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外文文献翻译服装设计

毕设附件外文文献原文及译文文献出处：Rothenberg A, Sobel R S. A Creative Process in the Art of Costu me Design[J]. Clothing & Textiles Research Journal, 2016, 9(1):27‐36.译文服装设计的艺术创作进程阿尔伯特·罗斯伯格;罗伯特·索贝尔关于制造力心理学的实证研究已经进行了 20 连年的时刻，目前已经确信了一个特定的制造性的操作进程，称为“人性化的制造进程”。

那个进程已被证明，对各类类型的艺术与科学领域的制造性活动都有一个重要的作用。

正如它的概念所言，这一人性化的制造进程需要通过踊跃地构思和艺术性的两种因素的结合，一起作用，只有如此，才能造就一个富含人性的艺术品。

增进服装的人性化设计思维，需要用到一种技术方式，这种方式涉及利用到将人性化因素的考虑及艺术性的构思结合在一路，依如实证研究，说明利用这种可行性技术，能够增进服装设计的人性化艺术创作进程。

了解服装的天然性因素，包括服装设计的艺术创作进程。

但是，科学方式的制造力是困难重重的。

只是艺术家和其他人都对服装设计的艺术创作进程的本质都专门感爱好，都想明白得和阐释这意思本质，有一种观点以为发明家在那个领域的尽力没什么成效的。

这些发明家们也担忧这种情形，但这确实是他们的工作。

另外，发明家们可能都会比较感爱好，确实是将他们的研究功效应用于实际的制造性的尝试。

将研究结果应用于实践，通常会受到很多人的疑心和轻视，因为他们以为，这看起来就像是玩弄制造的进程，他们以为这一进程应该受到强烈钦佩和尊重，而不能有任何随意性。

尽管存在这些困难，可是事实证明，这种富含技术性的制造进程，专门是应用于服装设计中，恰恰会致使有价值的和有趣的结果。

本文关注的是思维制造性进程操作的实证分析，探讨人性化地艺术性思维，这种思维应被用于服装设计领域中。

服装设计中英文对照外文翻译文献

服装设计中英文对照外文翻译文献(文档含英文原文和中文翻译)College men’s fashionA brief review of the literature on the social psychology of clothing reveals that young women are more frequently research participants than men . This may be because women far outnumber men in majoring in clothing design and apparel merchandising and thus are more easily accessible as research participants than men. Regardless of why clothing research includes more women as research participants, this focus on women has resulted in a dearth of research on young men. In support of this, Reilly and Rudd (2007) report that research has investigated men’s clothing preferences and habits to a lesser extent than women’s. men’s ideas about fashion and its importance in their lives have been overlooked. Despite the limited research on young men, consumer groups comprisedof college men are important to commercial marketers in terms of expenditure in men’s apparel and accessories. According to Statista, in 2012 the expenditure on men’s clothing goods in the United States was $22.2 billion. Men purchased footwear the most, followed by shirts and suits. Prior research has also shown that men’s interest in fashion is on the rise, leading to an increase in men’s apparel sales .Historically, women have been much more conscious about their appearance than men, but in recent times there appears to have been a change in this level of focus on appearance among men. Specifically, young men in Generation Y who have been socialized by mass media and marketing activities have become appearance conscious, which leads to apparel consumption (Kacen 2000; Patterson and Elliot 2002). Young men usually use dress to communicate their identities (Shete 2012), and their aspirations toward communicating this may influence their apparel consumption (Kang et al. 2011). Understanding the relationship between college-aged men’s identities and their clothing choices provides apparel marketers with useful information to develop effective strategies to produce and market clothes in accordance with the common values with which this group strives to identify.According to Hogg and Banister (2001), individuals can either have a positive reference point (i.e., desired end state) or a negative reference point (i.e., undesired end state) that they use to achieve their desiredidentities. So far, much research has been conducted on the positive aspects of consumers’ consumption choice. A lack of research into the negative aspects of consumption choice motivated us to question their impact on consumer behavior. Consumers’ avoidance behavior allows them to create further distance between themselves and their undesired identities (Hogg and Banister 2001), staying within the threshold of their desired identities. Thus, this research focuses on the clothing and style that college men avoid. An exploratory study was conducted on men attending a major midwestern university. On the basis of the results of the exploratory study, research interview questions for any further studies will be modified to address the research problem appropriately.The purpose of the exploratory study was to investigate what clothing college men prefer, what identities they achieve through their clothing, and what they want to avoid in their clothing choices. Our research questions were as follows: (1) Does college-aged men’s clothing reflect their identities and what do they want to express through their clothing choices? and (2) What undesired identities (related to aspects of an avoided self) do college-aged men avoid in their clothing choices? Literature reviewSocial identity theorySocial identity theory as conceptualized by Tajfel and Turner (1979) refers to perceived identity of the groups to which people belong(Tajfel 1982). Social identity theory posits that a person’s self-concept is based on his or her group membership. This theory consists of two dimensions: social identity and personal identity (Howard 2000;Tajfel 1982). Social identity reflects membership in various social groups (e.g., clubs, social class), and personal identity represents the unique attributes that differentiate one person from another (Howard 2000; Tajfel 1982). In complex social environments, young people can use their identification with in-groups (i.e., their own group) versus out-groups (i.e., other groups) (Ogilvie 1987) to align their appearance (i.e., the total and composite image created by clothing) with a desired social group and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). Thus, social identities provide status to young men and enhance their self-esteem.Research has used social identity theory to investigate the effects of men’s identities on the use of dress (i.e., all material objects added to body). For example, Kang et al. (2011) used social identity theory as a theoretical framework to investigate the relationship between young professional men’s perceptions of work identity and their use of dress. They found that the young men who felt incomplete in their work identity used dress as a symbol to construct their identities. Thus, in this study, we used social identity theory as a theoretical foundation to examine the relationship between college men’s identities and their clothing choices.Men’s identities with fashionAccording to Kratz and Reimer (1998), fashion is filled with meanings and symbols, through which people can visually communicate with one another in a rapid and direct manner. Fashion enables people to express their views about themselves and their identities through the use of clothing; it allows them to visually communicate who they are, who they want to be, what type of social group they want to belong to, and whom they do not want to be associated with the most (Shete 2012). Furthermore, Bennett (2005) states that fashion is one of the channels through which people can most readily give voice to their identities. Beyond words, people can convey themselves through dress and fashion, thus creating their social identity. Fashion’s essential role in providing people with means to build, shape, and communicate their identities is especially prominent in larger metropolitan cities where they “mingle with crowds of strangers and have only fleeting moments to impress them” (Bennett 2005, p 96).Men identify themselves through various ways. For example, some men may identify themselves through their body appearance, while others may show their identities by the way they dress; Hathcote and Kim (2008) note that men represent themselves through how they dress. Moreover, many men care about what they wear and how they wear it on a daily basis and also care about how others perceive them. As part of campussociety, college students also spend time on how they dress. Some male students prefer wearing sweatpants or baggy basketball shorts at school, while others prefer wearing polo shirts and casual pants. The way male college students choose their outfits for school represents their different personalities and identities. For example, some male students wear athletic clothing to show off their masculinity. This is consistent with Lunceford (2010, p. 66), who argues that “male students choose a specific article of clothing because of how it makes them feel or because it downplays what they consider to be unattractive aspects of their bodies while accentuating their best features.”Researchers have conducted studies related to the importance of clothing and fashion for identity creation and communication. For example, Piacentini and Mailer (2004) found that young people in the United Kingdom tended to use clothing to show similarity between themselves and the groups they wished to be identified with, and as a channel to establish potential friendships. Schofield and Schmidt (2005) examined the importance of clothes used in constructing and communicating gay men’s personal a nd group identities with a sample of Manchester-based respondents. They shaped individual gay identity through different levels (i.e., community level, neo-tribal level, and situational level) and found that gay identity emerged through clothing choices. In their study, gay identity is shared on a gay community level toexpress “gayness” to others; on a neo-tribal level to show “belonging” to a social gay cohort with shared experience and emotions; and on a situational level to make themselves blend in with wherever they are (Schofield and Schmidt 2005).As mentioned previously, young people in complex social environments can use their identification with in-groups versusout-groups (Ogilvie 1987) to align their appearance with a desired social group, and to differentiate themselves from the undesired, or avoidance, reference group (Banister and Hogg 2004). In their study of a sample of British consumers, Banister and Hogg (2004) found that many consumers wore safe clothing items (e.g., simple clothes, which would be interpreted positively) to avoid censure rather than risky items. If such fears of folly and negative attention are present in male consumers, certain commonalities among them can be identified. Eisler and Skidmore (1987) proposed that men’s gender-role expectations contributed to fears about lack of athleticism, emotional intimacy, intimacy with other men (or homophobia), and failure. If the feminine, unathletic, impotent man is representative of perceived undesirability among men, symbolic identifiers of those traits can be indicative of young men’s labeling of avoidance reference groups and the “avoided self.” Thus, men’s fashion conservatism (i.e., dressing in a masculine way according to social norms) could be partially attributed to the generalized fear of appearing“feminine” (Kimmel 1994).Aversion to alternative stylesThe aversion to alternative styles was accompanied by several rationales. One respondent said he avoided skinny jeans (often associated with “skater” and “emo” culture) simply “for comfort.” Another respondent avoided dark and alternative styles to “avoid negative stigmas” and possible associations with low intelli gence related to group think. However, the majority of the respondents who said they avoid alternative styles were unable to explain their aversion. Mentions of dislike of alternative clothing were often supplied first and with little hesitation, suggesting that this is a somewhat automatic and marked dislike for those respondents.One respondent said he avoids wearing black and looking gothic because his friends do not wear those styles, suggesting a fear of ostracism when wearing alternative clothing. In a similar vein, one respondent included that he “doesn’t want to lead people to believe he is dark.” A 23-year-old Caucasian respondent, when asked if he avoided any styles of clothing, said: “Gothic stuff for sure, dark clothing or Hot Topic stuff. I don’t want to be associated with them and I hate the people that wear that stuff, like spiked belts.” This type of sentiment occurred almost exclusively among Caucasian respondents from middle- andupper-middle-class backgrounds. The fear of social scrutiny andostracism, along with a general stigma regarding alternative andcounter-culture, appears to be the most common motivation for avoiding alternative styles.Aversion to gangster stylesGangster styles were mentioned often, and responses often indicated social and racial prejudices, in addition to the fear of social judgment. Many respondents associated “big” and “baggy” clothing with gangster style. Race emerged as a definite component of this aversion. All but one of the respondents who listed gangster style as an avoided style identified as Caucasian. One respondent directly indicted his aversion to wearing clothes “a black person would wear,” suggesting that affiliation with the African American culture would be undesirable. Other variants included an av ersion to “swag gear” and “thug style.” Another respondent even used a variant of a racial slur to express his avoidance ofgangster-inflected styles. The respondents supplied little additional justification for avoiding this style, and when asked to expound on their preference, three claimed that they were unable to provide further information.Aversion to gay stylesThree respondents expressed avoiding clothing that could be regarded as “gay.” The wearing of skinny jeans, jean shorts, V-neck shirts, or cardigans was perceived as indicative of homosexuality, according tothe interview data. The inclusion of these items of clothing specifically indicates an association of form-fitting clothing and low necklines with effeminacy and gay culture. Respondents expressed a desire to represent themselves accurately, and those who claimed to avoid gay-inflected clothing suggested that it was undesirable on the grounds that (1) they disliked gay culture, (2) they wanted to express their heterosexuality, and (3) they wanted to avoid speculation from others that they were homosexual. In this regard, homophobic sentiments, a desire for accurate self-representation, and a fear of social judgment all seemed to be components of these respondents’ desire to avoid clothing per ceived as being worn by gay men. Another respondent said that he refused to wear any clothing from the “women’s section,” and though this does not necessary relate to the avoidance of gay style, it does represent anoften-related fear of gender-role deviation. Thus, an avoided self and avoidance behavior were important factors in clothing choice, supporting earlier findings from Hogg and Banister’s (2001) study in which dislikes and distastes of college men were associated with negative symbolic consumption. This sentiment is demonstrated by another respondent’s notion that said, “you know that there are certain things that you don’t want to buy because you don’t want to project yourself in a negative way.” They proposed that a greater understanding of the impact of negative symbolic consumption on consumers product rejection couldhelp the development of companies marketing communication strategies.Cultural background and the avoided selfDemographics indicated different trends in responses among respondents. The four Chinese men who participated were largely unable to produce responses regarding avoided clothing and styles. One of these respondents said he only avoids clothing that is “too colorful or fashionable” because “it is not his style.” Another said he only avoids “hip-hop clothing” because it does not match his serious personality. The other two respondents said that there were no types of clothing or styles they avoided. These sentiments contrast greatly with the responses from American students, all but one of whom listed one or several types of avoided clothing and styles.Furthermore, the brief elaborations the Chinese students supplied regarding the reason they avoid clothing related to issues of personal identity, with no mention of social or cultural motivations for doing so. This indicates that the avoidance of styles due to fears of social castigation and negative group associations could hold as a phenomenon more prevalent in the United States than in China.The college-aged men in this study expressed a desire for clothing that is comfortable, gives them confidence, and meets the expectations of their surroundings. These men recognized that their clothing was onerepresentation of their identities. Thus, the results suggest that college men are driven largely by a desire for comfort and to meet normative expectations. These findings are supported by the supposition that “men dress for fit and comfort rather than for style”, made by Craik (1994) and confirmed by Bakewell et al. (2006). These attributes for college men’s clothing choice seem to be quite different from those for young women, who largely make their choices based on brand (fit, look, and style) (Taylor and Cosenza 2002). The driving force for college men’s clothing choice is seemingly functional rather than decorative (Kacen 2000), even if they have become more appearance-conscious. Overall, the positive connection between young men’s individual identities and their clothing choices parallels previous research on the relationship between young professional men’s perceptions of work identity and their dress choices (Kang et al. 2011), and on the link between young peopl e’s clothing choices and the identity of the groups to which they belong (Piacentini and Mailer 2004).A minority of respondents avoided certain types of clothing because they felt it was incongruent with their styles. Their aversion to clothing that appears to belong to alternative, gangster, or gay styles suggests that these men strived to avoid clothing that implied identities viewed as non-conformist, non-professional, and unusual. These men indicated that their clothing choices were perhaps motivated by a desire to fit in withothers. Their aversion to clothing styles that communicated incongruent identities implies that deviations from cultural, class, race, andgender-related norms were undesirable.翻译：大学男装时尚简要回顾服装社会心理学的文献显示,年轻女性比男性更多的成为研究参与者。

