服装设计中英文对照外文翻译文献

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服装设计创意外文翻译文献

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。

中英文外文文献翻译中性化服装设计

中英文外文文献翻译中性化服装设计

本科毕业设计(论文)中英文对照翻译原文The study on the design of neuter clothingHouse WAbstractSocial and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from thebeginning of non-mainstream design till now has developed into one of the mainstream fashion design style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable.Key words: Neuter; Clothing; Gender roles; Design1 IntroductionThe beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable elements, such as dust coat with a neutral style, suits, t- shirts and jeans have become people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economicdevelopment, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results. Neuter clothing style has become the mainstream of one of the clothing style, can meet the demand of modern social personalized aesthetic. After more than a century of development, the neuter clothing style has represents a unique charm, is also one of the fashion trend in the future. This article through to the depth of the neutral clothing style formation and development, through to the neuter clothing design style and design characteristics of interpretation, through to the neuter clothing market development prospect of thinking, for the future research to neuter clothing style, to provide certain theoretical basis.2 Dress and gender consciousnessSex differentiation is one of nature's gifts. Not just the differentiation in humans; only humans, however, to make gender differentiation have cultural significance. Gender or sexual difference. For humans, the difference between men and women. Human gender is conceptually different from animal sex, because sex not only determined by the biological characteristics of human, human spirit and social nature of human gender has a psychological social attribute, therefore, the human gender including biological sex, psychological sex and gender. Humanbiological sex, men and women is the difference in the structure of the body, this is the most basic difference, is the basis of the psychological gender and gender on. Psychological sex refers to the men and women in such aspects as personality, temperament, emotional, and mental difference. Man’s social gender refers to people such as language, communication, symbols and education cultural factors constitute the judgment of the gender social standards. In human culture, clothing is the most directly reflect the culture of the gender consciousness form. Different dress of men and women is not only a feature of modern society, is also a historical phenomenon of very long. Costume history shows that as far back as 2800 BC Sue beauty, clothing on gender differences and gives a different form. In 2000 published by the American psychological association and the university of Oxford encyclopedia of psychology cited for gender roles defined by Carroll: gender roles is decided by the certain culture is suitable for male and female behavior system, also including those men and women is seen as a form of basic attitude and emotion. Gender roles (sex role), as by the society with a gender (male or female) consistent patterns of behavior. Men or women in such aspects as behavior, expression, tone of voice, clothing has its own characteristics, they play a different in the society. Role and the division of labor are often seen as god's truth. Women with men's or women's men's wear, is one of the female role in sex rebelled, Simon child is called "men against" "she doesn't wantto give up the right, but she also don't want to be deprived of the status of women, she chooses to participate in the world of men, even the most of it.” Women’s men's w ear, with this "compromise" between active personality and sex role, and amounted to "a state of psychological balance”. Women’s men's wear phenomenon is accepted by society. It embodies the value of men with the male sex of praise, in the interests of the patriarchal society. The progress of the society makes the history of sexual personality and gender values vary in modern society, gender personality value has been changed, more equal gender personality value. Social reality inevitably affects people's dress code and aesthetic standards, amphitricha dress to freedom, but both sexes mode still exists. Aesthetic standard mutates, the majesty of male charm is not absolute, but rather masculine in miscellaneous in some women's gentle but reflect in the women's gentle feeling. Contemporary clothing reflects the characteristics that: men from wide fat to fit, in the male style into the fiber characteristics of beauty; Fiber the dress also stressed that the dynamics/embodies the moderate male style. 3 The neuter clothing design styleIn the field of clothing, style refers to the uniqueness and difference of clothes or accessories. Neuter clothing style is characterized by: clothing modeling may be, form and refined; No obvious gender tendency, clothing decoration element and simplified properly; Clothing main tone to neutral color or no color; Fabrics are used more comfortable, good plasticitymaterial. Neutral style is not because of gender fuzzy and obliterates the personality characteristics, on the contrary, the appropriate to reflect neutral dress in rich individual character characteristic. This feature is composed of a state of uncertainty intertwined, and sometimes masculine, gently lyrical, and occasionally showed comprehensive lasting appeal. Therefore neutral style has become popular, clothing lies in the grasp of the gender neutral style, one is the trend of the outside of the gender neutral, namely the excavation of the common elements; It is sex in contrast, namely to find the opposite sex element. 