# Application of Nanomaterials in Visual Effects of National Costume Pattern Design

Authors: Pei Lu
Journal: Advances in Materials Science and Engineering
 (2022)

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## Abstract

Nanomaterials refer to new materials that are constructed from a unit structure of one to one hundred nanometers according to certain organizational rules. The purpose of this paper is to apply nanomaterials in the study of visual effects of ethnic dress pattern design. This paper first gives a brief overview of ethnic costumes, including the status quo, development, characteristics of ethnic costumes, and also studies the pattern design and visual effects of ethnic costumes, as well as the image shaping of pattern design. Then, the content of nanomaterials is elaborated. Finally, nanomaterials are applied in the design of ethnic costumes, and they are compared with traditional ethnic costumes, and the functionalities of the costumes and the visual effects of pattern design are observed, respectively. The results show that the overall average score of the visual effect test of ethnic dress pattern design using nanomaterials reaches 8.54 points, which verifies its effectiveness.


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## Body

## 1. Introduction

In the long period of time, the development of each nation has its own characteristics, has its own unique charm, and has continuously created its own unique cultural heritage in the long history, for example, folk dance, folk music, and folk architecture. Among them, national costume is the most representative characteristic. National costume is the product of continuous development in the process of social migration and the accumulation of the times. It has a long history and various forms. It is not only an important medium for the transmission and preservation of culture but also the sustenance of human beings for beautiful emotions throughout the ages. This highly valuable and meaningful cultural heritage is the precious spiritual wealth and important achievement shared by human civilization in the world. Depending on the location of the birthplace of civilization, the cultural form is also different. On the basis of different cultures, national costumes have gradually formed a situation where a hundred flowers bloom and are diverse and rich. The diversity of ethnic costumes is mainly reflected in the aspects of fabric, style, and color matching, which are colorful and full of charm.National costumes are living fossils of social and cultural development. With the rapid economic growth and the continuous improvement of people’s living standards, the choice of material is also gradually increasing. Although the improvement of the level of market economy has brought certain development opportunities for national costumes, various trendy costumes have also caused an impact on the culture of national costumes to a certain extent. How to preserve a place for the development of national costumes in the over-saturated market is a question worth thinking about in the journey of the new era. The production process of ethnic costumes is relatively complex, and the costume patterns are more complicated, which is difficult to put into general industrial manufacturing. Even if it can be produced in an assembly line, due to the particularity of clothing materials, the production cost is relatively large, and the subsequent care and washing of clothing are also difficult problems that cannot be ignored. However, in the innovation and progress of science and technology, nanomaterials have gradually developed and matured, and have given full play to their application value in many important value fields, for example, it can be seen in the development of medical, chemical, mechanical, thermal, and mechanical industries. However, in the apparel processing industry, the application of nanomaterials has not been fully perfected. It has antibacterial disinfection, anti-ultraviolet, anti-aging and other special properties, and is light and thin in texture and excellent in quality. Using it in the pattern design of ethnic costumes can not only alleviate the existing development contradictions of ethnic costumes but also produce good visual effects.Based on the development of visual effects of ethnic costume design, this paper explores the application value and role of nanomaterials in ethnic costumes. This paper has practical guiding and practical significance in promoting national costumes to meet the development of the times and realize transformation and upgrading in the market, and can also provide new ideas for the application of nanomaterials.


## 2. Related Work

In recent years, many scholars have carried out research on the application of nanomaterials. Gajanan and Tijare have done research on nanomaterials and mentioned in their article that nanomaterials have very beneficial properties. It can be used in branches of structural and nonstructural packages as well as in a wide range of items such as insulation, phosphors, etc. [1]. Based on the development of fibrous electrodes, Wu et al. summarize the latest progress of carbon nanomaterials in flexible fibrous energy storage devices, which include the diversification of electrode preparation, the functionalization and intelligence of device structure, and the large-scale production of fibrous electrodes [2]. Zhang et al. combine MXene materials with nanosheets and conduct recent research in the adsorption and remediation of environmental pollutants, and highlights the main challenges of nanomaterials in the future [3]. Balasubramanian et al. review and enumerate outstanding potential applications of ceramic nanomaterials in the biomedical field and consider the application of nanostructured ceramics, cements, and coatings in orthopaedics, dentistry, and other medical fields [4]. In their article, Ghosal and Sarkar focus on various synthesis processes of graphene nanomaterials including graphene oxide (GO), reduced graphene oxide (rGO), and graphene quantum dots (GQD) and their biomedical applications [5]. In their article, Zheng et al. mainly introduce the application of nanomaterials in tissue engineering. They have conducted research on the basic properties, preparation, and characterization methods of various nanomaterials. They then detailed the application and research progress of nanomaterials in tissue engineering and drug delivery [6]. To sum up, after several years of exploration, the application of nanomaterials has been deeply studied by many scholars, but there are not many studies that integrate it with the visual effects of ethnic dress pattern design. Therefore, in order to promote the in-depth development of the application of nanomaterials, the practical research on the integration of the two is urgent.


## 3. National Costumes and Nanomaterials

### 3.1. Overview of National Costumes

#### 3.1.1. Status Quo of National Costumes

In recent years, national costumes have been deeply influenced by the market economy, and the rapid improvement of economic level has brought about great changes in people’s choices in daily life. The connection between people is getting closer and closer, and the distance of information transmission is gradually shrinking. Much life information, including the popular trend of food, clothing, housing, and transportation, has been injected with many fresh elements by the trend of the times [7]. Under the background of social times with such great changes, traditional national costumes are also facing a crisis. Some scholars once said that what belongs to the nation is what belongs to the world, and this sentence is also applied to the development of national costumes. The first task to solve this contradiction is to actively protect the excellent cultural heritage of national costumes that has been passed down to this day. Secondly, it is necessary to cater to the characteristics of the times and combine emerging science and technology, so that this cultural heritage can achieve sustainable development, be accepted by more and more people, and guide the transformation and upgrading of national costumes, to realize on the basis of maintaining the original national cultural heritage, and injecting the fresh vitality required by the times.


#### 3.1.2. Development of National Clothing Brands

In the current research on the clothing industry, we can see that some ethnic clothing companies have made innovations and reforms in pattern design and visual effects of clothing. Compared with the past, these innovations and reforms have indeed achieved certain results and improvement. However, looking at the entire development market, there are still many problems that need to be solved urgently. For example, the optimal selection of clothing materials and the visual image design of clothing are still unsatisfactory. It is difficult for traditional clothing to have a place in the new market. If efforts are not made in these areas, it will not be able to be passed on and developed. It is easy to be eliminated by the competition mechanism of the market in the long run. We can learn from some well-known brands on this issue. The success of some world-renowned brands is not only due to their efforts in marketing but also has extremely high requirements on the material selection and visual design of brand clothing. Although consumers will have differences between individuals due to differences in living environments, each customer’s needs for clothing quality are also different. However, we still need to continuously improve own level on the basis of basic standards in order to enhance the core competitiveness of ethnic clothing in the clothing market. We must keenly observe the trend of fashion, accurately locate the individual needs of consumers, and accurately grasp own positioning.


