服裝設(shè)計(jì)創(chuàng)意外文翻譯文獻(xiàn)

服裝設(shè)計(jì)創(chuàng)意外文翻譯文獻(xiàn)服裝設(shè)計(jì)創(chuàng)意外文翻譯文獻(xiàn)(文檔含中英文對(duì)照即英文原文和中文翻譯)譯文:服裝設(shè)計(jì)中的創(chuàng)意性靈感摘要研究目的：本文的研究目的就是評(píng)估服裝設(shè)計(jì)過程中的創(chuàng)造性靈感源。它旨在分析服裝設(shè)計(jì)行為和服裝設(shè)計(jì)過程的早期階段，設(shè)計(jì)靈感的本質(zhì)是什么，如何收集靈感來源以及它們是如何影響服裝設(shè)計(jì)的創(chuàng)造力和原創(chuàng)性的。研究方法：目前，已經(jīng)有很多的學(xué)者對(duì)成衣服裝設(shè)計(jì)進(jìn)行了而一系列的實(shí)證研究；實(shí)地觀察、半結(jié)構(gòu)化訪談和約束和半驅(qū)動(dòng)型設(shè)計(jì)任務(wù)。這一實(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，特別需要對(duì)一個(gè)行業(yè)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。研究結(jié)果：識(shí)別服裝設(shè)計(jì)過程中的靈感來源的主要類型，并提供每來源的相關(guān)信息。認(rèn)識(shí)到這些靈感來源可以幫助設(shè)計(jì)師來創(chuàng)建有創(chuàng)意的設(shè)計(jì)元素。為了培養(yǎng)創(chuàng)意，靈感的來源在整個(gè)創(chuàng)意階段的設(shè)計(jì)過程中，以及在服裝設(shè)計(jì)研究計(jì)劃的早期階段發(fā)揮了重要的作用。創(chuàng)新性：本文突出強(qiáng)調(diào)了創(chuàng)造力和創(chuàng)意靈感來源在服裝設(shè)計(jì)過程中的作用。對(duì)服裝設(shè)計(jì)師和服裝公司都提供了很多實(shí)際的幫助。關(guān)鍵詞:服裝設(shè)計(jì)；服裝；創(chuàng)造性思維；設(shè)計(jì)安排；設(shè)計(jì)管理服裝設(shè)計(jì)是一個(gè)包含視覺和觸覺的感官設(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。作為一個(gè)設(shè)計(jì)問題解決方案的過程,它是靈感的來源，并通過計(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：感覺和行為。感官設(shè)計(jì)是通過感官而獲得的，可以將其分為視覺、聽覺、嗅覺、觸覺和味覺的獲得。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)作過程都包括感官設(shè)計(jì)與行為設(shè)計(jì)兩個(gè)方面，因?yàn)樵O(shè)計(jì)靈感需要通過感官獲得并通過行為來解釋。例如，一場(chǎng)時(shí)裝表演既包括感覺設(shè)計(jì)也包括行為設(shè)計(jì)。服裝設(shè)計(jì)的靈感來源服裝設(shè)計(jì)師從哪里獲得新款式設(shè)計(jì)的構(gòu)想和靈感呢?答案即靈感無處不在。實(shí)際上，任何視覺和觸覺上的感官體驗(yàn)都可以是服裝設(shè)計(jì)靈感的源泉。通過電視，設(shè)計(jì)師可以體驗(yàn)五彩繽紛的全球娛樂世界。在看電影的過程中，設(shè)計(jì)師則能感受世界各地的藝術(shù)與生活方式。通過國(guó)際經(jīng)銷，電影觀眾可以通過有設(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、舞蹈和旅游都是時(shí)裝設(shè)計(jì)師的設(shè)計(jì)靈感來源。過去的時(shí)尚也是他們一個(gè)豐富的設(shè)計(jì)靈感來源。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，但他們從來不會(huì)忘記過去，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)的靈感來源多種多樣。靈感來源往往與社會(huì)“時(shí)代精神”（也稱之為“時(shí)代思潮”）息息相關(guān)。在對(duì)當(dāng)前時(shí)尚了解的前提下，不斷尋找各種創(chuàng)意和靈感源泉，例如博覽藝術(shù)品和書籍，去巴黎和米蘭旅行并進(jìn)行考察，參觀博物館，或行走于各國(guó)觀察不同的人群等。我們發(fā)現(xiàn)，當(dāng)直接接觸創(chuàng)意來源時(shí)，設(shè)計(jì)師們是最具創(chuàng)造力的。另一方面，在時(shí)尚界，服裝設(shè)計(jì)的創(chuàng)意過程包括兩種基本方法:(1)實(shí)物能激發(fā)服裝設(shè)計(jì)的創(chuàng)作過程；(2)概念化的服裝設(shè)計(jì)過程，如源于宇宙的藝術(shù)、大自然或產(chǎn)品。眾所周知，高調(diào)時(shí)尚的“名譽(yù)”設(shè)計(jì)師提出了這樣一個(gè)概念模型，為了使其更具有創(chuàng)造力和原創(chuàng)性，我們可以稱之為主旋律。強(qiáng)調(diào)以設(shè)計(jì)為先導(dǎo)的產(chǎn)業(yè)，其設(shè)計(jì)思想的來源包括先前設(shè)計(jì)的產(chǎn)品、人工產(chǎn)品、自然物品與自然現(xiàn)象。就服裝設(shè)計(jì)來看，之前的設(shè)計(jì)風(fēng)格、面料和其他配件在設(shè)計(jì)師的靈感來源中發(fā)揮著十分重要的作用。盡管人們已經(jīng)廣泛認(rèn)可，大部分的設(shè)計(jì)過程都是在修改先前創(chuàng)意理念的基礎(chǔ)上完成的，深受編織物的啟發(fā)，服裝設(shè)計(jì)師們便開始尋找設(shè)計(jì)的新款式和風(fēng)格。在這種情況下一個(gè)樣式通常為起點(diǎn)的技術(shù)材料的可能性。例如，彈力纖維面料的發(fā)展激發(fā)了設(shè)計(jì)師們?cè)O(shè)計(jì)緊身服裝的靈感。