The laws and rules of composition 

Each kind of art is characterized by its own laws and rules of composition. In the art of composition clothes the main laws are the following: 
1. The subordinate components of the composition and composite of funds for the purpose of clothes. 
2. The presence of a compositional center. 
3. The proportionality of all parts and components of a composition between himself and the human figure. 
4. The integrity of the composition. 
  The subordinate components of the composition and composite of funds for the purpose of clothes. All compositions must be subordinated to the purpose of clothing and to Express it. In other words, the practical purpose of clothing is always should be the content of her art form. There are three rules, expressing the law.
1. Organic unity of the purpose of clothing and its form. Form of any thing to answer its immediate purpose, it is advisable to be built. Thus, the shape of the bathing suit (swimsuit and hat) accurately reproduces the shape of the body and head, as due to the tight fit of the suit does not prevent one to move in the water and when wet is not deformed. Dresses for ballroom dancing make the bottom bigger than the top. Coats are mostly free or poluprilegayuschy shape, as they wear over other garments.
2. The material assignment and the shape of the garment. Artistic and practical value of the clothing provided by the use of such material or combination of materials that identify the artist and satisfy the purpose of clothing and its form. For example, the same cloaks to meet its intended purpose, made of fabrics with water-repellent impregnation, rubber or special synthetic materials that do not absorb moisture and retains its shape. Legkomoyuschayasya of fabrics, you cannot make clothes narrow forms, a draped dress or a pleated skirt.
3. The unity of material and decoration in accordance with the purpose and form of clothing. Including any trim in the composition of clothing, we must first determine the nature of this finish and its form and technique. If it is not contradicted not only utilitarian properties of the material, structural and tactile qualities, but also purpose and form. So, in order to create clothes, which would be cool in the heat, is used, for example, a linen or cotton fabric.With a strong plain-weave flax organically combines the following types of embroidery as "hemstitch", "Previti" or dimensional and piece lace, introduced in the very fabric and accentuates the particular shape of the product. Such a finish at the same time decorates the dress and creates maximum coolness. When decoration your content helps Express intent, and artistic intent thing, it becomes active and expressive element in a composition (for example, the image of an anchor and sails on the costumes for traveling on water).Conversely, the decoration destroys the integrity of the composition, if its content is not consistent with the General purpose of the suit. So, is ridiculous on the suit for skiing to give the applique flowers sunflower or poppy.
  The presence of a compositional center. All the components that make up the compositional center of the (accent) in the solution composition model, are divided into two types: essential, which include everything that forms a three-dimensional shape of a certain kind of clothing (three-dimensional shape with a contoured shape of the bodice, sleeves, skirts, pants, etc.) and of decorative and structural components, the cut or the line cut, as well as various parts, decorative finishes, accessories and jewelry.
Each of these components may be the only as the dominant compositional centre or be combined with other components. Usually, a combination of two or three components as the main focus of the composition contributes to a more precise disclosure of the intent of the artist and the imagery of the model.
For example, the idea of the monumentality of the female image the artist expresses in a long evening dress, solving the silhouette of his form cast in the form of a bell (Fig. 10 a). The center of the composition of this dress are the sleeves - they form the same shape of the mill. In search of a more expressive means of accomplishing his purpose, the artist has outside of the sleeve inlay expressive monolithic pattern, forming a clear the shape of the spot (Fig. 10,b). Decorative pattern, combined with the sleeve a single, common format, amplifies the sound of the main accent of the dress.

Depending on the existing fashion trends set the conditional scheme of composition, providing the location of the main accents. Thus, for one direction fashion is characterized by the accentuation of the upper part of the suit;. in the period of domination of the other composite fashion center moved to the lower or middle part of the costume. According to this designer, working on the composition of clothing, focusing on those components that can most clearly identify the major trends and typical. features of this fashion trends.
A significant role in the choice of components as the main emphasis in the composition plays a style of artistic solution to the costume (sports, classic, national), as well as the features of the creative personality of the designer.
In addition, a great influence on the choice of those or other components as the centre of the composition has a specific focus of the simulation. Thus, development of models of long-term fashion usually associated with finding a new silhouette shapes and their volume expressions, new ways of forming (cut) out of new materials, determination of changes in the proportions of individual garments and entire costume. In these cases, the artist's attention is directed to the corresponding components, which are the main components of the first type.Developing models for industrial production is based on already found the silhouette of shapes, volumes and proportions established; creation of industrial designs clothes mainly due to the development of different variants of parts, trimmings and their location on the clothing.
The basic rules of the second composition law are: 
1) identification of the Central focus of the composition and obeying other components, 
2) the balance of the composition. 
This means that the characteristic feature of the main components forming the composite center, determines the shape, size and style are secondary, i.e., of decorative costume, of components. 
Consider both rules in the examples.

