奢侈品外文翻譯—服飾生態(tài)設計與可持續(xù)制造

1、<p>　　字數(shù)：英文3717單詞，20458字符；中文6365漢字</p><p>　　出處：Cimatti B, Campana G, Carluccio L. Eco Design and Sustainable Manufacturing in Fashion: A Case Study in the Luxury Personal Accessories Industry[J]. Proced

2、ia Manufacturing, 2017, 8: 393-400.</p><p><b>　　外文文獻：　</b></p><p>　　Evolution of Fashion Design in the Era of High-Tech Culture</p><p>　　Abstract The Fashion market is

3、characterized by the rapidity with which a product becomes outmoded. Enterprises producing clothes, shoes, bags and other accessories generate wastes at a fast rhythm, due to the continuous change of collections. They mu

4、st store notable quantities of textiles and components not longer used for production. Furthermore, the percentage of scraps of fabrics, leather and other materials, is often significant. Recycling can be applied to the

5、Fashion sector in order to r</p><p>　　Keywords: Sustainability; Slow Fashion; Eco Design; Recycling; LCA.</p><p>　　1.Introduction</p><p>　　Before mass production, people possessed f

6、ar fewer clothes and accessories. Items were tailored for the wealthy, while the lower social classes made their own clothes. Garments were used and maintained for several years by repairing and remodelling. Indeed, they

7、 could be considered long life products. The birth of ready-to-wear fashion implied the standardization of sizes and a reduction in production costs that allowed consumers to buy more clothes even if they did not fit as

8、perfectly as the o</p><p>　　At the same time, globalisation of production, increased competition and consumer demand have resulted in accelerated fashion cycles, which in turn have led to a culture of “fast”

9、 and disposable fashion. Developing countries have become clothing manufacturing locations of choice, while industrialised countries, due to their higher input costs (labour, capital, energy, environmental and consumer-p

10、rotection compliance, etc.) have been increasingly unable to compete with the low costs offered by em</p><p>　　The idea of sustainability was first defined in 1987 in a Report of the World Commission on Envi

11、ronment and Development: “Sustainability means being able to satisfy current needs without compromising the possibility for future generations to satisfy their own needs”. Dimensions of sustainability have been introduce

12、d through the concept of the Triple Bottom Line: Environment; Economy; Society.</p><p>　　Fast Fashion brings up ethical and environmental issues as it clearly embodies unsustainability. In particular the lac

13、k of social dimension is evident. Fashion’s fast obsolescence is highly unsustainable and it is due to a social and cultural issue coming from a continuous desire for fashionable renewal, which individuals have in order

14、to achieve a personal affirmation and to distinguish themselves from others. Clothes and accessories people choose to wear are strongly affected by the decision a</p><p>　　A formerly standard turnaround time

15、 from catwalk to consumer of six months is now compressed to a matter of mere weeks by such companies as H&M and Zara, typical exponents of Fast Fashion, with heightened profits to match. Fast fashion companies thriv

16、e on fast cycles: rapid prototyping, small batches, combined with large variety, more efficient transportation and delivery, and merchandise that is presented “floor ready” on hangers with price tags already attached. Te

17、chnology advances such as tra</p><p>　　Fast Fashion products do not last long and generate a lot of wastes, also the environmental dimension of sustainability is relevant. Thinking more widely, Fashion in ge

18、neral, more than any other industry, embraces obsolescence as a primary goal, on which most profits are based, in opposition to the criteria of sustainability.</p><p>　　Durability enjoys an easy relationship

19、 with sustainability, depending on the choice of materials. Obsolescence of fashion products instead, is mainly driven by changes in aesthetics and tied to shifting social preferences, underscoring the psycho-social natu

20、re of factors which affect the lifespan of fashion. Garments that defy obsolescence do so in informal or unintentional ways, rarely as a result of design planning or material or product qualities. Design for durability i

21、n this sector shifts a</p><p>　　Beyond the social aspect of Fashion unsustainability, as already mentioned, the environmental factor also plays an important role. The production processes, and in particular

22、the phases of dyeing, drying and finishing, make intensive use of chemical products and natural resources and generate a high environmental impact. The textile sector has experienced significant environmental problems li

23、nked to the production process, which is characterised by the intense use of chemical products and natura</p><p>　　2.Luxury Fashion and Sustainability</p><p>　　2.1.Fast Fashion versus Luxury Fas

24、hion</p><p>　　Fast Fashion allows satisfying aspirations of luxury for consumers who cannot afford prestigious brands. Luxury Fashion reminds people of exclusivity, beauty and art and owning unique items fro

25、m a luxury brand make them pursue their dreams and desires. Fast fashion replaces exclusivity, glamour, originality, and luxury with “massclusivity” and planned spontaneity.</p><p>　　In the introduction we h

