技术文献资料翻译
专业
学生姓名
班级
学号
指导教师
完成日期2011年3月21日
CHARACTERISTICES of the modern qipao’s reforms
1. Prerequisites of reform.
(1) In order to adapt to life there must be reform. Nowadays, the number of unemployed increases more and the flourishing of the market, the pace of people’ lives becomes faster. Modern life in comparison with the relaxed and easy life of the 1930s is more vigorous and enthusiastic, full of different kinds of activities including reading. Sports, arts and literature, science and technology, tourism, visiting friends, household chores and work. People like to have a high -quality life, which is rich, exciting and pleasant, and attire should not be an obstacle to activities. Therefore it is more important to pay attention to as après to. So the high sales and popularization of professional and practical garments are inevitable. In China it must work on this way, as it does all other countries. The traditional Chinese-style women’ qipao lacks this kind of adaptability, so it must be improved in order to have a better future.
(2) In order to achieve the vogue there must be reform. The present changes in fashion ideas determine the necessity of improving old attire. It is just like someone will be bored of fruit if he eats the same fruit each day, or bored of food if he has the sane food every day. Attire must not only be nice, but also be in vogue. Out-of-date garments will bring about a behind-the-times feeling. It is a normal psychological response that contemporary people demand fashions stamped with the new times. Since the 1920s and 1930s, many changes have taken place, such as TV sets replacing radios, highrises replacing old courtyard buildings, automobiles replacing rickshaws…People kike to have clothes conveying modern feelings, so why shall the Qipaio not be improved?
(3) In order to carry out economic reconstruct there must be reform. In the last20 years, China’ economy has been growing. Buying different kings of clothing to suit different types of activities has become the practice. One of the outstanding examples is that besides high quality new concepts there are also the criteria for selecting evening and wedding attire. This reflects that income level s a necessary condition for choices to become affordable. When overseas Chinese come back to China, they see great changes
and enthusiastically exclaim: It’s time to rejuvenate Chinese-style garments. It’s tine for recovering the Qipao’s positing. So reforms of the Qipao must be carried out to serve the modern people.
(4) In order to adapt to the new century there must be reform. In the 21 th century high technology will be the strong driving force in the development of fashion designing, manufacturing and marketing. To satisfy people’s demands future garments shall not only satisfy physiological and safely standards, but also aesthetics and convenience along with individuality. When we make a detailed investigation of the market, we can find flaws on mass production, while, on the contrary, small batches and multi-type production are more welcomed and have better sales, depicting development trends in the future garment market. Only by raising the quality of products, and accelerating changes, especially towards individuality, can garment production satisfy the rising demands of consumers. High technology as a driving force should be reflected in the rising demands of garment fabrics, production techniques and on improvement of equipment and facilities. The Qipao is itself a traditional garment with high-quality requirements in tailoring methods, whether in the past, present and future, so it shall never be a product for mass production, and it is very much suited to the element of the new century, concentrating on image and modeling through special designing. As we enter into new areas of material, technology and equipments in the 21st century, only with times. Thorough this, garment industry can develop.
(5) In order to embody new values there must be reform. Some analyze that the reasons contemporary women do not like to wear Qipao are as follows:
a.The Qipao dress makes too much demand on the wearer’s figure, and only those who have well-proportioned figures, with slightly slanted shoulders, narrow waist, and well-endowed chest and buttocks, will be most suited. It seems that only models performing on the stage are suited to the Qipao, and as for common people they have been excluded.
b. In recent years, mimes, mater d’s of star hotels and high-class restaurants have put on the Qipao as their uniform, and this phenomenon has distorted people’s recognition of
the graceful identity of the Qipao, and created a distance from the former affectionate feelings for it.
c. People used to think that the Qipao was a dress suitable only for middle-aged women with high-status and dignified characters; and that Qipao attire was only complete if accompanied with brilliant and glamorous head accessories. On the whole it it has an image of “madame or mademoiselles, ” and young women., even those who have an interest on the Qipao avoid it, for “being out of keeping with the times. ”
d. The Qipao restricts people’s movements, such as when bicycling, rushing into public buses, walking with big steps, etc. ,so it is difficult for many women to accept Qipao.