The center of the composition shirtdress (Fig. 11,a) is a collar with strap closure. A feature of these parts so that they form, formed a cool curved and straight lines and accented by decorative stitching. This characteristic feature of the main compositional accent is revealed by the shape of the pocket flaps and cuffs. Plain collar material, straps, valves and cuffs distinguishes these components contributes to a more precise expression of the leading fashion trends of the period 1965 - 1969 (sporty style, emphasized the youth's appearance; short length,
the precision of geometric forms, and the scarcity of details of composition of clothing). 
Within the flattened rectangular shape of the mill dresses and oversized patch pockets are low; only such arrangement creates the balance of the whole composition.
The compositional center of the coat sports style (see Fig. 11,b) -a storm flap. Its location, size and configuration determined by the nature and location other details: small collar with its rounded corners coincides with the seamed edge of the yoke; leaves pockets shape and arrangement are subordinated to the main accent of the composition; belt loops with belt lock high waist - all of these components characterizing features of fashion 1970 - 1971, creating the equilibrium compositions of the upper and lower pieces of clothing.
The harmony of shapes can emphasize a significant lengthening of the garments and the change in its proportions through the introduction of her as the center of the composition, a high belt-corsage (Fig. 11). This detail - new fashion 1970 - 1971 - defines the whole structure of the composition, subdues, and unites the remaining components, giving a stability of the composition: a-line silhouette and cut, the design of the neck, shape and size of the pockets.
A considerable elongation of the fixed belt high waist, changed the proportions, an abundance of diverse parts-all these signs of fashion in the beginning of 1970-ies distinguish the scheme of composition of the costume of this period of composition scheme of the preceding period fashion. But the rule of revealing the main in composition and obedience to him is secondary, as a rule balance, remain constant. Thus, the models shown in Fig.11 and 12, characterized by the fact that a certain stability, the balance of each composition achieved by the distribution of the various largest details on the relevant parts of the clothing on the principle of subordination to their main emphasis, subordination to each other and the human figure. If pockets short dress-shirt to be placed below, the balance of the composition is violated, use of them would be uncomfortable. If the elongated sleeve of the cloak and the dress was not decorated with the leaves and the cuffs, there would be a sense of overload parts of the bodice products.In turn, the presence of pockets and the trapezoidal flaps on the skirts of these products balances the upper and lower part of the figure.
The visual balance of the composition of clothing can be achieved by other means, for example by the introduction of any one of items (SMD pocket in your dress-coat, is shown in Fig. 12, a), a combination of different areas of the checkered pattern of the fabric (Fig. 12, b). 
  the proportionality of the parts and elements of composition. The second law is closely linked third - proportionality of all parts and elements of a composition between himself and the human figure. Proportionality in the composition is achieved by the quantitative ratio of the following factors and elements of service: 
the volume of clothes (bodice, sleeves, skirt); 
color and texture material (blouse with skirt, finishing of the collar and the belt with the dress, fur cuffs and collar coat); 
parts of clothing (collar, pockets, valves, tabs, etc.); 
finishing (stitching, embroidery, accessories, etc.). 
The number, size and shape of clothing items, their proportionality and coherence with the overall model must be refined in the modeling process, since changes in any component, as a rule, entail a change either its location or shape and volume of the part of clothes where the component is located. 
  The integrity of the composition. The composition can be whole if at its creation comply with all the above-mentioned laws and regulations, for the integrity of the composition is the subordination of the secondary main, the relationship of all components, balance. Integrity, in turn, promotes clarity of expression of design and its perception. To verify the stability of this relationship, consider again the models that were considered above (see Fig. 10, 11, a, b). 
The idea of creating a monumental, majestic image (see Fig. 10) is expressed as a monolithic whole silhouette, and the solidity of the major decor.
Ultimate geometrization is the method of disclosure when the style of clothing 60-ies with the style of modern architecture, emphasized not only the geometric shape of the model (see Fig. 11, a); it reveals in a mathematically precise relationship of the size and shape of parts with the zoom strips of fabric.
A simple idea - to create a comfortable, reliably protecting from a bad weather coat coat could not be better expressed in the model depicted in Fig. 11 b, where the integrity of the composition is the result of compliance with all laws and rules of the art of composition. No matter how the composition is simple or complex in their components than whole, solid it is built, the clearer it will be perceived and its purpose. The integrity of the composition depends on the ability to abandon unnecessary.