服裝設(shè)計(jì)外文翻譯—高科技文化時(shí)代服裝設(shè)計(jì)的演變（節(jié)選）

1、<p>　　字?jǐn)?shù)：英文2079單詞，11462字符；中文3549漢字</p><p>　　出處：Mihaleva G, Koh C. Evolution of Fashion Design in the Era of High-Tech Culture[J]International Scholarly and Scientific Research and Innovation.2016,10(7):

2、2447-2451</p><p><b>　　外文文獻(xiàn)：　</b></p><p>　　Evolution of Fashion Design in the Era of High-Tech Culture</p><p>　　Abstract Fashion, like many other design fields, undergoe

3、s 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 t

4、he 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 desig

5、n </p><p>　　Keywords: Fashion design, functional aesthetics, smart textiles, 3D printing.</p><p>　　INTRODUCTION</p><p>　　It is common knowledge that the environment we live in great

6、ly influences the style of clothing that people wear. And, it is not just referring to the physical-geographical or climatic environment but rather the less tangible aspects of the socio-cultural environment which is rel

7、ated to the time period we live in as well as the prevalent culture at the time. As much as clothing is a practical necessity, it is also an expression of identity and a reflection of culture.</p><p>　　In th

8、e current high-tech culture we live in, there is a trend of using computers, automation, and other technology driven methods to compliment many fields, fashion design is no exception. Designers now immerse themselves in

9、the age of smart textiles and incorporate modern technology with fashion design and production. The used of sensors, conductive fibers and other smart fabric technologies like 3d printing, brings a whole new dimension to

10、 fashion design in terms of functionality, expression a</p><p>　　Fueled by society’s eagerness for efficiency, the fashion industry is on the verge of a revolution. The boom of technological advancements pro

11、minently redefines the role of fashion designers, their approaches to design and functionality of fashion. This ultimately transforms the conventional design process.</p><p>　　TRENDS AND METHODOLOGIES</p&

12、gt;<p>　　Traditionally, clothing is a means of fulfilling basic needs such as protection from the elements, comfort, camouflage, and even socially accepted modesty as well as a medium for symbolic, artistic or rel

13、igious expression.</p><p>　　Early concepts and constructs of “smart clothing” was very far from the current ideals of “smart clothing”, attempts to make wearable technology in the 1970s were more inclined to

14、wards simply using clothing as a support for electronic attachments and had very little to do with fashion. However, this changed when a different approach was used; resulting in the smart fashion we have now. Aesthetics

15、 and function are sometimes thought as independent of each other or even antagonistic, there may be m</p><p>　　The human body is itself a biological receptor interface, it has been mentioned that clothing an

16、d fashion has an intimate relationship with the human body in both physical and social aspects. With smart garments, fashion becomes an additional interface and results in a cyclic interaction between body, clothing and

17、environment. Take for instance the research project Smart Second Skin (2004) by Jenny Tillotson and Adeline Andre which comprises of a scent delivery system that is programmed to respo</p><p>　　While textile

18、 can turn into a technological interface, some designers are soon inspired to look at material fabrication technology itself. The exploration of such possibilities spurred the need for interdisciplinary approaches. Desig

19、ners become more than artists, they turn into engineers, programmers, chemists, and even biologists. Micro’be’ Fermented Fashion is a project where organic fabric is “grown” with the bacteria through the process of bacte

20、rial wine fermentation. The cultivated fabric f</p><p>　　The definition of textiles is constantly being challenged; designers now not only look at textile with technology but also the technology of textile p

21、roduction. A notable fabrication tool is 3d printing, which has made a significant impact on the fashion industry. It is garnering a lot of interest, or at the very least, the prospects of it is favorable, evident by the

22、 fairly well received 3d printing competition held at the Singapore Nanyang Technological University. 3d printing was initially se</p><p>　　While designers embraced the technology of material fabrication, tr

23、aditional fashion design processes and sensibilities are gradually being amalgamated with high-tech methods to produce brand new crafting methodology, hence the design process is inevitably altered to accommodate for it.

