1、畢設(shè)附件外文文獻(xiàn)翻譯原文及譯文 原文 Thecreativeroleofsourcesofinspirationinclothingdesign作者 MartinG Introduction Sources of inspiration and its personal interpretation, visually and technically,play an important role in the design process, in increasing creativity. Clothingdesignstudies andthecreativeroleofdesignins

2、piration,duringtheearlyinformaland actualclothingdesignprocessesisopentoscientificinvestigationlikeaestheticallydrivendesig ns in otherdomains. Studying creative fashiondesignasprocessandproductisseen moreproblematic than other design-ledindustries,as the interactionbetween thedesignelementsand prin

3、ciples,materialproperties, adaptationand modificationofdesigninspiration are complex. Clothing design, asavariety ofaestheticand functionaldesign processes, shares many characteristics of engineering designprocess. Researchandobservationarecriticallyimportantinthefashion business.Byresearchingandobs

4、erving,designersgatherbackgroundinformation fordesign,including studying currentand future fashiontrends and try to predict what themajority of theircustomers will want in the foreseeable future.In orderto keep upwiththechangingworldoffashion,fashionawarenessshouldbecomesecondnaturetoevery clothingd

5、esigner. Design and clothing a s a visual and tactile sensor ydesign It is wellknown that designis two things:process and product, as verb andnoun.As designproblem solution process, it is researching,setting the source ofinspiration,planning,organizingtomeetagoal,carryingoutaccordingtoaparticularpur

6、poseand creating.Asproductitistheendresult,anintendedarrangementthatistheoutcomeof thatprocess orplan. Clothing is an example of applied design, eventhe most exciting, originalideamust showawarenessofitspracticalpurposeandenvironment.We realisethatsomeartispure,artforartssakebutmostcreationsinthedai

7、lyworldareforapractic al purposeand use. Design as process is planning to meet a goal, and thus applies toeverything intentionally created for a purpose.The steps and orderoftheprocessareessentially the same regardlessof the end product. These steps are very similartomanagementas aplanning process.

8、Designasmanmadeproductandservicefallsintotwomajor categories:sensoryandbehavioural.Sensorydesignisperceivedthroughthesenses,andisclassifi edasvisual,auditory,olfactory,tactileandgustatory.Behaviouraldesignis plannedaction.Manyproducts,however,includeaspectsofboth,becausedesignmaybeperceived throught

9、hesensesandtheninterpretedbehaviourally.Afashionshow,forexample,include both sensory and behaviouraldesigns. R esearchmethodology andfindings Theimportanceofsourceofinspirationandtheirroleincreative clothingdesignhasbeenlittleunderstoodand,therefore,rarelyreceivedattentioninthisindustr y.6,7,8Eckert

10、and Stacey (1998,2000,2003)studiedknitweardesign case,whichsharesmanycharacteristicsofcomplexengineeringprojectsandasanexampleofprac ticaldesigninafastmovingandhighlycompetitivemanufacturingindustry.Theirwork included a large ethnographic study of the knitwear industry,whichproduced a detailed desig

11、n process model andananalysisof the causesofcommunication problems within designteams.15M kirinne-Croftetal. (1996)triedtoexplainthefashiondesignprocessintermsofquantummechanicsandpsychoanalysi sandseedesigncreativityastheultimatemystery;theirdescriptionofthedesignprocess issimplistic. Theauthorhasu

12、ndertakenaprogressiveseriesofempiricalstudies,basedonobservation andinterviews,lookingatready-to-wear(RTW)clothingdesign;insituobservation,semi- structuredinterviewsandconstrainedandsemi- constraineddesigntasks.Thisempiricapproachcombinesethnographicobservationalmetho dswiththeknowledgeanalysistechn

13、iquesofartificialintelligence.Itis situationswhereconventionalknowledgeacquisitionmethodsare effectivein insufficient,whenbroadunderstanding of an industry is needed as in the fashion industry, not just a casestudyof a single individual orcompany. In this research, the creative role ofsources of ins

14、piration in visual clothingdesign by novice and expert clothingdesigners was assessed throughempiricalresearch. As subjects, 16 talented clothing designers, 11 university-level fashiondesignstudentsinFashionDesignDepartmentatDokuzEylulUniversityandfiveprofessi onal designers participated in the expe

