International Symposium in Knitting and Apparel - ISKA 2013

Iasi, June 21– 22, 2013

THE GOLDEN TRIANGLE IN FASHION DESIGN

Zlatina KAZLACHEVA, Julieta ILIEVA

Trakia University, Faculty of Technics and Technologies, Yambol, Bulgaria

Abstract: The Golden triangle is an isosceles triangle with the ratio of the base to the leg, which is equal to the Golden section or
Golden ratio. Two quantities are in the Golden ratio (φ) ТП tСО rКtТo oП tСО smКllОr quКntТtв to tСО lКrРОr onО Тs equal to the ratio of
the larger quantity to the sum of the both quКntТtТОs, or φ = 0,618. It is considered that the proportion of Golden section is a symbol
of the beauty and harmony. By this reason this ratio is used in art and design for creation of aesthetically beautiful and ha rmonic
forms.
The paper presents the application of the Golden trТКnРlО Тn ПКsСТon НОsТРn КnН pКttОrn mКkТnР oП lКНв‟s МlotСТnР.
In fashion design and pattern making, as a precondition of aesthetic and harmonic forms in clothing, the Golden triangle can
combine proportioning and forms creation and it can be used directly as shapes or frames of designing of details and elements. The
use as frames is a possibility of creation of interesting models in successful proportions.
The pattern making of clothing with the Golden triangle is more successful with the use of CAD systems about easily creating the
triangle by angles and easily designing of new shapes of the details and elements on base of the use of the triangle as a sha pe.
Keywords: golden ratio, pattern making.

1. INTRODUCTION

The Golden triangle is an isosceles triangle (figure 1) with the ratio of the base to the leg, which is equal to
ЭСОă GШlНОЧă sОМЭТШЧă Шră GШlНОЧă rКЭТШ.ă TаШă qЮКЧЭТЭТОsă КrОă ТЧă ЭСОă GШlНОЧă rКЭТШă (φ)ă ТПă ЭСОă rКЭТШă ШПă ЭСОă sЦКllОră
quantity to the larger one is equal to the ratio of the larger quantity to the sum of the both qЮКЧЭТЭТОs,ăШrăφăţă
0,618. [1, 2] It is considered that the proportion of Golden section is a symbol of the beauty and harmony.
By this reason this ratio is used in art and design for creation of aesthetically beautiful and harmonic forms.

Figure 1: The Golden triangle

TСОă pКpОră prОsОЧЭsă ЭСОă КpplТМКЭТШЧă ШПă ЭСОă GШlНОЧă ЭrТКЧРlОă ТЧă ПКsСТШЧă НОsТРЧă КЧНă pКЭЭОrЧă ЦКФТЧРă ШПă lКНв‘să
clothing.

2. THE USE OF THE GOLDEN TRIANGLE IN DESIGN AND PATTERN MAKING OF LADIES’
JACKETS

εШНОlsăШПălКНТОs‘ăРКrЦОЧЭsăаТЭСăЭСОăЮsОăШПăЭСОăGШlНОЧăЭrТКЧРlОăКrОăНОsТРЧОН.ăTСОăpКpОrăprОsОЧЭsăЭСОăНОsТРЧă
ШПălКНТОs‘ăУКМФОЭs.ă
The first model is shown in figure 2.1. The Golden triangle is used for the forming of the neckline in the
front of the jacket. It is used as a frame, which give and the proportions and help the creation of the form of
the neckline. The V neckline is formed with curved lines around the triangle. The pattern making with the
use of the Golden triangle as a frame and proportions in modelling of the neckline is presented in figure 2.2.

