引用服装英语词典完全篇论文
【参考文献翻译】服装设计中独特性的表达.doc
英文翻译：The unique expression in fashion designAbstract: With the social progress and people's aesthetic awareness, clothing design requirements are constantly changing, not only beautiful, comfortable, personalized for different purposes, and more and more people started to pay attention the unique design of the clothing. unique expression of the clothing design has something in common, in common, there are three factors most typical one of the means of the use of the plastic arts; is to follow the basic rules of the plastic arts; the pursuit of art content and beauty of form harmony and unity. The face of increasingly fierce competition in society, from clothing unique starting to play to their strengths, so that the costume design perfected.Key words: aesthetic sense; costume design; uniqueness; expressionIntroductionWith the rich substance of social development, improved quality of life, the pursuit of unique clothing is also more than plus strong, the face of the popularity and unity to the mass production of clothing has become a problem to be solved in order to fashion designers. An important design point, then become a unique expression of the costume design costume design costume design unique refers to the characteristics of the presentation of the representative from the clothing on the whole, it is unique content and form unity. China fashion design unique expression as a complete system of disciplines to study the ancient times to now there, but the uniqueness of expression in fashion design is not perfect, therefore, the uniqueness of this study fashion design to express Modern fashion design is of great significance.1. The unique overview of clothingIn short, The unique nature of the clothing is the clothing unique. In a broad sense refers to the presentation of the representative characteristics from the whole of the clothing works, it is one of the unique form and the objectivity of the unity of the unity of content, costume designer on the subjective aspect of creative and clothing subject matter difficult to find words to express, but it is not difficult to make us feel unique style. The unique nature of the clothing, but also refers to the values, artistic characteristics and inherent character of a nation, an era, a genre or a person's clothing in the content and format of the show out. The unique nature of the appearance of the mind, the pursuit of the realm of fashion design in the final analysis is unique in design and positioning, the unique expression of the costume design also reflects the designer's unique creative thinking and the pursuit of art also reflects the distinctive character.2. The unique role of fashion designEither clothing had an important influence on the human economy or culture. And largely dominated people's consumption patterns, consumer attitudes and lifestyles, a direct impact on people's social values and the uniqueness of the role as follows:(A) In order to achieve the better effect of clothingA perfect garment is often reflected in its unique design, a good design work which contains a profound national culture, but also social development, a mirror of the progress of the times. Unique expression of the fashion design clothing creativity closer to the "China" or like "Chinese" consumer psychology between them is the complementary role of the costume design of the unique expression of the Chinese traditional elements of mutual restraint, costume design The uniqueness of National Cultural Psychology must be adapted to many different people, to achieve the better results of clothing.(B) To guide people's aestheticSince ancient times ,China have different aesthetics, such as women's aesthetic, summer, business, and Zhou dynasties, soft and delicate sense of aesthetic is very popular in the Tang Dynasty is based on fat is beautiful, to the Ming and Qing also petite for the United States. However, modern aesthetic, but unlike the past, has a strong universality point of view, but mainly based on the individual as a starting point, find a dress to show their own unique aesthetic taste. Fashion is unconventional, unique, and China in the 1980s is unique with no clothing at all, until the 1990s, slowly come into contact with more clothing brand, a preliminary understanding of the skills of some of the dress , but from the aesthetic perspective, many people do not clearly recognize their own style and temperament, wearing more or less have some blindness. Fashion weathervane clothing, the fashion of our country must shoulder the heavy responsibility of the foster a modern aesthetic. China International Fashion Week each season's fashion release, whether auditory, visual, emotional viewer is a very good artistic culture, even if most people can not personally to feel, but through a variety of media media coverage of pictures, music, video, impact on people's hearts and vision, people will be inspired and infection imperceptibly into, in order to bring their own life, combined with their own preferences and conditions, to form a unique aesthetic.(C) To guide the people's consumption20 years ago,Chinese market showing a short supply situation at that time we can buy clothes very well, who would carefully pick out the colors and styles. Today's society, society is an overproduction of different fashion brands and different clothing styles that dazzle us, a lot of people driven by impulse and blind followers psychological, may buy some of the clothing are not suitable. At this point, unique clothing like fashion navigator to guide blind people towards the right the other side of the consumer. Of course, this page is the fashion culture of the uniqueness of the totally implantable hearts of the people, the public has cultivated and form their own aesthetic taste, and mastery of the modern fashion symbol, and then they will meettheir own practical purpose to choose consumer goods. Most people can not afford the unique nature of high fashion, they just access to information from the uniqueness of the high fashion, and then to buy similar clothing or apparel goods with this popular elements.3.The uniqueness of expression in fashion design(A) China Red in Fashion DesignIn recent years, the red can be described as fashion colors, red is a unique, popular in the north and south, whether it is international brands and domestic brands were unanimous in Chinese red. Red means good luck, peace, success, happiness, harmony, health, reunion, etc.; also means abandoning evil and promote good smooth, Pepsi, good luck. The Chinese nation, like the red, for example, in the occasion of the festivals, weddings, Suli, red, red is in our minds the most perfect color. Red is the color of the sport and passion, joy and harmony of color, the color of the folklore and culture, but also the main color of the Beijing Olympic Games emblem color. The red has become the symbolic color of China.For example,"Green Paper Cranes" (Figure 3-1, 3-2) series, using bold contrast of red, green, two colors, the use of right. The traditional red flowers and green leaves on behalf of the customs of China, has been widespread in the countryside gives auspicious and festive feel. This traditional red and green decorative colors bearing a special mark to convey the beauty and warmth can not be forgotten. It is gratifying that this traditional decorative color patterns - so that we can feel the warmth of the past, but also enjoy modern simplicity and crisp with a modern aesthetic combined into a new artistic charm.Figure 3-1 Figure 3-2中文原文：服装设计中独特性的表达摘要：随着社会的进步和人们审美意识的提高，对服饰设计的要求在不断变化，不仅要基于美观、舒适、个性化等不同目的，而且越来越多的人开始关注服装的独特设计，服装设计的独特性表达都有其共性，在共性中，有三个因素最具有典型性，一是运用造型艺术的手段；二是遵循造型艺术的基本法则；三是追求艺术的内容与形式美的和谐统一。
怎样使用词典英语作文带翻译
怎样使用词典英语作文带翻译怎样使用词典英语作文带翻译在学习、工作、生活中，大家对作文都再熟悉不过了吧，作文可分为小学作文、中学作文、大学作文（论文）。
相信很多朋友都对写作文感到非常苦恼吧，下面是小编精心整理的怎样使用词典英语作文带翻译，欢迎阅读与收藏。
When you are reading something in English, you may often come across a new word. What＇s the best way to know it? You may look it up in an English-Chinese Dictionary. It will tell you a lot about the word, the pronunciation, the part of speech, the Chinese meaning and also how to use this word. But how can you find it in the dictionai＇y both quickly and correctly7 First, all the English words are arranged in the＇alphabetical order. In the dictionary you can first see the words beginning with the letter A, then B, C, D, E,... That means, if there are two,words “desert” and “pull”, “desert” will be certainly before “pull”. Then if there are two words both beginning with the same letter, you may lo0k at the second letter. Then the third, the fourth, ... For example,”pardon”is before “plough”, “judge”before “just”,etc. Do you understand how to look up a word in dictionary? The dictionary will be your: good friend. I hope you＇ll use it as often as possible in your English learning. 在阅读英语材料时，你也许经常遇到生词，认识它的最佳方法是什么呢? 你可以查英汉词典，它会告诉你单词的读音、词性、汉语意思以及用法。
