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The golden ratio in clothing. Fashion Workshop - Lesson 6

The first law of composition is integrity, or the presence of the whole.

The main quality of the composition is precisely wholeness. The artist combines the individual parts so that they form a whole - be it a temple, a sculpture, a painting or a dress. Wholeness is associated with the ease of perception of forms. The law of wholeness expresses the indivisibility of the whole.

An expressive characteristic of integrity was given by the artist N.N. Volkov: Composition is such a composition and arrangement of parts of the whole, when nothing can be removed without damage to the whole, nothing can be interchanged, nothing can be attached.

An important sign of integrity is the consistency of all elements of the costume according to three principles - contrast, nuance and similarity .

Contrast- this is a pronounced opposition, opposition, which can be carried out in the form, color, volume and texture of the material (Fig. 1).

Nuance- a kind of transitional value from contrast to similarity; the nuance is expressed by a subtle change in the shape of the costume elements, their texture and color scheme (Fig. 1).

Similarity- repetition in various variations of the same element (Fig. 1).

The second law of composition is the law of proportions.

The most important means of creating a harmonious image are proportions. The law of proportions determines the ratio of the parts of the whole to each other and to the whole.

Proportions appear in the form of various mathematical relations, both simple and irrational. The most harmonious irrational proportion is considered golden ratio when the smaller part is related to the larger as the larger part is related to the whole. According to this canon, a person's head is 7 in body length, and the waist line divides it in a ratio of 5: 8.

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.

Sometimes well-tailored clothes do not create the impression of completeness, integrity. The costume will look elegant if the following rules of proportions are observed when creating it.

The principle of the golden ratio(3:5, 5:8, 8:13). The observance of this principle causes the most harmonious perception; recommended for business style. Proportions are based on the length of the skirt, that is, first the most suitable length of the skirt is selected, and then the length of the jacket is calculated according to the rule of the golden section (Fig. 2).

Rice. 2 Proportion "golden section".

Contrasting proportions(1: 4, 1: 5) - more actively attract the attention of others. It is more expedient to use them for evening suits (Fig. 3).

Similar proportions(1: 1) - cause a feeling of static, peace; recommended for everyday and home wear (Fig. 4).

To establish the desired proportions in clothing, it is important to determine the length of the product and the location of the waistline. On fig. 5 shows the same figure in the same dress, but with different positions of the waistline.

On the left figure (Fig. 5, a) the waist line of the dress is above its natural location; here the ratio of parts 1 and 2 is 1:3.

On the middle figure (Fig. 5, b) the location of the waistline of the dress is natural; the ratio of parts 1 and 2 is 1:2.

On the right figure (Fig. 5, c), the talik line is below its natural location; here the ratio of parts 1 and 2 is 1:1.

From the comparison of the figures, it can be seen that the left figure gives the impression of being taller than the other two, while the right one seems to be more squat. Such a different visual perception of the same figure is explained by the different nature of its articulation, i.e., the different position of the waist line of the dress with the same length.
It can be seen that the natural division of a proportionally folded figure by the waist line into two parts is expressed by the ratio of the golden section. Approximately the same proportionality is in the division of the dress, where the waist line coincides with its natural location on the figure, and the length is up to the knee.

If in clothes the waist line is moved up or down, then the length of the dress is changed accordingly in order to maintain harmonious proportions.

The dress on the left figure is divided by the waist line into a smaller and larger part in contrasting relation. The dress on the right figure is divided into two identical parts, forming similar relation. On the average figure, the dress is divided into smaller and larger parts in harmonious relation, since this articulation approaches the golden ratio. Where the ratio of large and small parts of the dress is clearly expressed, the dynamics and clarity of articulation are felt, the dress in this case is more expressive. If we are dealing with a similar ratio of parts of the dress, then an impression of monotony, staticity is created (see the right figure, where the length of the bodice, skirt and open part of the legs are equal to each other).
With a silhouette with a revealed waist, the belt plays an important role. The belt as an element of the composition by its location - slightly above, slightly below or significantly below the natural waistline - indicates the features of the proportions of the model.

The third law of composition is the law of symmetry.

Symmetry has long been considered one of the important conditions for the beauty of form. The law of symmetry determines the location of the parts of the whole.

symmetrical a suit is considered to consist of geometrically equal parts and elements arranged in a certain order relative to the vertical axis of symmetry. The symmetrical composition gives the impression of stability, balance, grandeur, significance, solemnity (Fig. 6).

Asymmetry in a suit, it is a lack of symmetry or a deviation from it. Asymmetry indicates a lack of balance, a disturbance of peace. It focuses the viewer's attention on the dynamism of the composition, revealing its hidden ability to move. If a symmetrical composition is always balanced, then in an asymmetric composition the balance depends on the distribution of large and small values, lines, color spots, and the use of contrasts (Fig. 7).

The fourth law of composition is the law of rhythm.

The most important feature of rhythm is the repetition of elements and the intervals between them. The law of rhythm expresses the nature of the repetition or alternation of parts of the whole.

Rhythm always implies movement. The rhythm can be active, impetuous, fractional or smooth, calm, slow.

A special case of rhythm - meter, that is, a geometrically correct rhythm. The meter organizes the alternation of elements of equal size at regular intervals and represents the simplest method of proportioning (dividing into equal parts). The meter gives the impression of order and balance.

Rhythm in a costume can be created by the following elements:

articulation (constructive or decorative lines),
color (stripes, cage, etc.),
accessories (buttons, etc.).

According to the method of organization, rhythm in a suit can be of five types:

horizontal (horizontal stripes);

vertical;

spiral;

diagonal;

radial beam.

The last three types give the form the impression of rapid movement.

The metric organization in a suit can be ordinary (folds) or axial (buttons, pockets).

The fifth law of composition is the selection of the main thing in the composition of the whole.

In a tree, the main thing around which all its parts are united is the trunk; in animals it is the spine. In composition, the main thing is the compositional center. The law of the main as a whole shows around what the parts of the whole are united.

compositional center that object (part of an object or a group of objects) is called, which is located as part of the whole in such a way that it is the first to catch the eye.

