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》
流暢制造者
垂墜服裝是優雅的代表，人們通過它展示和隱藏形態，從古希臘的石雕上我們可以清楚的看到這一點。
古人會觀察皺褶，折疊和垂墜的整體造型，以及被切割的三角形，正方形或圓形面料的輪廓陰影。
古典希臘垂墜服無論在時尚還是藝術界，都是一款廣為流傳和持續時髦的造型。
“Venus of Milo"
它穿越希臘時期到達羅馬，當時羅馬的第一位皇帝奧古斯都（公元前63年 - 公元14年），熱切的想要超過希臘黃金時代所達到的成就。
所以相應地希臘這種可追溯風格便得到繼續發展。
在羅馬，上層階級最起碼都會穿著優雅垂墜的服裝，但希臘的影響并不僅局限于此。
在羅馬富有人的住宅和花園里，那些噴泉，雕塑還有巨型花瓶，始終不變地借鑒著500年前希臘雕塑中的垂墜風格。
到了近代18世紀起，時尚界開始了一系列描繪經典柔軟垂順風格的新古典主義運動。
通常這些運動都有特定的目的，例如，幫助婦女從束身衣，累贅的襯裙或者夸張襯墊的限制中解脫出來。
“一塊矩形織物，如果利用得當，能使人類以更好的形式出現。
從這些自發層疊又蜿蜒下垂的造型中，你可以看到那些外在的角度和表現形式。
- 馬德琳·維翁內（上世紀20年代斜裁大師），憲法公報，1924-25年
