服装设计创意外文翻译文献
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。
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。
外文文献翻译中性化服装设计
外文文献翻译中性化服装设计shirts。
XXX。
With the development of society and the progress of science and XXX。
people'XXX challenged。
and the XXX。
the design of XXX.2 Design of Neuter ClothingThe design of XXX。
It aims to break the XXX。
and present a more inclusive and diverse style。
The design of neuter clothing should be comfortable。
practical。
and nable。
It should not be XXX。
age。
or body shape。
The use of neutral colors。
simple lines。
and minimalist style is the main feature of XXX.The design of XXX the social and cultural background。
Different ns and XXX。
the design of neuter clothing should be adapted to the local culture and market demand。
The use of local materials。
nal crafts。
and cultural elements can add more value to the XXX.3 Market of Neuter ClothingIn recent years。
the market of XXX。
such as Zara。
H&M。
and Uniqlo。
The neuter clothing market share is increasing。
服装设计外文翻译文献
服装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文:Trend predictionTrend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.Spirituality is seen in the interest of such things as ‘Feng Shui’which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence fromfashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.The design team determines how this intelligence affects fashion and consumer awareness.Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.ColourColour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.The fashion prediction design processOne publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.After the designs are completed they are illustrated with reference to particular markets and ‘lifestyle s’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.Samples of knitwear and new textiles may be commissioned which will be photographed for the books.Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.Theme developmentFashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.These can be interpreted into customers buying from:Lower market –budget; lower middle –high street, chain stores; middle –independent labels and department stores; upper middle – designer diffusion; upper –designer.Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.New uses of technology have resulted in the development of the Worth GlobalStyle Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.译文:流行趋势预测流行趋势预测信息所包含的内容要比时装预测丰富得多，原因是其不一定与时装有关。
服装设计褶皱外文文献翻译最新译文
服装设计褶皱外文文献翻译最新译文The objective of this study is to develop a quantitative method for evaluating the pleat effect on clothing。
as opposed to relying solely on subjective ns。
By analyzing image technology principles。
an image n system was designed to capture images of clothing。
These images were then processed using specialized are to analyze the drape of the clothing。
The study focused specifically on the pleats in the sleeve n of the garment。
analyzing the gray scale curve of the sleeve image and the corresponding nship een the gamma curve and the pleat。
The aim of this research is to provide a more objective n index for garment structural design and pleating effects.Clothing structure design involves a series of processes thatare used to render clothing through cutting。
fabric pleating。
and joining together。
The goal is to accurately capture the desired design effect by determining the structure's plane state through the use of design renderings。
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。
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。
最新服装设计外文翻译终稿
服装设计外文翻译CoutureSewing Technique Claire B.Shaeffer Printed UnitedStates originallypublished TauntonPress,Inc. Chapter4.Edge Finishes Hems,Facings BindingsUnless finished someway, garmentravel lookincomplete. edges—theneckline; verticalfront edges jackets,coats manyblouses; jackets canbecome 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 garmenthang attractively 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 garmentedge finishboth sides garmentattractively. Because materialstakes backseat 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 seamededges biasfacings consequentlydrapes better. Edges extendedfacings generallyinterfaced stabilizedso originalshape itsname suggests, shapedfacing ususllyduplicates oftenused edgesintended crisp,constructed look, alwaysused intricatelyshaped 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 shapedfacings frontneckline backopening shapedfacings 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 also lessobtrusive 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.Pintrimaway shoulderseams neckedgd, leaving 1/2-in. seam allowances shownabove. Pin backfacing(s) shoulderseams,trim rawedges under, shownabove. point,you can machine-stitch shoulderseams. neckline,trim away excess,leaving 1/2-in.seam allowance.Turn under rawedge so garment’sseam allowance. necessary,clip turnunder smoothly shallowcurves, you can turn back neckedge presslightly. Using fellstitch slipstitch,sew neckedge shoulderseams weren’tmachine-stitched. Remove presslightly. BIAS FACINGS biasfacing narrowstrip fabriccut truebias shaped,rather than cut, faces.Well adapted softedges, frequentlyused lightweightsilk cottonfabrics. couturework-rooms, most bias facings hand.Generally, self-fabric sewnfrom light-weight fabric, heavy,lining material can usedinstead. Bias facings lessconspicuous than shaped facings, requireless fabric, they’re both more comfortable wearnext moreeconomical twodisadvantages facings,however. When biasfacing garmentedge rarelyinterfaced biasfacing usuallyslipstitched sometimesdifficult stitchesfrom showing garment.Most bias facings finishedso