服装设计外文翻译文献

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

服装专业词汇英汉对照

一、服装标准术语服装款式：style，指服装的式样，通常指形状因素，是造型要素中的一种。

服装造型：modeling，指由服装造型要素构成的总体服装艺术效果。

服装轮廓：silhouette，即服装的逆光剪影效果。

款式设计图：design drawing，指体现服装款式造型的平面图。

|服装效果图：effect drawing，指表现人体在特定时间、特殊场所穿着服装效果的图服装裁剪图：cutting drawing，即用曲、直、斜、弧线等特殊图线及符号将服装款式造型分解展开成平面裁剪方法的图。

服装结构线：structure line，指在服装图样上，表示服装部件裁剪、缝纫结构变化的线。

二、服装产品行业术语服装：garments , clothing , apparel成衣：ready-to-wear，按照规定的尺寸，以批量生产方式制作的服装。

定制服装：customer made ，根据个人量体尺寸，单件剪裁，制作完成的服装。

毛呢服装：woolen garment ，由纯毛、毛混纺织物为面料制成的服装。

棉布服装：cotton clothes ，由全棉、棉混纺织物制成的服装。

丝绸服装：silk garment ，由天然丝、人造丝、合成丝织物制成的服装。

化纤服装：chemical fiber garment，由各种化学纤维织物制成的服装。

裘革服装：fur or leather garment ，由裘皮或革皮制成的服装。

人造毛皮服装：artificial fur and leather garment ，由天然或化学纤维仿各种毛皮的织物为面料制成的服装。

婴儿服装：infant's wear，适合周岁以内婴儿穿着的服装。

服饰：clothing，指装饰人体的物品总称。

包括服装、鞋、帽、袜子、手套、围巾、领带、提包、阳伞、发饰等。

按穿着对象分类：男式服装：men's wear，简称男装，是成年男子穿着的服装。

服装设计的英文单词词汇有哪些

服装设计的英文单词词汇有哪些服装设计属于工艺美术范畴，是实用性和艺术性相结合的一种艺术形式。

那么，你知道服装设计的英语怎么说吗?现在跟店铺一起来学习关于服装设计的英语知识吧。

服装设计的英文释义costume designingdress designingcostume design服装设计的英文例句因此，研究服装设计的柔性思维方式对培养服装设计人才的基本素质，提高服装设计水平有着积极的意义。

So the flexible way of thinking in the course of fashion design is necessary for the learners to grasp and important for them to improve fashion design.职业技能专长：服装画技法、服装陈列、服装成衣工艺制作、针织服装设计、立体裁剪、服装平面裁剪等。

Techniques draw clothes, garment displays, clothes clothing craft production, knitwear design, draping, clothing and other cutting-plane服装模块化是实现服装设计与制造等资源重用的基础，是实现服装配置设计与变型设计的基础。

Apparel modularization is the foundation to realize the reuse of apparel design, manufacture and other resources, is the foundation to realize apparel configuration design and modification design.在服装设计风格多元化和多极化的时代,服装的功能与情感是服装设计中的重要组成部分。

关于服装设计的英语作文初一

初一关于服装设计的英语作文1Fashion design is all about creating clothes. It's like making a special kind of art. Designers think about how the clothes will look and how people will feel when they wear them.For junior high school students in grade one, there are some types of clothes that are really interesting. Take sportswear for example. Sportswear is designed to be very light and comfortable. You know, when we are running or playing basketball in PE class, we don't want our clothes to be heavy or too tight. The fabric of sportswear is usually soft and breathable. It allows our skin to "breathe" so that we don't feel too hot or sweaty. And the design of sportswear is also very practical. There are often pockets where we can put small things like keys or handkerchiefs.Another important type of clothes for us is school uniforms. School uniforms are designed to be simple and neat. They usually have a basic color and a simple style. This simplicity and neatness can show the good image of our school. When we all wear the same uniforms, it gives a feeling of unity. It's like we are all part of a big family. And the uniforms are also made to be durable so that they can last for a long time. We can wear them every day without worrying about them getting torn easily.中文翻译:服装设计就是关于制作衣服的。

服装设计外文翻译--绣纺织品设计(节选)

