Clothes are a set of objects that cover and clothe the body (Big Explanatory Dictionary of the Russian Language). Suit - complete outerwear. If clothing serves a person to protect him from climatic influences, then a suit reflects the external appearance of a person, reveals his inner content, and is a psychological, social, age and historical characteristic of him.

Shoulder clothing, which you will study in 7th grade, originates from primitive cloaks - skins. Over the millennia, these robes were transformed, for example, into men's and women's suits Greeks They were sheets of fabric that were not sewn together, but were skillfully draped over a human figure. The costume consisted of two parts: a lower shirt - a chiton - and an upper cape - a himation. This cape was thrown over the left shoulder onto the back and chest. The longer and wider himation was called “pe-plos” - a large piece of woolen material. The size of the peplos varied depending on the social status and taste of the person (Fig. 53).

Rice. 53. Costumes of the Greeks

The clothing of the inhabitants of Ancient Egypt, on the contrary, was mainly of a tight-fitting silhouette (Fig. 54).

Rice. 54. Clothing of the inhabitants of Ancient Egypt

The first information about the clothing of the times Ancient Rus' belong to the period between the VIII-XII centuries. Women of that time wore a long linen shirt-shirt with a wide straight cut, belted along the hips and embroidered at the edges (Fig. 55).

Rice. 55. Clothing from the times of Ancient Rus'

In the XV-XVI centuries. Nightgowns and trousers appeared, which for a long time were a part of the toilet only for privileged segments of the population.

Silhouette in clothes

The first thing that a quick glance cast at a person walking by captures is his silhouette. And clothing “draws”, creates the silhouette. It can fit the figure or be loose and flowy. The silhouette in clothing is the characteristic contour outline of a figure. The silhouette determines its main overall proportions. Changes in fashion are reflected primarily in the silhouette. In Figure 56 you can see how the silhouette of a woman’s dress changed during the 20th century.


Rice. 56. Women's clothing of the 20th century.

At certain intervals, the lines of the silhouette are repeated, come back and become fashionable.

Fashion changes, so does the silhouette. If you want to look modern, you first need to find your silhouette that matches the fashion. With all the diversity modern clothes There are four silhouettes that have been constantly in fashion over the past decades: straight, semi-fitted, fitted and trapezoidal. To more accurately characterize the silhouette, it is compared with geometric shapes.

The straight silhouette suits almost all body types. Cloth straight silhouette fits into a rectangle shape.

The semi-fitted silhouette subtly accentuates your figure. In this case, clothes can be short or longer (triangle shape).

The fitted silhouette is distinguished by an extended shoulder line, hem and a narrowed waist. A fitted silhouette is possible with a narrow or loose bodice, widened or narrowed skirt.

The trapezoid silhouette characterizes the extension from the shoulder line or armhole. The expansion may be minor or quite large. Clothes of this silhouette look good on a slender figure.

Concept of style

What is style? Style is a stable, specifically defined language of an era that affirms its culture, the concept of beauty, and its attitude to the world around it. Style is a way of dressing (fashion comes and goes, but style remains). The nature of clothing depends on its style. According to the style decision, all the variety of clothing forms can be combined into three main groups.

The classic (business, elegant) style includes things that are little subject to the vagaries of fashion. This is a jacket, cardigan (an elongated jacket without a collar), blazer ( women's jacket, modeled after a classic-style men's jacket), skirts with a pleat in the front, a shirt-cut dress, and a vest. From time to time, fashion makes small changes to them: a slightly narrower or wider shoulder, lapel, tighter or looser product along the waistline.

Cloth sporty style convenient, comfortable. It is suitable for both work and active recreation. The assortment includes jackets, blouses, skirts of various lengths and designs, overalls, bib overalls, denim clothing.

The romantic (or fantasy) style is represented by elegant, extravagant clothing that emphasizes the femininity and charm of its owner. This style is characterized by various types of decoration: flounces, ruffles, frills, lace, embroidery. Clothes are subtly complemented with jewelry and accessories. The fabrics are airy, shiny, velvety, flowing. Elements of national (folklore) costume can also be used here.

A girl's wardrobe can consist of clothes different styles, but the choice must correspond to its purpose.

Girl in a dress with a neckline and shiny embroidery educational institution or looks ridiculous at work. A devotee of sports style, denim clothing in the theater will look the same. At the same time, a strict elegant suit will not fit into the cheerful atmosphere of a disco, but casual wear- in a festive atmosphere. A person’s clothing and behavior characterize his internal culture, way of thinking, and interests.

Clothing requirements

In 6th grade you learned that when creating clothes, you should proceed from certain requirements for them. The main ones are hygienic, operational, aesthetic and economic. Let's remember what they mean.

Hygienic requirements are that clothing must ensure the normal functioning of the body and protect the human body from adverse climatic influences.

To do this, it must have heat-protective properties, gas and air permeability, hygroscopicity, proportionality to the human body, and be easy to take off and put on.

Ensuring certain hygienic requirements depends on the properties of the material from which the clothing is made, its shape and design. Yes, summer women's dress for relaxation it should be soft, hygroscopic, breathable and easy to wash.

The performance requirements for clothing are that the clothing must be resistant to abrasion, creasing, tearing, dry cleaning, etc.

The wear resistance and reliability of the product depend on the cut, design of the product, fabric properties, quality of processing, and wearing conditions.

Aesthetic requirements The requirements for clothing are that it must be beautiful and modern. When creating clothes, you need to take into account the age, body type and appearance of the person.

Economic requirements are that clothing should be inexpensive and accessible. The profitability of the model is largely determined by the design, since the fabric consumption depends on the design, and the cost of the material mainly determines the cost of the product.

Types and characteristics of shoulder products

Garments that are held on the shoulders are called shoulder garments.

Dress - women's clothing, consisting of a bodice and a skirt combined into one. The dress can be cut at the waist and one-piece; with or without collar, sleeves; with front, back, side and without clasp; various lengths, with different types of finishing.

A sundress is a type of dress with a large neckline, but without sleeves, sometimes with straps, usually without a collar.

Robe - outerwear, covering the torso and legs, with a slit or fastener from top to bottom or with wraparound hems, with or without sleeves and collar, with or without a belt.

Blouse - women's clothing covering top part torso and partly thighs. A blouse can be with or without sleeves, with or without a clasp, with or without a collar.

Vest - clothing with sleeveless armholes, of various lengths, with or without a fastener.

New concepts

Silhouette, style, shoulder products.

Security questions

1. List and describe the different types of silhouettes. 2. What is the difference between a classic style of clothing and a sports one? 3. What types shoulder products do you know? 4. What are the requirements for clothing? 5. What are the economic requirements for clothing?

Shoulder sprain (distortion) is a common injury, often occurring during everyday tasks, sports training, or accidents. Ligamentous tissues have a certain elasticity limit. If this limit is exceeded, the ligaments are injured, then rupture of the ligamentous fibers of the shoulder joint or their stretching develops.

