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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。

英文论文翻译中文(服装专业)

How clothing design and cultural industries refashioned frontier masculinities: a historical geography of Western wearAbstractGendered subjectivities emerge historically and geographically, not only in situ, within an ‘authentic’ origin period or site, but through later retrospective commodifications and fantastical popular culture depictions. This article traces the masculine identity of the cowboy as commodified and performed through clothing. The cowboy emerged from colonial origins as a model and myth of frontier masculinity: the ‘rugged outdoor type’. But it was then formularized and stylized when subject to popular culture diffusion, and as accompanying clothing design evolved. Through clothing –advertised by metropolitan manufacturers and consumed across America and beyond –an archetypal, sexualized cowboy ‘look’ thus emerged. The author traces a historical geography of cowboy masculinities in clothing design, from early ‘frontier garments for the outdoor man’ to later Western-wear ‘for that long, lean look’. Related constructions of femininity are also considered, after women's Western-wear clothing lines were produced in the 1950s. To illustrate, I draw on archival brochures, catalogs, and advertising materials from the 1920s to 1970s, as well as discuss the material design of the clothes themselves.I focus especially on the Western snap shirt –an apparel item never actually worn on the nineteenth-century colonial frontier, but that became an ‘essential’ element of the cowboy look, and a vehicle for masculine appearance. Western-wear epitomizes how gendered subject positions are visually constituted in relational fashion via bodies, materials, media, and imagined geographies.服装设计与文化产业如何重新设计边疆男性气概：西服的历史地理学性别化的主体，不仅是在原地、具有“本真性”的起源时期或地点浮现，亦是透过日后的怀旧商品化与虚构的流行文化叙述，在历史与地理中浮现。

