Módní design - techintroduce

Pět principů

Principy Jednoty

Unityisalsocalled"consistent",whichissimilartothemeaningofharmony.Whendesigningclothing,harmonyisoftenusedasameanstoachieveaunifiedgoal.Inagooddesign,thereshouldbeconsistencyinthearrangementoftheelements-materials,colors,lines,etc.betweenpartsandparts,andbetweenpartsandthewhole.Iftheseelementschangetoomuch,theconsistenteffectwillbedestroyed.Themostcommonwaytoformunityisrepetition,suchasreusingthesamecolors,lines,etc.,tocreateaunifiedfeature.

PrincipDůraz

Emphasisisalso"emphasis"or"emphasisdesign."Althoughtheprincipleofunityisemphasizedinthedesign,theresultofexcessiveunitytendstomakethedesignflat.Itisbesttomakeacertainpartparticularlyeye-catchingtocreateacenterofinterestinthedesign.Thiskindofkeydesigncanusecolorcontrast(suchasablackdresswitharedbelt),materialmatching(suchasawoolencoatwithafurcollar),andlinearrangement(suchasadressfromthenecklinetothebottomoftheopening),Tailoringfeatures(suchasthedesignoftheshoulderyokeclothandprincessline),andtheuseofaccessories(suchaswearingagoldennecklaceonablackvelvetcheongsam).However,theabovemethodsofemphasizingshouldnotbeusedincombinationwithmultiplemethods,andthepartsshouldnotbeemphasizedtoomuch,andthebeautifulpartofthewearer'sbodyshouldbeselectedasthecenterofemphasis.

Princip rovnováhy

Balancemakesthedesignfeelstableandstill,itisinlinewiththeprincipleofbalance.Balancecanbedividedintosymmetricalbalanceandasymmetricalbalance.Theformertakesthecenterofthehumanbodyastheimaginaryline,andtheleftandrightpartsareexactlythesame.Thisstyleofclothinghasarighteousandsolemnfeel,butitismorerigid.Thelatterisasenseofbalance,thatis,althoughtheleftandrightpartsoftheclothesaredesigneddifferently,theyhaveasenseofstability.Theyoftenusediagonaldesigns(suchasthefrontofacheongsam)toachievetheirgoals.Thisdesigngivespeoplethefeelingofeleganceandsuppleness.Inaddition,youmustalsopayattentiontothebalancebetweentheupperbodyandthelowerbodyoftheclothing.

Princip proporce

Proportionreferstothesizedistributionofvariouspartsoftheclothing,whichseemsappropriate,suchastherelationshipbetweenthesizeofthepocketandthebody,thewidthofthecollar,etc.Shouldbeappropriate.Theratioofthegoldenratioismostlysuitableforthedesignofclothes.Inaddition,attentionmustalsobepaidtothesizeandproportionofaccessoriesandaccessories.

Princip Rytmu

Rhythmreferstotherepetitionofthelaw,whichproducesasoftmovement.Forexample,thegradualrhythmofcolorsfromdarktolight,shapesfrombigtosmall,regularandrepetitiverhythmssuchaslinesandcolors,andfloatingrhythmssuchasstreamersonclothingareallcommonlyuseddesigntechniques.

Definice pojmu

Oděvní design

Oděvní designisageneralterm,whichcanbedividedintoclothingaccordingtodifferentworkcontentandnatureofworkTheoriginalintentofmodelingdesign,structuraldesign,processdesign,anddesignrefersto"foraspecificgoal,intheprocessofplanningaproblem-solvingandstrategytomeetpeople'sneeds".Thedesigninvolvesaverywiderange,includingsocialplanning,theoreticalmodels,productdesign,andtheformulationofengineeringorganizationplans.Ofcourse,thegoalofdesignembodiesthemechanismofhumanculturalevolutionandisanimportantmeansofcreatingaesthetics.Asthenamesuggests,clothingdesignisanindustrythatdesignsclothingstyles.Theclothingdesignprocess"isconceivedaccordingtotherequirementsofthedesignobject,andtherenderingsandfloorplansaredrawn,andthenmadeaccordingtothedrawingstoachievetheentireprocessofcompletingthedesign."

Designhasboth"factelementsand"valueelements".Theformerexplainsthestateofaffairs,whilethelatterusestheoreticalandaestheticpropositionstoexpressit,thatis,"goodandbadandbeautifulandugly."

Differenttypesofdesigntendtofocusondifferenttypesofthinking.Forexample,inengineeringdesign,moreemphasisisplacedonrationalanalysis,whileinproductdesignandindustrialdesign,theoverallprocessisemphasized,andthefactorofimagethinkingneedstobeused.Oděvní designpaysmoreattentionto"beauty"andsoon.

Thetaskofdesignisnotonlytomeetpersonalneeds,italsoneedstotakeintoaccountsocial,economic,technical,emotional,andaestheticneeds.Becauseofthis.Therearecertaincontradictionsamongthesemanyneeds,sothedesigntaskitselfincludesthecoordinationandoppositionbetweenvariousneeds.Moderndesignconceptsmustalsofollowthedesignspecificationsintheupdate,andconsiderthesemany"needs"".

Designistheprimarylinkofmaterialproductionandculturalcreation.Italwaysusesacertainculturalformasanintermediary.Forexample,theuseofroughlythesameorganizationalmaterialsforthedesignofconstructionprojects,differentsocialcultureswillDifferentarchitecturalformsareborn;usingsimilarclothingdesignconcepts,differentsocialnormswillalsoproducecompletelydifferentdesignstyles.

Odborné kurzy

ClothingartDesignCultivationObjectives:Totrainseniorprofessionalswithbothabilityandpoliticalintegritywhocanengageinclothingandappareldesignwork,teachingandresearchworkinenterprises,institutions,schools,andscientificresearchunits.

CostumeCostumeArtDesignTrainingRequirements:StudentsshouldmasterthebasicprinciplesofMarxism;befamiliarwiththeguidelines,policiesandpoliciesrelatedtothedevelopmentofChina’sclothingandtextileindustryLawsandregulations;havesystematictheoreticalknowledgeofclothingandclothingdesign;understandthetestingmethodsofclothingeyeperformance,begoodatlearningfromtraditionalChineseclothingculture,masterandusemoderndomesticandforeignclothinginformation;haveahighdesignlevelandstrongcraftsmanshipAbilityandpreliminaryscientificresearchability,understandthenewachievementsandnewdevelopmentsofthesubject;haveahigherculturalaccomplishment,andhavecertaincorporatemanagementcapabilities;intermsofmasteringforeignlanguagetools,theyshouldhaveastrongabilitytoreadthisprofessionalbook,Certainlisteningskills,preliminarywritingandspeakingskills.

Mainprofessionalcoursesofclothingartdesign:Chineseandforeignclothinghistory,Chineseethnicclothinghistory,clothingmodelingtechnology,clothingBasicsofclothingdesign,fashionpaintingtechniques,hairandmakeup,ergonomics,clothingmaterialtechnology,introductiontoclothing,clothingbatiktie-dye,clothingtechnology,clothingfunctionandtesting,clothingtechnologyandequipment,clothingaesthetics,photography,clothingCAD,Clothingtechnology(practice),clothingstyling,computerapplication,clothingeyeperformancetesting,clothingdesign,clothingdesign,etc..

Designový software

Software pro navrhování oděvů zahrnuje hlavně photoshop(PS)ilustrator(AI)coreldraw(CDR)FreeHand(FH)CADNejčastěji používaný oděvními společnostmi je CorelDRAW,ale stále více lidí používá AI,FH aCAD jen zřídka pro skutečný design oděvů.PSje velmi dobré.

CorelDRAWisgenerallyusedintheproductionofclothingstylefloorplansandclothingprocessorders.

Withthepaceofthetimes,peopleinthepastusedhand-paintedmethodstodesignclothing.It’sdifferent.Computerscanbesaidtohavespreadtoeveryfamily,soclothingdesignsoftwareisjustareplacementforclothingdesign.Asortof.