#### 3.1.3. Features of National Costumes

The characteristics and styles of national costumes are naturally formed in the environment where people grow up [8]. The difference in way of life and labor will also have different forms of influence on the development of national costumes, and quantitative changes will lead to qualitative changes. Finally, the characteristics and styles that are different from other costumes are formed. On this basis, this article divides the characteristics of ethnic costumes into three categories:(1) Various Decorations. With the north and the south as the boundary, the costumes and patterns of each ethnic group are different. Due to the relatively cold climate in the north, most of the ethnic clothing materials are animal fur. The main purpose of clothing design is to resist severe cold and maintain body temperature [9]. For example, Mongolian, Kazakh, Russian, Hui, and other ethnic groups’ clothing are mostly made of cowhide, sheepskin, etc., and some of them also use soft livestock fur as a warm decoration in some places. The climate in the south is pleasant, warm, and comfortable, and the materials of national costumes are mostly cotton and linen, and besides the function of covering the body, another major purpose of the costumes is decoration. Therefore, compared with the single style and design of the northern ethnic costumes, the southern ethnic costumes have many styles, and many designs are very creative, which adds a strong touch to the visual system of ethnic costumes [10].(2) Rich and Colorful Regional Resources. Due to the variety of ethnic groups and the distribution of ethnic cultural resources around the world, the designs and styles of ethnic costumes are rich and varied. For example, the costumes of the Miao, Yi, Korean, and other ethnic groups are worthy of reference for all kinds of clothing design, whether in the ingenious design of the pattern or in the suitability of the color matching. And, these designs and collocations are created in the solid historical and cultural accumulation of the working people [11].(3) Clothing Is Hierarchical and Progressive. Due to the imbalance between social, historical, cultural and socioeconomic development, the living standards of various ethnic groups are extremely uneven. Even in the development process of the twenty-first century, the social productive forces of some ethnic groups are still in a relatively poor state, which makes the ethnic differences very obvious, and it is still impossible to solve these development contradictions at this stage. Therefore, we can see a certain degree of hierarchy and progression in privately owned clothing. This kind of difference is not necessarily completely negative. To some extent, it also retains the authenticity of some national cultures, which is worth in-depth exploration.


#### 3.1.4. Pattern Design of Ethnic Costumes

The first impression of national costumes to the world is that the colors are bright and lively [12]. However, when we put aside the appearance and explore the essence of life behind it, it is not difficult to develop. In fact, the economic development level of many ethnic groups is far below the productivity standard of modern society. But even so, they have not lost their enthusiasm and self-confidence in culture. In national costumes, they still strive for perfection and constantly show the unique aesthetics of their own nation. This attitude and spirit towards life is worth learning from each of us. Explained by anthropogenesis, the value and meaning contained in the depths of any national culture are closely related to the survival, development, and way of thinking of the nation. For example, some folk customs must be passed down by word of mouth among the ethnic groups, and they must be familiar and unchanging rules.In addition to clothes, silver ornaments and accessories, the patterns of many ethnic costumes can also be used in many aspects, such as quilt covers, back straps, daily necessities, bedding, and other aspects. The decorative patterns used are rich in variety, themes are diverse, and splendid, as shown in Figure1.Figure 1
Illustration of ethnic dress patterns.The patterns of clothing can be roughly classified into three categories in terms of expression techniques, as shown in Table1:Table 1
Classification of patterns of ethnic clothing patterns.
ScopeSequenceClassificationPatterns of clothing patterns1Figurative pattern2Semiabstract and semi-figurative decorative patterns3Pure geometric patternThe first figurative pattern refers to the traditional realistic style, and the patterns are mostly observed in real life. Semiabstract and semi-figurative, as the name suggests, is half-realistic and half-abstract, and the third is the form of geometric patterns [13]. The three types of pattern form combinations are constructed on a certain regularity. Before civilization, people’s attention was almost all in their own living environment. Therefore, the themes of these patterns are mostly based on native natural scenery, and in the later cultural development, some ethnic groups began to incorporate some unique elements, such as artificial landscapes, human activities, and so on. This novel creative method fully realizes the unity of the two aspects of art and practicability of clothing. The research results obtained from the patterns of national costumes come not only from the review and memory of traditional culture but also from the realism of the natural environment and the freehand brushwork of ancient historical culture and natural environment. It also stems from the respect and love for nature and the continuous pursuit and exploration of life.From the type of decorative patterns, ethnic costumes can also be divided into three categories, as shown in Table2:Table 2
Classification of decorative patterns of ethnic costumes.
SequenceTypesSubdivision1Geometric patternCross patternSun patternOctagonal pattern2Animal patternAnimalMulti-animal fitHalf-human and half-animal3Plant patternChrysanthemumSunflowerLotusGeometric patterns mainly include cross pattern, moiré pattern, water pattern, zigzag pattern, key pattern, thunder pattern, well-shaped pattern, and geometrical natural objects like sun pattern, scroll grass pattern, star pattern, bronze drum pattern, octagonal pattern, and so on.Animal ornaments generally appear in ethnic groups dominated by animal husbandry, and the shapes are as colorful as plant ornaments, as shown in Figure2. It has both a realistic style and an abstract style. Abstract-style animal ornamentation generally represents people’s belief and respect for the Creator, and the expression method is very unique, and it also shows the imagination and creativity of the working people to a certain extent.Figure 2
Animal patterns decorated in national costumes.Plant ornamental patterns mainly include chrysanthemum, sunflower, lotus, gourd, pomegranate, celosia, bracken, broken branch, pepper flower, etc., as well as unknown flowers and plants that are not known in nature or in water. This kind of pattern is often used in the edge decoration of clothing, such as the neckline of the placket, the cuffs of the placket and other local positions, and the sewing methods and styles are not limited to tradition. Under the infinite creativity of the working people, all kinds of patterns can be vividly engraved in the clothing. This expression method can cover almost all clothing design methods throughout the ages. From weaving, dyeing to embroidery, the culture and traditional craftsmanship of each region are different, and the expression of ornamentation also has its own charm, forming a beautiful situation of blooming flowers.


#### 3.1.5. Visual Effects of Ethnic Costume Pattern Design

The visual effect of ethnic clothing pattern design is to use elements such as colors, shapes, sounds, ethnic totems, ethnic objects, and other elements to form a strong visual impact on consumers, making them pay attention to clothing brand products, thereby increasing the influence of ethnic clothing. The image of national costumes can be divided into the following aspects: one is the internal image of costumes, and the other is the external image of national costumes. The following describes: the inner image of ethnic minority clothing can also be the inner culture of the nation. From the development process of world-renowned clothing, we can easily find that excellent clothing brands have profound and connotative inner brand culture and philosophy. Because the internal cultural image of a nation is the accumulation and essence of the idiosyncratic cultural quality in the national life, it endows the clothing with tenacious vitality and strengthens the formation of a complete system of national image formation. The external and internal symbols of national costumes contain diverse elements such as material and cultural background, characteristics of social times, national value definition, and life taste. By combining and sorting these elements, designers use inspirational designs to carry out specific forms of artistic expression, constantly presenting unique cultural connotations, and finally forming the unique characteristics and elegance of national costumes. The external images of national costumes include:(1) Product Image of Ethnic Costumes. The product image of national costumes is one of the most valuable components in the visual effect system. The product image can not only show the development process of a nation but also convey the unique aesthetics and taste of the people of the nation. How to be unique among the majority of the nation and form its own unique style, it is essential to pay attention to the product image.(2) The Image of the National Costume Visual System. Every nation’s costume design should have a visual system that can reflect its own national cultural value. The visual system is mainly composed of visual elements, including patterns, ornaments, and names.


