【正文】 在西方世界中，白色是純潔的象征，是新娘婚紗和宗教人士的服色，但在印度，白色確實(shí)喪服的顏色。色彩一直是女裝設(shè)計(jì)的一個(gè)主要元素。質(zhì)地粗糙或質(zhì)地光潔的面料，會造成寬大或纖巧的不同外觀感覺。到了90年代，休閑風(fēng)格又占了上風(fēng)。揚(yáng)的研究，實(shí)際上服裝輪廓可以歸納為三種最基本的形式：直式、鐘形、以及后裙撐式—在這三種形的基礎(chǔ)上千變?nèi)f化。 toward the end of the decade, structured suits and wide shoulders were again seen on the runways!Variations in detail allow both designer and consumer to express their individuality freely within the framework of the currently accepted silhouette. To emphasize a naturalwaistline silhouette, for example, a slender women might choose a simple wide belt, a decorated belt, or a belt in a contrasting color. To express his individuality, a man might emphasize the wide shoulder look with epaulets or heavy shoulder pads.One of the most significant ponents of fashion is texture. Texture is the look and feel of material, woven or nonwoven. Texture can affect the appearance of a silhouette, giving it a bulky or slender look, depending on the roughness or smoothness of the materials. A women dressed in a rough tweed dress and a bulky knit sweater is likely to look larger and squarer than she does in the same dress executed in a smooth jersey and topped with a cashmere sweater.Texture influences the drape of a garment. Chiffon cling and flows, making it a good choice for soft, feminine styles, while corduroy has the firmness and bulk suitable for more casual garments.Texture affects the color of a fabric by causing the surface to either reflect or absorb light. Rough textures absorb light, causing colors to appear flat. Smooth texture reflect light, causing colors to appear brighter. Anyone who has tried to match colors soon discovers vinyl, satin, or high gloss enamel paint seems subdued in a rough wool, a suede, or a stucco wall finish.Color has always been a major consideration in women’s clothing .Since World War ll. color in men’s clothing has been regaining the importance it had in pervious centuries. Today, color is a key factor in apparel selection for both sexes. Color is important in advertising, packaging, and store decor as well.Historically, colors have been used to denote rank and profession. Purple for instance, was associated with royalty, and in some periods, could be worn only by those of noble birth. Black became customary for the apparel of the clergy and for members of the judiciary. Color symbolism often varies with geographical location. While white is the Western world’s symbol of purity, worn by brides and used in munion dresses, it is