【参考文献翻译】服装设计中独特性的表达.doc
服装设计创意外文翻译文献
服装设计创意外文翻译文献AbstractThe purpose of this research is to XXX in the process of clothing design。
It aims to analyze the XXX and the design process。
how to collect sources of n。
and XXX.Research methods: Currently。
many scholars have conducted empirical research on ready-to-wear clothing design。
field ns。
semi-structured interviews。
and constrained and semi-driven design tasks。
This empirical research method can be XXX insufficient。
XXX industry is needed。
such as the n industry。
not just empirical research on individual people or companies。
but as many cases as possible should be studied.Research results: XXX n for each source。
Recognize that these sources of n can help designers XXX。
XXX stage of the design process and in the early XXX.XXX: XXX.Keywords: XXX。
clothing。
creative thinking。
design arrangement。
design managementXXX design that includes visual and tactile senses。
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。
服装设计中的个性与独特性
服装设计中的个性与独特性在现代社会，个性和独特性成为了人们越来越关注的话题，而这种追求个性和独特性的态度也渗透到了服装设计领域。
服装设计师们通过巧妙的设计和独特的创意，将个性和独特性注入到每一件服装之中，使得人们在穿着时能够体现出自己的个性和独特性。
本文将探讨服装设计中的个性与独特性，并分析其在现代社会中的重要意义。
首先，个性和独特性在服装设计中起到了引导和激励人们追求自我表达的作用。
每个人都是独一无二的，拥有自己独特的个性和审美观，而服装设计师正是通过他们的作品来满足人们表达自我的需求。
设计师们以多元化的创意和风格，提供了不同的服装选择，使得人们可以根据自己的个性和喜好来选择适合自己的服装，从而在穿着中实现个性的展示，这对于个体来说具有极大的价值。
其次，个性和独特性在服装设计中突破了传统的束缚，创造了更多的可能性。
在过去，服装设计往往受到传统观念和规范的限制，大家似乎都穿着相似的服装。
然而，如今的时尚界正处于一个多样性和包容性的时代，人们开始崇尚个性和独特性的展示。
服装设计师们在设计过程中大胆创新，摒弃传统束缚，通过独特的设计理念和材料运用，打破常规，带给人们更多的新鲜感和惊喜。
这种突破传统的态度使得服装设计成为了一门充满创造力和可能性的艺术。
再次，个性和独特性使得服装设计师能够在市场竞争中脱颖而出。
现在的市场充斥着大量的服装品牌和设计作品，要想在这个竞争激烈的行业站稳脚跟并建立起自己的品牌形象，关键就在于独特性和个性的展示。
一个与众不同的设计理念和独特的创意可以吸引人们的眼球，使得消费者对该品牌产生兴趣。
通过将个性和独特性注入到服装设计中，设计师们能够创造出独一无二的作品，使得消费者在购买时能够感受到不同于其他品牌的价值，并对其产生认同感。
此外，个性和独特性也为人们提供了展示自我和彰显身份认同的平台。
现代社会注重个体的价值和尊重，而服装作为一种身份的符号和表达方式，成为了人们展示自我的重要途径。
中英文外文文献翻译中性化服装设计
本科毕业设计（论文）中英文对照翻译原文The study on the design of neuter clothingHouse WAbstractSocial and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from thebeginning of non-mainstream design till now has developed into one of the mainstream fashion design style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable.Key words: Neuter; Clothing; Gender roles; Design1 IntroductionThe beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable elements, such as dust coat with a neutral style, suits, t- shirts and jeans have become people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economicdevelopment, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results. Neuter clothing style has become the mainstream of one of the clothing style, can meet the demand of modern social personalized aesthetic. After more than a century of development, the neuter clothing style has represents a unique charm, is also one of the fashion trend in the future. This article through to the depth of the neutral clothing style formation and development, through to the neuter clothing design style and design characteristics of interpretation, through to the neuter clothing market development prospect of thinking, for the future research to neuter clothing style, to provide certain theoretical basis.2 Dress and gender consciousnessSex differentiation is one of nature's gifts. Not just the differentiation in humans; only humans, however, to make gender differentiation have cultural significance. Gender or sexual difference. For humans, the difference between men and women. Human gender is conceptually different from animal sex, because sex not only determined by the biological characteristics of human, human spirit and social nature of human gender has a psychological social attribute, therefore, the human gender including biological sex, psychological sex and gender. Humanbiological sex, men and women is the difference in the structure of the body, this is the most basic difference, is the basis of the psychological gender and gender on. Psychological sex refers to the men and women in such aspects as personality, temperament, emotional, and mental difference. Man’s social gender refers to people such as language, communication, symbols and education cultural factors constitute the judgment of the gender social standards. In human culture, clothing is the most directly reflect the culture of the gender consciousness form. Different dress of men and women is not only a feature of modern society, is also a historical phenomenon of very long. Costume history shows that as far back as 2800 BC Sue beauty, clothing on gender differences and gives a different form. In 2000 published by the American psychological association and the university of Oxford encyclopedia of psychology cited for gender roles defined by Carroll: gender roles is decided by the certain culture is suitable for male and female behavior system, also including those men and women is seen as a form of basic attitude and emotion. Gender roles (sex role), as by the society with a gender (male or female) consistent patterns of behavior. Men or women in such aspects as behavior, expression, tone of voice, clothing has its own characteristics, they play a different in the society. Role and the division of labor are often seen as god's truth. Women with men's or women's men's wear, is one of the female role in sex rebelled, Simon child is called "men against" "she doesn't wantto give up the right, but she also don't want to be deprived of the status of women, she chooses to participate in the world of men, even the most of it.” Women’s men's w ear, with this "compromise" between active personality and sex role, and amounted to "a state of psychological balance”. Women’s men's wear phenomenon is accepted by society. It embodies the value of men with the male sex of praise, in the interests of the patriarchal society. The progress of the society makes the history of sexual personality and gender values vary in modern society, gender personality value has been changed, more equal gender personality value. Social reality inevitably affects people's dress code and aesthetic standards, amphitricha dress to freedom, but both sexes mode still exists. Aesthetic standard mutates, the majesty of male charm is not absolute, but rather masculine in miscellaneous in some women's gentle but reflect in the women's gentle feeling. Contemporary clothing reflects the characteristics that: men from wide fat to fit, in the male style into the fiber characteristics of beauty; Fiber the dress also stressed that the dynamics/embodies the moderate male style. 3 The neuter clothing design styleIn the field of clothing, style refers to the uniqueness and difference of clothes or accessories. Neuter clothing style is characterized by: clothing modeling may be, form and refined; No obvious gender tendency, clothing decoration element and simplified properly; Clothing main tone to neutral color or no color; Fabrics are used more comfortable, good plasticitymaterial. Neutral style is not because of gender fuzzy and obliterates the personality characteristics, on the contrary, the appropriate to reflect neutral dress in rich individual character characteristic. This feature is composed of a state of uncertainty intertwined, and sometimes masculine, gently lyrical, and occasionally showed comprehensive lasting appeal. Therefore neutral style has become popular, clothing lies in the grasp of the gender neutral style, one is the trend of the outside of the gender neutral, namely the excavation of the common elements; It is sex in contrast, namely to find the opposite sex element. 3.1 Style restoring ancient ways Restoring ancient ways is to reminisce about the good things and miss, restoring ancient ways is not intact copy of the once popular element and clothing styles, but the designers through the change of The Times, to those who once popular element to a new style and show the world that once again the fashionable tide. Celine is neutral with representatives of the famous brand, Paris fashion week 2012 spring and summer, Celina shows the spirit of going to go through with restoring ancient ways. Deliberately do big coat sleeves, make women more free and easy handsome taste between walking. Dolce & Gabbana 2012 autumn/winter collection or elegant handsome or mature sexy Sicily noble men will bring us back in the 1910 s of 20th century. Everywhere the keys of the gold embroidery make integral style, delicate and costly, adding to the noble sentiment and drama. 