#### 3.1.6. Visual Image Design and Shaping of Ethnic Costumes

The shaping of the image of national costumes should be innovative and subversive from the connotation (name, logo, and packaging) and external continuation (Positioning and Culture of Clothing) of clothing. The visual image of national costumes is one of the important factors affecting consumers’ demands and choices. If a brand has a good visual image, it will directly motivate consumers to buy, which cannot be ignored. National costume is the carrier of culture and flowing art and wisdom. National costumes are not only a concept or a single substance but also they embody the unique spiritual connotation and appearance of a group. Based on this, the visual image design of national costumes must not ignore the culture and only talk about innovation, and inject fresh blood of the times on the basis of retaining the historical flavor.


### 3.2. Overview of Nanomaterials

To understand the concept of nanomaterials, we must first know the particularity of the size of this material. It is a new type of material constructed from a unit structure of one to one hundred nanometers according to a certain organizational law [14]. Because the organizational structure of nanomaterials is between atomic clusters composed of several atoms and macroscopic objects, it is different from the single property of other typical materials. It has both microscopic and macroscopic characteristics, mainly in terms of material surface and size. The ratio of the number of atoms contained on the surface of nanomaterials to the total number of atoms in the overall structure will change inversely due to the change in diameter. For example, when the diameter decreases, the proportion will increase, and conversely, when the diameter increases, the proportion of the number of surface atoms in the total number will decrease. This change is particularly special in the catalytic effect of nanomaterials, and nanomaterials with larger surface areas contain several ladder-like structures, as shown in Figure 3. This ladder structure can make a large number of active atoms attach to the surface of nanomaterials, and then combine with foreign atoms to form a very strong photocatalytic reaction.Figure 3
Nanomaterial ladder structure.People use optical constants to study optical properties in nanomaterials. Refractive indexn and extinction constant k are called fundamental optical constants, which are the most important optical property parameters of nanomaterials [15]. Determining n,k has become a special topic and has been paid much attention by people. Using the transflective method to determine these two parameters from the film thickness d, spectral transmittance Tλ and reflectance Rλ functions are the most commonly used methods. Accurate measurement of film thickness d requires good instrumentation and skill. In the process of searching for n and k through the inversion of the known d, Tλ and Rλ, there are multi-values to pay attention to. For weakly absorbing nanomaterials with sufficient thickness, the transmittance curve can cause interference. Using only the spectral transmittance function, d, n, k can be determined in one fell swoop. This is a convenient method [16].When the backside reflection of the substrate is not considered, the substrate is regarded as a semi-infinite medium. Since some nanomaterials are weakly absorbing,k can be ignored in the complex refractive index, but k is retained in the phase factor. Then there are Refs. [17, 18]:(1)T=16n0nsn2aC12+C22a2+2C1C2acos4πnd/λ.Among them [19]:(2)C1=n0+nn+ns,(3)C2=n0−nn−ns,(4)a=e−4πkd/λ.However, when there is a situation like [20]:(5)−4πkdλ=mπ.The maximum and minimum transmittances are [21]:(6)Tmax=16n0nsn2aC1+C2a2,(7)Tmin=16n0nsn2aC1−C2a2.According to the idea of envelope, it can be solved by equation (6) [22]:(8)n=N+N2−n02nss1/21/2.Among them:(9)N=n02+nss2+2n0ns1Tmin−1Tmax.Obtained by the extreme value condition [23]:(10)d=M2nλ1λ1−nλ2λ2−1.And, it can be solved:(11)a=C11−Tmax/Tmin1/2C21+Tmax/Tmin1/2.The extinction coefficient and absorption coefficient can be derived from equation (4) [24]:(12)k=−λ4πdlna,α=lna.Using the conclusions, ignoring substrate absorption,n, k and d of nanomaterials can be obtained from the transmission spectrum. Substrates of materials actually used to measure the transmittance and refractive index of thin films are of finite size. After considering the influence of the back surface of the substrate, it is obtained by the envelope method:(13)nλ=128nscλ+ns+121/2+8nscλ+ns−121/2,(14)d=12nλ1λ1−nλ2λ2−1,(15)kλ=λ4πdlnuλ+uλ2−cλ2+σλ2αλ.Among them:(16)cλ=121Tmin−1Tmax,(17)uλ=121Tmin+1Tmax,(18)σλ=ns2−18ns2n2λ−1nλ2,(19)αλ=nλ+13nλ+ns216nsn2λ.The interpretation of each parameter of equations (15)–(19) is shown in Table 3:Table 3
Interpretation of equation parameters.
SequenceParameterInterpretation1λ1Maximum wavelength2λ2Minimum wavelength3nλ1Refractive index ofλ14nλ2Refractive index ofλ25nsRefractive index of substrateAmong them,ns=1.51. The transmission spectrum curve of the nanomaterial sample was measured with a YGZ-8 dual-beam UV-visible dual-beam spectrophotometer, as shown in Figure 4:Figure 4
Transmittance spectrum of nanomaterial samples.It can be seen from Figure4 that the average transmittance is greater than 80%. Calculated from the transmission spectrum curve, the thickness of the nanomaterial sample is 505 nm, and the refractive index and extinction coefficient are shown in Figures 5 and 6:Figure 5
Dispersion curves of refractive indexn of nanomaterial samples.Figure 6
Dispersion curves of extinction coefficientk of nanomaterial samples.At a wavelength of403×800 nm, the refractive index of the nanomaterial sample is n=1.86×1.77. In a larger range, this shows that the refractive index of nanomaterials is different for different processes and conditions. Because some nanomaterials have a columnar structure, there are obvious boundaries between the columns, and they are not as dense as crystals, so their refractive index is also smaller.


## 3.1. Overview of National Costumes

### 3.1.1. Status Quo of National Costumes

In recent years, national costumes have been deeply influenced by the market economy, and the rapid improvement of economic level has brought about great changes in people’s choices in daily life. The connection between people is getting closer and closer, and the distance of information transmission is gradually shrinking. Much life information, including the popular trend of food, clothing, housing, and transportation, has been injected with many fresh elements by the trend of the times [7]. Under the background of social times with such great changes, traditional national costumes are also facing a crisis. Some scholars once said that what belongs to the nation is what belongs to the world, and this sentence is also applied to the development of national costumes. The first task to solve this contradiction is to actively protect the excellent cultural heritage of national costumes that has been passed down to this day. Secondly, it is necessary to cater to the characteristics of the times and combine emerging science and technology, so that this cultural heritage can achieve sustainable development, be accepted by more and more people, and guide the transformation and upgrading of national costumes, to realize on the basis of maintaining the original national cultural heritage, and injecting the fresh vitality required by the times.


