课题_服装设计外文翻译
服装设计创意外文翻译文献
服装设计创意外文翻译文献AbstractThe purpose of this research is to XXX in the process of clothing design。
It aims to analyze the XXX and the design process。
how to collect sources of n。
and XXX.Research methods: Currently。
many scholars have conducted empirical research on ready-to-wear clothing design。
field ns。
semi-structured interviews。
and constrained and semi-driven design tasks。
This empirical research method can be XXX insufficient。
XXX industry is needed。
such as the n industry。
not just empirical research on individual people or companies。
but as many cases as possible should be studied.Research results: XXX n for each source。
Recognize that these sources of n can help designers XXX。
XXX stage of the design process and in the early XXX.XXX: XXX.Keywords: XXX。
clothing。
creative thinking。
design arrangement。
design managementXXX design that includes visual and tactile senses。
外文文献翻译服装设计
毕设附件外文文献原文及译文文献出处：Rothenberg A, Sobel R S. A Creative Process in the Art of Costu me Design[J]. Clothing & Textiles Research Journal, 2016, 9(1):27‐36.译文服装设计的艺术创作进程阿尔伯特·罗斯伯格;罗伯特·索贝尔关于制造力心理学的实证研究已经进行了 20 连年的时刻，目前已经确信了一个特定的制造性的操作进程，称为“人性化的制造进程”。
那个进程已被证明，对各类类型的艺术与科学领域的制造性活动都有一个重要的作用。
正如它的概念所言，这一人性化的制造进程需要通过踊跃地构思和艺术性的两种因素的结合，一起作用，只有如此，才能造就一个富含人性的艺术品。
增进服装的人性化设计思维，需要用到一种技术方式，这种方式涉及利用到将人性化因素的考虑及艺术性的构思结合在一路，依如实证研究，说明利用这种可行性技术，能够增进服装设计的人性化艺术创作进程。
了解服装的天然性因素，包括服装设计的艺术创作进程。
但是，科学方式的制造力是困难重重的。
只是艺术家和其他人都对服装设计的艺术创作进程的本质都专门感爱好，都想明白得和阐释这意思本质，有一种观点以为发明家在那个领域的尽力没什么成效的。
这些发明家们也担忧这种情形，但这确实是他们的工作。
另外，发明家们可能都会比较感爱好，确实是将他们的研究功效应用于实际的制造性的尝试。
将研究结果应用于实践，通常会受到很多人的疑心和轻视，因为他们以为，这看起来就像是玩弄制造的进程，他们以为这一进程应该受到强烈钦佩和尊重，而不能有任何随意性。
尽管存在这些困难，可是事实证明，这种富含技术性的制造进程，专门是应用于服装设计中，恰恰会致使有价值的和有趣的结果。
本文关注的是思维制造性进程操作的实证分析，探讨人性化地艺术性思维，这种思维应被用于服装设计领域中。
服装设计中英文对照外文翻译文献
服装设计中英文对照外文翻译文献(文档含英文原文和中文翻译)College men’s fashionA brief review of the literature on the social psychology of clothing reveals that young women are more frequently research participants than men . This may be because women far outnumber men in majoring in clothing design and apparel merchandising and thus are more easily accessible as research participants than men. Regardless of why clothing research includes more women as research participants, this focus on women has resulted in a dearth of research on young men. In support of this, Reilly and Rudd (2007) report that research has investigated men’s clothing preferences and habits to a lesser extent than women’s. men’s ideas about fashion and its importance in their lives have been overlooked. Despite the limited research on young men, consumer groups comprisedof college men are important to commercial marketers in terms of expenditure in men’s apparel and accessories. According to Statista, in 2012 the expenditure on men’s clothing goods in the United States was $22.2 billion. Men purchased footwear the most, followed by shirts and suits. Prior research has also shown that men’s interest in fashion is on the rise, leading to an increase in men’s apparel sales .Historically, women have been much more conscious about their appearance than men, but in recent times there appears to have been a change in this level of focus on appearance among men. Specifically, young men in Generation Y who have been socialized by mass media and marketing activities have become appearance conscious, which leads to apparel consumption (Kacen 2000; Patterson and Elliot 2002). Young men usually use dress to communicate their identities (Shete 2012), and their aspirations toward communicating this may influence their apparel consumption (Kang et al. 2011). Understanding the relationship between college-aged men’s identities and their clothing choices provides apparel marketers with useful information to develop effective strategies to produce and market clothes in accordance with the common values with which this group strives to identify.According to Hogg and Banister (2001), individuals can either have a positive reference point (i.e., desired end state) or a negative reference point (i.e., undesired end state) that they use to achieve their desiredidentities. So far, much research has been conducted on the positive aspects of consumers’ consumption choice. A lack of research into the negative aspects of consumption choice motivated us to question their impact on consumer behavior. Consumers’ avoidance behavior allows them to create further distance between themselves and their undesired identities (Hogg and Banister 2001), staying within the threshold of their desired identities. Thus, this research focuses on the clothing and style that college men avoid. An exploratory study was conducted on men attending a major midwestern university. On the basis of the results of the exploratory study, research interview questions for any further studies will be modified to address the research problem appropriately.The purpose of the exploratory study was to investigate what clothing college men prefer, what identities they achieve through their clothing, and what they want to avoid in their clothing choices. Our research questions were as follows: (1) Does college-aged men’s clothing reflect their identities and what do they want to express through their clothing choices? and (2) What undesired identities (related to aspects of an avoided self) do college-aged men avoid in their clothing choices? Literature reviewSocial identity theorySocial identity theory as conceptualized by Tajfel and Turner (1979) refers to perceived identity of the groups to which people belong(Tajfel 1982). Social identity theory posits that a person’s self-concept is based on his or her group membership. This theory consists of two dimensions: social identity and personal identity (Howard 2000;Tajfel 1982). Social identity reflects membership in various social groups (e.g., clubs, social class), and personal identity represents the unique attributes that differentiate one person from another (Howard 2000; Tajfel 1982). In complex social environments, young people can use their identification with in-groups (i.e., their own group) versus out-groups (i.e., other groups) (Ogilvie 1987) to align their appearance (i.e., the total and composite image created by clothing) with a desired social group and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). Thus, social identities provide status to young men and enhance their self-esteem.Research has used social identity theory to investigate the effects of men’s identities on the use of dress (i.e., all material objects added to body). For example, Kang et al. (2011) used social identity theory as a theoretical framework to investigate the relationship between young professional men’s perceptions of work identity and their use of dress. They found that the young men who felt incomplete in their work identity used dress as a symbol to construct their identities. Thus, in this study, we used social identity theory as a theoretical foundation to examine the relationship between college men’s identities and their clothing choices.Men’s identities with fashionAccording to Kratz and Reimer (1998), fashion is filled with meanings and symbols, through which people can visually communicate with one another in a rapid and direct manner. Fashion enables people to express their views about themselves and their identities through the use of clothing; it allows them to visually communicate who they are, who they want to be, what type of social group they want to belong to, and whom they do not want to be associated with the most (Shete 2012). Furthermore, Bennett (2005) states that fashion is one of the channels through which people can most readily give voice to their identities. Beyond words, people can convey themselves through dress and fashion, thus creating their social identity. Fashion’s essential role in providing people with means to build, shape, and communicate their identities is especially prominent in larger metropolitan cities where they “mingle with crowds of strangers and have only fleeting moments to impress them” (Bennett 2005, p 96).Men identify themselves through various ways. For example, some men may identify themselves through their body appearance, while others may show their identities by the way they dress; Hathcote and Kim (2008) note that men represent themselves through how they dress. Moreover, many men care about what they wear and how they wear it on a daily basis and also care about how others perceive them. As part of campussociety, college students also spend time on how they dress. Some male students prefer wearing sweatpants or baggy basketball shorts at school, while others prefer wearing polo shirts and casual pants. The way male college students choose their outfits for school represents their different personalities and identities. For example, some male students wear athletic clothing to show off their masculinity. This is consistent with Lunceford (2010, p. 66), who argues that “male students choose a specific article of clothing because of how it makes them feel or because it downplays what they consider to be unattractive aspects of their bodies while accentuating their best features.”Researchers have conducted studies related to the importance of clothing and fashion for identity creation and communication. For example, Piacentini and Mailer (2004) found that young people in the United Kingdom tended to use clothing to show similarity between themselves and the groups they wished to be identified with, and as a channel to establish potential friendships. Schofield and Schmidt (2005) examined the importance of clothes used in constructing and communicating gay men’s personal a nd group identities with a sample of Manchester-based respondents. They shaped individual gay identity through different levels (i.e., community level, neo-tribal level, and situational level) and found that gay identity emerged through clothing choices. In their study, gay identity is shared on a gay community level toexpress “gayness” to others; on a neo-tribal level to show “belonging” to a social gay cohort with shared experience and emotions; and on a situational level to make themselves blend in with wherever they are (Schofield and Schmidt 2005).As mentioned previously, young people in complex social environments can use their identification with in-groups versusout-groups (Ogilvie 1987) to align their appearance with a desired social group, and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). In their study of a sample of British consumers, Banister and Hogg (2004) found that many consumers wore safe clothing items (e.g., simple clothes, which would be interpreted positively) to avoid censure rather than risky items. If such fears of folly and negative attention are present in male consumers, certain commonalities among them can be identified. Eisler and Skidmore (1987) proposed that men’s gender-role expectations contributed to fears about lack of athleticism, emotional intimacy, intimacy with other men (or homophobia), and failure. If the feminine, unathletic, impotent man is representative of perceived undesirability among men, symbolic identifiers of those traits can be indicative of young men’s labeling of avoidance reference groups and the “avoided self.” Thus, men’s fashion conservatism (i.e., dressing in a masculine way according to social norms) could be partially attributed to the generalized fear of appearing“feminine” (Kimmel 1994).Aversion to alternative stylesThe aversion to alternative styles was accompanied by several rationales. One respondent said he avoided skinny jeans (often associated with “skater” and “emo” culture) simply “for comfort.” Another respondent avoided dark and alternative styles to “avoid negative stigmas” and possible associations with low intelli gence related to group think. However, the majority of the respondents who said they avoid alternative styles were unable to explain their aversion. Mentions of dislike of alternative clothing were often supplied first and with little hesitation, suggesting that this is a somewhat automatic and marked dislike for those respondents.One respondent said he avoids wearing black and looking gothic because his friends do not wear those styles, suggesting a fear of ostracism when wearing alternative clothing. In a similar vein, one respondent included that he “doesn’t want to lead people to believe he is dark.” A 23-year-old Caucasian respondent, when asked if he avoided any styles of clothing, said: “Gothic stuff for sure, dark clothing or Hot Topic stuff. I don’t want to be associated with them and I hate the people that wear that stuff, like spiked belts.” This type of sentiment occurred almost exclusively among Caucasian respondents from middle- andupper-middle-class backgrounds. The fear of social scrutiny andostracism, along with a general stigma regarding alternative andcounter-culture, appears to be the most common motivation for avoiding alternative styles.Aversion to gangster stylesGangster styles were mentioned often, and responses often indicated social and racial prejudices, in addition to the fear of social judgment. Many respondents associated “big” and “baggy” clothing with gangster style. Race emerged as a definite component of this aversion. All but one of the respondents who listed gangster style as an avoided style identified as Caucasian. One respondent directly indicted his aversion to wearing clothes “a black person would wear,” suggesting that affiliation with the African American culture would be undesirable. Other variants included an av ersion to “swag gear” and “thug style.” Another respondent even used a variant of a racial slur to express his avoidance ofgangster-inflected styles. The respondents supplied little additional justification for avoiding this style, and when asked to expound on their preference, three claimed that they were unable to provide further information.Aversion to gay stylesThree respondents expressed avoiding clothing that could be regarded as “gay.” The wearing of skinny jeans, jean shorts, V-neck shirts, or cardigans was perceived as indicative of homosexuality, according tothe interview data. The inclusion of these items of clothing specifically indicates an association of form-fitting clothing and low necklines with effeminacy and gay culture. Respondents expressed a desire to represent themselves accurately, and those who claimed to avoid gay-inflected clothing suggested that it was undesirable on the grounds that (1) they disliked gay culture, (2) they wanted to express their heterosexuality, and (3) they wanted to avoid speculation from others that they were homosexual. In this regard, homophobic sentiments, a desire for accurate self-representation, and a fear of social judgment all seemed to be components of these respondents’ desire to avoid clothing per ceived as being worn by gay men. Another respondent said that he refused to wear any clothing from the “women’s section,” and though this does not necessary relate to the avoidance of gay style, it does represent