3.2 Style of deconstructionIn today's modern high-speed development, the social environment and cultural background is becoming more and more inclusive and diverse, the traditional concept of men and women dress habits is undergoing great changes. Men's women wear, ladies' man, costume design concept and cut constantly innovation _.Deconstruction fashion style advocated jumping, fracture, split, combination of elements and collage, make the clothes appears cloud thickens, secrecy and rich connotation, very accord with neuter clothing aesthetic style.2012 Madison Martin Margie couture show of spring and summer, in a similar wardrobe of clothes as the prototype, her boyfriend will wear again after its deconstruction on women's bodies. Use has a strong sense of a chip cloak, deconstruction of stiff leather clamp, suit jacket with the sleeves cut off, and before the split leather skirt to deduce female neuter features of hale and hearty. 3.3 Luxurious style Future there will be two big trends: fashion is all the way toward simplicity. Another way is too costly. With the improvement of social economic level, more attention paid to the clothing brand value, high-grade fashion like Dior, Burberry has far exceeded the consumption level of the general public, but because they lead the fashion, and high-end, limited release materials, and got some pursuit of quality of life of consumers. Costly style from classical aristocratic luxury, luxury and popular culture and bold, passionate and enthusiastic, which creates a flashing and vulgar, bold and unrestrained, and elegant, gorgeous between infinite charm,luxurious, sex appeal and fashion. Brightly colored bright, bold lines, modeling is fashionable, rich move feeling, is the unique aesthetic art in strong pioneer characterization, is full of imagination and ornate than in reality. Milan fashion week of 2012 autumn winters, Gucci 2012 will take us back to the 19th century, realize the Diablo, ornate classical lady feel. 4Analysis of characteristics of neutralization costume design 4.1 CharacteristicsColor is the key to decide things style, each color from cold to warm, from soft to the strong can show different personality. Color than modeling, fabrics and other factors, said not to occupy a more dominant position, but he is the most direct to sensory stimuli. Clothing aesthetic value is by clothing color, shape and material of the three complement each other, perfectly together and show up. Such as: use more avant-garde style bold and bright, high contrast color. Classical dress style is to adopt the elegant, color coordinated color. Postmodern style emphasizes colorful, exotic style of national wind and by combining a variety of elements as the main characteristics.4.2The characteristicsClothing modeling can be divided into two parts, inside outside modeling and modeling, the equivalent of "style”. Refers to the structure of the clothing modeling design, it include the structure line, collar,sleeves, etc. The structure of the clothing line refers to reflect each splice site in the clothing, constitute a line of garments' integral form, including the provincial highway, pleat, line, decorative thread, etc. No matter and simplified structure line can be summarized as straight line, arc, and three kinds of curve. Light line spell able, curve, straight line and curve coordinate each other, constitutes a pleasant visual aesthetic feeling. Line structure can sometimes create illusion, the designer can use it as fault rule design, make the wearer's body appear better than true state. Abandon the adornment of heavy and complicated, return to simplicity, neutral clothing with modest attitude in the eyes of the world. Sex is no longer a designer to consider the primary factor, the design of the neutral clothing trying to weaken the differences of men and women in the physiological and physical structure, the profiles of the neutral clothing model presents the convergence between men and women style, contracted modeling nonsexual neutral clothing became one of the fashion design.4.3The fabric characteristicsClothing design is not just on the canvas or drawings show the effect of clothing, but through a variety of fabric, through the fabric structure, fabric texture, fabric color feeling, fabric thickness form to reflect design modeling design. Someone put clothing design as the material of the sculpture, the appearance of clothing is used to reflect the fabric, can produce heavy lines with thick cloth, frivolous fabrics can reveal the lineof light again, pretty hard or soft cloth of contour line and each are not identical. With the gradual improvement of the quality of people's life, modern clothing is more and more pay attention to the principle of comfortable, beautiful, practical, advocate natural, and pay attention to environmental protection. The development of science and technology also have greatly enriched the fabric market, designers can use a variety of texture of fabric, to enrich the design of the neutral clothing, in order to achieve the effect of pursuit. Using different appearance of the fabric to people's psychological feeling is not the same? 文献出处：House W. The study on the design of neuter clothing [J]. Stellenbosch Papers in Linguistics Plus，2016，4（7）: 65-75.译文中性化服装设计研究House W摘要社会经济的发展、社会思想的开放和科学技术的进步,男女着装风格呈现出了多元化的格局,中性化这种模糊男女性别差异的着装风格,从一开始的非主流设计到现在已经发展为主流的服装设计风格之一。
品牌服装设计之个性化表达论文
品牌服装设计之个性化表达的研究摘要品牌服装个性化表达研究为社会审美趋势做出了正确的指导和向导，对于提升服装产业的附加值，改善人们生存的状态有着高度的意义，并且这些意义也意味着服装设计师在新时代里肩负着的责任。
随着信息化时代的到来，电脑以及各种数字化设备在设计领域的广泛使用，只有个性化的设计作品才能在行业中立于不败之地，才能获得艺术价值，才能在行业中受到人们的推崇，伴随着信息视觉化的发展和生活节奏的加快，个性化的服装设计正在融入我们生活的每一个角落。
关键词：品牌服装个性化文化风格形象中图分类号：j523 文献标识码：a当人类的文明进入迅速、深入而广泛的交流与融合阶段，随着世界政治、经济、文化的大融合趋于破竹建瓴之势，人类也进入“肆无忌惮”展示个性的时代。
从心理学角度上分析，在世界上不存在没有个性的人，只是人们在展示个性的能力水平和方式表达上参差不齐。
通过人们的着装式样和着装态度以及着装的细节上都可以看出一个人的个性，服装是人们生活中不可缺少的一部分，随着时代的发展，个性化是时代最突出的一种潜在特征。
服装不在是纯粹的物质性消费品，更多的是作为精神性消费品来满足风格的展示和个性的彰显。
个性化的表达不仅是服装品牌文化的重要体现，也是服装风格确立的重要手段，更是服装品牌形象的完美诠释。
从世界顶级服装品牌无论是欧美品牌克里斯汀·迪奥精致裁剪的服装设计、香奈儿开创年轻化个性化衣着形式、范思哲黑色调和鲜艳色彩的设计、阿玛尼昂贵的新型面料和精良剪裁，还是日本品牌三宅一生的“褶皱”风格设计、有色彩魔术师之称的高田贤三、山本耀司将性别模糊化的设计、川久保玲解构主义风格设计的成功都体现了服装设计是高度的社会文明和个性张扬的和谐统一。
因此，作为一个服装品牌处在今天高度发展的信息社会中，服装品牌文化和风格的建立需要个性化的内容。
一个性化表达对服装品牌确立的重要性1 个性化表达是服装品牌文化建立的重要体现“服装”被视为一种能满足人类心理需求的精神文化产品，表现出了丰富的文化内涵和较高的艺术品位。
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。
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。
创意性服装创作研究外文文献翻译
创意性服装创作研究外文文献翻译近年来，创意性服装创作受到了越来越多的关注。
本文主要翻译一些相关的外文文献，探讨了创意性服装创作的一些研究成果。
文献1: "The Role of Inspiration in Creative Fashion Design"该文献探讨了创意性服装创作中的灵感的作用。
研究发现，灵感是创意性服装设计过程中不可或缺的组成部分。
设计师通过从各种来源获取灵感，如自然界、艺术、文化等，激发创造力并实现独特的设计概念。
创意性服装创作需要设计师具备敏锐的观察力和创造性思维。
文献2: "The Impact of Technology on Creative Fashion Design"该文献讨论了技术对创意性服装设计的影响。
研究发现，随着技术的不断发展和创新，设计师能够运用各种先进的工具和软件来辅助创意性服装的创作过程。
如3D打印技术、智能化纺织品等，这些技术的应用使得设计师能够更加快速、高效地实现创意性服装的构思和制作。
文献3: "Sustainability in Creative Fashion Design"该文献探讨了可持续性在创意性服装设计中的重要性。
研究指出，随着环境问题的日益严重，可持续性成为了创意性服装设计的重要议题。
设计师在创作过程中应考虑材料的选择、生产过程的环保性以及产品的可循环利用性等方面，以减少对环境的影响。
通过将可持续性融入创意性服装创作，设计师不仅能够满足消费者对环保的需求，还能推动时尚业的可持续发展。
文献4: "Cultural Influences on Creative Fashion Design"该文献探讨了文化对创意性服装设计的影响。
研究发现，不同的文化背景能够为创意性服装的创作提供独特的灵感和创意。
设计师可以从不同的文化中吸取元素，将其融入到创意性服装的设计中，创造出具有强烈文化特色的作品。
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。
3000字服装设计外文文献
3000字服装设计外文文献篇一：服装设计外文文献翻译文献出处：Sukumar N, Gnanavel P, Ananthakrishnan T. Effect of Seams on Drape of Fabrics [J]. African Research Review, 20xx, 3(3)：62-72.原文Effect of Seams on Drape of FabricsSukumar ；Gnanavel. P. , Ananthakrishnan, T.AbstractDrape 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 analyze 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.Key words: drape, computer aided design, seam, stitch densityIntroductionDrape 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. 20xx). The mechanical properties of fabrics were firststudied 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 uealistic 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 acomplex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (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 clothingindustries. 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 ring of 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. 20xx). 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.Types 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 35cm square 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 ”. 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 widt h is” 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” from the fold.