Classification and characteristics of lines. The composition of the clothing is based on straight, curves and broken lines. 
In clothing there are four main groups of lines: 1) silhouette or contour; 2) constructive; 3) constructive-decorative; 4) decorative. 
1. Silhouette lines. The characteristic silhouette lines was given in presenting the development of the silhouette of the garment (see page 65). 
2. Constructive lines. Any shape form with lines created by the seams. These lines can be divided into basic design (working) and structural and decorative.
The main structural lines are: shoulder seams, the side seams of the bodice and skirt seam at the waist, seams vrachevanie of the sleeves and the bottom seams of the sleeves (Fig. 54, a). 

When you create the shape of the product in addition to the structural joints used tuck, which can also be constructive and constructive and decorative. Constructive'll take the top a tuck, spaced from the line of the shoulder or side cuts or from the line of openings, and a tuck at the waist (Fig. 54, b) and a tuck from the elbow cut sleeves.
In most cases, the constructive lines (seams), participating in the decision shape, barely visible in the finished product.
Eye at all accustomed to constructive seams and Darts because they are repeated in most composite developments, perceives it as a line style, and as a necessary law of construction to the basis shape. 
3. Structural-decorative line. Since clothing must meet not only utilitarian, but also aesthetic requirements, the composition of its decide by means of both constructive and structural and decorative lines that carry a double load. The latter can be vertical, horizontal, diagonal, flowing curves. Thus, in Fig. 55,and shows a model with a vertical line the middle of the back, in Fig. 55,b - with the horizontal lines of the shoulder and hip, in Fig. 55, in diagonal lines, and Fig. 55, g - with smooth curved lines of the Princess seams.
A constructive approach of all these lines is that they complement the structural arrangement within the form itself, replacing in part the respective tuck. Decorative them that they enrich the form, participate in decision style. 
Constructive-decorative lines (seams) can be decorated with pleats, piping, edging or decorative stitching. 
4. Decorative lines are crucial in the development of style. These include lines from different elements of finishes: openwork, piping, embroidery, lace, pintucks, etc. can be considered Decorative and the contour lines of the parts: collar, lapel, cuff, pockets, straps, belts, etc. 
Most of the composite solutions perform on the principle of the enrichment basis (shape) without breaking the main lines, seams and Darts. As shown in Fig. 55, g poluprilegayuschy form with raised seams slightly modified and may be supplemented with decorative lines of the collar, straps, pocket, etc. (Fig. 56).

Another example of solution is shown in Fig. 57. Lines of a given base (Fig. 57, a) is based on direct silhouette, structural seams and Darts shown in Fig. 57 b. Further compositional development of this form of framework is visible in Fig. 57, V.
In Fig. 58, and depicts one of the versions of Russian folk costumes, in which the decorative line formed by the embroidery, welts, piping, are also constructive. This dual load lines was caused by the small width of homespun fabric. Had a large number of constructive joints, which were then zamaskirovalis. National dress of decorative and structural lines often coincide, which is the perfect design solution of the model.
As can be seen from Fig. 58, b, structural joint can be made more expressive and visible, using embroidery or colored stitching along the seams. 
In some cases, mandatory structural joint, not usually involved in decision style, gain a special significance and have a decorative value, for example, when the shoulder seam moved to the side of the front and feature decorative pleats, piping, decorative stitching; side seam coat overlaid a box pleat and trimmed with decorative stitching; the lines of openings, the upper seams of the sleeves and the seams of the skirt are also trimmed with decorative stitching.
The same applies to Darts. Top tuck, for example, may be in the form of the soft inverted pleats, frills, undercuts, pockets, etc.
  the coordination and subordination of structural and decorative lines in songs clothing. In most of the composite solutions at the same time use structural and decorative lines, which are mutually linked and capacidade. While decorative lines that serve as the foundations of composite design are leading, often, disguise and dominate the constructive lines.

In Fig. 59 and shown dress, in which the main according to the plan are the contour lines of the collar, pockets and belt. Tuck the top located from the line of openings, it is invisible and does not violate the whole composition as a whole. 
In Fig. 59, b shows the bodice of that dress with tuck from the line of the shoulder cut. With this solution tuck, cutting in to the line of the collar, disturbs the smooth line of departure and was not aligned with the decorative lines of the composition.
Another example is the model of the blouse (Fig. 59). The basis of composite design is the firmware line lace, a beautiful contrast with the smooth surface of the blouse. The top tucks combined with lace line firmware. 
In Fig. 59, g shows an example of incorrect subordination lines. Tuck, from the middle of the shoulder line, is an unnecessary additional line glenamoy top part of the blouse. Tuck from the side of the ugly slice forms an angle with the finishing line and therefore also violates the integrity of composite design. 
  Main and secondary lines of the composition. Main the lines of composition as would organize the silhouette and the form, Express the purpose, the style, the character, the idea of this composition. 

