Visual illusions in clothing. Visual illusions in clothing: how to look a couple sizes slimmer Visual illusions in clothing body features

Fashion is not only a person’s eternal desire for change, but also a constant pursuit of the ideal. Whatever new role model is offered to us, we are ready for any tricks and tricks to prove that we fully correspond to him, that we undoubtedly have an “ideal figure.” And here it is absolutely impossible to do without the laws of visual illusions.

Visual illusions
Illusion is something apparent, a deception of the senses.
Erroneous perception of objects and phenomena.

Illusions have long been used, and with great success, to bring a real figure closer to the ideal one from the point of view of current fashion: to make one taller, a slimmer figure, narrower or wider shoulders, larger or smaller breasts, a thinner waist, etc.

Historical reference
If we trace the entire history of the development of the costume, we will see how they “narrowed” the waist with the help of very wide skirts and a tightly tightened corset, raised the waist line so that the legs seemed longer, decorated the neck with a huge “freza” collar, creating the illusion of a small head, etc. .d.

Ways to achieve the desired visual effect

Forming a certain visual perception of a figure, a modern designer uses various methods and techniques. On the one hand, it can give a figure a certain visual effect (i.e. make a full figure slimmer, divert attention from a problem area, etc.) with the help of constructive and modeling lines. In this case, the property of vertical lines (reliefs, decorative seams, etc.) is widely used and special attention is paid to the modeling of collars and necklines, the location of small details (pockets, patches, etc.). On the other hand, the same effect can be achieved by using the properties of the fabric pattern (for example, vertical stripes make the figure slim, a large cell expands). In this case, the design lines fade into the background.

Visual illusions not only allow the figure to look more or less ideal, but also provide a certain aesthetic perception of the model’s artistic image.

Let's consider the main visual illusions that you need to know when modeling clothes.

The vertical always seems larger to us than the horizontal that is equal in size. Distances at the top of our field of vision appear larger than distances at the bottom. This illusion is most typical for determining the proportions of the upper and lower parts of clothing. A skirt and blouse of equal length are not perceived by the eye as equal. The length of the skirt visually moves a little upward, and this small difference causes anxiety, as the eyes begin to compare: what is more and what is less. The difference should be more obvious so that the model is easy to read by the eye. That is, it is necessary to lengthen the blouse or skirt.

Sometimes it happens that the space of a costume filled with decor and details seems larger than an equal space that is unfilled. Therefore, it is better to avoid piling up details in that part of the figure whose size it is undesirable to increase.

The distance between the sides of an acute angle appears larger than it actually is, and the distance between the sides of an obtuse angle is underestimated. This mainly concerns the design of the neck. A wide triangular neckline makes wide shoulders appear narrower, while a narrow and long neckline, on the contrary, widens them.

Let's look at this type of illusion using the example of the contrast of shapes, sizes and plastic patterns. A small form next to a large one becomes even smaller, and a large form surrounded by small ones appears even larger.

This illusion is used very widely in costume design. For example, a large hat will make your head appear smaller than a small hat; a thin neck surrounded by a wide neckline will appear even thinner, a thin arm in a wide sleeve will appear even narrower, and a tightly cinched waist with wide hips will make them even wider.

The illusion of trimming (assimilation)

The essence of this illusion is that "like repeats like" when lines, sizes and shapes repeat. For example, a square neckline emphasizes a square chin, a narrow neckline narrows a narrow face even more, and a horizontal yoke line widens broad shoulders.

By choosing the arrangement of stripes on striped fabric (vertical or horizontal), you can, for example, make a full figure look slim, taking into account the width, frequency and rhythm of the stripes.
With a complex arrangement of stripes (for example, at an angle), it is important to take into account that the angles formed by opposing stripes pointing upward reduce the width of the hips of a full figure. Angles pointing downwards, on the contrary, visually widen the hips, even if you make a vertical insert in the middle.