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篇二：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 Clothin g Science and Technology 18.4 (20xx): 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 whereconventional 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 manycharacteristics 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 andthen 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] M?kirinne-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, 11university-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, visitingmuseums, 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 learnmost 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 the篇三：课题_服装设计外文翻译服装设计外文翻译CoutureSewingUnitedStates Technique Claire B.Shaeffer Printed originallypublished TauntonPress,Inc. Chapter4.Edge Finishes Hems,Facings BindingsUnless finished someway, garmentravel lookincomplete. edges—theneckline; verticalfrontcanbecome edges jackets,coats manyblouses; jackets distinctive, decorative elements design.Threefinishes usedextensively couture:hems,facings edgefinish depends manythings—the shape edgebeing finished; its position type,design garment;current fashion trends; individualwearer bottomedge asymmetrical,curved, scalloped otherwiseunusually shaped, facing.Even when twodifferent edges requireslightly different finishes tailoredgarment would require very different finishing from eveninggown, even similar designs vorked dissimilarfabrics would dictate finishes suitable eachfabric. Although hems, facings alledge finishes, each has slightlydifferent function. Hems generallyused loweredges garmentsection manyhelp garmenthangattractively addingweight edge.Facings, otherhand, verticaledges garments.Bindings can upper,lower verticaledges, they’reused most often replacefacings rather than hems. Facings can separatesections finishcurvedshapededges. whenused onlyslightly curved, nothingmore than widehem allowance, whichcase they’re called extended facings. Both hems onlyone side—usually garment.Bindings, separatestrips garmentedgeBecause finishboth materialstakes sides backseat garmentattractively.desiredresults, edges alwaysfinished simplestmethod onemost often used ready-to-wearconstruction homesewing. Whatever finishingmethod, hems, facings bindingscan sewnentirely machinework.. handwork visible finishedproduct, however, handwork used traditionalcouture garment. FACINGS Facings, like hems, garment.Unlike hems, which hang free garment’shang more than its overall shape, faced edges frequently fit body’scurves subtlyaffect garment’ssilhouette. Used garmentopenings, curved edges shapededges like jacket lapels, facings contribute significantly overallimpression well-constructedgarment. threetypes facings:extended, shaped bias.Two biasfacings—are cut separately from sewnfrom self-fabric lightweightlining fabrics. extendedfacing garmentsection like plainhem course,self-fabric. extendedfacing nothingmore than 2-in.hem sewnexactly like plainhem (see pp. 63-64). When garmentedge length-wisegrain, extendedfacing duplicates slightcurve,facingcan’t duplicate mayhave eased,stretched edgesmoothly. extendedfacing usedextensively couturebecause foldededge moresupple than seamededgesbetter.stabilizedso Edges biasfacings extendedfacings itsnameoftenusedalwaysused consequentlydrapes generallyinterfaced suggests, originalshape shapedfacing ususllyduplicates look, edgesintended crisp,constructedintricatelyshaped edges like scallopedhem. biasfacing stripcut truebias. Because doesn’tduplicate facingmust itself edge.Bias facings madefrom lightweight fabrics producenarrow, inconspicuous facings. cousture,more than one type oftenused singlegarment singleedge. pinkgazar dress shown above, example,has extended facings frontneckline backopening backopening shapedfacings frontnecklineshapedfacings backneckline. Similarly, p.60has shapedfacing upperhalf frontedge extendedfacing lowerhalf edge.Before applying any kind facing,examine garment’sfit determinewhether edgeneeds staytape (see pp. 49-50) interfaced(see 68).Once you’ve handled youcan proceed facingyou’ve chosen. SHAPED FACINGS Shaped facings can machine.Both types couture,while only machine applications machineapplication course,faster, sometimesmore difficultfacingso fitssmoothly, sometimesvisible garmentedge. instructionsbelow applyingshaped facings machine,refer yourfavorite sewing manual.) directionsfocus necklinefacings because they’re most frequently used coutureworkrooms. However, directionscan otheredges waistbands,armholes, applied pockets, collars garmentlinings. facingcan madeany time after neckedge stabilizedappropriately design.Facings can cutfrom originalgarment pattern edgewasn’t changed during fittingprocess, garmentitself can serve pattern.When thread-tracedneckline can correspondingstitching line finishedneckline can also guidewhen you’re applying hand.Neck facings can severalshapes. Two mostpopular traditionalcirclular shape, which measures evendistance all around from rectangularshape, which extends armscyeseams. When largershape facingedges can seamlines,holding them smooth facingshadow may alsolessobtrusive largershape, depending obviousdisadvantage additionalfabric introduced shoulderarea, which may give bulkyappearance. One solution reducingsome seamlines1/2 originalpositions. alwaysaligned correspondinggarment seamlines, homesewing. lessfamiliar rectangular facing. caneasily circularfacing, Start selectingsome scraps from your garment fabric backfacingsunless whichcase use lighter,firmly woven material facings.Rectangular pieces preferablebecause you’recutting rectangularfacing high,round neckline back,begin onelarge rectangle about 16 frontfacing twosmaller ones about backfacings. When applying garmentedge before making facingso youcan use finished,do so before starting freeedge lieflat. Trim seamallowance around garmentneck wrongside. Baste generous1/5 seamallowance’s tendency curlaround neck,snip shallow cuts rawedge every inch necklineseam allowance lie flat(as shown wrongside up, place necklineover pressingcushion pressjust necklineedge. yourfingers, gently try rawedge. necessary,trim edgefurther firmlywoven fabrics lessstabble fabrics. seamallowance still doesn’t lie flat, clip rawedge short,closely spaced snips up bastingstitches around neckedge. Use loosecatchstitch seamallowance garmenthas neither, sew carefully so stitchesdo rightside garment.Cut eachsection faced.Before proceeding, decide whether relacating shoulderseams bulk.After relacating youdecide doso, begin wrongsides together, grainlinestogether centerfront itsfacing. garmentneckline curved, whenworn, smooth place,pinning yougo. When you get shoulderseams, smooth frontfacing over seamsso seamallowances flat.Pin。
服装设计 林红梅 文献综述
文献综述现代主义风格是工业化社会的产物，是一种理想主义的探索，是设计家们致力于一种非个人的、能够以工业化方式批量生产的，代表工业社会特征的新设计。
简约、实用、而具有深厚文化内涵的现代主义设计，为社会文明创造了一笔可贵的精神财富。
随着人类物质文明和精神文明的不断发展，服装设计中“极简主义”、“简约而不简单”的思想会更加深入人心，简约的服饰风格会进一步流行，这是社会向前发展的一种大趋势。
作为服装设计师应紧紧把握我们的文化根源，有效地创造出具有中国风格的现代主义设计作品，更好地将“中国概念”用现代主义设计手段诠释出来。
现代主义设计善于创造一种具有诗意的空间样式，把事物的内外在条件协调起来，挖掘富有感情的内在美，创造和谐的视觉空间，坚持浪漫与理性的结合。
而在服装的“内空间”中，存在着东西方两种文化的差异所产生的二维空间和三维空间。
现代主义“少就是多”的设计哲学可以从中国国画大师留出的大片空白当中体会得到。
“少”不是空白而是精简，“多”不是拥挤而是完美。
在设计服装的过程中，经常涉及到的设计元素种类繁多，包括廓形、色彩、面料、辅料、结构、工艺、图案、装饰、配件元素等等。
随着服装的回归自然和多元化风靡趋势，消费者对涂层仿皮革服装的认同度逐渐增高。
涂层仿皮革织物在服装中的应用一般表现为两种，一是作为单一服装面料制作成仿皮革服饰，二是与普通面料搭配组合制作成风格迥异的服装。
单一仿皮革织物制作的服装除了可以获得皮革的外观效果以外，还具有抗皱、耐磨、易打理等优势。
涂层仿皮革面料还可以镶拼在门襟、袖口、肘弯等部位做装饰附件，其作用不仅可以获得独特的外观、增加造型美感，还可以提高服装穿着使用寿命。
涂层仿皮革面料用来制作休闲服装，达到的外观效果和手感可与天然皮革媲美。
涂层面料的色彩与图案比天然皮革的丰富多彩，在服装上具有非常突出的表现力，是吸引消费者青睐的重要因素之一。
根据各种不同的色彩及面料的厚度，可以在不同的时节制作多种多样的服装，以供消费者选择。
服装设计中的个性化表达
服装设计中的个性化表达在当今时尚潮流不断更迭的时代，服装设计已不再仅仅是满足遮体保暖的基本需求，而更多地成为了人们展现个性、表达自我的重要方式。
个性化表达在服装设计中扮演着至关重要的角色，它让每一件服装都拥有了独特的灵魂和故事。
个性化表达首先体现在设计理念上。
设计师们不再局限于传统的审美标准和流行趋势，而是更加注重挖掘自己内心的独特想法和情感。
他们可能从大自然中汲取灵感，将山川湖泊、花鸟鱼虫的色彩和形态融入到服装的图案和剪裁中；也可能从历史文化中寻找元素，将古老的传统工艺和符号重新诠释并运用在现代服装上；还有的设计师会从个人的生活经历、梦想追求甚至是内心的困惑和挣扎中获得启发，通过服装来传达一种特定的情绪和态度。
比如，有些设计师在经历了人生的低谷期后，设计出一系列以黑暗色调为主，线条简洁有力的服装，借此表达内心的坚韧和不屈；而有些设计师则在实现梦想的过程中，创作出充满阳光色彩和流畅线条的作品，展现出积极向上的精神风貌。
这种源自设计师内心深处的独特理念，使得服装不再是简单的布料拼接，而是具有深刻内涵和情感价值的艺术作品。
服装的款式和剪裁也是个性化表达的关键所在。
传统的服装款式往往遵循着一定的规范和标准，但在追求个性化的当下，设计师们大胆突破常规，创造出各种新奇独特的款式。
宽松的长袍、不对称的裙摆、夸张的肩部设计等，都成为了展现个性的有力手段。
剪裁方面，精准的立体剪裁能够更好地贴合人体曲线，突出身材优势，同时也能营造出独特的视觉效果。
比如，通过巧妙的拼接和折叠，让一件普通的衬衫呈现出立体感和层次感，给人以全新的视觉冲击。
而一些不规则的剪裁方式，如斜边、锯齿边等，则打破了传统的规整感，增加了服装的灵动性和艺术感。
材质的选择与运用同样为个性化表达提供了广阔的空间。
不同的材质具有不同的质感、光泽和触感，能够传递出截然不同的感觉。
丝绸的柔软光滑给人以高贵典雅的印象，牛仔布的坚韧耐用则充满了休闲与活力，而皮革的质感则往往展现出个性与酷感。
服装设计中的个性化表达研究
服装设计中的个性化表达研究在当今时尚潮流瞬息万变的时代，服装设计不再仅仅是满足基本的遮体和保暖需求，更成为了人们展现个性、表达自我的重要方式。
个性化表达在服装设计中愈发凸显其重要性，它不仅赋予了服装独特的魅力，也满足了消费者对于独特性和自我认同的追求。
一、个性化表达在服装设计中的体现（一）款式与廓形个性化的款式和廓形设计是服装设计中最直观的表达。
不再局限于传统的标准版型，设计师们大胆创新，通过夸张的比例、不对称的剪裁以及独特的线条运用，打造出与众不同的服装外形。
例如，宽大的衣袖、超长的裙摆、不规则的领口等，这些独特的设计元素能够瞬间吸引目光，展现穿着者的独特品味和大胆个性。
（二）色彩与图案色彩和图案是服装设计中传递情感和个性的重要元素。
个性化的色彩搭配不再遵循常规的配色原则，而是大胆地运用对比强烈、鲜艳夺目的色彩组合，或者选择低调而神秘的小众色调，来营造出独特的视觉效果。
图案方面，从手绘插画、抽象艺术到个性化的标志和符号，都被巧妙地融入服装设计中，成为表达个性的独特语言。
（三）材质与质感服装材质的选择和质感的处理也能体现个性化。
除了常见的棉、麻、丝、毛等天然材质，设计师们还不断探索新型材料，如高科技合成纤维、环保可降解材料等。
同时，通过对材质的加工处理，如褶皱、磨破、拼接等手法，创造出丰富多样的质感效果，为服装增添独特的个性魅力。
（四）细节与装饰细节和装饰往往是个性化表达的点睛之笔。
独特的纽扣、拉链、蕾丝、铆钉、刺绣等元素的运用，可以使一件普通的服装变得别具一格。
例如，一件简约的白衬衫，配上精致的手工刺绣花朵或者独特的金属纽扣，就能瞬间展现出与众不同的气质。
二、影响服装设计个性化表达的因素（一）文化背景不同的文化背景孕育出不同的审美观念和时尚风格。
设计师在进行个性化设计时，往往会受到自身文化背景的影响，同时也会从其他文化中汲取灵感。
例如，东方文化中的含蓄、优雅与西方文化中的开放、张扬，在服装设计中碰撞融合，形成了独特的个性化表达。
