服装设计褶皱拼缝外文文献
外文文献翻译服装设计
毕设附件外文文献原文及译文文献出处：Rothenberg A, Sobel R S. A Creative Process in the Art of Costu me Design[J]. Clothing & Textiles Research Journal, 2016, 9(1):27‐36.译文服装设计的艺术创作进程阿尔伯特·罗斯伯格;罗伯特·索贝尔关于制造力心理学的实证研究已经进行了 20 连年的时刻，目前已经确信了一个特定的制造性的操作进程，称为“人性化的制造进程”。
那个进程已被证明，对各类类型的艺术与科学领域的制造性活动都有一个重要的作用。
正如它的概念所言，这一人性化的制造进程需要通过踊跃地构思和艺术性的两种因素的结合，一起作用，只有如此，才能造就一个富含人性的艺术品。
增进服装的人性化设计思维，需要用到一种技术方式，这种方式涉及利用到将人性化因素的考虑及艺术性的构思结合在一路，依如实证研究，说明利用这种可行性技术，能够增进服装设计的人性化艺术创作进程。
了解服装的天然性因素，包括服装设计的艺术创作进程。
但是，科学方式的制造力是困难重重的。
只是艺术家和其他人都对服装设计的艺术创作进程的本质都专门感爱好，都想明白得和阐释这意思本质，有一种观点以为发明家在那个领域的尽力没什么成效的。
这些发明家们也担忧这种情形，但这确实是他们的工作。
另外，发明家们可能都会比较感爱好，确实是将他们的研究功效应用于实际的制造性的尝试。
将研究结果应用于实践，通常会受到很多人的疑心和轻视，因为他们以为，这看起来就像是玩弄制造的进程，他们以为这一进程应该受到强烈钦佩和尊重，而不能有任何随意性。
尽管存在这些困难，可是事实证明，这种富含技术性的制造进程，专门是应用于服装设计中，恰恰会致使有价值的和有趣的结果。
本文关注的是思维制造性进程操作的实证分析，探讨人性化地艺术性思维，这种思维应被用于服装设计领域中。
服装设计中英文对照外文翻译文献
服装设计中英文对照外文翻译文献(文档含英文原文和中文翻译)College men’s fashionA brief review of the literature on the social psychology of clothing reveals that young women are more frequently research participants than men . This may be because women far outnumber men in majoring in clothing design and apparel merchandising and thus are more easily accessible as research participants than men. Regardless of why clothing research includes more women as research participants, this focus on women has resulted in a dearth of research on young men. In support of this, Reilly and Rudd (2007) report that research has investigated men’s clothing preferences and habits to a lesser extent than women’s. men’s ideas about fashion and its importance in their lives have been overlooked. Despite the limited research on young men, consumer groups comprisedof college men are important to commercial marketers in terms of expenditure in men’s apparel and accessories. According to Statista, in 2012 the expenditure on men’s clothing goods in the United States was $22.2 billion. Men purchased footwear the most, followed by shirts and suits. Prior research has also shown that men’s interest in fashion is on the rise, leading to an increase in men’s apparel sales .Historically, women have been much more conscious about their appearance than men, but in recent times there appears to have been a change in this level of focus on appearance among men. Specifically, young men in Generation Y who have been socialized by mass media and marketing activities have become appearance conscious, which leads to apparel consumption (Kacen 2000; Patterson and Elliot 2002). Young men usually use dress to communicate their identities (Shete 2012), and their aspirations toward communicating this may influence their apparel consumption (Kang et al. 2011). Understanding the relationship between college-aged men’s identities and their clothing choices provides apparel marketers with useful information to develop effective strategies to produce and market clothes in accordance with the common values with which this group strives to identify.According to Hogg and Banister (2001), individuals can either have a positive reference point (i.e., desired end state) or a negative reference point (i.e., undesired end state) that they use to achieve their desiredidentities. So far, much research has been conducted on the positive aspects of consumers’ consumption choice. A lack of research into the negative aspects of consumption choice motivated us to question their impact on consumer behavior. Consumers’ avoidance behavior allows them to create further distance between themselves and their undesired identities (Hogg and Banister 2001), staying within the threshold of their desired identities. Thus, this research focuses on the clothing and style that college men avoid. An exploratory study was conducted on men attending a major midwestern university. On the basis of the results of the exploratory study, research interview questions for any further studies will be modified to address the research problem appropriately.The purpose of the exploratory study was to investigate what clothing college men prefer, what identities they achieve through their clothing, and what they want to avoid in their clothing choices. Our research questions were as follows: (1) Does college-aged men’s clothing reflect their identities and what do they want to express through their clothing choices? and (2) What undesired identities (related to aspects of an avoided self) do college-aged men avoid in their clothing choices? Literature reviewSocial identity theorySocial identity theory as conceptualized by Tajfel and Turner (1979) refers to perceived identity of the groups to which people belong(Tajfel 1982). Social identity theory posits that a person’s self-concept is based on his or her group membership. This theory consists of two dimensions: social identity and personal identity (Howard 2000;Tajfel 1982). Social identity reflects membership in various social groups (e.g., clubs, social class), and personal identity represents the unique attributes that differentiate one person from another (Howard 2000; Tajfel 1982). In complex social environments, young people can use their identification with in-groups (i.e., their own group) versus out-groups (i.e., other groups) (Ogilvie 1987) to align their appearance (i.e., the total and composite image created by clothing) with a desired social group and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). Thus, social identities provide status to young men and enhance their self-esteem.Research has used social identity theory to investigate the effects of men’s identities on the use of dress (i.e., all material objects added to body). For example, Kang et al. (2011) used social identity theory as a theoretical framework to investigate the relationship between young professional men’s perceptions of work identity and their use of dress. They found that the young men who felt incomplete in their work identity used dress as a symbol to construct their identities. Thus, in this study, we used social identity theory as a theoretical foundation to examine the relationship between college men’s identities and their clothing choices.Men’s identities with fashionAccording to Kratz and Reimer (1998), fashion is filled with meanings and symbols, through which people can visually communicate with one another in a rapid and direct manner. Fashion enables people to express their views about themselves and their identities through the use of clothing; it allows them to visually communicate who they are, who they want to be, what type of social group they want to belong to, and whom they do not want to be associated with the most (Shete 2012). Furthermore, Bennett (2005) states that fashion is one of the channels through which people can most readily give voice to their identities. Beyond words, people can convey themselves through dress and fashion, thus creating their social identity. Fashion’s essential role in providing people with means to build, shape, and communicate their identities is especially prominent in larger metropolitan cities where they “mingle with crowds of strangers and have only fleeting moments to impress them” (Bennett 2005, p 96).Men identify themselves through various ways. For example, some men may identify themselves through their body appearance, while others may show their identities by the way they dress; Hathcote and Kim (2008) note that men represent themselves through how they dress. Moreover, many men care about what they wear and how they wear it on a daily basis and also care about how others perceive them. As part of campussociety, college students also spend time on how they dress. Some male students prefer wearing sweatpants or baggy basketball shorts at school, while others prefer wearing polo shirts and casual pants. The way male college students choose their outfits for school represents their different personalities and identities. For example, some male students wear athletic clothing to show off their masculinity. This is consistent with Lunceford (2010, p. 66), who argues that “male students choose a specific article of clothing because of how it makes them feel or because it downplays what they consider to be unattractive aspects of their bodies while accentuating their best features.”Researchers have conducted studies related to the importance of clothing and fashion for identity creation and communication. For example, Piacentini and Mailer (2004) found that young people in the United Kingdom tended to use clothing to show similarity between themselves and the groups they wished to be identified with, and as a channel to establish potential friendships. Schofield and Schmidt (2005) examined the importance of clothes used in constructing and communicating gay men’s personal a nd group identities with a sample of Manchester-based respondents. They shaped individual gay identity through different levels (i.e., community level, neo-tribal level, and situational level) and found that gay identity emerged through clothing choices. In their study, gay identity is shared on a gay community level toexpress “gayness” to others; on a neo-tribal level to show “belonging” to a social gay cohort with shared experience and emotions; and on a situational level to make themselves blend in with wherever they are (Schofield and Schmidt 2005).As mentioned previously, young people in complex social environments can use their identification with in-groups versusout-groups (Ogilvie 1987) to align their appearance with a desired social group, and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). In their study of a sample of British consumers, Banister and Hogg (2004) found that many consumers wore safe clothing items (e.g., simple clothes, which would be interpreted positively) to avoid censure rather than risky items. If such fears of folly and negative attention are present in male consumers, certain commonalities among them can be identified. Eisler and Skidmore (1987) proposed that men’s gender-role expectations contributed to fears about lack of athleticism, emotional intimacy, intimacy with other men (or homophobia), and failure. If the feminine, unathletic, impotent man is representative of perceived undesirability among men, symbolic identifiers of those traits can be indicative of young men’s labeling of avoidance reference groups and the “avoided self.” Thus, men’s fashion conservatism (i.e., dressing in a masculine way according to social norms) could be partially attributed to the generalized fear of appearing“feminine” (Kimmel 1994).Aversion to alternative stylesThe aversion to alternative styles was accompanied by several rationales. One respondent said he avoided skinny jeans (often associated with “skater” and “emo” culture) simply “for comfort.” Another respondent avoided dark and alternative styles to “avoid negative stigmas” and possible associations with low intelli gence related to group think. However, the majority of the respondents who said they avoid alternative styles were unable to explain their aversion. Mentions of dislike of alternative clothing were often supplied first and with little hesitation, suggesting that this is a somewhat automatic and marked dislike for those respondents.One respondent said he avoids wearing black and looking gothic because his friends do not wear those styles, suggesting a fear of ostracism when wearing alternative clothing. In a similar vein, one respondent included that he “doesn’t want to lead people to believe he is dark.” A 23-year-old Caucasian respondent, when asked if he avoided any styles of clothing, said: “Gothic stuff for sure, dark clothing or Hot Topic stuff. I don’t want to be associated with them and I hate the people that wear that stuff, like spiked belts.” This type of sentiment occurred almost exclusively among Caucasian respondents from middle- andupper-middle-class backgrounds. The fear of social scrutiny andostracism, along with a general stigma regarding alternative andcounter-culture, appears to be the most common motivation for avoiding alternative styles.Aversion to gangster stylesGangster styles were mentioned often, and responses often indicated social and racial prejudices, in addition to the fear of social judgment. Many respondents associated “big” and “baggy” clothing with gangster style. Race emerged as a definite component of this aversion. All but one of the respondents who listed gangster style as an avoided style identified as Caucasian. One respondent directly indicted his aversion to wearing clothes “a black person would wear,” suggesting that affiliation with the African American culture would be undesirable. Other variants included an av ersion to “swag gear” and “thug style.” Another respondent even used a variant of a racial slur to express his avoidance ofgangster-inflected styles. The respondents supplied little additional justification for avoiding this style, and when asked to expound on their preference, three claimed that they were unable to provide further information.Aversion to gay stylesThree respondents expressed avoiding clothing that could be regarded as “gay.” The wearing of skinny jeans, jean shorts, V-neck shirts, or cardigans was perceived as indicative of homosexuality, according tothe interview data. The inclusion of these items of clothing specifically indicates an association of form-fitting clothing and low necklines with effeminacy and gay culture. Respondents expressed a desire to represent themselves accurately, and those who claimed to avoid gay-inflected clothing suggested that it was undesirable on the grounds that (1) they disliked gay culture, (2) they wanted to express their heterosexuality, and (3) they wanted to avoid speculation from others that they were homosexual. In this regard, homophobic sentiments, a desire for accurate self-representation, and a fear of social judgment all seemed to be components of these respondents’ desire to avoid clothing per ceived as being worn by gay men. Another respondent said that he refused to wear any clothing from the “women’s section,” and though this does not necessary relate to the avoidance of gay style, it does represent anoften-related fear of gender-role deviation. Thus, an avoided self and avoidance behavior were important factors in clothing choice, supporting earlier findings from Hogg and Banister’s (2001) study in which dislikes and distastes of college men were associated with negative symbolic consumption. This sentiment is demonstrated by another respondent’s notion that said, “you know that there are certain things that you don’t want to buy because you don’t want to project yourself in a negative way.” They proposed that a greater understanding of the impact of negative symbolic consumption on consumers product rejection couldhelp the development of companies marketing communication strategies.Cultural background and the avoided selfDemographics indicated different trends in responses among respondents. The four Chinese men who participated were largely unable to produce responses regarding avoided clothing and styles. One of these respondents said he only avoids clothing that is “too colorful or fashionable” because “it is not his style.” Another said he only avoids “hip-hop clothing” because it does not match his serious personality. The other two respondents said that there were no types of clothing or styles they avoided. These sentiments contrast greatly with the responses from American students, all but one of whom listed one or several types of avoided clothing and styles.Furthermore, the brief elaborations the Chinese students supplied regarding the reason they avoid clothing related to issues of personal identity, with no mention of social or cultural motivations for doing so. This indicates that the avoidance of styles due to fears of social castigation and negative group associations could hold as a phenomenon more prevalent in the United States than in China.The college-aged men in this study expressed a desire for clothing that is comfortable, gives them confidence, and meets the expectations of their surroundings. These men recognized that their clothing was onerepresentation of their identities. Thus, the results suggest that college men are driven largely by a desire for comfort and to meet normative expectations. These findings are supported by the supposition that “men dress for fit and comfort rather than for style”, made by Craik (1994) and confirmed by Bakewell et al. (2006). These attributes for college men’s clothing choice seem to be quite different from those for young women, who largely make their choices based on brand (fit, look, and style) (Taylor and Cosenza 2002). The driving force for college men’s clothing choice is seemingly functional rather than decorative (Kacen 2000), even if they have become more appearance-conscious. Overall, the positive connection between young men’s individual identities and their clothing choices parallels previous research on the relationship between young professional men’s perceptions of work identity and their dress choices (Kang et al. 2011), and on the link between young peopl e’s clothing choices and the identity of the groups to which they belong (Piacentini and Mailer 2004).A minority of respondents avoided certain types of clothing because they felt it was incongruent with their styles. Their aversion to clothing that appears to belong to alternative, gangster, or gay styles suggests that these men strived to avoid clothing that implied identities viewed as non-conformist, non-professional, and unusual. These men indicated that their clothing choices were perhaps motivated by a desire to fit in withothers. Their aversion to clothing styles that communicated incongruent identities implies that deviations from cultural, class, race, andgender-related norms were undesirable.翻译：大学男装时尚简要回顾服装社会心理学的文献显示,年轻女性比男性更多的成为研究参与者。
服装设计褶皱外文文献翻译最新译文
服装设计褶皱外文文献翻译最新译文The objective of this study is to develop a quantitative method for evaluating the pleat effect on clothing。
as opposed to relying solely on subjective ns。
By analyzing image technology principles。
an image n system was designed to capture images of clothing。
These images were then processed using specialized are to analyze the drape of the clothing。
The study focused specifically on the pleats in the sleeve n of the garment。
analyzing the gray scale curve of the sleeve image and the corresponding nship een the gamma curve and the pleat。
The aim of this research is to provide a more objective n index for garment structural design and pleating effects.Clothing structure design involves a series of processes thatare used to render clothing through cutting。
fabric pleating。
and joining together。
The goal is to accurately capture the desired design effect by determining the structure's plane state through the use of design renderings。
关于服装工艺英语-线迹
关于服装工艺英语－线迹平缝线迹－－－－PLAIN STITCH ,FLAT STITCH疏缝线迹－－－－BASTING STITCH ,TACKING STITCH绷缝线迹－－－－COVERING STITCH ,FLAT -LOCK STITCH绗缝线迹－－－－QUILTED STITCH嵌缝线迹－－－－CORD STITCH面缝线迹－－－－TOP STITCH,OVER STITCH暗缝线迹－－－－INVISIBLE STITCH ,BLIND STITCH缲缝线迹－－－－SLIP STITCH折缝线迹－－－－FELL STITCH倒缝线迹－－－－REVERSIBLE STITCH , BACKWARD STITCH包缝线迹－－－－OVERLOCK STITCH ,OVERCASTING STITCH ,OVEREDGE锁式线迹－－－－LOCK STITCH ,LOCKSTITCH链式线迹－－－－CHAIN STITCH联式线迹－－－－CHAINLOCK STITCH人字线迹－－－－HERRINGBONE STITCH羽状线迹－－－－FEATHER STITCH珠式线迹－－－－PEARL STITCHZ形线迹－－－－CA TCH STITCH,ZIGZAG STITCH角形线迹－－－－ANGLE STITCH弓形线迹－－－－ARCHED STITCH锯齿形状线迹－－－－PICOT STITCH ,ZIGZAG STITCH贝壳形状线迹－－－－SHELL STITCH网眼形状线迹－－－－BASKET STITCH蜂窝形状线迹－－－－HONEYCOMB STITCH直形线迹－－－－STRAIGHT STITCH双十字形状线迹－－－DOUBLE STITCH交叉线迹，十字线迹－－－CROSS STITCH圆形线迹－－－－ROUND STITCH廓形线迹－－－－OUTLINE STITCH曲折形线迹－－－ZIGZAG SITITCH变形线迹－－－CHANGE STITCH钩编线迹－－－CROCHET STITCH织补线迹－－－DARNING STITCH刺绣线迹－－－EMBROIDERY STITCH,CREWEL STITCH装饰线迹－－－ORNAMENTAL STITCH,DECORATIVE STITCH 花式线迹－－－FANCY STITCH点划线迹－－－DOT DASH STITCH对称线迹－－－COUNTER STITCH比翼线迹－－－FL Y STITCH特殊线迹－－－SPECIAL STITCH复合线迹－－－COMBINATION STITCH, SPLIT STITCH复式线迹－－－DOUBLE ACTION STITCH双针线迹－－－TWICE STITCH双重线迹－－－TWICE STITCH三重线迹－－－TRIPLE STITCH缝式线迹－－－SEAM STITCH加固线迹－－－FASTENING STITCH ,TACKING STITCH 打结线迹－－－KNOTTING STITCH扎缚线迹－－－PADDING STITCH袖褶线迹－－－SHIRRING STITCH伸缩线迹－－－STRETCH STITCH,ELASIC STITCH滚边线迹－－－BINDING STITCH卷边线迹－－－HEMMING STITCH暗卷缝线迹－－－BLINDING HEMMING STITCH拼合线迹－－－ABUTTING STITCH间断线迹－－－BROKEN STITCH跳针线迹－－－SKIPPING STITCH安全线迹－－－SAFETY STITCH手针缝法缭针法－－－－SLIP STITCH拱针法－－－－PRICK STITCH明缲针法－－－FELL STITCH暗缲针法－－－BLING HEMMING STITCH环针法－－－-CATCH STITCH叠针法－－－－FASTENING STITCH扎针法－－－－PAD STITCH扳针法－－－－DIAGONAL BASTING绗针法－－－－QUILTING STITCH锁针法－－－－LOCK STITCH倒针法－－－－BARTACK STITCH ,BACK STITCH 三角针法－－－HERRINGBONE STITCH杨树花针法－－FEATHER STITCH花针法－－－－ZIGZAG STITCH跳针法－－－－SKIPPING STITCH。
