服装设计中英文对照外文翻译文献
服装设计创意外文翻译文献
服装设计创意外文翻译文献AbstractThe purpose of this research is to XXX in the process of clothing design。
It aims to analyze the XXX and the design process。
how to collect sources of n。
and XXX.Research methods: Currently。
many scholars have conducted empirical research on ready-to-wear clothing design。
field ns。
semi-structured interviews。
and constrained and semi-driven design tasks。
This empirical research method can be XXX insufficient。
XXX industry is needed。
such as the n industry。
not just empirical research on individual people or companies。
but as many cases as possible should be studied.Research results: XXX n for each source。
Recognize that these sources of n can help designers XXX。
XXX stage of the design process and in the early XXX.XXX: XXX.Keywords: XXX。
clothing。
creative thinking。
design arrangement。
design managementXXX design that includes visual and tactile senses。
中英文外文文献翻译中性化服装设计
本科毕业设计(论文)中英文对照翻译原文The study on the design of neuter clothingHouse WAbstractSocial and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from thebeginning of non-mainstream design till now has developed into one of the mainstream fashion design style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable.Key words: Neuter; Clothing; Gender roles; Design1 IntroductionThe beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable elements, such as dust coat with a neutral style, suits, t- shirts and jeans have become people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economicdevelopment, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results. Neuter clothing style has become the mainstream of one of the clothing style, can meet the demand of modern social personalized aesthetic. After more than a century of development, the neuter clothing style has represents a unique charm, is also one of the fashion trend in the future. This article through to the depth of the neutral clothing style formation and development, through to the neuter clothing design style and design characteristics of interpretation, through to the neuter clothing market development prospect of thinking, for the future research to neuter clothing style, to provide certain theoretical basis.2 Dress and gender consciousnessSex differentiation is one of nature's gifts. Not just the differentiation in humans; only humans, however, to make gender differentiation have cultural significance. Gender or sexual difference. For humans, the difference between men and women. Human gender is conceptually different from animal sex, because sex not only determined by the biological characteristics of human, human spirit and social nature of human gender has a psychological social attribute, therefore, the human gender including biological sex, psychological sex and gender. Humanbiological sex, men and women is the difference in the structure of the body, this is the most basic difference, is the basis of the psychological gender and gender on. Psychological sex refers to the men and women in such aspects as personality, temperament, emotional, and mental difference. Man’s social gender refers to people such as language, communication, symbols and education cultural factors constitute the judgment of the gender social standards. In human culture, clothing is the most directly reflect the culture of the gender consciousness form. Different dress of men and women is not only a feature of modern society, is also a historical phenomenon of very long. Costume history shows that as far back as 2800 BC Sue beauty, clothing on gender differences and gives a different form. In 2000 published by the American psychological association and the university of Oxford encyclopedia of psychology cited for gender roles defined by Carroll: gender roles is decided by the certain culture is suitable for male and female behavior system, also including those men and women is seen as a form of basic attitude and emotion. Gender roles (sex role), as by the society with a gender (male or female) consistent patterns of behavior. Men or women in such aspects as behavior, expression, tone of voice, clothing has its own characteristics, they play a different in the society. Role and the division of labor are often seen as god's truth. Women with men's or women's men's wear, is one of the female role in sex rebelled, Simon child is called "men against" "she doesn't wantto give up the right, but she also don't want to be deprived of the status of women, she chooses to participate in the world of men, even the most of it.” Women’s men's w ear, with this "compromise" between active personality and sex role, and amounted to "a state of psychological balance”. Women’s men's wear phenomenon is accepted by society. It embodies the value of men with the male sex of praise, in the interests of the patriarchal society. The progress of the society makes the history of sexual personality and gender values vary in modern society, gender personality value has been changed, more equal gender personality value. Social reality inevitably affects people's dress code and aesthetic standards, amphitricha dress to freedom, but both sexes mode still exists. Aesthetic standard mutates, the majesty of male charm is not absolute, but rather masculine in miscellaneous in some women's gentle but reflect in the women's gentle feeling. Contemporary clothing reflects the characteristics that: men from wide fat to fit, in the male style into the fiber characteristics of beauty; Fiber the dress also stressed that the dynamics/embodies the moderate male style. 3 The neuter clothing design styleIn the field of clothing, style refers to the uniqueness and difference of clothes or accessories. Neuter clothing style is characterized by: clothing modeling may be, form and refined; No obvious gender tendency, clothing decoration element and simplified properly; Clothing main tone to neutral color or no color; Fabrics are used more comfortable, good plasticitymaterial. Neutral style is not because of gender fuzzy and obliterates the personality characteristics, on the contrary, the appropriate to reflect neutral dress in rich individual character characteristic. This feature is composed of a state of uncertainty intertwined, and sometimes masculine, gently lyrical, and occasionally showed comprehensive lasting appeal. Therefore neutral style has become popular, clothing lies in the grasp of the gender neutral style, one is the trend of the outside of the gender neutral, namely the excavation of the common elements; It is sex in contrast, namely to find the opposite sex element. 3.1 Style restoring ancient ways Restoring ancient ways is to reminisce about the good things and miss, restoring ancient ways is not intact copy of the once popular element and clothing styles, but the designers through the change of The Times, to those who once popular element to a new style and show the world that once again the fashionable tide. Celine is neutral with representatives of the famous brand, Paris fashion week 2012 spring and summer, Celina shows the spirit of going to go through with restoring ancient ways. Deliberately do big coat sleeves, make women more free and easy handsome taste between walking. Dolce & Gabbana 2012 autumn/winter collection or elegant handsome or mature sexy Sicily noble men will bring us back in the 1910 s of 20th century. Everywhere the keys of the gold embroidery make integral style, delicate and costly, adding to the noble sentiment and drama. 3.2 Style of deconstructionIn today's modern high-speed development, the social environment and cultural background is becoming more and more inclusive and diverse, the traditional concept of men and women dress habits is undergoing great changes. Men's women wear, ladies' man, costume design concept and cut constantly innovation _.Deconstruction fashion style advocated jumping, fracture, split, combination of elements and collage, make the clothes appears cloud thickens, secrecy and rich connotation, very accord with neuter clothing aesthetic style.2012 Madison Martin Margie couture show of spring and summer, in a similar wardrobe of clothes as the prototype, her boyfriend will wear again after its deconstruction on women's bodies. Use has a strong sense of a chip cloak, deconstruction of stiff leather clamp, suit jacket with the sleeves cut off, and before the split leather skirt to deduce female neuter features of hale and hearty. 3.3 Luxurious style Future there will be two big trends: fashion is all the way toward simplicity. Another way is too costly. With the improvement of social economic level, more attention paid to the clothing brand value, high-grade fashion like Dior, Burberry has far exceeded the consumption level of the general public, but because they lead the fashion, and high-end, limited release materials, and got some pursuit of quality of life of consumers. Costly style from classical aristocratic luxury, luxury and popular culture and bold, passionate and enthusiastic, which creates a flashing and vulgar, bold and unrestrained, and elegant, gorgeous between infinite charm,luxurious, sex appeal and fashion. Brightly colored bright, bold lines, modeling is fashionable, rich move feeling, is the unique aesthetic art in strong pioneer characterization, is full of imagination and ornate than in reality. Milan fashion week of 2012 autumn winters, Gucci 2012 will take us back to the 19th century, realize the Diablo, ornate classical lady feel. 4Analysis of characteristics of neutralization costume design 4.1 CharacteristicsColor is the key to decide things style, each color from cold to warm, from soft to the strong can show different personality. Color than modeling, fabrics and other factors, said not to occupy a more dominant position, but he is the most direct to sensory stimuli. Clothing aesthetic value is by clothing color, shape and material of the three complement each other, perfectly together and show up. Such as: use more avant-garde style bold and bright, high contrast color. Classical dress style is to adopt the elegant, color coordinated color. Postmodern style emphasizes colorful, exotic style of national wind and by combining a variety of elements as the main characteristics.4.2The characteristicsClothing modeling can be divided into two parts, inside outside modeling and modeling, the equivalent of "style”. Refers to the structure of the clothing modeling design, it include the structure line, collar,sleeves, etc. The structure of the clothing line refers to reflect each splice site in the clothing, constitute a line of garments' integral form, including the provincial highway, pleat, line, decorative thread, etc. No matter and simplified structure line can be summarized as straight line, arc, and three kinds of curve. Light line spell able, curve, straight line and curve coordinate each other, constitutes a pleasant visual aesthetic feeling. Line structure can sometimes create illusion, the designer can use it as fault rule design, make the wearer's body appear better than true state. Abandon the adornment of heavy and complicated, return to simplicity, neutral clothing with modest attitude in the eyes of the world. Sex is no longer a designer to consider the primary factor, the design of the neutral clothing trying to weaken the differences of men and women in the physiological and physical structure, the profiles of the neutral clothing model presents the convergence between men and women style, contracted modeling nonsexual neutral clothing became one of the fashion design.4.3The fabric characteristicsClothing design is not just on the canvas or drawings show the effect of clothing, but through a variety of fabric, through the fabric structure, fabric texture, fabric color feeling, fabric thickness form to reflect design modeling design. Someone put clothing design as the material of the sculpture, the appearance of clothing is used to reflect the fabric, can produce heavy lines with thick cloth, frivolous fabrics can reveal the lineof light again, pretty hard or soft cloth of contour line and each are not identical. With the gradual improvement of the quality of people's life, modern clothing is more and more pay attention to the principle of comfortable, beautiful, practical, advocate natural, and pay attention to environmental protection. The development of science and technology also have greatly enriched the fabric market, designers can use a variety of texture of fabric, to enrich the design of the neutral clothing, in order to achieve the effect of pursuit. Using different appearance of the fabric to people's psychological feeling is not the same? 文献出处:House W. The study on the design of neuter clothing [J]. Stellenbosch Papers in Linguistics Plus,2016,4(7): 65-75.译文中性化服装设计研究House W摘要社会经济的发展、社会思想的开放和科学技术的进步,男女着装风格呈现出了多元化的格局,中性化这种模糊男女性别差异的着装风格,从一开始的非主流设计到现在已经发展为主流的服装设计风格之一。
服装设计外文翻译文献
服装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文:Trend predictionTrend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.Spirituality is seen in the interest of such things as ‘Feng Shui’which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence fromfashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.The design team determines how this intelligence affects fashion and consumer awareness.Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.ColourColour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.The fashion prediction design processOne publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.After the designs are completed they are illustrated with reference to particular markets and ‘lifestyle s’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.Samples of knitwear and new textiles may be commissioned which will be photographed for the books.Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.Theme developmentFashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.These can be interpreted into customers buying from:Lower market –budget; lower middle –high street, chain stores; middle –independent labels and department stores; upper middle – designer diffusion; upper –designer.Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.New uses of technology have resulted in the development of the Worth GlobalStyle Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.译文:流行趋势预测流行趋势预测信息所包含的内容要比时装预测丰富得多,原因是其不一定与时装有关。
服装设计褶皱外文文献翻译最新译文
服装设计褶皱外文文献翻译最新译文The objective of this study is to develop a quantitative method for evaluating the pleat effect on clothing。
as opposed to relying solely on subjective ns。
By analyzing image technology principles。
an image n system was designed to capture images of clothing。
These images were then processed using specialized are to analyze the drape of the clothing。
The study focused specifically on the pleats in the sleeve n of the garment。
analyzing the gray scale curve of the sleeve image and the corresponding nship een the gamma curve and the pleat。
The aim of this research is to provide a more objective n index for garment structural design and pleating effects.Clothing structure design involves a series of processes thatare used to render clothing through cutting。
fabric pleating。
and joining together。
The goal is to accurately capture the desired design effect by determining the structure's plane state through the use of design renderings。
中英文外文文献翻译中性化服装设计