3.1 Style restoring ancient ways Restoring ancient ways is to reminisce about the good things and miss, restoring ancient ways is not intact copy of the once popular element and clothing styles, but the designers through the change of The Times, to those who once popular element to a new style and show the world that once again the fashionable tide. Celine is neutral with representatives of the famous brand, Paris fashion week 2012 spring and summer, Celina shows the spirit of going to go through with restoring ancient ways. Deliberately do big coat sleeves, make women more free and easy handsome taste between walking. Dolce & Gabbana 2012 autumn/winter collection or elegant handsome or mature sexy Sicily noble men will bring us back in the 1910 s of 20th century. Everywhere the keys of the gold embroidery make integral style, delicate and costly, adding to the noble sentiment and drama. 3.2 Style of deconstructionIn today's modern high-speed development, the social environment and cultural background is becoming more and more inclusive and diverse, the traditional concept of men and women dress habits is undergoing great changes. Men's women wear, ladies' man, costume design concept and cut constantly innovation _.Deconstruction fashion style advocated jumping, fracture, split, combination of elements and collage, make the clothes appears cloud thickens, secrecy and rich connotation, very accord with neuter clothing aesthetic style.2012 Madison Martin Margie couture show of spring and summer, in a similar wardrobe of clothes as the prototype, her boyfriend will wear again after its deconstruction on women's bodies. Use has a strong sense of a chip cloak, deconstruction of stiff leather clamp, suit jacket with the sleeves cut off, and before the split leather skirt to deduce female neuter features of hale and hearty. 3.3 Luxurious style Future there will be two big trends: fashion is all the way toward simplicity. Another way is too costly. With the improvement of social economic level, more attention paid to the clothing brand value, high-grade fashion like Dior, Burberry has far exceeded the consumption level of the general public, but because they lead the fashion, and high-end, limited release materials, and got some pursuit of quality of life of consumers. Costly style from classical aristocratic luxury, luxury and popular culture and bold, passionate and enthusiastic, which creates a flashing and vulgar, bold and unrestrained, and elegant, gorgeous between infinite charm,luxurious, sex appeal and fashion. Brightly colored bright, bold lines, modeling is fashionable, rich move feeling, is the unique aesthetic art in strong pioneer characterization, is full of imagination and ornate than in reality. Milan fashion week of 2012 autumn winters, Gucci 2012 will take us back to the 19th century, realize the Diablo, ornate classical lady feel. 4Analysis of characteristics of neutralization costume design 4.1 CharacteristicsColor is the key to decide things style, each color from cold to warm, from soft to the strong can show different personality. Color than modeling, fabrics and other factors, said not to occupy a more dominant position, but he is the most direct to sensory stimuli. Clothing aesthetic value is by clothing color, shape and material of the three complement each other, perfectly together and show up. Such as: use more avant-garde style bold and bright, high contrast color. Classical dress style is to adopt the elegant, color coordinated color. Postmodern style emphasizes colorful, exotic style of national wind and by combining a variety of elements as the main characteristics.4.2The characteristicsClothing modeling can be divided into two parts, inside outside modeling and modeling, the equivalent of "style”. Refers to the structure of the clothing modeling design, it include the structure line, collar,sleeves, etc. The structure of the clothing line refers to reflect each splice site in the clothing, constitute a line of garments' integral form, including the provincial highway, pleat, line, decorative thread, etc. No matter and simplified structure line can be summarized as straight line, arc, and three kinds of curve. Light line spell able, curve, straight line and curve coordinate each other, constitutes a pleasant visual aesthetic feeling. Line structure can sometimes create illusion, the designer can use it as fault rule design, make the wearer's body appear better than true state. Abandon the adornment of heavy and complicated, return to simplicity, neutral clothing with modest attitude in the eyes of the world. Sex is no longer a designer to consider the primary factor, the design of the neutral clothing trying to weaken the differences of men and women in the physiological and physical structure, the profiles of the neutral clothing model presents the convergence between men and women style, contracted modeling nonsexual neutral clothing became one of the fashion design.4.3The fabric characteristicsClothing design is not just on the canvas or drawings show the effect of clothing, but through a variety of fabric, through the fabric structure, fabric texture, fabric color feeling, fabric thickness form to reflect design modeling design. Someone put clothing design as the material of the sculpture, the appearance of clothing is used to reflect the fabric, can produce heavy lines with thick cloth, frivolous fabrics can reveal the lineof light again, pretty hard or soft cloth of contour line and each are not identical. With the gradual improvement of the quality of people's life, modern clothing is more and more pay attention to the principle of comfortable, beautiful, practical, advocate natural, and pay attention to environmental protection. The development of science and technology also have greatly enriched the fabric market, designers can use a variety of texture of fabric, to enrich the design of the neutral clothing, in order to achieve the effect of pursuit. Using different appearance of the fabric to people's psychological feeling is not the same? 文献出处:House W. The study on the design of neuter clothing [J]. Stellenbosch Papers in Linguistics Plus,2016,4(7): 65-75.译文中性化服装设计研究House W摘要社会经济的发展、社会思想的开放和科学技术的进步,男女着装风格呈现出了多元化的格局,中性化这种模糊男女性别差异的着装风格,从一开始的非主流设计到现在已经发展为主流的服装设计风格之一。

