外文翻譯--服裝設(shè)計(jì)中的創(chuàng)意性靈感

中文 1700字 譯文 服裝設(shè)計(jì)中的創(chuàng)意性靈感 法蒂瑪 梅特 摘要 研究目的：本文的研究目的就是評估服裝設(shè)計(jì)過程中的創(chuàng)造性靈感源。它旨在分析服裝設(shè)計(jì)行為和服裝設(shè)計(jì)過程的早期階段，設(shè)計(jì)靈感的本質(zhì)是什么，如何收集靈感來源以及它們是如何影響服裝設(shè)計(jì)的創(chuàng)造力和原創(chuàng)性的。 研究方法：目前，已經(jīng)有很多的學(xué)者對成衣服裝設(shè)計(jì)進(jìn)行了而一系列的實(shí)證研究；實(shí)地觀察、半結(jié)構(gòu)化訪談和約束和半驅(qū)動(dòng)型設(shè)計(jì)任務(wù)。這一實(shí)證研究方法，可以有效的使用在傳統(tǒng)的知識獲取方法不足的情況下，特別需要對一個(gè)行業(yè)進(jìn)行一個(gè)廣泛地了解，比如：時(shí)尚界，不只是要對單 個(gè)人或公司進(jìn)行實(shí)證研究，要盡可能選擇更多的案例進(jìn)行研究。 研究結(jié)果：識別服裝設(shè)計(jì)過程中的靈感來源的主要類型，并提供每來源的相關(guān)信息。認(rèn)識到這些靈感來源可以幫助設(shè)計(jì)師來創(chuàng)建有創(chuàng)意的設(shè)計(jì)元素。為了培養(yǎng)創(chuàng)意，靈感的來源在整個(gè)創(chuàng)意階段的設(shè)計(jì)過程中，以及在服裝設(shè)計(jì)研究計(jì)劃的早期階段發(fā)揮了重要的作用。 創(chuàng)新性：本文突出強(qiáng)調(diào)了創(chuàng)造力和創(chuàng)意靈感來源在服裝設(shè)計(jì)過程中的作用。對服裝設(shè)計(jì)師和服裝公司都提供了很多實(shí)際的幫助。 關(guān)鍵詞 : 服裝設(shè)計(jì)；服裝；創(chuàng)造性思維；設(shè)計(jì)安排；設(shè)計(jì)管理 服裝設(shè)計(jì)是一個(gè)包含視覺和觸覺的感官設(shè)計(jì) 眾所周 知， 設(shè)計(jì)包括兩件事情 : 工藝創(chuàng)造 過程和產(chǎn)品展示 ，這兩者之間的關(guān)系就好比動(dòng)詞和名詞的關(guān)系。作為一個(gè)設(shè)計(jì)問題解決方案的過程 ,它是靈感的來源，并通過計(jì)劃、組織以實(shí)現(xiàn)一個(gè)最終目標(biāo)。而產(chǎn)品是其計(jì)劃的、最終設(shè)計(jì)的結(jié)果。 服裝就是應(yīng)用設(shè)計(jì)的一個(gè)例子，即使是最激動(dòng)人心的、最初的構(gòu)想也必須向人們展示其實(shí)用目的。雖然我們已經(jīng)意識到一些藝術(shù)是純粹的，即“藝術(shù)至上藝術(shù)”，但是，世界 上 大多數(shù)藝術(shù)作品 設(shè)計(jì)的最初目的都在于其實(shí)用性 。設(shè)計(jì)作為一個(gè)工藝過程，應(yīng)當(dāng)考慮和計(jì)劃實(shí)現(xiàn)某一特定的目標(biāo)，并適時(shí) 進(jìn)行 創(chuàng)新。從本質(zhì)上講，設(shè)計(jì)過程的步驟與順序同 樣應(yīng)當(dāng)考慮產(chǎn)品的實(shí)用性。這些步驟與管理規(guī)劃的過程非常相似。 人為設(shè)計(jì)的產(chǎn)品和服務(wù) 可以 分為兩大部類 ： 感覺和行為。感官設(shè)計(jì)是通過感官 而 獲得的，可以將其分為視覺、聽覺、嗅覺、觸覺和味覺 的獲得 。行為設(shè)計(jì)是有計(jì)劃的行動(dòng)。然而 ， 許多產(chǎn)品的創(chuàng)作過程都包括感官設(shè)計(jì)與行為設(shè)計(jì)兩個(gè)方面，因?yàn)樵O(shè)計(jì)靈感需要通過感官獲得 并 通過行為來解釋。例如，一場時(shí)裝表演既包括感覺設(shè)計(jì)也包括行為設(shè)計(jì)。 服裝設(shè)計(jì)的靈感來源 服裝設(shè)計(jì)師從哪里獲得新款式設(shè)計(jì)的構(gòu)想和靈感呢 ?答案即靈感無處不在。實(shí)際上，任何視覺和觸覺上的感官體驗(yàn)都可以是服裝設(shè)計(jì)靈感的源泉。 通過電視，設(shè)計(jì)師可以體驗(yàn)五彩繽紛的全球娛樂世界。在 看 電影 的過程 中 ， 設(shè)計(jì)師則能感受世界各地的藝術(shù)與生活方式。 通過 國際經(jīng)銷，電影觀眾可以通過有設(shè)計(jì)靈感的服裝接受新時(shí)尚。博物館展品、藝術(shù)節(jié)目展示、世界事件、博覽會、劇院、音樂、舞蹈和旅游都是時(shí)裝設(shè)計(jì)師的設(shè)計(jì)靈感來源。過去的時(shí)尚也是他們一個(gè)豐富的設(shè)計(jì)靈感來源。雖然，對于新的和刺激人心的事物，服裝設(shè)計(jì)師們需要時(shí)時(shí)保持警惕，但他們從來不會忘記過去，通常情況下，他們會采用新的方式去利用舊的東西。 如上所述，一組服裝設(shè)計(jì)的靈感來源多種多樣。靈感來源往往與社會“時(shí)代精神” （也 稱之為 “時(shí)代思潮” ） 息息相關(guān)。在對當(dāng)前時(shí)尚了解的前提下，不斷尋找各種創(chuàng)意和靈感源泉， 例如 博覽藝術(shù)品和書籍，去巴黎和米蘭旅行并進(jìn)行考察，參觀博物館， 或行走于各國 觀察不同的人群等。 我們發(fā)現(xiàn)，當(dāng)直接接觸創(chuàng)意來源時(shí)，設(shè)計(jì)師們是最具創(chuàng)造力的。 另一方面，在時(shí)尚界，服裝設(shè)計(jì)的創(chuàng)意過程包括兩種基本方法 : (1)實(shí)物能激發(fā)服裝設(shè)計(jì)的創(chuàng)作過程； (2)概念化的服裝設(shè)計(jì)過程，如源于宇宙的藝術(shù)、大自然或產(chǎn)品。 眾所周知，高調(diào)時(shí)尚的“名譽(yù)”設(shè)計(jì)師提出了這樣一個(gè)概念模型，為了使其更具有創(chuàng)造力和原創(chuàng)性，我們可以稱之為主旋律。 強(qiáng)調(diào)以設(shè) 計(jì)為先導(dǎo)的產(chǎn)業(yè)，其設(shè)計(jì)思想的來源包括先前設(shè)計(jì)的產(chǎn)品、人工產(chǎn)品、自然物品與自然現(xiàn)象。就服裝設(shè)計(jì)來看，之前的設(shè)計(jì)風(fēng)格、面料和其他配件在設(shè)計(jì)師的靈感來源中發(fā)揮著十分重要的作用。盡管人們已經(jīng)廣泛認(rèn)可，大部分的設(shè)計(jì)過程都是在修改先前創(chuàng)意理念的基礎(chǔ)上完成的，深受編織物的啟發(fā)，服裝設(shè)計(jì)師們便開始尋找設(shè)計(jì)的新款式和風(fēng)格。在這種情況下一個(gè)樣式通常為起點(diǎn)的技術(shù)材料的可能性。例如，彈力纖維面料的發(fā)展激發(fā)了設(shè)計(jì)師們設(shè)計(jì)緊身服裝的靈感。 文獻(xiàn)出處： Mete, Fatma. The creative role of sources of inspiration in clothing design. International Journal of Clothing Science and Technology 18.4 (2006): 278-293. 原文 The creative role of sources of inspiration in clothing design Fatma Mete Abstract: Purpose - To assess the creative role of sources of inspiration in visual clothing design. It aims to analyse simple, general accounts of observed design behaviour and early stages of the clothing design process, what is the nature of design inspiration, how sources of inspiration are gathered and how they affect the creativity and originality in clothing design. Design/methodology/approach - A progressive series of empirical studies looking at ready-to-wear clothing design has been undertaken; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empirical approach used ethnographic observational methods, which is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed, as in the fashion