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1、如有侵权，请联系网站删除，仅供学习与交流外文翻译-服装设计中的创意性灵感【精品文档】第 12 页重庆理工大学经济学专业英语作业姓 名：崔健 学 号：11302990510 班 级：经济学2班 任课老师：张劼 译文服装设计中的创意性灵感法蒂玛 梅特摘要研究目的：本文的研究目的就是评估服装设计过程中的创造性灵感源。它旨在分析服装设计行为和服装设计过程的早期阶段，设计灵感的本质是什么，如何收集灵感来源以及它们是如何影响服装设计的创造力和原创性的。研究方法：目前，已经有很多的学者对成衣服装设计进行了而一系列的实证研究；实地观察、半结构化访谈和约束和半驱动型设计任务。这一实证研究方法，可以有效的使用在传
2、统的知识获取方法不足的情况下，特别需要对一个行业进行一个广泛地了解，比如：时尚界，不只是要对单个人或公司进行实证研究，要尽可能选择更多的案例进行研究。研究结果：识别服装设计过程中的灵感来源的主要类型，并提供每来源的相关信息。认识到这些灵感来源可以帮助设计师来创建有创意的设计元素。为了培养创意，灵感的来源在整个创意阶段的设计过程中，以及在服装设计研究计划的早期阶段发挥了重要的作用。创新性：本文突出强调了创造力和创意灵感来源在服装设计过程中的作用。对服装设计师和服装公司都提供了很多实际的帮助。关键词: 服装设计；服装；创造性思维；设计安排；设计管理服装设计是一个包含视觉和触觉的感官设计众所周知，设
3、计包括两件事情: 工艺创造过程和产品展示，这两者之间的关系就好比动词和名词的关系。作为一个设计问题解决方案的过程,它是灵感的来源，并通过计划、组织以实现一个最终目标。而产品是其计划的、最终设计的结果。服装就是应用设计的一个例子，即使是最激动人心的、最初的构想也必须向人们展示其实用目的。虽然我们已经意识到一些艺术是纯粹的，即“艺术至上艺 术”，但是，世界上大多数艺术作品设计的最初目的都在于其实用性。设计作为一个工艺过程，应当考虑和计划实现某一特定的目标，并适时进行创新。从本质上讲，设计过程的步骤与顺序同样应当考虑产品的实用性。这些步骤与管理规划的过程非常相似。人为设计的产品和服务可以分为两大部类
4、：感觉和行为。感官设计是通过感官而获得的，可以将其分为视觉、听觉、嗅觉、触觉和味觉的获得。行为设计是有计划的行动。然而，许多产品的创作过程都包括感官设计与行为设计两个方面，因为设计灵感需要通过感官获得并通过行为来解释。例如，一场时装表演既包括感觉设计也包括行为设计。服装设计的灵感来源服装设计师从哪里获得新款式设计的构想和灵感呢?答案即灵感无处不在。实际上，任何视觉和触觉上的感官体验都可以是服装设计灵感的源泉。通过电视，设计师可以体验五彩缤纷的全球娱乐世界。在看电影的过程中，设计师则能感受世界各地的艺术与生活方式。通过国际经销，电影观众可以通过有设计灵感的服装接受新时尚。博物馆展品、艺术节目展示
5、、世界事件、博览会、剧院、音乐、舞蹈和旅游都是时装设计师的设计灵感来源。过去的时尚也是他们一个丰富的设计灵感来源。虽然，对于新的和刺激人心的事物，服装设计师们需要时时保持警惕，但他们从来不会忘记过去，通常情况下，他们会采用新的方式去利用旧的东西。如上所述，一组服装设计的灵感来源多种多样。灵感来源往往与社会“时代精神”（也称之为“时代思潮”）息息相关。在对当前时尚了解的前提下，不断寻找各种创意和灵感源泉，例如博览艺术品和书籍，去巴黎和米兰旅行并进行考察，参观博物馆，或行走于各国观察不同的人群等。我们发现，当直接接触创意来源时，设计师们是最具创造力的。另一方面，在时尚界，服装设计的创意过程包括两种
6、基本方法:(1)实物能激发服装设计的创作过程；(2)概念化的服装设计过程，如源于宇宙的艺术、大自然或产品。众所周知，高调时尚的“名誉”设计师提出了这样一个概念模型，为了使其更具有创造力和原创性，我们可以称之为主旋律。强调以设计为先导的产业，其设计思想的来源包括先前设计的产品、人工产品、自然物品与自然现象。就服装设计来看，之前的设计风格、面料和其他配件在设计师的灵感来源中发挥着十分重要的作用。尽管人们已经广泛认可，大部分的设计过程都是在修改先前创意理念的基础上完成的，深受编织物的启发，服装设计师们便开始寻找设计的新款式和风格。在这种情况下一个样式通常为起点的技术材料的可能性。例如，弹力纤维面料的
7、发展激发了设计师们设计紧身服装的灵感。服装及其他产品服装设计师从现在和过去的服装中获取灵感。时装或成衣设计师的作品，历史和民族服装，街头服饰都是服装设计师们的灵感源泉。他们通过参加时装秀、逛商店来获悉时下的流行趋势，观察名人着装，确定新服装季的显著特点以及研究市场引领者和竞争者的服装设计思路。服装设计师们同时也对时尚杂志和潮流读物上的服装照片进行研究，以此获得对潮流趋势的大致了解。照片虽然没有办法展现技术细节，但它能够展示设计灵感及目标服饰的意象。历史和民族服饰设计者的工作就是去发现或体会时代潮流，去获得设计想法和灵感，并将它们转化成有形的东西，这些东西往往是有历史和过去的。设计者们经常从过去
8、（近代或历史）或民族服饰中获取设计灵感和主题。服装可以分为两类：历史服饰（历史上某个时期的服饰潮流）和民族服饰（一个国家或地区的传统服饰）。博物馆的服装藏品，历史电影和书籍都是极佳的服饰参考录。服装设计师通常对每个历史时期的服装设计元素和设计原则的结合具有敏锐的洞察力。高级时装设计师的设计主题往往基于从历史和民族服饰中获取的灵感。各个历史时期的潮流服饰轮廓和流行的服装细节是设计师的灵感源泉。例如，帝王式服装轮廓在潮流史上反复流行，文艺复兴时期的荷叶领或荷叶袖也许能激发一个设计系列。约翰加利亚诺的2005春夏系列服装是以历史服饰为设计灵感的一个典范。约翰加利亚诺以“帝国年代”为主题，从拿破仑时代
9、的形象中获取灵感。皇帝的盾徽，像拿破仑皇后约瑟芬德博阿尔内一样性感的女人形象都是他的灵感源泉。在这一系列服装中，他还把主题阐释为成衣设计的可穿的拿破仑外衣及约瑟芬长袍。服装设计师也可能受到其他文化的服饰和配饰的影响。他们发现不同文化的民族服饰在颜色，主题，线条，空间融合方面的设计灵感不谋而合。全球化的环境让来自遥远的世界角落的服装颇受欢迎。设计师们从外来文化迥然不同的服装款式和面料中寻找灵感。结论实际上任何视觉和触觉感官都可以是服装设计灵感的源泉，设计理念不只是凭空想象。设计师需要收集特殊的和原始的设计素材。因此，更有创意和原始灵感的来源在服装设计中起着重要的作用。研究和认识是创造力的关键，设
10、计师必须学会用眼睛观察周围的世界，拓展他们的观察技能，吸收视觉创意并融合到他们的作品中去，最终转换成他们的客户会喜欢的衣服。设计过程表明，了解现实的外界的影响和需求，广泛的研究和逻辑思维秩序，消耗了设计师大量的“精力”，但只有这样才能成功设计出时尚的产品。通过本文的研究可以得出灵感来源于设计的早期阶段，并贯穿整个设计过程中，服装设计灵感来源的作用可以概括如下：越来越多的创意和创造力；使设计过程变得简单；直接获得协调的配色方案；保持和谐和统一的集合；从产品灵感中派生出艺术，尤其是从以前的衣服；了解季节性时尚款式；从设计框架中绘制图纸。原文The creative role of sources
11、of inspiration in clothing designFatma MeteAbstract: 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 early stages of the clothing design process, what is the nature of design inspi
12、ration, how sources of inspiration are gathered and how they affect the creativity and originality in clothing design. Design/methodology/approach - A progressive series of empirical studies looking at ready-to-wear clothing design has been undertaken; in situ observation, semi-structured interviews
13、 and constrained and semi-constrained design 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 needed, as in the fashion industry, not
14、just a case study of a single individual or company. Findings - Identifies the major types of idea sources in clothing design and provides information about each source. Recognises that these sources of inspiration help designers to create design elements and principles of individual designs. In ord