An object that plays the role of a compositional center does not have to be the largest - it just needs to attract the viewer's attention, muffle distracting contrasts and minor details, subordinating everything to the main thing.

In a suit, the role of the compositional center is usually given to details. The contrast makes the image of the costume more vivid and expressive (Fig. 9). In figure 9 (a), the center of the composition is a huge bow. The composition of the dress shown in figure 9 (c) is dominated by sleeves: they attract attention with their unusual shape and mass. The emphasis in the suit in figure 9 (b) is on the shoulder; the contrast of a straight-fitting dress and a rounded detail creates a classic and slightly extravagant look.

There is almost always a center of composition in a suit. If the suit is completely black, the hair or makeup can be the center of the composition. If the compositional center is any detail (hat, gloves, bow, sleeves), then it should be different in color, shape, texture or mass, attract attention with an interesting design. In this case, all other details and accessories serve as a background and are designed to emphasize the center, and not distract attention from it.

If the center of the composition is located in the center of the figure, then it draws attention to the body - to the chest, waist, hips. The emphasis transferred to the lower part, to the legs, gives the image stability, solidity. If there is no compositional center, then the image is not readable, not expressive, not remembered or falls apart, that is, it does not differ in integrity.

When trying to create stylish look, you must remember that even the highest quality and most beautiful things will not help you with this if they do not sit well on you. So that the ability to choose clothes that suit you in size and body type, is one of the most important factors that directly affect your style. At this link you will find many articles on the selection of clothes for different body types.

But that's not all! If the proportions are violated in the set itself, then this will completely kill all your efforts to select perfectly fitting things. Ability to handle proportions correctly will allow you to avoid this error.

How volume works in an image

Think of the image that you want to create as one visual picture, where all the objects are interconnected, and not as a set of just beautiful things that you like. It is how all these things look together and on you that affects the whole image, how harmonious it may seem.

Tight clothing

Clothing that is too tight can create the illusion of both being too thin and having more volume.

If the fit is in the area where the soft parts of the body are located(upper parts of the arms, legs above the knee, buttocks, stomach, etc.), and while these parts of the body are not very slender, then in this case they still visually increase. It will give the impression that this part of the body is too voluminous for such a tight piece of clothing.
In this example, a plump girl decided to cover her arms with a tight cardigan - but her arms in this situation began to look even more voluminous. But a top with loose sleeves on a girl with forms looks much more harmonious.

Amber Rose's belly and legs seem much larger than they really are, as the girl decided to cover them with a knitted T-shirt and leggings, and even with a print.
In slightly looser clothes, she looks absolutely slim.

Amber Rose / Amber Rose

If this “soft” part of the body is the subject of your pride (and evidence of many hours of training in the gym), then it’s not a sin to dress it in something tight-fitting: this way you will only emphasize the relief of your muscles. For example, the tight sleeves of a knitted top on embossed arms will draw attention to them, emphasizing their harmony.

new look

But if you wrap it in this way verythin arms or legs, they will appear even thinner. Pictured is the same model in very skinny skinny jeans and looser cut jeans. In skinny, her thinness looks exaggerated.

Frame Jeans

If the fit occurs in the area where the bones are located, then it visually exaggerates the shape of this part of the body a little. Therefore, if you do not want to emphasize the width of your hips, then it is better not to wear too tight skirts, leave a distance between your body and clothes.
If you have too wide shoulders, and you would not like to put it on display, then try to choose not knitted tight tops, but shirts with a lowered shoulder line or rather loose blouses.

For example, the girl emphasized the width of the hips with a too tight skirt. But the pleated skirt, on the contrary, creates a flying light silhouette.

By the way, a small digression: pay attention to how the shoes ugly cut the leg in the first photo. If you intend to wear similar boots, then it is best to combine them with tights of the same color). Then they won't shorten their legs. And even better for owners of magnificent forms with a pencil skirt to choose shoes with at least some kind of heel. In general, any shoes are preferable if you want to lengthen your legs and also appear slimmer, as they have a "decollete". Other shoes that end in a horizontal line at the ankle or above can cut your foot, be careful. This creates an additional horizontal, which shortens the legs, and, as a result, makes us fuller. The technique described above with tights will help to level this unpleasant effect. Or wear similar boots or ankle boots with trousers.

On the other hand, such a fit can help you highlight what you are especially proud of. For example, a very tight skirt will help to highlight slender hips, and a tight top will emphasize beautiful shoulders and collarbones.

The mistake of choosing clothes that are too tight is made by many women who would like to appear slimmer: they buy such clothes, often a size smaller, thus thinking that since they fit into this size, they fit it. It doesn't matter what size you wear! What matters is how your clothes fit you. And such a mistake can turn pretty slender ladies into very plump ones.
Hence the conclusion: if you would not like to visually increase some part of the body, then you should not fit it. So you just give it extra volume.

Remember: all tight things make fuller even fuller, and slender - slimmer.

One of the most frightening mistakes: it is generally dressing in too tight clothes from head to toe with very outstanding forms. Perhaps such a lady will seem piquant to someone, but it looks quite grotesque, since in this case tight clothes exaggerate the shape.
Look at Kim Kardashian in an overly tight dress. No comment as they say...
And how beautiful and elegant she can look (do not believe it - I had a hard time finding such a photo) in a dress, between which and Kim there is a small distance. At the same time, she emphasized her stunning waist with a wide belt, highlighting her main trump card. No one is saying that you only need to wear wide clothes if you don't want to emphasize the volume of some part of the body - just DON'T WEAR TOO TIGHT. And overly spacious clothes can be no less insidious, and now we'll talk about it.

Too loose clothes

As for very broad things, here lies another global mistake. The second category of deluded women is sure that they will hide the volume of some part of the body that they would like to hide by putting on a hoodie.

Clothing that is too loose can also create both the illusion of fragility and increase your bulk.

The very wide, spacious cut of the garment gives her a reason to show much more volume than what is contained inside her, making you appear significantly fuller than you really are.

If we didn't know from the series The Big Bang Theory, how slender athletic beauty Kaley Cuoco would never have believed, looking at her photo in this shapeless attire.
But this is how she really is - on the cover of a magazine she advertises fitness!

