PROPORTIONS 

IN architecture, fine and decorative art, proportion is proportion, a certain ratio of parts (forms) each other and with the subject in General, one of the manifestations of harmony. 
Being the basis of the structure of all works of art, the proportions are a means of artistic expression of objectively existing relationships in nature. Transmission the exact proportions of the depicted objects is one of the conditions of their faithfulness to nature. The absence or violation of proportions leads to loss of the harmonious, orderly the integrity of the depicted object.
In practice, especially architectural, historically many systems of proportions. So, for antiquity was characterized by a numeric, the proportion of visually perceived; for medieval Gothic geometric, disproportionate in numbers, the hidden proportions; in the Renaissance, leading to the concept of perfect proportion was the teaching of the Golden section, used especially in sculpture. 
The doctrine of proportions includes the basic laws suit composition: statics 'and' dynamics, symmetry and asymmetry, rhythm and plasticity. 
Consider the main types of proportions.

In mathematics the equality of two relations is called a proportion. For education, the proportions must have at least three values. For example, it is necessary to divide the segment AB (Fig. 75) into two parts AC and BC so that all three of these values were associated proportional, i.e. satisfies the condition AB = AC + BC. Get only two proportions: 
AB/AC = AB/BC - the division into equal parts and AB/sun = sun/as - the division into unequal parts.
The last ratio is called Golden ratio and is expressed by the following ratios: 3 : 5 or 5 : 3; 5 : 8 or 8 : 5; 8 : 13 or 13 : 8, etc. In each of these relations the sum of the two numbers forms an integer that refers to a greater number of as largest to smallest.
In practice for finding the proportions of the Golden section it is convenient to use the graphical method. From the point A of the segment AB (Fig. 76) subject to division is carried out perpendicular to this segment, on which lay the line segment AC equal to half the segment AB. Connect points b and C. the hypotenuse of the triangle formed from point C lay segment CD equal to the segment AC. Next, on the segment AB from point b postpone segment VE, is equal to the segment BD. The point E divides the segment AB into two parts according to the principle of the Golden section.
In the visual arts proportionality of the linear variables can be solved using two basic proportions: 
1) division into equal parts is the principle of sameness and 2) division into unequal parts - the principle of diversity.
Both these proportions are not abstract mathematical concepts. Their manifestation is observed in nature and, in particular, in the structure of the human figure. For example, in the navel the body of a newborn child is divided in length into two equal parts. The natural division line of the waist into two parts in proportion to the folded shape of an adult human is expressed by the ratio of the Golden section; the middle of the body falls on the pubic symphysis fusion.
Division of a line, plane or volume into equal parts, ie on the principle of sameness, causing a sense of peace, of statics (see Fig. 75,a). The same division into unequal parts - the principle of diversity - invokes a sense of movement, dynamics (see Fig. 75, b). The first principle associated with the law of symmetry, the second law of asymmetry.
Consider the proportions and principles of the division are for the artist the starting point used when solving the model. Following his design, seeking his figurative incarnation, the artist must first look for the most expressive of the ratio of parts and whole, i.e. the individual garments and the entire costume as a whole. For example, using a threefold division of the same form, combining the principles of diversity and sameness of proportions, you can achieve great diversity in the solution composition, which can be seen from Fig. 77. In the first case, the ratio obtained by dividing into equal parts (Fig.77, a); in the other case, a division into unequal parts according to the principle of this diversity (Fig. 77,b); the third - the principle of contrasting diversity (Fig. 77,). From the second to the third example increases the sense of movement and dynamics. Clearer are respectively symmetry and asymmetry. Complicated rhythmic system of the composition. All this contributed to a sharp difference in the values of the squares formed by lines of division; their contrast ratios to one another and to the whole have increased, exacerbated the overall emotional tone.Therefore, starting from the main schemes of proportions, changing to a greater or lesser extent are existing in these schemes, relationship of values, we can obtain new semantic effects.
The scope of costume is primarily the art of proportions. In a suit proportions play a particularly important role: public relations are parts of it between himself and the figure of a man depends on image expressiveness of costume and appearance of the person. Since the costume includes clothes, accessories and hairstyle, it is necessary to take into account the form and size of a headdress or hairstyle, shape and height of the heel of the Shoe, the number and nature jewelry. Taken together, all these components have an impact on the nature of proportions.In addition, due to the fact that the person is moving and the figure of his volume, ratios and proportions between the individual elements of the costume (dress, hat, shoes), and separate pieces (bodice, sleeves, skirt, collar) may be different when considering the figure from different angles: full face, profile or back.
Depending on what is included in the concept of beauty in different times, in different times and epochs, there are specific forms of costume with the appropriate proportions. 
Let us look at some examples from history. The drawings illustrating these examples, generally and schematically convey the typical build of the costumes of the respective periods of time.

