服裝設計外文翻譯—高科技文化時代服裝設計的演變（節(jié)選）

1、<p>　　字數(shù)：英文2079單詞，11462字符；中文3549漢字</p><p>　　出處：Mihaleva G, Koh C. Evolution of Fashion Design in the Era of High-Tech Culture[J]International Scholarly and Scientific Research and Innovation.2016,10(7):

2、2447-2451</p><p><b>　　外文文獻：　</b></p><p>　　Evolution of Fashion Design in the Era of High-Tech Culture</p><p>　　Abstract Fashion, like many other design fields, undergoe

3、s numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying t

4、he creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. By comparing case studies, existing fashion desig

5、n </p><p>　　Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing.</p><p>　　INTRODUCTION</p><p>　　It is common knowledge that the environment we live in great

6、ly influences the style of clothing that people wear. And, it is not just referring to the physical-geographical or climatic environment but rather the less tangible aspects of the socio-cultural environment which is rel

7、ated to the time period we live in as well as the prevalent culture at the time. As much as clothing is a practical necessity, it is also an expression of identity and a reflection of culture.</p><p>　　In th

8、e current high-tech culture we live in, there is a trend of using computers, automation, and other technology driven methods to compliment many fields, fashion design is no exception. Designers now immerse themselves in

9、the age of smart textiles and incorporate modern technology with fashion design and production. The used of sensors, conductive fibers and other smart fabric technologies like 3d printing, brings a whole new dimension to

10、 fashion design in terms of functionality, expression a</p><p>　　Fueled by society’s eagerness for efficiency, the fashion industry is on the verge of a revolution. The boom of technological advancements pro

11、minently redefines the role of fashion designers, their approaches to design and functionality of fashion. This ultimately transforms the conventional design process.</p><p>　　TRENDS AND METHODOLOGIES</p&

12、gt;<p>　　Traditionally, clothing is a means of fulfilling basic needs such as protection from the elements, comfort, camouflage, and even socially accepted modesty as well as a medium for symbolic, artistic or rel

13、igious expression.</p><p>　　Early concepts and constructs of “smart clothing” was very far from the current ideals of “smart clothing”, attempts to make wearable technology in the 1970s were more inclined to

14、wards simply using clothing as a support for electronic attachments and had very little to do with fashion. However, this changed when a different approach was used; resulting in the smart fashion we have now. Aesthetics

15、 and function are sometimes thought as independent of each other or even antagonistic, there may be m</p><p>　　The human body is itself a biological receptor interface, it has been mentioned that clothing an

16、d fashion has an intimate relationship with the human body in both physical and social aspects. With smart garments, fashion becomes an additional interface and results in a cyclic interaction between body, clothing and

17、environment. Take for instance the research project Smart Second Skin (2004) by Jenny Tillotson and Adeline Andre which comprises of a scent delivery system that is programmed to respo</p><p>　　While textile

18、 can turn into a technological interface, some designers are soon inspired to look at material fabrication technology itself. The exploration of such possibilities spurred the need for interdisciplinary approaches. Desig

19、ners become more than artists, they turn into engineers, programmers, chemists, and even biologists. Micro’be’ Fermented Fashion is a project where organic fabric is “grown” with the bacteria through the process of bacte

20、rial wine fermentation. The cultivated fabric f</p><p>　　The definition of textiles is constantly being challenged; designers now not only look at textile with technology but also the technology of textile p

21、roduction. A notable fabrication tool is 3d printing, which has made a significant impact on the fashion industry. It is garnering a lot of interest, or at the very least, the prospects of it is favorable, evident by the

22、 fairly well received 3d printing competition held at the Singapore Nanyang Technological University. 3d printing was initially se</p><p>　　While designers embraced the technology of material fabrication, tr

23、aditional fashion design processes and sensibilities are gradually being amalgamated with high-tech methods to produce brand new crafting methodology, hence the design process is inevitably altered to accommodate for it.