In Fig. 60, and the main composition lines are the contour lines of the silhouette, defining the design model. Tight back design determines: the location of seams, Darts, the presence of the scoring barrel. The undercut below the waist line, closed the tab, creates a magnificent form of the skirt. 
Main line silhouette can also be the shoulder line and sleeves, if they focused the accent of fashion (see Fig. 42, silhouette 1895).
In dress, as shown in Fig. 60 b, the main line of the composition is the line of the neck (an internal decision of the silhouette). Asymmetric shape and the depth of the cut indicate the special meaning of the dress (pop, concert, ballinae) and define its design. The location of the Darts subject to the shape of the neckline. Tuck in any other direction (Fig. 60), break, violate a crisp neckline. 
Along with the main lines in the composition, there are minor (additional) lines that should be aligned and linked with the main.

This dependence can be seen from Fig. 61. The main line is depicted on this model of costume is a smooth line clasp, accented by stitching. Submit to the secondary line details (pockets and flaps). 
The figure shows two different solutions of the composition: closing the paper the right side of the model, you can ensure that the details placed on the left side, not well aligned with the overall composition of the model. 
  The lines associated with the natural contours of the figure. In some cases, the starting point in the solution of the composition apparel is the line of the neck. Forms can be straight or sloping with soft curves in a variety of combinations that can be seen from Fig. 62: 
a - neckline Kare formed by the combination of vertical and horizontal lines; 
b - V neck (mesohorny) expressed in diagonal lines; 
in - scoop neckline, expressed by a smooth curve; 
g - crew neck, characterized by a smooth, but less concave line; 
d - cut in a trapezoidal shape, combining horizontal and diagonal lines.

Line of the neck is different influences on the overall shape of the suit, increasing or decreasing the overall weight, creating a certain perception of the figure. So, the line of the Cape, deeply cutting into the torso, visually makes the figure more slender. Scoop neck and boat neck bodice visually expand. 
Some compositional decisions shape neckline combined with a form of the clasp. The neckline can be decorated with different collar shapes, identifying the style and purpose of the model (Fig. 63, a, 6). 
  The line of the chest can be accented with a variety of lines coquettes, folds, collars and parts. These lines can be placed in different directions: horizontal, diagonal and etc. 
Yoke can be expressed straight or smooth curved lines. Line yoke attaches to clothing sports, business, sometimes dressed in character. It can be a decorative feature in the form of edging and is accented with stitching, piping, end with a bow, etc.
The bib can also be expressed as direct and smooth lines that create a softer, feminine shape. In Fig. 64 shows the characteristic development of the chest. 

  The waist line. This line can Express a straight, broken or smooth curves (Fig. 65). Connecting the bodice to the skirt, this line is purely constructive and, as a rule, cover a belt of various shapes and widths. Belt buckle, transfer, tie, bowknot is the item placing and masking the constructive line connecting the bodice to the skirt. If the line is left open, its decorative style, using machine stitching, edging, piping, Assembly, giving it a different shape. 
  The hips not always identify and highlight in clothing, but sometimes this line is the main in the composition. In this case, it affects the whole shape of the model, as shown for example in Fig. 66. The entire form is based on extended down the skirt, creating a silhouette of a trapezoid. The line connecting the bodice to the skirt and accented by stitching, piping, or sash, may be in the nature of constructive and decorative lines. This line can be displaced below the natural location, i.e., can slide, changing the proportions of the entire model.
In a number of compositional decisions through the hips emphasize a variety of decorative elements: folds, undercuts, tabs, Beek, bows, PATA, finishing line, etc. (Fig. 66, b). 
It should be borne in mind that the division forms along the lines of the chest, waist and hips solid constructive or constructive-decorative lines visually expands the figure, making it more massive; discontinuous articulation of the various valves, PATA, pull-tabs, undercuts as would reduce the volume of the figure. 
  The bottom line is one of the most significant lines in the song that define the proportions of the clothes.

The bottom line affect the appearance of the entire costume as a whole, as it limits the silhouette at the bottom and emotionally affects the perception of the image. Conventionally, this line can be expressed as a straight line, polyline, a smooth curve or zigzag lines (Fig. 67).
The design of the hem may be of a different nature. Sometimes at the bottom of the paving products machine line (Fig. 67, a). Wide traces can emphasize and make the line more expressive. Pleated skirt is sporty, practical nature. The bottom line is this skirt - houndstooth, zig-zag, it is a very dynamic and expressive (Fig. 67, b). A wide flounce at the lush Assembly, wide band of flowers or feathers, fur opusi hem coat give clothing the sharpness and elegance and are a leading factor in creating the model (Fig. 67, V, g, d).In all these examples, the bottom line is wavy.
In direct and extended the bottom skirts of any length along the lines of middle or side seams sometimes make the cut. In fancy, for example pop, the dresses, the cut can be very deep, which affects the shape of the skirt (Fig. 67, e). 
  The aesthetic value of the lines in the composition of clothing. In fashion, there are periodic entrainment of a particular line. This applies both to the silhouette, contour lines, and those by means of which the internal compositional development of the model. 
  Vertical the line expresses the rigor and brevity. It defines the scale of the clothes, the proportional partitioning of the garment into parts (bodice, Flirty, peplum, skirt, etc.). Vertical provides visual elongation of the figure. Enthusiasm for this line as the lead in the composition is typical for the beginning of the NINETEENTH century (Empire style). Vertically falling soft draping created a main line in clothing (Fig. 68, a). In Fig. 68, b, C, d are examples of modern clothing, where songs are built primarily on verticals. 