服装专业文献资料翻译译文

现代旗袍的改良1、改良的前提（1）为适应生活，必须要改良。

当前从业人口，在现代大都市中，日见增多。

由于科技的进步、市场的繁荣、人们的生活节奏日渐加快。

如今的生活和30年代的那种闲适平淡相比，要火爆、热烈得多。

读书、体育、运动、文艺、科研、劳动、旅游、访友、家务、工作等等。

人们要生活得质高、充实、紧张、愉快。

着装不可成为行动的障碍。

因此，注重适应性就显得更重要。

只有这样，才可以适应工作高效率、社会负担重的现实。

那么，职业服的畅销和普及，就是必然的了。

在中国是这样，在许多国家也是同样道理。

传统的淑女型旗袍，缺少这种适应性，因此它必需改良才能有前途。

（2）追求时尚，必需要改良。

当今着装观念的改变，也决定了旧装改革的必要性。

人们对衣妆的追新求变，是正常的生理、心理反映。

如同每个人吃同样上午的水果容易厌倦，每天吃同样一种饭菜，没有了食欲。

衣服不但要穿好，更要穿出时尚。

过时的衣服使人有陈旧感，现代人要求有新时代印记的时装，这也是正常的心态反映。

20世纪从二三十年代一步步走来，无线电收音机已被电视代替；高耸的楼群已代替了转瓦四合院；汽车司机代替了人力（黄包）车夫，人们着装也要求有时代感。

那么，旧式旗袍哪有不改之理呢。

（3）经济振兴，必然要改良。

近20年来，中国的国民经济处在上升阶段，人们的物质生活水平提高，反映在着装、住房和就读等诸多方面。

市场的繁荣，日趋满足生活所需，服装的高、中档价格，体现了消费者的购买水平。

生活的丰富充实，购置适应各种活动的服装，被列入议事日程之中。

对于晚礼服和婚礼服的选择即为明显一例，既要上档次，又要有新意，说明经济收入水平已经具备选择的条件。

国外归来者，见到近年来国内的显著变化，他们积极热情地呼吁：“振兴中式服装的时机到了”。

因此，改良旗袍，使之为现代人服务，已势在必行。

（4）适应新世纪，必然要改良。

高科技将成为21实际服装设计、生产、销售方面发展的强大动力。

未来服装对于人们生活需要来说，不仅是满足生理和安全、艺术塑造和舒适性的需要，而且要有个性化。

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。

【参考文献翻译】服装设计中独特性的表达

英文翻译：The unique expression in fashion designAbstract: With the social progress and people's aesthetic awareness, clothing design requirements are constantly changing, not only beautiful, comfortable, personalized for different purposes, and more and more people started to pay attention the unique design of the clothing. unique expression of the clothing design has something in common, in common, there are three factors most typical one of the means of the use of the plastic arts; is to follow the basic rules of the plastic arts; the pursuit of art content and beauty of form harmony and unity. The face of increasingly fierce competition in society, from clothing unique starting to play to their strengths, so that the costume design perfected.Key words: aesthetic sense; costume design; uniqueness; expressionIntroductionWith the rich substance of social development, improved quality of life, the pursuit of unique clothing is also more than plus strong, the face of the popularity and unity to the mass production of clothing has become a problem to be solved in order to fashion designers. An important design point, then become a unique expression of the costume design costume design costume design unique refers to the characteristics of the presentation of the representative from the clothing on the whole, it is unique content and form unity. China fashion design unique expression as a complete system of disciplines to study the ancient times to now there, but the uniqueness of expression in fashion design is not perfect, therefore, the uniqueness of this study fashion design to express Modern fashion design is of great significance.1. The unique overview of clothingIn short, The unique nature of the clothing is the clothing unique. In a broad sense refers to the presentation of the representative characteristics from the whole of the clothing works, it is one of the unique form and the objectivity of the unity of the unity of content, costume designer on the subjective aspect of creative and clothing subject matter difficult to find words to express, but it is not difficult to make us feel unique style. The unique nature of the clothing, but also refers to the values, artistic characteristics and inherent character of a nation, an era, a genre or a person's clothing in the content and format of the show out. The unique nature of the appearance of the mind, the pursuit of the realm of fashion design in the final analysis is unique in design and positioning, the unique expression of the costume design also reflects the designer's unique creative thinking and the pursuit of art also reflects the distinctive character.2. The unique role of fashion designEither clothing had an important influence on the human economy or culture. And largely dominated people's consumption patterns, consumer attitudes and lifestyles, a direct impact on people's social values and the uniqueness of the role as follows:(A) In order to achieve the better effect of clothingA perfect garment is often reflected in its unique design, a good design work which contains a profound national culture, but also social development, a mirror of the progress of the times. Unique expression of the fashion design clothing creativity closer to the "China" or like "Chinese" consumer psychology between them is the complementary role of the costume design of the unique expression of the Chinese traditional elements of mutual restraint, costume design The uniqueness of National Cultural Psychology must be adapted to many different people, to achieve the better results of clothing.(B) To guide people's aestheticSince ancient times ,China have different aesthetics, such as women's aesthetic, summer, business, and Zhou dynasties, soft and delicate sense of aesthetic is very popular in the Tang Dynasty is based on fat is beautiful, to the Ming and Qing also petite for the United States. However, modern aesthetic, but unlike the past, has a strong universality point of view, but mainly based on the individual as a starting point, find a dress to show their own unique aesthetic taste. Fashion is unconventional, unique, and China in the 1980s is unique with no clothing at all, until the 1990s, slowly come into contact with more clothing brand, a preliminary understanding of the skills of some of the dress , but from the aesthetic perspective, many people do not clearly recognize their own style and temperament, wearing more or less have some blindness. Fashion weathervane clothing, the fashion of our country must shoulder the heavy responsibility of the foster a modern aesthetic. China International Fashion Week each season's fashion release, whether auditory, visual, emotional viewer is a very good artistic culture, even if most people can not personally to feel, but through a variety of media media coverage of pictures, music, video, impact on people's hearts and vision, people will be inspired and infection imperceptibly into, in order to bring their own life, combined with their own preferences and conditions, to form a unique aesthetic.(C) To guide the people's consumption20 years ago,Chinese market showing a short supply situation at that time we can buy clothes very well, who would carefully pick out the colors and styles. Today's society, society is an overproduction of different fashion brands and different clothing styles that dazzle us, a lot of people driven by impulse and blind followers psychological, may buy some of the clothing are not suitable. At this point, unique clothing like fashion navigator to guide blind people towards the right the other side of the consumer. Of course, this page is the fashion culture of the uniqueness of the totally implantable hearts of the people, the public has cultivated and form their own aesthetic taste, and mastery of the modern fashion symbol, and then they will meettheir own practical purpose to choose consumer goods. Most people can not afford the unique nature of high fashion, they just access to information from the uniqueness of the high fashion, and then to buy similar clothing or apparel goods with this popular elements.3.The uniqueness of expression in fashion design(A) China Red in Fashion DesignIn recent years, the red can be described as fashion colors, red is a unique, popular in the north and south, whether it is international brands and domestic brands were unanimous in Chinese red. Red means good luck, peace, success, happiness, harmony, health, reunion, etc.; also means abandoning evil and promote good smooth, Pepsi, good luck. The Chinese nation, like the red, for example, in the occasion of the festivals, weddings, Suli, red, red is in our minds the most perfect color. Red is the color of the sport and passion, joy and harmony of color, the color of the folklore and culture, but also the main color of the Beijing Olympic Games emblem color. The red has become the symbolic color of China.For example,"Green Paper Cranes" (Figure 3-1, 3-2) series, using bold contrast of red, green, two colors, the use of right. The traditional red flowers and green leaves on behalf of the customs of China, has been widespread in the countryside gives auspicious and festive feel. This traditional red and green decorative colors bearing a special mark to convey the beauty and warmth can not be forgotten. It is gratifying that this traditional decorative color patterns - so that we can feel the warmth of the past, but also enjoy modern simplicity and crisp with a modern aesthetic combined into a new artistic charm.Figure 3-1 Figure 3-2中文原文：服装设计中独特性的表达摘要：随着社会的进步和人们审美意识的提高，对服饰设计的要求在不断变化，不仅要基于美观、舒适、个性化等不同目的，而且越来越多的人开始关注服装的独特设计，服装设计的独特性表达都有其共性，在共性中，有三个因素最具有典型性，一是运用造型艺术的手段；二是遵循造型艺术的基本法则；三是追求艺术的内容与形式美的和谐统一。

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--绣纺织品设计(节选)

