外文翻譯--服裝設(shè)計中的創(chuàng)意性靈感

1、<p><b>　　中文2386字</b></p><p><b>　　2053單詞</b></p><p>　　文獻(xiàn)出處：Mete, Fatma. "The creative role of sources of inspiration in clothing design." International Jour

2、nal of Clothing Science and Technology 18.4 (2006): 278-293.</p><p><b>　　譯文</b></p><p>　　服裝設(shè)計中的創(chuàng)意性靈感</p><p><b>　　法蒂瑪 梅特</b></p><p><b>　　摘要

3、</b></p><p>　　研究目的：本文的研究目的就是評估服裝設(shè)計過程中的創(chuàng)造性靈感源。它旨在分析服裝設(shè)計行為和服裝設(shè)計過程的早期階段，設(shè)計靈感的本質(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)計進(jìn)行了而一系列的實證研究；實地觀察、半結(jié)構(gòu)化訪談和約束和半驅(qū)動型設(shè)計任務(wù)。這一實證研究方

4、法，可以有效的使用在傳統(tǒng)的知識獲取方法不足的情況下，特別需要對一個行業(yè)進(jìn)行一個廣泛地了解，比如：時尚界，不只是要對單個人或公司進(jìn)行實證研究，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)計師來創(chuàng)建有創(chuàng)意的設(shè)計元素。為了培養(yǎng)創(chuàng)意，靈感的來源在整個創(chuàng)意階段的設(shè)計過程中，以及在服裝設(shè)計研究計劃的早期階段發(fā)揮了重

5、要的作用。</p><p>　　創(chuàng)新性：本文突出強調(diào)了創(chuàng)造力和創(chuàng)意靈感來源在服裝設(shè)計過程中的作用。對服裝設(shè)計師和服裝公司都提供了很多實際的幫助。</p><p>　　關(guān)鍵詞: 服裝設(shè)計；服裝；創(chuàng)造性思維；設(shè)計安排；設(shè)計管理</p><p>　　服裝設(shè)計是一個包含視覺和觸覺的感官設(shè)計</p><p>　　眾所周知，設(shè)計包括兩件事情: 工藝創(chuàng)造過

6、程和產(chǎn)品展示，這兩者之間的關(guān)系就好比動詞和名詞的關(guān)系。作為一個設(shè)計問題解決方案的過程,它是靈感的來源，并通過計劃、組織以實現(xiàn)一個最終目標(biāo)。而產(chǎn)品是其計劃的、最終設(shè)計的結(jié)果。</p><p>　　服裝就是應(yīng)用設(shè)計的一個例子，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)計的最初目的都在于其實用性。設(shè)計作為一個工藝過程，應(yīng)

7、當(dāng)考慮和計劃實現(xiàn)某一特定的目標(biāo)，并適時進(jìn)行創(chuàng)新。從本質(zhì)上講，設(shè)計過程的步驟與順序同樣應(yīng)當(dāng)考慮產(chǎn)品的實用性。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)計是有計劃的行動。然而，許多產(chǎn)品的創(chuàng)作過程都包括感官設(shè)計與行為設(shè)計兩個方面，因為設(shè)計靈感需要通過感官獲得并通過行為來解釋。

8、例如，一場時裝表演既包括感覺設(shè)計也包括行為設(shè)計。</p><p><b>　　服裝設(shè)計的靈感來源</b></p><p>　　服裝設(shè)計師從哪里獲得新款式設(shè)計的構(gòu)想和靈感呢?答案即靈感無處不在。實際上，任何視覺和觸覺上的感官體驗都可以是服裝設(shè)計靈感的源泉。通過電視，設(shè)計師可以體驗五彩繽紛的全球娛樂世界。在看電影的過程中，設(shè)計師則能感受世界各地的藝術(shù)與生活方式。通過國際經(jīng)