Proces návrhu

Proces tvorby designu oděvu

Fashiondesignisaprocessofartisticcreation,artisticconceptionandartisticexpressionUnity.Designersgenerallyfirsthaveanideaandvision,andthencollectdatatodeterminethedesignplan.Themaincontentoftheplanincludes:theoverallstyle,theme,shape,color,fabric,andaccessorydesignofclothingproducts.Atthesametime,carefulconsiderationshouldbegiventotheinternalstructuredesign,sizedetermination,andspecificcuttingandsewingandprocessingtechniquestoensurethatthefinishedworkcanfullyreflecttheoriginaldesignintent.

Theconceptionofclothingdesignisaveryactivethinkingactivity.Theconceptionusuallytakesaperiodofgestationandisgraduallyformed,oritmaybetriggeredbyacertainaspecttostimulateinspirationandsuddenlyarise.Naturalflowers,insects,fish,mountainsandrivers,historicalsites,paintingsandsculpturesinthefieldofliteratureandart,dancemusicandethniccustomsandothersociallifecangivedesignersaninfinitesourceofinspiration.Newmaterialscontinuetoemerge,constantlyenrichingthedesigner'sexpressivestyle.DaqianWorldprovidesinfiniteandbroadmaterialsforclothingdesignideas,anddesignerscandigoutthemesfromallaspects.Intheconceptionprocess,thedesignercanexpressthethinkingprocessbysketchingtheclothingsketch,modifyandsupplement,andthendrawadetailedclothingdesigndrawingaftermorematureconsideration.

Za druhé kresleníoblečenídesignkresby

Drawingclothingrenderingsisanimportantmeansofexpressingdesignideas.Therefore,clothingdesignersneedtohaveagoodartfoundation.Variouspaintingtechniquesareusedtoreflectthedressingeffectofthehumanbody.Clothingrenderingsareregardedasanimportantindicatortomeasurethecreativeability,designlevelandartisticaccomplishmentoffashiondesigners,andithasattractedmoreandmoreattentionandattentionofdesigners.

Therearetwotypesofpaintingsinclothingdesign:oneisclothingpaintings,whicharecommercialpaintings,usedforadvertising,emphasizepaintingskills,andhighlighttheoverallartisticatmosphereandvisualeffects.Theotherisclothingrenderingsusedtoexpresstheeffectsandrequirementsofclothingartisticconceptsandcraftconcepts.Theclothingrenderingsemphasizethenoveltyofthedesign,payattentiontothespecificformofclothingandthedescriptionofthedetails,sothatitcanbeaccuratelygraspedintheproduction,soastoensurethattheready-madeclothingcanperfectlyreflectthedesignintentinartandcraftsmanship.

Plánování kariéry

Staňte se designérem goodfashion:

1.HaveahighlevelofknowledgeinclothingandgraspthetrendSharpandinsightful!

2. Vhodné pro tržní poptávku, vysoký tržní podíl!

3.Agooddesignercanindependentlycompletetheproductionprocessfromasetofcreativedesigntoready-madeclothes!

4. Znáte látky, lze je různě kombinovat a sladit!

5.Haveacomfortableandimaginativeworkingenvironment!

Návrhář kostýmůsmustfirstloveartandgraspfashion,andagaintheymusthavedeepartisticattainmentsandsoliddrawingskills.Theremustalsobeakindofideal-tocreateyourownuniqueartworld,hopethatdreamswillcometrue,anddaretobethefirstfashionconcept,isafashionexplorer,atrendyperson,hasaspeciallikingforclothing,andhasakindofordinarysurfaceandaccessories.Uniqueappreciation.

Toengageinclothingdesign,wemustoftenlearnfromthesuccessfulworksofpredecessors,anddrawnutritionanddesigninspirationfromexcellentworks,butitisbynomeansequaltopatchworkandcopying.Cuttingandproductiontechniquesareimportantfoundationsofclothingdesignandanimportantmeansofexpressingdesignintent,butitdoesnotmeanthatlearningtocutandmakeclothesmeanslearningtodesign.Justaslearningtheskillofplayingthepianodoesnotmeanthatyoucancomposemusic,learntobuildwallsandbuildwalls.Itisnotthesameasarchitecturaldesign.Knowinghowtopaintfashionpicturesisjustatoolforexpressingdesignintent.Itcanbeseenfromtheaboveclothingdesignprocessthatintheentiredesignprocess,drawingadesigndrawingisonlythebeginningofthedesign.Thosewhodon'tknowhowtorealizetheirdesignintentionsandcanonly"talkonpaper"cannotsurvivethefiercemarketcompetition.Infact,"designers"whocanonlypaintfashionpicturescannotfindajob.

However,theabovethreepointsofviewhaveexplainedtheknowledgeandskillsthatclothingdesignneedstomasterfromoneside.

Vědomostní rezerva

1.Schopnost učit se od

Originální výpůjčka je také nazývaná imitace,jako:napodobování oddaně (bát se druhých),Soutěživénapodobování(Supermanfirstclass),znepokojivénapodobování(stejné jako ostatní,ale neaktuální,neaktuální),tři-v-jednomimitování:přímé napodobování,napodobování dětínebonapodobovánídospělých,opicenaučení,napodobování,opice .Oděvní design je ve skutečnosti celý proces odvažování se být prvním, aby vytvořil a vynalezl, odvážně navrhoval, odvážně transformoval, odvážně používal nové techniky, nové materiály a nové technologie.

Theconceptionstageofclothingdesign,tosomeextent,isactuallythechoiceofstyleinthemind.Designisakindofcreation,butnotaninvention.Thereisnosuchthingasadesignthathasneverexistedbefore.Therefore,thedesignmustlearnfromthepredecessors.Thisisespeciallytrueforclothingdesign,becausethechangingprocessofclothingiscontinuousanduninterrupted,andeverytypeofclothingisintheprocessofchangesinthehistoryofhumanclothingculture,andisalinkbetweenthepastandthefuture.Tolearnfromthepredecessors,wemusthumblylearnandstudytheachievementsandexperiencesofthepredecessors.Asfarasclothingdesignisconcerned,thefirstthingyoumustlearnisclothinghistory,becauseifyouwanttoaccuratelygraspthecurrentfashioninthedesign,youmustunderstandthechangingprocessofclothinginthepastandgraspthelawofchange.Ifyouwanttosurpassthepredecessorsindesign,youmustfirstlearnthehistoricalexperienceandtraditionalskillsofthepredecessors.NotonlymustwestudythehistoryofChineseclothing,butalsothehistoryofWesternclothing,aswellastheexistingnationalcostumesaroundtheworld.

Inaddition,wemustpayattentiontothebreadthoflearning.Inadditiontoancientandmodernclothingculture,weshouldalsotryourbesttodabbleandlearninotherfields.Becauseclothingisacomprehensiveculturalphenomenon,involvingvariousfieldsofsocialscienceandnaturalscience.Thedesigner'sworkcontentisalsocomposite.Itisnecessarytobeabletograspthelocalhistoricaltrendsandmarketchangesatthattime,butalsotoknowthestrengthofhimselfandhiscompetitors,andhemusthavetheabilityandstrengthtoorganizeproductionandrealizehisdesignintent.Bringprofitstotheenterprise.Therefore,designersmusthaveextensivecultivationandrichexperience,lovelife,beinterestedineverything,andhaveastrongcuriosity.Inthisway,whendesigningandconceiving,wecanbroadenourideasandlearnfromthemextensively.Onlyby"standingontheshouldersofgiants"canwedesignworksthatarehigherthanthoseofourpredecessors.Thisistheimportanceofborrowing.

2.Navrhovatelnost

Forecast→Collectinformation→Plan→Developplan→Designandproduction→Sales→Informationfeedback→Summary.(Gobackandforth)Designisaprocessofcreation.Afteragoodideaisobtained,thenhowtocompleteandrealizetheidea.Drawingthedesignideaonpaper,itcannotbesaidtobethecompletionofthedesign,itisonlythebeginningofthedesign.Oděvní designrenderingsareoneofthevisualexpressionmethodsofdesignconcepts,andwhetherthisdesignconceptcanberealizedornotdependsontheuseofspecificclothingmaterialsandtheuseofcertainskillfulcuttingandproductiontechniquestoexplorethepossibilityofitsrealization.Therefore,asadesigner,ifyoudon’tknowanythingabouttheperformanceoftheclothes,thecuttingmethodandtheproductiontechnology,theideaisdefinitelynotmarginal.Ioftenseemanydesigneffectsthatarebeautiful,butitisactuallyimpossible.Youcan’twearitevenifyoubarelydoit(oryoucan’twearitbecauseyoudon’tthinkaboutopeningit,oryoucan’tmoveitatall,youcan’tmove,youcan’tliftyourarms,oryoucan’tbenddown).

