Creativity in the Draping on the mannequin of Young Girls Victorian Fashion between 1860-1890

This work is licensed under a Creative Commons Attribution 4.0 International License :صلختسلما (نيب ام نهرامعأ حوارتت يتلا تاريغصلا تايتفلا ةئفل ناكينالما ىلع ءايزأ ليكشت ثحبلا فده 10 18 ؛هنس ) ( ةينمزلا ةبقحلا للاخ يروتكيفلا رصعلا يف ءاسنلا ءايزأ نم نهئايزأ ماهلتسا مت 1860 1890 ثيح ،)م ( :يهو ةينمز تارتف ىلإ ةينمزلا ةبقحلا تمسق 60 70 ( و ) 70 80  ا ريخاو ) ( 80 90 سابتقاو يز لك ليلحت متو ،) .ةينمز ةرتفل تانيع ثلاث لك تمسقو تانيع عست تغلب ثيح ،ثحبلا ةنيع ةئف بساني ام  ءاضعأ لبق نم ةذفنلما عطقلا ميكحت متو تاريغصلا تايتفلل ناكينالما ىلع ءايزأ ليكشت مت جئاتنلا مهأ .ءايزلأا ميمصت مسق نم ىرقلا مأ ةعماجب سيردتلا ةئيه  ميمصتلا رصانعل ققحم عبارلا ميمصتلا ءاج ثيح ( ةبسنب 44.275 ( ةبسنب ميمصتلا ئدابمو سسأ بناجل يناثلا ميمصتلا ققحو ؛) 39.437 عساتلا ميمصتلاو ) ( ةبسنب يفيظولا بناجلل 53.037 ( ةبسنب عادبلأا بناجل عبارلا ميمصتلاو ) 34.125 عساتلا ميمصتلاو ؛) ( ةبسنب يلامجلا بناجل 58.8 .)  ءايزلأا خيرات لاجمو ناكينالما ىلع ليكشتلا بولسأ نيب طبرت يتلا تاساردلا نم ديزلما ءارجأ تايصوتلا مهأ .تاريغصلا تايتفلا ةئفل ناكينالما ىلع ءايزأ ليكشتب مامتهلااو .ةميدقلا تاراضحلاو

Hypotheses search possibility-draping dresses for girls aged (10-18) years, inspired by Victorian women's fashion between the period 1860 to 1890. There are statistically significant differences between the nine designs according to the opinion of the arbitrators in achieving the design elements.
(Principles and basics of design. Functional side. Creative side. Aesthetic side). Victorian costumes: Named after Queen Victoria. This great queen was able to ascend the throne at the age of eighteen , and ruled England for 64 years (Chrisp, 2005). Queen Victoria had a great role in spreading fashion s women among the English aristocrats at that time through following and acquiring the latest and most fashionable clothing lines. She was appearing at the height of her majesty and grandeur by wearing fashionable clothes and showing up in celebration within the royal palace.(www.bbc.co.uk). As the Queen of the country, she became the fashion ambassador for England and most European countries. (Ahmad, 2010). Aristocratic women were following the example of Victoria in choosing their clothes. They had enough money to spend excessively only to show off and compete against each other, displaying their fortune by wearing expensive clothes.
(http://www.vintageconnection.net/). During the period (1860-1899), Queen Victoria was no longer an ambassador and a pioneer of fashion as before due to the death of her husband Albert. She began to dress in simple clothes and black color mourning for her husband's death and continued this way until her death. From the 1860s until the end of the Victorian era, women's fashion underwent major changes such as the shrinking and decreasing of the size of crinoline. Also, wearing long corsets to achieve the sand watch shape, which portrays small waist, large hips, and protrude breasts. (Chrisp, 2005;Truman, 1952). There was a peculiar feature in the Victorian era where women of similar ages have very similar outfits, and their clothes can distinguish married and single women and once the girl marries, she gives up all her previous clothes. Victorian-era women's clothing of the past remained a legacy as upper class women continued wearing them and were bound by these clothing's robes, and tails despite their advances in many areas of life. Corsets were hindering women from bending downs and women hands were covered with ruffles as balloons. These images continued until the 1870s.(https://www.wikipedia.org/). It was popularized in the nineteenth century to use a variety of fabrics such as cashmere, silk, velvet, Ottoman silk, satin, valor, hill cloth, brocade, wool used in the nineteenth century as well as gauze, lace, and chiffon in the 1890s. The Industrial Revolution influenced 19th-century art in general, fashion art in particular, and led to the emergence of new models and styles that enjoyed a new fashion whose content combines old historical styles with modern fictional styles influenced by the nature and conditions of the new era. Therefore, the nineteenth century was characterized by the general features and characteristics that formed from this era, an important stage in the history of modern Europe which influenced the fashion trends of this era, and expanded the scope of vision, added to human experiences in the field of arts new things (Porter, 1990;Waugh, 2013

78
Decorating the Mannequins: Mannequins is a source of power that leads the designer to create many designs and helps to highlight his skill in moving and manipulating fabrics and materials to translate ideas to reality in the form of a design ( Shokri , M. N, 2012). Manikin is an inspiration and one of the main tools used in the formation, which forms the human body in a three-dimensional mold, and is also used in the preparation of models and the formation and control of clothing (alsanhory, 2009).

