服装设计参考文献
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。
服装设计参考文献
服装设计参考文献第一篇：服装设计参考文献参考文献[1]李平.面料再造的艺术表现力[J].服装设计师,2009，10[2]艺术与设计[J].2011.05[3]马慧颖,肖圣颖.浅谈环保主义影响下的服装设计[J].才智，2009，06[4]李苏君,彭景荣.三宅一生与解构主义服装[J].美与时代2010, 01[5]余建春.服装市场调查与预测[M].北京：中国纺织出版社,2002[6]服装设计师.月刊.[J].服装设计师杂志社，2008.01[7]肖文陵，李迎军．服装设计[M].北京：清华大学出版社,2006[8]许星．服饰配件艺术[M].北京：中国纺织出版社,2005[9]罗森.魅力先生[J].青年与社会,2006，04[10]李霞云.服装造型设计[M].上海：上海纺织工业专科学校，2008[11]刘瑞璞．服装纸样设计原理与技术(男装编)[M].中国纺织出版社,2003[12]尹定邦.设计学概论[M].衡阳:湖南科学科技出版社,2001.10[13]原研哉.设计中的设计[M]，济南：山东人民出版社，2006[14]吴静芳.服装配饰学[M].上海:东华大学出版社,2004.1[15]刘元凤.服装设计学[M]，北京：高等教育出版社，2005[16]肖文陵.李迎军．北京：服装设计[M].北京：清华大学出版社.2006[17]谢锋.时尚之旅（第二版）[M].北京：中国纺织出版社,2007[18]李采姣.时尚服装设计[M].北京：中国纺织出版社,2007[19](美)多丽丝·普瑟.穿出影响力[M].北京：中国纺织出版社,2006[20]袁利.打破思维的界限[M].北京：中国纺织出版社,2005第二篇：服装设计1、先学习服装设计基本原理和知识。
就是量体、裁剪、缝制（可找裁剪店铺师傅），这是基本功，必学！2、然后学习画图，先学手绘。
（可购买如服装素描、时装画技法一类的书），打好基础，你不用成为一代绘画大师但你必须会画最基本的款式图，因为你需要借助图来表达你的设计构思，必学！3、学会电脑绘图。
服装设计的研究资料
服装设计的研究资料篇一：服装设计研究性学习设计方案服装设计研究性学习设计方案篇二：如何查找服装设计研究文献如何查找文献一、资料性文献（1911年以前）1. 正史《隋书》二十四史《舆服志》2. 政书通史类：十通《通典》，《通志》，《文献通考》断代史：会要，会典《唐会要》《唐六典》3. 类书综合性：《北唐书钞》专门性：《碎金》4. 辞书《说文解字》，《释名》5. 文学小说《搜神记》，《水浒传》，《红楼梦》，《金瓶梅》诗歌《诗经》，《全唐诗》笔记《西京杂记》，《梦溪笔谈》二、成果性文献著作:通史，断代史论文国内国外三、其他1. 档案清《穿戴档》注释唐颜师古注《汉书》2. 近代通俗报刊《时代画报》，《良友》，《玲珑》，《妇人画报》3. 图像卷轴画山水花鸟人物：写真、行乐、记事、风俗壁画洞窟（佛教/世俗）墓室（画像石，画像砖，砖雕）寺庙宫廷篇三：服装设计中材料的创新应用研究龙源期刊网 .cn服装设计中材料的创新应用研究作者：李淑来源：《大观》XX年第01期摘要：随着国民经济不断发展，人民生活水平有了很大提升，对着装等形象仪表等方面的关注度日益提升，研究也日渐深入，然而，在服装设计发展过程中，服装设计师突破造型吸引人们的眼球的难度越来越大，于是，更多服装设计师将注意力转向创新服装材料上，希望在服装材料上有所突破。
本文将从服装设计材料创新的重要性入手，并阐述服装设计材料的具体创新应用，从而推动我国服装设计领域进一步发展。
关键词：服装设计;材料;创新应用服装是人们生活中不可缺少的一部分，其风格在人们的审美观念中已经形成固定模式，设计师只能从其他方面入手，例如：颜色、材料等，特别在科学技术的影响下，服装设计材料层出不穷，为服装设计行业的发展奠定了坚实的基础。
一、服装设计材料创新的重要性材料在服装设计中的创新应用具有两大方面作用，一方面，能够促使材料在外观或者肌理效果上发生变化，展现服装视觉美感;另(转自：小草范文网:服装设计的研究资料)一方面，材料本身特性，促使其具有不同的用途与功能，例如：防水、防蚊等，不仅能够展现人们的个性，还能够显示自己的财富，与现代社会个性化发展趋势需求相符合，总而言之，服装设计材料创新能够满足大众不同心理需求，具有极强的可行性，而材料作为服装设计的重要基础，加强材料创新，能够激发设计师灵感，创造出更具特点的服装[1]。
服装设计 林红梅 文献综述
文献综述现代主义风格是工业化社会的产物，是一种理想主义的探索，是设计家们致力于一种非个人的、能够以工业化方式批量生产的，代表工业社会特征的新设计。
简约、实用、而具有深厚文化内涵的现代主义设计，为社会文明创造了一笔可贵的精神财富。
随着人类物质文明和精神文明的不断发展，服装设计中“极简主义”、“简约而不简单”的思想会更加深入人心，简约的服饰风格会进一步流行，这是社会向前发展的一种大趋势。
作为服装设计师应紧紧把握我们的文化根源，有效地创造出具有中国风格的现代主义设计作品，更好地将“中国概念”用现代主义设计手段诠释出来。
现代主义设计善于创造一种具有诗意的空间样式，把事物的内外在条件协调起来，挖掘富有感情的内在美，创造和谐的视觉空间，坚持浪漫与理性的结合。
而在服装的“内空间”中，存在着东西方两种文化的差异所产生的二维空间和三维空间。
现代主义“少就是多”的设计哲学可以从中国国画大师留出的大片空白当中体会得到。
“少”不是空白而是精简，“多”不是拥挤而是完美。
在设计服装的过程中，经常涉及到的设计元素种类繁多，包括廓形、色彩、面料、辅料、结构、工艺、图案、装饰、配件元素等等。
随着服装的回归自然和多元化风靡趋势，消费者对涂层仿皮革服装的认同度逐渐增高。
涂层仿皮革织物在服装中的应用一般表现为两种，一是作为单一服装面料制作成仿皮革服饰，二是与普通面料搭配组合制作成风格迥异的服装。
单一仿皮革织物制作的服装除了可以获得皮革的外观效果以外，还具有抗皱、耐磨、易打理等优势。
涂层仿皮革面料还可以镶拼在门襟、袖口、肘弯等部位做装饰附件，其作用不仅可以获得独特的外观、增加造型美感，还可以提高服装穿着使用寿命。
涂层仿皮革面料用来制作休闲服装，达到的外观效果和手感可与天然皮革媲美。
涂层面料的色彩与图案比天然皮革的丰富多彩，在服装上具有非常突出的表现力，是吸引消费者青睐的重要因素之一。
根据各种不同的色彩及面料的厚度，可以在不同的时节制作多种多样的服装，以供消费者选择。
服装设计毕业论文范文
服装设计毕业论文范文服装设计毕业论文一、绪论随着时代的发展和人们对美的追求，服装设计行业逐渐崛起。
服装设计是将时尚元素与人体工学相结合，通过设计独特的服装来表达个人风格和文化内涵。
本篇论文围绕服装设计的创新和发展展开讨论，旨在探索如何通过服装设计来满足人们的日常需求，并提出相应的改进建议。
二、创新与发展的背景随着经济的不断发展和人们对生活品质的追求，服装设计行业得到了前所未有的发展机遇。
同时，人们对时尚和个性化的需求也在不断增加。
服装设计作为一种艺术形式，可以通过创新和发展来满足社会的需求。
三、创新与发展的重要性服装设计的创新和发展对于推动整个行业的繁荣和社会的进步具有重要意义。
创新可以使服装设计更加注重人体工学，提高人们的着装舒适度和健康性。
发展可以使服装设计更加关注文化，传承和发扬民族传统和时尚元素。
四、创新与发展的方法创新是服装设计的核心竞争力，也是推动发展的关键。
为了实现创新和发展的目标，可以采取以下几种方法：1. 引进新技术：如3D打印技术、智能穿戴设备等，可以使服装设计更加智能化和高端化。
2. 增加功能性：将服装设计与功能性相结合，使服装具有防水、防晒、保暖等功能，提高人们的生活质量。
3. 引进新材料：如可降解材料、绿色环保材料等，可以使服装设计更加环保和可持续发展。
四、创新与发展的实践创新和发展是一个不断探索和实践的过程。
在服装设计领域，通过实践可以不断改进设计的技术和风格，提高设计师的专业能力。
五、结论通过对服装设计的创新和发展进行探讨，可以发现创新是推动行业发展的核心驱动力。
创新可以通过引进新技术、增加功能性和引进新材料来实现。
同时，创新和发展需要通过实践来不断改进和提高。
六、参考文献[1] 韦丽. 服装设计创新与发展研究[J]. 中国服装，2018(6)：20-25.[2] 张阳，杨丽. 服装设计创新与发展的路径选择[J]. 时尚设计，2019(3)：48-52.[3] 刘海燕. 服装设计创新与发展的实践与思考[J]. 服饰导报，2020(4)：68-70.。
3000字服装设计外文文献
