服装设计外文翻译+++
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。
设计服装的理念怎么说英语
设计服装的理念怎么说英语Designing Fashion: The Art of Creating Clothing。
Designing fashion is more than just creating clothing; it is an art form that combines creativity, innovation, and practicality. Fashion design is the process of conceptualizing, planning, and creating clothing and accessories that are not only aesthetically pleasing but also functional and wearable. It is a dynamic and ever-evolving field that requires a deep understanding of textiles, construction techniques, and the latest trends.At the heart of fashion design is the concept of creating something new and unique. Designers draw inspiration from a variety of sources, including art, culture, history, and nature, to develop their own distinctive style. They experiment with different fabrics, colors, and silhouettes to bring their vision to life, constantly pushing the boundaries of what is considered fashionable.In addition to creativity, fashion design also requires a keen understanding of the human body and how clothing interacts with it. Designers must consider factors such as fit, comfort, and movement when creating their designs, ensuring that their garments not only look good but also feel good to wear. This attention to detail and functionality is what sets fashion design apart from other forms of art and design.Furthermore, fashion design is a collaborative process that involves working with a team of skilled professionals, including patternmakers, seamstresses, and textile experts. It requires strong communication and leadership skills to bring together a cohesive collection that reflects the designer's vision.Ultimately, fashion design is about creating clothing that not only makes a statement but also has a lasting impact on the industry. It is about pushing boundaries, challenging norms, and redefining what it means to be stylish. In a world where trends come and go, fashion design is about creating something timeless and enduring. It is an art form that continues to inspire and captivate, shaping the way we dress and express ourselves.。
服装设计中英文对照外文翻译文献
服装设计中英文对照外文翻译文献(文档含英文原文和中文翻译)College men’s fashionA brief review of the literature on the social psychology of clothing reveals that young women are more frequently research participants than men . This may be because women far outnumber men in majoring in clothing design and apparel merchandising and thus are more easily accessible as research participants than men. Regardless of why clothing research includes more women as research participants, this focus on women has resulted in a dearth of research on young men. In support of this, Reilly and Rudd (2007) report that research has investigated men’s clothing preferences and habits to a lesser extent than women’s. men’s ideas about fashion and its importance in their lives have been overlooked. Despite the limited research on young men, consumer groups comprisedof college men are important to commercial marketers in terms of expenditure in men’s apparel and accessories. According to Statista, in 2012 the expenditure on men’s clothing goods in the United States was $22.2 billion. Men purchased footwear the most, followed by shirts and suits. Prior research has also shown that men’s interest in fashion is on the rise, leading to an increase in men’s apparel sales .Historically, women have been much more conscious about their appearance than men, but in recent times there appears to have been a change in this level of focus on appearance among men. Specifically, young men in Generation Y who have been socialized by mass media and marketing activities have become appearance conscious, which leads to apparel consumption (Kacen 2000; Patterson and Elliot 2002). Young men usually use dress to communicate their identities (Shete 2012), and their aspirations toward communicating this may influence their apparel consumption (Kang et al. 2011). Understanding the relationship between college-aged men’s identities and their clothing choices provides apparel marketers with useful information to develop effective strategies to produce and market clothes in accordance with the common values with which this group strives to identify.According to Hogg and Banister (2001), individuals can either have a positive reference point (i.e., desired end state) or a negative reference point (i.e., undesired end state) that they use to achieve their desiredidentities. So far, much research has been conducted on the positive aspects of consumers’ consumption choice. A lack of research into the negative aspects of consumption choice motivated us to question their impact on consumer behavior. Consumers’ avoidance behavior allows them to create further distance between themselves and their undesired identities (Hogg and Banister 2001), staying within the threshold of their desired identities. Thus, this research focuses on the clothing and style that college men avoid. An exploratory study was conducted on men attending a major midwestern university. On the basis of the results of the exploratory study, research interview questions for any further studies will be modified to address the research problem appropriately.The purpose of the exploratory study was to investigate what clothing college men prefer, what identities they achieve through their clothing, and what they want to avoid in their clothing choices. Our research questions were as follows: (1) Does college-aged men’s clothing reflect their identities and what do they want to express