本科毕业设计(论文)中英文对照翻译原文The study on the design of neuter clothingHouse WAbstractSocial and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from thebeginning of non-mainstream design till now has developed into one of the mainstream fashion design style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable.Key words: Neuter; Clothing; Gender roles; Design1 IntroductionThe beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable elements, such as dust coat with a neutral style, suits, t- shirts and jeans have become people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economicdevelopment, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results. Neuter clothing style has become the mainstream of one of the clothing style, can meet the demand of modern social personalized aesthetic. After more than a century of development, the neuter clothing style has represents a unique charm, is also one of the fashion trend in the future. This article through to the depth of the neutral clothing style formation and development, through to the neuter clothing design style and design characteristics of interpretation, through to the neuter clothing market development prospect of thinking, for the future research to neuter clothing style, to provide certain theoretical basis.2 Dress and gender consciousnessSex differentiation is one of nature's gifts. Not just the differentiation in humans; only humans, however, to make gender differentiation have cultural significance. Gender or sexual difference. For humans, the difference between men and women. Human gender is conceptually different from animal sex, because sex not only determined by the biological characteristics of human, human spirit and social nature of human gender has a psychological social attribute, therefore, the human gender including biological sex, psychological sex and gender. Humanbiological sex, men and women is the difference in the structure of the body, this is the most basic difference, is the basis of the psychological gender and gender on. Psychological sex refers to the men and women in such aspects as personality, temperament, emotional, and mental difference. Man’s social gender refers to people such as language, communication, symbols and education cultural factors constitute the judgment of the gender social standards. In human culture, clothing is the most directly reflect the culture of the gender consciousness form. Different dress of men and women is not only a feature of modern society, is also a historical phenomenon of very long. Costume history shows that as far back as 2800 BC Sue beauty, clothing on gender differences and gives a different form. In 2000 published by the American psychological association and the university of Oxford encyclopedia of psychology cited for gender roles defined by Carroll: gender roles is decided by the certain culture is suitable for male and female behavior system, also including those men and women is seen as a form of basic attitude and emotion. Gender roles (sex role), as by the society with a gender (male or female) consistent patterns of behavior. Men or women in such aspects as behavior, expression, tone of voice, clothing has its own characteristics, they play a different in the society. Role and the division of labor are often seen as god's truth. Women with men's or women's men's wear, is one of the female role in sex rebelled, Simon child is called "men against" "she doesn't wantto give up the right, but she also don't want to be deprived of the status of women, she chooses to participate in the world of men, even the most of it.” Women’s men's w ear, with this "compromise" between active personality and sex role, and amounted to "a state of psychological balance”. Women’s men's wear phenomenon is accepted by society. It embodies the value of men with the male sex of praise, in the interests of the patriarchal society. The progress of the society makes the history of sexual personality and gender values vary in modern society, gender personality value has been changed, more equal gender personality value. Social reality inevitably affects people's dress code and aesthetic standards, amphitricha dress to freedom, but both sexes mode still exists. Aesthetic standard mutates, the majesty of male charm is not absolute, but rather masculine in miscellaneous in some women's gentle but reflect in the women's gentle feeling. Contemporary clothing reflects the characteristics that: men from wide fat to fit, in the male style into the fiber characteristics of beauty; Fiber the dress also stressed that the dynamics/embodies the moderate male style. 3 The neuter clothing design styleIn the field of clothing, style refers to the uniqueness and difference of clothes or accessories. Neuter clothing style is characterized by: clothing modeling may be, form and refined; No obvious gender tendency, clothing decoration element and simplified properly; Clothing main tone to neutral color or no color; Fabrics are used more comfortable, good plasticitymaterial. Neutral style is not because of gender fuzzy and obliterates the personality characteristics, on the contrary, the appropriate to reflect neutral dress in rich individual character characteristic. This feature is composed of a state of uncertainty intertwined, and sometimes masculine, gently lyrical, and occasionally showed comprehensive lasting appeal. Therefore neutral style has become popular, clothing lies in the grasp of the gender neutral style, one is the trend of the outside of the gender neutral, namely the excavation of the common elements; It is sex in contrast, namely to find the opposite sex element. 3.1 Style restoring ancient ways Restoring ancient ways is to reminisce about the good things and miss, restoring ancient ways is not intact copy of the once popular element and clothing styles, but the designers through the change of The Times, to those who once popular element to a new style and show the world that once again the fashionable tide. Celine is neutral with representatives of the famous brand, Paris fashion week 2012 spring and summer, Celina shows the spirit of going to go through with restoring ancient ways. Deliberately do big coat sleeves, make women more free and easy handsome taste between walking. Dolce & Gabbana 2012 autumn/winter collection or elegant handsome or mature sexy Sicily noble men will bring us back in the 1910 s of 20th century. Everywhere the keys of the gold embroidery make integral style, delicate and costly, adding to the noble sentiment and drama. 3.2 Style of deconstructionIn today's modern high-speed development, the social environment and cultural background is becoming more and more inclusive and diverse, the traditional concept of men and women dress habits is undergoing great changes. Men's women wear, ladies' man, costume design concept and cut constantly innovation _.Deconstruction fashion style advocated jumping, fracture, split, combination of elements and collage, make the clothes appears cloud thickens, secrecy and rich connotation, very accord with neuter clothing aesthetic style.2012 Madison Martin Margie couture show of spring and summer, in a similar wardrobe of clothes as the prototype, her boyfriend will wear again after its deconstruction on women's bodies. Use has a strong sense of a chip cloak, deconstruction of stiff leather clamp, suit jacket with the sleeves cut off, and before the split leather skirt to deduce female neuter features of hale and hearty. 3.3 Luxurious style Future there will be two big trends: fashion is all the way toward simplicity. Another way is too costly. With the improvement of social economic level, more attention paid to the clothing brand value, high-grade fashion like Dior, Burberry has far exceeded the consumption level of the general public, but because they lead the fashion, and high-end, limited release materials, and got some pursuit of quality of life of consumers. Costly style from classical aristocratic luxury, luxury and popular culture and bold, passionate and enthusiastic, which creates a flashing and vulgar, bold and unrestrained, and elegant, gorgeous between infinite charm,luxurious, sex appeal and fashion. Brightly colored bright, bold lines, modeling is fashionable, rich move feeling, is the unique aesthetic art in strong pioneer characterization, is full of imagination and ornate than in reality. Milan fashion week of 2012 autumn winters, Gucci 2012 will take us back to the 19th century, realize the Diablo, ornate classical lady feel. 4Analysis of characteristics of neutralization costume design 4.1 CharacteristicsColor is the key to decide things style, each color from cold to warm, from soft to the strong can show different personality. Color than modeling, fabrics and other factors, said not to occupy a more dominant position, but he is the most direct to sensory stimuli. Clothing aesthetic value is by clothing color, shape and material of the three complement each other, perfectly together and show up. Such as: use more avant-garde style bold and bright, high contrast color. Classical dress style is to adopt the elegant, color coordinated color. Postmodern style emphasizes colorful, exotic style of national wind and by combining a variety of elements as the main characteristics.4.2The characteristicsClothing modeling can be divided into two parts, inside outside modeling and modeling, the equivalent of "style”. Refers to the structure of the clothing modeling design, it include the structure line, collar,sleeves, etc. The structure of the clothing line refers to reflect each splice site in the clothing, constitute a line of garments' integral form, including the provincial highway, pleat, line, decorative thread, etc. No matter and simplified structure line can be summarized as straight line, arc, and three kinds of curve. Light line spell able, curve, straight line and curve coordinate each other, constitutes a pleasant visual aesthetic feeling. Line structure can sometimes create illusion, the designer can use it as fault rule design, make the wearer's body appear better than true state. Abandon the adornment of heavy and complicated, return to simplicity, neutral clothing with modest attitude in the eyes of the world. Sex is no longer a designer to consider the primary factor, the design of the neutral clothing trying to weaken the differences of men and women in the physiological and physical structure, the profiles of the neutral clothing model presents the convergence between men and women style, contracted modeling nonsexual neutral clothing became one of the fashion design.4.3The fabric characteristicsClothing design is not just on the canvas or drawings show the effect of clothing, but through a variety of fabric, through the fabric structure, fabric texture, fabric color feeling, fabric thickness form to reflect design modeling design. Someone put clothing design as the material of the sculpture, the appearance of clothing is used to reflect the fabric, can produce heavy lines with thick cloth, frivolous fabrics can reveal the lineof light again, pretty hard or soft cloth of contour line and each are not identical. With the gradual improvement of the quality of people's life, modern clothing is more and more pay attention to the principle of comfortable, beautiful, practical, advocate natural, and pay attention to environmental protection. The development of science and technology also have greatly enriched the fabric market, designers can use a variety of texture of fabric, to enrich the design of the neutral clothing, in order to achieve the effect of pursuit. Using different appearance of the fabric to people's psychological feeling is not the same? 文献出处:House W. The study on the design of neuter clothing [J]. Stellenbosch Papers in Linguistics Plus,2016,4(7): 65-75.译文中性化服装设计研究House W摘要社会经济的发展、社会思想的开放和科学技术的进步,男女着装风格呈现出了多元化的格局,中性化这种模糊男女性别差异的着装风格,从一开始的非主流设计到现在已经发展为主流的服装设计风格之一。
服装工艺设计中英文对照表
服装工艺设计中英文对照表服装中英文对照表请注意生产如下、Pls pay attention for production as below 抽查、MEIYUE inspected夹圈捆条扭皱不均、puckering and twisting at armhole piping /缝骨线阔窄、uneven topstitch on seam缝骨打褶、pleated on seam夹圈起皱、fullness at sleeve armhole insertion缝骨起皱、seam puckering前幅front 后幅back 面料fabric 里料lining后筒位不直,谷皱不平服、back slit not straight,crooking筒脚位长短、襟边有长短、uneven placket length后领筒位高低咀、hi low back slit襟边左右长短,襟脚圆角位不圆顺unbalance lapel length, lapel corner not smooth 前后幅脚边不平行、front and back bottom not leveling装领前领窝缩皱/领咀不圆顺凸咀puckering at front neck seam, neckband end not align neck seam下级领脚扭皱不平服、puckering at collar band领圈位皱不平服、Collar a wrinkle is not flat领型样子不均匀、collar shape is not pressing领尖左右长短不对称、asymmetrical collar point领尖角爆止口、领尖角歪咀、broken seam at collar point, slanted collar领贴不均、领圈不圆顺、fullness at collar placket, poor neck shaped, poor collar setting (not smooth)装介英凸咀、底贴反吐、poor cuff setting (pointed out at seam), expose under layer at cuff装后中拉链起(波浪)衫身偏紧、拉链尾转角位起皱poor zipper setting on back body (wavy), too tight for wearing, puckering at zipper end领边捆条扭皱不均、neck piping twisted, torque on neck piping装腰头裤身位缩皱、裤头咀位高低、puckering under waist seam, hi-low waistband 装腰头裾身位缩皱、裾头咀位高低、puckering under waist seam, hi-low waistband 左右侧骨长短(+ -)1/2寸、uneven inseam / outseam length (+-) 1/2"内长有长短、uneven length on inseam车脚线阔窄、top stitches uneven width on bottom脚间线落坑、run off stitches on bottom脚间线阔窄、uneven top stitch at bottom长短脚、panel length uneven of bottom脚位凹凸不平、ugly hemming at bottom (at curve side)内浪骨位皱、脚口不平直没烫好、puckering at rise seam, poor pressing at bottom (not leveling) 脚叉长短、uneven bottom slit length前筒起皱、puckering on front placket脚围细3/4寸至1寸\Bottom width -3/4" to -1"腰围细3/4” waist is s mall by 3脚口不直(顺)hem uneven/bottom uneven高低脚、hem not leveled断线、broken stitches烫工不佳起镱痕(烫过火)pressing shine , (over pressing / hard pressing)布疵、色纱、走纱、破洞、fabric fault , color yarn, run off yarn,broken hole 骨位间线驳线重线不佳、poor repairing stitches on double stitching面料有褶皱痕须烫好、crease line / folding line must improve by pressing腰驳幅位缩皱、puckering at waist panel seam腰缝起皱,wrinkles at waistband facing腰贴扭皱不平服,waistband is not laying smoothly with drag lines骨位间线扭皱没烫好、puckering on seam (poor pressing)上术问题请及时改善,否则会影响出货、Pls revise these problems /as above,or can shipout跳线、skipped stitches线头、thread end飞毛欠干净、fly yarn not cleanliness skate spade进度表 progress chart.打褶、pleated sewing衫身起皱、 winkle in body祥见尺寸表、see table size筒脚张开、placket bottom spread open驳线不良、bad joined stitches间线不良、improper top stitching筒边钮门位不顺直、button placket edge长短筒、uneven length of placket面布车得太贴拉链难拉、fabric too closed to zipper 、拉链起波浪、zipper wavy拉链谷皱、zipper crock领、collar \领面松,wrinkles at top collar \领面紧top collar appears tight \领面起泡,crumples atop collar领不平衡(平服)unbalance collar领不对称、asymmetric colla歪领、uneven collar上领凸咀、nose on collar setting烂领尖、burst collar point领窝起皱two much ease on bogy after collar setting 领面凹凸不平、 tented collar领歪斜欠圆顺、poorly shaped ot round neck领罗纹起波浪、rid neck puckering左右领宽不一致、uneven roll左右领圈不一致、uneven collar point底领里起皱、wrinkles at collar band facing底领外露,collar band lean out of collar左右前领咀形状不一样、uneren lipel shapes前领口常溶位太多、too much easing at c.f neckline领脚扭皱不平服、collar band is twisting后领中太紧、collar too tight at cb领及前领不平顺、fullness at front collar and lapel领装的不服帖不平顺、neckline is not smooth后领圈有高低、high & low back neckV咀不正中、notch v off center前门领边不直、edgr of front opening is crooked 或front opening not straight 前门领贴在下摆处外露、front facing exposed at bottom hem前门领贴短于大身、front opening facing is shorter than body 领圈拉松、neck was stretched突咀、excess extension袖和夹圈、sleeve &armhole下级领咀爆止口、collar stand end seam broken左右夹圈有溶位不平服、puckering at left/right armhole袖夹欠圆顺、poorly shaped of round armhole衣袖走后、sleeve running to back衣袖走前、sleeve running to front前袖骨拉松、too loose at front sleeve seam后袖骨过紧\too tight back sleeve seam介英(克夫)装的不好poor cuff setting /省尖起泡,crumples at dart point底缝骨拉松、underarm seam was stretched /小肩起皱,puckers at shoulders袖孔不顺、armhole setting not smooth /袖隆起皱、creases at underarm袖顶缩拱不均有、ease on sleeve cap is uneven上袖打褶皱、pleated seam on sleeve前后幅(片)front / back谷钮筒、 placket bubbling吊里、hiking at back lining too short前中拉链溶位太多、curve at cf zip (too much fullness at cf zip) 前中拉链无溶位(引起拱起不平服)curve at cf zipper because of no easing of zipper 拉链牙与边距太贴,导致拉链拉合困难tight clearance bctween the slider and the seam edge causing slider to operat e with difficulty坏拉链non functioned zipper漏拉链头、missing zipper puller拉链不能拉、zipper not movable后幅吊起、hiking at black /前幅吊起、hiking at front里布太大、lining too big里布太短、lining too short里布小、lining too small里布太长、lining too long前后幅布纹不对称、crain lines are not match at & back panel 左右前长不一致、front length uneven袋pocket上下袋唇不均、pocket welt is uneven左右袋子装得高低不一致、both pocket set uneven装袋不平服、不够方正、pocket not smooth/squared贴袋圆角位不圆顺、pocket corner not smooth and round高低袋、high-low pocket袋位左右高低、hi-low pocket袋盖不居中、pocket flap not centered oven pocket左右口袋形状不一致、both pocket shapes art uneven袋口有毛口、pocket opening is fray /口袋变形、pocket shape distorted包边(捆边)binding断线、broken stitches跳线、skip stitches捆边扭曲不平顺、piping is twisting and not smooth捆边不均匀、piping is uneven缩褶、pleats后腰缩褶碎不均、uneven shriving at back waist seam克重、weight面料、抽纱fabric draw yarn走纱、yarn run断线、broken stitches布疵、fabric defects色纱、color yarn粗纱、thick yarn抽纱、draw yarn破洞、broken hole断纱、broken yarn起泡、bubbling色差、color shading退色、color fading散口、raw edge污渍、dirt mark油渍 oil stain,粉渍、chalk mark 粉笔痕在钮位、chalk mark at button hole 打枪痕、cleaning marks贴纸痕、sticker marks缝线外露、thread visible outside \前筒起蛇(皱)wavy atpacket杂色纤维织入、color fiber woven褶痕、crease mark 起皱、buckle面料褶皱痕未烫好、fabric puckering not leveling 衫身有明显的折痕、visible pleated marks at body 布料有死痕、permanent crease in the fabric成品外观有疵点、fabric flaws on outside garments 长短袖、uneven length of sleeve /长短袖叉、uneven sleeve placket针步密度不均、uneven stitching density不均匀、uneven太细不平均、uneven size浪底十字骨错位、unmatched crotch cross钉珠、breading深浅色、uneven color扭脾、twist leg线头、uncut thread ends反光(止口反吐)、under ply turn out止口反骨、seam overturn车缝线落坑、run off stitches \前襟止口反吐、facing leans out from front edge毛粒、blub 、(上装、)领子、collar 肩、shoulder 袖子、sleeve 袖口、cuff 后背约克,开叉Back yoke vent胸袋、侧袋、selvage pocket、side pocket拉链、隐形拉链、前身、侧缝、下摆。
服装设计外文文献翻译
