3000字服裝設(shè)計外文文獻(xiàn)

3000字服裝設(shè)計外文文獻(xiàn)篇一：服裝設(shè)計外文文獻(xiàn)翻譯

文獻(xiàn)出處：SukumarN,GnanavelP,AnanthakrishnanT.EffectofSeamsonDrapeofFabrics[J].AfricanResearchReview,2022,3(3)：62-72.

原文

EffectofSeamsonDrapeofFabrics

Sukumar；Gnanavel.P.,Ananthakrishnan,T.

Abstract

Drapeofthefabricisitsabilitytohangfreelyingracefulfoldswhensomeareaofitissupportedoverasurfaceandtherestisunsupported.Drapeisauniquepropertythatallowsafabrictobebentinmorethaninonedirection,Whentwo-dimensionalfabricareconvertedtothree-dimensionalgarmentform.Inthepresentstudy,theeffectsofsewingofdifferentseamwereselectedondifferentfabricandtheirbehaviorswerestudied.Inthisstudydrapeoftenfabricsareanalyzedwiththreetypesofseamsandthreestitchdensities.Samplewithoutseamisacontrolsampleanddrapeofseamedsamplesareparedwithcontrolsampletoanalyzethedrapebehaviorofseamedfabrics.Thispaperpresentsafundamentaldrapeanalysisofseamedfabricsusingdrapemeter.Drapebehaviorisdeterminedintermsofdrapecoefficient.TheeffectofseamsonthedrapecoefficientandDrapeprofilehasbeenmade.Drapecoefficientssignificantlydiffersbetweenthefabricsandalsobetweentheseamstitchdensitybinations.Investigatingdrapeonseamedfabricscanimprovefabricenduseapplication.

Keywords:drape,puteraideddesign,seam,stitchdensity

Introduction

Drapeisanimportantpropertythatdecidesthegracefulnessofanygarmentasitisrelatestoaestheticsofgarments(KaushalRajsharmaandB.K.Behera.2022).Themechanicalpropertiesoffabricswerefirststudiedduringthelate19thcenturybyGermanresearchersworkingondevelopingairships(Postle,1998).Drapeabilityhasbeenregardedasaquantitativecharacteristicofcloth,andseveraldevicesaswellasvirtualsystemshavebeendevelopedtomeasureit(Booth,1968;Jeong,1998;StyliosandWan,1999).InstrumentsformeasuringdrapeabilityhavebeendevelopedbyChuetal.(1950)andlaterbyCusick(1965,1968)usingaparallellightsourcethatreflectsthedrapeshadowofacircularspecimenfromhangingdiscintoapieceofringpaperatpresentnumerousinstruments,rangingfromasimplecantileverbendingtestertoadynamicdrapetesterdevelopedformeasuringfabricdrape.Duringrecentyears,theinvestigationoffabricdrapehasattractedtheattentionofmanyresearchersbecauseoftheattemptstorealizetheclothingputeraideddesign(CAD)systembyintroducingthefabricproperties,inwhichfabricdrapeisthekeyelement.Itisobviousthatfabricshavetobesewntogetherforagarmenttobeformed.Theseamsofagarmentaffectthefabricdrapegreatly(Matsudaira,M.andYang,M.2000).Itisuealistictorealizetheappearanceofagarmentsystemwithouttheconsiderationofseamsandthemethodsofassemblingoffabricsintogarments(JinlianHuetal,1997).

Whenafabricisdraped;itcanbendinoneormoredirections.Curtainsanddrapesusuallybendinonedirection,whereasgarmentsandupholsteryexhibita

plexthree-dimensionalformwithdoublecurvature.Hence,fabricdrapeisaplexmathematicalprobleminvolvinglargedeformationsunderlowstresses(Postle,1993).

Aplainseamthemosttypicalseamfoundextensivelyinapparelisthesimplesttypeinwhichasinglerowoflockstitchesjoinstwopiecesoffabricstogether.Thus,investigatingtheeffectofaplainseamonfabricdrapehasasignificantvalueforboththetextileandclothingindustries.Thequantifieddrapeabilityofafabricintoadimensionlessvaluecalleda“Drapecoefficient〞,whichisdefinedasthepercentoftheareafromanangularringoffabriccoveredbyaverticalprojectionofthedrapedfabric(BrandR.H.1964).“Drapecoefficient(DC)〞themainparameterusedtoquantifyfabricdrape(NarahariKenkareandTraciMay-Plumlee.2022).Thoughuseful,itisinsufficienttocharacterizeplexformssuchasgarments.StyliosandZhu,1997consideredthatthedrapecoefficientbyitselfdidnotcapturethefullaestheticqualityofthedrapeofafabric.