Research procedures: Research Methodology:
Firstly: Analytical historical approach to describing Victorian fashion. Secondly: The experimental method in imitating designs of Victorian fashion and applying them in a fashion modulation style to the mannequin. The research sample: Intentional sample of girls aged 10-18. Nine designs were executed; one design per age. The sample meets the research criteria. The Lack and scarcity of research that pay attention to the formation of this category. Limitation: (Fashion for women in the Victorian era of 1860-1890). The design is inspired by Victorian fashion for young girls. Method of Draping on mannequins). Tools :(photo. Suggested designs. Photoshop. Children's mannequins. Arbitration forms). Measures: (Pictures: Victorian fashion images were obtained during the time period (1860-1890m) from the website of the Metropolitan Museum of Art www.metmuseum.org), Analysis of each costume and source design appropriate for the age group. Suggested designs: Nine designs for girls inspired by Victorian fashion were prepared using the Illustrator and the Photoshop software, and the implementation was draping on the mannequins. Children's mannequins: mannequins for children (sample) by specifying meridians] Half line Forwardhalf-back line -side line [ latitudes] Chest line -midline -back line. Arbitration Forms: The researcher prepared a questionnaire to evaluate the designs and presented them to a committee of faculty members at Umm Al-Qura University, consisting of (6) members of the design faculty in the fashion design department; the first axis was design elements which included five expressions. The second axis was the foundations and principles of design based on four terms. The third axis was the functional side of the design, which included four terms. Axis IV expressed the creative side, which was based on six phrases. And finally, the fifth axis represented the aesthetic side which was based on five phrases.
Results: The validity of the design evaluation form is based on the Victorian era using the internal consistency between the total grade of each axis and the overall degree of the form by calculating the internal consistency of the correlation coefficient (Pearson correlation coefficient) between the total -1890 ‫م‬ ..... degrees of each axis. Degree of achievement of the creative aspect, extent of achieving the aesthetic aspect and the overall degree of the form. The following table shows that: It is clear from the table that all correlation coefficients are 0.01 approaching even number, which indicates the stability of the axes in the form.
Stability: Stability was calculated using Alpha Cronbach, Split-half Table (2) The stability coefficient values for the axes of the form

Axles
Alpha coefficient Split-half  The shoulders line is low, and the sleeves are tight and long. Waist tight on the body. Skirt: The shape of the bell, taken from the front with the breadth plus in the back and the bottom of the back; -Decoration: took the military style design, and used a bar of cloths, cord, pearls.  The upper part: Body shape is taken; chest center is designed VIn the shape of the sides are decorated with small, evenly cut beads with cilia of green thread. The neck stiffness is slightly elevated in a circular shape with a muzzle of the front and small pointed ezars of the poles. The line of shoulders is low, the long sleeve tight ends the shaped bracelet V Its edges are decorated with small beads with cuffs of green. The waist is knitted on the body taken shape V. lower part: It consists of two layers of short upper layer finely chopped with small beads and cilia of green color The second bottom layer is wide Decoration: Cuts, cilia, and oaks were used.  Suspension: The study concluded that fashion between 1860 and 1870 was made up of two upper corsets with a front head and a high neck opening; the lower part was long and broad in the front, with an extra width of the back And highlight the rear. This is consistent with What you mentioned (Cunnington, 2013)By the end of the 1860s, the curves dominated Axillaries, especially in the back part of the dress.

Models of dresses draping on the mannequins inspired by Victorian fashion
The fashion between 1870-1880 was characterized by two pieces; the breadth of the back was shorter than the previous periods and the clothing began to approach the line of the body. I have stated (Cunnington, 2013) from the early 1870s on, the wide crinoline disappeared, and the dress took on the basic shape of the glass watch, with the hip showing an extra stretch of the front. The two-piece dresses were consistent, and the narrow midline was dominated by the wide girths of the length.
Fashion (1880-1890m) was characterized by the fact that its lines came closer to the bodylines, but the stitch is still produced by assemblies and folds of fabrics to increase its size. I have mentioned (Zimmerman, 1985) The remains of the clamor in the folds or gatherings remained in the back of the gonola.
This period of 1860-1890 was most characterized by the excessive use of silk fabrics. This fulfills the first hypothesis.

