The silhouette is called planar solid or contour image of an object (Fig. 37). However, the silhouette gives a clear idea about the volume of clothing, as it is a projection of three-dimensional form.
The silhouette of the clothes can not be expressed, if it is based on no definite shape created by the lines.
The external shape, contour, silhouette clothing create lines. Thanks to the lines in the silhouette of clothing may be disclosed to the ideas of simplicity and conciseness, rigor and restraint, femininity and softness, sportiness and masculinity, swiftness (dynamics) and extravagance, etc. Lines lend the silhouette of the expression, determine the proportion, contribute to revealing the idea of the composition, Express the area of fashion.

SILHOUETTE

The emergence of the concept of the silhouette of the apparel should be attributed to the times when primitive people began to use covers.
Animal skins, tree bark, fibers of plants, fish bubbles, feathers - anything that can protect the body from cold or heat, rain and wind, served as a cover for the body. Already in those early times for the convenience of the people attached to the skin in some way or another by stitching the material using a fine pointed bones used as needles.
Attempt to make amorphous materials, skin, fibers, feathers, the necessary form can be seen from Fig. 38. In Fig. 38, and shows the silhouette of primitive man, dressed in a skin-blanket, holding fast to the upper anchor zone figure and which was the prototype of the modern upper garments - coat, tunics, capes. In Fig. 38 b depicts the silhouette with a closed lower part of the body with g-string from plant fibers that became a prototype for modern pants and skirts.
 

In the future, with the development of cattle breeding and agriculture, man has learned to fur, to grow flax, cotton, hemp. First by hand-woven, and then using the simplest of looms, people began to create materials for clothing. The covers became more comfortable, utilitarian form. Undergoing many stages of development, endlessly transforming, the silhouette of the clothes becomes more defined and expressive, based on certain reference (design) zones, and expressing a particular trend of fashion prevailing style.
Distinguish the silhouettes of two basic types.
1. Sculptural - identifying and repeating forms of the human body, revealing both advantages and disadvantages of the figure (Fig. 39, a).
2. Decorative - retreating from the natural contours of the shapes, masking and hiding its natural line, visually distorting and distorting the proportions and shape of the body. Decorative silhouette as if to distract attention from the natural forms of a human figure (Fig. 39,b).
 

  Compare silhouette with geometric shapes and different objects. For a more accurate characteristics of the silhouette it is compared with various geometric shapes (Fig. 40). So, the silhouette, the main lines of which are parallel, like a rectangle (Fig. 40, a). If the main lines diverge at the bottom, the silhouette is compared with the trapezoid (Fig. 40,b). Silhouette with radiating up and down from the waist line lines resembles two triangles with vertices at the common point (Fig. 40). If the silhouette is formed with soft curves, then compare it with the oval (Fig. 40, g).
Silhouettes can be similar to more complex geometric shapes, respectively, combined: with the rectangle, arched or trapezoid, trapezium with a rectangle or trapezoid etc.
Sometimes the silhouette is compared with different letters, objects, etc, during the period when the shoulder line was artificially extended, and the bottom of the silhouette was built on straight vertical lines, the silhouette compared with the closed scissors. Subsequently, the expansion of the silhouette in its lower part has led to similarity with open scissors.
The silhouette depicted in Fig. 40, compared to surly's, but with much narrower shoulders and a smoothly extended low with the letter A.
The silhouette of the skirt, much narrowed downwards, called the barrel, and the silhouette of skirts, curvy waist and slightly narrowed downwards, Tulip or water drop.
Silhouette, markedly narrowed at the chest and shoulders and extended at the bottom, is called amphorae.
Silhouette reminiscent of the oval (Fig. 40, d), compared with the spindle, etc.
 

  The image of the silhouette in profile. In most cases the silhouette of the clothes reproduce in the FAS (in fashion magazines, sketches, sketches). If this image does not give an accurate picture of trendy lines and shapes (when the emphasis of fashion is focused on the back), then reproduce the silhouette in profile. Thus, in Fig. 41,and shows the silhouette of the coat with a light, dynamic, as if flying back. In Fig. 41 b shows a dress that the bulk of the fabric centered on the back panel of the skirt in the form of deep, soft tail (skirt with "backward movement"). In Fig. 41 shows a short jacket with a large soft slouchy in the back, and Fig.41, g - a jacket with a peplum for a smooth front and with deep folds on the back, giving the sharpness of the entire model.
  Development of the silhouette of clothes of the XIX - XX centuries. In Fig. 42 shows the development of the silhouette of women's dresses for 150 years (1800 - 1950). Each of these silhouettes has its own characteristic lines, reveals or hides, and sometimes deliberately distorting the natural lines of the figure.
 