industry, not just a case study of a single individual or company. Findings - Identifies the major types of idea sources in clothing design and provides information about each source. Recognises that these sources of inspiration help designers to create design elements and principles of individual designs. In order to foster originality, sources of inspiration play a powerful role throughout the creative stage of design process, and also in the early stages of fashion research and strategic collection planning. Originality/value - This paper highlights the role of sources of inspiration and its effect in creativity and originality in the clothing design process. Offers practical help to clothing designers and design-led clothing companies. Keywords: Fashion design, Clothing, Creative thinking, Design calculations, Design management Introduction Sources of inspiration and its personal interpretation, visually and technically, play an important role in the design process, in increasing creativity. Clothing design studies and the creative role of design inspiration, during the early informal and actual clothing design processes is open to scientific investigation like aesthetically driven designs in other domains. Studying creative fashion design as process and product is seen more problematic than other design-led industries, as the interaction between the design elements and principles, material properties, adaptation and modification of design inspiration are complex. Clothing design, as a variety of aesthetic and functional design processes, shares many characteristics of engineering design process. Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including studying current and future fashion trends and try to predict what the majority of their customers will want in the foreseeable future. In order to keep up with the changing world of fashion, fashion awareness should become second nature to every clothing designer. Design and clothing as a visual and tactile sensory design It is well known that design is two things: process and product, as verb and noun. As design problem solution process, it is researching, setting the source of inspiration, planning, organizing to meet a goal, carrying out according to a particular purpose and creating. As product it is the end result, an intended arrangement that is the outcome of that process or plan. Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practical purpose and environment. We realise that some art is pure, art for arts sake but most creations in the daily world are for a practical purpose and use. Design as process is planning to meet a goal, and thus applies to everything intentionally created for a purpose. The steps and order of the process are essentially the same regardless of the end product. These steps are very similar to management as a planning process. Design as man made product and service falls into two major categories: sensory and behavioural. Sensory design is perceived through the senses, and is classified as visual, auditory, olfactory, tactile and gustatory. Behavioural design is planned action. Many products, however, include aspects of both, because design may be perceived through the senses and then interpreted behaviourally. A fashion show, for example, include both sensory and behavioural designs. Research methodology and findings The importance of source of inspiration and their role in creative clothing design has been little understood and, therefore, rarely received attention in this industry. 6, 7, 8 Eckert and Stacey (1998, 2000, 2003) studied knitwear design case, which shares many characteristics of complex engineering projects and as an example of practical design in a fast moving and highly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which produced a detailed design process model and an analysis of the causes of communication problems within design teams. 