The illusion of volume reduction when dividing the figure vertically with contrasting color fabrics

This asymmetry-based illusion, for example, can be created by having the left half of a suit be white, the right half black, the left sleeve black, and the right sleeve white. Thanks to vertical division, you can reduce the volume of a full figure, giving it some harmony and dynamism.

The illusion of spatiality with gradual reduction, compression, reduction of the fabric pattern

This effect is most often found in op art style models. For example, a large cell gradually becomes smaller and seems to go into space. Moreover, the part on which the large cell is located seems larger and more voluminous than the part on which the cell becomes smaller.

Therefore, if you do not want to draw attention to any part of the figure, do not place areas of fabric with a large pattern on it. It is better to place a small pattern, and a large one, growing, will gently draw attention to another part of the figure.

If we want to hide a certain figure deficiency, then it is better to direct attention to another place in clothing or to emphasize the advantages of appearance. For example, with a “heavy” bottom of the figure, it is better to draw attention to the decorative design of the neck, shoulder girdle, etc.

Irradiation phenomenon

It consists in the fact that light objects against a dark background seem enlarged compared to their actual size and seem to capture part of the dark background. In the picture, due to the brightness of the colors, the white square appears much larger than the black square on a white background.

Historical reference
It is interesting to note that, knowing about this property of black color to hide size, duelists in the 19th century preferred to shoot in black suits in the hope that the enemy would miss when shooting.

Knowledge and correct use of the properties of visual illusions allows you to emphasize the beauty and perfection of the correct figure, successfully place fashionable accents on one or another part of the body, and also give a non-standard or full figure a certain visual effect. In the latter case, special attention and tact are required from the fashion designer. In this case, you can use two completely different methods:

- emphasizing the advantages of the figure
- hiding flaws.

The first method is sometimes called "French", and the second - "Russian". For example, the thin waist of a plump woman can be emphasized by the cut of her clothes or a beautiful decorative element (belt) that attracts attention. On the other hand, the same figure can be dressed in a straight striped dress.
What do you think is better?

June 29th, 2015 , 09:35 am

We continue the series of posts about visual illusions. This time we will dwell in detail on the impact of the vertical and the illusions associated with the limitation of line/space.

1. The vertical distance seems greater than the horizontal distance that is equal to it.
This phenomenon is called vertical overestimation.

Thus, a regular square appears to be a standing rectangle.
In the above figures, the vertical line seems larger than the horizontal one, and the size of the cylinder significantly exceeds the width of its fields (in fact, the lines are equal).

2. Distances at the top appear larger than those at the bottom.
In numbers such as 8, or in letters such as B or S, the top appears to be approximately equal to the bottom.

However, if you turn them upside down, the inequality of the parts becomes obvious:

3. How we perceive a line
When we look at a vertical line, our gaze automatically lengthens it. Until the line is interrupted by something that causes the eye to move in a different direction.
Below are two identical vertical lines, one of them is limited by diverging angles directed upward, the second by angles directed downward.

The vertical line on the right seems longer because the gaze continues to move up and down along diverging lines.
The same is true for horizontals:

And also if you replace the corners with arcs or, for example, zigzag lines, and even when the straight lines are completely removed, and only the corners (or bounding figures) remain:

In all variations of this illusion, the distance enclosed between corners or boundary lines tends to shrink, appearing smaller, as the lines at the ends come closer together, and conversely, to increase, stretching out, when said lines move apart.

4. How it works on the figure

An open neckline, a vertical clasp, decorative elements, or created through layering lengthen the silhouette.

(Miroslava Duma’s height is 154 cm).

Here's an easy way to shorten your figure:

Tightly buttoned shirts, closed necklines and downward-facing lines in the chest area also tend to hide height:

On the left, a convex upward line above the chest draws the eye down, shortening the upper part of the figure, but this (taking into account the color vertical and round neckline) is not critical compared to the photo on the right, where not only the decorative elements on the blouse draw the eye down, but also the stand-up collar completely creates illusion of no neck.