24、 This brings one to the topic of Computer Aided Design (CAD). For 3d printing, CAD is needed to create a 3d model for printing. Patterns were used to produce clothes industrially since the invention of the sewing </p&

25、gt;<p>　　A more straightforward use of computers is to produce the design directly with illustration software or drawn by hand and scanned in before printing digitally on cloth. Alternatively, vector designs can b

26、e sent to laser cutters to cut out shapes in various materials. This method was used to create the cut felt in the “Text-ile Landscape memories” dresses. Laser cutting is a fast and convenient method to produce planar de

27、signs. It is able to perform sophisticated cuts on several types of material</p><p>　　The accessibility and advancement of technology changes the playing field of the fashion industry. Traditional tailoring

28、requires a significant amount of time when measuring clients for a perfect custom fit, but a 3d scanner is able to quickly obtain accurate three dimension measurements within seconds. A recent service known as bodi.me ut

29、ilizes body scanners to allow customers to match their sizes to outfits purchased online based on sizing information from registered fashion companies. Imagine</p><p>　　THE OBSERVED PATTERN</p><p&

30、gt;　　Throughout all the examples, it should be noted that there is a pattern. Firstly, there are constant improvements in technology and designers tend to make full use of these tools for their designs, subsequently affe

31、cting their design concepts. Secondly, hybridization is rampant in wearable technology. Fashion is a complex and established long standing industry, hybridization is almost unavoidable in order to integrate advanced tech

32、nology into a field with such a long history. This gives rise to </p><p>　　There is a correlation between wearable technology designs and the concepts they tend to express. The input and output principles is

33、 by virtue of the systemic nature of technology. It is therefore naturally geared toward issues pertaining to interactions, social or otherwise. And since fashion is basically an adornment of the human body, expression o

34、f identity and perceived culture becomes a common and favored theme.</p><p>　　The rise in wearable technology can be said to be a reflection of our current culture. Availability of specialized kits like Lily

35、pad kits is indicative of the market for wearable technology. It is likewise proof of the codependence and co-influencing between technological advancement and design aspirations of fashion designers. Technology fuels in

36、spiration, and aspirations spurs development.</p><p>　　CONCLUSION</p><p>　　Conclusively, the various examples of projects examined in the paper show that as technologies continue to evolve, thei

37、r potential uses in smart clothing grows exponentially, and it simultaneously affects and is affected by the fashion culture. Furthermore, it demonstrates the role and importance of wearable technology in our current hig

38、h-tech environment and expands functional and expressive possibilities for the modern fashion designer.</p><p><b>　　中文譯文：</b></p><p>　　高科技文化時代服裝設計的演變</p><p>　　摘要 服裝，像許多

39、其他設計領域一樣，古往今來經歷了無數(shù)次的演變。本文旨在認識和評估先進技術在服裝設計中的意義，并通過改變創(chuàng)作過程來探討它是如何改變現(xiàn)代服裝設計師這一角色的。本文還涉及到現(xiàn)代文化如何參與這種發(fā)展，以及先進技術是如何影響服裝設計的構思和制作的。通過比較案例研究、現(xiàn)有服裝設計實例和制作方法實驗，我們發(fā)現(xiàn)了該領域未來發(fā)展方向的模式。對服裝設計中的技術要素進行細分，可以幫助我們了解這種趨勢背后的推動力。本文的研究結果表明，在服裝技術領域，人們對其的

40、興趣和促進日益增長，導致了混合工藝方法的誕生?？偠灾S著服裝技術的不斷發(fā)展，它們在服裝制作中的作用越來越突出，遠遠超過了簡陋的縫紉機。</p><p>　　關鍵詞：服裝設計，功能美學，智能紡織品，3D打印。</p><p><b>　　簡介</b></p><p>　　眾所周知，我們生活的環(huán)境極大地影響了人們的穿衣風格。而且，它不僅僅指的是

41、自然地理或氣候環(huán)境，而是指社會文化環(huán)境的較不具體的方面，這與我們所處的時期以及當時流行的文化有關。服裝既是一種現(xiàn)實的必需品，也是一種身份的表達和文化的反映。</p><p>　　在目前我們所生活的高科技文化中，存在一種趨勢，即通過計算機、自動化等技術驅動的方法來迎合許多領域，服裝設計也不例外。設計師現(xiàn)在沉浸在智能紡織品的時代，將現(xiàn)代技術與服裝設計和生產結合在一起。使用傳感器、導電纖維和其他智能織物技術，如3D打印

42、，在功能、表達和交互方面為服裝設計帶來了全新層面。設計重點也轉移到個人身份、社會行為和直觀交互等更加積極的問題上。</p><p>　　由于社會對效率的渴望，服裝界正處于一場革命的邊緣。技術進步的繁榮顯然重新定義了服裝設計師的角色和他們的設計方法，以及服裝的功能。這最終改變了傳統(tǒng)的設計過程。</p><p><b>　　趨勢和方法</b></p><

