1、譯文服裝設計中的創意性靈感法蒂瑪梅特摘要研究目的：本文的研究fi的就是評估服裝設計過程中的創造性靈感源。它旨 在分析服裝設計行為和服裝設計過程的早期階段，設計靈感的本質是什么，如何 收集靈感來源以及它們是如何影響服裝設計的創造力和原創性的。研究方法：目前，已經有很多的學者對成衣服裝設計進行了而一系列的實證 研究；實地觀察、半結構化訪談和約束和半驅動型設計任務。這一實證研究方法, 可以有效的使用在傳統的知識獲取方法不足的情況下，特別需要對一個行業進行 一個廣泛地了解，比如：時尚界，不只是要對單個人或公司進行實證研究，要盡 可能選擇更多的案例進行研究。研究結果：識別服裝設計過程中的靈感來源的主要類

2、型，并提供每來源的相 關信息。認識到這些靈感來源可以幫助設計師來創建有創意的設計元素。為了培 養創意，靈感的來源在整個創意階段的設計過程中，以及在服裝設計研究計劃的 早期階段發揮了重要的作用。創新性：本文突出強調了創造力和創意靈感來源在服裝設計過程中的作用。 對服裝設計師和服裝公司都提供了很多實際的幫助。關鍵詞：服裝設計；服裝；創造性思維；設計安排；設計管理服裝設計是一個包含視覺和觸覺的感官設計眾所周知，設計包括兩件事情：工藝創造過程和產品展示，這兩者之間的關 系就好比動詞和名詞的關系。作為一個設計問題解決方案的過程,它是靈感的來 源，并通過計劃、組織以實現一個最終目標。而產品是其計劃的、最終

3、設計的結 果。服裝就是應用設計的一個例子，即使是最激動人心的、最初的構想也必須向 人們展示其實用目的。雖然我們已經意識到一些藝術是純粹的，即“藝術至上藝 術”，但是，世界上大多數藝術作品設計的最初目的都在于其實用性。設計作為 一個工藝過程，應當考慮和計劃實現某一特定的目標，并適時進行創新。從本質 上講，設計過程的步驟與順序同樣應當考慮產品的實用性。這些步驟與管理規劃 的過程非常相似。人為設計的產品和服務可以分為兩大部類：感覺和行為。感官設計是通過感 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。行為設計是 有計劃的行動。然而，許多產品的創作過程都包括感官設計與行為設計兩個方面,

4、因為設計靈感需要通過感官獲得并通過行為來解釋。例如，一場時裝表演既包括 感覺設計也包扌舌行為設計。服裝設計的靈感來源服裝設計師從哪里獲得新款式設計的構想和靈感呢?答案即靈感無處不在。實際上，任何視覺和觸覺上的感官體驗都可以是服裝設計靈感的源泉。通過電視, 設計師可以體驗五彩繽紛的全球娛樂世界。在看電影的過程中，設計師則能感受 世界各地的藝術與生活方式。通過國際經銷，電影觀眾可以通過有設計靈感的服 裝接受新時尚。博物館展品、藝術節目展示、世界事件、博覽會、劇院、音樂、 舞蹈和旅游都是時裝設計師的設計靈感來源。過去的時尚也是他們一個豐富的設 計靈感來源。雖然，對于新的和刺激人心的事物，服裝設計師們

5、需要時時保持警 惕，但他們從來不會忘記過去，通常情況下，他們會采用新的方式去利用舊的東 西。如上所述，一組服裝設計的靈感來源多種多樣。靈感來源往往與社會“時代 精神”(也稱z為“時代思潮”)息息相關。在對當前時尚了解的前提下，不斷 尋找各種創意和靈感源泉，例如博覽藝術品和書籍，去巴黎和米蘭旅行并進行考 察，參觀博物館，或行走于各國觀察不同的人群等。我們發現，當直接接觸創意 來源時，設計師們是最具創造力的。另一方面，在時尚界，服裝設計的創意過程包括兩種基本方法：(1) 實物能激發服裝設計的創作過程；(2) 概念化的服裝設計過程，如源于宇宙的藝術、大自然或產品。眾所周知，高調時尚的“名譽”設計師提