3000字服装设计外文文献篇一：服装设计外文文献翻译文献出处：Sukumar N, Gnanavel P, Ananthakrishnan T. Effect of Seams on Drape of Fabrics [J]. African Research Review, 20xx, 3(3)：62-72.原文Effect of Seams on Drape of FabricsSukumar ；Gnanavel. P. , Ananthakrishnan, T.AbstractDrape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyze the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.Key words: drape, computer aided design, seam, stitch densityIntroductionDrape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 20xx). The mechanical properties of fabrics were firststudied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al.(1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is uealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit acomplex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle, 1993).A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothingindustries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ring of fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the main parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 20xx). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.Types of SeamThe types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cm square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.(1) Plain Seam (S1)This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.(2) Welt Seam (S2)For constructing this, we should stitch the plan seam and press both seam allowances to one side. Then the inside seam allowance is trimmed to ”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.(3) French seam (S3)The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished widt h is” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabric. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made” from the fold.ConclusionA study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drape篇二：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 Clothin g Science and Technology 18.4 (20xx): 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 whereconventional 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 manycharacteristics 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 andthen 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] M?kirinne-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, 11university-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, visitingmuseums, 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 learnmost 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 the篇三：课题_服装设计外文翻译服装设计外文翻译CoutureSewingUnitedStates Technique Claire B.Shaeffer Printed originallypublished TauntonPress,Inc. Chapter4.Edge Finishes Hems,Facings BindingsUnless finished someway, garmentravel lookincomplete. edges—theneckline; verticalfrontcanbecome edges jackets,coats manyblouses; jackets distinctive, decorative elements design.Threefinishes usedextensively couture:hems,facings edgefinish depends manythings—the shape edgebeing finished; its position type,design garment;current fashion trends; individualwearer bottomedge asymmetrical,curved, scalloped otherwiseunusually shaped, facing.Even when twodifferent edges requireslightly different finishes tailoredgarment would require very different finishing from eveninggown, even similar designs vorked dissimilarfabrics would dictate finishes suitable eachfabric. Although hems, facings alledge finishes, each has slightlydifferent function. Hems generallyused loweredges garmentsection manyhelp garmenthangattractively addingweight edge.Facings, otherhand, verticaledges garments.Bindings can upper,lower verticaledges, they’reused most often replacefacings rather than hems. Facings can separatesections finishcurvedshapededges. whenused onlyslightly curved, nothingmore than widehem allowance, whichcase they’re called extended facings. Both hems onlyone side—usually garment.Bindings, separatestrips garmentedgeBecause finishboth materialstakes sides backseat garmentattractively.desiredresults, edges alwaysfinished simplestmethod onemost often used ready-to-wearconstruction homesewing. Whatever finishingmethod, hems, facings bindingscan sewnentirely machinework.. handwork visible finishedproduct, however, handwork used traditionalcouture garment. FACINGS Facings, like hems, garment.Unlike hems, which hang free garment’shang more than its overall shape, faced edges frequently fit body’scurves subtlyaffect garment’ssilhouette. Used garmentopenings, curved edges