15、riment carried out in this research.Thefirstgroupofsubjectsincludedadvancedfashiondesignstudents,seventalentedstu dentsselectedfromthethirdandfourthyearofundergraduatestudies,andalsofourstudentsofpo stgraduatestudies,whoalsoworksasafreelanceorparttimeassistantdesignersintheclothingindu stry.Thesecon

16、dgroupwascomposedoffiveprofessional designers with a minimum of 5 years of experience in clothingindustry.Sour cesof inspira tionin clothingdesign Wheredoesthefashiondesignergetideasandinspirationfornew styles?Theansweris everywhereand everything. Anything visual and tactile, in fact sensual,canbeas

17、ourceofinspirationforagarment.Throughtelevision,thedesignerexperience sall the wondersof the entertainmentworld.In films,the designeris exposedto theinfluencesofallthearts,andlifestylesthroughouttheworld.Becauseconsumersareexposedto movies through internationaldistribution, films prime their audienc

18、es toaccept new fashionsinspiredby the costumes.Museumexhibits,art shows,worldhappenings, expositions,theatres,music,danceandworldtravelareallsources ofdesigninspirationtofashiondesigners.Thefashionsofthepastarealsoarichsourceofdesigninspi ration. Whilealwaysalerttothenewandexciting,fashiondesigners

19、never lose sight of the past, they use old things in new ways. As stated the inspiration for a garment within a collection or for anentirecollection cancomefromaninfinitevarietyofsources.Sources theofinspirationareoftenlinkedtothesocialspiritofthetimesalsocalled zeitgeist.Understandingthe state of c

20、urrent fashion and searchingfor ideas and sourcesofinspirationinvolveslookingatartobjectsandbooks,goingontripstoplaces likeParisand Milan,visitingmuseums,watchingpeople on streets and goingon countrywalks.Designersare most creativewhen they are directly exposed to the sourcesofideas. On the other ha

21、nd, it has been observedin the fashionindustrythat there aretwofundamental approaches in thecreative clothing design processes: (1) material, thus fabric, inspired clothing design process;and (2) conceptual clothing design process, such as several themes originated fromthe universe of arts, nature o

22、rproducts. It is known that the high-fashion name designers typically develop a concept,also called theme, for their collection in order to be more creative andoriginal. Themajortypesofideasourcesindesign-ledindustriesare previousproducts,artifacts,naturalobjectsandphenomena.Incaseofclothingdesign,g

23、arments ,fabricsandtrimsaspreviousproducts,playanimportantroleinsources ofinspiration.Although,thereisabroadrecognitionthat bymodificationofprevious muchofthedesignproceeds ideas,incaseoffabricinspiredclothing design,designerssearchfor new forms and styles with newly developed or invented materials.

24、Forexample,thedevelopmentofelasthenfabrics,suchasLycra,inspireddesignerst ofigure-hugging silhouettes. Conclusions Anything visual and tactile, in fact sensual, can be a source of inspirationinfashion design. Design ideas do not simply materializeout of thin air. First,thedesigner does carefulresear

25、ch,butwhatmakesadesignerscollection specialandoriginalishisorheruniqueinterpretationofdesignsources.Therefore,inordertobemor ecreativeandoriginalthesourcesofinspirationplayanimportantroleinclothingdesign. Researchandawarenessarethekeytocreativity.Designersmustlearnmostofallto keep theireyesopen,tode

26、veloptheirskillsofobservation,to absorbvisualideas,blendthemandtranslate themintoclothesthattheircustomerswilllike.Thedesignprocessshowsthatrealistic outsideinfluencesobservationof andneeds,extensiveresearchandawarenessandlogicalthinkingandorder,removeagreatdealofth esupposedmysteryofdesignorcreativ

27、ity.Onewhothoroughlyunderstandsdesignasproductan dprocessandhasmasteredtheuseofappropriatematerialsandadaptationtechniques can be creative and can translate the source into reality as a successfulfashionproduct. Sourcesofinspirationareusedattheearlystagesofdesignand throughouttheentire design proces

28、s. 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 the collection; - deriv