43、;p>　　傳統(tǒng)上，服裝是一種滿足基本需要的手段，例如物質保護、舒適、偽裝，甚至社會認可的地位，以及象征、藝術或宗教表達的媒介。</p><p>　　“智能服裝”的早期概念和構想與目前的“智能服裝”理念相去甚遠，在20世紀70年代，制造可穿戴技術的嘗試更傾向于簡單地使用服裝作為電子附屬物的支撐，與服裝沒什么關系。然而，當不同的方法被采用時，情況發(fā)生了變化，從而導致了我們現(xiàn)在的智能服裝。美學和功能有時被認為是彼

44、此獨立的，甚至是對立的，可能會誤解美學不如實用性那么重要。通常被忽略的是，這兩個概念是相互關聯(lián)的，具有共生關系。服裝與設計聯(lián)系在一起，設計的目的是滿足消費者的需求，無論是從美觀上來講，還是從功能上來講。因此，設計師從事有效的服裝設計并經歷了滿足某些變量的過程，基本上與滿足功能的過程相同。因此，以服裝為起點，同時整合技術，將其作為可穿戴技術的一個獨特的混合主題，有助于創(chuàng)造更有效的結果。因此，隨著智能服裝和可穿戴技術的出現(xiàn)，服裝迅速轉變?yōu)榇?/p>

45、戴者、服裝和環(huán)境之間的交互界面。由于服裝設計師是通過高科技可穿戴設備延伸的可能性進行繪制的，所以服裝作為技術接口的發(fā)展受到技術發(fā)展的高度影響。</p><p>　　人體本身就是一個生物受體界面，有人提到，服裝和時尚在身體和社會方面都與人體有著密切的關系。使用智能服裝，服裝成為一種額外的界面，導致在身體、服裝和環(huán)境之間的循環(huán)交互。例如詹妮·蒂羅森和艾德琳·安德烈設計的Smart Second S

46、kin（2004）由香味遞送系統(tǒng)組成，該系統(tǒng)被設定為響應穿戴者的情緒和分發(fā)嗅覺刺激的芳香療法, 以改變穿戴者的情緒。這是一個復雜的反饋設計的例子。首先，穿戴者的情緒變化，可能是對環(huán)境中有意識或潛意識刺激的反應，這種情緒反應成為觸發(fā)傳感器并產生輸出的輸入，在這種情況下，這是配發(fā)的芳香療法，反過來又把穿戴者的情緒帶回期望狀態(tài)作為反饋。身體、環(huán)境和服裝相互作用，這種相互作用受所涉及的技術設定的調控。</p><p>　

47、　雖然紡織品可以轉化為技術界面，一些設計師很快就受到啟發(fā)，開始研究材料制造技術本身。對這種可能性的探索促使了對跨學科方法的需求。設計師不僅僅是藝術家，他們變成工程師、程序員、化學家，甚至生物學家。Micro’be’ Fermented Fashion項目嘗試利用紅酒釀造中產生的渣滓與細菌制作有機織物。由纖維素微纖絲形成的培養(yǎng)物是可生物降解的，可用于制作無縫服裝。它具有環(huán)境友好、織物生產成本低的優(yōu)點。隨著合成纖維石油價格的上漲，藝術家的視

48、野逐漸延伸到生物領域。這只能證明雜交的跨學科方法的好處。此外，還有另一個蘊涵的文化影響，高科技文化的特點是提高效率，改善現(xiàn)狀，以及采用高度科學的先進方法（如自動化、生物培養(yǎng)等）來實現(xiàn)這些改進。近年來，社會開始意識到有限資源的影響，從而引領了環(huán)保意識的潮流，激發(fā)了Micro’be’ Fermented Fashion等項目。對環(huán)境問題的關注讓生命科學成為服裝技術的熱門主題，出現(xiàn)了實驗室里培育紡織品的想法。</p><p

49、>　　紡織品的定義不斷受到挑戰(zhàn)；現(xiàn)在的設計師們不僅看重紡織技術，而且還在意紡織生產技術。一個著名的制作工具是3D打印，這對服裝業(yè)產生了重大影響。新加坡南洋理工大學舉辦的3D打印大賽，收到了不錯的反響，它吸引了很多人的興趣,至少3D打印的前景是有利的。3D打印最初被認為是對產品設計和醫(yī)療支撐非常有用的一個工具，直到像伊里斯·凡·赫本這樣的服裝設計師發(fā)現(xiàn)其在建筑風格上的潛力。凡·赫本因她復雜的3D印花連衣