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献信息：文文献献标标题题：：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 Te____tile Journal》，20________，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 ConsumptionAbstractThis article presents a study that investigates product satisfaction inthe conte____t 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 toclothing 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.20__,134–136).Current industrial design and mass- manufacturing systems stimulate consumerism and the production of disposable products (Walker 20__,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 designcan be a redirective or a proactive practice that aims for sustainable practices in consumption (Fry 2021, 53).Higher production volumes and simultaneous growing consumption have caused an increase in material consumption (Throne-Holst et al.20__).Ever-changingfashion 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, appro____imately 70 percent of disposed clothing and te____tiles end up in landfills, and in many Western countries clothing and te____tile waste is estimated to be the fastest growing waste stream (Fletcher 2021, 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.e____tending the life span of products is essential when the goal is sustainable consumption (Cooper 20__).Importantly, however, consumers associate durability with high quality and not with environmental impact.Emotions lie at the centre of human life, and they influence mostof our behaviours, motivations and thought processes (Desmet 2021, 379).Emotions alsoplay a strong role in consumption.The interplay between wants, needs, values, attitudes ande____periences is emotionally meaningful for a contemporary consumer.Clothing and fashion itemsbelong to the category of self-e____pressive products, and with such products, consumption-related emotions are important to the consumer.As Richins (2021) argued, these consumption emotions are important elements in contemporary society and especially after the purchase event.The purchase situation bees a strong positivee____perience for a consumer, but it is very shortterm in nature and has no connection to thee____perience of deeper satisfaction or person– product attachment (ibid).Through a new purchase event, the consumer can again e____perience e____citement, enjoyment, joy and pleasure, at least momentarily.From an environmental point of view, studying consumption patterns and themeanings 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 attachmentprocess.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 e____periences, 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 designand how the enjoyable use of garments can bee____tended, the satisfaction process must first bee____plained.According to Swan and bs (1976), the performanceof clothing can be separatedintoinstrumentalperformance(physicalproperties)ande____pressive performance.E____pressive performance is linked to a consumer’s psychological response to the garment, such as the e____perience of beauty.Instrumental requirements (e.g.qualitye____pectations) 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 bs 1976).Hence good intrinsic quality is optimal for ensuring consumersatisfaction and to guarantee 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.Somete____tile materials look old after a short usetime.The material might e____perience 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 2021) that consumers e____periencee.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 e____perienced as an attractive temporal dimension (ibid.).Consumersrespect aesthetic attributes in the long-term use of clothing, and aesthetic attributes correspond toe____pressive performance in clothingsatisfaction.Accordingly, e____pressive 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 fortable materials,as well as a classic look (see Table 1).Garment tactility is important to the wearer and a pleasant tactile e____perience during the use situation is one attribute for enjoyable long-term use of clothing.Table I: Attributes that enable longevity in clothingThe attributes that enable longevity in clothing are the following:Quality: Durable materials Durability in use Durability in laundering High manufacturing quality Functionality: Easy maintenance Suitability in the use situation (physiological and psychological suitability)Satisfying use e____perienceBeauty, style, colour, fit Aesthetic E____pressive beauty above average attributes: Tactile e____periencefortable materials Values: Product’s values have to meet consumer’s personal values Not only quali ty, 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 (20__) 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 &; Wallendorf20__).Consumers with high environmental and ethical interests place high importance on being able to findenvironmental value behind a product.These consumers respect credence quality attributes – local and ethical production, eco-materials and long garmentlife spans – and they want to see these attributes and environmental values in the products they purchase.The value aspect is most important and cons umers’ value e____pectationsshould be fulfilled to create deep product satisfaction (Niinimäki 2021). Fashion Designfor 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 withsatisfaction 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 for sustainable satisfaction.The previous section described the satisfaction elements in clothing: -good intrinsic quality;-good functionality;-aesthetics;-values in the product, in manufacturing or the pany’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 ple____ and not easy for a designer to control.Table 2 presents the temporal dimensions in clothing satisfaction, bining 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 productsatisfaction and e____tended use time of the products.Table 2: Elements of proactive sustainable fashion designPAST PRESENT FUTUREMeaningful memoriesMeaningful associations, which create person-product attachments Good functionality Aesthetical dimensionsEnjoyable e____periences during use Continuing satisfaction with the product Product or servicefulfils consumer’s changing needsHigh intrinsic quality New elements in designProduct utility New e____periences with the productConnection to self, identityThe 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 Uniqueness Products carry symbolic meaning, which consumers use to construct their own personality andidentity.Consumers use products to e____press themselves and want association with the characteristics, uniqueness or values symbolised by a product (Norman 20__).If products are easilypersonalised, the opportunity e____ists to connect the product more deeply with consumers’ identity construction and to create deeper product satisfaction and an emotional attachment through theperson–product relationship (Chapman 2021).This opportunity enables the product to be more meaningful to the wearer, making possible an e____tension of the product’s lifetime.Design services are one opportunity to address consumer satisfaction by deeply connecting the design oute 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-measur e” services offer improved product satisfaction by meeting a consumer’s individual needs and preferences better than mass-manufactured garments.The pany NOMO Jeans offersputer-assisted made-to-measure jeans by using a 3D scanner (Nomo Jeans).Jeans are made individually according to each customer’s measurements.Thecustomer 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 sle 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 e____perience 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 sle collection and obtain orders directly from consumers, allowing them to avoid e____tra 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 seasonalcolours.Garments are manufactured only according to customer’s order and according to each customer’sindividual measurements.This strategy helps to avoid overproduction.Moreover the good fit of the clothing helps ensure deeper garment satisfaction. Co-creation One possibility for creating deeperperson–product attachment is through a consumer’s own efforts during the design orrealisation process.A sense of personal achievement is strongly connected to a positive sense of self (Norman 20__) and allows the product to begin to be more important to the wearer.The consumer’s own achievement through a “made by me” approach todesign creates positive e____periences 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 andhalfway products give the consumer a more active rolein the realisation process.One option for includingthe consumer in the design or manufacturing process isto 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 Inter (Niinimäki 2021).