2000汉字，1000单词，5000英文字符出处：Miller M. Embroidered textile design[J]. Textile Design, 2011:129–145. 原文Embroidered textile designM. MILLER1IntroductionEmbroidery design is inextricably linked to the specific method of production, so this chapter provides an overview of the processes currently used for embroidery production. It provides an account of the recent changes in technology that have radically altered the use of embroidery, and includes sections outlining the key areas embroidery is used in. Finally there is a section suggesting likely future trends in embroidery.Embroidery has always been a key feature of both household textiles and clothing, in recent years embroidered decoration has become even more predominant. This is for two reasons: the advances in embroidery technology have made it much cheaper and easier to produce embroidery, also increased globalisation and the easy access to cheap labour means hand-stitched embellishment is now created for mass-market clothing as well as for the more expensive end of the market. There is a third reason that has led to a huge increase in the amount of embroidery on clothing, and that is to do with the huge growth in branded goods over the last twenty years or so.The commercial mass-production of embroidery is a surprisingly complex area. Embroidery is not a discrete process. It encompasses all types of stitched decoration, from all-overs on household textiles, to placement logos on caps and sweatshirts, to complex designs combined with print and sequin embellishment.1.1Definition of embroideryThe word embroidery has many meanings and connotations, in this chapter it is used to denote commercial embroidery, i.e. that done on or applied to garments or house- hold textiles for retail sale, as opposed to embroidery done for commission, as one-off pieces. The types of commercial embroidery covered in this chapter can be defined by method of production, i.e. tambour, Irish machine, Comely machine, schiffli machine, multi-head machine. (These different production processes are describedbelow.)1.2Types of embroideryEmbroidery can be created in many different ways; it can also be used in many different ways. The schiffli machines can create metres and metres of all-overs that can be used for household textiles or fabrics for clothing. These machines can also used be used for the creation of badges that are then attached to clothing when large quantities are required. They are also used to create embroidered trimmings.Multi-head machines are mostly used for placement embroidery, most commonly logos and branding; however, they are also used extensively for feature embroidery on all manner of clothing and household textiles, especially towels.2Commercial production methods for embroidered textilesCommercial production methods can be broadly divided into two, those that essentially consist of one person working on one piece of embroidery at a time, where the labour required is intensive and skilled: hand embroidery, tambour, Irish machine, Comely machine; and those that result in the production of more than one piece of embroidery at a time: schiffli machine, multi-head machine.3Digitising embroidery designsAlthough schiffli and multi-head machines operate in different ways, the compute-riseddigitising systems for inputting design information are very similar. The terms…punching‟ and …digitising‟ refer to the same process - the process of converting a design into a machine-readable format. This can be direct to machine, or stored on a disc. The term …punching‟ originated f rom when holes were manually punched into a paper or cardboard roll. Until the 1990s computerised systems were also commonly referred to as …punching‟ systems and the term …punching‟ remains in use in some sectors of the embroidery industry.4Pattern control in embroidered textile designsAll machine embroidery is carried out by the movement of a piece of fabric beneath, or perpendicular to a needle or set of needles.Embroidery done on these machines requires a considerable amount of skill by theoperator. The movement of the fabric to create the design is controlled freehand by the machine operator. There is sometimes an implication that embroidery created by machine is in some way inferior to that created by hand, as if less skill is involved. In fact the creation of embroidery on the Irish and Comely machines is very skilled.5Applications of commercial embroidery productionAlthough a certain amount of information about what is produced by the different methods has been provided in the above sections on production methods, it is useful at this point to reiterate some of the applications of commercial embroidery focusing primarily on the schiffli and multi-head industries.A wide range of different types of threads and fabrics can be stitched on all these types of embroidery machines. The threads used can range from thick wools to fine silks, the fabrics stitched can range from sheer chiffons to thick plastic, for certain fabrics special backings or toppings may have to be used.5.1Household textilesThis includes, but is not limited to, towels, tablecloths, napkins, bed and table linen, and curtains. The use of embroidery on household textiles has become common-place; once it was limited to only high-end textiles, and mostly stitched on the schiffli machines; however, with the lessening production costs cheaper ranges of household textiles also use embroidery.5.2ClothingAlthough in theory the application of embroidery to clothing is limitless, it tends to be used extensively in the following areas: childrenswear; womenswear, lingerie, sportswear, corporate clothing/workwear.Children swearSince the 1990s embroidery has been used extensively by manufacturers of children‟s clothing, at all market levels, from the low end, such as Primark, to upmarket brands such as Burberry. Stores such as Marks and Spencer use multi-head embroidery on a very large proportion of their children swear. The signature look of both Oilily, and Monsoon is highly embellished, decorative clothing. Both these brands use a range oftextile techniques to achieve this look, embroidery is a significant part of this.Women swearWhilst many clothing ranges include elements of embroidery occasionally, there are a small number of companies for whom embroidery is a key part of their identity. Monsoon and Whistles are both upmarket companies whose garments often utilize different types of embroidery.LingerieWomen‟s underwear has featured embroidery since before embroidery was automated. The schiffli embroidery manufacturers, such as Bischoff in St Gallen, Switzerland () have developed incredibly sophisticated ways of stitching onto complex stretch fabric bases.译文绣纺织品设计作者：米列尔1引言服装刺绣设计的具体方法与生产过程是紧密联系在一起的，所以本文对目前用于刺绣的生产工艺作了一个概述，并阐述了最近这方面的技术变化，这些技术进步己经从根本上改变了刺绣工艺及其在服装设计和制作中的使用，最后是概述了刺绣使用中的几个关键部分，并表明了刺绣的未来发展趋势。

服装设计外文翻译文献

服装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文:Trend predictionTrend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.Spirituality is seen in the interest of such things as ‘Feng Shui’which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence fromfashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.The design team determines how this intelligence affects fashion and consumer awareness.Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.ColourColour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.The fashion prediction design processOne publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.After the designs are completed they are illustrated with reference to particular markets and ‘lifestyle s’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.Samples of knitwear and new textiles may be commissioned which will be photographed for the books.Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.Theme developmentFashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.These can be interpreted into customers buying from:Lower market –budget; lower middle –high street, chain stores; middle –independent labels and department stores; upper middle – designer diffusion; upper –designer.Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.New uses of technology have resulted in the development of the Worth GlobalStyle Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.译文:流行趋势预测流行趋势预测信息所包含的内容要比时装预测丰富得多，原因是其不一定与时装有关。

服装设计创意外文翻译文献

服装设计创意外文翻译文献(文档含中英文对照即英文原文和中文翻译)译文:服装设计中的创意性灵感摘要研究目的：本文的研究目的就是评估服装设计过程中的创造性灵感源。

它旨在分析服装设计行为和服装设计过程的早期阶段，设计灵感的本质是什么，如何收集灵感来源以及它们是如何影响服装设计的创造力和原创性的。

研究方法：目前，已经有很多的学者对成衣服装设计进行了而一系列的实证研究；实地观察、半结构化访谈和约束和半驱动型设计任务。

这一实证研究方法，可以有效的使用在传统的知识获取方法不足的情况下，特别需要对一个行业进行一个广泛地了解，比如：时尚界，不只是要对单个人或公司进行实证研究，要尽可能选择更多的案例进行研究。

研究结果：识别服装设计过程中的灵感来源的主要类型，并提供每来源的相关信息。

认识到这些灵感来源可以帮助设计师来创建有创意的设计元素。

为了培养创意，灵感的来源在整个创意阶段的设计过程中，以及在服装设计研究计划的早期阶段发挥了重要的作用。

创新性：本文突出强调了创造力和创意灵感来源在服装设计过程中的作用。

对服装设计师和服装公司都提供了很多实际的帮助。

关键词:服装设计；服装；创造性思维；设计安排；设计管理服装设计是一个包含视觉和触觉的感官设计众所周知，设计包括两件事情: 工艺创造过程和产品展示，这两者之间的关系就好比动词和名词的关系。

