服装设计与高科技外文翻译文献
服装设计创意外文翻译文献
服装设计创意外文翻译文献AbstractThe purpose of this research is to XXX in the process of clothing design。
It aims to analyze the XXX and the design process。
how to collect sources of n。
and XXX.Research methods: Currently。
many scholars have conducted empirical research on ready-to-wear clothing design。
field ns。
semi-structured interviews。
and constrained and semi-driven design tasks。
This empirical research method can be XXX insufficient。
XXX industry is needed。
such as the n industry。
not just empirical research on individual people or companies。
but as many cases as possible should be studied.Research results: XXX n for each source。
Recognize that these sources of n can help designers XXX。
XXX stage of the design process and in the early XXX.XXX: XXX.Keywords: XXX。
clothing。
creative thinking。
design arrangement。
design managementXXX design that includes visual and tactile senses。
服装设计中英文对照外文翻译文献
服装设计中英文对照外文翻译文献(文档含英文原文和中文翻译)College men’s fashionA brief review of the literature on the social psychology of clothing reveals that young women are more frequently research participants than men . This may be because women far outnumber men in majoring in clothing design and apparel merchandising and thus are more easily accessible as research participants than men. Regardless of why clothing research includes more women as research participants, this focus on women has resulted in a dearth of research on young men. In support of this, Reilly and Rudd (2007) report that research has investigated men’s clothing preferences and habits to a lesser extent than women’s. men’s ideas about fashion and its importance in their lives have been overlooked. Despite the limited research on young men, consumer groups comprisedof college men are important to commercial marketers in terms of expenditure in men’s apparel and accessories. According to Statista, in 2012 the expenditure on men’s clothing goods in the United States was $22.2 billion. Men purchased footwear the most, followed by shirts and suits. Prior research has also shown that men’s interest in fashion is on the rise, leading to an increase in men’s apparel sales .Historically, women have been much more conscious about their appearance than men, but in recent times there appears to have been a change in this level of focus on appearance among men. Specifically, young men in Generation Y who have been socialized by mass media and marketing activities have become appearance conscious, which leads to apparel consumption (Kacen 2000; Patterson and Elliot 2002). Young men usually use dress to communicate their identities (Shete 2012), and their aspirations toward communicating this may influence their apparel consumption (Kang et al. 2011). Understanding the relationship between college-aged men’s identities and their clothing choices provides apparel marketers with useful information to develop effective strategies to produce and market clothes in accordance with the common values with which this group strives to identify.According to Hogg and Banister (2001), individuals can either have a positive reference point (i.e., desired end state) or a negative reference point (i.e., undesired end state) that they use to achieve their desiredidentities. So far, much research has been conducted on the positive aspects of consumers’ consumption choice. A lack of research into the negative aspects of consumption choice motivated us to question their impact on consumer behavior. Consumers’ avoidance behavior allows them to create further distance between themselves and their undesired identities (Hogg and Banister 2001), staying within the threshold of their desired identities. Thus, this research focuses on the clothing and style that college men avoid. An exploratory study was conducted on men attending a major midwestern university. On the basis of the results of the exploratory study, research interview questions for any further studies will be modified to address the research problem appropriately.The purpose of the exploratory study was to investigate what clothing college men prefer, what identities they achieve through their clothing, and what they want to avoid in their clothing choices. Our research questions were as follows: (1) Does college-aged men’s clothing reflect their identities and what do they want to express through their clothing choices? and (2) What undesired identities (related to aspects of an avoided self) do college-aged men avoid in their clothing choices? Literature reviewSocial identity theorySocial identity theory as conceptualized by Tajfel and Turner (1979) refers to perceived identity of the groups to which people belong(Tajfel 1982). Social identity theory posits that a person’s self-concept is based on his or her group membership. This theory consists of two dimensions: social identity and personal identity (Howard 2000;Tajfel 1982). Social identity reflects membership in various social groups (e.g., clubs, social class), and personal identity represents the unique attributes that differentiate one person from another (Howard 2000; Tajfel 1982). In complex social environments, young people can use their identification with in-groups (i.e., their own group) versus out-groups (i.e., other groups) (Ogilvie 1987) to align their appearance (i.e., the total and composite image created by clothing) with a desired social group and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). Thus, social identities provide status to young men and enhance their self-esteem.Research has used social identity theory to investigate the effects of men’s identities on the use of dress (i.e., all material objects added to body). For example, Kang et al. (2011) used social identity theory as a theoretical framework to investigate the relationship between young professional men’s perceptions of work identity and their use of dress. They found that the young men who felt incomplete in their work identity used dress as a symbol to construct their identities. Thus, in this study, we used social identity theory as a theoretical foundation to examine the relationship between college men’s identities and their clothing choices.Men’s identities with fashionAccording to Kratz and Reimer (1998), fashion is filled with meanings and symbols, through which people can visually communicate with one another in a rapid and direct manner. Fashion enables people to express their views about themselves and their identities through the use of clothing; it allows them to visually communicate who they are, who they want to be, what type of social group they want to belong to, and whom they do not want to be associated with the most (Shete 2012). Furthermore, Bennett (2005) states that fashion is one of the channels through which people can most readily give voice to their identities. Beyond words, people can convey themselves through dress and fashion, thus creating their social identity. Fashion’s essential role in providing people with means to build, shape, and communicate their identities is especially prominent in larger metropolitan cities where they “mingle with crowds of strangers and have only fleeting moments to impress them” (Bennett 2005, p 96).Men identify themselves through various ways. For example, some men may identify themselves through their body appearance, while others may show their identities by the way they dress; Hathcote and Kim (2008) note that men represent themselves