they’re about 1/2 jewelneckline skirt.Generally, biasfacing, moredifficult curvededge. Before applying biasfacing, finish garmentedge. Fold seamallowance wrongside baste1/8 edge.Clip edgelie flat.wrongside up, press edge.Measure garmentedge biasstrip several inches longer, joinseveral strips lengthyou need. 11/2-in.wide facing, stripshould straightedges 11/2in.wide curvededges. Fold one longedges under 1/4 bestaccomplished onetime foldededge yourhands 1-in.pleats so stayfolded without pressing, which might stretch wrongside up wrongside biasstrip wrongside foldedgarment edge, aligning biasedge basting,1/8 garmentedge. Pin bias,easing stripuntil edgesmoothly, baste.Place edgeover pressingcushion rightside up. Cover presscloth carefullypress just biasstrip. facingshoule lie smoothly against wrongside doesn’t,release tryagain. Using fellstitch, sew seamallowance. Trim biasso even3/4 freeedge, fole under1/4 ing veryfine needle, sew looseslipstitch fellstitch. backed,catch garment.Remove presslightly. When applying biasfacing necklinewithout opening,begin leftshoulder seam worktoward frontneckline(this mostdifficult part thereforetackled first). biasfacing armscye,begin underarm.Finish foldingone end biaswrong sides together lengthwisegrain. Lightly crease yourthumbnail. Fold otherend under so foldededges match. foldstogether. BINDINGS elegantfinish suitable nearlyevery edge,a binding can contrastingfabiric texture,add dashyourgarment. Bindings rightside edge,wrapping underside.Often finished so they’re attractive wrongside garment,bindings。
服装设计外文翻译文献
文献信息：文献标题：Proactive Fashion Design for Sustainable Consumption（可持续消费的具有前瞻性的服装设计）国外作者：Kirsi Niinimäki文献出处：《Nordic Textile Journal》，2012，1:60-69.字数统计：英文3104单词，17881字符；中文5737汉字外文文献：Proactive Fashion Design for Sustainable Consumption Abstract This article presents a study that investigates product satisfaction in the context of clothing. The paper furthermore presents suggestions on how this knowledge can be used to create proactive fashion design for sustainable consumption. One of the main challenges in today’s consumer society is how to design products that encourage consumers to engage in more environmentally responsible behaviour, sustainable consumption. This paper opens the discussion on how to change current unsustainable consumption behaviour related to clothing through a visionary, far-sighted design approach. Designers can create future-oriented sustainable designs that can transform consumption patterns towards more sustainable ones. Design for sustainability can thus be a redirective practice that aims for sustainable consumption, and the ways in which fashion design can be a proactive process with this aim will be described.Keywords: proactive design, sustainable design, sustainable consumption, emotional satisfaction, PSS.IntroductionProducts configure consumer needs and use patterns; hence, design can be said to be “practice-oriented”, creating certain everyday practices and consumption behaviour (Shove et al. 2007, 134–136). Current industrial design andmass-manufacturing systems stimulate consumerism and the production of disposable products (Walker 2007, 51). Fast changing trends lead to consumers’ unsustainable consumption behaviour. To create a new, sustainable balance between design, manufacturing and consumption, alternative ways to create products are required to drive more sustainable consumption behaviour. Therefore, designers should evaluate how each design decision affects a consumer’s consumption patterns. Understood in this way, sustainable design can be a redirective or a proactive practice that aims for sustainable practices in consumption (Fry 2009, 53).Higher production volumes and simultaneous growing consumption have caused an increase in material consumption (Throne-Holst et al. 2007). Ever-changing fashion trends, affordable product prices and low-quality products cause consumers to engage in unsustainable consumption behaviour, such as impulse purchases, overconsumption, short use time and premature disposal of products. The increase in the purchase of short-lifespan products results in a notable increase in waste. Currently, approximately 70 percent of disposed clothing and textiles end up in landfills, and in many Western countries clothing and textile waste is estimated to be the fastest growing waste stream (Fletcher 2008, 98). Consumers discard gaments not only because they are worn out but also because they actively seek novelty. Nevertheless, product durability and longterm use are prerequisites for sustainable consumption: i.e. extending the life span of products is essential when the goal is sustainable consumption (Cooper 2005). Importantly, however, consumers associate durability with high quality and not with environmental impact.Emotions lie at the centre of human life, and they influence most of our behaviours, motivations and thought processes (Desmet 2009, 379). Emotions also play a strong role in consumption. The interplay between wants, needs, values, attitudes and experiences is emotionally meaningful for a contemporary consumer. Clothing and fashion items belong to the category of self-expressive products, and with such products, consumption-related emotions are important to the consumer. As Richins (2009) argued, these consumption emotions are important elements in contemporary society and especially after the purchase event. The purchase situationbecomes a strong positive experience for a consumer, but it is very short term in nature and has no connection to the experience of deeper satisfaction or person–product attachment (ibid). Through a new purchase event, the consumer can again experience