文献出处:Sukumar N, Gnanavel P, Ananthakrishnan T. Effect of Seams on Drape of Fabrics [J]. African Research Review, 2009, 3(3):62-72.原文Effect of Seams on Drape of FabricsSukumar ;Gnanavel. P. , Ananthakrishnan, T.AbstractDrape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyze the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.Key words: drape, computer aided design, seam, stitch densityIntroductionDrape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 2005). The mechanical properties of fabrics were first studied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al.(1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is unrealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit acomplex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle, 1993).A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothing industries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ring of fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the m ain parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 2005). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.Types of SeamThe types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cm square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.(1) Plain Seam (S1)This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.(2) Welt Seam (S2)For constructing this, we should stitch the plan seam and press both seam allowances to one si de. Then the inside seam allowance is trimmed to ”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.(3) French seam (S3)The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished width is” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabr ic. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made” from the fold.ConclusionA study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drapeprofiles.译文接缝对面料褶皱效果的影响库马尔;甘拉维尔;安娜斯克里斯兰摘要褶皱是服装面料的一个内在特性,这使得它能够优雅地挂在服装面料的表面,特别是当面料的有些区域需要用到褶皱的时候。
服装设计外文翻译
文献出处:Nkrumah E. The Effect of Garment Fit and Zipper Application on The Performance of Zipper on The Ghanaian Market [J]. African Journal of Applied Research (AJAR), 2015, 1(1).原文THE EFFECT OF GARMENT FIT AND ZIPPER APPLICATION ON THE PERFORMANCE OF ZIPPER ON THE GHANAIAN MARKETNkrumah, E.ABSTRACTZippers are one of the commonly used fasteners in the clothing industry in Ghana because zipper costs relatively less and are easier to fasten than other fasteners. However, it is perceived that most zippers on the Ghanaian market do not function effectively as they should due to incorrect practices in dressmaking. The aim of the study was to examine the factors in garment construction that affect the performance of zippers. The objectives are to identify the effect of garment fit on zipper performance and to determine the effect of zipper application method on zipper performance. The research design used was cross-sectional survey and the simple random sampling technique was used to sample 325 tailors, dressmakers and fashion students from the Cape Coast Metropolis for their views on the performance of zippers on the Ghanaian market. The main findings of the study were that Close fitted garments and the concealed zipper application method all affected zipper performance negatively. The study therefore recommended that dressmakers should upgrade their skills on appropriate garment fit and correct zipper application to reduce zipper failure.Keywords: Zipper; Fastener; Performance; Garment; GhanaINTRODUCTIONZippers are one of the commonly used fasteners in the clothing industry worldwide. Gaddis (2011) argued that zippers were the first machines that people learnt to master in their childhood and have remained the most common mechanismsof daily lives. It may in fact be just a little startling to think of zippers as machines, but surely that is what they are; carefully fitted pieces of metal and plastic that must move in close coordination. When this coordination fails, the garment may be unusable until the zipper is repaired or replaced.AimThe aim of the study was to examine the effect garment fit and zipper application method on the performance of zippers on the Ghanaian market.ObjectivesThe specific objectives are to:1. Identify the effect of garment fit on zipper performance.2. Determine the effect of zipper application method on zipper performance. Research Questions1 How does the fit of garments affect zipper performance as perceived by the users of zippers?2 What are the views of the users of zippers on the effect of zipper application on zipper performance?LITERATURE REVIEWAccording to Jyler (2008), zippers are the principal items used in clothing that are partly textile in nature and partly non-textile, hard material. They provide a neat strong fastening in garments, and can be functional or decorative or both. They provide two edges that will mesh together and resist pulling apart when stressed on a tape support that can be sewn into the garment (White, 2009). Frings (2002) also added that, zipper are fastening devices consisting of parallel rows of metal, plastic, or nylon teeth on adjacent edges of an opening that are interlocked by a sliding tab. Thomas (2009) also indicated that, the zipper can also be used in divers ways for decorating clothes. The zipper is a recent addition to the family of sewn in closures, but it has pretty much taken over as the universal closure since its introduction.According to Jyler (2008), zipper can vary in the materials of the tape, the form and materials of the meshing sections, and in the overall construction and function of the zipper. The latter affects predominantly their methods of attachment to garments.However, Stone (2004) added that all these zippers are produced to different specifications and their selection should be based on higher quality specification.Different authors classify zipper differently, these classification vary according to zipper properties such as: form, material and purpose. Buchanan and Mayer (2002), and Jyler (2008) all classified zippers according to their form. Buchanan and Mayer classified zippers into two main groups which are: chain zipper (medium weight zippers with metal or plastic teeth) coil zipper (synthetic coils of polyester or nylon attached to a woven type) useful for fine fabrics. Jyler again indicated that the major types of zipper are: individual metal teeth, spiral coil, plastic molded teeth, and invisible zippers. These two classifications were based on the nature of meshing sections of the zippers.Zipper ApplicationZipper application is the process of attaching zippers on a garment. This process can sometimes prove a bit difficult for beginners but they are really easy if the correct procedures are followed, and the zipper or cording foot is used on the machine (Diamond & Diamond, 2007). Inserting a zipper without this attachment may break the machine needle, perhaps damage the machine, and it’s doubtful that the zipper will look trim once it’s in the garment and may cause permanent damage to the z ipper. There are various zipper applications depending on the placement of the zipper in the garment, and the type of garment. In addition, the type of zipper will also certainly determine the application method to be used. Generally zippers are centered in a slot seam or hidden in a lapped seam. Most zippers are inserted into seams.Garment FitAccording to Stone (2004), the fit of a garment also affect the performance of closures on them. There are three basic types of garment fit and these are loss fitting, semi close fitting and close fitting. There is no problem with the loss and semi close fitting garments however the problem is with the close fitting garments. The closeness of garments to the body put extra strain on the zipper (Gaddis, 2011). When these zippers get over stretched to their elastic limits due to the stress on it the teeth eventually pop open from the middle causing a permanent damage to the zipper.Ironically, many people buy or sew their clothes a little bit snug with the idea that it will make them look slimmer. The opposite is true. Too-tight clothing can make one look pounds heavier (Robison, 2010).RESEARCH METHODOLOGYCross-sectional survey was used to collect data to seek zipper consumers’ perceptions on the performance of zippers used in the industry from a population of 600 garment producers which comprised of 439 tailors and dressmakers in the Cape Coast Metropolis and 161 fashion students of Cape Coast Polytechnic and Cape Coast Technical Institute. Simple random sampling procedure was used to get the sample size of 325 respondents comprised of tailors, dressmakers and fashion students. Based on the objectives of the study, questionnaires were employed for the data collection. The administered questionnaires were edited and grouped under emerging themes based on the objectives of the study for easy analysis. Each response was coded and entered into Statistical Product and Service Solutions (SPSS) version 17 for analysis. Descriptive statistics such as frequencies, percentages, tables and figures were used to present the results.FINDINGS AND DISCUSSIONZipper Application Method most Prone to Failure According to Stone (2004), improper zipper application can disturb operability and consequently lead to permanent damage of the zipper, so an investigation into the zipper application method used by the dressmakers which was most prone to failure was done.These findings confirm the findings from the data tabulated in Table 8, where 72.8% of the respondents found the concealed zipper application method to be the most difficult method as compared to other methods. Hence, the suspicion that concealed zipper application method was the first reason for zipper failure on garments. The failure of zippers during garment construction was likely to have come from the use of the concealed method. The method may result in failure, and zipper damage due to bad application may be considerably high for inexperienced consumers because for a professional finish, one would have to stitch very close to the zipper teeth and also the use of the correct foot, when not properly done, can disturboperability and consequently lead to permanent damage of the zipper as stated by Stone (2004).CONCLUSIONBased on the results, the following conclusions were drawn:1. Close fitted garments exert more pressure on the garment; this pressure is felt more on the weakest areas of the garment which are the seams and the zipper, with the zipper being weaker generally than the seams.2. Again, incorrect zipper application affected zipper performance negatively, the concealed zipper application method were a major cause of zipper failure in garments. The concealed zipper application method requires special expertise and zipper-foot for a professional finish however, the zipper-foots are very expensive when available. RecommendationsTo ensure reliable zippers for the clothing industry in Ghana the study recommends:1. Dressmakers should not make garments to fit snugly to the body as this puts extra strain on the zipper to forcefully ply open.2. Dressmakers should occasionally upgrade their skills on the correct application of zippers through workshops and short courses in order to reduce the incidence of zippers failure due to improper zipper application.译文服装的合体性和拉链的应用对加纳市场的影响恩克鲁玛摘要拉链是服装行业中常用的配件之一,在加纳地区,这主要是因为拉链的成本相对较低,并且更容易使用,效果也比其他紧固件好。
服装设计褶皱外文文献翻译最新译文
文献出处:N Umetani. Garment structural designing and pleat effects [J]. ACM Trans. Graph., 2015, 30(4): 90.原文Garment structural designing and pleat effectsAbstractThe research on the clothing wearing effect evaluation based on the subjective evaluation method, explore a kind of objective and quantitative evaluation method to describe the clothing on the pleat. Through analyzing the principle of image technology, design the clothing in image acquisition system, using image processing software for image processing, and the drape of clothing. This study garment sleeve parts of the pleat as an example to carry out the work, the drape on the sleeve image into grayscale curve, analyses the corresponding relation between gamma curve and pleat.Keywords: structural design, pleating effect, evaluation indexIntroductionClothing structure design is based on clothing, rendering it by cutting division, in the form of fabric, fabric pleating, joining together a series of process performance. It basically is to accurately grasp the effect of design, namely according to the structure characteristics of the clothing design renderings, determine the plane state of structure are measured.2d pattern and solid state of the corresponding relationship between the body and clothing itself the cooperate relationship between the various components and consistent state, and then combined with the characteristics of the clothing material and the characteristics of the craft, has designed a set of reasonable structure, have different specifications of the series, to lay a good foundation for the process design and clothing production. Therefore, clothing structure design is a bridge of art and technology, and process design and processing production preparation and protection.Clothing structure design method has a lot of kinds, during which there is a difference between large and small. The same kind of style, the same kind of fabrics, clothing structure design method of using different made clothes on the model and thegarment effect might be different, so need in different structure design method of a costume effect evaluation, on the basis of various clothing structural design method in the comparison.Clothing structure design basis of the human bodyClothing structure design is based on the human body, clothing for its formation, from the design, playing board, to sew, the overall ironing, are based on the human body. Clothes need to be able to adapt to the human body structure, and can make up for the inadequacy of the human body, and beautify the human body shape. This request of dressers not only possess fine sewing process, more important is fully understand and master the human body structure, the clothing modelling, as well as the relationship between human body and clothing such as knowledge, a comprehensive understanding of the structure of the human body, dynamic and static characteristics of the human body, and make use of the excellent cutting and sewing skills, modification and exaggeration, to rectify defects, beautify the effect of clothing style.The relationship between clothing and human body, clothing should first cover have to meet the practical function. Early gown jacket is flat coated body, simple cylinder structure, it is a kind of embodiment of style, but it can't reflect the body curves. Later, the introduction of western clothing, made an enormous change in the costume history, from plane to three-dimensional clothing from now on, people began to study clothing structure on the basis of the human body structure. Through the use of provincial roads, make clothing more perfectly reflects the human figure, it is the aesthetic function of clothing, is also the modern clothing trends of the research.Clothing is the length, size, its merits and broken the whole, different forms such as square, wide, and on the sewing process complexity, Jane, fine, coarse, but plus ca change, is inseparable from the basic condition of human body shape and physical activity. In clothing modelling design, before and after the paper, the layout of the collar and sleeves exquisite modelling is unified, coordinated and harmonious, and as the criterion in each part of the human body prototype form, make the crop science, fine sewing, aesthetically pleasing, and wearing form-fitting. “Wearing form-fitting",refers to the specific amount of costume design, cutting, sewing skills should conform to the human body shape, show fashion figure, the best effect. The human body to constitute the clothing modelling beauty plays an important leverage.The generation of clothing pleatRushing form design is the basis of visual expansion. Human visual sense to pleat cognitive derived from the cognitive skirt decorated side line. Side line is skirt act the role of sensory induction and abstraction of the form, rules of ruching produce order form, irregular ruching produce disordered form. Orderly form of circulation and repeated give a person with the feeling of calm and the expansion of the collect inside, this is a rational, calm the visual feelings. The various forms of garment hem shape irregular line, a messy disorderly recruit ACTS the role of design form, such as length, weight of rolling line in the form of. Skirt ruffles form in the plane design of clothing deviation from the conventional disorderly change, form an exciting visual points.Clothing pleat is for aesthetic needs, artificial set some pleat on the items. Such as pleat and pleat the garment processing process on the surface of the arts and crafts. Have certain adornment sex, this kind of pleat is what we expected. Fabric on this kind of pleat is often referred to as "crepe", clothing on this man-made craft pleat is a kind of aesthetic embodiment.2 it is goods material influenced by all kinds of bad factors in the processing of pleat, this kind of pleat often influence the processing quality of the products and the beautiful, is don't want to produce in the process of production. Especially in the process of garment processing, an operator easily sew stitches of not neat, easy to produce bad pleat. Three is a costume on the human body, as a result of human movement tensile and bending deformation of the flexible fabric, produce pleat. Clothing production of pleat in the very great degree is closely related to the human body. The body's static and dynamic ever-present affects the dress effect, the surface of the clothing pleat changes constantly.Passive, negative plait, bring