And here the drapery forms limiting lines at the top and bottom, there is a horizontal line at the waist, and the top line of the top is facing down, all this helps to reduce the silhouette vertically:

Dropped shoulder line, shirt and one-piece sleeves widen the shoulders:

In the last photo, the shoulders expand most smoothly.

The shoulders can also widen the wide lapels/collar of the jacket:

A shortened jacket in combination with a similar collar can not only widen the shoulder line, but also seriously shorten the silhouette:

Body type matters a lot here. The girl is a representative of an “apple” figure and plus size, the upper part of the torso is quite heavy compared to the lower part, and the waist is not defined. To balance the silhouette, in this case you need to avoid horizontal lines at the waist and drawing attention to the shoulders and bust.

A set-in narrow sleeve that forms a vertical line will define a clear shoulder line and elongate the silhouette:

But a raglan sleeve, contrary to popular belief and widespread use for plus-size models, makes the shoulders narrower and draws the eye down to the bust line.

Generally speaking, raglan is only good for slender figures with clearly defined, square shoulders:

This is how you can make a shape into a ball:

Or an oval with thin legs:

And in a plus size with an “apple” figure, such rounding will only emphasize the weighted upper part:

And in conclusion, I would like to say that there are no universal rules, just as there are no two identical people.
Each time, when choosing one or another style of clothing, it is important to proceed from the objectives.
If you are 150cm tall, this does not mean that you necessarily need to appear taller. It all depends on the proportions, individual characteristics of the figure, and scale.
And also - this is your unique feature, laid down by nature itself. And in some cases, such growth can result in very touching images.
To summarize, we can say that knowing the individual characteristics of your figure, it is easier to find the path to your own style, because only by learning how the rules work can you understand how to go beyond their limits and look harmonious at the same time.

Look for something close to your spirit.
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Visual illusions surround us everywhere, and often we use them ourselves without noticing it. For example, when choosing light tones for the walls of a children's room. In reality, this will not add more light to the room, but it seems to us that the room has become brighter.
It’s easy to “deceive” your vision with the help of color, shape and contrast, and this drawing is a good example of this. If you do not look at it directly, the colorful circles will rotate, and in opposite directions.

There are various visual illusions, but there are also those that are taken into account when modeling clothes. Knowing them, you can change the perception of a person’s figure, visually reduce or increase a person’s height, hide excessive fullness or other shortcomings, or vice versa, you can emphasize the advantages of the figure.

An example of this is the drawing that is before your eyes. Agree, it’s hard to believe that the orange circles are the same size. It is also possible to manipulate human perception when sewing clothes. By choosing the right color and pattern on the fabric, you can create certain visual illusions. And then, plump girls will look slimmer, skinny girls will look fuller, etc.

Figure A shows two identical rectangles. On one there is a vertical line in the middle, on the other there is a horizontal line. If you compare them, the first seems narrower and taller, the second - wider and lower. Consequently, a vertical line visually lengthens and slims the figure, while a horizontal line (or several horizontal ones) expands it (Figure B).
The conclusion suggests itself. For fuller figures, clothing made of fabric with vertical stripes is undesirable.

If you take two identical squares (white and black) and place the black square on a white background and the white square on a black background, the white square will appear larger than the black one. Consequently, white on a black background visually takes up more space.

A white square on a black (dark) background looks larger than the same black square on a white background, which means that a woman in a white dress will be visually larger than the same woman, but in a dark dress.

There are visual illusions of contrast and illusions of repetition. The illusion of contrast occurs when there is a sharply expressed opposite. For example, if you take three circles of different sizes (Fig. A), then the small circle next to the large one will seem even smaller, but the same circle next to the middle one will not seem as small as when compared. That is, the contrast is sharply revealed when comparing two opposite quantities.

When modeling clothes for overweight women, it is not recommended to sew narrow, small, tightly fitting dresses, as a contrast may appear between the narrow dress and a full figure. A full figure in a tight-fitting dress will look even fuller.