anoften-related fear of gender-role deviation. Thus, an avoided self and avoidance behavior were important factors in clothing choice, supporting earlier findings from Hogg and Banister’s (2001) study in which dislikes and distastes of college men were associated with negative symbolic consumption. This sentiment is demonstrated by another respondent’s notion that said, “you know that there are certain things that you don’t want to buy because you don’t want to project yourself in a negative way.” They proposed that a greater understanding of the impact of negative symbolic consumption on consumers product rejection couldhelp the development of companies marketing communication strategies.Cultural background and the avoided selfDemographics indicated different trends in responses among respondents. The four Chinese men who participated were largely unable to produce responses regarding avoided clothing and styles. One of these respondents said he only avoids clothing that is “too colorful or fashionable” because “it is not his style.” Another said he only avoids “hip-hop clothing” because it does not match his serious personality. The other two respondents said that there were no types of clothing or styles they avoided. These sentiments contrast greatly with the responses from American students, all but one of whom listed one or several types of avoided clothing and styles.Furthermore, the brief elaborations the Chinese students supplied regarding the reason they avoid clothing related to issues of personal identity, with no mention of social or cultural motivations for doing so. This indicates that the avoidance of styles due to fears of social castigation and negative group associations could hold as a phenomenon more prevalent in the United States than in China.The college-aged men in this study expressed a desire for clothing that is comfortable, gives them confidence, and meets the expectations of their surroundings. These men recognized that their clothing was onerepresentation of their identities. Thus, the results suggest that college men are driven largely by a desire for comfort and to meet normative expectations. These findings are supported by the supposition that “men dress for fit and comfort rather than for style”, made by Craik (1994) and confirmed by Bakewell et al. (2006). These attributes for college men’s clothing choice seem to be quite different from those for young women, who largely make their choices based on brand (fit, look, and style) (Taylor and Cosenza 2002). The driving force for college men’s clothing choice is seemingly functional rather than decorative (Kacen 2000), even if they have become more appearance-conscious. Overall, the positive connection between young men’s individual identities and their clothing choices parallels previous research on the relationship between young professional men’s perceptions of work identity and their dress choices (Kang et al. 2011), and on the link between young peopl e’s clothing choices and the identity of the groups to which they belong (Piacentini and Mailer 2004).A minority of respondents avoided certain types of clothing because they felt it was incongruent with their styles. Their aversion to clothing that appears to belong to alternative, gangster, or gay styles suggests that these men strived to avoid clothing that implied identities viewed as non-conformist, non-professional, and unusual. These men indicated that their clothing choices were perhaps motivated by a desire to fit in withothers. Their aversion to clothing styles that communicated incongruent identities implies that deviations from cultural, class, race, andgender-related norms were undesirable.翻译：大学男装时尚简要回顾服装社会心理学的文献显示,年轻女性比男性更多的成为研究参与者。
服装设计褶皱外文文献翻译最新译文
服装设计褶皱外文文献翻译最新译文The objective of this study is to develop a quantitative method for evaluating the pleat effect on clothing。
as opposed to relying solely on subjective ns。
By analyzing image technology principles。
an image n system was designed to capture images of clothing。
These images were then processed using specialized are to analyze the drape of the clothing。
The study focused specifically on the pleats in the sleeve n of the garment。
analyzing the gray scale curve of the sleeve image and the corresponding nship een the gamma curve and the pleat。
The aim of this research is to provide a more objective n index for garment structural design and pleating effects.Clothing structure design involves a series of processes thatare used to render clothing through cutting。
fabric pleating。
and joining together。
The goal is to accurately capture the desired design effect by determining the structure's plane state through the use of design renderings。
服装设计的英文单词词汇有哪些
服装设计的英文单词词汇有哪些服装设计属于工艺美术范畴，是实用性和艺术性相结合的一种艺术形式。
那么，你知道服装设计的英语怎么说吗?现在跟店铺一起来学习关于服装设计的英语知识吧。
服装设计的英文释义costume designingdress designingcostume design服装设计的英文例句因此，研究服装设计的柔性思维方式对培养服装设计人才的基本素质，提高服装设计水平有着积极的意义。
So the flexible way of thinking in the course of fashion design is necessary for the learners to grasp and important for them to improve fashion design.职业技能专长：服装画技法、服装陈列、服装成衣工艺制作、针织服装设计、立体裁剪、服装平面裁剪等。
Techniques draw clothes, garment displays, clothes clothing craft production, knitwear design, draping, clothing and other cutting-plane服装模块化是实现服装设计与制造等资源重用的基础，是实现服装配置设计与变型设计的基础。
Apparel modularization is the foundation to realize the reuse of apparel design, manufacture and other resources, is the foundation to realize apparel configuration design and modification design.在服装设计风格多元化和多极化的时代,服装的功能与情感是服装设计中的重要组成部分。
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。
服装设计类毕业设计毕业论文外文翻译-服装设计工程之边缘设计英文翻译外文
原文Couture Sewing TechniqueClaire B.ShaefferEdge Finishes Hems,Facings and BindingsU nless finished in some way, the edges of a garment ravel and look incomplete. These edges—the neckline; the vertical front edges of jackets, coats and many blouses; jackets and coats—can be finished in conspicuously or they can become distinctive, decorative elements of the design.Three finishes are used extensively in couture:hems, facings and bindings.The choice of edge finish depends on many things—the shape of the edge being finished; its position on the garment; the type, design and fabric of the garment; current fashion trends; and the preferences of the individual wearer and the designer. For example, if the bottom edge of a dress is straight, it might be completed with a hem, a facing or a binding. But if this edges is asymmetrical, curved, scalloped or otherwise unusually shaped, it will need to be finished with a facing. Even when the edge is visually the same on the neckline and hem, the two different edges are likely to require slightly different finishes to accommodate the curve at the neckline and the weight of the fabric at the hem. And although it’s obvious that a tailored garment would require very different finishingfrom an evening gown, even similar designs vorked in dissimilar fabrics would dictate finishes suitable for each fabric.Although hems, facings and bindings are all edge finishes, each has a slightly different function. Hems are generally used on the lower edges of a garment or garment section (for example, a sleeve) and many help the garment hang attractively by adding weight to the edge. Facings, on the other hand, are applied to the upper and vertical edges of a garments. Bindings can be used on upper, lower or vertical edges, but they’re used most often to replace facings rather than hems.Facings can be cut as separate sections and sewn to the garment to finish curved or shaped edges. Or, when used on edges that are straight or only slightly curved, they can be nothing more than a wide hem allowance, in which case they’re called extended facings. Both hems and facings are visible on only one side—usually the underside—of the garment. Bindings, by contrast, are separate strips of fabric that encase the garment edge and finish both sides of the garment attractively.Because in couture the cost of labor and materials takes a back seat to the desired results, edges are not always finished with the simplest method or the one most often used in ready-to-wear construction or home sewing.Whatever the finishing method, hems, facings and bindings can be sewn entirely by hand or machine work.. The hand work visible on the finished product, however, is only a fraction of the hand work used to finish the edges of the traditional couture garment.FACINGSFacings, like hems, are designed to finish the edge of the garment. Unlike hems, which hang free of the body and affect the garment’s hang more than its overall shape, faced edges frequently fit the body’s curves and subtly affect the garment’s silhouette. Used on garment openings, curved edges and shaped edges like jacket lapels, facings contribute significantly to an overall impression of a well-constructed garment.There are three types of facings: extended, shaped and bias. Two of these —shaped and bias facings—are cut separately from the garment and can be sewn from self-fabric or lightweight lining fabrics. The extended facing is cut as an extension of the garment section like a plain hem and is, of course, self-fabric.The extended facing is nothing more than a 1/2-in. to 2-in. hem and is sewn exactly like a plain hem (see pp. 63-64). When the garment edge is on the length-wise grain, the extended facing duplicates the shape andgrain of the edge it faces. But when the edge is slanted on a bias or has a slight curve, the facing can’t duplicate the grain and may have to be eased, stretched or clipped to fit the edge smoothly.The extended facing is used extensively in couture because the folded edge of this facing is flatter and more supple than the seamed edges of shaped and bias facings and consequently drapes better. Edges with extended facings are generally interfaced and stabilized so that they maintain their original shape for the life of the garment.As its name suggests, the shaped facing is cut to duplicate the shape of the edge it faces and ususlly duplicates the grain as well. This facing is often used on necklines and on edges intended to have a crisp, constructed look, and it’s always used on intricately shaped edges like a scalloped hem.The bias facing is a strip cut on the true bias. Because it doesn’t duplicatethe grain of the edge it faces, this facing must itself be shaped to fit the edge. Bias facings are made from lightweight fabrics and produce narrow, inconspicuous facings.In cousture, more than one type of facing is often used on a single garment or even on a single edge. The pink gazar dress shown above, for example, has extended facings on the front neckline and back opening with shaped facings on the front neckline and back opening with shaped facings on the back neckline. Similarly, the jacker on p.60 has a shaped facing on the upper half of the front edge and an extended facing on the lower half of this edge.Before applying any kind of facing, examine the garment’s fit to determine whether the edge needs to be help in or stabilized with a stay tape (see pp. 49-50) or interfaced (see p. 68). Once you’ve handled the edge as required, then you can proceed to apply the facing you’ve chosen.SHAPED FACINGSShaped facings can be applied by hand or by machine. Both types of applications are used in couture, while only machine applications are used in resdy-to-wear. The machine application is, of course, faster, but it’s sometimes more difficult to shape the facing so that it fits smoothly,and the seamline is sometimes visible at the garment edge. The instructions below are for applying the facing by hand. (For directions on applying shaped facings by machine, refer to your favorite sewing manual.)These directions focus on neckline facings because they’re most frequently used in couture workrooms. However, the directions can be applied to other edges such as waistbands, armholes, applied pockets, collars and cuffs, and they can be adapted for garment linings. The facing can be made any time after the neck edge is established, the seamline or foldline is thread-traced, and the edge is interfaced or stabilized appropriately for the design.Facings can be cut from the original garment pattern if the edge wasn’t changed during the fitting process, or the garment itself can serve as a pattern. When the garment is used as a pattern, the thread-traced neckline can be used to establish a corresponding stitching line on the facing. Afinished neckline can also be used as a guide when you’re applying the facing by hand.Neck facings can be cut in several shapes. Two of the most popular are the traditional circlular shape, which measures an even distance all around from the edge, and a rectangular shape, which extends into the armscye seams. When the larger shape is used, the facing edges can be anchored in the seamlines, holding them smooth and in place. The facing shadow may also be less obtrusive with the larger shape, depending on the design. The obvious disadvantage of this facing is the additional fabric introduced into the shoulder area, which may give the garment a bulky appearance.One solution for reducing some of this bulk is to relocate the seamlines 1/2 in. to 1 in. from their original positions. In couture, the seams on facings are not always aligned with the corresponding garment seamlines, as they are in ready-to-wear and home sewing.The directions that follow are for cutting and applying the less familiar rectangular facing. They can easily be adapted for a circular facing, Start by selecting some scraps from your garment fabric for the front and back facings unless the fabric is bulky or heavy, in which case use a lighter,firmly woven material for the facings. Rectangular pieces of cloth are preferable because they make it easier to identify the grainlines. If you’re cutting a rectangular facing for a garment with a high, round neckline with a closre in the back, begin with one large rectangle about 16 in. wide by 7 in. long for the front facing and two smaller ones about 8 in. wide by 6 in. long for the back facings.When applying the facing by hand, it’s easier to finish the garment edge before making the facing so that you can use the finished, do so before starting the facing and clip the free edge of the interfacing as needed, to make it lie flat. Trim the seam allowance around the garment neck to 3/4 in. andfold it to the wrong side. Baste a generous 1/5 in. from the edge. To minimize the seam allowance’s tendency to curl around the neck, snip shallow cuts into the raw edge every inch or so as needed to make the neckline seam allowance lie flat(as shown on p.74).With the wrong side up, place the neckline over a pressing cushion andpress just the neckline edge. With your fingers, gently try to flatten the raw edge. If necessary, trim the edge further to 3/8 in. for firmly woven fabrics and 1/2 in. for less stabble fabrics. If the seam allowance still doesn’t lie flat, clip the raw edge with short, closely spaced snips up to, but not through the basting stitches around