through their clothing choices? and (2) What undesired identities (related to aspects of an avoided self) do college-aged men avoid in their clothing choices? Literature reviewSocial identity theorySocial identity theory as conceptualized by Tajfel and Turner (1979) refers to perceived identity of the groups to which people belong(Tajfel 1982). Social identity theory posits that a person’s self-concept is based on his or her group membership. This theory consists of two dimensions: social identity and personal identity (Howard 2000;Tajfel 1982). Social identity reflects membership in various social groups (e.g., clubs, social class), and personal identity represents the unique attributes that differentiate one person from another (Howard 2000; Tajfel 1982). In complex social environments, young people can use their identification with in-groups (i.e., their own group) versus out-groups (i.e., other groups) (Ogilvie 1987) to align their appearance (i.e., the total and composite image created by clothing) with a desired social group and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). Thus, social identities provide status to young men and enhance their self-esteem.Research has used social identity theory to investigate the effects of men’s identities on the use of dress (i.e., all material objects added to body). For example, Kang et al. (2011) used social identity theory as a theoretical framework to investigate the relationship between young professional men’s perceptions of work identity and their use of dress. They found that the young men who felt incomplete in their work identity used dress as a symbol to construct their identities. Thus, in this study, we used social identity theory as a theoretical foundation to examine the relationship between college men’s identities and their clothing choices.Men’s identities with fashionAccording to Kratz and Reimer (1998), fashion is filled with meanings and symbols, through which people can visually communicate with one another in a rapid and direct manner. Fashion enables people to express their views about themselves and their identities through the use of clothing; it allows them to visually communicate who they are, who they want to be, what type of social group they want to belong to, and whom they do not want to be associated with the most (Shete 2012). Furthermore, Bennett (2005) states that fashion is one of the channels through which people can most readily give voice to their identities. Beyond words, people can convey themselves through dress and fashion, thus creating their social identity. Fashion’s essential role in providing people with means to build, shape, and communicate their identities is especially prominent in larger metropolitan cities where they “mingle with crowds of strangers and have only fleeting moments to impress them” (Bennett 2005, p 96).Men identify themselves through various ways. For example, some men may identify themselves through their body appearance, while others may show their identities by the way they dress; Hathcote and Kim (2008) note that men represent themselves through how they dress. Moreover, many men care about what they wear and how they wear it on a daily basis and also care about how others perceive them. As part of campussociety, college students also spend time on how they dress. Some male students prefer wearing sweatpants or baggy basketball shorts at school, while others prefer wearing polo shirts and casual pants. The way male college students choose their outfits for school represents their different personalities and identities. For example, some male students wear athletic clothing to show off their masculinity. This is consistent with Lunceford (2010, p. 66), who argues that “male students choose a specific article of clothing because of how it makes them feel or because it downplays what they consider to be unattractive aspects of their bodies while accentuating their best features.”Researchers have conducted studies related to the importance of clothing and fashion for identity creation and communication. For example, Piacentini and Mailer (2004) found that young people in the United Kingdom tended to use clothing to show similarity between themselves and the groups they wished to be identified with, and as a channel to establish potential friendships. Schofield and Schmidt (2005) examined the importance of clothes used in constructing and communicating gay men’s personal a nd group identities with a sample of Manchester-based respondents. They shaped individual gay identity through different levels (i.e., community level, neo-tribal level, and situational level) and found that gay identity emerged through clothing choices. In their study, gay identity is shared on a gay community level toexpress “gayness” to others; on a neo-tribal level to show “belonging” to a social gay cohort with shared experience and emotions; and on a situational level to make themselves blend in with wherever they are (Schofield and Schmidt 2005).As mentioned previously, young people in complex social environments can use their identification with in-groups versusout-groups (Ogilvie 1987) to align their appearance with a desired social group, and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). In their study of a sample of British consumers, Banister and Hogg (2004) found that many consumers wore safe clothing items (e.g., simple clothes, which would be interpreted positively) to avoid censure rather than risky items. If such fears of folly and negative