【最新推荐】服装设计褶皱外文文献翻译
文献出处：N Umetani. Garment structural designing and pleat effects [J]. ACM Trans. Graph., 2015, 30(4): 90.原文Garment structural designing and pleat effectsAbstractThe research on the clothing wearing effect evaluation based on the subjective evaluation method, explore a kind of objective and quantitative evaluation method to describe the clothing on the pleat. Through analyzing the principle of image technology, design the clothing in image acquisition system, using image processing software for image processing, and the drape of clothing. This study garment sleeve parts of the pleat as an example to carry out the work, the drape on the sleeve image into grayscale curve, analyses the corresponding relation between gamma curve and pleat. Keywords: structural design, pleating effect, evaluation index IntroductionClothing structure design is based on clothing, rendering it by cutting division, in the form of fabric, fabric pleating, joining together a series of process performance. It basically is to accurately grasp the effect of design, namely according to the structure characteristics of the clothing design renderings, determine the plane state of structure are measured.2d pattern and solid state of thecorresponding relationship between the body and clothing itself the cooperate relationship between the various components and consistent state, and then combined with the characteristics of the clothing material and the characteristics of the craft, has designed a set of reasonable structure, have different specifications of the series, to lay a good foundation for the process design and clothing production. Therefore, clothing structure design is a bridge of art and technology, and process design and processing production preparation and protection.Clothing structure design method has a lot of kinds, during which there is a difference between large and small. The same kind of style, the same kind of fabrics, clothing structure design method of using different made clothes on the model and thegarment effect might be different, so need in different structure design method of a costume effect evaluation, on the basis of various clothing structural design method in the comparison.Clothing structure design basis of the human body外文文献翻译Clothing structure design is based on the human body, clothing for its formation, from the design, playing board, to sew, the overall ironing, are based on the human body. Clothes need to be able to adapt to the human body structure, and can make up for theinadequacy of the human body, and beautify the human body shape. This request of dressers not only possess fine sewing process, more important is fully understand and master the human body structure, the clothing modelling, as well as the relationship between human body and clothing such as knowledge, a comprehensive understanding of the structure of the human body, dynamic and static characteristics of the human body, and make use of the excellent cutting and sewing skills, modification and exaggeration, to rectify defects, beautify the effect of clothing style.The relationship between clothing and human body, clothing should first cover have to meet the practical function. Early gown jacket is flat coated body, simple cylinder structure, it is a kind of embodiment of style, but it can't reflect the body curves. Later, the introduction of western clothing, made an enormous change in the costume history, from plane to three-dimensional clothing from now on, people began to study clothing structure on the basis of the human body structure. Through the use of provincial roads, make clothing more perfectly reflects the human figure, it is the aesthetic function of clothing, is also the modern clothing trends of the research.Clothing is the length, size, its merits and broken the whole, different forms such as square, wide, and on the sewing processcomplexity, Jane, fine, coarse, but plus ca change, is inseparable from the basic condition of human body shape and physical activity. In clothing modelling design, before and after the paper, the layout of the collar and sleeves exquisite modelling is unified, coordinated and harmonious, and as the criterion in each part of the human body prototype form, make the crop science, fine sewing, aesthetically pleasing, and wearing form-fitting. “Wea ring form-fittingrefers to the specific amount of costume design, cutting, sewing skills should conform to the human body shape, show fashion figure, the best effect. The human body to constitute the clothing modelling beauty plays an important leverage.The generation of clothing pleatRushing form design is the basis of visual expansion. Human visual sense to pleat cognitive derived from the cognitive skirt decorated side line. Side line is skirt act the role of sensory induction and abstraction of the form, rules of ruching produce order form, irregular ruching produce disordered form. Orderly form of circulation and repeated give a person with the feeling of calm and the expansion of the collect inside, this is a rational, calm the visual feelings. The various forms of garment hem shape irregular line, a messy disorderly recruit ACTS the role of design form, such as length, weight of rolling line in the form of. Skirt ruffles form in theplane design of clothing deviation from the conventional disorderly change, form an exciting visual points.Clothing pleat is for aesthetic needs, artificial set some pleat on the items. Such as pleat and pleat the garment processing process on the surface of the arts and crafts. Have certain adornment sex, this kind of pleat is what we expected. Fabric on this kind of pleat is often referred to asPassive, negative plait, bring certain negative influence to clothing. The second pleat bring certain obstacles to the products, we carry on the detection, prevention, and research has not. Currently there is very little research on the third cause of pleat,the focus of this article is to evaluate objectively the garment in appearance, is also the formation of a costume surface pleat for objective evaluation and analysis.Clothing as a kind of modern goods, have the function of the royal covering clothing, the cold, and can meet the needs of the people's life and work, to adapt to all kinds of manners, seasonal demand. The appearance of the clothing quality and wearing effect directly determine its sales in the market and location. With the improvement of people's living standard, people are not content with the simple body clothing apparel, but the pursuit of more high quality, comfortable, good image of the garment appearance. As clothing。
服装设计外文翻译文献
服装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文:Trend predictionTrend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.Spirituality is seen in the interest of such things as ‘Feng Shui’which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence fromfashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.The design team determines how this intelligence affects fashion and consumer awareness.Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.ColourColour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.The fashion prediction design processOne publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.After the designs are completed they are illustrated with reference to particular markets and ‘lifestyle s’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.Samples of knitwear and new textiles may be commissioned which will be photographed for the books.Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.Theme developmentFashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.These can be interpreted into customers buying from:Lower market –budget; lower middle –high street, chain stores; middle –independent labels and department stores; upper middle – designer diffusion; upper –designer.Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.New uses of technology have resulted in the development of the Worth GlobalStyle Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.译文:流行趋势预测流行趋势预测信息所包含的内容要比时装预测丰富得多，原因是其不一定与时装有关。
服装设计类毕业设计毕业论文外文翻译-服装设计工程之边缘设计英文翻译外文
原文Couture Sewing TechniqueClaire B.ShaefferEdge Finishes Hems,Facings and BindingsU nless finished in some way, the edges of a garment ravel and look incomplete. These edges—the neckline; the vertical front edges of jackets, coats and many blouses; jackets and coats—can be finished in conspicuously or they can become distinctive, decorative elements of the design.Three finishes are used extensively in couture:hems, facings and bindings.The choice of edge finish depends on many things—the shape of the edge being finished; its position on the garment; the type, design and fabric of the garment; current fashion trends; and the preferences of the individual wearer and the designer. For example, if the bottom edge of a dress is straight, it might be completed with a hem, a facing or a binding. But if this edges is asymmetrical, curved, scalloped or otherwise unusually shaped, it will need to be finished with a facing. Even when the edge is visually the same on the neckline and hem, the two different edges are likely to require slightly different finishes to accommodate the curve at the neckline and the weight of the fabric at the hem. And although it’s obvious that a tailored garment would require very different finishingfrom an evening gown, even similar designs vorked in dissimilar fabrics would dictate finishes suitable for each fabric.Although hems, facings and bindings are all edge finishes, each has a slightly different function. Hems are generally used on the lower edges of a garment or garment section (for example, a sleeve) and many help the garment hang attractively by adding weight to the edge. Facings, on the other hand, are applied to the upper and vertical edges of a garments. Bindings can be used on upper, lower or vertical edges, but they’re used most often to replace facings rather than hems.Facings can be cut as separate sections and sewn to the garment to finish curved or shaped edges. Or, when used on edges that are straight or only slightly curved, they can be nothing more than a wide hem allowance, in which case they’re called extended facings. Both hems and facings are visible on only one side—usually the underside—of the garment. Bindings, by contrast, are separate strips of fabric that encase the garment edge and finish both sides of the garment attractively.Because in couture the cost of labor and materials takes a back seat to the desired results, edges are not always finished with the simplest method or the one most often used in ready-to-wear construction or home sewing.Whatever the finishing method, hems, facings and bindings can be sewn entirely by hand or machine work.. The hand work visible on the finished product, however, is only a fraction of the hand work used to finish the edges of the traditional couture garment.FACINGSFacings, like hems, are designed to finish the edge of the garment. Unlike hems, which hang free of the body and affect the garment’s hang more than its overall shape, faced edges frequently fit the body’s curves and subtly affect the garment’s silhouette. Used on garment openings, curved edges and shaped edges like jacket lapels, facings contribute significantly to an overall impression of a well-constructed garment.There are three types of facings: extended, shaped and bias. Two of these —shaped and bias facings—are cut separately from the garment and can be sewn from self-fabric or lightweight lining fabrics. The extended facing is cut as an extension of the garment section like a plain hem and is, of course, self-fabric.The extended facing is nothing more than a 1/2-in. to 2-in. hem and is sewn exactly like a plain hem (see pp. 63-64). When the garment edge is on the length-wise grain, the extended facing duplicates the shape andgrain of the edge it faces. But when the edge is slanted on a bias or has a slight curve, the facing can’t duplicate the grain and may have to be eased, stretched or clipped to fit the edge smoothly.The extended facing is used extensively in couture because the folded edge of this facing is flatter and more supple than the seamed edges of shaped and bias facings and consequently drapes better. Edges with extended facings are generally interfaced and stabilized so that they maintain their original shape for the life of the garment.As its name suggests, the shaped facing is cut to duplicate the shape of the edge it faces and ususlly duplicates the grain as well. This facing is often used on necklines and on edges intended to have a crisp, constructed look, and it’s always used on intricately shaped edges like a scalloped hem.The bias facing is a strip cut on the true bias. Because it doesn’t duplicatethe grain of the edge it faces, this facing must itself be shaped to fit the edge. Bias facings are made from lightweight fabrics and produce narrow, inconspicuous facings.In cousture, more than one type of facing is often used on a single garment or even on a single edge. The pink gazar dress shown above, for example, has extended facings on the front neckline and back opening with shaped facings on the front neckline and back opening with shaped facings on the back neckline. Similarly, the jacker on p.60 has a shaped facing on the upper half of the front edge and an extended facing on the lower half of this edge.Before applying any kind of facing, examine the garment’s fit to determine whether the edge needs to be help in or stabilized with a stay tape (see pp. 49-50) or interfaced (see p. 68). Once you’ve handled the edge as required, then you can proceed to apply the facing you’ve chosen.SHAPED FACINGSShaped facings can be applied by hand or by machine. Both types of applications are used in couture, while only machine applications are used in resdy-to-wear. The machine application is, of course, faster, but it’s sometimes more difficult to shape the facing so that it fits smoothly,and the seamline is sometimes visible at the garment edge. The instructions below are for applying the facing by hand. (For directions on applying shaped facings by machine, refer to your favorite sewing manual.)These directions focus on neckline facings because they’re most frequently used in couture workrooms. However, the directions can be applied to other edges such as waistbands, armholes, applied pockets, collars and cuffs, and they can be adapted for garment linings. The facing can be made any time after the neck edge is established, the seamline or foldline is thread-traced, and the edge is interfaced or stabilized appropriately for the design.Facings can be cut from the original garment pattern if the edge wasn’t changed during the fitting process, or the garment itself can serve as a pattern. When the garment is used as a pattern, the thread-traced neckline can be used to establish a corresponding stitching line on the facing. Afinished neckline can also be used as a guide when you’re applying the facing by hand.Neck facings can be cut in several shapes. Two of the most popular are the traditional circlular shape, which measures an even distance all around from the edge, and a rectangular shape, which extends into the armscye seams. When the larger shape is used, the facing edges can be anchored in the seamlines, holding them smooth and in place. The facing shadow may also be less obtrusive with the larger shape, depending on the design. The obvious disadvantage of this facing is the additional fabric introduced into the shoulder area, which may give the garment a bulky appearance.One solution for reducing some of this bulk is to relocate the seamlines 1/2 in. to 1 in. from their original positions. In couture, the seams on facings are not always aligned with the corresponding garment seamlines, as they are in ready-to-wear and home sewing.The directions that follow are for cutting and applying the less familiar rectangular facing. They can easily be adapted for a circular facing, Start by selecting some scraps from your garment fabric for the front and back facings unless the fabric is bulky or heavy, in which case use a lighter,firmly woven material for the facings. Rectangular pieces of cloth are preferable because they make it easier to identify the grainlines. If you’re cutting a rectangular facing for a garment with a high, round neckline with a closre in the back, begin with one large rectangle about 16 in. wide by 7 in. long for the front facing and two smaller ones about 8 in. wide by 6 in. long for the back facings.When applying the facing by hand, it’s easier to finish the garment edge before making the facing so that you can use the finished, do so before starting the facing and clip the free edge of the interfacing as needed, to make it lie flat. Trim the seam allowance around the garment neck to 3/4 in. andfold it to the wrong side. Baste a generous 1/5 in. from the edge. To minimize the seam allowance’s tendency to curl around the neck, snip shallow cuts into the raw edge every inch or so as needed to make the neckline seam allowance lie flat(as shown on p.74).With the wrong side up, place the neckline over a pressing cushion andpress just the neckline edge. With your fingers, gently try to flatten the raw edge. If necessary, trim the edge further to 3/8 in. for firmly woven fabrics and 1/2 in. for less stabble fabrics. If the seam allowance still doesn’t lie flat, clip the raw edge with short, closely spaced snips up to, but not through the basting stitches around the neck edge. Use a loose catchstitch to sew the edge of the seam allowance to the underlining or interfacing. If the garment has neither, sew carefully so the stitches do not show on the right side of the garment.Cut a rectangle for each section to be faced. Before proceeding, decide whether relacating the shoulder seams will redistribute the bulk. After relacating the seam, if you decide to do so, begin with wrong sides together, and match and pin the grainlines together at the center front of the garment and its facing. Then, holding the garment neckline curved, as it will be when worn, smooth the facing in place, pinning as you go. When you get to the shoulder seams, smooth the front facing over the seams so that the seam allowances are flat. Pin and then trim away the excess at the shoulder seams and at the neck edgd, leaving 1/2-in. seam allowances on the facing, as shown above.Pin the back facing(s) in place. At the shoulder seams,trim and then turn the raw edges under, then pin and slip-baste, as shown above. At thispoint, you can machine-stitch the shoulder seams. At the neckline, trim away the excess, leaving a 1/2-in. seam allowance.Turn under the raw edge so the facing is 1/16 in. to 1/4 in. below the edge of the neckline and does not expose the clips on the garment’s seam allowance. If necessary, clip the edge of the facing at intervals as needed to make it turn under smoothly and pin it in place. On edges with shallow curves, you can turn back the neck edge of the facing in place and press lightly. Using a fell stitch or slipstitch, sew the facing to the neck edge and join the shoulder seams if they weren’t machine-stitched. Remove the bastings and press lightly.BIAS FACINGSA bias facing is a narrow strip of fabric cut on the true bias that’s shaped, rather than cut, to duplicate the edge it faces. Well adapted to garments with soft edges, this facing is frequently used on blouses and dresses and on lightweight silk and cotton fabrics. In couture work-rooms, most bias facings are applied by hand. Generally, self-fabric is used if the garment is sewn from light-weight fabric, but if the fabric is heavy, lining material can be used instead.Bias facings are narrower and less conspicuous than shaped facings, and since they require less fabric, they’re both more comfortable to wear nextto the skin and more economical to sew. There are two disadvantages to these facings, however. When a bias facing is applied, the garment edge is rarely interfaced and may not be as smooth. And since the bias facing is usually slipstitched to the garment, it’s sometimes difficult to prevent the stitches from showing on the outside of the garment.Most bias facings are finished so they’re about 1/2 in. wide, but they can be as narrow as 1/4 in. on a jewel neckline and as wide as 2 in. at the waist of a skirt. Generally, the wider the bias facing, the more difficult it is to shape it to a curved edge.Before applying a bias facing, finish the garment edge. Fold the seam allowance to the wrong side and baste 1/8 in. to 1/4 in. from the edge. Clip as needed to make the edge lie