Itcanbeseenthatmasteringthebasicskillsofcuttingandproductionisnotonlyveryimportantfordesigners,butalsoessential.Infact,manydesigntechniquesanddesignfeelingsarenotonthepaper,butintheactualprocessofplatemaking,cuttingandsewing.Theso-called"lines"and"shapes"onclothingarebynomeanslinesandshapesonpaper,butlinesandshapesinthree-dimensionalspace.Thisfeelingcanonlybeimprovedintheactualtrainingofthree-dimensionalspace.Whetheritisahigh-endfashiondesignerinParisoradesignerofageneralclothingcompany,inadditiontoexpressingtheirdesignintentintheformofpainting,theymainlygraspthedesignintheformofthree-dimensionalclothes.Therefore,whetheritisthefashionschoolaffiliatedtotheHighFashionStoreAssociationinParis,theFIT(NewYorkFashionInstituteofTechnology)andtheBunkaFashionInstituteinJapan,whencultivatingdesigntalents,platemaking,cuttingandproductiontechniquesarecompulsoryforstudents.Amajorcourse.

3.Hluboké umělecké úspěchy

Oděvní designisnotonlyaproductdesign,butalsoakindofartisticcreation.Therefore,extensiveartisticaccomplishmentisveryimportantforfashiondesigners.FrenchhautecouturedesignmasterChrisQiangDior,onceknownasthe"KingofFashion",isamasterofthefashionindustrywithknowledgeofarchitecture,painting,music,etc.HisdiscipleYvesSaint-LoLangisalsoatalentedartgenius.FromtheworksofSaintLaurent,youcanseethewidesourceofhisdesigninspiration,andyoucanfeeltheinfluenceofcontemporaryartmasters:passionateandunrestrainedSpanishstyle,gorgeousandcolorfulRussianatmosphere,SimpleandboldAfricanstyle,dignifiedanddistinctiveChinesestyle,aswellastheclassicalVelázquez-styleweddingdress,brightlycoloredPicassostyle,simpleandlivelyMondriancoldabstractartandpopart,etc.,Bothhaveuniqueapplicationandplayinhisworks.artist.Profoundartisticattainmentsdeterminetheinfinitecreativityofdesigners.

4. Zkušenosti z bohatého trhu

Wemusthaverichmarketexperience,suchas:noodlesandaccessoriesmarket:thefabricsandaccessoriesinsideandoutsidetheregionmarket.

Datainformationmarket:Fashioninformation,fashiontrends,designermanuscriptmaterials.

Ready-to-wearmarket:Brand,wholesaleandretail.

Apparelmarket:Jewelry,accessories,beautyandskincare,etc.

Productionfirst-linemarket:production,washing,garmentmaking,finishinganddyeing,printing,etc.

Asaproductdesign,theprosandconsofclothingdesigneffectsarenotjudgedbyanexpert,buttestedbythemarket.Therefore,ifadesignerknowsnothingaboutthetargetmarketheserves,itwillbeverydangerous,becauseafterthedesignisputintoproduction,itmaynotberecognizedbythemarketandcauseabacklog,bringhugeeconomiclossestothecompany,orevencloseit..Designersshouldmaintaintheirownpersonalityanduniquedesignstyle,butthisdoesnotmeanignoringtheneedsofthemarket.Designersaredifferentfrompainters.Theymustnotbealone.Theymustalwayspayattentiontothenewtrendsinthemarket.Onthebasisofmaintainingtheirowndesignstyles,theymuststandfromtheconsumer'sstandpointandmanageeverydetailinplace.Invincibleinthemarketcompetition.

Půvab osobnosti

Asafashiondesigner,inadditiontotheaboveknowledgeandskills,thereisanotherveryimportantfactor,thatis,thepersonalityofthedesigner.Inlayman'sterms,thatis:"Tobeafamousteacher,firstbeagoodperson."Here,"themoralityisnotcorrect,thecredibilityisnotemphasized,theselfishnessisselfish,thepersonalgainsandlossesarecalculatedinadvance,andthereisnodedication,thenitisdifficulttoworkhardtobededicatedatwork,itisdifficulttoconsiderothers,anditisimpossibletointeractwithothers.Humancooperation.Modernenterpriseisamilitarizedgroupofdivisionoflaborintermsoforganizationalstructure.Notanyindividualcancompletetheworkofalldepartmentsandtypesofwork.Therefore,designersmustputthemselvesinacorrectposition,andmustnotbesuperior,domineering,andarrogant..Theabilitytocooperatewithothers,especiallytheabilitytocooperatewithpeoplewhoarestrongerthanoneself,isoftenthekeytothesuccessofadesigner.Asthesayinggoes:"Oneherohasthreegangs",andthecharmofstyleisaroundit.Gatheringalargegroupofcapablepeoplewhoarewillingtoshareupsanddowns.Politicalstability,economictakeoff,andthedevelopmentoftheclothingindustryprovideourdesignerswithagreatenvironmentandhistoricalopportunityforourdesignerstodisplaytheirtalents.Whetheritissuccessfulornot,Toacertainextent,thekeyliesinthegraspofthefactorof"humanharmony".Themodernmeaningof"humanharmony"istobeabletohandletherelationshipbetweenpeopleinwork,tocooperatewellwithothers,andtorecognizeothers.Hisstrengthsarethathecantolerateandemploypeople.

Inaddition,whenyoucompetewithyourpeersinthemarket,youmustbeuprightanddon’tliftyourselfupbydemolishingotherpeople’splatforms.Thebadhabitofthepastsmallpeasanteconomyeraisnotwhatourtimeneeds.Third,thedesigner'sbehavior:canwork,learn,andlive.

⑴Beproactiveinwork,befullycommitted,haveastronginterest,andembodythespiritofownership.

⑵Cooperatewithcompaniesandenterprises,treatitasyourcustomer,lethimpatronizeyourtalents,andrecommendyourconcepttohim.

⑶Withdedicationandteamspirit,anyprojectisachievedthroughthecommonstrengthandcompletionoftheteam,usingordinarymethodstoachievethebestresultsintheprocess.

⑷Thecreatorofdesignerartisalsoacostumer.Iamhigherthanothersandhigherthantheenterprise,soIdomyresponsibilitiesformycareerandforthejobIamdoing.Theremustbeapersistentpursuitofthisindustry,aspiritofinnovationandexploration.Althoughtheworkisveryhard,butitishardtofindhappinessandfeelhappy.

⑸Máte silný smysl pro kvalitu designu, vysokou efektivitu práce, „rychlý, agilní, pilný, efektivní a krásný“.

⑹Weshouldalwaysoperatethemarketfromtheperspectiveofinvestors.Wecanonlysucceedandnotfail.Wemustatleasthaveasenseofsecurityforthecompanyandreducethenumberofrisks.

⑺Knowhowtosellyourself,beagoodsalesman,haveplansandmarketdatatosupportyourdesign.Begoodatexpressing.Communicatemorethoughts.

⑻Haveaccuratecomprehensionability,comprehensiveoverallplanningability,andsufficientdisplayability.

⑼Understandtheclothingmarketandbrandoperationstatus,andknowhowtoappreciatetheadvantagesofthebrand.Learnfromcustomers,becausetheyrepresentacertainconsumergroup,trusttheirintuition,andanalyze,summarizeandjudgecorrectlybasedontheiropinions.

⑽Theabilitytounderstandthemarket,observe,analyze,leadanddevelop,(knowhowtolookatpopularmodels,findoutwhichonesaregoodtobuy,andfindoutwhichoneshaveroomfordevelopment),godeepintothemarket,andnotclosethedoorChooseacar,sitbackandreaptherewards,letaloneimaginewhatyouwant.Havetheabilitytostandalone.