服装设计外文翻译文献

服装设计外文翻译文献

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

服装设计褶皱外文文献翻译最新译文

服装设计褶皱外文文献翻译最新译文

服装设计褶皱外文文献翻译最新译文The objective of this study is to develop a quantitative method for evaluating the pleat effect on clothing。

as opposed to relying solely on subjective ns。

By analyzing image technology principles。

an image n system was designed to capture images of clothing。

These images were then processed using specialized are to analyze the drape of the clothing。

The study focused specifically on the pleats in the sleeve n of the garment。

analyzing the gray scale curve of the sleeve image and the corresponding nship een the gamma curve and the pleat。

The aim of this research is to provide a more objective n index for garment structural design and pleating effects.Clothing structure design involves a series of processes thatare used to render clothing through cutting。

fabric pleating。

and joining together。

The goal is to accurately capture the desired design effect by determining the structure's plane state through the use of design renderings。

中英文外文文献翻译中性化服装设计

中英文外文文献翻译中性化服装设计

本科毕业设计(论文)中英文对照翻译原文The study on the design of neuter clothingHouse WAbstractSocial and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from thebeginning of non-mainstream design till now has developed into one of the mainstream fashion design style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable.Key words: Neuter; Clothing; Gender roles; Design1 IntroductionThe beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable elements, such as dust coat with a neutral style, suits, t- shirts and jeans have become people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economicdevelopment, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results. Neuter clothing style has become the mainstream of one of the clothing style, can meet the demand of modern social personalized aesthetic. After more than a century of development, the neuter clothing style has represents a unique charm, is also one of the fashion trend in the future. This article through to the depth of the neutral clothing style formation and development, through to the neuter clothing design style and design characteristics of interpretation, through to the neuter clothing market development prospect of thinking, for the future research to neuter clothing style, to provide certain theoretical basis.2 Dress and gender consciousnessSex differentiation is one of nature's gifts. Not just the differentiation in humans; only humans, however, to make gender differentiation have cultural significance. Gender or sexual difference. For humans, the difference between men and women. Human gender is conceptually different from animal sex, because sex not only determined by the biological characteristics of human, human spirit and social nature of human gender has a psychological social attribute, therefore, the human gender including biological sex, psychological sex and gender. Humanbiological sex, men and women is the difference in the structure of the body, this is the most basic difference, is the basis of the psychological gender and gender on. Psychological sex refers to the men and women in such aspects as personality, temperament, emotional, and mental difference. Man’s social gender refers to people such as language, communication, symbols and education cultural factors constitute the judgment of the gender social standards. In human culture, clothing is the most directly reflect the culture of the gender consciousness form. Different dress of men and women is not only a feature of modern society, is also a historical phenomenon of very long. Costume history shows that as far back as 2800 BC Sue beauty, clothing on gender differences and gives a different form. In 2000 published by the American psychological association and the university of Oxford encyclopedia of psychology cited for gender roles defined by Carroll: gender roles is decided by the certain culture is suitable for male and female behavior system, also including those men and women is seen as a form of basic attitude and emotion. Gender roles (sex role), as by the society with a gender (male or female) consistent patterns of behavior. Men or women in such aspects as behavior, expression, tone of voice, clothing has its own characteristics, they play a different in the society. Role and the division of labor are often seen as god's truth. Women with men's or women's men's wear, is one of the female role in sex rebelled, Simon child is called "men against" "she doesn't wantto give up the right, but she also don't want to be deprived of the status of women, she chooses to participate in the world of men, even the most of it.” Women’s men's w ear, with this "compromise" between active personality and sex role, and amounted to "a state of psychological balance”. Women’s men's wear phenomenon is accepted by society. It embodies the value of men with the male sex of praise, in the interests of the patriarchal society. The progress of the society makes the history of sexual personality and gender values vary in modern society, gender personality value has been changed, more equal gender personality value. Social reality inevitably affects people's dress code and aesthetic standards, amphitricha dress to freedom, but both sexes mode still exists. Aesthetic standard mutates, the majesty of male charm is not absolute, but rather masculine in miscellaneous in some women's gentle but reflect in the women's gentle feeling. Contemporary clothing reflects the characteristics that: men from wide fat to fit, in the male style into the fiber characteristics of beauty; Fiber the dress also stressed that the dynamics/embodies the moderate male style. 3 The neuter clothing design styleIn the field of clothing, style refers to the uniqueness and difference of clothes or accessories. Neuter clothing style is characterized by: clothing modeling may be, form and refined; No obvious gender tendency, clothing decoration element and simplified properly; Clothing main tone to neutral color or no color; Fabrics are used more comfortable, good plasticitymaterial. Neutral style is not because of gender fuzzy and obliterates the personality characteristics, on the contrary, the appropriate to reflect neutral dress in rich individual character characteristic. This feature is composed of a state of uncertainty intertwined, and sometimes masculine, gently lyrical, and occasionally showed comprehensive lasting appeal. Therefore neutral style has become popular, clothing lies in the grasp of the gender neutral style, one is the trend of the outside of the gender neutral, namely the excavation of the common elements; It is sex in contrast, namely to find the opposite sex element. 