Ligaments are dense connective tissue formations that hold the articular joint and the muscular system together. Ligamentous fibers provide the motor ability of the articular connection and at the same time limit this mobility to a certain limit. In case of excessive movements and excessive loads that provoke damage to the synovial capsule or muscle fibers, the ligaments reduce the performance of this action in the joint.

Sprained ligament fibers threaten to impair the functional ability of the arm and affect the mobility of the entire body. In case of untimely or lack of treatment for an injury in the shoulder, a chronic form of the disease will form - the joint will become unstable, to eliminate this it is necessary to resort to surgery.

This is caused at the initial stages by incompletely formed regenerative tissue, which can still be corrected due to its elasticity, but in advanced stages it becomes less elastic.

Anatomy of the shoulder joint

This articular connection consists of:

  • collarbone;
  • humerus;
  • shoulder blades

The last two bone components are interconnected through the rotator cuff, which is formed by the tendons of the muscle groups.

When the tendons are completely damaged, the clavicle is completely separated from the articular joint. The head of the humerus is attached to a special cavity of the scapula by these muscles.

The articular endings of the bone components are enclosed in a dense connective tissue capsule (capsule). The cavity of the latter is filled with synovial fluid, which has the function of moisturizing the joint elements. When there is a deficiency or increased density, they rub against each other and, accordingly, injury occurs.

On the outside, it is secured by ligaments that are covered by muscles. They do not allow excessive angular inclination, however, with excessive physical exertion, the ligamentous fiber ruptures.

Symptomatic picture

Due to the similarity in manifestations with other pathologies, careful diagnosis is necessary; it is also necessary to select adequate treatment.

Characteristic manifestations and complaints of victims:

  1. Pain in the injured shoulder.
  2. Limitation of mobility.
  3. Hyperemia of the skin, in some cases hemorrhagic phenomena in the problem area.
  4. Slight swelling in case of rupture, but in case of sprain there is no swelling (differential diagnostic manifestation).

The painful syndrome is caused by the development of an inflammatory process in the rotator cuff. It then transforms into supraspinatus tendonitis, which leads to a significant deterioration in the general condition of the victim. May develop different shapes bursitis and even periarthritis and tendinitis of the muscles of the 2nd head of the shoulder.

There are three degrees of rupture of the ligamentous apparatus, depending on the number of affected fibers:

  • I Art. – several fibers are torn, pain and limited movement of the lungs.
  • II Art. – multiple fiber tears, algic syndrome in this case is more pronounced, performance is noticeably reduced.
  • III Art. – complete rupture of the ligaments, debilitating pain, unstable joint connection. In this case, they resort to surgical intervention.

Causal factors

This injury can occur under the influence of the following factors:

  1. Physical activity is regular and constant (carrying or lifting heavy objects).
  2. Hemosupply disorder. This is mainly due to age-related transformations. This results in insufficient trophism, as a result of which their elasticity decreases.
  3. Osteogrowths – osteophytes. They form mainly in elderly patients.
  4. Professional sports (weightlifting, swimming, shot throwing, tennis and other sports) that involve stress in the same joint.
  5. Congenital anomalies of the muscular joint system. For example, ligament distortion in a newborn child.

Injury can occur as a result of an accident, a fall, or a blow.

Significant weakening of the ligamentous-muscular system contributes to bad habits(alcohol dependence, tobacco smoking) and corticosteroid therapy.

Therapeutic tactics

Timely first aid significantly reduces the risk of complications and increases the effectiveness of treatment. Immediately after injury, it is necessary to position the victim in such a way as to minimize the load on the sore shoulder. It is recommended to remove clothing to avoid pinching the vascular network and the formation of swelling.

The arterial junction should be covered soft cloth and secure with a handkerchief, scarf or elastic bandage. A cold compress will reduce pain and prevent the development of a hematoma.

In case of severe injury and severe pain syndrome, it is recommended to call an ambulance.

The therapeutic approach is based on the following techniques:

  • Creating complete rest for the victim with immobilization of the brachial joint.
  • Regular cold compresses (a heating pad with ice) up to three to four times a day in the first 72 hours after injury. They help relieve pain and swelling.
  • Apply a pressure bandage, but not too tight. After pain relief, it is necessary to remove it in order to prevent muscle and joint atrophy due to immobilization.
  • Reception medicines. Usually a group of NSAIDs is used. At the same time, medications are prescribed that promote tissue restoration.

Specialists divide all treatment into primary and secondary. Primary is to create maximum peace and physical rest for the victim, wearing fixing devices. Folk gentle recipes are also allowed - cold compresses with ice. In some cases, with minor damage, such measures are sufficient.

Secondary - carried out with 2 and 3 degrees of damage to the ligamentous fibers. The basic purpose is painkillers. After three days after injury, cold compresses are replaced by warm ones, using regenerating ointments and gels. Ice is replaced with massage and heating.

In case of severe pain, painkillers are administered parenterally or intra-articularly.

After the inflammation is eliminated, rehabilitation begins. For this purpose, physiotherapy and exercise therapy are used.

Hygroma of the joint: causes and treatment of the disease.

Hygroma - what is it?

Hygroma is a limited formation that contains serous fluid. Joint hygroma is a tumor-like cyst that has a benign course. The disease is 3 times more likely to affect females aged 25 to 35 years. Among children and people retirement age this pathology practically does not occur. Pathology is localized wherever there is connective tissue. Most frequent occurrence cysts - in the area of ​​the wrist joint, on its dorsal surface.
Quite rarely, pathology occurs on the palmar surfaces, fingers and feet. This is a common disease, especially among people in certain professions (drivers, cashiers, etc.)

Reasons for the development of the disease

Joint hygroma is a polyetiological disease, the causes of which are still the subject of debate among scientists and doctors around the world. The main risk factors for the development of pathology include:

  1. Hereditary factor. There are known cases of the disease occurring in members of the same family and blood relatives.
  2. Injury. They are one of the main causes of tumor formation. Ligament ruptures, sprains, fractures and repeated bruises increase the risk of developing pathology. Repeated lesions of the same joint play an important role.
  3. Sports activities. High physical activity, staying in one position for a long time, and constant stress on one joint increase the likelihood of hygroma.
  4. Professional activities. People of certain professions (musicians, drivers, programmers, etc.) are susceptible to developing the disease.