Drapeprofileoffabricswithseamsprovideguidanceforgarmentdesignsandproducersintheapparelindustryandimprovetheunderstandingofdrapepropertiescorrespondingtodifferentseamfeatures(Fourt.LandHollies.N.R.S.1970).Furthermore,weexpectthattheresultswillbeusefulinpredictinggarmentdrapewithclothingCADsystems.

Differenttypesofseamsareusedingarmentmakingandalsowidestitchdensitiesareemployed.Oncethefabricisjoinedwithseamspossiblyitsdrapeconfigurationwouldvary.

Theproductrangeoftextileindustryhasextendedtothegarments.Massproductionofoperationalsystemsandautomatedsewingismakingmoreandmorepresence,itisveryessentialtounderstandtothechangeinpropertiesthefabricundergoesonceitisseamed.Thisstudyisanattempttounderstandtheeffectsofseamsonthedrapeoffabrics,whichisoneofkeycharacteristicsforapparelsandcertaindraperies.

TypesofSeam

Thetypesofseamswereselectedandineachtype,threestitchdensitieswereemployed.Fabricsweresewnalongthewarpandweftdirectionona35cmsquareside.Controlsampleforthetestisapiecewithnoseams.Thisresultedin9treatmentbinations.

(1)PlainSeam(S1)

Thisisthemostmonseamusedinthegarmentindustry.Thisiseasytomakeandpliable.Itisnormallysuitableforalltypesofgarments.And,itissuitableforcurvedlocationslikearmhole.Tomakethisseamwehavetoplacetwopiecesoffabricstobejoinedtogetherrightsidesfacing,matchingtheseamlines,andweshouldstitchtheseamexactlyontheseamline.

(2)WeltSeam(S2)

Forconstructingthis,weshouldstitchtheplanseamandpressbothseamallowancestooneside.Thentheinsideseamallowanceistrimmedto〞.Thentopstitchingisdoneontherightsideofthegarmentbycatchingthewiderseamallowance.Thistypeisnormallyusedonheavycoats.

(3)Frenchseam(S3)

TheFrenchseamisstitchedtwiceoncefromtherightsideandoncefromthewrongside.Itistheclassicseamforsheersandlooksbestifthefinishedwidthis〞orless.Toformthisseam,withwrongsidesofthefabrictogether,weshouldstitch3/8〞fromtheedgeontherightsideofthefabric.Theseamallowanceintrimmedto1/8〞andtheseamispressedwell.Thentherightsidesarefoldedtogetherwithstitchedlineexactlyontheedgeofthefoldandpressedagain.Thenthestitchesaremade〞fromthefold.

Conclusion

AstudyoneffectofseamsonthedrapecoefficientDrapeprofileisbeenmade.Threetypesofseamsnamelythreestitchdensities5,4and3percentimeterhasbeenemployed.Tenfabricveritiescontainingdifferentfibresweavesareanalyzed.Drapecoefficientssignificantlydiffersbetweenthefabricsalsobetweentheseamstitchdensitybination.

TheDrapeCoefficientalonemaynotgiveacleanideaofrealdrape.Forthispurposethedrapeprofilesweregeneratedwiththehelpofradiimeasures.Thedrapeprofilehasclearlyindicatingshapesthattakesplacewiththeseamsputon.Seamedfabricshavegenerallyshownmorestabilizedpatternparedtocontrolsamples.

SateenweavefollowedbyBHCMATweavehasshownhighlysymmetricalpatterns.Theseamhasmarkedlyimproveddrapeprofileofhoneybfabric.Polyester,Polyester/ViscousfabricshaveregisteredbetterdrapeprofilesthanPolyester/Cottonfabrics.Boththecottongraycasementhasshownagreeabledrape

篇二：服裝設(shè)計中的創(chuàng)意性靈感外文文獻(xiàn)翻譯

文獻(xiàn)出處：Mete,Fatma."Thecreativeroleofsourcesofinspirationinclothingdesign."InternationalJournalofClothingScienceandTechnology18.4(2022):278-293.

原文

Thecreativeroleofsourcesofinspirationinclothingdesign

FatmaMete

Abstract:

Purpose-Toassessthecreativeroleofsourcesofinspirationinvisualclothingdesign.Itaimstoanalysesimple,generalaccountsofobserveddesignbehaviourandearlystagesoftheclothingdesignprocess,whatisthenatureofdesigninspiration,howsourcesofinspirationaregatheredandhowtheyaffectthecreativityandoriginalityinclothingdesign.

