服装设计 服装品牌多元化策略外文翻译

服装设计创意外文翻译文献AbstractThe purpose of this research is to XXX in the process of clothing design。

It aims to analyze the XXX and the design process。

how to collect sources of n。

and XXX.Research methods: Currently。

many scholars have conducted empirical research on ready-to-wear clothing design。

field ns。

semi-structured interviews。

and constrained and semi-driven design tasks。

This empirical research method can be XXX insufficient。

XXX industry is needed。

such as the n industry。

not just empirical research on individual people or companies。

but as many cases as possible should be studied.Research results: XXX n for each source。

Recognize that these sources of n can help designers XXX。

XXX stage of the design process and in the early XXX.XXX: XXX.Keywords: XXX。

clothing。

creative thinking。

design arrangement。

design managementXXX design that includes visual and tactile senses。

外文文献原文+译文原文The study on the design of neuter clothingH ous e 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 the beginning of non-mainstream des ign till n ow has develop ed i nt o on e of the mains t ream fas hi on d es ign 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.K ey words: Neut e r; Cl ot hing; 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 e lement s, s uc h a s dust coa t w i th a ne ut ral style, s ui ts, t-shirt s and j e ans have bec om e 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, economic development, 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 t he fashion t r e nd i n th e fu ture. T hi s a r t ic l e throu gh t o the de pt h of the ne ut ral c lothing 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.2Dress a nd gende r consciousne s sSex 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 det ermined by the biologi c al characteristics of human, hu m an spi ri t and s oc ial natur e of human gender has a psychological social attribute, therefore, the human gender including biological sex, psychological sex and gender. Human biological 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 r efers to t he m en a nd women in such a s pec t s as pers ona li t y, te m perament, em ot iona l, 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 andemotion. 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 t he soci e ty. Rol e a nd the division of labor a re o ften seen a s g od's truth. W omen wit h 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 want to 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 wear, with this "compromise" between active p ersona l ity a nd s ex ro l e, and amou nt ed to "a state of ps yc hologic a l b alance”.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 g end e r p e r s onal i ty val u e. S oc ial real i ty i nevitably a f fect s people's dress code a nd 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 f it, in th e male s t yl e into the fibe r characteri s tics of beauty; Fiber the dress al s o stressed that the dynamics/embodies the moderate male style.3The 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 plasticity material. 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 hasbecome 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.3.1Styl e restoring anci e nt w aysRestoring 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 w ith repre s enta t ives of th e fa m ous brand, Paris f as hi on 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/w inter collection or elegant handsome or mature sexy Sicily noble men will bring us back in the 1910 s of 20th c entur y. E verywh e re the key s of the g ol d e mbroidery m a ke integral style, de l ic a te a nd costly, adding to the noble sentiment and drama.3.2Style 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 o f m en a nd wome n dre ss ha bit s is unde rg o in g gr e at c ha n g e s. Men's wom e n 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. 3.3Luxurious styleFuture 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, moreattention 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 o f cons um ers. Costly s tyle from class i ca l a rist oc rat i c l uxury, lux ur y and p opular 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 i magination and ornate t ha n i n re alit y. M i l an fashion w eek of 2012 aut u mn winte rs, Gucci 2012 will take us back to the 19th century, realize the Diablo, ornate classical lady feel.4Analysis of characteristics of neutralization costume design4.1CharacteristicsCol or is the key to de cide things style, e a ch c o lor f rom col d to warm, fr om so ft 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 a vant-g arde s tyle bold and bright, high contras t c olor. Classic a l dress s tyle is t o a dopt the elegant, color coordinated color. Postmodern style emphasizes colorful, exotic style of national wind and by combining a variety of elements as the main c haracteristics.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 eachother, 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 t o s i mplicity, neutr a l cl o t hi ng w i t h mod es t a tt i tude i n the ey es of th e wor ld. S ex 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 t he 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 c lothi ng design a s the m ater i al of t he sc ul pture, the ap pe a r a nc e of cl ot hin g is use d to reflect the fabric, can produce heavy lines with thick cloth, frivolous fabrics can reveal the line of 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, p ra c ti c al, advocat e na tu ra l, and pay atte nt ion to environment a l prote c ti on. T he development of science and technology also have greatly enriched the fabric market, designers can use a variety of texture of fabric, to enrich the design of the neutral clothing, in order to achieve the effect of pursuit. Using different appearance of the fabric to people's psychological feeling is not the same?文献出处：House W. The study on the design of neuter clothing [ J]. Stellenbosch Papers in Linguistics Plus，2016，4（7）: 65-75.译文中性化服装设计研究House W摘要社会经济的发展、社会思想的开放和科学技术的进步,男女着装风格呈现出了多元化的格局,中性化这种模糊男女性别差异的着装风格,从一开始的非主流设计到现在已经发展为主流的服装设计风格之一。