Classification and types

There are several types of disease, depending on location:

  1. Hygroma of the wrist and wrist. The formation in this localization is located under the ligaments and is visible above the skin. Painful sensations are mild. With constant friction of the hygroma against objects and clothing, the tumor increases in size and can fester.
  2. Hygroma of the shoulder joint. It is formed mainly in the upper part of the shoulder, most often occurring in athletes (swimmers, tennis players). Hygroma of the shoulder joint is shown in the photo.
  3. Hygroma on fingers and toes. Causes discomfort and pain. There is constant friction of the hygroma against shoes or objects, which causes an increase in the tumor and pain.
  4. Hygroma of the foot. Located near the ankle joint, it causes pain and discomfort. If it appears, surgical removal is recommended to avoid suppuration of the cyst.
  5. Hygroma of the knee joint. The cyst is localized in close proximity to the joint and synovial bursa. Formed due to constant walking or knee injury. Bursitis may occur.
  6. Hygroma of the clavicle. A rare pathology that occurs due to constant friction of rough clothing on the collarbone and neck. An example of a clavicle hygroma is shown in the photo.
  7. Hygroma of the forearm. Rarely encountered, it is a formation of soft or elastic consistency. Hygroma of the forearm can be seen in the photo

The location and duration of the tumor causes the formation of hygroma of varying consistency. Depending on this, there are 3 types:

  1. Soft. It is hardly noticeable on the skin, does not cause discomfort or pain, and is often localized in an area rich in subcutaneous fatty tissue.
  2. Densely elastic. Most often they reach medium sizes and can cause discomfort when in contact with surfaces. With prolonged flow, they can degenerate into solids.
  3. Solid. Often cause pain and discomfort, sometimes chronic. Mainly localized in the area of ​​the wrist and ankle joints.

Based on structural features, there are 3 types of formations:


Symptoms of the neoplasm

The onset of the disease usually does not manifest itself with pain and discomfort, but as the size of the hygroma increases, unpleasant sensations arise. The symptom complex of the disease is based on the following manifestations:

  • The formation of a single round formation of varying consistency, which is clearly demarcated under the skin from other tissues. The skin over the hygroma is freely retracted and moved.
  • As the size increases, the feeling of discomfort increases; when pressing on the cyst, pain of varying intensity occurs.
  • At rest, hygromas most often do not bother patients, but with suppuration, as well as large sizes of the formation, a dull aching pain may occur.
  • With frequent friction, inflammation and suppuration of the formation may occur. In this case, the skin acquires a purple tint, becomes rough, the local temperature rises and sharp pain occurs.

Diagnosis of the disease

Diagnosis is based on studying the history of life and illness, professional activity, hereditary history, symptoms of the disease, examination by a specialist, as well as instrumental research data (most often radiography). It is usually not difficult to diagnose joint hygroma. However, in doubtful cases, you can resort to additional methods: ultrasound of the affected joint, magnetic resonance imaging, cyst puncture.

Differential diagnosis is carried out with tumor neoplasms of soft tissues (epithelial cysts, lipomas, atheromas). Considering their consistency and location, hygromas are often differentiated from tumors of bones and ligaments.

Treatment methods

The initial stage of treatment for joint hygroma involves the prescription of ointments, creams and physiotherapy. If the tumor is large and the process is advanced, it is advisable to perform surgery and remove the tumor. Let's look at the main treatment methods.

Drug treatment

Conservative treatment of joint hygroma is used for small tumors, as well as when inflammation occurs. Let's look at the main groups of drugs and indications for their use:

Physiotherapy

Type of procedure Mechanism of therapeutic action Methodology
Mud and paraffin baths. Heat skin enhances local blood circulation and improves metabolic processes, as a result of which inflammation subsides. Carry out a course of 7-10 procedures once a day
Procedure time: 15-20 minutes.
Ultraviolet irradiation This type of radiation causes the production of anti-inflammatory substances and relieves pain by reducing the impact on nerve endings. Local blood circulation is stimulated and metabolic processes are improved. Course: 6-8 procedures every other day
Time: 15-25 min.
Electrophoresis with various medications This type has an analgesic, regenerative, anti-inflammatory effect, improving microcirculation and reducing pain. Course: 7-10 procedures every other day
Time: from 5 to 15 minutes depending on the medicine used.
UHF Promotes warming of the deep layers of the skin, improves microcirculation, relieves inflammation and pain. Course: 8 – 10 procedures 1 time per day
Time: 10-15 min.

Puncture for hygroma

Puncture is a conservative treatment method that is carried out by removing the contents of the hygroma through a puncture with a syringe. The procedure is performed under local anesthesia under aseptic conditions. The skin is punctured with a needle in the area of ​​the cyst, and the serous contents are pumped out using a syringe. Typically, anti-inflammatory and antibacterial agents are injected into the cyst cavity, after which the limb is tightly bandaged or a pressure bandage is applied. This method is also used for inflammation of the formation. In this case, purulent or serous-purulent contents are pumped out, after which antibiotics are administered.

Despite the effectiveness, safety and simplicity this method in 20-40% of cases, a relapse of the disease occurs. This occurs because the hygroma capsule remains untouched and over time, liquid gradually accumulates inside it.

Hygroma surgery

Surgery is an effective and radical way to get rid of this disease. Relapse of the disease in this case is 10-12% if for some reason a piece of the hygroma capsule is left.

Indications and purpose of surgery

The goal of hygroma removal is to quickly and completely get rid of the tumor formation. Indications for the operation include:

  • The rapid increase in the size of education, large sizes(more than 3 cm)
  • Painful sensations both during movement and pressure, and at rest
  • Limitation of limb mobility or dysfunction
  • Discomfort, aesthetic dissatisfaction, patient's desire

Technique of the operation

Preparation for the intervention consists of a laboratory examination (CBC, TAM, blood clotting, blood test for hepatitis C and B, HIV, RW). Additionally, X-ray or tomography of the affected area is performed to clarify the size and location of the tumor. The intervention is performed under local anesthesia on an outpatient basis. First, the limb is “bleeded” by applying a tourniquet above the site of the intended operation. After treating the surgical field with an aseptic solution, the surgeon makes a skin incision in the projection of the hygroma. Isolates and separates the cyst, then carefully removes the formation. Next, the wound is inspected, after which the skin is sutured with a cosmetic suture. The sutures are treated, an aseptic bandage is applied, and the limb is tightly bandaged.

Currently, laser and endoscopic methods for removing hygroma are becoming increasingly popular. They are less traumatic and do not leave scars. The operation is also performed on an outpatient basis under local anesthesia under aseptic conditions. A laser beam is directed through a microscopic incision in the skin, which removes the liquid and then the capsule. During endoscopic removal, special instruments are passed through a microincision to destroy the capsule, and the contents are sucked out using a special aspirator. After surgery, using any method, a part of the tumor is taken for histological examination.

Postoperative rehabilitation

The recovery period after surgical removal varies from 1 to 3 weeks depending on the size of the cyst and the method of intervention. Correct implementation of all doctor’s prescriptions shortens the rehabilitation period and reduces the risk of recurrence of the disease. During the recovery period, tight bandaging of the limb, daily change of aseptic dressing, antibacterial and anti-inflammatory therapy are prescribed. Physiotherapy (Electrophoresis, UHF, magnetic therapy, etc.) is also indicated to improve wound healing. In case of impairment and limitation of function after surgery, it is indicated physical therapy and massage under the guidance of a trainer.