6、出了這樣一個概念模型，為了使其更具有創造力和原創性，我們可以稱之為主旋律。強調以設計為先導的產業，其設計思想的來源包括先前設計的產品、人工產 品、自然物品與自然現象。就服裝設計來看，之前的設計風格、面料和其他配件 在設計師的靈感來源中發揮著十分重要的作用。盡管人們已經廣泛認可，大部分 的設計過程都是在修改先前創意理念的基礎上完成的，深受編織物的啟發，服裝 設計師們便開始尋找設計的新款式和風格。在這種情況下一個樣式通常為起點的 技術材料的可能性。例如，彈力纖維面料的發展激發了設計師們設計緊身服裝的 靈感。服裝及其他產品服裝設計師從現在和過去的服裝屮獲取靈感。時裝或成衣設計師的作品，歷 史和民族服

7、裝，街頭服飾都是服裝設計師們的靈感源泉。他們通過參加吋裝秀、 逛商店來獲悉時下的流行趨勢，觀察名人著裝，確定新服裝季的顯著特點以及研 究市場引領者和競爭者的服裝設計思路。服裝設計師們同時也對時尚雜志和潮流讀物上的服裝照片進行研究，以此獲 得對潮流趨勢的大致了解。照片雖然沒有辦法展現技術細節，但它能夠展示設計 靈感及目標服飾的意象。歷史和民族服飾設計者的工作就是去發現或體會時代潮流，去獲得設計想法和靈感，并將它 們轉化成有形的東西，這些東西往往是有歷史和過去的。設計者們經常從過去（近 代或歷史）或民族服飾屮獲取設計靈感和主題。服裝可以分為兩類：歷史服飾（歷 史上某個吋期的服飾潮流）和民族服飾（一

8、個國家或地區的傳統服飾）。博物館 的服裝藏品，歷史電影和書籍都是極佳的服飾參考錄。服裝設計師通常對每個歷史時期的服裝設計元素和設計原則的結合具有敏 銳的洞察力。高級時裝設計師的設計主題往往基于從歷史和民族服飾中獲取的靈 感。各個歷史時期的潮流服飾輪廓和流行的服裝細節是設計師的靈感源泉。例如, 帝王式服裝輪廓在潮流史上反復流行，文藝復興時期的荷葉領或荷葉袖也許能激 發一個設計系列。約翰加利亞諾的2005春夏系列服裝是以歷史服飾為設計靈感的一個典范。 約翰加利亞諾以“帝國年代”為主題，從拿破侖時代的形象屮獲取靈感。皇帝 的盾徽，像拿破侖皇后約瑟芬德博阿爾內一樣性感的女人形象都是他的靈感源 泉。在這

9、一系列服裝中，他還把主題闡釋為成衣設計的可穿的拿破侖外衣及約瑟 芬長袍。服裝設計師也可能受到其他文化的服飾和配飾的影響。他們發現不同文化的 民族服飾在顏色，主題，線條，空間融合方面的設計靈感不謀而合。全球化的環 境讓來自遙遠的世界角落的服裝頗受歡迎。設計師們從外來文化迥然不同的服裝 款式和面料中尋找靈感。結論實際上任何視覺和觸覺感官都可以是服裝設計靈感的源泉，設計理念不只是 憑空想象。設計師需要收集特殊的和原始的設計素材。因此，更有創意和原始靈 感的來源在服裝設計中起著重要的作用。研究和認識是創造力的關鍵，設計師必須學會用眼睛觀察周圍的世界，拓展 他們的觀察技能，吸收視覺創意并融合到他們的作品

10、中去，最終轉換成他們的客 戶會喜歡的衣服。設計過程表明，了解現實的外界的影響和需求，廣泛的研究和 邏輯思維秩序，消耗了設計師大量的“精力”，但只有這樣才能成功設計出時尚 的產品。通過本文的研究可以得出靈感來源于設計的早期階段，并貫穿整個設計過程 屮，服裝設計靈感來源的作用可以概括如下：越來越多的創意和創造力；使設計過程變得簡單；直接獲得協調的配色方案；保持和諧和統一的集合；從產品靈感中派生出藝術，尤其是從以前的衣服；了解季節性吋尚款式；從設計框架中繪制圖紙。原文the creative role of sources of inspiration in clothing designfatma

11、 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 inspiration, how sources of inspiration are

12、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 and constrained and semi-constrained desi

