1、Fashion,which is as old as time and as new as tomorrow,is one of the most powerful forces in our lives .It influences what we wear,the way we talk,the foods we eat,the way we live,how and where we travel,what we travel,what we look at,and what we listen to.Fashion is what lead us todiscard a product

2、 that is still useful but is no longerin .It is also what makes us sometimes wear more clothes than we may actually need,and sometimes less than is needed to product us from the ccold or the sun. 流行是這樣一種事物，是我們拋棄了還可以使用， 但不再時髦的產品。有時候使我們穿比我 們真正穿的衣服多，有時候比我們穿抵御嚴寒酷暑的少。 If there is one absolute constant pe

3、rtaining to fashion,it is the fact that it is always changing-sometimes rapidly,sometimes slowly,but it is never static or dormant.This element of change is recognized in the definitions of fashion itself cited earlier,by the use of such words as prevailing or a given period of time. To ignore the e

4、lement of change is like looking at a still photograph in place of a motion picture.The still tells you what is happening here and now ;the motion picture shows you what came before and what may lie ahead. 如果存在著一種符合流行的絕對永恒，那就是流行是永遠變化著的這一事實， （這種變化） 時快時慢，但絕不會固定下來或呈休止狀態(tài)。 “Fashion is a social phenomenon

5、 which reflects the same continuing change that rides through any given age . Change in fashion ,he emphasized,correspond with the subtle and often hidden network of forces that operate on society “流行是一種社會現象，它反映了任何特定年代同樣都要經歷的持續(xù)變化。他強調說： “流 行變遷與那些作用于社會的影響力量所具有的微妙，而又常常是暗藏著的系統是一致的。 ” It isonly in restro

6、spect that fashion changes seem marked or sudden .Autually ,they come about as a result of a series ofgradual shiftsfromone season to the next.For example ,when womens skirts began inching up from midcalf in the 1960s,this gradual shortening was not particularly noticeable at first .It was only when

7、 skirts moved thigh-high,in the form of minis and micro-minis ,that people took notice of the approaching extreme.Similarly,when men begin to abandon ultrannarrow ties and suit lapels in favor of more and more width,the changs are not noticed at first. 只有當追溯過去的時候， 流行的變遷才顯得特別引人注目或突然， 實際上，這些變遷的發(fā)生 是從一個

8、季節(jié)到另一個季節(jié)的一系列逐漸變化的結果。 例如， 女裙的逐漸變短的時候并沒有 被注意到， 。 Color can be the basis for a whole group or line .It is the first element to which consumers respond .People relate personally to color,usually either selecting or rejecting a garment beccause of its ccolor appeal.Therefore,designers must cconsider thei

9、r customers and provide colors that are both appealing and flattering. 色彩是整個款式系列中的基本要素， 它是能夠引起顧客回應的第一要素。 人們把色彩和個人 聯系起來，他們往往根據顏色來選擇或拒絕一件衣服， 因此設計師必須考慮他們的顧客， 并 且提供出令他們喜愛和滿意的色彩，消費群體。 In clothing,neutrals such as beige,tan,brown,white ,gray,and black are even more popular than the ccolors just mentioned.

10、The reason is probably that they present a pleasing background for the wearer without completing for attention. Neutrals are part of every season s fashion picture ,as either a strong fashion statement or a way to round out a color story. 在服裝中，中色調例如灰中色，深褐，褐色，白灰和黑色，甚至還有比剛剛提到的更多的 顏色。 原因大概是因為這些中間色調不會因被

11、關注而引發(fā)攀比， 從而為競爭者提供了一個滿 意的穿著環(huán)境，每季時裝系列中都會運用一部分中間色調， 不是用以加強時裝的表達， 便是 使色彩系列搭配更趨完善。 The Brewster and Prang therories define red ,yellow,and blue as the three primarries from which all other colors are derived.Mixing yellow and red paints creats orange ;red and blue creat purple ;and blue and yellow creat

12、greenthe three secondary colors.Mixtures of primary and secondarycolors creat every color in between. 布魯斯特和普朗定義紅，黃，藍為三原色，即所有顏色的起源。將黃色和紅色的顏料混合變 成橘黃，紅色加藍色變成紫色， 藍色和黃色變成綠色，三種二次色?；旌显投紊珜?變成兩色之間任何一種顏色。 Monochromatic or tonal color schemes employ varying values and intensities of one hue.(Mono,means one

13、and chroma means hueorcolor.)The resulting lookis very refined .However ,textural,variety is needed to created interest. 單色調或同色調的色彩設計方案是在同一色相下變幻同一色彩的明度和純度（ Mono 是“一 個” “單”的意思，Choroma 是色相或顏色的意思）這種方法會達到極強的效果，構成上的 變化要能夠使人產生興趣。29 頁 Color is interpreted in the medium of fabric.If colors are chosen first,

14、then prints are colored in the desired scheme are solids dyed to match.Sometimes,however,the fabric itself will inspire the color group. 色彩以面料為媒介得以體現， 先選擇顏色，然后按要求的方法去印花和染色， 然而有時面料 本身就會激發(fā)出色彩的組合。 The adaptation of a trend depends on the particular group of people whp are potential consumers. Sources o