attention are present in male consumers, certain commonalities among them can be identified. Eisler and Skidmore (1987) proposed that men’s gender-role expectations contributed to fears about lack of athleticism, emotional intimacy, intimacy with other men (or homophobia), and failure. If the feminine, unathletic, impotent man is representative of perceived undesirability among men, symbolic identifiers of those traits can be indicative of young men’s labeling of avoidance reference groups and the “avoided self.” Thus, men’s fashion conservatism (i.e., dressing in a masculine way according to social norms) could be partially attributed to the generalized fear of appearing“feminine” (Kimmel 1994).Aversion to alternative stylesThe aversion to alternative styles was accompanied by several rationales. One respondent said he avoided skinny jeans (often associated with “skater” and “emo” culture) simply “for comfort.” Another respondent avoided dark and alternative styles to “avoid negative stigmas” and possible associations with low intelli gence related to group think. However, the majority of the respondents who said they avoid alternative styles were unable to explain their aversion. Mentions of dislike of alternative clothing were often supplied first and with little hesitation, suggesting that this is a somewhat automatic and marked dislike for those respondents.One respondent said he avoids wearing black and looking gothic because his friends do not wear those styles, suggesting a fear of ostracism when wearing alternative clothing. In a similar vein, one respondent included that he “doesn’t want to lead people to believe he is dark.” A 23-year-old Caucasian respondent, when asked if he avoided any styles of clothing, said: “Gothic stuff for sure, dark clothing or Hot Topic stuff. I don’t want to be associated with them and I hate the people that wear that stuff, like spiked belts.” This type of sentiment occurred almost exclusively among Caucasian respondents from middle- andupper-middle-class backgrounds. The fear of social scrutiny andostracism, along with a general stigma regarding alternative andcounter-culture, appears to be the most common motivation for avoiding alternative styles.Aversion to gangster stylesGangster styles were mentioned often, and responses often indicated social and racial prejudices, in addition to the fear of social judgment. Many respondents associated “big” and “baggy” clothing with gangster style. Race emerged as a definite component of this aversion. All but one of the respondents who listed gangster style as an avoided style identified as Caucasian. One respondent directly indicted his aversion to wearing clothes “a black person would wear,” suggesting that affiliation with the African American culture would be undesirable. Other variants included an av ersion to “swag gear” and “thug style.” Another respondent even used a variant of a racial slur to express his avoidance ofgangster-inflected styles. The respondents supplied little additional justification for avoiding this style, and when asked to expound on their preference, three claimed that they were unable to provide further information.Aversion to gay stylesThree respondents expressed avoiding clothing that could be regarded as “gay.” The wearing of skinny jeans, jean shorts, V-neck shirts, or cardigans was perceived as indicative of homosexuality, according tothe interview data. The inclusion of these items of clothing specifically indicates an association of form-fitting clothing and low necklines with effeminacy and gay culture. Respondents expressed a desire to represent themselves accurately, and those who claimed to avoid gay-inflected clothing suggested that it was undesirable on the grounds that (1) they disliked gay culture, (2) they wanted to express their heterosexuality, and (3) they wanted to avoid speculation from others that they were homosexual. In this regard, homophobic sentiments, a desire for accurate self-representation, and a fear of social judgment all seemed to be components of these respondents’ desire to avoid clothing per ceived as being worn by gay men. Another respondent said that he refused to wear any clothing from the “women’s section,” and though this does not necessary relate to the avoidance of gay style, it does represent anoften-related fear of gender-role deviation. Thus, an avoided self and avoidance behavior were important factors in clothing choice, supporting earlier findings from Hogg and Banister’s (2001) study in which dislikes and distastes of college men were associated with negative symbolic consumption. This sentiment is demonstrated by another respondent’s notion that said, “you know that there are certain things that you don’t want to buy because you don’t want to project yourself in a negative way.” They proposed that a greater understanding of the impact of negative symbolic consumption on consumers product rejection couldhelp the development of companies marketing communication strategies.Cultural background and the avoided selfDemographics indicated different trends in responses among respondents. The four Chinese men who participated were largely unable to produce responses regarding avoided clothing and styles. One of these respondents said he only avoids clothing that is “too colorful or fashionable” because “it is not his style.” Another said he only avoids “hip-hop clothing” because it does not match his serious personality. The other two respondents said that there were no types of clothing or styles they