作为一个设计问题解决方案的过程,它是灵感的来源，并通过计划、组织以实现一个最终目标。

而产品是其计划的、最终设计的结果。

服装就是应用设计的一个例子，即使是最激动人心的、最初的构想也必须向人们展示其实用目的。

虽然我们已经意识到一些艺术是纯粹的，即“艺术至上艺术”，但是，世界上大多数艺术作品设计的最初目的都在于其实用性。

设计作为一个工艺过程，应当考虑和计划实现某一特定的目标，并适时进行创新。

从本质上讲，设计过程的步骤与顺序同样应当考虑产品的实用性。

这些步骤与管理规划的过程非常相似。

人为设计的产品和服务可以分为两大部类：感觉和行为。

服装设计中英文对照外文翻译文献

服装设计中英文对照外文翻译文献文献信息：文文献献标标题题：：Proactive Fashion Design for Sustainable Consumption（可持续消费的具有前瞻性的服装设计）国外作者：Kirsi Niinimäki文献出处：《Nordic Te____tile Journal》，20________，1:60-69. 字数统计：英文 3104 单词，17881 字符；中文 5737 汉字外文文献：Proactive Fashion Design for Sustainable ConsumptionAbstractThis article presents a study that investigates product satisfaction inthe conte____t of clothing.The paper furthermore presents suggestions on how this knowledge can be used to create proactive fashion design for sustainable consumption.One of the main challenges in today’s consumer society is how to design products that encourage consumers to engage in more environmentally responsible behaviour, sustainable consumption.This paper opens the discussion on how to change current unsustainable consumption behaviour related toclothing through a visionary, far- sighted design approach.Designers can create future-oriented sustainable designs that can transform consumption patterns towards more sustainable ones.Design for sustainability can thus be a redirective practice that aims for sustainable consumption, and the ways in which fashion design can be a proactive process with this aim will be described.Keywords: proactive design, sustainable design, sustainable consumption, emotional satisfaction, PSS.IntroductionProducts configure consumer needs and use patterns; hence, design can be said to be “practice-oriented”, creating certain everyday practices and consumption behaviour (Shove et al.20__,134–136).Current industrial design and mass- manufacturing systems stimulate consumerism and the production of disposable products (Walker 20__,51).Fast changing trends lead to consumers’ unsustainable consumption behaviour.To create a new, sustainable balance between design, manufacturing and consumption, alternative ways to create products are required to drive more sustainable consumption behaviour.Therefore, designers should evaluate how each design decision affects a consumer’s consumption patterns.Understood in this way, sustainable designcan be a redirective or a proactive practice that aims for sustainable practices in consumption (Fry 2021, 53).Higher production volumes and simultaneous growing consumption have caused an increase in material consumption (Throne-Holst et al.20__).Ever-changingfashion trends, affordable product prices and low-quality products cause consumers to engage in unsustainable consumption behaviour, such as impulse purchases, overconsumption, short use time and premature disposal of products.The increase in the purchase of short-lifespan products results in a notable increase in waste.Currently, appro____imately 70 percent of disposed clothing and te____tiles end up in landfills, and in many Western countries clothing and te____tile waste is estimated to be the fastest growing waste stream (Fletcher 2021, 98).Consumers discard gaments not only because they are worn out but also because they actively seek novelty.Nevertheless, product durability and longterm use are prerequisites for sustainable consumption: i.e.e____tending the life span of products is essential when the goal is sustainable consumption (Cooper 20__).Importantly, however, consumers associate durability with high quality and not with environmental impact.Emotions lie at the centre of human life, and they influence mostof our behaviours, motivations and thought processes (Desmet 2021, 379).Emotions alsoplay a strong role in consumption.The interplay between wants, needs, values, attitudes ande____periences is emotionally meaningful for a contemporary consumer.Clothing and fashion itemsbelong to the category of self-e____pressive products, and with such products, consumption-related emotions are important to the consumer.As Richins (2021) argued, these consumption emotions are important elements in contemporary society and especially after the purchase event.The purchase situation bees a strong positivee____perience for a consumer, but it is very shortterm in nature and has no connection to thee____perience of deeper satisfaction or person– product attachment (ibid).Through a new purchase event, the consumer can again e____perience e____citement, enjoyment, joy and pleasure, at least momentarily.From an environmental point of view, studying consumption patterns and themeanings of consumption is important when sustained positive emotions in person– product relationships are desired or solutions are sought to replace materialistic consumption with other positive emotional states.The design process should focus on sustainable consumer satisfaction with a product or with the person–product attachmentprocess.Moreover, a new kind of product service system (PSS) should be developed that aims to prolong the enjoyable use time of the product.A PSS strategy can also offer the consumer new emotional e____periences, which can postpone the disposal of the product; PSS thinking can thereby aim to avoid a new garment purchase, which is an opportunity to decrease materialistic consumption. Sustainable Satisfaction with ClothingIf current unsustainable consumption patterns are to be transformed into more sustainable ones, the ways in which design can offer sustainable satisfaction must be investigated.To gain a deeper understanding of the opportunities to deliver satisfaction by designand how the enjoyable use of garments can bee____tended, the satisfaction process must first bee____plained.According to Swan and bs (1976), the performanceof clothing can be separatedintoinstrumentalperformance(physicalproperties)ande____pressive performance.E____pressive performance is linked to a consumer’s psychological response to the garment, such as the e____perience of beauty.Instrumental requirements (e.g.qualitye____pectations) must be satisfied first.Nevertheless, only fulfilling instrumental requirements will not result in satisfaction.Therefore clothing must also meet consumers’ emotional needs if it is to deliver satisfaction (Swan and bs 1976).Hence good intrinsic quality is optimal for ensuring consumersatisfaction and to guarantee the longevity of clothing.High quality means durable materials and high manufacturing quality.The ageing process of a pleasant, aesthetic garment requires not only maintaining high intrinsic quality but also the design of a more classical style and use of durable materials.Somete____tile materials look old after a short usetime.The material might e____perience pilling or may look old after a few washes.Garments needing frequent washing may look old rather quickly; therefore, recognising materials that age in a more aesthetically pleasing manner is important.Studies have shown (Niinimäki 2021) that consumers e____periencee.g.wool and real leather to age in an aesthetically pleasant way.Consumers report that with high quality wool the ageing process does not show as obviously and in leather the ageing process is e____perienced as an attractive temporal dimension (ibid.).Consumersrespect aesthetic attributes in the long-term use of clothing, and aesthetic attributes correspond toe____pressive performance in clothingsatisfaction.Accordingly, e____pressive performance affects the psychological response to clothing.The aesthetic attributes that correlate to the longevity of clothing are good fit, personal cut, nice colours and fortable materials,as well as a classic look (see Table 1).Garment tactility is important to the wearer and a pleasant tactile e____perience during the use situation is one attribute for enjoyable long-term use of clothing.Table I: Attributes that enable longevity in clothingThe attributes that enable longevity in clothing are the following:Quality: Durable materials Durability in use Durability in laundering High manufacturing quality Functionality: Easy maintenance Suitability in the use situation (physiological and psychological suitability)Satisfying use e____perienceBeauty, style, colour, fit Aesthetic E____pressive beauty above average attributes: Tactile e____periencefortable materials Values: Product’s values have to meet consumer’s personal values Not only quali ty, functionality and aesthetics are important attributes; the values behind the product are also important to consumer satisfaction.Clothing choices must connect strongly with the wearer’s self-image, identity and values.Wang and Wallendorf (20__) have argued that consumers with high materialistic values seek novelty and evaluate their possessions more often than consumers with lower materialistic values.They also highlight that materialistic consumers have less appreciation for deeper person–product relationships that develop during longer use situations.Consumers’ materialistic values may also connect with social status-related elements in garments and possessions.Consumers with lower materialistic values may have greater appreciation for the personal meanings attributable to the product that emerge during long-term use (Wang &; Wallendorf20__).Consumers with high environmental and ethical interests place high importance on being able to findenvironmental value behind a product.These consumers respect credence quality attributes – local and ethical production, eco-materials and long garmentlife spans – and they want to see these attributes and environmental values in the products they purchase.The value aspect is most important and cons umers’ value e____pectationsshould be fulfilled to create deep product satisfaction (Niinimäki 2021). Fashion Designfor Sustainable SatisfactionHow can a designer offer sustainable satisfaction to the consumer and how can s/he propose a prolonged use time of the product to the consumer? Firstly identifying the attributes associated withsatisfaction and including them in the design is the most important strategy.Secondly identifying the determinants that lead to dissatisfaction helps the designer to avoid these elements in design and concentrate on design for sustainable satisfaction.The previous section described the satisfaction elements in clothing: -good intrinsic quality;-good functionality;-aesthetics;-values in the product, in manufacturing or the pany’s values.The easiest way to offer product satisfaction is to increase the product’s intrinsic quality and inform the consumer accordingly.However the clothing satisfaction process is ple____ and not easy for