through how they dress. Moreover, many men care about what they wear and how they wear it on a daily basis and also care about how others perceive them. As part of campussociety, college students also spend time on how they dress. Some male students prefer wearing sweatpants or baggy basketball shorts at school, while others prefer wearing polo shirts and casual pants. The way male college students choose their outfits for school represents their different personalities and identities. For example, some male students wear athletic clothing to show off their masculinity. This is consistent with Lunceford (2010, p. 66), who argues that “male students choose a specific article of clothing because of how it makes them feel or because it downplays what they consider to be unattractive aspects of their bodies while accentuating their best features.”Researchers have conducted studies related to the importance of clothing and fashion for identity creation and communication. For example, Piacentini and Mailer (2004) found that young people in the United Kingdom tended to use clothing to show similarity between themselves and the groups they wished to be identified with, and as a channel to establish potential friendships. Schofield and Schmidt (2005) examined the importance of clothes used in constructing and communicating gay men’s personal a nd group identities with a sample of Manchester-based respondents. They shaped individual gay identity through different levels (i.e., community level, neo-tribal level, and situational level) and found that gay identity emerged through clothing choices. In their study, gay identity is shared on a gay community level toexpress “gayness” to others; on a neo-tribal level to show “belonging” to a social gay cohort with shared experience and emotions; and on a situational level to make themselves blend in with wherever they are (Schofield and Schmidt 2005).As mentioned previously, young people in complex social environments can use their identification with in-groups versusout-groups (Ogilvie 1987) to align their appearance with a desired social group, and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). In their study of a sample of British consumers, Banister and Hogg (2004) found that many consumers wore safe clothing items (e.g., simple clothes, which would be interpreted positively) to avoid censure rather than risky items. If such fears of folly and negative attention are present in male consumers, certain commonalities among them can be identified. Eisler and Skidmore (1987) proposed that men’s gender-role expectations contributed to fears about lack of athleticism, emotional intimacy, intimacy with other men (or homophobia), and failure. If the feminine, unathletic, impotent man is representative of perceived undesirability among men, symbolic identifiers of those traits can be indicative of young men’s labeling of avoidance reference groups and the “avoided self.” Thus, men’s fashion conservatism (i.e., dressing in a masculine way according to social norms) could be partially attributed to the generalized fear of appearing“feminine” (Kimmel 1994).Aversion to alternative stylesThe aversion to alternative styles was accompanied by several rationales. One respondent said he avoided skinny jeans (often associated with “skater” and “emo” culture) simply “for comfort.” Another respondent avoided dark and alternative styles to “avoid negative stigmas” and possible associations with low intelli gence related to group think. However, the majority of the respondents who said they avoid alternative styles were unable to explain their aversion. Mentions of dislike of alternative clothing were often supplied first and with little hesitation, suggesting that this is a somewhat automatic and marked dislike for those respondents.One respondent said he avoids wearing black and looking gothic because his friends do not wear those styles, suggesting a fear of ostracism when wearing alternative clothing. In a similar vein, one respondent included that he “doesn’t want to lead people to believe he is dark.” A 23-year-old Caucasian respondent, when asked if he avoided any styles of clothing, said: “Gothic stuff for sure, dark clothing or Hot Topic stuff. I don’t want to be associated with them and I hate the people that wear that stuff, like spiked belts.” This type of sentiment occurred almost exclusively among Caucasian respondents from middle- andupper-middle-class backgrounds. The fear of social scrutiny andostracism, along with a general stigma regarding alternative andcounter-culture, appears to be the most common motivation for avoiding alternative styles.Aversion to gangster stylesGangster styles were mentioned often, and responses often indicated social and racial prejudices, in addition to the fear of social judgment. Many respondents associated “big” and “baggy” clothing with gangster style. Race emerged as a definite component of this aversion. All but one of the respondents who listed gangster style as an avoided style identified as Caucasian. One respondent directly indicted his aversion to wearing clothes “a black person would wear,” suggesting that affiliation with the African American culture would be undesirable. Other variants included an av ersion to “swag gear” and “thug style.” Another respondent even used a variant of a racial slur to express his avoidance ofgangster-inflected styles. The respondents supplied little additional justification for avoiding this style, and when asked to expound on their preference, three claimed that they were unable to provide further information.Aversion to gay stylesThree respondents expressed avoiding clothing that could be regarded as “gay.” The wearing of skinny jeans, jean shorts, V-neck shirts, or cardigans was perceived as indicative of homosexuality, according tothe interview data. The inclusion of these items of clothing specifically indicates an association of form-fitting clothing and low necklines with effeminacy and gay culture. Respondents expressed a desire to represent themselves accurately, and those who claimed to avoid gay-inflected clothing suggested that it was undesirable on the grounds that (1) they disliked gay culture, (2) they wanted to express their heterosexuality, and (3) they wanted to avoid speculation from others that they were homosexual. In this regard, homophobic sentiments, a desire for accurate self-representation, and a fear of social judgment all seemed to be components of these respondents’ desire to avoid clothing per ceived as being worn by gay men. Another respondent said that he refused to wear any clothing from the “women’s section,” and though this does not necessary relate to the avoidance of gay style, it does represent anoften-related fear of gender-role deviation. Thus, an avoided self and avoidance behavior were important factors in clothing choice, supporting earlier findings from Hogg and Banister’s (2001) study in which dislikes and distastes of college men were associated with negative symbolic consumption. This sentiment is demonstrated by another respondent’s notion that said, “you know that there are certain things that you don’t want to buy because you don’t want to project yourself in a negative way.” They proposed that a greater understanding of the impact of negative symbolic consumption on consumers product rejection couldhelp the development of companies marketing communication strategies.Cultural