the 80s. In products of the 80s, sleeves increased in volume seem to narrow the shape of the figure, which enhances the impression of a slim and elongated figure.

Thus, unlike other works of architectural art, a costume has the closest connections with a person, acquiring meaning only when worn on his body. To a greater extent than other objects, it is able to influence the aesthetic education of people, the formation of their taste and ideas about beauty. An expressive, figuratively designed costume helps to reveal a person’s inner wealth and individual merits.

We took a short break and I hope you got some rest. Today we have theory, later there will be a practical task. I hope it won't be difficult for you.

SILHOUETTE

The silhouette can be fashionable or outdated, it can indicate some historical era. In general, a silhouette is a flat projection of clothing (both from the front and in profile), the contour line of the clothing.

The main silhouettes include straight, semi-fitted, fitted and trapezoidal.

Derived silhouettes combine the features of the main silhouettes and variations of the formative ones (for example, along the shoulder contour - ovality, etc.). Derivatives include silhouettes of the same shape, but in different variations. For example, straight, elongated, U-shaped, and so on.

Silhouettes can be divided according to the degree of fit to the figure:

Adjoined
Semi-adjacent
Straight
Advanced

Similar to geometric shapes:

Trapezoidal
Oval
Rectangular

When characterizing a certain silhouette, alphabetic and symbolic designations are used based on similarity to the silhouette: A - shaped, X - shaped, T - shaped, S - shaped, V - shaped.

Close-fitting silhouette. A fairly tight fit around the hips, chest and waist. Follows the natural contours of the figure.

Semi-fitting silhouette characterized by a softer fit along the chest line than in the fitted version, a loose fit in the waist and hips, a quiet expansion downwards, sometimes barely noticeable. The waistline on a product does not always correspond to its position on the figure - it can be located above or below its natural position. In general, the semi-fitting silhouette follows the contours of the figure, but not completely.

Straight silhouette. The degree of fit to the human figure is even less, and the design of the straight silhouette is vertical and is supported mainly by the shoulder girdle.

Extended, loose silhouette can be represented by varying degrees of volume - from moderate to fairly voluminous forms. Products of this silhouette can be loose along the entire length or fixed with a belt at the waist.

Trapezoidal silhouette- moderate shoulder line and widening towards the bottom.

The choice of silhouette can have a very big impact on the overall look. Therefore, it is advisable to know which silhouettes are right for you and highlight the advantages of your figure. Modern silhouettes can be “creative” and unusual, but the basic silhouettes remain unchanged and familiar.

Clicking on the picture will open the image in large format.

FORM

What affects the shape of the suit:

1. Texture, color, decor, lines, finishing, visible seams.

2. The degree of fit of the material to the figure at various points.

3. Proportions, geometry, symmetry.

4. Plastic shape of the figure.

Using these characteristics, you can influence the perception of your silhouette, image and your figure as a whole.

Externally, the shape is determined by silhouette, structural and decorative lines.

RELEVANCE

We are lucky that it is no longer fashionable to flaunt clothes from latest collections and be sure to have fashionable items in your wardrobe.
Just imagine that favorite dress V next year might be outdated :-)

When working on a professional clothing collection, the designer thinks through the silhouette line, moves the volume in his collection based on the concept and overall composition.

Within the same silhouette, changes gradually occur from year to year. They can be seen in the cut, details and they become possible due to changes in the characteristics of modern fabrics.

And, distracting from theory, a few silhouettes that await us:

Silhouette lines(shoulders, waist, hem and other lines that determine the perception of the shape of the product from the front and in profile) characterize the proportions, volumetric shape of the clothing and its external outlines. Construction lines(seams) divide the surface of clothing into separate parts (parts) in order to create its three-dimensional shape in a constructive way (through cutting). The main construction seams are: shoulder, side, armhole, neck, sleeve seams. These seams remain barely noticeable on the surface of the clothing unless they are highlighted by the artistic design of the model. To decorative lines include lines formed by various trims, as well as contour lines of the edges of parts (collar, lapel, side, etc.).