Therefore, too voluminous clothes will not hide your parameters, but, on the contrary, will visually increase them. Both Alla Pugacheva, known for her hoodies, and the singer Adele sinned with this approach.
In a huge red dress, Adele looks like a shapeless mountain, with all due respect. And this despite the fact that a long dress, designed in one color, creates a vertical and should visually stretch the figure, in theory!
But in more adjacent (adjacent, and not extremely TIGHT - see above) clothes, the girl is very good.

Note to all corpulent women.
Once again I want to emphasize that by putting on too voluminous spacious things, you will not hide the fullness in this way, but, on the contrary, add more extra volume.

The photo shows the same girl with o-shaped shape, popularly an apple (), in a hooded dress and in a dress with a rather narrow bodice with a high waist.
As you can see, a dress that is too wide visually makes it even fuller. And in the second photo, the silhouette seems to be collected, taut.

To present your figure in a favorable light will help not hoodie, but more accurate forms. To hide the tummy, pay attention to the silhouette, slightly expanding towards the bottom from the high waist. Plus, it will elongate your legs and balance your proportions for an even slimmer effect.
Straight silhouettes also look good on you, but they should be semi-adjacent, that is, not tight in any way, but not too wide (last photo).
A midi length or just below the knee (especially if you are short) will look great on you.

But there is another type of completeness. In the photo below you see what the hoodie does with the girl with figure 8. He hid all her forms, giving the impression of a huge body inside this mantle.
As soon as you emphasize some of the narrowest place on your torso (for figure 8, this is the waist, for figure O, the place under the chest, as you have already seen above), your entire silhouette will look harmonious and beautiful. If you hide the figure under very spacious clothes, then the volume created by it (clothes) will look like your own.
In a dress with an underlined waist, this girl has changed.

Thus, if you are a beauty with forms with a figure type 8, then the most winning silhouettes for you are those that emphasize the waist. For example, cut-off dresses at the waist (long models are especially slim), fitted or accentuated with a belt.

Too spacious clothes have another side: in contrast with something more adjacent, on the contrary, it will emphasize your fragility. The secret here lies in the fact that the adjacent object of clothing should be on some rather slender part of the body, because it is precisely its fragility that will stand out due to the neighbor's loose clothing. In this case, the excess volume will really play in your favor.

Let's look at examples of plus size models.
The first girl has an O-shaped figure (we already saw her above in a burgundy and black dress). That is, she has a tummy, but rather slender legs and hips. In her case, an option with a tight bottom and a very loose oversized sweater will work, as in contrast to her rather slender legs, such a sweater will make her more fragile. All that we see is slender legs, so the imagination draws in everything else that is just as slender, supposedly hiding under a sweater.
The second girl has a figure of type 8, she has rather full legs and hips, but her waist is well defined. In her case, this set did not work. She hid her waist with a voluminous sweater, and skinny jeans only emphasized the fullness of her hips. The effect is not what she would like, most likely.

In everything beautiful, beautiful, harmonious, there is a creative beginning, progress. And disharmony leads to destruction. By choosing clothes that we like and match our taste, we bring balance and harmony to our inner world, to our life.

A harmonious image is a kind of "layer cake", including the style of clothing, hairstyle, makeup, silhouette and proportions of the costume, pattern and texture of the fabric, colors, jewelry and accessories. What connects all these "layers" is a person's personality, his individuality. A harmonious person is first of all a whole person. The same rule applies to the costume. It is the subordination of its parts (all "layers of the pie") and the integrity of the image, when nothing destroys it, that are the main conditions for harmony.

Costume composition

Harmony is an aesthetic category, a companion of beauty. As in art, harmony in costume is based on the rules of composition. The composition of a costume is the combination of all its elements into one whole, expressing a certain idea, thought, image. The style requires that the costume be beautiful and make the person attractive.

A person's style is perceived as integral when his appearance, voice, plasticity and behavior correspond to the style. For example, an athletic woman - a strong build, with a deep voice and a heavy gait - can hardly look romantic. To create a romantic image, shoes and a handbag should be designed in the same style and match the shape and color of the dress, while the floral pattern of the fabric conveys a romantic mood and perfectly emphasizes the lines of the body and silhouette, as well as harmonizes with the color of the eyes. If all parts of the image are in balance, then the desired, strong impression is created.

It is very important that all components of the image obey the main - compositional center . This is an accent, a dominant that attracts special attention with its mass, design or color. A tie, belt, shoes, glasses can become the center of the composition. In creating an image, it is the starting point, the main style-forming element. It is possible that there are several compositional centers interconnected by a single concept and a common style.

An important principle of composition is the consistency of the elements of the costume according to three principles - contrast, nuance and similarity.

There is almost always a center of composition in a costume. Even if you are dressed in all black from head to toe, your hairstyle or makeup can be the dominant feature. If the compositional center is a hat, then it must be of excellent quality and design, fit the face and figure; it draws attention to the face, neck, hair, eyes. In this case, clothes and other accessories should serve as a background and not draw attention to themselves.

The center of the composition, located in the center of the figure, draws attention to the body - chest, waist, hips. The emphasis transferred to the lower part, to the legs, gives the image solidity and stability. If the compositional center is absent, then the image is "unreadable", seems blurry, unfinished or breaks up into separate fragments.

Contrast- this is a pronounced opposition, opposition, which can be carried out in form, color, volume, texture of the material, etc. Contrast makes the image more vivid and memorable, but at the same time ambiguous and ambiguous. For example, mixing such disparate styles as classical and folklore in one suit will give your image a special flavor and charm. The combination of different fabric patterns brings a sense of dynamics and movement. Of course, when combining the incompatible, one should remember the integrity of the whole image - contrast must always be justified by the design.

Similarity- repetition in a suit of one element, which occurs in various variations. For example, a decorative detail - a chain can be a handbag handle, a watch bracelet, and trim on jacket pockets, on shoes, or repeat a pattern on a neckerchief. The same principle works when all accessories are in the same color or design. This principle of the set was once (in the 50s) popular and even obligatory for a stylishly dressed lady. Today, such a technique seems too correct, devoid of imagination and individuality.

Nuance- a kind of transition from contrast to similarity creates more interesting and picturesque connections between elements. A suit, the color scheme of which is built on nuances, a combination of shades and halftones, looks richer, more complex, more refined than decided in one color. This principle gives great scope for personal creativity.