15 Mkirinne-Croft et al. (1996) tried to explain the fashion design process in terms of quantum mechanics and psychoanalysis and see design creativity as the ultimate mystery; their description of the design process is simplistic. The author has undertaken a progressive series of empirical studies, based on observation and interviews, looking at ready-to-wear (RTW) clothing design; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empiric approach combines ethnographic observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is needed as in the fashion industry, not just a case study of a single individual or company. In this research, the creative role of sources of inspiration in visual clothing design by novice and expert clothing designers was assessed through empirical research. As subjects, 16 talented clothing designers, 11 university-level fashion design students in Fashion Design Department at Dokuz Eylul University and five professional designers participated in the experiment carried out in this research. The first group of subjects included advanced fashion design students, seven talented students selected from the third and fourth year of undergraduate studies, and also four students of postgraduate studies, who also works as a free lance or part time assistant designers in the clothing industry. The second group was composed of five professional designers with a minimum of 5 years of experience in clothing industry. Sources of inspiration in clothing design Where does the fashion designer get ideas and inspiration for new styles? The answer is everywhere and everything. Anything visual and tactile, in fact sensual, can be a source of inspiration for a garment. Through television, the designer experiences all the wonders of the entertainment world. In films, the designer is exposed to the influences of all the arts, and lifestyles throughout the world. Because consumers are exposed to movies through international distribution, films prime their audiences to accept new fashions inspired by the costumes. Museum exhibits, art shows, world happenings, expositions, theatres, music, dance and world travel are all sources of design inspiration to fashion designers. The fashions of the past are also a rich source of design inspiration. While always alert to the new and exciting, fashion designers never lose sight of the past, they use old things in new ways. As stated the inspiration for a garment within a collection or for an entire collection can come from an infinite variety of sources. Sources of inspiration are often linked to the social spirit of the times also called the zeitgeist. Understanding the state of current fashion and searching for ideas and sources of inspiration involves looking at art objects and books, going on trips to places like Paris and Milan, visiting museums, watching people on streets and going on country walks. Designers are most creative when they are directly exposed to the sources of ideas. On the other hand, it has been observed in the fashion industry that there are two fundamental approaches in the creative clothing design processes: (1) material, thus fabric, inspired clothing design process; and (2) conceptual clothing design process, such as several themes originated from the universe of arts, nature or products. It is known that the high-fashion name designers typically develop a concept, also called theme, for their collection in order to be more creative and original. The major types of idea sources in design-led industries are previous products, artifacts, natural objects and phenomena. In case of clothing design, garments, fabrics and trims as previous products, play an important role in sources of inspiration. Although, there is a broad recognition that much of the design proceeds by modification of previous ideas, in case of fabric inspired clothing design, designers search for new forms and styles with newly developed or invented materials. For example, the development of elasthen fabrics, such as Lycra, inspired designers to figure-hugging silhouettes. Conclusions Anything visual and tactile, in fact sensual, can be a source of inspiration in fashion design. Design ideas do not simply materialize out of thin air. First, the designer does careful research, but what makes a designers collection special and original is his or her unique interpretation of design sources. Therefore, in order to be more creative and original the sources of inspiration play an important role in clo