服装设计中英文对照外文翻译文献(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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brand n has e the primary means of market XXX。

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。

服装方案英文Clothing ProposalIntroductionThe purpose of this article is to present a clothing proposal in English. The proposal will outline a comprehensive plan for a clothing line, covering various aspects such as design, target market, marketing strategies, and production.1. Design ConceptIn order to create a successful clothing line, it is essential to have a strong design concept. Our clothing brand will focus on combining contemporary fashion trends with sustainable materials and ethical production practices. By offering stylish and eco-friendly clothing options, we aim to attract environmentally conscious consumers.2. Target MarketIdentifying and understanding our target market is crucial for the success of our clothing line. We will target fashion-forward individuals between the ages of 25 and 40, who value both style and sustainability. This demographic includes professionals, students, and young adults who prioritize ethical consumption and seek unique fashion pieces.3. Product RangeOur clothing line will offer a wide range of products to cater to different preferences and occasions. The collection will include essential everyday wear, such as t-shirts, jeans, and dresses, as well as more formal attire,including blazers and tailored suits. Additionally, we will introduce seasonal collections to keep the brand fresh and appealing to customers throughout the year.4. Branding and MarketingBuilding a strong brand identity is crucial for establishing a loyal customer base. We will focus on creating a brand that reflects our core values and resonates with our target market. This will be achieved through consistent and cohesive branding across all marketing channels, including social media, website, and packaging.To market our clothing line effectively, we will employ various strategies, including influencer collaborations, fashion show participation, and online advertising. Additionally, we will leverage social media platforms to engage with our audience, share updates, and promote our products.5. Production and Supply ChainEnsuring ethical production and a transparent supply chain is a top priority for our clothing line. We will partner with manufacturers who adhere to fair labor practices and use sustainable materials. By implementing strict quality control measures, we will maintain the highest standards in every aspect of production.ConclusionIn summary, our clothing proposal outlines a comprehensive plan for a sustainable and stylish clothing line. By combining contemporary fashion trends with eco-friendly materials and ethical production practices, we aimto attract fashion-forward individuals who prioritize sustainability. Through effective branding and marketing strategies, we will establish a strong presence in the market and build a loyal customer base. With a focus on quality and ethical production, we are confident that our clothing line will be a success.。

