服装设计外文文献翻译
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。
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。
外文文献翻译中性化服装设计
外文文献翻译中性化服装设计shirts。
XXX。
With the development of society and the progress of science and XXX。
people'XXX challenged。
and the XXX。
the design of XXX.2 Design of Neuter ClothingThe design of XXX。
It aims to break the XXX。
and present a more inclusive and diverse style。
The design of neuter clothing should be comfortable。
practical。
and nable。
It should not be XXX。
age。
or body shape。
The use of neutral colors。
simple lines。
and minimalist style is the main feature of XXX.The design of XXX the social and cultural background。
Different ns and XXX。
the design of neuter clothing should be adapted to the local culture and market demand。
The use of local materials。
nal crafts。
and cultural elements can add more value to the XXX.3 Market of Neuter ClothingIn recent years。
the market of XXX。
such as Zara。
H&M。
and Uniqlo。
The neuter clothing market share is increasing。
服装设计外文翻译文献
服装设计外文翻译文献(文档含中英文对照即英文原文和中文翻译)原文:Trend predictionTrend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.Spirituality is seen in the interest of such things as ‘Feng Shui’which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence fromfashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.The design team determines how this intelligence affects fashion and consumer awareness.Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.ColourColour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.The fashion prediction design processOne publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.After the designs are completed they are illustrated with reference to particular markets and ‘lifestyle s’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.Samples of knitwear and new textiles may be commissioned which will be photographed for the books.Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.Theme developmentFashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.These can be interpreted into customers buying from:Lower market –budget; lower middle –high street, chain stores; middle –independent labels and department stores; upper middle – designer diffusion; upper –designer.Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.New uses of technology have resulted in the development of the Worth GlobalStyle Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.译文:流行趋势预测流行趋势预测信息所包含的内容要比时装预测丰富得多，原因是其不一定与时装有关。
服装设计褶皱外文文献翻译最新译文
服装设计褶皱外文文献翻译最新译文The objective of this study is to develop a quantitative method for evaluating the pleat effect on clothing。
as opposed to relying solely on subjective ns。
By analyzing image technology principles。
an image n system was designed to capture images of clothing。
These images were then processed using specialized are to analyze the drape of the clothing。
The study focused specifically on the pleats in the sleeve n of the garment。
analyzing the gray scale curve of the sleeve image and the corresponding nship een the gamma curve and the pleat。
The aim of this research is to provide a more objective n index for garment structural design and pleating effects.Clothing structure design involves a series of processes thatare used to render clothing through cutting。
fabric pleating。
and joining together。
The goal is to accurately capture the desired design effect by determining the structure's plane state through the use of design renderings。
我的服装设计英文范文
我的服装设计英文范文Sure! Here is a sample English essay on the topic of clothing design:Clothing Design: A Fusion of Creativity and Functionality.Introduction:Clothing design is an art form that combines creativity, practicality, and cultural expression. It plays a crucial role in enhancing our appearance, reflecting our individuality, and meeting our diverse needs. In this essay, we will explore the various aspects of clothing design, including its significance, the creative process, and the impact it has on society.Body:1. Significance of Clothing Design:Clothing design is not merely about aesthetics; it serves several important purposes. Firstly, it provides protection and comfort, shielding us from harsh weather conditions and ensuring our well-being. Secondly, it allows us to express our identity, culture, and personal style. Clothing design also plays a significant role in the fashion industry, driving economic growth and creating job opportunities.2. The Creative Process:Clothing design involves a meticulous and multi-faceted creative process. It begins with research and inspiration gathering, where designers explore various sources such as art, history, nature, and current trends. Next, they sketch their ideas, experimenting with different shapes, colors, and textures. After selecting the most promising designs, they create prototypes, often using computer-aided design (CAD) software. Finally, the chosen designs are transformed into finished garments through pattern-making, fabric selection, and sewing.3. Elements of Successful Clothing Design:Successful clothing design requires a careful balance of several elements. Firstly, functionality is crucial; garments must be comfortable, durable, and suited to the intended purpose. Secondly, aesthetics come into play, with consideration given to color, silhouette, and details. Additionally, designers must consider the target audience, ensuring that the design resonates with their preferences and lifestyle. Lastly, innovation and uniqueness are key to standing out in a saturated market.4. Influence on Society:Clothing design has a profound impact on society, shaping cultural norms, social interactions, and self-perception. Fashion trends influence the way we dress and present ourselves, often reflecting societal values and aspirations. Moreover, clothing design has the power to challenge stereotypes, promote inclusivity, and empower individuals. It can be a form of self-expression and ameans of communication, conveying messages and sparking conversations.5. Sustainable Clothing Design:In recent years, there has been a growing emphasis on sustainable clothing design. Designers are increasingly incorporating eco-friendly materials, ethical production practices, and circular economy principles. Sustainable design aims to minimize the negative environmental and social impact of the fashion industry, promoting conscious consumption and responsible manufacturing.Conclusion:Clothing design is a dynamic and multifaceted fieldthat combines artistry, functionality, and cultural relevance. It influences our daily lives, shaping our self-expression, and reflecting societal values. As the industry continues to evolve, it is crucial for designers to embrace innovation, sustainability, and inclusivity. By doing so, they can contribute to a more conscious and vibrant fashionlandscape.In conclusion, clothing design is an intricate blend of creativity and functionality. It serves as a means of self-expression, reflects cultural values, and impacts society. Through a meticulous creative process, designers bringtheir visions to life, considering elements such as functionality, aesthetics, and target audience. As the fashion industry evolves, there is a growing focus on sustainability and inclusivity. Clothing design continues to shape our world, and its significance should not be underestimated.。
服装设计中英文对照外文翻译文献