excitement, enjoyment, joy and pleasure, at least momentarily.From an environmental point of view, studying consumption patterns and the meanings of consumption is important when sustained positive emotions in person–product relationships are desired or solutions are sought to replace materialistic consumption with other positive emotional states. The design process should focus on sustainable consumer satisfaction with a product or with the person–product attachment process. Moreover, a new kind of product service system (PSS) should be developed that aims to prolong the enjoyable use time of the product. A PSS strategy can also offer the consumer new emotional experiences, which can postpone the disposal of the product; PSS thinking can thereby aim to avoid a new garment purchase, which is an opportunity to decrease materialistic consumption.Sustainable Satisfaction with ClothingIf current unsustainable consumption patterns are to be transformed into more sustainable ones, the ways in which design can offer sustainable satisfaction must be investigated. To gain a deeper understanding of the opportunities to deliver satisfaction by design and how the enjoyable use of garments can be extended, the satisfaction process must first be explained.According to Swan and Combs (1976), the performance of clothing can be separated into instrumental performance (physical properties) and expressive performance. Expressive performance is linked to a consumer’s psychological response to the garment, such as the experience of beauty. Instrumental requirements (e.g. quality expectations) must be satisfied first. Nevertheless, only fulfilling instrumental requirements will not result in satisfaction. Therefore clothing must also meet consumers’emotional needs if it is to deliver satisfaction (Swan and Combs 1976).Hence good intrinsic quality is optimal for ensuring consumer satisfaction and toguarantee the longevity of clothing. High quality means durable materials and high manufacturing quality. The ageing process of a pleasant, aesthetic garment requires not only maintaining high intrinsic quality but also the design of a more classical style and use of durable materials. Some textile materials look old after a short use time. The material might experience pilling or may look old after a few washes. Garments needing frequent washing may look old rather quickly; therefore, recognising materials that age in a more aesthetically pleasing manner is important. Studies have shown (Niinimäki 2010) that consumers experience e.g. wool and real leather to age in an aesthetically pleasant way. Consumers report that with high quality wool the ageing process does not show as obviously and in leather the ageing process is experienced as an attractive temporal dimension (ibid.).Consumers respect aesthetic attributes in the long-term use of clothing, and aesthetic attributes correspond to expressive performance in clothing satisfaction. Accordingly, expressive performance affects the psychological response to clothing. The aesthetic attributes that correlate to the longevity of clothing are good fit, personal cut, nice colours and comfortable materials,as well as a classic look (see Table 1). Garment tactility is important to the wearer and a pleasant tactile experience during the use situation is one attribute for enjoyable long-term use of clothing.Table I: Attributes that enable longevity in clothingNot only quality, functionality and aesthetics are important attributes; the values behind the product are also important to consumer satisfaction. Clothing choices must connect strongly with the wearer’s self-image, identity and values. Wang and Wallendorf (2006) have argued that consumers with high materialistic values seek novelty and evaluate their possessions more often than consumers with lower materialistic values. They also highlight that materialistic consumers have less appreciation for deeper person–product relationships that develop during longer use situations. Consumers’ materialistic values may also connect with social status-related elements in garments and possessions. Consumers with lower materialistic values may have greater appreciation for the personal meanings attributable to the product that emerge during long-term use (Wang & Wallendorf 2006). Consumers with high environmental and ethical interests place high importance on being able to find environmental value behind a product. These consumers respect credence quality attributes – local and ethical production, eco-materials and long garment life spans – and they want to see these attributes and environmental values in the products they purchase. The value aspect is most important and consumers’ value expectations should be fulfilled to create deep product satisfaction (Niinimäki 2011).Fashion Design for Sustainable SatisfactionHow can a designer offer sustainable satisfaction to the consumer and how can s/he propose a prolonged use time of the product to the consumer? Firstly identifying the attributes associated with satisfaction and including them in the design is the most important strategy. Secondly identifying the determinants that lead to dissatisfaction helps the designer to avoid these elements in design and concentrate on design forsustainable satisfaction. The previous section described the satisfaction elements in clothing:-good intrinsic quality;-good functionality;-aesthetics;-values in the product, in manufacturing or the company’s values.The easiest way to offer product satisfaction is to increase the product’s intrinsic quality and inform the consumer accordingly. However the clothing satisfaction process is complex and not easy for a designer to control. Table 