If you compare two segments of the same size, at the edges of one of which there are diverging lines, and the other - converging, then the first segment will seem longer than the second (Fig. B).
In this case, the illusion of repetition, or trimming, operates. For example, when choosing a headdress or collar shape, it is necessary to take into account the structure of the face, which should not be repeated. If your face is elongated, then you cannot choose a cap-shaped hat style or sew a dress with an elongated neckline.

Let's look at another illustration of visual illusions. Equal-sized central circles surrounded by small and large circles appear different. A circle against the background of small circles seems larger than a circle of the same diameter, but against the background of large circles.

The lines inside the triangles have dots dividing them in half, but it seems that the parts adjacent to the apex are shorter.
The right arch appears shorter and has greater curvature than the left.
The height of the comb seems to be greater than its width, although they are equal. By turning the figure on its side it is easy to make the illusion disappear.
Filled space is perceived to be longer than unfilled space.

Without delving into the reasons for this phenomenon, we may well use visual illusions for our own purposes when choosing a clothing model, taking into account the individual characteristics of human figures.

When modeling clothes, you need to take into account and use a variety of visual illusions, with the help of which you can increase height, expand or make a person’s figure narrower. By using transverse, horizontal lines of style in clothing, for example, a cut-off waist line, a belt, a yoke, horizontal shaped lines on a skirt in the form of reliefs, folds, flounces, we will visually reduce a person’s height.

A suit consisting of a skirt and jacket, blouse and skirt, skirt and vest (preferably in contrasting colors) also reduces height.

Tall women should not wear dresses that are too short.

A plump and tall woman should not clutter up the style of the dress with unnecessary lines; sew a dress from fabric with a large printed pattern. For this figure, a slightly fitted dress silhouette with a long neckline is suitable.

Overweight woman For those of short stature, it is better to give preference to a dress that is not cut off at the waist, with a line in the middle of the back, with a through fastener in the front and a row of buttons from top to bottom.

With a short neck It is better to make the neckline of the dress with a toe or a long semi-oval. You can also offer a narrow collar with long ends. A collar that covers the neck shortens it even more, it is good for a figure with a long and thin neck.

For the figure with a small bust Instead of the usual chest dart, we can recommend soft tucks, pleats on the chest line. For such a figure, clothes with various flounces, yokes, pockets, scarves, and bows are suitable. Having such a figure, you can safely wear multi-layered clothes. This creates the visual illusion of increasing breast volume. Deep necklines are unacceptable for such a figure.

For a figure with low bust You can lower the waistline. This solution will increase the distance between the chest line and the belt line. Or, leaving the waist line in its place, make small yokes along the shoulders and from the yoke, instead of a chest dart, put tucks, or do not stitch the chest dart from the shoulder to the end, but leave part of it in the form of a soft fold. The use of wide belts, emphasizing the waistline, or choosing a model with a high waistline is absolutely contraindicated.

For figures with broad shoulders lines coming from the shoulder are recommended. Vertical lines of small collars, raglan or better yet semi-raglan, batwing or kimono sleeves, deep and narrow V-necks, long beads and scarves are suitable. Try to avoid details that optically widen the shoulder line: shoulder straps, raglan shoulder straps, puff sleeves, wide square neckline.

For figures with sloping shoulders Shoulder pads are recommended (maybe even double height). As well as one-piece sleeves with high shoulder pads, slit-shaped (“boat”) or square necklines, shoulder straps. Lapels with corners pointing up are also suitable; puffed or gathered sleeves.
Kimonos without shoulder pads and deep V-necks are undesirable.

If stooped figure, then a large collar, slightly behind the neck at the back, soft pintucks or pleats on the bodice at the waist will disguise the stoop.