(plán→přísná kontrola→decentralizace→dodržování úkolů→provoz celého skladu)

⑾Learntomakeastoryboard(sforybody):acommunicationboardfortheinternalteamofthedesigndepartment,Isthemarketcoordinationversion,thedesignerseriesversion:personalbrand,thebrandseriesversion:marketbrand

⑿Schéma návrhu je krátkofrekvenční, vysoce zisková a kombinovaná s praktičností. (To je kombinace akademické školy a tržní školy).

⒀Ovládněte šest základních podmínek oděvního designu: Kdo nosí?kdy kdy to nosit?Kde nosit?Co nosit?Proč to takhle nosíte?JAK jak to nosit?

⒁Pracujte, hrajte si, studujte a žijte šťastně. Avantgarda, vášeň, sebevědomí, optimismus, mládí. Zkrátka jako kvalifikovaný módní návrhář, vynikající charakteristika první podmínkou.

Základní zkušenosti

1.Základní kreslení a modelovatelnost

Oděvní design(19photos)

Basicdrawingandmodelingabilityisoneofthebasicskillsofafashiondesigner.Ofcourse,therearesomepreviousdesignmasterswhocan'tpaint,butheneedstohavemoreoutstandingperformanceinotheraspects.However,evenifsomepeoplestillcannotexpresstheirdesignideasinpainting,eventhroughsystematiclearningandtraininginschool,itwillbringgreatdifficultiestotheirowncreations.

Onlywithagoodfoundationinpainting,canyouaccuratelyexpressthedesigner’screativeideasintheformofpaintingthroughthestylingabilityofdesign.Ontheotherhand,intheprocessofdesigningdrawings,youcanalsoappreciatetherhythmandtheheavystyleofclothing.Thebeautyofrhythm,whichinspiresthedesigner'sinspiration.

Atthebeginningofthe20thcentury,theBauhausonceproposedthat"thepurposeofdesignispeopleratherthanproducts",especiallyclothing,whichistheoutercoveringofthehumanbodyandhasacloserelationshipwiththehumanbody.Onlywithanaccurateandcomprehensiveunderstandingoftheproportionsofthehumanbodycanthebeautyofthehumanbodybebetterandthree-dimensionallyexpressed,whichisthebasisofthedesign.

2.Hojnost

Fashion Design

Originalityandimaginationarethewingsofafashiondesigner.Theskillsofadesignerwithoutrichimaginationareevenbetter.Canonlybecalledacraftsmanortailor,butnotarealdesigner.Theessenceofdesigniscreation,anddesignitselfcontainsthemeaningofinnovationanduniqueness.Flowers,birdsandtreesinnature,decorativeobjectsaroundus/richethnicandfolkthemes,music,dance,poetry,literatureandevenmodernlifestylescanallgiveusgoodenlightenmentanddesigninspiration.Forthousandsofyears,inthelonghistoryofclothing,itispreciselybecauseoftherichimaginationandoriginalspiritofthepredecessorsthatwehaveleftusrichandpreciouswealth.

Inthehistoryofwesternfashiondesign,thosehigh-profilesignaturefashiondesignershaveredesignedwiththeiruniquecreativityandimagination.Especiallyinthe1930s,theinfluentialItalianfemaledesigner-XiaBoRuiliactuallydesignedtheshoesashatsonthetopofthehead,andthepocketsasdrawers.Herrichimaginationandimagehumor,boldanduniquedesignThestyleishighlyrespectedbyfuturegenerations.

3. Masterthestyle, colorandfabric

Thestyle,colorandfabricofclothingarethethreebasicelementsofclothingdesign.

Thestyleofclothingistheoutercontourshapeandcomponentdetailshapeoftheclothing,whichisthebasisfordesignchanges.Theexternalcontourmodelingiscomposedofthelengthandlatitudeoftheclothing,includingfactorssuchaswaistline,skirtlength,shoulderwidth,andhemlooseness.Themostcommoncontourshapesare"A"type,"X"type,Ttype,Htype,Otypeandsoon.Theoutercontourshapeoftheclothingformsthelineoftheclothinganddirectlydeterminesthepopularityofthestyle.Theshapeofthedetailsofthecomponentsreferstotheshapeofthecollar,sleeves,pockets,cuttingstructureandeventhedesignofpleats,zippers,andbuttons.

Thecolorchangeofclothingisthemosteye-catchingpartofthedesign.Thecolorofclothingistheeasiesttoexpressthefeelingsofdesign,andatthesametime,itiseasytobeacceptedbyconsumers.Hotred,heartyyellow,quietblue,holywhite,plaingray,andhardblack.Eachcolorofclothinghasrichemotionalrepresentations,givingpeoplerichconnotations.Inaddition,coloralsohasweight,strength,coldnessandwarmth,softnessandhardness.Ofcourse,colorcanalsomakeusthinkabouttasteandsmell.

Proficientlymasteringandusingthecharacteristicsofclothingfabricsisanimportantconditionforimmaturedesigners.Designersmustfirstunderstandthedifferencebetweenthethickness,hardness,smoothness,roughness,andthree-dimensionalsmoothnessofthefabric.,Throughthedifferentdrape,gloss,clarity,heaviness,elasticity,drape,etc.ofthefabrics,wecanfullyunderstandthedifferentstylesandbrands,andusethemflexiblyinthedesign.

Theperfectmatchoffabricsofdifferenttexturesandtexturescanbettershowthedesigner'sartisticskillsandtaste.Thevariousshapesofclothingstylesarenotonlyshowninthedesigndrawings,butareachievedbyusingavarietyofdifferentfabricsandcuttingtechniques.Onlybymasteringandusingfabricdesignwillbehandy.

Thethreepartsofclothingstyle,colorandfabricareindispensable,andtheyarethebasicknowledgethatdesignersmustmaster.Themasteryandapplicationofbasicknowledgeofstyles,colors,andfabricscanalsoreflectadesigner'saesthetictaste,tasteandartisticskillstoacertainextent.

4. Pochopení konstrukčního návrhu, řezání a šití

Learningofstructuraldesignandcuttingtechnologyisalsothefoundationthatafashiondesignermustmasterknowledge.Structuraldesignisapartofstyledesign,andvariousshapesofclothingareactuallycompletedbycuttingandchangingthesizeitself.Ifyoudon’tunderstandfabrics,structures,andtailoring,designcanonlybe"talkingonpaper."Don'tthinkthatstructuraldesignandcuttingaretheworkofpattern-makingmastersinthecompany.Adesignerwhocanonlydrawpicturesanddoesnotunderstandpattern-makingiscertainlynotaperfectandmaturedesigner.Withoutunderstandingthepatternandstructurechanges,thedesignwillbeunreasonable,immature,orevenimpossibletoachieve.

Studentsinschoolsoftenencountersuchproblems.Becausetheydon’tknowhowtomakepatterns,theycanonlyaskthemastertomakepatternsforthecostumesthatparticipateinthecompetition.Goingaway,didnotachievethedesiredeffect.Itcanbeseenthattheplayboarditselfdirectlydeterminestheshapeandoveralleffectoftheclothing.Inthe20thcentury,manymastersstarteddirectlyfromthecuttingandstructureofclothing,andusedtheseasveryimportantdesignlanguages,suchasBarencia,Longman,Vionet,andMibonYoji.Ifwecarefullystudytheworksofthemasters,wecanseethatthestructuraldesignoftheclothingisrichinconnotationanduniqueexpressiveness,anditsdeep,implicitandunassumingstyleisveryworthyofsavoring.Ifwearenotproficientincuttingandstructuraldesign,ourappreciationoftheworkwillonlyremainonthesuperficialsurface,andthedesigncanonlybeanemptyshelfthatcannotwithstandscrutinyandtest.

Sewingisalsothekeytoclothingdesign.Varioussewingtechniquesandmethodsthatyoudon’tunderstandwillalsoaffectourlearningofstructuredesignandtailoring.Thesewingmethodandeffectitselfarealsopartofthedesign.Differentsewingmethodscanproducedifferentappearanceeffectsandevenspecialtextureeffects.Somedesignersuse"sewingeffect"asadesignlanguagetotryneweffects.Thistechniqueisverypopularinsinceredesign.Thisrequiresdesignerstobefamiliarwithvariousprocessingequipmentandspecialgarmentsewingmachinesinthegarmentindustry,andtoknowtheknittingandwovenprocessingtechniquesinordertobehandyindesignandapplication.