the neck edge. Use a loose catchstitch to sew the edge of the seam allowance to the underlining or interfacing. If the garment has neither, sew carefully so the stitches do not show on the right side of the garment.Cut a rectangle for each section to be faced. Before proceeding, decide whether relacating the shoulder seams will redistribute the bulk. After relacating the seam, if you decide to do so, begin with wrong sides together, and match and pin the grainlines together at the center front of the garment and its facing. Then, holding the garment neckline curved, as it will be when worn, smooth the facing in place, pinning as you go. When you get to the shoulder seams, smooth the front facing over the seams so that the seam allowances are flat. Pin and then trim away the excess at the shoulder seams and at the neck edgd, leaving 1/2-in. seam allowances on the facing, as shown above.Pin the back facing(s) in place. At the shoulder seams,trim and then turn the raw edges under, then pin and slip-baste, as shown above. At thispoint, you can machine-stitch the shoulder seams. At the neckline, trim away the excess, leaving a 1/2-in. seam allowance.Turn under the raw edge so the facing is 1/16 in. to 1/4 in. below the edge of the neckline and does not expose the clips on the garment’s seam allowance. If necessary, clip the edge of the facing at intervals as needed to make it turn under smoothly and pin it in place. On edges with shallow curves, you can turn back the neck edge of the facing in place and press lightly. Using a fell stitch or slipstitch, sew the facing to the neck edge and join the shoulder seams if they weren’t machine-stitched. Remove the bastings and press lightly.BIAS FACINGSA bias facing is a narrow strip of fabric cut on the true bias that’s shaped, rather than cut, to duplicate the edge it faces. Well adapted to garments with soft edges, this facing is frequently used on blouses and dresses and on lightweight silk and cotton fabrics. In couture work-rooms, most bias facings are applied by hand. Generally, self-fabric is used if the garment is sewn from light-weight fabric, but if the fabric is heavy, lining material can be used instead.Bias facings are narrower and less conspicuous than shaped facings, and since they require less fabric, they’re both more comfortable to wear nextto the skin and more economical to sew. There are two disadvantages to these facings, however. When a bias facing is applied, the garment edge is rarely interfaced and may not be as smooth. And since the bias facing is usually slipstitched to the garment, it’s sometimes difficult to prevent the stitches from showing on the outside of the garment.Most bias facings are finished so they’re about 1/2 in. wide, but they can be as narrow as 1/4 in. on a jewel neckline and as wide as 2 in. at the waist of a skirt. Generally, the wider the bias facing, the more difficult it is to shape it to a curved edge.Before applying a bias facing, finish the garment edge. Fold the seam allowance to the wrong side and baste 1/8 in. to 1/4 in. from the edge. Clip as needed to make the edge lie flat. With the wrong side up, press the edge.Measure the garment edge to be faced and cut a bias strip several inches longer, or join several strips for the length you need. For a 11/2-in. wide facing, the strip should be 1 in. wide for straight edges and 11/2 in.wide for curved edges. Fold one of the long edges under 1/4 in. This is best accomplished by folding 6 in. at one time and pleating the folded edge with your hands into 1-in. pleats so the edge will stay folded without pressing, which might stretch it.Begin with the wrong side up and match the wrong side of the bias strip to the wrong side of the folded garment edge, aligning the bias edge with the basting, 1/8 in. to 1/4 in. below the garment edge. Pin the bias, easing or stretching the strip until it fits the edge smoothly, and baste.Place the edge over a pressing cushion with the right side up. Cover theedge with a press cloth and carefully press just the edge and the bias strip. The facing shoule lie smoothly against the wrong side of the garment. If it doesn’t, release the basting and try again.Using a slipstitch or fell stitch, sew the facing to the seam allowance. Trim the bias so it’s an even 3/4 in. wide. To finish the free edge, fole it under 1/4 in., pin and baste. Using a very fine needle, sew the edge to the garment with a loose slipstitch or fell stitch. If the garment is backed, catch the backing but not the garment. Remove the bastings and press lightly.When applying a bias facing to a neckline without an opening, begin at the left shoulder seam and work toward the front neckline(this is the most difficult part of the neckline to face and, in couture, is therefore tackled first). For a bias facing at the armscye, begin at the underarm. Finish by folding one end of the bias wrong sides together on the lengthwise grain. Lightly crease the fold with your thumbnail. Fold the other end under so the folded edges match. Then slipstitch the folds together.BINDINGSAn elegant finish suitable for nearly every edge,a binding can be unobtrusive or, in a contrasting fabiric or texture, add dash to yourgarment. Bindings are made by stitching a strip of fabric to the right side of an edge, wrapping it around the edge and securing it neatly on the underside. Often finished so they’re attractive on both the right and wrong side of the garment, bindings are frequently used on transparent fabrics, two-faced fabrics and on reversible and unlined garments.In order to shape and sew bindings to curved edges easily, most fabric bindings are cut on the true bias at a 45°angel to the lengthwise grain. But if the garment edges are straight or almost straight, bingdings can be cut on either the crossgrain or lengthwise grain to enhance the design. The directions below focus on bias-cut bindings, but they can easily be adapted for nonbias strips and ribbon, although these other bindings donot take the shape of the edge as easily.Selecting the fabric for bindings is particularly important. Lightweight materials like crepe, sation, chiffon and voile are suitable for bindings on almost any shell fabric. If you wan a heavier bound edge, you could use fabrics like wool, rib-weaves, cottons and sturdy linens. But be aware that the heavier the binding fabric, the more difficult it is to work with and control its bulk, particularly at the ends.Most bindings are finished about 1/4 in. wide, but on very lightweight fabrics they can be as narrow as narrow as 1/8 in., and on bulky or heavy fabrics they can be as wide ae 1-in. Bindings can be made with either a single-layered, open strip of fabric or with a double-layered, folded strip. Obviously, bindings sewn from a double layer are stiffer and thicker because they contain more fabric, an advantage when that binding fabric is lightweight or when you want a sharply defined edge. But if the binding fabric is heavy or bulky or if the garment edge is designed to hang softly, a single-layered binding is more suitable.Generally, bindings are not applied until the garment is almost finishe—that is, until appropriate interfacings and backings have already been set, the garment fitted and all corrections made. On lined couture garments,however, the binding is frequently applied first by hand or machine, and finished wirh the lining, which covers the raw edge of the bingding..CUTTING AND STITCHING THE BIAS STRIPIf you lived in Italy, you would visit your favorite merceria, or sewing-nitions store, when you wanted to trim a design with bias bindings (I’ve looked in stores in France and England but hanve never seen fabric sold in this way). There you would find a large assortment of fabrics already cut with one edge on the bias. After you chose your fabric, a salesperson would cut a parallelogram for you, which would be ready to be cut into bias strips.In America, however, the home sewer’s fitst task in making a bias binding is to estaqblish the true bias of the fabric. This is important because if the strips are not cut exactly at a 45°angle, the finished bindings will ripple, twist and pucker. The best way to establish the true bias is with an isosceles right triangle—a drafting tool that has two sides of equal length with a 90°angel between them.Align one of the triangle’s short sides with the length-wise grain.The other side will be on the crossgrain, and the hypotenuse will mark the true bias. Mark parallellines on the bias with chalk and cut as many strips asneeded for the length of your edges (see the discussions on the following pages on single and double bindings to calculate the width of strip needed for a given finished binding width). For a short bound edge in a prominent place on the garment—for example, on a lapel—use one continuous bias strip. For longer edges, join as many strips as needed for your length. In general, it’s better to join the strips on the lengthwise grain, but if the fabric has a prominent cross-rib or horizontal stripe, the seam will be less noticeable if the seam is parallel to the stripe or rib.To join bias strips, first trim all ends of the bias strips so they’re on the desired grain—ususlly the lengthwise grain. Begin with two strips, right side up. Fold one end under 1/4 in., pin it to the other strip so the grainlines match and slip-baste at the fold. Repeat until all the strips are joined. Then, fold the basted strips together with right sides together and sew the seam with a very short machine stitch (20 stitchws/in. or 1.25mm). Press the seams flat and then press them open. Trim away the ends of the seam allowance that extend beyond the width of the strip and trim the seams to 1/8 in.Although bindings can be applied to almost any edge, the directions given here are for applying single and double bindings to a neckline, where they’re most often sewn. To prepare the garment for either a single ordouble 1/4-in.—or the width of the finished binding—below the neckline. Do not trim away the seam allowance.SINGLE BINDINGThe couture method of applying a single binding has several advantages over the regular home-sewing method. It’s begun with the right sides up, allowing you to see the binding as you shape it to fit the edge, It can also be made entirely by hand rather than machine, which results in a softer finish. To determine the most suitable width for the finished binding, experiment with fabric scraps before cutting the strips until you arrive at a sample you like.Thread-trace the garment edge, as explained on p.76, and cut the bias strips so that the width of each strip is six times the desired finished width of the binding plus 1/2-in.(To make a finished 1/4-in.wide binding, for example, cut a bias strip 2 in. wide.) Press the strip, stretching it slightlylengthwise. Fold under one long edge of the bias 1/4 in., regardless of the desired finished width, and baste 1/8 in.from the fold.Working with the right sides up, align and pin the folded edge to the garment so it barely laps the binding seamline. To apply the bias smoothly to a neckline, hold the folded edge of the strip taut when pinning it in place. Baste through all layers close to the folded edge and slip-baste the strip to the garment. Then remove the first row of basting that holds the binding flat, unfold the strip so the right sides are together and machine-stitch over the basted line. Trim the seam allowance at the neckline, remove any bastings and press lightly.Fold the binding toward the neckline and finger-press the binding seam. Wrap the binding around the neckline’s raw edge and finger-press again. Pin-baste the binding in place on the wrong side of the neckline, setting the pins just below the binding. Measure the binding width. If it’s more than 1/4 in., the finished neckline will probably be too tight. If this is the case, unpin the binding and trim the seam as needed to keep the finished binding width at 1/4 in. Then fold the raw edge under so that the folded edge touches the seamline. If the folded edge overlaps the seamline, unfold the bias and trim it as needed to make a folded edge the width you need. Baste and then permanently fell or slipstitch the folded edge to thestitched line. Remove the bastings and press lightly.Sone binding fabrics are too bulky to produce a binding that looks the same on both sides. If the design has a lining that can be applied over the binding, bulk can be reduced by leaving the binging’s raw edge flat on the wrong side of the garment instead of turning it under.Sew the binding in place by hand with short running stitches. Then trim it 1/4 in. below the seamline and apply the lining to cover the raw edge.When binding outward curves, for example, on collars and pockets, trim away the garment seam allowance. Ease the folded edge to the binding seamline so the bias is smooth at the raw edge. Then proceed as above.When binding corners on collars and lapels, a triangle of excess fabric will form at the corner. Use a needle to shape the triangle into a miter and baste it in place. Then proceed as above.DOUBLE BINDINGAmerican couturier Charles Kleibacker had an unusual method for applying a double binding, which he used to finish and trim the edges of his lace designs and to sew wide bias bands in the place of skirt hems. He laid the bias strip flat on the table and applied the garment to the bias strip, instead of the reverse. Working this way makes it easier to control the bias binding and produces fantastic results.Because the finished binding for this application method will consist of atleast seven layers, the weight and bulk of the binding fabric are particularly important and must be taken into account when deciding the width of the finished bias. Medium-weight fabrics such as four-ply silk and silk linen are suitable for bindings as narrow as 1/8 in., lightweight crepes, chiffon and organza can be used. The instructions here are for a finished binding 1/4 in. wide on a neckline. They can be modified to make a very narrow 1/8-in. wide binding or one that’s much wider.Begin with a bias strip four times the finished width plus two 1/2-in. wide seam allowances.