【参考文献翻译】服装设计中独特性的表达.doc
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。
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。
服装设计中的个性与独特性
服装设计中的个性与独特性在现代社会，个性和独特性成为了人们越来越关注的话题，而这种追求个性和独特性的态度也渗透到了服装设计领域。
服装设计师们通过巧妙的设计和独特的创意，将个性和独特性注入到每一件服装之中，使得人们在穿着时能够体现出自己的个性和独特性。
本文将探讨服装设计中的个性与独特性，并分析其在现代社会中的重要意义。
首先，个性和独特性在服装设计中起到了引导和激励人们追求自我表达的作用。
每个人都是独一无二的，拥有自己独特的个性和审美观，而服装设计师正是通过他们的作品来满足人们表达自我的需求。
设计师们以多元化的创意和风格，提供了不同的服装选择，使得人们可以根据自己的个性和喜好来选择适合自己的服装，从而在穿着中实现个性的展示，这对于个体来说具有极大的价值。
其次，个性和独特性在服装设计中突破了传统的束缚，创造了更多的可能性。
在过去，服装设计往往受到传统观念和规范的限制，大家似乎都穿着相似的服装。
然而，如今的时尚界正处于一个多样性和包容性的时代，人们开始崇尚个性和独特性的展示。
服装设计师们在设计过程中大胆创新，摒弃传统束缚，通过独特的设计理念和材料运用，打破常规，带给人们更多的新鲜感和惊喜。
这种突破传统的态度使得服装设计成为了一门充满创造力和可能性的艺术。
再次，个性和独特性使得服装设计师能够在市场竞争中脱颖而出。
现在的市场充斥着大量的服装品牌和设计作品，要想在这个竞争激烈的行业站稳脚跟并建立起自己的品牌形象，关键就在于独特性和个性的展示。
一个与众不同的设计理念和独特的创意可以吸引人们的眼球，使得消费者对该品牌产生兴趣。
通过将个性和独特性注入到服装设计中，设计师们能够创造出独一无二的作品，使得消费者在购买时能够感受到不同于其他品牌的价值，并对其产生认同感。
此外，个性和独特性也为人们提供了展示自我和彰显身份认同的平台。
现代社会注重个体的价值和尊重，而服装作为一种身份的符号和表达方式，成为了人们展示自我的重要途径。
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。
品牌服装设计之个性化表达论文
品牌服装设计之个性化表达的研究摘要品牌服装个性化表达研究为社会审美趋势做出了正确的指导和向导，对于提升服装产业的附加值，改善人们生存的状态有着高度的意义，并且这些意义也意味着服装设计师在新时代里肩负着的责任。
随着信息化时代的到来，电脑以及各种数字化设备在设计领域的广泛使用，只有个性化的设计作品才能在行业中立于不败之地，才能获得艺术价值，才能在行业中受到人们的推崇，伴随着信息视觉化的发展和生活节奏的加快，个性化的服装设计正在融入我们生活的每一个角落。
关键词：品牌服装个性化文化风格形象中图分类号：j523 文献标识码：a当人类的文明进入迅速、深入而广泛的交流与融合阶段，随着世界政治、经济、文化的大融合趋于破竹建瓴之势，人类也进入“肆无忌惮”展示个性的时代。
从心理学角度上分析，在世界上不存在没有个性的人，只是人们在展示个性的能力水平和方式表达上参差不齐。
通过人们的着装式样和着装态度以及着装的细节上都可以看出一个人的个性，服装是人们生活中不可缺少的一部分，随着时代的发展，个性化是时代最突出的一种潜在特征。
服装不在是纯粹的物质性消费品，更多的是作为精神性消费品来满足风格的展示和个性的彰显。
个性化的表达不仅是服装品牌文化的重要体现，也是服装风格确立的重要手段，更是服装品牌形象的完美诠释。
从世界顶级服装品牌无论是欧美品牌克里斯汀·迪奥精致裁剪的服装设计、香奈儿开创年轻化个性化衣着形式、范思哲黑色调和鲜艳色彩的设计、阿玛尼昂贵的新型面料和精良剪裁，还是日本品牌三宅一生的“褶皱”风格设计、有色彩魔术师之称的高田贤三、山本耀司将性别模糊化的设计、川久保玲解构主义风格设计的成功都体现了服装设计是高度的社会文明和个性张扬的和谐统一。
因此，作为一个服装品牌处在今天高度发展的信息社会中，服装品牌文化和风格的建立需要个性化的内容。
一个性化表达对服装品牌确立的重要性1 个性化表达是服装品牌文化建立的重要体现“服装”被视为一种能满足人类心理需求的精神文化产品，表现出了丰富的文化内涵和较高的艺术品位。
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。
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。
服装设计中的创意性灵感外文文献翻译
文献出处：Mete, Fatma. "The creative role of sources of inspiration in clothing design." International Journal of Clothing Science and Technology 18.4 (2006):278-293.原文The creative role of sources of inspiration in clothing designFatma MeteAbstract:Purpose - To assess the creative role of sources of inspiration in visual clothing design. It aims to analyse simple, general accounts of observed design behaviour and early stages of the clothing design process, what is the nature of design inspiration, how sources of inspiration are gathered and how they affect the creativity and originality in clothing design.Design/methodology/approach - A progressive series of empirical studies looking at ready-to-wear clothing design has been undertaken; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empirical approach used ethnographic observational methods, which 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.Findings - Identifies the major types of idea sources in clothing design and provides information about each source. Recognises that these sources of inspiration help designers to create design elements and principles of individual designs. In order to foster originality, sources of inspiration play a powerful role throughout the creative stage of design process, and also in the early stages of fashion research and strategic collection planning.Originality/value - This paper highlights the role of sources of inspiration and its effect in creativity and originality in the clothing design process. Offers practical help to clothing designers and design-led clothing companies.Keywords: Fashion design, Clothing, Creative thinking, Design calculations, DesignmanagementIntroductionSources 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 design processes is open to scientific investigation like aesthetically driven 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 inspiration are complex. Clothing design, as a variety of aesthetic and functional 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 majority of their customers will want in the foreseeable future. In order to keep up with the changing world of fashion, fashion awareness should become second nature to every clothing designer.Design and clothing as a visual and tactile sensory 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 practical purpose and use. Design as process is planning to meet a goal, and thus applies to everything intentionally created for a purpose. The steps and order of the process areessentially 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 through the senses and then interpreted behaviourally. A fashion show, for example, include both sensory and behavioural designs.Research 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] Eckert and Stacey (1998, 2000, 2003) studied knitwear design case, which 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 communication problems within design teams. [15] Mäkirinne-Croft 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 expert clothing designers was assessed through empiricalresearch. 