26、ave mentioned the reasons why Fashion and in particular Fast Fashion can generally be considered unsustainable. Which is the relation between Luxury Fashion and sustainability? Apparently the concept of opulence and sump

27、tuousness can remind us of unnecessary and redundant products, excessive objects that could have been made in a simpler and cheaper way, i.e. in a more sustainable manner. But this interpretation is rather superficial an

28、d doesn’t consider all the involved </p><p>　　What matters to evaluate the sustainability of fashion is the type of production. Mass standardized fast fabrication is a completely different approach compared

29、to manufacturing reliant on artisanal craft for a more limited production, which is typical of luxury items. Craft denotes highly skilled labour, using simple tools to make unique items, one item at a time, and accessibl

30、e to only a select clientele. Hermes’ affluent customers, for example, might wait for several years to acquire a partic</p><p>　　Can Luxury fashion, with ostensibly an emphasis on authenticity, and its conco

31、mitant respect for artisans and the environment, foster values of both quality and sustainability? Actual rather than faux luxury brands can, ironically, unite the ideals of fashion with those of sustainability.</p>

32、;<p>　　2.2.Slow Fashion</p><p>　　The meaning of craftsmanship in manufacturing doesn’t refer only to the added value of the product in terms of quality and uniqueness but also to the sustainability of

33、 the manufacturing approach. Sustainable manufacturing implies methods and techniques of production that allow workers to express their skills and creativity, contributing to the improvement of the product and the compet

34、itiveness of the enterprise. Several entrepreneurs in different industrial sectors have decided to recover the va</p><p>　　A taxonomy of enterprises can be defined in order to distinguish between different g

35、rades of craftsmanship employed in manufacture based on a slowness indicator, which can measure the “slowness of the production”. It doesn’t only consider the Lead Time of the work unit, but also the skilled craftwork pe

36、rformed to fabricate the product.</p><p>　　A wide range of research has been carried out in order to quantify a “craftsmanship index”, assigning a concrete value to artisanal competences. This index can be u

37、seful in understanding how to hone and develop these kind of skills, which can be of significant competitive advantage to manufacturing enterprises. A first investigation has been developed at the Italian district of lux

38、ury leather production around the city of Florence, involving prestigious companies and achieving some positive resu</p><p>　　The concept of slowness has been applied to Fashion production by Kate Fletcher w

39、hen she contributed in founding the Slow Fashion movement. For several years she has been working to push forward sustainable fashion, enhancing how the time of fabrication can be related to high quality clothes and acce

40、ssories and can then be considered a valid alternative to Fast Fashion, especially if we refer to sustainability. A summary of the most significant elements characterising the Fast and Slow approache</p><p>

41、　　Table 1. Comparison between some significant concepts of Fast and Slow approaches applicable to Fashion production</p><p>　　Slow Fashion takes inspiration from the Slow Food movement founded by Carlo Petri

42、ni in Italy in 1986, which links the pleasure of food with the awareness and responsible nature of its production, preserving cultural and regional culinary traditions and agriculture diversity. Similarly, the slow movem

43、ent in fashion doesn’t simply refer only to speed. Rather it represents a different world view that names a coherent set of fashion activities to promote the pleasure of variety, the multiplicity and</p><p>

44、　　As quality, attention to detail and enhancement of the cultural connection with the territory, typical of this slow approach, require time, it can be inferred that luxury has a strong connection to sustainability, as B

45、onotto states.</p><p>　　3.Eco Design, LCA and the 6 Rs in Fashion</p><p>　　Eco Design is a sustainable design approach, considering the environmental impact of the product during its whole life

46、cycle. Eco Design can help in reducing the ecological footprint, which is the measure of human impact on Earth's ecosystems. The life cycle of a product mainly includes 4 phases: procurement, manufacture, use and dis

47、posal.</p><p>　　In the Fashion world, Eco Design can be applied choosing sustainable materials, such as cotton and wool, instead of synthetic fibres and selecting processes that don’t impact the environment,

48、 substituting damaging chemical substances with natural ones.</p><p>　　Life Cycle Assessment (LCA) is a methodology for assessing the environmental impacts and resource consumption associated with the existe

49、nce of products throughout their entire life cycle “from cradle to grave”. Starting from raw material extraction, it considers materials processing, manufacture, distribution, use, maintenance and repair, and disposal. L

50、CA is an important tool to help managers to make production choices in order to increase sustainability.</p><p>　　Several types of software have been developed and commercialized to support and implement the

51、 LCA process. Nowadays many enterprises use software of this kind to be aware of the environmental impact of their production activity and try to make it more sustainable.</p><p>　　LCA can be considered a si