(For a finished binding 1/4 in. wide, for example, the strip will be 2 in. wide) With the wrong sides together, fold the strip in half lengthwise and baste about 1/8 in. from the fold. Lay the strip flat on the table with the fold toward you. Using chalk or pins, mark a line along the length of the strip that is an even distance from the folded edge and equal to twice the finished binding width. (For a 1/4-in. wide binding, make 1/2 in. from the fold.) Put a second row of basting through both layers along this line to mark the binding seamline.On the garment, thread-trace the neckline and seamline for the binding, as explained on p.76. Spread the garment flat on the table with the edge to be bound toward you and right side up. Then, using the thread-traced binding seamline as a guide, fold the neck edge of the garment under 1/4in.To accomplish this neatly and without stretching the neckline, clip it as needed and fold under one small section at a time. Match and pin the folede edge of the neckline to the binding seamline on the bias strip (the one father from the folded edge of the bias strip), as shown above. Baste the garment to the binding, using a small fell stitch or slipbasting. Reposition the layers with right sides together. Machine-stitch over the basted seamline. Remove the basting and press lightly.Trim away the original thread-traced seam allowance on the neckline to reduce bulk. Wrap the binding around this raw edge. The binding’s folded edge should just meet the stitches line on the wrong side of the neckline, and the finished binding should measure 1/4 in. wide. If it doesn’t, trim the neckline a little more. Grade the seam allowances as needed. Pin the binding in place, setting the pins at an angle with the heads toward the neckline and baste. Hold the edge in one hand with the wrong side toward you, and using a fell stitch, sew the folded edge to the stitched line.FINISHING THE BINDING’S ENDSBindings often begin and end at garment openings such as neckline plackets and zipper closures. For a smooth, inconspicuous finish, fold the ends of the binding to the wrong side before wrapping the bingding around the edge.Complete the opening and trim away any excess bulk before beginning the binding. Pin the bias to the garment, allowing a 1-in. extension of the bias strip on each side of the opening to the wrong side. Trim to about 1/2 in. and sew it with a catchstitch to the wrong sides of the bias strip and garment. Repeat for the other end. If the opening has a hook, eye or button loop, sew it in place now so the end will be hidden between the layers of the binding.On couture and good-quality ready-to-wear garments, bindings applied to edges without openings (for example, circular necklines, armholes, sleeve edges and skirt hems) usually have the ends seamed on grain. Before beginning such bindings, decide where to locate the seam so it will be as inconspicuous as possible on the finished design. On necklines, the seam is usually deemed least conspicuous at the left shoulder; on armholes and the edges of sleeves, under the arm; snd, on hems, at the left side seam.Prepare a bias strip that’s long enough to allow for a 4-in. tail on each end of the strip. Pin the bias strip to the garment. Fold back one tail on the lengthwise grain with wrong sides of the bias together and pin it in place. Repeat for the other end so the folded edges meet.Slip-baste the folds together. Unpin the bias about 1-in. on either side of the basted seamlineso you can stitch the basted seam easily, or use a short backstitch to sew the seam by hand. Press the seam open and trim the seam allowances to 1/4 in. Repin the bias to the edge and complete the binding, which encases the raw edges of the seam.译文时装缝纫技术之服装边缘处理工艺衣服的边缘如果不以某种方式处理，这件衣服就会显得混乱和不完整。
初一服装设计英文作文模板
初一服装设计英文作文模板Title: Designing Outfits for the First Year of Junior High School。
As a student entering the first year of junior high school, one of the most exciting things to look forward to is picking out new outfits for the school year. It's a time to express personal style, make a good impression, and feel confident as you navigate a new environment. In this article, we will explore some key considerations for designing outfits for the first year of junior high school.First and foremost, comfort is key. As students will be spending long hours in school, it's important to choose outfits that are comfortable and allow for easy movement. This means opting for breathable fabrics, such as cotton or linen, and avoiding anything too tight or restrictive. Additionally, considering the climate and weather in your area is important when selecting outfits. Layering pieces, such as a light sweater or jacket, can be a practical wayto adjust to changing temperatures throughout the day.While comfort is important, personal style also plays a significant role in outfit selection. Junior high school is a time for self-expression and exploring different fashion trends. Whether you prefer a casual and sporty look or a more polished and preppy style, it's important to choose outfits that reflect your personality and make you feel confident. Experimenting with different colors, patterns, and accessories can be a fun way to showcase individuality and creativity.Another important factor to consider when designing outfits for junior high school is practicality. Students often have to move between different classes throughout the day, so it's important to choose outfits that are appropriate for a variety of activities. This means avoiding overly formal or restrictive clothing and opting for versatile pieces that can easily transition from the classroom to extracurricular activities. Additionally, considering school dress codes and any specific requirements for physical education or other activities isessential when planning outfits.In addition to personal style and practicality, budget is also a consideration for many students and their families. Shopping for new outfits can be an exciting but potentially expensive endeavor. However, there are ways to create stylish and budget-friendly outfits for the first year of junior high school. Shopping at thrift stores, taking advantage of sales and discounts, and mixing and matching existing pieces in your wardrobe are all great ways to create a fashionable and affordable wardrobe.When it comes to designing outfits for the first year of junior high school, it's important to strike a balance between comfort, personal style, practicality, and budget. By considering these key factors, students can create outfits that make them feel confident and ready to tackle the challenges of a new school year.In conclusion, the first year of junior high school is an exciting time for students to explore their personal style and create outfits that reflect their individuality.By prioritizing comfort, personal style, practicality, and budget, students can design outfits that make them feel confident and ready for the school year ahead. Whether it's through experimenting with different fashion trends or finding budget-friendly options, the process of designing outfits for junior high school can be a fun and rewarding experience.。
最新服装设计外文翻译终稿
服装设计外文翻译CoutureSewing Technique Claire B.Shaeffer Printed UnitedStates originallypublished TauntonPress,Inc. Chapter4.Edge Finishes Hems,Facings BindingsUnless finished someway, garmentravel lookincomplete. edges—theneckline; verticalfront edges jackets,coats manyblouses; jackets canbecome distinctive, decorative elements design.Threefinishes usedextensively couture:hems,facings edgefinish depends manythings—the shape edgebeing finished; its position type,design garment;current fashion trends; individualwearer bottomedge asymmetrical,curved, scalloped otherwiseunusually shaped, facing.Even when twodifferent edges requireslightly different finishes tailoredgarment would require very different finishing from eveninggown, even similar designs vorked dissimilarfabrics would dictate finishes suitable eachfabric. Although hems, facings alledge finishes, each has slightlydifferent function. Hems generallyused loweredges garmentsection manyhelp garmenthang attractively addingweight edge.Facings, otherhand, verticaledges garments.Bindings can upper,lower verticaledges, they’reused most often replacefacings rather than hems. Facings can separatesections finishcurvedshapededges. whenused onlyslightly curved, nothingmore than widehem allowance, whichcase they’re called extended facings. Both hems onlyone side—usually garment.Bindings, separatestrips garmentedge finishboth sides garmentattractively. Because materialstakes backseat desiredresults, edges alwaysfinished simplestmethod onemost often used ready-to-wearconstruction homesewing. Whatever finishingmethod, hems, facings bindingscan sewnentirely machinework.. handwork visible finishedproduct, however, handwork used traditionalcouture garment. FACINGS Facings, like hems, garment.Unlike hems, which hang free garment’shang more than its overall shape, faced edges frequently fit body’scurves subtlyaffect garment’ssilhouette. Used garmentopenings, curved edges shapededges like jacket lapels, facings contribute significantly overallimpression well-constructedgarment. threetypes facings:extended, shaped bias.Two biasfacings—are cut separately from sewnfrom self-fabric lightweightlining fabrics. extendedfacing garmentsection like plainhem course,self-fabric. extendedfacing nothingmore than 2-in.hem sewnexactly like plainhem (see pp. 63-64). When garmentedge length-wisegrain, extendedfacing duplicates slightcurve,facingcan’t duplicate mayhave eased,stretched edgesmoothly. extendedfacing usedextensively couturebecause foldededge moresupple than seamededges biasfacings consequentlydrapes better. Edges extendedfacings generallyinterfaced stabilizedso originalshape itsname suggests, shapedfacing ususllyduplicates oftenused edgesintended crisp,constructed look, alwaysused intricatelyshaped edges like scallopedhem. biasfacing stripcut truebias. Because doesn’tduplicate facingmust itself edge.Bias facings madefrom lightweight fabrics producenarrow, inconspicuous facings. cousture,more than one type oftenused singlegarment singleedge. pinkgazar dress shown above, example,has extended facings frontneckline backopening shapedfacings frontneckline backopening shapedfacings backneckline. Similarly, p.60has shapedfacing upperhalf frontedge extendedfacing lowerhalf edge.Before applying any kind facing,examine garment’sfit determinewhether edgeneeds staytape (see pp. 49-50) interfaced(see 68).Once you’ve handled youcan proceed facingyou’ve chosen. SHAPED FACINGS Shaped facings can machine.Both types couture,while only machine applications machineapplication course,faster, sometimesmore difficultfacingso fitssmoothly, sometimesvisible garmentedge. instructionsbelow applyingshaped facings machine,refer yourfavorite sewing manual.) directionsfocus necklinefacings because they’re most frequently used coutureworkrooms. However, directionscan otheredges waistbands,armholes, applied pockets, collars garmentlinings. facingcan madeany time after neckedge stabilizedappropriately design.Facings can cutfrom originalgarment pattern edgewasn’t changed during fittingprocess, garmentitself can serve pattern.When thread-tracedneckline can correspondingstitching line finishedneckline can also guidewhen you’re applying hand.Neck facings can severalshapes. Two mostpopular traditionalcirclular shape, which measures evendistance all around from rectangularshape, which extends armscyeseams. When largershape facingedges can seamlines,holding them smooth facingshadow may also lessobtrusive largershape, depending obviousdisadvantage additionalfabric introduced shoulderarea, which may give bulkyappearance. One solution reducingsome seamlines1/2 originalpositions. alwaysaligned correspondinggarment seamlines, homesewing. lessfamiliar rectangular facing. caneasily circularfacing, Start selectingsome scraps from your garment fabric backfacingsunless whichcase use lighter,firmly woven material facings.Rectangular pieces preferablebecause you’recutting rectangularfacing high,round neckline back,begin onelarge rectangle about 16 frontfacing twosmaller ones about backfacings. When applying garmentedge before making facingso youcan use finished,do so before starting freeedge lieflat. Trim seamallowance around garmentneck wrongside. Baste generous1/5 seamallowance’s tendency curlaround neck,snip shallow cuts rawedge every inch necklineseam allowance lie flat(as shown wrongside up, place necklineover pressingcushion pressjust necklineedge. yourfingers, gently try rawedge. necessary,trim edgefurther firmlywoven fabrics lessstabble fabrics. seamallowance still doesn’t lie flat, clip rawedge short,closely spaced snips up bastingstitches around neckedge. Use loosecatchstitch seamallowance garmenthas neither, sew carefully so stitchesdo rightside garment.Cut eachsection faced.Before proceeding, decide whether relacating shoulderseams bulk.After relacating youdecide doso, begin wrongsides together, grainlinestogether centerfront itsfacing. garmentneckline curved, whenworn, smooth place,pinning yougo. When you get shoulderseams, smooth frontfacing over seamsso seamallowances flat.Pintrimaway shoulderseams neckedgd, leaving 1/2-in. seam allowances shownabove. Pin backfacing(s) shoulderseams,trim rawedges under, shownabove. point,you can machine-stitch shoulderseams. neckline,trim away excess,leaving 1/2-in.seam allowance.Turn under rawedge so garment’sseam allowance. necessary,clip turnunder smoothly shallowcurves, you can turn back neckedge presslightly. Using fellstitch slipstitch,sew neckedge shoulderseams weren’tmachine-stitched. Remove presslightly. BIAS FACINGS biasfacing narrowstrip fabriccut truebias shaped,rather than cut, faces.Well adapted softedges, frequentlyused lightweightsilk cottonfabrics. couturework-rooms, most bias facings hand.Generally, self-fabric sewnfrom light-weight fabric, heavy,lining material can usedinstead. Bias facings lessconspicuous than shaped facings, requireless fabric, they’re both more comfortable wearnext moreeconomical twodisadvantages facings,however. When biasfacing garmentedge rarelyinterfaced biasfacing usuallyslipstitched sometimesdifficult stitchesfrom showing garment.Most bias facings finishedso they’re about 1/2 jewelneckline skirt.Generally, biasfacing, moredifficult curvededge. Before applying biasfacing, finish garmentedge. Fold seamallowance wrongside baste1/8 edge.Clip edgelie flat.wrongside up, press edge.Measure garmentedge biasstrip several inches longer, joinseveral strips lengthyou need. 11/2-in.wide facing, stripshould straightedges 11/2in.wide curvededges. Fold one longedges under 1/4 bestaccomplished onetime foldededge yourhands 1-in.pleats so stayfolded without pressing, which might stretch wrongside up wrongside biasstrip wrongside foldedgarment edge, aligning biasedge basting,1/8 garmentedge. Pin bias,easing stripuntil edgesmoothly, baste.Place edgeover pressingcushion rightside up. Cover presscloth carefullypress just biasstrip. facingshoule lie smoothly against wrongside doesn’t,release tryagain. Using fellstitch, sew seamallowance. Trim biasso even3/4 freeedge, fole under1/4 ing veryfine needle, sew looseslipstitch fellstitch. backed,catch garment.Remove presslightly. When applying biasfacing necklinewithout opening,begin leftshoulder seam worktoward frontneckline(this mostdifficult part thereforetackled first). biasfacing armscye,begin underarm.Finish foldingone end biaswrong sides together lengthwisegrain. Lightly crease yourthumbnail. Fold otherend under so foldededges match. foldstogether. BINDINGS elegantfinish suitable nearlyevery edge,a binding can contrastingfabiric texture,add dashyourgarment. Bindings rightside edge,wrapping underside.Often finished so they’re attractive wrongside garment,bindings。