5.Porozumění teorii a historii kostýmního designu

Theinitialstageofcostumedesignisthemasteryofsomebasictechniquesandskills,andsuccessfulcostumeMoreimportantly,adesignershouldhaveadesignmindandakeencreativethinking.Itisfarfromenoughtoonlymasterbasicskillsandbeabletodrawbeautifulrenderings.Fashiondesignmajorsinartcollegesalloffercostumetheorycourses.Throughthesecourses,studentscanlearnaboutChineseandforeignarthistory,designhistory,costumehistory,andcostumeaesthetics.Atthesametime,theycanbroadentheirhorizons,broadentheirdesignideas,andinspirethem.Designinspiration.

EspeciallylearningthehistoryofChineseandforeignclothingdevelopment.Itslong-standingclothingevolutioncanprovideuswithmanydesigninspirations.AncientEgyptianstyle,ancientGreekstyle,Gothicstyle,Baroque,Rococostylesareusedinmodernclothing.Themaster'sworkcanbeseeneverywhere.OnlybyunderstandingthehistoryofthedevelopmentofChineseandWesternclothingandunderstandingtheevolutionofmodernclothingcanwebuildafootholdinthemoderndesignhistoryandpredictthefuture.UnderstandingthechangesinthehistoryofChineseandWesternclothingwillalsoenableyoutomoredeeplyappreciatethedifferencesbetweenChineseandWesternclothing,andmakeyourselfunderstandhowanEasternfashiondesignershouldfaceWesternclothing,howtoreflectnationalstylesindesigns,andhowtobeontheworldstageofclothing.WinaplaceinChina.

6.Graspthehistoryoftheclothingdevelopmentinthe20thcenturyandthestyleofmasters

Tounderstandandmasterthehistoryofclothingdevelopmentinthe2ndcenturyandthestyleofthemastersistobecomeaclothingdesignerAquickwaytothedivision.FromCHANELintheearly20thcenturytoGallianoatthebeginningofthiscentury,everydesignmasterhasleftusapermanentbeautyinthehistoryofclothing:elegantandromanticlow-waisthalterdressinthe20sand30s;elegantinthe50sRichhighfashion;rebelliousandbizarrehippie/punkclothinginthe1960sand1970s;wide-shouldered,loose-fittingandmasculineprofessionalwomen'sclothinginthe1980s;sweetandcharminglaceandperspectiveclothinginthe1990s...Onlyin-depthstudyofthedevelopmenthistoryof20thcenturyclothing,Inordertounderstandthedesignstyleandartisticexpressionofthemastersofthatera,soastodrawlessonsfromtheirownclothingdesign.

Fromthe1980stothe1990s,theGermandesignmasterKarlLagerfeldservedasthechiefdesignerofCHANEL.GefeelfirststartedfromfamiliarizinghimselfwiththedesignstyleoftheChanelbrand,sothathecouldexplaineachstyleinthedecadesofCHANEL'shistorywhilesilentlywritingaparagraph.AfterfullyunderstandingthestyleanddesignhistoryofCHANEL,KarlLagerfeldchangedthedullnessandmonotonyofCHANELsuitsandintroducedthepastelandsexyCHANELsuitsofthe90s,whichrevivedCHANELclothingandonceagainwonthepopularityofyoungwomen.Love,thusrestoringthevitalityoftheCHANELbrandinthepast.

Itcanbeseenthateverydesignerhastoputinconsiderableefforttomakethedesignworkrecognizedandsuccessful.

7.Porozumět marketingu a spotřebitelské psychologii

Asuccessfuldesignershouldfirstsucceedinthemarket,accordingtothecompany’sbrandPositionandstandardizeyourowndesignstyleandroute.KarlLagerfeldusedtoserveasthechiefdesignerofthreeinternationallyrenownedbrandssuchasChanel,Fenty,andCroyer.Whenplanninganddesigningeachbrand,hetookthebrand’spositioningasthecriterionandpublicized3Avarietyofdifferentbrandstyles,knownas"geniusdesigner."

Oděvní designersmustultimatelyreflecttheirvalueinthemarket.Onlytrulyunderstandthemarket,understandconsumers’buyingpsychology,andgrasptherealmarkettrends(nottherationaltrendspublishedinfashionmagazines).Theperfectcombinationofdesignandcraftsmanship,withappropriatemarketingchannels,transformsclothingintocommoditiesacceptedbyconsumersthroughsales,andtrulyreflectsitsvalue,isthesuccessfulcompletionoftheentireprocessofclothingdesign.

Thedifferencebetweenyoungdesignerswhohavejuststeppedoutoftheschoolandmaturefashiondesignersisthattheformerlacksufficientknowledgeandexperienceinthemarket.Asanovice,youshouldbefamiliarwithvariousjobsintheshortesttimeaftergraduationorgraduation,includingbrandstyle,marketpositioning,overviewofcompetingbrands,changesinclothingdesignstyleswithdifferentpositioningineachseason,andpopulartrendsindifferentcities.Differences,theabilityofthetargetedconsumergroupstoacceptfashionandfashion,etc.,andalsoknowwhentolaunchnewproducts,howtolaunchthem,andatwhatprices.Afterthesepracticesandexperiences,youcanbecomeafashiondesigner.skilled".

Asaclothingcollegethattrainsclothingprofessionals,itshouldupdateitsconcepts,emancipatethemind,andopenthedoortorunschools.Designerscanbeinharmonywiththebusinessworld,andteachingshouldbecombinedwiththebusiness,themarketandthebrand,soastoexercisestudents'practicalability.Inordertoachievethisgoal,Ihavemadegreatadjustmentstothefourth-yeardesigncourseoftheFashionMajorofShenzhenUniversityArtCollege.Thecontentofthecourseiscompletelytheworkrequirementsofthedesigneroftheclothingcompany.Frombrandresearch,positioninganalysis,Fromdesignplantostylelaunch,pricepositioning,marketingplan,etc.,studentswillbefamiliarwiththedetailsofeveryworkoftheclothingcompanyinadvance,andcometoschoolinadvanceofthe"run-inperiod"thatstudentsfacewhentheyparticipateinsocialworkaftergraduation.Complete,doingsowillenablestudentstoaccumulatemorepracticalexperienceupongraduation,whichiswelcomedbymostcompanies.

Atthesametime,asafashionprofession,designersareyearningformostpeople.Thesigningofcontractsbetweendesignersandcompanies,variouspressconferencesandexpositionshaveattractedmuchattentionfromthemedia.Butbehindthisprosperity,someyoungdesignershavesomemisunderstandings,believingthatthisistheonlywayforafashiondesignertosucceed,andthatthedesigner’sjobistodoafashionshowandstandonthecatwalkholdingflowerstoreceivecongratulations.Infact,thedesigner'sjobismoreoftentokeepaneyeonmarketchanges,constantlyresearchandpredictmarkettrends,andaccuratelygraspthecompany'sbrandpositioningandstyle,becausetheyarerelatedtothefutureanddevelopmentoftheentireclothingcompany,andeventhedestiny.

8.Počítačová použitelnost

Withthecontinuouspenetrationofcomputertechnologyinthefieldofdesign,nomatterintheprocessofdesignthinkingandcreation,computershavebecomeThemosteffectiveandquickestdesigntoolinthehandsoffashiondesigners,especiallyinsomemoreformalclothingcompanies,theuseoffashiondesignCAD,fashiondesignCAMandotherdesign,patternmakingandversionpromotionsoftwareisverypopular,embroideringpatternsandprintingpatterns.Waitingisalsodonebythecomputer.