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 stwear is a pany that offers ready-made garments, halfway clothing (kit-based) and patterns of their fashion designs (Lastwear clothing pany).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 e____press their values through their choices.For e____le, many consumers, especially thosewho consider themselves ethical consumers, would like to buy locally manufactured garments even if they are more e____pensive (Niinimäki 2021). 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 e____le, it falls out of fashion or the wearer bees otherwise tired of it, the consumer e____periences psychological obsolescence and easily replaces the product with a newone.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 challengein e____tending product lifetimes is to achieve continuing satisfaction with the product.The PSS approach allows the creation of new e____periences with a product or changes to a product to enable it tobetter suit a consumer’s changing needs.Positive ways that a product’s lifetime can be e____tended include upgradability services, modification services ande____change stocks.These strategies can postpone garment disposal by keeping the consumer satisfied longer.Modification or redesign possibilities for quality garments allow for an e____tension of a product’s life span.Many websites already advise consumers on how to modify their old garments themselves and encourage consumers to e____tend the use of their garments.Many small and locally functioning repair and redesign studios also already e____ist, 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 20________, 82).It is possible to play with the clothing elements to create unique binations of colours or shapes to develop a newlook.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 e____perience of newness.Garment e____change or renting services offer possibilities for consumers to make changes to their clothing in more sustainable ways.New and interesting e____les of clothing membership clubs e____ist.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’sclothing.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 conte____t 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 thatarises when aiming to e____tend the life of garments is to increase their durability and intrinsic quality.Moreover, fulfilling consumers’ othere____pectationsregardingthe 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 panies have to meet the consumers’ own value base so that the consumer feels pletely 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’e____pectations regarding quality, functionality, aesthetics and value is a key to e____tending the usetime 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 e____tend the enjoyable use of aproduct and thus avoid psychological obsolescence and a garment’s premature disposal.Stimulating asenseofmeaningfuluniquenessandachievement through design services or “self-made” approaches is a promising route to enhancing consumer satisfaction.If a consumer is satisfied, then strengthening the emotional bondbetweentheproductandconsumerispossible. Inturn,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 e____tend its enjoyable use time.The most promising sustainable design strategy is the bination 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】：^p本文从服装的角度对产品满意度进行了研究。
服装设计中的造型独特性表达
服装设计中的造型独特性表达[摘要]衣、食、住、行，是人们生活必不可少的元素，且“衣”是第一位，可以说，穿衣服是人类必不可少的基本需求。
随着经济全球化不断深入发展，中国社会经济快速增长，人们在物质财富上得到满足，同时，追求更高层次的精神享受，而服装则是一种标志物。
服装产业是我国的重要经济支柱之一。
现今，中国服装产业正在努力转型，从“中国制造”迈向“中国创造”。
服装样式是一个国家精神文化的直接表现、人们个性的表达，精神和物质两大层面，都存在着流行要素，而服装设计就是流行的设定者。
设计是服装的灵魂，而造型则是设计创意的实在化体现，设计创新的价值是无限的，无论是哪一方面的创新，不管是色彩布局还是款式变化，无论是图案的奇特还是面料的新颖，都要通过服装造型表达其独特性。
[关键词]服装产业中国创造服装造型[引言]进入现代社会，人们的生活质量提高，对服装的要求更高，既要穿出美感、个性、舒服、得体，又要对身体有益、与大自然相和谐，这需要设计师凭借自身的设计才华去创造。
设计是服装的“灵魂”，文化是设计的支撑，造型是外在体现。
服装是展现一个国家的政治、经济、科技、文化等的综合展览品，凸显出人的价值观、伦理观、审美观、民族风貌和时代精神，浓缩着人类发展史和文明史，是反映社会现状的一面镜子；而设计造型、色彩、面料三者的协调统一是服装创新的重要要素。
虽然，中国是服装大国；但随着世界经济环境的转变,中国服装产业正面临着重大的、严峻的发展问题，依靠大量廉价劳动力要素而形成低成本的优势日渐丧失,加上我国服装业的服装设计水平远落后于国际，创作能力低下，严重阻碍了服装业的发展与提升。
如何提高我国服装企业的核心竞争力,打造属于我们自己的强势品牌，关键是“设计”，要把“虚构”变“实体”需要通过设计造型，再好的设计如果缺少设计造型，如同竹篮打水，一场空。
然而事实上，中国服装行业正经历着从"中国制造"到"中国创造"的转变，中国服装要打入国际市场,必须加大对服装设计的投入, 使设计造型发挥自身重要的作用。
中英文外文文献翻译中性化服装设计
本科毕业设计（论文）中英文对照翻译原文The study on the design of neuter clothingHouse WAbstractSocial and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from thebeginning of non-mainstream design till now has developed into one of the mainstream fashion design style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable.Key words: Neuter; Clothing; Gender roles; Design1 IntroductionThe beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable elements, such as dust coat with a neutral style, suits, t- shirts and jeans have become people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economicdevelopment, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results. Neuter clothing style has become the mainstream of one of the clothing style, can meet the demand of modern social personalized aesthetic. After more than a century of development, the neuter clothing style has represents a unique charm, is also one of the fashion trend in the future. This article through to the depth of the neutral clothing style formation and development, through to the neuter clothing design style and design characteristics of interpretation, through to the neuter clothing market development prospect of thinking, for the future research to neuter clothing style, to provide certain theoretical basis.2 Dress and gender consciousnessSex differentiation is one of nature's gifts. Not just the differentiation in humans; only humans, however, to make gender differentiation have cultural significance. Gender or sexual difference. For humans, the difference between men and women. Human gender is conceptually different from animal sex, because sex not only determined by the biological characteristics of human, human spirit and social nature of human gender has a psychological social attribute, therefore, the human gender including biological sex, psychological sex and gender. Humanbiological sex, men and women is the difference in the structure of the body, this is the most basic difference, is the basis of the psychological gender and gender on. Psychological sex refers to the men and women in such aspects as personality, temperament, emotional, and mental difference. Man’s social gender refers to people such as language, communication, symbols and education cultural factors constitute the judgment of the gender social standards. In human culture, clothing is the most directly reflect the culture of the gender consciousness form. Different dress of men and women is not only a feature of modern society, is also a historical phenomenon of very long. Costume history shows that as far back as 2800 BC Sue beauty, clothing on gender differences and gives a different form. In 2000 published by the American psychological association and the university of Oxford encyclopedia of psychology cited for gender roles defined by Carroll: gender roles is decided by the certain culture is suitable for male and female behavior system, also including those men and women is seen as a form of basic attitude and emotion. Gender roles (sex role), as by the society with a gender (male or female) consistent patterns of behavior. Men or women in such aspects as behavior, expression, tone of voice, clothing has its own characteristics, they play a different in the society. Role and the division of labor are often seen as god's truth. Women with men's or women's men's wear, is one of the female role in sex rebelled, Simon child is called "men against" "she doesn't wantto give up the right, but she also don't want to be deprived of the status of women, she chooses to participate in the world of men, even the most of it.” Women’s men's w ear, with this "compromise" between active personality and sex role, and amounted to "a state of psychological balance”. Women’s men's wear phenomenon is accepted by society. It embodies the value of men with the male sex of praise, in the interests of the patriarchal society. The progress of the society makes the history of sexual personality and gender values vary in modern society, gender personality value has been changed, more equal gender personality value. Social reality inevitably affects people's dress code and aesthetic standards, amphitricha dress to freedom, but both sexes mode still exists. Aesthetic standard mutates, the majesty of male charm is not absolute, but rather masculine in miscellaneous in some women's gentle but reflect in the women's gentle feeling. Contemporary clothing reflects the characteristics that: men from wide fat to fit, in the male style into the fiber characteristics of beauty; Fiber the dress also stressed that the dynamics/embodies the moderate male style. 