flat. With the wrong side up, press the edge.Measure the garment edge to be faced and cut a bias strip several inches longer, or join several strips for the length you need. For a 11/2-in. wide facing, the strip should be 1 in. wide for straight edges and 11/2 in.wide for curved edges. Fold one of the long edges under 1/4 in. This is best accomplished by folding 6 in. at one time and pleating the folded edge with your hands into 1-in. pleats so the edge will stay folded without pressing, which might stretch it.Begin with the wrong side up and match the wrong side of the bias strip to the wrong side of the folded garment edge, aligning the bias edge with the basting, 1/8 in. to 1/4 in. below the garment edge. Pin the bias, easing or stretching the strip until it fits the edge smoothly, and baste.Place the edge over a pressing cushion with the right side up. Cover theedge with a press cloth and carefully press just the edge and the bias strip. The facing shoule lie smoothly against the wrong side of the garment. If it doesn’t, release the basting and try again.Using a slipstitch or fell stitch, sew the facing to the seam allowance. Trim the bias so it’s an even 3/4 in. wide. To finish the free edge, fole it under 1/4 in., pin and baste. Using a very fine needle, sew the edge to the garment with a loose slipstitch or fell stitch. If the garment is backed, catch the backing but not the garment. Remove the bastings and press lightly.When applying a bias facing to a neckline without an opening, begin at the left shoulder seam and work toward the front neckline(this is the most difficult part of the neckline to face and, in couture, is therefore tackled first). For a bias facing at the armscye, begin at the underarm. Finish by folding one end of the bias wrong sides together on the lengthwise grain. Lightly crease the fold with your thumbnail. Fold the other end under so the folded edges match. Then slipstitch the folds together.BINDINGSAn elegant finish suitable for nearly every edge,a binding can be unobtrusive or, in a contrasting fabiric or texture, add dash to yourgarment. Bindings are made by stitching a strip of fabric to the right side of an edge, wrapping it around the edge and securing it neatly on the underside. Often finished so they’re attractive on both the right and wrong side of the garment, bindings are frequently used on transparent fabrics, two-faced fabrics and on reversible and unlined garments.In order to shape and sew bindings to curved edges easily, most fabric bindings are cut on the true bias at a 45°angel to the lengthwise grain. But if the garment edges are straight or almost straight, bingdings can be cut on either the crossgrain or lengthwise grain to enhance the design. The directions below focus on bias-cut bindings, but they can easily be adapted for nonbias strips and ribbon, although these other bindings donot take the shape of the edge as easily.Selecting the fabric for bindings is particularly important. Lightweight materials like crepe, sation, chiffon and voile are suitable for bindings on almost any shell fabric. If you wan a heavier bound edge, you could use fabrics like wool, rib-weaves, cottons and sturdy linens. But be aware that the heavier the binding fabric, the more difficult it is to work with and control its bulk, particularly at the ends.Most bindings are finished about 1/4 in. wide, but on very lightweight fabrics they can be as narrow as narrow as 1/8 in., and on bulky or heavy fabrics they can be as wide ae 1-in. Bindings can be made with either a single-layered, open strip of fabric or with a double-layered, folded strip. Obviously, bindings sewn from a double layer are stiffer and thicker because they contain more fabric, an advantage when that binding fabric is lightweight or when you want a sharply defined edge. But if the binding fabric is heavy or bulky or if the garment edge is designed to hang softly, a single-layered binding is more suitable.Generally, bindings are not applied until the garment is almost finishe—that is, until appropriate interfacings and backings have already been set, the garment fitted and all corrections made. On lined couture garments,however, the binding is frequently applied first by hand or machine, and finished wirh the lining, which covers the raw edge of the bingding..CUTTING AND STITCHING THE BIAS STRIPIf you lived in Italy, you would visit your favorite merceria, or sewing-nitions store, when you wanted to trim a design with bias bindings (I’ve looked in stores in France and England but hanve never seen fabric sold in this way). There you would find a large assortment of fabrics already cut with one edge on the bias. After you chose your fabric, a salesperson would cut a parallelogram for you, which would be ready to be cut into bias strips.In America, however, the home sewer’s fitst task in making a bias binding is to estaqblish the true bias of the fabric. This is important because if the strips are not cut exactly at a 45°angle, the finished bindings will ripple, twist and pucker. The best way to establish the true bias is with an isosceles right triangle—a drafting tool that has two sides of equal length with a 90°angel between them.Align one of the triangle’s short sides with the length-wise grain.The other side will be on the crossgrain, and the hypotenuse will mark the true bias. Mark parallellines on the bias with chalk and cut as many strips asneeded for the length of your edges (see the discussions on the following pages on single and double bindings to calculate the width of strip needed for a given finished binding width). For a short bound edge in a prominent place on the garment—for example, on a lapel—use one continuous bias strip. For longer edges, join as many strips as needed for your length. In general, it’s better to join the strips on the lengthwise grain, but if the fabric has a prominent cross-rib or horizontal stripe, the seam will be less noticeable if the seam is parallel to the stripe or rib.To join bias strips, first trim all ends of the bias strips so they’re on the desired grain—ususlly the lengthwise grain. Begin with two strips, right side up. Fold one end under 1/4 in., pin it to the other strip so the grainlines match and slip-baste at the fold. Repeat until all the strips are joined. Then, fold the basted strips together with right sides together and sew the seam with a very short machine stitch (20 stitchws/in. or 1.25mm). Press the seams flat and then press them open. Trim away the ends of the seam allowance that extend beyond the width of the strip and trim the seams to 1/8 in.Although bindings can be applied to almost any edge, the directions given here are for applying single and double bindings to a neckline, where they’re most often sewn. To prepare the garment for either a single ordouble 1/4-in.—or the width of the finished binding—below the neckline. Do not trim away the seam allowance.SINGLE BINDINGThe couture method of applying a single binding has several advantages over the regular home-sewing method. It’s begun with the right sides up, allowing you to see the binding as you shape it to fit the edge, It can also be made entirely by hand rather than machine, which results in a softer finish. To determine the most suitable width for the finished binding, experiment with fabric scraps before cutting the strips until you arrive at a sample you like.Thread-trace the garment edge, as explained on p.76, and cut the bias strips so that the width of each strip is six times the desired finished width of the binding plus 1/2-in.(To make a finished 1/4-in.wide binding, for example, cut a bias strip 2 in. wide.) Press the strip, stretching it slightlylengthwise. Fold under one long edge of the bias 1/4 in., regardless of the desired finished width, and baste 1/8 in.from the fold.Working with the right sides up, align and pin the folded edge to the garment so it barely laps the binding seamline. To apply the bias smoothly to a neckline, hold the folded edge of the strip taut when pinning it in place. Baste through all layers close to the folded edge and slip-baste the strip to the garment. Then remove the first row of basting that holds the binding flat, unfold the strip so the right sides are together and machine-stitch over the basted line. Trim the seam allowance at the neckline, remove any bastings and press lightly.Fold the binding toward the neckline and finger-press the binding seam. Wrap the binding around the neckline’s raw edge and finger-press again. Pin-baste the binding in place on the wrong side of the neckline, setting the pins just below the binding. Measure the binding width. If it’s more than 1/4 in., the finished neckline will probably be too tight. If this is the case, unpin the binding and trim the seam as needed to keep the finished binding width at 1/4 in. Then fold the raw edge under so that the folded edge touches the seamline. If the folded edge overlaps the seamline, unfold the bias and trim it as needed to make a folded edge the width you need. Baste and then permanently fell or slipstitch the folded edge to thestitched line. Remove the bastings and press lightly.Sone binding fabrics are too bulky to produce a binding that looks the same on both sides. If the design has a lining that can be applied over the binding, bulk can be reduced by leaving the binging’s raw edge flat on the wrong side of the garment instead of turning it under.Sew the binding in place by hand with short running stitches. Then trim it 1/4 in. below the seamline and apply the lining to cover the raw edge.When binding outward curves, for example, on collars and pockets, trim away the garment seam allowance. Ease the folded edge to the binding seamline so the bias is smooth at the raw edge. Then proceed as above.When binding corners on collars and lapels, a triangle of excess fabric will form at the corner. Use a needle to shape the triangle into a miter and baste it in place. Then proceed as above.DOUBLE BINDINGAmerican couturier Charles Kleibacker had an unusual method for applying a double binding, which he used to finish and trim the edges of his lace designs and to sew wide bias bands in the place of skirt hems. He laid the bias strip flat on the table and applied the garment to the bias strip, instead of the reverse. Working this way makes it easier to control the bias binding and produces fantastic results.Because the finished binding for this application method will consist of atleast seven layers, the weight and bulk of the binding fabric are particularly important and must be taken into account when deciding the width of the finished bias. Medium-weight fabrics such as four-ply silk and silk linen are suitable for bindings as narrow as 1/8 in., lightweight crepes, chiffon and organza can be used. The instructions here are for a finished binding 1/4 in. wide on a neckline. They can be modified to make a very narrow 1/8-in. wide binding or one that’s much wider.Begin with a bias strip four times the finished width plus two 1/2-in. wide seam allowances.(For a finished binding 1/4 in. wide, for example, the strip will be 2 in. wide) With the wrong sides together, fold the strip in half lengthwise and baste about 1/8 in. from the fold. Lay the strip flat on the table with the fold toward you. Using chalk or pins, mark a line along the length of the strip that is an even distance from the folded edge and equal to twice the finished binding width. (For a 1/4-in. wide binding, make 1/2 in. from the fold.) Put a second row of basting through both layers along this line to mark the binding seamline.On the garment, thread-trace the neckline and seamline for the binding, as explained on p.76. Spread the garment flat on the table with the edge to be bound toward you and right side up. Then, using the thread-traced binding seamline as a guide, fold the neck edge of the garment under 1/4in.To accomplish this neatly and without stretching the neckline, clip it as needed and fold under one small section at a time. Match and pin the folede edge of the neckline to the binding seamline on the bias strip (the one father from the folded edge of the bias strip), as shown above. Baste the garment to the binding, using a small fell stitch or slipbasting. Reposition the layers with right sides together. Machine-stitch over the basted seamline. Remove the basting and press lightly.Trim away the original thread-traced seam allowance on the neckline to reduce bulk. Wrap the binding around this raw edge. The binding’s folded edge should just meet the stitches line on the wrong side of the neckline, and the finished binding should measure 1/4 in. wide. If it doesn’t, trim the neckline a little more. Grade the seam allowances as needed. Pin the binding in place, setting the pins at an angle with the heads toward the neckline and baste. Hold the edge in one hand with the wrong side toward you, and using a fell stitch, sew the folded edge to the stitched line.FINISHING THE BINDING’S ENDSBindings often begin and end at garment openings such as neckline plackets and zipper closures. For a smooth, inconspicuous finish, fold the ends of the binding to the wrong side before wrapping the bingding around the edge.Complete the opening and trim away any excess bulk before beginning the binding. Pin the bias to the garment, allowing a 1-in. extension of the bias strip on each side of the opening to the wrong side. Trim to about 1/2 in. and sew it with a catchstitch to the wrong sides of the bias strip and garment. Repeat for the other end. If the opening has a hook, eye or button loop, sew it in place now so the end will be hidden between the layers of the binding.On couture and good-quality ready-to-wear garments, bindings applied to edges without openings (for example, circular necklines, armholes, sleeve edges and skirt hems) usually have the ends seamed on grain. Before beginning such bindings, decide where to locate the seam so it will be as inconspicuous as possible on the finished design. On necklines, the seam is usually deemed least conspicuous at the left shoulder; on armholes and the edges of sleeves, under the arm; snd, on hems, at the left side seam.Prepare a bias strip that’s long enough to allow for a 4-in. tail on each end of the strip. Pin the bias strip to the garment. Fold back one tail on the lengthwise grain with wrong sides of the bias together and pin it in place. Repeat for the other end so the folded edges meet.Slip-baste the folds together. Unpin the bias about 1-in. on either side of the basted seamlineso you can stitch the basted seam easily, or use a short backstitch to sew the seam by hand. Press the seam open and trim the seam allowances to 1/4 in. Repin the bias to the edge and complete the binding, which encases the raw edges of the seam.译文时装缝纫技术之服装边缘处理工艺衣服的边缘如果不以某种方式处理，这件衣服就会显得混乱和不完整。
服装设计褶皱外文文献翻译最新译文
文献出处：N Umetani. Garment structural designing and pleat effects [J]. ACM Trans. Graph., 2015, 30(4): 90.原文Garment structural designing and pleat effectsAbstractThe research on the clothing wearing effect evaluation based on the subjective evaluation method, explore a kind of objective and quantitative evaluation method to describe the clothing on the pleat. Through analyzing the principle of image technology, design the clothing in image acquisition system, using image processing software for image processing, and the drape of clothing. This study garment sleeve parts of the pleat as an example to carry out the work, the drape on the sleeve image into grayscale curve, analyses the corresponding relation between gamma curve and pleat.Keywords: structural design, pleating effect, evaluation indexIntroductionClothing structure design is based on clothing, rendering it by cutting division, in the form of fabric, fabric pleating, joining together a series of process performance. It basically is to accurately grasp the effect of design, namely according to the structure characteristics of the clothing design renderings, determine the plane state of structure are measured.2d pattern and solid state of the corresponding relationship between the body and clothing itself the cooperate relationship between the various components and consistent state, and then combined with the characteristics of the clothing material and the characteristics of the craft, has designed a set of reasonable structure, have different specifications of the series, to lay a good foundation for the process design and clothing production. Therefore, clothing structure design is a bridge of art and technology, and process design and processing production preparation and protection.Clothing structure design method has a lot of kinds, during which there is a difference between large and small. The same kind of style, the same kind of fabrics, clothing structure design method of using different made clothes on the model and thegarment effect might be different, so need in different structure design method of a costume effect evaluation, on the basis of various clothing structural design method in the comparison.Clothing structure design basis of the human bodyClothing structure design is based on the human body, clothing for its formation, from the design, playing board, to sew, the overall ironing, are based on the human body. Clothes need to be able to adapt to the human body structure, and can make up for the inadequacy of the human body, and beautify the human body shape. This request of dressers not only possess fine sewing process, more important is fully understand and master the human body structure, the clothing modelling, as well as the relationship between human body and clothing such as knowledge, a comprehensive understanding of the structure of the human body, dynamic and static characteristics of the human body, and make use of the excellent cutting and sewing skills, modification and exaggeration, to rectify defects, beautify the effect of clothing style.The relationship between clothing and human body, clothing should first cover have to meet the practical function. Early gown jacket is flat coated body, simple cylinder structure, it is a kind of embodiment of style, but it can't reflect the body curves. Later, the introduction of western clothing, made an enormous change in the costume history, from plane to three-dimensional clothing from now on, people began to study clothing structure on the basis of the human body structure. Through the use of provincial roads, make clothing more perfectly reflects the human figure, it is the aesthetic function of clothing, is also the modern clothing trends of the research.Clothing is the length, size, its merits and broken the whole, different forms such as square, wide, and on the sewing process complexity, Jane, fine, coarse, but plus ca change, is inseparable from the basic condition of human body shape and physical activity. In clothing modelling design, before and after the paper, the layout of the collar and sleeves exquisite modelling is unified, coordinated and harmonious, and as the criterion in each part of the human body prototype form, make the crop science, fine sewing, aesthetically pleasing, and wearing form-fitting. “Wearing form-fitting",refers to the specific amount of costume design, cutting, sewing skills should conform to the human body shape, show fashion figure, the best effect. The human body to constitute the clothing modelling beauty plays an important leverage.The generation of clothing pleatRushing form design is the basis of visual expansion. Human visual sense to pleat cognitive derived from the cognitive skirt decorated side line. Side line is skirt act the role of sensory induction and abstraction of the form, rules of ruching produce order form, irregular ruching produce disordered form. Orderly form of circulation and repeated give a person with the feeling of calm and the expansion of the collect inside, this is a rational, calm the visual feelings. The various forms of garment hem shape irregular line, a messy disorderly recruit ACTS the role of design form, such as length, weight of rolling line in the form of. Skirt ruffles form in the plane design of clothing deviation from the conventional disorderly change, form an exciting visual points.Clothing pleat is for aesthetic needs, artificial set some pleat on the items. Such as pleat and pleat the garment processing process on the surface of the arts and crafts. Have certain adornment sex, this kind of pleat is what we expected. Fabric on this kind of pleat is often referred to as "crepe", clothing on this man-made craft pleat is a kind of aesthetic embodiment.2 it is goods material influenced by all kinds of bad factors in the