2 presents the temporal dimensions in clothing satisfaction, combining those elements and attributes that enable satisfaction to emerge or even create person-product attachments in the field of clothing. These are the elements that a designer should try to embed in design if s/ he is aiming for proactive fashion, deep product satisfaction and extended use time of the products.Table 2: Elements of proactive sustainable fashion designThe following section presents several design approaches to deeper person-product satisfaction in the field of clothing. With these design strategies the designer can aim to achieve proactive and sustainable design.Fashion Design with Meaningful UniquenessProducts carry symbolic meaning, which consumers use to construct their own personality and identity. Consumers use products to express themselves and wantassociation with the characteristics, uniqueness or values symbolised by a product (Norman 2005). If products are easily personalised, the opportunity exists to connect the product more deeply with consumers’ identity construction and to create deeper product satisfaction and an emotional attachment through the person–product relationship (Chapman 2009). This opportunity enables the product to be more meaningful to the wearer, making possible an extension of the product’s lifetime.Design services are one opportunity to address consumer satisfaction by deeply connecting the design outcome with a consumer’s personal needs. By using digital technologies that enable individual design or measurements, meaningful uniqueness can be designed. Furthermore, unique design and “made-to-measure” services offer improved product satisfaction by meeting a consumer’s individual needs and preferences better than mass-manufactured garments. The company NOMO Jeans offers computer-assisted made-to-measure jeans by using a 3D scanner (Nomo Jeans). Jeans are made individually according to each customer’s measurements. The customer can also choose the cut, colour, effects and details of his/her jeans.An enterprise can also base its function only on consumer orders. The designer can create their own collections, produce a couple of sample collections and enable consumers to specify all orders and measurements on an individual basis. Garments can then be created based on each wearer’s measurements, thus enabling him/her to experience greater satisfaction. This design and manufacturing strategy may also help producers avoid the problem of overproduction. Small enterprises could offer their collections in small shops carrying a sample collection and obtain orders directly from consumers, allowing them to avoid extra production.Designer Anna Ruohonen creates long lasting and high quality fashion (Anna Ruohonen). She has created a timeless collection called Black Classic, where the designs are permanent but it is possible to order them in seasonal colours. Garments are manufactured only according to customer’s order and according to each customer’s individual measurements. This strategy helps to avoid overproduction. Moreover the good fit of the clothing helps ensure deeper garment satisfaction.Co-creationOne possibility for creating deeper person–product attachment is through a consumer’s own efforts during the design or realisation process. A sense of personal achievement is strongly connected to a positive sense of self (Norman 2005) and allows the product to begin to be more important to the wearer. The consumer’s own achievement through a “made by me” approach to design creates positive experiences through the sense of effort and the opportunity to realise her/his own creative skills. If the user builds the product herself/himself, s/he acquires a deeper knowledge of the product and, therefore, has the ability to repair the product (Papanek 1995). Kit-based design and halfway products give the consumer a more active role in the realisation process.One option for including the consumer in the design or manufacturing process is to offer her/him an opportunity to make decisions during the process. Consumers have shown an interest in taking part in the design or manufacturing process by using the Internet (Niinimäki 2011). If the design is based on a modular structure and the consumer is allowed to make her/his own choices – even from a limited selection – in creating a unique style, this process gives consumers new power and a more active role.Opening fashion field is one way to offer the consumer more active role. Lastwear is a company that offers ready-made garments, halfway clothing (kit-based) and patterns of their fashion designs (Lastwear clothing company). They also invest in quality and offer a guarantee on their garments, which is a good way to ensure product satisfaction.Giving consumers more power is also possible by offering environmentally-related options. Consumers may be allowed to select a manufacturing location and different materials – and be provided with corresponding prices – enabling them to express their values through their choices. For example, many consumers, especially those who consider themselves ethical consumers, would like to buy locally manufactured garments even if they are more expensive (Niinimäki 2011).Fulfilling Consumers’ Changing Needs Through PSSThe symbolic meanings of products are connected to psychological satisfaction through an emotional response. When the product no longer offers a positive emotional response because, for example, it falls out of fashion or the wearer becomes otherwise tired of it, the consumer experiences psychological obsolescence and easily replaces the product with a new one. Accordingly emotional and psychological obsolescence