服装设计中英文对照外文翻译文献文献信息：文文献献标标题题：：Proactive Fashion Design for Sustainable Consumption（可持续消费的具有前瞻性的服装设计）国外作者：Kirsi Niinimäki文献出处：《Nordic Te____tile Journal》，20________，1:60-69. 字数统计：英文 3104 单词，17881 字符；中文 5737 汉字外文文献：Proactive Fashion Design for Sustainable ConsumptionAbstractThis article presents a study that investigates product satisfaction inthe conte____t of clothing.The paper furthermore presents suggestions on how this knowledge can be used to create proactive fashion design for sustainable consumption.One of the main challenges in today’s consumer society is how to design products that encourage consumers to engage in more environmentally responsible behaviour, sustainable consumption.This paper opens the discussion on how to change current unsustainable consumption behaviour related toclothing through a visionary, far- sighted design approach.Designers can create future-oriented sustainable designs that can transform consumption patterns towards more sustainable ones.Design for sustainability can thus be a redirective practice that aims for sustainable consumption, and the ways in which fashion design can be a proactive process with this aim will be described.Keywords: proactive design, sustainable design, sustainable consumption, emotional satisfaction, PSS.IntroductionProducts configure consumer needs and use patterns; hence, design can be said to be “practice-oriented”, creating certain everyday practices and consumption behaviour (Shove et al.20__,134–136).Current industrial design and mass- manufacturing systems stimulate consumerism and the production of disposable products (Walker 20__,51).Fast changing trends lead to consumers’ unsustainable consumption behaviour.To create a new, sustainable balance between design, manufacturing and consumption, alternative ways to create products are required to drive more sustainable consumption behaviour.Therefore, designers should evaluate how each design decision affects a consumer’s consumption patterns.Understood in this way, sustainable designcan be a redirective or a proactive practice that aims for sustainable practices in consumption (Fry 2021, 53).Higher production volumes and simultaneous growing consumption have caused an increase in material consumption (Throne-Holst et al.20__).Ever-changingfashion trends, affordable product prices and low-quality products cause consumers to engage in unsustainable consumption behaviour, such as impulse purchases, overconsumption, short use time and premature disposal of products.The increase in the purchase of short-lifespan products results in a notable increase in waste.Currently, appro____imately 70 percent of disposed clothing and te____tiles end up in landfills, and in many Western countries clothing and te____tile waste is estimated to be the fastest growing waste stream (Fletcher 2021, 98).Consumers discard gaments not only because they are worn out but also because they actively seek novelty.Nevertheless, product durability and longterm use are prerequisites for sustainable consumption: i.e.e____tending the life span of products is essential when the goal is sustainable consumption (Cooper 20__).Importantly, however, consumers associate durability with high quality and not with environmental impact.Emotions lie at the centre of human life, and they influence mostof our behaviours, motivations and thought processes (Desmet 2021, 379).Emotions alsoplay a strong role in consumption.The interplay between wants, needs, values, attitudes ande____periences is emotionally meaningful for a contemporary consumer.Clothing and fashion itemsbelong to the category of self-e____pressive products, and with such products, consumption-related emotions are important to the consumer.As Richins (2021) argued, these consumption emotions are important elements in contemporary society and especially after the purchase event.The purchase situation bees a strong positivee____perience for a consumer, but it is very shortterm in nature and has no connection to thee____perience of deeper satisfaction or person– product attachment (ibid).Through a new purchase event, the consumer can again e____perience e____citement, enjoyment, joy and pleasure, at least momentarily.From an environmental point of view, studying consumption patterns and themeanings of consumption is important when sustained positive emotions in person– product relationships are desired or solutions are sought to replace materialistic consumption with other positive emotional states.The design process should focus on sustainable consumer satisfaction with a product or with the person–product attachmentprocess.Moreover, a new kind of product service system (PSS) should be developed that aims to prolong the enjoyable use time of the product.A PSS strategy can also offer the consumer new emotional e____periences, which can postpone the disposal of the product; PSS thinking can thereby aim to avoid a new garment purchase, which is an opportunity to decrease materialistic consumption. Sustainable Satisfaction with ClothingIf current unsustainable consumption patterns are to be transformed into more sustainable ones, the ways in which design can offer sustainable satisfaction must be investigated.To gain a deeper understanding of the opportunities to deliver satisfaction by designand how the enjoyable use of garments can bee____tended, the satisfaction process must first bee____plained.According to Swan and bs (1976), the performanceof clothing can be separatedintoinstrumentalperformance(physicalproperties)ande____pressive performance.E____pressive performance is linked to a consumer’s psychological response to the garment, such as the e____perience of beauty.Instrumental requirements (e.g.qualitye____pectations) must be satisfied first.Nevertheless, only fulfilling instrumental requirements will not result in satisfaction.Therefore clothing must also meet consumers’ emotional needs if it is to deliver satisfaction (Swan and bs 1976).Hence good intrinsic quality is optimal for ensuring consumersatisfaction and to guarantee the longevity of clothing.High quality means durable materials and high manufacturing quality.The ageing process of a pleasant, aesthetic garment requires not only maintaining high intrinsic quality but also the design of a more classical style and use of durable materials.Somete____tile materials look old after a short usetime.The material might e____perience pilling or may look old after a few washes.Garments needing frequent washing may look old rather quickly; therefore, recognising materials that age in a more aesthetically pleasing manner is important.Studies have shown (Niinimäki 2021) that consumers e____periencee.g.wool and real leather to age in an aesthetically pleasant way.Consumers report that with high quality wool the ageing process does not show as obviously and in leather the ageing process is e____perienced as an attractive temporal dimension (ibid.).Consumersrespect aesthetic attributes in the long-term use of clothing, and aesthetic attributes correspond toe____pressive performance in clothingsatisfaction.Accordingly, e____pressive performance affects the psychological response to clothing.The aesthetic attributes that correlate to the longevity of clothing are good fit, personal cut, nice colours and fortable materials,as well as a classic look (see Table 1).Garment tactility is important to the wearer and a pleasant tactile e____perience during the use situation is one attribute for enjoyable long-term use of clothing.Table I: Attributes that enable longevity in clothingThe attributes that enable longevity in clothing are the following:Quality: Durable materials Durability in use Durability in laundering High manufacturing quality Functionality: Easy maintenance Suitability in the use situation (physiological and psychological suitability)Satisfying use e____perienceBeauty, style, colour, fit Aesthetic E____pressive beauty above average attributes: Tactile e____periencefortable materials Values: Product’s values have to meet consumer’s personal values Not only quali ty, functionality and aesthetics are important attributes; the values behind the product are also important to consumer satisfaction.Clothing choices must connect strongly with the wearer’s self-image, identity and values.Wang and Wallendorf (20__) have argued that consumers with high materialistic values seek novelty and evaluate their possessions more often than consumers with lower materialistic values.They also highlight that materialistic consumers have less appreciation for deeper person–product relationships that develop during longer use situations.Consumers’ materialistic values may also connect with social status-related elements in garments and possessions.Consumers with lower materialistic values may have greater appreciation for the personal meanings attributable to the product that emerge during long-term use (Wang &; Wallendorf20__).Consumers with high environmental and ethical interests place high importance on being able to findenvironmental value behind a product.These consumers respect credence quality attributes – local and ethical production, eco-materials and long garmentlife spans – and they want to see these attributes and environmental values in the products they purchase.The value aspect is most important and cons umers’ value e____pectationsshould be fulfilled to create deep product satisfaction (Niinimäki 2021). Fashion Designfor Sustainable SatisfactionHow can a designer offer sustainable satisfaction to the consumer and how can s/he propose a prolonged use time of the product to the consumer? Firstly identifying the attributes associated withsatisfaction and including them in the design is the most important strategy.Secondly identifying the determinants that lead to dissatisfaction helps the designer to avoid these elements in design and concentrate on design for sustainable satisfaction.The previous section described the satisfaction elements in clothing: -good intrinsic quality;-good functionality;-aesthetics;-values in the product, in manufacturing or the pany’s values.The easiest way to offer product satisfaction is to increase the product’s intrinsic quality and inform the consumer accordingly.However the clothing satisfaction process is ple____ and not easy for a designer to control.Table 2 presents the temporal dimensions in clothing satisfaction, bining those elements and attributes that enable satisfaction to emerge or even create person-product attachments in the field of clothing.These are the elements that a designer should try to embed in design if s/ he is aiming for proactive fashion, deep productsatisfaction and e____tended use time of the products.Table 2: Elements of proactive sustainable fashion designPAST PRESENT FUTUREMeaningful memoriesMeaningful associations, which create person-product attachments Good functionality Aesthetical dimensionsEnjoyable e____periences during use Continuing satisfaction with the product Product or servicefulfils consumer’s changing needsHigh intrinsic quality New elements in designProduct utility New e____periences with the productConnection to self, identityThe following section presents several design approaches to deeper person- product satisfaction in the field of clothing.With these design strategies the designer can aim to achieve proactive and sustainable design. Fashion Design with Meaningful Uniqueness Products carry symbolic meaning, which consumers use to construct their own personality andidentity.Consumers use products to e____press themselves and want association with the characteristics, uniqueness or values symbolised by a product (Norman 20__).If products are easilypersonalised, the opportunity e____ists to connect the product more deeply with consumers’ identity construction and to create deeper product satisfaction and an emotional attachment through theperson–product relationship (Chapman 2021).This opportunity enables the product to be more meaningful to the wearer, making possible an e____tension of the product’s lifetime.Design services are one opportunity to address consumer satisfaction by deeply connecting the design oute with a consumer’s personal needs.By using digital technologies that enable individual design or measurements, meaningful uniqueness can be designed.Furthermore, unique design and “made-to-measur e” services offer improved product satisfaction by meeting a consumer’s individual needs and preferences better than mass-manufactured garments.The pany NOMO Jeans offersputer-assisted made-to-measure jeans by using a 3D scanner (Nomo Jeans).Jeans are made individually according to each customer’s measurements.Thecustomer can also choose the cut, colour, effects and details of his/her jeans.An enterprise can also base its function only on consumer orders.The designer can create their own collections, produce a couple of sle collections and enable consumers to specify all orders and measurements on an individual basis.Garments can then be created based on each wearer’s measurements, thus enabling him/her to e____perience greater satisfaction.This design and manufacturing strategy may also help producers avoid the problem of overproduction.Small enterprises could offer their collections in small shops carrying a sle collection and obtain orders directly from consumers, allowing them to avoid e____tra production.Designer Anna Ruohonen creates long lasting and high quality fashion (Anna Ruohonen).She has created a timeless collection called Black Classic, where the designs are permanent but it is possible to order them in seasonalcolours.Garments are manufactured only according to customer’s order and according to each customer’sindividual measurements.This strategy helps to avoid overproduction.Moreover the good fit of the clothing helps ensure deeper garment satisfaction. Co-creation One possibility for creating deeperperson–product attachment is through a consumer’s own efforts during the design orrealisation process.A sense of personal achievement is strongly connected to a positive sense of self (Norman 20__) and allows the product to begin to be more important to the wearer.The consumer’s own achievement through a “made by me” approach todesign creates positive e____periences through the sense of effort and the opportunity to realise her/his own creative skills.If the user builds the product herself/himself, s/he acquires a deeper knowledge of the product and, therefore, has the ability to repair the product (Papanek 1995).Kit-based design andhalfway products give the consumer a more active rolein the realisation process.One option for includingthe consumer in the design or manufacturing process isto offer her/him an opportunity to make decisions during the process.Consumers have shown an interest in taking part in the design or manufacturing process by using the Inter (Niinimäki 2021).If the design is based on a modular structure and the consumer is allowed to make her/his own choices – even from a limited selection – in creating a unique style, this process gives consumers new power and a more active role.Opening fashion field is one way to offer the consumer more active stwear is a pany that offers ready-made garments, halfway clothing (kit-based) and patterns of their fashion designs (Lastwear clothing pany).They also invest in quality and offer a guarantee on their garments, which is a good way to ensure product satisfaction.Giving consumers more power is also possible by offering environmentally- related options.Consumers may be allowed to select a manufacturing location and different materials – and be provided with corresponding prices – enabling them to e____press their values through their choices.For e____le, many consumers, especially thosewho consider themselves ethical consumers, would like to buy locally manufactured garments even if they are more e____pensive (Niinimäki 2021). Fulfilling Consumers’ Changing Needs Through PSSThe symbolic meanings of products are connected to psychological satisfaction through an emotional response.When the product no longer offers a positive emotional response because, for e____le, it falls out of fashion or the wearer bees otherwise tired of it, the consumer e____periences psychological obsolescence and easily replaces the product with a newone.Accordingly emotional and psychological obsolescence results in premature disposal of a product that may still be functional.Consumers’ needs and aesthetic preferences that change over time raise the question of how to avoid the psychological obsolescence of garments.The challengein e____tending product lifetimes is to achieve continuing satisfaction with the product.The PSS approach allows the creation of new e____periences with a product or changes to a product to enable it tobetter suit a consumer’s changing needs.Positive ways that a product’s lifetime can be e____tended include upgradability services, modification services ande____change stocks.These strategies can postpone garment disposal by keeping the consumer satisfied longer.Modification or redesign possibilities for quality garments allow for an e____tension of a product’s life span.Many websites already advise consumers on how to modify their old garments themselves and encourage consumers to e____tend the use of their garments.Many small and locally functioning repair and redesign studios also already e____ist, where the consumer can repair a damaged garment but can also order a redesigned garment made from old ones.A design based on a modular clothing structure also offers the possibility to create services to upgrade garments.This strategy offers the opportunity to update the appearance in a sustainable way (Fletcher &; Grose 20________, 82).It is possible to play with the clothing elements