processing of pleat, this kind of pleat often influence the processing quality of the products and the beautiful, is don't want to produce in the process of production. Especially in the process of garment processing, an operator easily sew stitches of not neat, easy to produce bad pleat. Three is a costume on the human body, as a result of human movement tensile and bending deformation of the flexible fabric, produce pleat. Clothing production of pleat in the very great degree is closely related to the human body. The body's static and dynamic ever-present affects the dress effect, the surface of the clothing pleat changes constantly.Passive, negative plait, bring certain negative influence to clothing. The second pleat bring certain obstacles to the products, we carry on the detection, prevention, and research has not. Currently there is very little research on the third cause of pleat,the focus of this article is to evaluate objectively the garment in appearance, is also the formation of a costume surface pleat for objective evaluation and analysis.Clothing as a kind of modern goods, have the function of the royal covering clothing, the cold, and can meet the needs of the people's life and work, to adapt to all kinds of manners, seasonal demand. The appearance of the clothing quality and wearing effect directly determine its sales in the market and location. With the improvement of people's living standard, people are not content with the simple body clothing apparel, but the pursuit of more high quality, comfortable, good image of the garment appearance. As clothing itself, its overall image not only with the design level, the use of the surface of the fabric quality, wearing comfort, quality, and clothing is closely related to the appearance of the effect after wearing. Factors directly affect the outcome of a costume is a costume caused by surface drape. Great impact on the pleat of the garment appearance beauty.Clothing drape evaluation indexGrey valueThe index can reflect distribution of wrinkle is the surface of a garment. Clothing formation pleat, the rendered image gray scale is not stable. Pleat area grey value small dents; drape projection area of grey value. Because the grey value itself is the color of the material, the influence of light source intensity and image processing, can't give direct information, but can be used for the first item (3) of the following indicatorsPleat numberThe index can reflect the detection area, the number of the drape of clothing surface, can use the image curve of wave number (or trough), a wave (or trough) corresponds to a pleat. On the premise that the size of the image acquisition area, the greater the value of N, the more pleat number.The depth of the pleatThe index can reflect the drape of clothing surface the most protruding part and the height of the concave part difference, can use the adjacent peaks and troughs of the region's biggest gray scale and minimum difference of gray, is used to evaluateclothing pleat which is formed by the surface depth.Pleat widthThe index can reflect the size of the drape of clothing surface. The location of the distance between the adjacent two troughs valley (D) reflects the distance between adjacent pleats down concave part; the location of the distance between adjacent wave peaks (D) reflects the width between the adjacent pleats protruding parts.Pleat evennessPleat uneven can from the size of the pleat and pleat the depth of the two aspects of evaluation.ConclusionFrom the subjective analysis of clothing appearance in drape effect, can see the different structure design methods, different fabrics and different pattern effects are wrinkle on the appearance of a garment. Pleat subjective evaluation from the garment body and the sleeves as you can see, garment body loose shirt ago plait is relatively small, the formation of culture fit shirts (ordinary fabrics) pleat of the base sample shirt, because the culture type prototype in the chest and back width is base sample is small, tight clothing than base samples, forms pleats more easily. Loose shirt sleeves plait is relatively small, the sample sleeve pleat more, because of the loose shirt sleeves is fat, it's not easy to pleat formation, or pleat number is less, the base sample sleeve is tight, the involved in easy to form a pleat. And adopts the cultural prototype is with ordinary fabric shirt and shirt pleat compared with soft fabrics, the formation of the pleat are also different.译文服装结构设计与褶皱效果摘要本研究在以往对服装的穿着效果的评价所采用的主观评价方法基础上，探索一种客观的、量化的评价方法来描述服装上的褶皱。
服装设计外文翻译文献
文献信息：文献标题：Proactive Fashion Design for Sustainable Consumption（可持续消费的具有前瞻性的服装设计）国外作者：Kirsi Niinimäki文献出处：《Nordic Textile Journal》，2012，1:60-69.字数统计：英文3104单词，17881字符；中文5737汉字外文文献：Proactive Fashion Design for Sustainable Consumption Abstract This article presents a study that investigates product satisfaction in the context of clothing. The paper furthermore presents suggestions on how this knowledge can be used to create proactive fashion design for sustainable consumption. One of the main challenges in today’s consumer society is how to design products that encourage consumers to engage in more environmentally responsible behaviour, sustainable consumption. This paper opens the discussion on how to change current unsustainable consumption behaviour related to clothing through a visionary, far-sighted design approach. Designers can create future-oriented sustainable designs that can transform consumption patterns towards more sustainable ones. Design for sustainability can thus be a redirective practice that aims for sustainable consumption, and the ways in which fashion design can be a proactive process with this aim will be described.Keywords: proactive design, sustainable design, sustainable consumption, emotional satisfaction, PSS.IntroductionProducts configure consumer needs and use patterns; hence, design can be said to be “practice-oriented”, creating certain everyday practices and consumption behaviour (Shove et al. 2007, 134–136). Current industrial design andmass-manufacturing systems stimulate consumerism and the production of disposable products (Walker 2007, 51). Fast changing trends lead to consumers’ unsustainable consumption behaviour. To create a new, sustainable balance between design, manufacturing and consumption, alternative ways to create products are required to drive more sustainable consumption behaviour. Therefore, designers should evaluate how each design decision affects a consumer’s consumption patterns. Understood in this way, sustainable design can be a redirective or a proactive practice that aims for sustainable practices in consumption (Fry 2009, 53).Higher production volumes and simultaneous growing consumption have caused an increase in material consumption (Throne-Holst et al. 2007). Ever-changing fashion trends, affordable product prices and low-quality products cause consumers to engage in unsustainable consumption behaviour, such as impulse purchases, overconsumption, short use time and premature disposal of products. The increase in the purchase of short-lifespan products results in a notable increase in waste. Currently, approximately 70 percent of disposed clothing and textiles end up in landfills, and in many Western countries clothing and textile waste is estimated to be the fastest growing waste stream (Fletcher 2008, 98). Consumers discard gaments not only because they are worn out but also because they actively seek novelty. Nevertheless, product durability and longterm use are prerequisites for sustainable consumption: i.e. extending the life span of products is essential when the goal is sustainable consumption (Cooper 2005). Importantly, however, consumers associate durability with high quality and not with environmental impact.Emotions lie at the centre of human life, and they influence most of our behaviours, motivations and thought processes (Desmet 2009, 379). Emotions also play a strong role in consumption. The interplay between wants, needs, values, attitudes and experiences is emotionally meaningful for a contemporary consumer. Clothing and fashion items belong to the category of self-expressive products, and with such products, consumption-related emotions are important to the consumer. As Richins (2009) argued, these consumption emotions are important elements in contemporary society and especially after the purchase event. The purchase situationbecomes a strong positive experience for a consumer, but it is very short term in nature and has no connection to the experience of deeper satisfaction or person–product attachment (ibid). Through a new purchase event, the consumer can again experience excitement, enjoyment, joy and pleasure, at least momentarily.From an environmental point of view, studying consumption patterns and the meanings of consumption is important when sustained positive emotions in person–product relationships are desired or solutions are sought to replace materialistic consumption with other positive emotional states. The design process should focus on sustainable consumer satisfaction with a product or with the person–product attachment process. Moreover, a new kind of product service system (PSS) should be developed that aims to prolong the enjoyable use time of the product. A PSS strategy can also offer the consumer new emotional experiences, which can postpone the disposal of the product; PSS thinking can thereby aim to avoid a new garment purchase, which is an opportunity to decrease materialistic consumption.Sustainable Satisfaction with ClothingIf current unsustainable consumption patterns are to be transformed into more sustainable ones, the ways in which design can offer sustainable satisfaction must be investigated. To gain a deeper understanding of the opportunities to deliver satisfaction by design and how the enjoyable use of garments can be extended, the satisfaction process must first be explained.According to Swan and Combs (1976), the performance of clothing can be separated into instrumental performance (physical properties) and expressive performance. Expressive performance is linked to a consumer’s psychological response to the garment, such as the experience of beauty. Instrumental requirements (e.g. quality expectations) must be satisfied first. Nevertheless, only fulfilling instrumental requirements will not result in satisfaction. Therefore clothing must also meet consumers’emotional needs if it is to deliver satisfaction (Swan and Combs 1976).Hence good intrinsic quality is optimal for ensuring consumer satisfaction and toguarantee the longevity of clothing. High quality means durable materials and high manufacturing quality. The ageing process of a pleasant, aesthetic garment requires not only maintaining high intrinsic quality but also the design of a more classical style and use of durable materials. Some textile materials look old after a short use time. The material might experience pilling or may look old after a few washes. Garments needing frequent washing may look old rather quickly; therefore, recognising materials that age in a more aesthetically pleasing manner is important. Studies have shown (Niinimäki 2010) that consumers experience e.g. wool and real leather to age in an aesthetically pleasant way. Consumers report that with high quality wool the ageing process does not show as obviously and in leather the ageing process is experienced as an attractive temporal dimension (ibid.).Consumers respect aesthetic attributes in the long-term use of clothing, and aesthetic attributes correspond to expressive performance in clothing satisfaction. Accordingly, expressive performance affects the psychological response to clothing. The aesthetic attributes that correlate to the longevity of clothing are good fit, personal cut, nice colours and comfortable materials,as well as a classic look (see Table 1). Garment tactility is important to the wearer and a pleasant tactile experience during the use situation is one attribute for enjoyable long-term use of clothing.Table I: Attributes that enable longevity in clothingNot only quality, functionality and aesthetics are important attributes; the values behind the product are also important to consumer satisfaction. Clothing choices must connect strongly with the wearer’s self-image, identity and values. Wang and Wallendorf (2006) have argued that consumers with high materialistic values seek novelty and evaluate their possessions more often than consumers with lower materialistic values. They also highlight that materialistic consumers have less appreciation for deeper person–product relationships that develop during longer use situations. Consumers’ materialistic values may also connect with social status-related elements in garments and possessions. Consumers with lower materialistic values may have greater appreciation for the personal meanings attributable to the product that emerge during long-term use (Wang & Wallendorf 2006). Consumers with high environmental and ethical interests place high importance on being able to find environmental value behind a product. These consumers respect credence quality attributes – local and ethical production, eco-materials and long garment life spans – and they want to see these attributes and environmental values in the products they purchase. The value aspect is most important and consumers’ value expectations should be fulfilled to create deep product satisfaction (Niinimäki 2011).Fashion Design for Sustainable SatisfactionHow can a designer offer sustainable satisfaction to the consumer and how can s/he propose a prolonged use time of the product to the consumer? Firstly identifying the attributes associated with satisfaction and including them in the design is the most important strategy. Secondly identifying the determinants that lead to dissatisfaction helps the designer to avoid these elements in design and concentrate on design forsustainable satisfaction. The previous section described the satisfaction elements in clothing:-good intrinsic quality;-good functionality;-aesthetics;-values in the product, in manufacturing or the company’s values.The easiest way to offer product satisfaction is to increase the product’s intrinsic quality and inform the consumer accordingly. However the clothing satisfaction process is complex and not easy for a designer to control. Table 2 presents the temporal dimensions in clothing satisfaction, combining those elements and attributes that enable satisfaction to emerge or even create person-product attachments in the field of clothing. These are the elements that a designer should try to embed in design if s/ he is aiming for proactive fashion, deep product satisfaction and extended use time of the products.Table 2: Elements of proactive sustainable fashion designThe following section presents several design approaches to deeper person-product satisfaction in the field of clothing. With these design strategies the designer can aim to achieve proactive and sustainable design.Fashion Design with Meaningful UniquenessProducts carry symbolic meaning, which consumers use to construct their own personality and identity. Consumers use products to express themselves and wantassociation with the characteristics, uniqueness or values symbolised by a product (Norman 2005). If products are easily personalised, the opportunity exists to connect the product more deeply with consumers’ identity construction and to create deeper product satisfaction and an emotional attachment through the person–product relationship (Chapman 2009). This opportunity enables the product to be more meaningful to the wearer, making possible an extension of the product’s lifetime.Design services are one opportunity to address consumer satisfaction by deeply connecting the design outcome with a consumer’s personal needs. By using digital technologies that enable individual design or measurements, meaningful uniqueness can be designed. Furthermore, unique design and “made-to-measure” services offer improved product satisfaction by meeting a consumer’s individual needs and preferences better than mass-manufactured garments. The company NOMO Jeans offers computer-assisted made-to-measure jeans by using a 3D scanner (Nomo Jeans). Jeans are made individually according to each customer’s measurements. The customer can also choose the cut, colour, effects and details of his/her jeans.An enterprise can also base its function only on consumer orders. The designer can create their own collections, produce a couple of sample collections and enable consumers to specify all orders and measurements on an individual basis. Garments can then be created based on each wearer’s measurements, thus enabling him/her to experience greater satisfaction. This design and manufacturing strategy may also help producers avoid the problem of overproduction. Small enterprises could offer their collections in small shops carrying a sample collection and obtain orders directly from consumers, allowing them to avoid extra production.Designer Anna Ruohonen creates long lasting and high quality fashion (Anna Ruohonen). She has created a timeless collection called Black Classic, where the designs are permanent but it is possible to order them in seasonal colours. Garments are manufactured only according to customer’s order and according to each customer’s individual measurements. This strategy helps to avoid overproduction. Moreover the good fit of the clothing helps ensure deeper garment satisfaction.Co-creationOne possibility for creating deeper person–product attachment is through a consumer’s own efforts during the design or realisation process. A sense of personal achievement is strongly connected to a positive sense of self (Norman 2005) and allows the product to begin to be more important to the wearer. The consumer’s own achievement through a “made by me” approach to design creates positive experiences through the sense of effort and the opportunity to realise her/his own creative skills. If the user builds the product herself/himself, s/he acquires a deeper knowledge of the product and, therefore, has the ability to repair the product (Papanek 1995). Kit-based design and halfway products give the consumer a more active role in the realisation process.One option for including the consumer in the design or manufacturing process is to offer her/him an opportunity to make decisions during the process. Consumers have shown an interest in taking part in the design or manufacturing process by using the Internet (Niinimäki 2011). If the design is based on a modular structure and the consumer is allowed to make her/his own choices – even from a limited selection – in creating a unique style, this process gives consumers new power and a more active role.Opening fashion field is one way to offer the consumer more active role. Lastwear is a company that offers ready-made garments, halfway clothing (kit-based) and patterns of their fashion designs (Lastwear clothing company). They also invest in quality and offer a guarantee on their garments, which is a good way to ensure product satisfaction.Giving consumers more power is also possible by offering environmentally-related options. Consumers may be allowed to select a manufacturing location and different materials – and be provided with corresponding prices – enabling them to express their values through their choices. For example, many consumers, especially those who consider themselves ethical consumers, would like to buy locally manufactured garments even if they are more expensive (Niinimäki 2011).Fulfilling Consumers’ Changing Needs Through PSSThe symbolic meanings of products are connected to psychological satisfaction through an emotional response. When the product no longer offers a positive emotional response because, for example, it falls out of fashion or the wearer becomes otherwise tired of it, the consumer experiences psychological obsolescence and easily replaces the product with a new one. Accordingly emotional and psychological obsolescence results in premature disposal of a product that may still be functional.Consumers’ needs and aesthetic preferences that change over time raise the question of how to avoid the psychological obsolescence of garments. The challenge in extending product lifetimes is to achieve continuing satisfaction with the product. The PSS approach allows the creation of new experiences with a product or changes to a product to enable it to better suit a consumer’s changing needs.Positive ways that a product’s lifetime can be extended include upgradability services, modification services and exchange