3.1 Style restoring ancient ways Restoring ancient ways is to reminisce about the good things and miss, restoring ancient ways is not intact copy of the once popular element and clothing styles, but the designers through the change of The Times, to those who once popular element to a new style and show the world that once again the fashionable tide. Celine is neutral with representatives of the famous brand, Paris fashion week 2012 spring and summer, Celina shows the spirit of going to go through with restoring ancient ways. Deliberately do big coat sleeves, make women more free and easy handsome taste between walking. Dolce & Gabbana 2012 autumn/winter collection or elegant handsome or mature sexy Sicily noble men will bring us back in the 1910 s of 20th century. Everywhere the keys of the gold embroidery make integral style, delicate and costly, adding to the noble sentiment and drama. 3.2 Style of deconstructionIn today's modern high-speed development, the social environment and cultural background is becoming more and more inclusive and diverse, the traditional concept of men and women dress habits is undergoing great changes. Men's women wear, ladies' man, costume design concept and cut constantly innovation _.Deconstruction fashion style advocated jumping, fracture, split, combination of elements and collage, make the clothes appears cloud thickens, secrecy and rich connotation, very accord with neuter clothing aesthetic style.2012 Madison Martin Margie couture show of spring and summer, in a similar wardrobe of clothes as the prototype, her boyfriend will wear again after its deconstruction on women's bodies. Use has a strong sense of a chip cloak, deconstruction of stiff leather clamp, suit jacket with the sleeves cut off, and before the split leather skirt to deduce female neuter features of hale and hearty. 3.3 Luxurious style Future there will be two big trends: fashion is all the way toward simplicity. Another way is too costly. With the improvement of social economic level, more attention paid to the clothing brand value, high-grade fashion like Dior, Burberry has far exceeded the consumption level of the general public, but because they lead the fashion, and high-end, limited release materials, and got some pursuit of quality of life of consumers. Costly style from classical aristocratic luxury, luxury and popular culture and bold, passionate and enthusiastic, which creates a flashing and vulgar, bold and unrestrained, and elegant, gorgeous between infinite charm,luxurious, sex appeal and fashion. Brightly colored bright, bold lines, modeling is fashionable, rich move feeling, is the unique aesthetic art in strong pioneer characterization, is full of imagination and ornate than in reality. Milan fashion week of 2012 autumn winters, Gucci 2012 will take us back to the 19th century, realize the Diablo, ornate classical lady feel. 4Analysis of characteristics of neutralization costume design 4.1 CharacteristicsColor is the key to decide things style, each color from cold to warm, from soft to the strong can show different personality. Color than modeling, fabrics and other factors, said not to occupy a more dominant position, but he is the most direct to sensory stimuli. Clothing aesthetic value is by clothing color, shape and material of the three complement each other, perfectly together and show up. Such as: use more avant-garde style bold and bright, high contrast color. Classical dress style is to adopt the elegant, color coordinated color. Postmodern style emphasizes colorful, exotic style of national wind and by combining a variety of elements as the main characteristics.4.2The characteristicsClothing modeling can be divided into two parts, inside outside modeling and modeling, the equivalent of "style”. Refers to the structure of the clothing modeling design, it include the structure line, collar,sleeves, etc. The structure of the clothing line refers to reflect each splice site in the clothing, constitute a line of garments' integral form, including the provincial highway, pleat, line, decorative thread, etc. No matter and simplified structure line can be summarized as straight line, arc, and three kinds of curve. Light line spell able, curve, straight line and curve coordinate each other, constitutes a pleasant visual aesthetic feeling. Line structure can sometimes create illusion, the designer can use it as fault rule design, make the wearer's body appear better than true state. Abandon the adornment of heavy and complicated, return to simplicity, neutral clothing with modest attitude in the eyes of the world. Sex is no longer a designer to consider the primary factor, the design of the neutral clothing trying to weaken the differences of men and women in the physiological and physical structure, the profiles of the neutral clothing model presents the convergence between men and women style, contracted modeling nonsexual neutral clothing became one of the fashion design.4.3The fabric characteristicsClothing design is not just on the canvas or drawings show the effect of clothing, but through a variety of fabric, through the fabric structure, fabric texture, fabric color feeling, fabric thickness form to reflect design modeling design. Someone put clothing design as the material of the sculpture, the appearance of clothing is used to reflect the fabric, can produce heavy lines with thick cloth, frivolous fabrics can reveal the lineof light again, pretty hard or soft cloth of contour line and each are not identical. With the gradual improvement of the quality of people's life, modern clothing is more and more pay attention to the principle of comfortable, beautiful, practical, advocate natural, and pay attention to environmental protection. The development of science and technology also have greatly enriched the fabric market, designers can use a variety of texture of fabric, to enrich the design of the neutral clothing, in order to achieve the effect of pursuit. Using different appearance of the fabric to people's psychological feeling is not the same? 文献出处:House W. The study on the design of neuter clothing [J]. Stellenbosch Papers in Linguistics Plus,2016,4(7): 65-75.译文中性化服装设计研究House W摘要社会经济的发展、社会思想的开放和科学技术的进步,男女着装风格呈现出了多元化的格局,中性化这种模糊男女性别差异的着装风格,从一开始的非主流设计到现在已经发展为主流的服装设计风格之一。