2. How to reform the Qipao.
(1) A change in sensibility is necessary for ideological reform. In order to enhance China’s clothing and accessories culture and rejuvenate Chinese garment, there must be:
a. For a solid sense of identity, it is necessary to have a clear understanding of the traditions, culture as well as artistic wealth of one’s nation, together with the orgins, background and development process of clothing and accessories culture.
b. For a sense pf the times, it is necessary to study the competitive focus of the contemporary garments industry, to have a profound understanding of contemporary social life, to keep up with advanced epochal on a national basis. In this way, we can confidence, while avoiding possible deviations. This kind of power of common sense feelings is especially important for a strong vision of Qipao’ reforms.
(2) A focused understanding is necessary for re-creation through reform. Already reform of Qipao has not been a simple change of forms and contours, but has been recreation on the basis of realizing its cultural significance and the subtle effects of decorative accessories. The master Chinese traditional painter Qi Baishi evaluated the contents of his own painting as a kind of “between similarity and non-similarity, ” that is to say, shrimps are swimming in water, With a free style of painting the shrimps have been vividly depicted both in substance and in mood with their long antennae and deft tails. Therefore it is just like “soundless better than the sounds,” or “between similarity
and non-similarity.” What Mr. Qi looked for was not only “similarity in form” but also more important “in demeanor.” The reformed Qipao must impress people with its figure, its figure, its feeling, its spirit and its beauty. It should not be traditional, 300-years old, nor 20 th-century modern—but contemporary, even 21th century.
(3) It is necessary to preserve tradition yet study what’s vogue. The so-called preservation of tradition should be carried out with a foundation of deep understanding and study of tradition. Since the old Qipao has its own origin, source, development and evolution, its emergence and existence have a clear stamp of the times. The Qipao’s structure, coloring, selected fabrics, decorative accessories and tailoring process all have their antecedents, sources, and symbolic out in accessories with one’s own inclinations. The great value of the Qipao is the reason this style of dress has been handed down generation after generation.
What’s in vogue or prevalent in time and space, possesses outstanding period characteristics. Its spontaneous and changeable cycles and speed must be kept up with and handled according to the times. In order to suit the life of each period, there must be study, research, exploration and follow-up. The reform of the Qipao must possess the earlier two conditions, otherwise lack of development, or too much avant-garde will result in incompatibility with present needs.
(4) To import the Western-style on order to combine with the Chinese-style. Early in the beginning of the 20 th century European and American- style garments spread into China through Japan and diplomatic exchanges. Influential Western-style garments have occupied the Chinese market in the last hundred years, competing with Chinese-style garments. In recent years the general trends of international garments has influenced and guided Chinese consumers with strong and changeable periodic prevalence, so the development of Chinese-style garments has only one easy and short-cut route, and that is to combine the fashions in order to appeal to the masses. This is the tread of the times.
In recent years China reformed “Chinese-Western-style” garment have been most popular. It is a type of dress, which mixes the traditional Qipao with the best qualities of the Western- style garments so as to transform the limited aspects into appropriate new
style of garment. For example, the collar of the Chinese-style garment has been changed into turned-down or collarless style, the slanted large front into front with buttons down the middle, the side site slit on the right and the left moved to the front, back or bias, the connected cut sleeves into a ready-made style, the frog closures (buttond and button holes) into fabric-covered buttons, and the wholly handmade process into half-handmade and half-machine-made. These kinds of clever reforms give the old dress an instant rejuvenation.