Oděvní designersshouldbeabletoskillfullyusedrawingsoftwaresuchasPHOTOSHOP,COREDRAWandPAINTER.Theycaneasilyedit,modifyanddrawyourgraphics,broadenyourdesignexpression,andspeedupthedesign.EspeciallyPAINTER,itshugedrawingtoolbox,awidevarietyofbrushes,highlyinfectiouscoloringeffectsandfiltereffectscanmakeyourcomputerdesignworksmoreattractiveandmorerealistic.Lookingatthispicture,canyoutellthatitwasdrawnbyacomputer?Asanadvancedandmoderndrawingtool,computerhasitsrichexpressivepowerandextraordinarypotential.Masteringandusingcomputerdrawingsoftwareinclothingdesignandfabricandpatterndesignisnotonlyaneedindailydesignwork,youalsoYoucanexperiencethetasteandfunofbeinga"moderndesigner".

9.Pozorování a profesionalita

Asaclothingdesigner,itisveryimportanttohaveakeensenseofobservationonclothing.Duetotheexcessiveemphasisonbasicskillsandtechniquetraininginfashiondesigneducation,studentsoftenhaveweakmarketawareness,lackclearthinking,keenobservationandoverallthinkingability,andoftencannotadapttotheworkofdesignersquicklyaftergraduation.Howtopresideoverabranddesigndependsonthedesigner’sstrongcomprehensiveabilityandkeenobservationofclothing.Thisnotonlyrequirestechnicalcreativity,butalsorequiresrationalthinkingtoanalyzethemarket,findthecorrectpositioning,andplanit.Operateandpromotethebrandpurposefully.Therefore,howtomakeyourbrandstyle,makethetargetconsumerswearfashionable;howtoattractyourcustomers,expandmarketshare,improvebrandtaste,increasedesigncontent,obtaingreateraddedvalue,createbrandeffect,isclothingThebasicqualitiesandskillsthatadesignershouldpossess.

Beingengagedinthefashiondesignindustryalsoneedsprofessionalism,notonlyasajobtoearnaliving,butalsoasacareertopursueandloveit.Theword"love"isactuallynotexcessiveatall.Onlywhenyouputyourheartandsoulintoit,andworkhard,canyoufinallygetrichreturns.Infact,everythingisthesame.Chanelstartedherlongroadoffashiondesignfromdesigningwomen’shatsintheearly20thcentury.Formorethan50years,sheremainedactiveonthefashionstageasaclothingrevolutionuntilherlifeinthe1970s.Atthelastmoment,Iwasbusyworkingonherdesign...

Onlywhenyoukeepthekeenobservationofclothingandtheprofessionalismoflovingclothing,youwillbeamasterdesignerstepbystep.Thedirectionismovingforward

Výuka a aplikace

Vocationaleducationisthetrainingoftalents.Ittakesapracticalrouteandaimsatcultivatingtechnicalapplicationtalents.Whatkindoftalentsclothingcompaniesneed,weshouldcultivateandsupplywhatkindoftalents.Nowadays,companiesnotonlyjustdrawabeautifulrenderingonpaper,butalsohaveawonderfulideaandcannotmakeitarealitytoservetheclothingmarket.Thedevelopmentofinformatization,marketization,integration,andnetworkingoftheworldeconomyintoday'sworldhascausedmoreintensecompetitionandrapidchangesinenterprises,products,talents,andmarkets.

Theclothingmajorisanindustrialcourse,emphasizingtheapplicationandpracticalityofknowledge.Inmanyyearsofteaching,Ifeelmoreandmorethatthedesigncourseteachingmodeofthismajorcannolongermeettheneedsoftoday'ssociety.Theteachingactivitieshavenotmovedtothesociety.Theyarebehindcloseddoorsandtalkonpaper.Thestudents'designisquasi-ideal,theirthinkingcannotbeexpanded,andtheirabilitytoadapttothemarket.Poor.Aftergraduation,manystudentsfeelthattheapplicationoftheirknowledgeinworkpracticewilltakealongtimetorun-in.Forthisreason,Ithinkfromthefollowingaspects,wecanshortenorendtherunning-inperiodofstudentsaheadofschedule,sothatstudentscanquicklyadapttoandrationalizedesignandproductionandthemarketwhentheygotoworkaftergraduation.

Thepracticalityofthecourseincludesactualintegration,integrationwiththemarket,integrationwithenterprises,andintegrationwithspecifictopics.

Sketch,color,threemajorcomponents(planecomposition,three-dimensionalcomposition,colorComposition)asabasiccourseofdesign.Asadesignartcategory,clothingdesignisnaturallyinseparablefromthefoundationofpainting.Thetrainingofpaintingfoundationisnotonlyforthepurposeofdrawinggoodclothingpaintingsanddesigndrawings,butalsorelatedtothecultivationofstudents'aestheticappealandformalrules.Inthepast,thebasicteachingofpaintingindomesticclothingacademiesfollowedthetraditionalbasicteachingmodeofpaintinginartacademies,fromgeometricshapes,stilllifestoplasterstatues,heads,andthentohumans,busts,andfull-lengthportraits,graduallyproceedingfromshallowtodeep.Training.

Butthepaintingofcostumedesigndoesnotrequiresuchmeticulousandrigorousbasicskillstraining.Oneisthattimeisnotallowed,becauseclothingpaintingisonlyasmallpartofclothingsystemengineering,andmostofitshouldbethestudyofclothingmodelingandstructuralchanges,andtailoringtechnology.Thesecondisthatclothingpaintingshowstherelationshipbetweenpeopleandclothing,andpeoplearethefirst.Necessaryknowledgeofhumanbodystructure,rationalexpressionofnon-lightandshadoweffectssuchasobjectstructure,space,texture,andshort-termtaskssuchasalargenumberofsketchesofthehumanbodyandclothingcharactersarethemaincontentofbasicpaintingtraining.

Thepurposeofdesignbasics,renderings,clothingmaterials,fashionpaintingtechniques,clothingaccessoriesdesign,fashiondesign,ready-to-weardesigncourses,etc.aretotrainstudentstomastertherulesandformallawsofdesign,aswellasthebeautyofformandmaterialThedialecticalrelationshipoftechnicalbeauty.Cultivatestudentswithcreativethinkingandmodernclothingdesignawarenessandhighercomprehensivedesignskills,andestablishacompleteclothingdesignsystemconcept.Thegeneralproductionprocessofsmallandmedium-sizedenterprisesisthedesigndraft-finalizedbythedesigndirector-proofingversion-carsampleversion-fitting-designercorrection-revisiontomeetthedesignidea-samplenumber-determinetheproductionaccordingtothemarketQuantity-purchaseoflargefabrics-placeanorder-sales-after-salesfeedback,thebasicprocessistheprocessoftransforminganideaintoafinishedproduct.

Perhapsmostofourdesignteachersknowthis,butinactualteaching,theyoftenemphasizethetechniquesoffashionpainting,howtodrawbeautifulfashionrenderings,andignorethepracticalityandpracticalityofdesign.Manufacturability.Mostoftheworksfocusonreflectinginnovativeideasandartforms,withleadingculturalcharacteristics,andarestillfarfromtheclothingasacommodity.Therefore,theinherentqualityfactorsoftheclothingitselfareoftennotvaluedbystudents,sothatstudentsoftenparticipateinawards.However,itisdifficulttodealwiththefashionclothingindailylife,anditisimpossibletododesignworkintheenterprise.Thereasonisthatstudentsdonothaveenoughunderstandingofclothingdesignanddonotmasterthesubstantivetechnicalskillsofclothingitself.Therefore,thisrequiresTeachersshouldgivecorrectguidancetostudentsintheirprofessionalunderstanding.

Ontheonehand,itencouragesstudentstohaveastrongspiritofinnovationandartisticaccomplishment,activelyparticipateinprofessionalcompetitions,andfocusoncultivatingstudents'keensensitivitytothebeautyofformandavant-gardefashion,sothattheyhaveadvanceddesignawareness,designconcept.Ontheotherhand,itisnecessarytoemphasizestudents’understandingoftheessenceofclothing,basedonlearningthebeautyofclothingstructureandcraftsmanship,soastoreflectthefunctionalvalueofclothingwithagoodaestheticform;showhigh-gradeclothingwithadecentdressingeffectConnotation,establishthecorrectdesignconsciousnessandconcept.