Making a shoulder pattern with modeling elements

Types of light clothing

Clothes play a big role in a person's life. It protects it from adverse environmental influences and ensures normal functioning internal organs. It also has social, psychological, and aesthetic significance.

The variety of functions of clothing has led to a variety of its assortment, especially for light clothing, which is characterized not only by a large number of products, but also by a variety of shapes, cuts, and characteristic design features.

Classification of women's light clothing

Characteristics of light clothing

Dress

Can be cut at the waist line or not cut; with or without collar, sleeves; with front, back, side and without clasp; length varies; with different types of finishes.

Robe

Split clothing is always fastened from top to bottom, front or back, with or without sleeves and collar, with or without a belt.

Sundress

Reminiscent of a dress, but always sleeveless, sometimes with straps, usually without a collar; worn with blouses and sweaters.

Blouse

The shape and cut is similar to the upper part. They are worn tucked into a skirt, trousers or over them.

Vest

A type of jacket, but without sleeves, length to the hip line, above or below the hip line; front with and without fastener; worn with blouses, sweaters, dresses.

Light clothing requirements

The protective and aesthetic functions of clothing determine the requirements that it must meet. These include: hygienic, operational and aesthetic.

Hygienic requirements are the requirements for the suitability of clothing for its purpose; she should:

  1. create a favorable microclimate;
  2. be light, soft, durable, wrinkle-resistant;
  3. ensure freedom of movement, breathing and blood circulation;
  4. easy to wash, clean, iron. The hygienic requirements for clothing are achieved by selecting appropriate fabrics and developing a rational design of the product.

Operational requirements:

  1. convenient design and high quality processing of individual parts and assemblies;
  2. increasing the strength of the product due to special treatment of fabrics (application of finishing agents, impregnations);
  3. strengthening individual components using gaskets, edges, and lining.

Aesthetic requirements are that clothing:

  1. must be beautiful;
  2. correspond to the modern fashion trend;
  3. take into account the individual characteristics of a person’s physique and age.

When creating a new model, the fashion designer takes into account that clothing shapes a certain appearance of a person. The decorative design of clothing is largely influenced by a person’s character, his age, and working conditions.

Clothes can be sporty, classic, etc. Each style corresponds to a certain type of finish, configuration of parts and components.

Silhouette in clothing, concept of style, model

Silhouette- this is planar visual perception voluminous forms of clothing that have clear external contours in the form of a regular shadow.

a - rectangular,
b, c - trapezoidal,
g - oval.

Contour lines reveal the external outlines of the silhouette and its character.

The fashion direction is reflected primarily in the silhouette. It remains in fashion for a long time, i.e. the external outline rarely changes. Straight, semi-fitted, fitted silhouettes have been fashionable for more than 10 years. Most often the position of the shoulder line, waist, bottom of the product, and the shape of the sleeves change.

The shoulder line can follow the natural contours of the figure in the shoulder girdle area or straighten them with the help of shoulder pads. The waist and hem lines can be raised up or down, thereby changing the proportions of the human body. With a high waistline, a person’s figure appears visually taller; with a low waistline, the person’s figure appears squat. The hemline also greatly influences the visual perception of the proportions of the human body.

Style- these are the external features of the product, determined by the shape of the parts, design lines, finishes, etc. Using one structural basis of the product, i.e., without changing the location of the shoulder and side seams, the direction of the darts, the silhouette, you can create several various styles by changing the configuration of the neckline, armhole, etc.

Model- a sample of the product in the form of a drawing, photograph, finished product.

“Service labor”, S.I. Stolyarova, L.V. Domnenkova

Technology lesson in 6th grade No. date:

Lesson type: lesson discovery of new knowledge.

Lesson topic:“Types of shoulder clothing. The concept of fashion, style, silhouette, cut, style, model.”

Objective of the lesson: " Formation of ideas about the classification of clothing."

Planned results:

Subject: introduce the types and characteristics of clothing; silhouettes and styles.

Metasubject: promote memory development, independence, development creative thinking, self-control and mutual control skills; instill skills of work culture and accuracy; develop logical thinking, performing skills.

Personal: cultivate aesthetic taste, attentiveness, and creative activity.

Equipment: sketches, album, colored pencils.

Lesson structure.

I. Motivation stage.

1. Greeting, checking those present and their readiness for the lesson.

2. … Without spiritual settledness, without a sense of roots, without love, without interest in one’s own history, distant and close, in the culture of one’s country, there cannot be complete human happiness. The cultural environment is as necessary for moral life as the flora and fauna are for our biological existence.

D.S. Likhachev

3. Game “Explainers”:

headers (shoulder and waist garments)

choose and pin types of clothing in place

2 people (speed, accuracy, attentiveness)

II. Update stage.

What do you think a silhouette is?

What silhouettes do you know?

What styles are you already familiar with?

What types of shoulder products do you know?

What requirements do people have for clothing?

III. Goal setting stage.

Voice the purpose of the lesson.

IV. The stage of discovering new knowledge.

1. Classification, types and characteristics of clothing:

Clothing is divided according to purpose:

Household clothing: must be fashionable, beautiful, modern, meet sanitary and hygienic requirements, be comfortable, match the size of the human body and retain consumer properties during the shelf life.
Sportswear- for performing physical exercises.
Industrial clothing- protects people from unfavorable production factors and pollution.
Uniform- must indicate affiliation with a particular department, branch of the military, etc.
- For intended purposes: for everyday use, formal occasions, home use, for active recreation and sports.

Work clothes- must be convenient to perform various works.

Based on model and design, clothing is divided into costumes and dresses, linen, hosiery, scarves and headwear.

According to operating conditions - outerwear, underwear, corsetry.

By season - summer, winter, demi-season and all-season.

According to gender and age, clothing is divided into products for children and adults. Clothes for children are divided into clothes for boys and girls of primary preschool, primary school, senior school and adolescence. Clothes for adults are divided into men's and women's.

According to the materials used - clothing made from fabrics, knitwear, non-woven materials, natural and artificial leather and fur, complex, film materials.

2. Types and characteristics of clothing.

Types and characteristics of shoulder products:

Dress- women's clothing consisting of a bodice and a skirt combined into one. The dress can be cut at the waist or not; with or without collar, sleeves; with front, back, side and without clasp; various lengths, with different types of finishing.

Sundress- a type of dress, but without sleeves, sometimes with straps, usually without a collar.

Robe- clothes are sometimes elongated, almost to the toes, with a slit or fastener from top to bottom, with or without sleeves and a collar, with or without a belt.

Blouse- women's clothing covering the upper body. A blouse can be with or without sleeves, with or without a clasp, with or without a collar.

Vest- clothes with armholes, sleeveless, different lengths, with and without fasteners.