3 The neuter clothing design styleIn the field of clothing, style refers to the uniqueness and difference of clothes or accessories. Neuter clothing style is characterized by: clothing modeling may be, form and refined; No obvious gender tendency, clothing decoration element and simplified properly; Clothing main tone to neutral color or no color; Fabrics are used more comfortable, good plasticitymaterial. Neutral style is not because of gender fuzzy and obliterates the personality characteristics, on the contrary, the appropriate to reflect neutral dress in rich individual character characteristic. This feature is composed of a state of uncertainty intertwined, and sometimes masculine, gently lyrical, and occasionally showed comprehensive lasting appeal. Therefore neutral style has become popular, clothing lies in the grasp of the gender neutral style, one is the trend of the outside of the gender neutral, namely the excavation of the common elements; It is sex in contrast, namely to find the opposite sex element. 3.1 Style restoring ancient ways Restoring ancient ways is to reminisce about the good things and miss, restoring ancient ways is not intact copy of the once popular element and clothing styles, but the designers through the change of The Times, to those who once popular element to a new style and show the world that once again the fashionable tide. Celine is neutral with representatives of the famous brand, Paris fashion week 2012 spring and summer, Celina shows the spirit of going to go through with restoring ancient ways. Deliberately do big coat sleeves, make women more free and easy handsome taste between walking. Dolce & Gabbana 2012 autumn/winter collection or elegant handsome or mature sexy Sicily noble men will bring us back in the 1910 s of 20th century. Everywhere the keys of the gold embroidery make integral style, delicate and costly, adding to the noble sentiment and drama. 3.2 Style of deconstructionIn today's modern high-speed development, the social environment and cultural background is becoming more and more inclusive and diverse, the traditional concept of men and women dress habits is undergoing great changes. Men's women wear, ladies' man, costume design concept and cut constantly innovation _.Deconstruction fashion style advocated jumping, fracture, split, combination of elements and collage, make the clothes appears cloud thickens, secrecy and rich connotation, very accord with neuter clothing aesthetic style.2012 Madison Martin Margie couture show of spring and summer, in a similar wardrobe of clothes as the prototype, her boyfriend will wear again after its deconstruction on women's bodies. Use has a strong sense of a chip cloak, deconstruction of stiff leather clamp, suit jacket with the sleeves cut off, and before the split leather skirt to deduce female neuter features of hale and hearty. 3.3 Luxurious style Future there will be two big trends: fashion is all the way toward simplicity. Another way is too costly. With the improvement of social economic level, more attention paid to the clothing brand value, high-grade fashion like Dior, Burberry has far exceeded the consumption level of the general public, but because they lead the fashion, and high-end, limited release materials, and got some pursuit of quality of life of consumers. Costly style from classical aristocratic luxury, luxury and popular culture and bold, passionate and enthusiastic, which creates a flashing and vulgar, bold and unrestrained, and elegant, gorgeous between infinite charm,luxurious, sex appeal and fashion. Brightly colored bright, bold lines, modeling is fashionable, rich move feeling, is the unique aesthetic art in strong pioneer characterization, is full of imagination and ornate than in reality. Milan fashion week of 2012 autumn winters, Gucci 2012 will take us back to the 19th century, realize the Diablo, ornate classical lady feel. 4Analysis of characteristics of neutralization costume design 4.1 CharacteristicsColor is the key to decide things style, each color from cold to warm, from soft to the strong can show different personality. Color than modeling, fabrics and other factors, said not to occupy a more dominant position, but he is the most direct to sensory stimuli. Clothing aesthetic value is by clothing color, shape and material of the three complement each other, perfectly together and show up. Such as: use more avant-garde style bold and bright, high contrast color. Classical dress style is to adopt the elegant, color coordinated color. Postmodern style emphasizes colorful, exotic style of national wind and by combining a variety of elements as the main characteristics.4.2The characteristicsClothing modeling can be divided into two parts, inside outside modeling and modeling, the equivalent of "style”. Refers to the structure of the clothing modeling design, it include the structure line, collar,sleeves, etc. The structure of the clothing line refers to reflect each splice site in the clothing, constitute a line of garments' integral form, including the provincial highway, pleat, line, decorative thread, etc. No matter and simplified structure line can be summarized as straight line, arc, and three kinds of curve. Light line spell able, curve, straight line and curve coordinate each other, constitutes a pleasant visual aesthetic feeling. Line structure can sometimes create illusion, the designer can use it as fault rule design, make the wearer's body appear better than true state. Abandon the adornment of heavy and complicated, return to simplicity, neutral clothing with modest attitude in the eyes of the world. Sex is no longer a designer to consider the primary factor, the design of the neutral clothing trying to weaken the differences of men and women in the physiological and physical structure, the profiles of the neutral clothing model presents the convergence between men and women style, contracted modeling nonsexual neutral clothing became one of the fashion design.4.3The fabric characteristicsClothing design is not just on the canvas or drawings show the effect of clothing, but through a variety of fabric, through the fabric structure, fabric texture, fabric color feeling, fabric thickness form to reflect design modeling design. Someone put clothing design as the material of the sculpture, the appearance of clothing is used to reflect the fabric, can produce heavy lines with thick cloth, frivolous fabrics can reveal the lineof light again, pretty hard or soft cloth of contour line and each are not identical. With the gradual improvement of the quality of people's life, modern clothing is more and more pay attention to the principle of comfortable, beautiful, practical, advocate natural, and pay attention to environmental protection. The development of science and technology also have greatly enriched the fabric market, designers can use a variety of texture of fabric, to enrich the design of the neutral clothing, in order to achieve the effect of pursuit. Using different appearance of the fabric to people's psychological feeling is not the same? 文献出处：House W. The study on the design of neuter clothing [J]. Stellenbosch Papers in Linguistics Plus，2016，4（7）: 65-75.译文中性化服装设计研究House W摘要社会经济的发展、社会思想的开放和科学技术的进步,男女着装风格呈现出了多元化的格局,中性化这种模糊男女性别差异的着装风格,从一开始的非主流设计到现在已经发展为主流的服装设计风格之一。
中英文外文文献翻译中性化服装风格特征及发展