52、gnificant tool to support Eco Design, providing information that help designers in making the most sustainable choices for the product from its first phases of development.</p><p>　　The traditional 3R concep

53、t promoting green manufacturing technologies (Reduce, Reuse and Recycle) has been surpassed by the more recent 6R concept forming the basis for sustainable manufacturing (Reduce, Reuse, Recover, Redesign, Remanufacture,

54、Recycle) since this allows for the transformation from an open-loop, single life-cycle paradigm to a theoretically closed-loop, multiple life-cycle paradigm.</p><p>　　Recycling can be easily applied to incre

55、ase sustainability in Fashion production. Recycling is the process of collecting and processing materials that would otherwise be thrown away as trash and turning them into new products. In the case of Fashion, stored un

56、used fabrics, leather and other components are waste that can be recuperated by this methodology, obtaining new products.</p><p>　　The methods and techniques above described are mainly focused on the environ

57、mental dimension of sustainability. But sustainable fashion also involves an important social issue, related to the perception of the garment by consumers. The application of these practices to clothes and accessories, i

58、n particular the idea of Recycling, cannot be split from the customers’ need, on which their purchase is based. This is even more valid for luxury Fashion, where often desire is the main reason pushing bu</p><

59、p>　　It is therefore particularly significant to explore possible applications of sustainable design and production approaches at luxury brands.</p><p>　　4.The case study of sustainable practices applied b

60、y a luxury brand</p><p>　　4.1.The Borbonese company</p><p>　　Borbonese is a historic Made-in-Italy brand. It has a strong heritage: created in Turin a century ago, in 1910, as a bag, jewellery a

61、nd accessories label, it soon joined the leading names in Italian luxury with products that expressed both class and elegance. A mark of distinction in Borbonese collections is the O.P. or Occhio di Pernice (partridge ey

62、e) print, the brand's symbol and trademark. Created in the 1970s, the O.P. texture is still the brand's emblem today and is produced through a spec</p><p>　　Fig. 1. Sewing at Borbonese</p><

63、;p>　　Borbonese combines precious materials and refined techniques with masterly crafting to emphasise details and characteristics. The central role of research in developing the brand’s production and style has led to

64、 the creation of new ways of presenting the historic Occhio di Pernice (partridge eye), texture, which is produced in new and innovative variations, materials and colours.</p><p>　　Some bags fabricated by th

65、is firm are real icons, such as the Luna Bag (Fig. 2), based on the drawings of Giacomo Balla, one of the most important artists belonging to the Italian Futurist movement. Balla claimed in his “Manifesto dell’abito anti

66、 neutrale” (Manifesto of anti-neutral clothing), the need to substitute the old, dark, oppressive garment with items more dynamic in the design and colours of fabrics, expressing more happiness and movement. His intentio

67、n was to create clothes different </p><p>　　Fig. 2. (left) First sketch of the Luna Bag by Giacomo Balla, 1916. </p><p>　　(right) The Luna Bag manufactured by Borbonese in 1986, based on the Bal

68、la’s drawing.</p><p>　　4.2.Eco Design and Recycle of Borbonese luxury products</p><p>　　As with many Fashion enterprises, Borbonese must propose new models every season and launch a new collecti

69、on. Obsolete materials, such as leather and accessories of past collections are then stored in warehouses and not used. A sustainable approach has been implemented recuperating these non-consumed wastes, which have been

70、integrated into a new life cycle instead of being disposed of in a dump.</p><p>　　The idea to use pre-production wastes to design and manufacture a new product is based on an Eco Design approach and uses one

71、 of the 6 Rs: Recycle.</p><p>　　A first inventory was realized in order to understand which materials were stored and in what quantities, then a Flash collection of “sustainable bags and accessories” was des

72、igned and fabricated using the available articles, combining different kinds of stored leather with unused metal clasps and shoulder straps (Fig. 3 and 4). These accessories have been designed and manufactured to reduce

73、wastes. The use of these non-employed materials to create original products shows the company’s sensitivi</p><p>　　Fig. 3. Key chain “Fiocco 3D” (3D Bow) made from recycled metal accessories and leather.<

74、/p><p>　　Fig. 4. (left) Key chain “Charm” and (right) Key chain “Girandola” (Pinwheel) made from recycled metal accessories and leather.</p><p>　　This project can be considered a successful example

75、 of a recycling process applied to a luxury brand. Using wastes to produce luxury articles could appear a contradiction, but this experience demonstrates that it is indeed possible and that the obtained products can not

76、only find a positioning, but have a special kind of appeal to the market.</p><p>　　4.3.LCA of the Borbonese Savile Bag</p><p>　　The Savile Bag in suede partridge eye texture is one of the most t

77、raditional products of Borbonese. It is presented in every collection, being made in different materials and coming in a range of colours.</p><p>　　A LCA of this bag has been carried out using the open sourc