服装工艺设计中英文对照表

服装工艺设计中英文对照表

服装工艺设计中英文对照表服装中英文对照表请注意生产如下、Pls pay attention for production as below 抽查、MEIYUE inspected夹圈捆条扭皱不均、puckering and twisting at armhole piping /缝骨线阔窄、uneven topstitch on seam缝骨打褶、pleated on seam夹圈起皱、fullness at sleeve armhole insertion缝骨起皱、seam puckering前幅front 后幅back 面料fabric 里料lining后筒位不直,谷皱不平服、back slit not straight,crooking筒脚位长短、襟边有长短、uneven placket length后领筒位高低咀、hi low back slit襟边左右长短,襟脚圆角位不圆顺unbalance lapel length, lapel corner not smooth 前后幅脚边不平行、front and back bottom not leveling装领前领窝缩皱/领咀不圆顺凸咀puckering at front neck seam, neckband end not align neck seam下级领脚扭皱不平服、puckering at collar band领圈位皱不平服、Collar a wrinkle is not flat领型样子不均匀、collar shape is not pressing领尖左右长短不对称、asymmetrical collar point领尖角爆止口、领尖角歪咀、broken seam at collar point, slanted collar领贴不均、领圈不圆顺、fullness at collar placket, poor neck shaped, poor collar setting (not smooth)装介英凸咀、底贴反吐、poor cuff setting (pointed out at seam), expose under layer at cuff装后中拉链起(波浪)衫身偏紧、拉链尾转角位起皱poor zipper setting on back body (wavy), too tight for wearing, puckering at zipper end领边捆条扭皱不均、neck piping twisted, torque on neck piping装腰头裤身位缩皱、裤头咀位高低、puckering under waist seam, hi-low waistband 装腰头裾身位缩皱、裾头咀位高低、puckering under waist seam, hi-low waistband 左右侧骨长短(+ -)1/2寸、uneven inseam / outseam length (+-) 1/2"内长有长短、uneven length on inseam车脚线阔窄、top stitches uneven width on bottom脚间线落坑、run off stitches on bottom脚间线阔窄、uneven top stitch at bottom长短脚、panel length uneven of bottom脚位凹凸不平、ugly hemming at bottom (at curve side)内浪骨位皱、脚口不平直没烫好、puckering at rise seam, poor pressing at bottom (not leveling) 脚叉长短、uneven bottom slit length前筒起皱、puckering on front placket脚围细3/4寸至1寸\Bottom width -3/4" to -1"腰围细3/4” waist is s mall by 3脚口不直(顺)hem uneven/bottom uneven高低脚、hem not leveled断线、broken stitches烫工不佳起镱痕(烫过火)pressing shine , (over pressing / hard pressing)布疵、色纱、走纱、破洞、fabric fault , color yarn, run off yarn,broken hole 骨位间线驳线重线不佳、poor repairing stitches on double stitching面料有褶皱痕须烫好、crease line / folding line must improve by pressing腰驳幅位缩皱、puckering at waist panel seam腰缝起皱,wrinkles at waistband facing腰贴扭皱不平服,waistband is not laying smoothly with drag lines骨位间线扭皱没烫好、puckering on seam (poor pressing)上术问题请及时改善,否则会影响出货、Pls revise these problems /as above,or can shipout跳线、skipped stitches线头、thread end飞毛欠干净、fly yarn not cleanliness skate spade进度表 progress chart.打褶、pleated sewing衫身起皱、 winkle in body祥见尺寸表、see table size筒脚张开、placket bottom spread open驳线不良、bad joined stitches间线不良、improper top stitching筒边钮门位不顺直、button placket edge长短筒、uneven length of placket面布车得太贴拉链难拉、fabric too closed to zipper 、拉链起波浪、zipper wavy拉链谷皱、zipper crock领、collar \领面松,wrinkles at top collar \领面紧top collar appears tight \领面起泡,crumples atop collar领不平衡(平服)unbalance collar领不对称、asymmetric colla歪领、uneven collar上领凸咀、nose on collar setting烂领尖、burst collar point领窝起皱two much ease on bogy after collar setting 领面凹凸不平、 tented collar领歪斜欠圆顺、poorly shaped ot round neck领罗纹起波浪、rid neck puckering左右领宽不一致、uneven roll左右领圈不一致、uneven collar point底领里起皱、wrinkles at collar band facing底领外露,collar