24、 This brings one to the topic of Computer Aided Design (CAD). For 3d printing, CAD is needed to create a 3d model for printing. Patterns were used to produce clothes industrially since the invention of the sewing </p&

25、gt;<p>　　A more straightforward use of computers is to produce the design directly with illustration software or drawn by hand and scanned in before printing digitally on cloth. Alternatively, vector designs can b

26、e sent to laser cutters to cut out shapes in various materials. This method was used to create the cut felt in the “Text-ile Landscape memories” dresses. Laser cutting is a fast and convenient method to produce planar de

27、signs. It is able to perform sophisticated cuts on several types of material</p><p>　　The accessibility and advancement of technology changes the playing field of the fashion industry. Traditional tailoring

28、requires a significant amount of time when measuring clients for a perfect custom fit, but a 3d scanner is able to quickly obtain accurate three dimension measurements within seconds. A recent service known as bodi.me ut

29、ilizes body scanners to allow customers to match their sizes to outfits purchased online based on sizing information from registered fashion companies. Imagine</p><p>　　THE OBSERVED PATTERN</p><p&

30、gt;　　Throughout all the examples, it should be noted that there is a pattern. Firstly, there are constant improvements in technology and designers tend to make full use of these tools for their designs, subsequently affe

31、cting their design concepts. Secondly, hybridization is rampant in wearable technology. Fashion is a complex and established long standing industry, hybridization is almost unavoidable in order to integrate advanced tech

32、nology into a field with such a long history. This gives rise to </p><p>　　There is a correlation between wearable technology designs and the concepts they tend to express. The input and output principles is

33、 by virtue of the systemic nature of technology. It is therefore naturally geared toward issues pertaining to interactions, social or otherwise. And since fashion is basically an adornment of the human body, expression o

34、f identity and perceived culture becomes a common and favored theme.</p><p>　　The rise in wearable technology can be said to be a reflection of our current culture. Availability of specialized kits like Lily

35、pad kits is indicative of the market for wearable technology. It is likewise proof of the codependence and co-influencing between technological advancement and design aspirations of fashion designers. Technology fuels in

36、spiration, and aspirations spurs development.</p><p>　　CONCLUSION</p><p>　　Conclusively, the various examples of projects examined in the paper show that as technologies continue to evolve, thei

37、r potential uses in smart clothing grows exponentially, and it simultaneously affects and is affected by the fashion culture. Furthermore, it demonstrates the role and importance of wearable technology in our current hig

38、h-tech environment and expands functional and expressive possibilities for the modern fashion designer.</p><p><b>　　中文譯文：</b></p><p>　　高科技文化時(shí)代服裝設(shè)計(jì)的演變</p><p>　　摘要 服裝，像許多

39、其他設(shè)計(jì)領(lǐng)域一樣，古往今來(lái)經(jīng)歷了無(wú)數(shù)次的演變。本文旨在認(rèn)識(shí)和評(píng)估先進(jìn)技術(shù)在服裝設(shè)計(jì)中的意義，并通過(guò)改變創(chuàng)作過(guò)程來(lái)探討它是如何改變現(xiàn)代服裝設(shè)計(jì)師這一角色的。本文還涉及到現(xiàn)代文化如何參與這種發(fā)展，以及先進(jìn)技術(shù)是如何影響服裝設(shè)計(jì)的構(gòu)思和制作的。通過(guò)比較案例研究、現(xiàn)有服裝設(shè)計(jì)實(shí)例和制作方法實(shí)驗(yàn)，我們發(fā)現(xiàn)了該領(lǐng)域未來(lái)發(fā)展方向的模式。對(duì)服裝設(shè)計(jì)中的技術(shù)要素進(jìn)行細(xì)分，可以幫助我們了解這種趨勢(shì)背后的推動(dòng)力。本文的研究結(jié)果表明，在服裝技術(shù)領(lǐng)域，人們對(duì)其的