服装设计专业外文翻译--童装设计
外文原文：Design of Safety of Children’s ClothingSUO Ying(Textile & Garment Branch, Wuhan College of Science and Technology, Wuhan 730074)Abstract: After analyzing the present situation of ch ildren’s clothing market of China,This paper proposes that w e must pay at ten t ion to the design of safety ofch ildren’s clothi ng.Keywords: ch ildren’s clothing; safety; design; market1、User-friendly design management strategyA、Children's clothing design secure tendencyEnvironmental protection health design, as a result of children's clothing market expense characteristic, what the guardians cared generally is the child health growth. Along with consumption level's enhancement, the township dwellers consumption pattern marches into turns to a new generation the stage, when the market demand to upscale, the best buy makes great strides forward at the same time, the social economy and environmental protection's coordinated development question has received people's universal attention. The development green, the healthy children's clothing are promote the children's clothing market sustainable development key to be. In the near future, the children's clothing market partial brands have promoted the color cotton and kapok series, the pure natural children's clothing, but also has the radiation protection, against electromagnetic wave, against smelly antibacterial and so on function each kind of healths, the environmental protection children's clothing to accept gradually by the consumer.In view of the fact that the child skin and the growth particularity, the consumer to natural, does not have the pollution, to have the health, the security function children's clothing product demand desire in the last few years to strengthen, thus promoted the children's clothing market green product development. Our country Quality surveillance Department the test result which carried on to the children's clothing indicated according to 2003 that the children's clothing Production enterprise qualified rate was only 60.2%, babies and infants class clothing product qualified rateonly then 30%, young boy clothing product quality basic stable, the product qualified rate reached 92.7%. The question centralism manifests, in end product release formaldehyde content exceeding the allowed figure and the lining ingredient labels inaccurate on. In the babies and infants children's clothing which examines is had 1.7% product formaldehyde content exceeding the allowed figure.Must change this condition, must the profession autonomy, work from the source, the quality pass, walks strictly the green environmental protection path. “Doctor the frog”, “the treasure room”, “the compact car” and so on brands, took the lead several years ago to propose fortunately did not need to include the formalin and so on toxic ingredient lining, they promoted the subject was “the green, the environmental protection”, initiated to develop the new atmosphere which the market from the beginning worked; Therefore broadly child and guardians' affection. V arious children's clothing factory selects and purchases when the lining certainly must the quality pass, the choice high quality environmental protection lining, show loving concern strictly from the narrow view the child, causes clothes not to stimulate the skin, moreover the dyes for textile printing ingredient does not have the pollution to the environment, refracts the human with the environmental consciousness which merges into one organic whole naturally.B、Children's clothing's color and health, security, defensive relationsThe people when choose the children's clothing, what first pays attention is clothing's color, particularly the child, they have primitive sensitive and unique fondness to the color. The child expert studies the performance, before 0~2 year-old babies and infants' visual nerve not yet grows completely, the color is not at heart perfect, in this stage not available loud colors and so on irritant strong colors injures the visual nerve, babies and infants' skin is tender and delicate in the physiological characteristic, the shallow light color not can only avoid the dye to skin's poisoning, but may also serve as contrast the infant young boy's limpid double pupil and the powder slippery skin. 2~6 year-old child intelligence grows quickly, can know four kind of above colors, in the discrimination muddy dark color the brilliance big color. 6~12 years old will be raise the child morality, intelligence and physique full scale development the crucial phase, the children's clothing color application immediate influence to child's psychological quality, if the expert will test discovered that willput on the gloomy tone since childhood the little girl, easy to produce timidly, shy, will not get on well with others the point of view, after exchanging orange and the bright clothing, will improve the girl will not have eccentrically depending on the psychology. The children's clothing color also plays in the specific environment protects child's role, the child wears the color striking raincoat to be possible to avoid the traffic accident in the dusky rain, at night the outdoors walk the active child, its clothing color like advances the retro-reflecting material and the fluorescent substances, easy to cause the pedestrian, the vehicles to take seriously with the vigilance, avoids the traffic accident.The children's clothing design's lining choice and the child health have the direct relations. Generally speaking, cotton and kapok, hemp, silk, wool class natural, environmental protection lining for children's clothing design first choice lining, its good moisture absorption permeability and against smelly antibacterial function has provided finely comfortable “the microenvironment” for the child body. Espe cially the babies and infants sleep time is long, the skin is tender and delicate, is sensitive, the soft lining has the anti-allergic function, big child besides choice natural cotton and kapok system lining, but must consider the lining the resistance to wear. Because great age child lively active, particularly the mischievous boy, solid, the wear-resisting lining then guaranteed after tumbling, does not wound and the skin, may resist the mosquito to stare nips, moreover clothes are solid, stand wear, save the economical disbursement. Along with the people environmental consciousness's unceasing enhancement, has against ultraviolet ray, the anti-electromagnetic wave children's clothing to arouse people's interest day after day. It is well known, the school-age child contact machine time is long, the computer sends out the electromagnetic wave is the stealth, but is neglected easily by the human. But is very actually deep to human body's injury degree, like reduces the human body immunity function, induces cancer, the leukemia and so on. According to the research confirmed that a person works continuously before the screen for five hours, the intense radiation injury quite one day-long life loss which creates to the human body, one year gets down, was equal to that loses one-and-a-half year life [3]. The ultraviolet ray is also humanity's fatal murderer, it has the carcinogenic danger to the humanity, therefore, the children's clothing design like choice radiation protection and the anti-ultraviolet ray's lining is advantageous to child's physical and moral integrity.Good children's clothing, its intrinsic quality and the external image should bevery fine. It not can only better protect the child, avoids the nonessential injury, can also promote the child to foster the good habits and customs, the guidance physical and moral integrity growth. For example, to favor the child to move and to play, the clothing size must be good-fitting, the board is friends with, the paint department, the waist, the armpit are inferior to bodily other spots, cannot be too tight, otherwise, will affect the child blood circulation and the growth, will cause child's motion to receive the restraint. Must consider regarding the infant young boy from the nursing angle that reduces on clothes easy to fall off, easily immature part which is swallowed by the child. Nearby the zipper and the rough seam also has the possibility to injure the child, because some children's clothing use the inferior fuel assistant, light may cause the skin sensibility, the fall in the blues, the diet is unsatisfactory, heavy also possibly induces cancer. Therefore, under the condition which in the children's clothing demand increases year by year, the child clothing's health, the security, the defense become the center of gravity which the clothing being employed public figure and the consumer pays attention.C、Function security design(1) our country children's clothing market's polarization phenomenon serious polarization phenomenon was at the same time nature superior price high overseas the brand has seized the big share children's clothing market, like the rice was marvelous, the Babu bean, ShiNubi, young Xiongweini, the Li infant room and so on, its single unit price was higher than the domestic similar products by far, its raw material purchase and ready-made clothing processing in domestic, therefore its price nearly all now in its brand value [2]; On the other hand was the non-brand low end product wholesales the form to occupy the domestic children's clothing market 60% shares; But suits the middle-grade children's clothing's brand which the cities expend to be more deficient. At present the domestic some child drink enterprise also saw this opportunity, steps in the children's clothing domain in abundance, like “Wahaha”, “crown prince the milk” the group and so on, “MacDonald” also announced that marches the children's clothing industry, makes children's clothing's industry competition to intensify day by day, therefore, how does promote the middle-grade brand children's clothing's development is an urgent matter. But the middle-grade brand children's clothing's main characteristic should has the highperformance-to-price ratio, this is because purchases this level product consumer many for mature rational consumer, they both the request product has the good quality and fashionable, and hope moderate cost. Like, investigates according to the State Statistical Bureau, in Shanghai area township dwellers household consumption, children's clothing's disbursement from during 1998~2001 years, regardless of being the absolute value or occupies the household consumption the proportion to assume the declining trend, this explained that these local the children's clothing expended has formed the mature buyers' market, the rational consumer increased day by day, the reason that children's clothing's expense paid great attention “the performance-to-price ratio” more and more [1], overseas the children's clothing brand is higher than the domestically produced children's clothing in the price 20%~200% still to receive welcome generally, mainly lay in the design, on the one hand these brand style followed the fashion, simultaneously designed the scientific content to be high. At present, the international trend of development displays the children's clothing also to have is popular and is fashionable, but our country clothing profession not yet takes seriously to the children's clothing fashion trend's issue; On the other hand many children's clothing designers also lack the inquire deeply to children's clothing's distinctive quality and the detail. Therefore, the following puts forward the preliminary proposal in view of children's clothing's safe design.Children's clothing's performance quality is loaded with the big difference in the design with the adult, both the request has the certainly fashionable feeling while the lining choice and to request to be safe, to be comfortable; Both requests in the design to have the fashion design and to have the security and the functionality design, sews the craft and the specification is more complex.(2)ning secure children's clothing design's most important working procedure chooses the lining, must have the functionality to the lining also to have the color request. Except usual request soft, ventilation, moisture absorption, wear-resisting, but also deals bears the wash, color fastness, the babies and infants attire to bear the saliva color fastness and the formaldehyde content definition. If the child woolen sweater little chooses the entire wool raw material in the yarn choice, after avoids washes many times, the shrinkage being big, but is not suitable to choose the entire acrylic fiber gauze, because it lacks the wool the graceful sense of reality, usually choose 70/30 wool/nitrile well. In the color, the tint may reduce the dye and causes the oral toxicity to skin's stimulation to reduce to lowly. Many enterprises had not understoodto the new promulgation implementation's national standards that like GB18401-2001 "Textile Formaldehyde Content Definition" and GB/18885-2002 "Ecology Textile Specification", the opposite supplementary material lacks the examination method, because textile industry's fast development has caused the people to be very difficult to imitate the natural lining and the natural lining difference, like washes/the cotton and kapok and the cotton and kapok, the vinylon and the cotton and kapok, the acrylic fiber and the wool and so on. In the past on the underwear the people paid great attention to use the natural lining, actually chemical fiber child coat in use, because the friction number of times were many static electricity which and the winter air drying caused the harm which created to the human body to be very big, usually could amount to several kilovolts. According to the American medical arena research discovery, the static electricity can create some person of serious losing sleep in vivo; The Japanese child's shoe was stipulated that does not permit the use rubber bottom is because it causes the human and the Earth insulates can cause the human body to be ill.(3)esign security the people were comfortable in the past to children's clothing's lining quality of material and chemistry security took seriously, to appeal much, but investigated the organization according to the Britain home accident in 1995 statistics, some 154 example child injured the event and the clothing related, some already fatal [3]. If performs improves in clothing's structural design, these accidents are avoidable originally. Afterward Britain's standard formulation department has formulated for this reason a series in view of the children's clothing designer and the manufacturer laws and regulations, impels the enterprise to the children's clothing design design secure value. This is mainly because the adult very little pays attention to child's behavior way and children's clothing's relations, the investigation showed that because in the clothing causes in the accident, some 48% are because the button inspiration nostril or swallows into the knot and so on small decorations to create; Some 12% are the decorations cuts down the skin, lethal reason many for belt ropy, therefore suggests below 3 years old the child to decorate the belt length to be smaller than 14 centimeters, the butterfly knot rear part should short be long in 5 centimeters, little uses or does not use the scarf, replaces the pants zipper with the sam door lapel and so on. Suggests the baby clothing multi-use plastic snap fastener. Our country not yet sees the Department concerned regarding this aspect at present the investigation, but this kind of accident definitely has the occurrence, suggests after the investigationshould also establish the corresponding design taboo, enhances the children's clothing design the scientific nature.