certain negative influence to clothing. The second pleat bring certain obstacles to the products, we carry on the detection, prevention, and research has not. Currently there is very little research on the third cause of pleat,the focus of this article is to evaluate objectively the garment in appearance, is also the formation of a costume surface pleat for objective evaluation and analysis.Clothing as a kind of modern goods, have the function of the royal covering clothing, the cold, and can meet the needs of the people's life and work, to adapt to all kinds of manners, seasonal demand. The appearance of the clothing quality and wearing effect directly determine its sales in the market and location. With the improvement of people's living standard, people are not content with the simple body clothing apparel, but the pursuit of more high quality, comfortable, good image of the garment appearance. As clothing itself, its overall image not only with the design level, the use of the surface of the fabric quality, wearing comfort, quality, and clothing is closely related to the appearance of the effect after wearing. Factors directly affect the outcome of a costume is a costume caused by surface drape. Great impact on the pleat of the garment appearance beauty.Clothing drape evaluation indexGrey valueThe index can reflect distribution of wrinkle is the surface of a garment. Clothing formation pleat, the rendered image gray scale is not stable. Pleat area grey value small dents; drape projection area of grey value. Because the grey value itself is the color of the material, the influence of light source intensity and image processing, can't give direct information, but can be used for the first item (3) of the following indicatorsPleat numberThe index can reflect the detection area, the number of the drape of clothing surface, can use the image curve of wave number (or trough), a wave (or trough) corresponds to a pleat. On the premise that the size of the image acquisition area, the greater the value of N, the more pleat number.The depth of the pleatThe index can reflect the drape of clothing surface the most protruding part and the height of the concave part difference, can use the adjacent peaks and troughs of the region's biggest gray scale and minimum difference of gray, is used to evaluateclothing pleat which is formed by the surface depth.Pleat widthThe index can reflect the size of the drape of clothing surface. The location of the distance between the adjacent two troughs valley (D) reflects the distance between adjacent pleats down concave part; the location of the distance between adjacent wave peaks (D) reflects the width between the adjacent pleats protruding parts.Pleat evennessPleat uneven can from the size of the pleat and pleat the depth of the two aspects of evaluation.ConclusionFrom the subjective analysis of clothing appearance in drape effect, can see the different structure design methods, different fabrics and different pattern effects are wrinkle on the appearance of a garment. Pleat subjective evaluation from the garment body and the sleeves as you can see, garment body loose shirt ago plait is relatively small, the formation of culture fit shirts (ordinary fabrics) pleat of the base sample shirt, because the culture type prototype in the chest and back width is base sample is small, tight clothing than base samples, forms pleats more easily. Loose shirt sleeves plait is relatively small, the sample sleeve pleat more, because of the loose shirt sleeves is fat, it's not easy to pleat formation, or pleat number is less, the base sample sleeve is tight, the involved in easy to form a pleat. And adopts the cultural prototype is with ordinary fabric shirt and shirt pleat compared with soft fabrics, the formation of the pleat are also different.译文服装结构设计与褶皱效果摘要本研究在以往对服装的穿着效果的评价所采用的主观评价方法基础上,探索一种客观的、量化的评价方法来描述服装上的褶皱。
制衣行业中英文对照
制衣行业中英文对照armhole 夹圈assembling of front & back part 前后幅合并assembling section 合并部分attach collar 上领attach label 上商标attachment (车缝)附件back cover front 后搭前back mid-armhole 后背宽back stitch 返针,回针backless dress 露背装bar coded sticker 条形码贴纸bargaining 讨价还价bar-tack 打枣baste 假缝batilk 蜡染bearer 袋衬bearer & facing 袋衬袋贴bedford cord. 坑纹布,经条灯心绒bell bottom 喇叭裤脚bellows pocket 风琴袋belt 腰带belt-loop 裤耳bias cut 斜纹裁,纵纹裁bifurcate 分叉binder 包边蝴蝶,滚边蝴蝶binding 包边binding of slv. opening r折binding of top vent 面叉包边binding tape 包边binding/bound 滚条blanket 毛毯,地毯bleach 漂白bleach spot 漂白污渍bleeding 洗水后褪色blend fibre 混纺纤维blends 混纺blind stitch 挑脚线步blouse 女装衬衫body pressing 衫身熨烫body rise 直浪bottom 衫脚,下摆bottom vent of sleeve 细侧bottoms 下装box-pleated 外工字褶boy's style fly / left fly 男装钮牌,左钮牌braid 织锦,织带branch 分公司break stitches 断线briefs 男装紧身内裤brocade 织锦,织带broken stitching 断线bubbling 起泡buckle 皮带扣buckle-loop 皮带扣bulk production 大量生产bundle code 扎号bundling 执扎button 钮扣button stand 钮门搭位button-hole 钮门 / 扣眼button-holing 开钮门buttoning 钉钮buttoning with button sewer 用钉钮机钉钮c/b vent 后中叉calico / gray clothes 胚布canvas 马尾衬,帆布cardboard 纸板carded 粗疏care label 洗水唛cartonning 装箱,入箱case pack label 外箱贴纸cash pocket 表袋casual wear 便装catching facing 钮子center back 后中center crease fold 中骨对折center crease line 中骨线center front 前中certified sub-contractor 认可加工厂chain stitch m/c 锁链车chain stitches 锁链线步champray 皱布chemise 宽松服装chest/bust 胸围chic 时髦的,流行的circular knit 圆筒针织布classic look 经典款式classification 分类clean finish 还口clean finish of top vent 面叉还口clean finish with 1/4" single needl e 1/4" 单针还口close fitting 贴身close side seam 埋侧骨coating 外套大衣coin pocket 表袋collar 领子collar band 下级领collar fall 上级领collar notch 领扼位collar point 领尖collar stand 下级领collar stay 领插竹collection 系列color shading 色差combed 精梳constructed specification 结构细节continuous placket r折control of labor turnover 劳工流失控制corduroy 灯心绒cost sheet 成本单cotton string 棉绳covering stitching 拉冚线步(600类)crease & wrinkly resistant finish 防皱处理crease line 折线crepe de-chine 皱布cross crotch 十字缝cross cut 横纹裁crotch point 浪顶点ctn. no. 箱号cuff 鸡英,介英cuff attaching to sleeve 车鸡英到袖子上cuff vent/cuff opening 袖侧cuffed bottom hem 反脚,假反脚,脚级cuffless bottom 平脚curved pocket 弯袋cut & sewn 切驳cutting piece 裁片cutting piece numbering 给裁片编号d.k. jacquard 双面提花(针织)damage caused by needle 针孔decorative stitching 装饰间线delivery date 落货期denier 旦尼尔denim 牛仔density 密度design sketch 设计图designed feature 设计特征dimension 尺寸、尺码dinner jacket 晚礼服dirt stains after washing 洗水后有污迹dirty spot 污点discount / sales off 打折dobby 织花布double cuff 双层鸡英double end 双经double jetted pocket 双唇袋double needle fell seam 双针埋夹double pick 双纬doubling 并线dress coat 礼服dressing room 试衣间drilling 钻孔位dry-cleaned 干洗duck 帆布dying 染色easing 容位edge stitching 间边线edge trimmer 修边器edge-finishing 边脚处理edge-stitch dart 边线褶edge-stitching w/ 1/16" 宽1/16"的边线elastic 橡筋elastic waistband is extension of b ody 原身出橡筋裤头elbow width 肘宽embroidery patch 绣花章epaulet 肩章evening gown set 晚睡袍excellent style 漂亮的款式excessive thread ends 多余的线头executive wear 行政装expiry date 有效期export carton 出口箱extension of waistband 裤头搭咀eyelet 凤眼fabric 布料fabric construction 布料结构fabric defects 布疵fabric runs 走纱fabric shading 布料色差fabric swatch 布办fabric width 布封fabrication / fabric 布料facing 贴facing to out-side 折向侧骨false fly 暗钮牌false placket 假明筒,假反筒fashion 时装fell seam 埋夹figure-clinging 紧身的,贴身胸围filament 长纤丝final appearance 最终外观finished appearance 完成后的外观fitting 试身flameproof fabric 防火布flannel 法兰绒flare skirt 喇叭裙flat machine 平车flat seam 平缝flax 亚麻flow chart 流程图fold and pack 折叠包装,折装fold back facing 原身出贴fold back hidden placket 原身双层钮筒fold front edge 折前幅边fold line 折线fold pants 折裤子fold pocket mouth 折反袋口form and fold garment 定型折衫frocks 礼服front edge 前幅边front mid-armhole 前胸宽front opening 前开口front panel 前幅fully fashion sweater 全成型毛衫fully opening 全开口fur 皮草fur garment 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garment 成衣garment dye 成衣染色garment finish 成衣后处理garment sewing technology 成衣工艺garment wash 成衣洗水,普洗gathering 碎褶girl's style fly / right fly 女装钮牌,右钮牌glaced finish 压光加工good taste 高品味gr. wt.=gross weight 毛重grading 放码grain 布纹gray cloth 胚布grommet 凤眼grown-on sleeve 原身出袖half opening 半开口handbag 手袋handfeel 手感handling 执手hangdling time 执手时间hanger 衣架heavy fabric 厚重面料hem 衫脚,下摆hem cuff 反脚hemming 卷边,还口hemming with folder 用拉筒卷边hemp 大麻herringbone twill 人字斜纹布hexagonal pocket 六角袋hidden placket 双层钮筒hidden bartack 隐形枣high-waisted skirt 高腰裙hip 坐围hip pocket 后袋hood height 帽高horizontal plaid 水平格incorrect linking 错误的连接initial sample 原办,初办inner extension 搭咀内层in-seam 内骨inspection 检查inspiration 灵感interlacing 交织interlining 衬,夹层interlining for facing 贴粘衬interlock 双面布(针织)inverted pleat 内工字褶invoice 发票iron overall body 熨烫衫身iron spot 烫痕jacquard 提花jeans 牛仔裤jersey 平纹单面针织布join crotch 埋小浪jute 黄麻khaki 卡其knit 针织knitted rib collar 针织罗纹领knots 结头knowledge of material 材料学l/c=letter of credit 信用证l/g=letter of guarantee 担保证labour cost 劳工成本lace 花边lacoste 双珠地lapel 襟贴laundry 干洗layout 排唛,排料leather 皮革left cover right 左搭右leggings 开裆裤leisure style 休闲款式leisure wear 休闲服leisure wear show 休闲装展示会license 许可证light curved pocket 微弯袋linen 亚麻lining 里布linking & cup seaming 缝盆lock stitch 平车线步looped fabric 毛圈布looping 起耳仔(疵点)loose button 钮扣松散loosed thread causing grinning 线太松导致起珠lustrous 光泽machine maintenance 机械保养magic tape 魔术贴major defect 大疵man-made fibre 人造纤维manufacturer 制造商mark buttonhole & button positio n 标出钮门与钮扣的位置mark pocket position with templa te 用纸板点袋位marker 唛架marking mid-point of neck 定领围中位mass production 大批量生产match color 配色material 物料measurement 尺寸melton 领底绒mildrew resistant finish 防霉处理missing parts 漏裁片moth resistant finish 防虫处理nail-button 钉脚钮扣natural fibre 天然纤维neck across/neck width 领宽neck drop 领深neck seam 颈圈net wt. 净重non-fusible interlining 非粘朴non-woven fabric 非织布 / 无纺布notch 扼位off pressing 终烫oil stain 油污one piece double folded belt-loop 一片双折裤耳one-piece dress 连衣裙open seam 开骨operation break down 分工序out-seam 外骨out-seam pkt. 侧骨袋overall 工作服overalls 吊带裤overlap 重叠overlapping a few stitching 驳线overlock & blind-stitch 折挑overlock w/ 5 threads 五线锁边overlock with 5 threads 五线锁边overtime working 加班工作packing list 包装单packing method 包装方法panel knitting 针织裁片pastel 颜料patch pocket 贴袋pattern 纸样payment 付款peach pocket 杏形袋piece rate 记件pieced on placket 面车明筒pieced placket 一片钮筒pile fabric 毛圈布piping 嵌边pique 单珠地placket 明筒plaid matching 对格plaids / checks 格仔布plain weave 平纹梭织plants layout 厂房布置pleat with single needle 单针车褶pleats 活褶pocket bag caught in bartack 袋布被枣打到(疵点)pocket cover 袋盖pocket creasing machine 烫袋机pocket facing 袋贴pocket flap 袋盖pocket flasher 袋卡pocket mouth 袋口pocket opening 袋口pocket-bag (裁好的)袋布pocketing (成卷的)袋布point shape belt-loop 三尖裤耳polybag 胶袋polywarp 胶纸包position collar 定领位post-wash handfeel 洗水后手感preshrinking 预缩press & opening seam 烫开骨press open 烫开骨pressing work in progress 烫半成品print fabric 印花布printing 印花procedure 程序production sketch 生产图puckering 沿缝线的皱褶quality control / qc 质量控制quilting 打缆,间棉raglan sleeve 牛角袖raw edge 散口ready-to-wear 成衣regenerated fibre 再生纤维resin finish 树脂处理reverse side 反面re-washing 返洗rib 罗纹rib tape 扁带条ribbing 罗纹right side of under-cuff 下层鸡英的正面rined 脱水rivet 撞钉rough yarn 粗纱round cornered cuff 圆角介英round cornered extension 圆形裤头搭咀round cornered pocket 圆角袋rug 地毯ruler shaped pocket 曲尺袋run off stitching 落坑线run-stitching 运线s.k. jacquard 单面提花(针织)safari-jacket 猎装satin / sateen 色丁seam 缝骨seam allowance 止口,子口,缝头seam broken 缝骨爆裂seam construction 缝型结构seam pucker 缝骨起皱seam slippage 散口seam twist 缝骨扭selvedge / self-edge 布边selvege 布边serge / overlock 及骨,锁边set in shoulder pad 上肩垫set in sleeve 上袖,绱袖sew buttonhole / buttonholing 开钮门sew together bodice and its lining缝合衫身与里布,拼里sew welt pocket 车唇袋sewing cuff 车鸡英sewing sequence 车缝工序sewn self fabric waistband 原身出裤头shell fabric 面料shiny (烫)起镜shipping carton 出口箱shipping date 落货期shipping marks 箱唛shorts 短裤should point 肩点shoulder 肩宽shoulder point 肩点shrinkage 缩水shrink-proof 防缩shrink-resistant 防缩处理side mark 侧唛side panel 侧幅,小身side seam 侧骨silhouette 轮廓single jetted pocket 单唇袋single needle lockstitch m/c 单针平车size assortment 尺码分配size specification / size spec. 尺码表sizing 上浆skipped stitches 跳线slacks 松身裤slant cornered cuff 斜角介英slant pocket 斜插袋slashing pocket mouth 开袋口sleeve 衣袖sleeve length 袖长sleeve opening 袖口slim waist line 修腰线slit 叉snip notch 剪扼位solid color 单色solid color & solid size 单色单码sorting 分床分码special machine 特殊机器,特种车splotches 污迹spreading 拉布spun yarn 纺纱squared shaped pocket 方角袋steam pressing stand 蒸汽烫台stitch 线步stitch down with pkt-bag 车线连袋布stitch overlapping 驳线stitch per inch / s.p.i. 每英寸针数stitch type 针步类型stitching & turning collar out 车线后反领straight bottom 直筒裤脚straight cut 直纹裁straight pocket 直插袋strap 带条stripe matching 对条striped (fabric) 条子布stuffing 填充物style 款式suiting 套装sweep 下摆swimsuit 泳装tab 袢扣taffeta 塔夫绸tape 带条taper bottom 萝卜裤脚taping 镶边taps 织带tba=to be advise 待复terry cloth 毛巾布textured yarn 光亮纱线thigh 脾围thread clips 纱剪(剪线用)three pointed catching facing 三尖钮子three pointed cuff 三尖介英three pointed extension 三尖裤头搭咀three pointed pkt. with two curve d sides 两边微弯三尖袋three points pocket 三尖袋tipping 镶边,唧边to be advise 待复top collar 面领top sleeve 大袖top stitching 间面线top vent 叉的面层top vent of sleeve 大侧tops 上装top-stitching 间面线top-stitching with double needle 双针间面线total price 总价towel 毛圈布tricot 经向斜纹毛织布trim front edge 修剪前幅边缘trim or snip along curved seam 沿弯位修剪trim thread 剪线trimmings 部件,衣服上的点缀物trousers 裤子turn cuff out to the right side 反出鸡英正面turned finish 卷边tuxedo 无尾燕尾服tweed 毛绒布twill 斜纹布twist leg 扭脾扭脚under pressing 中烫under sleeve 小袖under vent/bottom vent 叉的底层underarm seam 袖底骨underlap placket 下层明筒,三尖折的小袖叉underwear 内衣uneven dying 染色不均匀uneven hem 衫脚不平均uneven plaids 格仔不均匀unit price 单价velcro 魔术贴velvet 天鹅绒velveteen 仿天鹅绒venetian 缩绒呢vent 叉(有叠位)viscose rayon 人造丝v-neck v形领窝vogue 流行的,风尚的waist 腰围waist tag 腰卡waistband 腰头waistband is extension of body 原身裤头wales 纵向线圈wardrobe 某一季节那一类型的服装warehouse 仓库warp / ends 经纱warp knitted fabric 经向针织布warp-knitting 经编织物washing initial load 头缸洗水washing instruction 洗水指示washing streaks 洗水痕water repellent 防水处理waterproof fabric 防水布wave stitching 线步起波浪web 网状物weft / picks 纬纱weft-knitting 纬编织物welt pocket 西装袋,手巾袋woolen 粗纺羊毛work ticket 工票workmanship 手工worsted 精纺羊毛woven label 织唛wrapseam 包缝wrinkles 起皱wrong type seam 错误的缝骨类型yarn 纱线zig-zag 人字zig-zag stitches 人字线步zipper fastener 拉链系结物。
外文文献翻译服装设计
毕设附件外文文献原文及译文文献出处:Rothenberg A, Sobel R S. A Creative Process in the Art of Costu me Design[J]. Clothing & Textiles Research Journal, 2016, 9(1):27‐36.译文服装设计的艺术创作进程阿尔伯特·罗斯伯格;罗伯特·索贝尔关于制造力心理学的实证研究已经进行了 20 连年的时刻,目前已经确信了一个特定的制造性的操作进程,称为“人性化的制造进程”。
那个进程已被证明,对各类类型的艺术与科学领域的制造性活动都有一个重要的作用。
正如它的概念所言,这一人性化的制造进程需要通过踊跃地构思和艺术性的两种因素的结合,一起作用,只有如此,才能造就一个富含人性的艺术品。
增进服装的人性化设计思维,需要用到一种技术方式,这种方式涉及利用到将人性化因素的考虑及艺术性的构思结合在一路,依如实证研究,说明利用这种可行性技术,能够增进服装设计的人性化艺术创作进程。
了解服装的天然性因素,包括服装设计的艺术创作进程。
但是,科学方式的制造力是困难重重的。
只是艺术家和其他人都对服装设计的艺术创作进程的本质都专门感爱好,都想明白得和阐释这意思本质,有一种观点以为发明家在那个领域的尽力没什么成效的。
这些发明家们也担忧这种情形,但这确实是他们的工作。
另外,发明家们可能都会比较感爱好,确实是将他们的研究功效应用于实际的制造性的尝试。
将研究结果应用于实践,通常会受到很多人的疑心和轻视,因为他们以为,这看起来就像是玩弄制造的进程,他们以为这一进程应该受到强烈钦佩和尊重,而不能有任何随意性。
尽管存在这些困难,可是事实证明,这种富含技术性的制造进程,专门是应用于服装设计中,恰恰会致使有价值的和有趣的结果。
本文关注的是思维制造性进程操作的实证分析,探讨人性化地艺术性思维,这种思维应被用于服装设计领域中。
服装设计中英文对照外文翻译文献