9、銷，電影觀眾可以通過有設(shè)計靈感的服裝接受新時尚。博物館展品、藝術(shù)節(jié)目展示、世界事件、博覽會、劇院、音樂、舞蹈和旅游都是時裝設(shè)計師的設(shè)計靈感來源。過去的時尚也是他們一個豐富的設(shè)計靈感來源。雖然，對于新的和刺激人心的事物，服裝設(shè)計師們需要時時保持警惕，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)計的靈感來源多種多樣。靈感來源往往與社會“時代精神”（也

10、稱之為“時代思潮”）息息相關(guān)。在對當(dāng)前時尚了解的前提下，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，設(shè)計師們是最具創(chuàng)造力的。</p><p>　　另一方面，在時尚界，服裝設(shè)計的創(chuàng)意過程包括兩種基本方法:</p><p>　　(1)實物能激發(fā)服裝設(shè)計的創(chuàng)作過程；</p>

11、<p>　　(2)概念化的服裝設(shè)計過程，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)時尚的“名譽”設(shè)計師提出了這樣一個概念模型，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>　　強調(diào)以設(shè)計為先導(dǎo)的產(chǎn)業(yè)，其設(shè)計思想的來源包括先前設(shè)計的產(chǎn)品、人工產(chǎn)品、自然物品與自然現(xiàn)象。就服裝設(shè)計來看，之前的設(shè)計風(fēng)格、面料和其他配件在設(shè)計師的靈感來源中

12、發(fā)揮著十分重要的作用。盡管人們已經(jīng)廣泛認(rèn)可，大部分的設(shè)計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)計師們便開始尋找設(shè)計的新款式和風(fēng)格。在這種情況下一個樣式通常為起點的技術(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)計師們設(shè)計緊身服裝的靈感。</p><p><b>　　服裝及其他產(chǎn)品</b></p><p>　　服裝設(shè)計師從現(xiàn)在和過去的服裝中

13、獲取靈感。時裝或成衣設(shè)計師的作品，歷史和民族服裝，街頭服飾都是服裝設(shè)計師們的靈感源泉。他們通過參加時裝秀、逛商店來獲悉時下的流行趨勢，觀察名人著裝，確定新服裝季的顯著特點以及研究市場引領(lǐng)者和競爭者的服裝設(shè)計思路。</p><p>　　服裝設(shè)計師們同時也對時尚雜志和潮流讀物上的服裝照片進(jìn)行研究，以此獲得對潮流趨勢的大致了解。照片雖然沒有辦法展現(xiàn)技術(shù)細(xì)節(jié)，但它能夠展示設(shè)計靈感及目標(biāo)服飾的意象。</p>

14、<p><b>　　歷史和民族服飾</b></p><p>　　設(shè)計者的工作就是去發(fā)現(xiàn)或體會時代潮流，去獲得設(shè)計想法和靈感，并將它們轉(zhuǎn)化成有形的東西，這些東西往往是有歷史和過去的。設(shè)計者們經(jīng)常從過去（近代或歷史）或民族服飾中獲取設(shè)計靈感和主題。服裝可以分為兩類：歷史服飾（歷史上某個時期的服飾潮流）和民族服飾（一個國家或地區(qū)的傳統(tǒng)服飾）。博物館的服裝藏品，歷史電影和書籍都是極佳的服飾

15、參考錄。</p><p>　　服裝設(shè)計師通常對每個歷史時期的服裝設(shè)計元素和設(shè)計原則的結(jié)合具有敏銳的洞察力。高級時裝設(shè)計師的設(shè)計主題往往基于從歷史和民族服飾中獲取的靈感。各個歷史時期的潮流服飾輪廓和流行的服裝細(xì)節(jié)是設(shè)計師的靈感源泉。例如，帝王式服裝輪廓在潮流史上反復(fù)流行，文藝復(fù)興時期的荷葉領(lǐng)或荷葉袖也許能激發(fā)一個設(shè)計系列。</p><p>　　約翰·加利亞諾的2005春夏系列服裝是