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。

Fashion designingFashion designing can be loosely defined as 'the art of creating fashionable apparel'. With the passage of time, however, the concept of 'fashion designing' has extended to other things such as fashion accessories such as jewellery, bags, footwear, etc. Keeping in mind the evolution of fashion designing, it would not be wrong to define it as 'the creation of fashion'. Costume designing can defined as an art whereby one designs a costume, along with appropriate accessories, to reflect the character in a stage-show, play, or movie. A wrong or badly designed costume will fail to bring out the intensity of the characters. At times, improper costumes can impede or distort story narration and mar the whole show.Fashion designing has indeed come a long way from the mere designing of clothing. Fashion designing has evolved into a full-fledged industry today. It is well accepted as a career option all over the world. Apart from designing, there are a number of other career alternatives that have emerged in this industry with the passage of time. This article seeks to study the evolution of the industry of fashion designing the then and now. The origin of fashion designing dates as far back as 1826. Charles Frederick Worth is believed to be the first fashion designer of the world, from 1826 to 1895. Charles, who was earlier a draper, set up a fashion house in Paris. It was he who started the tradition of fashion houses and telling his customers what kind of clothing would suit them. During this period, a number of design houses began to hire the services of artists to develop patterns for garments. Patterns would be presented to the clients, who would then place an order if they liked them. It was during this timeframe that the tradition of presenting patterns to the customers and then stitching them began, instead of the earlier system wherein the finished garments would be presented to them.In the beginning of the 20th century, new developments in fashion would take place in Paris first, from where they would spread to the rest of the world. New designs of clothes would be born in Paris before they found their way to other parts of the world. In other words, Paris emerged as the 'fashion capital'. 'Fashion' during this period was mostly 'haute couture', exclusively designed for individuals. Towards the mid-20th century, fashion garments began to be mass-produced. The bulk of production increased, and people began to have more choices of garments. Towards the end of the 20th century, fashion awareness among people increased, and they began choosing clothes for themselves based on comfort and their own style, instead of relying on the trends prevailing in the market. Today, as stated above, fashion designing is well accepted as a career option. A number of institutes have come up the world over, offering courses in various arenas of fashion. The number of students who consider fashion as a serious career and who have gone in for courses in the same has gone on rising over the years.Specializations in fashion designing have come into being. There is a wide range of options for a designer to choose from, such as lingerie, swimwear, women's wear, bridal wear, children's wear, men's wear, footwear, handbags, etc. Fashion designers used to be self-employed earlier now find a number of career opportunities open for them. They can work with garment firms and export houses. They may also be engaged in the job of remodeling haute couture and adapting them to the tastes of the mass market. They might also hold jobs in departmental stores orspecialty stores.Developments in the field of fashion designing have given rise to other related career paths such as hairstylist, make-up artist, fashion journalists, fashion advisors, fashion photographers, etc. Another significant change that has come about in the fashion designing industry in recent times is the increased use of computers and technology. A number of software packages have come up to aid designers in the process of designing as well as other stages in the production of a garment, easily and speedily.Fashion designing as a trade has also grown. Fashion designers have gone on to get repute not only in their own countries, but internationally as well. The number of fashion shows and participation in the same has gone up considerably in recent times. Fashion designing is thus no longer only the designing and creation of a garment, but it is a world in itself involving fashion, design, creativity, technology as well as business.时装设计服装设计大致可以定义为“创造时尚服装的艺术”。

服装设计中英文对照外文翻译文献文献信息：文文献献标标题题：：Proactive Fashion Design for Sustainable Consumption（可持续消费的具有前瞻性的服装设计）国外作者：Kirsi Niinimki文献出处：《Nordic Textile Journal》，2021，1:60-69.字数统计：英文3104 单词，17881 字符；中文5737 汉字外文文献：Proactive Fashion Design for Sustainable ConsumptionAbstractThis article presents a study that investigates product satisfaction 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 todays consumer society is how to design products that encourage consumers to engage in more environmentally responsible behaviour, sustainableconsumption. 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 consumptionbehaviour (Shove et al. 2007, 134136). Current industrial design and mass- 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 consumers consumption patterns. Understood in this way, sustainable design can be a redirectiveor 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 alsoplay a strong role in consumption. The interplay between wants, needs, values, attitudes and experiences is emotionally meaningful for acontemporary 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 situation becomes 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 themeanings of consumption is important when sustained positive emotions in person product relationships are desired or solutions are sought to replace materialistic consumption with other positive emotional states. The design process should focus on sustainable consumer satisfaction with a product or with the personproduct 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 isan 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 separatedintoinstrumentalperformance(physicalproperties)andexpressive performance. Expressive performance is linked to a consumers 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 mustalso 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 to guarantee the longevity of clothing. High quality means durable materials and high manufacturing quality. The ageing process of a pleasant, aesthetic garment requires not only maintaining high intrinsic quality but also the design of a more classical style and use of durable materials. 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 (Niinimki 2021) 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 anda pleasant tactile experience during the use situation is one attribute for enjoyable long-term use of clothing. Table I: Attributes that enable longevity in clothingThe attributes that enable longevity in clothing are the following: Quality: Durable materials Durability in use Durability in laundering High manufacturing qualityFunctionality: Easy maintenance Suitability in the use situation (physiological and psychological suitability)Satisfying use experienceBeauty, style, colour, fit Aesthetic Expressive beauty above average attributes: Tactile experienceComfortable materials Values: Products values have to meet consumers personal values Not 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 wearers 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 personproduct relationships that develop during longer use situations. Consumers materialistic values may also connect with social status-related elementsin 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 expectationsshould be fulfilled to create deep product satisfaction (Niinimki 2021). 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 for sustainable satisfaction. The previous section described the satisfaction elements in clothing: -good intrinsic quality;-good functionality;-aesthetics;-values in the product, in manufacturing or the companys values.The easiest way to offer product satisfaction is to increase the products 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 designPAST PRESENT FUTUREMeaningful memoriesMeaningful associations, which create person-product attachments Good functionality Aesthetical dimensionsEnjoyable experiences during use Continuing satisfaction with the product Product or service fulfils consumers changing needs High intrinsic quality New elements in designProduct utility New experiences with the productConnection to self, identityThe following section presents several design approaches to deeper person- product satisfaction in the field of clothing. With these designstrategies 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 want association 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 personproduct relationship (Chapman 2009). This opportunity enables the product to be more meaningful to the wearer, making possible an extension of the products lifetime. Design services are one opportunity to address consumer satisfaction by deeply connecting the design outcome with a consumers 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 consumers 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 customers measurements. The customer can alsochoose 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 wearers 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 customers order and according to each customers 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 personproduct attachment is through a consumers own efforts during the design or realisation process. A sense of personal achievement is strongly connected to apositive sense of self (Norman 2005) and allows the product to begin to be more important to the wearer. The consumers 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 isto offer her/him an opportunity to make decisions during the process. Consumers have shown an interest in taking part in the design or manufacturing process by using the Internet (Niinimki 2021). If the design is based on a modular structure and the consumer is allowed to make her/his own choices even from a limited selection in creating a unique style, this process gives consumers new power and a more active role. Opening fashion field is one way to offer the consumer more active 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 offeringenvironmentally- 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 (Niinimki 2021). Fulfilling Consumers Changing Needs Through PSSThe symbolic meanings of products are connected to psychological satisfaction through an emotional response. When the product no longer offers a positive emotional response because, for 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 challengein 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 consumers changing needs. Positive ways that a products lifetime can be extended include upgradability services, modification servicesand 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 products 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 2021, 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 make changes 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 childrens clothing.Consumers can rent childrens 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 regardingthe garments 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 aproduct. 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 aproduct and thus avoid psychological obsolescence and a garments premature disposal.Stimulatingasenseofmeaningfuluniquenessandachievement through design services or self-made approaches is a promising route to enhancing consumer satisfaction. If a consumer is satisfied, then strengthening the emotional bondbetweentheproductandconsumerispossible.Inturn,this meaningful attachment is the best way to postpone a products disposal. When the product or itsuse 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。