服装设计中英文对照外文翻译文献(文档含英文原文和中文翻译)College men’s fashionA brief review of the literature on the social psychology of clothing reveals that young women are more frequently research participants than men . This may be because women far outnumber men in majoring in clothing design and apparel merchandising and thus are more easily accessible as research participants than men. Regardless of why clothing research includes more women as research participants, this focus on women has resulted in a dearth of research on young men. In support of this, Reilly and Rudd (2007) report that research has investigated men’s clothing preferences and habits to a lesser extent than women’s. men’s ideas about fashion and its importance in their lives have been overlooked. Despite the limited research on young men, consumer groups comprisedof college men are important to commercial marketers in terms of expenditure in men’s apparel and accessories. According to Statista, in 2012 the expenditure on men’s clothing goods in the United States was $22.2 billion. Men purchased footwear the most, followed by shirts and suits. Prior research has also shown that men’s interest in fashion is on the rise, leading to an increase in men’s apparel sales .Historically, women have been much more conscious about their appearance than men, but in recent times there appears to have been a change in this level of focus on appearance among men. Specifically, young men in Generation Y who have been socialized by mass media and marketing activities have become appearance conscious, which leads to apparel consumption (Kacen 2000; Patterson and Elliot 2002). Young men usually use dress to communicate their identities (Shete 2012), and their aspirations toward communicating this may influence their apparel consumption (Kang et al. 2011). Understanding the relationship between college-aged men’s identities and their clothing choices provides apparel marketers with useful information to develop effective strategies to produce and market clothes in accordance with the common values with which this group strives to identify.According to Hogg and Banister (2001), individuals can either have a positive reference point (i.e., desired end state) or a negative reference point (i.e., undesired end state) that they use to achieve their desiredidentities. So far, much research has been conducted on the positive aspects of consumers’ consumption choice. A lack of research into the negative aspects of consumption choice motivated us to question their impact on consumer behavior. Consumers’ avoidance behavior allows them to create further distance between themselves and their undesired identities (Hogg and Banister 2001), staying within the threshold of their desired identities. Thus, this research focuses on the clothing and style that college men avoid. An exploratory study was conducted on men attending a major midwestern university. On the basis of the results of the exploratory study, research interview questions for any further studies will be modified to address the research problem appropriately.The purpose of the exploratory study was to investigate what clothing college men prefer, what identities they achieve through their clothing, and what they want to avoid in their clothing choices. Our research questions were as follows: (1) Does college-aged men’s clothing reflect their identities and what do they want to express through their clothing choices? and (2) What undesired identities (related to aspects of an avoided self) do college-aged men avoid in their clothing choices? Literature reviewSocial identity theorySocial identity theory as conceptualized by Tajfel and Turner (1979) refers to perceived identity of the groups to which people belong(Tajfel 1982). Social identity theory posits that a person’s self-concept is based on his or her group membership. This theory consists of two dimensions: social identity and personal identity (Howard 2000;Tajfel 1982). Social identity reflects membership in various social groups (e.g., clubs, social class), and personal identity represents the unique attributes that differentiate one person from another (Howard 2000; Tajfel 1982). In complex social environments, young people can use their identification with in-groups (i.e., their own group) versus out-groups (i.e., other groups) (Ogilvie 1987) to align their appearance (i.e., the total and composite image created by clothing) with a desired social group and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). Thus, social identities provide status to young men and enhance their self-esteem.Research has used social identity theory to investigate the effects of men’s identities on the use of dress (i.e., all material objects added to body). For example, Kang et al. (2011) used social identity theory as a theoretical framework to investigate the relationship between young professional men’s perceptions of work identity and their use of dress. They found that the young men who felt incomplete in their work identity used dress as a symbol to construct their identities. Thus, in this study, we used social identity theory as a theoretical foundation to examine the relationship between college men’s identities and their clothing choices.Men’s identities with fashionAccording to Kratz and Reimer (1998), fashion is filled with meanings and symbols, through which people can visually communicate with one another in a rapid and direct manner. Fashion enables people to express their views about themselves and their identities through the use of clothing; it allows them to visually communicate who they are, who they want to be, what type of social group they want to belong to, and whom they do not want to be associated with the most (Shete 2012). Furthermore, Bennett (2005) states that fashion is one of the channels through which people can most readily give voice to their identities. Beyond words, people can convey themselves through dress and fashion, thus creating their social identity. Fashion’s essential role in providing people with means to build, shape, and communicate their identities is especially prominent in larger metropolitan cities where they “mingle with crowds of strangers and have only fleeting moments to impress them” (Bennett 2005, p 96).Men identify themselves through various ways. For example, some men may identify themselves through their body appearance, while others may show their identities by the way they dress; Hathcote and Kim (2008) note that men represent themselves through how they dress. Moreover, many men care about what they wear and how they wear it on a daily basis and also care about how others perceive them. As part of campussociety, college students also spend time on how they dress. Some male students prefer wearing sweatpants or baggy basketball shorts at school, while others prefer wearing polo shirts and casual pants. The way male college students choose their outfits for school represents their different personalities and identities. For example, some male students wear athletic clothing to show off their masculinity. This is consistent with Lunceford (2010, p. 66), who argues that “male students choose a specific article of clothing because of how it makes them feel or because it downplays what they consider to be unattractive aspects of their bodies while accentuating their best features.”Researchers have conducted studies related to the importance of clothing and fashion for identity creation and communication. For example, Piacentini and Mailer (2004) found that young people in the United Kingdom tended to use clothing to show similarity between themselves and the groups they wished to be identified with, and as a channel to establish potential friendships. Schofield and Schmidt (2005) examined the importance of clothes used in constructing and communicating gay men’s personal a nd group identities with a sample of Manchester-based respondents. They shaped individual gay identity through different levels (i.e., community level, neo-tribal level, and situational level) and found that gay identity emerged through clothing choices. In their study, gay identity is shared on a gay community level toexpress “gayness” to others; on a neo-tribal level to show “belonging” to a social gay cohort with shared experience and emotions; and on a situational level to make themselves blend in with wherever they are (Schofield and Schmidt 2005).As mentioned previously, young people in complex social environments can use their identification with in-groups versusout-groups (Ogilvie 1987) to align their appearance with a desired social group, and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). In their study of a sample of British consumers, Banister and Hogg (2004) found that many consumers wore safe clothing items (e.g., simple clothes, which would be interpreted positively) to avoid censure rather than risky items. If such fears of folly and negative attention are present in male consumers, certain commonalities among them can be identified. Eisler and Skidmore (1987) proposed that men’s gender-role expectations contributed to fears about lack of athleticism, emotional intimacy, intimacy with other men (or homophobia), and failure. If the feminine, unathletic, impotent man is representative of perceived undesirability among men, symbolic identifiers of those traits can be indicative of young men’s labeling of avoidance reference groups and the “avoided self.” Thus, men’s fashion conservatism (i.e., dressing in a masculine way according to social norms) could be partially attributed to the generalized fear of appearing“feminine” (Kimmel 1994).Aversion to alternative stylesThe aversion to alternative styles was accompanied by several rationales. One respondent said he avoided skinny jeans (often associated with “skater” and “emo” culture) simply “for comfort.” Another respondent avoided dark and alternative styles to “avoid negative stigmas” and possible associations with low intelli gence related to group think. However, the majority of the respondents who said they avoid alternative styles were unable to explain their aversion. Mentions of dislike of alternative clothing were often supplied first and with little hesitation, suggesting that this is a somewhat automatic and marked dislike for those respondents.One respondent said he avoids wearing black and looking gothic because his friends do not wear those styles, suggesting a fear of ostracism when wearing alternative clothing. In a similar vein, one respondent included that he “doesn’t want to lead people to believe he is dark.” A 23-year-old Caucasian respondent, when asked if he avoided any styles of clothing, said: “Gothic stuff for sure, dark clothing or Hot Topic stuff. I don’t want to be associated with them and I hate the people that wear that stuff, like spiked belts.” This type of sentiment occurred almost exclusively among Caucasian respondents from middle- andupper-middle-class backgrounds. The fear of social scrutiny andostracism, along with a general stigma regarding alternative andcounter-culture, appears to be the most common motivation for avoiding alternative styles.Aversion to gangster stylesGangster styles were mentioned often, and responses often indicated social and racial prejudices, in addition to the fear of social judgment. Many respondents associated “big” and “baggy” clothing with gangster style. Race emerged as a definite component of this aversion. All but one of the respondents who listed gangster style as an avoided style identified as Caucasian. One respondent directly indicted his aversion to wearing clothes “a black person would wear,” suggesting that affiliation with the African American culture would be undesirable. Other variants included an av ersion to “swag gear” and “thug style.” Another respondent even used a variant of a racial slur to express his avoidance ofgangster-inflected styles. The respondents supplied little additional justification for avoiding this style, and when asked to expound on their preference, three claimed that they were unable to provide further information.Aversion to gay stylesThree respondents expressed avoiding clothing that could be regarded as “gay.” The wearing of skinny jeans, jean shorts, V-neck shirts, or cardigans was perceived as indicative of homosexuality, according tothe interview data. The inclusion of these items of clothing specifically indicates an association of form-fitting clothing and low necklines with effeminacy and gay culture. Respondents expressed a desire to represent themselves accurately, and those who claimed to avoid gay-inflected clothing suggested that it was undesirable on the grounds that (1) they disliked gay culture, (2) they wanted to express their heterosexuality, and (3) they wanted to avoid speculation from others that they were homosexual. In this regard, homophobic sentiments, a desire for accurate self-representation, and a fear of social judgment all seemed to be components of these respondents’ desire to avoid clothing per ceived as being worn by gay men. Another respondent said that he refused to wear any clothing from the “women’s section,” and though this does not necessary relate to the avoidance of gay style, it does represent anoften-related fear of gender-role deviation. Thus, an avoided self and avoidance behavior were important factors in clothing choice, supporting earlier findings from Hogg and Banister’s (2001) study in which dislikes and distastes of college men were associated with negative symbolic consumption. This sentiment is demonstrated by another respondent’s notion that said, “you know that there are certain things that you don’t want to buy because you don’t want to project yourself in a negative way.” They proposed that a greater understanding of the impact of negative symbolic consumption on consumers product rejection couldhelp the development of companies marketing communication strategies.Cultural background and the avoided selfDemographics indicated different trends in responses among respondents. The four Chinese men who participated were largely unable to produce responses regarding avoided clothing and styles. One of these respondents said he only avoids clothing that is “too colorful or fashionable” because “it is not his style.” Another said he only avoids “hip-hop clothing” because it does not match his serious personality. The other two respondents said that there were no types of clothing or styles they avoided. These sentiments contrast greatly with the responses from American students, all but one of whom listed one or several types of avoided clothing and styles.Furthermore, the brief elaborations the Chinese students supplied regarding the reason they avoid clothing related to issues of personal identity, with no mention of social or cultural motivations for doing so. This indicates that the avoidance of styles due to fears of social castigation and negative group associations could hold as a phenomenon more prevalent in the United States than in China.The college-aged men in this study expressed a desire for clothing that is comfortable, gives them confidence, and meets the expectations of their surroundings. These men recognized that their clothing was onerepresentation of their identities. Thus, the results suggest that college men are driven largely by a desire for comfort and to meet normative expectations. These findings are supported by the supposition that “men dress for fit and comfort rather than for style”, made by Craik (1994) and confirmed by Bakewell et al. (2006). These attributes for college men’s clothing choice seem to be quite different from those for young women, who largely make their choices based on brand (fit, look, and style) (Taylor and Cosenza 2002). The driving force for college men’s clothing choice is seemingly functional rather than decorative (Kacen 2000), even if they have become more appearance-conscious. Overall, the positive connection between young men’s individual identities and their clothing choices parallels previous research on the relationship between young professional men’s perceptions of work identity and their dress choices (Kang et al. 2011), and on the link between young peopl e’s clothing choices and the identity of the groups to which they belong (Piacentini and Mailer 2004).A minority of respondents avoided certain types of clothing because they felt it was incongruent with their styles. Their aversion to clothing that appears to belong to alternative, gangster, or gay styles suggests that these men strived to avoid clothing that implied identities viewed as non-conformist, non-professional, and unusual. These men indicated that their clothing choices were perhaps motivated by a desire to fit in withothers. Their aversion to clothing styles that communicated incongruent identities implies that deviations from cultural, class, race, andgender-related norms were undesirable.翻译:大学男装时尚简要回顾服装社会心理学的文献显示,年轻女性比男性更多的成为研究参与者。
创意性服装设计研究外文文献翻译