### 3.1.2. Development of National Clothing Brands

In the current research on the clothing industry, we can see that some ethnic clothing companies have made innovations and reforms in pattern design and visual effects of clothing. Compared with the past, these innovations and reforms have indeed achieved certain results and improvement. However, looking at the entire development market, there are still many problems that need to be solved urgently. For example, the optimal selection of clothing materials and the visual image design of clothing are still unsatisfactory. It is difficult for traditional clothing to have a place in the new market. If efforts are not made in these areas, it will not be able to be passed on and developed. It is easy to be eliminated by the competition mechanism of the market in the long run. We can learn from some well-known brands on this issue. The success of some world-renowned brands is not only due to their efforts in marketing but also has extremely high requirements on the material selection and visual design of brand clothing. Although consumers will have differences between individuals due to differences in living environments, each customer’s needs for clothing quality are also different. However, we still need to continuously improve own level on the basis of basic standards in order to enhance the core competitiveness of ethnic clothing in the clothing market. We must keenly observe the trend of fashion, accurately locate the individual needs of consumers, and accurately grasp own positioning.


### 3.1.3. Features of National Costumes

The characteristics and styles of national costumes are naturally formed in the environment where people grow up [8]. The difference in way of life and labor will also have different forms of influence on the development of national costumes, and quantitative changes will lead to qualitative changes. Finally, the characteristics and styles that are different from other costumes are formed. On this basis, this article divides the characteristics of ethnic costumes into three categories:(1) Various Decorations. With the north and the south as the boundary, the costumes and patterns of each ethnic group are different. Due to the relatively cold climate in the north, most of the ethnic clothing materials are animal fur. The main purpose of clothing design is to resist severe cold and maintain body temperature [9]. For example, Mongolian, Kazakh, Russian, Hui, and other ethnic groups’ clothing are mostly made of cowhide, sheepskin, etc., and some of them also use soft livestock fur as a warm decoration in some places. The climate in the south is pleasant, warm, and comfortable, and the materials of national costumes are mostly cotton and linen, and besides the function of covering the body, another major purpose of the costumes is decoration. Therefore, compared with the single style and design of the northern ethnic costumes, the southern ethnic costumes have many styles, and many designs are very creative, which adds a strong touch to the visual system of ethnic costumes [10].(2) Rich and Colorful Regional Resources. Due to the variety of ethnic groups and the distribution of ethnic cultural resources around the world, the designs and styles of ethnic costumes are rich and varied. For example, the costumes of the Miao, Yi, Korean, and other ethnic groups are worthy of reference for all kinds of clothing design, whether in the ingenious design of the pattern or in the suitability of the color matching. And, these designs and collocations are created in the solid historical and cultural accumulation of the working people [11].(3) Clothing Is Hierarchical and Progressive. Due to the imbalance between social, historical, cultural and socioeconomic development, the living standards of various ethnic groups are extremely uneven. Even in the development process of the twenty-first century, the social productive forces of some ethnic groups are still in a relatively poor state, which makes the ethnic differences very obvious, and it is still impossible to solve these development contradictions at this stage. Therefore, we can see a certain degree of hierarchy and progression in privately owned clothing. This kind of difference is not necessarily completely negative. To some extent, it also retains the authenticity of some national cultures, which is worth in-depth exploration.


### 3.1.4. Pattern Design of Ethnic Costumes

The first impression of national costumes to the world is that the colors are bright and lively [12]. However, when we put aside the appearance and explore the essence of life behind it, it is not difficult to develop. In fact, the economic development level of many ethnic groups is far below the productivity standard of modern society. But even so, they have not lost their enthusiasm and self-confidence in culture. In national costumes, they still strive for perfection and constantly show the unique aesthetics of their own nation. This attitude and spirit towards life is worth learning from each of us. Explained by anthropogenesis, the value and meaning contained in the depths of any national culture are closely related to the survival, development, and way of thinking of the nation. For example, some folk customs must be passed down by word of mouth among the ethnic groups, and they must be familiar and unchanging rules.In addition to clothes, silver ornaments and accessories, the patterns of many ethnic costumes can also be used in many aspects, such as quilt covers, back straps, daily necessities, bedding, and other aspects. The decorative patterns used are rich in variety, themes are diverse, and splendid, as shown in Figure1.Figure 1
Illustration of ethnic dress patterns.The patterns of clothing can be roughly classified into three categories in terms of expression techniques, as shown in Table1:Table 1
Classification of patterns of ethnic clothing patterns.
ScopeSequenceClassificationPatterns of clothing patterns1Figurative pattern2Semiabstract and semi-figurative decorative patterns3Pure geometric patternThe first figurative pattern refers to the traditional realistic style, and the patterns are mostly observed in real life. Semiabstract and semi-figurative, as the name suggests, is half-realistic and half-abstract, and the third is the form of geometric patterns [13]. The three types of pattern form combinations are constructed on a certain regularity. Before civilization, people’s attention was almost all in their own living environment. Therefore, the themes of these patterns are mostly based on native natural scenery, and in the later cultural development, some ethnic groups began to incorporate some unique elements, such as artificial landscapes, human activities, and so on. This novel creative method fully realizes the unity of the two aspects of art and practicability of clothing. The research results obtained from the patterns of national costumes come not only from the review and memory of traditional culture but also from the realism of the natural environment and the freehand brushwork of ancient historical culture and natural environment. It also stems from the respect and love for nature and the continuous pursuit and exploration of life.From the type of decorative patterns, ethnic costumes can also be divided into three categories, as shown in Table2:Table 2
Classification of decorative patterns of ethnic costumes.
SequenceTypesSubdivision1Geometric patternCross patternSun patternOctagonal pattern2Animal patternAnimalMulti-animal fitHalf-human and half-animal3Plant patternChrysanthemumSunflowerLotusGeometric patterns mainly include cross pattern, moiré pattern, water pattern, zigzag pattern, key pattern, thunder pattern, well-shaped pattern, and geometrical natural objects like sun pattern, scroll grass pattern, star pattern, bronze drum pattern, octagonal pattern, and so on.Animal ornaments generally appear in ethnic groups dominated by animal husbandry, and the shapes are as colorful as plant ornaments, as shown in Figure2. It has both a realistic style and an abstract style. Abstract-style animal ornamentation generally represents people’s belief and respect for the Creator, and the expression method is very unique, and it also shows the imagination and creativity of the working people to a certain extent.Figure 2
Animal patterns decorated in national costumes.Plant ornamental patterns mainly include chrysanthemum, sunflower, lotus, gourd, pomegranate, celosia, bracken, broken branch, pepper flower, etc., as well as unknown flowers and plants that are not known in nature or in water. This kind of pattern is often used in the edge decoration of clothing, such as the neckline of the placket, the cuffs of the placket and other local positions, and the sewing methods and styles are not limited to tradition. Under the infinite creativity of the working people, all kinds of patterns can be vividly engraved in the clothing. This expression method can cover almost all clothing design methods throughout the ages. From weaving, dyeing to embroidery, the culture and traditional craftsmanship of each region are different, and the expression of ornamentation also has its own charm, forming a beautiful situation of blooming flowers.