本科毕业设计（论文）中英文对照翻译（此文档为word格式，卜•载后您口J任总修改编辑!）文献岀处：Markus H. The research of neuter clothing style characteristic and development [J]. Advanced Materials Research, 2016, 4(3):81-90.原文The research of neuter clothing style characteristic anddevelopmentMarkus HAbstract"Neuter clothing" is so called no gender tendency of clothing，'. Before the First World War, western European dress neutralization on the horizon, a similar to today's mainstream modem dress complete sets of men's dress style・The word n neutral H in the 1960 s, in a variety of media on the frequency is higher and highe匚French fashion in the early 1990 s began to neuter clothing research ・ Ernestine and gross on the emergence and development of neuter clothing do the system analysis; to the time of the neutral clothing market provides a good theoretical guidance. Today, New York, Paris, Tokyo and other international fashion center, have put neutral clothing research institutions, regularly every year forecast and release neutralization trends・ Keywords: Neuter; Clothing; Gender roles; style 1 Introductionn Gcndcr n is defined as ”the physiological differences between men and women11. Gender is often considered to be a kind of based on formed by anatomical differences between the sexes culture coverings. And gender is refers to the culture formed on the special way of thinking, behavior, and feel the difference・ That is to say，the gender is a kind of based on the physiological basis of social structure, it is through the socialization process of creating and restructuring，it emphasizes the cultural features. So-called neutral, English said unisex, refers to the nature between the two kinds of relative nature, no significant gender characteristics of the neutral clothing is, men and women are suitable clothing styles and style・ Masculinity refers to a man should have the achievement orientation, the attention to conplete the task or action orientationof a series of personality and psychological characteristics. Masculine, curing and stable at least includes three components: the content of the position, strong and feminine. Femininity refers to women should have the compassion, the other person feel kind, care to others such as a series of personality and psychological characteristics of affinity orientation・ Although the connotation of femininity changing, but the content includes three components: inherent everything related to family, gentle, love clean, rely on men, and is thus opposed to all male temperament characteristics・With the changes of The Times and the changing of the ethical, admired by men and women in modem society is no longer the stagnation of traditional gender characteristics, especially the women increasingly take on the responsibility of the society and family, also more and more with the traditional sense of belonging to the male gender characteristics, this is neuter clothing trend rise an important reason. 2 Aesthetic basis of dress neuterTwo basic pmperties of clothing for refer to the skills of clothing material, secondly, clothing aesthetic aspects of spirituality. These two attributes is from the people to the requirements, and from the psychological aspects of physical expression. Clothing material mainly includes all kinds of function and physical and chemical properties, embodies the objective existence of clothing, it is the premise and foundation of the spirit. And based on the material of the clothing of the spiritual attribute, it is namely its social function. And clothing material that keep an organism "the introversion n on the contrary, clothing spiritualityshowed a strong ^extroversion11characteristics, namely look to others, embodied in clothing decorative and symbolic. Clothing decorative is from human pursuit of aesthetic psychology and aesthetic psychology. Symbolic clothing refers to human in the group life, in his consciousness, driven by using clothes behavior to others show their identity, status, education, advocate, emotion, personality and hobbies such as the characteristics of social content. Ecosystem of identification fiinction can be divided into: identity, status, identity rights of identity, occupation, and action identification, group identity within the four aspects of the expansion, this paper studies the ecological function of identification of the function of gender identity. Clothing gender identity is an important characteristic of modem clothing. But in fact, the overview of Chinese and western costume, men's and women's clothing is used ill a lot of time with the same fabric, color and shape, clothing is not prominent reflect gender difference as the first point. Reasons for this phenomenon is mainly the different social form have different specifications and requirements for clothing, clothing to a great extent, is a tool of class・ Into the modern society, with the men and women converge of social division of Labor, the gender identity function of clothing has been gradually weakened, people gradually no longer focus on clothing can differentiate the sex symbol, neuter clothing have a more broad space for development・3 Ladies neutralization process3.1 Dress neuter in the early 20th centuiy In the first decades of thetwentieth century, many with good educated women have greater freedom, too, for they also had the corresponding change to the requirement of clothing・With all kinds of sports more and more popular, especially cycling and tennis, Loose pants - with its founder Mary. Bloom's name, also known as the n rational11 clothing, wear them under a thin coat, very suitablc for cycling, but when people think ifs provocative・ This in the development of apparel neutralization has very important significance; because for hundreds of years, this is the first male taste strong pants appeared in women's clothing. Women's requirements like man stepped outside, to participate in sports become dress neuter the initial starting point. 3.2 Women's neutralization in mid and late 20th century 40 s, not only of great effects on the human World War II, and has also had a huge impact in the development of the clothing・ During the war, the average person can not take into consideration in dress; the dress only is given priority to with practical, convenient and durable・The women generally in "work clothes H and "uniform'', clothing design is quite simple. The course of histoiy of neutralization "catalyst”，is to be completed in the Second World War. The second half of the 20th century, the war was over; neuter the newborn began to grow from within. Despite the ideological trend of restoring ancient ways, but women's clothing neutralization process is unstoppable. Since the 1950 s, the world clothing changes rapidly and is various; the overall trend is diversified and personalized. The neutralization of dress under the overall trend is growing stronger, it is a process of the internal force under the action of process, is a process from have the soul body bone to have, is a never improve to gradually improve the process・ This kind of change and diversified and complicated by postmodernism has much to do. Every period of two types of social practice, always produce finm the mode of production to the productivity to the intense and rich change in the way of life. The 50 s, headed by Dior, with a large number of design master active during this period・ Technical authority baron summer plus Dior and the pursuit of a female appearance, and then he is committed to promoting women's modeling concise, simple, and simple・ Slightly type corresponds to the social life, and he is convenient ill activity, the liberation of women's waist, opens up a motile dress. In these typical style ladies sportswear finally boarded the stage of the fashion. Fiber on the market in 1959, it combined with new printing and dyeing technology, make the cheapest clothes have strong colors or printing. For the men and women of mutual fusion has played a huge role in promoting.Is a great contrast s 60 s, precisely, this stage is known as the counter culture in the western force a s, its characteristics is to "youth culture”，”mass culture” and n the mountain0, n feminism n four. Women in this period of change itself are unprecedented・"Storm, young, around the world, jeans to accelerate the development of the clothing trend of neutralizatio n.In the 70 s is based on the understanding to the success of 60 s resistance. It marks from a poor clothes and continuous interest in the global culture to a new social conscience and a focus on natural environment. Due to the late 60 s neutral consciousness and the combination of M female characters turn” prompted haute couture to handsome style development, women wore amasculine "flares役"suit" and "suit" style, the pursuit of masculine image of H mature, spell able” became the vogue. "Hippie movement and in the mid ・ 70 ・ s n punk n import the concept of neutral. Women began to have a passion for trousers・Even dress worn with pants・During this period, the mini style gradually withdrew from the popular, being with masculine information ”hot pants'* and the "high heels" instead. Feminist movement in the 80 s, vigorous, fashionable women in social life, actively participate in the political, economic, diligently enterprising, appear quite a few "superwoman" on a par with men. In the mid ・80 ・s, women use men's wide shoulder to show masculinity, shoulder an exaggerated modeling, even more than merf s shouldc匚During the same period of "casual wear” also become the representative of n neutralization n. Ladies on the basis of increasing job opportunities, gained its independence in terms of economy, H equality n has made substantial progress・We can see professional women dressed in a quiet and tastefully laid out and miniskirt, upper abode wearing make exquisite jacket with shoulder pads. The neutral trend of modern women's clothing in this period began to finalize the design. In the 90 s due to the rapid popularization of network, the circulation line information quickly break the limitations of the past time difference, and synchronously and instant attitude appear in every comer of the world; New visual aesthetics is closely related with the development of computer network connection. Clothing from the design, production and circulation, each step of the process can be done through the computer aided, this greatly improves theefficiency. With the awakening of ecological consciousness and to the lifestyle of the new realism comprehension, radical materialism began to decline in the 80 salaries, especially the young woman, both in sex and in terms of career, they relax in the new freedom, promote their sclf-confldcncc ability of gender. On the arrival of new century neuter gender revolution significance has completed the initial historical mission. From 90 s to today, neutralization trend has been in the clothing plays an important role on the stage and enduring.译文中性化服装风格特征及发展研究Markus H摘要“中性化服装”即“无性别化趋向服装”。