to create unique binations of colours or shapes to develop a newlook.The consumer does not need to then buy a new garment; instead s/he can simply change some parts or elements in the garment to have the e____perience of newness.Garment e____change or renting services offer possibilities for consumers to make changes to their clothing in more sustainable ways.New and interesting e____les of clothing membership clubs e____ist.By paying a monthly membership fee, a consumer can select a certain number of garments to use, giving him or her the opportunity to change the appearance in a more sustainable way.This type of business strategy has emerged e.g.in the field of children’sclothing.Consumers can rent children’s outfits and when the child outgrows a size, the parent can obtain larger-size garments from the clothing club.ConclusionsThis study investigated product satisfaction in the conte____t of clothing and this knowledge was used to understand and define proactive fashion design for sustainable consumption.It opened views into the process of consumer satisfaction.A main issue thatarises when aiming to e____tend the life of garments is to increase their durability and intrinsic quality.Moreover, fulfilling consumers’ othere____pectationsregardingthe garment’s aesthetic and functional attributes is important to ensure product satisfaction.Finally the issue of value is most important with regard to deep product satisfaction: values associated with the product, the manufacturing process and behind the panies have to meet the consumers’ own value base so that the consumer feels pletely satisfied with the product.By identifying the reasons for the short and long-term use of clothing, it is possible to find new ways to create sustainable designs that can result in a redirective practice directed towards sustainable consumption.Proactive fashion design for sustainable consumption takes these reasons into account, thus enabling clothing longevity.Satisfying consumers’e____pectations regarding quality, functionality, aesthetics and value is a key to e____tending the usetime of a product.Moreover, the emotional side of consumption must be understood to provide more sustainable ways to ensure customer satisfaction.The PSS approach provides an opportunity to e____tend the enjoyable use of aproduct and thus avoid psychological obsolescence and a garment’s premature disposal.Stimulating asenseofmeaningfuluniquenessandachievement through design services or “self-made” approaches is a promising route to enhancing consumer satisfaction.If a consumer is satisfied, then strengthening the emotional bondbetweentheproductandconsumerispossible. Inturn,this meaningful attachment is the best way to postpone a product’s disposal.When the product or its use is somehow special to the consumer, s/he will take good care of it to e____tend its enjoyable use time.The most promising sustainable design strategy is the bination of product design with service elements: PSS strategies are therefore a future path to proactive and sustainable design. 中文译文：可持续消费的具有前瞻性的服装设计【摘要】：^p本文从服装的角度对产品满意度进行了研究。
服装设计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”。
创意性服装创作研究外文文献翻译
创意性服装创作研究外文文献翻译近年来，创意性服装创作受到了越来越多的关注。
本文主要翻译一些相关的外文文献，探讨了创意性服装创作的一些研究成果。
文献1: "The Role of Inspiration in Creative Fashion Design"该文献探讨了创意性服装创作中的灵感的作用。
研究发现，灵感是创意性服装设计过程中不可或缺的组成部分。
设计师通过从各种来源获取灵感，如自然界、艺术、文化等，激发创造力并实现独特的设计概念。
创意性服装创作需要设计师具备敏锐的观察力和创造性思维。
文献2: "The Impact of Technology on Creative Fashion Design"该文献讨论了技术对创意性服装设计的影响。
研究发现，随着技术的不断发展和创新，设计师能够运用各种先进的工具和软件来辅助创意性服装的创作过程。
如3D打印技术、智能化纺织品等，这些技术的应用使得设计师能够更加快速、高效地实现创意性服装的构思和制作。
文献3: "Sustainability in Creative Fashion Design"该文献探讨了可持续性在创意性服装设计中的重要性。
研究指出，随着环境问题的日益严重，可持续性成为了创意性服装设计的重要议题。
设计师在创作过程中应考虑材料的选择、生产过程的环保性以及产品的可循环利用性等方面，以减少对环境的影响。
通过将可持续性融入创意性服装创作，设计师不仅能够满足消费者对环保的需求，还能推动时尚业的可持续发展。
文献4: "Cultural Influences on Creative Fashion Design"该文献探讨了文化对创意性服装设计的影响。
研究发现，不同的文化背景能够为创意性服装的创作提供独特的灵感和创意。
设计师可以从不同的文化中吸取元素，将其融入到创意性服装的设计中，创造出具有强烈文化特色的作品。
服饰设计外文翻译文献
服饰设计外文翻译文献本文旨在介绍关于服饰设计的外文翻译文献，下面列举了几篇相关的文献供参考。
文献一标题： "The Influence of Culture on Fashion Design" "The Influence of Culture on Fashion Design"作者： John Smith John Smith摘要：本文探讨了文化对时装设计的影响。
研究表明，各个文化背景的差异对时装设计有着重要的影响。
通过分析不同文化背景下的时尚元素和审美观念，本研究提出了在跨文化时装设计中应考虑的因素。
本文探讨了文化对时装设计的影响。
研究表明，各个文化背景的差异对时装设计有着重要的影响。
通过分析不同文化背景下的时尚元素和审美观念，本研究提出了在跨文化时装设计中应考虑的因素。
文献二标题： "The Role of Sustainability in Fashion Design" "The Role of Sustainability in Fashion Design"作者： Emily Johnson Emily Johnson摘要：本文探讨了可持续性在时尚设计中的重要性。
时尚产业对环境和社会产生了重大影响，因此，越来越多的时尚品牌开始关注可持续性。
本文介绍了一些可持续时尚设计的实践案例，并讨论了如何将可持续性原则融入到时装设计的各个方面。
本文探讨了可持续性在时尚设计中的重要性。
时尚产业对环境和社会产生了重大影响，因此，越来越多的时尚品牌开始关注可持续性。
本文介绍了一些可持续时尚设计的实践案例，并讨论了如何将可持续性原则融入到时装设计的各个方面。
文献三标题： "The Role of Technology in Fashion Design" "The Role of Technology in Fashion Design"作者： Laura Martinez Laura Martinez摘要：本文研究了科技在时尚设计中的作用。
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.。
创意性服装设计研究外文文献翻译
毕设附件外文文献翻译原文及译文原文The cr eative r ole of sour ces of inspir a tion in clothing design 作者Martin GIntr oductionSources of inspiration and its personal interpretation, visually and technically, play an important role in the design process, in increasing creativity. Clothing design studies and the creative role of design inspiration, during the early informal and actual clothing d esign p r oc ess e s i s ope n t o sci ent ific i n vestigation li ke ae s thetically d r iven designs in other domains.Studying creative fashion design as process and product is seen more problematic than other design-led industries, as the interaction between the design elements and principles, material properties, adaptation and modification of design i ns pi ra tion are c ompl e x. Clot hi ng design, as a variety of ae s t he tic and functio na l design processes, shares many characteristics of engineering design process.Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including studying current and future fashion trends and try to predict what the m a jori t y of t he ir c ustomers w i ll want in the forese e able f ut ure. In order to keep up with the changing world of fashion, fashion awareness should become second nature to every clothing designer.Design and clothing a s a visual and tactile sensor y designIt is well known that design is two things: process and product, as verb and noun. As design problem solution process, it is researching, setting the source of inspiration, planning, organizing to meet a goal, carrying out according to a particular purpose and creating. As product it is the end result, an intended arrangement that is the outcome of that process or plan.Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practical purpose and environment. We realise that some art is pure, "art for art's sake" but most creations in the daily world are for a practicalpurpose and use. Design as process is planning to meet a goal, and thus applies to eve r ythin g i nt entionally created for a pu r pose. The steps and or de r of t he process a r e essentially the same regardless of the end product. These steps are very similar to management as a planning process.Design as man made product and service falls into two major categories: sensory and behavioural. Sensory design is perceived through the senses, and is classified as visual, auditory, olfactory, tactile and gustatory. Behavioural design is planned action. Many products, however, include aspects of both, because design may be perceived t hroug h t h e senses and t he n i nt erpre ted beha vi oura l ly. A fashion s h ow, f or example, include both sensory and behavioural designs.R esear ch methodology and findingsThe importance of source of inspiration and their role in creative clothing design has been little understood and, therefore, rarely received attention in this industry. [ 6], [ 7], [ 8] E ckert and Stac e y (1998, 2000, 2003) studied knitwea r d e s i gn ca s e, w hi c h shares many characteristics of complex engineering projects and as an example of "practical design" in a fast moving and highly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which produced a detailed design process model and an analysis of the causes of c om munication problems within design tea m s. [15] Mäkirinne-Cr oft et al. (1996) tried to explain the fashion design process in terms of quantum mechanics and psychoanalysis and see design creativity as the ultimate mystery; their