3. Clothing requirements.

- Operational The requirements for clothing are that it must be comfortable to wear, sufficiently durable and wear-resistant. To make clothes comfortable

to wear, its dimensions, location of individual components and parts must correspond to the figure. In addition, it is necessary that it does not deform - it does not lose its shape when worn for a long time, and is not afraid of bright light and pouring rain. The product must be reliable, i.e. do not collapse under the influence of short-term stresses, for example under the influence of tensile forces.

The wear resistance and reliability of the product depend on the cut, design of the product, fabric properties, quality of processing, and wearing conditions.

- Aesthetic requirements requirements for clothing are that it must be beautiful, modern, and highly artistic. It must correspond to good taste and at the same time cultivate this taste. When creating clothes, you need to take into account the age, body type and other features of a person’s appearance. Taking these requirements into account makes it possible to create expressive, beautiful, elegant clothing that transforms a person’s appearance.

- Economic requirements are that clothing should be inexpensive and accessible. The cost-effectiveness of the model is largely determined by the design, since the fabric consumption depends on the design of the product, and the cost of the material is 85-90% of the cost of the product.

4. Fashion, style, silhouette, cut, style, model.

Creating a model, composition of clothing is a great complex art. The composition of clothing refers to the consistency of all its elements into a whole work of art, called fashion.

Fashion (translated from French) is a measure, a method, a rule.

1. Fashion characterizes more short-term and superficial changes in the external forms of everyday objects and works of art; in the narrow sense - a change in forms and patterns of clothing.

2. Fragile, quickly passing popularity.

Fashion is inherently dynamic. She develops aspirations for the novelty of everything that surrounds her. Fashion refers to the dominance of individual tastes in any area of ​​life or culture. Some authors attribute the origins of fashion to the Middle Ages, others to an earlier period.

For a long time Paris was and remains the center of fashion, this is due to its economy.

If fashion is considered over a long historical period, then its changes seem regular. If you study the law of fashion, you can predict it.

Changing fashions lead to the approval of three main styles:

    Classic style– proportionality, expediency, conciseness, clarity. A lot changes in fashion, but there are some things that remain unchanged. The general opinion recognizes them as excellent, exemplary, exemplary. The proportions of classic style clothing correspond to the natural proportions of the human figure, the lines of shapes and details are simple and laconic.

    Sports style– free forms provide active movements. It was formed under the influence of comfortable, hygienic and beautiful sportswear on fashion. Clothes for various purposes can be worn in a sports style. Characteristic features of the style: convenience, practicality, combination of fabrics of different structures, variety of fittings, finishing details.

    "Fantasy" or romantic style- unusual shapes, variety of finishes.

At the end of the 70s. In the 20th century, fundamental changes occurred in the nature of mass fashion. When determining the fashionability of clothes, we are talking not only about styles and silhouettes, but also about style. The nature of clothing depends on the style. Therefore, along with the main styles, there are others in our lives:

1. Youth style– is built on the basis of contrasts, a combination of elements that are considered incompatible in adult fashion or are recognized only in avant-garde fashion. A smart blouse with a skirt or dress, sewn in a romantic or folk style, can, according to the laws of a youth ensemble, be combined with a business jacket. In a multi-stage ensemble, a combination of clothing elements of different length levels is played out.

2. Folklore style(rustic or “country look” - the use of motifs, ideas, images, cutting and finishing techniques folk costume. Most often these are clothes for leisure, home, free time. Appeared in the 50s. XX century

3. Denim style – denim fashion. A characteristic feature is sportiness, precise cut, an abundance of pockets, zippers, trim, stitching, metal buttons, rivets, etc., decoration with embroidery, chintz inserts, leather appliqué.

4. Retro style- direction modern fashion, using motifs, details, modeling techniques of previous years.

5. Individual style – presupposes not only the individual appearance of a person, i.e. physique, posture, clothes, makeup, hairstyle, but also gait, gestures, speech, style, facial expressions. All this forms a single whole and is associated only with a specific person.

Stylish look - whole, complete; Everything in it is thought out: from buttons to buckles on shoes. But at the same time, it is important not to look perfect, like a standard or a mannequin. The ability to wear things, the ability to present oneself, a certain charm, slight carelessness and at the same time sophistication - this is what makes the image stylish and unique.

A stylishly dressed person is not only dressed with taste and has thought through all the details of his wardrobe, from buttons to a handkerchief. Whatever he wears really suits him. This is the relationship between the external and the internal, the correspondence of the image to the style, and the style to the image. All this presupposes individual style.

Each person creates his own image, which is expressed in the manner of dressing, in communicating with others, in the ability to present oneself. It’s good if it matches the individuality, does not spoil the figure, successfully emphasizes the advantages and hides the shortcomings, but it happens that the sense of proportion and taste change.

In order to choose the right clothes for yourself, you cannot blindly follow fashion, but you need to develop aesthetic taste and know exactly what you want and what you need to create individual style.

There are certain principles in creating an individual style, which consist of aesthetic criteria and are expressed as follows:

    determine the proportions of the figure, physique, eliminate shortcomings due to the cut of clothing, details, style;

    choose the color scheme and texture of the fabric;

    choose a clothing style;

    equip the suit with additions, accessories, makeup, hairstyle, creating a rational wardrobe.

5. Historical development of the costume.

Shoulder clothing originates from primitive cloaks - skins. Over the millennia, this clothing was transformed, for example, into the men's and women's costumes of the Greeks. They were several pieces of fabric that were not stitched, but skillfully draped the human figure. The costume consisted of two parts: a lower shirt - a chiton and an upper cape - a himation. This cape was thrown over the left shoulder onto the back and chest. The longer and wider himation was called peplos - a large piece of woolen material. The size of the peplos varied depending on the social status and taste of the person.

Residents' clothing ancient egypt was, on the contrary, mostly form-fitting.

Showing sketches: Greek costume, Gothic, Baroque, Romanticism, Art Nouveau.

6. Model– This is a sample of a product in the form of a drawing, photograph or finished product.

The basis of the composition of clothing is the totality of the volumes, proportions or silhouette formed by the clothing.

7. Silhouette – This is a flat contour image of an object, similar to its shadow.

The silhouette gives a clear idea of ​​the volume of the clothing, i.e. has clear external contours in the form of a regular shadow.

There are two types of silhouette:

    sculptural– revealing, repeating the forms of a person, emphasizing his shortcomings and advantages;

    decorative– deviating from the natural combinations of the figure, masking and hiding its shortcomings.

To more accurately characterize the silhouette, it is compared with geometric shapes:

    a silhouette whose main lines diverge downwards is equated to a trapezoid;

    a silhouette with diverging lines up and down from the waistline, reminiscent of two triangles with vertices at a common point;

    if the silhouette is formed by regular curved lines, it is compared to an oval.

Sometimes silhouettes are compared to letters and objects:

    silhouettes with strongly tapered shoulders and smoothly flared skirts resemble a letter. A;

    The silhouette of the skirt, which is very tapered at the bottom, is compared to a barrel.