To constructive and decorative lines include all visible seams used for the following purposes: 1) solving the shape (reliefs, side seams, yoke seams, elbow and outer sleeve seams, sleeve set-in seams, etc.); 2) achieving rational placement of the material along the width, including on narrow materials, for example, the side seam of a product with a straight silhouette; 3) ensuring the necessary balance and dimensional stability in the product, depending, first of all, on the direction of the warp threads in the parts (for example, the presence of a shoulder seam allows you to cut out the back and front parts, aligning their center lines with the warp threads

Costume composition

The word “composition” comes from the Italian composition – to combine. When applied to a suit, this means the ability to correctly combine all its elements into a single whole to create a harmonious image. Harmonization of the shape of the costume is facilitated by knowledge of the basic principles of composition.

The correct use of compositional means when developing models - a successful choice of the shape and line of the suit, a thoughtful combination of texture, color and design of the material - can largely determine the final decision of the buyer to purchase this or that product. Familiarity with the basic principles and means of composition used in practice when creating various costume models will help the buyer more correctly evaluate the product offered and choose clothes in accordance with their individual appearance.

Fashion design requires mandatory consideration of the purpose and conditions of use of the model being developed. The suit should be comfortable, practical and beautiful. Therefore, its shape, design solution, choice of finishing material and color are subject to two main functions - aesthetic and practical. It is important to note that we are talking about the design and development of clothing models for the mass consumer, i.e. so to speak, “practical” clothes.

One of the principles of the composition is the clear relationship between the shape of the costume and the nature of its individual elements and details. All elements of the suit’s shape must have common properties, for example, if the product has a straight shape with clear contours, then all the details, buttons, trims, etc. should have the same lines.

Suit form

The shape of the suit has three projections: profile, frontal, transverse. Profile projection is the perception of the suit in profile, frontal - from the front, transverse - the supposed horizontal divisions of the form at various points of the figure.

The shape of the suit is characterized by certain parameters. The main ones are silhouette, proportions, dimensions, weight, material, color, etc. A form is expressive only when its silhouette, the accuracy of the proportional relationships of individual parts, the rhythmic structure of details, and the harmony of color relationships are clearly revealed.

Suit silhouette

The silhouette best expresses the shape of the suit. Silhouettes are distinguished by the degree of fit to the figure (fitted, semi-fitted, loose, widened or narrowed downward) and by geometric appearance (rectangular, trapezoidal, oval, X-shaped).
Through various combinations of trapezoid, rectangle and oval, you can express all the variety of shapes. The dominant form in the ensemble is usually one form, to which all the main parts of the costume are subordinated. This is the so-called geometrically generalized symbol that determines the shape of the suit. The change in the shape of a suit over time is associated with the concept of stability and mobility of its elements. Some shape features change faster, others slower (material structure).
The regularity of the composition of a form is the subordination of its parts. The form must be correctly organized from the point of view of tectonics, which is expressed primarily through proportions: the divisions of the form are the boundaries of its parts.

Costume plastic surgery

One of the important principles of form organization is the principles of plasticity and rhythm. Plasticity is understood as a gradual transition from one part of the form to another. The plasticity of the costume is revealed through the fabric: the direction of movement of the folds of the flounces, constructive and decorative lines creates the “movement” of the form. When individual parts of a form are combined with each other according to the principle of contrast, geometrically clear elements are used along with plastic curvilinear ones, but even in this case the principle of harmonious subordination of the whole and its parts must be observed.

Design lines of the suit

The shape of the suit is created by constructive solutions and pairing of individual volumes or elements. The lines along which this connection occurs are called constructive. These include: connecting seams, reliefs, undercuts, darts, etc. If these lines are decorated decoratively (with cord, embroidery, braid, etc.), then they are called constructive and decorative. There are also simply decorative lines in the form of stripes, embroidery, lace, hemstitching, etc.