有关服装品牌和服装设计师的英语作文Fashion Brands and Designers: The Driving Force Behind the Clothing IndustryThe fashion industry is a dynamic and ever-evolving landscape, where creativity, innovation, and consumer preferences converge to shape the way we dress and express ourselves. At the heart of this industry are the fashion brands and designers who have the power to influence trends, set standards, and captivate audiences worldwide. In this essay, we will explore the significant role that fashion brands and designers play in shaping the clothing industry.Fashion brands are the cornerstones of the industry, serving as the link between designers and consumers. These brands not only showcase the latest designs but also cultivate a distinct identity and brand image that resonates with their target audience. From the luxurious and high-end labels to the more affordable and accessible options, each brand strives to carve out a unique niche in the market.One of the primary functions of fashion brands is to translate the visions of designers into tangible products that consumers can purchase and wear. Designers, with their keen eye for style, creativity,and understanding of the zeitgeist, are the driving force behind the creation of these products. They are responsible for conceptualizing and executing the designs that ultimately shape the fashion landscape.Designers often draw inspiration from a wide range of sources, including art, culture, history, and personal experiences. They meticulously craft each garment, paying attention to the cut, silhouette, fabric, and details that make their creations stand out. The ability to anticipate and respond to changing consumer preferences is a critical skill for designers, as they must constantly adapt to the evolving fashion landscape.The collaboration between fashion brands and designers is crucial in ensuring the success of a collection or a particular piece. Brands provide the necessary resources, infrastructure, and marketing support to bring the designers' visions to life and effectively reach the target audience. This partnership allows for the seamless translation of creative ideas into tangible products that resonate with consumers.Moreover, fashion brands and designers play a significant role in shaping consumer behavior and influencing societal trends. Through their marketing campaigns, brand messaging, and the way they present their collections, they have the power to shape perceptionsand create aspirational ideals. Consumers often look to these fashion authorities for guidance on what to wear, how to style themselves, and what defines "fashionable" in a given era.The impact of fashion brands and designers extends beyond the realm of clothing. They also contribute to the cultural and economic landscape of the fashion industry. Successful fashion houses and designers can become cultural icons, with their creations becoming symbols of status, luxury, and self-expression. Additionally, the fashion industry as a whole generates significant economic activity, creating jobs, driving innovation, and contributing to the global economy.In conclusion, fashion brands and designers are the driving force behind the clothing industry, shaping trends, influencing consumer behavior, and contributing to the cultural and economic landscape. Their ability to translate creative vision into tangible products, and their constant adaptation to changing preferences, make them indispensable players in the ever-evolving world of fashion. As the industry continues to evolve, the importance of these key figures will only continue to grow, ensuring that the art of fashion remains a captivating and influential force in our lives.。