英文论文翻译中文(服装专业)
How clothing design and cultural industries refashioned frontier masculinities: a historical geography of Western wearAbstractGendered 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。
服装结构英文文献
服装结构英文文献以下是一些关于服装结构的英文文献：1. "Patternmaking for Fashion Design" by Dorothy Marcic. This book provides a comprehensive guide to creating patterns for clothing, including the basic principles of patternmaking and techniques for creating patterns for different types of garments.2. "Theory of Fashion Design" by James Laver. This book provides an overview of the theory and principles behind fashion design, including an explanation of different styles and their impact on fashion design.3. "Fashion Illustration and Pattern Design" by Tony Carne. This book explores the use of illustration in fashion design, including techniques for creating patterns and designs for clothing and accessories.4. "Pattern Design: A Handbook of Theory and Practice" by Carolyn A. Riotte. This book provides a comprehensive guide to pattern design, including an overview of the principles and practices of pattern design and examples of different types of patterns and their applications in fashion design.5. "The Pattern Cutting Book" by Vickie Howell. This book provides an introduction to pattern cutting, including techniques for creating patterns for different types of garments and an overview of the basic principles of pattern cutting.这些文献可以帮助您了解服装结构的基本原理和实践，以及在时尚设计中的应用。
服装专业英语翻译研究——《服装专业英语》
伴随着我国服装行业对外贸易活动的深入开展，服装英语作为进行服装对外贸易的重要工具需要进行专业、准确的翻译，以使得中外服装贸易能够顺利进行。
《服装专业英语》一书就是针对服装行业中涉及的专业英语进行研究的著作，该书使用了中英文双语对照形式，图文并茂，易于理解，围绕服装专业内容以及服装行业对人才的专业要求，详细分析了成为一名时装设计师、服装设计法则和企业产品开发过程、不同风格的服装款式描述、服装平面打板和立体裁剪及制作、服装视觉营销和陈列设计、服装设计师品牌和快时尚品牌简介、20世纪服装发展回顾等相关服装的专业内容。
《服装专业英语》一书的每一章设有学习重点、专业词汇和思考问题。
通过系统学习，读者可以基本了解服装专业和行业概况，掌握服装专业相关基础知识以及运用服装专业英语进行对外交流，为专业深入学习、开展服装贸易奠定坚实的基础。
服装英语是一门专业用途语言，与服装行业之间有着密切的联系。
而服装属于综合性交叉学科，因此服装英语也牵涉都其他行业的各个方面。
首先，服装英语所展现的交叉学科方面的特点。
服装属于综合交叉学科，涵盖了社会学、心理学、艺术学、历史学、物理学等专业。
（1）哲学。
宗教方面，在中世纪时期西方人的服装穿着风格就是将自己包裹严实，这与现代西方社会的服装穿着风格大相径庭，导致这一现象的主要原因是当时人们的思想观念深受基督教禁欲思想的影响，认为神是唯一的，人不能高于神，所以在日常生活中人们所穿着的服装必须要遮蔽身体。
所以，服装英语中必须要涵盖宗教学的相关专业内容。
例如，“The Protestant Christians believed that the adoption of black and dark colors in clothing reflected and com plied with ethical requirements.”（新教基督徒认为，在服装中采用黑色和深色反映了并符合道德要求）。
纺织服装外文翻译文献
纺织服装外文翻译文献纺织服装外文翻译文献(文档含中英文对照即英文原文和中文翻译)译文：织物/服装湿传递性能不同测定方法的对比摘要现有几种测定织物/服装汽态水渗透或湿阻的方法，这些方法相互之间的区别与联系并没有得到明确提出，这引出了一个新的命题，即通过对比不同测定方法的结果，找出它们之间的区别与联系。
本课题致力于调查4种典型测定方法，包括“湿传递测试法（模型CS-141）”、“ASTM（美国材料与试验协会，英文全称American Society for Testing and Materials）E96正立水杯法”、“新式热阻湿阻仪器测试法”和“出汗暖体人体模型（Walter）测试法”，所得到的结果相互之间的联系。
实验结果表明，鉴于测试所用的针织物的透气性的差异范围，尽管这4种方法的结果由于在不同的环境下进行测试而存在些许差异，但它们仍然存在着密切联系。
因此，不同测试方法的结果经过适当调整可以相互转换。
关键词：织物，汽态水传递比率，织物舒适性，湿阻2.测试方法2.1测试样品此项实验的样品为8块功能性T恤面料商品，其中4块的织物组织为双罗纹，另外4块为平纹。
这些样品代表了市场中典型的T恤面料。
在模拟试穿者试穿效果的实验中，这些面料被缝制成了长袖T恤，穿在出汗暖体人体模型（Walter）身上。
表1列出了实验所用面料的主要规格参数。
表1 T恤面料样品的主要规格参数样品编号成分结构厚度（mm）平方米克重（gm-2）155% 40S/2 涤纶45% 40S/2精梳棉平纹（单面）0.696 199.3 263% 50S 极品特长绒棉37% 涤纶双罗纹抽条0.772 148.03 62% 40S 精梳棉31% 尼龙7% 莱卡平纹（单面）0.832 284.2459% 40S 精梳棉41% 尼龙双罗纹抽条0.955 184.35 100% 涤纶平纹（单面）0.644 193.46 100% 涤纶双罗纹0.555 121.8744% 40S 精梳棉45% 40S 涤纶短纤11% 莱卡平纹（单面）0.704 200.98 50% 40S 精梳棉双罗纹 1.071 225.6纺织服装外文翻译文献50% 30S 涤纶短纤2.2 实验测量2.2.1 水分传递测试法（模型CS-141）此项测试所用的仪器水分传递测试仪由Ludlow公司开发。
服装关键部位英文缩写
服装关键部位英文缩写【篇一：服装关键部位英文缩写】a e=american efird, inc.美国线业公司a/h，a.h.=armhole 袖窿，[粤]夹圈a/c，acc.=account 帐单，账目a/w.，aw=actual weight 实际重量abs=area bounded staple fabric 面粘非织造布add.=address 地址adl=acceptable defect level 允许疵点标准agt.=agent 代理商，代理人amt.=amount 总计，合计，总额aop=all over printing 全身印花approx.=approximately 约计aql=acceptable quality level 质量接受标准ar.=around 大约art.=article [欧洲]款式asap.=as soon as possible 尽快attn.=attention 注意，收件人aud.=audit 稽核av.=average 平均awb. no.=air way bill no. 运单号b.=back 后b.=bust (女)胸围b.l.=back length 后长b.n.p.=back neck point 后颈点bnt=back neck tape 后领滚b.p.=bust point 胸高点，乳峰点b.t.=bust top 乳围b.w.=back width 后背宽b/l=bill of lading 提单，提货单bk.=black 黑色bms.=body measurement system 人体尺寸测量系统bmt.=basic motion time 基本动作时间bnl.=back neckline 后领口bnp，bnpt.=back neck point 后颈点boc=bank of china 中国银行bom=bill of material 物料表bp=backpack 背包brt=barrier removal team 障碍排除小组bsp.=back shoulder point 后肩颈点btm.=bottom 下摆btn.=button 钮扣bx.=boxes 箱，盒c. d. =collected and delivered 货款两清c.=chest (男)胸围c.a.d.=cash against documents 凭单据付款c.b.，c/b=centre back 后中c.f.，c/f =centre front 前中c.f.，c f=coat and freight离岸加运费价格cft=cross function team 跨功能小组c.p.l.=collar point length 领尖长c.v.c.=chief value of cotton 以棉为主的混纺物c/d.=certificate of delivered 交货证明书c/o，c.o.=country of origin 原产国，产地证c/o label，coo. label=country of origin label 产地唛cad=computer aided design 电脑辅助设计cae=computer aided engineering 电脑辅助工程cal=computer aided layout 电脑辅助排料cam=computer aided manufacture 电脑辅助制造cap=computer aided pattern 电脑辅助画样ca.=circa 大约cat.=catalogue (产品)目录cbd.=cash before delivery 付款交货cbl.=center back line 后中线cbm=cubic meter 立方米cbn-w=center back neck point to waist 后颈点至腰cecf=chine export commodities fair中国出口商品交易会(广交会) cell.=cellular phone 手机cert.=certificate 证书，执照cfs.=container freight station 走拼箱ci=corporate identify 企业标识cif =cost，insurance freight 到岸价cny=chinese new year春节(中国新年)，china yuan 人民币col.，clr.=color 颜色cmpt.=cut，make，pack，trim 裁剪+车缝+包装+辅料cmt.=cut，make，trimmings 来料加工(裁剪+车缝+辅料)cord.=corduroy 灯芯绒cs=commercial standards 商业标准c/no.，ctn. no.=carton no. 箱号cy.=container yard 走整柜d. k.=damaged kept 染厂对疵布的认赔d.=denier 旦dc=distribution center 配送中心d/y=delivery 出货，交付dbl.=double 双dbl. ndl.=double needles双针dept.=department 部门dk.=dark 深色dl=decorative label 主唛doz.=dozen 打ds=detail sketch 细节图dtm=dye to match 配色dtmsa.=dye to match surrounding area 配所在部位颜色e.g.=[拉丁]exampli gratia，for example 例如e.p.=elbow point 肘点emb.=embroidery 绣花，[粤]车花eq.=excluding quota 不包括配额eta.=estimated to arrival，estimated time of arrival 预计到达时间etc.=[拉丁]et cetera等等etd.=estimated to departure 预计开船时间etd.=estimated time of delivery 预计出货时间exp.=export 出口ext.=extension number分机号f.=front 前f.l.=front length 前长f.n.p.=front neck point 前颈点f.o.a.=feed off arm 埋夹fab.=fabric 布料faq.=fair average quality 中等品fb.=freight bill 装货清单fcl.=full container load 走整柜ffm=fully fashion markfluo.=fluorescence 荧光fnp.=front neck point 前颈点fob .=free on board 离岸价fyr.=for your reference 供参考fqc.=field quality control 现场质量控制fty.=factory 工厂fyi. =for your informationg.w.=gross weight 毛重gbp=great britain pound 英镑gl.=grain line 丝缕，[粤]布纹goh.=garment on hanger 走挂装h.=hip 坐围h l=hook loop 尼龙搭扣h/s=(洗水)手擦h/l=hand loom 手织样hps=high point of shoulder 高肩点hsp=high shoulder point 高肩点htm=how to measure 量度方法imag. line=imaginary line 参考线in.=inch 英寸iq.=including quota 包括配额irre. l/c=irrevocable l/c 不可撤销信用证jkt.=jacket 夹克k.=knit 针织l.=large 大号l.=left 左l.=length 长度l=ligne 莱尼，号。
纺织服装外文翻译文献
外文文献翻译完整版译文3200多字(含：英文原文及中文译文)文献出处：Kar F, Fan J, Y u W. Comparison of different test methods for the measurement of fabric or garment moisture transfer properties[J]. Measurement Science & Technology, 2007, 18(7):2033.