the color of mourning in lndia.Today, a fashion designer′s color palette changes with consumers′preferences. In some seasons, all is brightness and sharp contrast, and no color is too powerful to be worn. In other seasons, only subdued colors appear. Fashion merchants must develop an eye for color—not only for the specific hues and values popular in a given season, but also for indications of possible trends in consumer preference.服裝設(shè)計(jì)要素服裝設(shè)計(jì)作品既不是隨意出現(xiàn)的，也不是靠設(shè)計(jì)師揮舞魔術(shù)棒變出來的。它們或質(zhì)樸、或華麗，或性感、或婉約，形式多樣但都是世界各族人民對本民族文化的傳承與弘揚(yáng)，同時(shí)也是人們崇尚自然、追求美好與和諧的精神體現(xiàn)。電影大規(guī)模地影響和塑造著時(shí)裝潮流，電影借助服裝，令角色生動(dòng)；時(shí)裝透過電影，來尋找靈感，引領(lǐng)潮流。不論是嬉皮還是朋克，嘻哈還是重金屬，音樂形式依舊狂躁不安，可樂迷身上那古怪靈異、夸張變形的服飾樣式卻花樣翻新，頻頻亮相時(shí)尚舞臺。那時(shí)舞蹈只是手舞足蹈，還沒形成固定的動(dòng)作，可就是簡簡單單的尾飾就能使舞蹈變得整齊劃一，初露美感。本論文從選題到完成，每一步都是在導(dǎo)師的指導(dǎo)下完成的，傾注了導(dǎo)師大量的心血。結(jié)束語當(dāng)今舞臺服裝新的流行元素“動(dòng)中有靜，靜中有動(dòng)”的表現(xiàn)手法，這也是觀眾意想不到的一種動(dòng)態(tài)與靜止的美的結(jié)合，對舞臺服裝設(shè)計(jì)的促銷作用作了進(jìn)一步的升華。舞臺服裝設(shè)計(jì)所涉及的范圍十分廣泛，包括社會規(guī)劃、理論模型、產(chǎn)品設(shè)計(jì)和工程組織方案的制定等等。設(shè)計(jì)師多年的知識全部溶解在這個(gè)創(chuàng)造中，因此使得設(shè)計(jì)后的衣服有了“精神”和“魅力”，好的設(shè)計(jì)為服飾增添了附加值。所謂暴力美學(xué)，以我個(gè)人理解是用血與火或其他暴力行為來體現(xiàn)人與人之間人性美。面 舞臺服裝特殊表現(xiàn)形式料作為服裝的載體, 也以各種全新的面貌出現(xiàn)。在圖形的解構(gòu)過程中, 設(shè)計(jì)師大量采用各地區(qū)、各民族、各歷史時(shí)期、各流派的手法風(fēng)格, 將自己置于過去與未來、激進(jìn)與傳統(tǒng)、中心與邊緣、理性與非理性等模棱兩可之間, 并不需要一個(gè)統(tǒng)一的圖案主導(dǎo), 顯示出解構(gòu)主義巨大的包容性。 解構(gòu)主義在舞臺服裝設(shè)計(jì)中的運(yùn)用解構(gòu)主義服裝是一種充滿個(gè)性的矛盾服裝風(fēng)格, 其矛盾表現(xiàn)充溢著禪宗與人文的氛圍, 其造型因跳躍、斷裂、分割、組合以及拼貼造成的非服裝結(jié)構(gòu)上的矛盾和沖突使服裝顯得越發(fā)的陳厚、隱秘。 服裝造型設(shè)計(jì)與燈光在舞臺美術(shù)的范疇中，服裝造型與燈光的關(guān)系甚為密切，沒有光的配合，整個(gè)演出將會黯然失色，服裝造型也將變得平淡而無味。挺爽型面料線條清晰有體量感，能形成豐滿的服裝輪廓。服裝的空間美和運(yùn)動(dòng)美是結(jié)構(gòu)設(shè)計(jì)的基礎(chǔ)。服裝的立體意識和款式由平面轉(zhuǎn)化為立體的造型實(shí)踐，是服裝結(jié)構(gòu)設(shè)計(jì)教學(xué)的基本原則。服裝色彩的合理運(yùn)用，既是服裝設(shè)計(jì)師所追求的，又為服裝設(shè)計(jì)注入了新的活力，為設(shè)計(jì)師提供了廣闊的發(fā)展空間。在舞臺演出中，為了激發(fā)演員的角色情緒，盡快進(jìn)入規(guī)定情境，會利用燈光與服裝相配合的效果燈光是依靠光來創(chuàng)造空間、分割空間、渲染空間氣氛和情緒，保證舞臺形象的完美與整體。同一個(gè)演員去演繹不同的角色所產(chǎn)生的視覺效果也有很大區(qū)別。材質(zhì)大膽采用非常規(guī)和高科技材料。這一過程可看作形象的觸發(fā)、形象的構(gòu)成和形象的完善。它是依賴于戲劇、音樂和舞蹈，借助于舞臺特有空間來展示的，屬典型性視覺藝術(shù)創(chuàng)作。 舞臺服裝的研究內(nèi)容舞臺服裝一般分人物服裝（戲劇人物服裝，包括話劇、歌劇、舞劇，戲曲、戲劇小品、拉場戲、獨(dú)角戲中的人物服裝）、演員服裝（音樂、舞蹈、雜技、魔術(shù)、曲藝等演員服裝）兩大類。 歐洲中世紀(jì)的宗教劇中，由僧侶兼任的演員，就以平時(shí)僧袍為演出服。中世紀(jì)后期，各大行會資助演出工作，因而炫耀財(cái)富，攀比氣質(zhì)，演員們服飾華麗，幻想式與象征性舞臺服裝爭相出現(xiàn)。與生活服裝不同，舞臺服裝具有鮮明的戲劇獨(dú)特性。在戲劇的初始階段，原始服裝與原始道具是原始戲劇最早的演繹手段。人物信息研究的全面與否關(guān)系到舞臺服裝設(shè)計(jì)的準(zhǔn)確性和深刻性,從這個(gè)意義上講,人