### 3.1.5. Visual Effects of Ethnic Costume Pattern Design

The visual effect of ethnic clothing pattern design is to use elements such as colors, shapes, sounds, ethnic totems, ethnic objects, and other elements to form a strong visual impact on consumers, making them pay attention to clothing brand products, thereby increasing the influence of ethnic clothing. The image of national costumes can be divided into the following aspects: one is the internal image of costumes, and the other is the external image of national costumes. The following describes: the inner image of ethnic minority clothing can also be the inner culture of the nation. From the development process of world-renowned clothing, we can easily find that excellent clothing brands have profound and connotative inner brand culture and philosophy. Because the internal cultural image of a nation is the accumulation and essence of the idiosyncratic cultural quality in the national life, it endows the clothing with tenacious vitality and strengthens the formation of a complete system of national image formation. The external and internal symbols of national costumes contain diverse elements such as material and cultural background, characteristics of social times, national value definition, and life taste. By combining and sorting these elements, designers use inspirational designs to carry out specific forms of artistic expression, constantly presenting unique cultural connotations, and finally forming the unique characteristics and elegance of national costumes. The external images of national costumes include:(1) Product Image of Ethnic Costumes. The product image of national costumes is one of the most valuable components in the visual effect system. The product image can not only show the development process of a nation but also convey the unique aesthetics and taste of the people of the nation. How to be unique among the majority of the nation and form its own unique style, it is essential to pay attention to the product image.(2) The Image of the National Costume Visual System. Every nation’s costume design should have a visual system that can reflect its own national cultural value. The visual system is mainly composed of visual elements, including patterns, ornaments, and names.


### 3.1.6. Visual Image Design and Shaping of Ethnic Costumes

The shaping of the image of national costumes should be innovative and subversive from the connotation (name, logo, and packaging) and external continuation (Positioning and Culture of Clothing) of clothing. The visual image of national costumes is one of the important factors affecting consumers’ demands and choices. If a brand has a good visual image, it will directly motivate consumers to buy, which cannot be ignored. National costume is the carrier of culture and flowing art and wisdom. National costumes are not only a concept or a single substance but also they embody the unique spiritual connotation and appearance of a group. Based on this, the visual image design of national costumes must not ignore the culture and only talk about innovation, and inject fresh blood of the times on the basis of retaining the historical flavor.


## 3.1.1. Status Quo of National Costumes

In recent years, national costumes have been deeply influenced by the market economy, and the rapid improvement of economic level has brought about great changes in people’s choices in daily life. The connection between people is getting closer and closer, and the distance of information transmission is gradually shrinking. Much life information, including the popular trend of food, clothing, housing, and transportation, has been injected with many fresh elements by the trend of the times [7]. Under the background of social times with such great changes, traditional national costumes are also facing a crisis. Some scholars once said that what belongs to the nation is what belongs to the world, and this sentence is also applied to the development of national costumes. The first task to solve this contradiction is to actively protect the excellent cultural heritage of national costumes that has been passed down to this day. Secondly, it is necessary to cater to the characteristics of the times and combine emerging science and technology, so that this cultural heritage can achieve sustainable development, be accepted by more and more people, and guide the transformation and upgrading of national costumes, to realize on the basis of maintaining the original national cultural heritage, and injecting the fresh vitality required by the times.


## 3.1.2. Development of National Clothing Brands

In the current research on the clothing industry, we can see that some ethnic clothing companies have made innovations and reforms in pattern design and visual effects of clothing. Compared with the past, these innovations and reforms have indeed achieved certain results and improvement. However, looking at the entire development market, there are still many problems that need to be solved urgently. For example, the optimal selection of clothing materials and the visual image design of clothing are still unsatisfactory. It is difficult for traditional clothing to have a place in the new market. If efforts are not made in these areas, it will not be able to be passed on and developed. It is easy to be eliminated by the competition mechanism of the market in the long run. We can learn from some well-known brands on this issue. The success of some world-renowned brands is not only due to their efforts in marketing but also has extremely high requirements on the material selection and visual design of brand clothing. Although consumers will have differences between individuals due to differences in living environments, each customer’s needs for clothing quality are also different. However, we still need to continuously improve own level on the basis of basic standards in order to enhance the core competitiveness of ethnic clothing in the clothing market. We must keenly observe the trend of fashion, accurately locate the individual needs of consumers, and accurately grasp own positioning.


## 3.1.3. Features of National Costumes

The characteristics and styles of national costumes are naturally formed in the environment where people grow up [8]. The difference in way of life and labor will also have different forms of influence on the development of national costumes, and quantitative changes will lead to qualitative changes. Finally, the characteristics and styles that are different from other costumes are formed. On this basis, this article divides the characteristics of ethnic costumes into three categories:(1) Various Decorations. With the north and the south as the boundary, the costumes and patterns of each ethnic group are different. Due to the relatively cold climate in the north, most of the ethnic clothing materials are animal fur. The main purpose of clothing design is to resist severe cold and maintain body temperature [9]. For example, Mongolian, Kazakh, Russian, Hui, and other ethnic groups’ clothing are mostly made of cowhide, sheepskin, etc., and some of them also use soft livestock fur as a warm decoration in some places. The climate in the south is pleasant, warm, and comfortable, and the materials of national costumes are mostly cotton and linen, and besides the function of covering the body, another major purpose of the costumes is decoration. Therefore, compared with the single style and design of the northern ethnic costumes, the southern ethnic costumes have many styles, and many designs are very creative, which adds a strong touch to the visual system of ethnic costumes [10].(2) Rich and Colorful Regional Resources. Due to the variety of ethnic groups and the distribution of ethnic cultural resources around the world, the designs and styles of ethnic costumes are rich and varied. For example, the costumes of the Miao, Yi, Korean, and other ethnic groups are worthy of reference for all kinds of clothing design, whether in the ingenious design of the pattern or in the suitability of the color matching. And, these designs and collocations are created in the solid historical and cultural accumulation of the working people [11].(3) Clothing Is Hierarchical and Progressive. Due to the imbalance between social, historical, cultural and socioeconomic development, the living standards of various ethnic groups are extremely uneven. Even in the development process of the twenty-first century, the social productive forces of some ethnic groups are still in a relatively poor state, which makes the ethnic differences very obvious, and it is still impossible to solve these development contradictions at this stage. Therefore, we can see a certain degree of hierarchy and progression in privately owned clothing. This kind of difference is not necessarily completely negative. To some extent, it also retains the authenticity of some national cultures, which is worth in-depth exploration.