band lean out of collar左右前领咀形状不一样、uneren lipel shapes前领口常溶位太多、too much easing at c.f neckline领脚扭皱不平服、collar band is twisting后领中太紧、collar too tight at cb领及前领不平顺、fullness at front collar and lapel领装的不服帖不平顺、neckline is not smooth后领圈有高低、high & low back neckV咀不正中、notch v off center前门领边不直、edgr of front opening is crooked 或front opening not straight 前门领贴在下摆处外露、front facing exposed at bottom hem前门领贴短于大身、front opening facing is shorter than body 领圈拉松、neck was stretched突咀、excess extension袖和夹圈、sleeve &armhole下级领咀爆止口、collar stand end seam broken左右夹圈有溶位不平服、puckering at left/right armhole袖夹欠圆顺、poorly shaped of round armhole衣袖走后、sleeve running to back衣袖走前、sleeve running to front前袖骨拉松、too loose at front sleeve seam后袖骨过紧\too tight back sleeve seam介英(克夫)装的不好poor cuff setting /省尖起泡,crumples at dart point底缝骨拉松、underarm seam was stretched /小肩起皱,puckers at shoulders袖孔不顺、armhole setting not smooth /袖隆起皱、creases at underarm袖顶缩拱不均有、ease on sleeve cap is uneven上袖打褶皱、pleated seam on sleeve前后幅(片)front / back谷钮筒、 placket bubbling吊里、hiking at back lining too short前中拉链溶位太多、curve at cf zip (too much fullness at cf zip) 前中拉链无溶位(引起拱起不平服)curve at cf zipper because of no easing of zipper 拉链牙与边距太贴,导致拉链拉合困难tight clearance bctween the slider and the seam edge causing slider to operat e with difficulty坏拉链non functioned zipper漏拉链头、missing zipper puller拉链不能拉、zipper not movable后幅吊起、hiking at black /前幅吊起、hiking at front里布太大、lining too big里布太短、lining too short里布小、lining too small里布太长、lining too long前后幅布纹不对称、crain lines are not match at & back panel 左右前长不一致、front length uneven袋pocket上下袋唇不均、pocket welt is uneven左右袋子装得高低不一致、both pocket set uneven装袋不平服、不够方正、pocket not smooth/squared贴袋圆角位不圆顺、pocket corner not smooth and round高低袋、high-low pocket袋位左右高低、hi-low pocket袋盖不居中、pocket flap not centered oven pocket左右口袋形状不一致、both pocket shapes art uneven袋口有毛口、pocket opening is fray /口袋变形、pocket shape distorted包边(捆边)binding断线、broken stitches跳线、skip stitches捆边扭曲不平顺、piping is twisting and not smooth捆边不均匀、piping is uneven缩褶、pleats后腰缩褶碎不均、uneven shriving at back waist seam克重、weight面料、抽纱fabric draw yarn走纱、yarn run断线、broken stitches布疵、fabric defects色纱、color yarn粗纱、thick yarn抽纱、draw yarn破洞、broken hole断纱、broken yarn起泡、bubbling色差、color shading退色、color fading散口、raw edge污渍、dirt mark油渍 oil stain,粉渍、chalk mark 粉笔痕在钮位、chalk mark at button hole 打枪痕、cleaning marks贴纸痕、sticker marks缝线外露、thread visible outside \前筒起蛇(皱)wavy atpacket杂色纤维织入、color fiber woven褶痕、crease mark 起皱、buckle面料褶皱痕未烫好、fabric puckering not leveling 衫身有明显的折痕、visible pleated marks at body 布料有死痕、permanent crease in the fabric成品外观有疵点、fabric flaws on outside garments 长短袖、uneven length of sleeve /长短袖叉、uneven sleeve placket针步密度不均、uneven stitching density不均匀、uneven太细不平均、uneven size浪底十字骨错位、unmatched crotch cross钉珠、breading深浅色、uneven color扭脾、twist leg线头、uncut thread ends反光(止口反吐)、under ply turn out止口反骨、seam overturn车缝线落坑、run off stitches \前襟止口反吐、facing leans out from front edge毛粒、blub 、(上装、)领子、collar 肩、shoulder 袖子、sleeve 袖口、cuff 后背约克,开叉Back yoke vent胸袋、侧袋、selvage pocket、side pocket拉链、隐形拉链、前身、侧缝、下摆。