shapededges like jacket lapels, facings contribute significantly overallimpression well-constructedgarment. threetypes facings:extended, shaped bias.Two biasfacings—are cut separately from sewnfrom self-fabric lightweightlining fabrics. extendedfacing garmentsection like plainhem course,self-fabric. extendedfacing nothingmore than 2-in.hem sewnexactly like plainhem (see pp. 63-64). When garmentedge length-wisegrain, extendedfacing duplicates slightcurve,facingcan’t duplicate mayhave eased,stretched edgesmoothly. extendedfacing usedextensively couturebecause foldededge moresupple than seamededgesbetter.stabilizedso Edges biasfacings extendedfacings itsnameoftenusedalwaysused consequentlydrapes generallyinterfaced suggests, originalshape shapedfacing ususllyduplicates look, edgesintended crisp,constructedintricatelyshaped edges like scallopedhem. biasfacing stripcut truebias. Because doesn’tduplicate facingmust itself edge.Bias facings madefrom lightweight fabrics producenarrow, inconspicuous facings. cousture,more than one type oftenused singlegarment singleedge. pinkgazar dress shown above, example,has extended facings frontneckline backopening backopening shapedfacings frontnecklineshapedfacings backneckline. Similarly, p.60has shapedfacing upperhalf frontedge extendedfacing lowerhalf edge.Before applying any kind facing,examine garment’sfit determinewhether edgeneeds staytape (see pp. 49-50) interfaced(see 68).Once you’ve handled youcan proceed facingyou’ve chosen. SHAPED FACINGS Shaped facings can machine.Both types couture,while only machine applications machineapplication course,faster, sometimesmore difficultfacingso fitssmoothly, sometimesvisible garmentedge. instructionsbelow applyingshaped facings machine,refer yourfavorite sewing manual.) directionsfocus necklinefacings because they’re most frequently used coutureworkrooms. However, directionscan otheredges waistbands,armholes, applied pockets, collars garmentlinings. facingcan madeany time after neckedge stabilizedappropriately design.Facings can cutfrom originalgarment pattern edgewasn’t changed during fittingprocess, garmentitself can serve pattern.When thread-tracedneckline can correspondingstitching line finishedneckline can also guidewhen you’re applying hand.Neck facings can severalshapes. Two mostpopular traditionalcirclular shape, which measures evendistance all around from rectangularshape, which extends armscyeseams. When largershape facingedges can seamlines,holding them smooth facingshadow may alsolessobtrusive largershape, depending obviousdisadvantage additionalfabric introduced shoulderarea, which may give bulkyappearance. One solution reducingsome seamlines1/2 originalpositions. alwaysaligned correspondinggarment seamlines, homesewing. lessfamiliar rectangular facing. caneasily circularfacing, Start selectingsome scraps from your garment fabric backfacingsunless whichcase use lighter,firmly woven material facings.Rectangular pieces preferablebecause you’recutting rectangularfacing high,round neckline back,begin onelarge rectangle about 16 frontfacing twosmaller ones about backfacings. When applying garmentedge before making facingso youcan use finished,do so before starting freeedge lieflat. Trim seamallowance around garmentneck wrongside. Baste generous1/5 seamallowance’s tendency curlaround neck,snip shallow cuts rawedge every inch necklineseam allowance lie flat(as shown wrongside up, place necklineover pressingcushion pressjust necklineedge. yourfingers, gently try rawedge. necessary,trim edgefurther firmlywoven fabrics lessstabble fabrics. seamallowance still doesn’t lie flat, clip rawedge short,closely spaced snips up bastingstitches around neckedge. Use loosecatchstitch seamallowance garmenthas neither, sew carefully so stitchesdo rightside garment.Cut eachsection faced.Before proceeding, decide whether relacating shoulderseams bulk.After relacating youdecide doso, begin wrongsides together, grainlinestogether centerfront itsfacing. garmentneckline curved, whenworn, smooth place,pinning yougo. When you get shoulderseams, smooth frontfacing over seamsso seamallowances flat.Pin。