  The waist line is the main leading line in the composition of clothing. Underline this line in design reveal the proportionality of the structure of the figure.
Most often, the waistline on the apparel retains its natural position, but there were periods when the waist had slightly higher (see Fig. 42, silhouettes 1801 and 1819 years), or below its natural position (see Fig. 42, the silhouette of 1927), which created a new proportional ratio, visually changing the appearance of the figure. Sometimes the waist was excessively expressed, sharply narrowed. In some cases this was achieved by connecting a small bodice with a very full skirt-crinoline (see Fig.42, silhouettes 1830, 1850), in other cases the use of special corsets, the waist to create a glass (see Fig. 42, silhouettes 1865, 1880, 1885, 1895 gg.).
For the beginning of the XX century was characteristic silhouette (see Fig. 42, silhouette 1901), visually distorting the waistline and the entire figure as a whole. In profile, the silhouette resembled the letter S. has Accomplished this with the help of a corset.
Since 1916, the corset in women's clothing ceased to apply, the waist line has been gradually expanded. In 1925 and in 1927 it loses its shape and moves to the hips. The bodice is too long, skirt too short, the silhouette is reminiscent of the figure of the boy. In 1931 the waistline in the clothing returns to its natural place. First, it is so poorly highlighted that the difference between the girths of the waist and hips, almost imperceptible, but gradually, the waist narrows and clothes takes the natural shape.
In 1945, the waist line is moved down slightly, lengthened the bodice, the skirt is shortened. From 1950 - 1952, the waist returns to its natural place.
  Shoulder line on all silhouettes up to 1938 has a natural downward position. There were only changes in the length of the line of the shoulder. In 1938, for the first time in the history of fashion shoulder line becomes artificially straight (horizontal), which is achieved by the use of cotton pads. Such a trend in fashion, with some modifications, remained until 1952
  the Line of the chest during fashion were located differently. In the early NINETEENTH century, it was markedly raised, inflated (silhouettes 1801, 1819.). In time the location of the line is more natural, though the shape of the breast somewhat distorted because the figure strapped corset.
A distinctive period in the development of the silhouette are the 1925 - 1927, when it was considered fashionable boyish figure with a totally flat chest (chest bandaged; (see Fig. 42, silhouette 1927).
  The hips is essential in women's clothing, as it best highlights the feminine silhouette. In the costume of the NINETEENTH century through the hips with clothes on artificially expanded by applying 50 - 60-ies of the crinolines, and in 70 - 80-ies - the bustles and hoops. Simple silhouette modern business clothes the hips do not emphasize, conceal.
  The bottom line plays an important role in determining the proportions of the silhouette, as the magnitude of the visible part of the entire leg silhouette takes a particular form. So, wear floor-length gives the figure a monumental or solemn.
Throughout the NINETEENTH and early twentieth centuries women wore dresses to the floor, sometimes with a train (see Fig. 42). Since 1910, the bottom line is a few moves up to the level of the ankle. Gradually wear is shortened, opening the calves of the legs, knees and part of the thighs (mini skirt).
From the foregoing we can draw the following conclusion: when you create a silhouette of any, even minor, the line can be crucial. In Fig. 43 depicts two silhouette with equally spaced waist, same length and width skirts but with different shape shoulder line-straight artificially and naturally sloping. That minor difference makes both the silhouette quite unlike one another.
 

The main directions of development of the silhouette (the most characteristic stages). During the previous centuries and in the early twentieth century (until 1938) in the fashion of a certain specific length of time prevailed one silhouette (see Fig. 42). Consider a few examples.
In Fig. 44, and shows three different models from a fashion magazine, 1918, However, all models have the same silhouette: the shape of the shoulder line, waist line, the shape and length of the skirt.
The second example is the silhouette clothing fashion 1927 (Fig. 44,b). In all models there is no waistline, straight skirt shape, the sleeves are narrow at the top and flared. Characteristic in these examples is the fact that the silhouettes are characterized by the same form of hats and they have the same fit on the head.
In the fashion of 1938 (Fig. 44,) the primary motive is the shoulder line is artificially straight, almost horizontal. This silhouette characteristic of the sleeve-type leg ("Gigot"), with cotton pads, lush, the crown and narrow at the wrist.
 