The same image is sometimes created by completely different means. For example, to emphasize the fragility and youth of a girl, based on the principle of similarity, you can dress her in a light outfit made of thin fabric with a delicate pattern, open shoes with thin heels, add a small handbag and elegant jewelry. And you can, following the path of contrast, offer this girl a military overalls three sizes larger, coarse shoes with thick soles - and achieve an even greater effect. The first option gives an understandable and specific image, the second - contradictory, ambiguous, associative.

Proportions in clothes

Proportions in clothes as a percentage. Proportions in clothing and figure suggest horizontal division.

Proportions are the most important means of creating a harmonious image (for artists and architects they are of paramount importance). Harmonious proportions are based on certain mathematical relationships. This is the only means by which it is possible to "measure" beauty.

The most famous example of harmonious proportion is the principle of the golden section, known to the artists and architects of antiquity:
in a segment divided into two parts, the smaller part is related to the larger one in the same way as the larger one is related to the entire segment, i.e., to the sum of two parts:

a/b = b/(a+b)

The simplest approximate to the proportions of the golden ratio is a series of integers: 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144, 233, etc. (where the sum of the last two terms is equal to the next), called next to Fibonacci, named after the Italian mathematician of the 13th century.

Using the principle of the golden section, you can create the most perfect proportions in the costume composition and establish an organic connection between the whole and its parts.

However, the proportions of clothing lose all meaning if they are not linked to the person. Therefore, the ratio of the details of the costume is determined by the features of the figure, its own proportions. In the human body, too, there are mathematical relationships between its individual parts. If taken for module, i.e. conventional unit, head height, then (according to Vitruvius, a Roman architect and engineer of the 1st century BC, author of the treatise "Ten Books on Architecture") in the proportional figure of an adult there are eight modules:
1 - from the crown to the chin;
2 - from the chin to chest level;
3 - from chest to waist level;
4 - from the waist to the groin line;
5 - from the groin line to the middle of the thigh;
6 - from the middle of the thigh to the knee;
7 - from the knee to the middle of the lower leg;
8 - from the lower leg to the floor.

Simplified Proportion speaks of the equality of the four parts of the figure:
- from the crown of the head to the line of the chest (along the armpits);
- from chest to hips;
- from the hips to the middle of the knee;
- from knee to floor.

The width of the shoulders should be equal to 1/4 of the height;

body length with head - 1/2 height;

chest width - 1/6 of height;

arm length - reach the middle of the thigh (measured along the inside);

the length of the legs should be 1/2 of the height;

shins - 1/4 height;

girth of the neck - equal to the girth of the calf;

neck width - reach 1/4 of the height of the head.

The proportions of the male and female figures are slightly different. So, the width of the shoulders in women is slightly less than two modules of the head, and the width of the hips is approximately equal to the width of the shoulders. Often, in the growth of a woman, not eight modules fit, but seven and a half.

horizontal lines in clothes

We are talking about horizontal lines, which often represent the lines of the sides, hems, etc. edges of products. Any similar horizontal lines in clothes expand, land.

The main levels of contour lines, the so-called "problem areas":
- shoulders;
- breast;
- waist;
- hips;
- lap;
- shins.

It is not advisable to finish the bottom of the product on problem areas. The skirt should end just above or just below the knee, but not in the middle of the knee - this makes the knees "heavy", massive. The length of the mini-skirt is determined very simply: stand up straight, lower your hands "at the seams" - the end of the middle finger of the hand and wakes up to determine the horizontal line along which the mini-skirt should pass. The skirt should also not end at the widest part of the leg, especially if the legs are crooked. The same with the height of the boots.

Illusions of visual perception are the resulting impression of distortion of the size, shape, color, proportions of objects under certain conditions of their perception. In a costume, illusions arise mainly due to various combinations of shapes, shaped clothing lines, fabric patterns, colors, and decorative finishes.

For example, vertical lines and details (longitudinal stripes and stitches on clothes, single-breasted fastening, arrows on trousers, long scarf, high heels, etc.) slim, emphasize growth.

horizontal lines(transverse stripes, seams, coquettes, pockets, trim on the bottom of the product, straps on shoes, etc.), on the contrary, expand, fill up. Dividing the suit horizontally splits the silhouette, visually reducing height or shortening any part of the figure.

Diagonal lines(undercuts on clothes, asymmetrical neckline, scarf over one shoulder, etc.) are intermediate between vertical and horizontal, bring dynamics to the costume, hide the asymmetry in the figure. The closer the lines are to vertical, the greater the illusion of harmony; the more they tend to the horizontal, the more they are able to expand.

Cell (squares) usually increases volume. And the larger the picture, the stronger the effect.

Lines radiating upward from the center of the shape("marine" collar, V-shaped neckline, jacket lapels, kerchief tied in a knot in front), expand the upper part, narrowing the center, waist.

Lines from the neck up(hair raised above the temples or combed up, a hat with turned-back brim), create the illusion of higher growth and grandeur.

Lines radiating from the center down, expand the lower part and waist line, reducing the upper part of the figure: raglan cut, skirt and flared trousers visually narrow the shoulders. If the lines go down from the head (a hat with lowered brim, loose hair parted in the middle), then this visually reduces growth.

Lines converging towards the center of the figure(a triangular neckline on a dress plus a wide skirt; a clasp or coat with one button), narrow the waist while expanding the top and bottom of the figure. This illusion makes a woman more slender and sexy.

wavy lines(pattern on the fabric, ruffles, flounces) emphasize the roundness, curves of the body, and in addition, add volume.

Circles also visually increase the volume and give the outline of the figure a roundness.

visual illusions created by color, can greatly change the proportions of the body. Fashion designers are well aware that in a black dress figure looks slimmer. This is due to the effect of irradiation: black and dark colors visually reduce the volume, absorb light, while light, and especially warm, tones increase it.

In a suit worn in one color or in monochrome (non-contrasting) range, the person looks more slender and taller. If the suit is broken into contrasting color spots, alternating light and dark, the figure will appear lower and fuller.

