How To Make Space For Clothing Design 2

　　 Motion space and rest space

People will have two states of relative quiescence and movement in daily life, and they will form relative space and static space of clothing. Moving space and static space are two aspects of clothing three-dimensional space.

With the movement of human body, clothing modeling will form the space of clothing movement, which will show the beauty of motion space, that is, dynamic beauty. Clothing with dynamic beauty, such as dance costumes. The reason why skating clothing is circular is that the skater skates around the ice field and the skirt has centrifugal force outward from the body when it rotates. In addition to daily life, with the movements of the human body walking, jumping, limbs flexion and extension, torsional movements of the torso and other rhythmic movements, there is also the movement of the moving parts such as elegant, swaying and contracting of the garment parts. There is also the function of the wind. When the scarves, veils, sleeves and the large skirts are swaying with the wind, there will be a dynamic beauty movement space. In addition, we should consider the space modeling of the detached parts, and adopt light, thin, floating and soft dynamic materials.

Relative to the movement of the human body (walking, jumping, etc.), such as standing, sitting and waiting is a relatively static state. The garment modeling will show relatively static space with the static state of the human body. For garment designers, the stereoscopic aesthetic concept should also be taken into consideration in shaping the relative static space of clothing, showing that the beauty of static space is static beauty. For example, men's ceremonial costumes and social clothes are usually worn on specific occasions. They should give full consideration to the relationship between people and the environment and space, so that the sculpt space can be molded to convey the elegant, generous and polite image of the wearer.

In shaping the three-dimensional space of clothing design, we should treat the relationship between the two correctly. We should not only consider the space formed by the clothing movement, but neglect the static state space of the garment, and we should not only pay attention to the static state space of the garment, but neglect the space of the clothing movement state.

　　 Shaping the thinking space of fashion design

The shaping of the thinking space of fashion design is inseparable from the essence of traditional culture.

Clothing has undergone countless changes and changes in its long forming years. The space form of clothing also varies with people's aesthetic taste and other factors. As a materialized image of ideology, clothing must reflect the cultural characteristics of the times and the nation, and inherit its traditional aesthetic custom.

From the history of European clothing development, we can see clearly that Western clothing has the utilitarian purpose of showing gender and highlighting the opposite sex since ancient times. The costume of ancient Greece has such a feature. No matter "Dorian" or "Ionian", because of advocating the dominance and guidance of the concept of human body beauty, the costumes of the court ladies and the modern and modern fashions developed by them in the past dynasties are no more than making a fuss about the beauty of human body.

In 1946, the birth of the "three point" bikini "bikini", in 1960s, the "miniskirt" invented by British designer Mary Quint, by 90s, Italy designer Versace emphasized the sexy design of showing off the beauty of the female body. Using the style of "transparent" and "dew", the feminine beauty curve was outstanding. It led the fashion world to sell all kinds of exaggerated details, such as navel, back dress, low waist trousers, waist free skirt, high slash, thin sling, and even highlight the gender sensitive zone, and became the eternal law of sex. After entering the twenty-first Century, the sexy appeal of clothing performance has become a high grade and high standard, not only reflected in the naked degree of fashion to the human skin, but also reflected in the body language and wearing style of the wearer, which is reflected in the cultural taste and way of thinking of the wearer.