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英文翻译：The unique expression in fashion designAbstract: With the social progress and people's aesthetic awareness, clothing design requirements are constantly changing, not only beautiful, comfortable, personalized for different purposes, and more and more people started to pay attention the unique design of the clothing. unique expression of the clothing design has something in common, in common, there are three factors most typical one of the means of the use of the plastic arts; is to follow the basic rules of the plastic arts; the pursuit of art content and beauty of form harmony and unity. The face of increasingly fierce competition in society, from clothing unique starting to play to their strengths, so that the costume design perfected.Key words: aesthetic sense; costume design; uniqueness; expressionIntroductionWith the rich substance of social development, improved quality of life, the pursuit of unique clothing is also more than plus strong, the face of the popularity and unity to the mass production of clothing has become a problem to be solved in order to fashion designers. An important design point, then become a unique expression of the costume design costume design costume design unique refers to the characteristics of the presentation of the representative from the clothing on the whole, it is unique content and form unity. China fashion design unique expression as a complete system of disciplines to study the ancient times to now there, but the uniqueness of expression in fashion design is not perfect, therefore, the uniqueness of this study fashion design to express Modern fashion design is of great significance.1. The unique overview of clothingIn short, The unique nature of the clothing is the clothing unique. In a broad sense refers to the presentation of the representative characteristics from the whole of the clothing works, it is one of the unique form and the objectivity of the unity of the unity of content, costume designer on the subjective aspect of creative and clothing subject matter difficult to find words to express, but it is not difficult to make us feel unique style. The unique nature of the clothing, but also refers to the values, artistic characteristics and inherent character of a nation, an era, a genre or a person's clothing in the content and format of the show out. The unique nature of the appearance of the mind, the pursuit of the realm of fashion design in the final analysis is unique in design and positioning, the unique expression of the costume design also reflects the designer's unique creative thinking and the pursuit of art also reflects the distinctive character.2. The unique role of fashion designEither clothing had an important influence on the human economy or culture. And largely dominated people's consumption patterns, consumer attitudes and lifestyles, a direct impact on people's social values and the uniqueness of the role as follows:(A) In order to achieve the better effect of clothingA perfect garment is often reflected in its unique design, a good design work which contains a profound national culture, but also social development, a mirror of the progress of the times. Unique expression of the fashion design clothing creativity closer to the "China" or like "Chinese" consumer psychology between them is the complementary role of the costume design of the unique expression of the Chinese traditional elements of mutual restraint, costume design The uniqueness of National Cultural Psychology must be adapted to many different people, to achieve the better results of clothing.(B) To guide people's aestheticSince ancient times ,China have different aesthetics, such as women's aesthetic, summer, business, and Zhou dynasties, soft and delicate sense of aesthetic is very popular in the Tang Dynasty is based on fat is beautiful, to the Ming and Qing also petite for the United States. However, modern aesthetic, but unlike the past, has a strong universality point of view, but mainly based on the individual as a starting point, find a dress to show their own unique aesthetic taste. Fashion is unconventional, unique, and China in the 1980s is unique with no clothing at all, until the 1990s, slowly come into contact with more clothing brand, a preliminary understanding of the skills of some of the dress , but from the aesthetic perspective, many people do not clearly recognize their own style and temperament, wearing more or less have some blindness. Fashion weathervane clothing, the fashion of our country must shoulder the heavy responsibility of the foster a modern aesthetic. China International Fashion Week each season's fashion release, whether auditory, visual, emotional viewer is a very good artistic culture, even if most people can not personally to feel, but through a variety of media media coverage of pictures, music, video, impact on people's hearts and vision, people will be inspired and infection imperceptibly into, in order to bring their own life, combined with their own preferences and conditions, to form a unique aesthetic.(C) To guide the people's consumption20 years ago,Chinese market showing a short supply situation at that time we can buy clothes very well, who would carefully pick out the colors and styles. Today's society, society is an overproduction of different fashion brands and different clothing styles that dazzle us, a lot of people driven by impulse and blind followers psychological, may buy some of the clothing are not suitable. At this point, unique clothing like fashion navigator to guide blind people towards the right the other side of the consumer. Of course, this page is the fashion culture of the uniqueness of the totally implantable hearts of the people, the public has cultivated and form their own aesthetic taste, and mastery of the modern fashion symbol, and then they will meettheir own practical purpose to choose consumer goods. Most people can not afford the unique nature of high fashion, they just access to information from the uniqueness of the high fashion, and then to buy similar clothing or apparel goods with this popular elements.3.The uniqueness of expression in fashion design(A) China Red in Fashion DesignIn recent years, the red can be described as fashion colors, red is a unique, popular in the north and south, whether it is international brands and domestic brands were unanimous in Chinese red. Red means good luck, peace, success, happiness, harmony, health, reunion, etc.; also means abandoning evil and promote good smooth, Pepsi, good luck. The Chinese nation, like the red, for example, in the occasion of the festivals, weddings, Suli, red, red is in our minds the most perfect color. Red is the color of the sport and passion, joy and harmony of color, the color of the folklore and culture, but also the main color of the Beijing Olympic Games emblem color. The red has become the symbolic color of China.For example,"Green Paper Cranes" (Figure 3-1, 3-2) series, using bold contrast of red, green, two colors, the use of right. The traditional red flowers and green leaves on behalf of the customs of China, has been widespread in the countryside gives auspicious and festive feel. This traditional red and green decorative colors bearing a special mark to convey the beauty and warmth can not be forgotten. It is gratifying that this traditional decorative color patterns - so that we can feel the warmth of the past, but also enjoy modern simplicity and crisp with a modern aesthetic combined into a new artistic charm.Figure 3-1 Figure 3-2中文原文：服装设计中独特性的表达摘要：随着社会的进步和人们审美意识的提高，对服饰设计的要求在不断变化，不仅要基于美观、舒适、个性化等不同目的，而且越来越多的人开始关注服装的独特设计，服装设计的独特性表达都有其共性，在共性中，有三个因素最具有典型性，一是运用造型艺术的手段；二是遵循造型艺术的基本法则；三是追求艺术的内容与形式美的和谐统一。