服装设计外文翻译文献
文献信息：文献标题：Proactive Fashion Design for Sustainable Consumption（可持续消费的具有前瞻性的服装设计）国外作者：Kirsi Niinimäki文献出处：《Nordic Textile Journal》，2012，1:60-69.字数统计：英文3104单词，17881字符；中文5737汉字外文文献：Proactive Fashion Design for Sustainable Consumption Abstract This article presents a study that investigates product satisfaction in the context of clothing. The paper furthermore presents suggestions on how this knowledge can be used to create proactive fashion design for sustainable consumption. One of the main challenges in today’s consumer society is how to design products that encourage consumers to engage in more environmentally responsible behaviour, sustainable consumption. This paper opens the discussion on how to change current unsustainable consumption behaviour related to clothing through a visionary, far-sighted design approach. Designers can create future-oriented sustainable designs that can transform consumption patterns towards more sustainable ones. Design for sustainability can thus be a redirective practice that aims for sustainable consumption, and the ways in which fashion design can be a proactive process with this aim will be described.Keywords: proactive design, sustainable design, sustainable consumption, emotional satisfaction, PSS.IntroductionProducts configure consumer needs and use patterns; hence, design can be said to be “practice-oriented”, creating certain everyday practices and consumption behaviour (Shove et al. 2007, 134–136). Current industrial design andmass-manufacturing systems stimulate consumerism and the production of disposable products (Walker 2007, 51). Fast changing trends lead to consumers’ unsustainable consumption behaviour. To create a new, sustainable balance between design, manufacturing and consumption, alternative ways to create products are required to drive more sustainable consumption behaviour. Therefore, designers should evaluate how each design decision affects a consumer’s consumption patterns. Understood in this way, sustainable design can be a redirective or a proactive practice that aims for sustainable practices in consumption (Fry 2009, 53).Higher production volumes and simultaneous growing consumption have caused an increase in material consumption (Throne-Holst et al. 2007). Ever-changing fashion trends, affordable product prices and low-quality products cause consumers to engage in unsustainable consumption behaviour, such as impulse purchases, overconsumption, short use time and premature disposal of products. The increase in the purchase of short-lifespan products results in a notable increase in waste. Currently, approximately 70 percent of disposed clothing and textiles end up in landfills, and in many Western countries clothing and textile waste is estimated to be the fastest growing waste stream (Fletcher 2008, 98). Consumers discard gaments not only because they are worn out but also because they actively seek novelty. Nevertheless, product durability and longterm use are prerequisites for sustainable consumption: i.e. extending the life span of products is essential when the goal is sustainable consumption (Cooper 2005). Importantly, however, consumers associate durability with high quality and not with environmental impact.Emotions lie at the centre of human life, and they influence most of our behaviours, motivations and thought processes (Desmet 2009, 379). Emotions also play a strong role in consumption. The interplay between wants, needs, values, attitudes and experiences is emotionally meaningful for a contemporary consumer. Clothing and fashion items belong to the category of self-expressive products, and with such products, consumption-related emotions are important to the consumer. As Richins (2009) argued, these consumption emotions are important elements in contemporary society and especially after the purchase event. The purchase situationbecomes a strong positive experience for a consumer, but it is very short term