英文论文翻译中文(服装专业)
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。
服装设计外文翻译文献
服装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文:Trend predictionTrend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.Spirituality is seen in the interest of such things as ‘Feng Shui’which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence fromfashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.The design team determines how this intelligence affects fashion and consumer awareness.Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.ColourColour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.The fashion prediction design processOne publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.After the designs are completed they are illustrated with reference to particular markets and ‘lifestyle s’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.Samples of knitwear and new textiles may be commissioned which will be photographed for the books.Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.Theme developmentFashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.These can be interpreted into customers buying from:Lower market –budget; lower middle –high street, chain stores; middle –independent labels and department stores; upper middle – designer diffusion; upper –designer.Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.New uses of technology have resulted in the development of the Worth GlobalStyle Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.译文:流行趋势预测流行趋势预测信息所包含的内容要比时装预测丰富得多，原因是其不一定与时装有关。
服装专业英语作文
服装专业英语作文Title: The Significance of English in the Fashion Industry。
The fashion industry is a global phenomenon that transcends borders and languages. In today's interconnected world, English has become the lingua franca of the fashion business, playing a crucial role in communication, collaboration, and innovation within the industry. In this essay, we will explore the significance of English in the field of fashion, examining its impact on various aspects of the industry.Firstly, English serves as the primary medium of communication in the international fashion arena. Fashion designers, manufacturers, retailers, and marketers from different countries often need to interact with each other to create and promote their products. Whether it's negotiating contracts, discussing design concepts, or presenting marketing strategies, proficiency in English isessential for effective communication among stakeholders. Without a common language like English, misunderstandings and miscommunications can arise, hindering the smooth operation of business activities.Moreover, English plays a vital role in facilitating global trade and commerce within the fashion industry. As fashion brands expand their reach beyond domestic markets, they need to engage with suppliers, distributors, and consumers from diverse cultural backgrounds. English enables companies to navigate the complexities of international trade agreements, negotiate deals with overseas partners, and reach out to a broader customer base through marketing campaigns and social media platforms. In essence, proficiency in English opens doors to new opportunities and markets for fashion businesses, driving growth and expansion on a global scale.Furthermore, English is indispensable in the realm of fashion education and research. Many prestigious fashion schools and universities around the world offer courses and programs taught in English, attracting students fromdifferent countries seeking to pursue careers in the industry. Professors, researchers, and scholars also rely on English to publish their findings, share insights, and collaborate on projects that advance the field of fashion studies. By embracing English as the language ofinstruction and scholarship, these institutions foster a culture of international exchange and knowledge sharing, enriching the intellectual landscape of the fashion industry.Additionally, English serves as a bridge between fashion and the digital world. With the rise of e-commerce, social media, and digital marketing, fashion brands need to communicate with consumers online effectively. English-language websites, blogs, and social media accounts allow companies to connect with a global audience, showcase their latest collections, and engage in direct dialogue with customers. By leveraging English-language content, fashion brands can enhance their online presence, build brand awareness, and drive sales across borders, tapping into the vast potential of the digital marketplace.In conclusion, English plays a pivotal role in shaping the dynamics of the fashion industry in today's globalized world. From facilitating communication and collaboration to enabling international trade and education, English serves as a cornerstone of success for fashion professionals and businesses worldwide. By embracing English as the language of choice, the fashion industry can continue to thrive and evolve in an increasingly interconnected and competitive landscape.。
服装设计外文文献翻译
文献出处：Sukumar N, Gnanavel P, Ananthakrishnan T. Effect of Seams on Drape of Fabrics [J]. African Research Review, 2009, 3(3)：62-72.原文Effect of Seams on Drape of FabricsSukumar ；Gnanavel. P. , Ananthakrishnan, T.AbstractDrape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyze the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.Key words: drape, computer aided design, seam, stitch densityIntroductionDrape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 2005). The mechanical properties of fabrics were first studied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al.(1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is unrealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit acomplex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle, 1993).A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothing industries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ring of fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the m ain parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 2005). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.Types of SeamThe types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cm square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.(1) Plain Seam (S1)This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.(2) Welt Seam (S2)For constructing this, we should stitch the plan seam and press both seam allowances to one si de. Then the inside seam allowance is trimmed to ”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.(3) French seam (S3)The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished width is” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabr ic. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made” from the fold.ConclusionA study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drapeprofiles.译文接缝对面料褶皱效果的影响库马尔；甘拉维尔；安娜斯克里斯兰摘要褶皱是服装面料的一个内在特性，这使得它能够优雅地挂在服装面料的表面，特别是当面料的有些区域需要用到褶皱的时候。
服装设计中英文对照外文翻译文献
服装设计中英文对照外文翻译文献文献信息：文文献献标标题题：：Proactive Fashion Design for Sustainable Consumption（可持续消费的具有前瞻性的服装设计）国外作者：Kirsi Niinimäki文献出处：《Nordic Te____tile Journal》，20________，1:60-69. 字数统计：英文 3104 单词，17881 字符；中文 5737 汉字外文文献：Proactive Fashion Design for Sustainable ConsumptionAbstractThis article presents a study that investigates product satisfaction inthe conte____t of clothing.The paper furthermore presents suggestions on how this knowledge can be used to create proactive fashion design for sustainable consumption.One of the main challenges in today’s consumer society is how to design products that encourage consumers to engage in more environmentally responsible behaviour, sustainable consumption.This paper opens the discussion on how to change current unsustainable consumption behaviour related toclothing through a visionary, far- sighted design approach.Designers can create future-oriented sustainable designs that can transform consumption patterns towards more sustainable ones.Design for sustainability can thus be a redirective practice that aims for sustainable consumption, and the ways in which fashion design can be a proactive process with this aim will be described.Keywords: proactive design, sustainable design, sustainable consumption, emotional satisfaction, PSS.IntroductionProducts configure consumer needs and use patterns; hence, design can be said to be “practice-oriented”, creating certain everyday practices and consumption behaviour (Shove et al.20__,134–136).Current industrial design and mass- manufacturing systems stimulate consumerism and the production of disposable products (Walker 20__,51).Fast changing trends lead to consumers’ unsustainable consumption behaviour.To create a new, sustainable balance between design, manufacturing and consumption, alternative ways to create products are required to drive more sustainable consumption behaviour.Therefore, designers should evaluate how each design decision affects a consumer’s consumption patterns.Understood in this way, sustainable designcan be a redirective or a proactive practice that aims for sustainable practices in consumption (Fry 2021, 53).Higher production volumes and simultaneous growing consumption have caused an increase in material consumption (Throne-Holst et al.20__).Ever-changingfashion