关键词: 民族服饰, 艾德莱斯图案, 居里叶分形, 图案设计模型, 服装数字化, 非物质文化遗产

Abstract:

Objective The emerging culture of ethnic fashion has changed the consumption behaviour of modern people, and clothing products with a sense of fashion and ethnic are attracting attention from consumers. However, traditional design methods are unable to meet the high demand for the development of ethnic fashion patterns. In order to deal with the mismatch between the high demand for the development of ethnic fashion patterns and traditional design methods, a pattern innovation design method was proposed in this research, taking the Uyghur Adras pattern as an example.
Method Through fieldwork and literature research, the historical and cultural connotations behind the Adras patterns were collected and classified. The first step was to refine the line drawings according to the different categories. The classic elements were dismantled and reorganised using shape grammar to obtain new pattern units. Following this, the K-means analysis method was used to create clusters and to extract colours, and to summarise the typical colours of the Adras. Finally, Julia fractal theory and computer algorithms are used to construct models to aid pattern creation.
Results The Adras dresses are divided into skirts and dresses in terms of style. The patterns of the skirt and dress are categorised into two types of pattern composition, the "川" pattern and the "米" pattern. The "米" structure is centred on the collar or waist and spreads out around the plate, while the "川" pattern is arranged in a diagonal pattern along the longitudinal or diagonal direction (Fig. 8). The paper focuses on the composition of the "米" pattern in the skirt, combining it with the highly similar structure of the Julia fractal theory. The best symmetry order index ranges from 8 to 40. When the index is less than 8, it does not constitute a "米" structure yet. When the index is between 8 and 40, the complexity and exquisiteness of the pattern varies with the value. When the index is greater than 40, the details of the pattern decrease with the increase of the index (Fig. 10). A scientific and systematic pattern design system was proposed in this paper aiming to establish the Adras dress fractal pattern design model (Fig. 11). The model includes steps such as creating a new collection, adjusting the symmetry order index, substituting the formula, superimposing the algorithm, adding representative colours and patterns, and fractal rendering. The J-set model with symmetry order indices of 8, 22 and 40 was selected for further design in the new set. Exponential smoothing mappings, inverse mappings, Newton's formulae and superimposing various algorithms were substituted to obtain nine sub-models with completely different forms and effects. Adding Adras innovative pattern units and typical colours, the final rendering resulted in 9 sets of pattern designs.
Conclusion In order to transform the qualitative evaluation into a quantitative one, a fuzzy comprehensive evaluation of the designed pattern was carried out using a five-level scale criterion in four dimensions, i.e. color features, elemental features, structural features and cultural connotations. The modeling of the Adras dress was also carried out on the Style 3D software platform to verify its feasibility. The results show that the design model of the Adras pattern based on Julia fractal theory has good practical application value and helps the inheritance, innovation and development of the Uyghur culture in the digital era. At the same time, it can also provide research ideas and methodological references for the inheritance and innovation of other ethnic patterns. The Adras dress pattern created by this method can combine both fashionable artistic characteristics and ethnic cultural heritage.

Key words: national costume, Adras pattern, Julia set, pattern design model, clothing digitization, intangible cultural heritage