The Application Of Tibetan Decorative Patterns In Contemporary Fashion Designers From A Female Perspective

Today,women make up almost half of the world’s population.With the development of the economy and the improvement of women’s status,their consumption demand is strong and their purchasing power is enhanced,making them the main force in the clothing consumption market.As a women’s clothing designer,understanding the female community and gaining insight into their consumption,aesthetics,culture,customs,etc.has become an essential topic.The Tibetan people are one of the 56 ethnic groups in China,and their clothing has distinct regional cultural characteristics and unique aesthetic characteristics.At the same time,it is also essential to be influenced by domestic and foreign clothing.Through the exchange and integration of clothing from different regions,distinctive Tibetan clothing patterns have been formed.By reading a large amount of literature,theoretical knowledge about "female perspective","Tibetan decorative patterns",and "Tibetan themed clothing design" was obtained.Through on-site investigations and interviews with Tibetan clothing designers,more first-hand information was obtained.Thus,the concept of "female perspective",Tibetan themed clothing,and related research on Tibetan decorative patterns have been supplemented,and my own ideas for the future application of Tibetan decorative patterns in clothing have been proposed.This study is divided into four chapters.Chapter 1 analyzes the perspective of women from the perspective of their social significance.Firstly,the development of the female perspective is sorted out,and then the "female perspective" is explained from two perspectives: "narrow" and "broad".The broad female perspective is not limited to gender,it refers to considering problems and observing problems from a female perspective,and solving problems from a female perspective.The female perspective is not only possessed by women,but also by some men.Chapter 2,Tibetan themed clothing patterns.Through a large number of literature and field research,the classification of Tibetan clothing patterns is summarized,which can be divided into geometric patterns,plant patterns,auspicious patterns and other patterns.Among them,geometric patterns are the most commonly used(related to craftsmanship),followed by plant patterns.Among the auspicious patterns,there are mainly "sun and moon patterns","Yongzhong patterns",and "longevity character patterns","Ruyi character patterns","auspicious character patterns",and "health character patterns" originating from the mainland.Among other patterns,it is preferred to use the "dragon pattern" and "phoenix pattern" originating from the mainland,while animal patterns are rarely used,mainly local animals.Finally,through a large number of field research,it is found that Tibetan clothing patterns have the phenomenon of "pattern" and "pattern" separation,and show the characteristics of "pattern improvement" and "pattern reduction".Chapter 3: Research on the Current Situation of New Tibetan Fashion.By collecting literature and pictures,compare and analyze the characteristics of "New Tibetan" and "Old Tibetan" themed clothing.Old Tibetan style refers to traditional Tibetan clothing,such as Tibetan classical robes,short tops,"Jia Gui" centenarians’ clothing,"Reba" back drapes,"Gaiba" drapes,and "Guo Xiu".The old Tibetan style clothing contains traditional Tibetan culture and aesthetics,and is a traditional clothing that is not influenced by contemporary popular fashion elements.It has not undergone modern refinement,transformation,or addition of new fashion elements.The new Tibetan style refers to contemporary Tibetan clothing,which is a product of the development of Tibetan history and culture.However,with the dissemination of information and changes in aesthetic trends,the new Tibetan style presents two different styles.The first is to preserve traditional Tibetan clothing in terms of "resemblance in spirit" and "form".In fact,it has been refined and transformed in terms of color matching,pattern extraction,or fabric selection.The clothing is very fresh,natural,elegant,and beautiful,and is very popular among the people of Tibetan areas.The second type is trendy clothing collection.It is designed with popular fashion as its focus,incorporating Tibetan cultural elements in local areas,forming a trendy ethnic clothing that meets the aesthetic needs of the younger generation.For example,adding Tibetan mythological stories,written patterns,or animal patterns to a sweater.Chapter 4: Application of Tibetan decorative patterns in contemporary fashion designers.Focus on comparing the understanding of Tibetan decorative patterns among domestic and foreign fashion designers,as well as the application of Tibetan decorative patterns in contemporary fashion designers.Through combing,analyzing and discovering,Tibetan theme costumes have two styles: "international style" and "Tibetan style China-Chic".International style refers to the design of Tibetan clothing culture as a visual element by foreign designers or Chinese designers with foreign learning experience.This design is not limited to traditional styles,but focuses on popular fashion as the design point.However,it integrates Tibetan cultural elements in visual elements,such as color matching,pattern extraction,fabric selection,etc.The use of these visual elements is not "original ecology" but has been refined and transformed,Pursuing the expression of the "divine resemblance" effect of Tibetan cultural vision.Tibetan style China-Chic refers to the design with Tibetan clothing culture as the visual element by mainland or Tibetan designers as the national strength increases,ethnic awareness awakens and traditional culture revives.This design combines Tibetan traditional clothing and popular fashion elements,attaches importance to the inheritance and dissemination of Tibetan culture,and achieves the purpose of promoting oriental aesthetics,highlighting ethnic culture,inheriting Chinese spirit,emphasizing ethnic awareness and leading Chinese clothing innovation.