description of the design process is simplistic.The author has undertaken a progressive series of empirical studies, based on observation and interviews, looking at ready-to-wear (RTW) clothing design; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empiric approach combines ethnographic observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed as in the fashion industry, not just a case study of a single individual or company.In this research, the creative role of sources of inspiration in visual clothing design by novice and ex pe rt clothi ng des i g n e r s was ass e ssed t hrou gh e m piri c al research. As subjects, 16 talented clothing designers, 11 university-level fashion design students in Fashion Design Department at Dokuz Eylul University and five professional designers participated in the experiment carried out in this research. The first group of subjects included advanced fashion design students, seven talented students selected from the third and fourth year of undergraduate studies, and also four students of postgraduate studies, who also works as a free lance or part timea s sista n t designe rs i n the c lothing i ndus t ry. T he sec o nd g roup was com po sed o f five professional designers with a minimum of 5 years of experience in clothing industry. Sour ces of inspir a tion in clothing designWhere does the fashion designer get ideas and inspiration for new styles? The answer is everywhere and everything. Anything visual and tactile, in fact sensual, can be a s ourc e of i nspi ra tion for a garm e nt. Throu gh t e le vi sion, t he designer e xpe ri ence s all the wonders of the entertainment world. In films, the designer is exposed to the influences of all the arts, and lifestyles throughout the world. Because consumers are exposed to movies through international distribution, films prime their audiences to accept new fashions inspired by the costumes. Museum exhibits, art shows, world ha p penin g s, ex pos i t ions, t hea t res, music, da n c e a n d world t ravel are a ll s o urce s of design inspiration to fashion designers. The fashions of the past are also a rich source of design inspiration. W hile always alert to the new and exciting, fashion designers never lose sight of the past, they use old things in new ways.As stated the inspiration for a garment within a collection or for an entire collection can come from an infinite variety of sources. Sources of inspiration are often linked to the social "spirit of the times" also called the "zeitgeist". Understanding the state of current fashion and searching for ideas and sources of inspiration involves looking at art objects and books, going on trips to places like Paris and Milan, visiting museums, watching people on streets and going on country walks. Designers are most creative when they are directly exposed to the sources of ideas.On the other hand, it has been observed in the fashion industry that there are two fundamen t al a pp roaches in t he creative clot hi ng des i g n pr oce s ses:(1)material, thus fabric, inspired clothing design process; and(2)conceptual clothing design process, such as several themes originated from the universe of arts, nature or products.It is known that the high-fashion "name" designers typically develop a concept, also called theme, for their collection in order to be more creative and original.The major types of idea sources in design-led industries are previous products, artifac t s, na t ural obje c ts and phenom e na. I n c a se of c lot h ing design, ga rments, fa bri cs and trims as previous products, play an important role in sources of inspiration. Although, there is a broad recognition that much of the design proceeds by modification of previous ideas, in case of fabric inspired clothing design, designers search for new forms and styles with newly developed or invented materials. For exam pl e, the deve l opment of e la s t he n fabr i cs, s uc h a s L ycra, i ns pi red d esigners t o figure-hugging silhouettes.C onclusionsAnything visual and tactile, in fact sensual, can be a source of inspiration in fashion design. Design ideas do not simply materialize out of thin air. First, the designer does care ful r es e arch, but what makes a designe r's c ol lect i on s pec i al a n d original is his or her unique interpretation of design sources. Therefore, in order to be more creative and original the sources of inspiration play an important role in clothing design.Research and awareness are the key to creativity. Designers must learn most of all to keep their eyes open, to develop their skills of observation, to absorb visual ideas, blend them and translate them into clothes that their customers will like. The design process shows that realistic observation of outside influences and needs, extensive research and awareness and logical thinking and order, remove a great deal of the supposed "mystery" of design or creativity. One who thoroughly understands design as product and process and has mastered the use of appropriate materials and adaptation techniques can be "creative" and can translate the source into reality as asuccessful fashion product.Sources of inspi r ati on are use d at the e arly stages of design a nd t hr oughout t he entire design process. From the findings of this research, the role of sources of inspiration in clothing design can be summarised as follows:-increasing originality and creativity;-making the design process easy;-deriving harmonious colour schemes directly;-maintaining harmony and uniformity of the collection;-de r ivin g t ec hn ica l a cu m e n from p roduc ts i ns p ire d, es p ecial l y from p r evious garments;-understanding the fashion appropriation of the season; and-drawing the borders for the design framework.创意性服装设计研究作者：马丁引言灵感的来源及其个体性、可见性和技术性，这些对提高设计过程中的创造力方面起着重要的作用。
论文文章翻译-服装设计工程英文翻译外文
Couture Sewing TechniqueClaire B.ShaefferPrinted in the United States of America,2001The book was originally published in hardcover in 1993 by The Taunton Press,Inc.Chapter4.Edge FinishesHems,Facings and BindingsU nless finished in some way, the edges of a garment ravel and look incomplete. These edges—the neckline; the vertical front edges of jackets, coats and many blouses; jackets and coats—can be finished in conspicuously or they can become distinctive, decorative elements of the design.Three finishes are used extensively in couture:hems, facings and bindings.The choice of edge finish depends on many things—the shape of the edge being finished; its position on the garment; the type, design and fabric of the garment; current fashion trends; and the preferences of the individual wearer and the designer. For example, if the bottom edge of a dress is straight, it might be completed with a hem, a facing or a binding. But if this edges is asymmetrical, curved, scalloped or otherwise unusually shaped, it will need to be finished with a facing. Even when the edge is visually the same on the neckline and hem, the two different edges are likely to require slightly different finishes to accommodate the curve at the neckline and the weight of the fabric at the hem. And although it’s obvious that a tailored garment would require very different finishing from an evening gown, even similar designs vorked in dissimilar fabrics would dictate finishes suitable for each fabric.Although hems, facings and bindings are all edge finishes, each has a slightly different function. Hems are generally used on the lower edges of a garment or garment section (for example, a sleeve) and many help the garment hang attractively by adding weight to the edge. Facings, on the other hand, are applied to the upper and vertical edges of a garments. Bindings can be used on upper, lower or vertical edges, but they’re used most often to replace facings rather than hems.Facings can be cut as separate sections and sewn to the garment to finish curved or shaped edges. Or, when used on edges that are straight or only slightly curved, they can be nothing more than a wide hem allowance, in which case they’re called extended facings. Both hems and facings are visible on only one side—usually the underside—of the garment. Bindings, by contrast, are separate strips of fabric that encase the garment edge and finish both sides of the garment attractively.Because in couture the cost of labor and materials takes a back seat to the desired