in nature and has no connection to the experience of deeper satisfaction or person–product attachment (ibid). Through a new purchase event, the consumer can again experience excitement, enjoyment, joy and pleasure, at least momentarily.From an environmental point of view, studying consumption patterns and the meanings of consumption is important when sustained positive emotions in person–product relationships are desired or solutions are sought to replace materialistic consumption with other positive emotional states. The design process should focus on sustainable consumer satisfaction with a product or with the person–product attachment process. Moreover, a new kind of product service system (PSS) should be developed that aims to prolong the enjoyable use time of the product. A PSS strategy can also offer the consumer new emotional experiences, which can postpone the disposal of the product; PSS thinking can thereby aim to avoid a new garment purchase, which is an opportunity to decrease materialistic consumption.Sustainable Satisfaction with ClothingIf current unsustainable consumption patterns are to be transformed into more sustainable ones, the ways in which design can offer sustainable satisfaction must be investigated. To gain a deeper understanding of the opportunities to deliver satisfaction by design and how the enjoyable use of garments can be extended, the satisfaction process must first be explained.According to Swan and Combs (1976), the performance of clothing can be separated into instrumental performance (physical properties) and expressive performance. Expressive performance is linked to a consumer’s psychological response to the garment, such as the experience of beauty. Instrumental requirements (e.g. quality expectations) must be satisfied first. Nevertheless, only fulfilling instrumental requirements will not result in satisfaction. Therefore clothing must also meet consumers’emotional needs if it is to deliver satisfaction (Swan and Combs 1976).Hence good intrinsic quality is optimal for ensuring consumer satisfaction and toguarantee the longevity of clothing. High quality means durable materials and high manufacturing quality. The ageing process of a pleasant, aesthetic garment requires not only maintaining high intrinsic quality but also the design of a more classical style and use of durable materials. Some textile materials look old after a short use time. The material might experience pilling or may look old after a few washes. Garments needing frequent washing may look old rather quickly; therefore, recognising materials that age in a more aesthetically pleasing manner is important. Studies have shown (Niinimäki 2010) that consumers experience e.g. wool and real leather to age in an aesthetically pleasant way. Consumers report that with high quality wool the ageing process does not show as obviously and in leather the ageing process is experienced as an attractive temporal dimension (ibid.).Consumers respect aesthetic attributes in the long-term use of clothing, and aesthetic attributes correspond to expressive performance in clothing satisfaction. Accordingly, expressive performance affects the psychological response to clothing. The aesthetic attributes that correlate to the longevity of clothing are good fit, personal cut, nice colours and comfortable materials,as well as a classic look (see Table 1). Garment tactility is important to the wearer and a pleasant tactile experience during the use situation is one attribute for enjoyable long-term use of clothing.Table I: Attributes that enable longevity in clothingNot only quality, functionality and aesthetics are important attributes; the values behind the product are also important to consumer satisfaction. Clothing choices must connect strongly with the wearer’s self-image, identity and values. Wang and Wallendorf (2006) have argued that consumers with high materialistic values seek novelty and evaluate their possessions more often than consumers with lower materialistic values. They also