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 time assistant designers in the clothing industry. The second group was composed of five professional designers with a minimum of 5 years of experience in clothing industry. Sources of inspiration 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 source of inspiration for a garment. Through television, the designer experiences 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 happenings, expositions, theatres, music, dance and world travel are all sources of design inspiration to fashion designers. The fashions of the past are also a rich source of design inspiration. While 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 fundamental approaches in the creative clothing design processes:(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, artifacts, natural objects and phenomena. In case of clothing design, garments, fabrics 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 example, the development of elasthen fabrics, such as Lycra, inspired designers to figure-hugging silhouettes.ConclusionsAnything 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 careful research, but what makes a designer's collection special and 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 a successful fashion product.Sources of inspiration are used at the early stages of design and throughout theentire 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;- deriving technical acumen from products inspired, especially from previous garments;- understanding the fashion appropriation of the season; and- drawing the borders for the design framework.译文服装设计中的创意性灵感法蒂玛梅特摘要研究目的：本文的研究目的就是评估服装设计过程中的创造性灵感源。
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英文翻译：The unique expression in fashion designAbstract: With the social progress and people's aesthetic awareness, clothing design requirements are constantly changing, not only beautiful, comfortable, personalized for different purposes, and more and more people started to pay attention the unique design of the clothing. unique expression of the clothing design has something in common, in common, there are three factors most typical one of the means of the use of the plastic arts; is to follow the basic rules of the plastic arts; the pursuit of art content and beauty of form harmony and unity. The face of increasingly fierce competition in society, from clothing unique starting to play to their strengths, so that the costume design perfected.Key words: aesthetic sense; costume design; uniqueness; expressionIntroductionWith the rich substance of social development, improved quality of life, the pursuit of unique clothing is also more than plus strong, the face of the popularity and unity to the mass production of clothing has become a problem to be solved in order to fashion designers. An important design point, then become a unique expression of the costume design costume design costume design unique refers to the characteristics of the presentation of the representative from the clothing on the whole, it is unique content and form unity. China fashion design unique expression as a complete system of disciplines to study the ancient times to now there, but the uniqueness of expression in fashion design is not perfect, therefore, the uniqueness of this study fashion design to express Modern fashion design is of great significance.1. The unique overview of clothingIn short, The unique nature of the clothing is the clothing unique. In a broad sense refers to the presentation of the representative characteristics from the whole of the clothing works, it is one of the unique form and the objectivity of the unity of the unity of content, costume designer on the subjective aspect of creative and clothing subject matter difficult to find words to express, but it is not difficult to make us feel unique style. The unique nature of the clothing, but also refers to the values, artistic characteristics and inherent character of a nation, an era, a genre or a person's clothing in the content and format of the show out. The unique nature of the appearance of the mind, the pursuit of the realm of fashion design in the final analysis is unique in design and positioning, the unique expression of the costume design also reflects the designer's unique creative thinking and the pursuit of art also reflects the distinctive character.2. The unique role of fashion designEither clothing had an important influence on the human economy or culture. And largely dominated people's consumption patterns, consumer attitudes and lifestyles, a direct impact on people's social values and the uniqueness of the role as follows:(A) In order to achieve the better effect of clothingA perfect garment is often reflected in its unique design, a good design work which contains a profound national culture, but also social development, a mirror of the progress of the times. Unique expression of the fashion design clothing creativity closer to the "China" or like "Chinese" consumer psychology between them is the complementary role of the costume design of the unique expression of the Chinese traditional elements of mutual restraint, costume design The uniqueness of National Cultural Psychology must be adapted to many different people, to achieve the better results of clothing.