(4)he functionality and the craft security children's clothing's functionality detail distinguishes an important characteristic which installs in the adult, if multi- number child four limbs growth speed quickly in torso, in design time may long carries on the consideration to the sleeve length and the trousers, if some section of overseas brand winter children's clothing makes the sleeve length in the design to lengthen, the sleeve hole opens in a big way, the initial period puts on when causes its sleeve cuff to whirl around takes the decoration, slightly grows up when the sleeve cuff may lay down continues to wear, the clothes long style has become the short jacket shape. This is only a simple example merely, actually also has the design detail which many may excavate to be worth the designers studying. Children's clothing's craft safe also has: V ehicle cover needle carry-over in clothing, sully and so on; In makes the bottom bush by the adhesive-bonded cloth to embroider in the craft, chooses the non-chemical fiber ingredient as far as possible the adhesive-bonded cloth, reduces the pure chemical fiber the use; Changes to the plastic substitution metal the zipper, the button, the decorations and so on, especially must avoid uses contains the heavy metal (for example chromium and so on) the supplementary material.The child clothing's security should cause the enterprise and designer's value, on the other hand the related department and the enterprise should also speed up to children's clothing's secure design and the production assessment criteria research and the making, is advantageous with the international convention trail connection, speeds up the domestically produced brand children's clothing's development.D、Children's clothing design psychologyThe overseas child is also big with Chinese child's psychological disparity, therefore the domestic many children's clothing do not suit Chinese child's individuality actually, in the certain extent will be disadvantageous to child's healthy development. The child time is the life specially sensitive time, mainly made the impression in this time child depending on the outside stimulation to certain things, the children's clothing puts on daily in the body nature the influence which produced to child psychology physiology is bigger. Since is the children's clothing, should manifest the child vividly fully active, the spry characteristic, but in the presentmarket the children's clothing design actually more and more tends to the hominization. Some children's clothing were simply the simple grown-up clothes' reduction number, the design are monotonous, are stereotypical, have lost the children's clothing necessary child really with the virgin interest. In addition the children's clothing color has not achieved certain standard, some children's clothing's color is gloomy, will put on this kind of inferior color clothes to affect the child inevitably for a long time to the color recognition capability.E、Serialized children's clothing designAlong with the socio-economic development and the household consumption ability's enhancement, attire's class commodity consumer demand the specific change will change the archery target to enhance, particularly the children's clothing market new round expense community receives the social environment development the influence, they the appreciation level will also improve to the clothing, from satisfies the design purchase profession primarily to change gradually for the pursue seriation, the combination necessary purchase behavior. From the beforehand tradition, sole children's clothing matching extend to the design, clothing series matching, combination selecting and purchasing, manifests one perfect fashion to savor and to influence child's clothing sentiment. From now on, the consumer will tend to gradually to the children's clothing demand has the historical characteristics tide to fluidize, the fashionable clothing seriation, the children's clothing selects and purchases will extend gradually from independent design combination matching to the shoes, the hat, the accessories, series clothing's and so on Bao Dai the, scarf combinations forms a complete set. The child clothing series conformity will put on will be becoming one fashion. Therefore develops the child clothing series in the children's clothing brand management is taps the children's clothing market potential the important means.2、Brand management strategyPresently, the people have the enhancement to the children's clothing brand's hobby, in the new round latent expense community, the majority of expense idea and the custom tend brands, this will become the brand children's clothing's main expense object. Along with household income's further enhancement, our country children's clothing market's consumer demand satisfied the basic life by the past practical to start to change the pursue to be artistic, the fashion, the partial economical developedcity, the children's clothing market “expended the stage by quantity” to change “the brand gradually to expend” the stage.Through subdivides the market, we saw the entire children's clothing market not only develops is not extremely balanced, and has the huge vacancy, until now did not have a domestically produced children's clothing brand to be able to contend with the overseas brand, the brand children's clothing market is seized for a long time by the overseas brand, and has further tendency which monopolizes. Actually, these overseas brand's children's clothing majority is produces the processing by the Domestic enterprise, this explained that Domestic enterprise's technical strength has achieved the high standard. But as a result of speaking of the market and the market benefit assignment, more importantly the brand has, the establishment strong trend brand is wins the market the key. The Chinese children's clothing industry is facing the unprecedented opportunity and the challenge, the conformity resources superiority, advocates the brand economy, develops the mature brand consciousness, the creation conforms to the national condition brand culture promotes the Chinese children's clothing's industry way that must be taken.The child is the special crowd, their own non-power of consumption, competes the thought to be inferior to adult, expends the power basically to grasp daily in the parents hand, but guardians when selects and purchases the children's clothing the general consideration order is clothing's design, the lining and the price and the brand. But this cannot explain that the brand is unimportant, instead brand setting up and develops imminently under the Chinese children's clothing market present situation.The child is the parents “the treasure”, the children's clothing takes one kind of carrier, is transmitting people's life personal status and the life style. China, although has 300,000,000 children, but has the brand consciousness and the brand power of consumption expense community truly only accounts for the child total quantity about 10%. At pre sent, the children's clothing market's major part “the cake” is shared by the low-grade children's clothing wholesale market. Our country children's clothing market lacks commands troops the brand, does not have the strong trend brand, the single brand market share is often low in each big city, the market size is small, the profit is somewhat low. Therefore the present stage urgent needs to form a powerful native place brand team, gains consumer's trust in order to, the pattern which the constitution scale and the oligarch compete, improves the quality, cuts the price, provides for the consumer both has the brand and to have the personal statuspopularity consumption product.3、Personalized service strategyBecause the children's clothing market age localization is broad, its expense object has the particularity which - decides, the customer to the service demand also along with society's progress day by day strengthens. Especially occupies in the new round children's clothing market development stage, the market hastens maturely, expends hastens the reason. Increases along with the children's clothing brand with the expense idea renewal, the customer when selects and purchases the commodity, not only cares about the design and the price, moreover also cares about the commodity the added value and with it necessary service. When their purchase commodity, while obtains use value also to hope that can obtain the corresponding service value (i.e. in psychology to obtain enrichment and feeling of satisfaction). Must adapt the customer to the service demand, the development brand children's clothing marketing activity, the service will become an invisible unique product to accept gradually by the market. The promotion brand service value, will develop take the customer as the guidance user-friendly service function is in a next children's clothing market marketing strategy important component. Therefore in the new round children's clothing market development and the competition, each brand children's clothing should provide the personalized service for the customer, caters to the consumer to the brand and the service demand, creates the biggest goods value and the service value for the customer, adapts expends to serves the demand the new tendency. As the children's clothing market's operator and the policy-maker, must aim at the next round children's clothing market consumer demand the new trend to carry on explore unceasingly and study.Generally speaking, our country children's clothing market has the huge capacity and the attractive prospects for development, this will cause the children's clothing market to shine the brilliance greatly, the children's clothing market prospect is bright.中文原文：童装的安全性设计探讨[ 摘要]本文在分析了我国童装市场的现状之后, 提出了在童装的设计中不仅要注意面料的化学安全性同时更要对其款式的安全性设计关注。
服装设计外文翻译文献
文献信息：文献标题：Proactive Fashion Design for Sustainable Consumption（可持续消费的具有前瞻性的服装设计）国外作者：Kirsi Niinimäki文献出处：《Nordic Textile Journal》，2012，1:60-69.字数统计：英文3104单词，17881字符；中文5737汉字外文文献：Proactive Fashion Design for Sustainable Consumption Abstract This article presents a study that investigates product satisfaction in the context of clothing. The paper furthermore presents suggestions on how this knowledge can be used to create proactive fashion design for sustainable consumption. One of the main challenges in today’s consumer society is how to design products that encourage consumers to engage in more environmentally responsible behaviour, sustainable consumption. This paper opens the discussion on how to change current unsustainable consumption behaviour related to clothing through a visionary, far-sighted design approach. Designers can create future-oriented sustainable designs that can transform consumption patterns towards more sustainable ones. Design for sustainability can thus be a redirective practice that aims for sustainable consumption, and the ways in which fashion design can be a proactive process with this aim will be described.Keywords: proactive design, sustainable design, sustainable consumption, emotional satisfaction, PSS.IntroductionProducts configure consumer needs and use patterns; hence, design can be said to be “practice-oriented”, creating certain everyday practices and consumption behaviour (Shove et al. 2007, 134–136). Current industrial design andmass-manufacturing systems stimulate consumerism and the production of disposable products (Walker 2007, 51). Fast changing trends lead to consumers’ unsustainable consumption behaviour. To create a new, sustainable balance between design, manufacturing and consumption, alternative ways to create products are required to drive more sustainable consumption behaviour. Therefore, designers should evaluate how each design decision affects a consumer’s consumption patterns. Understood in this way, sustainable design can be a redirective or a proactive practice that aims for sustainable practices in consumption (Fry 2009, 53).Higher production volumes and simultaneous growing consumption have caused an increase in material consumption (Throne-Holst et al. 2007). Ever-changing fashion trends, affordable product prices and low-quality products cause consumers to engage in unsustainable consumption behaviour, such as impulse purchases, overconsumption, short use time and premature disposal of products. The increase in the purchase of short-lifespan products results in a notable increase in waste. Currently, approximately 70 percent of disposed clothing and textiles end up in landfills, and in many Western countries clothing and textile waste is estimated to be the fastest growing waste stream (Fletcher 2008, 98). Consumers discard gaments not only because they are worn out but also because they actively seek novelty. Nevertheless, product durability and longterm use are prerequisites for sustainable consumption: i.e. extending the life span of products is essential when the goal is sustainable consumption (Cooper 2005). Importantly, however, consumers associate durability with high quality and not with environmental impact.Emotions lie at the centre of human life, and they influence most of our behaviours, motivations and thought processes (Desmet 2009, 379). Emotions also play a strong role in consumption. The interplay between wants, needs, values, attitudes and experiences is emotionally meaningful for a contemporary consumer. Clothing and fashion items belong to the category of self-expressive products, and with such products, consumption-related emotions are important to the consumer. As Richins (2009) argued, these consumption emotions are important elements in contemporary society and especially after the purchase event. The purchase situationbecomes a strong positive experience for a consumer, but it is very short term in nature and has no connection to the experience of deeper satisfaction or person–product attachment (ibid). Through a new purchase event, the consumer can again experience excitement, enjoyment, joy and pleasure, at least momentarily.From an environmental point of view, studying consumption patterns and the meanings of consumption is important when sustained positive emotions in person–product relationships are desired or solutions are sought