服装设计外文文献翻译

服装设计外文文献翻译

文献出处:Sukumar N, Gnanavel P, Ananthakrishnan T. Effect of Seams on Drape of Fabrics [J]. African Research Review, 2009, 3(3):62-72.原文Effect of Seams on Drape of FabricsSukumar ;Gnanavel. P. , Ananthakrishnan, T.AbstractDrape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyze the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.Key words: drape, computer aided design, seam, stitch densityIntroductionDrape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 2005). The mechanical properties of fabrics were first studied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al.(1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is unrealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit acomplex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle, 1993).A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothing industries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ring of fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the m ain parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 2005). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.Types of SeamThe types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cm square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.(1) Plain Seam (S1)This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.(2) Welt Seam (S2)For constructing this, we should stitch the plan seam and press both seam allowances to one si de. Then the inside seam allowance is trimmed to ”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.(3) French seam (S3)The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished width is” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabr ic. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made” from the fold.ConclusionA study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drapeprofiles.译文接缝对面料褶皱效果的影响库马尔;甘拉维尔;安娜斯克里斯兰摘要褶皱是服装面料的一个内在特性,这使得它能够优雅地挂在服装面料的表面,特别是当面料的有些区域需要用到褶皱的时候。

服装设计外文翻译

服装设计外文翻译

文献出处:Nkrumah E. The Effect of Garment Fit and Zipper Application on The Performance of Zipper on The Ghanaian Market [J]. African Journal of Applied Research (AJAR), 2015, 1(1).原文THE EFFECT OF GARMENT FIT AND ZIPPER APPLICATION ON THE PERFORMANCE OF ZIPPER ON THE GHANAIAN MARKETNkrumah, E.ABSTRACTZippers are one of the commonly used fasteners in the clothing industry in Ghana because zipper costs relatively less and are easier to fasten than other fasteners. However, it is perceived that most zippers on the Ghanaian market do not function effectively as they should due to incorrect practices in dressmaking. The aim of the study was to examine the factors in garment construction that affect the performance of zippers. The objectives are to identify the effect of garment fit on zipper performance and to determine the effect of zipper application method on zipper performance. The research design used was cross-sectional survey and the simple random sampling technique was used to sample 325 tailors, dressmakers and fashion students from the Cape Coast Metropolis for their views on the performance of zippers on the Ghanaian market. The main findings of the study were that Close fitted garments and the concealed zipper application method all affected zipper performance negatively. The study therefore recommended that dressmakers should upgrade their skills on appropriate garment fit and correct zipper application to reduce zipper failure.Keywords: Zipper; Fastener; Performance; Garment; GhanaINTRODUCTIONZippers are one of the commonly used fasteners in the clothing industry worldwide. Gaddis (2011) argued that zippers were the first machines that people learnt to master in their childhood and have remained the most common mechanismsof daily lives. It may in fact be just a little startling to think of zippers as machines, but surely that is what they are; carefully fitted pieces of metal and plastic that must move in close coordination. When this coordination fails, the garment may be unusable until the zipper is repaired or replaced.AimThe aim of the study was to examine the effect garment fit and zipper application method on the performance of zippers on the Ghanaian market.ObjectivesThe specific objectives are to:1. Identify the effect of garment fit on zipper performance.2. Determine the effect of zipper application method on zipper performance. Research Questions1 How does the fit of garments affect zipper performance as perceived by the users of zippers?2 What are the views of the users of zippers on the effect of zipper application on zipper performance?LITERATURE REVIEWAccording to Jyler (2008), zippers are the principal items used in clothing that are partly textile in nature and partly non-textile, hard material. They provide a neat strong fastening in garments, and can be functional or decorative or both. They provide two edges that will mesh together and resist pulling apart when stressed on a tape support that can be sewn into the garment (White, 2009). Frings (2002) also added that, zipper are fastening devices consisting of parallel rows of metal, plastic, or nylon teeth on adjacent edges of an opening that are interlocked by a sliding tab. Thomas (2009) also indicated that, the zipper can also be used in divers ways for decorating clothes. The zipper is a recent addition to the family of sewn in closures, but it has pretty much taken over as the universal closure since its introduction.According to Jyler (2008), zipper can vary in the materials of the tape, the form and materials of the meshing sections, and in the overall construction and function of the zipper. The latter affects predominantly their methods of attachment to garments.However, Stone (2004) added that all these zippers are produced to different specifications and their selection should be based