13、gn 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 just a case study of a single individual o

14、r 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 order to foster originality, sources of inspir

15、ation 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 creativity and originality in the clothing des

16、ign 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, visually and technically, play an important role

17、 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 other domains.studying creative fashion desig

18、n 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 variety of aesthetic and functional design proc

19、esses, 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 future fashion trends and try to predict what t

20、he 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 designit is well known that design is two things: p

21、rocess 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 result, an intended arrangement that is the outco

22、me 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, hart for arts sake1' but most creations in the daily world are for a practical purpose and us

23、e. 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 planning process.design as man made product

24、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, include aspects of both, because design may be

25、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 been little understood and, therefore, ra

26、rely 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 design11 in a fast moving and highly competitive manufacturing industry. their w

27、ork 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 makirinne-croft et al. (1996) tried to explain the fashion design process in terms of quantum mechanics and

28、 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-towear (rtw) clothing design; in situ observation, semi-

29、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 acquisition methods are insufficien

30、t, 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 was assessed through empirical rese

31、arch. 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 subjects included advanced fashion des

32、ign 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 composed of five professional designe

33、rs 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 sensual, can be a source of inspiration fo

34、r a garmen匸 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 international distribution, films prime their

35、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 source of design inspiration. while alway

36、s 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 inspiration are often linked to the social

37、 "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 people on streets and going on c

38、ountry 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 fabric, inspired clothing design pro

39、cess; 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 fame” designers typically develop a concept, also called theme, for their collection in order to be more creative and original.the major

40、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 recognition that much of the desi

41、gn 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 figure-hugging silhouettes.garments

42、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 the strong features of a new seaso

43、n, 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 communicates the mood of a design and the imag

44、e of the target wearhistoric and ethnic costumesdesigners9 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 (recent or historical) or to folk co

45、stumes 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 sources of costume references.designers

46、 usually are sensitive to the combinations of design elements and principles in each historical period of costume. highfashion/couture designers theme is often based on a historic or an ethnic inspiration. fashion silhouettes or garment details popular during historic periods provide a source of des

47、ign 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, john galliano's spring/summer 20

48、05 dior couture collection can be given. he set the theme as "the age of empire'5 inspired by the images from the time of napoleon, the emperor's coat of arms, the image of a sensual woman such as jose'phine de beauharnais. in this collection he also interpreted this theme for weara

49、ble 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

50、far reaches of the world. designers seek inspiration from “exotic" cultures whose clothing styles and fabrics are distinctly unique.conclusionsanything visual and tactile, in fact sensual, can be a source of inspiration in fashion design. design ideas do not simply materialize out of thin air.

51、first, the designer does careful research, but what makes a designer's collection special and original is his or her unique interpretation of design sources. therefore, in order to be more creative and original the sources of inspiration play an important role in clothing design.research and awa

52、reness are the key to creativity. designers must learn most of all to keep their eyes open, to develop their skills of observation, to absorb visual ideas, blend them and translate them into clothes that their customers will like. the design process shows that realistic observation of outside influe

53、nces and needs, extensive research and awareness and logical thinking and order, remove a great deal of the supposed "mystery” of design or creativity. one who thoroughly understands design as product and process and has mastered the use of appropriate materials and adaptation techniques can be

54、 hcreative11 and can translate the source into reality as a successful fashion product.sources of inspiration are used at the early stages of design and throughout the entire design process. from the findings of this research, the role of sources of inspiration in clothing design can be summarised a

55、s follows:-increasing originality and creativity;-making the design process easy; deriving harmonious colour schemes directly;-maintaining harmony and uniformity of the collection;-deriving technical acumen from products inspired, especially from previous garments;-understanding the fashion appropri

56、ation of the season; drawing the borders for the design framework.文獻出處： mete, fatma. hthe creative role of sources of inspiration in clothing design/* international journal of clothing science and technology 18.4 (2006): 278-293.五分鐘榨5000守判逆丈外支翻譯'想要的工具都輕里! 在科研過程中閱讀翻譯外文文獻是一個非常重要的環節，許多領 域高水平的文獻都是外文文獻，借鑒一些外文文獻翻譯的經驗是非常 必要的。由于特殊原因我翻譯外文文獻的機會比較多，慢慢地就發現 了外