trends, affordable product prices and low-quality products cause consumers to engage in unsustainable consumption behaviour, such as impulse purchases, overconsumption, short use time and premature disposal of products.The increase in the purchase of short-lifespan products results in a notable increase in waste.Currently, appro____imately 70 percent of disposed clothing and te____tiles end up in landfills, and in many Western countries clothing and te____tile waste is estimated to be the fastest growing waste stream (Fletcher 2021, 98).Consumers discard gaments not only because they are worn out but also because they actively seek novelty.Nevertheless, product durability and longterm use are prerequisites for sustainable consumption: i.e.e____tending the life span of products is essential when the goal is sustainable consumption (Cooper 20__).Importantly, however, consumers associate durability with high quality and not with environmental impact.Emotions lie at the centre of human life, and they influence mostof our behaviours, motivations and thought processes (Desmet 2021, 379).Emotions alsoplay a strong role in consumption.The interplay between wants, needs, values, attitudes ande____periences is emotionally meaningful for a contemporary consumer.Clothing and fashion itemsbelong to the category of self-e____pressive products, and with such products, consumption-related emotions are important to the consumer.As Richins (2021) argued, these consumption emotions are important elements in contemporary society and especially after the purchase event.The purchase situation bees a strong positivee____perience for a consumer, but it is very shortterm in nature and has no connection to thee____perience of deeper satisfaction or person– product attachment (ibid).Through a new purchase event, the consumer can again e____perience e____citement, enjoyment, joy and pleasure, at least momentarily.From an environmental point of view, studying consumption patterns and themeanings of consumption is important when sustained positive emotions in person– product relationships are desired or solutions are sought to replace materialistic consumption with other positive emotional states.The design process should focus on sustainable consumer satisfaction with a product or with the person–product attachmentprocess.Moreover, a new kind of product service system (PSS) should be developed that aims to prolong the enjoyable use time of the product.A PSS strategy can also offer the consumer new emotional e____periences, which can postpone the disposal of the product; PSS thinking can thereby aim to avoid a new garment purchase, which is an opportunity to decrease materialistic consumption. Sustainable Satisfaction with ClothingIf current unsustainable consumption patterns are to be transformed into more sustainable ones, the ways in which design can offer sustainable satisfaction must be investigated.To gain a deeper understanding of the opportunities to deliver satisfaction by designand how the enjoyable use of garments can bee____tended, the satisfaction process must first bee____plained.According to Swan and bs (1976), the performanceof clothing can be separatedintoinstrumentalperformance(physicalproperties)ande____pressive performance.E____pressive performance is linked to a consumer’s psychological response to the garment, such as the e____perience of beauty.Instrumental requirements (e.g.qualitye____pectations) must be satisfied first.Nevertheless, only fulfilling instrumental requirements will not result in satisfaction.Therefore clothing must also meet consumers’ emotional needs if it is to deliver satisfaction (Swan and bs 1976).Hence good intrinsic quality is optimal for ensuring consumersatisfaction and to guarantee the longevity of clothing.High quality means durable materials and high manufacturing quality.The ageing process of a pleasant, aesthetic garment requires not only maintaining high intrinsic quality but also the design of a more classical style and use of durable materials.Somete____tile materials look old after a short usetime.The material might e____perience pilling or may look old after a few washes.Garments needing frequent washing may look old rather quickly; therefore, recognising materials that age in a more aesthetically pleasing manner is important.Studies have shown (Niinimäki 2021) that consumers e____periencee.g.wool and real leather to age in an aesthetically pleasant way.Consumers report that with high quality wool the ageing process does not show as obviously and in leather the ageing process is e____perienced as an attractive temporal dimension (ibid.).Consumersrespect aesthetic attributes in the long-term use of clothing, and aesthetic attributes correspond toe____pressive performance in clothingsatisfaction.Accordingly, e____pressive performance affects the psychological response to clothing.The aesthetic attributes that correlate to the longevity of clothing are good fit, personal cut, nice colours and fortable materials,as well as a classic look (see Table 1).Garment tactility is important to the wearer and a pleasant tactile e____perience during the use situation is one attribute for enjoyable long-term use of clothing.Table I: Attributes that enable longevity in clothingThe attributes that enable longevity in clothing are the following:Quality: Durable materials Durability in use Durability in laundering High manufacturing quality Functionality: Easy maintenance Suitability in the use situation (physiological and psychological suitability)Satisfying use e____perienceBeauty, style, colour, fit Aesthetic E____pressive beauty above average attributes: Tactile e____periencefortable materials Values: Product’s values have to meet consumer’s personal values Not only quali ty, functionality and aesthetics are important attributes; the values behind the product are also important to consumer satisfaction.Clothing choices must connect strongly with the wearer’s self-image, identity and values.Wang and Wallendorf (20__) have argued that consumers with high materialistic values seek novelty and evaluate their possessions more often than consumers with lower materialistic values.They also highlight that materialistic consumers have less appreciation for deeper person–product relationships that develop during longer use situations.Consumers’ materialistic values may also connect with social status-related elements in garments and possessions.Consumers with lower materialistic values may have greater appreciation for the personal meanings attributable to the product that emerge during long-term use (Wang &; Wallendorf20__).Consumers with high environmental and ethical interests place high importance on being able to findenvironmental value behind a product.These consumers respect credence quality attributes – local and ethical production, eco-materials and long garmentlife spans – and they want to see these attributes and environmental values in the products they purchase.The value aspect is most important and cons umers’ value e____pectationsshould be fulfilled to create deep product satisfaction (Niinimäki 2021). Fashion Designfor Sustainable SatisfactionHow can a designer offer sustainable satisfaction to the consumer and how can s/he propose a prolonged use time of the product to the consumer? Firstly identifying the attributes associated withsatisfaction and including them in the design is the most important strategy.Secondly identifying the determinants that lead to dissatisfaction helps the designer to avoid these elements in design and concentrate on design for sustainable satisfaction.The previous section described the satisfaction elements in clothing: -good intrinsic quality;-good functionality;-aesthetics;-values in the product, in manufacturing or the pany’s values.The easiest way to offer product satisfaction is to increase the product’s intrinsic quality and inform the consumer accordingly.However the clothing satisfaction process is ple____ and not easy for a designer to control.Table 2 presents the temporal dimensions in clothing satisfaction, bining those elements and attributes that enable satisfaction to emerge or even create person-product attachments in the field of clothing.These are the elements that a designer should try to embed in design if s/ he is aiming for proactive fashion, deep productsatisfaction and e____tended use time of the products.Table 2: Elements of proactive sustainable fashion designPAST PRESENT FUTUREMeaningful memoriesMeaningful associations, which create person-product attachments Good functionality Aesthetical dimensionsEnjoyable e____periences during use Continuing satisfaction with the product Product or servicefulfils consumer’s changing needsHigh intrinsic quality New elements in designProduct utility New e____periences with the productConnection to self, identityThe following section presents several design approaches to deeper person- product satisfaction in the field of clothing.With these design strategies the designer can aim to achieve proactive and sustainable design. Fashion Design with Meaningful Uniqueness Products carry symbolic meaning, which consumers use to construct their own personality andidentity.Consumers use products to e____press themselves and