毕设附件外文文献翻译原文及译文原文The cr eative r ole of sour ces of inspir a tion in clothing design 作者Martin GIntr oductionSources of inspiration and its personal interpretation, visually and technically, play an important role in the design process, in increasing creativity. Clothing design studies and the creative role of design inspiration, during the early informal and actual clothing d esign p r oc ess e s i s ope n t o sci ent ific i n vestigation li ke ae s thetically d r iven designs in other domains.Studying creative fashion design as process and product is seen more problematic than other design-led industries, as the interaction between the design elements and principles, material properties, adaptation and modification of design i ns pi ra tion are c ompl e x. Clot hi ng design, as a variety of ae s t he tic and functio na l design processes, shares many characteristics of engineering design process.Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including studying current and future fashion trends and try to predict what the m a jori t y of t he ir c ustomers w i ll want in the forese e able f ut ure. In order to keep up with the changing world of fashion, fashion awareness should become second nature to every clothing designer.Design and clothing a s a visual and tactile sensor y designIt is well known that design is two things: process and product, as verb and noun. As design problem solution process, it is researching, setting the source of inspiration, planning, organizing to meet a goal, carrying out according to a particular purpose and creating. As product it is the end result, an intended arrangement that is the outcome of that process or plan.Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practical purpose and environment. We realise that some art is pure, "art for art's sake" but most creations in the daily world are for a practicalpurpose and use. Design as process is planning to meet a goal, and thus applies to eve r ythin g i nt entionally created for a pu r pose. The steps and or de r of t he process a r e essentially the same regardless of the end product. These steps are very similar to management as a planning process.Design as man made product and service falls into two major categories: sensory and behavioural. Sensory design is perceived through the senses, and is classified as visual, auditory, olfactory, tactile and gustatory. Behavioural design is planned action. Many products, however, include aspects of both, because design may be perceived t hroug h t h e senses and t he n i nt erpre ted beha vi oura l ly. A fashion s h ow, f or example, include both sensory and behavioural designs.R esear ch methodology and findingsThe importance of source of inspiration and their role in creative clothing design has been little understood and, therefore, rarely received attention in this industry. [ 6], [ 7], [ 8] E ckert and Stac e y (1998, 2000, 2003) studied knitwea r d e s i gn ca s e, w hi c h shares many characteristics of complex engineering projects and as an example of "practical design" in a fast moving and highly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which produced a detailed design process model and an analysis of the causes of c om munication problems within design tea m s. [15] Mäkirinne-Cr oft et al. (1996) tried to explain the fashion design process in terms of quantum mechanics and psychoanalysis and see design creativity as the ultimate mystery; their description of the design process is simplistic.The author has undertaken a progressive series of empirical studies, based on observation and interviews, looking at ready-to-wear (RTW) clothing design; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empiric approach combines ethnographic observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed as in the fashion industry, not just a case study of a single individual or company.In this research, the creative role of sources of inspiration in visual clothing design by novice and ex pe rt clothi ng des i g n e r s was ass e ssed t hrou gh e m piri c al research. As subjects, 16 talented clothing designers, 11 university-level fashion design students in Fashion Design Department at Dokuz Eylul University and five professional designers participated in the experiment carried out in this research. The first group of subjects included advanced fashion design students, seven talented students selected from the third and fourth year of undergraduate studies, and also four students of postgraduate studies, who also works as a free lance or part timea s sista n t designe rs i n the c lothing i ndus t ry. T he sec o nd g roup was com po sed o f five professional designers with a minimum of 5 years of experience in clothing industry. Sour ces of inspir a tion in clothing designWhere does the fashion designer get ideas and inspiration for new styles? The answer is everywhere and everything. Anything visual and tactile, in fact sensual, can be a s ourc e of i nspi ra tion for a garm e nt. Throu gh t e le vi sion, t he designer e xpe ri ence s all the wonders of the entertainment world. In films, the designer is exposed to the influences of all the arts, and lifestyles throughout the world. Because consumers are exposed to movies through international distribution, films prime their audiences to accept new fashions inspired by the costumes. Museum exhibits, art shows, world ha p penin g s, ex pos i t ions, t hea t res, music, da n c e a n d world t ravel are a ll s o urce s of design inspiration to fashion designers. The fashions of the past are also a rich source of design inspiration. W hile always alert to the new and exciting, fashion designers never lose sight of the past, they use old things in new ways.As stated the inspiration for a garment within a collection or for an entire collection can come from an infinite variety of sources. Sources of inspiration are often linked to the social "spirit of the times" also called the "zeitgeist". Understanding the state of current fashion and searching for ideas and sources of inspiration involves looking at art objects and books, going on trips to places like Paris and Milan, visiting museums, watching people on streets and going on country walks. Designers are most creative when they are directly exposed to the sources of ideas.On the other hand, it has been observed in the fashion industry that there are two fundamen t al a pp roaches in t he creative clot hi ng des i g n pr oce s ses:(1)material, thus fabric, inspired clothing design process; and(2)conceptual clothing design process, such as several themes originated from the universe of arts, nature or products.It is known that the high-fashion "name" designers typically develop a concept, also called theme, for their collection in order to be more creative and original.The major types of idea sources in design-led industries are previous products, artifac t s, na t ural obje c ts and phenom e na. I n c a se of c lot h ing design, ga rments, fa bri cs and trims as previous products, play an important role in sources of inspiration. Although, there is a broad recognition that much of the design proceeds by modification of previous ideas, in case of fabric inspired clothing design, designers search for new forms and styles with newly developed or invented materials. For exam pl e, the deve l opment of e la s t he n fabr i cs, s uc h a s L ycra, i ns pi red d esigners t o figure-hugging silhouettes.C onclusionsAnything visual and tactile, in fact sensual, can be a source of inspiration in fashion design. Design ideas do not simply materialize out of thin air. First, the designer does care ful r es e arch, but what makes a designe r's c ol lect i on s pec i al a n d original is his or her unique interpretation of design sources. Therefore, in order to be more creative and original the sources of inspiration play an important role in clothing design.Research and awareness are the key to creativity. Designers must learn most of all to keep their eyes open, to develop their skills of observation, to absorb visual ideas, blend them and translate them into clothes that their customers will like. The design process shows that realistic observation of outside influences and needs, extensive research and awareness and logical thinking and order, remove a great deal of the supposed "mystery" of design or creativity. One who thoroughly understands design as product and process and has mastered the use of appropriate materials and adaptation techniques can be "creative" and can translate the source into reality as asuccessful fashion product.Sources of inspi r ati on are use d at the e arly stages of design a nd t hr oughout t he entire design process. From the findings of this research, the role of sources of inspiration in clothing design can be summarised as follows:-increasing originality and creativity;-making the design process easy;-deriving harmonious colour schemes directly;-maintaining harmony and uniformity of the collection;-de r ivin g t ec hn ica l a cu m e n from p roduc ts i ns p ire d, es p ecial l y from p r evious garments;-understanding the fashion appropriation of the season; and-drawing the borders for the design framework.创意性服装设计研究作者:马丁引言灵感的来源及其个体性、可见性和技术性,这些对提高设计过程中的创造力方面起着重要的作用。
设计校服英语作文中英
Designing School Uniforms: A Cross-CulturalPerspectiveIn the realm of education, school uniforms have always played a pivotal role, serving not only as a symbol of institutional unity but also as a medium for expressing cultural values and identity. The design of a school uniform, therefore, is a complex task that requires careful consideration of various factors, including functionality, comfort, cost, and aesthetics. This essay explores the process of designing school uniforms from a cross-cultural perspective, highlighting the unique challenges and considerations in both English and Chinese contexts.In the English-speaking world, school uniforms are often seen as a symbol of equality and inclusivity. The uniforms are typically designed to be simple, practical, and free of any excessive embellishments, reflecting the values of modesty and functionality. The focus is on ensuring that all students, regardless of their background or socio-economic status, can wear the same uniform, thus promoting a sense of equality and belonging.In contrast, in the Chinese context, school uniforms carry deeper cultural meanings. They are often viewed as a representation of the student's respect for the institution and their peers. The design of Chinese school uniforms tends to be more traditional, often incorporating elements of the national costume or incorporating specific colors that are culturally significant. For instance, the color red is often used in Chinese school uniforms, as it is associated with luck, prosperity, and happiness.When designing school uniforms, it is crucial to consider the cultural differences and preferences of the target audience. In the English context, a focus on functionality and simplicity might be more appropriate, while in China, a balance between traditional elements and modern design might be more suitable. Additionally, it is important to involve students, parents, and teachers in the design process to ensure that the uniforms meet their needs and preferences.Cost is another crucial factor in the design of school uniforms. In both English and Chinese contexts, it is essential to ensure that the uniforms are affordable forfamilies of different socio-economic backgrounds. Thismight require careful consideration of material choice, production methods, and pricing strategies.Aesthetics also play a significant role in the designof school uniforms. While in the English context, the focus might be on simplicity and modesty, in China, there mightbe a stronger emphasis on traditional beauty and cultural symbolism. Designers need to strike a balance between the two, creating uniforms that are visually appealing and also reflect the cultural values of the institution.In conclusion, the design of school uniforms is a complex task that requires a deep understanding of both the functional and cultural needs of the target audience. By considering factors such as functionality, cost, aesthetics, and cultural preferences, designers can create uniformsthat not only serve the practical needs of students butalso reflect the values and identity of the institution. By doing so, school uniforms can become a powerful tool for promoting unity, inclusivity, and cultural exchange within the educational community.**校服设计:跨文化视角**在教育领域,校服始终扮演着至关重要的角色。
论文文章翻译-服装设计工程英文翻译外文
Couture Sewing TechniqueClaire B.ShaefferPrinted in the United States of America,2001The book was originally published in hardcover in 1993 by The Taunton Press,Inc.Chapter4.Edge FinishesHems,Facings and BindingsU nless finished in some way, the edges of a garment ravel and look incomplete. These edges—the neckline; the vertical front edges of jackets, coats and many blouses; jackets and coats—can be finished in conspicuously or they can become distinctive, decorative elements of the design.Three finishes are used extensively in couture:hems, facings and bindings.The choice of edge finish depends on many things—the shape of the edge being finished; its position on the garment; the type, design and fabric of the garment; current fashion trends; and the preferences of the individual wearer and the designer. For example, if the bottom edge of a dress is straight, it might be completed with a hem, a facing or a binding. But if this edges is asymmetrical, curved, scalloped or otherwise unusually shaped, it will need to be finished with a facing. Even when the edge is visually the same on the neckline and hem, the two different edges are likely to require slightly different finishes to accommodate the curve at the neckline and the weight of the fabric at the hem. And although it’s obvious that a tailored garment would require very different finishing from an evening gown, even similar designs vorked in dissimilar fabrics would dictate finishes suitable for each fabric.Although hems, facings and bindings are all edge finishes, each has a slightly different function. Hems are generally used on the lower edges of a garment or garment section (for example, a sleeve) and many help the garment hang attractively by adding weight to the edge. Facings, on the other hand, are applied to the upper and vertical edges of a garments. Bindings can be used on upper, lower or vertical edges, but they’re used most often to replace facings rather than hems.Facings can be cut as separate sections and sewn to the garment to finish curved or shaped edges. Or, when used on edges that are straight or only slightly curved, they can be nothing more than a wide hem allowance, in which case they’re called extended facings. Both hems and facings are visible on only one side—usually the underside—of the garment. Bindings, by contrast, are separate strips of fabric that encase the garment edge and finish both sides of the garment attractively.Because in couture the cost of labor and materials takes a back seat to the desired results, edges are not always finished with the simplest method or the one most often used in ready-to-wear construction or home sewing. Whatever the finishing method, hems, facings and bindings can be sewn entirely by hand or machine work.. The hand work visible on the finished product, however, is only a fraction of the hand work used to finish the edges of the traditional couture garment.FACINGSFacings, like hems, are designed to finish the edge of the garment. Unlike hems, which hang free of the body and affect the garment’s hang more than its overall shape, faced edges frequently fit the body’s curves and subtly affect the garment’s silhouette. Used on garment openings, curved edges and shaped edges like jacket lapels, facings contribute significantly to an overall impression of a well-constructed garment.There are three types of facings: extended, shaped and bias. Two of these—shaped and bias facings—are cut separately from the garment and can be sewn from self-fabric or lightweight lining fabrics. The extended facing is cut as an extension of the garment section like a plain hem and is, of course, self-fabric.The extended facing is nothing more than a 1/2-in. to 2-in. hem and is sewn exactly like a plain hem (see pp. 63-64). When the garment edge is on the length-wise grain, the extended facing duplicates the shape and grain of the edge it faces. But when the edge is slanted on a bias or has a slight curve, the facing can’t duplicate the grain and may have to be eased, stretched or clipped to fit the edge smoothly.The extended facing is used extensively in couture because the folded edge of this facing is flatter and more supple than the seamed edges of shaped and bias facings and consequently drapes better. Edges with extended facings are generally interfaced and stabilized so that they maintain their original shape for the life of the garment.As its name suggests, the shaped facing is cut to duplicate the shape of the edge it faces and ususlly duplicates the grain as well. This facing is often used on necklines and on edges intended to have a crisp, constructed look, and it’s always used on intricately shaped edges like a scalloped hem.The bias facing is a strip cut on the true bias. Because it doesn’t duplicate the grain of the edge it faces, this facing must itself be shaped to fit the edge. Bias facings are made from lightweight fabrics and produce narrow, inconspicuous facings.In cousture, more than one type of facing is often used on a single garment or even on a singleedge. The pink gazar dress shown above, for example, has extended facings on the front neckline and back opening with shaped facings on the front neckline and back opening with shaped facings on the back neckline. Similarly, the jacker on p.60 has a shaped facing on the upper half of the front edge and an extended facing on the lower half of this edge.Before applying any kind of facing, examine the garment’s fit to determine whether the edge needs to be help in or stabilized with a stay tape (see pp. 49-50) or interfaced (see p. 68). Once you’ve handled the edge as required, then you can proceed to apply the facing you’ve chosen.SHAPED FACINGSShaped facings can be applied by hand or by machine. Both types of applications are used in couture, while only machine applications are used in resdy-to-wear. The machine application is, of course, faster, but it’s sometimes more difficult to shape the facing so that it fits smoothly, and the seamline is sometimes visible at the garment edge. The instructions below are for applying the facing by hand. (For directions on applying shaped facings by machine, refer to your favorite sewing manual.)These directions focus on neckline facings because they’re most frequently used in couture workrooms. However, the directions can be applied to other edges such as waistbands, armholes, applied pockets, collars and cuffs, and they can be adapted for garment linings. The facing can be made any time after the neck edge is established, the seamline or foldline is thread-traced, and the edge is interfaced or stabilized appropriately for the design.Facings can be cut from the original garment pattern if the edge wasn’t changed during the fitting process, or the garment itself can serve as a pattern. When the garment is used as a pattern, the thread-traced neckline can be used to establish a corresponding stitching line