服装专业英语材料A

PART 1 THEORY OF FASHION DESIGNLesson 1 What Is Fashion? 概述了流行的基本概念和特性。Fashion，which is as old as time and as new as tomorrow，is one of the most powerful forces in our lives. It influences what we wear，the way we talk，the foods we eat，the way we live，how and where we travel，what we look at, and what we listen toFashion is what leads us to discard a product that is still useful but is no longer“in”It is also what makes us sometimes wear more clothes than we may actually need, and sometimes less than is needed to protect US from the cold or the sun The intensity with which changes in fashion are followed by people everywhere on all levels of society is evidence of its social significance and its impact on human behaviorTo be“out of fashion”is indeed to be out of the worldThe Language of FashionMany definitions of fashion have been given by wise and witty or learned men and womenFor example, to Oscar Wilde“fashion is a form of ugliness so intolerable that we have to alter it every six months“And according to Ambrose Bierce “fashion is a despot whom the wise ridiculeand obey”Thoreau philosophized that“every generation laughs at the old fashions but follows religiously the new”And Shakespeare wrote that“fashion wears out more apparel than the man”(3)Fashion Means Consumer Acceptance Among the countless definitions Of fashion, the one from Websters latest unabridged dictionary (the Third International) comes very close to what professionals mean when they use the word：the prevailing or accepted style in dress or personal decoration established or adopted during a particular time or seasonThe most widely recognized fashion authority, the late DrPaul HNystrom, defined fashion in similar words as“nothing more or less than the prevailing style at any given time”Thus，a fashion is always based on a specific styleA style，however，does not become a fashion until it gains consumer acceptance，and it remains a fashion only as long as it is acceptedFor example，bow ties，tapered jeans，crinoline skirts，and chemise dresses are and will always be styles，but they can only be called fashions if and when they become prevailing stylesIt is clearly possible，moreover，for a particular style to come in and go out of fashion repeatedlySome examples of such ins and outs” of fashion are peasant blouses， sheath dresses，padded shoulders， and circular skirts，to name but a fewThe element of social acceptance is the very essence of fashionAcceptance，however，does not mean that a style is necessarily worn by everyone or even by a majority of the publicAcceptance can be and usually is limited to a particular group of people or to a particular locationFor example，what New York men and women wear is often unacceptable in other parts of the United States that have markedly different climates or moresFurthermore，what is popular among a particular age or occupational group may not be accepted by those of different ages or occupationsFashion Trend Fashions are not static; there is always movement, and that movement has a direction, discernible to careful observersThe directions in which fashions are moving are called fashion trendsFor example, skirt lengths may be moving up from the calf to the kneeperhaps almost imperceptibly from one season to the next, but generally in an upward directionShort jackets，as another example，may gradually be gaining at the expense of hiplength styles Mens ties may be getting wider or narrower；womens shoes may be getting clunkier or more elegantly slim；the athletic workout look may be getting more or less popular in other leisure-time clothes： and so onThe change from season to season may be slight，but they generally have a directionThe ability to recognize that direction or trend is vital to fashion practitionersSince these people must work far ahead of consumers buying periods，much of their success depends on their ability to read the signs and recognize promptly the incoming and outgoing trends in fashionThe terms“prophetic,”avant garde，and forward fashions are often used to describe styles that are gaining in acceptanceThe Constant in Fashion Is Change If there is one absolute constant pertaining to fashion, it is the fact that it is always changing-sometimes rapidly，sometimes slowly，but it is never static or dormant(5)This element of change is recognized in the definitions