background and the avoided selfDemographics indicated different trends in responses among respondents. The four Chinese men who participated were largely unable to produce responses regarding avoided clothing and styles. One of these respondents said he only avoids clothing that is “too colorful or fashionable” because “it is not his style.” Another said he only avoids “hip-hop clothing” because it does not match his serious personality. The other two respondents said that there were no types of clothing or styles they avoided. These sentiments contrast greatly with the responses from American students, all but one of whom listed one or several types of avoided clothing and styles.Furthermore, the brief elaborations the Chinese students supplied regarding the reason they avoid clothing related to issues of personal identity, with no mention of social or cultural motivations for doing so. This indicates that the avoidance of styles due to fears of social castigation and negative group associations could hold as a phenomenon more prevalent in the United States than in China.The college-aged men in this study expressed a desire for clothing that is comfortable, gives them confidence, and meets the expectations of their surroundings. These men recognized that their clothing was onerepresentation of their identities. Thus, the results suggest that college men are driven largely by a desire for comfort and to meet normative expectations. These findings are supported by the supposition that “men dress for fit and comfort rather than for style”, made by Craik (1994) and confirmed by Bakewell et al. (2006). These attributes for college men’s clothing choice seem to be quite different from those for young women, who largely make their choices based on brand (fit, look, and style) (Taylor and Cosenza 2002). The driving force for college men’s clothing choice is seemingly functional rather than decorative (Kacen 2000), even if they have become more appearance-conscious. Overall, the positive connection between young men’s individual identities and their clothing choices parallels previous research on the relationship between young professional men’s perceptions of work identity and their dress choices (Kang et al. 2011), and on the link between young peopl e’s clothing choices and the identity of the groups to which they belong (Piacentini and Mailer 2004).A minority of respondents avoided certain types of clothing because they felt it was incongruent with their styles. Their aversion to clothing that appears to belong to alternative, gangster, or gay styles suggests that these men strived to avoid clothing that implied identities viewed as non-conformist, non-professional, and unusual. These men indicated that their clothing choices were perhaps motivated by a desire to fit in withothers. Their aversion to clothing styles that communicated incongruent identities implies that deviations from cultural, class, race, andgender-related norms were undesirable.翻译：大学男装时尚简要回顾服装社会心理学的文献显示,年轻女性比男性更多的成为研究参与者。
服装设计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。
服装设计外文翻译--绣纺织品设计(节选)
2000汉字，1000单词，5000英文字符出处：Miller M. Embroidered textile design[J]. Textile Design, 2011:129–145. 原文Embroidered textile designM. MILLER1IntroductionEmbroidery design is inextricably linked to the specific method of production, so this chapter provides an overview of the processes currently used for embroidery production. It provides an account of the recent changes in technology that have radically altered the use of embroidery, and includes sections outlining the key areas embroidery is used in. Finally there is a section suggesting likely future trends in embroidery.Embroidery has always been a key feature of both household textiles and clothing, in recent years embroidered decoration has become even more predominant. This is for two reasons: the advances in embroidery technology have made it much cheaper and easier to produce embroidery, also increased globalisation and the easy access to cheap labour means hand-stitched embellishment is now created for mass-market clothing as well as for the more expensive end of the market. There is a third reason that has led to a huge increase in the amount of embroidery on clothing, and that is to do with the huge growth in branded goods over the last twenty years or so.The commercial mass-production of embroidery is a surprisingly complex area. Embroidery is not a discrete process. It encompasses all types of stitched decoration, from all-overs on household textiles, to placement logos on caps and sweatshirts, to complex designs combined with print and sequin embellishment.1.1Definition of embroideryThe word embroidery has many meanings and connotations, in this chapter it is used to denote commercial embroidery, i.e. that done on or applied to garments or house- hold textiles for retail sale, as opposed to embroidery done for commission, as one-off pieces. The types of commercial embroidery covered in this chapter can be defined by method of production, i.e. tambour, Irish machine, Comely machine, schiffli machine, multi-head machine. (These different production processes are describedbelow.)1.2Types of embroideryEmbroidery can be created in many different ways; it can also be used in many different ways. The schiffli machines can create metres and metres of all-overs that can be used for household textiles or fabrics for clothing. These machines can also used be used for the creation of badges that are then attached to clothing when large quantities are required. They are also used to create embroidered trimmings.Multi-head machines are mostly used for placement embroidery, most commonly logos and branding; however, they are also used extensively for feature embroidery on all manner of clothing and household textiles, especially towels.2Commercial production methods for embroidered textilesCommercial production methods can be broadly divided into two, those that essentially consist of one person working on one piece of embroidery at a time, where the labour required is intensive and skilled: hand embroidery, tambour, Irish machine, Comely machine; and those that result in the production of more than one piece of embroidery at a time: schiffli machine, multi-head machine.3Digitising embroidery designsAlthough schiffli and multi-head machines operate in different ways, the compute-riseddigitising systems for inputting design information are very similar. The terms…punching‟ and …digitising‟ refer to the same process - the process of converting a design into a machine-readable format. This can be direct to machine, or stored on a disc. The term …punching‟ originated f rom when holes were manually punched into a paper or cardboard roll. Until the 1990s computerised systems were also commonly referred to as …punching‟ systems and the term …punching‟ remains in use in some sectors of the embroidery industry.4Pattern control in embroidered textile designsAll machine embroidery is carried out by the movement of a piece of fabric beneath, or perpendicular to a needle or set of needles.Embroidery done on these machines requires a considerable amount of skill by theoperator. The movement of the fabric to create the design is controlled freehand by the machine operator. There is sometimes an implication that embroidery created by machine is in some way inferior to that created by hand, as if less skill is involved. In fact the creation of embroidery