英文原文Comparison of different test methods for the measurement of fabric orgarment moisture transfer propertiesF Kar, J Fan and W YuAbstractSeveral test methods exist for determining the water vapour permeability or resistance of textile fabrics or garments. The differences and interrelationships between these methods are not always clear, which presents a problem in comparing results from different test methods. This study is aimed at investigating the relationships between the test results from four typical test methods, including the moisture transmission test (Model CS-141), ASTM E96 cup method, sweating guarded hot plate method (ISO11092) and the sweating fabric manikin (Walter). For the range of air permeable knitted fabrics tested, it was found that good interrelationships exist between the results from the four types of testmethods, although some discrepancies exist between different tests due to differences in testing conditions. Test results from different moisture transfer test methods can therefore be convertible with due consideration. Keywords: fabric, water vapour transmission rate, clothing comfort, water vapour resistance1. IntroductionMoisture transfer properties of textile fabrics and garments are important to the thermal comfort of clothed persons. A number of test methods have been developed to evaluate the moisture transfer properties of textile fabrics and garments. However, since the techniques and testing conditions of these tests are very different, results from these tests are not directly comparable. It is therefore necessary to investigate the differences and interrelationships between the results from these different test methods.Dolhan compared two Canadian Standards (CAN2-4.2-M77 and CAN/CGSB-4.2 No. 49-M91) and the ASTM E96 test methods for measuring the water vapour transmission properties and found that the results of these tests were not directly comparable because of the differences in the water vapour pressure gradients driving the moisture transmission in the different test methods Gibson [8] conducted an extensive investigation on the relationship of the test results from the sweating guarded hot plate (ISO11092) and those from the ASTM E96Cup Method. In his work, permeable materials, hydrophobic and hydrophilic membrane laminates were tested and the results were standardized in the units of air resistance and water vapour transmission rate. It was found, except for the hydrophilic samples, there is a clear correlation between the results from the two tests. As the test condition in the guarded sweating hot plate tests resulted in much higher equilibrium water content in the hydrophilic polymer layer, which influences the polymer’s permeability, the water vapour transmission rate through the hydrophilic membrane is greater when tested using the sweating guarded hot plate. As pointed out by a number of previous researchers [7, 12], different relative humidity gradients present in the various test methods cause the intrinsic transport characteristics of hydrophilic polymers to change. For such fabrics, there tend to be poor correlations between different test methods that employ differing relative humidity gradients, since the resistance is a function of the water vapour concentration and temperature. Consequently, Lomax [11] pointed out the need for investigating the correlations of results from different test methods for different types of fabrics.Gretton et al [9] classified the fabric samples into four categories, including air permeable fabrics, microporous membrane laminated fabrics, hydrophilic membrane laminated/coated fabrics and hybrid coated/laminated fabrics, in investigating the correlation between the testresults of the sweating guarded hotplate (ISO 11092) and the evaporative dish method (BS 7209). They showed that there is a good correlation between the two test methods for all fabrics except for the hydrophilic coated and laminated fabrics that transmit water vapour without following the Fickian law of diffusion.Recently, Indushekar et al [10] compared the water vapour transmission rates measured by a modulated differential scanning calorimeter and those by the conventional dish technique as specified in BS7209 for a wide range of woven based fabrics used in cold weather protective clothing. The study showed that results from these two test methods differ widely due to the differences in the water vapour gradients which occurred in the two methods.With the development of novel techniques for the measurement of moisture transmission properties of fabrics and garments, it is necessary to further investigate the relationship between different test methods. The present study was therefore aimed at investigating the correlations between the moisture vapour resistances/transmission rates measured using the newly developed sweating fabric manikin (Walter) [4, 6], the moisture transmission test (Model CS-141) [1], the ASTM E96 testing method [2] and the sweating guarded hot plate method [5]. Since the correlations between the moisture vapour resistances/transmission rates tested using the different test methods are generally different for differentcategories of fabrics, the present investigation is focused on air permeable functional T-shirt type fabrics2. Methods2.1. SamplesFour interlock and four single jersey functional T-shirt fabrics were chosen from commercial sources for the experiment. The samples represent typical T-shirt fabrics in the market. The fabrics were sewn into long-sleeved T-shirts for the tests on the sweating fabric manikin (Walter) and the wearer trial experiments. Table 1 lists the characteristics of the fabrics used in this study.2.2 Experimental Measurement2.2.1 Moisture Transfer Test Method (Model CS-141)The instrument moisture transfer tester used in this test was developed by Ludlow. The company claims that this instrument can quickly and easily determine the water transfer rate of a fabric. This test is based on "gas permeability law". This rule refers to the mass transfer ratio and the ability of the fabric to block moisture penetration, the pressure difference between the upper and lower sides of the fabric, and the thickness of the fabric. Figure 1 shows the structure of the moisture transfer tester. Small enclosed water tanks The clips on both sides sandwich the fabric sample in the middle of its vertical direction. Underneath the fabric is distilled water, which is less than half the heightof the sink. Above is the air that has been dried with desiccant at the beginning of the test. The height of the air gap between the surface of the water in the tank and the lower surface of the material is 10 mm. The tank was placed in a chamber with a temperature of 20°C and a relative humidity of 65%. During the experiment, moisture was transferred from the wet side (below the fabric) through the fabric sample to the dry side (above the fabric) and the humidity sensor maintained the monitoring of humidity changes in the upper part of the tank. During the time when the humidity increased from 50% to 60%, the rise in relative humidity was recorded every 3 minutes. The ratio of gas per hour per m 2 of steam in terms of g can be calculated by taking the data into the equation below.T = (269 × 10−7)(Δ%RH × 60/t)(H)/(100 × 0.02252) (1)Where: Δ%RH—average of the relative humidity difference between the upper and lower halves; t—the time interval between two successful data reads (t=3min); H—water content per unit volume of the tank (H=45.74 gm-3).2.2.2. American Materials and Testing Association E96 vertical cup methodThis method is a very common method for testing the moisture transfer properties of fabrics. This method can be used to determine the rate of vapor-water transport in the vertical direction of the fabric under conditions of constant ambient humidity, constant humidity and a knownfabric area. Figure 2 shows the principle of this test method. A cup filled with distilled water covered by fabric samples was placed in an adjustable environment with a temperature of 20°C and a relative humidity of 65%. At the beginning of the experiment, 80 g of water was poured into the cup, which determined the distance from the lower surface of the fabric to the water surface to be 19 mm. The test lasted for five days, during which time the quality of each cup was recorded once a day. The vaporous water transfer rate (WVTR) per square meter per hour can be obtained by taking the data into the equation below.WVTR = G /tA (2)Where: G—the value of the change in the weight of the cup covered by the fabric; t—the duration of the change in the mass of the cup, measured in h; A—the area of the fabric sample tested in m 2 .2.2.3. New thermal resistance wet resistance instrument test methodThe new thermal resistance wet resistance instrument was developed by Fan et al. This instrument complies with the test requirements specified in ISO (International Organization for Standardization) 11092. Compared with the conventional heat resistance and moisture resistance instrument, it makes it possible to simultaneously perform simulation tests on heat loss due to moisture evaporation and moisture evaporation loss. In addition, the instrument can be operated at subzero temperatures. Figure 3 shows the construction and working principle of the instrument.As can be seen from the measurement of evaporative heat loss, the total moisture resistance of the fabric sample placed on the porous board, sandwiched between the artificial skin and the air layer can be obtained by taking the data