Illusions that arise when using different proportions of clothes, change ideas about the actual size of clothes. For example, a high waist in a dress or a short jacket with a long skirt shortens the top, thereby lengthening the legs. The longer upper part helps to correct the short torso. The 50/50 proportion, where the upper and lower parts of the suits are equal, is not the most harmonious, as there is an overestimation of the size of the upper part of the figure and the legs seem shorter than they are.

It is possible to change the ideas about the true volumes and proportions of our body by competently combining and combining light and dark colors in a suit, as well as various cut lines. On this, and basically, the visual correction of the figure is built.

Decor and drawing

The drawing, the coloring of the fabric personify the style, create a mood and form an impression of a person. The choice of pattern says a lot about your personality, character and temperament.

All geometric patterns - stripes, cells and any regularly repeating elements - organize, rhythmically streamline the plane.

Band expresses a certain organized beginning, desire or necessity to follow what is planned. A very wide stripe is often found on the uniform of a player in team sports (football, rugby). The strip is associated with directness, humanity, solidity. The narrow band is associated rather with intellectual work: employees (a vivid example of orderly activity) often wear suits or shirts with narrow stripes, reminiscent of a lined letterhead.

The horizontal strip gives a feeling of breadth, calmness, stability. Blue and white stripes are traditional in sailors' attire and evoke the skyline. This pattern is used in clothing for recreation, walking on the water.

Cell , as well as a strip, personifies organization, which, however, is less formal and collective. Plaid fabrics are used in clothing for individual sports: golf, horseback riding, tennis. A small and thin cage is usually associated with neatness and recreational activities such as golfing, fishing. A large cage is associated with active pastime in the air: hunting, tourism, rural labor. It is no coincidence that the main signs of country style (eng. "rustic") are plaid cowboy shirts, dresses and sundresses, bedspreads and blankets.

A special type of cell is a tartan. In the national clothes of the Scots, the cage carried information about which clan the person belongs to. In a modern suit, the plaid is a classic example of a free style with hints of aristocracy.

curved lines - wavy, curved, spiral, etc. - as opposed to straight ones, they are the embodiment of freedom and looseness. They are associated with impermanence, movement, frivolity. They are more feminine - creative and intuitive. Such drawings, along with floral ones, are inherent in the romantic style.

Plant and flower motifs unusually diverse - from naturalistic to stylized and fantasy. The impressions they give birth to are ambiguous and emotional. "Rustic" small flower, evenly distributed over the entire surface, is an image of simplicity, coherence, home comfort. Graceful stems or buds of a bizarre shape tune in to something refined, refined, mysterious.

Drawing called "peas" , is a combination of freedom and order. It has a lot of game, humor, self-irony. Moreover, the larger the pea, the stronger the effect it produces.

Floral and floral designs are more popular with women. In the men's wardrobe, they are rare, mostly in leisure clothes. It has been observed that women who are drawn to the land (to agriculture, for example) prefer realistic images. Love for stylized drawings testifies to the developed aesthetic taste and imaginative thinking.

Drawings imitating animal skins (leopard, tiger, zebra, etc.), resemble the clothes of primitive people and symbolize natural instincts, physical strength, health, and sometimes the aggression of a predator. These images are filled with energy, passion, the desire to attract the attention of the opposite sex and are very popular in sexy style clothing.

Use of symbolism - mystical, religious, esoteric signs, hieroglyphs - has the same ancient roots as the costume itself. The true meaning embedded (encoded) in them continues to work, even if its interpretation is forgotten.

So, through drawing in clothes and accessories, we declare ourselves, our intentions, show individuality, sometimes without thinking about it at all.

When choosing a pattern for a costume, it is necessary to take into account a number of factors that allow you to find the most harmonious solution to the image. Size, drawing size depend on the proportions, dimensions of the body and facial features, i.e. it is a question of the scale of the human figure and decor. For example, people who are tall, heavily built, broad-boned or with large facial features are not suited for small ornaments and too thin patterns: they only make it heavier. Preference should be given to a medium or large pattern that occupies a significant amount of space on the fabric (for example, large flowers or a cage), or one, mostly volumetric fragment. On the contrary, for people of a graceful physique, short or thin, with fine features, a delicate pattern is more suitable - small, as well as with rarely located fragments. Large images will "absorb" the figure, dominate it.

When choosing clothes, it is very important to observe proportions, that is, the ratio of the parts of the costume to each other and to the human figure.

On the little skinny woman dresses made of fabric with a large bright pattern of flowers will look rather ridiculous. For thin women, especially girls, of small stature with low breasts, dresses with a beautiful wide belt and a fluffy skirt are suitable. They should think about how to expand the line of the shoulders and increase the volume in the chest area. This can be done, for example, with a small collar and a wide short yoke.

A petite woman should not wear clothes with very small details, this can make her look like a girl. A long and narrow, fitted jacket is not suitable for small women; it is better for them to choose a short, tight-fitting jacket. Very small women are more suitable for business-style clothes, as well as fabrics with a “masculine” pattern and texture (striped, herringbone). Monochromatic ensembles will visually make the figure taller.

Fragile women of very small stature will suit trouser suits and short skirts, high-quality jackets made of dense fabrics, three-piece suits. In summer - fabrics with modest patterns or plain. Avoid bulky and coarse fabrics and large shoulder pads, as well as fabrics with contrasting and large patterns.

Women with a triangular silhouette skirts that flare downwards and lines that flare towards the shoulders can be recommended. It is better if the clothes are not full of details and the waist is emphasized in it. They should wear jackets with notched, upward lapels, skirts with hard or pressed pleats, pepper pleats, slits and vents. For them, fabrics with stripes or polka dots, with abstract geometric patterns or checks will be ideal.

Women with flat chest it is better to wear puffy blouses, short vests, capes, clothes with pockets with flaps in the chest area, with frills under the neck and with a frill

Such women will suit clothes with horizontal lines and vertical trim on the chest line. They should give preference to fabrics with a pronounced texture, such as tweed. It is better to make the top of the clothes loose. For figures with a “round silhouette and flat chest, draped collars are ideal.