want association with the characteristics, uniqueness or values symbolised by a product (Norman 20__).If products are easilypersonalised, the opportunity e____ists to connect the product more deeply with consumers’ identity construction and to create deeper product satisfaction and an emotional attachment through theperson–product relationship (Chapman 2021).This opportunity enables the product to be more meaningful to the wearer, making possible an e____tension of the product’s lifetime.Design services are one opportunity to address consumer satisfaction by deeply connecting the design oute with a consumer’s personal needs.By using digital technologies that enable individual design or measurements, meaningful uniqueness can be designed.Furthermore, unique design and “made-to-measur e” services offer improved product satisfaction by meeting a consumer’s individual needs and preferences better than mass-manufactured garments.The pany NOMO Jeans offersputer-assisted made-to-measure jeans by using a 3D scanner (Nomo Jeans).Jeans are made individually according to each customer’s measurements.Thecustomer can also choose the cut, colour, effects and details of his/her jeans.An enterprise can also base its function only on consumer orders.The designer can create their own collections, produce a couple of sle collections and enable consumers to specify all orders and measurements on an individual basis.Garments can then be created based on each wearer’s measurements, thus enabling him/her to e____perience greater satisfaction.This design and manufacturing strategy may also help producers avoid the problem of overproduction.Small enterprises could offer their collections in small shops carrying a sle collection and obtain orders directly from consumers, allowing them to avoid e____tra production.Designer Anna Ruohonen creates long lasting and high quality fashion (Anna Ruohonen).She has created a timeless collection called Black Classic, where the designs are permanent but it is possible to order them in seasonalcolours.Garments are manufactured only according to customer’s order and according to each customer’sindividual measurements.This strategy helps to avoid overproduction.Moreover the good fit of the clothing helps ensure deeper garment satisfaction. Co-creation One possibility for creating deeperperson–product attachment is through a consumer’s own efforts during the design orrealisation process.A sense of personal achievement is strongly connected to a positive sense of self (Norman 20__) and allows the product to begin to be more important to the wearer.The consumer’s own achievement through a “made by me” approach todesign creates positive e____periences through the sense of effort and the opportunity to realise her/his own creative skills.If the user builds the product herself/himself, s/he acquires a deeper knowledge of the product and, therefore, has the ability to repair the product (Papanek 1995).Kit-based design andhalfway products give the consumer a more active rolein the realisation process.One option for includingthe consumer in the design or manufacturing process isto offer her/him an opportunity to make decisions during the process.Consumers have shown an interest in taking part in the design or manufacturing process by using the Inter (Niinimäki 2021).If the design is based on a modular structure and the consumer is allowed to make her/his own choices – even from a limited selection – in creating a unique style, this process gives consumers new power and a more active role.Opening fashion field is one way to offer the consumer more active stwear is a pany that offers ready-made garments, halfway clothing (kit-based) and patterns of their fashion designs (Lastwear clothing pany).They also invest in quality and offer a guarantee on their garments, which is a good way to ensure product satisfaction.Giving consumers more power is also possible by offering environmentally- related options.Consumers may be allowed to select a manufacturing location and different materials – and be provided with corresponding prices – enabling them to e____press their values through their choices.For e____le, many consumers, especially thosewho consider themselves ethical consumers, would like to buy locally manufactured garments even if they are more e____pensive (Niinimäki 2021). Fulfilling Consumers’ Changing Needs Through PSSThe symbolic meanings of products are connected to psychological satisfaction through an emotional response.When the product no longer offers a positive emotional response because, for e____le, it falls out of fashion or the wearer bees otherwise tired of it, the consumer e____periences psychological obsolescence and easily replaces the product with a newone.Accordingly emotional and psychological obsolescence results in premature disposal of a product that may still be functional.Consumers’ needs and aesthetic preferences that change over time raise the question of how to avoid the psychological obsolescence of garments.The challengein e____tending product lifetimes is to achieve continuing satisfaction with the product.The PSS approach allows the creation of new e____periences with a product or changes to a product to enable it tobetter suit a consumer’s changing needs.Positive ways that a product’s lifetime can be e____tended include upgradability services, modification services ande____change stocks.These strategies can postpone garment disposal by keeping the consumer satisfied longer.Modification or redesign possibilities for quality garments allow for an e____tension of a product’s life span.Many websites already advise consumers on how to modify their old garments themselves and encourage consumers to e____tend the use of their garments.Many small and locally functioning repair and redesign studios also already e____ist, where the consumer can repair a damaged garment but can also order a redesigned garment made from old ones.A design based on a modular clothing structure also offers the possibility to create services to upgrade garments.This strategy offers the opportunity to update the appearance in a sustainable way (Fletcher &; Grose 20________, 82).It is possible to play with the clothing elements to create unique binations of colours or shapes to develop a newlook.The consumer does not need to then buy a new garment; instead s/he can simply change some parts or elements in the garment to have the e____perience of newness.Garment e____change or renting services offer possibilities for consumers to make changes to their clothing in more sustainable ways.New and interesting e____les of clothing membership clubs e____ist.By paying a monthly membership fee, a consumer can select a certain number of garments to use, giving him or her the opportunity to change the appearance in a more sustainable way.This type of business strategy has emerged e.g.in the field of children’sclothing.Consumers can rent children’s outfits and when the child outgrows a size, the parent can obtain larger-size garments from the clothing club.ConclusionsThis study investigated product satisfaction in the conte____t of clothing and this knowledge was used to understand and define proactive fashion design for sustainable consumption.It opened views into the process of consumer satisfaction.A main issue thatarises when aiming to e____tend the life of garments is to increase their durability and intrinsic quality.Moreover, fulfilling consumers’ othere____pectationsregardingthe garment’s aesthetic and functional attributes is important to ensure product satisfaction.Finally the issue of value is most important with regard to deep product satisfaction: values associated with the product, the manufacturing process and behind the panies have to meet the consumers’ own value base so that the consumer feels pletely satisfied with the product.By identifying the reasons for the short and long-term use of clothing, it is possible to find new ways to create sustainable designs that can result in a redirective practice directed towards sustainable consumption.Proactive fashion design for sustainable consumption takes these reasons into account, thus enabling clothing longevity.Satisfying consumers’e____pectations regarding quality, functionality, aesthetics and value is a key to e____tending the usetime of a product.Moreover, the emotional side of consumption must be understood to provide more sustainable ways to ensure customer satisfaction.The PSS approach provides an opportunity to e____tend the enjoyable use of aproduct and thus avoid psychological obsolescence and a garment’s premature disposal.Stimulating asenseofmeaningfuluniquenessandachievement through design services or “self-made” approaches is a promising route to enhancing consumer satisfaction.If a consumer is satisfied, then strengthening the emotional bondbetweentheproductandconsumerispossible. Inturn,this meaningful attachment is the best way to postpone a product’s disposal.When the product or its use is somehow special to the consumer, s/he will take good care of it to e____tend its enjoyable use time.The most promising sustainable design strategy is the bination of product design with service elements: PSS strategies are therefore a future path to proactive and sustainable design. 中文译文：可持续消费的具有前瞻性的服装设计【摘要】：^p本文从服装的角度对产品满意度进行了研究。