on the Irish and Comely machines is very skilled.5Applications of commercial embroidery productionAlthough a certain amount of information about what is produced by the different methods has been provided in the above sections on production methods, it is useful at this point to reiterate some of the applications of commercial embroidery focusing primarily on the schiffli and multi-head industries.A wide range of different types of threads and fabrics can be stitched on all these types of embroidery machines. The threads used can range from thick wools to fine silks, the fabrics stitched can range from sheer chiffons to thick plastic, for certain fabrics special backings or toppings may have to be used.5.1Household textilesThis includes, but is not limited to, towels, tablecloths, napkins, bed and table linen, and curtains. The use of embroidery on household textiles has become common-place; once it was limited to only high-end textiles, and mostly stitched on the schiffli machines; however, with the lessening production costs cheaper ranges of household textiles also use embroidery.5.2ClothingAlthough in theory the application of embroidery to clothing is limitless, it tends to be used extensively in the following areas: childrenswear; womenswear, lingerie, sportswear, corporate clothing/workwear.Children swearSince the 1990s embroidery has been used extensively by manufacturers of children‟s clothing, at all market levels, from the low end, such as Primark, to upmarket brands such as Burberry. Stores such as Marks and Spencer use multi-head embroidery on a very large proportion of their children swear. The signature look of both Oilily, and Monsoon is highly embellished, decorative clothing. Both these brands use a range oftextile techniques to achieve this look, embroidery is a significant part of this.Women swearWhilst many clothing ranges include elements of embroidery occasionally, there are a small number of companies for whom embroidery is a key part of their identity. Monsoon and Whistles are both upmarket companies whose garments often utilize different types of embroidery.LingerieWomen‟s underwear has featured embroidery since before embroidery was automated. The schiffli embroidery manufacturers, such as Bischoff in St Gallen, Switzerland () have developed incredibly sophisticated ways of stitching onto complex stretch fabric bases.译文绣纺织品设计作者：米列尔1引言服装刺绣设计的具体方法与生产过程是紧密联系在一起的，所以本文对目前用于刺绣的生产工艺作了一个概述，并阐述了最近这方面的技术变化，这些技术进步己经从根本上改变了刺绣工艺及其在服装设计和制作中的使用，最后是概述了刺绣使用中的几个关键部分，并表明了刺绣的未来发展趋势。
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。
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。
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。
服装设计相关英文论文
2.3 The art of sculptural elements in clothing2.3.1 The rhythmic beauty of linesThe rhythmical sense of lines in sculpture can precisely convey the beauty of the work. As a result, the combined form of lines can indicate how patterns and images are put together, and the back and forth zigzag of lines can convey how much something weighs. Clothing translates the sculpture's rhythmic lines, which are analogous to the emancipation of the human body's curves. We can depict the curves of the garment as well as the body and movement shapes of the figure using the rhythm, regularity, and trajectory of the lines in order to create a three-dimensional feeling of the overall shape of the garment.2.3.2 The rhythmic beauty of the layoutDifferent layout designs will elicit various psychological reactions. For instance, a square layout tends to convey a sense of propriety and gravity, whereas a circular layout tends to convey vividness and perfection. Theme, layout, context, and other factors used in sculptures' creations all help to portray the beauty of the sculpture. Layout and rhythm work well together.2.3.3 Space-related visualsThe main way sculpture expresses the beauty of imagery is through space changes, mostly through blending many scenes and spatial motifs to form a cohesive whole. In order to appreciate and shape sculpture, light is crucial because it can cause the sculpture to produce various undulating changes that highlight the relationship between light and dark, as well as the visual laws and illusions produced by various color changes that express the three-dimensional sense of objects and the sense of space. First and foremost, we must understand that space and any visual effects are profoundly dependent on light.2.3.4 Aesthetics of convex and concave textureThe texture is a crucial element in sculpting art. The abstract expression of texture can enhance not just the sculpture's overall visual effect but also its overall atmosphere [2]. In sculpture, convex and concave texture refers to the creation of regular and atypical concave and convex effects by carving techniques like negative and positive engraving. For instance, a positive engraving produces a lifting effect, whereas a negative engraving produces a depressing effect. Its incorporation into clothing structures can produce a variety of visual effects and improve the three-dimensional and spatial perception of clothing.The adults experience a variety of pressures that increasingly occupy them with work. They have little time to focus on their own emotions because of peer pressure, work pressure, and life pressure. Even when they are sad or angry, it can be challenging to locate a location where they can feel supported and at ease. Their heart and body will suffer if they are in such a depressed state for an extended period, and they risk developing depression or other health ailments. Considering that clothing itself is for human beings, in my opinion, its role is not only to cover people's bodies,nor is it only for decoration and beautification, but I think clothing can also have other meanings and values to improve people's lives. In this project, I hope to integrate the concept of comfort, safety and fun into the clothing, so that the clothing becomes a shelter for adults, where they can experience a sense of fun and safety so that they can release and alleviate their stress and worries from all aspects so that they can start to pay attention to their own emotions.In Ishigami’s design, people can feel what it's like to walk on top of a cloud. I like to look at the clouds," says Ishigami. The irregular shapes of the clouds fascinate him, “ Clouds change their form at will, with certain rationality. It is these erratic curved forms that give the room its overall warmth, intrigue, and impressiveness. They don't feel rigid, prescribed, or stagnant like straight lines; rather, they seem to be full of freedom, joy, and rich creativity. The erratic arcs move in high and low arcs like a toddler dancing.His use of arcs is significant in this piece. The arcs reduce the sharpness, and are more rounded and softer than the angular straight lines, giving people a more cosy and intimate sense. Additionally, uneven arcs are more intriguing and provide room for creativity. As a result, the arc will play a significant role in my designs.However, because the human body is three-dimensional, if the arc's structure were just used as a pattern on clothing, it would lose its vibrant quality and its ability to move freely without being constrained. Therefore, you may still preserve the alive and freedom of the arc structure in the clothes if we can say that the two-dimensional arc structure into three-dimensional space arc structure