16、以歷史服飾為設(shè)計靈感的一個典范。約翰·加利亞諾以“帝國年代”為主題，從拿破侖時代的形象中獲取靈感?；实鄣亩芑?，像拿破侖皇后約瑟芬·德博阿爾內(nèi)一樣性感的女人形象都是他的靈感源泉。在這一系列服裝中，他還把主題闡釋為成衣設(shè)計的可穿的拿破侖外衣及約瑟芬長袍。</p><p>　　服裝設(shè)計師也可能受到其他文化的服飾和配飾的影響。他們發(fā)現(xiàn)不同文化的民族服飾在顏色，主題，線條，空間融合方面的設(shè)計靈感不謀而合

17、。全球化的環(huán)境讓來自遙遠(yuǎn)的世界角落的服裝頗受歡迎。設(shè)計師們從外來文化迥然不同的服裝款式和面料中尋找靈感。</p><p><b>　　結(jié)論</b></p><p>　　實際上任何視覺和觸覺感官都可以是服裝設(shè)計靈感的源泉，設(shè)計理念不只是憑空想象。設(shè)計師需要收集特殊的和原始的設(shè)計素材。因此，更有創(chuàng)意和原始靈感的來源在服裝設(shè)計中起著重要的作用。</p><

18、;p>　　研究和認(rèn)識是創(chuàng)造力的關(guān)鍵，設(shè)計師必須學(xué)會用眼睛觀察周圍的世界，拓展他們的觀察技能，吸收視覺創(chuàng)意并融合到他們的作品中去，最終轉(zhuǎn)換成他們的客戶會喜歡的衣服。設(shè)計過程表明，了解現(xiàn)實的外界的影響和需求，廣泛的研究和邏輯思維秩序，消耗了設(shè)計師大量的“精力”，但只有這樣才能成功設(shè)計出時尚的產(chǎn)品。</p><p>　　通過本文的研究可以得出靈感來源于設(shè)計的早期階段，并貫穿整個設(shè)計過程中，服裝設(shè)計靈感來源的作用可

19、以概括如下：</p><p>　　——越來越多的創(chuàng)意和創(chuàng)造力；</p><p>　　——使設(shè)計過程變得簡單；</p><p>　　——直接獲得協(xié)調(diào)的配色方案；</p><p>　　——保持和諧和統(tǒng)一的集合；</p><p>　　——從產(chǎn)品靈感中派生出藝術(shù)，尤其是從以前的衣服；</p><p>　

20、　——了解季節(jié)性時尚款式；</p><p>　　——從設(shè)計框架中繪制圖紙。</p><p><b>　　原文</b></p><p>　　The creative role of sources of inspiration in clothing design</p><p>　　Fatma Mete</p>

21、;<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 of observed design behaviour and earl

22、y 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 clothing design. </p><p>　　Des

23、ign/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 constrained and semi-constrained desi

24、gn tasks. This empirical approach used ethnographic observational methods, which is effective in situations where conventional knowledge acquisition methods are insufficient, when broad understanding of an industry is ne

25、eded, 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 each source. Recognises that these s

26、ources 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 throughout the creative stage of design pro

27、cess, 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 inspiration and its effect in creativity a

28、nd originality in the clothing design process. Offers practical help to clothing designers and design-led clothing companies.</p><p>　　Keywords: Fashion design, Clothing, Creative thinking, Design calculatio

29、ns, Design management</p><p>　　Introduction</p><p>　　Sources of inspiration and its personal interpretation, visually and technically, play an important role in the design process, in increasing

30、 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 like aesthetically driven designs in ot

31、her 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 design elements and principles, materi

32、al properties, adaptation and modification of design inspiration are complex. Clothing design, as a variety of aesthetic and functional design processes, shares many characteristics of engineering design process. </p&

33、gt;<p>　　Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including studying current and future fashion t

34、rends 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 become second nature to every clothing d

35、esigner. </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 verb and noun. As design problem soluti

36、on 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 end result, an intended arrangement

37、 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 practical purpose and environment. We realis

38、e 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 thus applies to everything intentio