stocks. These strategies can postpone garment disposal by keeping the consumer satisfied longer. Modification or redesign possibilities for quality garments allow for an extension of a product’s life span. Many websites already advise consumers on how to modify their old garments themselves and encourage consumers to extend the use of their garments. Many small and locally functioning repair and redesign studios also already exist, where the consumer can repair a damaged garment but can also order a redesigned garment made from old ones.A design based on a modular clothing structure also offers the possibility to create services to upgrade garments. This strategy offers the opportunity to update the appearance in a sustainable way (Fletcher & Grose 2012, 82). It is possible to play with the clothing elements to create unique combinations of colours or shapes to develop a new look. The consumer does not need to then buy a new garment; instead s/he can simply change some parts or elements in the garment to have the experience of newness.Garment exchange or renting services offer possibilities for consumers to makechanges to their clothing in more sustainable ways. New and interesting examples of clothing membership clubs exist. By paying a monthly membership fee, a consumer can select a certain number of garments to use, giving him or her the opportunity to change the appearance in a more sustainable way. This type of business strategy has emerged e.g. in the field of children’s clothing. Consumers can rent children’s outfits and when the child outgrows a size, the parent can obtain larger-size garments from the clothing club.ConclusionsThis study investigated product satisfaction in the context of clothing and this knowledge was used to understand and define proactive fashion design for sustainable consumption. It opened views into the process of consumer satisfaction. A main issue that arises when aiming to extend the life of garments is to increase their durability and intrinsic quality. Moreover, fulfilling consumers’other expectations regarding the garment’s aesthetic and functional attributes is important to ensure product satisfaction. Finally the issue of value is most important with regard to deep product satisfaction: values associated with the product, the manufacturing process and behind the companies have to meet the consumers’own value base so that the consumer feels completely satisfied with the product.By identifying the reasons for the short and long-term use of clothing, it is possible to find new ways to create sustainable designs that can result in a redirective practice directed towards sustainable consumption. Proactive fashion design for sustainable consumption takes these reasons into account, thus enabling clothing longevity. Satisfying consumers’expectations regarding quality, functionality, aesthetics and value is a key to extending the use time of a product. Moreover, the emotional side of consumption must be understood to provide more sustainable ways to ensure customer satisfaction.The PSS approach provides an opportunity to extend the enjoyable use of a product and thus avoid psychological obsolescence and a garment’s premature disposal. Stimulating a sense of meaningful uniqueness and achievement throughdesign services or “self-made”approaches is a promising route to enhancing consumer satisfaction. If a consumer is satisfied, then strengthening the emotional bond between the product and consumer is possible. In turn, this meaningful attachment is the best way to postpone a product’s disposal. When the product or its use is somehow special to the consumer, s/he will take good care of it to extend its enjoyable use time.The most promising sustainable design strategy is the combination of product design with service elements: PSS strategies are therefore a future path to proactive and sustainable design.中文译文：可持续消费的具有前瞻性的服装设计摘要本文从服装的角度对产品满意度进行了研究。
服装设计相关英文论文
2.3 The art of sculptural elements in clothing2.3.1 The rhythmic beauty of linesThe rhythmical sense of lines in sculpture can precisely convey the beauty of the work. As a result, the combined form of lines can indicate how patterns and images are put together, and the back and forth zigzag of lines can convey how much something weighs. Clothing translates the sculpture's rhythmic lines, which are analogous to the emancipation of the human body's curves. We can depict the curves of the garment as well as the body and movement shapes of the figure using the rhythm, regularity, and trajectory of the lines in order to create a three-dimensional feeling of the overall shape of the garment.2.3.2 The rhythmic beauty of the layoutDifferent layout designs will elicit various psychological reactions. For instance, a square layout tends to convey a sense of propriety and gravity, whereas a circular layout tends to convey vividness and perfection. Theme, layout, context, and other factors used in sculptures' creations all help to portray the beauty of the sculpture. Layout and rhythm work well together.2.3.3 Space-related visualsThe main way sculpture expresses the beauty of imagery is through space changes, mostly through blending many scenes and spatial motifs to form a cohesive whole. In order to appreciate and shape sculpture, light is crucial because it can cause the sculpture to produce various undulating changes that highlight the relationship between light and dark, as well as the visual laws and illusions produced by various color changes that express the three-dimensional sense of objects and the sense of space. First and foremost, we must understand that space and any visual effects are profoundly dependent on light.2.3.4 Aesthetics of convex and concave textureThe texture is a crucial element in sculpting art. The abstract expression of texture can enhance not just the sculpture's overall visual effect but also its overall atmosphere [2]. In sculpture, convex and concave texture refers to the creation of regular and atypical concave and convex effects by carving techniques like negative and positive engraving. For instance, a positive engraving produces a lifting effect, whereas a negative engraving produces a depressing effect. Its incorporation into clothing structures can produce a variety of visual effects and improve the three-dimensional and spatial perception of clothing.The adults experience a variety of pressures that increasingly occupy them with work. They have little time to focus on their own emotions because of peer pressure, work pressure, and life pressure. Even when they are sad or angry, it can be challenging to locate a location where they can feel supported and at ease. Their heart and body will suffer if they are in such a depressed state for an extended period, and they risk developing depression or other health ailments. Considering that clothing itself is for human beings, in my opinion, its role is not only to cover people's bodies,nor is it only for decoration and beautification, but I think clothing can also have other meanings and values to improve people's lives. In this project, I hope to integrate the concept of comfort, safety and fun into the clothing, so that the clothing becomes a shelter for adults, where they can experience a sense of fun and safety so that they can release and alleviate their stress and worries from all aspects so that they can start to pay attention to their own emotions.In Ishigami’s design, people can feel what it's like to walk on top of a cloud. I like to look at the clouds," says Ishigami. The irregular shapes of the clouds fascinate him, “ Clouds change their form at will, with certain rationality. It is these erratic curved forms that give the room its overall warmth, intrigue, and impressiveness. They don't feel rigid, prescribed, or stagnant like straight lines; rather, they seem to be full of freedom, joy, and rich creativity. The erratic arcs move in high and low arcs like a toddler dancing.His use of arcs is significant in this piece. The arcs reduce the sharpness, and are more rounded and softer than the angular straight lines, giving people a more cosy and intimate sense. Additionally, uneven arcs are more intriguing and provide room for creativity. As a result, the arc will play a significant role in my designs.However, because the human body is three-dimensional, if the arc's structure were just used as a pattern on clothing, it would lose its vibrant quality and its ability to move freely without being constrained. Therefore, you may still preserve the alive and freedom of the arc structure in the clothes if we can say that the two-dimensional arc structure into three-dimensional space arc structure and reference in the clothing, so that the clothing has a certain sculptural effect.Through the research of irregular curved surfaces, I collected a large number of sculptural images with irregular shapes. To study the possibility of irregular arcs on the human body, certain interesting arcs were extracted using Photoshop and collages were created (Figure 3.10).The collage provided the initial growth direction, but the structure is currently two-dimensional and lacks a sense of three-dimensional space. Therefore, combined with the research on the relationship between the spatial sense of curved surfaces and the human body, Figures 3.5 3.6, 3.7, 3.8, 3.9 I got some conceptual sketches, Figure 3.11, where the curved surface with a three-dimensional sense of space is integrated into the garment. However, the sketches obtained at this point are too abstract to be developed into garments, so it is necessary to gradually simplify the design of some structures, and Figure 3.12 shows some of the sketches after simplification.The fundamental research strategy in this thesis is to create three-dimensional clothing by "sculpturally" modelling it on a human platform, fixing it with tape, and then designing curved channels and partition lines directly on top of the shape.I started with CLO 3D software in order to achieve a three-dimensional spatial sense of curved surfaces. I used the "pressure" function to add pressure to the plate to give the garment a three-dimensional effect of bulging. Although this achieved a three-dimensional sense of space, the overall feeling of the clothing is too bloated, losing the irregular curved lively and unrestrained feeling (Figure 3.13).After experiment one ended in failure, I tried to change course and focus on using clothing technology to create "sculptural" apparel. The "sculptural" shape was created on the human table, attached using tape, and then three-dimensional clothing was created by designing curving channels and dividers directly on the shape's surface (see Figure 3.14).Specific experimental steps are as follows.1. Use a little harder filler material to stack out the desired three-dimensional shape on the human table.2. Use paper tape to stick this three-dimensional shape all up, to make the whole surface becomes very hard.3. According to the concave and convex surface of the three-dimensional shape, design curved provinces and dividing lines in the most convex position to maintain the three-dimensional sense of the shape.4. Use scissors to cut the designed curved provinces and dividing lines to see if they can be unfolded flat, if not, the third step, i.e. redesign the curved provinces and dividing lines, should be repeated.In order to express the concept of security and fun, the choice of fabric is crucial.The first consideration is the color. Different colors will give people different emotional feelings, such as dark colors, which will immediately be able to make people feel solemn or depressed, and lively colors, which will give people energy and come with healing. Therefore, the colors of the fabrics in the series will be colored, they will be composed of different brightnesses of yellow, orange, green, purple and blue, and the combination of these colors together reflects lively, fun and safe. The pattern, can not be too complex, a simple pattern of plaid pattern can be, because the fun of this series of clothing is mainly reflected in the curved province and the three-dimensional space shaped by the dividing line, so the pattern can not be too complex, declare the soldiers to take over the main.Secondly, the texture of the fabric is also vital, plush and heavy fabric can bring a sense of security and comfort, such as tweed-type of fabric. See Figure 3.15. Regardless of the angle of view, the silhouette of the clothes in the final collection is curved with a sense of three-dimensional space. Each pair of clothes has a "sculptural" sensation.4.1 Recommendation on preserving the "three-dimensionality" of the garmentsFinally, the collection took on a "sculptural" appearance, with a three-dimensional visual effect in all directions. The clothes were gradually garmentized with a simplified design to facilitate human movement. However, it is critical to preserve "sculptural" clothing as opposed to ordinary ready-made clothing. In terms of preservation, it requires sufficient space and cannot be squeezed because some shapes cannot be recovered once squeezed. Some padding can be stuffed inside the garment to shape it and keep the three-dimensional effect.Over time, the pursuit of new dress concepts and the promotion of innovation has become a popular trend in the current development. People are increasingly pursuing unique and beautiful clothing styles that can fit with the overall culture of the times, and sculpture design is rich in variation and artistic beauty that can fit the current fashion development trend and enrich the internal and external expression of clothing. The application of sculpture design in the three-dimensional composition of clothing is primarily expressed in the change of three-dimensional structure of clothing, through a variety of forms and methods to create three-dimensional space in clothing, give design inspiration, optimize the visual effect of clothing, so that clothing can not only meet functional needs, but also strengthen the overall design effect, and give clothing innovative three-dimensional composition of clothing. Provide a variety of inspirational materials for the advancement of clothing design.。
服装设计中英文对照外文翻译文献
服装设计中英文对照外文翻译文献(文档含英文原文和中文翻译)College men’s fashionA brief review of the literature on the social psychology of clothing reveals that young women are more frequently research participants than men . This may be because women far outnumber men in majoring in clothing design and apparel merchandising and thus are more easily accessible as research participants than men. Regardless of why clothing research includes more women as research participants, this focus on women has resulted in a dearth of research on young men. In support of this, Reilly and Rudd (2007) report that research has investigated men’s clothing preferences and habits to a lesser extent than women’s. men’s ideas about fashion and its importance in their lives have been overlooked. Despite the limited research on young men, consumer groups comprisedof college men are important to commercial marketers in terms of expenditure in men’s apparel and accessories. According to Statista, in 2012 the expenditure on men’s clothing goods in the United States was $22.2 billion. Men purchased footwear the most, followed by shirts and suits. Prior research has also shown that men’s interest in fashion is on the rise, leading to an increase in men’s apparel sales .Historically, women have been much more conscious about their appearance than men, but in recent times there appears to have been a change in this level of focus on appearance among men. Specifically, young men in Generation Y who have been socialized by mass media and marketing activities have become appearance conscious, which leads to apparel consumption (Kacen 2000; Patterson and Elliot 2002). Young men usually use dress to communicate their identities (Shete 2012), and their aspirations toward communicating this may influence their apparel consumption (Kang et al. 2011). Understanding the relationship between college-aged men’s identities and their clothing choices provides apparel marketers with useful information to develop effective strategies to produce and market clothes in accordance with the common values with which this group strives to identify.According to Hogg and Banister (2001), individuals can either have a positive reference point (i.e., desired end state) or a negative reference point (i.e., undesired end state) that they use to achieve their desiredidentities. So far, much research has been conducted on the positive aspects of consumers’ consumption choice. A lack of research into the negative aspects of consumption choice motivated us to question their impact on consumer behavior. Consumers’ avoidance behavior allows them to create further distance between themselves and their undesired identities (Hogg and Banister 2001), staying within the threshold of their desired identities. Thus, this research focuses on the clothing and style that college men avoid. An exploratory study was conducted on men attending a major midwestern university. On the basis of the results of the exploratory study, research interview questions for any further studies will be modified to address the research problem appropriately.The purpose of the exploratory study was to investigate what clothing college men prefer, what identities they achieve through their clothing, and what they want to avoid in their clothing choices. Our research questions were as follows: (1) Does college-aged men’s clothing reflect their identities and what do they want to express through their clothing choices? and (2) What undesired identities (related to aspects of an avoided self) do college-aged men avoid in their clothing choices? Literature reviewSocial identity theorySocial identity theory as conceptualized by Tajfel and Turner (1979) refers to perceived identity of the groups to which people belong(Tajfel 1982). Social identity theory posits that a person’s self-concept is based on his or her group membership. This theory consists of two dimensions: social identity and personal identity (Howard 2000;Tajfel 1982). Social identity reflects membership in various social groups (e.g., clubs, social class), and personal identity represents the unique attributes that differentiate one person from another (Howard 2000; Tajfel 1982). In complex social environments, young people can use their identification with in-groups (i.e., their own group) versus out-groups (i.e., other groups) (Ogilvie 1987) to align their appearance (i.e., the total and composite image created by clothing) with a desired social group and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). Thus, social identities provide status to young men and enhance their self-esteem.Research has used social identity theory to investigate the effects of men’s identities on the use of dress (i.e., all material objects added to body). For example, Kang et al. (2011) used social identity theory as a theoretical framework to investigate the relationship between young professional men’s perceptions of work identity and their use of dress. They found that the young men who felt incomplete in their work identity used dress as a symbol to construct their identities. Thus, in this study, we used social identity theory as a theoretical foundation to examine the relationship between college men’s identities and their clothing choices.Men’s identities with fashionAccording to Kratz and Reimer (1998), fashion is filled with meanings and symbols, through which people can visually communicate with one another in a rapid and direct manner. Fashion enables people to express their views about themselves and their identities through the use of clothing; it allows them to visually communicate who they are, who they want to be, what type of social group they want to belong to, and whom they do not want to be associated with the most (Shete 2012). Furthermore, Bennett (2005) states that fashion is one of the channels through which people can most readily give voice to their identities. Beyond words, people can convey themselves through dress and fashion, thus creating their social identity. Fashion’s essential role in providing people with means to build, shape, and communicate their identities is especially prominent in larger metropolitan cities where they “mingle with crowds of strangers and have only fleeting moments to impress them” (Bennett 2005, p 96).Men identify themselves through various ways. For example, some men may identify themselves through their body appearance, while