to replace materialistic consumption with other positive emotional states. The design process should focus on sustainable consumer satisfaction with a product or with the person–product attachment process. Moreover, a new kind of product service system (PSS) should be developed that aims to prolong the enjoyable use time of the product. A PSS strategy can also offer the consumer new emotional experiences, which can postpone the disposal of the product; PSS thinking can thereby aim to avoid a new garment purchase, which is an opportunity to decrease materialistic consumption.Sustainable Satisfaction with ClothingIf current unsustainable consumption patterns are to be transformed into more sustainable ones, the ways in which design can offer sustainable satisfaction must be investigated. To gain a deeper understanding of the opportunities to deliver satisfaction by design and how the enjoyable use of garments can be extended, the satisfaction process must first be explained.According to Swan and Combs (1976), the performance of clothing can be separated into instrumental performance (physical properties) and expressive performance. Expressive performance is linked to a consumer’s psychological response to the garment, such as the experience of beauty. Instrumental requirements (e.g. quality expectations) must be satisfied first. Nevertheless, only fulfilling instrumental requirements will not result in satisfaction. Therefore clothing must also meet consumers’emotional needs if it is to deliver satisfaction (Swan and Combs 1976).Hence good intrinsic quality is optimal for ensuring consumer satisfaction and toguarantee the longevity of clothing. High quality means durable materials and high manufacturing quality. The ageing process of a pleasant, aesthetic garment requires not only maintaining high intrinsic quality but also the design of a more classical style and use of durable materials. Some textile materials look old after a short use time. The material might experience pilling or may look old after a few washes. Garments needing frequent washing may look old rather quickly; therefore, recognising materials that age in a more aesthetically pleasing manner is important. Studies have shown (Niinimäki 2010) that consumers experience e.g. wool and real leather to age in an aesthetically pleasant way. Consumers report that with high quality wool the ageing process does not show as obviously and in leather the ageing process is experienced as an attractive temporal dimension (ibid.).Consumers respect aesthetic attributes in the long-term use of clothing, and aesthetic attributes correspond to expressive performance in clothing satisfaction. Accordingly, expressive performance affects the psychological response to clothing. The aesthetic attributes that correlate to the longevity of clothing are good fit, personal cut, nice colours and comfortable materials,as well as a classic look (see Table 1). Garment tactility is important to the wearer and a pleasant tactile experience during the use situation is one attribute for enjoyable long-term use of clothing.Table I: Attributes that enable longevity in clothingNot only quality, functionality and aesthetics are important attributes; the values behind the product are also important to consumer satisfaction. Clothing choices must connect strongly with the wearer’s self-image, identity and values. Wang and Wallendorf (2006) have argued that consumers with high materialistic values seek novelty and evaluate their possessions more often than consumers with lower materialistic values. They also highlight that materialistic consumers have less appreciation for deeper person–product relationships that develop during longer use situations. Consumers’ materialistic values may also connect with social status-related elements in garments and possessions. Consumers with lower materialistic values may have greater appreciation for the personal meanings attributable to the product that emerge during long-term use (Wang & Wallendorf 2006). Consumers with high environmental and ethical interests place high importance on being able to find environmental value behind a product. These consumers respect credence quality attributes – local and ethical production, eco-materials and long garment life spans – and they want to see these attributes and environmental values in the products they purchase. The value aspect is most important and consumers’ value expectations should be fulfilled to create deep product satisfaction (Niinimäki 2011).Fashion Design for Sustainable SatisfactionHow can a designer offer sustainable satisfaction to the consumer and how can s/he propose a prolonged use time of the product to the consumer? Firstly identifying the attributes associated with satisfaction and including them in the design is the most important strategy. Secondly identifying the determinants that lead to dissatisfaction helps the designer to avoid these elements in design and concentrate on design forsustainable satisfaction. The previous section described the satisfaction elements in clothing:-good intrinsic quality;-good functionality;-aesthetics;-values in the product, in manufacturing or the company’s values.The easiest way to offer product satisfaction is to increase the product’s intrinsic quality and inform the consumer accordingly. However the clothing satisfaction process is complex and not easy for a designer to control. Table 2 presents the temporal dimensions in clothing satisfaction, combining those elements and attributes that enable satisfaction to emerge or even create person-product attachments in the field of clothing. These are the elements that a designer should try to embed in design if s/ he is aiming for proactive fashion, deep product satisfaction and extended use time of the products.Table 2: Elements of proactive sustainable fashion designThe following section presents several design approaches to deeper person-product satisfaction in the field of clothing. With these design strategies the designer can aim to achieve proactive and sustainable design.Fashion Design with Meaningful UniquenessProducts carry symbolic meaning, which consumers use to construct their own personality and identity. Consumers use products to express themselves and wantassociation with the characteristics, uniqueness or values symbolised by a product (Norman 2005). If products are easily personalised, the opportunity exists to connect the product more deeply with consumers’ identity construction and to create deeper product satisfaction and an emotional attachment through the person–product relationship (Chapman 2009). This opportunity enables the product to be more meaningful to the wearer, making possible an extension of the product’s lifetime.Design services are one opportunity to address consumer satisfaction by deeply connecting the design outcome with a consumer’s personal needs. By using digital technologies that enable individual design or measurements, meaningful uniqueness can be designed. Furthermore, unique design and “made-to-measure” services offer improved product satisfaction by meeting a consumer’s individual needs and preferences better than mass-manufactured garments. The company NOMO Jeans offers computer-assisted made-to-measure jeans by using a 3D scanner (Nomo Jeans). Jeans are made individually according to each customer’s measurements. The customer can also choose the cut, colour, effects and details of his/her jeans.An enterprise can also base its function only on consumer orders. The designer can create their own collections, produce a couple of sample collections and enable consumers to specify all orders and measurements on an individual basis. Garments can then be created based on each wearer’s measurements, thus enabling him/her to experience greater satisfaction. This design and manufacturing strategy may also help producers avoid the problem of overproduction. Small enterprises could offer their collections in small shops carrying a sample collection and obtain orders directly from consumers, allowing them to avoid extra production.Designer Anna Ruohonen creates long lasting and high quality fashion (Anna Ruohonen). She has created a timeless collection called Black Classic, where the designs are permanent but it is possible to order them in seasonal colours. Garments are manufactured only according to customer’s order and according to each customer’s individual measurements. This strategy helps to avoid overproduction. Moreover the good fit of the clothing helps ensure deeper garment satisfaction.Co-creationOne possibility for creating deeper person–product attachment is through a consumer’s own efforts during the design or realisation process. A sense of personal achievement is strongly connected to a positive sense of self (Norman 2005) and allows the product to begin to be more important to the wearer. The consumer’s own achievement through a “made by me” approach to design creates positive experiences through the sense of effort and the opportunity to realise her/his own creative skills. If the user builds the product herself/himself, s/he acquires a deeper knowledge of the product and, therefore, has the ability to repair the product (Papanek 1995). Kit-based design and halfway products give the consumer a more active role in the realisation process.One option for including the consumer in the design or manufacturing process is to offer her/him an opportunity to make decisions during the process. Consumers have shown an interest in taking part in the design or manufacturing process by using the Internet (Niinimäki 2011). If the design is based on a modular structure and the consumer is allowed to make her/his own choices – even from a limited selection – in creating a unique style, this process gives consumers new power and a more active role.Opening fashion field is one way to offer the consumer more active role. Lastwear is a company that offers ready-made garments, halfway clothing (kit-based) and patterns of their fashion designs (Lastwear clothing company). They also invest in quality and offer a guarantee on their garments, which is a good way to ensure product satisfaction.Giving consumers more power is also possible by offering environmentally-related options. Consumers may be allowed to select a manufacturing location and different materials – and be provided with corresponding prices – enabling them to express their values through their choices. For example, many consumers, especially those who consider themselves ethical consumers, would like to buy locally manufactured garments even if they are more expensive (Niinimäki 2011).Fulfilling Consumers’ Changing Needs Through PSSThe symbolic meanings of products are connected to psychological satisfaction through an emotional response. When the product no longer offers a positive emotional response because, for example, it falls out of fashion or the wearer becomes otherwise tired of it, the consumer experiences psychological obsolescence and easily replaces the product with a new one. Accordingly emotional and psychological obsolescence results in premature disposal of a product that may still be functional.Consumers’ needs and aesthetic preferences that change over time raise the question of how to avoid the psychological obsolescence of garments. The challenge in extending product lifetimes is to achieve continuing satisfaction with the product. The PSS approach allows the creation of new experiences with a product or changes to a product to enable it to better suit a consumer’s changing needs.Positive ways that a product’s lifetime can be extended include upgradability services, modification services and exchange stocks. These strategies can postpone garment disposal by keeping the consumer satisfied longer. Modification or redesign possibilities for quality garments allow for an extension of a product’s life span. Many websites already advise consumers on how to modify their old garments themselves and encourage consumers to extend the use of their garments. Many small and locally functioning repair and redesign studios also already exist, where the consumer can repair a damaged garment but can also order a redesigned garment made from old ones.A design based on a modular clothing structure also offers the possibility to create services to upgrade garments. This strategy offers the opportunity to update the appearance in a sustainable way (Fletcher & Grose 2012, 82). It is possible to play with the clothing elements to create unique combinations of colours or shapes to develop a new look. The consumer does not need to then buy a new garment; instead s/he can simply change some parts or elements in the garment to have the experience of newness.Garment exchange or renting services offer possibilities for consumers to makechanges to their clothing in more sustainable ways. New and interesting examples of clothing membership clubs exist. By paying a monthly membership fee, a consumer can select a certain number of garments to use, giving him or her the opportunity to change the appearance in a more sustainable way. This type of business strategy has emerged e.g. in the field of children’s clothing. Consumers can rent children’s outfits and when the child outgrows a size, the parent can obtain larger-size garments from the clothing club.ConclusionsThis study investigated product satisfaction in the context of clothing and this knowledge was used to understand and define proactive fashion design for sustainable consumption. It opened views into the process of consumer satisfaction. A main issue that arises when aiming to extend the life of garments is to increase their durability and intrinsic quality. Moreover, fulfilling consumers’other expectations regarding the garment’s aesthetic and functional attributes is important to ensure product satisfaction. Finally the issue of value is most important with regard to deep product satisfaction: values associated with the product, the manufacturing process and behind the companies have to meet the consumers’own value base so that the consumer feels completely satisfied with the product.By identifying the reasons for the short and long-term use of clothing, it is possible to find new ways to create sustainable designs that can result in a redirective practice directed towards sustainable consumption. Proactive fashion design for sustainable consumption takes these reasons into account, thus enabling clothing longevity. Satisfying consumers’expectations regarding quality, functionality, aesthetics and value is a key to extending the use time of a product. Moreover, the emotional side of consumption must be understood to provide more sustainable ways to ensure customer satisfaction.The PSS approach provides an opportunity to extend the enjoyable use of a product and thus avoid psychological obsolescence and a garment’s premature disposal. Stimulating a sense of meaningful uniqueness and achievement throughdesign services or “self-made”approaches is a promising route to enhancing consumer satisfaction. If a consumer is satisfied, then strengthening the emotional bond between the product and consumer is possible. In turn, this meaningful attachment is the best way to postpone a product’s disposal. When the product or its use is somehow special to the consumer, s/he will take good care of it to extend its enjoyable use time.The most promising sustainable design strategy is the combination of product design with service elements: PSS strategies are therefore a future path to proactive and sustainable design.中文译文：可持续消费的具有前瞻性的服装设计摘要本文从服装的角度对产品满意度进行了研究。