Today, at the end of the 20th century, there is a popular worldwide trend of retro styles and Eastern culture has become the hot spot of exploration which has aroused the enthusiasm of some Chinese fashion designers to fall deeply in love with domestic national clothing and accessories and stare to pay great attention to: understanding the necessity pf reforming Chinese-style garments with modern aesthetic national clothing Chinese-style garments with modern concepts; planting roots in China and establishing national brands; and combining tradition with modernity to preserve the Qipao’ vitality .
In their explorative reforms a group of fashion designers with their own understanding of national dress have created some new works with different sryles which have taken the urban spotlights. One type takes modern aesthetic ideas and dress sense as the foundation to introduce the spirit of traditional garments and, through division of structure and reform of clothing and accessories also break through the restrictions of traditional garments and merge modern causal styles with Chinese-style garments. The other type combines China’s traditional culture and simplified European and American styles to stress individuality and present urban sophistication and subtle classic charm with imported fabrics and drape cutting method to satisfy the needs pf major customers. The third type manipulates unique effects through strong contrast and selects not only fashionable fabrics to complete the national pattern, but also classic fabrics to have them embodied in modern fashions. Some other types preserve traditional style while simultaneously introducing modern ideas for a bohemian character which breaks through the original disposition of Chinese-style garments and changes its traditional “stereotyped face,” so as to give retro from avant-garde fashion.
For many years different kinds of experimental reforms have crept in to the different kinds of garments compatible with different seasons and ages, and achieved effective results.
Among them the most outstanding achievements are in evening dresses and wedding dresses. As for other Chinese-style garments most of them are reflected in the
Chinese-style jacket and trousers which have been promoted and popularized from urban districts to mountainous areas of the countryside. The fact has proven that the reforms are compatible with the needs of the new life, and new-style dressing ideas have been accepted by the vast masses and also proved that the reforms have awakened the Chinese people’s pride.
“winds from China ” blowing strongly in the West have given a terrific shock to the Chinese people’s national enthusiasm. Through the fashion market young people have accepted the trends set by the fashion designers once again. In summer wear the miniskirt accompanying a Chinese-style sleeveless and close-fitting jacket or with slanted and unsymmetrical front, or multi-colored small tunic, looks very pretty with infinite youth internet. For fall and winter wear, the quilted Chinese-style down vest accompanying different types of woolen sweaters and jeans in different colors looks casually smart. Young people’s new fashions and national feelings originating from the yellow earth really mean that reform is the requirement of the times.
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外文文献原文+译文 原文 The study on the design of neuter clothing H ous e W Abstract Social and economic development, social thought, opening up and the progress of science and technology, men and women style presented the diversified pattern of neuter the fuzzy gender differences in style, from the beginning of non-mainstream des ign till n ow has develop ed i nt o on e of the mains t ream fas hi on d es ign style. Fashion brands have launched in recent years, the neutral flavor of fashion, neuter clothing market share of more and more, neutral fashion, with its broad group of sex leads the urban street fashion. Neutralization of free and open way of life style, gave people a comfortable and enjoyable. K ey words: Neut e r; Cl ot hing; Gender roles; Design 1 Introduction The beginning of the 20th century the rise of the feminist movement, make the neutral clothing as a kind of style into the line of sight of people. In the 90 s, the neutral clothing has used by each big brand clothing as one of the fashionable e lement s, s uc h a s dust coa t w i th a ne ut ral style, s ui ts, t-shirt s and j e ans have bec om e people like everyday clothes. Neuter clothing style is a simple, pure; reject all multifarious mincing, personalized style. As a special kind of clothing style, neuter clothing fashion has been intensified in the social life, so it is necessary for us to study the clothing neutralization phenomenon, to study its causes and the development of sociology. This article mainly from the sociological association as well as the relationship between men and women clothing and gender status in the society, which is based on analyzing the change of the study the social basis of the neutral clothing appear; Again from the social system, economic development, cultural trend and fashion designers to the influence of the neutral clothing style, etc., it is concluded that the neuter clothing phenomenon is the development of social consciousness, the sexual role transformation, the new clothing design trends are affecting the results.
