创意性服装设计研究外文文献翻译

1、毕设附件外文文献翻译原文及译文 原文Thecreativeroleofsourcesofinspirationinclothingdesign 作者 MartinG IntroductionSources of inspiration and its personal interpretation, visually and technically, play an important role in the design process, in increasing creativity. Clothingdesign studies and the creative role of des

2、ign inspiration, during the early informal and actualclothing designprocessesisopentoscientifici nvestigationli keaestheticallyd rivendesig ns in otherdomains.Studying creative fashiondesign asprocess and product isseen moreproblematic than other design-led industries, as the interaction between the

3、designelements and principles, material properties, adaptation and modification ofdesigninspiration are compl ex. Clothi ng design, as a variety of aestheticand functio naldesign processes, shares many characteristics of engineering designprocess.Research and observation are critically important in

4、the fashion business.Byresearching and observing, designers gather background information fordesign,including studying current and future fashion trends and try to predict what themajori ty of t heir customers will want in the foreseeable future. In orderto keep upwiththechangingworldoffashion,fashi

5、onawarenessshouldbecomesecondnaturetoeveryclothingdesigner.Design and clothing a s a visual and tactile sensor ydesignIt is well known that design is two things: process and product, as verb andnoun.As design problem solution process, it is researching, setting the source ofinspiration, planning,org

6、anizingtomeetagoal,carryingoutaccordingtoaparticularpurposeand creating.Asproductitistheendresult,anintendedarrangementthatistheoutcome of thatprocess orplan.Clothing is an example of applied design, eventhe most exciting, originalidea must show awareness of its practical purpose and environment. We

7、 realisethatsomeartispure,"artforart'ssake"butmostcreationsinthedailyworldareforapractic al purposeand use. Design as process is planning to meet a goal, and thus applies to everythin g i ntentionally created for a pu rpose. The steps and order of the processareessentially the same reg

8、ardless of the end product. These steps are very similarto management as aplanning process.Design as man madeproduct and service falls into two major categories:sensoryandbehavioural.Sensorydesignisperceivedthroughthesenses,andisclassifi edasvisual, auditory, olfactory, tactile and gustatory. Behavi

9、oural design is plannedaction. Manyproducts,however,includeaspectsofboth,becausedesignmaybeperceived throughthesensesandhteninterpretedbehavioural ly.Afashions how,f orexample,include both sensory and behaviouraldesigns. R esearchmethodology andfindingsThe importance of source of inspiration and the

10、ir role in creative clothingdesignhasbeenlittleunderstoodand,therefore,rarelyreceivedattentioninthisindustr y.6, 7, 8 Eckert and Stacey (1998, 2000, 2003) studied knitwear design case,whichsharesmanycharacteristicsofcomplexengineeringprojectsandasanexampleof"prac ticaldesign" inafastmoving

11、andhighly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry,whichproduced a detailed design process model andananalysis of the causesofcom munication problems within designteams.15M?kirinne-Croftetal.(1996)triedtoexplainthefashiondesignproces

12、sintermsofquantummechanicsandpsychoanalysi sandseedesigncreativity astheultimatemystery;theirdescriptionof the design process issimplistic.Theauthorhasundertakenaprogressiveseriesofempiricalstudies,basedonobservation andinterviews,lookingatready-to-wear(RTW)clothingdesign;insitu observation,semi- st

13、ructuredinterviewsandconstrainedandsemi- constraineddesign tasks.Thisempiricapproachcombinesethnographicobservationalmetho dswiththeknowledgeanalysistechniquesofartificialintelligence.Itiseffectiveinsituationswhereconventionalknowledgeacquisitionmethodsare insufficient,whenbroad understanding of an

14、industry is needed as in the fashion industry, not just a casestudyof a single individual orcompany.In this research, the creative role ofsources of inspiration in visual clothing design by novice and expert clothi ng designers was assessed throu ghempiri calresearch. As subjects, 16 talented clothi

15、ng designers, 11 university-level fashiondesignstudentsinFashionDesignDepartmentatDokuzEylulUniversityandfive professi onal designers participated in the experiment carried out in this research.Thefirstgroupofsubjectsincludedadvancedfashiondesignstudents,seventalented stu dentsselectedfromthethirdan

16、dfourthyearofundergraduatestudies,andalso fourstudentsofpo stgraduatestudies,whoalsoworksasafreelanceorparttimeassistantdesignersintheclothing indu stry. Thesecondgroupwascomposedoffiveprofessional designers with a minimum of 5 years of experience in clothingindustry. Sour cesof inspira tionin cloth