The idea of female beauty in the XIII - XIV centuries developed under the influence of the Gothic style and was reflected in the artificial elongation of forms (see Fig. 2). High headdress, and a short narrow bodice, flared skirt with long train and elongated shoes - all this created the impression of a high figure. Frontal silhouette of a figure in a suit fit in the elongated isosceles triangle (Fig. 78, a). Connection line,bodice with a skirt that is located under the breast, divides the dress and the figure in two very different sizes of the part and creates a sharply contrasting relationships between them (1 : 6).
In profile the figure from top of headdress to bottom of dress and end of the plume has entirely different proportions and shape (Fig. 78, b). Behind the long train the figure seems unnaturally elongated; the result is a still greater contrast in the proportions of bodice and skirt.
The Renaissance created new forms and proportions in the outfit. In accordance with this gain distribution is a very open tight bodice, wide shoulders (lush in the upper part or along the entire length of the sleeve), the voluminous skirt. The figure fits in the rectangle (Fig. 79). The ratio of shoulder width to the width of the skirt is almost equal to one. The waist on the natural space and creates a contrast with the attitude vertically between the bodice and skirt (1 : 3).

A vivid example of artificial forms and proportions is a female costume of the EIGHTEENTH century Women were dragging the body of the corset to such an extent that the waist seemed a wasp. Using timber frame construction to the skirt of the immense width gave the most bizarre forms. The shoes were on very high heels. All this combined with an open bodice has led to the fact that the upper part of the figure seemed much less lower, head, hands and feet - a very tiny and elegant. Contrast ratio of the volumes of the upper and lower parts of the dress achieved the impression of subtle fragility and grace of the female figure.Silhouette of the entire suit fits into a triangle (Fig. 80), but with more reason than depicted in Fig. 78. The shape of the triangles to repeat the shape and decoration of the bodice and skirt. Converging vertices on the waist line, these triangles focused on the waist, visually making it look even thinner. The ratio of the size horizontally (the width of the shoulders, waist and bottom of the skirt) are also based on contrast: the shoulders seem wide compared to the very slim waist, the full skirt visually makes the waist even narrower.

In the classical era women's costume is freed from artificial structures (withdrawn corsets and crinolines); created new proportions. Natural them vertically broken by shifting the waist line under the chest (similar to Gothic at times). Soft bodice with a deep neckline; straight, relaxed skirt flowing in the back goes into a small train. Smooth lines and freedom of forms of womens dresses reminiscent of the uniforms of the antique style. The whole silhouette of the figure fit into the elongated rectangle (Fig. 81) with similar size ratios contours (shoulder width, waist, hips and hem).The ratio of vertical short bodice and a long straight skirt approximately 1 : 6 (FAS), of 1 : 6.5 (in profile) and 1 : 7 (back). The whole figure was clinias dress in three parts. The hair in a knot on the back of his head as if to lengthen the neck line of a head and combined with the smooth line of the skirt (in profile). Predominant verticals emphasized by the presence of long colored shawls.
Further, the skirt starting to decorate different ruffles, lace, braids and other decorative elements. In the lower part of it becomes heavier and expands; the bodice at the shoulder area is also artificially expand. Dress becomes more complex: it is divided not into two, but into three parts. The sleeves are also different ways are subdivided by three parts. Figure in turn is divided into four parts. Visually it becomes less slender (Fig. 82). The silhouette fits into an elongated trapezoid.
In all these examples, it is necessary to mention a very important detail: what if the ratios were a separate part of the costume, no matter how many parts or clinias the dress itself, it is in all cases long, covering his feet.
In the twentieth century, dresses are starting to make shorter - not to the floor. Complicated design of the suit, so as to achieve a good visual connection of the open part of the legs with clothes is a difficult and responsible task. To what extent open legs - a very important factor in the composition, the same important as the contraction or expansion of the waist line, hem, sleeves, etc. From what to what places are open legs, what shape and size the heels of their shoes, depends on General visual perception of the figure in the suit. On the change of the ratio of the open part of the legs and the dress rests to a considerable extent the formation and change of fashion.