The silhouette of clothing is an expression of fashion; fashion changes, primarily in the silhouette because... He's the first to bore people.

Silhouette – This is the frame within which the form is developed and the style is created.

Style – These are the external features of the product, determined by the shape of the parts, design lines, and finishes.

The specific form of clothing is determined by cut, its changes are associated with changes in the structural basis of the model. Using one structural basis of the product, i.e. Without changing the location of the shoulder and side seams, the direction of the darts, the silhouette, you can create several different styles by changing the configuration of the neckline, armhole, etc.

When creating a sketch of a model, the fashion designer, first of all, thinks through and draws the silhouette, while he takes into account new trends in the length and width of clothing, as well as the plastic properties of new fabrics on which the creation of the silhouette depends.

Composition(translated from Latin) – composing, linking.

Silhouette(translated from French) – the external outline of an object.

Style(translated from French) – external form.

3. Physical education minute.

Starting position – standing, arms down.

Hands to the sides, trying to “reach” the wall.

Hands up, trying to “reach” the ceiling.

Starting position – standing, hands on your belt, roll from heel to toe 6-8 times.

A girl's wardrobe can consist of clothes of different styles, but the choice of clothes should correspond to its purpose.

A girl in a dress with a neckline and shiny embroidery at an educational institution or at work looks ridiculous. A fan of sports style dressed in denim will look the same in the theater. At the same time, a strict, elegant suit will not fit into the cheerful atmosphere of a disco, and casual clothes will not fit into a festive atmosphere. A person’s clothing and behavior characterize his internal culture, way of thinking, and interests.

V. Stage of inclusion in the knowledge system.

Practical work:

    make sketches of light shoulder clothing in a certain style.

    make silhouette drawings modern direction fashion.

VI. Stage of summarizing the lesson.

Check the completed work, make the necessary comments, and give grades.

VII. Reflection and evaluation stage.

Are you satisfied with the work in the lesson?

What new did you learn?

How do you feel when you leave class?

The cover - in the primitive form of a piece of cloth or skin - can be held on the body by throwing, tying and wrapping, without any significant structural adaptations. The starting positions are the places of support, the dimensions of the cover and its plastic properties.

The first (I) structural support belt is the head one

Head covers

As we already know, the head is an excellent volume in itself, and the first steps in the field of creating a cover were actually made on its rounded shape. It is not without reason that the history of costume presents us with garments that are perfect in form - the helmets of the Sumerians, Assyrians, and Greeks. The oldest depiction of hunting scenes shows skins worn entirely by the hunters and attached to the head. This kind of head cape robes has a clear character of transformation - camouflage.

The veil wrapped the heads of African women and Roman matrons as a sign of marriage. During the Christian period, European women (as a sign of humility) covered their hair with large veils, and head scarves (but without such a purpose) exist to this day.

In the East, men used the head veil as a prayer veil. All desert nomads covered their heads with cloth, protecting their eyes and mouth from sand and heat. In the Arab world, to this day, as a sign of nationality, they wear a veil fastened to the head with cords made of camel hair.

A more complex dressing system is formed by a ribbon-shaped piece, twisted on the head into a turban (among the peoples of Islam). Women in the Middle Ages knitted pieces of fabric into a complex system of headbands, and peasants in the European region tied headscarves in knots. Glued and then starched (from the 16th century) square and rectangular pieces were placed in the caps of monastic robes and in the uniform scarves of modern cooks.

Petrus Christus. Portrait of a woman. OK. 1470

Second (II) structural shoulder girdle

Shoulder clothing

In practice, the shoulder girdle bears the greatest load, and most CLOTHES - with and without sleeves, closed and swinging - are built on the support of the shoulders and arms.

1. Cape clothing in a primitive form is a piece of fabric thrown over the shoulders, a skin, then modified into a cloak, blanket, scarf, blanket, scarf, which have been and are used by most peoples (tropical and temperate climate zones) at all times.

2. Wrapping - represents a system of spiral-shaped wrapping with a piece of fabric supported on the shoulders or on one shoulder.

Depending on the configuration of the panel (ribbon, rectangle, square and oval), the clothing takes on the corresponding meaning: sari among the Hindus, lorum among the Byzantines, toga picta and toga protexta among the Romans, konake among the Sumerians, cloaks of the Assyrians, himation among the Greeks, etc.

3. A pinned shoulder garment implies a fastening structure - a knot, a rope, a belt, a buckle, a pin, a fibula - holding the flowing cover on the shoulders. Fastening, solving the problem of a person’s long and active existence in clothes, is continuously in the process of improvement. The stages of civilization are marked by the invention of cufflinks, buttons, pulleys with cords and zippers.

Hans Holbein the Younger. Portrait of Henry VIII at the age of forty-nine. 1539-1540

Uncut clothing

Invoice (cap) method. Let's take another example of the primitive shaping of clothing from one piece of fabric, but we will make the only support the shoulder girdle (without fastening), it will be possible to adapt this fabric for use only by making a constructive cut in the center of the fold of the fabric folded in half and threading the head through the hole. The resulting new form clothing is called a poncho and is well known to the peoples of Latin America.

Across the continent (even before Columbus), Americans wore ponchos: ancient Mexican mosaics show ponchos decorated with feathers, the Prairie Indians had suede ponchos decorated with porcupine quills. All modern Latin America uses a poncho: in the north of Colombia - a short black one, in the south - a thick one, blue with black or red stripes. In mountainous Peru the poncho is red, in Brazil it is white.

By manipulating the size of the piece, we will get both an Argentine short poncho and a long Chilean poncho, determining the length of the panel symmetrically to the heels and tips of the toes. Making it almost square, we get the boo-boo of the Africans, the same shape, trimmed with fringe, will correspond to the ancient Assyrian mantle and the Renaissance hupeland. In hand knitting, the cover, trimmed with fringe and without it, addresses us to the fashion of the period of the 60s - 70s of the XX century. And by the beginning of 1978, such a design would determine the design of dresses (both casual and elegant). The statement of fact itself is of little significance, but correlating it with the figurative effect, with those emotions that can be caused by proportional or color relationships in countless options - this reasoning turns us to the art of costume. The same form of cover, belted on the hips, will appear in the form of a medieval blio-cape on a chainmail robe, a surcoat-cape worn on a tunic, a tabar - a short cape of a heraldic nature, and a Cossack - a cape of musketeers. The same shape, short and long, in the fashion of the 60s and 70s of the 20th century, represents a variety of additional combinations that define the “onion” style - a system of multi-layered, one-on-one clothing forms.