Rectangular women There are always more suits with skirts and trousers. With a short waist, it is better to wear elongated jackets with short skirts or trousers. You should not wear voluminous skirts, it is wiser to choose long and tight-fitting outfits. With a skirt, you can wear a belt of the same color, especially if the skirt is black.

Women with a long waist choose short jackets and skirts, and emphasize the waist with a belt in a contrasting color for dresses or the same color for skirts and trousers. On such a figure, skirts up to or just below the knee will look good. Dresses - fitted or in the Empire style, that is, with a high waistline.

The thinner the person or part of the body, the more magnificent the silhouette should be. Tall thin women go for puffy skirts, bows, capes, suits, wide double-breasted coats, layered ensembles and short jackets. They are advised to keep an eye on the optical separation of the clothing by, for example, topstitching seams, buttons, lapels, pockets. It is better to wear fluffy gathered clothes with a tie belt, widen the line of the shoulders and deepen the armhole. Such women go with contrasting colors arranged horizontally, a boat neckline and a variety of coquettes. A blouse and skirt in contrasting colors will make the figure appear wider and lower. Ruffles, puffs and folds are ideal.

Tall thin women you should combine fabrics and patterns, use fabrics with large patterns, as well as voluminous and dense fabrics. Clothing should be chosen with horizontal stitching, patch pockets, double-breasted jackets and large collars. It is better for them to refuse emphasized long and narrow styles, clothes with vertical lines of seams, tight-fitting or tent-shaped, as well as transparent fabrics.

Very tall young women go for short skirts. They certainly need to divide their costume into separate parts. The more small details (coquettes, stitching, decorations, etc.) in the style, the lower the figure will appear.

If your legs are too thin above the knee, do not wear tight or too wide trousers. Women with such a figure are very thick knitwear, jersey, woolen stockings or leggings, trousers with pockets on the legs, banana trousers, trousers. They should combine patterned fabrics and choose light or shiny colors.

Women with a long and thin neck it is better to wear a soft and high collar, or a thick golf collar or rounded collars. They are recommended drapery from a scarf or a neckerchief. You can trim the neckline with a bow, pleats or frills. Boat neckline and semi-circular neckline are suitable for them.

Such women do not fit the U-shaped neckline, especially without lapels, as well as long collars with pointed corners.

Women with long arms Drop armholes, half-length and three-quarter length sleeves, as well as clothes with wide or flared sleeves are best suited. Optically reduce the length of the arms cut kimono and "bat", wide or long cuffs or rolled up sleeves. It is best to choose fabrics with transverse stripes and with colored interrupted spots. For long-armed women, it is better to refuse high shoulder pads, raglan cut clothes and long narrow sleeves. If you have too thin arms, avoid sleeveless clothes, as well as too wide or long and, of course, tight sleeves. In this case, it is better to wear clothes made of thick fabrics. 3/4 length sleeves and appliqué work well.

Women with a long body puffy styles of blouses, clothes with wide belts and seams, with coquettes, folds, collars, decorations such as scarves in a pocket, fabrics with transverse stripes are suitable. Waistcoats, boleros, double-breasted jackets and waist-length jackets are suitable for them, but it is not recommended to wear long, simple jackets.

Women with a long upper body high waistline, empire-style clothing, belts in the color of skirts and trousers, wide straps, fasteners, short vests are recommended. Such women should not wear clothes in the style of the 20s, models with bodices pointed down, as well as belts and skirts loosely lying on the hips and skirts on the hips.

Over the past century, women's waists have become less narrow, and their legs have become longer. Of course, according to modern ideas about the ideal figure, legs can hardly be too long. But still, if you wear a short jacket and trousers with vertical lines, it will give the impression that you are walking on stilts.

Women with long legs pants with wide or flared legs, three-quarter length trousers, Bermuda trousers and capri trousers are very suitable. Skirts look beautiful on the hips, but pay attention to whether they spoil the shape of the torso. On women with long legs, long jackets also look very good, especially in an ensemble with semi-long boots. With a jacket and a skirt, high-cut shoes are perfectly combined. But if you have a large foot size, you should not wear pointed shoes, shoes with a high and simply formed instep, and low-cut shoes. In this case, models with embossed seams, slightly cut or two-tone shoes, for example, with a darker heel, are more suitable. Tight skirts and tight-fitting collars look bad on broad-shouldered people. They are more suitable for wide skirts and a V-shaped neckline. Shoulder pads should be smoothly curved.

Women with narrow shoulders you need to sew large square shoulder pads to your clothes. If you chose a model with a deep U-neck, sew on shoulder pads that will compensate for the effect of the narrowness of this style.

Shoulders are visually expanded by shoulder straps, a boat neckline and horizontal details at the shoulders, as well as soft draping at the shoulder seams. For narrow-shouldered women, it is better to give preference to clothes with set-in sleeves and refuse to cut raglan and “bat”.

Women with narrow shoulders and wide hips should pay special attention to accentuating the upper part of the figure. Clothing, including jackets, must be loose at the shoulders. Make the top visible, with bright details such as draperies, scarves, shawls. You can wear a vest under the jacket. In no case should you wear wide skirts or skirts cut along the bias.

If you have uneven shoulders or hips, place a drapery, clasp, or some other colored detail on the lower side.

The fuller the person or body part, the more streamlined the clothing silhouette should be. Overweight women will suit clothes with longitudinal and diagonal shaped lines, loose fit, with vertical lines, as well as elongated clothes. Look great rounded and flowing silhouettes and soft natural shapes, loose skirts, draped collars, shawl collars. Overweight women are better off choosing jackets without lapels, skirts with year-round inserts, as well as wide skirts, gathered at the waist, or skirts with vertical lines. Emphasis on the waist can be done on wide skirts, but not on narrow ones.

If you have long legs, then a long blazer will suit you, if you have short legs, a blazer just below the waist line will suit you.

fat women it is better to choose tone-on-tone details. From fabrics, you can recommend mixed jersey, silk or wool crepe, “wet” silk, flannel, boucle, woolen, dress or shirt fabrics in colorful colors with small abstract patterns, as well as thin flowing fabrics with restrained patterns. With the help of lighter and darker fabrics, overweight women can emphasize the dignity of their figure and make imperfections less noticeable. The same effect can be achieved with shiny or patterned fabrics. Heavy fabrics look optimal on full ones. But they should generally avoid lots of shiny fabrics and bright colors. In extreme cases, you can take dark shiny fabrics.