The second hypothesis There are statistically significant differences between the nine designs in achieving design elements according to the opinion of the arbitrators
To investigate this hypothesis, the variance analysis of the mean scores of the nine designs was calculated in order to achieve the design elements according to the opinion of the arbitrators. Table (6) shows that the value of (q) was (40.516), Which is a statistically significant value at the level of0.01), Indicating that there are differences between the nine designs in the achievement of design elements according to the opinion of the arbitrators, and to know the direction of significance was applied Schiffe test of multiple comparisons and the following table shows this: There are statistically significant differences between the nine designs in the extent of achieving the principles and principles of design according to the opinion of the arbitrators To investigate this hypothesis, the variance analysis of the mean scores of the nine designs was calculated in the extent to which the principles and principles of design were achieved according to the opinion of the arbitrators. Table (8) shows that the value of (q) was (65.872), Which is a statistically significant value at the level of0.01), Indicating that there are differences between the nine designs in the extent of achieving the principles and principles of design according to the opinion of the arbitrators, and to know the direction of significance has been applied Schiffe test of multiple comparisons and the following table shows:   (9) shows statistically significant differences between the nine designs at a level of significance 0.01, The second design was the best design to achieve the principles and principles of design according to the opinions of the arbitrators, followed by the seventh design, then the ninth design, then the first design, then the fourth design, then the eighth design, then the third design, then the fifth design, and finally the sixth design. While there are no differences at the level of significance 0.05 Between the first design and the ninth design. To investigate this hypothesis, the variance analysis of the mean scores of the nine designs was calculated in terms of achievement of the functional aspect according to the opinion of the arbitrators. The following table shows this: Table (10) shows that the value of (q) was (23.689), Which is a statistically significant value at the level of0.01), Indicating that there are differences between the nine designs in terms of achievement of the functional side according to the opinions of the arbitrators, and to know the direction of significance was applied Schiffe test of multiple comparisons and the following table shows that:   (11) shows statistically significant differences between the nine designs at a level of significance 0.01, The ninth design was the best designs in achieving the functional aspect according to the opinions of the arbitrators, followed by the fourth design, then the first design, then the seventh design, then the second design, then the eighth design, then the third design, then the fifth design, and finally the sixth design.
There are statistically significant differences between the nine designs in terms of achievement of the creative side according to the opinions of the arbitrators To investigate this hypothesis, the variance analysis of the mean scores of the nine designs was calculated on the extent to which the creative aspect was achieved in accordance with the opinion of the arbitrators. It is clear from table (12) that the value of (q) was (44.951), Which is a statistically significant value at the level of0.01), Indicating that there are differences between the nine designs in the extent of the achievement of the creative side according to the opinions of the arbitrators, and to know the direction of significance was applied Schiffe test of multiple comparisons and the following  Table (13) reflects significant statistical differences between the nine designs at the level of significance 0.01, the fourth design was the best designs in the achievement of the creative side according to the opinions of the arbitrators, followed by the first design, then the seventh design, then the ninth design, then the third design, then the second design, then the fifth design, then the eighth design, and finally the sixth design.
There are also differences at the level of significance 0.05 between the first design and the fourth design in favor of the fourth design, and there are differences at the level of significance 0.05 between the second design and the third design in favor of the third design, and there are differences at the level of significance 0.05 between the third design and the ninth design in favor of the ninth design. While there are no differences at the level of significance 0.05 between the second design and the fifth design.

93
There are statistically significant differences between the nine designs in the extent of achieving the aesthetic aspect according to the opinion of the arbitrators To investigate this hypothesis, the variance analysis of the mean scores of the nine designs was calculated in terms of the extent to which the aesthetic aspect was achieved in accordance with the opinion of the arbitrators. Table (14) shows that the value of (q) was (53.963), Which is a statistically significant value at the level of0.01), Indicating that there are differences between the nine designs in the extent of achieving the aesthetic side according to the opinions of the arbitrators, and to know the direction of significance has been applied Schiffe test of multiple comparisons and the following  shows statistically significant differences between the nine designs at the level of significance 0.01, the ninth design was the best design in achieving the aesthetic side according to the opinions of the arbitrators, followed by the third design, then the fourth design, then the seventh design, then the first design, then the second design, then the fifth design, then the eighth design, and finally the sixth design.
There are also differences at the level of significance 0.05 between the fifth design and the eighth design in favor of the fifth design.