into the following formula.Ea sa ss et H ) H -PA (P = R (3) where: R et - total moisture resistance; A - area covered by the fabric sample (A = 0.0444 m 2); P ss - human skin temperature (controlled Water vapour pressure is saturated at 35°C); P sa - Water vapor pressure is strong at ambient temperature; H a is relative humidity (%).In the experiment, five layers of fabric samples of the same variety were first laid on the instrument, and the value of Ret was read for the first time after stabilization. Then remove a layer of fabric. At this time, four layers of fabric remain on the instrument and read the Ret value. Push the class until all 5 layers of fabric are removed. Next, the obtained Ret value is plotted against the number of layers of the fabric when reading, and then adjusted using a linear regression principle to draw a line that approximates the original curve. The slope of this line is the moisture resistance of each fabric sample. size.2.2.4. Sweat Warmer Human Model (Walter) Test MethodWalter is the world's first sweating warm mannequin developed by Fan and his colleagues. Figure 4 shows a sweating warm manikin wearing a T-shirt during the test. This test was conducted in a constanttemperature and humidity laboratory at a room temperature of 20.0±5°C, a relative humidity of 65.0±2%, and a wind speed of 0.5±0.3ms -1.Eight fabric samples were sewn into garments of the same size. During the test, the pants worn by the mannequin on the lower body remained consistent. The total moisture resistance can be calculated by the following equation after calculation.3. Results and analysisThe results of the four types of tests are listed in table. The moisture transmission rates measured by the moisture transmission test and the ASTM E96 cup method, expressed in units of gram per hour per square metre, are also converted to the moisture vapour resistance expressed in units so as to be comparable to the moisture vapour resistances measured by the sweating hot plate and the sweating fabric manikin.The result is a reduction of total moisture vapour resistance and thus an increase in moisture transmission rate. Since the moisture transmission test only lasts for 1 to 2 h, the effect of condensation is, on the other hand, not significant. For sample 8, the deviation from the trend line may be caused by the fact that it is relatively thick and therefore can absorb more moisture during the ASTM E96 cup method. The moisture absorption results in the swelling of cotton fibres and hence the reduction of the measured moisture transmission rate.4 ConclusionIn this study, four instruments were used to determine the vapor transmission rate or wet resistance of functional breathable t-shirt sports fabrics/clothing. From this study, it can be seen that for a typical functional T-shirt fabric, there are four kinds of test methods, namely “wet transfer test method (model CS-141)”, “ASTME96 vertical cup method”, and “new thermal resistance wet There is a close relationship between the resistance instrument test method and the "Walter test method". The results obtained from any of the test methods in this study can be compared by using the correlation trend curve and the results obtained by another method. Some errors in the correlation curve can be explained by differences in the types of materials and testing conditions.中文译文织物或服装湿传递性能的不同测试方法比较作者:F Kar, J Fan and W Yu摘要现有几种测定织物/服装汽态水渗透或湿阻的方法,这些方法相互之间的区别与联系并没有得到明确提出, 这引出了一个新的命题, 即通过对比不同测定方法的结果,找出它们之间的区别与联系。
服装对时尚的影响英语作文
服装对时尚的影响英语作文English: Clothing plays a significant role in the world of fashion by influencing trends, representing personal style, and reflecting cultural values. The way in which individuals dress can have a profound impact on the fashion industry as a whole, with certain pieces or styles gaining popularity due to their presence in everyday wardrobes. From runway shows to street style, clothing serves as a canvas for creativity and self-expression, allowing individuals to showcase their unique personalities and tastes. Additionally, clothing often serves as a reflection of society's values and beliefs, with certain garments or styles embodying specific cultural traditions or societal norms. Overall, clothing has the power to shape and define the ever-evolving world of fashion.中文翻译: 服装在时尚界扮演着重要角色，影响着潮流趋势，代表着个人风格，并反映着文化价值观。
服饰英文作文技巧分析
服饰英文作文技巧分析英文：When it comes to writing an essay on fashion, there are a few tips and tricks that can help make your writing stand out. First and foremost, it's important to have a clear understanding of the topic you're writing about. What aspect of fashion are you focusing on? Is it the history of fashion, the latest trends, or the impact of fashion on society? Once you've determined your topic, you can begin researching and gathering information.One of the keys to writing a successful fashion essayis to use specific examples. For instance, if you'rewriting about the impact of fashion on society, you might discuss how certain fashion trends have influenced the way people view themselves and others. You might also talk about how fashion has been used as a form of self-expression throughout history.Another important aspect of writing a fashion essay is to use descriptive language. You want your readers to be able to visualize the fashion trends you're discussing. Use adjectives to describe the colors, textures, and styles of the clothing you're writing about. This will help bring your writing to life and make it more engaging for your readers.In addition to using specific examples and descriptive language, it's also important to be organized and concise in your writing. Make sure your essay has a clear introduction, body, and conclusion. Use transitions between paragraphs to help your writing flow smoothly. And be sure to proofread your work for grammar and spelling errors.Overall, writing a fashion essay can be a fun and rewarding experience if you follow these tips and tricks. Just remember to stay focused on your topic, use specific examples, and use descriptive language to bring yourwriting to life.中文：写一篇有关时尚的文章，有一些技巧可以帮助你的文章脱颖而出。
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。
英汉借用词和时尚新词翻译论文
英汉借用词和时尚新词翻译论文摘要：当今社会各个领域的技术都发展迅速，各国交流也日趋频繁，从外引进的新鲜事物屡见不鲜，这种现象带来的最直观的结果则是不断涌现出新词新语。
语言本身就具有开放性和包容性，作为使用语言这一交流工具的主体，我们应该积极乐观地面对借用词和时尚新词的输入，利用相应的翻译方法巧妙地将这些“新鲜的血液”注入到我们本身的语言机体中，使两者不发生排斥反应，从而相得益彰。
一、引言随着科技和经济全球化的发展，社会的进步，世界各国人民之间交往日趋频繁，人们的行为方式和生活内容发生着潜移默化的变化，而人们在交往之中所使用的语言工具也必然要发展变化。
如今大量借用词汇随着媒体的传播走进了中国，一些新词也随着时代的进步与发展在我们的生活中应运而生，成为了一种流行，一种时尚。
本文通过对英汉借用词和时尚新词的对比，总结出关乎其翻译的六种方法并作出了简要分析。
二、英汉借用词和时尚新词的剖析豪根（Einar Haugen）将“借用”定义为“试图在一语言中再创造另一语言中已有的模式”。
他从词素替代和音位替代两方面将词汇的借用分为三类：1）借词或外来词（loanword），即直接从外语引进的词。
从英语吸入外语的外来词有：雷达、苏打、咖喱、咖啡、台风、沙发等。
2）混合词（loanblend），即把本族语的形式跟从外语借来的成分组合在一起而构成的复合词或短语。
从英语吸入汉语的混合词有：迷你裙、踢踏舞等。
3）借意词（loanshift），包括借译词（loan translation）或仿造词（calque），即把外语里一词的意义移植过来，用本族语的语素来构词。
从英语吸入汉语的借意词有：篮球、黑板、蜜月等。
[1]随着国际交流的越发频繁，从外国引进了许多借用词，同时也产生了很多时尚新词。
如今网络技术的广泛应用，也使网络用语在我们的日常生活中盛行开来。
在翻译时尚新词的时候，可以结合时下流行的网络用语，这样才会更贴近人们的生活，增强这些词汇的使用频率。
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。
中英文外文文献翻译中性化服装风格特征及发展
本科毕业设计（论文）中英文对照翻译（此文档为word格式，卜•载后您口J任总修改编辑!）文献岀处：Markus H. The research of neuter clothing style characteristic and development [J]. Advanced Materials Research, 2016, 4(3):81-90.