39、nally 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 product and service falls into two

40、major categories: sensory and behavioural. Sensory design is perceived through the senses, and is classified as visual, auditory, olfactory, tactile and gustatory. Behavioural design is planned action. Many products, how

41、ever, 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 designs. </p><p>　　Rese

42、arch 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 received attention in this industry

43、. [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 "practical design" in a fast moving and

44、highly competitive manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which </p><p>　　The author has undertaken a progressive series of empirical studies, based

45、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 empiric approach combines ethnographi

46、c observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge acquisition methods are insufficient, when broad unders</p><

47、;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 subjects, 16 talented clothing designers

48、, 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 research. The first group of subject

49、s included advanced fashion design students, seven talented students</p><p>　　Sources of inspiration in clothing design</p><p>　　Where does the fashion designer get ideas and inspiration for new

50、 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 experiences all the wonders of the entertainm

51、ent 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 distribution, films prime their audi</

52、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 linked to the social "spirit o

53、f 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 and books, going on trips to places l

54、ike 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 that there are two fundamental appr

55、oaches in the creative clothing design processes: </p><p>　　(1) material, thus fabric, inspired clothing design process; and </p><p>　　(2) conceptual clothing design process, such as several the

56、mes 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 called theme, for their collection in or

57、der 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. In case of clothing design, garments,

58、 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 previous ideas, in case of fabric insp

59、ired clothing design, designers search for new forms and styles with newly developed or invented materials. For example, </p><p>　　Garments and other products</p><p>　　Clothing designers draw id

60、eas from current and previous garments, such as couture or RTW designer garments, historic and ethnic garments, streetwear, etc. They attend catwalk shows, visit shops to absorb fashion trends, watch celebrities, identif

61、y the strong features of a new season, and study how the garments of market leaders and competitors are styled.</p><p>　　Designers also study the photographs of garments from fashion magazines and trend publ

62、ications to gain an overview of fashion. A photograph does not show</p><p>　　technical details, but it communicates the mood of a design and the image of the target wear</p><p>　　Historic and et

63、hnic costumes</p><p>　　Designers’ job is to find, just sort of feel the zeitgeist and to take an idea or a mood and turn it into something tangible, which often was something that had a history and a past. D

64、esigners often turn to the past (recent or historical) or to folk costumes for ideas and themes. Costume falls into two categories: historic costume, the fashion of a certain historical period; and folk or ethnic costume

65、, traditional national or regional dress. Museum costume collections, historic films and books a</p><p>　　Designers usually are sensitive to the combinations of design elements and principles in each histori

66、cal period of costume. High-fashion/couture designers’ theme is often based on a historic or an ethnic inspiration. Fashion silhouettes or garment details popular during historic periods provide a source of design inspir

67、ation. For example, the empire silhouette recurs periodically throughout fashion history. Another example, the ruff collar or a sleeve detail from the renaissance period may inspi</p><p>　　As an example of h

68、istoric customs as a design inspiration, John Galliano’s spring/summer 2005 Dior couture collection can be given. He set the theme as “the age of empire” inspired by the images from the time of Napoleon, the emperor’s co

69、at of arms, the image of a sensual woman such as Jose´phine de Beauharnais. In this collection he also interpreted this theme for wearable Napoleonic coats and Josephine gowns for RTW</p><p>　　Designers

70、 may be inspired by the clothing and accessory styles of other cultures. They find the same inspirational blend of colours, motifs, lines, shapes, and spaces in folk costumes. The global environment has increased interes

71、t in products from the far reaches of the world. Designers seek inspiration from “exotic” cultures whose clothing styles and fabrics are distinctly unique. </p><p>　　Conclusions</p><p>　　Anythin

72、g 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

73、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>

74、<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

75、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 sup

76、posed "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 f

77、indings 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 pro

78、cess easy;</p><p>　　- deriving harmonious colour schemes directly; </p><p>　　- maintaining harmony and uniformity of the collection; </p><p>　　- deriving technical acumen from produ