17、ingdesignWhere does the fashion designer get ideas and inspiration for new styles?Theanswer is everywhere and everything. Anything visual and tactile, in fact sensual,canbeasourceofinspirationfor agarment.Throu ghtelevision,thedesignerexperi ence sall the wonders of the entertainment world. In films

18、, the designer is exposed to theinfluencesofallthearts,andlifestylesthroughouttheworld.Becauseconsumersare exposed to movies through international distribution, films prime their audiences toaccept new fashions inspired by the costumes. Museum exhibits, art shows,worldha ppenings, expositions,theatr

19、es, music,danceandworldtravelareallsourcesofdesigninspirationtofashiondesigners.Thefashionsofthepastarealsoarichsourceofdesigninspi ration. Whilealwaysalerttothenewandexciting,fashiondesigners never lose sight of the past, they use old things in new ways.As stated the inspiration for a garment withi

20、n a collection or for anentirecollection can come from an infinite variety of sources. Sources ofinspirationare oftenlinkedtothesocial"spiritofthetimes"alsocalledthe"zeitgeist". Understanding the state of current fashion and searching for ideas and sourcesofinspirationinvolvesloo

21、kingatart objectsandbooks, goingon trips to placeslikeParis and Milan, visiting museums, watching people on streets and going on country walks. Designers are most creative when they are directly exposed to the sourcesofideas.On the other hand, it has been observed in the fashion industry that there

22、aretwofundamental 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 orproducts.It is known that the high-fashion "name&qu

23、ot; designers typically develop a concept, also called theme, for their collection in order to be more creative andoriginal.The majortypes ofidea sourcesindesign-led industries arepreviousproducts, artifacts,naturalobjectsandphenomena.Incaseofclothingdesign,garments ,fabricsand trimsas previousprodu

24、cts, playanimportantrole in sourcesofinspiration. Although,thereisabroadrecognitionthat muchofthedesign proceeds bymodificationof previous ideas, in case of fabric inspired clothingdesign,designerssearch for new forms and styles with newly developed or invented materials.Forexample,thedevelopmentofe

25、lasthenfabrics,suchasLycra,inspireddesignerst ofigure-hugging silhouettes.ConclusionsAnything visual and tactile, in fact sensual, can be a source of inspirationinfashion design. Design ideas do not simply materialize out of thin air. First,thedesigner does carefulresearch,but what makes adesigner&#

26、39;scol lectionspecialandoriginalishisorheruniqueinterpretationofdesignsources.Therefore,inordertobemor ecreativeandoriginalthesourcesofinspirationplayanimportantroleinclothing design.Researchandawarenessarethekeytocreativity.Designersmustlearnmostofall to keep their eyes open, to develop their skil

27、ls of observation, to absorbvisualideas,blendthemandtranslate themintoclothesthattheircustomerswilllike.The design process shows that realistic observationofoutsideinfluencesandneeds,extensiveresearchandawarenessandlogicalthinkingandorder,removeagreatdealofth esupposed"mystery"ofdesignorcr

28、eativity.Onewhothoroughlyunderstands designasproductan dprocessandhasmasteredtheuseofappropriatematerialsandadaptation techniques can be "creative" and can translate the source into reality as asuccessfulfashionproduct.Sources of inspiration are used at the early stages of design and throu

29、ghouttheentire design process. From the findings of this research, the role of sourcesofinspiration in clothing designcan be summarisedas follows:- increasing originality andcreativity;- making the design processeasy;- deriving harmonious colourschemesdirectly;- maintaining harmony and uniformity of

30、 the collection;- derivin gtechnicalacumenfromproductsinspired,especiallyfrom previousgarments;- understanding the fashion appropriation of the season;and- drawingthe borders for the designframework.创意性服装设计研究作者：马丁引言灵感的来源及其个体性、可见性和技术性，这些对提高设计过程中的创造力方面起着重要的作用。服装设计研究和设计灵感的创造性，早期非正式的和实际的服装设计流程是开放性的，就像其他

31、领域中以美学为导向的设计。学习创意型服装设计，其流程和产品比其他设计驱动的行业存在更多的问题，设计元素、原则、面料的特性等设计灵感之间的交互关系是很复杂的。服装设计，包含各种各样的视觉审美和功能设计流程、甚至共享工程设计过程中的许多设计元素。对时尚服装业进行研究和观察是至关重要的。通过研究和观察，设计师可以收集背景资料，包括研究当前和未来的时尚服装设计潮流，并试图预测大多数客户所希望的设计风格。为了跟上不断变化的时尚服装设计，时尚意识应成为每一个服装设计师的第二天性。服装设计是一个包含视觉和触觉的感官设计众所周知，设计包括两件事情:工艺创造过程和产品展示，这两者之间的关系就好 比动词 和名词的