服装设计中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。
服装的差异英语作文带翻译
服装的差异英语作文带翻译Clothing plays an important role in our daily lives. It not only protects us from the elements, but also serves as a way for us to express ourselves and our individuality. The differences in clothing styles and choices can vary greatly from person to person and from culture to culture.In Western culture, for example, there is a wide range of clothing options available. People can choose to wear casual clothing such as jeans and t-shirts, or more formal attire like suits and dresses. The style of clothing can also vary depending on the occasion, with different outfits being appropriate for work, school, or social events. Additionally, fashion trends in Western culture are constantly changing, with new styles and designs being introduced each season.In contrast, in Eastern cultures such as China and Japan, traditional clothing styles are still widely worn and celebrated. In China, the cheongsam is a populartraditional dress for women, while in Japan, the kimono isa symbol of national identity. These traditional garments are often worn during special occasions such as weddings, festivals, and ceremonies, and are considered to be a reflection of the country's rich cultural heritage.Despite these differences, clothing can also serve as a way to bridge cultural divides and bring people together.In recent years, there has been a growing trend of cultural fusion in fashion, with designers and brands incorporating elements from different cultures into their designs. This has led to a greater appreciation and understanding of different clothing styles and traditions around the world.In conclusion, the differences in clothing styles and choices reflect the diversity of our world and the unique ways in which we express ourselves. Whether we are wearing traditional garments or following the latest fashion trends, clothing plays a significant role in shaping our identities and connecting us to our cultural roots. By embracing and celebrating these differences, we can learn to appreciate the beauty and richness of our global community. Let'scontinue to express our individuality through the clothes we wear and celebrate the diversity that makes our world so vibrant and unique. 。
服装专业英文介绍范文
服装专业英文介绍范文Fashion plays a significant role in society, reflecting individuality, culture, and trends. In the realm of fashion, the study of clothing is a fascinating and dynamic field. This article aims to provide an insightful introduction to the world of fashion, focusing on its key elements, principles, and significance.Clothing, as a form of self-expression, encompasses various aspects such as style, design, and functionality. It serves not only as a basic necessity for covering the body but also as a means of communication, reflecting one's personality, lifestyle, and societal status. Fashion designers, therefore, play a pivotal role in shaping trends and creating pieces that resonate with diverse audiences.The foundation of the fashion industry lies in understanding the principles of design, including color, texture, silhouette, and proportion. These elements form the basis of creating visually appealing and harmonious garments. Color, for instance, can evoke different emotions and convey distinct messages. Meanwhile, texture adds depth and tactile interest to fabrics, influencing the overall aesthetic of a garment. Silhouette and proportion dictate the shape and balance of clothing, ensuring a flattering fit and silhouette.Moreover, fashion is deeply intertwined with culture, history, and societal values. Historical events, cultural movements, and technological advancements have all influenced fashion trends throughout the centuries. From the elaborate garments of the Renaissance era to the minimalistic styles of the modern age, fashion continuously evolves in response to changing societal norms and values.In the contemporary fashion landscape, sustainability and ethical practices have emerged as critical considerations. With increasing awareness of environmental issues and labor exploitation, consumers are demanding transparency and accountability from fashion brands. Sustainable fashion aims to minimize the environmental impact of clothing production, from sourcing materials to manufacturing processes. Ethical fashion,on the other hand, prioritizes fair labor practices and humane working conditions for garment workers.The fashion industry encompasses various sectors, including haute couture, ready-to-wear, and streetwear. Haute couture refers to high-end, custom-made garments created by luxury fashion houses, known for their craftsmanship and exclusivity. Ready-to-wear, or prêt-à-porter, offers off-the-rack clothing designed for mass production and widespread consumption. Streetwear, influenced by youth culture and urban lifestyles, blurs the lines between fashion, art, and music, reflecting a more casual and expressive approach to dressing.In conclusion, the world of fashion is a multifaceted and ever-evolving domain that encompasses creativity, culture, and commerce. From the principles of design to the cultural significance of clothing, fashion serves as a powerful form of expression and identity. By understanding its intricacies and embracing innovation, we can appreciate the artistry and impact of fashion on our lives and society.。
衣服主题英语作文带翻译
衣服主题英语作文带翻译Title: The Evolution of Fashion: Reflecting Culture and Identity。
Fashion, as an ever-evolving phenomenon, serves as a mirror reflecting the intricate tapestry of human culture and identity. From the ancient civilizations to the modern era, clothing has transcended its utilitarian purpose to become a powerful means of self-expression, societal commentary, and cultural preservation.首先，让我们回顾时光，探索服装在不同历史时期的演变。
在古代文明中，服装不仅仅是为了保暖和保护，更是地位和身份的象征。
在埃及，法老们的华丽服饰体现了他们的神圣地位，而在中国，龙袍象征着皇权和权力。
古希腊和古罗马的时尚则强调了身体的美和理想化的形象。
然而，随着时间的推移，服装逐渐走向了更多元化和个性化的发展。
The Middle Ages witnessed the emergence of elaborate garments denoting social hierarchy, with sumptuary lawsdictating who could wear what, reinforcing class distinctions. Renaissance Europe marked a revival of arts and culture, reflected in opulent fabrics, intricate embroidery, and extravagant silhouettes. The Industrial Revolution brought about mass production, democratizing fashion to some extent, yet still maintaining distinctions through subtle nuances in design and quality.随着20世纪的到来，时尚进入了一个全新的阶段。
服装毕业设计外文翻译--时装设计
Fashion designingFashion designing can be loosely defined as 'the art of creating fashionable apparel'. With the passage of time, however, the concept of 'fashion designing' has extended to other things such as fashion accessories such as jewellery, bags, footwear, etc. Keeping in mind the evolution of fashion designing, it would not be wrong to define it as 'the creation of fashion'. Costume designing can defined as an art whereby one designs a costume, along with appropriate accessories, to reflect the character in a stage-show, play, or movie. A wrong or badly designed costume will fail to bring out the intensity of the characters. At times, improper costumes can impede or distort story narration and mar the whole show.Fashion designing has indeed come a long way from the mere designing of clothing. Fashion designing has evolved into a full-fledged industry today. It is well accepted as a career option all over the world. Apart from designing, there are a number of other career alternatives that have emerged in this industry with the passage of time. This article seeks to study the evolution of the industry of fashion designing the then and now. The origin of fashion designing dates as far back as 1826. Charles Frederick Worth is believed to be the first fashion designer of the world, from 1826 to 1895. Charles, who was earlier a draper, set up a fashion house in Paris. It was he who started the tradition of fashion houses and telling his customers what kind of clothing would suit them. During this period, a number of design houses began to hire the services of artists to develop patterns for garments. Patterns would be presented to the clients, who would then place an order if they liked them. It was during this timeframe that the tradition of presenting patterns to the customers and then stitching them began, instead of the earlier system wherein the finished garments would be presented to them.In the beginning of the 20th century, new developments in fashion would take place in Paris first, from where they would spread to the rest of the world. New designs of clothes would be born in Paris before they found their way to other parts of the world. In other words, Paris emerged as the 'fashion capital'. 