Method of wrapping fabric around the body constitutes the most extensive of all systems of piece clothing, requiring skill, dexterity, grace, and preservation of dignity, allowing this clothing to be worn not only with benefit, but also with certain aesthetic qualities. The simplest of these clothes is the Greek himation, which can simply be thrown over the shoulder over the body. But the manipulation of large amounts of tissue contains more complex functions of psychological influence on human behavior. Thus, the differently thrown fabrics had their influence on the figurative state of the costume - as harmony of personality and clothing, harmony of body and drapery. The simplest draped clothes, without special regulations, can still be observed today among Tibetan lamas and Hindu priests, among the peoples of Africa, while in its complex pattern the drapery of the entwined costume of ancient Greece is even simplest form examples of two different systems of use: open himation (simpler) and closed (the wearing of which is determined by the aesthetic rules of drapery and the oratorical merits of the wearer). Thus, the speaker, swaddled in cloth, can only rely on the expressiveness of his eloquence and the observance of dignified behavior. The “hyperbole”, having turned into a structure, firmly fixed the drapery and thereby destroyed the charm of the mobility of the fabric, its adherence to the shape of the body and the variability of lines in movement.

It was a sculptural form, statically appealing to a work of monumental art, imposing and grandeur appealing to the significance of the person. "Piece" found social life, turning into the national dress of the Roman, a state sign, a privilege of significance and inaccessibility. Having emerged as the antithesis of the himation, the toga was so ineffective that even those who invented it and intended it for themselves, it caused displeasure and a violation of the harmony between the body and the tissue.

And only the Indian saree, made of thin fabrics and natural in the climate of India, showed a classic example of clothing, where the torso and legs are wrapped in a wide piece of fabric in various versions, the plastic capabilities and size (the strip, not the cloth of Rome) of which transforms the body into the likeness of spindle, deftly entwined in different directions alive, not constrained by drapery. The category of entwining also includes the robes of the Sumerians and the cloaks of the Assyrians.

A piece of fabric of rather late origin, used in the Philippines, can also be called wrapping (it wraps around the torso under the chest, but is limited in size and covers the body flat).

Chipped shoulder clothing. Fastening will solve the problem of a person’s active existence in clothes. Starting with a knot, it moves to a fibula clasp and ends with the most convenient option - a cord on blocks that regulates the movement of a medieval cloak. In this form, this fastener exists to this day on military raincoats.

A classic example of fastening is the exomide (see chapter “Antiquity”), where there is a knot, a strap, and a fibula in successive evolution. All ancient clothing was decorated with fastenings, including the cloak-chlamys, but its more common form was the baldric, which fastened the piece aprons of the Sumerians, Egyptians and Greeks.

The perfection of the girdle is shown to us by the sculpture of the Delphic charioteer, where the movement of the belt fixes the “formation” of the sleeves.

One of the excellent examples of fastening with a knot is the Egyptian women's clothing of the New Kingdom, where the fabric, being pleated, fits the figure, smoothly bringing the rays of the pleating under the chest, pulled together by the ends of the cloth, tied in a knot.

In clothing of the last quarter of the 20th century, the idea of ​​FREEDOM of behavior gave the right to tie sundresses and bodices in knots, men's and women's shirts. And to complete the conscious freedom of wearing clothes, tie any part of it (sweater, shirt, etc.) with a knot at the waist or shoulders, so as not to burden your hands with the weight of something you don’t need. at the moment robes.

Thus, mankind’s search for a comfortable shell (when it learned to manipulate a piece of fabric) was successfully completed in the screw-shaped robe of the Sumerians, in the coiled quality of Egyptian aprons, in the Indian sari and in the ideal solution of Greek clothes.

The highest achievement was the creation by the Hellenes of an uncut draped costume, the existence of which proved that only in a draped form can the fabric obediently follow the movement and shape of the body, slide through the volume, either tightly fitting or filled with air. Compliance with the conditions of the plastic beauty of the fabric, the art of placing and managing folds, and finding the right size values ​​determine the costume as a work of art.

This principle, as mentioned above, lost during the Roman Empire and briefly restored during the French Revolution, was perceived in the 20th century as the basis for the formation of a suit, held together with seams and cut with scissors.

Clothing made from a piece of fabric

A piece of fabric and its chopping logically leads to securing the fabric with seams.

The transition from a draped piece suit to a tailored sheath revealed the discrepancy between the flat piece of fabric and the volume of the body.

The initial unit of reference in this case was the width of the fabric, because the length of the piece according to the system of its production is unlimited, while the width is dictated by the capabilities of the primitive loom, which in turn correlated with the movement of the hands, pushing the shuttle and returning it to its original place.

The system of stitching and folding fabrics makes the designs of clothing of the peoples of the world similar to each other. The expediency of purpose and the logic of folding fabric, based on the desire to minimize seams, eliminates excess material and uses it to the maximum. This implies some approximate terminology when the concept of “cut” is used as applied to the clothing of various peoples who do not know it. The logic of tissue distribution throughout the body is the same for all nations, because it is determined by the anatomical structure of the object. And the system is simple - the formation of three cylinders (first of all, two for the arms and then one for the torso).

Therefore, the first form of sewn clothing can be considered a tunic - a shirt, which varied in size depending on the needs of each nation, living conditions and climate.

But the purity of the form of the resulting geometric layout (overlay clothing) is achieved by following unshakable rules. There are only two main forms of clothing - closed (or worn over the head) and swinging. The forerunner of swinging clothing can be considered a cloak draped over two shoulders, skins tied in three pieces. The forerunner of the tunic is two skins tied at the waist or fastened on the shoulders, or two panels fastened like a chiton or peplos.

Nevertheless, in the history of costume, images of swinging clothes and deaf clothes appear almost simultaneously. Many peoples define each type as a law and a national tradition, which they will part with only when switching to another generally accepted costume system.

Thus, in the same row of our comparative system we can place the simplest japanese kimono, and Mexican poncho, and antique tunics, and shirts of all Slavic peoples, and all the clothing of the European Middle Ages, and, paradoxically, all types of knitted clothing.

Different conditions of everyday life and climatic differences (coupled with the nature of social stratification) determined the differences between these structurally similar clothes. Taking into account the diversity of the language of the sign system of decoration folk clothes, then the great diversity of the multilingual “veil” of folk costume thrown over a uniform human being will become clear.

The vertical direction of the structural seams is determined by the initial method of forming the form: the panel is laid on the shoulders and, bending in half, evenly covers the back and front. Moreover, unlike the width, the vertical extent of the canvas is not limited.

Less common are horizontal seams that define a floor-by-floor helical structure. In all likelihood, this is dictated by the small width of the form-building material, as in the kamleikas of the Aleuts of Alaska, which are sewn from seal intestines. These beautifully crafted lightweight bands are laid in a spiral pattern, starting from the widest radius of the hem circumference, gradually curling and tapering towards the armpits. The processing of the shoulder girdle and sleeves begins from the cylindrical neck, from which ribbons are stretched to the arms, “outstretched to the sides.” The seams are held together with colored deer sinew, which creates an unusually slender, structurally decorated surface of the garment.