原文The research of neuter clothing style characteristic anddevelopmentMarkus HAbstract"Neuter clothing" is so called no gender tendency of clothing，'. Before the First World War, western European dress neutralization on the horizon, a similar to today's mainstream modem dress complete sets of men's dress style・The word n neutral H in the 1960 s, in a variety of media on the frequency is higher and highe匚French fashion in the early 1990 s began to neuter clothing research ・ Ernestine and gross on the emergence and development of neuter clothing do the system analysis; to the time of the neutral clothing market provides a good theoretical guidance. Today, New York, Paris, Tokyo and other international fashion center, have put neutral clothing research institutions, regularly every year forecast and release neutralization trends・ Keywords: Neuter; Clothing; Gender roles; style 1 Introductionn Gcndcr n is defined as ”the physiological differences between men and women11. Gender is often considered to be a kind of based on formed by anatomical differences between the sexes culture coverings. And gender is refers to the culture formed on the special way of thinking, behavior, and feel the difference・ That is to say，the gender is a kind of based on the physiological basis of social structure, it is through the socialization process of creating and restructuring，it emphasizes the cultural features. So-called neutral, English said unisex, refers to the nature between the two kinds of relative nature, no significant gender characteristics of the neutral clothing is, men and women are suitable clothing styles and style・ Masculinity refers to a man should have the achievement orientation, the attention to conplete the task or action orientationof a series of personality and psychological characteristics. Masculine, curing and stable at least includes three components: the content of the position, strong and feminine. Femininity refers to women should have the compassion, the other person feel kind, care to others such as a series of personality and psychological characteristics of affinity orientation・ Although the connotation of femininity changing, but the content includes three components: inherent everything related to family, gentle, love clean, rely on men, and is thus opposed to all male temperament characteristics・With the changes of The Times and the changing of the ethical, admired by men and women in modem society is no longer the stagnation of traditional gender characteristics, especially the women increasingly take on the responsibility of the society and family, also more and more with the traditional sense of belonging to the male gender characteristics, this is neuter clothing trend rise an important reason. 2 Aesthetic basis of dress neuterTwo basic pmperties of clothing for refer to the skills of clothing material, secondly, clothing aesthetic aspects of spirituality. These two attributes is from the people to the requirements, and from the psychological aspects of physical expression. Clothing material mainly includes all kinds of function and physical and chemical properties, embodies the objective existence of clothing, it is the premise and foundation of the spirit. And based on the material of the clothing of the spiritual attribute, it is namely its social function. And clothing material that keep an organism "the introversion n on the contrary, clothing spiritualityshowed a strong ^extroversion11characteristics, namely look to others, embodied in clothing decorative and symbolic. Clothing decorative is from human pursuit of aesthetic psychology and aesthetic psychology. Symbolic clothing refers to human in the group life, in his consciousness, driven by using clothes behavior to others show their identity, status, education, advocate, emotion, personality and hobbies such as the characteristics of social content. Ecosystem of identification fiinction can be divided into: identity, status, identity rights of identity, occupation, and action identification, group identity within the four aspects of the expansion, this paper studies the ecological function of identification of the function of gender identity. Clothing gender identity is an important characteristic of modem clothing. But in fact, the overview of Chinese and western costume, men's and women's clothing is used ill a lot of time with the same fabric, color and shape, clothing is not prominent reflect gender difference as the first point. Reasons for this phenomenon is mainly the different social form have different specifications and requirements for clothing, clothing to a great extent, is a tool of class・ Into the modern society, with the men and women converge of social division of Labor, the gender identity function of clothing has been gradually weakened, people gradually no longer focus on clothing can differentiate the sex symbol, neuter clothing have a more broad space for development・3 Ladies neutralization process3.1 Dress neuter in the early 20th centuiy In the first decades of thetwentieth century, many with good educated women have greater freedom, too, for they also had the corresponding change to the requirement of clothing・With all kinds of sports more and more popular, especially cycling and tennis, Loose pants - with its founder Mary. Bloom's name, also known as the n rational11 clothing, wear them under a thin coat, very suitablc for cycling, but when people think ifs provocative・ This in the development of apparel neutralization has very important significance; because for hundreds of years, this is the first male taste strong pants appeared in women's clothing. Women's requirements like man stepped outside, to participate in sports become dress neuter the initial starting point. 3.2 Women's neutralization in mid and late 20th century 40 s, not only of great effects on the human World War II, and has also had a huge impact in the development of the clothing・ During the war, the average person can not take into consideration in dress; the dress only is given priority to with practical, convenient and durable・The women generally in "work clothes H and "uniform'', clothing design is quite simple. The course of histoiy of neutralization "catalyst”，is to be completed in the Second World War. The second half of the 20th century, the war was over; neuter the newborn began to grow from within. Despite the ideological trend of restoring ancient ways, but women's clothing neutralization process is unstoppable. Since the 1950 s, the world clothing changes rapidly and is various; the overall trend is diversified and personalized. The neutralization of dress under the overall trend is growing stronger, it is a process of the internal force under the action of process, is a process from have the soul body bone to have, is a never improve to gradually improve the process・ This kind of change and diversified and complicated by postmodernism has much to do. Every period of two types of social practice, always produce finm the mode of production to the productivity to the intense and rich change in the way of life. The 50 s, headed by Dior, with a large number of design master active during this period・ Technical authority baron summer plus Dior and the pursuit of a female appearance, and then he is committed to promoting women's modeling concise, simple, and simple・ Slightly type corresponds to the social life, and he is convenient ill activity, the liberation of women's waist, opens up a motile dress. In these typical style ladies sportswear finally boarded the stage of the fashion. Fiber on the market in 1959, it combined with new printing and dyeing technology, make the cheapest clothes have strong colors or printing. For the men and women of mutual fusion has played a huge role in promoting.Is a great contrast s 60 s, precisely, this stage is known as the counter culture in the western force a s, its characteristics is to "youth culture”，”mass culture” and n the mountain0, n feminism n four. Women in this period of change itself are unprecedented・"Storm, young, around the world, jeans to accelerate the development of the clothing trend of neutralizatio n.In the 70 s is based on the understanding to the success of 60 s resistance. It marks from a poor clothes and continuous interest in the global culture to a new social conscience and a focus on natural environment. Due to the late 60 s neutral consciousness and the combination of M female characters turn” prompted haute couture to handsome style development, women wore amasculine "flares役"suit" and "suit" style, the pursuit of masculine image of H mature, spell able” became the vogue. "Hippie movement and in the mid ・ 70 ・ s n punk n import the concept of neutral. Women began to have a passion for trousers・Even dress worn with pants・During this period, the mini style gradually withdrew from the popular, being with masculine information ”hot pants'* and the "high heels" instead. Feminist movement in the 80 s, vigorous, fashionable women in social life, actively participate in the political, economic, diligently enterprising, appear quite a few "superwoman" on a par with men. In the mid ・80 ・s, women use men's wide shoulder to show masculinity, shoulder an exaggerated modeling, even more than merf s shouldc匚During the same period of "casual wear” also become the representative of n neutralization n. Ladies on the basis of increasing job opportunities, gained its independence in terms of economy, H equality n has made substantial progress・We can see professional women dressed in a quiet and tastefully laid out and miniskirt, upper abode wearing make exquisite jacket with shoulder pads. The neutral trend of modern women's clothing in this period began to finalize the design. In the 90 s due to the rapid popularization of network, the circulation line information quickly break the limitations of the past time difference, and synchronously and instant attitude appear in every comer of the world; New visual aesthetics is closely related with the development of computer network connection. Clothing from the design, production and circulation, each step of the process can be done through the computer aided, this greatly improves theefficiency. With the awakening of ecological consciousness and to the lifestyle of the new realism comprehension, radical materialism began to decline in the 80 salaries, especially the young woman, both in sex and in terms of career, they relax in the new freedom, promote their sclf-confldcncc ability of gender. On the arrival of new century neuter gender revolution significance has completed the initial historical mission. From 90 s to today, neutralization trend has been in the clothing plays an important role on the stage and enduring.译文中性化服装风格特征及发展研究Markus H摘要“中性化服装”即“无性别化趋向服装”。
