Art and design clothing based on the definition of its functional and aesthetic purpose and use.
As a work of applied art, the costume should perform a practical function and have artistic sense. The problem is the artistic side of the suit is determined mainly by two requirements:
1) the existence of a public need in that suit served not only practical purposes, but also artistic;
2) production of an artistic problem and its imaginative solution.
The needs of the people, the clothes, the suit served as the artistic purpose is supported at least by a common desire to wear beautiful clothes. And the beauty of objects produced by man, it is a property inherent in artwork and crafts. It is known that the beauty of an object, things made by man, lies only in the proportions of the elements of its form among themselves, which in turn is determined by the relationship between its form and content.The content of the suit is not something permanent, it changes all the time, and its change of the old forms cease to follow it and lose their beauty in the eyes of the people.
Finding new forms, vividly revealing the contents of the suit, revealing its beauty and the beauty of a person and is the artistic challenge facing the artist-designer.
Because clothes-a suit is defined by its purpose and the purpose of its use, it is to some extent dictates its external shape. All the same, the content of any suit can be expressed through many outer forms.

THE TYPES OF IMAGERY IN COSTUME 

The imagery in the suit appears mainly in two forms.
1. When the suit is a separate object that reflects the meaning of its content, purpose, expressing particular artistic image by means of the form of the suit, i.e., when the form and content prevail over him.
2. When the suit is associated with a person is one with it, reveals through the architectonics of its shape the artistic image of his destination, the beauty of their forms and the beauty of a person.
  In the first case suit takes precedence as an expression of a specific artistic image, and people adapting to it, is deprived of its individuality or reincarnating.
Examples of such suit may serve various types of spectacular costume: carnival, vaudeville, theatre, as well as various kinds of uniform costumes ~military uniform, institutional uniform, uniform).
Images, Express carnival costume, make man, dressed in a suit, to transform, to enhance the expressiveness created by the costume of the topic or theme, such as images of flowers, butterflies, animals, etc.
In many cases, the transformation of man is emphasized by the mask covering part of his face, depriving him of the last of the traits of personality.
Pop outfits, to the same extent by promoting the expression of a certain artistic image, help the artist to transform, to convey to the viewer the essence of the work performed, accommodation, attraction.
Almost the same properties have shaped costume and uniform.
Form, uniform, expressing a certain way, also to some extent deprives a person of originality, individuality and forces us to accept as the same way a lot of people wearing it.
Collections of models of clothes, when they are intended to demonstrate also acquire properties such independence. Model, demonstrating a variety of models, each time transforms, adapts to the model that it was visible artistic sense expressed by the suit.
  In the second case the suit is associated with the person and their form expresses an artistic image, independent of the human face, the external data, its activities and environment. Here, the suit is subject to the person adapts to it.
To such suits include suits household use: home, casual, elegant, relaxation, service, and tracksuits, and special purpose.
These two provisions define the boundaries of the possible expressions of imagery in dress-suit.

THE SOURCES OF THE ARTIST-FASHION DESIGNER

The figurative decision of a motive, in addition to the specific compositions of the main elements of the shape of the suit, is connected with the conventions of the phenomenon of Association of our ideas about the surrounding reality. The Association is due to the previous experience of communication of ideas, through which one view causes the similarity, adjacency or oppositeness more.
The phenomenon of the Association assists the artist in expressing their artistic ideas.
Production art tasks is determined by the idea of a motive or set of motives, which are the causative agents of the creative imagination of the artist. The sources from which the artist draws their different motives, we have already pointed out in the section "the Creative act of modelling". All these sources are images of reality, surrounding or surrounded us.
Images of nature provide an infinite number of such motives. The fauna and flora with their rich colors and combination of colors, variety of shapes, movements, seasons, the man himself - are an inexhaustible source of creative art making of the costume.
Forms of household arts and the creative efforts of man can tell the artist these or other motives.
Thoughts on the future models may suggest new materials: fabrics, trimmings, accessories, etc., as well as samples of decorative and folk art (ceramics, Palekh, Khokhloma, Vyatka toy, etc.). Samples of folk costume: its form, fit, color, pattern, finish, quality of materials - all this even more increases the possibility of finding and expressing the artistic motives in the design of modern costume.
Examples of the shape of the suit in its dominant value can serve as samples of the carnival masquerade costumes. Below are some sketches, developed under the theme of "carnival costume".