avoided. These sentiments contrast greatly with the responses from American students, all but one of whom listed one or several types of avoided clothing and styles.Furthermore, the brief elaborations the Chinese students supplied regarding the reason they avoid clothing related to issues of personal identity, with no mention of social or cultural motivations for doing so. This indicates that the avoidance of styles due to fears of social castigation and negative group associations could hold as a phenomenon more prevalent in the United States than in China.The college-aged men in this study expressed a desire for clothing that is comfortable, gives them confidence, and meets the expectations of their surroundings. These men recognized that their clothing was onerepresentation of their identities. Thus, the results suggest that college men are driven largely by a desire for comfort and to meet normative expectations. These findings are supported by the supposition that “men dress for fit and comfort rather than for style”, made by Craik (1994) and confirmed by Bakewell et al. (2006). These attributes for college men’s clothing choice seem to be quite different from those for young women, who largely make their choices based on brand (fit, look, and style) (Taylor and Cosenza 2002). The driving force for college men’s clothing choice is seemingly functional rather than decorative (Kacen 2000), even if they have become more appearance-conscious. Overall, the positive connection between young men’s individual identities and their clothing choices parallels previous research on the relationship between young professional men’s perceptions of work identity and their dress choices (Kang et al. 2011), and on the link between young peopl e’s clothing choices and the identity of the groups to which they belong (Piacentini and Mailer 2004).A minority of respondents avoided certain types of clothing because they felt it was incongruent with their styles. Their aversion to clothing that appears to belong to alternative, gangster, or gay styles suggests that these men strived to avoid clothing that implied identities viewed as non-conformist, non-professional, and unusual. These men indicated that their clothing choices were perhaps motivated by a desire to fit in withothers. Their aversion to clothing styles that communicated incongruent identities implies that deviations from cultural, class, race, andgender-related norms were undesirable.翻译：大学男装时尚简要回顾服装社会心理学的文献显示,年轻女性比男性更多的成为研究参与者。
服装设计外文翻译文献
服装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文:Trend predictionTrend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.Spirituality is seen in the interest of such things as ‘Feng Shui’which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence fromfashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.The design team determines how this intelligence affects fashion and consumer awareness.Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.ColourColour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.The fashion prediction design processOne publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.After the designs are completed they are illustrated with reference to particular markets and ‘lifestyle s’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.Samples of knitwear and new textiles may be commissioned which will be photographed for the books.Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.Theme developmentFashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.These can be interpreted into customers buying from:Lower market –budget; lower middle –high street, chain stores; middle –independent labels and department stores; upper middle – designer diffusion; upper –designer.Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.New uses of technology have resulted in the development of the Worth GlobalStyle Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.译文:流行趋势预测流行趋势预测信息所包含的内容要比时装预测丰富得多，原因是其不一定与时装有关。
服装专业词汇英汉对照
一、服装标准术语服装款式：style，指服装的式样，通常指形状因素，是造型要素中的一种。
服装造型：modeling，指由服装造型要素构成的总体服装艺术效果。
服装轮廓：silhouette，即服装的逆光剪影效果。
款式设计图：design drawing，指体现服装款式造型的平面图。
|服装效果图：effect drawing，指表现人体在特定时间、特殊场所穿着服装效果的图服装裁剪图：cutting drawing，即用曲、直、斜、弧线等特殊图线及符号将服装款式造型分解展开成平面裁剪方法的图。
服装结构线：structure line，指在服装图样上，表示服装部件裁剪、缝纫结构变化的线。
二、服装产品行业术语服装：garments , clothing , apparel成衣：ready-to-wear，按照规定的尺寸，以批量生产方式制作的服装。
定制服装：customer made ，根据个人量体尺寸，单件剪裁，制作完成的服装。
毛呢服装：woolen garment ，由纯毛、毛混纺织物为面料制成的服装。
棉布服装：cotton clothes ，由全棉、棉混纺织物制成的服装。
丝绸服装：silk garment ，由天然丝、人造丝、合成丝织物制成的服装。
化纤服装：chemical fiber garment，由各种化学纤维织物制成的服装。
裘革服装：fur or leather garment ，由裘皮或革皮制成的服装。
人造毛皮服装：artificial fur and leather garment ，由天然或化学纤维仿各种毛皮的织物为面料制成的服装。
婴儿服装：infant's wear，适合周岁以内婴儿穿着的服装。
服饰：clothing，指装饰人体的物品总称。
包括服装、鞋、帽、袜子、手套、围巾、领带、提包、阳伞、发饰等。
按穿着对象分类：男式服装：men's wear，简称男装，是成年男子穿着的服装。
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。
服装设计外文文献翻译