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

制衣词汇中英文对译(整套)海外跟单实用服装专业术语翻译

尺寸表翻译：Shirring 褶襞, 装饰性的褶带Total length from HPS 前长（肩顶度）Placket width at bottom 袋阔在脚位度Placket width at top 袋阔在顶位度Placket height at center 袋高在中间度Pocket height at sides 袋高在侧边度Pocket opening 袋开口Pocket plomt up from buttom hem 袋位置在衫脚上Forearm width 4‖ from cuff seam 臂阔袖骨位上4‖Bodice length from HPS to seam 衫身长距膊顶至骨Neck turnback height 领折入后高Front neck drop from HPS 前领深Armhole length straight from neck fold to s.s.夹长（从领摺起边到侧骨）Armhole trunback height 夹圈折入后高Armhole tirm height 夹捆高Across front @ mid armhole(edge to edge) 前上胸阔—夹圈中度Hood hem height 帽脚高Hood width at widest point 帽阔（在最阔总度）Bake yoke height from CB neck seam 后驳片高距后中领骨Double needle straddle: @ side seam 侧骨：冚双针骑骨线Back moon facing-width from widest point 后龟背阔—最宽点度（后半月贴阔—从最阔点度）Back moon facing-length from CB back 后龟背长—领骨度（后半月贴长-从后中领度下）Length from HPS (front)- tops 前衫长-肩顶度Chest width at 1‖ blw A/H 胸阔 - 夹下1度Bottom sweeep width 脚阔Bottom hem height 脚咀高Bottom width at seam 裙摆宽（骨位度）Bottom sweep width @ edge 裙摆宽（在边度）Across shoulder 肩阔Across back at mid A/H 后阔—夹中度Across chest at mid A/H 胸阔—夹中度Across back 4‖ from HPS 后上胸(膊顶下4‖度) 前Across back at strap join seam 后肩宽（在带驳骨位度）Sleeve length from shoulder袖长—肩点度Sleeve length from shoulder seam 袖长—肩骨度Sleeve length from shoulder incl rib 袖长（膊度连袖咀）Sleeve cap height 袖山高Sleeve inseam length 袖内骨长Sleeve inseam length incl rib 袖底长Armhole length straight 夹直长Armhole straight 夹宽（直度）Sleeve opening width 袖口阔---along rib edge --边度Sleeve rib height 袖罗纹高Sleeve cuff height 袖咀高Shoulder slope 肩斜Cuff opening width along rib seam 袖口阔—骨度CF & CB Banner Width 前后幅驳条阔CF banner plcmt down from placket end 前幅驳条离筒底Back rise-incl WB to crotch seam 后浪（包腰头至驳幅骨位）Outseam incl WB 外长（包腰头）Leg hem height 脚咀高Crotch panel length 驳幅长Crotch panel width 驳幅宽Back（Front） neck drop from HPS 后（前）领深—肩顶度Neck width seam to seam 领阔—骨至骨Minimum neck stretch 最小领拉度Collar length at top edge 领长(边度)Collar height at CB (not including collarband) 领高--后中度（包下级领）Collar point length 领尖长Collar stand height at CF 下级领高，前中度Collar roll over height @ CB 领拉链唇线到后中高Collar point spread 领尖距Collar length at outer edge 领长（边度）Collar circumference along top edge 领围（外边长）Placket length 筒长Placket width 筒阔Side went height(front)前侧叉高Back neck tape height 后领捆高后领带阔Forward shoulder 肩走前Stripe width measure from body 驳片阔Tape width at inside neck and side vents 领捆和侧叉人字带阔Front opening wind flap width @ top 前防风贴顶阔Front panel piecing 前幅Logo placement --- HPS to top of logo 穿计左胸车花位—花边至顶Logo placement down from shoulder seam ---距肩骨Logo placement in from CF 前中横度Logo placement --- in from CF to inside edge ….花边距前中---up from sleeve cuff seam 距袖口骨位---in from CF-WR chest 穿计右胸车花位距前中Oval椭圆形 stitch length thru centerLogo POS below Wr’s left HPS-Top crown 左胸章仔：膊顶度至花顶Logo POS below Wr’s left CF-Leaf Edge 左胸章仔：前中横度Print POS up from hem @ ss 右侧印花位：衫脚咀上在侧骨处Printing pos first buckle below pkt over CF 右侧印花：前中横度1st flounce height 第一层裙摆高1st button placement down from neck 顶钮：筒顶度下CF length(from top edge to crotch fold)衫长（前中顶至浪底）CB length(from top edge to crotch fold)衫长（后中顶至浪底）CB placket stitch length at sides 后筒车线长（侧度）Chest width at top smocking stitching(relaxed) 胸阔（打缆位松度）Chest width at armhole edge(stretched)胸阔（夹位处拉度）Hip width 1/2‖ above encased elastic 坐围（丈根上1/2‖）Leg opening width (stretched) 裤口阔（拉度）Leg opening width: along curve(relaxed) 裤口阔（沿裤口弯度）Back leg curve at center 后裤口弯（中度）Crotch width at front edge 浪底阔（前边度）Crotch width at fold 浪底阔（折边度）Crotch forward from fold 浪底走前（折边度）Leg opening hem height 裤口脚高Front neck width: distance between inside straps 前领阔（吊带里间距度）Strap length 吊带长Top tier height from last smoking stitch 顶层衫长（从最后一条打缆线度）Bottom tier height(showing) 底层衫长（外露部分）Tier hem height(blind) 衫脚高Collar ruffle height 领打褶花边高Placket box stitch height 前筒盒子线高Ruffle height(top) 裙脚打褶花边高（顶层）Ruffle height(bottom) 裙脚打褶花边高（总长）Bottom ruffle hem height 裙脚高（折入）Top(bottom) ruffle height 顶层（底层）打褶花边高Truks height 打褶高Side panel width @ outseam 侧骨驳片阔Onseam pkt plcmet down from wb stitching 袋距腰底间线度Back yoke height at CB 后机头高后中度Low hip width 3‖ from crotch 下坐围浪上3‖度Waist width (relaxed) 腰阔（松度）Waist width at top edge(relaxed) 裤头阔平放度Waist width stretch 腰阔（拉伸度）Waistband height 腰高Waist position from HPS 腰位置：膊顶度下Hip width 3‖ up from crotch 坐围（叉位上3度）Low hip width 1/2 above leg opening 低坐围阔（脚开口上1/2‖）Hip width along seam 坐围（沿骨度）Inseam(finished) 内骨长（完成后）Outseam-incl WB 外侧骨长（包腰头）Thigh width @ center 1‖ from crotch seam 大腿阔（中间叉位骨下1‖）Leg opening 脚口Leg hem height 脚高Panty front rise-incl WB to crotch seam 内裤仔前浪Panty back rise-incl WB to crotch seam 内裤仔后浪Front rise length( including waistband) 前浪长（包腰头）Back rise length (including waistband) 后浪长（包腰头）Neck circumference bttn to bttnhole 领围（钮至钮门）Tape height @ inside neck 领捆高（在内领）Logo Graphic – down from HPS 印花位置距脖顶度下Crotch panel length 叉位长Crotch panel width 叉位阔Leg elastic width 脚口丈根阔Tucks height 裙摆褶脚高Hood hem height 帽脚高Hood length @ seam 帽长（沿后中骨位度）Zipper guard 防风筒Total pocket width at top edge 袋顶阔Sleeve pocket hem height袖带口间线高Sleeve pocket dart length 袖袋打褶长Sleeve pocket flap hem height 袖袋盖脚高Sleeve pocket flap width 袖袋盖阔Sleeve pocket flap height X-top 袖袋盖顶高Belt loop placement in from CB 后中腰耳仔距离Musle width 肶阔Tie space 呔位Collar length thru center领长-中心度Taping height neckline and side vents 捆条高（领围和侧脚叉）Yoke height at CF 前中担干高1st ruffle height 第一节裙摆高Sash height 腰带高Attached short 内裤Front rise (excluding WB)前浪（不包裤头）Short thigh width(1’ fr crotch)肶阔（浪下1‖）Bow(head to head) 蝴蝶结（头至头间）Bow(tail length) 蝴蝶结尾长Bow – loop end to loop end 蝴蝶结阔（耳仔尾至耳仔尾）Diamond quilted width: top stitch 菱形阔：顶线度Front yoke diamond quilt length form HPS 前担干棱形车线高（膊顶度下）Zipper guard 拉链贴阔CB neck shirring 后领缩摺长Shoulder piecing width at neck(total)肩驳片阔领度（共计）Shoulder piecing width at shl pt-total肩驳片阔肩点度（共计）Front princess seam up from underarm pt前胸骨位延至夹底Side seam panel width rib seam total 侧骨驳片阔骨度（共计）Pocket plcmt up from rib seam(at ss)袋距罗纹骨位侧度Piecing width at CB neck collar top edge 驳片阔后中领顶边度服装做工翻译1X1 r ib(on fold) as banding at bottom opening. Finish banding seam w ith 1/4‖double needle stranddle stitch.1X1罗纹衫脚，在1/4‖双针骑骨线2-piece hood with waffle lining. Finish hood opening with self turn back hem. Edge stitch is visible on outside of garment. 1/4‖ double needle stranddle stitch along center hood seam.两片帽。

服装设计英语单词

服装设计英语单词Fashion design is a vibrant field that blends creativity with practicality. It involves a multitude of English vocabulary terms that are essential for anyone interested in this industry.From the initial sketch to the final runway show, "designers" use a "sketchbook" to visualize their ideas. They select "fabrics" and "textiles" that embody the essence oftheir collection, considering the "drape" and "texture" to ensure the garments move gracefully.The "pattern" is the blueprint of a garment, carefully crafted to fit the "sizing" specifications. Each "seam" and "hem" must be precise, as they contribute to the garment's overall silhouette. "Cutting" the fabric is a meticulous process that requires skill and attention to detail."Sewing" techniques vary, from the basic "stitch" to more complex "embroidery" and "beading". The choice of "thread" color and "needle" type can greatly affect the finished product. "Accessories" such as buttons, zippers, and beltsare the finishing touches that add personality to each design.In the world of fashion, "trends" are ever-changing, and designers must stay abreast of the latest "catwalk" shows and "streetwear" styles. They also need to be aware of "sustainability" and "ethical fashion" practices, which arebecoming increasingly important in the industry.Ultimately, the goal of a fashion designer is to create "garments" that not only look stunning but also feel comfortable and are suitable for the wearer's "lifestyle". It's a blend of art, science, and culture, all wrapped up in the language of fashion.。