文献信息： 文献标题：Evolution of Fashion Design in the Era of High-Tech Culture （高科技文化时代服装设计的演变） 国外作者：Galina Mihaleva，C.Koh 文献出处：《International Scholarly and Scientific Research and Innovation》,2016,10(7):2447-2451 字数统计：英文2079单词，11462字符；中文3549汉字 外文文献： Evolution of Fashion Design in the Era of High-Tech Culture Abstract Fashion, like many other design fields, undergoes numerous evolutions throughout the ages. This paper aims to recognize and evaluate the significance of advance technology in fashion design and examine how it changes the role of modern fashion designers by modifying the creation process. It also touches on how modern culture is involved in such developments and how it affects fashion design in terms of conceptualizing and fabrication. By comparing case studies, existing fashion design examples and crafting method experimentations; we then spot patterns in which to predict the direction of future developments in the field. A breakdown on the elements of technology in fashion design helps us understand the driving force behind such a trend. The results from explorations in the paper have shown that there is an observed pattern of a distinct increase in interest and progress in the field of fashion technology, which leads to the birth of hybrid crafting methods. In conclusion, it is shown that as fashion technology continues to evolve, their role in clothing crafting becomes more prominent and grows far beyond the humble sewing machine. Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing. INTRODUCTION It is common knowledge that the environment we live in greatly influences the
文献出处：A Dehghani. The application of digital printing in fashion design [J]. International Journal of Clothing Science and Technology, 2015, 16(2): 263-271. 原文 The application of digital printing in fashion design A Dehghani Abstract The appearance of digital printing for textiles printing provides a new train of thought, digital printing with the current textile fabric printing a variety of requirements of the market of printing technology, including high quality printing precision, high efficiency of printing on reaction time and the printing of the diverse demand, these advantages directly promoted the digital ink jet printing in the rapid development of textile fabric printing direction. In this paper, the design method of the digital printing design of different style and means of decoration and design method in the fabrics for summary, it is concluded that digital printing design cuttings in fabric printing, clothing apparel printing method and the application of the traditional fabric secondary design and decorative effect. Through the above research, digital printing and garment design and garment style between the relationships between the shapes, thereby further to bring into full play the advantages of
英文翻译： The unique expression in fashion design Abstract: With the social progress and people's aesthetic awareness, clothing design requirements are constantly changing, not only beautiful, comfortable, personalized for different purposes, and more and more people started to pay attention the unique design of the clothing. unique expression of the clothing design has something in common, in common, there are three factors most typical one of the means of the use of the plastic arts; is to follow the basic rules of the plastic arts; the pursuit of art content and beauty of form harmony and unity. The face of increasingly fierce competition in society, from clothing unique starting to play to their strengths, so that the costume design perfected. Key words: aesthetic sense; costume design; uniqueness; expression Introduction With the rich substance of social development, improved quality of life, the pursuit of unique clothing is also more than plus strong, the face of the popularity and unity to the mass production of clothing has become a problem to be solved in order to fashion designers. An important design point, then become a unique expression of the costume design costume design costume design unique refers to the characteristics of the presentation of the representative from the clothing on the whole, it is unique content and form unity. China fashion design unique expression as a complete system of disciplines to study the ancient times to now there, but the uniqueness of expression in fashion design is not perfect, therefore, the uniqueness of this study fashion design to express Modern fashion design is of great significance. 1. The unique overview of clothing In short, The unique nature of the clothing is the clothing unique. In a broad sense refers to the presentation of the representative characteristics from the whole of the clothing works, it is one of the unique form and the objectivity of the unity of the unity of content, costume designer on the subjective aspect of creative and clothing subject matter difficult to find words to express, but it is not difficult to make us feel unique style. The unique nature of the clothing, but also refers to the values, artistic characteristics and inherent character of a nation, an era, a genre or a person's clothing in the content and format of the show out. The unique nature of the appearance of the mind, the pursuit of the realm of fashion design in the final analysis is unique in design and positioning, the unique expression of the costume design also reflects the designer's unique creative thinking and the pursuit of art also reflects the distinctive character.