highlight that materialistic consumers have less appreciation for deeper person–product relationships that develop during longer use situations. Consumers’ materialistic values may also connect with social status-related elements in garments and possessions. Consumers with lower materialistic values may have greater appreciation for the personal meanings attributable to the product that emerge during long-term use (Wang & Wallendorf 2006). Consumers with high environmental and ethical interests place high importance on being able to find environmental value behind a product. These consumers respect credence quality attributes – local and ethical production, eco-materials and long garment life spans – and they want to see these attributes and environmental values in the products they purchase. The value aspect is most important and consumers’ value expectations should be fulfilled to create deep product satisfaction (Niinimäki 2011).Fashion Design for Sustainable SatisfactionHow can a designer offer sustainable satisfaction to the consumer and how can s/he propose a prolonged use time of the product to the consumer? Firstly identifying the attributes associated with satisfaction and including them in the design is the most important strategy. Secondly identifying the determinants that lead to dissatisfaction helps the designer to avoid these elements in design and concentrate on design forsustainable satisfaction. The previous section described the satisfaction elements in clothing:-good intrinsic quality;-good functionality;-aesthetics;-values in the product, in manufacturing or the company’s values.The easiest way to offer product satisfaction is to increase the product’s intrinsic quality and inform the consumer accordingly. However the clothing satisfaction process is complex and not easy for a designer to control. Table 2 presents the temporal dimensions in clothing satisfaction, combining those elements and attributes that enable satisfaction to emerge or even create person-product attachments in the field of clothing. These are the elements that a designer should try to embed in design if s/ he is aiming for proactive fashion, deep product satisfaction and extended use time of the products.Table 2: Elements of proactive sustainable fashion designThe following section presents several design approaches to deeper person-product satisfaction in the field of clothing. With these design strategies the designer can aim to achieve proactive and sustainable design.Fashion Design with Meaningful UniquenessProducts carry symbolic meaning, which consumers use to construct their own personality and identity. Consumers use products to express themselves and wantassociation with the characteristics, uniqueness or values symbolised by a product (Norman 2005). If products are easily personalised, the opportunity exists to connect the product more deeply with consumers’ identity construction and to create deeper product satisfaction and an emotional attachment through the person–product relationship (Chapman 2009). This opportunity enables the product to be more meaningful to the wearer, making possible an extension of the product’s lifetime.Design services are one opportunity to address consumer satisfaction by deeply connecting the design outcome with a consumer’s personal needs. By using digital technologies that enable individual design or measurements, meaningful uniqueness can be designed. Furthermore, unique design and “made-to-measure” services offer improved product satisfaction by meeting a consumer’s individual needs and preferences better than mass-manufactured garments. The company NOMO Jeans offers computer-assisted made-to-measure jeans by using a 3D scanner (Nomo Jeans). Jeans are made individually according to each customer’s measurements. The customer can also choose the cut, colour, effects and details of his/her jeans.An enterprise can also base its function only on consumer orders. The designer can create their own collections, produce a couple of sample collections and