设计服装的理念怎么说英语

设计服装的理念怎么说英语Designing Clothing: The Art of Creating Fashion。

Designing clothing is an art form that requires creativity, skill, and a keen understanding of the fashion industry. It is the process of taking an idea and turning it into a tangible piece of wearable art. From the initial concept to the final product, designing clothing is a complex and intricate process that involves a variety of skills and techniques.The first step in designing clothing is to come up with a concept or idea. This can be inspired by anything from a particular theme or trend to a specific color or fabric. Once the concept is established, the designer begins the process of sketching and creating a prototype. This involves taking the initial idea and translating it into a visual representation that can be used as a blueprint for the final product.Next, the designer must consider the practical aspects of the design, such as the fit, fabric, and construction. This requires a deep understanding of garment construction and an eye for detail. The designer must also consider the market and target audience for the clothing, ensuring that the design is both aesthetically pleasing and commercially viable.Throughout the design process, the designer must also consider the cultural and social implications of their work. Fashion is a reflection of society, and designers have a responsibility to consider the impact of their designs on the world around them. This can involve incorporating sustainable and ethical practices into the design process, as well as being mindful of cultural appropriation and representation.Once the design is finalized, the clothing must be produced. This involves working closely with manufacturers and suppliers to ensure that the final product meets the designer's vision. Quality control is essential, as even the most well-designed clothing can be ruined by poor craftsmanship.In conclusion, designing clothing is a multifaceted and challenging process that requires a combination of creativity, technical skill, and a deep understanding of thefashion industry. It is a form of art that has the power to shape culture, reflect society, and inspire individuals. From the initial concept to the final product, designing clothing is a labor of love that requires dedication, passion, and a commitment to excellence.。