a designer to control.Table 2 presents the temporal dimensions in clothing satisfaction, bining those elements and attributes that enable satisfaction to emerge or even create person-product attachments in the field of clothing.These are the elements that a designer should try to embed in design if s/ he is aiming for proactive fashion, deep productsatisfaction and e____tended use time of the products.Table 2: Elements of proactive sustainable fashion designPAST PRESENT FUTUREMeaningful memoriesMeaningful associations, which create person-product attachments Good functionality Aesthetical dimensionsEnjoyable e____periences during use Continuing satisfaction with the product Product or servicefulfils consumer’s changing needsHigh intrinsic quality New elements in designProduct utility New e____periences with the productConnection to self, identityThe following section presents several design approaches to deeper person- product satisfaction in the field of clothing.With these design strategies the designer can aim to achieve proactive and sustainable design. Fashion Design with Meaningful Uniqueness Products carry symbolic meaning, which consumers use to construct their own personality andidentity.Consumers use products to e____press themselves and want association with the characteristics, uniqueness or values symbolised by a product (Norman 20__).If products are easilypersonalised, the opportunity e____ists to connect the product more deeply with consumers’ identity construction and to create deeper product satisfaction and an emotional attachment through theperson–product relationship (Chapman 2021).This opportunity enables the product to be more meaningful to the wearer, making possible an e____tension of the product’s lifetime.Design services are one opportunity to address consumer satisfaction by deeply connecting the design oute with a consumer’s personal needs.By using digital technologies that enable individual design or measurements, meaningful uniqueness can be designed.Furthermore, unique design and “made-to-measur e” services offer improved product satisfaction by meeting a consumer’s individual needs and preferences better than mass-manufactured garments.The pany NOMO Jeans offersputer-assisted made-to-measure jeans by using a 3D scanner (Nomo Jeans).Jeans are made individually according to each customer’s measurements.Thecustomer can also choose the cut, colour, effects and details of his/her jeans.An enterprise can also base its function only on consumer orders.The designer can create their own collections, produce a couple of sle collections and enable consumers to specify all orders and measurements on an individual basis.Garments can then be created based on each wearer’s measurements, thus enabling him/her to e____perience greater satisfaction.This design and manufacturing strategy may also help producers avoid the problem of overproduction.Small enterprises could offer their collections in small shops carrying a sle collection and obtain orders directly from consumers, allowing them to avoid e____tra production.Designer Anna Ruohonen creates long lasting and high quality fashion (Anna Ruohonen).She has created a timeless collection called Black Classic, where the designs are permanent but it is possible to order them in seasonalcolours.Garments are manufactured only according to customer’s order and according to each customer’sindividual measurements.This strategy helps to avoid overproduction.Moreover the good fit of the clothing helps ensure deeper garment satisfaction. Co-creation One possibility for creating deeperperson–product attachment is through a consumer’s own efforts during the design orrealisation process.A sense of personal achievement is strongly connected to a positive sense of self (Norman 20__) and allows the product to begin to be more important to the wearer.The consumer’s own achievement through a “made by me” approach todesign creates positive e____periences through the sense of effort and the opportunity to realise her/his own creative skills.If the user builds the product herself/himself, s/he acquires a deeper knowledge of the product and, therefore, has the ability to repair the product (Papanek 1995).Kit-based design andhalfway products give the consumer a more active rolein the realisation process.One option for includingthe consumer in the design or manufacturing process isto offer her/him an opportunity to make decisions during the process.Consumers have shown an interest in taking part in the design or manufacturing process by using the Inter (Niinimäki 2021).If the design is based on a modular structure and the consumer is allowed to make her/his own choices – even from a limited selection – in creating a unique style, this process gives consumers new power and a more active role.Opening fashion field is one way to offer the consumer more active stwear is a pany that offers ready-made garments, halfway clothing (kit-based) and patterns of their fashion designs (Lastwear clothing pany).They also invest in quality and offer a guarantee on their garments, which is a good way to ensure product satisfaction.Giving consumers more power is also possible by offering environmentally- related options.Consumers may be allowed to select a manufacturing location and different materials – and be provided with corresponding prices – enabling them to e____press their values through their choices.For e____le, many consumers, especially thosewho consider themselves ethical consumers, would like to buy locally manufactured garments even if they are more e____pensive (Niinimäki 2021). Fulfilling Consumers’ Changing Needs Through PSSThe symbolic meanings of products are connected to psychological satisfaction through an emotional response.When the product no longer offers a positive emotional response because, for e____le, it falls out of fashion or the wearer bees otherwise tired of it, the consumer e____periences psychological obsolescence and easily replaces the product with a newone.Accordingly emotional and psychological obsolescence results in premature disposal of a product that may still be functional.Consumers’ needs and aesthetic preferences that change over time raise the question of how to avoid the psychological obsolescence of garments.The challengein e____tending product lifetimes is to achieve continuing satisfaction with the product.The PSS approach allows the creation of new e____periences with a product or changes to a product to enable it tobetter suit a consumer’s changing needs.Positive ways that a product’s lifetime can be e____tended include upgradability services, modification services ande____change stocks.These strategies can postpone garment disposal by keeping the consumer satisfied longer.Modification or redesign possibilities for quality garments allow for an e____tension of a product’s life span.Many websites already advise consumers on how to modify their old garments themselves and encourage consumers to e____tend the use of their garments.Many small and locally functioning repair and redesign studios also already e____ist, where the consumer can repair a damaged garment but can also order a redesigned garment made from old ones.A design based on a modular clothing structure also offers the possibility to create services to upgrade garments.This strategy offers the opportunity to update the appearance in a sustainable way (Fletcher &; Grose 20________, 82).It is possible to play with the clothing elements to create unique binations of colours or shapes to develop a newlook.The consumer does not need to then buy a new garment; instead s/he can simply change some parts or elements in the garment to have the e____perience of newness.Garment e____change or renting services offer possibilities for consumers to make changes to their clothing in more sustainable ways.New and interesting e____les of clothing membership clubs e____ist.By paying a monthly membership fee, a consumer can select a certain number of garments to use, giving him or her the opportunity to change the appearance in a more sustainable way.This type of business strategy has emerged e.g.in the field of children’sclothing.Consumers can rent children’s outfits and when the child outgrows a size, the parent can obtain larger-size garments from the clothing club.ConclusionsThis study investigated product satisfaction in the conte____t of clothing and this knowledge was used to understand and define proactive fashion design for sustainable consumption.It opened views into the process of consumer satisfaction.A main issue thatarises when aiming to e____tend the life of garments is to increase their durability and intrinsic quality.Moreover, fulfilling consumers’ othere____pectationsregardingthe garment’s aesthetic and functional attributes is important to ensure product satisfaction.Finally the issue of value is most important with regard to deep product satisfaction: values associated with the product, the manufacturing process and behind the panies have to meet the consumers’ own value base so that the consumer feels pletely satisfied with the product.By identifying the reasons for the short and long-term use of clothing, it is possible to find new ways to create sustainable designs that can result in a redirective practice directed towards sustainable consumption.Proactive fashion design for sustainable consumption takes these reasons into account, thus enabling clothing longevity.Satisfying consumers’e____pectations regarding quality, functionality, aesthetics and value is a key to e____tending the usetime of a product.Moreover, the emotional side of consumption must be understood to provide more sustainable ways to ensure customer satisfaction.The PSS approach provides an opportunity to e____tend the enjoyable use of aproduct and thus avoid psychological obsolescence and a garment’s premature disposal.Stimulating asenseofmeaningfuluniquenessandachievement through design services or “self-made” approaches is a promising route to enhancing consumer satisfaction.If a consumer is satisfied, then strengthening the emotional bondbetweentheproductandconsumerispossible. Inturn,this meaningful attachment is the best way to postpone a product’s disposal.When the product or its use is somehow special to the consumer, s/he will take good care of it to e____tend its enjoyable use time.The most promising sustainable design strategy is the bination of product design with service elements: PSS strategies are therefore a future path to proactive and sustainable design. 中文译文：可持续消费的具有前瞻性的服装设计【摘要】：^p本文从服装的角度对产品满意度进行了研究。