文献出处：Sukumar N, Gnanavel P, Ananthakrishnan T. Effect of Seams on Drape of Fabrics [J]. African Research Review, 2009, 3(3)：62-72.原文Effect of Seams on Drape of FabricsSukumar ；Gnanavel. P. , Ananthakrishnan, T.AbstractDrape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyze the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.Key words: drape, computer aided design, seam, stitch densityIntroductionDrape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 2005). The mechanical properties of fabrics were first studied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al.(1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is unrealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit acomplex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle, 1993).A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothing industries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ring of fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the m ain parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 2005). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.Types of SeamThe types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cm square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.(1) Plain Seam (S1)This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.(2) Welt Seam (S2)For constructing this, we should stitch the plan seam and press both seam allowances to one si de. Then the inside seam allowance is trimmed to ”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.(3) French seam (S3)The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished width is” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabr ic. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made” from the fold.ConclusionA study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drapeprofiles.译文接缝对面料褶皱效果的影响库马尔；甘拉维尔；安娜斯克里斯兰摘要褶皱是服装面料的一个内在特性，这使得它能够优雅地挂在服装面料的表面，特别是当面料的有些区域需要用到褶皱的时候。
关于服装设计的英语作文初一
初一关于服装设计的英语作文1Fashion design is all about creating clothes. It's like making a special kind of art. Designers think about how the clothes will look and how people will feel when they wear them.For junior high school students in grade one, there are some types of clothes that are really interesting. Take sportswear for example. Sportswear is designed to be very light and comfortable. You know, when we are running or playing basketball in PE class, we don't want our clothes to be heavy or too tight. The fabric of sportswear is usually soft and breathable. It allows our skin to "breathe" so that we don't feel too hot or sweaty. And the design of sportswear is also very practical. There are often pockets where we can put small things like keys or handkerchiefs.Another important type of clothes for us is school uniforms. School uniforms are designed to be simple and neat. They usually have a basic color and a simple style. This simplicity and neatness can show the good image of our school. When we all wear the same uniforms, it gives a feeling of unity. It's like we are all part of a big family. And the uniforms are also made to be durable so that they can last for a long time. We can wear them every day without worrying about them getting torn easily.中文翻译:服装设计就是关于制作衣服的。
服装设计外文翻译--绣纺织品设计(节选)
2000汉字，1000单词，5000英文字符出处：Miller M. Embroidered textile design[J]. Textile Design, 2011:129–145. 原文Embroidered textile designM. MILLER1IntroductionEmbroidery design is inextricably linked to the specific method of production, so this chapter provides an overview of the processes currently used for embroidery production. It provides an account of the recent changes in technology that have radically altered the use of embroidery, and includes sections outlining the key areas embroidery is used in. Finally there is a section suggesting likely future trends in embroidery.Embroidery has always been a key feature of both household textiles and clothing, in recent years embroidered decoration has become even more predominant. This is for two reasons: the advances in embroidery technology have made it much cheaper and easier to produce embroidery, also increased globalisation and the easy access to cheap labour means hand-stitched embellishment is now created for mass-market clothing as well as for the more expensive end of the market. There is a third reason that has led to a huge increase in the amount of embroidery on clothing, and that is to do with the huge growth in branded goods over the last twenty years or so.The commercial mass-production of embroidery is a surprisingly complex area. Embroidery is not a discrete process. It encompasses all types of stitched decoration, from all-overs on household textiles, to placement logos on caps and sweatshirts, to complex designs combined with print and sequin embellishment.1.1Definition of embroideryThe word embroidery has many meanings and connotations, in this chapter it is used to denote commercial embroidery, i.e. that done on or applied to garments or house- hold textiles for retail sale, as opposed to embroidery done for commission, as one-off pieces. The types of commercial embroidery covered in this chapter can be defined by method of production, i.e. tambour, Irish machine, Comely machine, schiffli machine, multi-head machine. (These different production processes are describedbelow.)1.2Types of embroideryEmbroidery can be created in many different ways; it can also be used in many different ways. The schiffli machines can create metres and metres of all-overs that can be used for household textiles or fabrics for clothing. These machines can also used be used for the creation of badges that are then attached to clothing when large quantities are required. They are also used to create embroidered trimmings.Multi-head machines are mostly used for placement embroidery, most commonly logos and branding; however, they are also used extensively for feature embroidery on all manner of clothing and household textiles, especially towels.2Commercial production methods for embroidered textilesCommercial production methods can be broadly divided into two, those that essentially consist of one person working on one piece of embroidery at a time, where the labour required is intensive and skilled: hand