## 3.1.4. Pattern Design of Ethnic Costumes

The first impression of national costumes to the world is that the colors are bright and lively [12]. However, when we put aside the appearance and explore the essence of life behind it, it is not difficult to develop. In fact, the economic development level of many ethnic groups is far below the productivity standard of modern society. But even so, they have not lost their enthusiasm and self-confidence in culture. In national costumes, they still strive for perfection and constantly show the unique aesthetics of their own nation. This attitude and spirit towards life is worth learning from each of us. Explained by anthropogenesis, the value and meaning contained in the depths of any national culture are closely related to the survival, development, and way of thinking of the nation. For example, some folk customs must be passed down by word of mouth among the ethnic groups, and they must be familiar and unchanging rules.In addition to clothes, silver ornaments and accessories, the patterns of many ethnic costumes can also be used in many aspects, such as quilt covers, back straps, daily necessities, bedding, and other aspects. The decorative patterns used are rich in variety, themes are diverse, and splendid, as shown in Figure1.Figure 1
Illustration of ethnic dress patterns.The patterns of clothing can be roughly classified into three categories in terms of expression techniques, as shown in Table1:Table 1
Classification of patterns of ethnic clothing patterns.
ScopeSequenceClassificationPatterns of clothing patterns1Figurative pattern2Semiabstract and semi-figurative decorative patterns3Pure geometric patternThe first figurative pattern refers to the traditional realistic style, and the patterns are mostly observed in real life. Semiabstract and semi-figurative, as the name suggests, is half-realistic and half-abstract, and the third is the form of geometric patterns [13]. The three types of pattern form combinations are constructed on a certain regularity. Before civilization, people’s attention was almost all in their own living environment. Therefore, the themes of these patterns are mostly based on native natural scenery, and in the later cultural development, some ethnic groups began to incorporate some unique elements, such as artificial landscapes, human activities, and so on. This novel creative method fully realizes the unity of the two aspects of art and practicability of clothing. The research results obtained from the patterns of national costumes come not only from the review and memory of traditional culture but also from the realism of the natural environment and the freehand brushwork of ancient historical culture and natural environment. It also stems from the respect and love for nature and the continuous pursuit and exploration of life.From the type of decorative patterns, ethnic costumes can also be divided into three categories, as shown in Table2:Table 2
Classification of decorative patterns of ethnic costumes.
SequenceTypesSubdivision1Geometric patternCross patternSun patternOctagonal pattern2Animal patternAnimalMulti-animal fitHalf-human and half-animal3Plant patternChrysanthemumSunflowerLotusGeometric patterns mainly include cross pattern, moiré pattern, water pattern, zigzag pattern, key pattern, thunder pattern, well-shaped pattern, and geometrical natural objects like sun pattern, scroll grass pattern, star pattern, bronze drum pattern, octagonal pattern, and so on.Animal ornaments generally appear in ethnic groups dominated by animal husbandry, and the shapes are as colorful as plant ornaments, as shown in Figure2. It has both a realistic style and an abstract style. Abstract-style animal ornamentation generally represents people’s belief and respect for the Creator, and the expression method is very unique, and it also shows the imagination and creativity of the working people to a certain extent.Figure 2
Animal patterns decorated in national costumes.Plant ornamental patterns mainly include chrysanthemum, sunflower, lotus, gourd, pomegranate, celosia, bracken, broken branch, pepper flower, etc., as well as unknown flowers and plants that are not known in nature or in water. This kind of pattern is often used in the edge decoration of clothing, such as the neckline of the placket, the cuffs of the placket and other local positions, and the sewing methods and styles are not limited to tradition. Under the infinite creativity of the working people, all kinds of patterns can be vividly engraved in the clothing. This expression method can cover almost all clothing design methods throughout the ages. From weaving, dyeing to embroidery, the culture and traditional craftsmanship of each region are different, and the expression of ornamentation also has its own charm, forming a beautiful situation of blooming flowers.


## 3.1.5. Visual Effects of Ethnic Costume Pattern Design

The visual effect of ethnic clothing pattern design is to use elements such as colors, shapes, sounds, ethnic totems, ethnic objects, and other elements to form a strong visual impact on consumers, making them pay attention to clothing brand products, thereby increasing the influence of ethnic clothing. The image of national costumes can be divided into the following aspects: one is the internal image of costumes, and the other is the external image of national costumes. The following describes: the inner image of ethnic minority clothing can also be the inner culture of the nation. From the development process of world-renowned clothing, we can easily find that excellent clothing brands have profound and connotative inner brand culture and philosophy. Because the internal cultural image of a nation is the accumulation and essence of the idiosyncratic cultural quality in the national life, it endows the clothing with tenacious vitality and strengthens the formation of a complete system of national image formation. The external and internal symbols of national costumes contain diverse elements such as material and cultural background, characteristics of social times, national value definition, and life taste. By combining and sorting these elements, designers use inspirational designs to carry out specific forms of artistic expression, constantly presenting unique cultural connotations, and finally forming the unique characteristics and elegance of national costumes. The external images of national costumes include:(1) Product Image of Ethnic Costumes. The product image of national costumes is one of the most valuable components in the visual effect system. The product image can not only show the development process of a nation but also convey the unique aesthetics and taste of the people of the nation. How to be unique among the majority of the nation and form its own unique style, it is essential to pay attention to the product image.(2) The Image of the National Costume Visual System. Every nation’s costume design should have a visual system that can reflect its own national cultural value. The visual system is mainly composed of visual elements, including patterns, ornaments, and names.


## 3.1.6. Visual Image Design and Shaping of Ethnic Costumes

The shaping of the image of national costumes should be innovative and subversive from the connotation (name, logo, and packaging) and external continuation (Positioning and Culture of Clothing) of clothing. The visual image of national costumes is one of the important factors affecting consumers’ demands and choices. If a brand has a good visual image, it will directly motivate consumers to buy, which cannot be ignored. National costume is the carrier of culture and flowing art and wisdom. National costumes are not only a concept or a single substance but also they embody the unique spiritual connotation and appearance of a group. Based on this, the visual image design of national costumes must not ignore the culture and only talk about innovation, and inject fresh blood of the times on the basis of retaining the historical flavor.