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。
衣服设计 英语作文
衣服设计英语作文Title: The Art of Clothing Design。
Clothing design is a dynamic and multifaceted fieldthat combines creativity, functionality, and cultural significance. Whether it's haute couture or ready-to-wear fashion, designing clothes involves a careful balance of aesthetics and practicality. In this essay, we'll delveinto the intricacies of clothing design, exploring its process, principles, and impact on society.The Creative Process。
At the heart of clothing design lies the creative process, which typically begins with inspiration. Designers draw inspiration from various sources, including art, nature, history, and contemporary culture. This initial spark fuels the creation of mood boards, sketches, and fabric swatches, helping designers to conceptualize their ideas.Next comes the design development stage, where sketches are translated into three-dimensional garments through pattern-making and draping techniques. This phase requires meticulous attention to detail as designers work to achieve the desired silhouette, fit, and structure. Fabricselection plays a crucial role here, as different materials can drastically alter the look and feel of a garment.Once the prototype is created, it undergoes fittingsand adjustments to ensure that it meets the designer'svision and fits the intended wearer comfortably. This iterative process may involve multiple rounds of revisions before the final design is approved for production.Principles of Design。
简约服装设计理念范文英文
简约服装设计理念范文英文Title: Minimalist Clothing Design Philosophy。
Minimalist clothing design is a philosophy that focuses on simplicity, functionality, and quality. It is about creating garments that are timeless, versatile, and free from unnecessary embellishments. The minimalist approach to fashion is rooted in the idea that less is more, and that the beauty of a garment lies in its clean lines, impeccable construction, and understated elegance.In minimalist clothing design, the emphasis is on the use of high-quality fabrics and impeccable craftsmanship. Each piece is carefully constructed to ensure that it is both durable and comfortable to wear. The focus is on creating garments that are not only aesthetically pleasing, but also practical and easy to wear in everyday life.One of the key principles of minimalist clothing design is versatility. Minimalist garments are designed to be worn in a variety of ways, allowing the wearer to create different looks by simply changing how the garment is styled. This versatility makes minimalist clothing a practical choice for those who value a streamlined wardrobe that can easily transition from day to night, work to weekend, and season to season.Another important aspect of minimalist clothing design is the focus on sustainability. By creating garments that are timeless and durable, minimalist designers aim to reduce the environmental impact of fashion by encouraging consumers to buy fewer, higher-quality pieces that will last for years. In addition, many minimalist designers prioritize ethical and sustainable production practices, using eco-friendly materials and supporting fair labor practices.Ultimately, minimalist clothing design is about creating garments that are both beautiful and functional, while also promoting sustainability and simplicity. By embracing the minimalist philosophy, designers and consumers alike can contribute to a more conscious and mindful approach to fashion.。
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”。
简约服装设计理念范文英文
简约服装设计理念范文英文Title: Minimalist Fashion Design Philosophy。
In the fast-paced world of fashion, trends come and go, but one design philosophy that has stood the test of time is minimalism. Minimalist fashion design embraces the idea that less is more, focusing on clean lines, simple silhouettes, and a neutral color palette. This timeless approach to clothing has transcended generations and continues to be a popular choice for those who appreciate the beauty of simplicity.One of the key principles of minimalist fashion design is the emphasis on quality over quantity. Rather than overwhelming the wearer with excessive embellishments and flashy details, minimalist garments are carefully crafted with attention to detail and precision. This results in pieces that exude a sense of understated elegance and sophistication.Another fundamental aspect of minimalist fashion design is the use of neutral colors such as black, white, gray, and beige. These timeless hues not only create a cohesive and versatile wardrobe but also allow the focus to remain on the clean lines and impeccable tailoring of the garments. By incorporating a neutral color palette, minimalist fashion design ensures that the clothing remains relevant and adaptable to various occasions and personal styles.Furthermore, minimalist fashion design promotes the idea of versatility and longevity. By creating pieces that are timeless and classic, minimalist designers aim to produce clothing that transcends fleeting trends and can be worn season after season. This sustainable approach to fashion not only reduces the environmental impact but also encourages consumers to invest in pieces that will stand the test of time.In conclusion, minimalist fashion design is a timeless and enduring philosophy that celebrates simplicity, quality, and versatility. By embracing clean lines, neutral colors, and timeless silhouettes, minimalist fashion design offers a wardrobe that is both elegantand enduring. As the fashion industry continues to evolve, the enduring appeal of minimalism serves as a reminder that sometimes, less truly is more.。
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服装设计外文翻译CoutureSewing Technique Claire B.Shaeffer Printed UnitedStates originallypublished TauntonPress,Inc. Chapter4.Edge Finishes Hems,Facings BindingsUnless finished someway, garmentravel lookincomplete. edges—theneckline; verticalfront edges jackets,coats manyblouses; jackets canbecome distinctive, decorative elements design.Threefinishes usedextensively couture:hems,facings edgefinish depends manythings—the shape edgebeing finished; its position type,design garment;current fashion trends; individualwearer bottomedge asymmetrical,curved, scalloped otherwiseunusually shaped, facing.Even when twodifferent edges requireslightly different finishes tailoredgarment would require very different finishing from eveninggown, even similar designs vorked dissimilarfabrics would dictate finishes suitable eachfabric. Although hems, facings alledge finishes, each has slightlydifferent function. Hems generallyused loweredges garmentsection manyhelp garmenthang attractively addingweight edge.Facings, otherhand, verticaledges garments.Bindings can upper,lower verticaledges, they’reused most often replacefacings rather than hems. Facings can separatesections finishcurvedshapededges. whenused onlyslightly curved, nothingmore than widehem allowance, whichcase they’re called extended facings. Both hems onlyone side—usually garment.Bindings, separatestrips garmentedge finishboth sides garmentattractively. Because materialstakes backseat desiredresults, edges alwaysfinished simplestmethod onemost often used ready-to-wearconstruction homesewing. Whatever finishingmethod, hems, facings bindingscan sewnentirely machinework.. handwork visible finishedproduct, however, handwork used traditionalcouture garment. FACINGS Facings, like hems, garment.Unlike hems, which hang free garment’shang more than its overall shape, faced edges frequently fit body’scurves subtlyaffect garment’ssilhouette. Used garmentopenings, curved edges shapededges like jacket lapels, facings contribute significantly overallimpression well-constructedgarment. threetypes facings:extended, shaped bias.Two biasfacings—are cut separately from sewnfrom self-fabric lightweightlining fabrics. extendedfacing garmentsection like plainhem course,self-fabric. extendedfacing nothingmore than 2-in.hem sewnexactly like plainhem (see pp. 63-64). When garmentedge length-wisegrain, extendedfacing duplicates slightcurve,facingcan’t duplicate mayhave eased,stretched edgesmoothly. extendedfacing usedextensively couturebecause foldededge moresupple than seamededges biasfacings consequentlydrapes better. Edges extendedfacings generallyinterfaced stabilizedso originalshape itsname suggests, shapedfacing ususllyduplicates oftenused edgesintended crisp,constructed look, alwaysused intricatelyshaped edges like scallopedhem. biasfacing stripcut truebias. Because doesn’tduplicate facingmust itself edge.Bias facings madefrom lightweight fabrics producenarrow, inconspicuous facings. cousture,more than one type oftenused singlegarment singleedge. pinkgazar dress shown above, example,has extended facings frontneckline backopening shapedfacings frontneckline backopening shapedfacings backneckline. Similarly, p.60has shapedfacing upperhalf frontedge extendedfacing lowerhalf edge.Before applying any kind facing,examine garment’sfit determinewhether edgeneeds staytape (see pp. 49-50) interfaced(see 68).Once you’ve handled youcan proceed facingyou’ve chosen. SHAPED FACINGS Shaped facings can machine.Both types couture,while only machine applications machineapplication course,faster, sometimesmore difficultfacingso fitssmoothly, sometimesvisible garmentedge. instructionsbelow applyingshaped facings machine,refer yourfavorite sewing manual.) directionsfocus necklinefacings because they’re most frequently used coutureworkrooms. However, directionscan otheredges waistbands,armholes, applied pockets, collars garmentlinings. facingcan madeany time after neckedge stabilizedappropriately design.Facings can cutfrom originalgarment pattern edgewasn’t changed during fittingprocess, garmentitself can serve pattern.When thread-tracedneckline can correspondingstitching line finishedneckline can also guidewhen you’re applying hand.Neck facings can severalshapes. Two mostpopular traditionalcirclular shape, which measures evendistance all around from rectangularshape, which extends armscyeseams. When largershape facingedges can seamlines,holding them smooth facingshadow may also lessobtrusive largershape, depending obviousdisadvantage additionalfabric introduced shoulderarea, which may give bulkyappearance. One solution reducingsome seamlines1/2 originalpositions. alwaysaligned correspondinggarment seamlines, homesewing. lessfamiliar rectangular facing. caneasily circularfacing, Start selectingsome scraps from your garment fabric backfacingsunless whichcase use lighter,firmly woven material facings.Rectangular pieces preferablebecause you’recutting rectangularfacing high,round neckline back,begin onelarge rectangle about 16 frontfacing twosmaller ones about backfacings. When applying garmentedge before making facingso youcan use finished,do so before starting freeedge lieflat. Trim seamallowance around garmentneck wrongside. Baste generous1/5 seamallowance’s tendency curlaround neck,snip shallow cuts rawedge every inch necklineseam allowance lie flat(as shown wrongside up, place necklineover pressingcushion pressjust necklineedge. yourfingers, gently try rawedge. necessary,trim edgefurther firmlywoven fabrics lessstabble fabrics. seamallowance still doesn’t lie flat, clip rawedge short,closely spaced snips up bastingstitches around neckedge. Use loosecatchstitch seamallowance garmenthas neither, sew carefully so stitchesdo rightside garment.Cut eachsection faced.Before proceeding, decide whether relacating shoulderseams bulk.After relacating youdecide doso, begin wrongsides together, grainlinestogether centerfront itsfacing. garmentneckline curved, whenworn, smooth place,pinning yougo. When you get shoulderseams, smooth frontfacing over seamsso seamallowances flat.Pintrimaway shoulderseams neckedgd, leaving 1/2-in. seam allowances shownabove. Pin backfacing(s) shoulderseams,trim rawedges under, shownabove. point,you can machine-stitch shoulderseams. neckline,trim away excess,leaving 1/2-in.seam allowance.Turn under rawedge so garment’sseam allowance. necessary,clip turnunder smoothly shallowcurves, you can turn back neckedge presslightly. Using fellstitch slipstitch,sew neckedge shoulderseams weren’tmachine-stitched. Remove presslightly. BIAS FACINGS biasfacing narrowstrip fabriccut truebias shaped,rather than cut, faces.Well adapted softedges, frequentlyused lightweightsilk cottonfabrics. couturework-rooms, most bias facings hand.Generally, self-fabric sewnfrom light-weight fabric, heavy,lining material can usedinstead. Bias facings lessconspicuous than shaped facings, requireless fabric, they’re both more comfortable wearnext moreeconomical twodisadvantages facings,however. When biasfacing garmentedge rarelyinterfaced biasfacing usuallyslipstitched sometimesdifficult stitchesfrom showing garment.Most bias facings finishedso they’re about 1/2 jewelneckline skirt.Generally, biasfacing, moredifficult curvededge. Before applying biasfacing, finish garmentedge. Fold seamallowance wrongside baste1/8 edge.Clip edgelie flat.wrongside up, press edge.Measure garmentedge biasstrip several inches longer, joinseveral strips lengthyou need. 11/2-in.wide facing, stripshould straightedges 11/2in.wide curvededges. Fold one longedges under 1/4 bestaccomplished onetime foldededge yourhands 1-in.pleats so stayfolded without pressing, which might stretch wrongside up wrongside biasstrip wrongside foldedgarment edge, aligning biasedge basting,1/8 garmentedge. Pin bias,easing stripuntil edgesmoothly, baste.Place edgeover pressingcushion rightside up. Cover presscloth carefullypress just biasstrip. facingshoule lie smoothly against wrongside doesn’t,release tryagain. Using fellstitch, sew seamallowance. Trim biasso even3/4 freeedge, fole under1/4 ing veryfine needle, sew looseslipstitch fellstitch. backed,catch garment.Remove presslightly. When applying biasfacing necklinewithout opening,begin leftshoulder seam worktoward frontneckline(this mostdifficult part thereforetackled first). biasfacing armscye,begin underarm.Finish foldingone end biaswrong sides together lengthwisegrain. Lightly crease yourthumbnail. Fold otherend under so foldededges match. foldstogether. BINDINGS elegantfinish suitable nearlyevery edge,a binding can contrastingfabiric texture,add dashyourgarment. Bindings rightside edge,wrapping underside.Often finished so they’re attractive wrongside garment,bindings。