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

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

服装设计的创新理念英语Title: Innovative Fashion Design Concepts。

Fashion is an ever-evolving industry that constantly seeks new and innovative ideas to push the boundaries of creativity. In recent years, there has been a surge in the demand for unique and forward-thinking fashion designs that challenge traditional norms and redefine the way we perceive clothing.One of the most prominent trends in the fashion industry is the incorporation of sustainable and eco-friendly materials into clothing designs. Designers are increasingly seeking out innovative fabrics and production methods that minimize the environmental impact of their creations. From recycled polyester to organic cotton, sustainable fashion has become a driving force in the industry, with designers using these materials to create stunning and stylish pieces that are both fashionable and environmentally conscious.Another emerging concept in fashion design is the integration of technology into clothing. With the rise of wearable tech, designers are exploring ways to incorporate smart textiles and interactive elements into their designs. From LED lights and sensors to temperature-regulating fabrics, these technological advancements are revolutionizing the way we interact with and experience fashion. This fusion of fashion and technology not only creates visually striking designs but also enhances the functionality and practicality of clothing.Furthermore, inclusivity and diversity have become integral aspects of fashion design, with designers embracing a more inclusive approach to sizing, gender-neutral clothing, and representation of diverse cultures and identities. This shift in mindset has led to the creation of clothing that celebrates individuality and embraces the unique beauty of every person, regardless of their size, gender, or background.In addition, the concept of upcycling and repurposing has gained traction in the fashion industry, with designers transforming vintage and second-hand clothing into new, one-of-a-kind pieces. This sustainable approach not only reduces waste but also adds asense of history and character to the garments, creating a connection between the past and the present.Overall, the fashion industry is experiencing a renaissance of creativity and innovation, with designers pushing the boundaries of traditional fashion norms and embracing new concepts that prioritize sustainability, technology, inclusivity, and creativity. As we look towards the future, it is clear that the possibilities for innovative fashion design concepts are endless, and we can expect to see even more groundbreaking ideas that will shape the future of fashion.。

设计服装的理念怎么说英语The Concept of Fashion Design: Creating Art with Fabric and Thread。

Fashion design is the art of creating beautiful and functional clothing and accessories. It is a form of self-expression that allows designers to showcase their creativity and talent through fabric, color, and texture. The concept of fashion design is rooted in the idea of creating pieces that are not only aesthetically pleasing but also practical and comfortable for the wearer.One of the key principles of fashion design is the ability to blend creativity with functionality. Designers must consider the practical aspects of their creations, such as how the garment will fit and move with the body, as well as the overall aesthetic appeal. This balance between form and function is what sets fashion design apart from other forms of art and design.Another important aspect of fashion design is the use of innovative and unique materials. Designers often push the boundaries of traditional fabric and material choices, experimenting with new textures, patterns, and techniques to create one-of-a-kind pieces. This constant innovation and exploration of materials is what keeps fashion design fresh and exciting.Fashion design is also deeply rooted in the concept of storytelling. Each garment tells a story, whether it be through the choice of fabric, the construction techniques used, or the overall design aesthetic. Designers have the ability to convey a message or evoke emotions through their creations, making fashion design a powerful form of visual communication.In addition to creativity and storytelling, fashion design also requires a strong understanding of the human body and how clothing can enhance its natural beauty. Designers must consider factors such as proportion, balance, and movement when creating their pieces, ensuring that they not only look good but also feel good to wear.Ultimately, the concept of fashion design is about creating wearable art. It is a form of self-expression that allows designers to push the boundaries of creativity while also considering the practical needs of the wearer. Fashion design is a celebration of individuality, innovation, and the beauty of the human form.。