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Figure 2.1: AăЦШНОlăШПăКălКНв‘săУКМФОЭăаТЭСăЮsОăШПăЭСОăGШlНОЧăЭrТКЧРlОă

as a frame, which give and the proportions and help the creation of the
form of the neckline

Figure 2.2: PКЭЭОrЧăЦКФТЧРăШПăКălКНв‘săУКМФОЭăаТЭСăЮsОăШПăЭСОăGШlНОЧă

triangle for constructing and modelling of the neckline

The second model, which is presented in figure 3.1, is designed КПЭОrăЭrКЧsПШrЦКЭТШЧăШПăЭСОăПТrsЭălКНв‘săУКМФОЭ,ă

shown in figure 2.1. In the second model, the Golden triangle makes not only proportions of the neckline, it
directly formed the neckline. In this model the Golden triangle is used for forming of the both details of the
neckline. The both details and the design constructional lines (these ones in almost horizontal directions) of
the raglan segments form together triangles in Golden proportions. Actually the detail of the necklines are
formed by two half Golden triangles and they and the design constructional lines, which formed the raglan
sleeves create two imaginary triangles with Golden ration, and by this way they use the proportions and the
form of the triangle. The pattern making of the front of the jacket is shown in figure 3.2. It is made after
transformation of the construction, which is presented in figure 2.2. The big Golden triangle, which is shown
in figure 3.2, directly forms the V neckline. The small triangle in Golden proportions make directly the
raglan form and the details of the neckline. The contour of the design constructional seam in the front is
formed over the line of the waist as a sloped line, which is parallel to the neckline. Therefore its design is
use the Golden triangle indirectly. The waist dart can be transformed by different ways as small intakes in
the contours of seams (the design constructional seam at the front, the lines of the raglan form, the line of
connection with the detail of the neckline) of the detail and subsequent accepting of the small extra lengths
by the sewing of the details, or as gathers in the design constructional seam at the front.

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Figure 3.1: AăЦШНОlăШПăКălКНв‘săУКМФОЭăаТЭСăЮsОăШПăЭСОăGШlНОЧăЭrТКЧРlОăПШră

directly forming of the neckline, and making proportions and forming of
details of the necklines and design constructional lines or the raglan
sleeves

Figure 3.2: PКЭЭОrЧăЦКФТЧРăШПăКălКНв‘săУКМФОЭăаТЭСăНТrОМЭlвăЮsОăШПăЭСОă

GШlНОЧăЭrТКЧРlОăПШrăМШЧsЭrЮМЭТЧРăШПăЭСОăЧОМФlТЧОăКЧНăЧОМФlТЧО‘săНОЭКТlăand
raglan form

Figures 4.1 and 5.1. present the use of the Golden triangle basically for the design of details.
The model, which is shown in figure 4.1 is designed after transformation of the jacket, presented in figure
γ.1.ăIЧăЭСТsăЦШНОlăШПăКălКНв‘săУacket the both central details at the front are designed in the forms of Golden
triangles. Actually the lower detail is not a full triangle according to the design of the model. The neckline is
designed in the same form too. And actually the full neckline ТsЧ‘ЭăЯТsТЛlОăТЧăПЮll,ăЛЮЭăТЭsăНТrОМЭТШЧsăТsăНrКаЧă
and visible. The pattern making of the model, presented in figure 4.2, is made on the constructional base,
which is used for constructing of the models, shown in figures 2.2 and 3.2., after transformation of the
second model. The Golden triangle is directly use in pattern making of the central details at the front and the
neckline. The waist darts of the side details at the front can be transformed by different ways as small
intakes in the contours of seams (the lines of the central details at the front, the left contour of the neckline
with the use of an additional detail, the lines of the raglan form, the lines of the side seams) of the detail and
subsequent accepting of the small extra lengths by the sewing of the details, or as gathers in the side seams
at the front.
The jacket, which is presented in figure 5.1, is designed after transformation of the model, shown in figure
4.1. The both central details at the front in the model in figure 4.1 are replaced with a central detail, which is
formed around the upper Golden triangle detail at the front of the jacket in figure 4.1. The central detail at
the front of the new model uses the upper Golden triangle of the previous model as a frame or base for

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forming. The neckline of the model in figure 5.1 is the same as the one in figure 4.1. The pattern of the
jacket in figure 5.1 is presented in figure 5.2. The construction in figure 5.2 is made after transformation of
the construction, shown in figure 4.2. At first the upper triangle in figure 4.2 is made a little bigger than the
one from the previous model. It is made about an idea of transformation of the darts of the left part of the
front, which can be transformed in form, similar to the form of the left contour of the central detail. But in
other case, the triangle can be used without transformation. The neckline of the model in figure 5.2 is
unchanged and it is the same as the one in figure 4.2. The central detail at the front of the new model is made
with two lines, which double the legs of the Golden triangle, and the both contour lines in the area of the
waist change their direction with the help of roundness (the right line passes to vertical direction, and the left
line passes to the opposite direction). The right dart at the front can be situated in the direction, which is
presented in the construction, or to be transformed in sloped direction under the waist line, opposite to the
left line of the central detail.