embroidery, tambour, Irish machine, Comely machine; and those that result in the production of more than one piece of embroidery at a time: schiffli machine, multi-head machine.3Digitising embroidery designsAlthough schiffli and multi-head machines operate in different ways, the compute-riseddigitising systems for inputting design information are very similar. The terms…punching‟ and …digitising‟ refer to the same process - the process of converting a design into a machine-readable format. This can be direct to machine, or stored on a disc. The term …punching‟ originated f rom when holes were manually punched into a paper or cardboard roll. Until the 1990s computerised systems were also commonly referred to as …punching‟ systems and the term …punching‟ remains in use in some sectors of the embroidery industry.4Pattern control in embroidered textile designsAll machine embroidery is carried out by the movement of a piece of fabric beneath, or perpendicular to a needle or set of needles.Embroidery done on these machines requires a considerable amount of skill by theoperator. The movement of the fabric to create the design is controlled freehand by the machine operator. There is sometimes an implication that embroidery created by machine is in some way inferior to that created by hand, as if less skill is involved. In fact the creation of embroidery on the Irish and Comely machines is very skilled.5Applications of commercial embroidery productionAlthough a certain amount of information about what is produced by the different methods has been provided in the above sections on production methods, it is useful at this point to reiterate some of the applications of commercial embroidery focusing primarily on the schiffli and multi-head industries.A wide range of different types of threads and fabrics can be stitched on all these types of embroidery machines. The threads used can range from thick wools to fine silks, the fabrics stitched can range from sheer chiffons to thick plastic, for certain fabrics special backings or toppings may have to be used.5.1Household textilesThis includes, but is not limited to, towels, tablecloths, napkins, bed and table linen, and curtains. The use of embroidery on household textiles has become common-place; once it was limited to only high-end textiles, and mostly stitched on the schiffli machines; however, with the lessening production costs cheaper ranges of household textiles also use embroidery.5.2ClothingAlthough in theory the application of embroidery to clothing is limitless, it tends to be used extensively in the following areas: childrenswear; womenswear, lingerie, sportswear, corporate clothing/workwear.Children swearSince the 1990s embroidery has been used extensively by manufacturers of children‟s clothing, at all market levels, from the low end, such as Primark, to upmarket brands such as Burberry. Stores such as Marks and Spencer use multi-head embroidery on a very large proportion of their children swear. The signature look of both Oilily, and Monsoon is highly embellished, decorative clothing. Both these brands use a range oftextile techniques to achieve this look, embroidery is a significant part of this.Women swearWhilst many clothing ranges include elements of embroidery occasionally, there are a small number of companies for whom embroidery is a key part of their identity. Monsoon and Whistles are both upmarket companies whose garments often utilize different types of embroidery.LingerieWomen‟s underwear has featured embroidery since before embroidery was automated. The schiffli embroidery manufacturers, such as Bischoff in St Gallen, Switzerland () have developed incredibly sophisticated ways of stitching onto complex stretch fabric bases.译文绣纺织品设计作者：米列尔1引言服装刺绣设计的具体方法与生产过程是紧密联系在一起的，所以本文对目前用于刺绣的生产工艺作了一个概述，并阐述了最近这方面的技术变化，这些技术进步己经从根本上改变了刺绣工艺及其在服装设计和制作中的使用，最后是概述了刺绣使用中的几个关键部分，并表明了刺绣的未来发展趋势。
服装设计英语单词
服装设计英语单词Fashion design is a vibrant field that blends creativity with practicality. It involves a multitude of English vocabulary terms that are essential for anyone interested in this industry.From the initial sketch to the final runway show, "designers" use a "sketchbook" to visualize their ideas. They select "fabrics" and "textiles" that embody the essence oftheir collection, considering the "drape" and "texture" to ensure the garments move gracefully.The "pattern" is the blueprint of a garment, carefully crafted to fit the "sizing" specifications. Each "seam" and "hem" must be precise, as they contribute to the garment's overall silhouette. "Cutting" the fabric is a meticulous process that requires skill and attention to detail."Sewing" techniques vary, from the basic "stitch" to more complex "embroidery" and "beading". The choice of "thread" color and "needle" type can greatly affect the finished product. "Accessories" such as buttons, zippers, and beltsare the finishing touches that add personality to each design.In the world of fashion, "trends" are ever-changing, and designers must stay abreast of the latest "catwalk" shows and "streetwear" styles. They also need to be aware of "sustainability" and "ethical fashion" practices, which arebecoming increasingly important in the industry.Ultimately, the goal of a fashion designer is to create "garments" that not only look stunning but also feel comfortable and are suitable for the wearer's "lifestyle". It's a blend of art, science, and culture, all wrapped up in the language of fashion.。
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”。
制衣词汇中英文对译(整套)海外跟单实用服装专业术语翻译