'Fashion' during this period was mostly 'haute couture', exclusively designed for individuals. Towards the mid-20th century, fashion garments began to be mass-produced. The bulk of production increased, and people began to have more choices of garments. Towards the end of the 20th century, fashion awareness among people increased, and they began choosing clothes for themselves based on comfort and their own style, instead of relying on the trends prevailing in the market. Today, as stated above, fashion designing is well accepted as a career option. A number of institutes have come up the world over, offering courses in various arenas of fashion. The number of students who consider fashion as a serious career and who have gone in for courses in the same has gone on rising over the years.Specializations in fashion designing have come into being. There is a wide range of options for a designer to choose from, such as lingerie, swimwear, women's wear, bridal wear, children's wear, men's wear, footwear, handbags, etc. Fashion designers used to be self-employed earlier now find a number of career opportunities open for them. They can work with garment firms and export houses. They may also be engaged in the job of remodeling haute couture and adapting them to the tastes of the mass market. They might also hold jobs in departmental stores orspecialty stores.Developments in the field of fashion designing have given rise to other related career paths such as hairstylist, make-up artist, fashion journalists, fashion advisors, fashion photographers, etc. Another significant change that has come about in the fashion designing industry in recent times is the increased use of computers and technology. A number of software packages have come up to aid designers in the process of designing as well as other stages in the production of a garment, easily and speedily.Fashion designing as a trade has also grown. Fashion designers have gone on to get repute not only in their own countries, but internationally as well. The number of fashion shows and participation in the same has gone up considerably in recent times. Fashion designing is thus no longer only the designing and creation of a garment, but it is a world in itself involving fashion, design, creativity, technology as well as business.时装设计服装设计大致可以定义为“创造时尚服装的艺术”。
服装专业英语作文
服装专业英语作文As a professional in the field of fashion, I believethat it is essential to stay updated with the latest trends and developments in the industry. This involves keeping an eye on fashion shows, reading fashion magazines, and following influential designers on social media. Additionally, networking with other professionals in the industry and attending fashion events can provide valuable insights and opportunities for collaboration.In terms of design, it is important to have a strong understanding of color theory, fabric properties, and garment construction. This knowledge allows for the creation of unique and innovative designs that are both aesthetically pleasing and functional. Furthermore, being able to effectively communicate and present design ideas is crucial in the fashion industry.When it comes to production, understanding the manufacturing process and having strong relationships with suppliers and manufacturers is key. This ensures that designs are brought to life with high quality and efficiency. Additionally, having a good grasp of retail andmarketing strategies is important for successfullypromoting and selling fashion products.Overall, the fashion industry is fast-paced andconstantly evolving, so it is important to be adaptable and open to new ideas. Keeping a keen eye on consumer behavior and market trends is crucial for success in this industry.作为服装专业的从业者，我认为及时了解行业的最新趋势和发展是至关重要的。
服装专业外文翻译--服装的发展和市场销售
Clothing of the development and marketingFashion is anything that is currently “in”. Fashion usually means clothes, but there are fashion in hairstyles，in home decorating, and in the foods that we eat. Several years ago, very few people ate yogurt. Now yogurt is very popular and fashionable.Many years ago, fashion changes very slowly. Changes in technology current gradually and communications between groups of people took a long time. People often wore the same style of clothing for their whole life.Sometimes a particular style of clothing continued for more than a lifetime. An outfit that was worn for special occasions was often handed down from generation to generation. The nobility might be able to afford new styles of clothing, but the lower classes could not.Today, fashion changes very quickly. New technology creates new fashion. New forms of communication, such as radio, television, and the computer, can tell us this afternoon what people in London were wearing this morning.Advertisement an d articles about fashion contain terms such as “fad”, “classic”, and “status symbol”. If you understand what these terms mean, it will help you to become a wiser and more informed consumer. You will be able to select clothes that meet your own needs and wants. You will be able to better evaluate clothing style as to how long they might stay in fashion.A fad is a fashion that is very popular for a short time, and then suddenly it seems as if nobody is wearing it. A fad can be a color, such as mauve or chartreuse. It can be an accessory, such as Earth shoes or rhinestone jewelry. Fads can also be an item of clothing. Short miniskirts and trooper pants with many pockets are example of a fad. Fads can even be a certain look, such as “punk-rock”.Fads usually involve less expensive items of clothing or accessories. For example, wearing colored shoelaces in your sneaker is a fad. “Pop-it” plastic necklaces were a fad in the 1950s. Fluorescent socks, camouflage pants, and legwarmers were fads in the early 1980s.Many fads are popular only with teenagers. Fads help the teenager express two important needs. The fist need is to belong to a group. Many teenagers want to be a part of a group that is special and different from the rest of the world. The other need is for individuality. Teenagers many adapt fads in unique ways to express their own individuality within a group.The principles of design are artistic guidelines for using the various design elements-lines, shape, space, texture, and color-within a garment. These principles include balance, proportion, emphasis, rhythm, and harmony.BalanceBalance is how the internal spaces of a shape work together. Balance can be symmetrical or asymmetrical. Symmetrical balance occurs when the space within a garment is divided into equal parts. A simple skirt with a center front seam and a simple shirt with a center front closing are example of symmetrical balance. Both the left front and the right front of each garment are the same. Symmetrical balance usually has a more formal or tailored look.ProportionProportion is size relationship of each of the internal spaces within a garment to one another and to the total look. The most pleasing proportions are those that are unequal. For example, a garment split exactly in half by a belt or horizontal seam is usually less attractive than one that is divided unevenly.Clothing should also be in proportion or scale to your own size. If you are short or small-framed, stay away from large, overpowering details, such as wide lapels and collars, or huge pockets and bows. If you are tall or large-framed, avoid tiny details. The selection of accessories also involves an understanding of proportion. Ties, belts, jewelry, hats, handbags, shoes, and boots are available in a wide range of shapes and sizes. Be sure that the accessories you choose are in proportion to your outfit and to you.EmphasisEmphasis is the focal point, or center of interest, of a garment. In fashion design, emphasis should highlight your best features and draw attention away from your figure faults. Emphasis can be accomplished with line, design details, color, texture, trims, or accessories. For example, a colorful belt would emphasis awaistline. A contrasting collar would focus attention on your neckline. A bright tie or shiny buttons could be a center of interest.RhythmRhythm is the pleasing arrangement of all the parts of a garment. Good rhythm is apparent when all the lines of an outfit work well together. For example, a curved pocket compliments the curve of a jacket them. A pointed shirt collar repeats the point of a jacket lapel. Rhythm can also be achieved through repetition. Rows and rows of ruffles have rhythm. There is rhythm in a gradual change if size or color. Unmatched stripes the unmatched seam-lines upset the natural rhythm of the fabric design. Jagged or jerky lines are seldom attractive.HarmonyHarmony is the pleasing arrangement of all the parts of a garment. Harmony is achieved when the design elements work well together. The colors, lines, shapes, spaces, and textures look like they belong together. However, the total result is not perfect unless the design is also harmonious with you – your size and shape, your coloring, and your personality.Put it all togetherEach of us has body characteristics that we cannot change. They help to make each of us look unique. Some of us may have wide shoulders, narrow hips, or a bit more waistline than we would like. The key to improving your appearance is learning how to select clothing that brings your total look into balance. You can use your knowledge of the design elements and the design principles to enhance the way you look.Study your size and shape, you’re coloring, and even your face and hair. Which fashion combinations are best for you? Once you know about them and use them, you will show yourself to best advantage.The first phase of design is a brief which defines the