外文翻譯--服裝設(shè)計(jì)中的創(chuàng)意性靈感 (2)

1、<p><b>　　中文1700字</b></p><p><b>　　譯文</b></p><p>　　服裝設(shè)計(jì)中的創(chuàng)意性靈感</p><p><b>　　法蒂瑪 梅特</b></p><p><b>　　摘要</b></p>&

2、lt;p>　　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。</p><p>　　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

3、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。</p><p>　　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。</p><p&

4、gt;　　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。</p><p>　　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</p><p>　　服裝設(shè)計(jì)是一個(gè)包含視覺和觸覺的感官設(shè)計(jì)</p><p>　　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)系就好比動詞和名詞

5、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。</p><p>　　服裝就是應(yīng)用設(shè)計(jì)的一個(gè)例子，即使是最激動人心的、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

6、。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。</p><p>　　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。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)

7、。</p><p><b>　　服裝設(shè)計(jì)的靈感來源</b></p><p>　　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

8、。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。</p><p>　　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

9、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。</p><p>　　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:</p><p>　　(1)實(shí)物能激發(fā)服裝設(shè)計(jì)的創(chuàng)作過程；</p><p>　　(2)概念化的服裝設(shè)計(jì)過

10、程，如源于宇宙的藝術(shù)、大自然或產(chǎn)品。</p><p>　　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。</p><p>　　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

11、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。</p><p>　　文獻(xiàn)出處：Mete, Fatma. "The creative role of sources of inspiration in clothing design.

12、" International Journal of Clothing Science and Technology 18.4 (2006): 278-293.</p><p><b>　　原文</b></p><p>　　The creative role of sources of inspiration in clothing design</p

13、><p>　　Fatma Mete</p><p>　　Abstract: </p><p>　　Purpose - To assess the creative role of sources of inspiration in visual clothing design. It aims to analyse simple, general accounts o

14、f 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 clothin

15、g design. </p><p>　　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 c

16、onstrained 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 broa

17、d understanding of an industry is needed, as in the fashion industry, not just a case study o</p><p>　　Findings - Identifies the major types of idea sources in clothing design and provides information about

18、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 through

19、out the creative stage of design process, and also in the early stages of fashion research and strategic collection planning. </p><p>　　Originality/value - This paper highlights the role of sources of inspir

20、ation and its effect in creativity and originality in the clothing design process. Offers practical help to clothing designers and design-led clothing companies.</p><p>　　Keywords: Fashion design, Clothing,

21、Creative thinking, Design calculations, Design management</p><p>　　Introduction</p><p>　　Sources of inspiration and its personal interpretation, visually and technically, play an important role

22、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 lik

23、e aesthetically driven designs in other domains. </p><p>　　Studying creative fashion design as process and product is seen more problematic than other design-led industries, as the interaction between the de

24、sign 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

25、 engineering design process. </p><p>　　Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including s

26、tudying 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 beco

27、me second nature to every clothing designer. </p><p>　　Design and clothing as a visual and tactile sensory design</p><p>　　It is well known that design is two things: process and product, as ver

28、b 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

29、 end result, an intended arrangement that is the outcome of that process or plan. </p><p>　　Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practica

30、l purpose and environment. We realise that some art is pure, "art for art's 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

31、 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 si</p><p>　　Design as man made

32、 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 i

33、s 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

34、designs. </p><p>　　Research methodology and findings</p><p>　　The importance of source of inspiration and their role in creative clothing design has been little understood and, therefore, rarely

35、 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 "practica

36、l design" in a fast moving and highly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which </p><p>　　The author has undertaken a progressive

37、 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 e

38、mpiric approach combines ethnographic observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge acquisition methods are insufficie

39、nt, when broad unders</p><p>　　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 subj

40、ects, 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

41、research. The first group of subjects included advanced fashion design students, seven talented students</p><p>　　Sources of inspiration in clothing design</p><p>　　Where does the fashion design

42、er 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 experienc

43、es 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 distr

44、ibution, films prime their audi</p><p>　　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

45、 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 a

46、nd books, going on trips to places like Paris and Milan, visiting museums, watching people on streets and going on country walks. Desi</p><p>　　On the other hand, it has been observed in the fashion industry

47、 that there are two fundamental approaches in the creative clothing design processes: </p><p>　　(1) material, thus fabric, inspired clothing design process; and </p><p>　　(2) conceptual clothing

48、 design process, such as several themes originated from the universe of arts, nature or products. </p><p>　　It is known that the high-fashion "name" designers typically develop a concept, also call

49、ed theme, for their collection in order to be more creative and original. </p><p>　　The major types of idea sources in design-led industries are previous products, artifacts, natural objects and phenomena. I

50、n 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 pr

51、evious ideas, in case of fabric inspired clothing design, designers search for new forms and styles with newly developed or invented materials. For example, </p><p>　　Conclusions</p><p>　　Anythi

52、ng 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 designer's

53、 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 clothing design. </p>

54、;<p>　　Research and awareness are the key to creativity. Designers must learn most of all to keep their eyes open, to develop their skills of observation, to absorb visual ideas, blend them and translate them into

55、 clothes that their customers will like. The design process shows that realistic observation of outside influences and needs, extensive research and awareness and logical thinking and order, remove a great deal of the su

56、pposed "mystery" of design or creativity. One who thoroughly understands d</p><p>　　Sources of inspiration are used at the early stages of design and throughout the entire design process. From the

57、findings of this research, the role of sources of inspiration in clothing design can be summarised as follows: </p><p>　　- increasing originality and creativity; </p><p>　　- making the design pr

58、ocess easy; </p><p>　　- deriving harmonious colour schemes directly; </p><p>　　- maintaining harmony and uniformity of the collection; </p><p>　　- deriving technical acumen from pro