15、er to foster originality, sources of inspiration play a powerful role throughout the creative stage of design process, and also in the early stages of fashion research and strategic collection planning. Originality/value - This paper highlights the role of sources of inspiration and its effect in cr
16、eativity and originality in the clothing design process. Offers practical help to clothing designers and design-led clothing companies.Keywords: Fashion design, Clothing, Creative thinking, Design calculations, Design managementIntroductionSources of inspiration and its personal interpretation, visu
17、ally and technically, play an important role in the design process, in increasing 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 o
18、ther domains. 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, material properties, adaptation and modification of design inspiration are complex. Clothing design, as a va
19、riety of aesthetic and functional design processes, shares many characteristics of engineering design process. Research and observation are critically important in the fashion business. By researching and observing, designers gather background information for design, including studying current and f
20、uture fashion trends 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 designer. Design and clothing as a visual and tactile sensory desi
21、gnIt is well known that design is two things: process and product, as verb and noun. As design problem solution 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 re
22、sult, an intended arrangement that is the outcome of that process or plan. Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practical purpose and environment. We realise that some art is pure, art for arts sake but most creations in the daily
23、 world are for a practical purpose and use. Design as process is planning to meet a goal, and thus applies to everything intentionally created for a purpose. The steps and order of the process are essentially the same regardless of the end product. These steps are very similar to management as a pla
24、nning process.Design as man made product and service falls into two 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, however, includ
25、e 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. Research methodology and findingsThe importance of source of inspiration and their role in creative clothing design has
26、 been little understood and, therefore, rarely received attention in this industry. 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 highly competiti
27、ve manufacturing industry. Their work included a large ethnographic study of the knitwear industry, which produced a detailed design process model and an analysis of the causes of communication problems within design teams. 15 Mkirinne-Croft et al. (1996) tried to explain the fashion design process
28、in terms of quantum mechanics and psychoanalysis and see design creativity as the ultimate mystery; their description of the design process is simplistic. The author has undertaken a progressive series of empirical studies, based on observation and interviews, looking at ready-to-wear (RTW) clothing
29、 design; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empiric approach combines ethnographic observational methods with the knowledge analysis techniques of artificial intelligence. It is effective in situations where conventional knowledge
30、acquisition methods are insufficient, when broad understanding of an industry is needed as in the fashion industry, not just a case study of a single individual or company. In this research, the creative role of sources of inspiration in visual clothing design by novice and expert clothing designers
31、 was assessed through empirical research. As subjects, 16 talented clothing designers, 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 su
32、bjects included advanced fashion design students, seven talented students selected from the third and fourth year of undergraduate studies, and also four students of postgraduate studies, who also works as a free lance or part time assistant designers in the clothing industry. The second group was c
