【正文】 f the 1980′s, structured clothing was back in fashion and dress and suit shoulders began once again to grow as padding was inserted. By the 1990′s, the unstructured look as predominant again。 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。服裝設(shè)計(jì)包含四個(gè)基本要素：輪廓、細(xì)節(jié)、材質(zhì)和色彩。這四個(gè)元素中的一個(gè)或多個(gè)的變化才能產(chǎn)生出一種新的款式。服裝輪廓是指服裝總體概括的外觀。通常也成為“輪廓”或者“造型”。瀏覽一下歷史上女裝的輪廓，對(duì)于一般人而言，簡直就是千變?nèi)f化。而根據(jù)20世紀(jì)30年代艾格奈斯布洛克揚(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。不同的輪廓往往取自特定的設(shè)計(jì)風(fēng)格有的輪廓以字母命名，有的輪廓根據(jù)形狀命名，有的輪廓根據(jù)特定年代命名，還有的輪廓?jiǎng)t是根據(jù)服裝特殊的縫線以及邊緣線命名的。賦予服裝輪廓線形式的個(gè)性因素稱為細(xì)部，包括領(lǐng)子、袖子以及肩部的處理方式，裙子或褲子的長于寬的變化以及裝飾字節(jié)的處理等等。通過細(xì)部變化，服裝輪廓就會(huì)從一種式樣過度到另一種式樣。當(dāng)某個(gè)細(xì)部在設(shè)計(jì)上達(dá)到極致后，它就會(huì)走向反面。例如，20世紀(jì)40年代和50年代，上裝和套裝的肩部都做的很寬，并且裝上很厚的肩墊。到了60年代末期和70年代，肩部設(shè)計(jì)就窄而薄了，看上去隨意一些，不給人可以塑性的感覺。但太過隨意之后，到了80年代，服裝的肩部又開始變寬并且加進(jìn)肩墊了。到了90年代，休閑風(fēng)格又占了上風(fēng)。而到了90年代末，寬肩、筆挺的服裝重新走上展示臺(tái)。在目前廣為接受的服裝輪廓形式的基礎(chǔ)上，細(xì)部變化能讓設(shè)計(jì)師和消費(fèi)者都能自由的表達(dá)自己的個(gè)性。為了突出腰部的自然線條，以為苗條的女士可能選擇一條簡單的寬腰帶，或是一條裝飾性的腰帶，也可以是一條與服裝在色彩上形成對(duì)比的腰帶。為了強(qiáng)調(diào)自己寬闊的肩膀，男士可能選擇肩章或很厚的肩墊。材質(zhì)是服裝設(shè)計(jì)中最重要的元素之一。材質(zhì)是指紡織品或非織造面料的外觀和質(zhì)感。材質(zhì)影響到服裝輪廓。質(zhì)地粗糙或質(zhì)地光潔的面料，會(huì)造成寬大或纖巧的不同外觀感覺。一位女性如果穿一套粗花呢裙裝或蓬松針織套頭衫的話，看起來就會(huì)顯得體形寬大，而如果改穿針織緊身外衣或羊絨衫，就相對(duì)顯得纖巧一些。材質(zhì)直接影響到服裝的懸垂性。雪紡緊身且飄垂，是柔美的女性風(fēng)格的首選；而燈芯絨用在休閑裝上則顯得結(jié)識(shí)、寬松。材質(zhì)表面吸光還是反光會(huì)影響面料的色彩效果。表面粗糙的面料吸光，看起來顏色就黯淡。表面光滑的面料反光，看起來顏色就鮮明。在進(jìn)行色彩搭配時(shí)會(huì)發(fā)現(xiàn)，一種顏色與有光澤的維尼綸、錦緞或高光琺瑯?biāo){釉彩相配會(huì)顯得非常明亮，而放到粗糙的羊毛麂皮或灰泥墻背景上，就顯得黯淡多了。色彩一直是女裝設(shè)計(jì)的一個(gè)主要元素。第二次世界大戰(zhàn)以來，色在在男裝設(shè)計(jì)中也恢復(fù)了與歷史上同等重要的地位?，F(xiàn)在，男女兩性在選擇服裝時(shí)，色彩是關(guān)鍵的因素。色彩在廣告、包裝和櫥窗裝飾設(shè)計(jì)中也同樣重要。歷史上，色彩曾被用來表征社會(huì)地位和職業(yè)。例如，紫色總是和皇室相關(guān)聯(lián)，并且在某些時(shí)期內(nèi)，只能在貴族服飾中出現(xiàn)。黑色，習(xí)慣上是神職人員和法官的服裝色彩。色彩的象征意義隨著地域的變化而不同。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。今天，服裝設(shè)計(jì)師的調(diào)色板要根據(jù)消費(fèi)者的喜好來調(diào)色。在一些季節(jié)里，使用的事明亮的色彩和強(qiáng)烈的對(duì)比，顏色再鮮艷也不會(huì)過分，而在另一些季節(jié)里，人們卻又偏好相對(duì)暗淡的色彩。服裝專業(yè)人士必須培養(yǎng)出對(duì)色彩的鑒賞力不僅對(duì)特定季節(jié)里獨(dú)特色調(diào)和流行趨向要敏感，而且還要能夠?qū)οM(fèi)者的偏愛非常了解