enable consumers to specify all orders and measurements on an individual basis. Garments can then be created based on each wearer’s measurements, thus enabling him/her to experience greater satisfaction. This design and manufacturing strategy may also help producers avoid the problem of overproduction. Small enterprises could offer their collections in small shops carrying a sample collection and obtain orders directly from consumers, allowing them to avoid extra production.Designer Anna Ruohonen creates long lasting and high quality fashion (Anna Ruohonen). She has created a timeless collection called Black Classic, where the designs are permanent but it is possible to order them in seasonal colours. Garments are manufactured only according to customer’s order and according to each customer’s individual measurements. This strategy helps to avoid overproduction. Moreover the good fit of the clothing helps ensure deeper garment satisfaction.Co-creationOne possibility for creating deeper person–product attachment is through a consumer’s own efforts during the design or realisation process. A sense of personal achievement is strongly connected to a positive sense of self (Norman 2005) and allows the product to begin to be more important to the wearer. The consumer’s own achievement through a “made by me” approach to design creates positive experiences through the sense of effort and the opportunity to realise her/his own creative skills. If the user builds the product herself/himself, s/he acquires a deeper knowledge of the product and, therefore, has the ability to repair the product (Papanek 1995). Kit-based design and halfway products give the consumer a more active role in the realisation process.One option for including the consumer in the design or manufacturing process is to offer her/him an opportunity to make decisions during the process. Consumers have shown an interest in taking part in the design or manufacturing process by using the Internet (Niinimäki 2011). If the design is based on a modular structure and the consumer is allowed to make her/his own choices – even from a limited selection – in creating a unique style, this process gives consumers new power and a more active role.Opening fashion field is one way to offer the consumer more active role. Lastwear is a company that offers ready-made garments, halfway clothing (kit-based) and patterns of their fashion designs (Lastwear clothing company). They also invest in quality and offer a guarantee on their garments, which is a good way to ensure product satisfaction.Giving consumers more power is also possible by offering environmentally-related options. Consumers may be allowed to select a manufacturing location and different materials – and be provided with corresponding prices – enabling them to express their values through their choices. For example, many consumers, especially those who consider themselves ethical consumers, would like to buy locally manufactured garments even if they are more expensive (Niinimäki 2011).Fulfilling Consumers’ Changing Needs Through PSSThe symbolic meanings of products are connected to psychological satisfaction through an emotional response. When the product no longer offers a positive emotional response because, for example, it falls out of fashion or the wearer becomes otherwise tired of it, the consumer experiences psychological obsolescence and easily replaces the product with a new one. Accordingly emotional and psychological obsolescence results in premature disposal of a product that may still be functional.Consumers’ needs and aesthetic preferences that change over time raise the question of how to avoid the psychological obsolescence of garments. The challenge in extending product lifetimes is to achieve continuing satisfaction with the product. The PSS approach allows the creation of new experiences with a product or changes to a product to enable it to better suit a consumer’s changing needs.Positive ways that a product’s lifetime can be extended include upgradability