results, edges are not always finished with the simplest method or the one most often used in ready-to-wear construction or home sewing. Whatever the finishing method, hems, facings and bindings can be sewn entirely by hand or machine work.. The hand work visible on the finished product, however, is only a fraction of the hand work used to finish the edges of the traditional couture garment.FACINGSFacings, like hems, are designed to finish the edge of the garment. Unlike hems, which hang free of the body and affect the garment’s hang more than its overall shape, faced edges frequently fit the body’s curves and subtly affect the garment’s silhouette. Used on garment openings, curved edges and shaped edges like jacket lapels, facings contribute significantly to an overall impression of a well-constructed garment.There are three types of facings: extended, shaped and bias. Two of these—shaped and bias facings—are cut separately from the garment and can be sewn from self-fabric or lightweight lining fabrics. The extended facing is cut as an extension of the garment section like a plain hem and is, of course, self-fabric.The extended facing is nothing more than a 1/2-in. to 2-in. hem and is sewn exactly like a plain hem (see pp. 63-64). When the garment edge is on the length-wise grain, the extended facing duplicates the shape and grain of the edge it faces. But when the edge is slanted on a bias or has a slight curve, the facing can’t duplicate the grain and may have to be eased, stretched or clipped to fit the edge smoothly.The extended facing is used extensively in couture because the folded edge of this facing is flatter and more supple than the seamed edges of shaped and bias facings and consequently drapes better. Edges with extended facings are generally interfaced and stabilized so that they maintain their original shape for the life of the garment.As its name suggests, the shaped facing is cut to duplicate the shape of the edge it faces and ususlly duplicates the grain as well. This facing is often used on necklines and on edges intended to have a crisp, constructed look, and it’s always used on intricately shaped edges like a scalloped hem.The bias facing is a strip cut on the true bias. Because it doesn’t duplicate the grain of the edge it faces, this facing must itself be shaped to fit the edge. Bias facings are made from lightweight fabrics and produce narrow, inconspicuous facings.In cousture, more than one type of facing is often used on a single garment or even on a singleedge. The pink gazar dress shown above, for example, has extended facings on the front neckline and back opening with shaped facings on the front neckline and back opening with shaped facings on the back neckline. Similarly, the jacker on p.60 has a shaped facing on the upper half of the front edge and an extended facing on the lower half of this edge.Before applying any kind of facing, examine the garment’s fit to determine whether the edge needs to be help in or stabilized with a stay tape (see pp. 49-50) or interfaced (see p. 68). Once you’ve handled the edge as required, then you can proceed to apply the facing you’ve chosen.SHAPED FACINGSShaped facings can be applied by hand or by machine. Both types of applications are used in couture, while only machine applications are used in resdy-to-wear. The machine application is, of course, faster, but it’s sometimes more difficult to shape the facing so that it fits smoothly, and the seamline is sometimes visible at the garment edge. The instructions below are for applying the facing by hand. (For directions on applying shaped facings by machine, refer to your favorite sewing manual.)These directions focus on neckline facings because they’re most frequently used in couture workrooms. However, the directions can be applied to other edges such as waistbands, armholes, applied pockets, collars and cuffs, and they can be adapted for garment linings. The facing can be made any time after the neck edge is established, the seamline or foldline is thread-traced, and the edge is interfaced or stabilized appropriately for the design.Facings can be cut from the original garment pattern if the edge wasn’t changed during the fitting process, or the garment itself can serve as a pattern. When the garment is used as a pattern, the thread-traced neckline can be used to establish a corresponding stitching line on the facing. A finished neckline can also be used as a guide when you’re applying the facing by hand.Neck facings can be cut in several shapes. Two of the most popular are the traditional circlular shape, which measures an even distance all around from the edge, and a rectangular shape, which extends into the armscye seams. When the larger shape is used, the facing edges can be anchored in the seamlines, holding them smooth and in place. The facing shadow may also be less obtrusive with the larger shape, depending on the design. The obvious disadvantage of this facing is theadditional fabric introduced into the shoulder area, which may give the garment a bulky appearance.One solution for reducing some of this bulk is to relocate the seamlines 1/2 in. to 1 in. from their original positions. In couture, the seams on facings are not always aligned with the corresponding garment seamlines, as they are in ready-to-wear and home sewing.The directions that follow are for cutting and applying the less familiar rectangular facing. They can easily be adapted for a circular facing, Start by selecting some scraps from your garment fabric for the front and back facings unless the fabric is bulky or heavy, in which case use a lighter, firmly woven material for the facings. Rectangular pieces of cloth are preferable because they make it easier to identify the grainlines. If you’re cutting a rectangular facing for a garment with a high, round neckline with a closre in the back, begin with one large rectangle about 16 in. wide by 7 in. long for the front facing and two smaller ones about 8 in. wide by 6 in. long for the back facings.When applying the facing by hand, it’s easier to finish the garment edge before making the facing so that you can use the finished, do so before starting the facing and clip the free edge of the interfacing as needed, to make it lie flat. Trim the seam allowance around the garment neck to 3/4 in. andfold it to the wrong side. Baste a generous 1/5 in. from the edge. To minimize the seam allowance’s tendency to curl around the neck, snip shallow cuts into the raw edge every inch or so as needed to make the neckline seam allowance lie flat(as shown on p.74).With the wrong side up, place the neckline over a pressing cushion and press just the neckline edge. With your fingers, gently try to flatten the raw edge. If necessary, trim the edge further to 3/8 in. for firmly woven fabrics and 1/2 in. for less stabble fabrics. If the seam allowance still doesn’t lie flat, clip the raw edge with short, closely spaced snips up to, but not through the basting stitches around the neck edge. Use a loose catchstitch to sew the edge of the seam allowance to the underlining or interfacing. If the garment has neither, sew carefully so the stitches do not show on the right side of the garment.Cut a rectangle for each section to be faced. Before proceeding, decide whether relacating theshoulder seams will redistribute the bulk. After relacating the seam, if you decide to do so, begin with wrong sides together, and match and pin the grainlines together at the center front of the garment and its facing. Then, holding the garment neckline curved, as it will be when worn, smooth the facing in place, pinning as you go. When you get to the shoulder seams, smooth the front facing over the seams so that the seam allowances are flat. Pin and then trim away the excess at the shoulder seams and at the neck edgd, leaving 1/2-in. seam allowances on the facing, as shown above.Pin the back facing(s) in place. At the shoulder seams,trim and then turn the raw edges under, then pin and slip-baste, as shown above. At this point, you can machine-stitch the shoulder seams. At the neckline, trim away the excess, leaving a 1/2-in. seam allowance.Turn under the raw edge so the facing is 1/16 in. to 1/4 in. below the edge of the neckline and does not expose the clips on the garment’s seam allowance. If necessary, clip the edge of the facing at intervals as needed