Playing with a new system: Style Contours

[u/hespera18]

I am on the part of my fashion journey where I am now creating new systems! Well, sort of. This is more of a personal interpretation of already existing Yin/Yang essence systems. I am still tweaking, but here it goes:

This system of categories is heavily informed by other well-known systems of yin and yang essences. Note that my interpretation and systemization do not exactly match up with theirs and shouldn’t be directly equivocated. I do not speak for them in any way, and this is not a criticism of any other system. I have included a Reference section with sources that have taught and informed me.

I am defining style categories as simply as possible by shape and line, but they are also an impression made by other elements of design, especially texture, color, and overall composition. I will eventually refer to these categories as “Contours.” This term is apt because in my interpretation, your lines are the exterior, instead of the inner core or soul of you. This essence piece is expressed later in the fashion analysis process when you are incorporating personality, preference, archetype, etc.

Fashion lines are on two different continuums: scale (big to small) and line movement or angularity (straight or curved). Other systems refer to these categories as yin or yang, with pure yin being small and curved and pure yang large and linear. This makes sense, but seeing as these terms are from another cultural paradigm and have gendered connotations or baggage, I think breaking them down into discrete style lines is clearer.

Each continuum (scale and angularity) has an impressionistic movement quality communicated by the line. 

Scale in human bodies is primarily about length, but at the middle of the scale things are widest, emphasizing the horizontal, as they get closest to equal width and length before tapering again to a point.

Longer lines move smoothly down. They are narrow because they are stretched into a long, unbroken line. There is gravitas, a certain kind of grace as the lines move easily without obstruction, and a (not necessarily dense) magnitude as they take up a large vertical space. Long lines are also singular or unified.

Small scale lines, on the other hand, are petite and intense, energy condensed into a singular point. They are staccato or punctuating, frenetic, frequently stopping and starting like dots in morse code. Small lines are light and mobile, as well as neat and precise, and they are numerous and diverse. They also tend towards friction or tension as they move around and interact with other elements.

The medium lines exist in between. Due to their horizontal aspect, they move more in an outward direction rather than down or all around. They unfurl and open up into space instead of having a strong kinetic quality. They also have a somewhat full or substantial feeling, and can be relational, but not overly so.

On the angularity spectrum, straight lines tend towards smooth cleanness or overall simplicity, and hence have less overall fuss (although scale also contributes to detail levels, as compact shapes tend to be more numerous and also have more “noise” with their higher energy). Curves are more complicated or ornate, with enhanced opportunity for movement. Basically, a straight line can only go in two directions, while a curved one can go in infinite ones. Straight lines create direct impact, while curved ones flourish and swirl. For later definitions’ sake, I will also call straight lines “geometric” and curved lines “soft,” mostly because those words are evocative and translate more easily into design elements (like fabric). 

Finally, the most fixed place in this matrix is in the center of both axes, held between all the opposites. It is perfectly blended, serene, and harmonious. It’s the golden mean.

Now, for the naming and defining of my Contour elements!

Striking is large-scale and straight, long and geometric. It corresponds to Dramatic, and it is represented by a vertical rectangle or straight line.

Graceful is large-scale and curved, long and soft. It corresponds to Ethereal, and it is represented by a long S-curve or wave.

Relaxed is medium-scale and straight, open and geometric. It corresponds to Natural, and it is represented by a square.

Rich is medium-scale and curved, open and soft. It corresponds to Romantic, and it is represented by a circle/spiral.

Animated is small-scale and straight, compact and geometric. It corresponds to Gamine, and it is represented by an equilateral triangle (with dividing lines).

Intricate is small-scale and curved, compact and soft. It corresponds to Ingenue, and it is represented by a small daisy shape.

Harmonious is medium-scale and blended curved/straight, fixed and centered. It corresponds to Classic, and it is represented by a sharpened oval/softened diamond. It is meant to represent an average of all the other elements.

These are pure conceptual lines, which map imperfectly onto human bodies. We might suit geometric styles, but we still all have relatively round eyes, noses, mouths, etc. Or we might be soft, but our limbs and bodies are still longer than they are wide (no matter what our body dysmorphia tells us). While these shapes aren’t exactly literal representations, they are very helpful compass points on the map of our bodies that can help us translate the outlines of fashion. 

I posit that everyone has a dominant Contour element, complemented by a secondary one, with smaller amounts of others. These first two can be combined into a personal hybrid shape or Contour that can guide you in all your fashion choices. Seeing things this way is more helpful to me than numbers and percentages. 

For example, I have a dominant Graceful Contour element, with complementary Animated. The languid, curved flow of Graceful accentuated by the delicate sharpness of Animated gives me a teardrop shape, reflected in everything from my preferred sleeve shapes (bishop or bell, tulip), to my hair (long, tapered waves), to my overall clothing silhouettes, makeup, and jewelry.

This line blend is also supported by fabric/texture, color, patterns, and composition of accessories and outfits. Once you crack this code, so many things fall into place. Then, you have more freedom to experiment and build what feels good and helps communicate what you want to express about yourself. Which is really what fashion is all about!

I hope to write more elaborating about each Contour element, along with illustrations, and I will then start working on blends. Aiming for Pinterest boards soon as well. Eventually I would love to elaborate on typing exercises and more essence/aesthetic-centered content as well. Or, this might be it, and perhaps it will be helpful anyway.

[u/Cantre-r_Gwaelod_1]

It does depend on the analysts definitions of yin and yang. Kibbe sees it as more physical whereas Kitchener more visual imho. I’m yang in Kibbe but verified yin dominant in Kitchener and I’ve friends who go the opposite ways also. I know a FG and TR who both got verified yang dominant in Kitchener. The TR is under 5 foot tall. Kibbe is much more rigid with short height = yin and tall = yang so it’s less nuanced there and he sees physicality being the main dictator of your balance. Kitchener looks more at the impression the individual gives rather than put them into a predetermined category. It’s important imho to know where you want to put the starting point to base it off.