## 3.2. Overview of Nanomaterials

To understand the concept of nanomaterials, we must first know the particularity of the size of this material. It is a new type of material constructed from a unit structure of one to one hundred nanometers according to a certain organizational law [14]. Because the organizational structure of nanomaterials is between atomic clusters composed of several atoms and macroscopic objects, it is different from the single property of other typical materials. It has both microscopic and macroscopic characteristics, mainly in terms of material surface and size. The ratio of the number of atoms contained on the surface of nanomaterials to the total number of atoms in the overall structure will change inversely due to the change in diameter. For example, when the diameter decreases, the proportion will increase, and conversely, when the diameter increases, the proportion of the number of surface atoms in the total number will decrease. This change is particularly special in the catalytic effect of nanomaterials, and nanomaterials with larger surface areas contain several ladder-like structures, as shown in Figure 3. This ladder structure can make a large number of active atoms attach to the surface of nanomaterials, and then combine with foreign atoms to form a very strong photocatalytic reaction.Figure 3
Nanomaterial ladder structure.People use optical constants to study optical properties in nanomaterials. Refractive indexn and extinction constant k are called fundamental optical constants, which are the most important optical property parameters of nanomaterials [15]. Determining n,k has become a special topic and has been paid much attention by people. Using the transflective method to determine these two parameters from the film thickness d, spectral transmittance Tλ and reflectance Rλ functions are the most commonly used methods. Accurate measurement of film thickness d requires good instrumentation and skill. In the process of searching for n and k through the inversion of the known d, Tλ and Rλ, there are multi-values to pay attention to. For weakly absorbing nanomaterials with sufficient thickness, the transmittance curve can cause interference. Using only the spectral transmittance function, d, n, k can be determined in one fell swoop. This is a convenient method [16].When the backside reflection of the substrate is not considered, the substrate is regarded as a semi-infinite medium. Since some nanomaterials are weakly absorbing,k can be ignored in the complex refractive index, but k is retained in the phase factor. Then there are Refs. [17, 18]:(1)T=16n0nsn2aC12+C22a2+2C1C2acos4πnd/λ.Among them [19]:(2)C1=n0+nn+ns,(3)C2=n0−nn−ns,(4)a=e−4πkd/λ.However, when there is a situation like [20]:(5)−4πkdλ=mπ.The maximum and minimum transmittances are [21]:(6)Tmax=16n0nsn2aC1+C2a2,(7)Tmin=16n0nsn2aC1−C2a2.According to the idea of envelope, it can be solved by equation (6) [22]:(8)n=N+N2−n02nss1/21/2.Among them:(9)N=n02+nss2+2n0ns1Tmin−1Tmax.Obtained by the extreme value condition [23]:(10)d=M2nλ1λ1−nλ2λ2−1.And, it can be solved:(11)a=C11−Tmax/Tmin1/2C21+Tmax/Tmin1/2.The extinction coefficient and absorption coefficient can be derived from equation (4) [24]:(12)k=−λ4πdlna,α=lna.Using the conclusions, ignoring substrate absorption,n, k and d of nanomaterials can be obtained from the transmission spectrum. Substrates of materials actually used to measure the transmittance and refractive index of thin films are of finite size. After considering the influence of the back surface of the substrate, it is obtained by the envelope method:(13)nλ=128nscλ+ns+121/2+8nscλ+ns−121/2,(14)d=12nλ1λ1−nλ2λ2−1,(15)kλ=λ4πdlnuλ+uλ2−cλ2+σλ2αλ.Among them:(16)cλ=121Tmin−1Tmax,(17)uλ=121Tmin+1Tmax,(18)σλ=ns2−18ns2n2λ−1nλ2,(19)αλ=nλ+13nλ+ns216nsn2λ.The interpretation of each parameter of equations (15)–(19) is shown in Table 3:Table 3
Interpretation of equation parameters.
SequenceParameterInterpretation1λ1Maximum wavelength2λ2Minimum wavelength3nλ1Refractive index ofλ14nλ2Refractive index ofλ25nsRefractive index of substrateAmong them,ns=1.51. The transmission spectrum curve of the nanomaterial sample was measured with a YGZ-8 dual-beam UV-visible dual-beam spectrophotometer, as shown in Figure 4:Figure 4
Transmittance spectrum of nanomaterial samples.It can be seen from Figure4 that the average transmittance is greater than 80%. Calculated from the transmission spectrum curve, the thickness of the nanomaterial sample is 505 nm, and the refractive index and extinction coefficient are shown in Figures 5 and 6:Figure 5
Dispersion curves of refractive indexn of nanomaterial samples.Figure 6
Dispersion curves of extinction coefficientk of nanomaterial samples.At a wavelength of403×800 nm, the refractive index of the nanomaterial sample is n=1.86×1.77. In a larger range, this shows that the refractive index of nanomaterials is different for different processes and conditions. Because some nanomaterials have a columnar structure, there are obvious boundaries between the columns, and they are not as dense as crystals, so their refractive index is also smaller.


## 4. Nanomaterial Application Experiment

In this paper, nanomaterials are applied in the design of a certain type of ethnic clothing, and tested from two aspects: the functionality of clothing and the visual effect of pattern design. At the same time, the nanomaterials were compared with the traditional materials of national costumes, and they were divided into experimental group and control group, and their performances were evaluated, respectively.


### 4.1. Functional Test

The functional test of ethnic clothing includes two aspects: the antibacterial property of the clothing and the performance of the fabric. In this paper, the antibacterial ring detection method is used. The antibacterial ring detection method can qualitatively characterize the antibacterial effect of the material, and the specific operation is to evenly spread the bacterial solution with a bacterial concentration greater than 105 on the Petri dish. The antibacterial finishing fabric was cut into circles with a diameter of 5 mm and placed in a Petri dish, and then the Petri dish was placed in a biochemical incubator at about 30 degrees celsius. After 12 hours, the size of the antibacterial ring around the sample was measured. The average value of the diameter of the antibacterial ring is used as the basis for evaluating the antibacterial performance of the material. The test results are shown in Figures7 and 8:Figure 7
Bacteriostatic ring size test. (a) The test result of the antibacterial ring of the experimental group. (b) The test results of the control group’s antibacterial ring.
(a)(b)Figure 8
Bacteriostatic rate test. (a) The test result of the antibacterial rate of the experimental group. (b) The test result of the bacteriostatic rate of the control group.
(a)(b)It can be seen from Figure7 that with the increase of nanomaterial content, the diameter of the antibacterial ring of the clothing samples in the experimental group is larger, and the maximum value of the diameter of the antibacterial ring against Escherichia coli reaches 15.2. While the bacteriostatic ring expanded with the increase of cotton and linen content in the control group, the change was obviously not as obvious as that in the experimental group, and the highest value of the bacteriostatic ring in the control group was only 8.21.It can be seen from Figure8 that with the increase of the action time of nanomaterials in the experimental group, the value of the bacteriostatic rate also increased, the average bacteriostatic rate for Escherichia coli was 92.56%, and the average bacteriostatic rate for staphylococcus was 89.39%. The average bacteriostatic rate against Escherichia coli in the control group was 77.40%, and the average bacteriostatic rate against staphylococcus was 79.07%.The performance of the fabric has a lot to do with the clothing material. If the material is of good quality, the breathability and thickness of the fabric will be ideal. People test the clothing before and after finishing to observe whether the performance of the fabric after finishing has obvious changes. If the change is obvious, it means that the clothing material is not superior enough. Before the test, the air permeability of the fabric in the experimental group was367L/m2.s and the thickness was 1.27mm, while the air permeability of the fabric in the control group was 359L/m2.s and the thickness was 1.32mm. The test results are shown in Figure 9:Figure 9
Fabric performance test. (a) The results of the fabric air permeability test. (b) Fabric thickness test results.
(a)(b)It can be seen from Figure9 that the average air permeability of the samples in the experimental group after 5 times of finishing is 365.8L/m2.s, and the average thickness is 1.26mm. In contrast, the average value of air permeability and thickness of the samples in the control group were 353.2L/m2.s and 1.28mm after finishing 5 times.