services, modification services and exchange stocks. These strategies can postpone garment disposal by keeping the consumer satisfied longer. Modification or redesign possibilities for quality garments allow for an extension of a product’s life span. Many websites already advise consumers on how to modify their old garments themselves and encourage consumers to extend the use of their garments. Many small and locally functioning repair and redesign studios also already exist, where the consumer can repair a damaged garment but can also order a redesigned garment made from old ones.A design based on a modular clothing structure also offers the possibility to create services to upgrade garments. This strategy offers the opportunity to update the appearance in a sustainable way (Fletcher & Grose 2012, 82). It is possible to play with the clothing elements to create unique combinations of colours or shapes to develop a new look. The consumer does not need to then buy a new garment; instead s/he can simply change some parts or elements in the garment to have the experience of newness.Garment exchange or renting services offer possibilities for consumers to makechanges to their clothing in more sustainable ways. New and interesting examples of clothing membership clubs exist. By paying a monthly membership fee, a consumer can select a certain number of garments to use, giving him or her the opportunity to change the appearance in a more sustainable way. This type of business strategy has emerged e.g. in the field of children’s clothing. Consumers can rent children’s outfits and when the child outgrows a size, the parent can obtain larger-size garments from the clothing club.ConclusionsThis study investigated product satisfaction in the context of clothing and this knowledge was used to understand and define proactive fashion design for sustainable consumption. It opened views into the process of consumer satisfaction. A main issue that arises when aiming to extend the life of garments is to increase their durability and intrinsic quality. Moreover, fulfilling consumers’other expectations regarding the garment’s aesthetic and functional attributes is important to ensure product satisfaction. Finally the issue of value is most important with regard to deep product satisfaction: values associated with the product, the manufacturing process and behind the companies have to meet the consumers’own value base so that the consumer feels completely satisfied with the product.By identifying the reasons for the short and long-term use of clothing, it is possible to find new ways to create sustainable designs that can result in a redirective practice directed towards sustainable consumption. Proactive fashion design for sustainable consumption takes these reasons into account, thus enabling clothing longevity. Satisfying consumers’expectations regarding quality, functionality, aesthetics and value is a key to extending the use time of a product. Moreover, the emotional side of consumption must be understood to provide more sustainable ways to ensure customer satisfaction.The PSS approach provides an opportunity to extend the enjoyable use of a product and thus avoid psychological obsolescence and a garment’s premature disposal. Stimulating a sense of meaningful uniqueness and achievement throughdesign services or “self-made”approaches is a promising route to enhancing consumer satisfaction. If a consumer is satisfied, then strengthening the emotional bond between the product and consumer is possible. In turn, this meaningful attachment is the best way to postpone a product’s disposal. When the product or its use is somehow special to the consumer, s/he will take good care of it to extend its enjoyable use time.The most promising sustainable design strategy is the combination of product design with service elements: PSS strategies are therefore a future path to proactive and sustainable design.中文译文：可持续消费的具有前瞻性的服装设计摘要本文从服装的角度对产品满意度进行了研究。
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