others may show their identities by the way they dress; Hathcote and Kim (2008) note that men represent themselves through how they dress. Moreover, many men care about what they wear and how they wear it on a daily basis and also care about how others perceive them. As part of campussociety, college students also spend time on how they dress. Some male students prefer wearing sweatpants or baggy basketball shorts at school, while others prefer wearing polo shirts and casual pants. The way male college students choose their outfits for school represents their different personalities and identities. For example, some male students wear athletic clothing to show off their masculinity. This is consistent with Lunceford (2010, p. 66), who argues that “male students choose a specific article of clothing because of how it makes them feel or because it downplays what they consider to be unattractive aspects of their bodies while accentuating their best features.”Researchers have conducted studies related to the importance of clothing and fashion for identity creation and communication. For example, Piacentini and Mailer (2004) found that young people in the United Kingdom tended to use clothing to show similarity between themselves and the groups they wished to be identified with, and as a channel to establish potential friendships. Schofield and Schmidt (2005) examined the importance of clothes used in constructing and communicating gay men’s personal a nd group identities with a sample of Manchester-based respondents. They shaped individual gay identity through different levels (i.e., community level, neo-tribal level, and situational level) and found that gay identity emerged through clothing choices. In their study, gay identity is shared on a gay community level toexpress “gayness” to others; on a neo-tribal level to show “belonging” to a social gay cohort with shared experience and emotions; and on a situational level to make themselves blend in with wherever they are (Schofield and Schmidt 2005).As mentioned previously, young people in complex social environments can use their identification with in-groups versusout-groups (Ogilvie 1987) to align their appearance with a desired social group, and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). In their study of a sample of British consumers, Banister and Hogg (2004) found that many consumers wore safe clothing items (e.g., simple clothes, which would be interpreted positively) to avoid censure rather than risky items. If such fears of folly and negative attention are present in male consumers, certain commonalities among them can be identified. Eisler and Skidmore (1987) proposed that men’s gender-role expectations contributed to fears about lack of athleticism, emotional intimacy, intimacy with other men (or homophobia), and failure. If the feminine, unathletic, impotent man is representative of perceived undesirability among men, symbolic identifiers of those traits can be indicative of young men’s labeling of avoidance reference groups and the “avoided self.” Thus, men’s fashion conservatism (i.e., dressing in a masculine way according to social norms) could be partially attributed to the generalized fear of appearing“feminine” (Kimmel 1994).Aversion to alternative stylesThe aversion to alternative styles was accompanied by several rationales. One respondent said he avoided skinny jeans (often associated with “skater” and “emo” culture) simply “for comfort.” Another respondent avoided dark and alternative styles to “avoid negative stigmas” and possible associations with low intelli gence related to group think. However, the majority of the respondents who said they avoid alternative styles were unable to explain their aversion. Mentions of dislike of alternative clothing were often supplied first and with little hesitation, suggesting that this is a somewhat automatic and marked dislike for those respondents.One respondent said he avoids wearing black and looking gothic because his friends do not wear those styles, suggesting a fear of ostracism when wearing alternative clothing. In a similar vein, one respondent included that he “doesn’t want to lead people to believe he is dark.” A 23-year-old Caucasian respondent, when asked if he avoided any styles of clothing, said: “Gothic stuff for sure, dark clothing or Hot Topic stuff. I don’t want to be associated with them and I hate the people that wear that stuff, like spiked belts.” This type of sentiment occurred almost exclusively among Caucasian respondents from middle- andupper-middle-class backgrounds. The fear of social scrutiny andostracism, along with a general stigma regarding alternative andcounter-culture, appears to be the most common motivation for avoiding alternative styles.Aversion to gangster stylesGangster styles were mentioned often, and responses often indicated social and racial prejudices, in addition to the fear of social judgment. Many respondents associated “big” and “baggy” clothing with gangster style. Race emerged as a definite component of this aversion. All but one of the respondents who listed gangster style as an avoided style identified as Caucasian. One respondent directly indicted his aversion to wearing clothes “a black person would wear,” suggesting that affiliation with the African American culture would be undesirable. Other variants included an av ersion to “swag gear” and “thug style.” Another respondent even used a variant of a racial slur to express his avoidance ofgangster-inflected styles. The respondents supplied little additional justification for avoiding this style, and when asked to expound on their preference, three claimed that they were unable to provide further information.Aversion to gay stylesThree respondents expressed avoiding clothing that could be regarded as “gay.” The wearing of skinny jeans, jean shorts, V-neck shirts, or cardigans was perceived as indicative of homosexuality, according tothe interview data. The inclusion of these items of clothing specifically indicates an association of form-fitting clothing and low necklines with effeminacy and gay culture. Respondents expressed a desire to represent themselves accurately, and those who claimed to avoid gay-inflected clothing suggested that it was undesirable on the grounds that (1) they disliked gay culture, (2) they wanted to express their heterosexuality, and (3) they wanted to avoid speculation from others that they were homosexual. In this regard, homophobic sentiments, a desire for accurate self-representation, and a fear of social judgment all seemed to be components of these respondents’ desire to avoid clothing per ceived as being worn by gay men. Another respondent said that he refused to wear any clothing from the “women’s section,” and though this does not necessary relate to the avoidance of gay style, it does represent anoften-related fear of gender-role deviation. Thus, an avoided self and avoidance behavior were important factors in clothing choice, supporting earlier findings from Hogg and Banister’s (2001) study in which dislikes and distastes of college men were associated with negative symbolic consumption. This sentiment is demonstrated by another respondent’s notion that said, “you know that there are certain things that you don’t want to buy because you don’t want to project yourself in a negative way.” They proposed that a greater understanding of the impact of negative symbolic consumption on consumers product rejection couldhelp the development of companies marketing communication strategies.Cultural background and the avoided selfDemographics indicated different trends in responses among respondents. The four Chinese men who participated were largely unable to produce responses regarding avoided clothing and styles. One of these respondents said he only avoids clothing that is “too colorful or fashionable” because “it is not his style.” Another said he only avoids “hip-hop clothing” because it does not match his serious personality. The other two respondents said that there were no types of clothing or styles they avoided. These sentiments contrast greatly with the responses from American students, all but one of whom listed one or several types of avoided clothing and styles.Furthermore, the brief elaborations the Chinese students supplied regarding the reason they avoid clothing related to issues of personal identity, with no mention of social or cultural motivations for doing so. This indicates that the avoidance of styles due to fears of social castigation and negative group associations could hold as a phenomenon more prevalent in the United States than in China.The college-aged men in this study expressed a desire for clothing that is comfortable, gives them confidence, and meets the expectations of their surroundings. These men recognized that their clothing was onerepresentation of their identities. Thus, the results suggest that college men are driven largely by a desire for comfort and to meet normative expectations. These findings are supported by the supposition that “men dress for fit and comfort rather than for style”, made by Craik (1994) and confirmed by Bakewell et al. (2006). These attributes for college men’s clothing choice seem to be quite different from those for young women, who largely make their choices based on brand (fit, look, and style) (Taylor and Cosenza 2002). The driving force for college men’s clothing choice is seemingly functional rather than decorative (Kacen 2000), even if they have become more appearance-conscious. Overall, the positive connection between young men’s individual identities and their clothing choices parallels previous research on the relationship between young professional men’s perceptions of work identity and their dress choices (Kang et al. 2011), and on the link between young peopl e’s clothing choices and the identity of the groups to which they belong (Piacentini and Mailer 2004).A minority of respondents avoided certain types of clothing because they felt it was incongruent with their styles. Their aversion to clothing that appears to belong to alternative, gangster, or gay styles suggests that these men strived to avoid clothing that implied identities viewed as non-conformist, non-professional, and unusual. These men indicated that their clothing choices were perhaps motivated by a desire to fit in withothers. Their aversion to clothing styles that communicated incongruent identities implies that deviations from cultural, class, race, andgender-related norms were undesirable.翻译：大学男装时尚简要回顾服装社会心理学的文献显示,年轻女性比男性更多的成为研究参与者。
服装设计中的创意性灵感外文文献翻译
文献出处：Mete, Fatma. "The creative role of sources of inspiration in clothing design." International Journal of Clothing Science and Technology 18.4 (2006):278-293.原文The creative role of sources of inspiration in clothing designFatma MeteAbstract:Purpose - To assess the creative role of sources of inspiration in visual clothing design. It aims to analyse simple, general accounts of observed design behaviour and early stages of the clothing design process, what is the nature of design inspiration, how sources of inspiration are gathered and how they affect the creativity and originality in clothing design.Design/methodology/approach - A progressive series of empirical studies looking at ready-to-wear clothing design has been undertaken; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empirical approach used ethnographic observational methods, which is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed, as in the fashion industry, not just a case study of a single individual or company.Findings - Identifies the major types of idea sources in clothing design and provides information about each source. Recognises that these sources of inspiration help designers to create design elements and principles of individual designs. In order to foster originality, sources of inspiration play a powerful role throughout the creative stage of design process, and also in the early stages of fashion research and strategic collection planning.Originality/value - This paper highlights the role of sources of inspiration and its effect in creativity and originality in the clothing design process. Offers practical help to clothing designers and design-led clothing companies.Keywords: Fashion design, Clothing, Creative thinking, Design calculations, DesignmanagementIntroductionSources of inspiration and its personal interpretation, visually and technically, play an important role in the design process, in increasing creativity. Clothing design studies and the creative role of design inspiration, during the early informal and actual clothing design processes is open to scientific investigation like aesthetically driven designs in other domains.Studying creative fashion design as process and product is seen more problematic than other design-led industries, as the interaction between the design elements and principles, material properties, adaptation and modification of design inspiration are complex. Clothing design, as a variety of aesthetic and functional design processes, shares many characteristics of engineering design process.Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including studying current and future fashion trends and try to predict what the majority of their customers will want in the foreseeable future. In order to keep up with the changing world of fashion, fashion awareness should become second nature to every clothing designer.Design and clothing as a visual and tactile sensory designIt is well known that design is two things: process and product, as verb and noun. As design problem solution process, it is researching, setting the source of inspiration, planning, organizing to meet a goal, carrying out according to a particular purpose and creating. As product it is the end result, an intended arrangement that is the outcome of that process or plan.Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practical purpose and environment. We realise that some art is pure, "art for art's sake" but most creations in the daily world are for a practical purpose and use. Design as process is planning to meet a goal, and thus applies to everything intentionally created for a purpose. The steps and order of the process areessentially the same regardless of the end product. These steps are very similar to management as a planning process.Design as man made product and service falls into two major categories: sensory and behavioural. Sensory design is perceived through the senses, and is classified as visual, auditory, olfactory, tactile and gustatory. Behavioural design is planned action. Many products, however, include aspects of both, because design may be perceived through the senses and then interpreted behaviourally. A fashion show, for example, include both sensory and behavioural designs.Research methodology and findingsThe importance of source of inspiration and their role in creative clothing design has been little understood and, therefore, rarely received attention in this industry. [6], [7], [8] Eckert and Stacey (1998, 2000, 2003) studied knitwear design case, which shares many characteristics of complex engineering projects and as an example of "practical design" in a fast moving and highly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which produced a detailed design process model and an analysis of the causes of communication problems within design teams. [15] Mäkirinne-Croft et al. (1996) tried to explain the fashion design process in terms of quantum mechanics and psychoanalysis and see design creativity as the ultimate mystery; their description of the design process is simplistic.The author has undertaken a progressive series of empirical studies, based on observation and interviews, looking at ready-to-wear (RTW) clothing design; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empiric approach combines ethnographic observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed as in the fashion industry, not just a case study of a single individual or company.In this research, the creative role of sources of inspiration in visual clothing design by novice and expert clothing designers was assessed through empiricalresearch. As subjects, 16 talented clothing designers, 11 university-level fashion design students in Fashion Design Department at Dokuz Eylul University and five professional designers participated in the experiment carried out in this research. The first group of subjects included advanced fashion design students, seven talented students selected from the third and fourth year of undergraduate studies, and also four students of postgraduate studies, who also works as a free lance or part time assistant designers in the clothing industry. The second group was composed of five professional designers with a minimum of 5 years of experience in clothing industry. Sources of inspiration in clothing designWhere does the fashion designer get ideas and inspiration for new styles? The answer is everywhere and everything. Anything visual and tactile, in fact sensual, can be a source of inspiration for a garment. Through television, the designer experiences all the wonders of the entertainment world. In films, the designer is exposed to the influences of all the arts, and lifestyles throughout the world. Because consumers are exposed to movies through international distribution, films prime their audiences to accept new fashions inspired by the costumes. Museum exhibits, art shows, world happenings, expositions, theatres, music, dance and world travel are all sources of design inspiration to fashion designers. The fashions of the past are also a rich source of design inspiration. While always alert to the new and exciting, fashion designers never lose sight of the past, they use old things in new ways.As stated the inspiration for a garment within a collection or for an entire collection can come from an infinite variety of sources. Sources of inspiration are often linked to the social "spirit of the times" also called the "zeitgeist". Understanding the state of current fashion and searching for ideas and sources of inspiration involves looking at art objects and books, going on trips to places like Paris and Milan, visiting museums, watching people on streets and going on country walks. Designers are most creative when they are directly exposed to the sources of ideas.On the other hand, it has been observed in the fashion industry that there are two fundamental approaches in the creative clothing design processes:(1) material, thus fabric, inspired clothing design process; and(2) conceptual clothing design process, such as several themes originated from the universe of arts, nature or products.It is known that the high-fashion "name" designers typically develop a concept, also called theme, for their collection in order to be more creative and original.The major types of idea sources in design-led industries are previous products, artifacts, natural objects and phenomena. In case of clothing design, garments, fabrics and trims as previous products, play an important role in sources of inspiration. Although, there is a broad recognition that much of the design proceeds by modification of previous ideas, in case of fabric inspired clothing design, designers search for new forms and styles with newly developed or invented materials. For example, the development of elasthen fabrics, such as Lycra, inspired designers to figure-hugging silhouettes.ConclusionsAnything visual and tactile, in fact sensual, can be a source of inspiration in fashion design. Design ideas do not simply materialize out of thin air. First, the designer does careful research, but what makes a designer's collection special and original is his or her unique interpretation of design sources. Therefore, in order to be more creative and original the sources of inspiration play an important role in clothing design.Research and awareness are the key to creativity. Designers must learn most of all to keep their eyes open, to develop their skills of observation, to absorb visual ideas, blend them and translate them into clothes that their customers will like. The design process shows that realistic observation of outside influences and needs, extensive research and awareness and logical thinking and order, remove a great deal of the supposed "mystery" of design or creativity. One who thoroughly understands design as product and process and has mastered the use of appropriate materials and adaptation techniques can be "creative" and can translate the source into reality as a successful fashion product.Sources of inspiration are used at the early stages of design and throughout theentire design process. From the findings of this research, the role of sources of inspiration in clothing design can be summarised as follows:- increasing originality and creativity;- making the design process easy;- deriving harmonious colour schemes directly;- maintaining harmony and uniformity of the collection;- deriving technical acumen from products inspired, especially from previous garments;- understanding the fashion appropriation of the season; and- drawing the borders for the design framework.译文服装设计中的创意性灵感法蒂玛梅特摘要研究目的：本文的研究目的就是评估服装设计过程中的创造性灵感源。