and reference in the clothing, so that the clothing has a certain sculptural effect.Through the research of irregular curved surfaces, I collected a large number of sculptural images with irregular shapes. To study the possibility of irregular arcs on the human body, certain interesting arcs were extracted using Photoshop and collages were created (Figure 3.10).The collage provided the initial growth direction, but the structure is currently two-dimensional and lacks a sense of three-dimensional space. Therefore, combined with the research on the relationship between the spatial sense of curved surfaces and the human body, Figures 3.5 3.6, 3.7, 3.8, 3.9 I got some conceptual sketches, Figure 3.11, where the curved surface with a three-dimensional sense of space is integrated into the garment. However, the sketches obtained at this point are too abstract to be developed into garments, so it is necessary to gradually simplify the design of some structures, and Figure 3.12 shows some of the sketches after simplification.The fundamental research strategy in this thesis is to create three-dimensional clothing by "sculpturally" modelling it on a human platform, fixing it with tape, and then designing curved channels and partition lines directly on top of the shape.I started with CLO 3D software in order to achieve a three-dimensional spatial sense of curved surfaces. I used the "pressure" function to add pressure to the plate to give the garment a three-dimensional effect of bulging. Although this achieved a three-dimensional sense of space, the overall feeling of the clothing is too bloated, losing the irregular curved lively and unrestrained feeling (Figure 3.13).After experiment one ended in failure, I tried to change course and focus on using clothing technology to create "sculptural" apparel. The "sculptural" shape was created on the human table, attached using tape, and then three-dimensional clothing was created by designing curving channels and dividers directly on the shape's surface (see Figure 3.14).Specific experimental steps are as follows.1. Use a little harder filler material to stack out the desired three-dimensional shape on the human table.2. Use paper tape to stick this three-dimensional shape all up, to make the whole surface becomes very hard.3. According to the concave and convex surface of the three-dimensional shape, design curved provinces and dividing lines in the most convex position to maintain the three-dimensional sense of the shape.4. Use scissors to cut the designed curved provinces and dividing lines to see if they can be unfolded flat, if not, the third step, i.e. redesign the curved provinces and dividing lines, should be repeated.In order to express the concept of security and fun, the choice of fabric is crucial.The first consideration is the color. Different colors will give people different emotional feelings, such as dark colors, which will immediately be able to make people feel solemn or depressed, and lively colors, which will give people energy and come with healing. Therefore, the colors of the fabrics in the series will be colored, they will be composed of different brightnesses of yellow, orange, green, purple and blue, and the combination of these colors together reflects lively, fun and safe. The pattern, can not be too complex, a simple pattern of plaid pattern can be, because the fun of this series of clothing is mainly reflected in the curved province and the three-dimensional space shaped by the dividing line, so the pattern can not be too complex, declare the soldiers to take over the main.Secondly, the texture of the fabric is also vital, plush and heavy fabric can bring a sense of security and comfort, such as tweed-type of fabric. See Figure 3.15. Regardless of the angle of view, the silhouette of the clothes in the final collection is curved with a sense of three-dimensional space. Each pair of clothes has a "sculptural" sensation.4.1 Recommendation on preserving the "three-dimensionality" of the garmentsFinally, the collection took on a "sculptural" appearance, with a three-dimensional visual effect in all directions. The clothes were gradually garmentized with a simplified design to facilitate human movement. However, it is critical to preserve "sculptural" clothing as opposed to ordinary ready-made clothing. In terms of preservation, it requires sufficient space and cannot be squeezed because some shapes cannot be recovered once squeezed. Some padding can be stuffed inside the garment to shape it and keep the three-dimensional effect.Over time, the pursuit of new dress concepts and the promotion of innovation has become a popular trend in the current development. People are increasingly pursuing unique and beautiful clothing styles that can fit with the overall culture of the times, and sculpture design is rich in variation and artistic beauty that can fit the current fashion development trend and enrich the internal and external expression of clothing. The application of sculpture design in the three-dimensional composition of clothing is primarily expressed in the change of three-dimensional structure of clothing, through a variety of forms and methods to create three-dimensional space in clothing, give design inspiration, optimize the visual effect of clothing, so that clothing can not only meet functional needs, but also strengthen the overall design effect, and give clothing innovative three-dimensional composition of clothing. Provide a variety of inspirational materials for the advancement of clothing design.。
服装设计中的创意性灵感外文文献翻译
文献出处：Mete, Fatma. "The creative role of sources of inspiration in clothing design." International Journal of Clothing Science and Technology 18.4 (2006):278-293.原文The creative role of sources of inspiration in clothing designFatma MeteAbstract:Purpose - To assess the creative role of sources of inspiration in visual clothing design. It aims to analyse simple, general accounts of observed design behaviour and early stages of the clothing design process, what is the nature of design inspiration, how sources of inspiration are gathered and how they affect the creativity and originality in clothing design.Design/methodology/approach - A progressive series of empirical studies looking at ready-to-wear clothing design has been undertaken; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empirical approach used ethnographic observational methods, which is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed, as in the fashion industry, not just a case study of a single individual or company.Findings - Identifies the major types of idea sources in clothing design and provides information about each source. Recognises that these sources of inspiration help designers to create design elements and principles of individual designs. In order to foster originality, sources of inspiration play a powerful role throughout the creative stage of design process, and also in the early stages of fashion research and strategic collection planning.Originality/value - This paper highlights the role of sources of inspiration and its effect in creativity and originality in the clothing design process. Offers practical help to clothing designers and design-led clothing companies.Keywords: Fashion design, Clothing, Creative thinking, Design calculations, DesignmanagementIntroductionSources of inspiration and its personal interpretation, visually and technically, play an important role in the design process, in increasing creativity. Clothing design studies and the creative role of design inspiration, during the early informal and actual clothing design processes is open to scientific investigation like aesthetically driven designs in other domains.Studying creative fashion design as process and product is seen more problematic than other design-led industries, as the interaction between the design elements and principles, material properties, adaptation and modification of design inspiration are complex. Clothing design, as a variety of aesthetic and functional design processes, shares many characteristics of engineering design process.Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including studying current and future fashion trends and try to predict what the majority of their customers will want in the foreseeable future. In order to keep up with the changing world of fashion, fashion awareness should become second nature to every clothing designer.Design and clothing as a visual and tactile sensory designIt is well known that design is two things: process and product, as verb and noun. As design problem solution process, it is researching, setting the source of inspiration, planning, organizing to meet a goal, carrying out according to a particular purpose and creating. As product it is the end result, an intended arrangement that is the outcome of that process or plan.Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practical purpose and environment. We realise that some art is pure, "art for art's sake" but most creations in the daily world are for a practical purpose and use. Design as process is planning to meet a goal, and thus applies to everything intentionally created for a purpose. The steps and order of the process areessentially the same regardless of the end product. These steps are very similar to management as a planning process.Design as man made product and service falls into two major categories: sensory and behavioural. Sensory design is perceived through the senses, and is classified as visual, auditory, olfactory, tactile and gustatory. Behavioural design is planned action. Many products, however, include aspects of both, because design may be perceived through the senses and then interpreted behaviourally. A fashion show, for example, include both sensory and behavioural designs.Research methodology and findingsThe importance of source of inspiration and their role in creative clothing design has been little understood and, therefore, rarely received attention in this industry. [6], [7], [8] Eckert and Stacey (1998, 2000, 2003) studied knitwear design case, which shares many characteristics of complex engineering projects and as an example of "practical design" in a fast moving and highly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which produced a detailed design process model and an analysis of the causes of communication problems within design teams. [15] Mäkirinne-Croft et al. (1996) tried to explain the fashion design process in terms of quantum mechanics and psychoanalysis and see design creativity as the ultimate mystery; their description of the design process is simplistic.The author has undertaken a progressive series of empirical studies, based on observation and interviews, looking at ready-to-wear (RTW) clothing design; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empiric approach combines ethnographic observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed as in the fashion industry, not just a case study of a single individual or company.In this research, the creative role of sources of inspiration in visual clothing design by novice and expert clothing designers was assessed through empiricalresearch. As subjects, 16 talented clothing designers, 11 university-level fashion design students in Fashion Design Department at Dokuz Eylul University and five professional designers participated in the experiment carried out in this research. The first group of subjects included advanced fashion design students, seven talented students selected from the third and fourth year of undergraduate studies, and also four students of postgraduate studies, who also works as a free lance or part time assistant designers in the clothing industry. The second group was composed of five professional designers with a minimum of 5 years of experience in clothing industry. Sources of inspiration in clothing designWhere does the fashion designer get ideas and inspiration for new styles? The answer is everywhere and everything. Anything visual and tactile, in fact sensual, can be a source of inspiration for a garment. Through television, the designer experiences all the wonders of the entertainment world. In films, the designer is exposed to the influences of all the arts, and lifestyles throughout the world. Because consumers are exposed to movies through international distribution, films prime their audiences to accept new fashions inspired by the costumes. Museum exhibits, art shows, world happenings, expositions, theatres, music, dance and world travel are all sources of design inspiration to fashion designers. The fashions of the past are also a rich source of design inspiration. While always alert to the new and exciting, fashion designers never lose sight of the past, they use old things in new ways.As stated the inspiration for a garment within a collection or for an entire collection can come from an infinite variety of sources. Sources of inspiration are often linked to the social "spirit of the times" also called the "zeitgeist". Understanding the state of current fashion and searching for ideas and sources of inspiration involves looking at art objects and books, going on trips to places like Paris and Milan, visiting museums, watching people on streets and going on country walks. Designers are most creative when they are directly exposed to the sources of ideas.On the other hand, it has been observed in the fashion industry that there are two fundamental approaches in the creative clothing design processes:(1) material, thus fabric, inspired clothing design process; and(2) conceptual clothing design process, such as several themes originated from the universe of arts, nature or products.It is known that the high-fashion "name" designers typically develop a concept, also called theme, for their collection in order to be more creative and original.The major types of idea sources in design-led industries are previous products, artifacts, natural objects and phenomena. In case of clothing design, garments, fabrics and trims as previous products, play an important role in sources of inspiration. Although, there is a broad recognition that much of the design proceeds by modification of previous ideas, in case of fabric inspired clothing design, designers search for new forms and styles with newly developed or invented materials. For example, the development of elasthen fabrics, such as Lycra, inspired designers to figure-hugging silhouettes.ConclusionsAnything visual and tactile, in fact sensual, can be a source of inspiration in fashion design. Design ideas do not simply materialize out of thin air. First, the designer does careful research, but what makes a designer's collection special and original is his or her unique interpretation of design sources. Therefore, in order to be more creative and original the sources of inspiration play an important