15、f influence and methods of adaptation vary with theconsumers age range,income level ,lifestyle,and fashion preference. 產生影響的來源和采納（流行） 的方法因消費者的年齡層，收入水平， 生活方式以及對時裝 的偏愛而異。54 頁 It would impossible to ask all consumer what they will want two or three years from now .Therefore,producers and manufacturers

16、must anticipate cconsumer wants and needs .Before they do any designing,manufacturing,or retailing,they undertake market studies to determine who ccurrent or potential customers are,what factors influence their buying decisions,and ultimately what they will want.However,market research,with or witho

17、ut advertising,can only guide.It doesnt show how to fill consumer wants and needs. 我們不可能了解所有的消費者從現在開始的兩年或三年內他們打算買什么樣的商品。因此， 生產商必須滿足消費者的需求， 在他們作出任何設計制造或零售計劃之前， 他們需要著手做 市場研究來確定哪些人是目前或潛在的什么因素影響他們購買的決策以及最后他們想要得 到什么。 When viewing the major collections ,manufaccturers,retailers,and the press try to analyz

18、e trend directions.Usuallyafewcollectionstakesimilardirectionsbecauseofcommon economic ,technological,and social influences.Designers and buyers alike try to single out the styles they feel are prophetic .It is very helpful to be able to see and feel the actual garments and to examine styling detail

19、s,construction techniques ,and fit. 在觀看比較重要的時裝發(fā)布會時， 生產商，制造商 ，零售商和新聞界會試著分析流行趨勢， 由于相同的經濟技術幾個發(fā)布會會出現相似的局勢， 同樣地，設計師和買手們， 嘗試著選出 他們認為將會流行的款式，能夠觀察和感受到實際的服裝，考察款式， 細節(jié)，結構技術和合 體性。 Conversion to the metric system would have its greatest impact on sizing,patternmaking ,and grading because all three processes invo

20、lve linear measurements.Designers and pattern-makers would have to think in centimeters and millimeters instead of inches,relating body dimensions to garment patterns in metric terms.Although an adjustment period would be required,it would actually be easier to work in subdivisions of 100 than in fr

21、actions of an inch. 由于在量體制板推板三個過程中均涉及長度測量， 因此將尺寸轉化成米制在這三個方面將會 體現出最大的影響。 設計師和樣板師習慣于厘米， 毫米而不是英寸， 所以人體尺寸和服裝樣板要用公米制來表述。 Patterns,like garments,must provide for different sizes.Grading is the method used to increase or decrease the sample-size production pattern to make up a complete size range.For examp

22、le ,a size 10 is made larger to a 12,a 14,and a 16,and smaller to an 8 and a 6.Each company sets predetermined grade specifications ,or rules. 像服裝這一類的樣板必須提供不同的型號， 推板就是在樣品號型紙樣的基礎之上， 通過增加 或減小尺寸的方法來完成全部尺寸。例如，通過 10 號的號型向大推出 12，14 和 16，向小 推出 8 和 6 號，每一個公司都會設置預先確定的推擋規(guī)格。 In addition to knowing basic mathem

23、atics,the grader(like the patternmaker)must have good visual judgment in order to redraw the curve of an arehole or neckline ,to decide on height and width relationships for pockets,and so on. 除了要了解基礎數學以外，推板人員 （像制版人員一樣）一定要有很好的視覺判斷力，以便 修整袖籠和領口的弧線，以及判斷口袋高于寬之間的關系等等。 Fromall the pattern pieces of varyin

24、g sizes,a master marker is made .The marker is the cutting guide or pattern layout,made on a sheet of paper the same width as the fabric .The purposes of the marker are these: 1.To place pattern pieces close together to avoid fabric waste.The desired economical use of space is called a tight marker.

25、 2.To accommodate the ccutting order,or to lay out the patterns so that each size and color are cut as needed. 根據每片樣板的尺寸一張排料圖就完成了， 排料圖指導排料和裁剪的操作， 它是在一張和面 料同樣幅寬的紙上繪制的。 1 為了把紙樣緊密排列以免浪費布料，這種節(jié)約的排料措施叫做緊湊排料。 2 調整剪裁的順序或排列樣板的位置，這種每種尺寸和顏色的衣片就能按照需要裁剪。 All woven and knitted fabrics and some nonwoven fabrics ha

26、ve direction,or grain.The grain is determined by the position of the yarns and fibers in the fabric.In woven fabrics ,the grain must be made straight.Then pattern pieces must be cut out in the same direction as the grain if the garment is to hang properly. Woven fabrics are constructed by interlacin

27、g yarns at right angles to each other.There are three grain directions. 所有的機織物，針織物和某一些非織造物都有方向或紋理 。紋理是由織物當中紗線和纖維 所處的位置決定的。在機織物中紋理必須是垂直的， 如果服裝穿著后服帖， 那么裁片必須要 按照紋理方向裁剪。 機織物是由彼此垂直的紗線形成的，它有三種紋理方向。 You have seen that the straightened ends of off-grain fabric do not match when it is folded lengthwise.To straighten an off grain fabric ,open it up and pull on the short corners.You may wish to ask another person to help you do this .Then,fold the fabric again,placing the selvages together.Check to see if the raw edges of the grain has been changed.Repeat this process