尺寸表翻译：Shirring 褶襞, 装饰性的褶带Total length from HPS 前长（肩顶度）Placket width at bottom 袋阔在脚位度Placket width at top 袋阔在顶位度Placket height at center 袋高在中间度Pocket height at sides 袋高在侧边度Pocket opening 袋开口Pocket plomt up from buttom hem 袋位置在衫脚上Forearm width 4‖ from cuff seam 臂阔袖骨位上4‖Bodice length from HPS to seam 衫身长距膊顶至骨Neck turnback height 领折入后高Front neck drop from HPS 前领深Armhole length straight from neck fold to s.s.夹长（从领摺起边到侧骨）Armhole trunback height 夹圈折入后高Armhole tirm height 夹捆高Across front @ mid armhole(edge to edge) 前上胸阔—夹圈中度Hood hem height 帽脚高Hood width at widest point 帽阔（在最阔总度）Bake yoke height from CB neck seam 后驳片高距后中领骨Double needle straddle: @ side seam 侧骨：冚双针骑骨线Back moon facing-width from widest point 后龟背阔—最宽点度（后半月贴阔—从最阔点度）Back moon facing-length from CB back 后龟背长—领骨度（后半月贴长-从后中领度下）Length from HPS (front)- tops 前衫长-肩顶度Chest width at 1‖ blw A/H 胸阔 - 夹下1度Bottom sweeep width 脚阔Bottom hem height 脚咀高Bottom width at seam 裙摆宽（骨位度）Bottom sweep width @ edge 裙摆宽（在边度）Across shoulder 肩阔Across back at mid A/H 后阔—夹中度Across chest at mid A/H 胸阔—夹中度Across back 4‖ from HPS 后上胸(膊顶下4‖度) 前Across back at strap join seam 后肩宽（在带驳骨位度）Sleeve length from shoulder袖长—肩点度Sleeve length from shoulder seam 袖长—肩骨度Sleeve length from shoulder incl rib 袖长（膊度连袖咀）Sleeve cap height 袖山高Sleeve inseam length 袖内骨长Sleeve inseam length incl rib 袖底长Armhole length straight 夹直长Armhole straight 夹宽（直度）Sleeve opening width 袖口阔---along rib edge --边度Sleeve rib height 袖罗纹高Sleeve cuff height 袖咀高Shoulder slope 肩斜Cuff opening width along rib seam 袖口阔—骨度CF & CB Banner Width 前后幅驳条阔CF banner plcmt down from placket end 前幅驳条离筒底Back rise-incl WB to crotch seam 后浪（包腰头至驳幅骨位）Outseam incl WB 外长（包腰头）Leg hem height 脚咀高Crotch panel length 驳幅长Crotch panel width 驳幅宽Back（Front） neck drop from HPS 后（前）领深—肩顶度Neck width seam to seam 领阔—骨至骨Minimum neck stretch 最小领拉度Collar length at top edge 领长(边度)Collar height at CB (not including collarband) 领高--后中度（包下级领）Collar point length 领尖长Collar stand height at CF 下级领高，前中度Collar roll over height @ CB 领拉链唇线到后中高Collar point spread 领尖距Collar length at outer edge 领长（边度）Collar circumference along top edge 领围（外边长）Placket length 筒长Placket width 筒阔Side went height(front)前侧叉高Back neck tape height 后领捆高后领带阔Forward shoulder 肩走前Stripe width measure from body 驳片阔Tape width at inside neck and side vents 领捆和侧叉人字带阔Front opening wind flap width @ top 前防风贴顶阔Front panel piecing 前幅Logo placement --- HPS to top of logo 穿计左胸车花位—花边至顶Logo placement down from shoulder seam ---距肩骨Logo placement in from CF 前中横度Logo placement --- in from CF to inside edge ….花边距前中---up from sleeve cuff seam 距袖口骨位---in from CF-WR chest 穿计右胸车花位距前中Oval椭圆形 stitch length thru centerLogo POS below Wr’s left HPS-Top crown 左胸章仔：膊顶度至花顶Logo POS below Wr’s left CF-Leaf Edge 左胸章仔：前中横度Print POS up from hem @ ss 右侧印花位：衫脚咀上在侧骨处Printing pos first buckle below pkt over CF 右侧印花：前中横度1st flounce height 第一层裙摆高1st button placement down from neck 顶钮：筒顶度下CF length(from top edge to crotch fold)衫长（前中顶至浪底）CB length(from top edge to crotch fold)衫长（后中顶至浪底）CB placket stitch length at sides 后筒车线长（侧度）Chest width at top smocking stitching(relaxed) 胸阔（打缆位松度）Chest width at armhole edge(stretched)胸阔（夹位处拉度）Hip width 1/2‖ above encased elastic 坐围（丈根上1/2‖）Leg opening width (stretched) 裤口阔（拉度）Leg opening width: along curve(relaxed) 裤口阔（沿裤口弯度）Back leg curve at center 后裤口弯（中度）Crotch width at front edge 浪底阔（前边度）Crotch width at fold 浪底阔（折边度）Crotch forward from fold 浪底走前（折边度）Leg opening hem height 裤口脚高Front neck width: distance between inside straps 前领阔（吊带里间距度）Strap length 吊带长Top tier height from last smoking stitch 顶层衫长（从最后一条打缆线度）Bottom tier height(showing) 底层衫长（外露部分）Tier hem height(blind) 衫脚高Collar ruffle height 领打褶花边高Placket box stitch height 前筒盒子线高Ruffle height(top) 裙脚打褶花边高（顶层）Ruffle height(bottom) 裙脚打褶花边高（总长）Bottom ruffle hem height 裙脚高（折入）Top(bottom) ruffle height 顶层（底层）打褶花边高Truks height 打褶高Side panel width @ outseam 侧骨驳片阔Onseam pkt plcmet down from wb stitching 袋距腰底间线度Back yoke height at CB 后机头高后中度Low hip width 3‖ from crotch 下坐围浪上3‖度Waist width (relaxed) 腰阔（松度）Waist width at top edge(relaxed) 裤头阔平放度Waist width stretch 腰阔（拉伸度）Waistband height 腰高Waist position from HPS 腰位置：膊顶度下Hip width 3‖ up from crotch 坐围（叉位上3度）Low hip width 1/2 above leg opening 低坐围阔（脚开口上1/2‖）Hip width along seam 坐围（沿骨度）Inseam(finished) 内骨长（完成后）Outseam-incl WB 外侧骨长（包腰头）Thigh width @ center 1‖ from crotch seam 大腿阔（中间叉位骨下1‖）Leg opening 脚口Leg hem height 脚高Panty front rise-incl WB to crotch seam 内裤仔前浪Panty back rise-incl WB to crotch seam 内裤仔后浪Front rise length( including waistband) 前浪长（包腰头）Back rise length (including waistband) 后浪长（包腰头）Neck circumference bttn to bttnhole 领围（钮至钮门）Tape height @ inside neck 领捆高（在内领）Logo Graphic – down from HPS 印花位置距脖顶度下Crotch panel length 叉位长Crotch panel width 叉位阔Leg elastic width 脚口丈根阔Tucks height 裙摆褶脚高Hood hem height 帽脚高Hood length @ seam 帽长（沿后中骨位度）Zipper guard 防风筒Total pocket width at top edge 袋顶阔Sleeve pocket hem height袖带口间线高Sleeve pocket dart length 袖袋打褶长Sleeve pocket flap hem height 袖袋盖脚高Sleeve pocket flap width 袖袋盖阔Sleeve pocket flap height X-top 袖袋盖顶高Belt loop placement in from CB 后中腰耳仔距离Musle width 肶阔Tie space 呔位Collar length thru center领长-中心度Taping height neckline and side vents 捆条高（领围和侧脚叉）Yoke height at CF 前中担干高1st ruffle height 第一节裙摆高Sash height 腰带高Attached short 内裤Front rise (excluding WB)前浪（不包裤头）Short thigh width(1’ fr crotch)肶阔（浪下1‖）Bow(head to head) 蝴蝶结（头至头间）Bow(tail length) 蝴蝶结尾长Bow – loop end to loop end 蝴蝶结阔（耳仔尾至耳仔尾）Diamond quilted width: top stitch 菱形阔：顶线度Front yoke diamond quilt length form HPS 前担干棱形车线高（膊顶度下）Zipper guard 拉链贴阔CB neck shirring 后领缩摺长Shoulder piecing width at neck(total)肩驳片阔领度（共计）Shoulder piecing width at shl pt-total肩驳片阔肩点度（共计）Front princess seam up from underarm pt前胸骨位延至夹底Side seam panel width rib seam total 侧骨驳片阔骨度（共计）Pocket plcmt up from rib seam(at ss)袋距罗纹骨位侧度Piecing width at CB neck collar top edge 驳片阔后中领顶边度服装做工翻译1X1 r ib(on fold) as banding at bottom opening. Finish banding seam w ith 1/4‖double needle stranddle stitch.1X1罗纹衫脚，在1/4‖双针骑骨线2-piece hood with waffle lining. Finish hood opening with self turn back hem. Edge stitch is visible on outside of garment. 1/4‖ double needle stranddle stitch along center hood seam.两片帽。