For figures with narrow hips Models with tight-fitting bodices, raglan sleeves, flared sleeves and gathered skirts are desirable; skirts and trousers with soft folds along the waistline, jackets with a square silhouette that cover the hip line; large patch pockets closer to the sides. You should not make tight-fitting trousers, very narrow skirts, or skirts with a seam in the middle; elongated bodices, large collars, dropped shoulders.

When modeling products for figures with low line The natural waistline can be raised upward by using a visual illusion such as a wide belt in the same color as the bottom of the garment, undercuts above or below the waistline, creating the appearance of a wide belt. Do not wear narrow belts or clothes with a low waistline. With a short waist, a low waistline and narrow belts of the same color as the bodice are desirable in clothing, although you can not emphasize the waist at all, but focus on the hips.

To the owners large bust We can recommend a semi-fitting silhouette, a low waistline, an extended shoulder line; open collars or low necklines, 3/4 or wrist length sleeves; narrow belts of the same color as the bodice. You should not make models with a high waist, sleeves up to the elbow or slightly higher, horizontal stripes on the bodice; short jackets.

Short legs can be visually camouflaged using two-piece sets of the same color (jacket-skirt, jacket-pants). A dress with a high waist can visually change perception; shoes and tights must be the same color; Shoes with high, stable or medium-height heels are desirable. Pants that are gathered at the bottom or with cuffs, long jackets, mid-calf length skirts, flat shoes or very high stilettos are completely unacceptable.

At protruding buttocks coats, jackets, dresses should be made with a semi-fitting silhouette; straight skirts along the entire length, tights and shoes should attract attention.
Any trousers, wide gathered skirts, or narrow jackets are undesirable.

Long arms look good in clothes with short but wide sleeves, as well as with sleeves 3/4 and 7/8 long or long, rolled up to the elbow. Do not make tight, tight or too short sleeves.

Short arms requires a model with sleeves that taper downward and end below the wrist. Wide sleeves and high cuffs are contraindicated

Visual illusions have long been in the service of clothing designers. For them, they are more like the commandment “do no harm.” More importantly, every woman should know the effects of optical illusion and, when choosing her wardrobe, skillfully apply them in order to emphasize the advantages and hide the flaws of her figure, successfully place fashionable accents on one or another part of the body, and also, give a non-standard or full figure the desired visual effect.

To understand why visual illusions arise, I suggest watching a short film by Pavel Lobkov “The Great Optical Deception”

Already from this film we can conclude: visual illusions exist and you can easily make them work for yourself.

“Ah! It’s not difficult to deceive me, I’m happy to be deceived myself!”

I tried to collect the effects that are most applicable to our goal.

The illusion of overestimation of an acute angle

Illusion of contrast

The illusion of trimming (assimilation)

Striped Fabric Illusion

The illusion of volume reduction when dividing the figure vertically with contrasting color fabrics

The illusion of spatiality with gradual reduction, compression, reduction of the fabric pattern

Irradiation phenomenon

The illusion of psychological distraction

By the way, the latter is very expressively shown in the film, which is at the beginning of the article. Personally, I probably wouldn’t have seen the gorilla either the first or second time if they hadn’t told me about it.

As you consider each illusion, provided you know the advantages and disadvantages of the figure, you will be able to competently apply them to yourself in practice.

Today we will look at only one visual effect and start, in my opinion, with the most confusing one.

The illusion of overestimating the magnitude of acute angles.

This illusion is based on the fact that the distance between the sides of an acute angle appears greater than it actually is, and the distance between the sides of an obtuse angle is underestimated.

Two parallel lines are intersected by lines. forming sharp angles. In this case, parallel lines seem to be repelled from the point of convergence of sharp angles. This effect is called the Hering illusion.

As you can see, with different techniques, the perception of the bending of parallel lines is also different.

I illustrated this illusion in Photoshop because I honestly thought the curve was deliberately exaggerated. Look what I got.

A well-proportioned figure is considered beautiful.

Illusions of overestimation of the magnitude of sharp angles are designed to visually change the proportions of volumes - chest, waist, hips.