服装设计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。

服装毕业设计外文翻译--时装设计

Fashion designingFashion designing can be loosely defined as 'the art of creating fashionable apparel'. With the passage of time, however, the concept of 'fashion designing' has extended to other things such as fashion accessories such as jewellery, bags, footwear, etc. Keeping in mind the evolution of fashion designing, it would not be wrong to define it as 'the creation of fashion'. Costume designing can defined as an art whereby one designs a costume, along with appropriate accessories, to reflect the character in a stage-show, play, or movie. A wrong or badly designed costume will fail to bring out the intensity of the characters. At times, improper costumes can impede or distort story narration and mar the whole show.Fashion designing has indeed come a long way from the mere designing of clothing. Fashion designing has evolved into a full-fledged industry today. It is well accepted as a career option all over the world. Apart from designing, there are a number of other career alternatives that have emerged in this industry with the passage of time. This article seeks to study the evolution of the industry of fashion designing the then and now. The origin of fashion designing dates as far back as 1826. Charles Frederick Worth is believed to be the first fashion designer of the world, from 1826 to 1895. Charles, who was earlier a draper, set up a fashion house in Paris. It was he who started the tradition of fashion houses and telling his customers what kind of clothing would suit them. During this period, a number of design houses began to hire the services of artists to develop patterns for garments. Patterns would be presented to the clients, who would then place an order if they liked them. It was during this timeframe that the tradition of presenting patterns to the customers and then stitching them began, instead of the earlier system wherein the finished garments would be presented to them.In the beginning of the 20th century, new developments in fashion would take place in Paris first, from where they would spread to the rest of the world. New designs of clothes would be born in Paris before they found their way to other parts of the world. In other words, Paris emerged as the 'fashion capital'. 'Fashion' during this period was mostly 'haute couture', exclusively designed for individuals. Towards the mid-20th century, fashion garments began to be mass-produced. The bulk of production increased, and people began to have more choices of garments. Towards the end of the 20th century, fashion awareness among people increased, and they began choosing clothes for themselves based on comfort and their own style, instead of relying on the trends prevailing in the market. Today, as stated above, fashion designing is well accepted as a career option. A number of institutes have come up the world over, offering courses in various arenas of fashion. The number of students who consider fashion as a serious career and who have gone in for courses in the same has gone on rising over the years.Specializations in fashion designing have come into being. There is a wide range of options for a designer to choose from, such as lingerie, swimwear, women's wear, bridal wear, children's wear, men's wear, footwear, handbags, etc. Fashion designers used to be self-employed earlier now find a number of career opportunities open for them. They can work with garment firms and export houses. They may also be engaged in the job of remodeling haute couture and adapting them to the tastes of the mass market. They might also hold jobs in departmental stores orspecialty stores.Developments in the field of fashion designing have given rise to other related career paths such as hairstylist, make-up artist, fashion journalists, fashion advisors, fashion photographers, etc. Another significant change that has come about in the fashion designing industry in recent times is the increased use of computers and technology. A number of software packages have come up to aid designers in the process of designing as well as other stages in the production of a garment, easily and speedily.Fashion designing as a trade has also grown. Fashion designers have gone on to get repute not only in their own countries, but internationally as well. The number of fashion shows and participation in the same has gone up considerably in recent times. Fashion designing is thus no longer only the designing and creation of a garment, but it is a world in itself involving fashion, design, creativity, technology as well as business.时装设计服装设计大致可以定义为“创造时尚服装的艺术”。

ruffled neckline翻译

ruffled neckline翻译ruffled neckline的中文翻译是"褶饰领口"。

这是指在衣物领口上加入褶饰或褶皱的装饰款式，以增加衣物的层次感和装饰效果。

褶饰领口通常用于女性服装，尤其是连衣裙、衬衫和上衣设计上。

双语例句：1. This beautiful dress features a ruffled neckline and a flattering silhouette.这件漂亮的连衣裙特色是褶饰领口和修身剪裁。