英语论文参考文献(全英文版)
英语论文参考文献（全英文版）英语论文参考文献（全英文版）关键词：英文版，参考文献，英语论文英语论文参考文献（全英文版）简介：参考文献是英文类学术论文、研究报告中不可缺少的一部分，不可随意“从略”，更不可马虎了事或错误百出，很多作者在引用英文参考文献时，会出现引用不当、格式错误等问题，为大家分享正确的英语论文参考文献格式及范例。
一、英文论文参考文献格式要求英文参考文献与中文参考文献的格式英语论文参考文献（全英文版）内容：参考文献是英文类学术论文、研究报告中不可缺少的一部分，不可随意“从略”，更不可马虎了事或错误百出，很多作者在引用英文参考文献时，会出现引用不当、格式错误等问题，为大家分享正确的英语论文参考文献格式及范例。
一、英文论文参考文献格式要求英文参考文献与中文参考文献的格式要求基本相同，但写英文参考文献要注意一点，外文作者姓名的着录格式采用姓在前（全拼，首字母大写），名在后（缩写为首字母），中间用空格；着作类文献题名的实词首字母大写，期刊文献题名的首词首字母大写，期刊名称请用全称，勿用缩写。
具体如下：1、单一作者着作的书籍姓，名字首字母.(年). 书名(斜体). 出版社所在城市：出版社.如：Sheril, R. D.(1956). The terrifying future: Contemplating color television. San Diego:Halstead.2、两位作者以上合着的书籍姓，名字首字母., 姓，名字首字母.(年). 书名(斜体). 出版社所在城市：出版社.如：Smith, J., Peter, Q. (1992).Hairball: An intensive peek behind the surface of an enigma. Hamilton, ON:McMaster University Press.3、文集中的如：Mcdonalds, A.(1993). Practical methods for the apprehension and sustained containment ofsupernatural entities. In G. L. Yeager (Ed.), Paranormal and occult studies:Case studies in application (pp. 42–64). London: OtherWorld Books.4、期刊中的(非连续页码)如：Crackton, P.(1987). The Loonie: God's long-awaited gift to colourful pocket change?Canadian Change, 64(7), 34–37.5、期刊中的(连续页码)：姓，名字首字母.(年). 题目. 期刊名(斜体). 第几期，页码.如：Rottweiler, F. T., Beauchemin, J. L. (1987). Detroit and Narnia: Two foes on the brink ofdestruction. Canadian/American Studies Journal, 54, 66–146.6、月刊杂志中的如：Henry, W. A., III.(1990, April 9). Making the grade in today's schools. Time, 135, 28-31.二、英文论文参考文献范例。
服装英语的词汇与句法研究——评《实用服装英语》
伴随全球经济一体化进程的不断推进，服装贸易不断趋向于国际化，在现代生活中，处处都可以见到服装英语的身影。
服装英语是一门专业用途的英语，近年来其重要性不断凸显。
在服装英语学习中，词汇与句法是英语学习的重要基础，很大程度上决定了学生英语水平的高低。
通过对服装英语词汇与句法的研究，可为学生在服装英语的学习提供必要的技巧与策略。
因而，本文结合《实用服装英语》一书，对服装英语的词汇与句法展开研究探讨。
《实用服装英语》一书引入了服装材料、服装工程、服装设计、服装美学等诸多文本，并对几乎涉及服装专业各个领域的相关内容进行了对应的词汇注解及难句注释。
目的在于让高校服装设计相关专业学生了解到专业英语的各式各样文本，提高学生的英语学习能力。
《实用服装英语》既可以作为高等学校服装英语教材，也可以作为服装行业从业人员学习服装英语的指导用书。
结合《实用服装英语》一书中论述的服装英语单词注解及难句注释等相关内容，服装英语的词汇与句法特征主要表现为：（1）服装英语的词汇特征。
其一，自词汇扩充及词源层面而言，服装英语中有大量外来词汇。
伴随时间的推移，英语不断从其他语言中吸收新的词汇，这一特征对英语词汇的扩充至关重要。
外来词汇在服装英语中有着极高的占比，并且这些外来词汇在字典中很难查到。
例如源自俄语的词汇，“ushanka ”指的是俄罗斯皮帽，这种帽子与中国的雷锋帽有一点相似；源自日语的词汇，“yukata ”指的是日本人在重要时节穿着的棉质和服。
其二，自词汇意义关系层面而言，服装英语中有大量的近义词。
服装英语中存在诸多的常用且易混淆的词汇，以“服装”一词为例，其便有着多种不同的表达方式，不过它们的深层含义及用法则存在一定差异。
“clothes ”意思为“服装，衣服”，但必须用复数形式，如“This is some sexy clothes （这是一些性感的衣服）”；“clothing ”意思为“（总称）衣服，衣着”，通常用于单数形式，如“an article of clothing （一件衣服）”；“apparel ”意思为“衣服，覆盖物”，往往与“industry ”搭配运用，如“apparel industry （服装业）”。
服饰设计与高科技外文翻译文献
服饰设计与高科技外文翻译文献服装设计与高科技外文翻译文献
本篇论文旨在探讨服装设计在高科技行业中所发挥的作用。
随
着科技的不断发展，各行各业都在不断地接受着新的变化与挑战。
而传统的服装设计行业也在逐渐地被引入到了这个大潮之中。
今天，服装设计已经不仅仅是手工制作衣物的技能，更多的是要跟上时代
的变化，结合科技，创造更加符合人们需求的产品。
在高科技的帮助下，服装设计行业已经实现了很多高级功能，
比如可穿戴技术、手指触控技术和产品定制等等。
这些技术的应用，不仅使得服装的外观更加时尚、精美，还可以减少传统的生产过程
中浪费的材料，提高效率，更好地满足了人们的需求。
同时，服装设计行业也正努力解决科技和传统艺术设计之间的
矛盾。
创新设计的实现需要科技的帮助，但要在服装上呈现出艺术
家的个性与风格，却需要传统技法的支持。
因此，在不断探索的过
程中，服装设计师们直面这些挑战，积极创新，从传统中获取灵感，从科技中汲取营养，使得服装设计行业不断地焕发新的生机与活力。
因此，本文建议服装设计师要不断学习和了解最新的科技，充分利用高科技手段，将传统的手工制作与现代的制造工艺相结合，为人类创造出更加优秀的服装。
论赖斯信息型文本视角下服装文本翻译———以《服装英语》汉译为例
论赖斯信息型文本视角下服装文本翻译———以《服装英语》汉译为例作者：张澜，罗冰来源：《教育教学论坛》 2016年第40期张澜，罗冰（北京服装学院外语系，北京100029）摘要：本文以凯瑟琳娜·赖斯的文本类型理论中的信息型文本作为理论依据，以专门用途英语系列教材的《服装英语》为材料并展开研究。
将文本类型理论中的信息型文本应用于服装英语翻译，分析了其翻译的信息功能，从而得出结论：译者在翻译服装英语过程中须结合观众的文化背景、审美情趣和期待视野来译出符合目的语观众的作品。
本文主要探讨对赖斯信息型文本翻译时的文本选择、翻译方法、以及其所具有的局限性。
关键词：赖斯；文本类型；信息型文本；翻译策略中图分类号：G642.41 文献标志码：A 文章编号：1674-9324（2016）40-0240-02一、服装文本翻译与赖斯的文本类型理论1.服装文本翻译。
众所周知，许多优秀的服装类书籍都是从外文翻译到英文文本的，对于此类文章优秀的翻译能够更加完整地传达专业性知识和体系，帮助人们更好地理解和掌握更深层次的服装知识。
从这个意义上来看，服装类文本翻译的重要性显得格外突出，也引起了越来越多学者的关注。
2.赖斯的文本类型理论。
凯瑟琳娜·赖斯把文本类型分为三大类：信息型、表情型和操作型，后又加了视听类语篇。
她指出，信息型文本主要传递信息、知识、观点等；表情型文本则是作者使用了语言的美学特点；操作型文本的目的在于呼吁或说服读者或接受者按某一种方式行事；视听类语篇是把上述三类文本辅以视觉形象（Reiss，1977/1989：108-109）。
根据赖斯的文本类型理论，笔者认为服装文本的翻译侧重于传达服装信息、知识，应属于信息型文本。
3.信息型文本翻译策略。
根据赖斯的文本类型理论，信息型文本主要是传递信息、知识等内容，它具有较强的语言逻辑性，文本重内容，不重形式，因此在翻译时应运用通俗易懂的白话文进行翻译。
此类文本的翻译要求是对内容的准确传达，把文章内容忠实传递给译文读者作为第一要素。
引用服装英语词典完全篇论文
引用服装英语词典完全篇- 论文关键字：英语处理词汇服装生产布料针织成衣针织布平车引用一天到晚游泳的鱼的服装英语词典完全篇服装英语词典完全篇服装英语词典[新手必背]常用服装英语词汇颜色纱线面料针织布裁床车缝服装部位名词服装标准术语常用服装英语缩写服装专业名词国粤英语对照度尺部位词汇服装机械词汇常用包装物料和车缝物料常见的洗水方法各种样板（Saple，样办）服装品质控制（Q）词汇织疵（布疵）的英文表达针织基础知识纺织品与服装测试项目皮革帽子其它使用方法：按“trl+F”键打开查找对话框来查找你要找的单词。
或者单击“编辑”菜单——“查找”。
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JAQUARD 双面提花（针织）DAAGE AUSED BY NEEDLE 针孔DERATIVE STITHING 装饰间线DELIVERY DATE 落货期DENIER 旦尼尔DENI 牛仔DENSITY 密度DESIGN SKETH 设计图DESIGNED FEATURE 设计特征DIENSIN 尺寸、尺码DINNER JAKET 晚礼服DIRT STAINS AFTER ASHING 洗水后有污迹DIRTY SPT 污点DISUNT / SALES FF 打折DBBY 织花布DUBLE UFF 双层鸡英DUBLE END 双经DUBLE JETTED PKET 双唇袋DUBLE NEEDLE FELL SEA 双针埋夹DUBLE PIK 双纬DUBLING 并线DRESS AT 礼服DRESSING R 试衣间DRILLING 钻孔位DRY-LEANED 干洗DUK 帆布DYING 染色EASING 容位EDGE STITHING 间边线EDGE TRIER 修边器EDGE-FINISHING 边脚处理EDGE-STITH DART 边线褶EDGE-STITHING / 1/16; 宽1/16;的边线ELASTI 橡筋ELASTI AISTBAND IS EXTENSIN F BDY 原身出橡筋裤头ELB IDTH 肘宽EBRIDERY PATH 绣花章EPAULET 肩章EVENING GN SET 晚睡袍EXELLENT STYLE 漂亮的款式EXESSIVE THREAD ENDS 多余的线头EXEUTIVE EAR 行政装EXPIRY DATE 有效期EXPRT ARTN 出口箱EXTENSIN F AISTBAND 裤头搭咀EYELET 凤眼FABRI 布料FABRI NSTRUTIN 布料结构FABRI DEFETS 布疵FABRI RUNS 走纱FABRI SHADING 布料色差FABRI SATH 布办FABRI IDTH 布封FABRIATIN / FABRI 布料FAING 贴FAING T UT-SIDE 折向侧骨FALSE FLY 暗钮牌FALSE PLAKET 假明筒，假反筒FASHIN 时装FELL SEA 埋夹FIGURE-LINGING 紧身的，贴身胸围FILAENT 长纤丝FINAL APPEARANE 最终外观FINISHED APPEARANE 完成后的外观FITTING 试身FLAEPRF FABRI 防火布FLANNEL 法兰绒FLARE SKIRT 喇叭裙FLAT AHINE 平车FLAT SEA 平缝FLAX 亚麻FL HART 流程图FLD AND PAK 折叠包装，折装FLD BAK FAING 原身出贴FLD BAK HIDDEN PLAKET 原身双层钮筒FLD FRNT EDGE 折前幅边FLD LINE 折线FLD PANTS 折裤子FLD PKET UTH 折反袋口FR AND FLD GARENT 定型折衫FRKS 礼服FRNT EDGE 前幅边FRNT ID-ARHLE 前胸宽FRNT PENING 前开口FRNT PANEL 前幅FULLY FASHIN SEATER 全成型毛衫FULLY PENING 全开口FUR 皮草FUR GARENT 裘皮服装FURRY 毛皮制品FUSE INTERLINING 粘衬FUSIBLE INTERLINING 粘朴FUZZ BALLS 起球GABARDINE 斜纹呢GARENT 成衣GARENT DYE 成衣染色GARENT FINISH 成衣后处理GARENT SEING TEHNLGY 成衣工艺GARENT ASH 成衣洗水，普洗GATHERING 碎褶GIRL';S STYLE FLY / RIGHT FLY 女装钮牌，右钮牌GLAED FINISH 压光加工GD TASTE 高品味GR. T.=GRSS EIGHT 毛重GRADING 放码GRAIN 布纹GRAY LTH 胚布GRET 凤眼GRN-N SLEEVE 原身出袖HALF PENING 半开口HANDBAG 手袋HANDFEEL 手感HANDLING 执手HANGDLING TIE 执手时间HANGER 衣架HEAVY FABRI 厚重面料HE 衫脚，下摆HE UFF 反脚HEING 卷边，还口HEING ITH FLDER 用拉筒卷边HEP 大麻HERRINGBNE TILL 人字斜纹布HEXAGNAL PKET 六角袋HIDDEN PLAKET 双层钮筒HIDDEN BARTAK 隐形枣HIGH-AISTED SKIRT 高腰裙HIP 坐围HIP PKET 后袋HD HEIGHT 帽高HRIZNTAL PLAID 水平格INRRET LINKING 错误的连接INITIAL SAPLE 原办，初办INNER EXTENSIN 搭咀内层IN-SEA 内骨INSPETIN 检查INSPIRATIN 灵感INTERLAING 交织INTERLINING 衬，朴INTERLINING FR FAING 贴粘衬INTERLK 双面布（针织）INVERTED PLEAT 内工字褶INVIE 发票IRN VERALL BDY 熨烫衫身IRN SPT 烫痕JAQUARD 提花JEANS 牛仔裤JERSEY 平纹单面针织布JIN RTH 埋小浪JUTE 黄麻KHAKI 卡其KNIT 针织KNITTED RIB LLAR 针织罗纹领KNTS 结头KNLEDGE F ATERIAL 材料学L/=LETTER F REDIT 信用证L/G=LETTER F GUARANTEE 担保证LABUR ST 劳工成本LAE 花边LASTE 双珠地LAPEL 襟贴LAUNDRY 干洗LAYUT 排唛，排料LEATHER 皮革LEFT VER RIGHT 左搭右LEGGINGS 开裆裤LEISURE STYLE 休闲款式LEISURE EAR 休闲服LEISURE EAR SH 休闲装展示会LIENSE 许可证LIGHT URVED PKET 微弯袋LINEN 亚麻LINING 里布LINKING ≈UP SEAING 缝盆LK STITH 平车线步LPED FABRI 毛圈布LPING 起耳仔（疵点）LSE BUTTN 钮扣松散LSED THREAD AUSING GRINNING 线太松导致起珠LUSTRUS 光泽AHINE AINTENANE 机械保养AGI TAPE 魔术贴AJR DEFET 大疵AN-ADE FIBRE 人造纤维ANUFATURER 制造商ARK BUTTNHLE ≈BUTTN PSITIN 标出钮门与钮扣的位置ARK PKET PSITIN ITH TEPLATE 用纸板点袋位ARKER 唛架ARKING ID-PINT F NEK 定领围中位ASS PRDUTIN 大批量生产ATH LR 配色ATERIAL 物料EASUREENT 尺寸ELTN 领底绒ILDRE RESISTANT FINISH 防霉处理ISSING PARTS 漏裁片TH RESISTANTFINISH 防虫处理NAIL-BUTTN 钉脚钮扣NATURAL FIBRE 天然纤维NEK ARSS/NEK IDTH 领宽NEK DRP 领深NEK SEA 颈圈NET T. 净重NN-FUSIBLE INTERLINING 非粘朴NN-VEN FABRI 非织布/ 无纺布NTH 扼位FF PRESSING 终烫IL STAIN 油污NE PIEE DUBLE FLDED BELT-LP 一片双折裤耳NE-PIEE DRESS 连衣裙PEN SEA 开骨PERATIN BREAK DN 分工序UT-SEA 外骨UT-SEA PKT. 