Fromthispointofview,furtherimprovementandperfectionareneededintermsofprofessionalcurriculumsettings.Combiningwithreality,withthemarket,withtheenterprise,andwithspecifictopicsarethepurposeofthecombinationofthefashiondesignprofessionandtheenterprise.Aftercombiningwithspecifictopics,therapidchangesinthemarketwillforceteacherstoconstantlyupdateandadjusttheirownteachingmethodsandteachingcontent,whichcanpreventair-to-airdesignconceptsfrombeingexplained.

Slavný designér

1.Hledá luxusní pocit přirůstání:NinaRicci

2.Elegantní a vynikající "romantik""/JEANLANVIN

3. MaryQuant, představa minisukní

4.JunyaWatanabe

5.Alternativní designér-ReiKawakubo

6.Tradice a moderní model gentlemana-PAULSMITH

7.Master ofcolor:YvesSaintLaurent

8.Nová hlava světa v Japonsku: YohjiYamamoto

9.Otec mezinárodní tokijské módy: Issey Miyake

10.Thedesignerwhoinsistsoneleganttaste:Huber·DeGivenchyHubertdeGivenchy

11.Createaperfectbalancebetweenthemarketandelegance:GiorgioArmani

12.Legendární designér:Gabriel·GabrelleChanel

13. Značkový designér s populární příbuzností:DonnaKaran

14.Designerwhopursuesextremeperfection:GianniVersace

15.Thedesignerwhowandersbetweenrealityandfantasy:ChristianLacroix

16.Thedesignerwhofirstpaidattentiontofemalestylinglines:ChristianDiorChristianDior

17. Princ Sedmé Avenue v New Yorku: CalvinKlein

18.Thedesignerwhosuccessfullyinterpretsthecolorsoffairytales:BernhardWillhelm

19.Kvalitami designérky a dekadentů: AnnaSui

20.Designarookiefullofdramaandwildcharm:AlexanderMcQueenAlexanderMacQueen

21.Thepickyandperfectdesigner:ValentinoGalavaniValentinoGaravani

22.Themostrestlessoldladyinthefashionindustry:VivianWeissVivienneWestwood

23.Mistr designu, který otočil příliv:TomFord

24.Thequeenofknittingandthemodelofmodernwomen:SoniaRykiel

25.TheemergingmodelofAustraliandesigners:RickyTaylorRichardTyler

26.OneofthetoptenAmericandesigners:RalphLaurenRalphLauren

27.50yearsofsuccessfulmodelintheclothingindustry:PierreCardinPierreCardin

28.Theyoungestdesignerwhowonthehighesthonorinthefashionindustry:MarcJacobs

29. Barevný kouzelník: KenzoTakada

30. Caesarthe Greatintheworldoffashion:Karl Lagerfeld

31. Zlý chlapec v módním průmyslu: Jean Paul Gaultier

32.Dolce&Gabbana

33.Designerwithgreatcreativityintheordinary:JohnGalliano

34.Designgenius,britskýfashiongodfather,móda""BadBoy":AlexanderMcQueen,LeeAlexanderMcQueen

35.KmotrAnimeKostým,KmotrAnimeDámské Oblečení:SunZhonghuaDoman

Historie domácího oblečení

TraditionalHanNationalityCostumes:FromtheYellowEmperorascendedthethrone(approximately2698BC)tothelateMing(AD1368-1644).ItiscalledHannationalityclothingbecausefashionwasimprovedandpromotedintheHanDynasty.Itusuallytakestheformofalongdress,acollar,andalooseandwidesleeveontheleftandrightsidesofthelapels,withoutbuttonsbutwithabelt.Althoughthedesignissimple,itgivesdifferentpeopledifferentfeelings.

TraditionalManchucostume:ItistheethnicnationalityofManchutraditionalcostume,usuallyintheformofalongdress,sometimeswithajacketorvestoutside.BecausetheManchusbelongedtotheQingDynasty,theirdresseswerepromotedvigorously,andsuchdresseswereverypopular.Featuresaroundorstraightcollar,withbuttonsfromtherightcollarandwaistbandtiedtothewaist,twoorfourseams,tightsleevesandcuffsshapedlikehorsehooves.

Cheongsam:TheclothesoriginatedfromManchuwomen,showingthebeautyofthefemalebody.Continuousfeaturesarethecollar,strainedwaist,coiledbuttonsandslitsonbothsidesoftheclothes.Thematerialsareusuallysilk,cottonandlinen.Intoday'sworld,cheongsamisthemostpopularclothinginChina.

Chinesetunicsuit:alsoknownasSunYat-sensuit,itwasdesignedbyMr.SunYat-sencombiningwesternsuitandChineseclothing.Ithasalapelandfourpocketflaps.FromthefoundingofthePeople'sRepublicofChinain1949,ithasbeenthemainclothingitemuntil1980.Chineseleadersstillwearthiscostumewhenattendingimportantoccasions,suchasmilitaryparades.

Návrhář kostýmů

1.CharlesFREDERICKWORTH(CHARLESFREDERICKWORTH,1825-1895)ThefounderoftheParishighfashionindustry,bornin1825IntheUK.In1858,hestayedontheAvenuedelaPaixandfoundedhisownfashionstore.Heputthenewlydesignedclothesonbeautifulgirlsinthestudiotoshowsalestocustomers,andcreatedaprecedentincostumeperformance(aflatdevelopmentform)andfashionmodel(anewprofession);healsofoundedhisownpurchaseofclothes,Designedbyyourself,producedinyourownstudio,hiredyourownfashionmodelstoholdworkpresentationstospecificcustomerseveryyear,andaseriesofuniquebusinessmethods,thusformingtheprototypeoftheParishigh-endfashionindustry.HewasalsothefirstdesignertoselldesignstoclothingmanufacturersintheUnitedStatesandBritain,andhisachievementsattractedmanydesignerstofollowsuit.Parishasgraduallyformedahigh-endfashionindustry,establishingitsinternationalstatusasthe"BirthplaceofWorldFashion"and"WorldFashionCenter".

2.JEANNELANVIN(JEANNELANVIN1867--1946)Parishigh-endfashiondesigner,borninFrance.Hisromanticandelegantstyleofclothinghasattractedmanycustomers,especiallypaintingThethemeof"paintingwomen'sclothing"andthe"LangvinBlue"inspiredbystainedglasspaintingstaughtintheMiddleAgesareveryfamous.Inthe1920s,helaunchedhigh-styletubularwomen'sclothing.Themasterpieceofthe30shasalsoused"pajama-stylewomen'sclothing","Shawl-stylewomen „oblečení“, skupinové kalhoty ve stylu Zwab. V roce 1926 bylo otevřeno oddělení pánského oblečení, které otevřelo první módní obchod s pánským oblečením.

3.GabrielChanel(GABRIELLE)CHANEL1883--1971)Parishighfashiondesigner,borninFrance,heisthemostinfluentialdesignerinthe20thcentury.In1910,sheopenedasmallhatshopinRuedeCamponinParis,andshewasingeniousSheusedtheknittedfabricusedtomakehatsatthetimetomakeclothes.AftertheFirstWorldWar,shesensitivelygraspedthechangesinsociety,designedtube-shapedwomen'sclothing,andledthefashionofthe1920s.Thefamous"ChanelStyle"wasfounded.Inthe1920s.BeforeWorldWarII,Chanel'scareerreacheditspeak.

4.ChrisQiangDior(CHRISTIANDIOR,1905-1957)Parishighfashiondesigner,borninFrance.In1938,heparticipatedintheSecondWorldWar,andafterhewasdischargedfromthearmy,hewenttoworkintheLuxianLulunstore.Attheendof1946,the"DiorHighFashionStore"wasestablished.InFebruary1947,the"corollashape"waslaunchedatthefirstworkpresentation:Thesmoothshoulderlinewithroundflavor.Theslenderwaist.ThiselegantandtraditionallyfeminineworkmadeDiorfamousinonefellswoop.ThehighfashionindustryinParisisheadingforgloryagain.Diorledthepopularityofthenext10years,almostNewstylesareintroducedeveryseason.Injusttenyears,Diorhaswontheheartsofwomenaroundtheworldwithhissuperhumangeniusandexquisitemasterpieces,andisknownasthe"GodofFashion","KingofFashion","Fashion"Thedictatoroftheworld".