All the variety of lines according to their outline can be divided into three groups: straight; curves with a constant radius of curvature (circles and arcs); curves with a variable radius of curvature (parabolas and spirals).
Straight lines, both internal and silhouette, are used to create sports suits, business suits, work clothes, and children's clothing. Straight, “stiff” lines in work clothes with a spacious cut evoke a feeling of composure and efficiency. In children's suits, the yokes are usually straight, and the pockets and aprons are part of a circle; These products are decorated with ornaments in the form of cubes and polka dots - simple geometric shapes that are understandable to a child.
For evening wear, curvilinearity, complex draperies, and bias cut are often used. These lines - parabolas - are dynamic, they express accelerated or slow motion, since they are based on rhythmic repetition.
Any complex curve actually consists of segments corresponding to the lines of one of the three groups mentioned above. The delineation of the silhouette of the suit is achieved by more or less complex lines. At the same time, technological and wet-heat treatment of the product also gives the line a certain configuration.

So, the plasticity of the suit’s shape depends on the proportions of its individual volumes, lines, and structural processing of the products.

Rhythm in the composition of the costume

The rhythmic structure of the product is manifested in the plasticity of the form, dynamic lines, and silhouette. Each costume has a certain rhythmic solution, taking into account its purpose, the age of the person for whom it is intended, and other characteristics.

The simplest manifestation of rhythm in a costume is the repetition of the same element at regular intervals. This rhythm is called metric. The rhythmic structures of the costume are based on proportional relationships. Therefore, the use of rhythm requires a sense of proportion, beyond which a feeling of uniformity and monotony arises.
A complex metric series can be built on several quantities, repeated at regular intervals. Most striped fabric compositions are based on this principle.
According to the organization of elements in a costume, a rhythmic or metric series can have vertical, horizontal, spiral, radial, radial, parallel, or combined directions.

Thus, the manifestations of rhythm in costume are very diverse. The rhythmic organization of its various elements is an important means for creating a holistic image, therefore it is classified as one of the laws of the compositional structure of a costume.

Proportion in the composition of the costume

The organization of the shape of the costume according to the principle of rhythm and plasticity is subject to the basic proportional pattern. When perceiving the shape of clothing as a whole, we compare some of its parts with others. You can compare and contrast volumes, characteristics of material textures, the size of color spots, etc. A positive perception of the ratios of two compared quantities indicates their consistency and proportionality.

The simplest type of consistency is identity, i.e. complete similarity (equality, repetition) of areas, lines, textures, colors. However, it should be borne in mind that repeated repetition of individual elements quickly causes fatigue and dulls perception. Small differences in lines and areas are defined as contrast ratios. Their acute expressiveness requires strict alignment of the compared parts and consideration of certain patterns.

The characteristic ratios of the costume parts are 7/8 (short coat and skirt), 3/4 (sleeve); The length of miniskirts is 1/3 the length of a garment, sweater or blouse with a slouch of -2/3.
The most common proportion in a suit is the “golden ratio”, which is conventionally expressed as 2/3:1/3, or in digital terms 1.62/1=1/0.62. This proportion arose as a result of an analysis of the relationships in various natural forms, the human figure being the most harmonious. Therefore, naturally, it is widely used in costume design.

The shape of the costume can be compositionally organized according to the principles of symmetry or asymmetry. Symmetry can manifest itself in the arrangement of individual elements of the product, fittings, finishing, etc. As a rule, work suits are designed to be relatively symmetrical. When determining the nature of symmetry, you should remember the compositional center, which is located in the upper part of the costume shape.

Asymmetry is preferable for elegant clothing. The asymmetrical arrangement of costume elements must be balanced. For example, if you place the pocket on right side, then the scarf or scarf tied around the neck should be located on the left side of the dress. When using the principle of asymmetry in clothing, it is necessary to observe a sense of proportion.