### 4.2. Visual Effect Test of Pattern Design

The visual effect test of pattern design mainly examines the ornamental quality of the pattern design of ethnic costumes. A scoring system is adopted, and 6 designers are invited to rate the test samples. The full score is 10 points. The higher the score, the better the visual effect of the pattern design of the clothing. The designer’s personal information is shown in Table4, and the scoring test results are shown in Figure 10:Table 4
Designer personal information.
SequenceAgeWorking timeDesigner 1327Designer 2276Designer 3233Designer 44119Designer 53411Designer 6Figure 10
Visual effect test of pattern design. (a) The design score of the clothing pattern of the experimental group. (b) The clothing pattern design scores of the control group.
(a)(b)As can be seen from Figure10, the overall score of the visual effect of the ethnic costume pattern design in the experimental group was 8.54 points on average. In the control group, the overall score of the visual effect of ethnic dress pattern design was 8.09 points.


## 4.1. Functional Test

The functional test of ethnic clothing includes two aspects: the antibacterial property of the clothing and the performance of the fabric. In this paper, the antibacterial ring detection method is used. The antibacterial ring detection method can qualitatively characterize the antibacterial effect of the material, and the specific operation is to evenly spread the bacterial solution with a bacterial concentration greater than 105 on the Petri dish. The antibacterial finishing fabric was cut into circles with a diameter of 5 mm and placed in a Petri dish, and then the Petri dish was placed in a biochemical incubator at about 30 degrees celsius. After 12 hours, the size of the antibacterial ring around the sample was measured. The average value of the diameter of the antibacterial ring is used as the basis for evaluating the antibacterial performance of the material. The test results are shown in Figures7 and 8:Figure 7
Bacteriostatic ring size test. (a) The test result of the antibacterial ring of the experimental group. (b) The test results of the control group’s antibacterial ring.
(a)(b)Figure 8
Bacteriostatic rate test. (a) The test result of the antibacterial rate of the experimental group. (b) The test result of the bacteriostatic rate of the control group.
(a)(b)It can be seen from Figure7 that with the increase of nanomaterial content, the diameter of the antibacterial ring of the clothing samples in the experimental group is larger, and the maximum value of the diameter of the antibacterial ring against Escherichia coli reaches 15.2. While the bacteriostatic ring expanded with the increase of cotton and linen content in the control group, the change was obviously not as obvious as that in the experimental group, and the highest value of the bacteriostatic ring in the control group was only 8.21.It can be seen from Figure8 that with the increase of the action time of nanomaterials in the experimental group, the value of the bacteriostatic rate also increased, the average bacteriostatic rate for Escherichia coli was 92.56%, and the average bacteriostatic rate for staphylococcus was 89.39%. The average bacteriostatic rate against Escherichia coli in the control group was 77.40%, and the average bacteriostatic rate against staphylococcus was 79.07%.The performance of the fabric has a lot to do with the clothing material. If the material is of good quality, the breathability and thickness of the fabric will be ideal. People test the clothing before and after finishing to observe whether the performance of the fabric after finishing has obvious changes. If the change is obvious, it means that the clothing material is not superior enough. Before the test, the air permeability of the fabric in the experimental group was367L/m2.s and the thickness was 1.27mm, while the air permeability of the fabric in the control group was 359L/m2.s and the thickness was 1.32mm. The test results are shown in Figure 9:Figure 9
Fabric performance test. (a) The results of the fabric air permeability test. (b) Fabric thickness test results.
(a)(b)It can be seen from Figure9 that the average air permeability of the samples in the experimental group after 5 times of finishing is 365.8L/m2.s, and the average thickness is 1.26mm. In contrast, the average value of air permeability and thickness of the samples in the control group were 353.2L/m2.s and 1.28mm after finishing 5 times.


## 4.2. Visual Effect Test of Pattern Design

The visual effect test of pattern design mainly examines the ornamental quality of the pattern design of ethnic costumes. A scoring system is adopted, and 6 designers are invited to rate the test samples. The full score is 10 points. The higher the score, the better the visual effect of the pattern design of the clothing. The designer’s personal information is shown in Table4, and the scoring test results are shown in Figure 10:Table 4
Designer personal information.
SequenceAgeWorking timeDesigner 1327Designer 2276Designer 3233Designer 44119Designer 53411Designer 6Figure 10
Visual effect test of pattern design. (a) The design score of the clothing pattern of the experimental group. (b) The clothing pattern design scores of the control group.
(a)(b)As can be seen from Figure10, the overall score of the visual effect of the ethnic costume pattern design in the experimental group was 8.54 points on average. In the control group, the overall score of the visual effect of ethnic dress pattern design was 8.09 points.


## 5. Discussion

Through the comparative experimental data of ethnic costumes under nanomaterials and traditional ethnic costumes, the following conclusions can be drawn:(1)
At the functional level of clothing, the maximum diameter of the antibacterial ring of ethnic clothing designed with nanomaterials is 6.99 higher than the maximum diameter of the antibacterial ring of traditional ethnic clothing. And the overall mean of the bacteriostatic rate is also 12.74% higher than the traditional control group test value. In the fabric performance test, the average value of the air permeability test of the experimental group differs from the actual value by1.2L/m2.s, and the average value of the thickness test differs from the actual value by 0.01mm. The difference between the average value of the air permeability test and the actual value of the control group is 5.8L/m2.s, and the difference between the average value of the thickness test and the actual value is 0.04mm.(2)
In terms of visual effect of clothing pattern design, the overall score of ethnic costumes designed based on nanomaterials in the experimental group was 0.45 points higher than that of the control group based on traditional craftsmanship.The entire comparative experimental data show that, under the condition of keeping other experimental conditions the same, the functional and visual effects of clothing are tested and practiced. Whether it is in terms of the antibacterial properties, breathability, quality of clothing or the pattern design of clothing, ethnic clothing designed with nanomaterials is more superior. It shows that ethnic costumes under nanomaterials can effectively improve the quality and appearance of clothing, thereby promoting the further development of ethnic costumes.


## 6. Conclusions

The many excellent properties of nanomaterials determine its status and value in the application market. At present, many countries have invested a lot of money in the study of more perfect and mature nanomaterials, which shows that it has extremely important research significance in economic development. Although it has been in the industry’s investment and application for many years, its collision with the clothing industry is still in its infancy. Especially with the integration with the ethnic clothing industry, it is believed that with the advancement of science and technology, the application of nanomaterials in ethnic clothing will have a broader space for development.Although this paper uses nanomaterials to conduct in-depth research on the visual effect of national costume pattern design, there are still many shortcomings. The depth and breadth of the research in this paper is not enough. In the process of this research, the selection and acquisition of experimental data were carried out under absolutely ideal conditions, the integrity and validity were not enough, and some interference factors involved in the test process were not considered, and the score of visual effects is also restricted by many factors. The author academic level research is also limited, and the research on nanomaterials is still in the preliminary stage. In the future work, we will study appropriate research methods and means from more perspectives based on the existing technology and level, and continuously improve the quality of research work.



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*Source: 9483834-2022-07-19.xml*