  Horizontal line determines the stability, the static nature of the model. It provides visual reduction of the figure vertically. In the NINETEENTH century we can note several periods of fascination with the horizontal as the main line of the composition (Fig. 69, a). In modern clothes horizontal line also finds application: this line coquette and other structural and decorative lines (Fig. 69, b, C, d). 
  Diagonal line expresses the movement, the dynamics. Diagonal typical for constructing garments with asymmetric shapes of the parts. Such compositional decisions were characteristic for 80-ies of the XIX century (Fig. 70, a). In modern clothes this line is used in soft and hard fabrics, smells, etc. (Fig. 70, b, C, d). 

  Smooth the curve is characterized by its softness, "fluidity". In the late NINETEENTH century in the period of fascination with complicated shapes by smooth lines built in the form of multilayer skirts (Fig. 71, a). Smooth line is used in modern clothes (soft, draping, round yoke, peplum, flowing reliefs; Fig. 71, b, C, d). 
  The combination of lines in clothing. Style tend to be developed using vertical, horizontal, diagonal and smooth curves in a variety of composite co-subordinates. 
Consider a few examples:
Fig. 68, a, g - a combination of two lines - vertical (draping) and horizontal (the belt line). Here the vertical line is the main line of the composition. The horizontal line is optional, it denotes the position of the line. the waist and defines the proportions in the model; 
Fig. 69, b, g in combination of vertical and horizontal leading line is horizontal, vertical line; 
Fig. 70, a, b, g - a combination of two diagonal lines (leading lines) and horizontally (additional line);
Fig. 71, 6 and a combination of three lines with a smooth curve (the leading line), vertically and horizontally (additional line).
Thus, the basis of the composition is always some one, with which agree all the rest. 
  The wrong combination of lines in the composition. If the major in composition are lines that are clearly not related the model loses its artistic value. An example is the back of the coat with diagonal lines, enhanced with decorative stitching (Fig. 72,a): line armholes set-in sleeves combined with the diagonal lines of the terrain. More appropriate here would be the cap sleeve. 
Another example is the back jacket coat Raglan (Fig. 72, 6). In this case, the line of openings are connected by a line yoke forming an angle in the Central part of the back, resulting in disturbed the smooth lines of the openings.
In Fig. 72, shown is another back Raglan with straight raised lines, as if incised into the smooth lines of the openings; this leads to irrationality and impaired composite design. 
An example of an invalid combination of lines can serve as a shelf coat shown in Fig. 72, there is one tuck is designed in the form of soft tucks running from the shoulder line, and the other in the form of podraza assemblies - from the line of openings. Such combination in one model of various lines is unacceptable. 

Even more unacceptable is the composition, in which the model is overloaded with various in nature, "arguing" between the lines. 
In any period of fashion is overacting and vulgarization. After all, clothes sewn not only experienced professionals, but unskilled people with a bad taste, seeking to create a deliberately complicated styles. 
In Fig. 73, and shows the model of the dress. The composition is based on lies vertical, reinforced buckle button. The bodice and skirt are constructed by means of diagonal lines of the terrain. The waist is accented by a horizontal line. The skirt-oval line Basque (Basques).
Another example is the back of the coat (Fig. 73, b), clearly overloaded diverse lines. Such a conglomeration of constructive and decorative lines reduces the quality of the model. 
In Fig. 73, shows the back of coat also overloaded constructive and decorative lines (pintucks, decorative stitching, reliefs). In this composite solution is found the lack of a sense of proportion and aesthetic principles. In addition, in the middle of the back created a very complex processing nodes.

  Overload model homogeneous lines also indicate improper the composite solution model. Let us consider the examples: 
Fig. 74, and the annoying repetition of a relief oval lines in the model a coat. These relief lines in the upper Darts would be much more expressive, if you remove the raised lines with pockets and bottom of sleeves; 
Fig. 74 b - the sleeves and the back coat used homogeneous counter folds - tucks and decorative stitching;
Fig. 74,in the repetition of the oval line in lines the collar, cuffs, valves and bottom of the jacket.
In all these examples, the unity of the composition is disturbed, as it breaks down into individual nodes. Such models can be corrected, taking with them the unwanted lines, closing in turn the individual elements of the line.