服装术语中英文对照

一、综合1.服饰apparel and accessories2.服装garments,clothing,apparel3.时装fashion4.成衣ready-to-wear5.定制服装custom made6.毛呢服装woolen garment7.棉布服装cotton clothes8.丝绸服装silk garment9.化纤服装chemical fibergarment10.裘革服装fur or leathergarment11.羽绒服装down garment12.人造毛皮服装artificial furand leather garment13.男式服装men’s wear14.女式服装women’s wear15.儿童服装children’s wear16.婴儿服装infant’s wear二、服装成品1.西服suit2.中山服zhongshan jacket3.军便服undress uniform4.青年服young men’s jacket5.茄克衫jacket6.猎装hunting coat7.衬衫shirt（男）blouse（女）8.中西式上衣eastern and westernstyle coat9.中式上衣Chinese style coat10.牛仔服cowboy wear11.棉袄cotton wadded jacket12.羽绒服down wear13.防寒服cotton wadded jacket14.背心vest15.西裤trousers16.西短裤short pants17.中式裤Chinese style slack18.背带裤overalls19.马裤riding breeches20.灯笼裤knickerbockers22.牛仔裤jeans23.连衣裤jumpsuit24.喇叭裤bell-bottom trousers25.棉裤cotton wadded trousers26.羽绒裤down wadded trousers27.连衣裙dress28.背心裙jumper skirt29.斜裙A-line skirt30.喇叭裙flare skirt31.超短裙（迷你裙）mini-skirt32.褶裙pleated skirt33.节裙tiered skirt34.筒裙straight skirt35.旗袍裙Qipao style skirt36.西服裙skirt37.风雨衣all-weather coat38.风衣trench coat39.披风cape40.斗篷mantle41.大衣overcoat42.旗袍Qipao43.睡袍night-gown44.睡衣裤pyjamas45.套装suits46.新娘礼服wedding gown47.燕尾服swallowtailed coat48.夜礼服evening dress49.职业服business suit50.劳动保护服working wear三、服装部件、部位1.肩缝shoulder seam2.领嘴notch3.门襟closing4.门襟止口front edge5.搭门front overlap6.扣眼buttonhole7.眼距buttonhole spacing8.袖窿armhole9.驳头lapel10.平驳头notch lapel11.戗驳头peak lapel12.胸部chest13.腰节waist line15.里襟under lap16.底边hem17.串口gorge18.假眼mock button hole19.驳口roll line20.单排扣single breasted21.双排扣double breasted22.止口圆角front cut23.前后披肩front or back shoulder cope24.扣位button placement25.滚眼bound button hole26.前过肩front yoke27.门襟翻边placket28.领省neckline dart29.前腰省front waist dart30.肋省underarm dart31.横省side dart32.前肩省front shoulder dart33.肚省fish dart34.前身通省front open dart35.刀背缝princess seam36.总肩across back shoulder37.后过肩back yoke38.背缝center back seam39.背叉vent40.摆叉side vent41.后搭门back overlap42.领窝neck line43.后领省back neck dart44.后肩省back shoulder dart45.后腰省back waist dart46.后身通省back open dart47.倒挂领turned-down collar48.中山服领Zhongshan collar49.尖领pointed collar50.衬衫领shirt collar51.圆领peter pen collar52.青果领shawl collar53.菏叶边领ruffled collar54.燕子领wing collar55.两用领convertible collar56.方领square collar 58.立领stand collar59.海军领sailor collar60.扎结领tie collar61.圆形领口round neckline62.方形领口square neckline63.V形领口V-neckline64.一字形领口boat neckline65.鸡心形领口sweetheart neckline66.底领collar band67.翻领top collar68.领上口roll line69.领下口collar neckline70.领里口collar stand71.领外口style line72.领豁口notch73.衬衫袖shirt sleeve74.圆袖set-in sleeve75.中缝圆袖set-in sleeve with center seam76.前圆后连袖raglan back sleeve77.连肩袖（插肩袖）raglan sleeve78.连袖kimono sleeve79.喇叭袖flare sleeve80.灯笼袖puff sleeve81.蝙蝠袖batwing sleeve82.泡泡袖bishop sleeve83.花瓣袖（蚌壳袖）petal sleeve84.袖口sleeve opening85.衬衫袖口shirt sleeve cuff86.橡筋袖口elastic cuff87.罗纹袖口rib cuff88.袖头cuff89.双袖头folding cuff90.袖开叉sleeve slit91.袖叉条sleeve placket92.大袖top sleeve93.小袖under sleeve94.袖中缝sleeve center line95.前袖缝inseam96.后袖缝elbow seam97.插袋vertical pocket98.贴袋patch pocket100.双嵌线袋double piping pocket101.单嵌线袋single piping pocket102.卡袋card pocket103.手巾袋breast pocket 104.袋爿袋welt pocket105.眼镜袋glasses pocket 106.锯齿形里袋（三角形里袋）saw-tooth edge trimmed inside pocket107.有盖贴袋patch and flap pocket108.压爿贴袋topstitched patch pocket109.吊袋（老虎袋）Zhongshan jacket pocket110.风琴袋accordion pocket 111.暗裥袋pleated pocket 112.明裥袋pleated pocket 113.里袋inside pocket114.领袢collar tab115.吊袢hanging loop116.肩袢epaulet117.腰袢waist tab118.下摆袢bottom tab119.袖袢sleeve tab120.脚口袢leg opening tab 121.线袢french tack122.耳朵皮 flange123.挂面（贴边）facing124.滚条bias strip125.压条band126.腰带waistband127.塔克tuck128.袋盖flap129.前身衬front interlining 130.驳头衬lapel interlining 131.胸衬chest interlining 132.下节衬interlining under the waist line133.领衬collar interlining 134.肩头衬domette 136.袋角衬pocket reinforcement patch137.底边衬hem interlining 138.袖口衬cuff interlining 139.挂面衬front facing interlining140.腰头衬waist band interlining141.袋牵布patch stay142.牵条tape143.上裆（直裆、立裆）crotch depth144.烫迹线creases pressed-in 145.裤卷脚turn-up cuff146.裤脚口leg opening147.横裆crotch148.侧缝side seam149.中裆knee150.脚口折边hem151.下裆缝inseam152.腰头waistband153.腰头上口upper side of waist band154.腰缝waist seam155.腰里waistband lining 156.裤（裙）腰省waist dart 157.裤（裙）裥pleat158.小裆缝front crotch seam 159.后裆缝back crotch seam 160.侧缝直袋side pocket161.侧缝斜袋slant pocket 162.侧缝横袋cross pocket 163.表袋watch pocket164.后袋hip pocket165.过腰waistband166.膝盖绸knee kicker167.贴脚条heel stay168.门襟fly facing169.里襟fly shield170.里襟尖嘴button tab at fly shield171.小裤底front crotch stay 172.大裤底back crotch stay174.串带belt-loop175.雨水布trouser curtain176.袋布pocket bag177.垫袋布pocket mouth stay四、服装设计1.款式style2.造型silhouette3.结构garment construction4.轮廓线outline5.结构线construction line6.款式设计图working sketch7.效果图fashion drawing8.裁剪图pattern illustration9.展示图flat pattern making10.分解图detail五、服装裁剪制图1.上衣基本线（下平线）basic line2.衣长线（上平线）length line3.落肩线shoulder line4.胸围线chest line5.袖窿翘高线up line of armhole6.腰节线waist line7.底边翘高线hem line8.领口深线neck depth line9.止口直线front edge10.搭门直线front line11.撇门线front cut line12.领口宽线neck width line13.肩宽直线across shoulders line14.前胸宽线chest width line15.摆缝直线side seam16.收腰线waist line17.下摆直线bottom width line18.摆缝撇线side seam19.止口线front edge20.搭门线center front line21.领窝线neck line22.肩斜线shoulder slop line23.袖窿线armhole24.摆缝线side seam25.袋位线pocket position26.底边线hem27.扣眼位线buttonhole position 29.肋省线underarm dart30.驳口线roll line31.领深斜线neck depth line32.领串口斜线gorge line33.领嘴线notch position34.驳头止口弧线lapel style35.门襟圆角点线front curve point36.门襟圆角线front curve37.前后过肩线front or back yoke line38.背宽线back width line39.背心底边弧线vest hem40.袖窿斜线raglan slope line41.后背中心线center back line42.摆缝翘高线side seam43.背缝线center back seam44.开叉线center back seam45.