In Fig. 83 depicts the dress of the second decade of our century. Along the length of the skirt in those years a little bit not reached to the ankles, revealing the thinnest part of the calf. So feet, shod in shoes with high heels, seem small and thin, especially in conjunction with a pretty full skirt dresses.
The silhouette of the dress and the whole figure fits in the oval. The figure is divided into four parts, each of which is linked with other, forming together fashionable for the age proportion in the suit. Characteristic in these proportions is the equality of the values of the head and the open part of the legs (segments 1 and 4 vertical) and the difference between the values of the bodice and skirt (segments 2 and 3), expressed as the ratio of 1 : 2,5.
In 1925 - 1929. dress length, its shape and proportions have changed dramatically due to the fact that the ideal of female beauty was the boyish figure. Form knee-length dress in a straight fit shirt in a rectangle and divided the hips into two parts (Fig. 84, a). The bodice was longer than the skirt twice, the open toe part was a little less than one third of the whole figure. Such ratios in combination with high hat pulled down over his forehead, and narrow-nosed shoes on a heel heavy upper part of the figure and light - lower; figure seemed fragile.In the late 60-ies of the shortest set in the history of fashion length in a dress. The shape and proportions of the clothing of girls and young women similar to the girl dresses. Feet, open mid-thigh dress and relate to each other vertically, as equal values (Fig. 84, b). These new proportions of the suit is direct or extended silhouette accentuate the legs, and shoes with low or medium wide heel gives the figure stability. All this creates the image of a young woman.The modern suit, as historical, in its composition is closely associated with the body, its natural divisions and contours. Examples of historical costumes, discussed above, we can see that the costumes different accent the particular shape by means of a scheme of proportions that creates a particular image. But, as a rule, the artificial frame of the so-called ideal forms of the costume of past ages have subjected the human body to your scheme. The modern suit does not distort the figure and its proportions, as it is based on loose proportions with the figure.
Follow this by examples. The classic type of modern clothing is the one division which most closely match the design of the human body: neck located at the base of the neck, sleeve TACAN on the place of articulation of the arms with the shoulder, and its length comes to the wrist or to the elbow, and the belt is at the natural waistline, the bottom of the jacket at the level of the hips, and the length of the suit - knee length or completely hides the legs (evening dress, pants); the clothing allows freedom of movement.
Each mode, based on this scheme, to some extent, alters the proportions, the silhouette of the garment and thereby contributes to a new perception of the figure. 
For example, a completely straight (without revealing the waist) form female dress with a shallow elongated Darts makes the figure a flat, geometrically precise. Extra long over the knee skirt, slightly marked waist, low armholes or cap sleeves give the silhouette softness, femininity.
At the turn of 60 - 70s years fashion has changed dramatically length. This fact is connected with the search for a new image of the feminine, plastic, silhouette. In order to create a visually taller, slimmer, not only to lengthen the garment: the change in length changes exist in clothing proportion. 
As you know, any fashion starts with the silhouette. Need to find ratios and proportions in the whole silhouette of the figure and a costume that accurately and clearly Express the desired traits of the female image. 
So, for the new (early 70-ies of XX century) silhouette defined the following characteristic diagram of proportions:
small head hair, tightly smoothed, the small cap follows the shape of the head; 
shoulder girdle natural spread, often with a raised head sleeve; 
the product is tight on the chest; 
high waist revealed the adjacent contour of the garment or belt; 
line thighs smooth; the width of the skirt reasonable; 
product length to the knees or covering the eggs (Fig. 85).
Within this scheme, vary the proportions kankretna for each type of clothing, and the visual elongation of the figures is achieved by the contrast of proporti in the ratio of the upper and lower parts of the figure. So, extending the coat and dress, inflate the waist, and lengthening the skirt suit, the jacket shortened. Visual lengthening can be achieved by moving parts in the jackets and skirts, dresses and coats. Details, focus from the shoulders and chest or the waist, closer to the Central axis.
The introduction of the verticals in the composition of the clothing also creates a noticeable effect of elongation of forms: the clasps on the narrow planks with lots of buttons, lines, design, pintucks and pleats starting from the shoulder seam or the neck, etc. 
Finally, the long ends of the scarf, head scarf or narrow belt also enhance the elongation of the figures. 

