Автор: Muteva Milana

  • Chapter I: The Dawn of Fashion — From Survival to Symbolism

    Introduction

    Fashion did not begin as the glamorous industry we know today. Its roots lie deep in prehistory, where clothing was first created out of necessity. Early humans clothed themselves for warmth, protection, and survival, but as time passed, garments became symbols of culture, identity, and status. This chapter explores the birth of fashion — from animal hides to linen robes — and traces how humanity’s earliest garments shaped the foundations of style.

    1. The Earliest Clothing: Survival in Harsh Environments

    Archaeological and genetic evidence suggests that humans began wearing clothing between 100,000 and 170,000 years ago. This conclusion comes partly from studying lice: the body louse, which depends on clothing to survive, diverged from the head louse around that time.

    The very first garments were simple:

    • Animal hides and furs were wrapped around the body to shield against cold climates.
    • Plant fibers were twisted into cords and mats, sometimes tied around the waist.
    • Skins were scraped clean with stone tools, softened by animal fat, and fastened with bone pins or sinew threads.

    These early clothes were purely functional, but they marked the beginning of fashion as a human trait — the transformation of raw nature into culture.

    Around 40,000 to 50,000 years ago, the invention of bone and ivory needles revolutionized clothing. With needles, people could stitch hides into fitted garments instead of simply draping them. This meant:

    • Parkas, leggings, and boots were crafted to protect hunters in Ice Age Europe and Siberia.
    • Clothing became tailored to the body, making it both warmer and more mobile.
    • Decorative stitching and dyeing appeared — proof that clothing was slowly moving beyond utility.

    In southern Africa, dyed flax fibers dating to 36,000 years ago show that prehistoric people experimented with colors. The Venus of Lespugue, a figurine from 25,000 years ago, even depicts a skirt made of twisted fibers — one of the first hints of fashion symbolism.

    3. Ancient Egypt: Linen and Social Status

    One of the first great civilizations to refine clothing into an art form was Ancient Egypt (c. 3100–30 BCE).

    • Egyptians wove linen from flax, a fabric perfect for the hot desert climate.
    • Common people wore simple, undecorated tunics or loincloths.
    • The wealthy elite displayed status with sheer, finely woven linen robes, pleated skirts, and elaborate jewelry.
    • Clothing was not only practical but also spiritual — priests wore specific garments for rituals, and even in death, linen wrappings preserved the body through mummification.

    The oldest known tailored dress, the Tarkhan Dress

    (c. 5,000 years old), was discovered in Egypt. Made from finely woven linen, it already featured sleeves and pleats — a surprisingly modern design for its age.

    4. Mesopotamia and the Art of Drapery

    In Mesopotamia (c. 3000–500 BCE), clothing reflected practicality and hierarchy:

    • Men often wore kaunakes, a type of skirt made from tufted wool, resembling sheepskin.
    • Women draped long robes over their shoulders, belted at the waist.
    • Priests and kings distinguished themselves with more elaborate versions, while slaves wore only simple wraps.

    The invention of loom weaving allowed Mesopotamians to produce patterned fabrics, opening the door to early textile artistry.

    5. Early Greece: Elegance in Simplicity

    By the time of Ancient Greece (c. 800–300 BCE), clothing was minimal yet elegant:

    • The chiton, a rectangle of fabric fastened with pins at the shoulders, was the everyday garment.
    • Men’s chitons were shorter, women’s reached the ankles.
    • Over it, they might wear a himation (a cloak) for warmth or status.
    • Clothes were often left unstitched, relying on clever draping, which symbolized harmony with nature and the human body.

    Greek fashion expressed ideals of proportion and beauty rather than wealth alone.

    Rome: Clothing as Citizenship

    Romans inherited Greek styles but made them symbols of political identity.

    • The toga became the garment of Roman citizens — only men of status could wear it.
    • Women wore stolas, long dresses often layered with shawls.
    • Soldiers and workers wore tunics, simpler and more practical.

    Here, fashion took on a powerful social function: your clothing revealed your rights, duties, and place in society.

    7. Why It All Mattered

    Clothing, from its very beginnings, was never just about survival. Every stitch, fabric, and drape carried meaning:

    1. Protection — against nature, weather, and hardship.
    2. Identity — belonging to a tribe, city, or empire.
    3. Status — distinguishing rich from poor, rulers from subjects.
    4. Spirituality — garments tied to rituals, life, and even death.

    Fashion began as necessity, but it quickly became one of the most powerful languages humanity ever invented.