Figure 8 shows two sketches of the dress, figuratively expressing the motives of "butterflies" (left) and "poppy flower" (right). The composition of the forms of these dresses are built to Association lines and color forms of butterflies and flowers.
The shape of the sleeves, bodice and skirt, the pattern and color of fabrics of the dress, complemented by a hat with tassels, resembling antennae, convincingly conveys the image of fluttering butterflies. Dress designed for dancing.
Another dress, too, for dancing, consists of draped bodice green and red scalloped skirt, tight green belt. The dress is decorated with poppy flower and complemented with a hat in the shape of a flower.
Figure 9 shows the costumes of "Potato" (left) and "Shell" (right). Dress forms "Potatoes" is very simple, complemented with green stockings and long gloves. Dress "Shell" of complex shape, complemented by a draped hat of fabric of the dress.

Two other sketch 10 called "Poppers" (left) "Accordion" (on the right). These dresses are different from each other by their practicality. "Firecracker" is just comic, the spectacular value, as their forms are bulky and not very convenient for outdoor fun. "Accordion", of course, also the comic suit, but feel free to dance, to move.
Figure 11 shows two sketches on modern themes - comic costume to dance to "Rocket" (left) and "Martian" (right). Suit "Martian" dress - the characteristic shape associated in our view with a variety of suits, made up of movable hinge parts. Headgear (helmet) enhances the expression "space" clothes.

Figure 12 presents a sketch of the costume is "Movie". The suit "Film" consists of a white blouse and a wide skirt with a print of the film and portraits of the heroes of the movie.
Finally, figure 13 shows sketches of the satirical grotesque costumes of the "weaker sex" (left) and the Groom (right). "The weaker sex" ("the Gendarme in a skirt") is a satire on some women, having a bad temper. Funny the way the "Groom", offering your heart, laugh a grotesque combination of short pants on straps with a festive tie and a hat decorated with ribbons. As can be seen from the examples shown, in carnival costumes, the expressiveness of the created images is built on non-visual media forms, typical for the clothes of any other assignments.
In this entertaining costume widely used motifs that serve countless examples of folk and historical costumes.
Based on the specific purpose of spectacular costume (dance, choral singing, carnival festivities, etc.), the artist can vividly Express the characteristic features of the folk costume without copying and creating their own, new, different from the used sample, the costumes, keeping them in national or ethnographic peculiarities to a greater or lesser extent.

In figures 14 and 15 illustrate costumes for a couples dance (duet). Motives for them were the samples of folk costumes of Poland. The costumes are creative processing of the samples, they are a little similar to your original source, but they saved the national and ethnographic characteristics inherent in the folk costumes of Poland.

In figures 16 and 17 the costumes for the participants of the choir, developed on samples of female folk costumes of the Northern and Central regions of Russia. The imagery of these costumes is that they do not raise doubts in their ethnographic belonging to the specified regions of Russia.
The nature of expression of the different motifs in clothing for other purposes always depends on the specifics of its use and connection with the person. Changing practical requirements and along with this change the nature of the imagery: in some cases, greater importance is attached to the suit, in other cases, what matters most is people.
Figure of speech any motifs in the costume can be found almost always, but not always, any motive can be expressed in a particular suit. The nature of the motive must be consistent to be appropriate to suit a particular purpose.
View, as in clothes, household use (for example, women's home dress, casual and dressy) can vividly Express the motive.

Everyone is familiar with the traditional style of Khokhloma painting wooden utensils: spoons, barrels, buckets, boxes, furniture. A distinctive combination of colors painting: Golden ocher, red and black. So there is the motif of "Khokhloma". Artist vdohnovitsya this motive, offers sketches of different dresses. The figure (Annex 18) shows sketches of house dresses, in the figure (Annex 19) sketches of clothes everyday purposes: skirts and blouses, the drawings (annexes 20 and 21) the sketches elegant and formal dresses.
The imagery of the motif of "Khokhloma", expressed in these dresses, very convincing and not contrary to their purpose associated with shape, details, trim.

The use of historical motifs and traditional clothing in a modern suit is most appropriate only when there is any coincidence with the nature of the current fashion. It is possible to use forms of historical and folk costumes, or its parts, colour, ornament and decoration, their compositional arrangement.