Without exaggeration, clothing has long become an integral part of the lives of each of us. But if in the old days it most often served as nothing more than a cover for the human body, while being as simple as possible, now clothing reflects the essence of a person. She can tell a lot about a person. And with the flow of time, clothing became more and more complex. Starting from simple loincloths up to the modern concept of a toilet, that is, a set of clothes, shoes, gloves, and various accessories that perfectly complement the image.

With the complication of clothing, concepts and silhouettes in clothing became an important element. The word “silhouette” itself has French roots and means the outline of an object. But if we are talking about the silhouette in clothing, then regardless of the complexity of the decoration, any clothing can be roughly represented as a simple geometric figure– rectangle, trapezoid, oval or triangle.

Recently, designers have been focusing on several types of silhouettes in clothing. The most popular today are straight, semi-fitting, fitted and trapezoidal silhouettes:

1. Straight silhouette in clothes It is distinguished by a rectangular geometric shape and is presented in several versions: a narrow and widened rectangle, as well as a square with truncated upper corners. The straight silhouette is the most versatile; it looks great in clothes regardless of your figure. The width of clothes of this silhouette in the chest and hips is the same.
2. Semi-fitting silhouette in clothing characterized by a slight fit along the chest, waist, hips and a smooth, sometimes barely noticeable expansion downwards. In general, this silhouette repeats the outline of the figure, but does not fully reveal it.
3. Fitted silhouette speaks for itself. The clothing has an extended shoulder line, a narrowed waist and hem.
4. Trapeze silhouette in clothes also has its own characteristics. The main characteristic of the trapezoidal silhouette is the extension from the shoulder line or armhole. Clothes made in this silhouette can be either loose along the entire length or secured with an elegant belt at the waist. A significant expansion of clothing will be the best solution for tall women or women in an interesting position.

How to choose your own clothing style? How to choose the right silhouette and color of clothing? All these questions are useful if you want to look elegant.

The character of your clothing depends, first of all, on its style. According to the style decision, all the variety of forms of clothing can be reduced to three main groups: classic-style clothing, clothing sporty style and fancy or feminine style clothing.

Basic clothing styles

It is very important to find your own style of clothing. A business woman will prefer a classic style, which is distinguished by severity 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 leaf, a flap. Such clothes often have simple-shaped patch pockets without excessive trim.

Sportswear has always been loose-fitting, providing ease of movement. It emphasizes the athletic figure, slimness and smartness. The sporty style is distinguished by an abundance of details. Collars, pockets, fasteners - the most varied. The sleeves are often shirt and raglan.
A sporty style option for girls is denim skirts and other denim clothing. These are jeans, as well as a variety of denim products: sundresses, dresses, coats, jackets.
Such clothes are sewn with a large number of different patch and mortise pockets and other practical details. Additions to clothing: sports shirts, knitted T-shirts, vests, pullovers, scarves, sewn hats made of thick cotton, mixed, raincoat fabrics, leather and suede.

The girl's charm is emphasized in clothes in the "feminine" style. Clothes of this style are distinguished by their complex cut, unusual shapes, and complexity of finishing. 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, ruffles, frills, and molds are also details of feminine style.

Inspired clothing styles folk art called folklore. Heritage folk costume- a variety of straight cut options. The age-old wisdom of the people lies in the simplicity of the cut, the manufacture of clothes without special adjustment. Folklore style is a variety of embroidery and decoration, bright, clean colors.

Four main clothing silhouettes

With all the variety of shapes of modern clothing, there are four silhouettes that have been constantly in fashion over the past decades: straight, semi-fitted, fitted and trapezoidal. Each has several options, more voluminous or calmer, classic ones.

Straight silhouette is the leader. It can be narrow and elongated or wider, approaching a square. The straight silhouette with rounded shoulders and slightly tapered at the bottom resembles the letter “O”; the same ironed silhouette, but with a clearer shoulder, resembles the letter “U”.