    Conclusion

    The first chapter of fashion’s story shows us a transformation: from furs scraped with stone tools to pleated linen gowns of Egyptian queens, from humble chitons of Greek peasants to Roman togas of senators. Each garment was more than fabric — it was a statement of survival, culture, and power.

    This was the dawn of fashion, and its influence would only grow stronger with every new civilization and century.

  • Clothing Design: The Myth of Creativity and the Power of Numbers

    Clothing Design: The Myth of Creativity and the Power of Numbers


    Hi everyone! My name is Milana, and I am madly in love with fashion. Like many of you, I always thought that clothing design was pure magic. A flash of inspiration, a few sketches, and voilà—a masterpiece is born. But over the course of my studies and work, I’ve realized something important: this magic is built on a strict, but very exciting, foundation. And that foundation is mathematics.

    The Invisible World of Numbers Behind the Scenes

    When we look at a stunning dress on the runway or a pair of perfectly fitting jeans, we see beauty, color, and silhouette. We don’t see the formulas that were used to create them. But they are there!

    • Perfect Proportions: Do you know why some things look so harmonious on us? It’s thanks to the golden ratio. Designers, whether intuitively or consciously, use this mathematical constant to determine the ideal skirt length, waist placement, or sleeve proportions. It’s not just beautiful—it’s mathematically calculated.
    • Construction and Cut: This is where the most «boring,» yet most crucial, part begins. To create a pattern, you need to know how to work with geometry. 📐 You have to calculate angles, line lengths, and curves. A single millimeter of error can cause the garment to sit crookedly and the seams to pucker. It’s not just a creative process; it’s a technical drawing and precise calculation.
    • Fabric Consumption: Economics is also a part of math. An experienced designer knows how to place pattern pieces on the fabric to minimize waste. This isn’t just an ecological concern; it’s a matter of budget. Incorrect calculations can lead to significant losses.
    • Pleating, Draping, and Folds: How do you make fabric «lie» beautifully? Physics and its laws, which are described by mathematics, come to the rescue. A designer must calculate how much fabric is needed to create a certain volume, how it will drape under its own weight, and how it will look in motion.

    From Chaos to Harmony

    My personal experience is the best proof of this. At first, I just drew whatever came to mind and wondered why my sketches weren’t turning into actual clothes. Then I started to understand that design isn’t just a chaotic flight of fancy. It’s an ordered system where every detail has its place and meaning.


    Of course, creativity and inspiration remain key. Math isn’t a cage that restricts you; on the contrary, it’s a tool that gives you freedom. It’s like knowing musical notes to write music. Without knowing the notes, you can play something, but only with them can you create a symphony.

    So, the next time you admire someone’s design, remember: behind every beautiful dress lies not only talent but also precise calculations, geometry, and even a bit of algebra. ✨

    Have you ever thought about how much science is in our everyday world?

  • Why, to Become a Fashion Designer, You Need to Strive Toward God

    Why, to Become a Fashion Designer, You Need to Strive Toward God


    Why, to Become a Fashion Designer, You Need to Strive Toward God

    I often hear the question: why do you connect your profession as a fashion designer with faith? At first glance, these seem like completely different worlds. But for me, they are beautifully intertwined.

    When I first picked up a pencil and tried to sketch, I realized that creativity is not just a craft. It’s breath, it’s inspiration, it’s something that comes from above. And the deeper I searched for the source of that inspiration, the clearer it became — it wasn’t within me alone, it was with God.


    As designers, we work with beauty. But beauty comes in many forms: superficial, loud, fleeting… or the kind that awakens light within a person, uplifts them, and stirs their best feelings. That’s the kind of beauty I want to share. And to see it, you have to look deeper than fabric, silhouette, or trends. You have to learn to notice the Creator’s design — the harmony of lines in nature, the proportions of the body, the way the world itself is arranged.

    For me, striving toward God is about inner alignment. It’s not just “I create clothes to sell,” but rather, “I want my work to help people feel lighter, more beautiful, more confident, and also purer within.” That, to me, is the true purpose of a designer’s work. Clothing is not only decoration or protection from the cold — it can shape mood, culture, and even values.

    When someone wears a piece created with love and respect for harmony, they can feel it. There’s a new ease in their step, a clarity in their gaze, a sense of dignity in their movements. This isn’t magic — it’s simply the energy of the right intention. That’s why I believe a true designer must strive toward God. Because only through this striving can we create clothing that doesn’t degrade a person, but elevates them; that doesn’t reduce them to an object, but reveals their true self.