garment type, age group, purpose, climate and price range which the designer should aim at. The later stages of the design process may lead to adoption of the design brief.The second phrase is research. The designer must of course be immersed in all the current means of communication of fashion ideas. The designer may also look for new ideas in historic costume, garments from many cultures, the forms of architecture, the dramatization of fashion in the performing arts, and the colorstextures and shapes of plants and animals. New fabrics, colors or trims may provide inspiration.In the third phrase, the designer’s collection may begin with the selection of fabrics or the development of a theme through a series of sketches of front and back views. This is extended into a story board, as large as necessary, to display related colors, textures, trims and sketches which build up to a theme or story.Fourthly, the shapes which the designer selects to represent concepts are infinitely varied. The overall silhouette is the outline. Within the silhouette the designer creates lines, or seams, which define panels. The seams may represent vertical, horizontal, diagonal or curved lines. The lines may create symmetry or asymmetry between different parts of a garment. Again the designer is concerned with proportion or the relationship between each part and the whole garment, for instance that between bodice and shirt. The designer also includes decisions about sleeve length and shape, cuffs, collar shape and type, yokes, pockets (patch, inset or those in a seam), design details such as belts and epaulettes, fastenings, braids and other trims, fabric treatment such as fringes, gathers, pleats, tucks smocking, shirring and quilting, the use of contrasting fabrics and surface decoration such as embroidery.This summary of the shapes with which the designer wrestles to create the initial concept of a style is intended to give only an impression of what starts the total process of design.Traditionally, a new apparel design was created by asking the designer to make a watercolor sketch. If the fabric was having a pattern, there might also be a close-up colored sketch of it. Many designs would be grouped together into a storyboard, which was then presented to managers for final decisions. Next the designers that passed this stage went through a technical design step in which details were added and patterns made. After this step fabric might be cut and a sample made to see how it would look on a mannequin. If the new garment was a blouse, for example, the designer was not satisfied with the drape of the garment, the fit or the pattern, he or she might go back to square one. Several iterations of these initial design steps could add weeks or months to the process before production began.Although some haute couture or high-end apparel designers may still workin this manner, each year more garments are designed using computer technology. Employing CAD was particularly common among the largest business units. The use of modern design tools and information technology can collapse the design time so that managerial decision-making becomes the longest step in the process –and even the time for that step can be shortened with information technology. The new way allows the designer to work creatively with a computer pen or brush to outline the sketch, which appears on a computer screen. The computer can “watercolor” the sketch and produce the storyboard for presentation. Once past the first steps, these systems let designers drape fabric patterns on sketches or photographs of people on the computer screen. For example, sketches or photos can be draped with material of different colors and patterns. The size of the pattern can be changed and the visual image compared to get a sense of their appeal. And a colored ink-jet printing of the pattern can be made on basic plain fabric to help identify and demonstrate the desired colors in future discussions with textile mills.Other development applications allow designers to begin with an actual garment and make appropriate changes to achieve the desired design or construction modifications. In this case, designers pin the garment to a special design table. A computer pen is used to outline a panel of the garment with a sequence of contact points. The computer, on command then connects the image of the points on its screen with a series of line segments that form the silhouette of the pattern piece. Another computer command adds the seam allowance and, after the desired modifications have been made, a piece of the new design is created. When all the individual pieces of the garment have been modified and entered into the computer system, the final garment pattern is ready to be cut and sewn into a sample garment. Numerically controlled fabric cutters are now available that can rapidly and accurately cut patterns from a single ply of cloth, removing the usual obstacle to sample garment-making. The cutting equipment is driven by the output of a pattern-grading and market making program.Clothing has been manufactured in essentially the same way since the invention of the sewing machine in the mid-nineteenth century. Most companies, especially small and underfinanced manufacturers, use old-fashioned, labor-intensive methods because they cannot afford to modernize their plants.Computers are revolutionizing the apparel industry. Medium-sizedmanufacturers are now able to afford to purchase systems to speed accounting and inventory control and to reduce production costs. Several factors have made this possible during the last ten years. Technology has improved, and the price of sophisticated systems has been reduced gradually. Many companies now offer similar systems, and competition has also helped to reduce prices. Foreign competition has forced domestic manufacturers to decrease production costs and reduce delivery time to capitalize on proximity to the market. Increased flexibility resulting from the ability of these manufacturers to cut smaller lots and deliver rapidly allows stores to carry smaller inventories and makes a domestically made garment more desirable.Importers also find computers assist in producing apparel offshore. They can design garments domestically and produce patterns on a computer system. When a garment sells well, it can be graded on the system and efficient markers are made by using accurate via a telephone hookup to a similar system. The garment can then be a manufactured in a foreign country to take advantage of low labor costs abroad.Computer applications have been developed for almost every phase of the manufacturing process. Manufacturers traditionally begin to modernize their factories by purchasing a system that will grade and make markers and patterns. When they find the savings ate substantial, more systems that can further speed production and reduce costs will be added to the basic computer.These computer-aided production applications includes: fabric and design applications, pattern-making systems, grading and marking systems, automatic cutting systems, garment distribution on the sewing floor, computerized sewing machines, and computerized inventory systems.Many economists have recognized the role textile-and apparel-making play in developing countries. “In all parts of the world textiles have been one of the earliest offshoots of a peasant economy.” In countries that industrialized early such as England and the United States, as well as in the developing nations still plagued with “economic backwardness”, textiles and apparel made outside the household often constitute a significant step in early economic development. These home-grown industries may not necessarily provide the impetus for a major spurt in economic growth but they often set the stage for increasing industrialization.As less developed countries adopt industrialization policies, textiles and factory made apparel often become a focus of government stimulus. For example following World War Ⅱ, Japan faced the destruction of much of its manufacturing base and focused on its textile and apparel industries to rebuild that base. In 1950, Japanese textiles accounted for 24 percent of the country’s total shipments and 48 percent of exports. But these figures had declined to 5.2 percent and 4.8 percent, respectively, by 1980. In other words textiles and apparel declined in importance as Japan became more industrialized and wage pressures increased. These industries have also played a significant role in the development process in India and China.More generally, the past thirty years have seen a significant shift in world exports of textiles and apparel toward developing market economies and away from developed economies.It is not hard to understand why textiles and garment-making have so frequently proven to be an early step in the industrialization process. Before countries become industrialized, these activities are preformed in the household workplace. These sectors require very few workers with sophisticated skills. In apparel, skilled employees do cutting or repair sewing machines and probably constitute no more than 3 percent of the workforce. Most sewing work is employee-paced, and supervision is simplified by