of fashion itself cited earlier，by the use of such words as“prevailing”or“a given period of timeTo ignore the element of change is like looking at a still photograph in place of a motion pictureThe still tells you what is happening here and now；the motion picture shows you what came before and what may lie aheadWhy Fashions Change To understand the constant changes in fashion，it is imperative to understand that fashions are always in harmony with their eraAs a famous designer expressed it，”Fashion is a social phenomenon which reflects the same continuing change that rides through any given age”Changes in fashion, he emphasized，“correspond with the subtle and often hidden network of forces that operate on societyIn this sense，fashion is a symbol”Changes in Fashions Are Gradual Although fashions change constantly and new ones appear almost every season，a full-scale changeover is never completed at any one timeIn studying the pattern of change in fashions，scholars have observed that changes in fashion are evolutionary in nature，rather than revolutionaryIt is only in retrospect that fashion changes seem marked or suddenActually，they come about as a result of a series of gradual shifts from one season to the next(7)For example，when womens skirts began inching up from midcalf in the 1960s，this gradual shortening was not particularly noticeable at firstIt was only when skirts moved thigh-high，in the form of minis and microminis，that people took notice of the approaching extremeSimilarly，when men begin to abandon ultranarrow ties and suit lapels in favor of more and more width，the changes are not noticed at firstThen，when wide ties and lapels begin to lose their appeal and progressively narrower styles make their appearance，people again mistake their belated recognition of these gradual shifts for a sudden change in fashion Even today，when the rate of fashion change has accelerated sharply，the pace of change is really slower than it appears to the unskilled observer who has failed to notice the early evolutionary movements in a new directionThe Prediction of FashionAnalyzing and predicting which styles will become the fashions for coming seasons has been called an occupational guessing game for the fashion industry，with millions of dollars at stakeFiber，textile，and leather producers must work from one to two years ahead of the consumers buying seasons；apparel and accessory designermanufacturers must prepare their lines from nine months to a year ahead in order to show them to retail buyers three to six months in advance of the consumerswearing seasonWithout accurate forecasts and projections of what looks，colors，fabrics，silhouettes，and design details are likely to be acceptable to customers，they would not be able to produce and sell the massive quantities of textiles and apparel that they doSuch forecasts and predictions of fashion are neither guesswork nor a game, nor a matter of intuitionRather，prediction is one of the most vital activities in the fashion industriesThe successful forecaster recognizes that fashion is neither haphazard nor mysterious，but a tangible force whose progress can be charted，graphed，understood，explained，and projectedBasically，what fashion practitioners do is examine past experiences for clues as to what will happen today，and then analyze and evaluate todays activities for indications of what may happen tomorrow流行是这样一种事物。是我们抛弃了还可以使用，但不再时髦的产品。世界各地不同阶层人士追随流行变化的紧迫程度，证明了流行的社会意义以及它对人类行为的影响。Thoreau从哲学的角度这样诠释：“每一代人都嘲笑旧的时尚，却照例去追求新时尚。”且莎士比亚这样写道：“流行比人磨损掉更多的衣服。”最为广泛被认-可的时尚权威Paul HNystrom博士用类似的文字这样定义流行：“仅仅是特定时期的时髦样式。”如果存在着一种符合流行的绝对永恒，那就是流行是永远在变化着的这一事实，(这种变化)时快、时慢，但绝不会固定下来或呈休止状态。“流行是一种社会现象，它反映了任何特定年代同样都要经历的持续变化。”他强调说：“流行的变迁与那些作用于社会的影响力量所具有的微妙、而又常常是暗藏着的系统是一致的。”只有当追溯过去的时候，流行的变迁才显得特别引人注目或突然。实际上，这些变迁的发生是从一个季节到另一个季节的一系列逐渐变化的结果。(8)分析和预测哪种款式将成为下个季节的流行曾被称为是冒着数百万美元风险、时装工业的职业竟猜游戏。Words and Phrases：371discard vt抛弃，丢掉2intensity n强烈程度3a11 levels of society 社会各阶层4Oscar Wilde 奥斯卡王尔德(18541900)，剧作家，小说家，诗人5despot n.暴君，独裁者6ridicule n愚弄，嘲弄7philosophize Vt从哲理的角度解释8religiously adv认真地；虔诚地；照例地；有规律地9Websters latest unabridged dictionary 韦氏最新大辞典10prevailing adj.盛行的；流行的；有影响力的11tapered jeans 锥形牛仔裤12crinoline skirt 膨鼓裙13chemise dress 衬衫式连衣裙14peasant blouse 农妇风貌女衬衫15sheath dress 紧身(鞘型)连衣裙16circular shirt 喇叭型下摆裙17to name but a few 仅以这些为例18markedly adv清楚地；显著地19mores n传统；习俗20discernible adj.