Let's look at a few examples

Used for narrow hips

Look at examples of the visual effect in clothing models used by famous designers using draperies and folds (photos taken from the site http://www.online-fashion.ru):

I will comment on the dresses from my point of view, based on knowledge of visual illusions and experience.

I would never wear a silver dress! It can only suit a tall woman with a chiseled figure, and then only if she wants to show her courage.

A blue dress can be worn by the owner of a thin waist and narrow shoulders.

If you want to visually lengthen your neck and highlight your beautiful breasts, then a brown dress is for you.

Red is more suitable for a young woman with small breasts and wide hips.

This skirt is designed to visually expand the oval of the hip.

But the most common use of illusion concerns the neckline.

Since the distance between the sides of an acute angle appears greater than it actually is, this effect can be used to reduce or increase the width of the shoulders. For example, a narrow long neckline visually widens the shoulders, while a wide triangular neckline narrows it. In addition, the “V” shaped neckline lengthens the neck.

Dresses in this group are suitable for those who are not afraid to emphasize the shoulder line, since the long and narrow neckline visually expands the shoulder line. And in a striped dress this effect is doubled.

In these dresses, the shoulder line is not distorted due to visual illusions, and the long neck becomes the calling card of the owner of the outfit. In a colored dress with a fish cut, visual illusions are added by the print of the fabric itself.

This effect can be observed especially attractively and expressively in dresses with an open back.

And these are examples of the use of visual illusions using stripes on fabric. Look at them more closely and analyze them in the light of the information received.

I wish you success!

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We all want to look beautiful, even if we don't always admit it. For many years, designers, stylists and fashion designers have been using so-called visual illusions in their work, which help them look the way they want. Visual illusions help to visually correct the work and create a harmonious image. We bring to your attention 10 illusions that will help you create the image of your dreams.

Filled space looks larger

This principle lies in the fact that clothes with decoration or patterns always seem larger to us than those that are not filled with them. Thus, this concept helps us harmonize the top and bottom of the figure. For example, the “Pear” body type looks more harmonious if decor, accessories, and bright details are used in the upper part. A too fragile top becomes more voluminous, and a large bottom due to this takes on a more fragile appearance.

Vertical contrasts reduce volume

A great way to appear slimmer and fit is to reduce volume when dividing your figure vertically with contrasting color fabrics. Vertical division can be observed, for example, when the left half of the dress is light and the right half is dark, or when the sleeves of contrasting colors, the skirt/top are vertically divided into color contrasts.

Visual secrets of striped tissue

Vertical stripes make you look slimmer, and horizontal stripes add volume where it is lacking. It is also useful to note that if the stripes are located at an angle (counting stripes) downwards, this visually widens the hips, and upwards, on the contrary, visually makes the hips slimmer.

Illusion of contrast

Small shapes or objects appear even smaller next to large ones, and large ones next to small ones appear even larger. Therefore, you should not tighten your waist too much if you have wide hips. If you want to highlight thin wrists, choose a top with wide sleeves. A thin neck appears even thinner when surrounded by a wide neckline. In a large hat, the head appears smaller than in a small hat.

The illusion of distraction

If you want to hide something about your figure, you draw attention to another part of it with the help of clothes, accessories, decor, and patterns. Or you emphasize the dignity of the figure, which “takes” attention to itself, thereby distracting from the part that you want to leave in the shadows.

The illusion of spatiality

The illusion of spatiality is a partial reduction of the pattern on the fabric, a smooth alternation from large to smaller. It’s as if the drawing, becoming smaller and smaller, gradually disappears into nowhere. This illusion slims and elongates the silhouette.

Illusion of closed and open contour

A figure with an open contour appears larger, while a figure with a closed contour appears smaller. For example, a turtleneck not only visually shortens the neck but also reduces height. And the larger the neckline, the longer the neck appears and the more elongated the silhouette. But if the shoulders are wide, then, on the contrary, the closed contour of the collar looks better