文獻(xiàn)出處：Mete,Fatma."Thecreativeroleofsourcesofinspirationinclothingdesign."InternationalJournalofClothingScienceandTechnology18.4(2006):278-293.原文:ThecreativeroleofsourcesofinspirationinclothingdesignFatmaMeteAbstract:Purpose-Toassessthecreativeroleofsourcesofinspirationinvisualclothingdesign.Itaimstoanalysesimple,generalaccountsofobserveddesignbehaviourandearlystagesoftheclothingdesignprocess,whatisthenatureofdesigninspiration,howsourcesofinspirationaregatheredandhowtheyaffectthecreativityandoriginalityinclothingdesign.Design/methodology/approach-Aprogressiveseriesofempiricalstudieslookingatready-to-wearclothingdesignhasbeenundertaken;insituobservation,semi-structuredinterviewsandconstrainedandsemi-constraineddesigntasks.Thisempiricalapproachusedethnographicobservationalmethods,whichiseffectiveinsituationswhereconventionalknowledgeacquisitionmethodsareinsufficient,whenbroadunderstandingofanindustryisneeded,asinthefashionindustry,notjustacasestudyofasingleindividualorcompany.Findings-Identifiesthemajortypesofideasourcesinclothingdesignandprovidesinformationabouteachsource.Recognisesthatthesesourcesofinspirationhelpdesignerstocreatedesignelementsandprinciplesofindividualdesigns.Inordertofosteroriginality,sourcesofinspirationplayapowerfulrolethroughoutthecreativestageofdesignprocess,andalsointheearlystagesoffashionresearchandstrategiccollectionplanning.Originality/value-Thispaperhighlightstheroleofsourcesofinspirationanditseffectincreativityandoriginalityintheclothingdesignprocess.Offerspracticalhelptoclothingdesignersanddesign-ledclothingcompanies.Keywords:Fashiondesign,Clothing,Creativethinking,Designcalculations,DesignmanagementIntroductionSourcesofinspirationanditspersonalinterpretation,visuallyandtechnically,playanimportantroleinthedesignprocess,inincreasingcreativity.Clothingdesignstudiesandthecreativeroleofdesigninspiration,duringtheearlyinformalandactualclothingdesignprocessesisopentoscientificinvestigationlikeaestheticallydrivendesignsinotherdomains.Studyingcreativefashiondesignasprocessandproductisseenmoreproblematicthanotherdesign-ledindustries,astheinteractionbetweenthedesignelementsandprinciples,materialproperties,adaptationandmodificationofdesigninspirationarecomplex.Clothingdesign,asavarietyofaestheticandfunctionaldesignprocesses,sharesmanycharacteristicsofengineeringdesignprocess.Researchandobservationarecriticallyimportantinthefashionbusiness.Byresearchingandobserving,designersgatherbackgroundinformationfordesign,includingstudyingcurrentandfuturefashiontrendsandtrytopredictwhatthemajorityoftheircustomerswillwantintheforeseeablefuture.Inordertokeepupwiththechangingworldoffashion,fashionawarenessshouldbecomesecondnaturetoeveryclothingdesigner.DesignandclothingasavisualandtactilesensorydesignItiswellknownthatdesignistwothings:processandproduct,asverbandnoun.Asdesignproblemsolutionprocess,itisresearching,settingthesourceofinspiration,planning,organizingtomeetagoal,carryingoutaccordingtoaparticularpurposeandcreating.Asproductitistheendresult,anintendedarrangementthatistheoutcomeofthatprocessorplan.Clothingisanexampleofapplieddesign,eventhemostexciting,originalideamustshowawarenessofitspracticalpurposeandenvironment.Werealisethatsomeartispure,"artforart'ssake"butmostcreationsinthedailyworldareforapracticalpurposeanduse.Designasprocessisplanningtomeetagoal,andthusappliestoeverythingintentionallycreatedforapurpose.Thestepsandorderoftheprocessareessentiallythesameregardlessoftheendproduct.Thesestepsareverysimilartomanagementasaplanningprocess.Designasmanmadeproductandservicefallsintotwomajorcategories:sensoryandbehavioural.Sensorydesignisperceivedthroughthesenses,andisclassifiedasvisual,auditory,olfactory,tactileandgustatory.Behaviouraldesignisplannedaction.Manyproducts,however,includeaspectsofboth,becausedesignmaybeperceivedthroughthesensesandtheninterpretedbehaviourally.Afashionshow,forexample,includebothsensoryandbehaviouraldesigns.ResearchmethodologyandfindingsTheimportanceofsourceofinspirationandtheirroleincreativeclothingdesignhasbeenlittleunderstoodand,therefore,rarelyreceivedattentioninthisindustry.[6],[7],[8]EckertandStacey(1998,2000,2003)studiedknitweardesigncase,whichsharesmanycharacteristicsofcomplexengineeringprojectsandasanexampleof"practicaldesign"inafastmovingandhighlycompetitivemanufacturingindustry.Theirworkincludedalargeethnographicstudyoftheknitwearindustry,whichproducedadetaileddesignprocessmodelandananalysisofthecausesofcommunicationproblemswithindesignteams.[15]M?kirinne-Croftetal.(1996)triedtoexplainthefashiondesignprocessintermsofquantummechanicsandpsychoanalysisandseedesigncreativityastheultimatemystery;theirdescriptionofthedesignprocessissimplistic.Theauthorhasundertakenaprogressiveseriesofempiricalstudies,basedonobservationandinterviews,lookingatready-to-wear(RTW)clothingdesign;insituobservation,semi-structuredinterviewsandconstrainedandsemi-constraineddesigntasks.Thisempiricapproachcombinesethnographicobservationalmethodswiththeknowledgeanalysistechniquesofartificialintelligence.Itiseffectiveinsituationswhereconventionalknowledgeacquisitionmethodsareinsufficient,whenbroadunderstandingofanindustryisneededasinthefashionindustry,notjustacasestudyofasingleindividualorcompany.Inthisresearch,thecreativeroleofsourcesofinspirationinvisualclothingdesignbynoviceandexpertclothingdesignerswasassessedthroughempiricalresearch.Assubjects,16talentedclothingdesigners,11university-levelfashiondesignstudentsinFashionDesignDepartmentatDokuzEylulUniversityandfiveprofessionaldesignersparticipatedintheexperimentcarriedoutinthisresearch.Thefirstgroupofsubjectsincludedadvancedfashiondesignstudents,seventalentedstudentsselectedfromthethirdandfourthyearofundergraduatestudies,andalsofourstudentsofpostgraduatestudies,whoalsoworksasafreelanceorparttimeassistantdesignersintheclothingindustry.Thesecondgroupwascomposedoffiveprofessionaldesignerswithaminimumof5yearsofexperienceinclothingindustry.SourcesofinspirationinclothingdesignWheredoesthefashiondesignergetideasandinspirationfornewstyles?Theansweriseverywhereandeverything.Anythingvisualandtactile,infactsensual,canbeasourceofinspirationforagarment.Throughtelevision,thedesignerexperiencesallthewondersoftheentertainmentworld.Infilms,thedesignerisexposedtotheinfluencesofallthearts,andlifestylesthroughouttheworld.Becauseconsumersareexposedtomoviesthroughinternationaldistribution,filmsprimetheiraudiencestoacceptnewfashionsinspiredbythecostumes.Museumexhibits,artshows,worldhappenings,expositions,theatres,music,danceandworldtravelareallsourcesofdesigninspirationtofashiondesigners.Thefashionsofthepastarealsoarichsourceofdesigninspiration.Whilealwaysalerttothenewandexciting,fashiondesignersneverlosesightofthepast,theyuseoldthingsinnewways.Asstatedtheinspirationforagarmentwithinacollectionorforanentirecollectioncancomefromaninfinitevarietyofsources.Sourcesofinspirationareoftenlinkedtothesocial"spiritofthetimes"alsocalledthe"zeitgeist".Understandingthestateofcurrentfashionandsearchingforideasandsourcesofinspirationinvolveslookingatartobjectsandbooks,goingontripstoplaceslikeParisandMilan,visitingmuseums,watchingpeopleonstreetsandgoingoncountrywalks.Designersaremostcreativewhentheyaredirectlyexposedtothesourcesofideas.Ontheotherhand,ithasbeenobservedinthefashionindustrythattherearetwofundamentalapproachesinthecreativeclothingdesignprocesses:(1)material,thusfabric,inspiredclothingdesignprocess;and(2)conceptualclothingdesignprocess,suchasseveralthemesoriginatedfromtheuniverseofarts,natureorproducts.Itisknownthatthehigh-fashion"name"designerstypicallydevelopaconcept,alsocalledtheme,fortheircollectioninordertobemorecreativeandoriginal.Themajortypesofideasourcesindesign-ledindustriesarepreviousproducts,artifacts,naturalobjectsandphenomena.Incaseofclothingdesign,garments,fabricsandtrimsaspreviousproducts,playanimportantroleinsourcesofinspiration.Although,thereisabroadrecognitionthatmuchofthedesignproceedsbymodificationofpreviousideas,incaseoffabricinspiredclothingdesign,designerssearchfornewformsandstyleswithnewlydevelopedorinventedmaterials.Forexample,thedevelopmentofelasthenfabrics,suchasLycra,inspireddesignerstofigure-huggingsilhouettes.ConclusionsAnythingvisualandtactile,infactsensual,canbeasourceofinspirationinfashiondesign.Designideasdonotsimplymaterializeoutofthinair.First,thedesignerdoescarefulresearch,butwhatmakesadesigner'scollectionspecialandoriginalishisorheruniqueinterpretationofdesignsources.Therefore,inordertobemorecreativeandoriginalthesourcesofinspirationplayanimportantroleinclothingd