(B) To guide people's aestheticSince ancient times ,China have different aesthetics, such as women's aesthetic, summer, business, and Zhou dynasties, soft and delicate sense of aesthetic is very popular in the Tang Dynasty is based on fat is beautiful, to the Ming and Qing also petite for the United States. However, modern aesthetic, but unlike the past, has a strong universality point of view, but mainly based on the individual as a starting point, find a dress to show their own unique aesthetic taste. Fashion is unconventional, unique, and China in the 1980s is unique with no clothing at all, until the 1990s, slowly come into contact with more clothing brand, a preliminary understanding of the skills of some of the dress , but from the aesthetic perspective, many people do not clearly recognize their own style and temperament, wearing more or less have some blindness. Fashion weathervane clothing, the fashion of our country must shoulder the heavy responsibility of the foster a modern aesthetic. China International Fashion Week each season's fashion release, whether auditory, visual, emotional viewer is a very good artistic culture, even if most people can not personally to feel, but through a variety of media media coverage of pictures, music, video, impact on people's hearts and vision, people will be inspired and infection imperceptibly into, in order to bring their own life, combined with their own preferences and conditions, to form a unique aesthetic.(C) To guide the people's consumption20 years ago,Chinese market showing a short supply situation at that time we can buy clothes very well, who would carefully pick out the colors and styles. Today's society, society is an overproduction of different fashion brands and different clothing styles that dazzle us, a lot of people driven by impulse and blind followers psychological, may buy some of the clothing are not suitable. At this point, unique clothing like fashion navigator to guide blind people towards the right the other side of the consumer. Of course, this page is the fashion culture of the uniqueness of the totally implantable hearts of the people, the public has cultivated and form their own aesthetic taste, and mastery of the modern fashion symbol, and then they will meettheir own practical purpose to choose consumer goods. Most people can not afford the unique nature of high fashion, they just access to information from the uniqueness of the high fashion, and then to buy similar clothing or apparel goods with this popular elements.3.The uniqueness of expression in fashion design(A) China Red in Fashion DesignIn recent years, the red can be described as fashion colors, red is a unique, popular in the north and south, whether it is international brands and domestic brands were unanimous in Chinese red. Red means good luck, peace, success, happiness, harmony, health, reunion, etc.; also means abandoning evil and promote good smooth, Pepsi, good luck. The Chinese nation, like the red, for example, in the occasion of the festivals, weddings, Suli, red, red is in our minds the most perfect color. Red is the color of the sport and passion, joy and harmony of color, the color of the folklore and culture, but also the main color of the Beijing Olympic Games emblem color. The red has become the symbolic color of China.For example,"Green Paper Cranes" (Figure 3-1, 3-2) series, using bold contrast of red, green, two colors, the use of right. The traditional red flowers and green leaves on behalf of the customs of China, has been widespread in the countryside gives auspicious and festive feel. This traditional red and green decorative colors bearing a special mark to convey the beauty and warmth can not be forgotten. It is gratifying that this traditional decorative color patterns - so that we can feel the warmth of the past, but also enjoy modern simplicity and crisp with a modern aesthetic combined into a new artistic charm.Figure 3-1 Figure 3-2中文原文：服装设计中独特性的表达摘要：随着社会的进步和人们审美意识的提高，对服饰设计的要求在不断变化，不仅要基于美观、舒适、个性化等不同目的，而且越来越多的人开始关注服装的独特设计，服装设计的独特性表达都有其共性，在共性中，有三个因素最具有典型性，一是运用造型艺术的手段；二是遵循造型艺术的基本法则；三是追求艺术的内容与形式美的和谐统一。