Costume Design Between Art And Technology

The realm of art will never rely on rational constraints as closely as science and technology. It is always right and wrong, right and wrong, to define science; art is often regarded as perceptual and accidental, and its expression is often regarded as the calligraphy of drunken calligraphers, such as the wild grass, the detached artist's paintings, such as Mona Lisa of Daphne; and some people think that the more eccentric and frustrated the painter is, the better his works will be.

But how to define fashion design works?

It can not simply express the concept of pure art. As a form attached to the human body, it is inevitably subordinated to the utilitarian consciousness of human beings.

Under such circumstances, costume design must be a complex of art and technology, which is destined to seek unity and coordination in contradiction between art and technology.

At the beginning of the reform in 80s, China's fashion concept and demand for beauty became more and more intense after ten years of turbulence and strict ideological restraint.

There is a fresh and organic connection between clothing, fashion and art. The history of bold and open pursuit of beauty in clothing has since been launched, and has been cheering like a rolling tide.

In the early days of reform and opening up, the traces of the supply market were very obvious.

As long as we do not go too far beyond moral and social norms, clothing sells well and designs well.

So this kind of art on the body does not cause people to think too much.

Fashion design itself is also a matter of art.

And the design seems to have only stayed on the effect map for a while. As for drawing into clothing, how much money clothes can make for the boss, what the customer's demand should be and should not be the category that art design should consider.

This simple imagination can not be said to have not been left in the design concept of some new generation of designers.

The problems brought about by this concept at the initial stage of reform are not easy to expose and can cater for the market demand temporarily. However, today's fierce competition and high market maturity are precisely the reasons for the failure of a garment enterprise.

It turns out that good sellers are hard to sell, but nowadays they are not always the best ones on paper, but the market is still changing.

Obviously, this shows that only paying attention to art and aesthetic effect but ignoring the essence of clothing science, skills and commodities is the root of failure.

Today's clothing is no longer the product of a handicraft workshop adjacent to the common people's homes.

In general, clothing is first placed in shops for people to pick products, and has the same commercial value as other products such as batteries, bicycles and fruits. It is also a product that needs precise operation in tailoring, industrialization process and overall planning to finally be placed on the counter.

In short, there are only two types of clothes that are commonly used: one is the culture that can be converted to use value as demanded, and the other is the culture that is not needed.

Enterprises often regard the newly graduated students as having to spend money to cultivate their students.

The reason is that just graduated students often only draw pictures do not understand the design of clothing, do not know how to turn the design clothing into customers' favorite goods, and ultimately turn into the profits of enterprises.

Instead of recruiting experienced designers, enterprises need to recruit more experienced designers.

It can be seen that a qualified designer should not only know the art and appreciation of the clothing, but also be responsible for the final result of the garment enterprise. If we are to be responsible for the ultimate goal of the enterprise, we must understand the details of the sale of the clothing, whether the garment production line can match the garment processing effect and so on.

More importantly, a designer can recognize clothing from the concept, and recognize that it is a unity of art and technology. This will greatly ease the regret of the asymmetry between supply and demand between designers and garment enterprises.

On the contrary, in the field of costume design, the contradiction between art and technology will only lead to the misrepresentation of design in demand.

China's clothing industry has gone through a long process.

At the turn of the century, the Chinese garment industry is seeking a more realistic and coordinated development in contradiction.

From the end of 90s to the beginning of twenty-first Century, the power of science and technology was everywhere, and the influence and promotion between technology and costume art forced the designers to constantly accept the test and constantly seek out the timely results.

Clothing as a service for human personality and self released items has a strong artistic temperament.

The special constraints of human society and the increasing demand for clothing make it impossible to give up the relationship between clothing art and technology.

It is often difficult for designers not to be accepted in costume design without being restrained by excessive restrictions and not purely aesthetic needs.

This makes designers constantly seek a balance between art and technology.

Technology not only promotes the development of the garment industry itself, but also promotes the development of its related industries. The development and utilization of fabrics and clothing machinery not only speeds up the efficiency of production, but also increases the variety and decoration of clothing.