50、裙贏得了一致的好評，她的成功引發(fā)了服裝3D打印的增長趨勢，無論是連衣裙、珠寶，還是鞋子，3D打印正在成為服裝設計師的流行工具，現(xiàn)在很容易就能買到價格低廉的臺式3D打印機。即使在3D服裝領域，也有各種各樣的制作方法；外形、材料、質地和顏色都可以方便地操作。</p><p>　　雖然設計師們接受了材料制作技術，但傳統(tǒng)的服裝設計過程和情感正在逐漸與高科技方法融合，產生了全新的工藝方法，因此設計過程不可避免地被改造以適應

51、它。這就引出了計算機輔助設計（CAD）主題。對于3D打印，需要CAD來創(chuàng)建用于打印的3D模型。自從1830年縫紉機發(fā)明以來，工業(yè)上就一直使用圖案來生產衣服，隨著CAD的使用，設計師開始在計算機上創(chuàng)建他們的設計，而不是在紙上畫出來。CAD和3D打印可以繞過或改變許多傳統(tǒng)的裁剪過程。此外，計算機可以在許多方面用于創(chuàng)建紡織品設計，例如，編碼可以產生有趣的計算機生成圖案。某些創(chuàng)新技術包括利用諸如掃描等技術從物理轉換到數(shù)字而產生的過渡性設計效果。

52、日本紡織公司Nuno以傳統(tǒng)和技術結合生產美麗的紡織品而聞名。編織結構圖案1984是Nuno的創(chuàng)始人君一新居通過多次復印非洲肯特布，直到它變成像素，從而設計出來的面料；然后在計算機驅動的提花織機上進行掃描和編織。</p><p>　　計算機的一個更直接的用途是使用插圖軟件生成設計，或者手工繪制，然后在數(shù)字印刷之前掃描到布料上?；蛘撸噶吭O計可以發(fā)送到激光切割機，以切割各種材料的形狀。這種方法用于在“Text-ile

53、 Landscape memories”連衣裙中創(chuàng)造切氈。激光切割是生產平面設計的一種快捷、方便的方法。無論是金屬、塑料、木材、毛氈，還是紙張，都能夠對這幾種材料進行精密切割。該設置只需要根據(jù)材料進行調整。對設計師來說，這樣的自動化節(jié)省了時間，以便可以將更多的時間放在設計的創(chuàng)意方面。這些都是技術如何改變服裝的制作方法的實例，如前所述，技術類型影響服裝的類型。在“Text-ile Landscape”中，平面氈材料被激光切割，然后被操縱以

54、適應三維形狀。激光切割機和3D打印機的精確特性激發(fā)了更多的建筑風格。可以說，科技激發(fā)出一種更加具有幾何性、更加干凈清晰、更加“未來主義”的風格。</p><p>　　技術的普及和進步改變了服裝行業(yè)的競爭環(huán)境。傳統(tǒng)剪裁需要大量的時間來測量客戶以實現(xiàn)完美定制，但3D掃描儀能夠在幾秒鐘內快速獲得準確的三維測量。最近一項名為bodi.me的服務使用身體掃描儀，以便客戶可以根據(jù)注冊服裝公司的尺寸信息，將其尺寸與網上購買的服

55、裝進行匹配。想像一下，如果3D掃描儀與服裝3D打印相結合，就能高效快速地制作出完美適合的定制服裝；這將大大改變服裝設計的制造過程。</p><p><b>　　研究模式</b></p><p>　　在所有的例子中，應該注意到有一種模式。首先，技術的不斷改進，設計師往往會充分利用這些工具進行設計，從而影響到他們的設計理念。其次，雜交技術在可穿戴工藝中很流行。服裝是一個復

56、雜而又源遠流長的行業(yè)，為了將先進技術融入到有著如此悠久歷史的領域中，雜交技術幾乎是不可避免的。這就產生了新的或組合的工藝或設計技術。</p><p>　　可穿戴技術設計與他們傾向于表達的概念有關。輸入和輸出原則憑借技術的系統(tǒng)性。因此，它自然適用于與互動、社會或其他有關的問題。而且由于服裝基本上是人體的一種裝飾，身份認同和文化感知就成為了一個常見而又受人喜愛的主題。</p><p>　　可穿

57、戴技術的崛起可以說是我們當前文化的反映。諸如Lilypad套件等專門套件的可用性表明了可穿戴技術的市場。同樣也證明了服裝設計師的技術進步和設計愿望之間的依賴性和共同影響力。技術激發(fā)靈感，愿望刺激發(fā)展。</p><p><b>　　結論</b></p><p>　　總之，本文所研究的各種項目的例子表明，隨著技術的不斷發(fā)展，智能服裝的潛在用途會成倍增長，同時也影響并受到時