To establish the desired proportions in clothing important is the determination of the length and the location of the line
waist. In Fig. 86 depicts the same figure in the same dress but with different provisions of the waistline., On the left figure (Fig. 86, a) waist of the dress is above its natural location; here, the ratio of parts 1 and 2 is 1 : 3. On average the figure (Fig. 86, b) the location of the waist line of the dress is natural; the ratio of parts 1 and 2 is 1 : 2. Finally, on the right figure (Fig. 86) the waist line below the natural location; here, the ratio of parts 1 and 2 is 1 : 1.From comparison of the figures shows that the left figure gives the impression higher than the other two, and the right seems more squat. Such a different vision of the same figure due to the different nature of its articulations, i.e. different positions of the waist line of the dress with the same length.
It is easy to see that the natural division in proportion to the folded shape with a waist line into two parts is expressed by the ratio of the Golden section. Approximately the same proportion and in the articulation of the dress, where the waist line coincides with the natural location of the figure and length to the knee. 
If the clothes the waist is moved up or down, respectively, and changing the length of the dress to preserve harmonious proportions. 
Dress on the left the figure is divided into a waist on the smaller and the greater part in contrast respect. Dress on the right figure is divided into two equal parts, forming such a relationship. On average the figure dress is divided into smaller and larger parts in a harmonious relationship, as this division is approaching the Golden section. Where the ratio of large and small parts of the dress are clearly visible, feels the dynamics and clarity of articulation, the dress is more expressive. If we are dealing with a similar attitude pieces of dress, the impression is monotony, a static one (see right-hand figure, where the length of the bodice, the skirt and the open part of the legs are equal).
When revealed silhouette waist belt plays an important role. 
Zone as an element of the composition of its location - slightly above, slightly below or significantly below the natural waistline - refers to the peculiarities of the proportions of the model. In creating the proportions of the large role played by the volume of the main parts of clothing.

If the clothing fits the figure, is like a mold from it, if the dimensions of a bodice, skirt and sleeves repeat the relevant dimensions of the shape, the proportions of the entire garment and the shapes will be similar (Fig. 87, a). Position the waist in this case, the detected contour delineation coincides with the natural position it on the figure. The visual connection of the open part of the legs with the dress organically, as a narrow skirt, and a notable difference between the volume of the legs I. the volume of the skirt is not. 
The work of the designer here can be compared in part with the work of a sculptor, removing the copy of the original.
When the dress repeats the shape of the human body, but form key parts of the garment are close by their shape and volume to the corresponding parts of the figures, the proportions of the clothes in General in relation to the proportions of the figure will be close together (Fig. 87, b, C). As you can see, reception of closely spaced ratios allows to obtain a large variety in the forms of the clothes; the job of the designer becomes more difficult and simultaneously more interesting.
If the volume and shape of the main parts of the garment (bodice, sleeves, collar, skirt) differ significantly from the volume and shape of the relevant parts of the figure, then the proportions of the clothes and shapes that will contrast. That's when the use of contrast ratios, especially increasing the ability of the designer to create the various silhouette solutions (Fig. 87, g, d).