FLUID DRAPERY
The elegant language of drapery, and the way in which it both reveals and conceals the human form, was well understood by the stone carvers of ancient Greece.
They observed acutely the silhouettes achieved by tucking, folding, and draping combinations or sections of fabric that had been cut in triangles, squares, or circles.
Classical Greek drapery was a widespread and long-lasting style, in both fashion and art.
“Nike of Samothrace”
It passed from Greece to Rome when Augustus (63BCE-14CE), the first Roman emperor, aspired to surpassing the achievements of the golden age of Greece.
Retrospective styles in drapery flourished accordingly.
Romans, of the upper classes at least, wore graceful, draped garments, but the influence of Greece was not confined to clothing.
Fountains, sculpture, and monumental vases in the gardens and villas of wealthy Romans were invariably decorated with drapery styles borrowed from Greek sculpture of 500 years before.
In the modern world, from the 18th century onward, a number of neoclassical movements in fashion have drawn on the soft, draped styles of the classical past.
Often these have had a particular purpose - for example, helping to liberate women from the constraints of tight clothing and cumbersome layers of petticoats and shaped padding.
"The rectangle of fabric, when it is well chosen, is better for making the human form emerge.
The angles form exterior parts which, in falling, rise up upon themselves in tiers and sinuous falls..."
-- madeleine vionnet, gazette du bon ton, 1924-25
--《THE DEFINITIVE HISTORY OF COSTUME AND STYLE》
流畅制造者
垂坠服装是优雅的代表，人们通过它展示和隐藏形态，从古希腊的石雕上我们可以清楚的看到这一点。
古人会观察皱褶，折叠和垂坠的整体造型，以及被切割的三角形，正方形或圆形面料的轮廓阴影。
古典希腊垂坠服无论在时尚还是艺术界，都是一款广为流传和持续时髦的造型。
“Venus of Milo"
它穿越希腊时期到达罗马，当时罗马的第一位皇帝奥古斯都（公元前63年 - 公元14年），热切的想要超过希腊黄金时代所达到的成就。
所以相应地希腊这种可追溯风格便得到继续发展。
在罗马，上层阶级最起码都会穿着优雅垂坠的服装，但希腊的影响并不仅局限于此。
在罗马富有人的住宅和花园里，那些喷泉，雕塑还有巨型花瓶，始终不变地借鉴着500年前希腊雕塑中的垂坠风格。
到了近代18世纪起，时尚界开始了一系列描绘经典柔软垂顺风格的新古典主义运动。
通常这些运动都有特定的目的，例如，帮助妇女从束身衣，累赘的衬裙或者夸张衬垫的限制中解脱出来。
“一块矩形织物，如果利用得当，能使人类以更好的形式出现。
从这些自发层叠又蜿蜒下垂的造型中，你可以看到那些外在的角度和表现形式。
- 马德琳·维翁内（上世纪20年代斜裁大师），宪法公报，1924-25年