on higher quality specification.Different authors classify zipper differently, these classification vary according to zipper properties such as: form, material and purpose. Buchanan and Mayer (2002), and Jyler (2008) all classified zippers according to their form. Buchanan and Mayer classified zippers into two main groups which are: chain zipper (medium weight zippers with metal or plastic teeth) coil zipper (synthetic coils of polyester or nylon attached to a woven type) useful for fine fabrics. Jyler again indicated that the major types of zipper are: individual metal teeth, spiral coil, plastic molded teeth, and invisible zippers. These two classifications were based on the nature of meshing sections of the zippers.Zipper ApplicationZipper application is the process of attaching zippers on a garment. This process can sometimes prove a bit difficult for beginners but they are really easy if the correct procedures are followed, and the zipper or cording foot is used on the machine (Diamond & Diamond, 2007). Inserting a zipper without this attachment may break the machine needle, perhaps damage the machine, and it’s doubtful that the zipper will look trim once it’s in the garment and may cause permanent damage to the z ipper. There are various zipper applications depending on the placement of the zipper in the garment, and the type of garment. In addition, the type of zipper will also certainly determine the application method to be used. Generally zippers are centered in a slot seam or hidden in a lapped seam. Most zippers are inserted into seams.Garment FitAccording to Stone (2004), the fit of a garment also affect the performance of closures on them. There are three basic types of garment fit and these are loss fitting, semi close fitting and close fitting. There is no problem with the loss and semi close fitting garments however the problem is with the close fitting garments. The closeness of garments to the body put extra strain on the zipper (Gaddis, 2011). When these zippers get over stretched to their elastic limits due to the stress on it the teeth eventually pop open from the middle causing a permanent damage to the zipper.Ironically, many people buy or sew their clothes a little bit snug with the idea that it will make them look slimmer. The opposite is true. Too-tight clothing can make one look pounds heavier (Robison, 2010).RESEARCH METHODOLOGYCross-sectional survey was used to collect data to seek zipper consumers’ perceptions on the performance of zippers used in the industry from a population of 600 garment producers which comprised of 439 tailors and dressmakers in the Cape Coast Metropolis and 161 fashion students of Cape Coast Polytechnic and Cape Coast Technical Institute. Simple random sampling procedure was used to get the sample size of 325 respondents comprised of tailors, dressmakers and fashion students. Based on the objectives of the study, questionnaires were employed for the data collection. The administered questionnaires were edited and grouped under emerging themes based on the objectives of the study for easy analysis. Each response was coded and entered into Statistical Product and Service Solutions (SPSS) version 17 for analysis. Descriptive statistics such as frequencies, percentages, tables and figures were used to present the results.FINDINGS AND DISCUSSIONZipper Application Method most Prone to Failure According to Stone (2004), improper zipper application can disturb operability and consequently lead to permanent damage of the zipper, so an investigation into the zipper application method used by the dressmakers which was most prone to failure was done.These findings confirm the findings from the data tabulated in Table 8, where 72.8% of the respondents found the concealed zipper application method to be the most difficult method as compared to other methods. Hence, the suspicion that concealed zipper application method was the first reason for zipper failure on garments. The failure of zippers during garment construction was likely to have come from the use of the concealed method. The method may result in failure, and zipper damage due to bad application may be considerably high for inexperienced consumers because for a professional finish, one would have to stitch very close to the zipper teeth and also the use of the correct foot, when not properly done, can disturboperability and consequently lead to permanent damage of the zipper as stated by Stone (2004).CONCLUSIONBased on the results, the following conclusions were drawn:1. Close fitted garments exert more pressure on the garment; this pressure is felt more on the weakest areas of the garment which are the seams and the zipper, with the zipper being weaker generally than the seams.2. Again, incorrect zipper application affected zipper performance negatively, the concealed zipper application method were a major cause of zipper failure in garments. The concealed zipper application method requires special expertise and zipper-foot for a professional finish however, the zipper-foots are very expensive when available. RecommendationsTo ensure reliable zippers for the clothing industry in Ghana the study recommends:1. Dressmakers should not make garments to fit snugly to the body as this puts extra strain on the zipper to forcefully ply open.2. Dressmakers should occasionally upgrade their skills on the correct application of zippers through workshops and short courses in order to reduce the incidence of zippers failure due to improper zipper application.译文服装的合体性和拉链的应用对加纳市场的影响恩克鲁玛摘要拉链是服装行业中常用的配件之一,在加纳地区,这主要是因为拉链的成本相对较低,并且更容易使用,效果也比其他紧固件好。

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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。

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