Vol. 3 (3), April, 2009 ISSN 1994-9057 (Print) ISSN 2070-0083 (Online) Effect of Seams on Drape of Fabrics (Pp. 62-72) Sukumar Nachiappan- Lecturer, Textile Engineering Department, Faculty of Engineering, Bahir Dar University, Bahir Dar, Ethiopia. Email: sugumaraan@https://www.doczj.com/doc/0a5149161.html, Gnanavel. P. - Lecturer, KSR College of Technology, Tiruchengode–637 215, TamilNadu, India Ananthakrishnan, T.- Professor and Head, Department of Textile Technology, Government Sri Krishna Rajendra silver jubilee Technical Institute, Bangalore – 560 001, India Abstract Drape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyse the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.
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服装英语论文 文章一 Change Of Chinese Clothing Tradition An outstanding characteristic of traditional Chinese clothing is not only an external expression of elegance, but also an internal symbolism. Each and every piece oftraditionalclothing communicates a vitality of its own. This combination of external form with internal symbolism is clearly exemplified in the pair of fighting pheasant feathers used in head wear originating in the battle wear of the Warring States period (475-221 B.C.). Two feathers of a ho bird (a type pheasant good at fighting) were inserted into the head wear of warriors of this period to symbolize a bold and warlike spirit. Archaeological findings of 18,000 year-old artifacts such as bone sewing needles and stone beads and shells with holes bored in them attest to the existence of ornamentation and of sewing extremely early in Chinese civilization. Variety and consistency in clothing were roughly established by the era of the Yellow Emperor and the Emperors Yao and Shun (about 4,500 years ago). Remains of woven silk and hemp articles and ancient ceramic figures further demonstrate the sophistication and refinement of clothing in the Shang Dynasty (16th to 11th century B.C.). The three main types of traditional Chinese clothing are the pien-fu, the ch'ang-p'ao, and the shen-i. The pien-fu is an ancient two-piece ceremonial costume of a tunic-like top extending to the knees and a skirt or trousers extending to the ankles. The ch'ang-p'ao is a one-piece garment extending from the shoulders all the way to the heels. The shen-i is a cross between the pien-fu and the ch'ang-p'ao; it consists of a tunic and a skirt or trousers like the pien-fu, but the tunic and the skirt are sewed together and essentially one piece like the chang-pao. Consequently, the shen-i was the most widely worn of the three types. Typical of these three types of clothing were wide and voluminous sleeves and a very loose fit. Tunic and trousers or tunic and skirt, utilized a very minimum number of stitches for the amount of cloth used. So because of their relatively plain design and structure, embroidered edgings, decorated bands, draped cloth or silks, patterns on the shoulders, and sashes were often added as ornamentation. These varied designs came to be one of the unique features of traditional Chinese dress. Darker colors were favored over lighter ones in traditional Chinese clothing, so the main color of ceremonial clothing tended to be dark while bright, elaborate tapestry designs accented. Lighter colored clothing was worn more frequently by the common people for everyday and around the house use. The Chinese associate certain colors with specific seasons: green represents spring, red symbolizes summer, white represents autumn, and