role in clothing design.Research and awareness are the key to creativity. Designers must learn most of all to keep their eyes open, to develop their skills of observation, to absorb visual ideas, blend them and translate them into clothes that their customers will like. The design process shows that realistic observation of outside influences and needs, extensive research and awareness and logical thinking and order, remove a great deal of the supposed "mystery" of design or creativity. One who thoroughly understands design as product and process and has mastered the use of appropriate materials and adaptation techniques can be "creative" and can translate the source into reality as a successful fashion product.Sources of inspiration are used at the early stages of design and throughout theentire design process. From the findings of this research, the role of sources of inspiration in clothing design can be summarised as follows:- increasing originality and creativity;- making the design process easy;- deriving harmonious colour schemes directly;- maintaining harmony and uniformity of the collection;- deriving technical acumen from products inspired, especially from previous garments;- understanding the fashion appropriation of the season; and- drawing the borders for the design framework.译文服装设计中的创意性灵感法蒂玛梅特摘要研究目的：本文的研究目的就是评估服装设计过程中的创造性灵感源。
服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。
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文献信息：文献标题：Evolution of Fashion Design in the Era of High-Tech Culture （高科技文化时代服装设计的演变）国外作者：Galina Mihaleva，C.Koh文献出处：《International Scholarly and Scientific Research and Innovation》,2016,10(7):2447-2451字数统计：英文2079单词，11462字符；中文3549汉字外文文献：Evolution of Fashion Design in the Era of High-Tech CultureAbstract Fashion, like many other design fields, undergoes numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying the creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. By comparing case studies, existing fashion design examples and crafting method experimentations; we then spot patterns in which to predict the direction of future developments in the field. A breakdown on the elements of technology in fashion design helps us understand the driving force behind such a trend. The results from explorations in the paper have shown that there is an observed pattern of a distinct increase in interest and progress in the field of fashion technology, which leads to the birth of hybrid crafting methods. In conclusion, it is shown that as fashion technology continues to evolve, their role in clothing crafting becomes more prominent and grows far beyond the humble sewing machine.Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing. INTRODUCTIONIt is common knowledge that the environment we live in greatly influences the style of clothing that people wear. And, it is not just referring to the physical-geographical or climatic environment but rather the less tangible aspects of the socio-cultural environment which is related to the time period we live in as well as the prevalent culture at the time. As much as clothing is a practical necessity, it is also an expression of identity and a reflection of culture.In the current high-tech culture we live in, there is a trend of using computers, automation, and other technology driven methods to compliment many fields, fashion design is no exception. Designers now immerse themselves in the age of smart textiles and incorporate modern technology with fashion design and production. The used of sensors, conductive fibers and other smart fabric technologies like 3d printing, brings a whole new dimension to fashion design in terms of functionality, expression and interaction. The design focus is also shifted to more active issues of personal identity, social behavior, and intuitive interactions.Fueled by society’s eagerness for efficiency, the fashion industry is on the verge of a revolution. The boom of technological advancements prominently redefines the role of fashion designers, their approaches to design and functionality of fashion. This ultimately transforms the conventional design process.TRENDS AND METHODOLOGIESTraditionally, clothing is a means of fulfilling basic needs such as protection from the elements, comfort, camouflage, and even socially accepted modesty as well as a medium for symbolic, artistic or religious expression.Early concepts and constructs of “smart clothing”was very far from the current ideals of “smart clothing”, attempts to make wearable technology in the 1970s were more inclined towards simply using clothing as a support for electronic attachments and had very little to do with fashion. However, this changed when a different approach was used; resulting in the smart fashion we have now. Aesthetics and function are sometimes thought as independent of each other or even antagonistic, there may be misconception that aesthetics is less important than practicality. What isoften neglected is that these two concepts are interrelated and have a symbiotic relationship. Fashion is linked with design, and design aims to fulfil needs of the consumer whether it is aesthetic or functional. Thus when a designer engages in effective fashion design and undergoes the process of satisfying certain variables, it is fundamentally the same process that sates functionality. Consequently, by working with fashion as the starting point and integrating technology simultaneously while pursuing it as a distinct hybrid topic of wearable technology; it helps in creating a more effective outcome. Thus, with the advent of smart garments and wearable technology, clothing is rapidly transformed into an interactive interface between wearer, garment, and environment. The development of clothing as technological interface is highly influenced by the development of technology as fashion designers are drawn by the expanded possibilities of high-tech wearables.The human body is itself a biological receptor interface, it has been mentioned that clothing and fashion has an intimate relationship with the human body in both physical and social aspects. With smart garments, fashion becomes an additional interface and results in a cyclic interaction between body, clothing and environment. Take for instance the research project Smart Second Skin (2004) by Jenny Tillotson and Adeline Andre which comprises of a scent delivery system that is programmed to respond to the wearer’s emotions and dispenses olfactory stimulus for aromatherapy to alter the wearer’s mood. This is an example of a complex feedback design. Firstly, the wearer’s mood changes, possibly reacting to a conscious or subconscious stimuli in the environment, this emotional response becomes an input that triggers the sensors and produces an output, in this case, it is the dispensed aromatherapy which in turn brings the wearer’s emotions back to a desired state as a feedback. The body, environment and clothing interacts accordingly, this interaction is modulated by what is being programmed into the technology involved.While textile can turn into a technological interface, some designers are soon inspired to look at material fabrication technology itself. The exploration of such possibilities spurred the need for interdisciplinary approaches. Designers become more than artists, they turn into engineers, programmers, chemists, and evenbiologists. Micro’be’ Fermented Fashion is a project where organic fabric is “grown” with the bacteria through the process of bacterial wine fermentation. The cultivated fabric formed from cellulose micro fibrils is biodegradable and can be used to make seamless garments. Its advantages of being environmentally friendly and a lower cost fabric production in the wake of rising petroleum costs for synthetic fabrics only came to be when the artist vision extended across into the biological fields. This can only serve to prove the benefits of hybridizing interdisciplinary methodologies. In addition, there is another implication of cultural influence, high-tech culture is characterized by the drive for efficiency, the need to improve current conditions, and the use of highly scientifically advanced methods (e.g automations, Bio-culture etc.) to achieve these improvements. In recent years, society starts to realize the impact of finite resources, thus leading to a trend of conservation awareness that inspires projects like Micro’be’ Fermented Fashion. The attention to environmental concerns lets life sciences become a popular theme in technology related fashion, where ideas for cultivating textile in labs came up.The definition of textiles is constantly being challenged; designers now not only look at textile with technology but also the technology of textile production. A notable fabrication tool is 3d printing, which has made a significant impact on the fashion industry. It is garnering a lot of interest, or at the very least, the prospects of it is favorable, evident by the fairly well received 3d printing competition held at the Singapore Nanyang Technological University. 3d printing was initially seen as a very useful tool for product design and medical support purposes until fashion designers like Iris Van Herpen discovered its potential in architectural fashion. Van Herpen won critical acclaim for her intricate 3d printed dresses, her success sparked the growing trend of 3d printed fashion, and be it dresses, jewelry, or shoes, 3d printing is becoming a popular tool for fashion designers, and it is now easily accessible with the availability of affordable desktop 3d printers. Even within the fields of 3d fashion, there are a variety of crafting methodologies; form, material, texture and colour can all be conveniently manipulated.While designers embraced the technology of material fabrication, traditionalfashion design processes and sensibilities are gradually being amalgamated with high-tech methods to produce brand new crafting methodology, hence the design process is inevitably altered to accommodate for it. This brings one to the topic of Computer Aided Design (CAD). For 3d printing, CAD is needed to create a 3d model for printing. Patterns were used to produce clothes industrially since the invention of the sewing machine in 1830, with the use of CAD, designers create their designs on the computer instead of drawing it on paper. CAD and 3d printing either bypasses or changes many of the conventional process of tailoring. Furthermore, computers can be utilized in many ways to create textile designs, for instance, coding can produce interesting computer generated patterns. Certain innovative techniques involve taking advantage of transitional design effects arising from translation of the physical to digital with technology such as scanning. Japanese textile company Nuno is renowned for combining tradition and technology to produce beautiful woven fabrics. Woven structure pattern 1984 is a fabric designed by Nuno founder Jun’ichi Arai by repeatedly photocopying an African kente cloth until it becomes pixelated; it is then scanned and woven on a computer driven Jacquard loom.A more straightforward use of computers is to produce the design directly with illustration software or drawn by hand and scanned in before printing digitally on cloth. Alternatively, vector designs can be sent to laser cutters to cut out shapes in various materials. This method was used to create the cut felt in the “Text-ile Landscape memories”dresses. Laser cutting is a fast and convenient method to produce planar designs. It is able to perform sophisticated cuts on several types of materials whether it’s metal, plastic, wood, felt or paper. The setting just needs to be adjusted according to suit the material. Such automations save time for designers so that more time could be allocated to the creative aspects of the designing. These are all instances of how the technology alters the crafting methods in fashion, as previously mentioned, the type of technology influences the type of fashion. In “Text-ile Landscape”the planar felt material is laser cut and then manipulated to adapt a three-dimensional form. The precise nature of laser cutters and 3d printers inspire a more architectural take on fashion. It can be said that technology inspires amore geometric, clean-cut, “futuristic”style.The accessibility and advancement of technology changes the playing field of the fashion industry. Traditional tailoring requires a significant amount of time when measuring clients for a perfect custom fit, but a 3d scanner is able to quickly obtain accurate three dimension measurements within seconds. A recent service known as bodi.me utilizes body scanners to allow customers to match their sizes to outfits purchased online based on sizing information from registered fashion companies. Imagine if the 3d scanners are combined with 3d printing of garment, perfectly fitting customized clothing could be efficiently and rapidly produced; this would drastically reshape the manufacturing process in fashion design.THE OBSERVED PATTERNThroughout all the examples, it should be noted that there is a pattern. Firstly, there are constant improvements in technology and designers tend to make full use of these tools for their designs, subsequently affecting their design concepts. Secondly, hybridization is rampant in wearable technology. Fashion is a complex and established long standing industry, hybridization is almost unavoidable in order to integrate advanced technology into a field with such a long history. This gives rise to new or combinational crafting or design techniques.There is a correlation between wearable technology designs and the concepts they tend to express. The input and output principles is by virtue of the systemic nature of technology. It is therefore naturally geared toward issues pertaining to interactions, social or otherwise. And since fashion is basically an adornment of the human body, expression of identity and perceived culture becomes a common and favored theme.The rise in wearable technology can be said to be a reflection of our current culture. Availability of specialized kits like Lilypad kits is indicative of the market for wearable technology. It is likewise proof of the codependence and co-influencing between technological advancement and design aspirations of fashion designers. Technology fuels inspiration, and aspirations spurs development.CONCLUSIONConclusively, the various examples of projects examined in the paper show that as technologies continue to evolve, their potential uses in smart clothing grows exponentially, and it simultaneously affects and is affected by the fashion culture. Furthermore, it demonstrates the role and importance of wearable technology in our current high-tech environment and expands functional and expressive possibilities for the modern fashion designer.中文译文：高科技文化时代服装设计的演变摘要服装，像许多其他设计领域一样，古往今来经历了无数次的演变。