32、关系。作为一个设计问题解决方案的过程,它是灵感的来果。源，并通过计划、组织以实现一个最终目标。而产品是其计划的、最终设计的结服装就是应用设计的一个例子，即使是最激动人心的、最初的构想也必须向人们展示其实用目的。虽然我们已经意识到一些艺术是纯粹的，即“艺术至上艺 术”，但是，世界上大多数艺术作品设计的最初目的都在于其实用性。设计作为一个工艺过程，应当考虑和计划实现某一特定的目标，并适时进行创新。从本质上讲，设计过程的步骤与顺序同样应当考虑产品的实用性。这些步骤与管理规划的过程非常相似。人为设计的产品和服务可以分为两大部类：感觉和行为。感官设计是通过感官而获得的，可以将其分为视觉、听觉、嗅觉、触觉

33、和味觉的获得。行为设计是有计划的行动。然而，许多产品的创作过程都包括感官设计与行为设计两个方面，因为设计灵感需要通过感官获得并通过行为来解释。例如，一场时装表演既包括感觉设计也包括行为设计。研究方法和研究结果人们对创意性灵感的来源及其在创意服装设计中的重要性一直知之甚少，因此， 这个行业也很少得到人们的关注。埃克特和斯泰西研究了针织品设计的案例，这一类的服装设计参考借鉴了很多复杂的工程设计中的设计元素和设计思路。例如：快速变化和高度竞争的制造业中的“实用设计”。在他们的设计工作中，很多内容都涉及到针织行业的大量研究，而本研究开发制作一个详细的设计过程模型，以及分析了设计团队内部的沟通问题。马卡

34、尼等人试图解释量子力学和心理分析在时尚服装设计过程中的应用，以探索创意性设计的终极奥秘。他们深入浅出的描述了设计过程。本文进行了一系列的实证研究，主要是通过观察和访谈。实地调研、半结构化访谈和半驱动型设计的研究方法，因此来探索成衣服装设计。这种将理论和实际调研相结合的实证研究方法，可以有效的使用在传统的知识获取方法不足的情况下，不过在研究中，要特别需要广泛地了解一个行业，比如：时尚界，不只是要对单个人或公司进行实证研究，要尽可能选择更多的案例进行研究。特别是在传统的知识获取方法不足的情况下，它是可以得到有效的应用，不过需要指出的是，特别需要对一个行业进行一个广泛地了解，比如：时尚界，不只是要对

35、单个人或公司进行实证研究，要尽可能选择更多的案例进行研究。在本研究中，服装设计过程中的创造性设计灵感，主要来源于那些刚开始从事设计工作的新手设计师，他们还没有形成固定的思维，因此，有许多新的不受拘束的想法，这是服装设计灵感的一大来，此外一些服装设计专家，他们对实现需求和消费者的偏好有着敏锐的观察力，因此，可以有针对性的提出新的设计思路，这对创新性服装设计而言，也是很重要的。当然，是否真实如此，需要进行一系列的实证研究来证实。我们特意选择了16 个优秀的服装设计师，11 个时装设计专业在读学生，和五个专业的设计师，参与实证研究。将他们分为几个考察一组，第一组，主要是那些高级时装设计专业的在读学生

36、，还有七个有才华的大三和大四学生， 还有四名服装设计研究生，他们平时都是在一些服装设计公司实习。第二组则是由在服装行业的五个专业设计师组成，他们都至少有5 年的服装设计经验。服装设计的灵感来源服装设计师从哪里获得新款式设计的构想和灵感呢?答案即灵感无处不在。实际上， 任何视觉和触觉上的感官体验都可以是服装设计灵感的源泉。通过电视，设计师可以体验五彩缤纷的全球娱乐世界。在看电影的过程中，设计师则能感受世界各地的艺术与生活方式。通过国际经销，电影观众可以通过有设计灵感的服装接受新时尚。博物馆展品、艺术节目展示、世界事件、博览会、剧院、音乐、舞蹈和旅游都是时装设计师的设计灵感来源。过去的时尚也是他们一个丰富的设计灵感来源。虽然，对于新的和刺激人心的事物，服装设计师们需要时时保持警惕，但他们从