Figure 4.1: AăЦШНОlăШПăКălКНв‘săУКМФet with use of the Figure 5.1: AăЦШНОlăШПăКălКНв‘săУКМФОЭăаТЭСăЮsОăШПăЭСОă

Golden triangle for directly forming of the both central Golden triangle as a frame of proportions and forming of
details at the front, and directly forming of the neckline the neckline, and directly forming of the neckline

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Figure 4.2: PКЭЭОrЧăЦКФТЧРăШПăКălКНв‘săУКМФОЭăаТЭСăЮsОăШПăЭСОăGШlНОЧăЭrТКЧРlОăПШrăНТrОМЭlвăПШrЦТЧРăШПăЭСОăЛШЭСăМОЧЭrКlă

details at the front, and directly forming of the neckline

Figure 5.2: A model oПăКălКНв‘săУКМФОЭăаТЭСăЮsОăШПăЭСОăGШlНОЧăЭrТКЧРlОăКsăКăПrКЦОăШПăprШpШrЭТШЧsăКЧНăПШrЦТЧРăШПăЭСОă

neckline, and directly forming of the neckline

With exception of the details of the neckline and lines of the raglan form of the second models (figure 3.1
and 3.2), every Golden triangles, which are used in design and pattern making of previous models, are
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located symmetrically to the vertical direction. The more of them are situated symmetrically according the
mirror symmetry of the bodice (with exception of the upper central detail in the model in figures 4.1 and 4.2,
and the central detail in the jacket in figures 5.1 and 5.2). The details of the neckline and lines of the raglan
form of the second models in figure 3.1 and 3.2 are situated in sloped directions, but they are located
symmetrically according the bodice.
Figure 6.1. presents a model of a lady jacket with an asymmetric neckline. [3] The neckline are designed
with the use of the Golden triangle as proportions and a frame of forming. In this model the Golden triangle
is situated as the one of its legs is in horizontal direction and the neckline is located asymmetrically
according to the bodice. The pattern making of the model is presented in figure 6.2.

Figure 6.1: AăЦШНОlăШПăКălКНв‘săУКМФОЭă Figure 6.2: PКЭЭОrЧЦКФТЧРăШПăКălКНв‘săУКМФОЭăаТЭСăЮsОăШПăЭСОăGШlНОЧă

with use of the Golden triangle in triangle in asymmetrical location as a frame, which give and the
asymmetrical location as a frame, which proportions and help the creation of the form of the neckline
give and the proportions and help the
creation of the form of the neckline

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3. CONCLUSIONS

In fashion design and pattern making, as a precondition of aesthetic and harmonic forms in clothing, the
Golden triangle can combine proportioning and forms creation and it can be used directly as shapes or
frames of designing of details and elements, situated in different directions, and symmetrical or
asymmetrical located according to the mirror symmetry of the bodice. The use as frames is a possibility of
creation of interesting models in successful proportions.
The pattern making of clothing with the Golden triangle is more successful with the use of CAD systems
about easily creating the triangle by angles and easily designing of new shapes of the details and elements on
base of the use of the triangle as a shape.

4. REFERENCES

[1] The Golden Triangle, Available from http://mathworld.wolfram.com/GoldenTriangle.html Accessed: 2013-03-28.

[2] The Golden Museum, Available from http:// www.thegoldenmuseum.com Accessed: 2002 – 2013.
[3] Kazlacheva Zl. Asymmetry in Collars. Proceedings of the International Scientific Conference eRA-6, pp. 1-6, 19-24
September 2011, Piraeus, Greece, (2011).

Corresponding author:

Zlatina KAZLACHEVA
Faculty of Technics and Technologies, Trakia University
Graf Ignatiev 38
8600, Yambol, Bulgaria
phone: +259 89 8284462 fax: +359 46 669183
e-mail: zkazlacheva@ftt.uni-sz.bg

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