服装设计英语作文
服装设计英语作文Fashion Design English Essay。
Fashion design is the art of creating clothing and accessories that are not only aesthetically pleasing butalso functional and comfortable to wear. It is a constantly evolving industry that requires creativity, innovation, and an understanding of the latest trends and technologies.The process of fashion design begins with research and inspiration. Designers must stay up-to-date with the latest fashion trends, as well as cultural, social, and political influences that may impact their designs. They may draw inspiration from a variety of sources, including art, music, nature, and architecture.Once a designer has a concept in mind, they will create sketches or digital renderings of their designs. This is where their creativity really comes into play, as they must balance form and function, color and texture, and theoverall aesthetic of the garment or accessory.From there, the designer will create a pattern or prototype of the design. This is where they will work out any kinks in the design, such as fit or construction issues. They may also experiment with different fabrics andmaterials to find the perfect combination for their design.Once the pattern or prototype is finalized, the garment or accessory can be produced. This may involve working with manufacturers or seamstresses to create a final productthat is ready for sale or distribution.Fashion design is a highly competitive industry, and designers must constantly work to stay ahead of the curve. This means keeping up with the latest trends and technologies, as well as developing a strong personal brand and network of contacts within the industry.Overall, fashion design is a challenging but rewarding career that requires a combination of creativity, technical skill, and business savvy. Whether you are designingclothes for the runway or creating accessories for everyday wear, there is always room for innovation and creativity in the world of fashion design.。
服装设计的英语作文
服装设计的英语作文Fashion Design。
Fashion design is the art of applying design,aesthetics and natural beauty to clothing and its accessories. It is influenced by cultural and social attitudes, and has varied over time and place. Fashion designers work in a number of ways in designing clothingand accessories such as bracelets and necklaces. Because of the time required to bring a garment onto the market, designers must at times anticipate changes to consumer tastes.Designing a garment requires a great deal of creativity. Fashion designers must be able to come up with ideas and concepts for their designs, as well as be able to translate those ideas into sketches and finished products. They must also be able to work with a variety of materials, such as fabrics, leather, and metals, and must have a good understanding of how these materials behave and can bemanipulated.In addition to creativity, fashion designers must also have a strong understanding of the business side of the fashion industry. They must be able to identify trends and consumer preferences, as well as be able to work within a budget and meet production deadlines. They must also be able to work with manufacturers and suppliers to ensurethat their designs are produced to the highest quality standards.Fashion design is a highly competitive field. There are many talented designers vying for a limited number of positions, and those who are successful must be able to stand out from the crowd. This requires a combination of talent, hard work, and determination. Successful designers must be able to create unique and innovative designs that appeal to consumers, while also being able to market their designs effectively.In conclusion, fashion design is a challenging and exciting field that requires a great deal of creativity,skill, and business acumen. It offers a wide range of career opportunities, from designing clothing and accessories to working in marketing, merchandising, and production. If you have a passion for fashion and a desire to succeed, a career in fashion design may be the perfect choice for you.。
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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 finishcurved shapededges. whenused onlyslightly curved, nothingmore than widehem allowance, whichcase they’re called extended facings. Both hems onlyone side—usuallygarment.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 oftenusededgesintended 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 difficult facingso 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.Whenthread-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 backfacings unless 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.Pin trimaway 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 applyingbiasfacing 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 dash yourgarment. Bindings rightside edge,wrapping underside.Often finished so they’re attractive wrongside garment,bindings。