If the results of the industrial age in the UK accelerate the efficiency of clothing production to meet the supplier market, the main role of the development of garment machinery in the last ten years of twentieth Century is to increase the diversity of clothing to meet the demand side market.

The era of looking for all the fun in the pure style and shape seems to be gone forever. The famous designer of French clothing once made a splash in his first press conference by successfully using a white sheet fabric to explain all his design concepts.

Today, the fierce competition in design has risen to the competition of fabrics and technology.

The camps of fabric in the main battlefield of costume design can not be ignored.

The development and innovation of fabrics all carry the wisdom of human technology.

The development of functional fabrics such as smart fabrics and health care fabrics, and the development of fancy decorative fabrics provide a rich field of design for fashion designers.

People are more and more demanding on the details of clothing, and garment accessories and clothing decoration technology are more and more dependent on clothing machinery.

This diversification trend makes the competition among garment enterprises increasingly fierce.

As a practical art, clothing is also more humanized and personalized. People are engaged in more and more industries, and the scope of communication is becoming larger and larger.

Human beings yearn for change, desire to seek a different, and desire new development.

This is a positive, active and striving era for China and the rest of the world.

Clothing is the most direct embodiment of human emotion and personality.

Human beings do not let go of every detail of clothing, and show all the symbols that can express themselves.

In this case, it is not through technology but by art to solve this problem.

At the same time, the art of clothing is not only used to solve the expression of human imagination, but also greatly relieved the monotony of the technological age and the mental pressure on people.

Whether through the positive interpretation of clothing symbols, such as Figure 1 or counter confrontation, as shown in Figure 2, as long as human emotions are found to be released, people will make great use of them to form an irresistible trend.

On the one hand, designers constantly rely on new garment machinery to seek the space in the cracks. On the other hand, the new design keeps bringing new requirements to the new machinery, so that the art form and the machine between the dress design form a rapid echo and interdependence.

Sometimes, because of the limitation of machines, we have to lose a better form of expression. Sometimes, because of the rising trend, we have to find new processing machines.

Designers must master the balance of art and technology so as to balance them.

The reason is very simple. To be a good designer, he must be a good cook. He can well master the coordination between fire, seasoning, material and cooking utensils. Otherwise, who will be interested in taking time to taste his dishes today?

In China in the 80s, people thought that a person could design clothes only if he had enough artistic talent, and clothing design had little relationship with technology. How could fashion art comply with the norms of science and technology to cater for the needs of people? At that time, the importance of technology should be contradictory to Costume design.

After a long time of trial and error, people finally realized the importance of science and technology in clothing.

By 90s, people became more aware that clothing is a comprehensive discipline. The power of science and technology is becoming stronger and stronger.

Nowadays, clothing design in twenty-first Century is closely related to science and technology and art. We can realize this. Clothing has gone through the running in process that it is bound to experience. After that process, what should we reflect on the future of our clothing prospects?

For a country, education is the foundation of development. Education can be used to shorten development channels and reduce unnecessary wastage.

At present, a large number of garment design professionals are needed in China. On the other hand, many of the graduates from clothing colleges have been turned away.

How to make up for this gap is indeed worth our consideration.

For an enterprise, the designer's market sensitivity + design talent + skill base = enterprise designer.

Design talent is something that a designer should have. Some of the designers who graduated just now are slightly inferior in their skills and know nothing about the market, which is the most fatal to enterprises.

Because the talent without purpose and the wrong talent in the direction are undoubtedly the derailment of the train -- it is unimaginable to drive faster and have better equipment.

If we can speed up the integration of institutions and the society in our teaching process, will it be more conducive to the development of China's garment industry?

Students' social practice can be carried out in grade two or three, avoiding the last year's thesis and graduation design.

In addition, in the curriculum setting, we should strengthen the flow of students' learning and observation abroad, join some relevant market and trade courses and their practical ability.

This enables students to understand the implementation process and application methods of clothing design in an early and comprehensive way.

To make a newly graduated fashion design student qualified for the position of a designer.

Although this seems like a small problem, it carries the prospect of our future garment industry.