It is better for overweight women to avoid transparent fabrics, as a figure shines through them. Fabrics with large, conspicuous patterns or catchy small patterns also look unattractive on full ones. Thick pullovers, simple fabrics and rough structures look bad on full ones. A blouse and skirt in contrasting colors make the figure appear wider and lower. Full should give up any mini, as well as balloon skirts and tulip skirts. Tight clothing, flared trousers, Marlene Dietrich-style trousers (with wide legs with lapels), heavily gathered garments and puffy styles, boleros, dresses, trousers and skirts made of knitwear or jersey are also not suitable. Fat women should give up belts on some too voluminous parts of the body, such as the abdomen or buttocks. It is better not to emphasize neighboring zones with belts, pockets, folds, etc. Clothes with wide sleeves, yokes, frills and cuffs are not suitable for overweight women. They should avoid large hip pockets, tight, wide waistbands, raglan sleeves, and tight skirts.

Women with full breasts fit skirts, slightly expanded to the bottom edge, U-shaped necklines, turn-down collars, shawl collars.

It is best to choose clothes with vertical lines of the silhouette or loose fit. Unbuttoned collars look good, but tight bodices, too tight clothes, empire style clothes, wide belts and draperies should be avoided. The lower edge of the sleeve should not lie on the chest line, there should not be pockets or other details, including horizontal stripes or handkerchiefs in pockets.

With a short neck collars-stands and horizontal cutouts "boat", children's round collars without a stand and neckerchiefs are undesirable. In addition, shoulder straps and trim that imitates short beads and chains should be abandoned. Such women are not recommended to wear jackets with small short lapels. They are more suitable for an elongated scoop neckline, a V-neck without lapels or with long lapels and a square neckline, and in addition - low-tied scarves or bows and a long necklace, pointed collars and collars that stand back from the neck.

Women with short arms it is best to choose clothes with raglan sleeves, with set-in, long narrow or gathered sleeves at the armhole, with short cuffs. They should steer clear of dropped armholes, short or semi-long sleeves, 3/4 sleeves, turn-ups or batwing cuts, flared sleeves and long cuffs. Don't roll up your sleeves, don't wear kimono-cut clothes, avoid appliqués, excess buttons, and don't buy cross-striped fabrics and long gloves.

Women with full hands most suitable clothing is flowing or gently flowing fabric, with narrow lines, but not too narrow. You should not choose too elegant and miniature watches and jewelry. It is better to refuse styles with flared or narrow short sleeves, as well as sleeveless clothing.

Women with a full body and thinner arms and legs, first of all, narrow clothing, belts and folds should be abandoned. Do not focus on the hips or waist, for example, there should not be patch pockets or accessories. Be careful with shiny fabrics. It is best to disguise a full torso with clothes made of fabrics with discreet patterns and straight cuts. Pay attention to the width of the shoulders. If necessary, emphasize them with not very large shoulder pads. Choose jackets with long lapels, as well as clothes with an elongated top.

Women with a short body flowy fabrics are best suited, as well as clothes with a single-breasted or hidden closure, jackets with long and narrow lapels, simple stand-up collars. Sew skirts and trousers with a narrow belt, or wear skirts and trousers at the hips. It will look good clothes with an elongated waist with narrow lines and a bodice pointed down. You should not focus on the waistline, for example, with a belt, seams with stitching, etc. It is better to abandon blouses and jackets with transverse seams.

Women with a short torso are not suitable for appliqués and excess jewelry, including large scarves in a pocket, as well as kimono-cut clothes with batwing sleeves, flared sleeves, and wide belts. Belts on skirts and trousers should not be high.

Women with a short upper torso are best to choose clothes with a low waistline, in the style of the 20s. Belts to match the “top” of the suit, clothes with a pointed bodice, belts that lie freely on the hips are suitable for them. On such women, skirts on the hips look great, but they should refuse clothes in the Empire style. Boleros, short vests, wide belts, belts to match the skirt or trousers also look bad.

Women with full hips it is better not to wear suits with a tight jacket and skirt. It is better to choose a short, slightly tight-fitting jacket, while the length of the skirt will visually increase their height. The top of the garment must be loose. You can recommend a blouse for release, with a straight skirt or styles with a low waistline, for example, a low-slung belt.

The skirt with year-round inserts looks good. In general, it is better to use dense fabrics for skirts.

Women with short legs it is preferable to choose flowing fabrics and narrow styles. They are perfect for short jackets and jackets, tight trousers, tights and shoes that match the trousers or skirt, as well as low-cut shoes and shoes with heels. Women with short legs should avoid flared trousers, trousers with wide legs, especially those made of heavy fabrics, banana trousers, capris, golf trousers, cuffs on trousers, long jackets and jackets It is better not to combine high-heeled shoes with a skirt. Half boots with a skirt and tights of different colors look bad.

For women with full legs it is very important to determine in which part they have full legs. The dress or skirt should not end at this level. Dark tights should be chosen, and boots, shoes and stockings are best worn to match the rest of the clothes. Long trousers fit well. Minis are not recommended, as well as tight trousers or leggings and shiny fabrics.

Short women it is not recommended to divide the figure into separate zones. It is best for them to avoid combining fabrics, colors and patterns, and if possible, avoid using dense fabrics. Short women need to carefully match the colors of tights, shoes, trousers or skirts to match. Thin fabrics and discreet patterns, long and tight clothes, thin pullovers, cuffless trousers are suitable for such women.

Very large women it is recommended to focus on simple styles, clear patterns, solid materials of good quality. Clothing should be loose enough and elegant cut. They should not wear tight blouses, jackets and skirts, dark colors below the waist and bright colors above the waist, clothes made of pinstriped fabrics or with vertical lines. It is better to avoid fabrics with a pattern below the waistline, fluffy loose-fitting knitwear and small accessories.

SO,….

The inner lines of clothing also change the visual perception of the dressed figure. Therefore, you must first choose the silhouette that suits you. First of all, determine what features of your figure the clothes should distract the eye from.