results in premature disposal of a product that may still be functional.Consumers’ needs and aesthetic preferences that change over time raise the question of how to avoid the psychological obsolescence of garments. The challenge in extending product lifetimes is to achieve continuing satisfaction with the product. The PSS approach allows the creation of new experiences with a product or changes to a product to enable it to better suit a consumer’s changing needs.Positive ways that a product’s lifetime can be extended include upgradability services, modification services and exchange stocks. These strategies can postpone garment disposal by keeping the consumer satisfied longer. Modification or redesign possibilities for quality garments allow for an extension of a product’s life span. Many websites already advise consumers on how to modify their old garments themselves and encourage consumers to extend the use of their garments. Many small and locally functioning repair and redesign studios also already exist, where the consumer can repair a damaged garment but can also order a redesigned garment made from old ones.A design based on a modular clothing structure also offers the possibility to create services to upgrade garments. This strategy offers the opportunity to update the appearance in a sustainable way (Fletcher & Grose 2012, 82). It is possible to play with the clothing elements to create unique combinations of colours or shapes to develop a new look. The consumer does not need to then buy a new garment; instead s/he can simply change some parts or elements in the garment to have the experience of newness.Garment exchange or renting services offer possibilities for consumers to makechanges to their clothing in more sustainable ways. New and interesting examples of clothing membership clubs exist. By paying a monthly membership fee, a consumer can select a certain number of garments to use, giving him or her the opportunity to change the appearance in a more sustainable way. This type of business strategy has emerged e.g. in the field of children’s clothing. Consumers can rent children’s outfits and when the child outgrows a size, the parent can obtain larger-size garments from the clothing club.ConclusionsThis study investigated product satisfaction in the context of clothing and this knowledge was used to understand and define proactive fashion design for sustainable consumption. It opened views into the process of consumer satisfaction. A main issue that arises when aiming to extend the life of garments is to increase their durability and intrinsic quality. Moreover, fulfilling consumers’other expectations regarding the garment’s aesthetic and functional attributes is important to ensure product satisfaction. Finally the issue of value is most important with regard to deep product satisfaction: values associated with the product, the manufacturing process and behind the companies have to meet the consumers’own value base so that the consumer feels completely satisfied with the product.By identifying the reasons for the short and long-term use of clothing, it is possible to find new ways to create sustainable designs that can result in a redirective practice directed towards sustainable consumption. Proactive fashion design for sustainable consumption takes these reasons into account, thus enabling clothing longevity. Satisfying consumers’expectations regarding quality, functionality, aesthetics and value is a key to extending the use time of a product. Moreover, the emotional side of consumption must be understood to provide more sustainable ways to ensure customer satisfaction.The PSS approach provides an opportunity to extend the enjoyable use of a product and thus avoid psychological obsolescence and a garment’s premature disposal. Stimulating a sense of meaningful uniqueness and achievement throughdesign services or “self-made”approaches is a promising route to enhancing consumer satisfaction. If a consumer is satisfied, then strengthening the emotional bond between the product and consumer is possible. In turn, this meaningful attachment is the best way to postpone a product’s disposal. When the product or its use is somehow special to the consumer, s/he will take good care of it to extend its enjoyable use time.The most promising sustainable design strategy is the combination of product design with service elements: PSS strategies are therefore a future path to proactive and sustainable design.中文译文：可持续消费的具有前瞻性的服装设计摘要本文从服装的角度对产品满意度进行了研究。
服装设计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。
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。
衣服设计 英语作文
Fashion design is an art form that combines creativity,technical skill,and business acumen to create clothing and accessories that are both functional and aesthetically pleasing.Here are some key elements to consider when writing an English composition about clothing design:1.Introduction to Fashion Design:Begin your essay by introducing the concept of fashion design,explaining its importance in the world of fashion and how it reflects cultural trends and individual identity.2.Historical Context:Discuss the evolution of fashion design from its earliest forms to the modern era.Mention key historical periods such as the Renaissance,the Victorian era, and the1920s flapper style,and how they influenced fashion.3.Role of the Designer:Explain the role of a fashion designer,including the process of conceptualization,sketching,selecting fabrics,and creating patterns.Highlight the importance of creativity,technical knowledge,and an understanding of the market.4.Influences on Design:Discuss various influences on fashion design,such as art movements,global