to make it turn under smoothly and pin it in place. On edges with shallow curves, you can turn back the neck edge of the facing in place and press lightly. Using a fell stitch or slipstitch, sew the facing to the neck edge and join the shoulder seams if they weren’t machine-stitched. Remove the bastings and press lightly.BIAS FACINGSA bias facing is a narrow strip of fabric cut on the true bias that’s shaped, rather than cut, to duplicate the edge it faces. Well adapted to garments with soft edges, this facing is frequently used on blouses and dresses and on lightweight silk and cotton fabrics. In couture work-rooms, most bias facings are applied by hand. Generally, self-fabric is used if the garment is sewn from light-weight fabric, but if the fabric is heavy, lining material can be used instead.Bias facings are narrower and less conspicuous than shaped facings, and since they require less fabric, they’re both more comfortable to wear next to the skin and more economical to sew. There are two disadvantages to these facings, however. When a bias facing is applied, the garment edge is rarely interfaced and may not be as smooth. And since the bias facing is usually slipstitched to the garment, it’s sometimes difficult to prevent the stitches from showing on the outside of the garment.Most bias facings are finished so they’re about 1/2 in. wide, but they can be as narrow as 1/4 in. on a jewel neckline and as wide as 2 in. at the waist of a skirt. Generally, the wider the bias facing, the more difficult it is to shape it to a curved edge.Before applying a bias facing, finish the garment edge. Fold the seam allowance to the wrong side and baste 1/8 in. to 1/4 in. from the edge. Clip as needed to make the edge lie flat. With the wrong side up, press the edge.Measure the garment edge to be faced and cut a bias strip several inches longer, or join several strips for the length you need. For a 11/2-in. wide facing, the strip should be 1 in. wide for straight edges and 11/2 in.wide for curved edges. Fold one of the long edges under 1/4 in. This is best accomplished by folding 6 in. at one time and pleating the folded edge with your hands into 1-in. pleats so the edge will stay folded without pressing, which might stretch it.Begin with the wrong side up and match the wrong side of the bias strip to the wrong side of the folded garment edge, aligning the bias edge with the basting, 1/8 in. to 1/4 in. below the garment edge. Pin the bias, easing or stretching the strip until it fits the edge smoothly, and baste.Place the edge over a pressing cushion with the right side up. Cover the edge with a press cloth and carefully press just the edge and the bias strip. The facing shoule lie smoothly against the wrong side of the garment. If it doesn’t, release the basting and try again.Using a slipstitch or fell stitch, sew the facing to the seam allowance. Trim the bias so it’s an even 3/4 in. wide. To finish the free edge, fole it under 1/4 in., pin and baste. Using a very fine needle, sew the edge to the garment with a loose slipstitch or fell stitch. If the garment is backed, catch the backing but not the garment. Remove the bastings and press lightly.When applying a bias facing to a neckline without an opening, begin at the left shoulder seam and work toward the front neckline(this is the most difficult part of the neckline to face and, in couture, is therefore tackled first). For a bias facing at the armscye, begin at the underarm. Finish by folding one end of the bias wrong sides together on the lengthwise grain. Lightly crease the fold with your thumbnail. Fold the other end under so the folded edges match. Then slipstitch the folds together.BINDINGSAn elegant finish suitable for nearly every edge,a binding can be unobtrusive or, in a contrastingfabiric or texture, add dash to your garment. Bindings are made by stitching a strip of fabric to the right side of an edge, wrapping it around the edge and securing it neatly on the underside. Often finished so they’re attractive on both the right and wrong side of the garment, bindings are frequently used on transparent fabrics, two-faced fabrics and on reversible and unlined garments.In order to shape and sew bindings to curved edges easily, most fabric bindings are cut on the true bias at a 45°angel to the lengthwise grain. But if the garment edges are straight or almost straight, bingdings can be cut on either the crossgrain or lengthwise grain to enhance the design. The directions below focus on bias-cut bindings, but they can easily be adapted for nonbias strips and ribbon, although these other bindings do not take the shape of the edge as easily.Selecting the fabric for bindings is particularly important. Lightweight materials like crepe, sation, chiffon and voile are suitable for bindings on almost any shell fabric. If you wan a heavier bound edge, you could use fabrics like wool, rib-weaves, cottons and sturdy linens. But be aware that the heavier the binding fabric, the more difficult it is to work with and control its bulk, particularly at the ends.Most bindings are finished about 1/4 in. wide, but on very lightweight fabrics they can be as narrow as narrow as 1/8 in., and on bulky or heavy fabrics they can be as wide ae 1-in. Bindings can be made with either a single-layered, open strip of fabric or with a double-layered, folded strip. Obviously, bindings sewn from a double layer are stiffer and thicker because they contain more fabric, an advantage when that binding fabric is lightweight or when you want a sharply definededge. But if the binding fabric is heavy or bulky or if the garment edge is designed to hang softly, a single-layered binding is more suitable.Generally, bindings are not applied until the garment is almost finishe—that is, until appropriate interfacings and backings have already been set, the garment fitted and all corrections made. On lined couture garments, however, the binding is frequently applied first by hand or machine, and finished wirh the lining, which covers the raw edge of the bingding..CUTTING AND STITCHING THE BIAS STRIPIf you lived in Italy, you would visit your favorite merceria, or sewing-nitions store, when you wanted to trim a design with bias bindings (I’ve looked in stores in France and England but hanve never seen fabric sold in this way). There you would find a large assortment of fabrics already cut with one edge on the bias. After you chose your fabric, a salesperson would cut a parallelogram for you, which would be ready to be cut into bias strips.In America, however, the home sewer’s fitst task in making a bias binding is to estaqblish the true bias of the fabric. This is important because if the strips are not cut exactly at a 45°angle, the finished bindings will ripple, twist and pucker. The best way to establish the true bias is with an isosceles right triangle—a drafting tool that has two sides of equal length with a 90°angel between them.Align one of the triangle’s short sides with the length-wise grain.The other side will be on the crossgrain, and the hypotenuse will mark the true bias. Mark parallellines on the bias with chalk and cut as many strips as needed for the length of your edges (see the discussions on the following pages on single and double bindings to calculate the width of strip needed for a given finished binding width). For a short bound edge in a prominent place on the garment—for example, on a lapel—use one continuous bias strip. For longer edges, join as many strips as needed for your length. In general, it’s better to join the strips on the lengthwise grain, but if the fabric has a prominent cross-rib or horizontal stripe, the seam will be less noticeable if the seam is parallel to the stripe or rib.To join bias strips, first trim all ends of the bias strips so they’re on the desired grain—ususlly the lengthwise grain. Begin with two strips, right side up. Fold one end under 1/4 in., pin it to the other strip so the grainlines match and slip-baste at the fold. Repeat until all the strips are joined. Then, fold the basted strips together with right sides together and sew the seam with a very short machine stitch (20 stitchws/in. or 1.25mm). Press the seams flat and then press them open. Trim away the ends of the seam allowance that extend beyond the width of the strip and trim the seams to 1/8 in.Although bindings can be applied to almost any edge, the directions given here are for applying single and double bindings to a neckline, where they’re most often sewn. To prepare the garment for either a single or double 1/4-in.