袖子基本线basic line46.袖长线length line47.袖山深线biceps line48.袖山线back cap depth line49.袖肘线elbow line50.袖口翘线sleeve lower line51.前袖缝直线front seam line52.前偏袖直线fold line of top sleeve53.袖围线sleeve girth line54.袖围中线sleeve center line55.袖口线sleeve hem56.前袖缝线front seam57.前偏袖线fold line58.袖山弧线sleeve cap59.后袖缝线back seam60.袖叉线sleeve slit61.后偏袖线fold line of under sleeve62.小袖内撇线elbow curve63.小袖深弧线under sleeve cap curve64.前、后连肩袖线raglan sleeve outline65.袖口缝线sleeve end line66.过肩下口线yoke neckline68.肩宽线shoulder width line69.过肩宽线yoke width line70.过肩肩斜线shoulder slope line71.袖头止口线cuff bottom line72.袖头上口线cuff roll line73.挂面止口线front facing outside edge74.挂面里口线front facing inside edge75.底领上口线band roll line76.底领下口线band neckline77.底领前宽斜线band end line78.翻领上口线collar roll line79.翻领外口线collar outside line80.领尖线collar point line81.翻领前宽斜线collar width line82.帽下口线neckline of hood83.帽嘴线front line of hood84.帽前口线front curve of hood85.帽顶线center back seam of hood86.裤子基本线（下平线）basic line87.裤长线（上平线）length line88.横裆线thigh line89.臀围线hip line90.中裆线knee line91.侧缝直线side seam line92.前裆直线front crotch line93.前裆内撇线front crotch seam94.小裆宽线front crotch width line95.烫迹线crease line96.前腰围线waist line97.中裆围线knee line98.脚口围线bottom line99.侧缝弧线side seam100.直袋位线side vertical pocket position101.前裆弧线front crotch curve102.下裆线inseam line103.裥位线pleat position 104.落裆线back crotch line 105.后翘线up line of waist 107.后裆宽线curve width line of back crotch seam108.后裆弧线back crotch curve 109.后省线waist dart110.后袋线hip pochet position line111.腰头上口线waistband roll line112.腰头下口线waistband neckline113.门襟止口线fly facing edge 114.门襟外口线fly facing outside edge115.里襟里口线fly shield inside edge116.里襟外口线fly shield outside edge117.裙子基本线（下平线）basic line118.裙长线（上平线）length line 119.裙侧缝线side seam120.裙腰缝线waist ceam121.裙裥位线pleat position 122.上衣基本线（下平线）basic line123.衣长线（上平线）length line 124.前领深线neck depth line 125.台裉线armhole depth line 126.前腰节线shoulder-waist line127.腹围线top hip128.底边翘高线hem line129.前身中心线center front line130.前领宽线neck width line 131.胸围线chest width line 132.腰围线waist line133.下摆直线bottom width line 134.裉缝弧线underarm curve 135.摆缝弧线side seam136.底边弧线hem137.大襟斜线front opening basic linecurve139.横胸省线side dart140.腰肋省线waist dart六、工艺操作1.验色差checking colourdeviation2.查疵点checking defect3.查污渍checking spot4.分幅宽sorting out fabrics5.查衬布色泽checkinginterlining6.查纬斜checking bias filling7.复米remeasuring8.理化实验physical and chemicaltest9.烫原辅料ironing materials10.自然回缩natural shrinkage11.排料layout12.计算机裁剪computer aidedcutting13.铺料spreading14.划样marking15.复查划样checking layout16.裁剪cutting17.钻眼drilling18.打刀口notching19.分片identifying and bundling20.打粉印chalking21.编号numbering22.查裁片刀口checking notches23.配零料cutting parts24.钉标签attaching label25.验片checking pieces26.织补darning27.换片changing defective pieces28.冲领角薄膜punching collarstay29.冲领上下衬punching collarinterlining30.修片trimming pieces31.打线丁making tailor’s ta ck32.剪省缝slashing dart33.环缝overcastting darts 35.烫省缝pressing dart open36.推门blocking front piece37.缉衬省stitching dart of interlining38.缉衬stitching dart of interlining39.烫衬pressing interlining40.敷胸衬attaching interlining41.压衬pressing interfacing42.纳驳头（扎驳头）pad-stitching lapel43.敷止口牵条taping front edge44.敷驳口牵条taping lapel roll line45.拼袋盖里matching flap facing46.做袋盖making flap47.翻袋盖turning over flap48.做插笔口making an opening for pen on the flap49.滚袋口binding pocket mouth50.缉袋嵌线stitching bound pocket51.开袋口cutting pocket mouth52.封袋口stitching ands of pocket mouth53.缉转袋布stitching pocket bag54.拼接挂面stitching facing55.拼接耳朵皮stitching flange56.敷挂面attaching facing57.合止口joining front edge58.修剔止口trimming front edge59.扳止口whip stitching front edge60.扌寨止口basting front edge61.叠挂面basting front facing62.合背缝joining center back seam63.归拔后背blocking back piece64.敷袖窿牵条taping armhole65.敷背叉牵条taping back vent66.封背叉bar tacking back vent67.合摆缝joining side seam68.分烫摆缝pressing open side69.扣烫底边folding and pressing hem70.叠底边basting hem71.叠摆缝basting side seam72.倒钩袖缝back-stitching armhole73.合肩缝joining shoulder seam74.分烫肩缝pressing open shoulder seam75.叠肩缝slip-stitching shoulder pad76.做垫肩making shoulder pad77.装垫肩setting shoulder pad78.倒钩领窝back-stitching neckline79.拼领衬joining collar interlining80.拼领里applying interlining to collar81.缉领里top-stitching under collar82.归拔领里blocking under collar83.归拔领面blocking top collar84.敷领面attaching under collar to top collar85.合领子joining under collar and top collar86.翻领子turning over collar87.做领舌making collar band ends88.包底领stitching collar band89.绱领子sewing collar on and down90.分烫绱领缝pressing open collar seam91.分烫领串口pressing open gorge line seam92.叠领串口slip –stitching gorge line seam93.包领面turning over top collar seam allowances and catch-stitching it94.上下领缝合attaching band to collar 96.归拔偏袖blocking sleeve97.合袖缝joining sleeve seam98.分烫袖缝pressing open sleeve seam99.纟乔袖叉slip-stitching sleeve slit100.叠袖里缝matching and stitching sleeve lining seam allowance101.翻袖子turning over sleeve 102.收袖山easing sleeve cap 103.绱袖setting in sleeve 104.纟乔袖窿slip-stitching sleeve lining to garment lining 105.压烫袖窿pressing armhole 106.滚袖窿binding armhole 107.纟乔领钩attaching hook to collar band108.纟乔领下口slip-stitching collar to garment109.叠暗门襟slip-stitching facing110.纟乔底边blind stitching hem 111.合刀背缝stitching princess line112.烫刀背缝pressing princess line113.定眼位marking button position114.滚扣眼bounding buttonhole 115.开扣眼cutting buttonhole 116.滚挂面bias binding facing 117.合领面joining top collar 118.做袋爿making welt pocket 119.做袋making pocket120.绱袋attaching pocket to garment121.翻小袢turning over tab 122.绱袖袢attaching sleeve tab123.合腰带stitching waistband and lining124.翻腰带turning over125.坐烫里子缝pressing lining seam rolling to underside126.合大身面里stitching garment and lining together 127.翻里子turning over lining 128.敷里子attaching lining to garment129.