29、ingtechnicalacumenfromproductsinspired,especially frompreviousgarments; - understanding the fashion appropriation of the season;and - drawingthe borders for the designframework. 創(chuàng)意性服裝設(shè)計(jì)研究 作者：馬丁 引言 靈感的來(lái)源及其個(gè)體性、可見(jiàn)性和技術(shù)性，這些對(duì)提高設(shè)計(jì)過(guò)程中的創(chuàng)造力方 面起著重要的作用。服裝設(shè)計(jì)研究和設(shè)計(jì)靈感的創(chuàng)造性，早期非正式的和實(shí)際的服 裝設(shè)計(jì)流程是開(kāi)放性的，就像其他領(lǐng)域中以美學(xué)為導(dǎo)向的設(shè)計(jì)。 學(xué)習(xí)

30、創(chuàng)意型服裝設(shè)計(jì)，其流程和產(chǎn)品比其他設(shè)計(jì)驅(qū)動(dòng)的行業(yè)存在更多的問(wèn)題， 設(shè)計(jì)元素、原則、面料的特性等設(shè)計(jì)靈感之間的交互關(guān)系是很復(fù)雜的。服裝設(shè)計(jì)， 包含各種各樣的視覺(jué)審美和功能設(shè)計(jì)流程、甚至共享工程設(shè)計(jì)過(guò)程中的許多設(shè)計(jì)元 素。 對(duì)時(shí)尚服裝業(yè)進(jìn)行研究和觀察是至關(guān)重要的。通過(guò)研究和觀察，設(shè)計(jì)師可以收 集背景資料，包括研究當(dāng)前和未來(lái)的時(shí)尚服裝設(shè)計(jì)潮流，并試圖預(yù)測(cè)大多數(shù)客戶所 希望的設(shè)計(jì)風(fēng)格。為了跟上不斷變化的時(shí)尚服裝設(shè)計(jì)，時(shí)尚意識(shí)應(yīng)成為每一個(gè)服裝 設(shè)計(jì)師的第二天性。 服裝設(shè)計(jì)是一個(gè)包含視覺(jué)和觸覺(jué)的感官設(shè)計(jì) 眾所周知，設(shè)計(jì)包括兩件事情 :工藝創(chuàng)造過(guò)程和產(chǎn)品展示，這兩者之間的關(guān) 系就好比動(dòng)詞和名詞的關(guān)系。作為一

31、個(gè)設(shè)計(jì)問(wèn)題解決方案的過(guò)程,它是靈感的來(lái) 源，并通過(guò)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。 服裝就是應(yīng)用設(shè)計(jì)的一個(gè)例子，即使是最激動(dòng)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(shí)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(guò)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。從本質(zhì)上講，設(shè)計(jì) 過(guò)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(guò)程非常相 似。 人為設(shè)計(jì)的產(chǎn)品和服務(wù)可以分為兩大部類(lèi)：感覺(jué)和行為。感官設(shè)計(jì)是通過(guò)感官 而獲得的，可以將其分為視覺(jué)、聽(tīng)覺(jué)、嗅覺(jué)、

32、觸覺(jué)和味覺(jué)的獲得。行為設(shè)計(jì)是有 計(jì)劃的行動(dòng)。然而，許多產(chǎn)品的創(chuàng)作過(guò)程都包括感官設(shè)計(jì)與行為設(shè)計(jì)兩個(gè)方面，因 為設(shè)計(jì)靈感需要通過(guò)感官獲得并通過(guò)行為來(lái)解釋。例如，一場(chǎng)時(shí)裝表演既包括感覺(jué) 設(shè)計(jì)也包括行為設(shè)計(jì)。 研究方法和研究結(jié)果 人們對(duì)創(chuàng)意性靈感的來(lái)源及其在創(chuàng)意服裝設(shè)計(jì)中的重要性一直 知之甚少，因 此， 這個(gè)行業(yè)也很少得到人們的關(guān)注。?？颂睾退固┪餮芯苛酸樋椘吩O(shè)計(jì)的案例， 這一類(lèi)的服裝設(shè)計(jì)參考借鑒了很多復(fù)雜的工程設(shè)計(jì)中的設(shè)計(jì)元素和設(shè)計(jì)思路。例 如：快速變化和高度競(jìng)爭(zhēng)的制造業(yè)中的“實(shí)用設(shè)計(jì)”。在他們的設(shè)計(jì)工作中，很多內(nèi) 容都涉及到針織行業(yè)的大量研究，而本研究開(kāi)發(fā)制作一個(gè)詳細(xì)的設(shè)計(jì)過(guò)程模型，以 及分析了設(shè)