Semi-fitting 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 can resemble the letter "X". This shape can be created by an extended shoulder line, the bottom of the product and a thin waist. The fitted silhouette can have a narrow or loose bodice, a widened or narrowed skirt.

Trapezoid silhouette- This is a silhouette in which the shape expands from the shoulder line or armhole. The expansion can be quiet or more significant with large moving coattails. The sleeves are also varied in shape - set-in and one-piece, raglan and raglan shoulder straps, shirt sleeves, etc.

The shape of clothing is created by constructive and decorative lines: darts, reliefs different instructions, gathers, puffs, draperies, tucks, undercuts, folds, flares. The design of clothing should not be random, it should correspond to the silhouette and form a single whole with it. The dart can be located at the edge of the part or in its middle, be closed or open, simple or figured.

Raised seams- these are connecting seams, which are also a design element. They can be complemented with or without darts, strictly vertical or curly. Gathering also creates volume and is obtained by tightening the material with one or two parallel lines.

Buffs create a relief on the surface of the material and therefore at the same time serve as a finish. They can be machine or manual.

Drapery- free-lying or falling folds of various types with their subsequent fastening. It is usually performed on thin elastic crepe-weave fabrics made of silk and wool. To get smooth flexible lines, it is better to cut the fabric in the oblique direction of the thread.

Tucks- these are numerous small folds or darts closely spaced from one another. They are partially stitched and end with soft folds. With the help of tucks and gathers, you can obtain free-form products.

Undercut- unique artistic design. The tissue is partially cut to create a bulge in the hips and chest area.

coattails can be obtained by “flare” cutting (cutting out funnel-shaped parts at an angle of 45° to the warp threads). Under the weight of the fabric, soft folds are formed.
See How to sew a circle skirt.

Shuttlecocks There are two types. Sometimes these are straight strips of fabric cut along a bias thread. The stitched side is gathered or folded with frequent small folds. In other cases, flounces are cut out in stripes in a spiral or along a ring and stitched to the product with internal cuts. Such flounces are usually used in elegant items made from silk fabrics.

Frill They are strips of material of varying widths, gathered on one side and sewn to the product with the same side. They are cut along the grain line of the fabric.
See Bias Frill Skirt.

Ruffles- these are also strips of material, but gathered in the middle. The edges in them must be processed by machine or by hand. Ruffles are made both from the fabric of the product and from various finishing materials.

Jabot- removable or sewn-in finishing detail into the neckline. The cut is an incomplete circle or drop shape. IN finished form The frill is laid in even folds.

Coquille- this is a finishing part 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 internal 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 Most often they are made in white, little girls buy pink clothes, and boys blue clothes. Dress for prom- light: white, pale pink. Official men's clothing is dark in color.
Each fashion has its own specific color scheme. Colors may be bright or calm, light or dark, pure or complex. The colors gray, white and black have become classic. Women's clothing is more complex in color. Youth - colorful and bright. A very important point is the combination of colors. Color combinations can be tonal or contrasting. Tonal matching is a combination of two or three similar colors, such as light, medium and dark shades of a color in one suit. Contrasting color combinations make clothes bright and emotional.

The combination of colors in clothes also affects its shape. With the successful use of color we can create different visual illusions. We must remember 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. For plump women, receding colors are more suitable. These are cool 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 very thick build, a color trim 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’s good if all products and wardrobe additions - hats, gloves, shoes - are coordinated by color. This can be achieved if you take one color as a 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 shape of the product is also influenced by the pattern of the fabric. The combination of color and fabric pattern affects appearance clothes, its expressiveness. Fabric with large drawing creates the impression of large relief and convexity. 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 large patterns, checks, and polka dots, which visually plump up the figure, are acceptable. These visual illusions can be used in clothing modeling, if you need to visually change the entire figure or its individual parts.