78、e software openLCA, developed by Green Delta. The study refers to the production and distribution phases in Italian and foreign shops, without considering the raw materials processes that are not performed at the company

79、. Then the assessment can be described as “from gate to grave”.</p><p>　　The Inventory analysis has been realized using reports, documents, databases and interviews with Borbonese’s employees. The following

80、points were investigated:</p><p>　　●The energy consumption necessary for the cutting of leather and textiles.</p><p>　　●Wastes and scraps produced during production.</p><p>　　●Trans

81、port for supplying raw materials and distributing the end product.</p><p>　　●Disposal.</p><p>　　The most significant impact corresponds to transport, because of the emissions produced in the atm

82、osphere, mainly of CO2.</p><p>　　In order to have an idea about the environmental impact at the raw materials phase, we can refer to the project Innovation for a Made Green IN Europe (I.M.A.G.I.N.E.), a stud

83、y realized in four fashion-manufacturing districts located in Tuscany from 2009 to 2012. The four analysed areas were:</p><p>　　1.Textile manufacturing in Prato.</p><p>　　2.Garment manufacturing

84、 in Empoli.</p><p>　　3.Shoe manufacturing in Lucca.</p><p>　　4.Tanneries in Santa Croce sull’Arno.</p><p>　　From these data, it is evident that the strongest environmental footprint

85、 corresponds to the leather treatments. Tannery is considered a heavy industry not only because of the concentration of pollutants in the drained water but also for the gas emissions (organic solvents and H2S) and for re

86、fuses produced during the product work cycle. Furthermore, it is not an exception that animals are bred and killed for the sole use of their skins at luxury companies, instead of the use of leather that come</p>&

87、lt;p>　　5. Conclusion</p><p>　　The Fashion industry is characterized by the rapidity with which a product becomes outdated. This is not generally due to the materials wearing out but rather to the constant

88、 desire of change from consumers. Social reasons are mainly at the base of customers’ needs so Fashion tends to be considered unsustainable.</p><p>　　This study demonstrates that considering Fashion unsustai

89、nable is not the only possible interpretation. If we refer to the social dimension of sustainability, luxury brands production can have sustainable aspects, especially in regards to the slowness of production, encompassi

90、ng the quality of work and life of the skilled employees who fabricate the product.</p><p>　　Some sustainable methods and techniques, such as Eco Design and Recycling, can well fit fashion manufacturing comp

91、anies and the LCA can help designers in defining the characteristics of the product.</p><p>　　These ideas have been successfully applied to the prestigious Italian fashion company Borbonese to manufacture ne

92、w original products using stored wastes. An LCA study has also been carried out to understand the sustainability of one of the bags produced by the company, demonstrating that transport has the highest environmental foot

93、print. However, referring to former investigations, it is evident that in general in the textile industry the tannery phase is the one with the most impact.</p><p>　　The issue of sustainability in Fashion, t

94、o which customers are becoming more and more sensitive, is highly relevant nowadays and Fashion companies generally pay more attention in respecting the environment than in the past. The idea of Slow Fashion corresponds

95、to the one at the core of Slow Food and of Slow Factory, defining another context in which the Slow approach can have a positive meaning that merits analysis and investigation.</p><p>　　Further research is r

96、equired to better evaluate which aspects and methods can make Fashion production more sustainable.</p><p><b>　　中文譯文：</b></p><p>　　服飾生態(tài)設計與可持續(xù)制造：以奢侈品個性化配飾行業(yè)為例</p><p>　　摘要

97、 服飾市場的特點是產品過時的速度很快。由于服飾的不斷變化，生產衣服、鞋、包和其他配飾的企業(yè)產生廢料的節(jié)奏也很快。他們不得不把大量不再用于生產的紡織品和配飾放入倉庫。此外，織物、皮革和其他材料的廢料的比例往往比較高?；厥绽每梢詰玫椒椥袠I(yè)，以便重新利用廢料和創(chuàng)造新的商品，在客戶對可持續(xù)性的敏感度日益增加的市場中，這種做法尤其成功。我們介紹了一個著名的意大利品牌，制造高檔豪華皮革及織物配飾，其中已經應用到生態(tài)設計和回收利用。本文還介紹了

98、該公司傳統(tǒng)產品的生命周期評估，以提高服飾的可持續(xù)性發(fā)展。</p><p>　　關鍵詞：可持續(xù)發(fā)展；慢時尚；生態(tài)設計；回收利用；生命周期評估。</p><p><b>　　1.引言</b></p><p>　　在大規(guī)模生產之前，人們擁有的衣服和配飾少得多。商品是為富人量身定制的，而社會階層低的人則是自己制作衣服。通過縫補和改造，衣服會被穿上好幾年