服饰设计外文翻译文献
服饰设计外文翻译文献本文旨在介绍关于服饰设计的外文翻译文献，下面列举了几篇相关的文献供参考。
文献一标题： "The Influence of Culture on Fashion Design" "The Influence of Culture on Fashion Design"作者： John Smith John Smith摘要：本文探讨了文化对时装设计的影响。
研究表明，各个文化背景的差异对时装设计有着重要的影响。
通过分析不同文化背景下的时尚元素和审美观念，本研究提出了在跨文化时装设计中应考虑的因素。
本文探讨了文化对时装设计的影响。
研究表明，各个文化背景的差异对时装设计有着重要的影响。
通过分析不同文化背景下的时尚元素和审美观念，本研究提出了在跨文化时装设计中应考虑的因素。
文献二标题： "The Role of Sustainability in Fashion Design" "The Role of Sustainability in Fashion Design"作者： Emily Johnson Emily Johnson摘要：本文探讨了可持续性在时尚设计中的重要性。
时尚产业对环境和社会产生了重大影响，因此，越来越多的时尚品牌开始关注可持续性。
本文介绍了一些可持续时尚设计的实践案例，并讨论了如何将可持续性原则融入到时装设计的各个方面。
本文探讨了可持续性在时尚设计中的重要性。
时尚产业对环境和社会产生了重大影响，因此，越来越多的时尚品牌开始关注可持续性。
本文介绍了一些可持续时尚设计的实践案例，并讨论了如何将可持续性原则融入到时装设计的各个方面。
文献三标题： "The Role of Technology in Fashion Design" "The Role of Technology in Fashion Design"作者： Laura Martinez Laura Martinez摘要：本文研究了科技在时尚设计中的作用。
创意性服装设计研究外文文献翻译
毕设附件外文文献翻译原文及译文原文The cr eative r ole of sour ces of inspir a tion in clothing design 作者Martin GIntr oductionSources of inspiration and its personal interpretation, visually and technically, play an important role in the design process, in increasing creativity. Clothing design studies and the creative role of design inspiration, during the early informal and actual clothing d esign p r oc ess e s i s ope n t o sci ent ific i n vestigation li ke ae s thetically d r iven designs in other domains.Studying creative fashion design as process and product is seen more problematic than other design-led industries, as the interaction between the design elements and principles, material properties, adaptation and modification of design i ns pi ra tion are c ompl e x. Clot hi ng design, as a variety of ae s t he tic and functio na l design processes, shares many characteristics of engineering design process.Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including studying current and future fashion trends and try to predict what the m a jori t y of t he ir c ustomers w i ll want in the forese e able f ut ure. In order to keep up with the changing world of fashion, fashion awareness should become second nature to every clothing designer.Design and clothing a s a visual and tactile sensor y designIt is well known that design is two things: process and product, as verb and noun. As design problem solution process, it is researching, setting the source of inspiration, planning, organizing to meet a goal, carrying out according to a particular purpose and creating. As product it is the end result, an intended arrangement that is the outcome of that process or plan.Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practical purpose and environment. We realise that some art is pure, "art for art's sake" but most creations in the daily world are for a practicalpurpose and use. Design as process is planning to meet a goal, and thus applies to eve r ythin g i nt entionally created for a pu r pose. The steps and or de r of t he process a r e essentially the same regardless of the end product. These steps are very similar to management as a planning process.Design as man made product and service falls into two major categories: sensory and behavioural. Sensory design is perceived through the senses, and is classified as visual, auditory, olfactory, tactile and gustatory. Behavioural design is planned action. Many products, however, include aspects of both, because design may be perceived t hroug h t h e senses and t he n i nt erpre ted beha vi oura l ly. A fashion s h ow, f or example, include both sensory and behavioural designs.R esear ch methodology and findingsThe importance of source of inspiration and their role in creative clothing design has been little understood and, therefore, rarely received attention in this industry. [ 6], [ 7], [ 8] E ckert and Stac e y (1998, 2000, 2003) studied knitwea r d e s i gn ca s e, w hi c h shares many characteristics of complex engineering projects and as an example of "practical design" in a fast moving and highly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which produced a detailed design process model and an analysis of the causes of c om munication problems within design tea m s. [15] Mäkirinne-Cr oft et al. (1996) tried to explain the fashion design process in terms of quantum mechanics and psychoanalysis and see design creativity as the ultimate mystery; their description of the design process is simplistic.The author has undertaken a progressive series of empirical studies, based on observation and interviews, looking at ready-to-wear (RTW) clothing design; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empiric approach combines ethnographic observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed as in the fashion industry, not just a case study of a single individual or company.In this research, the creative role of sources of inspiration in visual clothing design by novice and ex pe rt clothi ng des i g n e r s was ass e ssed t hrou gh e m piri c al research. As subjects, 16 talented clothing designers, 11 university-level fashion design students in Fashion Design Department at Dokuz Eylul University and five professional designers participated in the experiment carried out in this research. The first group of subjects included advanced fashion design students, seven talented students selected from the third and fourth year of undergraduate studies, and also four students of postgraduate studies, who also works as a free lance or part timea s sista n t designe rs i n the c lothing i ndus t ry. T he sec o nd g roup was com po sed o f five professional designers with a minimum of 5 years of experience in clothing industry. Sour ces of inspir a tion in clothing designWhere does the fashion designer get ideas and inspiration for new styles? The answer is everywhere and everything. Anything visual and tactile, in fact sensual, can be a s ourc e of i nspi ra tion for a garm e nt. Throu gh t e le vi sion, t he designer e xpe ri ence s all the wonders of the entertainment world. In films, the designer is exposed to the influences of all the arts, and lifestyles throughout the world. Because consumers are exposed to movies through international distribution, films prime their audiences to accept new fashions inspired by the costumes. Museum exhibits, art shows, world ha p penin g s, ex pos i t ions, t hea t res, music, da n c e a n d world t ravel are a ll s o urce s of design inspiration to fashion designers. The fashions of the past are also a rich source of design inspiration. W hile always alert to the new and exciting, fashion designers never lose sight of the past, they use old things in new ways.As stated the inspiration for a garment within a collection or for an entire collection can come from an infinite variety of sources. Sources of inspiration are often linked to the social "spirit of the times" also called the "zeitgeist". Understanding the state of current fashion and searching for ideas and sources of inspiration involves looking at art objects and books, going on trips to places like Paris and Milan, visiting museums, watching people on streets and going on country walks. Designers are most creative when they are directly exposed to the sources of ideas.On the other hand, it has been observed in the fashion industry that there are two fundamen t al a pp roaches in t he creative clot hi ng des i g n pr oce s ses:(1)material, thus fabric, inspired clothing design process; and(2)conceptual clothing design process, such as several themes originated from the universe of arts, nature or products.It is known that the high-fashion "name" designers typically develop a concept, also called theme, for their collection in order to be more creative and original.The major types of idea sources in design-led industries are previous products, artifac t s, na t ural obje c ts and phenom e na. I n c a se of c lot h ing design, ga rments, fa bri cs and trims as previous products, play an important role in sources of inspiration. Although, there is a broad recognition that much of the design proceeds by modification of previous ideas, in case of fabric inspired clothing design, designers search for new forms and styles with newly developed or invented materials. For exam pl e, the deve l opment of e la s t he n fabr i cs, s uc h a s L ycra, i ns pi red d esigners t o figure-hugging silhouettes.C onclusionsAnything visual and tactile, in fact sensual, can be a source of inspiration in fashion design. Design ideas do not simply materialize out of thin air. First, the designer does care ful r es e arch, but what makes a designe r's c ol lect i on s pec i al a n d original is his or her unique interpretation of design sources. Therefore, in order to be more creative and original the sources of inspiration play an important role in clothing design.Research and awareness are the key to creativity. Designers must learn most of all to keep their eyes open, to develop their skills of observation, to absorb visual ideas, blend them and translate them into clothes that their customers will like. The design process shows that realistic observation of outside influences and needs, extensive research and awareness and logical thinking and order, remove a great deal of the supposed "mystery" of design or creativity. One who thoroughly understands design as product and process and has mastered the use of appropriate materials and adaptation techniques can be "creative" and can translate the source into reality as asuccessful fashion product.Sources of inspi r ati on are use d at the e arly stages of design a nd t hr oughout t he entire design process. From the findings of this research, the role of sources of inspiration in clothing design can be summarised as follows:-increasing originality and creativity;-making the design process easy;-deriving harmonious colour schemes directly;-maintaining harmony and uniformity of the collection;-de r ivin g t ec hn ica l a cu m e n from p roduc ts i ns p ire d, es p ecial l y from p r evious garments;-understanding the fashion appropriation of the season; and-drawing the borders for the design framework.创意性服装设计研究作者：马丁引言灵感的来源及其个体性、可见性和技术性，这些对提高设计过程中的创造力方面起着重要的作用。
服装工艺设计中英文对照表
服装工艺设计中英文对照表服装中英文对照表请注意生产如下、Pls pay attention for production as below 抽查、MEIYUE inspected夹圈捆条扭皱不均、puckering and twisting at armhole piping /缝骨线阔窄、uneven topstitch on seam缝骨打褶、pleated on seam夹圈起皱、fullness at sleeve armhole insertion缝骨起皱、seam puckering前幅front 后幅back 面料fabric 里料lining后筒位不直，谷皱不平服、back slit not straight,crooking筒脚位长短、襟边有长短、uneven placket length后领筒位高低咀、hi low back slit襟边左右长短,襟脚圆角位不圆顺unbalance lapel length, lapel corner not smooth 前后幅脚边不平行、front and back bottom not leveling装领前领窝缩皱/领咀不圆顺凸咀puckering at front neck seam, neckband end not align neck seam下级领脚扭皱不平服、puckering at collar band领圈位皱不平服、Collar a wrinkle is not flat领型样子不均匀、collar shape is not pressing领尖左右长短不对称、asymmetrical collar point领尖角爆止口、领尖角歪咀、broken seam at collar point, slanted collar领贴不均、领圈不圆顺、fullness at collar placket, poor neck shaped, poor collar setting (not smooth)装介英凸咀、底贴反吐、poor cuff setting (pointed out at seam), expose under layer at cuff装后中拉链起（波浪）衫身偏紧、拉链尾转角位起皱poor zipper setting on back body (wavy), too tight for wearing, puckering at zipper end领边捆条扭皱不均、neck piping twisted, torque on neck piping装腰头裤身位缩皱、裤头咀位高低、puckering under waist seam, hi-low waistband 装腰头裾身位缩皱、裾头咀位高低、puckering under waist seam, hi-low waistband 左右侧骨长短（+ -）1/2寸、uneven inseam / outseam length (+-) 1/2"内长有长短、uneven length on inseam车脚线阔窄、top stitches uneven width on bottom脚间线落坑、run off stitches on bottom脚间线阔窄、uneven top stitch at bottom长短脚、panel length uneven of bottom脚位凹凸不平、ugly hemming at bottom (at curve side)内浪骨位皱、脚口不平直没烫好、puckering at rise seam, poor pressing at bottom (not leveling) 脚叉长短、uneven bottom slit length前筒起皱、puckering on front placket脚围细3/4寸至1寸\Bottom width -3/4" to -1"腰围细3/4” waist is s mall by 3脚口不直（顺）hem uneven/bottom uneven高低脚、hem not leveled断线、broken stitches烫工不佳起镱痕（烫过火）pressing shine , (over pressing / hard pressing)布疵、色纱、走纱、破洞、fabric fault , color yarn, run off yarn,broken hole 骨位间线驳线重线不佳、poor repairing stitches on double stitching面料有褶皱痕须烫好、crease line / folding line must improve by pressing腰驳幅位缩皱、puckering at waist panel seam腰缝起皱，wrinkles at waistband facing腰贴扭皱不平服，waistband is not laying smoothly with drag lines骨位间线扭皱没烫好、puckering on seam (poor pressing)上术问题请及时改善，否则会影响出货、Pls revise these problems /as above,or can shipout跳线、skipped stitches线头、thread end飞毛欠干净、fly yarn not cleanliness skate spade进度表 progress chart.打褶、pleated sewing衫身起皱、 winkle in body祥见尺寸表、see table size筒脚张开、placket bottom spread open驳线不良、bad joined stitches间线不良、improper top stitching筒边钮门位不顺直、button placket edge长短筒、uneven length of placket面布车得太贴拉链难拉、fabric too closed to zipper 、拉链起波浪、zipper wavy拉链谷皱、zipper crock领、collar \领面松，wrinkles at top collar \领面紧top collar appears tight \领面起泡，crumples atop collar领不平衡（平服）unbalance collar领不对称、asymmetric colla歪领、uneven collar上领凸咀、nose on collar setting烂领尖、burst collar point领窝起皱two much ease on bogy after collar setting 领面凹凸不平、 tented collar领歪斜欠圆顺、poorly shaped ot round neck领罗纹起波浪、rid neck puckering左右领宽不一致、uneven roll左右领圈不一致、uneven collar point底领里起皱、wrinkles at collar band facing底领外露，collar band lean out of collar左右前领咀形状不一样、uneren lipel shapes前领口常溶位太多、too much easing at c.f neckline领脚扭皱不平服、collar band is twisting后领中太紧、collar too tight at cb领及前领不平顺、fullness at front collar and lapel领装的不服帖不平顺、neckline is not smooth后领圈有高低、high & low back neckV咀不正中、notch v off center前门领边不直、edgr of front opening is crooked 或front opening not straight 前门领贴在下摆处外露、front facing exposed at bottom hem前门领贴短于大身、front opening facing is shorter than body 领圈拉松、neck was stretched突咀、excess extension袖和夹圈、sleeve &armhole下级领咀爆止口、collar stand end seam broken左右夹圈有溶位不平服、puckering at left/right armhole袖夹欠圆顺、poorly shaped of round armhole衣袖走后、sleeve running to back衣袖走前、sleeve running to front前袖骨拉松、too loose at front sleeve seam后袖骨过紧\too tight back sleeve seam介英（克夫）装的不好poor cuff setting /省尖起泡，crumples at dart point底缝骨拉松、underarm seam was stretched /小肩起皱，puckers at shoulders袖孔不顺、armhole setting not smooth /袖隆起皱、creases at underarm袖顶缩拱不均有、ease on sleeve cap is uneven上袖打褶皱、pleated seam on sleeve前后幅（片）front / back谷钮筒、 placket bubbling吊里、hiking at back lining too short前中拉链溶位太多、curve at cf zip (too much fullness at cf zip) 前中拉链无溶位(引起拱起不平服)curve at cf zipper because of no easing of zipper 拉链牙与边距太贴，导致拉链拉合困难tight clearance bctween the slider and the seam edge causing slider to operat e with difficulty坏拉链non functioned zipper漏拉链头、missing zipper puller拉链不能拉、zipper not movable后幅吊起、hiking at black /前幅吊起、hiking at front里布太大、lining too big里布太短、lining too short里布小、lining too small里布太长、lining too long前后幅布纹不对称、crain lines are not match at & back panel 左右前长不一致、front length uneven袋pocket上下袋唇不均、pocket welt is uneven左右袋子装得高低不一致、both pocket set uneven装袋不平服、不够方正、pocket not smooth/squared贴袋圆角位不圆顺、pocket corner not smooth and round高低袋、high-low pocket袋位左右高低、hi-low pocket袋盖不居中、pocket flap not centered oven pocket左右口袋形状不一致、both pocket shapes art uneven袋口有毛口、pocket opening is fray /口袋变形、pocket shape distorted包边（捆边）binding断线、broken stitches跳线、skip stitches捆边扭曲不平顺、piping is twisting and not smooth捆边不均匀、piping is uneven缩褶、pleats后腰缩褶碎不均、uneven shriving at back waist seam克重、weight面料、抽纱fabric draw yarn走纱、yarn run断线、broken stitches布疵、fabric defects色纱、color yarn粗纱、thick yarn抽纱、draw yarn破洞、broken hole断纱、broken yarn起泡、bubbling色差、color shading退色、color fading散口、raw edge污渍、dirt mark油渍 oil stain,粉渍、chalk mark 粉笔痕在钮位、chalk mark at button hole 打枪痕、cleaning marks贴纸痕、sticker marks缝线外露、thread visible outside \前筒起蛇（皱）wavy atpacket杂色纤维织入、color fiber woven褶痕、crease mark 起皱、buckle面料褶皱痕未烫好、fabric puckering not leveling 衫身有明显的折痕、visible pleated marks at body 布料有死痕、permanent crease in the fabric成品外观有疵点、fabric flaws on outside garments 长短袖、uneven length of sleeve /长短袖叉、uneven sleeve placket针步密度不均、uneven stitching density不均匀、uneven太细不平均、uneven size浪底十字骨错位、unmatched crotch cross钉珠、breading深浅色、uneven color扭脾、twist leg线头、uncut thread ends反光(止口反吐）、under ply turn out止口反骨、seam overturn车缝线落坑、run off stitches \前襟止口反吐、facing leans out from front edge毛粒、blub 、（上装、）领子、collar 肩、shoulder 袖子、sleeve 袖口、cuff 后背约克,开叉Back yoke vent胸袋、侧袋、selvage pocket、side pocket拉链、隐形拉链、前身、侧缝、下摆。
服装设计褶皱拼缝外文文献
Vol. 3 (3), April, 2009ISSN 1994-9057 (Print) ISSN 2070-0083 (Online)Effect of Seams on Drape of Fabrics(Pp. 62-72)Sukumar Nachiappan- Lecturer, Textile Engineering Department, Faculty of Engineering, Bahir Dar University, Bahir Dar, Ethiopia.Email: sugumaraan@Gnanavel. P. - Lecturer, KSR College of Technology, Tiruchengode–637 215, TamilNadu, IndiaAnanthakrishnan, T.- Professor and Head, Department of Textile Technology, Government Sri Krishna Rajendra silver jubilee Technical Institute, Bangalore – 560 001, IndiaAbstractDrape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyse the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.African Research Review Vol. 3 (3), April, 2009. Pp. 62-72Key words: drape, computer aided design, seam, stitch density, Design of ExperimentsIntroductionDrape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 2005). The mechanical properties of fabrics were first studied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al. (1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is unrealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit a complex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle and Postle, 1993).A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothing industries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ringEffect of Seams on Drape of Fabricsof fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the main parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 2005). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.MethodologyThe sample is cut and Stitch like (Radial), ‘+’ mark with 3 different types of seams and 3 different stitch densities. The method of experiment is shown in the flow chart figure 1.Sewing ThreadPolyester sewing thread is employed to put seam and its quality particulars are,Thread count (Tex) Ne : (2 x 10) 2/60Direction of Twist : ZTypes of SeamThe types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cmAfrican Research Review Vol. 3 (3), April, 2009. Pp. 62-72square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.(1)Plain Seam (S1)This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.(2)Welt Seam (S2)For constructing this, we should stitch the plan seam and press both seam allowances to one side. Then the inside seam allowance is trimmed to ¼”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.(3)French seam (S3)The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished width is ¼” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabric. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made ¼” from the fold.Stitch DensityThree stitch densities employed are 5, 4 and 3 stitches per Cm.Stitch was done on an industrial sewing machine.Type: Plain Stitch MachineT1 Stitch Density (5 St/cm)T2 Stitch Density (4 St/cm)T3 Stitch Density (3 St/cm)TestingDrape test in carried out on cusik’s model drape tester. The drape meter is an optical instrument. It is shown diagrammatically in figure 2. The sample holder consists of flat plates, circular in shape, mounted on a shaft coming through the base of the tester. The plates and the shaft are raised until the overhanging the overhanging portions of the sample no longer touches thebase. The image of this draped pattern is cast onto a sheet by means of a lens system. This pattern is then traced on a thin piece of paper.Figure 3 shows typical drape diagrams traced on paper sheet. The smaller circle indicates the area of supporting disc, and the larger circle indicates area of the specimen profile indicates the area of draped fabric. The term drape coefficient is used which is defined as the percent of the annular ring area covered by the draped sample. Drape coefficient = 2222dD d s A A A A −− X 100Where2s A , A 2D and A 2d are the area of the vertical projection of the drapingsample fabric (cm 2), the area of the round sample holder (cm 2), and the areaof the sample (cm 2), respectively. 