cultures,technology,and social issues.For example,how the Art Deco movement influenced the streamlined designs of the1920s or how streetwear has become a significant influence in contemporary fashion.5.Design Process:Describe the steps involved in the design process,from initial inspiration and research to the creation of prototypes and the final production of garments.6.Materials and Techniques:Explore the different materials used in fashion design,such as natural fibers,synthetics,and recycled materials,and the techniques employed to work with these materials,including weaving,knitting,and dyeing.7.Fashion Trends and Forecasting:Discuss how fashion trends are identified and predicted.Mention the role of fashion shows,trend forecasters,and market research in shaping the direction of fashion.8.Ethical Considerations:Address the ethical aspects of fashion design,including sustainability,fair labor practices,and the environmental impact of the fashion industry.9.Technology in Fashion Design:Talk about how technology has transformed the fashion design process,from computeraided design CAD software to3D printing and virtual fashion shows.10.Case Studies:Include examples of iconic fashion designers and their work,such as Coco Chanels revolutionary designs in the early20th century,or Alexander McQueens avantgarde creations.11.Future of Fashion Design:Conclude your essay by speculating on the future of fashion design,considering how emerging technologies,changing consumer behaviors, and global trends might shape the industry.12.Personal Reflection:If appropriate,add a personal reflection on how fashion design has impacted your life or how you perceive its role in society.Remember to use descriptive language to engage your reader and provide specific examples to support your points.Additionally,ensure that your essay has a clear structure with an introduction,body paragraphs,and a conclusion.。
简约服装设计理念范文英文
简约服装设计理念范文英文Title: Minimalist Fashion Design Philosophy。
In the fast-paced world of fashion, the concept of minimalism has become increasingly popular. Minimalist fashion design focuses on simplicity, clean lines, and a neutral color palette. This design philosophy is all about creating timeless and understated pieces that can be worn for years to come.One of the key principles of minimalist fashion design is the idea of less is more. This means that every element of a garment should serve a purpose and have a clear function. There is no room for unnecessary embellishments or excessive details in minimalist fashion. Instead, the focus is on creating pieces that are sleek, elegant, and effortlessly chic.Another important aspect of minimalist fashion design is the use of high-quality materials and impeccable craftsmanship. Since minimalist pieces are often quite simple in their design, the quality of the fabric and the construction of the garment become even more crucial. A well-made minimalist piece can elevate any outfit and exude sophistication.The color palette in minimalist fashion is typically neutral, with shades of black, white, grey, and beige being the most common. These colors are timeless and versatile, allowing for easy mix-and-match possibilities. By sticking to a neutral color palette, minimalist fashion designers ensure that their pieces can seamlessly integrate into any wardrobe.Minimalist fashion design is also characterized by its focus on functionality and comfort. The goal is to create pieces that are not only aesthetically pleasing but also practical and easy to wear. This means that minimalist garments are often designed with clean lines and a relaxed fit, allowing for freedom of movement and a sense of ease.In conclusion, minimalist fashion design is a timeless and sophisticated approach to dressing. By focusing on simplicity, quality, and functionality, minimalist fashiondesigners create pieces that are both stylish and practical. This design philosophy is a reflection of the modern individual's desire for a wardrobe that is both elegant and effortless.。
创意性服装设计研究外文文献翻译
毕设附件外文文献翻译原文及译文原文The cr eative r ole of sour ces of inspir a tion in clothing design 作者Martin GIntr oductionSources of inspiration and its personal interpretation, visually and technically, play an important role in the design process, in increasing creativity. Clothing design studies and the creative role of design inspiration, during the early informal and actual clothing d esign p r oc ess e s i s ope n t o sci ent ific i n vestigation li ke ae s thetically d r iven designs in other domains.Studying creative fashion design as process and product is seen more problematic than other design-led industries, as the interaction between the design elements and principles, material properties, adaptation and modification of design i ns pi ra tion are c ompl e x. Clot hi ng design, as a variety of ae s t he tic and functio na l design processes, shares many characteristics of engineering design process.Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including studying current and future fashion trends and try to predict what the m a jori t y of t he ir c ustomers w i ll want in the forese e able f ut ure. In order to keep up with the changing world of fashion, fashion awareness should become second nature to every clothing designer.Design and clothing a s a visual and tactile sensor y designIt is well known that design is two things: process and product, as verb and noun. As design problem solution process, it is researching, setting the source of inspiration, planning, organizing to meet a goal, carrying out according to a particular purpose and creating. As product it is the end result, an intended arrangement that is the outcome of that process or plan.Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practical purpose and environment. We realise that some art is pure, "art for art's sake" but most creations in the daily world are for a practicalpurpose and use. Design as process is planning to meet a goal, and thus applies to eve r ythin g i nt entionally created for a pu r pose. The steps and or de r of t he process a r e essentially the same regardless of the end product. These steps are very similar to management as a planning process.Design as man made product and service falls into two major categories: sensory and behavioural. Sensory design is perceived through the senses, and is classified as visual, auditory, olfactory, tactile and gustatory. Behavioural design is planned action. Many products, however, include aspects of both, because design may be perceived t hroug h t h e senses and t he n i nt erpre ted beha vi oura l ly. A fashion s h ow, f or example, include both sensory and behavioural designs.R esear ch methodology and findingsThe importance of source of inspiration and their role in creative clothing design has been little understood and, therefore, rarely received attention in this industry. [ 6], [ 7], [ 8] E ckert and Stac e y (1998, 2000, 2003) studied knitwea r d e s i gn ca s e, w hi c h shares many characteristics of complex engineering projects and as an example of "practical design" in a fast moving and highly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which produced a detailed design process model and an analysis of the causes of c om munication problems within design tea m s. [15] Mäkirinne-Cr oft et al. (1996) tried to explain the fashion design process in terms of quantum mechanics and psychoanalysis and see design creativity as the ultimate mystery; their description of the design process is simplistic.The author has undertaken a progressive series of empirical studies, based on observation and interviews, looking at ready-to-wear (RTW) clothing design; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empiric approach combines ethnographic observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed as in the fashion industry, not just a case study of a single individual or company.In this research, the creative role of sources of inspiration in visual clothing design by novice and ex pe rt clothi ng des i g n e r s was ass e ssed t hrou gh e m piri c al research. As subjects, 16 talented clothing designers, 11 university-level fashion design students in Fashion Design Department at Dokuz Eylul University and five professional designers participated in the experiment carried out in this research. The first group of subjects included advanced fashion design students, seven talented students selected from the third and fourth year of undergraduate studies, and also four students of postgraduate studies, who also works as a free lance or part timea s sista n t designe rs i n the c lothing i ndus t ry. T he sec o nd g roup was com po sed o f five professional designers with a minimum of 5 years of experience in clothing industry. Sour ces of inspir a tion in clothing designWhere does the fashion designer get ideas and inspiration for new styles? The answer is everywhere and everything. Anything visual and tactile, in fact sensual, can be a s ourc e of i nspi ra tion for a garm e nt. Throu gh t e le vi sion, t he designer e xpe ri ence s all the wonders of the entertainment world. In films, the designer is exposed to the influences of all the arts, and lifestyles throughout the world. Because consumers are exposed to movies through international distribution, films prime their audiences to accept new fashions inspired by the costumes. Museum exhibits, art shows, world ha p penin g s, ex pos i t ions, t hea t res, music, da n c e a n d world t ravel are a ll s o urce s of design inspiration to fashion designers. The fashions of the past are also a rich source of design inspiration. W hile always alert to the new and exciting, fashion designers never lose sight of the past, they use old things in new ways.As stated the inspiration for a garment within a collection or for an entire collection can come from an infinite variety of sources. Sources of inspiration are often linked to the social "spirit of the times" also called the "zeitgeist". Understanding the state of current fashion and searching for ideas and sources of inspiration involves looking at art objects and books, going on trips to places like Paris and Milan, visiting museums, watching people on streets and going on country walks. Designers are most creative when they are directly exposed to the sources of ideas.On the other hand, it has been observed in the fashion industry that there are two fundamen t al a pp roaches in t he creative clot hi ng des i g n pr oce s ses:(1)material, thus fabric, inspired clothing design process; and(2)conceptual clothing design process, such as several themes originated from the universe of arts, nature or products.It is known that the high-fashion "name" designers typically develop a concept, also called theme, for their collection in order to be more creative and original.The major types of idea sources in design-led industries are previous products, artifac t s, na t ural obje c ts and phenom e na. I n c a se of c lot h ing design, ga rments, fa bri cs and trims as previous products, play an important role in sources of inspiration. Although, there is a broad recognition that much of the design proceeds by modification of previous ideas, in case of fabric inspired clothing design, designers search for new forms and styles with newly developed or invented materials. For exam pl