可辨别的，可看出的21calf n小腿肚子22imperceptibly adv极缓慢地；不能感觉到地23at the expense of 在损害的情况下；以为牺牲代价24hiplength adj.长及臀部的(服装)25clunky adj沉重26workout n运动员的训练服27practitioner n.从业者28prophetic adj.预言的，预示的29avant garde 前卫的30forward adj.急进的31be pertaining to sth 与有关的；符合于；适合于32dormant adj.休止状态的33imperative adj.必须的34fullscale adj全部的，全面的35changeover n改变，转变36evolutionary adj.由进化产生的；发展的37revolutionary adj.彻底改变的，重大变革的38retrospect n回顾，追溯39inch up 一点点地向上40midcalf n.小腿中部41thigh-high adj.长及大腿处的(服装)42minis n.迷你裙43micro-minis n超短迷你裙44ultranarrow adj.超窄45progressively adv逐渐地，逐步地46belated adj.来得很迟的47at stake 冒风险；在胜败关头48projection n设想；预测 project n.预测，规划，设计49silhouette n(服装的)廓型，外轮廓造型50haphazard adj无计划的；任意的；无秩序的51tangible adj.明确的；真实的52force n最有某种力量的事物，影响Lesson 2 Principles of Design分析均衡、强调和谐等形式法则在时装设计中的运用，并阐明其重要性。Whether design elements are used successfully depends on their relationship to one another within the garmentPrinciples of design serve as guidelines for combining elementsDesigners may not consciously think of these principles as they work，but when something is wrong with a design，they are able to analyze the problem in terms of proportion，balance，repetition，emphasis，or harmony(the first four principles work together to create the ultimate goal of harmony)These principles are flexible，always interpreted within the context of current fashionProportion Proportion is simply the pleasing interrelationship of the size of all parts of the garmentWhen conceiving a style，the designer must consider how the silhouette is to be divided with lines of construction or detailThese lines create new spaces，which must relate in a pleasing wayGenerally，unequal proportion is more interesting than equalMany mathematical formulas have been proposed as guidelines，but the best results come from practice in observing and analyzing good design，for standards of proportion change withfashion cycles The height and width of all parts of a design must be comparedIndividual sections of a garment，such as sleeves，pockets，and collar，must all relate in size to each other as well as to the total silhouetteA jacket length and shape must work with the length and shape of the skirt or pants Background space is just as important as the detail or shapes within itA large，bold shape against a plain background is dramaticAreas broken into small shapes suggest daintinessTherefore，smaller space divisions are used for teens and juniors and fewer divisions for dramatic evening wearEach detail or shape within the silhouette should complement the whole The spacing of trimmings，pleats，and tucks must have meaning in relation to the total designTrimmings must not be too heavy or too light，too large or too small to harmonize with the space around them as well as with the feeling of the garment(2)Ideally，the trim on a smaller space should be narrower than the trim on a larger areaEvery line，detail, or trim changes the proportion because it breaks up the space even more The designer continually experiments with subtle variations in proportion，line placement，hem length，and size and placement of trimProportion sometimes follows natural body divisions and sometimes creates its own divisionsConcepts of proportion vary with each new fashion direction，changing with the evolution in silhouette and lineBalance Vertical Balance Proportion may also be discussed in terms of perpendicular or vertical balancethe “visual weight” relationship between top and bottom，shirt and skirt，jacket and pantsWe might refer to a poorly balanced outfit as being top-heavyIn this sense，the terms balance and proportion are often used interchangeablySymmetrical Balance In the context of design principles，the term balance is used most often in reference to horizontal relationships，or the relationship of one side of the garment to the otherA garment should look stable and not lopsidedImagine a line down the center of a garmentIf the design composition is the same on both sides of this line, then the design is considered bisymmetrical or formally balanced，following the natural bisymmetry of the bodyJust as we have two eyes，two aims，and two legs，a symmetrical garment must have exactly the same details in just the same place on both sidesFormal balance is the easiest，most logical way to achieve stability because it takes no experimentationUsed in most apparel，it gives a conservative feelingEven