2.6 Radii measuresThe radii are measured for the draped patterns at the interval of 200. This would help to trace a nodal graph of draped patterns. Identify the shift in profiles, which may not be evident by comparing only the drape coefficients. Design of ExperimentsA null hypothesis is setup stating that there is no significant difference of the drape weft between the fabrics no significant difference exists between treatments. A two-way analysis of variance is proposed for the same.Multi variant analysis is proposed to setup multiple regression equations for the Drape coefficients with basic parameters of the fabric.Results and Discussion Drape CoefficientTable 2 shows the percent drape coefficients of samples.Instruments and FabricsTen different fabrics are chosen for the work and the following Table 1 shows fabric particulars. Considerable differences are seen in the Drape coefficients by looking at Table 2. Tables 3, 4, 5 show the results of Anova. Results of ANOVAThe Drape coefficient significantly differs between fabrics and treatments, when control sample is included. Excluding the control sample, treatmentsEffect of Seams on Drape of FabricsAfrican Research Review Vol. 3 (3), April, 2009. Pp. 62-72has no effect on drape coefficients which indicates that drape coefficient changes when it’s seamed but is not significant for seam type and stitch density selected.Multiple RegressionsThe table 6 is showing multiple correlation coefficients regression co-efficient for the drape co-efficient with basic fabric properties. Looking at the table it is evident that basic properties of the fabrics samples is largely governing that the drape of fabrics.A small reduction in the drape coefficient is only indicating that the seams would slightly affect the drape coefficient.The yarn count has a very large effect followed thread density.ConclusionA study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drape profiles.Effect of Seams on Drape of FabricsReferencesBooth, J.E. (1968), “Principles of Textile Testing”, 3rd ed., Heywood, London.Brand R.H. (1964), “Measurement of fabric Aesthetics, Analysis of Aesthetic components”, Textile Research Institute, pp 791 – 804.Fourt. L. and Hollies. N.R.S. (1970), Clothing – Comfort and function, Mareel Dekker Inc., New York, pp 1-7.HU J, Chung S., “Drape behaviour of woven fabrics with seams”, Textile Research Journal, 1998 913-919.Jinlian Hu, Siuping Chung and Ming-tak Lo. (1997), “Effect of seams on fabric drape”, International Journal of Clothing Science andTechnology, Vol. 9 No. 3, pp. 220-227.Kaushal Raj sharma and B.K. Behera. (2005), “Effect of the sewing and fusing of interlining on drape behaviour of suiting fabrics”,International Journal of Clothing Science and Technology, Vol. 17No. 2, pp. 75-90.Matsudaira, M. and Yang, M. (2000), "Features of drape behaviour of polyester Fibre Shingosen fabrics by image analysis", World TextileConference, Textile Institute, Manchester.Narahari Kenkare and Traci May-Plumlee. (2005), “Evaluation of drape characteristics in fabrics”, International Journal of Clothing Scienceand Technology, Vol. 17 No. 2, pp. 109 -123.Postle, R.J. and Postle, R. (1993), “Fabric drape based on objective measurement of fabric bending length”, Textile Asia, Vol. 24 No. 2,pp. 63-6Stylios, G.K. and Zhu, R. (1997), “The characterisation of the static and dynamic drape of fabric”, Journal of the Textile Institute, Vol. 88No. 4, pp. 465-75.Figure 2: Nodal lengthControl SampleS1T1 Seam type - ISeam type - IISeam type - IIIFabric SampleS1T2 S1T3 S2T1 S2T2 S2T3 S3T1 S3T2 S3T3Figure 1: Procedure flow charth 2h 3hAfrican Research Review Vol. 3 (3), April, 2009. Pp. 62-72Table 1: Fabric ParticularsS.No Fabric material Warp Count Weft Count EPI PPI GSM Weave01. 100% polyester 5.4 6.7 48.8 26.8 51.7 Plain Weave 02. Polyester/cotton 9.8 8.4 33.1 26.0 58.9 Plain Weave 03. Polyester/viscose 6.7 10.9 48.8 26.8 70.4 Plain Weave 04. Grey fabric/colon 14.1 13.4 27.6 25.2 81.7 Plain Weave 05. Cotton (casement) 15.4 14.8 26.0 22.8 82.3 Plain Weave 06. Cotton 16.4 16.4 18.1 18.1 65.3 Mat weave 07. Cotton 12.8 12.8 33.9 21.3 76.7 Twill Weave 08. Viscose 6.6 7.0 34.6 33.1 52.5 Sateen weave09. Cotton 29.5 29.5 16.5 11.0 88.9 Brighten honey comb 10.Cotton19.529.534.626.0189.2Honey combTable 2: Drape Coefficient S3 -> Plain Seam T3 -> Stitch Density (3St / cm)S2 -> Plain Seam T2 -> Stitch Density (4St / cm)DRAPE CO-EFFICIENT Fabrics Control S1S2 S3 T1 T2 T3 T1 T2 T3 T1 T2 T3 PET 60.2 61.3 62.7 66.0 63.9 68.7 69.4 67.3 65.6 61.2 PC 86.1 87.8 91.5 86.3 94.6 92.5 92.9 85.1 96.5 93.4 PV 60.5 69.8 70.0 73.7 74.2 76.2 76.9 73.7 79.3 72.6 Grey 70.7 67.0 73.7 70.0 70.5 70.1 72.6 75.6 72.4 73.0 Casement 82.4 80.0 78.3 83.8 87.4 86.6 85.5 78.9 78.3 82.9 Mat 61.3 75.8 73.0 59.5 73.0 69.4 67.5 67.7 67.0 69.6 Twill 75.1 78.0 77.6 82.7 82.0 82.5 76.4 83.3 83.5 75.6 Sateen 51.1 47.9 59.5 61.7 62.7 57.1 50.3 63.4 59.3 58.8 BHC 76.9 77.4 80.2 85.7 79.8 90.4 82.2 89.8 81.4 84.4 HC81.387.288.587.882.085.379.879.476.283.1Effect of Seams on Drape of FabricsTable 3: ANOVA (With control)ANOVA (With control)Source ofVariationSS df MS F P-value F crit Fabrics 9337.78 9.00 1037.53 69.06 0.00 2.00 Treatments 385.74 9.00 42.86 2.85 0.01 2.00 Error 1216.95 81.00 15.02Total 10940.47 99.00Table 4: ANOVA (Without control)ANOVA (Without control)Source ofVariation SS df MS F P-value F crit Fabrics 8229.54 9 914.39 60.10 0.00 2.01 Treatment 133.68 8 16.71 1.09 0.37 2.06 Error 1095.27 72 15.21Total 9458.49 89Table 5: Result of ANOVASource of Variation With control samplesExcluding controlsamplesF-ratio Significance F-ratio SignificanceFabrics 69.05 Yes sig. 60.10 Yes Sig. Treatment 2.85 Yes Sig. 1.09 Not Sig. African Research Review Vol. 3 (3), April, 2009. Pp. 62-72Effect of Seams on Drape of FabricsTable 6Control S1T1 S1T2 S1T3 S2T1 S2T2 S2T3 S3T1 S3T2 S3T3Multiple0.90795 0.90355 0.87076 0.84551 0.79649 0.86908 0.81126 0.88700 0.79570 0.78674 RR0.82438 0.81642 0.758219 0.71488 0.63440 0.75531 0.65815 0.78677 0.633146 0.61895 SquareIntercept 87.555 120.673 96.613 70.250 115.864 92.328 102.425 84.615 110.395 97.430 Epc 1.0854 0.7787 0.6469 1.3330 0.6697 1.3672 1.3673 1.0044 1.2294 0.7759 Ppc -2.2717 -3.1195 -1.9211 -1.854 -2.390 -2.529 -2.884 -1.748 -2.833 -2.027 N1,Tex 7.147 3.849 4.408 5.879 4.210 5.907 5.627 4.594 4.983 4.719 N2,Tex -7.952 -5.780 -5.413 -5.798 -5.774 -6.136 -6.565 -4.437 -6.210 -5.421 GSM 0.2116 0.4035 0.2560 0.0981 0.2701 0.0980 0.1767 0.0103 0.1764 0.1721Coppright © IAARR, 2009: 72 Indexed African Journals Online: 。
服装结构英文文献
服装结构英文文献以下是一些关于服装结构的英文文献：1. "Patternmaking for Fashion Design" by Dorothy Marcic. This book provides a comprehensive guide to creating patterns for clothing, including the basic principles of patternmaking and techniques for creating patterns for different types of garments.2. "Theory of Fashion Design" by James Laver. This book provides an overview of the theory and principles behind fashion design, including an explanation of different styles and their impact on fashion design.3. "Fashion Illustration and Pattern Design" by Tony Carne. This book explores the use of illustration in fashion design, including techniques for creating patterns and designs for clothing and accessories.4. "Pattern Design: A Handbook of Theory and Practice" by Carolyn A. Riotte. This book provides a comprehensive guide to pattern design, including an overview of the principles and practices of pattern design and examples of different types of patterns and their applications in fashion design.5. "The Pattern Cutting Book" by Vickie Howell. This book provides an introduction to pattern cutting, including techniques for creating patterns for different types of garments and an overview of the basic principles of pattern cutting.这些文献可以帮助您了解服装结构的基本原理和实践，以及在时尚设计中的应用。
服装中的褶皱艺术
服装中的褶皱艺术谈起服装中褶皱设计，很多人第一时间会想到著名的服装设计大师ISSEY MIYAKE，关于三宅一生的设计生涯，最让大众所熟知的莫过于“一生褶”与“A POC（a piece of cloth）一块布”的革新理念，两者则分别代表三宅一生对服装折叠的探索和环保理念的实践。
Issey Miyake 1980s从“一块布”到一块带着褶皱的布。
早在80年代初就推出的“一生褶皱”（Pleats Please）几乎成了三宅一生的象征。
轻盈的布料自带永恒的纹理。
Issey Miyake, Staircase Dress（梯裙）, 1995秋冬季Issey Miyake, Ensemble,Issey Miyake作品当褶皱艺术遇上现代科技技术后，带有浓浓空间感与未来设计主义的服装作品应运而生，诺亚拉维夫是以色列拉马特甘设计学院的学生她最近的项目是研究集合来创建3d打印元素的复杂平面图案设计，创建网格一系列的服装。
这些褶皱的创作灵感来自伊丽莎白时代的戏剧、戴尔奇胡利的玻璃艺术和错综复杂的裸鳃亚目动物。
从古典雕塑的灵感，其中大理石是如此巧妙地雕刻出纺织物，她探索硬和软之间的相互作用。
服装褶皱的产生使得服装增加了独特的韵律,不管是纯色的小褶皱还是其他颜色或者撞色的褶皱都增添了女性的魅力和优雅。
褶皱不仅使得衣服的灵动,还衬托出了女性的韵味。
在日常的成衣作品中，大家可以看到各种各样的褶皱作品，那这些褶皱都有一些什么区别呢。
立领褶由欧洲中世纪拉夫领演变而来经由设计师再次设计，花瓣般的碎褶衬托脖颈处的优美，增添更多女性魅力。
抽褶打破平整，丰富层次感，一般抽褶常用的有三种方式，一种是用手缝针疏缝，再拉紧到需要的长度；一种是做一个通道，抽绳拉紧形成褶；一种利用橡筋的弹力回缩自然形成褶。
抽褶一般都自然随性。
荷叶边褶皱宽宽大大的荷叶边褶皱，给服装带来了浓浓的少女心情怀。
风琴褶皱这种褶皱真的是风情迷人,为女性服装轮廓上增添了视觉纹理及动感。
波浪褶的夸张在服装设计中的表现
波浪褶的夸张在服装设计中的表现丁瑛【摘要】Wave folds are extended and expanded based on the changes in wave edge fold, They not only have the structural characteristics of curve,but also have the pleated texture,practical application value and irreplaceability. Exaggeration of wave folds is typical and representative in the costume design. Starting from the basic concept of wave folds,this paper studied the expression of wave folds exaggeration in costume design from two aspects(exaggeration characteristics and forms) by combining the design works and provided more experience for exploring the application rule of wave folds. The results show that the exaggeration characteristics and forms of wave folds run through each other,and play an important role in beautifying and modifying clothing as well as displaying clothing style. To master the exaggeration characteristics and forms of wave folds, the application scope of wave folds can be enriched and expanded to bring rich creative design.%波浪褶是在波浪边的基础上延伸、拓展变化的褶,既具有曲线构造特征同时又具有褶的纹理,有其现实的应用价值和不可替代性.波浪褶的夸张在服装设计中的表现具有一定的代表性和典型性,文章从波浪褶的基本概念入手,结合设计作品从夸张的特点和形式两方面重点研究了波浪褶的夸张在服装设计中的表现,为探究波浪褶的应用规律提供更多的经验借鉴.研究结果表明,波浪褶夸张的特点和形式互相贯穿,在美化和修饰服装、展现服装风格等方面起到重要作用.掌握波浪褶夸张的特点和形式,可以丰富和拓展波浪褶的应用范畴,为设计带来丰富的创意.【期刊名称】《丝绸》【年(卷),期】2018(055)005【总页数】8页(P65-72)【关键词】波浪褶;波浪边;褶结构;服装设计;装饰;结构造型【作者】丁瑛【作者单位】上海工程技术大学服装学院,上海201620【正文语种】中文【中图分类】TS941.2波浪褶作为褶结构中的一种，具有基本褶的特点，将其独立于所有褶之外来研究在于波浪褶不同于其他褶结构直线的平直效果，其以曲线为特征，造型优美生动，起伏绵延，富有舒展奔放的艺术张力，有其现实的应用价值和不可替代性。
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Vol. 3 (3), April, 2009ISSN 1994-9057 (Print) ISSN 2070-0083 (Online)Effect of Seams on Drape of Fabrics(Pp. 62-72)Sukumar Nachiappan- Lecturer, Textile Engineering Department, Faculty of Engineering, Bahir Dar University, Bahir Dar, Ethiopia.Email: sugumaraan@Gnanavel. P. - Lecturer, KSR College of Technology, Tiruchengode–637 215, TamilNadu, IndiaAnanthakrishnan, T.- Professor and Head, Department of Textile Technology, Government Sri Krishna Rajendra silver jubilee Technical Institute, Bangalore – 560 001, IndiaAbstractDrape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyse the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.African Research Review Vol. 3 (3), April, 2009. Pp. 62-72Key words: drape, computer aided design, seam, stitch density, Design of ExperimentsIntroductionDrape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 2005). The mechanical properties of fabrics were first studied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al. (1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is unrealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit a complex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle and Postle, 1993).A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothing industries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ringEffect of Seams on Drape of Fabricsof fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the main parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 2005). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.MethodologyThe sample is cut and Stitch like (Radial), ‘+’ mark with 3 different types of seams and 3 different stitch densities. The method of experiment is shown in the flow chart figure 1.Sewing ThreadPolyester sewing thread is employed to put seam and its quality particulars are,Thread count (Tex) Ne : (2 x 10) 2/60Direction of Twist : ZTypes of SeamThe types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cmAfrican Research Review Vol. 3 (3), April, 2009. Pp. 62-72square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.(1)Plain Seam (S1)This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.(2)Welt Seam (S2)For constructing this, we should stitch the plan seam and press both seam allowances to one side. Then the inside seam allowance is trimmed to ¼”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.(3)French seam (S3)The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished width is ¼” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabric. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made ¼” from the fold.Stitch DensityThree stitch densities employed are 5, 4 and 3 stitches per Cm.Stitch was done on an industrial sewing machine.Type: Plain Stitch MachineT1 Stitch Density (5 St/cm)T2 Stitch Density (4 St/cm)T3 Stitch Density (3 St/cm)TestingDrape test in carried out on cusik’s model drape tester. The drape meter is an optical instrument. It is shown diagrammatically in figure 2. The sample holder consists of flat plates, circular in shape, mounted on a shaft coming through the base of the tester. The plates and the shaft are raised until the overhanging the overhanging portions of the sample no longer touches thebase. The image of this draped pattern is cast onto a sheet by means of a lens system. This pattern is then traced on a thin piece of paper.Figure 3 shows typical drape diagrams traced on paper sheet. The smaller circle indicates the area of supporting disc, and the larger circle indicates area of the specimen profile indicates the area of draped fabric. The term drape coefficient is used which is defined as the percent of the annular ring area covered by the draped sample. Drape coefficient = 2222dD d s A A A A −− X 100Where2s A , A 2D and A 2d are the area of the vertical projection of the drapingsample fabric (cm 2), the area of the round sample holder (cm 2), and the areaof the sample (cm 2), respectively. 2.6 Radii measuresThe radii are measured for the draped patterns at the interval of 200. This would help to trace a nodal graph of draped patterns. Identify the shift in profiles, which may not be evident by comparing only the drape coefficients. Design of ExperimentsA null hypothesis is setup stating that there is no significant difference of the drape weft between the fabrics no significant difference exists between treatments. A two-way analysis of variance is proposed for the same.Multi variant analysis is proposed to setup multiple regression equations for the Drape coefficients with basic parameters of the fabric.Results and Discussion Drape CoefficientTable 2 shows the percent drape coefficients of samples.Instruments and FabricsTen different fabrics are chosen for the work and the following Table 1 shows fabric particulars. Considerable differences are seen in the Drape coefficients by looking at Table 2. Tables 3, 4, 5 show the results of Anova. Results of ANOVAThe Drape coefficient significantly differs between fabrics and treatments, when control sample is included. Excluding the control sample, treatmentsEffect of Seams on Drape of FabricsAfrican Research Review Vol. 3 (3), April, 2009. Pp. 62-72has no effect on drape coefficients which indicates that drape coefficient changes when it’s seamed but is not significant for seam type and stitch density selected.Multiple RegressionsThe table 6 is showing multiple correlation coefficients regression co-efficient for the drape co-efficient with basic fabric properties. Looking at the table it is evident that basic properties of the fabrics samples is largely governing that the drape of fabrics.A small reduction in the drape coefficient is only indicating that the seams would slightly affect the drape coefficient.The yarn count has a very large effect followed thread density.ConclusionA study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drape profiles.Effect of Seams on Drape of FabricsReferencesBooth, J.E. (1968), “Principles of Textile Testing”, 3rd ed., Heywood, London.Brand R.H. (1964), “Measurement of fabric Aesthetics, Analysis of Aesthetic components”, Textile Research Institute, pp 791 – 804.Fourt. L. and Hollies. N.R.S. (1970), Clothing – Comfort and function, Mareel Dekker Inc., New York, pp 1-7.HU J, Chung S., “Drape behaviour of woven fabrics with seams”, Textile Research Journal, 1998 913-919.Jinlian Hu, Siuping Chung and Ming-tak Lo. (1997), “Effect of seams on fabric drape”, International Journal of Clothing Science andTechnology, Vol. 9 No. 3, pp. 220-227.Kaushal Raj sharma and B.K. Behera. (2005), “Effect of the sewing and fusing of interlining on drape behaviour of suiting fabrics”,International Journal of Clothing Science and Technology, Vol. 17No. 2, pp. 75-90.Matsudaira, M. and Yang, M. (2000), "Features of drape behaviour of polyester Fibre Shingosen fabrics by image analysis", World TextileConference, Textile Institute, Manchester.Narahari Kenkare and Traci May-Plumlee. (2005), “Evaluation of drape characteristics in fabrics”, International Journal of Clothing Scienceand Technology, Vol. 17 No. 2, pp. 109 -123.Postle, R.J. and Postle, R. (1993), “Fabric drape based on objective measurement of fabric bending length”, Textile Asia, Vol. 24 No. 2,pp. 63-6Stylios, G.K. and Zhu, R. (1997), “The characterisation of the static and dynamic drape of fabric”, Journal of the Textile Institute, Vol. 88No. 4, pp. 465-75.Figure 2: Nodal lengthControl SampleS1T1 Seam type - ISeam type - IISeam type - IIIFabric SampleS1T2 S1T3 S2T1 S2T2 S2T3 S3T1 S3T2 S3T3Figure 1: Procedure flow charth 2h 3hAfrican Research Review Vol. 3 (3), April, 2009. Pp. 62-72Table 1: Fabric ParticularsS.No Fabric material Warp Count Weft Count EPI PPI GSM Weave01. 100% polyester 5.4 6.7 48.8 26.8 51.7 Plain Weave 02. Polyester/cotton 9.8 8.4 33.1 26.0 58.9 Plain Weave 03. Polyester/viscose 6.7 10.9 48.8 26.8 70.4 Plain Weave 04. Grey fabric/colon 14.1 13.4 27.6 25.2 81.7 Plain Weave 05. Cotton (casement) 15.4 14.8 26.0 22.8 82.3 Plain Weave 06. Cotton 16.4 16.4 18.1 18.1 65.3 Mat weave 07. Cotton 12.8 12.8 33.9 21.3 76.7 Twill Weave 08. Viscose 6.6 7.0 34.6 33.1 52.5 Sateen weave09. Cotton 29.5 29.5 16.5 11.0 88.9 Brighten honey comb 10.Cotton19.529.534.626.0189.2Honey combTable 2: Drape Coefficient S3 -> Plain Seam T3 -> Stitch Density (3St / cm)S2 -> Plain Seam T2 -> Stitch Density (4St / cm)DRAPE CO-EFFICIENT Fabrics Control S1S2 S3 T1 T2 T3 T1 T2 T3 T1 T2 T3 PET 60.2 61.3 62.7 66.0 63.9 68.7 69.4 67.3 65.6 61.2 PC 86.1 87.8 91.5 86.3 94.6 92.5 92.9 85.1 96.5 93.4 PV 60.5 69.8 70.0 73.7 74.2 76.2 76.9 73.7 79.3 72.6 Grey 70.7 67.0 73.7 70.0 70.5 70.1 72.6 75.6 72.4 73.0 Casement 82.4 80.0 78.3 83.8 87.4 86.6 85.5 78.9 78.3 82.9 Mat 61.3 75.8 73.0 59.5 73.0 69.4 67.5 67.7 67.0 69.6 Twill 75.1 78.0 77.6 82.7 82.0 82.5 76.4 83.3 83.5 75.6 Sateen 51.1 47.9 59.5 61.7 62.7 57.1 50.3 63.4 59.3 58.8 BHC 76.9 77.4 80.2 85.7 79.8 90.4 82.2 89.8 81.4 84.4 HC81.387.288.587.882.085.379.879.476.283.1Effect of Seams on Drape of FabricsTable 3: ANOVA (With control)ANOVA (With control)Source ofVariationSS df MS F P-value F crit Fabrics 9337.78 9.00 1037.53 69.06 0.00 2.00 Treatments 385.74 9.00 42.86 2.85 0.01 2.00 Error 1216.95 81.00 15.02Total 10940.47 99.00Table 4: ANOVA (Without control)ANOVA (Without control)Source ofVariation SS df MS F P-value F crit Fabrics 8229.54 9 914.39 60.10 0.00 2.01 Treatment 133.68 8 16.71 1.09 0.37 2.06 Error 1095.27 72 15.21Total 9458.49 89Table 5: Result of ANOVASource of Variation With control samplesExcluding controlsamplesF-ratio Significance F-ratio SignificanceFabrics 69.05 Yes sig. 60.10 Yes Sig. Treatment 2.85 Yes Sig. 1.09 Not Sig. African Research Review Vol. 3 (3), April, 2009. Pp. 62-72Effect of Seams on Drape of FabricsTable 6Control S1T1 S1T2 S1T3 S2T1 S2T2 S2T3 S3T1 S3T2 S3T3Multiple0.90795 0.90355 0.87076 0.84551 0.79649 0.86908 0.81126 0.88700 0.79570 0.78674 RR0.82438 0.81642 0.758219 0.71488 0.63440 0.75531 0.65815 0.78677 0.633146 0.61895 SquareIntercept 87.555 120.673 96.613 70.250 115.864 92.328 102.425 84.615 110.395 97.430 Epc 1.0854 0.7787 0.6469 1.3330 0.6697 1.3672 1.3673 1.0044 1.2294 0.7759 Ppc -2.2717 -3.1195 -1.9211 -1.854 -2.390 -2.529 -2.884 -1.748 -2.833 -2.027 N1,Tex 7.147 3.849 4.408 5.879 4.210 5.907 5.627 4.594 4.983 4.719 N2,Tex -7.952 -5.780 -5.413 -5.798 -5.774 -6.136 -6.565 -4.437 -6.210 -5.421 GSM 0.2116 0.4035 0.2560 0.0981 0.2701 0.0980 0.1767 0.0103 0.1764 0.1721Coppright © IAARR, 2009: 72 Indexed African Journals Online: 。