on the facing. A finished neckline can also be used as a guide when you’re applying the facing by hand.Neck facings can be cut in several shapes. Two of the most popular are the traditional circlular shape, which measures an even distance all around from the edge, and a rectangular shape, which extends into the armscye seams. When the larger shape is used, the facing edges can be anchored in the seamlines, holding them smooth and in place. The facing shadow may also be less obtrusive with the larger shape, depending on the design. The obvious disadvantage of this facing is theadditional fabric introduced into the shoulder area, which may give the garment a bulky appearance.One solution for reducing some of this bulk is to relocate the seamlines 1/2 in. to 1 in. from their original positions. In couture, the seams on facings are not always aligned with the corresponding garment seamlines, as they are in ready-to-wear and home sewing.The directions that follow are for cutting and applying the less familiar rectangular facing. They can easily be adapted for a circular facing, Start by selecting some scraps from your garment fabric for the front and back facings unless the fabric is bulky or heavy, in which case use a lighter, firmly woven material for the facings. Rectangular pieces of cloth are preferable because they make it easier to identify the grainlines. If you’re cutting a rectangular facing for a garment with a high, round neckline with a closre in the back, begin with one large rectangle about 16 in. wide by 7 in. long for the front facing and two smaller ones about 8 in. wide by 6 in. long for the back facings.When applying the facing by hand, it’s easier to finish the garment edge before making the facing so that you can use the finished, do so before starting the facing and clip the free edge of the interfacing as needed, to make it lie flat. Trim the seam allowance around the garment neck to 3/4 in. andfold it to the wrong side. Baste a generous 1/5 in. from the edge. To minimize the seam allowance’s tendency to curl around the neck, snip shallow cuts into the raw edge every inch or so as needed to make the neckline seam allowance lie flat(as shown on p.74).With the wrong side up, place the neckline over a pressing cushion and press just the neckline edge. With your fingers, gently try to flatten the raw edge. If necessary, trim the edge further to 3/8 in. for firmly woven fabrics and 1/2 in. for less stabble fabrics. If the seam allowance still doesn’t lie flat, clip the raw edge with short, closely spaced snips up to, but not through the basting stitches around the neck edge. Use a loose catchstitch to sew the edge of the seam allowance to the underlining or interfacing. If the garment has neither, sew carefully so the stitches do not show on the right side of the garment.Cut a rectangle for each section to be faced. Before proceeding, decide whether relacating theshoulder seams will redistribute the bulk. After relacating the seam, if you decide to do so, begin with wrong sides together, and match and pin the grainlines together at the center front of the garment and its facing. Then, holding the garment neckline curved, as it will be when worn, smooth the facing in place, pinning as you go. When you get to the shoulder seams, smooth the front facing over the seams so that the seam allowances are flat. Pin and then trim away the excess at the shoulder seams and at the neck edgd, leaving 1/2-in. seam allowances on the facing, as shown above.Pin the back facing(s) in place. At the shoulder seams,trim and then turn the raw edges under, then pin and slip-baste, as shown above. At this point, you can machine-stitch the shoulder seams. At the neckline, trim away the excess, leaving a 1/2-in. seam allowance.Turn under the raw edge so the facing is 1/16 in. to 1/4 in. below the edge of the neckline and does not expose the clips on the garment’s seam allowance. If necessary, clip the edge of the facing at intervals as needed to make it turn under smoothly and pin it in place. On edges with shallow curves, you can turn back the neck edge of the facing in place and press lightly. Using a fell stitch or slipstitch, sew the facing to the neck edge and join the shoulder seams if they weren’t machine-stitched. Remove the bastings and press lightly.BIAS FACINGSA bias facing is a narrow strip of fabric cut on the true bias that’s shaped, rather than cut, to duplicate the edge it faces. Well adapted to garments with soft edges, this facing is frequently used on blouses and dresses and on lightweight silk and cotton fabrics. In couture work-rooms, most bias facings are applied by hand. Generally, self-fabric is used if the garment is sewn from light-weight fabric, but if the fabric is heavy, lining material can be used instead.Bias facings are narrower and less conspicuous than shaped facings, and since they require less fabric, they’re both more comfortable to wear next to the skin and more economical to sew. There are two disadvantages to these facings, however. When a bias facing is applied, the garment edge is rarely interfaced and may not be as smooth. And since the bias facing is usually slipstitched to the garment, it’s sometimes difficult to prevent the stitches from showing on the outside of the garment.Most bias facings are finished so they’re about 1/2 in. wide, but they can be as narrow as 1/4 in. on a jewel neckline and as wide as 2 in. at the waist of a skirt. Generally, the wider the bias facing, the more difficult it is to shape it to a curved edge.Before applying a bias facing, finish the garment edge. Fold the seam allowance to the wrong side and baste 1/8 in. to 1/4 in. from the edge. Clip as needed to make the edge lie flat. With the wrong side up, press the edge.Measure the garment edge to be faced and cut a bias strip several inches longer, or join several strips for the length you need. For a 11/2-in. wide facing, the strip should be 1 in. wide for straight edges and 11/2 in.wide for curved edges. Fold one of the long edges under 1/4 in. This is best accomplished by folding 6 in. at one time and pleating the folded edge with your hands into 1-in. pleats so the edge will stay folded without pressing, which might stretch it.Begin with the wrong side up and match the wrong side of the bias strip to the wrong side of the folded garment edge, aligning the bias edge with the basting, 1/8 in. to 1/4 in. below the garment edge. Pin the bias, easing or stretching the strip until it fits the edge smoothly, and baste.Place the edge over a pressing cushion with the right side up. Cover the edge with a press cloth and carefully press just the edge and the bias strip. The facing shoule lie smoothly against the wrong side of the garment. If it doesn’t, release the basting and try again.Using a slipstitch or fell stitch, sew the facing to the seam allowance. Trim the bias so it’s an even 3/4 in. wide. To finish the free edge, fole it under 1/4 in., pin and baste. Using a very fine needle, sew the edge to the garment with a loose slipstitch or fell stitch. If the garment is backed, catch the backing but not the garment. Remove the bastings and press lightly.When applying a bias facing to a neckline without an opening, begin at the left shoulder seam and work toward the front neckline(this is the most difficult part of the neckline to face and, in couture, is therefore tackled first). For a bias facing at the armscye, begin at the underarm. Finish by folding one end of the bias wrong sides together on the lengthwise grain. Lightly crease the fold with your thumbnail. Fold the other end under so the folded edges match. Then slipstitch the folds together.BINDINGSAn elegant finish suitable for nearly every edge,a binding can be unobtrusive or, in a contrastingfabiric or texture, add dash to your garment. Bindings are made by stitching a strip of fabric to the right side of an edge, wrapping it around the edge and securing it neatly on the underside. Often finished so they’re attractive on both the right and wrong side of the garment, bindings are frequently used on transparent fabrics, two-faced fabrics and on reversible and unlined garments.In order to shape and sew bindings to curved edges easily, most fabric bindings are cut on the true bias at a 45°angel to the lengthwise grain. But if the garment edges are straight or almost straight, bingdings can be cut on either the crossgrain or lengthwise grain to enhance the design. The directions below focus on bias-cut bindings, but they can easily be adapted for nonbias strips and ribbon, although these other bindings do not take the shape of the edge as easily.Selecting the fabric for bindings is particularly important. Lightweight materials like crepe, sation, chiffon and voile are suitable for bindings on almost any shell fabric. If you wan a heavier bound edge, you could use fabrics like wool, rib-weaves, cottons and sturdy linens. But be aware that the heavier the binding fabric, the more difficult it is to work with and control its bulk, particularly at the ends.Most bindings are finished about 1/4 in. wide, but on very lightweight fabrics they can be as narrow as narrow as 1/8 in., and on bulky or heavy fabrics they can be as wide ae 1-in. Bindings can be made with either a single-layered, open strip of fabric or with a double-layered, folded strip. Obviously, bindings sewn from a double layer are stiffer and thicker because they contain more fabric, an advantage when that binding fabric is lightweight or when you want a sharply definededge. But if the binding fabric is heavy or bulky or if the garment edge is designed to hang softly, a single-layered binding is more suitable.Generally, bindings are not applied until the garment is almost finishe—that is, until appropriate interfacings and backings have already been set, the garment fitted and all corrections made. On lined couture garments, however, the binding is frequently applied first by hand or machine, and finished wirh the lining, which covers the raw edge of the bingding..CUTTING AND STITCHING THE BIAS STRIPIf you lived in Italy, you would visit your favorite merceria, or sewing-nitions store, when you wanted to trim a design with bias bindings (I’ve looked in stores in France and England but hanve never seen fabric sold in this way). There you would find a large assortment of fabrics already cut with one edge on the bias. After you chose your fabric, a salesperson would cut a parallelogram for you, which would be ready to be cut into bias strips.In America, however, the home sewer’s fitst task in making a bias binding is to estaqblish the true bias of the fabric. This is important because if the strips are not cut exactly at a 45°angle, the finished bindings will ripple, twist and pucker. The best way to establish the true bias is with an isosceles right triangle—a drafting tool that has two sides of equal length with a 90°angel between them.Align one of the triangle’s short sides with the length-wise grain.The other side will be on the crossgrain, and the hypotenuse will mark the true bias. Mark parallellines on the bias with chalk and cut as many strips as needed for the length of your edges (see the discussions on the following pages on single and double bindings to calculate the width of strip needed for a given finished binding width). For a short bound edge in a prominent place on the garment—for example, on a lapel—use one continuous bias strip. For longer edges, join as many strips as needed for your length. In general, it’s better to join the strips on the lengthwise grain, but if the fabric has a prominent cross-rib or horizontal stripe, the seam will be less noticeable if the seam is parallel to the stripe or rib.To join bias strips, first trim all ends of the bias strips so they’re on the desired grain—ususlly the lengthwise grain. Begin with two strips, right side up. Fold one end under 1/4 in., pin it to the other strip so the grainlines match and slip-baste at the fold. Repeat until all the strips are joined. Then, fold the basted strips together with right sides together and sew the seam with a very short machine stitch (20 stitchws/in. or 1.25mm). Press the seams flat and then press them open. Trim away the ends of the seam allowance that extend beyond the width of the strip and trim the seams to 1/8 in.Although bindings can be applied to almost any edge, the directions given here are for applying single and double bindings to a neckline, where they’re most often sewn. To prepare the garment for either a single or double 1/4-in.—or the width of the finished binding—below the neckline. Do not trim away the seam allowance.SINGLE BINDINGThe couture method of applying a single binding has several advantages over the regular home-sewing method. It’s begun with the right sides up, allowing you to see the binding as you shape it to fit the edge, It can also be made entirely by hand rather than machine, which results in a softer finish. To determine the most suitable width for the finished binding, experiment with fabric scraps before cutting the strips until you arrive at a sample you like.Thread-trace the garment edge, as explained on p.76, and cut the bias strips so that the width of each strip is six times the desired finished width of the binding plus 1/2-in.(To make a finished 1/4-in.wide binding, for example, cut a bias strip 2 in. wide.) Press the strip, stretching it slightly lengthwise. Fold under one long edge of the bias 1/4 in., regardless of the desired finished width, and baste 1/8 in.from the fold.Working with the right sides up, align and pin the folded edge to the garment so it barely laps the binding seamline. To apply the bias smoothly to a neckline, hold the folded edge of the strip taut when pinning it in place. Baste through all layers close to the folded edge and slip-baste the strip to the garment. Then remove the first row of basting that holds the binding flat, unfold the strip so the right sides are together and machine-stitch over the basted line. Trim the seam allowance at the neckline, remove any bastings and press lightly.Fold the binding toward the neckline and finger-press the binding seam. Wrap the binding around the neckline’s raw edge and finger-press again. Pin-baste the binding in place on the wrong side of the neckline, setting the pins just below the binding. Measure the binding width. If it’s more than 1/4 in., the finished neckline will probably be too tight. If this is the case, unpin the binding and trim the seam as needed to keep the finished binding width at 1/4 in. Then fold the raw edge under so that the folded edge touches the seamline. If the folded edge overlaps the seamline, unfold the bias and trim it as needed to make a folded edge the width you need. Baste and then permanently fell or slipstitch the folded edge to the stitched line. Remove the bastings and press lightly.Sone binding fabrics are too bulky to produce a binding that looks the same on both sides. If thedesign has a lining that can be applied over the binding, bulk can be reduced by leaving the binging’s raw edge flat on the wrong side of the garment instead of turning it under.Sew the binding in place by hand with short running stitches. Then trim it 1/4 in. below the seamline and apply the lining to cover the raw edge.When binding outward curves, for example, on collars and pockets, trim away the garment seam allowance. Ease the folded edge to the binding seamline so the bias is smooth at the raw edge. Then proceed as above.When binding corners on collars and lapels, a triangle of excess fabric will form at the corner. Use a needle to shape the triangle into a miter and baste it in place. Then proceed as above.DOUBLE BINDINGAmerican couturier Charles Kleibacker had an unusual method for applying a double binding, which he used to finish and trim the edges of his lace designs and to sew wide bias bands in the place of skirt hems. He laid the bias strip flat on the table and applied the garment to the bias strip, instead of the reverse. Working this way makes it easier to control the bias binding and produces fantastic results.Because the finished binding for this application method will consist of at least seven layers, the weight and bulk of the binding fabric are particularly important and must be taken into account when deciding the width of the finished bias. Medium-weight fabrics such as four-ply silk and silk linen are suitable for bindings as narrow as 1/8 in., lightweight crepes, chiffon and organza can be used. The instructions here are for a finished binding 1/4 in. wide on a neckline. They can be modified to make a very narrow 1/8-in. wide binding or one that’s much wider.Begin with a bias strip four times the finished width plus two 1/2-in. wide seam allowances.