piece-rate operations. Capital requirement are small, and secondhand sewing machines are cheap and available.Apparel production must be viewed as an integral part of a channel. A channel is the set of all firms and relationships that get a product to market, including the original acquisition of raw materials; production of the item at a manufacturing facility; distribution to a retailer; sale of the finished item to the customer; and any installation, repair, or service activities that follow the sale.A retail-apparel-textile channel typically includes the companies that manufacture synthetic fibers; produce, gather, the refine natural fibers; spin fiber into yarn; weave or knit yarn into fabric; manufacture buttons, zippers, and other garment components; and cut and sew fabric into garments. It also includes the retailers who sell garments to end consumers. The retail link often involves services or instructions to suppliers about fabric and garment design, packaging, distribution and order fulfillment, the channel dynamics have undergone substantial change during last during last decade.Supply channels are in retailing practices will determine future competitive outcomes in retail-apparel-textile channels. These new practices-which we call, learn retailing-have compelled apparel producers to reorganize the manner in which they relate to retail customers, undertake distribution, forecast and plan production, and manage their supplier relations. Lean retailing has also retailers. Most important, because the apparel industry has become of the first to face the full brunt of the retail revolution, its story illuminates pervasive changes under way in the entire economy.What is marketing?Marketing is a business philosophy or way of thinking about the firm the perspective of the customer or the potential customer. Fashion firms depend upon customers making repeat purchases and the key to such loyalty is the satisfaction of customers’ needs with garments which are stylish, durable, and easy to care for, comfortable, perceived value for money and all the other criteria deemed relevant by the buyer. Fashion marketers ask how typical is that mental picture and dose the “customer” belong to a group of buyers that form a profitable prospect for the company. Notice that the notion of seeing the business from the perspective of the customer does not preclude concern for profit.Indeed marketing comprises a range of techniques and activities, some of which are highly familiar to the general public. Most people have encountered market researchers and all have been advertisements. Other less public aspects include product development and branding, pricing, publicity, sales promotion, selling, forecasting and distribution.Maturating is a management process concerned with anticipating, identifying and satisfying customer needs in order to meet the long-term goals of the organization. While concerned with the organization’s relationship with customers it is also concerned with internal organizational factors that affect the achievement of marketing goals.What is fashion marketing?Fashion marketing is the application of a range of techniques and a business philosophy that centers upon the customer and potential customer of clothing and clothing-related products and services in order to meet the long-term goals of the organization. Fashion marketing is different from many other areas of marketing.The very nature of fashion, where change is intrinsic, gives different emphasis to marketing activities.Within the fashion industry there is enormous variation in the size and structure of businesses serving the needs of customers. From a small business comprising a self-employed knitwear designer to a major multinational corporation, diversity remains a key feature. Fashion industry is industry is increasingly international. This implies considerable variation in the cultural, social and economic perspective of the participants. The consequence of these variations in size, experience and perspective is that the practice of fashion marketing is not uniform at a national level let alone at an international one.外文文献译文服装的发展和市场销售时尚是任何当前流行的事务。
服装英语作文带翻译
服装英语作文带翻译Title: Clothing English Essay。
Clothing is an essential part of our daily lives. It not only provides us with protection and warmth but also reflects our personality and style. In this essay, we will explore the importance of clothing and how it has evolved over time.Firstly, clothing serves as a means of protection. It shields us from the harsh elements of nature, such as rain, wind, and sun. Different types of clothing are designed for different weather conditions. For example, we wear thick coats and boots in winter to keep us warm, and light and breathable fabrics in summer to keep us cool.Apart from protection, clothing also plays asignificant role in expressing our personality and style. Our clothing choices are influenced by various factors such as culture, social status, and personal preferences.Clothing can convey our mood, attitude, and values. For instance, a person wearing a suit and tie may be perceived as professional and serious, while someone wearing a colorful and quirky outfit may be seen as creative and adventurous.Over time, clothing has evolved significantly. In ancient times, clothing was made from animal hides and plant fibers. It was primarily designed for practical purposes, such as keeping warm and protecting the body from harm. As civilization progressed, clothing became more refined and began to reflect social status. The wealthy wore elaborate and luxurious garments, while the poor wore simple and functional clothing.In the modern era, clothing has become a global industry. The fashion industry is worth billions of dollars and employs millions of people worldwide. Clothing design has become an art form, and fashion shows are held in major cities around the world to showcase the latest trends and styles. However, the fast fashion industry has also come under scrutiny for its environmental impact and laborpractices.In conclusion, clothing is an essential aspect of our lives. It not only provides us with protection but also reflects our personality and style. Clothing has come a long way from its primitive origins to become a global industry. As consumers, we should be mindful of the impact our clothing choices have on the environment and the people who make them. By making conscious choices, we can contribute to a more sustainable and equitable fashion industry.。
服装专业英文作文
服装专业英文作文英文：As a fashion major, I have always been passionate about clothing and the impact it has on our lives. Fashion is not just about looking good, it's also about expressing ourselves and making a statement. The way we dress canreflect our personality, mood, and even our cultural background.For example, when I want to feel confident and powerful, I always reach for a tailored blazer and a pair of high heels. This outfit not only makes me look professional, but it also boosts my confidence and helps me command attention in a room. On the other hand, when I want to feel relaxed and carefree, I opt for a flowy sundress and sandals. This outfit makes me feel light and free, perfect for a casual day out with friends.中文：作为一个服装专业的学生，我一直对服装及其对我们生活的影响充满热情。
时尚不仅仅是为了好看，它还是关于表达自己和发表观点的。
我们的着装方式可以反映我们的个性、心情，甚至我们的文化背景。
衣服主题英语作文带翻译
衣服主题英语作文带翻译Title: The Influence of Fashion on Society。
Fashion is a dynamic phenomenon that shapes and reflects the values, preferences, and identities of societies worldwide. From traditional attire to contemporary trends, clothing serves as a medium of expression, communication, and cultural representation. In this essay, we delve into the multifaceted influence of fashion on society.首先，时尚对于个人的影响是不可忽视的。
穿着时尚的服装可以增强个人形象和自信心。
当一个人穿着符合时尚潮流的衣服时，他们往往会感到更加自信和愉快。
因此，时尚产业不仅仅是一个经济领域，也是一个塑造个人形象和自我认知的重要因素。
其次，时尚也对社会产生着深远的影响。
时尚产业是一个庞大的经济体系，涵盖了设计、制造、销售等各个环节。
它为社会创造了就业机会，并推动了经济的发展。
同时，时尚也是文化的载体，通过服装展现了不同社会群体的价值观念、审美取向和身份认同。
例如，不同文化背景下的服饰会反映出当地的传统、习俗和生活方式。
另外，时尚还在一定程度上影响着人们的行为和态度。
穿着时尚的衣服可以改变人们对自己和他人的看法，甚至影响他们的社交互动。
一些研究表明，穿着整洁时尚的人更容易获得他人的认可和尊重，从而更加自信和积极地面对生活中的挑战。
然而，时尚的影响并非总是积极的。
过度追求时尚可能导致浪费资源和环境破坏，例如过度消费和快时尚产业对环境的不利影响。
此外，时尚的标准和趋势也可能对个人造成压力，使他们产生自卑感和焦虑感，尤其是在社交媒体的影响下，人们对于自己的外貌和穿着更加敏感和自我要求。
服饰作文模板英语翻译版
服饰作文模板英语翻译版Title: Essay Template on Clothing。
Introduction。
Clothing is an essential part of human life, serving not only as a means of protection from the elements but also as a form of self-expression. In this essay, we will explore the significance of clothing in our lives and how it reflects our individuality and cultural identity.Body Paragraph 1: Historical and Cultural Significance。
Throughout history, clothing has played a crucial role in defining cultural identity and social status. Different cultures have distinct styles of clothing that reflect their traditions, beliefs, and values. For example, traditional Chinese clothing, such as the qipao and hanfu, embodies the elegance and grace of Chinese culture, while the kimono is a symbol of Japanese tradition. In Western societies, clothing has also been used to signify social status, with elaborate garments worn by the nobility and simpler attire for the common people. Understanding the historical and cultural significance of clothing helps us appreciate its role in shaping our identity.Body Paragraph 2: Self-Expression and Personal Style。