Design/methodology/approach-Aprogressiveseriesofempiricalstudieslookingatready-to-wearclothingdesignhasbeenundertaken;insituobservation,semi-structuredinterviewsandconstrainedandsemi-constraineddesigntasks.Thisempiricalapproachusedethnographicobservationalmethods,whichiseffectiveinsituationswhereconventionalknowledgeacquisitionmethodsareinsufficient,whenbroadunderstandingofanindustryisneeded,asinthefashionindustry,notjustacasestudyofasingleindividualorpany.

Findings-Identifiesthemajortypesofideasourcesinclothingdesignandprovidesinformationabouteachsource.Recognisesthatthesesourcesofinspirationhelpdesignerstocreatedesignelementsandprinciplesofindividualdesigns.Inordertofosteroriginality,sourcesofinspirationplayapowerfulrolethroughoutthecreativestageofdesignprocess,andalsointheearlystagesoffashionresearchandstrategiccollectionplanning.

Originality/value-Thispaperhighlightstheroleofsourcesofinspirationanditseffectincreativityandoriginalityintheclothingdesignprocess.Offerspracticalhelptoclothingdesignersanddesign-ledclothingpanies.

Keywords:Fashiondesign,Clothing,Creativethinking,Designcalculations,Design

management

Introduction

Sourcesofinspirationanditspersonalinterpretation,visuallyandtechnically,playanimportantroleinthedesignprocess,inincreasingcreativity.Clothingdesignstudiesandthecreativeroleofdesigninspiration,duringtheearlyinformalandactualclothingdesignprocessesisopentoscientificinvestigationlikeaestheticallydrivendesignsinotherdomains.

Studyingcreativefashiondesignasprocessandproductisseenmoreproblematicthanotherdesign-ledindustries,astheinteractionbetweenthedesignelementsandprinciples,materialproperties,adaptationandmodificationofdesigninspirationareplex.Clothingdesign,asavarietyofaestheticandfunctionaldesignprocesses,sharesmanycharacteristicsofengineeringdesignprocess.

Researchandobservationarecriticallyimportantinthefashionbusiness.Byresearchingandobserving,designersgatherbackgroundinformationfordesign,includingstudyingcurrentandfuturefashiontrendsandtrytopredictwhatthemajorityoftheircustomerswillwantintheforeseeablefuture.Inordertokeepupwiththechangingworldoffashion,fashionawarenessshouldbeesecondnaturetoeveryclothingdesigner.

Designandclothingasavisualandtactilesensorydesign

Itiswellknownthatdesignistwothings:processandproduct,asverbandnoun.Asdesignproblemsolutionprocess,itisresearching,settingthesourceofinspiration,planning,organizingtomeetagoal,carryingoutaccordingtoaparticularpurposeandcreating.Asproductitistheendresult,anintendedarrangementthatistheouteofthatprocessorplan.

Clothingisanexampleofapplieddesign,eventhemostexciting,originalideamustshowawarenessofitspracticalpurposeandenvironment.Werealisethatsomeartispure,"artforart'ssake"butmostcreationsinthedailyworldareforapracticalpurposeanduse.Designasprocessisplanningtomeetagoal,andthusappliestoeverythingintentionallycreatedforapurpose.Thestepsandorderoftheprocessare

essentiallythesameregardlessoftheendproduct.Thesestepsareverysimilartomanagementasaplanningprocess.

Designasmanmadeproductandservicefallsintotwomajorcategories:sensoryandbehavioural.Sensorydesignisperceivedthroughthesenses,andisclassifiedasvisual,auditory,olfactory,tactileandgustatory.Behaviouraldesignisplannedaction.Manyproducts,however,includeaspectsofboth,becausedesignmaybeperceivedthroughthesensesandtheninterpretedbehaviourally.Afashionshow,forexample,includebothsensoryandbehaviouraldesigns.