Beginning in 1935, the silhouette began to move in a new direction. In Fig. 45 depicts the then fashionable silhouettes easy dresses. One dress with a skirt, tapered-leg, and the other with strongly flared. These silhouettes were typical of outerwear. In Fig. 46 shows three simultaneously fashionable silhouette coat, constructed on a X-shaped lines with a pronounced waist and a extended skirt or flowing lines converging downwards, or on lines, tapering to the shoulders and widening towards the hem. This trend is developing further, gaining a variety of forms. In Fig.47 shows the easy silhouettes dresses fashion 1956 - 1960 various forms, but Unitedsingle line length of the product.
 

The most significant stage in the development of the silhouette came in the mid-60 - 70-ies of XX century, expressed in the desire to create a youth fashion. For the first time in the history of fashion takes place age division of the silhouette, based on the difference in length products. Occurs extreme simplification of form, which is reduced to a shirtdress without identifying lines of waist, bust, and hips. By changing the proportions achieved different length dresses, each silhouette is perceived differently (Fig. 48). In Fig. 48,and shows the silhouette of the clothing of a teenage girl, in Fig. 48, b - young woman in Fig. 48, in women of advanced age.
Then common form shirt eventually got tired of calling so-called visual fatigue; silhouette began to change, while retaining the three variants of length of the product depending on the age of the woman. Fashion steel straight silhouette or extended down from the armhole (trapezoidal shape); the so-called slide the waist line from the hip line to its natural location; skirts of various shapes - pleated, flared; different sleeves - straight narrow, flared (bell-shaped), the cuff (wide or narrow), with a large number of assemblies from the brush (lush) and puffed, etc.
 

By the end of 1970 the bottom line - length - becomes pivotal in the development of silhouette, with age, the principle loses its force. There are three characteristics of length: mini, Maxi and MIDI.
The mini length contrast Maxi length (to the ankles, Fig. 49, a, b). Fashionable blend mini-dresses with Maxi-coat. Along with this, there is a silhouette pant sets (see Fig. 37). Maxi length was less popular, it was replaced with a MIDI length, if the unit closes the legs mid-calf (Fig. 49).
Thus, every period the fashion peculiar to your peculiar fashionable silhouette. The diversity of variants of the same silhouette confirms the richness and complexity of the costume. In the basis of creating any model is a specific shape dictated by the fashion and creative imagination of the artist with the model and always restricted to a particular scale - the figure of a man.
Silhouette is a frame (square), within which develop the form and create the style (Fig. 50).
 

  A comparison of the concepts of "style" and "form". In Fig. 51 (picture from a fashion magazine, 1916) it is clear how the same silhouette (shape) developed different styles of dresses. The variety of fashions it was decided on the principle of "harping" silhouette, the design is deliberately complicated styles, combining the various lines, details, finishes, taken within the limits established for a known period of time shape. All the attention is focused on the style. Lines of the same design as would have faded into the background.
To fashion the second half of the twentieth century is characterized by the coexistence of different silhouettes with a more simple styles. As a consequence, the notion of form in modern clothes is more important in comparison with the concept of style. Style does not always determine the form. For example, a dress with ruffles (style) can have numerous variants of the design (form).
 

Models second half of the twentieth century freed of unnecessary lines, details and finishes, making the lines become decisive more effective in creating the model. The lines are not masked, and Vice versa, are emphasized, sometimes exacerbated by stitching (Fig. 52). Constructiveness - one of the leading factors of the current modeling.
As already known, the silhouettes are structured (see Fig. 39,a) and decorative (see Fig. 39,b). Depending on the nature of the silhouette is solved its internal development - design.
 

The same silhouette, serving as a background may have multiple solutions - developments. Let us examine this in more detail.
1st example - structural silhouette (Fig. 53, a). The contour lines of the silhouette restrained, emphasizing and revealing the natural lines of the figure, in some way revealing and defining the shape and design of the product. Just look at the silhouette, to ensure that the skirt is a straight shape with one or two seams. In silhouette, shown in Fig. 53, b, skirt, flared or bell bottom casual or consisting of any number of wedges. The design of the bodice of this silhouette can also be solved in different ways depending on different combinations of lines dictated by fashion.
2nd example - a decorative silhouette (Fig. 53). He is emotional, extravagant. A-line silhouette is so distinctive that they identify the solution to form the design. Moreover, the number of variants of the constructive decision of this silhouette is more limited. It is based on fit flare ("sun", "bell", etc.).