原文: Clothing brand diversification In the present world economy under globalization, brand competition has become the primary means of market competition. In recent years, the domestic garment industry is developing rapidly growing number of clothing brands, but the influential brand-name is not so mushCompetitive brands has become a magic weapon, a weapon to attack the market, garment industry is no exception. In the course of development of the domestic apparel into the "age-targeted" an important phase of the study international and domestic brand-name clothing case, his understanding of brand strategy and positioning for fashion designers and operators of many enlightenment, so the creation and development of more domestic Brand name. With the community as a whole gradually increase brand awareness, consumer brand of clothing is not just the selection criteria remain in the product itself, but through the implementation of brand planning, brand culture by infection, the establishment of trust in the brand image In this competition globalization advances in technology, ever-changing consumer demand, population rapidly changing times, the only guarantee of survival and development of the brand is always keep in
中国传统服饰在现代服装中的设计应用 --唐朝服饰元素 专业名称：服装设计学号：200805112150 学生：刘新华 指导老师：李君 摘要： 中国有渊源的历史和丰富的文化内涵，中国元素是中国文化的缩影和精髓。在提倡“民族的就是世界的”理念的今天，中国元素也越来越多的被服装设计师们运用在了自己的设计中。然而，简单的玩味中国元素，是不能让中国的服装设计走出困顿的。有接纳的胸怀，对待新观念、新现象要选择性的更加宽容，要学会吸收和汲取，要学会把自己放进去，去接受，去思考，这样才可能使设计作品能与时代同步。 其中唐朝是我国封建社会经济、文化发展的鼎盛时期，唐代服饰以其众多的款式、艳丽的色调、创新的装饰手法、典雅华美的风格，成为唐文化的重要标志之一。唐朝对现代服饰和对以后服饰业的发展有着重大影响，唐朝元素仍一直被应用于现代的服装设计中。 中国传统服饰既具独特性，又共同遵守着中华传统审美的共性，其中蕴含着丰富的服饰审美语言；且具有相对的稳定性和代表性。对它进行总结和研究，不仅可以深化民族传统服饰文化的内涵，也有助于民族精神的传承与弘扬。 关键词：传统服饰，唐朝服饰，现代服饰，民族元素，设计应用
目录 第一章绪论 1.1研究背景 1.2研究目的 1.3国内外研究状况 1.3.1国内对中国传统服饰的研究状况 1.3.2国外对中国传统服饰的研究状况 第二章传统服饰文化中唐朝服饰文化 2.1唐朝服饰产生的原因 2.1.1政治繁荣 2.1.2 文化的开放 2.1.3唐皇室固有的胡人心态 2.1.4唐朝社会审美情趣 2.1.5唐朝女权意识的崛起 2.1.6佛教盛行 2.2 唐朝服饰 2.2.1 唐朝女子服饰及其特点 1 女着男装 2着胡服 3 襦裙服 2.2．2唐代大袖衫 第三章唐朝服饰元素的特点及应用 3.1唐朝服饰元素 3.1.1面料 3.1.2款式 3.1.3色彩 3.2现代设计中的应用 第四章对融入西方现代服装设计的中国传统服装元素的分析结语
毕设附件外文文献翻译原文及译文 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. Clothingdesign studies and the creative role of design inspiration, during the early informal and actual clothing d esign p r oc ess e si sope nt o sci ent ifici n vestigationli ke ae s theticallyd r ivendesig ns in otherdomains. Studying creative fashiondesign asprocess and product isseen more problematic than other design-led industries, as the interaction between thedesignelements and principles, material properties, adaptation and modification ofdesigni ns pi ra tion are c ompl e x. Clot hi ng design, as a variety of ae s t he ticand functio na l design processes, shares many