Forms. The thicker the person or part of the torso, the more flowing the silhouette should be. The thinner the person or body part, the more magnificent the silhouette can be.

If any forms of the face and torso are not ideal, you should not repeat them in clothes and hair. For example, if you have a large lower jaw, that is, the lower part of the face seems square, then a square neckline will only emphasize this shortcoming.

If one of the body shapes is not very successful, do not choose the exact opposite form of clothing. For example, if you have a round face, don't make the V-neck too long, it will only accentuate the shape of your face.

Color. Remember the basic rules: light highlights, and dark relegates to the background. When combined patterned and plain, patterned draws the eye. The combination of light and dark attracts the eye light. Therefore, if you want to emphasize the upper body and divert the eye from the lower one, then make the upper part of the ensemble patterned or light, and the lower part solid or dark.

If your shoulders are too wide, place the buttons on your double-breasted blazer evenly apart from top to bottom.

If you emphasize the shoulders, then full hips, thick buttocks or the stomach will not be so noticeable. But the pronounced outlines of the shoulders on most figures will seem too cumbersome.

Details. Stitches, appliqués and jewelry on clothes are always eye-catching and therefore should not be placed in an unfavorable place. Before finishing, attach it to the dress and look at it critically. Perhaps you will refuse it altogether. Too many accessories and jewelry in most cases overstrain and irritate the eye.

internal lines. Vertical seams lengthen the figure by dividing its width into parts. Therefore, thin tall women are not recommended to wear suits with vertical lines. Not only rhythmic, longitudinal lines lengthen the figure, large parallel stripes on the fabric also stretch it upwards.

Rhythmic lines located in the transverse direction “ground” the figure. Large parallel vertical stripes on clothes, on the contrary, stretch the figure in breadth. Therefore, if you want to appear thinner, then large parallel stripes on clothes should be placed horizontally. Horizontal seams, coquettes, frills create the impression of massiveness, visually expanding the area where they are located. Thus, if you have wide hips, avoid jackets that end at the widest point of your hips.

Small frequent stripes look monotonous and are not perceived as dividing lines. Please note that strictly parallel lines in a suit, as a rule, are dissonant with the natural shape of the figure. Therefore, it is better if the silhouettes of clothing, including details such as pockets, are not strictly rectangular.

Diagonal lines evoke a sense of movement. This impression is enhanced if they are asymmetrical. The figure will look more slender if the longitudinal lines in the clothes follow the shape of the body: expand towards the shoulders, move closer towards the waist, then slightly diverge. Or, for example, smoothly converge from the bottom to the top.

In a person, everything should be harmonious: both the body and the suit. Our eye is able to determine this harmony intuitively, and it seems that such harmony is irrational and cannot be explained by anything other than the usual human sense of beauty. But in fact, Her Majesty Mathematics rules everything. And the basis of harmonious proportions is the exact mathematical formula of the golden section, according to which the division of something in the ratio of 62% and 38% is considered harmonious. And this proportion can be applied both to individual wardrobe items and their lengths, and to details, articulations and even decoration.

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The golden ratio in clothes

Let's look at the practical application of the golden ratio in clothing. For convenience of calculations, we will use the formula not as a percentage, but as fractions: 3/8 (which corresponds approximately to 38%) and 5/8 (which approximately corresponds to 62%).

Suppose you want to update your wardrobe and buy a new suit for work, consisting of a jacket and a skirt. But you do not know how long your jacket should be, and what is the ideal skirt length for you? How to calculate them? Let's do it together. For correct calculations, we only need to know the estimated length of the suit and the position of the waist: whether it is too high, too low or proportionate for you.

Determining the position of the waist is very simple. You need to measure the distance from the floor to the waist. The waist is the narrowest point on your torso. As a rule, it is located a few centimeters above the navel.

Stand near a wall, mark your waist line with a pencil on the wall, and measure the resulting distance to the floor with a tape measure.

The waistline is considered proportional if it divides the human figure in proportion to the golden section, i.e. 3/8 from the top (or 5/8 from the floor). For example, with a height of 170 cm, the waist is proportional if it is at a distance of 106 cm from the floor (170/8 * 5). Please allow 2cm error.

If the number you get is less (more than 2 cm), that is, the waist is slightly lower than in the ideal figure, then such a waist is considered underestimated. If the resulting number is larger (more than 2 cm), that is, the waist is located higher than in the ideal figure, then such a waist is considered too high.

The formula for calculating the ideal length in clothes

So, when you have accurately determined the position of the waist (proportional, high or low), let's proceed to the direct calculation of your ideal lengths for a suit consisting of a jacket and a skirt. But first you need to decide on the estimated length of the suit. Using a measuring tape, measure the distance from the proposed collar to the knee area. This will be the length of your suit.

Now you need to decide which part will be larger in your suit - a jacket or a skirt, i.e. which of them will be 3/8, and which 5/8. And this question is not idle, it does not depend on your preferences in clothing, but just on the waistline. With a proportional waist, you can choose any option.

The formula for calculating the length for a high waist line will look like this:

» For jacket: Suit length /8 *5
» For the visible part of the skirt: Suit length /8 *3

With a low waist, the styles of jackets should contribute to the “lifting” of the waist into place, i.e. be somewhat shortened. Such women can be recommended to take a smaller part for a jacket, i.е. 3/8, and for the skirt -5/8.

The formula for calculating the length for a low waist line will look like this:

» For jacket: Suit length /8 *3
» For the visible part of the skirt: Suit length /8 *5

Using the theory of the golden section and the golden ratio, it is possible to determine not only the length of individual wardrobe items, but also the best arrangement of constructive lines, decor elements, etc. For example, the length of the sleeve in relation to the length of the jacket, the depth of the V-neck in relation to the total length of the product, the width of the peplum on the skirt in relation to the total length of the skirt, etc. Here everything depends only on your imagination!

» How long should the skirt be?
» How long should the pants be?
» How to choose sleeve length?

Workshop with a stylist
Your ideal proportion in clothes

When compiling any ensemble of clothes, the first thing to start with is the right choice of proportions.

Proportions are the ratio of individual wardrobe items to each other. The choice of the most harmonious proportion for each individual depends on his type of figure, height and position of the waist.