2. She wore a blouse with a ruffled neckline to the party.她穿了一件有褶饰领口的上衣去参加派对。

3. The ruffled neckline adds a feminine touch to the blouse.褶饰领口让这件上衣更加女性化。

4. The dress has a ruffled neckline, giving it an elegant and romantic look.这件连衣裙有褶饰领口，使其看起来优雅浪漫。

5. She accessorized her outfit with a statement necklace to highlight the ruffled neckline.她搭配了一条耀眼的项链来突出褶饰领口。

6. The ruffled neckline adds an interesting texture to the otherwise simple dress.褶饰领口为这件原本简单的连衣裙增添了有趣的质感。

7. The blouse with a ruffled neckline is a popular trend this season.褶饰领口的上衣是本季的流行趋势。

8. The ruffled neckline on the dress creates a statement look for any occasion.连衣裙上的褶饰领口为任何场合带来突出的造型效果。

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外文文献翻译原文Analysis of Con tin uous Prestressed Concrete BeamsChris BurgoyneMarch 26, 20051、IntroductionThis conference is devoted to the development of structural analysis rather than the strength of materials, but the effective use of prestressed concrete relies on an appropriate combination of structural analysis techniques with knowledge of the material behaviour. Design of prestressed concrete structures is usually left to specialists; the unwary will either make mistakes or spend inordinate time trying to extract a solution from the various equations.There are a number of fundamental differences between the behaviour of prestressed concrete and that of other materials. Structures are not unstressed when unloaded; the design space of feasible solutions is totally bounded；in hyperstatic structures, various states of self-stress can be induced by altering the cable profile, and all of these factors get influenced by creep and thermal effects. How were these problems recognised and how have they been tackled?Ever since the development of reinforced concrete by Hennebique at the end of the 19th century (Cusack 1984), it was recognised that steel and concrete could be more effectively combined if the steel was pretensioned, putting the concrete into compression. Cracking could be reduced, if not prevented altogether, which would increase stiffness and improve durability. Early attempts all failed because the initial prestress soon vanished, leaving the structure to be- have as though it was reinforced; good descriptions of these attempts are given by Leonhardt (1964) and Abeles (1964).It was Freyssineti’s observations of the sagging of the shallow arches on three bridges that he had just completed in 1927 over the River Allier near Vichy which led directly to prestressed concrete (Freyssinet 1956). Only the bridge at Boutiron survived WWII (Fig 1). Hitherto, it had been assumed that concrete had a Young’s modulus which remained fixed, but he recognised that the de- ferred strains due to creep explained why the prestress had been lost in the early trials. Freyssinet (Fig. 2) also correctly reasoned that high tensile steel had to be used, so that some prestress would remain after the creep had occurred, and alsothat high quality concrete should be used, since this minimised the total amount of creep. The history of Freyssineti’s early prestressed concrete work is written elsewhereFigure1:Boutiron Bridge,Vic h yFigure 2: Eugen FreyssinetAt about the same time work was underway on creep at the BRE laboratory in England ((Glanville 1930) and (1933)). It is debatable which man should be given credit for the discovery of creep but Freyssinet clearly gets the credit for successfully using the knowledge to prestress concrete.There are still problems associated with understanding how prestressed concrete works, partly because there is more than one way of thinking about it. These different philosophies are to some extent contradictory, and certainly confusing to the young engineer. It is also reflected, to a certain extent, in the various codes of practice.Permissible stress design philosophy sees prestressed concrete as a way of avoiding cracking by eliminating tensile stresses; the objective is for sufficient compression to remain after creep losses. Untensionedreinforcement, which attracts prestress due to creep, is anathema. This philosophy derives directly from Freyssinet’s logic and is primarily a working stress concept.Ultimate strength philosophy sees prestressing as a way of utilising high tensile steel as reinforcement. High strength steels have high elastic strain capacity, which could not be utilised when used as reinforcement; if the steel is pretensioned, much of that strain capacity is taken out before bonding the steel to the concrete. Structures designed this way are normally designed to be in compression everywhere under permanent loads, but allowed to crack under high live load. The idea derives directly from the work of Dischinger (1936) and his work on the bridge at Aue in 1939 (Schonberg and Fichter 1939), as well as that of Finsterwalder (1939). It is primarily an ultimate load concept. The idea of partial prestressing derives from these ideas.The Load-Balancing philosophy, introduced by T.Y. Lin, uses prestressing to counter the effect of the permanent loads (Lin 1963). The sag of the cables causes an upward force on the beam, which counteracts the load on the beam. Clearly, only one load can be balanced, but if this is taken as the total dead weight, then under that load the beam will perceive only the net axial prestress and will have no tendency to creep up or down.These three philosophies all have their champions, and heated debates take place between them as to which is the most fundamental.2、Section designFrom the outset it was recognised that prestressed concrete has to be checked at both the working load and the ultimate load. For steel structures, and those made from reinforced concrete, there is a fairly direct relationship between the load capacity under an allowable stress design, and that at the ultimate load under an ultimate strength design. Older codes were based on permissible stresses at the working load; new codes use moment capacities at the ultimate load. Different load factors are used in the two codes, but a structure which passes one code is likely to be acceptable under the other.For prestressed concrete, those ideas do not hold, since the structure is highly stressed, even when unloaded. A small increase of load can cause some stress limits to be breached, while a large increase in load might be needed to cross other limits. The designer has considerable freedom to vary both the working load and ultimate load capacities independently; both need to be checked.A designer normally has to check the tensile and compressive stresses, in both the top and bottom fibre of the section, for every load case. The critical sections are normally, but not always, the mid-span and the sections over piers but other sections may become critical ，when the cable profile has to be determined.The stresses at any position are made up of three components, one of which normally has a different sign from the other two; consistency of sign convention is essential.If P is the prestressing force and e its eccentricity, A and Z are the area of the cross-section and its elastic section modulus, while M is the applied moment, then where ft and fc are the permissible stresses in tension and compression.c e t f ZM Z P A P f ≤-+≤Thus, for any combination of P and M , the designer already has four in- equalities to deal with.The prestressing force differs over time, due to creep losses, and a designer isusually faced with at least three combinations of prestressing force and moment;• the