33、計(jì)團(tuán)隊(duì)內(nèi)部的溝通問(wèn)題。馬卡尼等人試圖解釋量子力學(xué)和心理分析在 時(shí)尚服裝設(shè)計(jì)過(guò)程中的應(yīng)用，以探索創(chuàng)意性設(shè)計(jì)的終極奧秘。他們深入淺出的描 述了設(shè)計(jì)過(guò)程。 本文進(jìn)行了一系列的實(shí)證研究，主要是通過(guò)觀察和訪談。實(shí)地調(diào)研、半結(jié)構(gòu)化 訪談和半驅(qū)動(dòng)型設(shè)計(jì)的研究方法，因此來(lái)探索成衣服裝設(shè)計(jì)。這種將理論和實(shí)際調(diào) 研相結(jié)合的實(shí)證研究方法，可以有效的使用在傳統(tǒng)的知識(shí)獲取方法不足的情況下， 不過(guò)在研究中，要特別需要廣泛地了解一個(gè)行業(yè)，比如：時(shí)尚界，不只是要對(duì)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。特別是在傳統(tǒng)的知識(shí) 獲取方法不足的情況下，它是可以得到有效的應(yīng)用，不過(guò)需要指出的 是，特別需要對(duì)一個(gè)行業(yè)

34、進(jìn)行一個(gè)廣泛地了解，比如：時(shí)尚界，不只是要對(duì)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。在本研究中，服裝 設(shè)計(jì)過(guò)程中的創(chuàng)造性設(shè)計(jì)靈感，主要來(lái)源于那些剛開(kāi)始從 事設(shè)計(jì)工作的新手設(shè)計(jì)師，他們還沒(méi)有形成固定的思維，因此，有許多新的不受 拘束的想法，這是服裝設(shè)計(jì)靈感的一大來(lái)，此外一些服裝設(shè)計(jì)專(zhuān)家，他們對(duì)實(shí)現(xiàn)需 求和消費(fèi)者的偏好有著敏銳的觀察力，因此，可以有針對(duì)性的提出新的設(shè)計(jì)思路， 這對(duì)創(chuàng)新性服裝設(shè)計(jì)而言，也是很重要的。當(dāng)然，是否真實(shí)如此，需要進(jìn)行一系 列的實(shí)證研究來(lái)證實(shí)。我們特意選擇了16 個(gè)優(yōu)秀的服裝設(shè)計(jì)師， 11 個(gè)時(shí)裝設(shè)計(jì)專(zhuān)業(yè) 在讀學(xué)生，和五個(gè)專(zhuān)業(yè)的設(shè)計(jì)師，參與實(shí)證研究。將他們

35、分為幾個(gè)考察一組，第 一組，主要是那些高級(jí)時(shí)裝設(shè)計(jì)專(zhuān)業(yè)的在讀學(xué)生，還有七個(gè)有才華的大三和大四學(xué) 生， 還有四名服裝設(shè)計(jì)研究生，他們平時(shí)都是在一些服裝設(shè)計(jì)公司實(shí)習(xí)。第二組則 是由在服裝行業(yè)的五個(gè)專(zhuān)業(yè)設(shè)計(jì)師組成，他們都至少有5 年的服裝設(shè)計(jì)經(jīng)驗(yàn)。 服裝設(shè)計(jì)的靈感來(lái)源 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(wú)處不在。 實(shí)際上， 任何視覺(jué)和觸覺(jué)上的感官體驗(yàn)都可以是服裝設(shè)計(jì)靈感的源泉。 通過(guò)電視， 設(shè)計(jì)師可以體驗(yàn)五彩繽紛的全球娛樂(lè)世界。在看電影的過(guò)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(guò)國(guó)際經(jīng)銷(xiāo)，電影觀眾可以通過(guò)有設(shè)計(jì)靈感的服 裝接受新時(shí)尚。博物館展品、藝術(shù)節(jié)目展示、世界事件、博覽會(huì)、劇院、音樂(lè)、舞 蹈和旅游都是時(shí)裝設(shè)計(jì)師的設(shè)計(jì)靈感來(lái)源。過(guò)去的時(shí)尚也是他們一個(gè)豐富的設(shè)計(jì)靈 感來(lái)源。雖然，對(duì)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(lái)不會(huì)忘記過(guò)去，通常情況下，他們會(huì)采用新的方式去利用舊的東西。 如上所述，一組服裝設(shè)計(jì)的靈感來(lái)源多