characteristics of engineering designprocess. Research and observation are critically important in the fashion business.By researching and observing, designers gather background information fordesign,including studying current and future fashion trends and try to predict what them a jori t y of t he ir c ustomers w i ll want in the forese e able f ut ure. In orderto keep up withthechangingworldoffashion,fashionawarenessshouldbecomesecondnatureto every clothingdesigner. Design and clothing a s a visual and tactile sensor ydesign It is well known that design is two things: process and product, as verb andnoun.As design problem solution process, it is researching, setting the source ofinspiration,planning,organizingtomeetagoal,carryingoutaccordingtoaparticularpurposeand creating.Asproductitistheendresult,anintendedarrangementthatistheoutcome of thatprocess orplan. Clothing is an example of applied design, eventhe most exciting, originalidea must show awareness of its practical purpose and environment. We realisethatsomeartispure,"artforart'ssake"butmostcreationsinthedailyworldareforapractic al
服装设计中的计算机辅助方法 三维计算机辅助设计（CAD ）技术正逐渐扩散到服装的设计和制造应用 领域。目前，服装行业普遍使用的二维CAD 工具。预计，三维设计工具，将成为未来服装行业中不断发展的技术。服装产品的设计的基本问题是合体性的问题以及相关的二维图形生成的问题。最终目标是设计和生产非常合体的个性化服装，而三维方法是通过努力可以实现这一目标的最合理的办法。三维方法包括几个关键因素：其中包括参数化三维人体模型;三维服装模拟;三维图案设计，并 3D/2D 模型转换。 做这个课题的目的是提供一个平台，供研究人员回顾过去的技术发展，并为 今后研究三维服装设计方法找出可能的方向。这里选择了题目相关的五篇论文，为服装行业提供三维应用程序发展的背景和技术。第一份文件是一个粗略的审查织物仿真技术，该技术奠定了基础的三维服装设计。接下来的三篇论文详细介绍了虚拟的环境中的三维服装设计。最后一篇介绍了将三维服装转换为二维样板的新技术。 第一篇论文是从Choi and Ko 得到的，有关织物仿真研究问题。作为一项服 装设计和修改的基本技术，物理为基础的织物仿真技术被用来产生织物运动的逼真效果。这篇论文介绍了织物仿真技术的三个方面：（1）服装结构; （2）基于物理的模拟，和（3）碰撞检测和响应。所面临的技术挑战，即创造更多的实际 成果;实现更快的运行时间，制造/模拟更为复杂的服装，是需要进一步研究的突 出问题。 Volino 等在第二篇论文中提出的，是一个框架，它符合服装行业虚拟服装设 计和原型制作的需要。他们的做法集中在交互设计，模拟和可视化功能。作为先进的虚拟服装仿真技术在过去十年中的总结，本文中介绍的框架集成了国家最先进的具有创新设计工具的物理模拟算法，提供高效率和高质量的服装设计和原型制作程序。 第三篇论文介绍了一个综合的环境，这使得设计师能够通过分析服装虚拟原 型和仿真结果验证他们的风格和设计方案，因此，物理原型的数量和作用会减少。和上一篇论文中提到的一样，本文介绍的服装虚拟原型的制作方法也是以物理为基础的。他们能够建立模型确定各向异性织物的经纬向性能。牛顿动力学的限制适用于网格，以确定最后形成的合体服装的形状。本文中提到的通过应用研究和对几个男女性服装项目中CAD 建模和物理模拟的分析，用来证明他们的系统功能。 在第四篇论文中，作者提出了一种同步三维服装仿真结果更新算法，用于二 维服装纸样设计的修改。用这种做法，对二维模式的修改无须每次重复整个三维服装合体性仿真，样板修改过程的效率被大幅度提升了。该算法的另一个优势是，二维服装纸样的网格拓扑结构被保存，从而通过保持矩阵方程一致性简化了数值格式。 为了把用户制作的三维服装转变成良好的二维板式，麦卡特尼等人在第五篇 论文中介绍了一种方法。他们的算法，通过采用一个正交应变模型来转换锁定在
服装设计中英文对照外文翻译文献 (文档含英文原文和中文翻译) College men’s fashion A brief review of the literature on the social psychology of clothing reveals that young women are more frequently research participants than men . This may be because women far outnumber men in majoring in clothing design and apparel merchandising and thus are more easily accessible as research participants than men. Regardless of why clothing research includes more women as research participants, this focus on women has resulted in a dearth of research on young men. In support of this, Reilly and Rudd (2007) report that research has investigated men’s clothing preferences and habits to a lesser extent than women’s. men’s ideas about fashion and its importance in their lives have been overlooked. Despite the limited research on young men, consumer groups comprised