applied moment at the time the prestress is first applied, before creep losses occur,• the maximum applied moment after creep losses, and• the minimum applied moment after creep losses.Figure 4: Gustave MagnelOther combinations may be needed in more complex cases. There are at least twelve inequalities that have to be satisfied at any cross-section, but since an I-section can be defined by six variables, and two are needed to define the prestress, the problem is over-specified and it is not immediately obvious which conditions are superfluous. In the hands of inexperienced engineers, the design process can be very long-winded. However, it is possible to separate out the design of the cross-section from the design of the prestress. By considering pairs of stress limits on the same fibre, but for different load cases, the effects of the prestress can be eliminated, leaving expressions of the form:rangestress e Perm issibl Range Mom entZ These inequalities, which can be evaluated exhaustively with little difficulty, allow the minimum size of the cross-section to be determined.Once a suitable cross-section has been found, the prestress can be designed using a construction due to Magnel (Fig.4). The stress limits can all be rearranged into the form:()M fZ PA Z e ++-≤1 By plotting these on a diagram of eccentricity versus the reciprocal of the prestressing force, a series of bound lines will be formed. Provided the inequalities (2) are satisfied, these bound lines will always leave a zone showing all feasible combinations of P and e. The most economical design, using the minimum prestress, usually lies on the right hand side of the diagram, where the design is limited by the permissible tensile stresses.Plotting the eccentricity on the vertical axis allows direct comparison with the crosssection, as shown in Fig. 5. Inequalities (3) make no reference to the physical dimensions of the structure, but these practical cover limits can be shown as wellA good designer knows how changes to the design and the loadings alter the Magnel diagram. Changing both the maximum andminimum bending moments, but keeping the range the same, raises and lowers the feasible region. If the moments become more sagging the feasible region gets lower in the beam.In general, as spans increase, the dead load moments increase in proportion to the live load. A stage will be reached where the economic point (A on Fig.5) moves outside the physical limits of the beam; Guyon (1951a) denoted the limiting condition as the critical span. Shorter spans will be governed by tensile stresses in the two extreme fibres, while longer spans will be governed by the limiting eccentricity and tensile stresses in the bottom fibre. However, it does not take a large increase in moment ，at which point compressive stresses will govern in the bottom fibre under maximum moment.Only when much longer spans are required, and the feasible region moves as far down as possible, does the structure become governed by compressive stresses in both fibres.3、Continuous beamsThe design of statically determinate beams is relatively straightforward; the engineer can work on the basis of the design of individual cross-sections, as outlined above. A number of complications arise when the structure is indeterminate which means that the designer has to consider, not only a critical section,but also the behaviour of the beam as a whole. These are due to the interaction of a number of factors, such as Creep, Temperature effects and Construction Sequence effects. It is the development of these ideas whichforms the core of this paper. The problems of continuity were addressed at a conference in London (Andrew and Witt 1951). The basic principles, and nomenclature, were already in use, but to modern eyes concentration on hand analysis techniques was unusual, and one of the principle concerns seems to have been the difficulty of estimating losses of prestressing force.3.1 Secondary MomentsA prestressing cable in a beam causes the structure to deflect. Unlike the statically determinate beam, where this motion is unrestrained, the movement causes a redistribution of the support reactions which in turn induces additional moments. These are often termed Secondary Moments, but they are not always small, or Parasitic Moments, but they are not always bad.Freyssinet’s bridge across the Marne at Luzancy, started in 1941 but not completed until 1946, is often thought of as a simply supported beam, but it was actually built as a two-hinged arch (Harris 1986), with support reactions adjusted by means of flat jacks and wedges which were later grouted-in (Fig.6). The same principles were applied in the later and larger beams built over the same river.Magnel built the first indeterminate beam bridge at Sclayn, in Belgium (Fig.7) in 1946. The cables are virtually straight, but he adjusted the deck profile so that the cables were close to the soffit near mid-span. Even with straight cables the sagging secondary momentsare large; about 50% of the hogging moment at the central support caused by dead and live load.The secondary moments cannot be found until the profile is known but the cablecannot be designed until the secondary moments are known. Guyon (1951b) introduced the concept of the concordant profile, which is a profile that causes no secondary moments; es and ep thus coincide. Any line of thrust is itself a concordant profile.The designer is then faced with a slightly simpler problem; a cable profile has to be chosen which not only satisfies the eccentricity limits (3) but is also concordant. That in itself is not a trivial operation, but is helped by the fact that the bending moment diagram that results from any load applied to a beam will itself be a concordant profile for a cable of constant force. Such loads are termed notional loads to distinguish them from the real loads on the structure. Superposition can be used to progressively build up a set of notional loads whose bending moment diagram gives the desired concordant profile.3.2 Temperature effectsTemperature variations apply to all structures but the effect on prestressed concrete beams can be more pronounced than in other structures. The temperature profile through the depth of a beam (Emerson 1973) can be split into three components for the purposes of calculation (Hambly 1991). The first causes a longitudinal expansion, which is normally released by the articulation of the structure; the second causes curvature which leads to deflection in all beams and reactant moments in continuous beams, while the third causes a set of self-equilibrating set of stresses across the cross-section.The reactant moments can be calculated and allowed-for, but it is the self- equilibrating stresses that cause the main problems for prestressed concrete beams. These beams normally have high thermal mass which means that daily temperature variations do not penetrate to the core of the structure. The result is a very non-uniform temperature distribution across the depth which in turn leads to significant self-equilibrating stresses. If the core of the structure is warm, while the surface is cool, such as at night, then quite large tensile stresses can be developed on the top and bottom surfaces. However, they only penetrate a very short distance into the concrete and the potential crack width is very small. It can be very expensive to overcome the tensile stress by changing the section or the prestress。

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