(For a finished binding 1/4 in. wide, for example, the strip will be 2 in. wide) With the wrong sides together, fold the strip in half lengthwise and baste about 1/8 in. from the fold. Lay the strip flat on the table with the fold toward you. Using chalk or pins, mark a line along the length of the strip that is an even distance from the folded edge and equal to twice the finished binding width. (For a 1/4-in. wide binding, make 1/2 in. from the fold.) Put a second row of basting through both layers along this line to mark the binding seamline.On the garment, thread-trace the neckline and seamline for the binding, as explained on p.76. Spread the garment flat on the table with the edge to be bound toward you and right side up. Then, using the thread-traced binding seamline as a guide, fold the neck edge of the garment under 1/4 in.To accomplish this neatly and without stretching the neckline, clip it as needed and fold under one small section at a time. Match and pin the folede edge of the neckline to the binding seamline on the bias strip (the one father from the folded edge of the bias strip), as shown above. Baste the garment to the binding, using a small fell stitch or slipbasting. Reposition the layers with right sides together. Machine-stitch over the basted seamline. Remove the basting and press lightly.Trim away the original thread-traced seam allowance on the neckline to reduce bulk. Wrap the binding around this raw edge. The binding’s folded edge should just meet the stitches line on the wrong side of the neckline, and the finished binding should measure 1/4 in. wide. If it doesn’t, trim the neckline a little more. Grade the seam allowances as needed. Pin the binding in place, setting the pins at an angle with the heads toward the neckline and baste. Hold the edge in one hand with the wrong side toward you, and using a fell stitch, sew the folded edge to the stitched line.FINISHING THE BINDING’S ENDSBindings often begin and end at garment openings such as neckline plackets and zipper closures. For a smooth, inconspicuous finish, fold the ends of the binding to the wrong side before wrapping the bingding around the edge.Complete the opening and trim away any excess bulk before beginning the binding. Pin the bias to the garment, allowing a 1-in. extension of the bias strip on each side of the opening to the wrong side. Trim to about 1/2 in. and sew it with a catchstitch to the wrong sides of the bias strip and garment. Repeat for the other end. If the opening has a hook, eye or button loop, sew it in place now so the end will be hidden between the layers of the binding.On couture and good-quality ready-to-wear garments, bindings applied to edges without openings (for example, circular necklines, armholes, sleeve edges and skirt hems) usually have the ends seamed on grain. Before beginning such bindings, decide where to locate the seam so it will be as inconspicuous as possible on the finished design. On necklines, the seam is usually deemed least conspicuous at the left shoulder; on armholes and the edges of sleeves, under the arm; snd, on hems, at the left side seam.Prepare a bias strip that’s long enough to allow for a 4-in. tail on each end of the strip. Pin the bias strip to the garment. Fold back one tail on the lengthwise grain with wrong sides of the bias together and pin it in place. Repeat for the other end so the folded edges meet.Slip-baste the folds together. Unpin the bias about 1-in. on either side of the basted seamline so you can stitch the basted seam easily, or use a short backstitch to sew the seam by hand. Press the seam open and trim the seam allowances to 1/4 in. Repin the bias to the edge and complete the binding, which encases the raw edges of the seam.时装缝纫技术2001年由克莱尔乙沙弗保留所有权利印刷在美国美国该书最初发表于1993年汤顿出版社,公司在精装1英寸= 2.54厘米第四章:服装边缘处理工艺衣服的边缘如果不以某种方式处理,这件衣服就会显得混乱和不完整。
在线服装设计定制显瘦数码印花纺织品中英文对照外文文献翻译
文献信息:文献标题:Engineered Digital Textile Print Design for Customized Curves(用于定制曲线的工程化数码纺织品印花设计)文献作者及出处:Choudhary K. Engineered Digital Textile Print Design for Customized Curves[J]. Journal of Textile and Apparel, Technology and Management, 2018, 10(3).字数统计:英文 2217 单词,12880 字符;中文 4101 汉字外文文献:Engineered Digital Textile Print Design for Customized CurvesAbstract There are various instances when women feel the need to wear clothes for a slimmer appearance than their actual body shape. Looks and body appearance provide self-assurance to people, especially to those who are in a business related to physical appearances. Physical fitness and appearance have taken a parallel path in today’s world. Many designers have experimented with garments providing b ody shape deceiving and illusionistic effect through meticulous use of solid colors, slimming patterns, and illusion print designs. This research paper explores how smart edits in print design provide aesthetics blended with engineered slim looks, enhancing and customizing curves, per consumer preference, to create body size adjustments visually. The creative edits can be efficiently used for creating one piece/single garments customizing the curves and visual body shapes in synchronization with digital print design to enhance the body in a considerate manner.Keywords: Digital print and pattern, slimmer look, printed garments, customized curvesDigital engineered printed textiles and customization opportunities Digital technology opens up a door of possibilities and opportunities for designers, manufacturers, and business owners in various fields related to printed garments and textiles. Breaking the limitations of repeat and number of colors per design; engineered design layouts, offer newer possibilities of shorter minimums and quick turnaround time (Ujjie, 2006). Engineered print design possibilities and quick turnaround times are crucial to the customized products, making them effective in terms of designing opportunities, quick production and product delivery.Understanding customized curvesExamples from optical slimming design garment (Figure 1 A, 1B and 1C) are used for highlighting the body curves and creating a slimming illusion. These garments are created by effective use of dark and light color placements making the waist area appearance slimmer. The techniques of pattern cutting and placements of colors are used in the garments, and positioning colors and patterns in a considerate manner creates an illusion (Dean, 2012). A similar concept may be explored in print design using design variants other than combinations of solid dark and light colors to create slimming effects in garments. Digital printing technology offers a customization opportunity and choices for individual preferences.Figure 1. A, 1B, 1C: Examples of slimming one-piece dressThe types of slimming dresses shown above (Figure 1A, 1B, 1C) are suitable for a larger bodied woman and provide the flexibility to look slim without needing to change who they are, instead, emphasizing how they dress. Cas Boutique DC is a designer boutique, owned by designer Maggie that offers custom-made garment design services. Designs and garments are created as per the body shape and consumer requirement to reflect the perfect look that suits the body and enhances perceived value (Jordan, 2010). There has been a remarkable change in the area of custom clothing after the rise of digital technology. Many initiatives have been witnessed throughout the fashion and garment industry in utilizing various aspects of digital technology such as 3D scan for different body types. The reverse engineering technique is used to create 3D models for garment fitting. Virtual mannequins are used for pattern cutting and visual trial in a virtual setting to modify the designs as per consumer need and desires (Pecoco, Galantucci, & Lavecchia, 2011). E-Commerce offers various design solutions; ‘CreyateStores’ by Arvind Internet offers customized men’s clothing for evolving online consumers (Mohan, 2014). Customization has been offered for digitally printed garments by online brands.Research objectiveThe objective of this research is to explore variants in digital design and use of digital tools to offer creative design solutions for smart editable customization opportunities in slimming single piece garments. The target audience is women and the designs represented in this paper deal with the sensitive issue of women's appearance for fitted one-piece garments.MethodologyThe concepts used for customized curves and digital printing technology were studied by exploring the work of well-known designers catering to the specific need of consumers through customized clothing design, journals, and books in the area of customized clothing and digital printing technological advances and possibilities. Design experiments were carried out in digital form for consumer feedback/response. Three visualizations of standard single piece design concepts were created on digital software (Adobe Photoshop 6) using design variants such as shadow, color gradation, scale variation, and motif/pattern engineered placement. These design concepts were shown to women for feedback using a semi- structured questionnaire research tool.Understanding curves and scope for customizationFashion has certainly addressed the need for slimming body appearance in multiple ways. Caryl Franklin discusses the importance of medium size prints and patterns as the best choice to look slim. She explains that diagonal lines as compared to straight lines highlight the body to look slimmer (Franklin, 2011). There are ample references available for highlighting various body types through utilizing different garment types, color choice, and print and pattern design. These resources include designer label, online brands, and customization services. However, digitally printed engineered garments offer diversified elements of design, colors, and patterns forcustomizing curves in a garment. Customized curves address the needs for shoulders, bust line, and waistline. People have different body shapes, popularly known as brick, pear, apple, vase, etc. (Squirelly, 2012). According to the research conducted in 2010 by researcher Andrew Hough; the hourglass shape is the most desired among the different body shapes (Hough, 2010). The hourglass, or perfect curvaceous body appearance, depends a lot on the way curves get highlighted in a dress.Exploring digital print design on one piece garment & effectiveness of digital toolsIt was observed through the study of existing designs that a few variants contribute effectively to create a sliming appearance in a single piece garment. The following four variants were considered while exploring design concepts for single piece garments.a) Scale variationb) Shadowc) Curvilinear shapesd) Motif/Pattern placementThe curve zones are indicated in a single piece garment as explained in Figure 2.Figure 2. Template for Slimming guidelinesDesign Template highlights concern areas of the body. Design variants such as shadow, scale variation, and pattern placement may be used strategically to create effective results following the indicated areas in dark grey color.In Figure 3, basic design element dots were used in the top layer to create different segments for highlighting/slimming body parts indicated in the template (See 1A to 1E). In the medium layer three segments created using shadow (See 2A to 2C). Finally, in the base layer, a medium color of the base fabric was used. In each case, the design segments were created keeping in mind that each segment coordinates with the other and compliments the garment as a whole in different permutations and combinations (as shown in visualization Figure 4: Design Possibilities).Figure 3. Design segments for highlighting/slimming body partsFigure 4 depicts three garment design possibilities using permutation and combinations of design segments from Figure 3. Offer multiple design choices as per consumer preference. The number of design option possibilities depends on the possible number of permutation and combination segments and elements created by the designer.Figure 4. Design PossibilitiesTwo-dimensional draping was done on the standard pattern of a single piecegarment to visualize slimming effect. Further, the customization process was explored through various online resources to understand and establish the links of producing design options as per consumer requirements. The slimming requirements and segmentation design options were discussed through a semi-structured questionnaire with women respondents.Discussions and feedbackThe questionnaire respondents were 30 Indian females between the ages of 18 to 35 years. It was assumed that Western garments would be preferred in this group of consumers, as per studies carried out by Cygnus Business Consulting and Research (2004). This study shows that the preferences among college and working women demonstrate a greater preference for Western and Indo-western apparel (Cygnus Business Consulting and Research, 2004). The respondents were given a small presentation about body type and customization. Further design explorations (Figure 3 & 4) were shown for feedback. The feedback was collected through an open-ended questionnaire research tool. After obtaining the feedback from the respondents, the qualitative data were analyzed based on Kruger's (1994) qualitative analysis of data. The analysis was done based on descriptive statements and its interpretation.Profile of RespondentsTotal Respondents: 30 (9 Medium, 6 Large and 5 Extra Large)Age group: 18 to 35 years (studying and aspiring for a professional course/career or working. 18 respondents were representing age group 18 to 25 and 12 respondents were representing age group of 26 to 35 years)Body type: Medium to Extra Large as indicated in the enclosed body measurementTable 1: Body measurement table as per sizes indicated by respondentTable 2: Respondents feedback and response analysisBased on the consumer feedback, a basic framework for the customization process was designed in digital format. The basic framework includes three variants: a) Design segment options based on a common motif/pattern/theme on Top Layer, b) Shadow/color gradation on the middle layer, and c) Fabric base color on the lowest layer.Permutation and combination of the above variants a,b,c creates multiple choices for consumer selection. The permutation and combination generate creative possibilities within a single design concept; designed strategically in segments. Smart edits in the online framework make the design process interactive. It provides freedom and simple editing solution to the consumer from a non- design background. Figure 5 illustrates the customization framework is a conceptual framework for online digital solutions for instant visualization and order placement for one or multiple garments. Smart edit options may be built into the online system with technical support. The enclosed conceptualized model represents a basic framework for customization with smart edits for one piece slimming printed garments.Figure 5. Conceptualized framework suggests smart edits for customization, design variants, consumer interactive online interface, and effective visualization for making informed choices.Customization and printing processUsing digital technology, designers can easily arrange the design segments as per size and position of pattern. Design segments may be created as per garment style and printed using high definition digitally printed fashion (N.A., 2014). The printing for customization may be done with various online service providers such as Spoonflower, First2print, Constrvct, InkdropPrinting, and Fabric on Demand/Karma Kraft. Since garment patterns are simple, stitching time and cost shall be reasonable. The garment pattern shall be a part of the digital artwork integrating the seam line for efficient cutting and stitching (Polvinen, 2012). A collection of designs may be displayed on the website and depending on consumer selection of design, style and size specifications and ready designs can be edited with minimal time consumption by consumer. Upon placing an order, edited designs may be sent for printing and stitching. The product delivery is the final step of this process.ConclusionThe scope of creating customized printed garments is enormous. Researchers are recommending that designers/retailers/brands who address the needs of professional women will demonstrate better profitability (Batra & Niehm, 2009). Consumer needs are becoming more specific, as per body type, personality, professional image, and cultural environment. Engineered layout possibility in digital design is pushing the boundaries to encompass newer opportunities in printed textiles and fashion. It propels us to explore newer methods of conceptualizing printed garments. Today, printed garments are expressing far beyond themes, color palette, season, motif, print, and pattern; and consumers show a reasonable inclination towards the customization. The smart edit designing options proposed in this research paper are user-centric and interactive. The framework and design process discussed in this research paper provides smart customization opportunity to meet upcoming diverse consumer needs and desires.中文译文:用于定制曲线的工程化数码纺织品印花设计摘要在许多情况下,女性觉得需要穿比她们实际身材更苗条的衣服。
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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。