The design of the seams also determines the decorative division of the form, which in traditional repetition is perceived as an obligatory feature of the national language of costume and, as often happens, in a modernized form remains as pure decoration, losing its functional meaning. Strengthening the seams prompts their careful and scrupulous processing, creating a precedent for the enrichment of decorative elements: colored, dyed deer veins in the kamleikas of the Aleuts, convex relief seams and appliqués in Scythian fur caftans, fur released out of the seams in the malitsas of the peoples of the Far North, felt appliqués in clothes of Hungarian and Slovak shepherds, etc.

Stitching side seams, we get a Doric chiton, a Roman colobium and a dolmatic, types of church vestments, and if we sew rectangular pieces to the shoulder seams, we get a tunic with sleeves. Capes, mantillas, sundresses, padded warmers, etc., coats, blouses, galabayas and burnouses of the Arabs, bibs of Ryazan, etc. - modifications of the shoulder overlay method of dressing the simplest shoulder and sewn piece clothing.

Thus, modification of the shoulder attachment is the basis of all garments.

Third (III) structural support belt - femoral

Hip clothes

A PIECE OF FABRIC or other textured cloth, either in a simple, unstitched form, or fastened with seams, forms the clothing of the third constructive belt - the HIGH.

In their historical evolution, loincloths were mostly piece-pieces, mostly not sewn, as they had an excellent fastening - a belt placed along the hips and stomach (below the navel). However, these days the waistline, which often defines the boundaries of the hip garment, is determined at its natural location, rather than at the site of the hip protrusion. The European meaning of the concept of “waist line”, accessible to our understanding, begins at the end of the 15th century, when the design of the corset and bodice, tightening the chest, was formed.

When the chest was tightened, the stomach and sides expanded, and the border of this formation (or the border of the corset) meant the waist line.

Sumerian sculpture, Cretan-Mycenaean sculpture and archaic painting of Greece mark an exaggerated waist, which testifies in favor of the assumption of its forced, artificial formation. Four centuries of the corset (XVI - XVII, XVIII - XIX) deformed the female figure and determined the “natural position” of this line known today. Nevertheless, all peoples who do not know the deformation of the chest fasten the belt clothes on the hips (Africans, Indians, peoples of the North).

In women's clothing, the hip line was noted in Greek clothing, in the Romanesque Middle Ages and in the 20th century, during periods of masculinization, when the ideal of slimness approached a boyish silhouette. This continues today.

Statue of Augustus from Prima Porta. Around 20 BC

Loin belts and loincloths are widely used and are found among almost all peoples. From them originate skirts, aprons and trousers, that is, the entire complex of clothing for the lower half of the body. The cover attached to the belt can be ropes (Hallstadt culture), animal tails among Australians and Africans, plant fibers and animal skins, and fur strips on the Zulu belts.

“...And so Jomela went to the wedding with his sons. The sons were wearing belts... made of new and thin leather - a back apron, shiny white and black calfskin, and the same apron. In addition, heavy bundles of civet tails dangled from their hips” (See A. Bryant. Zulu Carnival.)

Obviously, such a semblance of cut ribbons from animal skins represents the belts depicted on the sculptures of Elam, which were then reproduced in a more perfect form in the form of twisted fringes of wool, which made the loincloths more flexible. Such loincloths-skirts represent the figures in the Karadash reliefs, and then in a more refined material and form they represent a true decoration in the perfect skirts of Cretan-Mycenaean women.

The loincloth of the Egyptians has ancient origins, starting from the belt as a support for fastening. This form will develop into a loincloth, multifaceted in its form and purpose. Having originated in an environment where climatic conditions did not require clothing, the headband was defined as a social sign (together with head decoration and regalia of superiority). The length and shape of clothing, appropriate for use and climate, in the Old Kingdom did not exceed the size and volume of the hips, but the quality of the fabric and its processing varied social aspect. And then even such a small piece of canvas not only carries an aesthetic meaning, but also contributes to social distinction. Having increased in size in length and width, the loincloths of the Egyptians were uniform in appearance, clinging to the body, they flowed around and outlined its shape.

The same loin piece clothing still exists in the form of a scaffold in Ukrainian clothing, a spare tire among the Belarusians, a bedding among the Romanians and Bulgarians, among Tibetan women, Panov in the Central Russian zone, aprons among all the peoples of the world, sarong among the Indonesians and Malays. Thus, it is obvious that all peoples went through the path of attaching clothes with a belt on the hips and, depending on the climate, on the needs, customs and norms of beauty, on the social division of the community and national characteristics, they differentiated them by the nature of the fabric and its decorative design.

It can be noted that in horizontal fastening, in addition to constructive natural divisions, there arise various options, as in the examples with raincoats.

Gustave Caillebotte. Europe Square on a rainy day. 1877

Piece clothing made of two “tunics” - pants

If the men of sedentary peoples could be content with a tunic - a shirt, then the nomads, in all likelihood, found themselves in a dilemma: while riding a horse, the shirt “disappears”, the hems of the caftan separate - both legs are deprived of clothing. When walking on foot, one tunic on the body is enough. Riding - the legs are exposed and become vulnerable. Perhaps the logical course of the prehistory of the invention was as follows, since the honor of inventing trousers belongs to the tribes of horsemen. In all likelihood, the evolution of the shape of pants began:

a) like two “bags” for two legs (Scythians, Iranians),

b) as a cover for the hips and abdomen plus leggings (peoples of the Far North),

c) like wrapping the thighs and legs at the same time (Indians, Egyptians, Europeans, Greeks),

d) as a connection between panties and long stockings(European Middle Ages).

Pants of a more complex shape are found among the Greenlanders, Indians of North America (Alaska), Eskimos, and Chukchi. The shape was determined by the size of the source material - skin, its plastic properties, processing methods and the vital practical importance of clothing. Hence the exact knowledge of the “behavior” of clothes on the body and the body in clothes. The last condition is the main one in practical necessary clothing. Their options were dictated by the need to preserve life. Rovduga, suede and fur were processed with a knife. The presence of this ancient tool determined the possibility of changing the shape of the natural contour of the skin, and therefore the skill, and then the concept of “cut,” undoubtedly arose for the first time among peoples dealing with skins. Hence the precision of fitting of clothing and its impermeability. It is characteristic that all thigh-length garments known to us consist basically of paired trousers, of trousers fastened with shoes, of trousers put on with shoes, but always separate from the clothing of the body - shorts, parkas, etc.

Men's trousers at all times were always fastened on the hips and stomach below the navel line (if they were not pulled up to the chest with bristles, as in the times of the French Revolution and Dickens).

In the 19th and 20th centuries, men were fashionable wide belts, which determined the location of the waist almost under the diaphragm. It must be said that the belt of trousers, fixed on the upper protrusion of the hips, even today imparts youthful slimness to older people.

But the placement of a piece of fabric on the body and the method of dressing it do not yet explain the different interpretations of the names and nature of the clothes, united by signs of the primitiveness of their original form.

THE SIGNIFICANCE of the cloth covering the body is revealed only in its relationship with a person.