slight deviations，when minor details such as pockets are not exactly alike on both sidesare considered approximate symmetryA sensitive use of fabric，rhythm，and space relationships is needed to keep a design from being boringA symmetrical Balance To achieve a more exciting，dramatic effect，asymmetrical or informal balance can be usedExamples are side closings and one shouldered evening dressesThough asymmetrical design composition is not identical on both sides 0f a garmentit still must be stableIt is a matter not of actual weight but of visual attractionA small，unusual，eye-catching shape or concentrated detail on one side can balance a larger，less imposing area on the other sideStriking line, color, or texture can appear to balance larger masses of less significanceThe means of achieving informal balance are infinite and subtle, giving the designer more freedom of expression but requiring imagination，experimentation，and sensitivityTechnically，asymmetrical designs require separate pattern shapes for the right and left sides that cannot be reversed when cuttingBecause of the design and technical skill required, fewer asymmetrical than symmetrical garments are producedRepetition Rhythm Rhythm, or a sense of movement，is necessary to create interest in a designInteresting rhythm can be achieved by the repetition of lines，shapes，and colors to give directionWe can see rhythm of lines and shapes in the repetition of pleats，gathers，and tiers，and in rows of trim，banding，or buttonsThe dominant color，line，shape，or detail of the garment should be repeated elsewhere with variationThe sense of movement must be felt,even if implicitly or subtlyThere are various ways to use rhythm Uniform rhythm is the regular repetition of equal space divisionsfor example，even spacing of pleats or stripes in fabricIt may be SO soothing that it is monotonousThe rhythm becomes more interesting if the repeated 1ines or shapes are alternated or broken Unequal rhythm also involves repetition of color，line，shapes，or detail，but not in a regular orderIt is one of the most interesting ways to create movement Progression or graduation is the gradual increasing or decreasing of space divisions(sometimes seen in the spacing of tiers)A focal point is often created as the series comes closer and closer together Continuous line movement is often used in draped garments，whose soft fabrics hang in gathers or folds(5)The folds and the shadows they create make the rhythmic lines, which should flow from one to another without a distracting break In radiation。the least used rhythmic pattern，all the lines originate from a central pointThis creates movement around the center，which attracts attention and becomes thefocal pointOther Uses of Repetition The use of repetition is one of the most helpful guidelines in designingA design line，shape，or detail repeated in another area of the garment helps to carry the theme throughout the whole designIn dress design，for example，a V neck might be repeated upside down in bodice seaming or in an in-vetted pleat in the skirtSoft gathers at the neck could be repeated at the hip to unify the designEmphasis Emphasis，or a center of interest，draws attention to the focal point of a costumeThis point is the central theme; the rest Of the garment is of secondary importance “A center of interest must have more eyepulling power than any other design element in the garment，and all other elements must support it by echoing its design message with weakened impact”The point of emphasis should be related to the total structure of the garmentSuch a focal point can be achieved by accenting with color，significant shapes or details，lines coming together，groups of detail，Or contrastA combination of these methods gives the focal point added strength，as does placing the decorative emphasis at a structural point Garments with no focal point are weak and boringOn the other hand，there should never be more than one main center of interestTwo or more would compete confusingly with each otherSpotty use of detailsespecial,，those of equal importance，such as pocketsis distractingSuch distractions should be removed and the dominant design feature strengthenedCare should be taken not to emphasize awkward parts of the body Above all，the wearer should be the center of attractionLines leading to the face are particularly e