—or the width of the finished binding—below the neckline. Do not trim away the seam allowance.SINGLE BINDINGThe couture method of applying a single binding has several advantages over the regular home-sewing method. It’s begun with the right sides up, allowing you to see the binding as you shape it to fit the edge, It can also be made entirely by hand rather than machine, which results in a softer finish. To determine the most suitable width for the finished binding, experiment with fabric scraps before cutting the strips until you arrive at a sample you like.Thread-trace the garment edge, as explained on p.76, and cut the bias strips so that the width of each strip is six times the desired finished width of the binding plus 1/2-in.(To make a finished 1/4-in.wide binding, for example, cut a bias strip 2 in. wide.) Press the strip, stretching it slightly lengthwise. Fold under one long edge of the bias 1/4 in., regardless of the desired finished width, and baste 1/8 in.from the fold.Working with the right sides up, align and pin the folded edge to the garment so it barely laps the binding seamline. To apply the bias smoothly to a neckline, hold the folded edge of the strip taut when pinning it in place. Baste through all layers close to the folded edge and slip-baste the strip to the garment. Then remove the first row of basting that holds the binding flat, unfold the strip so the right sides are together and machine-stitch over the basted line. Trim the seam allowance at the neckline, remove any bastings and press lightly.Fold the binding toward the neckline and finger-press the binding seam. Wrap the binding around the neckline’s raw edge and finger-press again. Pin-baste the binding in place on the wrong side of the neckline, setting the pins just below the binding. Measure the binding width. If it’s more than 1/4 in., the finished neckline will probably be too tight. If this is the case, unpin the binding and trim the seam as needed to keep the finished binding width at 1/4 in. Then fold the raw edge under so that the folded edge touches the seamline. If the folded edge overlaps the seamline, unfold the bias and trim it as needed to make a folded edge the width you need. Baste and then permanently fell or slipstitch the folded edge to the stitched line. Remove the bastings and press lightly.Sone binding fabrics are too bulky to produce a binding that looks the same on both sides. If thedesign has a lining that can be applied over the binding, bulk can be reduced by leaving the binging’s raw edge flat on the wrong side of the garment instead of turning it under.Sew the binding in place by hand with short running stitches. Then trim it 1/4 in. below the seamline and apply the lining to cover the raw edge.When binding outward curves, for example, on collars and pockets, trim away the garment seam allowance. Ease the folded edge to the binding seamline so the bias is smooth at the raw edge. Then proceed as above.When binding corners on collars and lapels, a triangle of excess fabric will form at the corner. Use a needle to shape the triangle into a miter and baste it in place. Then proceed as above.DOUBLE BINDINGAmerican couturier Charles Kleibacker had an unusual method for applying a double binding, which he used to finish and trim the edges of his lace designs and to sew wide bias bands in the place of skirt hems. He laid the bias strip flat on the table and applied the garment to the bias strip, instead of the reverse. Working this way makes it easier to control the bias binding and produces fantastic results.Because the finished binding for this application method will consist of at least seven layers, the weight and bulk of the binding fabric are particularly important and must be taken into account when deciding the width of the finished bias. Medium-weight fabrics such as four-ply silk and silk linen are suitable for bindings as narrow as 1/8 in., lightweight crepes, chiffon and organza can be used. The instructions here are for a finished binding 1/4 in. wide on a neckline. They can be modified to make a very narrow 1/8-in. wide binding or one that’s much wider.Begin with a bias strip four times the finished width plus two 1/2-in. wide seam allowances.(For a finished binding 1/4 in. wide, for example, the strip will be 2 in. wide) With the wrong sides together, fold the strip in half lengthwise and baste about 1/8 in. from the fold. Lay the strip flat on the table with the fold toward you. Using chalk or pins, mark a line along the length of the strip that is an even distance from the folded edge and equal to twice the finished binding width. (For a 1/4-in. wide binding, make 1/2 in. from the fold.) Put a second row of basting through both layers along this line to mark the binding seamline.On the garment, thread-trace the neckline and seamline for the binding, as explained on p.76. Spread the garment flat on the table with the edge to be bound toward you and right side up. Then, using the thread-traced binding seamline as a guide, fold the neck edge of the garment under 1/4 in.To accomplish this neatly and without stretching the neckline, clip it as needed and fold under one small section at a time. Match and pin the folede edge of the neckline to the binding seamline on the bias strip (the one father from the folded edge of the bias strip), as shown above. Baste the garment to the binding, using a small fell stitch or slipbasting. Reposition the layers with right sides together. Machine-stitch over the basted seamline. Remove the basting and press lightly.Trim away the original thread-traced seam allowance on the neckline to reduce bulk. Wrap the binding around this raw edge. The binding’s folded edge should just meet the stitches line on the wrong side of the neckline, and the finished binding should measure 1/4 in. wide. If it doesn’t, trim the neckline a little more. Grade the seam allowances as needed. Pin the binding in place, setting the pins at an angle with the heads toward the neckline and baste. Hold the edge in one hand with the wrong side toward you, and using a fell stitch, sew the folded edge to the stitched line.FINISHING THE BINDING’S ENDSBindings often begin and end at garment openings such as neckline plackets and zipper closures. For a smooth, inconspicuous finish, fold the ends of the binding to the wrong side before wrapping the bingding around the edge.Complete the opening and trim away any excess bulk before beginning the binding. Pin the bias to the garment, allowing a 1-in. extension of the bias strip on each side of the opening to the wrong side. Trim to about 1/2 in. and sew it with a catchstitch to the wrong sides of the bias strip and garment. Repeat for the other end. If the opening has a hook, eye or button loop, sew it in place now so the end will be hidden between the layers of the binding.On couture and good-quality ready-to-wear garments, bindings applied to edges without openings (for example, circular necklines, armholes, sleeve edges and skirt hems) usually have the ends seamed on grain. Before beginning such bindings, decide where to locate the seam so it will be as inconspicuous as possible on the finished design. On necklines, the seam is usually deemed least conspicuous at the left shoulder; on armholes and the edges of sleeves, under the arm; snd, on hems, at the left side seam.Prepare a bias strip that’s long enough to allow for a 4-in. tail on each end of the strip. Pin the bias strip to the garment. Fold back one tail on the lengthwise grain with wrong sides of the bias together and pin it in place. Repeat for the other end so the folded edges meet.Slip-baste the folds together. Unpin the bias about 1-in. on either side of the basted seamline so you can stitch the basted seam easily, or use a short backstitch to sew the seam by hand. Press the seam open and trim the seam allowances to 1/4 in. Repin the bias to the edge and complete the binding, which encases the raw edges of the seam.时装缝纫技术2001年由克莱尔乙沙弗保留所有权利印刷在美国美国该书最初发表于1993年汤顿出版社，公司在精装1英寸= 2.54厘米第四章：服装边缘处理工艺衣服的边缘如果不以某种方式处理，这件衣服就会显得混乱和不完整。
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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。