纟乔扣眼slip-stitching buttonhole130.领角薄膜定位positioning collar stay131.热缩领面pressing top collar for preshrinking132.粘翻领fusing interlining 133.压领角pressing collar point134.夹翻领attaching collar to band135.扣烫过肩folding and pressing back yoke136.绱过肩setting back yoke 137.绱明门襟attaching facing 138.镶边making bias binding as a decorative trim139.缉明线top stitching 140.合袖头joining sleeve bottom141.翻袖头turning over cuff 142.绱袖叉条stitching placket tape to sleeve143.封袖叉top stitching close to plachet144.绱袖头attaching cuff to sleeve145.绱橡筋attaching elastic 146.定扣位marking button position147.缩扣眼sewing buttonhole 148.钉扣sewing button149.刮浆smearing pasting 150.抬裉缝剪口notching underarm seam sllowance151.划绗缝线marking quilting 152.绗棉quilting153.纟乔钮袢slip-stitching button loops154.盘花钮making Chinese frog 155.钉钮袢sewing button loop 156.钉领钩袢sttaching hook and eye157.拔裆blocking crotch 158.敷袋口牵条attaching pocket stay159.扣烫膝盖绸folding and pressing knee kicker160.纟乔膝盖绸slip-stitching knee kicker161.合侧缝joining side seam 162.合腰头stitching waistband and lining163.翻腰头turning over waistband164.合串带袢making belt loops 165.翻串带袢turning over belt loops166.绱拉链sttaching zipper 167.翻门袢turning over fly facing168.翻里襟turning over fly shield169.绱门袢sttaching fly facing170.绱里襟sttaching fly shield171.缉裥stitching pleat 172.绱腰头sewing on waistband 173.绱串带袢tacking loops to waistband174.绱雨水布attaching trouser curtain175.合下裆缝joining inseam 176.合前后缝joining crotch 177.封小裆bartacking front crotch178.钩后裆缝backstitching back crotchpressing crotch reinforcement stay180.绱大裤底attaching back crotch stay181.花绷十字缝cross-stitching crotch182.扣烫贴脚条folding and pressing heel stay183.绱贴脚条attaching heel stay184.叠卷脚making French tack at cuff185.钉裤钩袢attaching hook and eye to waistband186.合裙缝joining side seam 187.抽碎褶gathering188.叠顺褶forming and stitching flat pleats189.合帽缝joining hood seams 190.绱帽沿条taping hood191.合帽面里attaching lining to hood192.翻帽子turning hood to right side193.绱帽attaching hood to garment194.拉线攀making french tack 195.针距stitch size spacing 196.包缝overlock stitch197.明包缝flat felled seam 198.暗包缝welt seam199.来去缝french seam200.分缝open seam201.坐倒缝plain seam202.坐缉缝lap seam203.分缉缝double top-stitched seam204.压缉缝top-stitched lapped seam205.漏落缝（灌缝）self-bound seam with sink stitch206.分坐缉缝top-stitched open seam208.环针overcast stitch209.撩针running stitch210.扌寨针baste stitch211.暗纟乔针blind stitch212.明纟乔针slant stitch213.三角针catch stitch214.杨树花针feather stitch215.倒钩针back stitch216.拱针prick stitch217.扳针diagonal slip stitch218.叠针fastening stitch219.缝针hand plain stitch220.绗针quilting221.锁针buttonhole stitch222.倒回针back stitch223.打套结bar tack224.贯针fasten slip stitch七、服装成品缺陷1.领外口松collar outer edge tooloose2.领外口紧collar outer edge tootight3.领面紧top collar too tight4.领面松top collar too loose5.底领探出collar band too long6.底领缩进collar band too short7.绱领偏斜unmatched collar8.底领起皱起绺crimpy collarband9.领窝不平uneven neckline10.后领窝起涌circular wrinklebelow back neckline11.领底外露top collar uncovercollar band12.领面气泡crimpy top collar13.驳头外口松lapel outer edgetoo loose14.驳头外口紧lapel outer edgetoo tight15.驳头反翘lapel sticking up16.驳头起皱puckering lapel17.驳口不直uneven break line18.串口不直uneven gorge line20.领离脖loose neckline21.底边起绺uneven hem22.背叉搅crossed vent23.背叉豁unmeet vent24.后背不方登back defect25.肩缝不顺直shoulder seam defect26.绺肩puckering on shoulder27.塌肩sloping shoulders28.后身吊bodice back too short29.塌胸hollow chest30.省尖气泡dart bubble31.腰吸不平服wrong waist shaping32.袋盖反翘flap sticking up33.袋盖止口反吐unfavoring flap34.袋盖不顺直uneven flap edge35.袋口角不平bound pocket defect36.袋口裂unmeet bound pocket mouth37.袋口不方正pocket mouth defect38.袋、袋盖丝绺不正pocket or flap out grain39.袋形走样deformed pocket40.止口反吐unfavoring front edge41.止口角不方正front edge defect42.止口反翘front edge sticking up43.止口不顺直uneven front edge44.止口搅crossed front edge45.止口豁unmeet front edge46.绱拉练起绺uneven zipper47.门里襟长短unmatched front fly48.前袖缝外翻sleeve inseam swing out49.袖子偏前sleeve hangs forward swing50.袖子偏后sleeve hangs back swing51.绱袖不圆顺uneven armhole52.袖子起吊sleeve defect53.袖口起绺uneven sleeve opening54.袖里拧twist sleeve lining55.裉窝起绺wrinkle lower armhole 57.腰头探出waistband extansion58.腰缝起皱uneven waist seam59.腰缝下口涌unmatched waist line60.夹裆tight crotch61.兜裆short crotch62.后裆下垂baggy seat63.裆缝断线thread breakage at crotch seam64.小裆起绺wrinkle front crotch65.里襟起皱wrinkle fly shield66.小裆豁口thread breakage at front crotch67.门襟起绺uneven fly facing68.下裆十字缝错位unmatched crotch cross69.门襟止口反吐unfavoring fly facing70.烫迹线外撇creasing of leg curve to sideseam71.烫迹线内撇creasing of leg curve to inseam72.裤脚前后unbalanced legs73.吊脚uneven leg74.裤下口不齐uneven leg hem75.裤脚不对称unsymmetrical leg76.裙裥豁开unmeet pleat77.裙身吊hem pull up and stand away78.裙浪不匀uneven skirt flare79.裙底边不圆顺uneven skirt kem80.缉线上炕sewing bow81.缉线下炕sewing bow82.接线双轨stagged seam83.绗棉起绺uneven quilting84.缉线跳针skipped stitches85.浮线floating86.戳毛damage to fabric87.眼皮eyelid88.针孔loops on the underside89.毛loops on the top90.脱thread breakage91.露missing stitches93.水花water spot94.亮光pressing mark95.污迹spot96.烫黄overpress97.烫溶melt八、服装专用工具1.弯尺french curve2.自由曲线尺irreqular curve3.比例尺scale4.镊子钳tweezers5.样板纸pattern paper6.锥子bradel7.美工笔pens or pencils8.拷贝箱copying box9.划粉chalk10.裁剪剪刀dressmaker’s shearsor tailor’s shears11.擂盘tracing wheels12.压料铁weights13.电剪刀electrically poweredknife14.铺料机spreading machine15.冲头punch16.手缝针sharps needle17.插针包pin-cushion18.顶针thimble19.纱剪thread clippers20.浆刀paste kinfe21.缝纫机针sewing machine needle22.缝纫机sewing machine23.专用缝纫机special machine24.水布pressing cloth25.垫呢press cloth of wool26.烫凳tailor’s press board27.铁凳egg pad28.拱形烫木clapper29.布馒头tailor’s ham30.喷水壶sprayer31.电熨斗electric iron32.蒸汽熨斗steam iron33.人体模型mannequin34.胸架model35.钢卷尺steel tape 37.外观疵点样照standard sample photo for checking spots38.起皱样照standard sample photo39.贴纸marking paper40.。