Researchmethodologyandfindings

Theimportanceofsourceofinspirationandtheirroleincreativeclothingdesignhasbeenlittleunderstoodand,therefore,rarelyreceivedattentioninthisindustry.【6】,

【7】,[8]EckertandStacey(1998,2000,2022)studiedknitweardesigncase,whichsharesmanycharacteristicsofplexengineeringprojectsandasanexampleof"practicaldesign"inafastmovingandhighlypetitivemanufacturingindustry.Theirworkincludedalargeethnographicstudyoftheknitwearindustry,whichproducedadetaileddesignprocessmodelandananalysisofthecausesofmunicationproblemswithindesignteams.[15]MTheauthorhasundertakenaprogressiveseriesofempiricalstudies,basedonobservationandinterviews,lookingatready-to-wear(RTW)clothingdesign;insituobservation,semi-structuredinterviewsandconstrainedandsemi-constraineddesigntasks.Thisempiricapproachbinesethnographicobservationalmethodswiththeknowledgeanalysistechniquesofartificialintelligence.Itiseffectiveinsituationswhereconventionalknowledgeacquisitionmethodsareinsufficient,whenbroadunderstandingofanindustryisneededasinthefashionindustry,notjustacasestudyofasingleindividualorpany.

Inthisresearch,thecreativeroleofsourcesofinspirationinvisualclothingdesignbynoviceandexpertclothingdesignerswasassessedthroughempirical

research.Assubjects,16talentedclothingdesigners,11university-levelfashiondesignstudentsinFashionDesignDepartmentatDokuzEylulUniversityandfiveprofessionaldesignersparticipatedintheexperimentcarriedoutinthisresearch.Thefirstgroupofsubjectsincludedadvancedfashiondesignstudents,seventalentedstudentsselectedfromthethirdandfourthyearofundergraduatestudies,andalsofourstudentsofpostgraduatestudies,whoalsoworksasafreelanceorparttimeassistantdesignersintheclothingindustry.Thesecondgroupwasposedoffiveprofessionaldesignerswithaminimumof5yearsofexperienceinclothingindustry.Sourcesofinspirationinclothingdesign

WheredoesthefashiondesignergetideasandinspirationfornewstylesAsstatedtheinspirationforagarmentwithinacollectionorforanentirecollectioncanefromaninfinitevarietyofsources.Sourcesofinspirationareoftenlinkedtothesocial"spiritofthetimes"alsocalledthe"zeitgeist".Understandingthestateofcurrentfashionandsearchingforideasandsourcesofinspirationinvolveslookingatartobjectsandbooks,goingontripstoplaceslikeParisandMilan,visitingmuseums,watchingpeopleonstreetsandgoingoncountrywalks.Designersaremostcreativewhentheyaredirectlyexposedtothesourcesofideas.

Ontheotherhand,ithasbeenobservedinthefashionindustrythattherearetwofundamentalapproachesinthecreativeclothingdesignprocesses:

(1)material,thusfabric,inspiredclothingdesignprocess;and

(2)conceptualclothingdesignprocess,suchasseveralthemesoriginatedfromtheuniverseofarts,natureorproducts.

Itisknownthatthehigh-fashion"name"designerstypicallydevelopaconcept,alsocalledtheme,fortheircollectioninordertobemorecreativeandoriginal.

Themajortypesofideasourcesindesign-ledindustriesarepreviousproducts,artifacts,naturalobjectsandphenomena.Incaseofclothingdesign,garments,fabricsandtrimsaspreviousproducts,playanimportantroleinsourcesofinspiration.Although,thereisabroadrecognitionthatmuchofthedesignproceedsbymodificationofpreviousideas,incaseoffabricinspiredclothingdesign,designerssearchfornewformsandstyleswithnewlydevelopedorinventedmaterials.Forexample,thedevelopmentofelasthenfabrics,suchasLycra,inspireddesignerstofigure-huggingsilhouettes.

Conclusions

Anythingvisualandtactile,infactsensual,canbeasourceofinspirationinfashiondesign.Designideasdonotsimplymaterializeoutofthinair.First,thedesignerdoescarefulresearch,butwhatmakesadesigner'scollectionspecialandoriginalishisorheruniqueinterpretationofdesignsources.Therefore,inordertobemorecreativeandoriginalthesourcesofinspirationplayanimportantroleinclothingdesign.

Researchandawarenessarethekeytocreativity.Designersmustlearnmostofalltokeeptheireyesopen,todeveloptheirskillsofobservation,toabsorbvisualideas,blendthemandtranslatethemintoclothesthattheircustomerswilllike.Thedesignprocessshowsthatrealisticobservationofoutsideinfluencesandneeds,extensiveresearchandawarenessandlogicalthinkingandorder,removeagreatdealofthesupposed"mystery"ofdesignorcreativity.Onewhothoroughlyunderstandsdesignasproductandprocessandhasmasteredtheuseofappropriatematerialsandadaptationtechniquescanbe"creative"andcantranslatethesourceintorealityasasuccessfulfashionproduct.