e, the deve l opment of e la s t he n fabr i cs, s uc h a s L ycra, i ns pi red d esigners t o figure-hugging silhouettes.C onclusionsAnything visual and tactile, in fact sensual, can be a source of inspiration in fashion design. Design ideas do not simply materialize out of thin air. First, the designer does care ful r es e arch, but what makes a designe r's c ol lect i on s pec i al a n d original is his or her unique interpretation of design sources. Therefore, in order to be more creative and original the sources of inspiration play an important role in clothing design.Research and awareness are the key to creativity. Designers must learn most of all to keep their eyes open, to develop their skills of observation, to absorb visual ideas, blend them and translate them into clothes that their customers will like. The design process shows that realistic observation of outside influences and needs, extensive research and awareness and logical thinking and order, remove a great deal of the supposed "mystery" of design or creativity. One who thoroughly understands design as product and process and has mastered the use of appropriate materials and adaptation techniques can be "creative" and can translate the source into reality as asuccessful fashion product.Sources of inspi r ati on are use d at the e arly stages of design a nd t hr oughout t he entire design process. From the findings of this research, the role of sources of inspiration in clothing design can be summarised as follows:-increasing originality and creativity;-making the design process easy;-deriving harmonious colour schemes directly;-maintaining harmony and uniformity of the collection;-de r ivin g t ec hn ica l a cu m e n from p roduc ts i ns p ire d, es p ecial l y from p r evious garments;-understanding the fashion appropriation of the season; and-drawing the borders for the design framework.创意性服装设计研究作者：马丁引言灵感的来源及其个体性、可见性和技术性，这些对提高设计过程中的创造力方面起着重要的作用。
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。
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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。
As we all know。
design includes two things: the process of creating craftsmanship and product n。
and the nship een these two is like the XXX solving design problems。
it is the source of XXX a final goal。
The product is the result of its plan and final design。
even the most XXX.XXX is an example of applying design。
and even the most XXX to people。
Although we have realized that some art is pure。
that is。
"art for art's sake," most art designs in the world are XXX process。
design should consider and plan to XXX。
the steps and order of the design process should also XXX of the product。
These steps are very similar to the process of management planning.产品和服务的设计可以分为感官设计和行为设计两个方面。
感官设计是通过视觉、听觉、嗅觉、触觉和味觉等感官获得的，而行为设计则是有计划的行动。
许多产品的创作过程都包括这两个方面，因为设计灵感需要通过感官获得并通过行为来解释。
服装设计师可以从任何视觉和触觉上的感官体验中获得新款式设计的构想和灵感。
他们可以通过电视、电影、博物馆展品、艺术节目展示、世界事件、博览会、剧院、音乐、舞蹈和旅游等途径获取灵感。
过去的时尚也是他们一个丰富的设计灵感来源。
服装设计师需要时时保持警惕，对于新的和刺激人心的事物持开放态度，但他们从来不会忘记过去，通常情况下，他们会采用新的方式去利用旧的东西。
服装设计的灵感来源往往与社会“时代精神”息息相关。
为了不断寻找创意和灵感源泉，设计师们需要去巴黎和XXX并进行考察，参观博物馆，或行走于各国观察不同的人群等。
当直接接触创意来源时，设计师们是最具创造力的。
服装设计的创意过程包括实物能激发和概念化的两种基本方法。
实物能激发服装设计的创作过程，而概念化的服装设计过程则是源于宇宙的艺术、大自然或产品。
设计师们可以从之前的设计风格、面料和其他配件中获得灵感，这些在设计师的灵感来源中发挥着十分重要的作用。
尽管大部分的设计过程都是在修改先前创意理念的基础上完成的，深受编织物的启发，服装设计师们便开始寻找设计的新款式和风格。
在这种情况下一个样式通常为起点的技术材料的可能性。
例如，弹力纤维面料的发展激发了设计师们设计紧身服装的灵感。
XXX n that can be used in clothing design。
and their creative role in the design process。
These sources include nature。
art and culture。
history。
XXX。
and XXX sources。
designers can create unique and XXX and the needs of their target audience。
The article also discusses the importance of research and analysis in the design process。
as well as the need to balance XXX such as cost。
n feasibility。
XXX.Revised:The article "The Creative Role of XXX" XXX on the design process。
These sources include nature。
art。
culture。
history。
technology。
and XXX sources。
designers can produce one-of-a-kind and XXX to the demands of their target audience。
The article also XXX research and analysis during the design process while XXX such as cost。
n feasibility。
XXX.The purpose of this study is to analyze the role of XXX study will examine the early stages of the clothing design process and explore the nature of design n。
as well as how sources of XXX this。
a series of empirical studies will be conducted。
focusing onready-to-wear clothing design。
The study will use a n of in-situ n。
semi-structured interviews。
and constrained and semi-constrained XXX methods。
which are effective in XXX insufficient。
It will provide a broad understanding of the n industry。
rather than just a case study of a single individual or company.XXX。
XXX a variety of sources。
including art。
nature。
culture。
and XXX n and how it is gathered is essential to XXX empirical studies。
this research aims to shed light on the sourcesof XXX.XXX use a range of methods to collect n。
such as mood boards。
sketching。
and research。
Mood boards are a visual n of the designer's n。
which includes images。
colors。
XXX。
Research is also an essential part of the design process。
as it allows XXX materials。
techniques。
XXX.XXX。
designers who rely on a limited set of XXX。
it XXX.In n。
this study aims to analyze the role of XXX of empirical studies。
this research will provide insights into the early stages of the clothing design process。
the nature of design n。
and how XXX findings of this study will be XXX designers and the n industry as a whole。
as it will help XXX.The aim of this paper is to XXX and provide n about each source。
It is XXX stage of design。
as well as in the early XXX.Types of XXXXXX。
including historical eras。
cultures。