服饰作文模板英语翻译
服饰作文模板英语翻译The Importance of Clothing。
Clothing is an essential part of our daily lives. It not only serves as a basic necessity for protecting our bodies from the elements, but it also plays a significant role in expressing our individuality, culture, and social status. In this essay, we will explore the importance of clothing and how it impacts our lives in various ways.First and foremost, clothing provides us with protection from the harsh elements of nature. Whether it's the scorching heat of the sun, the biting cold of winter, or the pouring rain, clothing acts as a barrier between our bodies and the outside world. Without proper clothing, we would be vulnerable to various health issues such as sunburn, frostbite, and hypothermia. In addition to protection, clothing also serves as a form of insulation, keeping our bodies at a comfortable temperature regardless of the weather conditions.Furthermore, clothing is a powerful form of self-expression. The clothes we choose to wear often reflect our personality, interests, and values. For example, someone who prefers a minimalist style may opt for simple, clean-cut clothing, while someone with a bold and adventurous personality may gravitate towards vibrant colors and unique patterns. Additionally, clothing can also be a way to showcase our cultural heritage and traditions. Traditional clothing such as kimonos, saris, and hanboks not only represent the rich history of a particular culture but also serve as a source of pride and identity for those who wear them.Moreover, clothing plays a significant role in how we are perceived by others. Our choice of clothing can convey social status, professionalism, and even authority. In many professional settings, a well-tailored suit or a polished dress can command respect and convey a sense of competence and authority. On the other hand, casual and relaxed clothing can create a more approachable and friendly image. In some cases, clothing can also be a form of non-verbal communication, sending subtle messages about our mood, confidence, and even our intentions.In addition to the personal and social aspects of clothing, the fashion industry also has a significant impact on the economy and the environment. The production, distribution, and consumption of clothing create jobs and contribute to the global economy. However, the fast fashion industry, characterized by rapid production and consumption of inexpensive clothing, has also led to environmental concerns such as pollution, waste, and exploitation of labor. As consumers, we have the power to make more sustainable choices by supporting ethical and environmentally-friendly clothing brands and by practicing mindful consumption.In conclusion, clothing is far more than just a basic necessity. It is a form of self-expression, a reflection of our culture and traditions, and a means of communication. It also plays a significant role in shaping our social interactions and perceptions. As we continue to navigate the complexities of the fashion industry, it is important to recognize the impact of our clothing choices and strive towards a more sustainable and ethical approach to fashion. By doing so, we can ensure that clothing remains a source of joy, creativity, and self-expression for generations to come.。
中国服装的英文作文带翻译
中国服装的英文作文带翻译下载温馨提示:该文档是我店铺精心编制而成，希望大家下载以后，能够帮助大家解决实际的问题。
文档下载后可定制随意修改，请根据实际需要进行相应的调整和使用，谢谢!并且，本店铺为大家提供各种各样类型的实用资料，如教育随笔、日记赏析、句子摘抄、古诗大全、经典美文、话题作文、工作总结、词语解析、文案摘录、其他资料等等，如想了解不同资料格式和写法，敬请关注!Download tips: This document is carefully compiled by theeditor. I hope that after you download them,they can help yousolve practical problems. The document can be customized andmodified after downloading,please adjust and use it according toactual needs, thank you!In addition, our shop provides you with various types ofpractical materials,such as educational essays, diaryappreciation,sentence excerpts,ancient poems,classic articles,topic composition,work summary,word parsing,copyexcerpts,other materials and so on,want to know different data formats andwriting methods,please pay attention!China is a country with a rich cultural heritage, and its clothing is no exception. Traditional Chinese clothing, known as hanfu, has a long history and is still worn by some people today. Hanfu is characterized by its loose fit, flowing lines, and elegant simplicity. It is often made from silk or other high-quality fabrics and is adorned with intricate embroidery and other decorative elements.In recent years, there has been a resurgence ofinterest in hanfu among young people in China. Many have formed clubs and organizations dedicated to promoting traditional Chinese clothing and culture. This has led to a renewed interest in traditional crafts such as embroidery and weaving, as well as a growing market for hanfu and other traditional clothing.At the same time, China has also become a major player in the global fashion industry. Many Chinese designers have gained international recognition for their innovativedesigns and use of traditional Chinese elements. Chinese fashion is often characterized by its bold colors,intricate patterns, and fusion of traditional and modern styles.In addition to traditional clothing and high fashion, China is also home to a thriving streetwear scene. Young people in China have embraced streetwear as a way to express their individuality and creativity. Chinese streetwear is often characterized by its bold graphics, oversized silhouettes, and use of unconventional materials.Overall, China's clothing culture is diverse and constantly evolving. From traditional hanfu to high fashion and streetwear, there is something for everyone. As China continues to grow and develop, its clothing culture will undoubtedly continue to play an important role in shaping its national identity and global influence.中国是一个拥有丰富文化遗产的国家，其服装也不例外。
有关服装专业的英语作文
• In the future,I hope I can be a reporter.As a reporter,in order to find many good news, I will travel in different cities everyday.And i will meet a lot ofstars .First,i will study hard,as a reporter,i should have a good command of Chinese,if i have to report in English,i also need to study English very hard. From now on,i will read everyday,and i will try to write diary to practice my writing skill.Anyway,to be a reporter is my goal in the future,I will study hard to achieve it!
英语作文：1.不少于60个单词 2.假设你对服装设计很感兴趣， 针对不同人适合穿什么服装谈谈你的看法
• I am very interested in designing clothes . As we all known , some good cloth can make you look like beautiful . But different people should be wearing different styles . In my opinion the youth should be wearing light to show he is full of energy and lively. the adult should be wearing the firm in order to show he is a successful man . Finally the old should be wearing the deep color cloth . So if you wear clothes in suitable ways you will become more beautiful
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How clothing design and cultural industries refashioned frontier masculinities: a historical geography of Western wear
Abstract
Gendered subjectivities emerge historically and geographically, not only in situ, within an ‘authentic’ origin period or site, but through later retrospective commodifications and fantastical popular culture depictions. This article traces the masculine identity of the cowboy as commodified and performed through clothing. The cowboy emerged from colonial origins as a model and myth of frontier masculinity: the ‘rugged outdoor type’. But it was then formularized and stylized when subject to popular culture diffusion, and as accompanying clothing design evolved. Through clothing –advertised by metropolitan manufacturers and consumed across America and beyond –an archetypal, sexualized cowboy ‘look’ thus emerged. The author traces a historical geography of cowboy masculinities in clothing design, from early ‘frontier garments for the outdoor man’ to later Western-wear ‘for that long, lean look’. Related constructions of femininity are also considered, after women's Western-wear clothing lines were produced in the 1950s. To illustrate, I draw on archival brochures, catalogs, and advertising materials from the 1920s to 1970s, as well as discuss the material design of the clothes themselves.
I focus especially on the Western snap shirt –an apparel item never actually worn on the nineteenth-century colonial frontier, but that became an ‘essential’ element of the cowboy look, and a vehicle for masculine appearance. Western-wear epitomizes how gendered subject positions are visually constituted in relational fashion via bodies, materials, media, and imagined geographies.
服装设计与文化产业如何重新设计边疆男性气概：西服的历史地理学
性别化的主体，不仅是在原地、具有“本真性”的起源时期或地点浮现，亦是透过日后的怀旧商品化与虚构的流行文化叙述，在历史与地理中浮现。
本文追溯牛仔的男性气概身份认同，作为透过衣着的商品化与展演。
牛仔从殖民起源中兴起，作为边疆男性气概的模型与神话——一种“强健的野外典型”。
但它从属于流行文化传播后，随着相应的服装设计发展，被公式化与风格化。
透过由大都会的製造者进行宣传、并在全美国及其他地方消费的服装，一个原型、性化的牛仔“样貌”因而浮现。
我追溯服装设计中的牛仔男性气概的历史地理，从早期的“户外男性的边疆服装”，到晚期“高瘦样貌”的西式衣着。
本文同时考量1950年代女性的西式衣着样貌开始生产后的相关女性气质建构。
我将引用1920年至1970年间的档案册子、商品型录与广告品来进行描绘，并探讨衣服本身的物质设计。
我将特别聚焦西式按扣衬衫——一种在十九世纪殖民边疆从未穿过、但后来成为牛仔风格的“关键”元素、且作为男性气概外表传达工具的衣着品项。
西式穿着，是性别化的主体位置，如何在关係性的流行时尚中，透过身体、物质、媒体与想像的地理，在视觉上构成的象徵。