Sourcesofinspirationareusedattheearlystagesofdesignandthroughoutthe

篇三：課題_服裝設(shè)計外文翻譯

服裝設(shè)計外文翻譯

CoutureSewing

UnitedStatesTechniqueClaireB.ShaefferPrintedoriginallypublishedTauntonPress,Inc.Chapter4.EdgeFinishesHems,FacingsBindingsUnlessfinishedsomeway,garmentravellookinplete.edges—theneckline;verticalfront

canbeeedgesjackets,coatsmanyblouses;jacketsdistinctive,decorativeelementsdesign.Threefinishesusedextensivelycouture:hems,facingsedgefinishdependsmanythings—theshapeedgebeingfinished;itspositiontype,designgarment;currentfashiontrends;individualwearerbottomedgeasymmetrical,curved,scallopedotherwiseunusuallyshaped,facing.Evenwhentwodifferentedgesrequireslightlydifferentfinishestailoredgarmentwouldrequireverydifferentfinishingfromeveninggown,evensimilardesignsvorkeddissimilarfabricswoulddictatefinishessuitableeachfabric.Althoughhems,facingsalledgefinishes,eachhasslightlydifferentfunction.Hemsgenerallyusedloweredgesgarmentsectionmanyhelpgarmenthangattractivelyaddingweightedge.Facings,otherhand,verticaledgesgarments.Bindingscanupper,lowerverticaledges,they’reusedmostoftenreplacefacingsratherthanhems.Facingscanseparatesectionsfinishcurved

shapededges.whenusedonlyslightlycurved,nothingmorethanwidehemallowance,whichcasethey’recalledextendedfacings.Bothhemsonlyoneside—usuallygarment.Bindings,separatestripsgarmentedge

Becausefinishbothmaterialstakessidesbackseatgarmentattractively.

desiredresults,edgesalwaysfinishedsimplestmethodonemostoftenusedready-to-wearconstructionhomesewing.Whateverfinishingmethod,hems,facingsbindingscansewnentirelymachinework..handworkvisiblefinishedproduct,however,handworkusedtraditionalcouturegarment.FACINGSFacings,likehems,garment.Unlikehems,whichhangfreegarment’shangmorethanitsoverallshape,facededgesfrequentlyfitbody’scurvessubtlyaffectgarment’ssilhouette.Usedgarmentopenings,curvededgesshapededgeslikejacketlapels,facingscontributesignificantlyoverallimpressionwell-constructedgarment.threetypesfacings:extended,shapedbias.Twobiasfacings—arecutseparatelyfromsewnfromself-fabriclightweightliningfabrics.extendedfacinggarmentsectionlikeplainhemcourse,self-fabric.extendedfacingnothingmorethan2-in.hemsewnexactlylikeplainhem(seepp.63-64).Whengarmentedgelength-wisegrain,extendedfacingduplicatesslightcurve,

facingcan’tduplicatemayhaveeased,stretchededgesmoothly.extendedfacingusedextensivelycouturebecausefoldededgemoresupplethanseamededges

better.

stabilizedsoEdgesbiasfacingsextendedfacingsitsname

oftenused

alwaysusedconsequentlydrapesgenerallyinterfacedsuggests,originalshapeshapedfacingususllyduplicateslook,edgesintendedcrisp,constructed

intricatelyshapededgeslikescallopedhem.biasfacingstripcuttruebias.Becausedoesn’tduplicatefacingmustitselfedge.Biasfacingsmadefromlightweightfabricsproducenarrow,inconspicuousfacings.cousture,morethanonetypeoftenusedsinglegarmentsingleedge.pinkgazardressshownabove,example,hasextendedfacingsfrontneckline

backopeningbackopeningshapedfacingsfrontneckline

shapedfacingsbackneckline.Similarly,p.60hasshapedfacingupperhalffrontedgeextendedfacinglowerhalfedge.Beforeapplyinganykindfacing,examinegarment’sfitdeterminewhetheredgeneedsstaytape(seepp.49-50)interfaced(see68).Onceyou’vehandledyoucanproceedfacingyou’vechosen.SHAPEDFACINGSShapedfacingscanmachine.Bothtypescouture,whileonlymachineapplicationsmachineapplicationcourse,faster,sometimesmoredifficult

facingsofitssmoothly,sometimesvisiblegarmentedge.instructionsbelowapplyingshapedfacingsmachine,referyourfavoritesewingmanual.)directionsfocusnecklinefacingsbecausethey’remostfrequentlyusedcoutureworkrooms.However,directionscanotheredgeswaistbands,