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

Designing fashion is not just about creating clothing, it is about creating wearable art. It is the process of taking inspiration, creativity, and skill and turning it into something that people can wear and express themselves through. Fashion design is a form of art that is not only beautiful but also functional.The process of designing fashion starts with an idea or inspiration. This could come from anywhere nature, architecture, history, culture, or even just a feeling. Designers then take this inspiration and begin to sketch and create. They consider the shape, color, texture, and drape of the fabric, as well as the functionality and comfort of the garment. Every detail is carefully thought out and planned, from the stitching to the buttons to the finishing touches.Fashion designers are artists, and their canvas is the human body. They create pieces that not only look beautiful on a hanger but also come to life when worn. They consider how the garment will move and flow with the body, how it will make the wearer feel, and how it will make a statement. Fashion design is about more than just creating something pretty it is about creating something that evokes emotion and tells a story.In the world of fashion, trends come and go, but good design is timeless. It is about creating pieces that are not only beautiful but also well-made and functional. Fashion design is about pushing boundaries, taking risks, and creating something that is both innovative and wearable. It is about finding the balance between art and commerce, and creating pieces that are not only aesthetically pleasing but also commercially viable.In conclusion, designing fashion is more than just creating clothing. It is about creating wearable art that tells a story, evokes emotion, and makes a statement. Fashion design is a form of art that is both beautiful and functional, and it is about creating pieces that are not only visually stunning but also well-made and wearable. It is a process that requires inspiration, creativity, skill, and a deep understanding of the human body.Fashion design is the art of creating something that people can wear and express themselves through, and it is a form of art that will always be relevant and important.。

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

Designing fashion is not just about creating clothing, it is about creating style. It is the art of combining creativity, innovation, and functionality to produce garments that not only look good but also make the wearer feel confident and comfortable.The process of designing fashion starts with inspiration. Whether it is a particular era, culture, or art movement, designers draw from a wide range of sources to create their collections. They then translate their inspiration into sketches and mood boards, exploring different silhouettes, fabrics, and colors to bring their vision to life.One of the key principles of designing fashion is to understand the human body and how to enhance its natural beauty. This involves careful consideration of proportions, fit, and comfort. A well-designed garment should not only look good on a hanger but also flatter the body when worn.In addition to aesthetics, functionality is another important aspect of fashion design. Garments need to be practical and wearable, allowing the wearer to move freely and comfortably. This requires thoughtful construction and attention to detail, such as the placement of pockets, the durability of seams, and the ease of care.Furthermore, designing fashion is about pushing boundaries and challenging conventions. It is about creating new trends and redefining the way people dress. This requires a willingness to take risks, experiment with new techniques, and embrace innovation.Ultimately, designing fashion is a form of self-expression. It is a way for designers to communicate their ideas, beliefs, and emotions through the medium of clothing. Each collection tells a story, evoking a certain mood or conveying a specific message.In conclusion, designing fashion is a multifaceted process that requires a balance of creativity, functionality, and innovation. It is about creating garments that not only lookgood but also make the wearer feel good. It is an art form that has the power to inspire, empower, and transform.。

英语作文-设计服务行业的品牌建设策略分析In the realm of service design, branding is not merely about aesthetics or external perceptions; it is a comprehensive strategy that encapsulates the core values and promises of a service to its customers. A successful brand strategy in the service industry must be customer-centric, differentiating, and consistent across all touchpoints.Customer-Centric Approach:。

The cornerstone of any service brand strategy is to understand and meet the customer's needs and expectations. This involves meticulous research to comprehend the customer journey, identifying all the touchpoints, and ensuring that the brand message is clear and resonates with the target audience. The brand should reflect the quality, reliability, and value of the service it represents, creating a strong emotional connection with the customers.Differentiation:。