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”。

服装设计英语作文

服装设计英语作文Fashion Design English Essay。

Fashion design is the art of creating clothing and accessories that are not only aesthetically pleasing butalso functional and comfortable to wear. It is a constantly evolving industry that requires creativity, innovation, and an understanding of the latest trends and technologies.The process of fashion design begins with research and inspiration. Designers must stay up-to-date with the latest fashion trends, as well as cultural, social, and political influences that may impact their designs. They may draw inspiration from a variety of sources, including art, music, nature, and architecture.Once a designer has a concept in mind, they will create sketches or digital renderings of their designs. This is where their creativity really comes into play, as they must balance form and function, color and texture, and theoverall aesthetic of the garment or accessory.From there, the designer will create a pattern or prototype of the design. This is where they will work out any kinks in the design, such as fit or construction issues. They may also experiment with different fabrics andmaterials to find the perfect combination for their design.Once the pattern or prototype is finalized, the garment or accessory can be produced. This may involve working with manufacturers or seamstresses to create a final productthat is ready for sale or distribution.Fashion design is a highly competitive industry, and designers must constantly work to stay ahead of the curve. This means keeping up with the latest trends and technologies, as well as developing a strong personal brand and network of contacts within the industry.Overall, fashion design is a challenging but rewarding career that requires a combination of creativity, technical skill, and business savvy. Whether you are designingclothes for the runway or creating accessories for everyday wear, there is always room for innovation and creativity in the world of fashion design.。

服装设计的英语作文

服装设计的英语作文Fashion Design。

Fashion design is the art of applying design,aesthetics and natural beauty to clothing and its accessories. It is influenced by cultural and social attitudes, and has varied over time and place. Fashion designers work in a number of ways in designing clothingand accessories such as bracelets and necklaces. Because of the time required to bring a garment onto the market, designers must at times anticipate changes to consumer tastes.Designing a garment requires a great deal of creativity. Fashion designers must be able to come up with ideas and concepts for their designs, as well as be able to translate those ideas into sketches and finished products. They must also be able to work with a variety of materials, such as fabrics, leather, and metals, and must have a good understanding of how these materials behave and can bemanipulated.In addition to creativity, fashion designers must also have a strong understanding of the business side of the fashion industry. They must be able to identify trends and consumer preferences, as well as be able to work within a budget and meet production deadlines. They must also be able to work with manufacturers and suppliers to ensurethat their designs are produced to the highest quality standards.Fashion design is a highly competitive field. There are many talented designers vying for a limited number of positions, and those who are successful must be able to stand out from the crowd. This requires a combination of talent, hard work, and determination. Successful designers must be able to create unique and innovative designs that appeal to consumers, while also being able to market their designs effectively.In conclusion, fashion design is a challenging and exciting field that requires a great deal of creativity,skill, and business acumen. It offers a wide range of career opportunities, from designing clothing and accessories to working in marketing, merchandising, and production. If you have a passion for fashion and a desire to succeed, a career in fashion design may be the perfect choice for you.。