侧骨袋VERALL 工作服VERALLS 吊带裤VERLAP 重叠VERLAPPING A FE STITHING 驳线VERLK ≈BLIND-STITH 折挑VERLK / 5 THREADS 五线锁边VERLK ITH 5 THREADS 五线锁边VERTIE RKING 加班工作PAKING LIST 包装单PAKING ETHD 包装方法PANEL KNITTING 针织裁片PASTEL 颜料PATH PKET 贴袋PATTERN 纸样PAYENT 付款PEAH PKET 杏形袋PIEE RATE 记件PIEED N PLAKET 面车明筒PIEED PLAKET 一片钮筒PILE FABRI 毛圈布PIPING 嵌边PIQUE 单珠地PLAKET 明筒PLAID ATHING 对格PLAIDS / HEKS 格仔布PLAIN EAVE 平纹梭织PLANTS LAYUT 厂房布置PLEAT ITH SINGLE NEEDLE 单针车褶PLEATS 活褶PKET BAG AUGHT IN BARTAK 袋布被枣打到（疵点）PKET VER 袋盖PKET REASING AHINE 烫袋机PKET FAING 袋贴PKET FLAP 袋盖PKET FLASHER 袋卡PKET UTH 袋口PKET PENING 袋口PKET-BAG （裁好的）袋布PKETING （成卷的）袋布PINT SHAPE BELT-LP 三尖裤耳PLYBAG 胶袋PSITIN LLAR 定领位PST-ASH HANDFEEL 洗水后手感PRESHRINKING 预缩PRESS ≈PENING SEA 烫开骨PRESS PEN 烫开骨PRESSING RK IN PRGRESS 烫半成品PRINT FABRI 印花布PRINTING 印花PREDURE 程序PRDUTIN SKETH 生产图PUKERING 沿缝线的皱褶QUALITY NTRL / Q 质量控制QUILTING 打缆，间棉RAGLAN SLEEVE 牛角袖RA EDGE 散口READY-T-EAR 成衣REGENERATED FIBRE 再生纤维RESIN FINISH 树脂处理REVERSE SIDE 反面RE-ASHING 返洗RIB 罗纹RIB TAPE 扁带条RIBBING 罗纹RIGHT SIDE F UNDER-UFF 下层鸡英的正面RINED 脱水RIVET 撞钉RUGH YARN 粗纱RUND RNERED UFF 圆角介英RUND RNERED EXTENSIN 圆形裤头搭咀RUND RNERED PKET 圆角袋RUG 地毯RULER SHAPED PKET 曲尺袋RUN FF STITHING 落坑线RUN-STITHING 运线S.K. JAQUARD 单面提花（针织）SAFARI-JAKET 猎装SATIN / SATEEN 色丁SEA 缝骨SEA ALLANE 止口，子口，缝头SEA BRKEN 缝骨爆裂SEA NSTRUTIN 缝型结构SEA PUKER 缝骨起皱SEA SLIPPAGE 散口SEA TIST 缝骨扭SELVEDGE / SELF-EDGE 布边SELVEGE 布边SERGE / VERLK 及骨，锁边SET IN SHULDER PAD 上肩垫SET IN SLEEVE 上袖，绱袖SE BUTTNHLE / BUTTNHLING 开钮门SE TGETHER BDIE AND ITS LINING 缝合衫身与里布，拼里SE ELT PKET 车唇袋SEING UFF 车鸡英SEING SEQUENE 车缝工序SEN SELF FABRI AISTBAND 原身出裤头SHELL FABRI 面料SHINY （烫）起镜SHIPPING ARTN 出口箱SHIPPING DATE 落货期SHIPPING ARKS 箱唛SHRTS 短裤SHULD PINT 肩点SHULDER 肩宽SHULDER PINT 肩点SHRINKAGE 缩水SHRINK-PRF 防缩SHRINK-RESISTANT 防缩处理SIDE ARK 侧唛SIDE PANEL 侧幅，小身SIDE SEA 侧骨SILHUETTE 轮廓SINGLE JETTED PKET 单唇袋SINGLE NEEDLE LKSTITH / 单针平车SIZE ASSRTENT 尺码分配SIZE SPEIFIATIN / SIZE SPE. 尺码表SIZING 上浆SKIPPED STITHES 跳线SLAKS 松身裤SLANT RNERED UFF 斜角介英SLANT PKET 斜插袋SLASHING PKET UTH 开袋口SLEEVE 衣袖SLEEVE LENGTH 袖长SLEEVE PENING 袖口SLI AIST LINE 修腰线SLIT 叉SNIP NTH 剪扼位SLID LR 单色SLID LR ≈SLID SIZE 单色单码SRTING 分床分码SPEIAL AHINE 特殊机器，特种车SPLTHES 污迹SPREADING 拉布SPUN YARN 纺纱SQUARED SHAPED PKET 方角袋STEA PRESSING STAND 蒸汽烫台STITH 线步STITH DN ITH PKT-BAG 车线连袋布STITH VERLAPPING 驳线STITH PER INH / S.P.I. 每英寸针数STITH TYPE 针步类型STITHING ≈TURNING LLAR UT 车线后反领STRAIGHT BTT 直筒裤脚STRAIGHT UT 直纹裁STRAIGHT PKET 直插袋STRAP 带条STRIPE ATHING 对条STRIPED (FABRI) 条子布STUFFING 填充物STYLE 款式SUITING 套装SEEP 下摆SISUIT 泳装TAB 袢扣TAFFETA 塔夫绸TAPE 带条TAPER BTT 萝卜裤脚TAPING 镶边TBA=T BE ADVISE 待复TERRY LTH 毛巾布TEXTURED YARN 光亮纱线THIGH 脾围THREAD LIPS 纱剪（剪线用）THREE PINTED ATHING FAING 三尖钮子THREEPINTED UFF 三尖介英THREE PINTED EXTENSIN 三尖裤头搭咀THREE PINTED PKT. ITH T URVED SIDES 两边微弯三尖袋THREE PINTS PKET 三尖袋TIPPING 镶边，唧边T BE ADVISE 待复TP LLAR 面领TP SLEEVE 大袖TP STITHING 间面线TP VENT 叉的面层TP VENT F SLEEVE 大侧TPS 上装TP-STITHING 间面线TP-STITHING ITH DUBLE NEEDLE 双针间面线TTAL PRIE 总价TEL 毛圈布TRIT 经向斜纹毛织布TRI FRNT EDGE 修剪前幅边缘TRI R SNIP ALNG URVED SEA 沿弯位修剪TRI THREAD 剪线TRIINGS 部件，衣服上的点缀物TRUSERS 裤子TURN UFF UT T THE RIGHT SIDE 反出鸡英正面TURNED FINISH 卷边TUXED 无尾燕尾服TEED 毛绒布TILL 斜纹布TIST LEG 扭脾扭脚UNDER PRESSING 中烫UNDER SLEEVE 小袖UNDER VENT/BTT VENT 叉的底层UNDERAR SEA 袖底骨UNDERLAP PLAKET 下层明筒，三尖折的小袖叉UNDEREAR 内衣UNEVEN DYING 染色不均匀UNEVEN HE 衫脚不平均UNEVEN PLAIDS 格仔不均匀UNIT PRIE 单价VELR 魔术贴VELVET 天鹅绒VELVETEEN 仿天鹅绒VENETIAN 缩绒呢VENT 叉（有叠位）VISSE RAYN 人造丝V-NEK V形领窝VGUE 流行的，风尚的AIST 腰围AIST TAG 腰卡AISTBAND 腰头AISTBAND IS EXTENSIN F BDY 原身裤头ALES 纵向线圈ARDRBE 某一季节那一类型的服装AREHUSE 仓库ARP / ENDS 经纱ARP KNITTED FABRI 经向针织布ARP-KNITTING 经编织物ASHING INITIAL LAD 头缸洗水ASHING INSTRUTIN 洗水指示ASHING STREAKS 洗水痕ATER REPELLENT 防水处理ATERPRF FABRI 防水布AVE STITHING 线步起波浪EB 网状物EFT / PIKS 纬纱EFT-KNITTING 纬编织物ELT PKET 西装袋，手巾袋LEN 粗纺羊毛RK TIKET 工票RKANSHIP 手工RSTED 精纺羊毛VEN LABEL 织唛RAPSEA 包缝RINKLES 起皱RNG TYPE SEA 错误的缝骨类型YARN 纱线ZIG-ZAG 人字ZIG-ZAG STITHES 人字线步ZIPPER FASTENER 拉链系结物其它常用词汇shrt in size 断码ut f seasn 过季的n sale 换季leftver stk 库存尾货BAGGY PATH PKE 立体贴袋HT ;H T EASURE;（IN GUIDELINE)flat knit 横机/R ATERPRF防水处理PX prielead tie 生产周期TARPULIN 防水布flat lk 虾须线FLEEE 抓毛布,磨毛布（针织）AFFLE 华夫格（针织布）eyelet buttnhle seing ahine 圆头锁眼机rib stp 若隐若现的格子RING SLUB FULLY STRETH RSS-FIRE DENI 双向竹节弹力牛仔ANTIQUE ASH / RETR FINISHING 怀旧洗/ 怀旧处理Rib 1*1 Eerized 1*1起绒罗纹indprf sleeve penning 防风袖口GBP Great Britain Pund 英镑easy are 免烫sequin 烫石RHIN STNE 烫石hand l 手织样，指生产大货前，需打一小块布样，确认颜色，格型，效果BEADING 钉珠irular kniting ahines 针织大圆机bxer 平脚裤/ 孖烟通PS 潘通色卡pressing lth 水布（熨烫服装时覆盖在上面的布）press lth f l 熨烫服装用的较厚的垫布tailr';s press bard 烫凳（熨烫服装用的工具）egg pad 铁凳（熨烫肩部等部位的工具）lapper 拱形烫木（烫后袖缝、摆缝等的工具）tailr';s he 布馒头braes skirt 吊带裙rll 疋，一疋布就是一卷布press buttn 急钮，也叫五抓钮ring press buttn 圈面的急钮ap press buttn 带帽的急钮strik-ff 印花打样, 是手刮样，用于针织印花面料打样中的称呼。
刘敏的论文
ContentsAbstract in English ---------------------------------------------------------------------------- 1 Abstract in Chinese -----------------------------------------------------------------------------Ⅰ. Introduction ---------------------------------------------------------------------- ----------3 Ⅱ. Pragmatic Equivalence in Trademarks Translation------------------------------3Ⅲ. Pragmatic Failure in Trademarks Translation---------------------------------------43.1Translation of Chinese pinyin3.2Literal-translation of Chinese charactersⅣ.Modifications and Treatment in Cultural Factors----------------------------------6Ⅴ.Conclusion-----------------------------------------------------------------------------------6 Bibliography-------------------------------------------------------------------------------------7Chinese-English Cultural Difference and TrademarksTranslation(08级外语系商英班刘敏 0801151)AbstractIn daily life, we are dealing with a wide variety of merchandises every day, and when we purchase or sale some goods, we are also inevitably exposed to all kinds of trademarks. Trademarks are playing an increasingly important role in today's commercialized society. As is known to us, Trademarks are widely used in today's commodity exchanges of social media as an application language. Trademark translation examines not only the ability of translator’s words processing, but also ranges over many subjects such as language, culture and many factors. In today's market-oriented economy era, trademarks can be seen everywhere. No country can shut out all foreign products, so naming for the imported goods becomes an international issue as the needs of the times. This paper discusses the cultural differences in trademark translation.Keywords:trademark translation cultural differences摘要日常生活中,我们每天都要与各种各样的商品打交道,在购买或销售商品的同时,我们也不可避免的接触到形形色色的商标,商标在当今的商品化社会中正扮演着愈来愈重要的角色。
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引用服装英语词典完全篇- 论文关键字：英语处理词汇服装生产布料针织成衣针织布平车引用一天到晚游泳的鱼的服装英语词典完全篇服装英语词典完全篇服装英语词典[新手必背]常用服装英语词汇颜色纱线面料针织布裁床车缝服装部位名词服装标准术语常用服装英语缩写服装专业名词国粤英语对照度尺部位词汇服装机械词汇常用包装物料和车缝物料常见的洗水方法各种样板（Saple，样办）服装品质控制（Q）词汇织疵（布疵）的英文表达针织基础知识纺织品与服装测试项目皮革帽子其它使用方法：按“trl+F”键打开查找对话框来查找你要找的单词。
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[新手必背]常用服装英语词汇——http://bbs.51fashin..n/，Jandy Zhu “J”SHAPED PKET J形袋24L BUTTN 24号钮6 FEED PIQUE 6模珠地AESSRY 辅料BAK ARSS 后背宽ARSS EASURE 横量ARYLI 腈纶ADHESIVE / FUSIBLE INTERLINING 粘衬ANTIQUE BRASS ATING 镀青古铜ANTISTATI FINISH 防静电处理APPAREL 成衣APPEALING LK 吸引人的外表APPRVAL SAPLE 批办APPRVED SAPLE ITH SIGNING NAE 签名批办ARHLE 夹圈ASSEBLING F FRNT ≈BAK PART 前后幅合并ASSEBLING SETIN 合并部分ATTAH LLAR 上领ATTAH LABEL 上商标ATTAHENT （车缝）附件BAK VER FRNT 后搭前BAK ID-ARHLE 后背宽BAK STITH 返针，回针BAKLESS DRESS 露背装BAR DED STIKER 条形码贴纸BARGAINING 讨价还价BAR-TAK 打枣BASTE 假缝BATILK 蜡染BEARER 袋衬BEARER ≈FAING 袋衬袋贴BEDFRD RD. 坑纹布，经条灯心绒BELL BTT 喇叭裤脚BELLS PKET 风琴袋BELT 腰带BELT-LP 裤耳BIAS UT 斜纹裁，纵纹裁BIFURATE 分叉BINDER 包边蝴蝶，滚边蝴蝶BINDING 包边BINDING F SLV. PENING R折BINDING F TP VENT 面叉包边BINDING TAPE 包边BINDING/BUND 滚条BLANKET 毛毯，地毯BLEAH 漂白BLEAH SPT 漂白污渍BLEEDING 洗水后褪色BLEND FIBRE 混纺纤维BLENDS 混纺BLIND STITH 挑脚线步BLUSE 女装衬衫BDY PRESSING 衫身熨烫BDY RISE 直浪BTT 衫脚，下摆BTT VENT F SLEEVE 细侧BTTS 下装BX-PLEATED 外工字褶BY';S STYLE FLY / LEFT FLY 男装钮牌，左钮牌BRAID 织锦，织带BRANH 分公司BREAK STITHES 断线BRIEFS 男装紧身内裤BRADE 织锦，织带BRKEN STITHING 断线BUBBLING 起泡BUKLE 皮带扣BUKLE-LP 皮带扣BULK PRDUTIN 大量生产BUNDLE DE 扎号BUNDLING 执扎BUTTN 钮扣BUTTN STAND 钮门搭位BUTTN-HLE 钮门/ 扣眼BUTTN-HLING 开钮门BUTTNING 钉钮BUTTNING ITH BUTTN SEER 用钉钮机钉钮/B VENT 后中叉ALI / GRAY LTHES 胚布ANVAS 马尾衬，帆布ARDBARD 纸板ARDED 粗疏ARE LABEL 洗水唛ARTNNING 装箱，入箱ASE PAK LABEL 外箱贴纸ASH PKET 表袋ASUAL EAR 便装ATHING FAING 钮子ENTER BAK 后中ENTER REASE FLD 中骨对折ENTER REASE LINE 中骨线ENTER FRNT 前中ERTIFIED SUB-NTRATR 认可加工厂HAIN STITH / 锁链车HAIN STITHES 锁链线步HAPRAY 皱布HEISE 宽松服装HEST/BUST 胸围HI 时髦的，流行的IRULAR KNIT 圆筒针织布LASSI LK 经典款式LASSIFIATIN 分类LEAN FINISH 还口LEAN FINISH F TP VENT 面叉还口LEAN FINISH ITH 1/4; SINGLE NEEDLE 1/4; 单针还口LSE FITTING 贴身LSE SIDE SEA 埋侧骨ATING 外套大衣IN PKET 表袋LLAR 领子LLAR BAND 下级领LLAR FALL 上级领LLAR NTH 领扼位LLAR PINT 领尖LLAR STAND 下级领LLAR STAY 领插竹LLETIN 系列LR SHADING 色差BED 精梳NSTRUTED SPEIFIATIN 结构细节NTINUUS PLAKET R折NTRL F LABR TURNVER 劳工流失控制RDURY 灯心绒ST SHEET 成本单TTN STRING 棉绳VERING STITHING 拉冚线步（600类）REASE ≈RINKLY RESISTANT FINISH 防皱处理REASE LINE 折线REPE DE-HINE 皱布RSS RTH 十字缝RSS UT 横纹裁RTH PINT 浪顶点TN. N. 