33、omposed of five professional designers with a minimum of 5 years of experience in clothing industry. Sources of inspiration in clothing designWhere does the fashion designer get ideas and inspiration for new styles? The answer is everywhere and everything. Anything visual and tactile, in fact sensua
34、l, can be a source of inspiration for a garment. Through television, the designer experiences all the wonders of the entertainment 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 internat
35、ional distribution, films prime their audiences to accept new fashions inspired by the costumes. Museum exhibits, art shows, world happenings, expositions, theatres, music, dance and world travel are all sources of design inspiration to fashion designers. The fashions of the past are also a rich sou
36、rce of design inspiration. While always alert to the new and exciting, fashion designers 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 an entire collection can come from an infinite variety of sources. Sources of ins
37、piration are often linked to the social spirit of 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 like Paris and Milan, visiting museums, watching pe
38、ople on streets and going on country walks. Designers are most creative when they are directly exposed to the sources of ideas. On the other hand, it has been observed in the fashion industry that there are two fundamental approaches in the creative clothing design processes: (1) material, thus fabr
39、ic, inspired clothing design process; and (2) conceptual clothing design process, such as several themes originated from the universe of arts, nature or products. It is known that the high-fashion name designers typically develop a concept, also called theme, for their collection in order to be more
40、 creative and original. The major types of idea sources in design-led industries are previous products, artifacts, natural objects and phenomena. In case of clothing design, garments, fabrics and trims as previous products, play an important role in sources of inspiration. Although, there is a broad
41、 recognition that much of the design proceeds by modification of previous ideas, in case of fabric inspired clothing design, designers search for new forms and styles with newly developed or invented materials. For example, the development of elasthen fabrics, such as Lycra, inspired designers to fi
42、gure-hugging silhouettes. Garments and other productsClothing designers draw ideas 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, identify
43、 the strong features of a new season, and study how the garments of market leaders and competitors are styled.Designers also study the photographs of garments from fashion magazines and trend publications to gain an overview of fashion. A photograph does not showtechnical details, but it communicate
44、s the mood of a design and the image of the target wearHistoric and ethnic costumesDesigners 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. Designers often turn to the past (r
45、ecent 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, traditional national or regional dress. Museum costume collections, historic films and books are excellent sourc
46、es of costume references.Designers usually are sensitive to the combinations of design elements and principles in each historical 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 histo
47、ric periods provide a source of design inspiration. For example, the empire silhouette recurs periodically throughout fashion history. Another example, the ruff collar or a sleeve detail from the renaissance period may inspire a collection.As an example of historic customs as a design inspiration, J
48、ohn Gallianos 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 emperors coat of arms, the image of a sensual woman such as Josephine de Beauharnais. In this collection he also interpreted this theme
49、 for wearable Napoleonic coats and Josephine gowns for RTWDesigners 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 interest in products from the far reaches of the wor