简约服装设计理念范文英文Title: Minimalist Fashion Design Philosophy。

In the fast-paced world of fashion, there is a growing trend towards minimalism. This design philosophy embraces simplicity, clean lines, and a focus on quality over quantity. Minimalist fashion is all about stripping away the unnecessary and allowing the beauty of the design and the fabric to speak for itself.One of the key principles of minimalist fashion design is the idea of less is more. This means that every element of a garment should serve a purpose and contribute to the overall aesthetic. There is a focus on creating pieces that are timeless and versatile, rather than following fleeting trends. This approach not only reduces waste but also encourages consumers to invest in pieces that they will love and wear for years to come.Another important aspect of minimalist fashion design is the use of high-quality materials and craftsmanship. Instead of relying on flashy embellishments or bold prints, minimalist designers often choose to highlight the beauty of the fabric itself. This can mean using luxurious, natural materials such as silk, wool, and cashmere, and paying close attention to the construction and finishing of each garment.In addition to the design and materials, minimalist fashion also extends to the production and consumption of clothing. Many minimalist designers are committed to ethical and sustainable practices, such as using eco-friendly materials, reducing waste, and supporting fair labor practices. By creating clothing that is built to last and produced in an environmentally conscious way, minimalist fashion designers are helping to shift the industry towards a more sustainable future.Overall, the minimalist fashion design philosophy is about embracing simplicity, quality, and sustainability. It encourages us to re-evaluate our relationship with clothing and to appreciate the beauty of well-crafted, timeless pieces. By adopting a minimalist approach to fashion, we can not only reduce our environmental impact but also cultivate a more mindful and intentional approach to dressing.。

中英服饰广告的翻译IntroductionAdvertising is an important aspect of the fashion industry, a sector that is highly dynamic and competitive. Fashion advertising is a form of promotion that relies on various mediums to communicate brand messages, promote products, and influence consumer behavior. The advertising goals for fashion brands are often to increase brand awareness, generate sales and revenue, and differentiate themselves from competitors. Due to the global demand for fashionable clothing and accessories, English and Chinese fashion apparel brands invest heavily in advertising campaigns that appeal to their target consumers. This paper aims to explore the translation of fashion advertisements from English to Chinese, examining the linguistic andcultural challenges that arise and the effective strategies for bridging the gap between the two languages.Translation of Fashion AdvertisementsFashion advertisements are designed to appeal to the emotions, desires, and aspirations of consumers. They use a range of persuasive techniques to create an image of the fashion brand that is sophisticated, desirable and aspirational. The language used in fashion advertisements is often poetic, evocative, and symbolic, with a focus on the sensory and emotional dimensions of fashion. The challenge in translating fashion advertisements from English to Chinese is to capture the same tone, style, and meaning of the originaltext while also making it understandable and culturally relevant to the target audience.One of the major challenges of translating fashion advertisements is the cultural gap between the two languages. Chinese and English have different cultural values, social norms, and aesthetic preferences that can impact theadaptation of the original text. For example, while English fashion advertisements often emphasize individuality, creativity, and freedom of expression, Chinese consumers tend to value social conformity, traditions, and status. Therefore, a direct translation of the English text may not resonatewith the Chinese audience, leading to a loss of meaning and impact.Another challenge is the linguistic differences between the two languages. Chinese is a tonal language that uses a complex system of characters to convey meaning, while English relies on grammar and syntax to structure sentences. This makes the translation of English fashion advertisements into Chinese a complex and nuanced process that requires a deep understanding of both languages. The translator must be aware of the subtle shades of meaning, cultural nuances, and contextual factors that influence the interpretation of the text.Effective Strategies for Translating Fashion AdvertisementsTo overcome the challenges of translating fashion advertisements, several effective strategies can be used. The first strategy is to consider the target audience and their cultural values and preferences. The translator must befamiliar with the cultural context of the target audience to ensure that the translated text is relevant and resonateswith them. This includes adapting the language, tone, andstyle of the text to suit the cultural norms and aesthetic preferences of the target audience.The second strategy is to use a creative approach to translation. Fashion advertisements often use poetic language, metaphors, and symbolism to create a specific image or feeling. Translating such texts requires a creative approach that maintains the original meanings and style while alsobeing adapted to the target language and culture. Thisrequires the ability to use idiomatic expressions, poetic language, and literary devices that are culturallyappropriate for the target audience.The third strategy is to focus on the quality of translation rather than the literal accuracy of the text. Translating fashion advertisements requires a balance between preserving the meaning of the original text while alsocreating an engaging and persuasive text for the target audience. This requires the translator to be proficient inboth languages and have a deep understanding of the target audience's culture and preferences.ConclusionIn conclusion, the translation of fashion advertisements from English to Chinese is a complex and nuanced process that requires a deep understanding of both languages and cultures. The translator must be aware of the cultural nuances and linguistic differences between the two languages to ensurethat the translated text is relevant and resonates with the target audience. By using effective strategies such asadapting the language, tone, and style of the text, using creative approaches to translation, and focusing on quality rather than literal accuracy of the text, translators cansuccessfully bridge the gap between the two languages and create impactful fashion advertisements.。