5.PierreCardin(PIERRECARDIN,1922--)Parishighfashiondesigner,borninVenice,Italy.In1946,heenteredtheDiorstoreandparticipatedinthe"newThedesignandproductionof"style".Fromtheendof1949tothebeginningofthe1960s,hehasbecomeoneoftheleadersoftheavant-gardedesignersinthehighfashionindustry.The"spacesuitstyle"helaunchedrepresentsthespacecompetitionbetweentheSovietUnionandtheUnitedStatesandhumanspaceThearrivalofthetimes.Hewonthe"GoldenThimbleAward"threetimesinthespringandsummerof1977,thespringandsummerof1979,andtheautumnandwinterof1982.Healsoshowedextraordinarytalentinmanagement.HewasalsothefirstWesterndesignthatenteredthegateofasocialistcountryduringtheColdWar.Division.In1979,hewasthefirsttostepintothegateofChina,whichhadjustopenedtotheoutsideworld.Currently,therearemorethan190,000peopleinmorethan120regionsandregionsproducingnearly230productsforthe"Kadan"brand.Inthepasthalfcentury,hehascreatedoneThehuge"CardinEmpire".OnDecember2,1992,hewasacceptedasamemberoftheFrenchAcademyofArts.

6.YvesSaintLaurent(YVESSAINTLAURENT,1936)ParishighfashionDesigner,borninAlgeria.In1954,SaintLaurentparticipatedintheDesignGrandPrixorganizedbytheInternationalWoolBureauandwonthefirstprizeforwomen'swearwithablackcocktaildress.ThiswasanopportunitytoentertheDiorstore.Chiefdesigner.Inthesecondhalfofthe1960s,SaintLaurentspreadhishautecoutureandhauteclothingallovertheworld.Inthespringof1971,helaunchedthehourglass-shaped1940sstyle,whichsetoffawaveofregression.Intheautumnof1974,hepublishedtheCossackstyle,whichcausedThepopularityofethnicstyleclothing.HeisstillanimportantdesignerintheParisfashionindustry.

7.MoriHidehui(HANAEMORI1926--)Parishigh-endfashiondesigner,bornontheislandofJapan.1951inTokyoFoundedastudioinShinjuku.Inthe1950s,hedesignedclothesformorethan600movies.In1963,hefoundedahigh-endready-to-wearcompanyinJapan.In1977,heestablishedahigh-endfashionstoreontheMontaigneAvenueinParis.Inthesameyear,hejoinedtheParisHighFashionStoreAssociation.ThefirstorientalwomanintheivorytoweroftheHauteCoutureAssociation.Shelaunchedherproud,elegantwomen'sdresswithbutterflymotifs,whichbroughttheexoticfashionoftheEasttoParis. V roce 1984 byla francouzskou vládou oceněna „Rytířskou medailí umění a kultury“.

8.IsseyMiyake(LSSEYMIYAKE1938--)Japanesehigh-endready-to-weardesigner,borninHiroshima,Japan.In1970,hefoundedthe"MiyakeDesignOffice".Intermsofdesign,heiscommittedtotheorientalculture,CombiningEasternclothingconceptswithWesternexperience,hefocusedonstudyinghisnationalculturalheritage-kimono.Miyake'sdesignstartedfrommaterials,andheoftenmadetextiles,weaving,chickenfeathers,paper,rubber ,plasty atd. Musí vyzkoušet vše, co lze použít k pletení do oděvů, aby prozkoumal různé možnosti.

Předpoklady

ThepracticalandaestheticfunctionsofclothingrequirethedesignertofirstItisnecessarytoclarifythepurposeofthedesign,makecreativeideasbasedonthebasicconditionsoftheobject,environment,occasion,time,etc.,andseekahighdegreeofharmonybetweenpeople,environment,andclothing.Thisistheprerequisitethatweusuallysaythatclothingdesignmustconsider-T．P.O.inprinciple.

T.P.O.Tři písmena představují čas (čas), místo (příležitost, prostředí), předmět (předmět, nositel).

1.Timesimplyputsforwarddifferentrequirementsforclothingdesignunderdifferentclimaticconditions.Theshapeofclothing,thechoiceoffabrics,decorativetechniquesandeventheshapingofartisticatmosphereareallaffectedandrestrictedbytime.Atthesametime,somespecialmomentsputforwardspecialrequirementsforcostumedesign,suchasgraduationceremony,weddingcelebrationandsoon.Theclothingindustryisstillanindustrythatisconstantlypursuingfashionandfashion.Oděvní designshouldhaveadvancedawareness,grasppopulartrends,andguidepeople'sconsumptiontendencies.

2.Occasionandenvironment(Place)Peopleareoftenindifferentenvironmentsandoccasionsintheirlives,andtheyallneedtohavecorrespondingclothingtosuitthesedifferentenvironments.Oděvní designshouldtakeintoaccounttheneedsandhobbiesofpeopleindifferentplaces,aswellastheetiquetteandcustomsrequirementsofcertainoccasions.Thedesignofaneveningdressandasportswearisverydifferent.Eveningdressissuitableforgorgeouscommunicationplaces,itmeetstheetiquetterequirementsofthisenvironment,andsportswearappearsinsportsoccasions,itsdesignmustbelightandfitandsuitableforsportsneeds.Anexcellentclothingdesignmustbetheperfectcombinationofclothingandtheenvironment.Clothingmakesfulluseofenvironmentalfactorsandismoreattractiveagainstthebackground.

3.Thesubject,thewearer(Object)andthepersonarethecenterofclothingdesign.Beforedesigning,wehavetoanalyzeandclassifyvariousfactorsofpeopleinordertomakepeople'sdesigntargetedandlocalized.Oděvní designshouldconductstatisticalanalysisofhumanbodycharacteristicsindifferentregions,differentgendersandagegroups,andunderstandthebasicknowledgeofergonomicsinordertodesignscientificandfitclothing.Fromtheperspectiveofindividuals,factorssuchasdifferentculturalbackgrounds,educationlevels,personalitiesandaccomplishments,artistictastes,andeconomiccapabilitiesallaffecttheindividual'schoiceofclothing.Thedesignshouldalsobebasedontheindividual'scharacteristicstodeterminethedesignplan.

Vyhlídky na zaměstnání

Theemploymentprospectsforappareldesignareunlimitedandthefutureisbright.AsoneofChina'smostinternationallycompetitiveindustries,China'sclothingindustryisundergoingahugetransformationfromsimpleprocessingandimitationtodevelopmentandinnovationinrecentyears.Thecontributionofthecostumedesignerisself-evident.

Therearemorethan50,000apparelcompaniesinChina.Withtheintensificationofmarketcompetition,companiesrealizetheimportanceoforiginaldesigntoproductvitality.Therefore,thedemandforclothingdesignerscanbesaidtobethirsty.Thereisashortageoffashiondesignerswhohaveuniquedesignconcepts,arewellversedinthemarket,andcancarryoutoriginaldesigns.

Návrh struktury oděvu

Inthedesigncircle,peoplerefertotheclothingpatternmakerastheclothingstructuredesigner.Thereasonwhytheyarecalledstructuraldesignersisthattheworkofpatternmakersismainlytomakethedesigner'sgraphicclothingrenderingsthree-dimensionalandactualized.Piecesofclothinggraphicdesigndrawingsarestructuredthroughaseriesofprocessdecompositionbytheclothingpatternmaker,sothatclothingcanbeproducedfromclothingmanufacturersinamannersuitableforindustrialproduction.Inthissense,theclothingpatternmakeristhebridgebetweenclothingdesignandproduction.

Theclothingpatternmaker'streatmentofclothingmustnotonlymeetthedesigner'saesthetic,stylish,andpersonalizedrequirements,butalsomeetthefactory'soperability,industrialization,andeconomicrequirements.Thisalsomeansthatpatterndesignersmustnotonlyunderstandfashion,butalsounderstandthedevelopmenttrendsandequipmentperformanceofvariousclothingmanufacturingequipmentthatproducefashion.Comparedwiththefeedbackonthepopularityandperformanceofthemachineintheequipmentsalesmarket,thefeedbackonsewingequipmentbytheclothingpatternmakersismoreforward-looking,guidingandcreative.