箱号UFF 鸡英，介英UFF ATTAHING T SLEEVE 车鸡英到袖子上UFF VENT/UFF PENING 袖侧UFFED BTT HE 反脚，假反脚，脚级UFFLESS BTT 平脚URVED PKET 弯袋UT ≈SEN 切驳UTTING PIEE 裁片UTTING PIEE NUBERING 给裁片编号D.K. JAQUARD 双面提花（针织）DAAGE AUSED BY NEEDLE 针孔DERATIVE STITHING 装饰间线DELIVERY DATE 落货期DENIER 旦尼尔DENI 牛仔DENSITY 密度DESIGN SKETH 设计图DESIGNED FEATURE 设计特征DIENSIN 尺寸、尺码DINNER JAKET 晚礼服DIRT STAINS AFTER ASHING 洗水后有污迹DIRTY SPT 污点DISUNT / SALES FF 打折DBBY 织花布DUBLE UFF 双层鸡英DUBLE END 双经DUBLE JETTED PKET 双唇袋DUBLE NEEDLE FELL SEA 双针埋夹DUBLE PIK 双纬DUBLING 并线DRESS AT 礼服DRESSING R 试衣间DRILLING 钻孔位DRY-LEANED 干洗DUK 帆布DYING 染色EASING 容位EDGE STITHING 间边线EDGE TRIER 修边器EDGE-FINISHING 边脚处理EDGE-STITH DART 边线褶EDGE-STITHING / 1/16; 宽1/16;的边线ELASTI 橡筋ELASTI AISTBAND IS EXTENSIN F BDY 原身出橡筋裤头ELB IDTH 肘宽EBRIDERY PATH 绣花章EPAULET 肩章EVENING GN SET 晚睡袍EXELLENT STYLE 漂亮的款式EXESSIVE THREAD ENDS 多余的线头EXEUTIVE EAR 行政装EXPIRY DATE 有效期EXPRT ARTN 出口箱EXTENSIN F AISTBAND 裤头搭咀EYELET 凤眼FABRI 布料FABRI NSTRUTIN 布料结构FABRI DEFETS 布疵FABRI RUNS 走纱FABRI SHADING 布料色差FABRI SATH 布办FABRI IDTH 布封FABRIATIN / FABRI 布料FAING 贴FAING T UT-SIDE 折向侧骨FALSE FLY 暗钮牌FALSE PLAKET 假明筒，假反筒FASHIN 时装FELL SEA 埋夹FIGURE-LINGING 紧身的，贴身胸围FILAENT 长纤丝FINAL APPEARANE 最终外观FINISHED APPEARANE 完成后的外观FITTING 试身FLAEPRF FABRI 防火布FLANNEL 法兰绒FLARE SKIRT 喇叭裙FLAT AHINE 平车FLAT SEA 平缝FLAX 亚麻FL HART 流程图FLD AND PAK 折叠包装，折装FLD BAK FAING 原身出贴FLD BAK HIDDEN PLAKET 原身双层钮筒FLD FRNT EDGE 折前幅边FLD LINE 折线FLD PANTS 折裤子FLD PKET UTH 折反袋口FR AND FLD GARENT 定型折衫FRKS 礼服FRNT EDGE 前幅边FRNT ID-ARHLE 前胸宽FRNT PENING 前开口FRNT PANEL 前幅FULLY FASHIN SEATER 全成型毛衫FULLY PENING 全开口FUR 皮草FUR GARENT 裘皮服装FURRY 毛皮制品FUSE INTERLINING 粘衬FUSIBLE INTERLINING 粘朴FUZZ BALLS 起球GABARDINE 斜纹呢GARENT 成衣GARENT DYE 成衣染色GARENT FINISH 成衣后处理GARENT SEING TEHNLGY 成衣工艺GARENT ASH 成衣洗水，普洗GATHERING 碎褶GIRL';S STYLE FLY / RIGHT FLY 女装钮牌，右钮牌GLAED FINISH 压光加工GD TASTE 高品味GR. T.=GRSS EIGHT 毛重GRADING 放码GRAIN 布纹GRAY LTH 胚布GRET 凤眼GRN-N SLEEVE 原身出袖HALF PENING 半开口HANDBAG 手袋HANDFEEL 手感HANDLING 执手HANGDLING TIE 执手时间HANGER 衣架HEAVY FABRI 厚重面料HE 衫脚，下摆HE UFF 反脚HEING 卷边，还口HEING ITH FLDER 用拉筒卷边HEP 大麻HERRINGBNE TILL 人字斜纹布HEXAGNAL PKET 六角袋HIDDEN PLAKET 双层钮筒HIDDEN BARTAK 隐形枣HIGH-AISTED SKIRT 高腰裙HIP 坐围HIP PKET 后袋HD HEIGHT 帽高HRIZNTAL PLAID 水平格INRRET LINKING 错误的连接INITIAL SAPLE 原办，初办INNER EXTENSIN 搭咀内层IN-SEA 内骨INSPETIN 检查INSPIRATIN 灵感INTERLAING 交织INTERLINING 衬，朴INTERLINING FR FAING 贴粘衬INTERLK 双面布（针织）INVERTED PLEAT 内工字褶INVIE 发票IRN VERALL BDY 熨烫衫身IRN SPT 烫痕JAQUARD 提花JEANS 牛仔裤JERSEY 平纹单面针织布JIN RTH 埋小浪JUTE 黄麻KHAKI 卡其KNIT 针织KNITTED RIB LLAR 针织罗纹领KNTS 结头KNLEDGE F ATERIAL 材料学L/=LETTER F REDIT 信用证L/G=LETTER F GUARANTEE 担保证LABUR ST 劳工成本LAE 花边LASTE 双珠地LAPEL 襟贴LAUNDRY 干洗LAYUT 排唛，排料LEATHER 皮革LEFT VER RIGHT 左搭右LEGGINGS 开裆裤LEISURE STYLE 休闲款式LEISURE EAR 休闲服LEISURE EAR SH 休闲装展示会LIENSE 许可证LIGHT URVED PKET 微弯袋LINEN 亚麻LINING 里布LINKING ≈UP SEAING 缝盆LK STITH 平车线步LPED FABRI 毛圈布LPING 起耳仔（疵点）LSE BUTTN 钮扣松散LSED THREAD AUSING GRINNING 线太松导致起珠LUSTRUS 光泽AHINE AINTENANE 机械保养AGI TAPE 魔术贴AJR DEFET 大疵AN-ADE FIBRE 人造纤维ANUFATURER 制造商ARK BUTTNHLE ≈BUTTN PSITIN 标出钮门与钮扣的位置ARK PKET PSITIN ITH TEPLATE 用纸板点袋位ARKER 唛架ARKING ID-PINT F NEK 定领围中位ASS PRDUTIN 大批量生产ATH LR 配色ATERIAL 物料EASUREENT 尺寸ELTN 领底绒ILDRE RESISTANT FINISH 防霉处理ISSING PARTS 漏裁片TH RESISTANTFINISH 防虫处理NAIL-BUTTN 钉脚钮扣NATURAL FIBRE 天然纤维NEK ARSS/NEK IDTH 领宽NEK DRP 领深NEK SEA 颈圈NET T. 净重NN-FUSIBLE INTERLINING 非粘朴NN-VEN FABRI 非织布/ 无纺布NTH 扼位FF PRESSING 终烫IL STAIN 油污NE PIEE DUBLE FLDED BELT-LP 一片双折裤耳NE-PIEE DRESS 连衣裙PEN SEA 开骨PERATIN BREAK DN 分工序UT-SEA 外骨UT-SEA PKT. 侧骨袋VERALL 工作服VERALLS 吊带裤VERLAP 重叠VERLAPPING A FE STITHING 驳线VERLK ≈BLIND-STITH 折挑VERLK / 5 THREADS 五线锁边VERLK ITH 5 THREADS 五线锁边VERTIE RKING 加班工作PAKING LIST 包装单PAKING ETHD 包装方法PANEL KNITTING 针织裁片PASTEL 颜料PATH PKET 贴袋PATTERN 纸样PAYENT 付款PEAH PKET 杏形袋PIEE RATE 记件PIEED N PLAKET 面车明筒PIEED PLAKET 一片钮筒PILE FABRI 毛圈布PIPING 嵌边PIQUE 单珠地PLAKET 明筒PLAID ATHING 对格PLAIDS / HEKS 格仔布PLAIN EAVE 平纹梭织PLANTS LAYUT 厂房布置PLEAT ITH SINGLE NEEDLE 单针车褶PLEATS 活褶PKET BAG AUGHT IN BARTAK 袋布被枣打到（疵点）PKET VER 袋盖PKET REASING AHINE 烫袋机PKET FAING 袋贴PKET FLAP 袋盖PKET FLASHER 袋卡PKET UTH 袋口PKET PENING 袋口PKET-BAG （裁好的）袋布PKETING （成卷的）袋布PINT SHAPE BELT-LP 三尖裤耳PLYBAG 胶袋PSITIN LLAR 定领位PST-ASH HANDFEEL 洗水后手感PRESHRINKING 预缩PRESS ≈PENING SEA 烫开骨PRESS PEN 烫开骨PRESSING RK IN PRGRESS 烫半成品PRINT FABRI 印花布PRINTING 印花PREDURE 程序PRDUTIN SKETH 生产图PUKERING 沿缝线的皱褶QUALITY NTRL / Q 质量控制QUILTING 打缆，间棉RAGLAN SLEEVE 牛角袖RA EDGE 散口READY-T-EAR 成衣REGENERATED FIBRE 再生纤维RESIN FINISH 树脂处理REVERSE SIDE 反面RE-ASHING 返洗RIB 罗纹RIB TAPE 扁带条RIBBING 罗纹RIGHT SIDE F UNDER-UFF 下层鸡英的正面RINED 脱水RIVET 撞钉RUGH YARN 粗纱RUND RNERED UFF 圆角介英RUND RNERED EXTENSIN 圆形裤头搭咀RUND RNERED PKET 圆角袋RUG 地毯RULER SHAPED PKET 曲尺袋RUN FF STITHING 落坑线RUN-STITHING 运线S.K. JAQUARD 单面提花（针织）SAFARI-JAKET 猎装SATIN / SATEEN 色丁SEA 缝骨SEA ALLANE 止口，子口，缝头SEA BRKEN 缝骨爆裂SEA NSTRUTIN 缝型结构SEA PUKER 缝骨起皱SEA SLIPPAGE 散口SEA TIST 缝骨扭SELVEDGE / SELF-EDGE 布边SELVEGE 布边SERGE / VERLK 及骨，锁边SET IN SHULDER PAD 上肩垫SET IN SLEEVE 上袖，绱袖SE BUTTNHLE / BUTTNHLING 开钮门SE TGETHER BDIE AND ITS LINING 缝合衫身与里布，拼里SE ELT PKET 车唇袋SEING UFF 车鸡英SEING SEQUENE 车缝工序SEN SELF FABRI AISTBAND 原身出裤头SHELL FABRI 面料SHINY （烫）起镜SHIPPING ARTN 出口箱SHIPPING DATE 落货期SHIPPING ARKS 箱唛SHRTS 短裤SHULD PINT 肩点SHULDER 肩宽SHULDER PINT 肩点SHRINKAGE 缩水SHRINK-PRF 防缩SHRINK-RESISTANT 防缩处理SIDE ARK 侧唛SIDE PANEL 侧幅，小身SIDE SEA 侧骨SILHUETTE 轮廓SINGLE JETTED PKET 单唇袋SINGLE NEEDLE LKSTITH / 单针平车SIZE ASSRTENT 尺码分配SIZE SPEIFIATIN / SIZE SPE. 尺码表SIZING 上浆SKIPPED STITHES 跳线SLAKS 松身裤SLANT RNERED UFF 斜角介英SLANT PKET 斜插袋SLASHING PKET UTH 开袋口SLEEVE 衣袖SLEEVE LENGTH 袖长SLEEVE PENING 袖口SLI AIST LINE 修腰线SLIT 叉SNIP NTH 剪扼位SLID LR 单色SLID LR ≈SLID SIZE 单色单码SRTING 分床分码SPEIAL AHINE 特殊机器，特种车SPLTHES 污迹SPREADING 拉布SPUN YARN 纺纱SQUARED SHAPED PKET 方角袋STEA PRESSING STAND 蒸汽烫台STITH 线步STITH DN ITH PKT-BAG 车线连袋布STITH VERLAPPING 驳线STITH PER INH / S.P.I. 每英寸针数STITH TYPE 针步类型STITHING ≈TURNING LLAR UT 车线后反领STRAIGHT BTT 直筒裤脚STRAIGHT UT 直纹裁STRAIGHT PKET 直插袋STRAP 带条STRIPE ATHING 对条STRIPED (FABRI) 条子布STUFFING 填充物STYLE 款式SUITING 套装SEEP 下摆SISUIT 泳装TAB 袢扣TAFFETA 塔夫绸TAPE 带条TAPER BTT 萝卜裤脚TAPING 镶边TBA=T BE ADVISE 待复TERRY LTH 毛巾布TEXTURED YARN 光亮纱线THIGH 脾围THREAD LIPS 纱剪（剪线用）THREE PINTED ATHING FAING 三尖钮子THREEPINTED UFF 三尖介英THREE PINTED EXTENSIN 三尖裤头搭咀THREE PINTED PKT. ITH T URVED SIDES 两边微弯三尖袋THREE PINTS PKET 三尖袋TIPPING 镶边，唧边T BE ADVISE 待复TP LLAR 面领TP SLEEVE 大袖TP STITHING 间面线TP VENT 叉的面层TP VENT F SLEEVE 大侧TPS 上装TP-STITHING 间面线TP-STITHING ITH DUBLE NEEDLE 双针间面线TTAL PRIE 总价TEL 毛圈布TRIT 经向斜纹毛织布TRI FRNT EDGE 修剪前幅边缘TRI R SNIP ALNG URVED SEA 沿弯位修剪TRI THREAD 剪线TRIINGS 部件，衣服上的点缀物TRUSERS 裤子TURN UFF UT T THE RIGHT SIDE 反出鸡英正面TURNED FINISH 卷边TUXED 无尾燕尾服TEED 毛绒布TILL 斜纹布TIST LEG 扭脾扭脚UNDER PRESSING 中烫UNDER SLEEVE 小袖UNDER VENT/BTT VENT 叉的底层UNDERAR SEA 袖底骨UNDERLAP PLAKET 下层明筒，三尖折的小袖叉UNDEREAR 内衣UNEVEN DYING 染色不均匀UNEVEN HE 衫脚不平均UNEVEN PLAIDS 格仔不均匀UNIT PRIE 单价VELR 魔术贴VELVET 天鹅绒VELVETEEN 仿天鹅绒VENETIAN 缩绒呢VENT 叉（有叠位）VISSE RAYN 人造丝V-NEK V形领窝VGUE 流行的，风尚的AIST 腰围AIST TAG 腰卡AISTBAND 腰头AISTBAND IS EXTENSIN F BDY 原身裤头ALES 纵向线圈ARDRBE 某一季节那一类型的服装AREHUSE 仓库ARP / ENDS 经纱ARP KNITTED FABRI 经向针织布ARP-KNITTING 经编织物ASHING INITIAL LAD 头缸洗水ASHING INSTRUTIN 洗水指示ASHING STREAKS 洗水痕ATER REPELLENT 防水处理ATERPRF FABRI 防水布AVE STITHING 线步起波浪EB 网状物EFT / PIKS 纬纱EFT-KNITTING 纬编织物ELT PKET 西装袋，手巾袋LEN 粗纺羊毛RK TIKET 工票RKANSHIP 手工RSTED 精纺羊毛VEN LABEL 织唛RAPSEA 包缝RINKLES 起皱RNG TYPE SEA 错误的缝骨类型YARN 纱线ZIG-ZAG 人字ZIG-ZAG STITHES 人字线步ZIPPER FASTENER 拉链系结物其它常用词汇shrt in size 断码ut f seasn 过季的n sale 换季leftver stk 库存尾货BAGGY PATH PKE 立体贴袋HT ;H T EASURE;（IN GUIDELINE)flat knit 横机/R ATERPRF防水处理PX prielead tie 生产周期TARPULIN 防水布flat lk 虾须线FLEEE 抓毛布,磨毛布（针织）AFFLE 华夫格（针织布）eyelet buttnhle seing ahine 圆头锁眼机rib stp 若隐若现的格子RING SLUB FULLY STRETH RSS-FIRE DENI 双向竹节弹力牛仔ANTIQUE ASH / RETR FINISHING 怀旧洗/ 怀旧处理Rib 1*1 Eerized 1*1起绒罗纹indprf sleeve penning 防风袖口GBP Great Britain Pund 英镑easy are 免烫sequin 烫石RHIN STNE 烫石hand l 手织样，指生产大货前，需打一小块布样，确认颜色，格型，效果BEADING 钉珠irular kniting ahines 针织大圆机bxer 平脚裤/ 孖烟通PS 潘通色卡pressing lth 水布（熨烫服装时覆盖在上面的布）press lth f l 熨烫服装用的较厚的垫布tailr';s press bard 烫凳（熨烫服装用的工具）egg pad 铁凳（熨烫肩部等部位的工具）lapper 拱形烫木（烫后袖缝、摆缝等的工具）tailr';s he 布馒头braes skirt 吊带裙rll 疋，一疋布就是一卷布press buttn 急钮，也叫五抓钮ring press buttn 圈面的急钮ap press buttn 带帽的急钮strik-ff 印花打样, 是手刮样，用于针织印花面料打样中的称呼。