40、興趣和促進(jìn)日益增長(zhǎng)，導(dǎo)致了混合工藝方法的誕生?？偠灾S著服裝技術(shù)的不斷發(fā)展，它們?cè)诜b制作中的作用越來(lái)越突出，遠(yuǎn)遠(yuǎn)超過(guò)了簡(jiǎn)陋的縫紉機(jī)。</p><p>　　關(guān)鍵詞：服裝設(shè)計(jì)，功能美學(xué)，智能紡織品，3D打印。</p><p><b>　　簡(jiǎn)介</b></p><p>　　眾所周知，我們生活的環(huán)境極大地影響了人們的穿衣風(fēng)格。而且，它不僅僅指的是

41、自然地理或氣候環(huán)境，而是指社會(huì)文化環(huán)境的較不具體的方面，這與我們所處的時(shí)期以及當(dāng)時(shí)流行的文化有關(guān)。服裝既是一種現(xiàn)實(shí)的必需品，也是一種身份的表達(dá)和文化的反映。</p><p>　　在目前我們所生活的高科技文化中，存在一種趨勢(shì)，即通過(guò)計(jì)算機(jī)、自動(dòng)化等技術(shù)驅(qū)動(dòng)的方法來(lái)迎合許多領(lǐng)域，服裝設(shè)計(jì)也不例外。設(shè)計(jì)師現(xiàn)在沉浸在智能紡織品的時(shí)代，將現(xiàn)代技術(shù)與服裝設(shè)計(jì)和生產(chǎn)結(jié)合在一起。使用傳感器、導(dǎo)電纖維和其他智能織物技術(shù)，如3D打印

42、，在功能、表達(dá)和交互方面為服裝設(shè)計(jì)帶來(lái)了全新層面。設(shè)計(jì)重點(diǎn)也轉(zhuǎn)移到個(gè)人身份、社會(huì)行為和直觀交互等更加積極的問(wèn)題上。</p><p>　　由于社會(huì)對(duì)效率的渴望，服裝界正處于一場(chǎng)革命的邊緣。技術(shù)進(jìn)步的繁榮顯然重新定義了服裝設(shè)計(jì)師的角色和他們的設(shè)計(jì)方法，以及服裝的功能。這最終改變了傳統(tǒng)的設(shè)計(jì)過(guò)程。</p><p><b>　　趨勢(shì)和方法</b></p><

43、;p>　　傳統(tǒng)上，服裝是一種滿足基本需要的手段，例如物質(zhì)保護(hù)、舒適、偽裝，甚至社會(huì)認(rèn)可的地位，以及象征、藝術(shù)或宗教表達(dá)的媒介。</p><p>　　“智能服裝”的早期概念和構(gòu)想與目前的“智能服裝”理念相去甚遠(yuǎn)，在20世紀(jì)70年代，制造可穿戴技術(shù)的嘗試更傾向于簡(jiǎn)單地使用服裝作為電子附屬物的支撐，與服裝沒(méi)什么關(guān)系。然而，當(dāng)不同的方法被采用時(shí)，情況發(fā)生了變化，從而導(dǎo)致了我們現(xiàn)在的智能服裝。美學(xué)和功能有時(shí)被認(rèn)為是彼

44、此獨(dú)立的，甚至是對(duì)立的，可能會(huì)誤解美學(xué)不如實(shí)用性那么重要。通常被忽略的是，這兩個(gè)概念是相互關(guān)聯(lián)的，具有共生關(guān)系。服裝與設(shè)計(jì)聯(lián)系在一起，設(shè)計(jì)的目的是滿足消費(fèi)者的需求，無(wú)論是從美觀上來(lái)講，還是從功能上來(lái)講。因此，設(shè)計(jì)師從事有效的服裝設(shè)計(jì)并經(jīng)歷了滿足某些變量的過(guò)程，基本上與滿足功能的過(guò)程相同。因此，以服裝為起點(diǎn)，同時(shí)整合技術(shù)，將其作為可穿戴技術(shù)的一個(gè)獨(dú)特的混合主題，有助于創(chuàng)造更有效的結(jié)果。因此，隨著智能服裝和可穿戴技術(shù)的出現(xiàn)，服裝迅速轉(zhuǎn)變?yōu)榇?/p>

45、戴者、服裝和環(huán)境之間的交互界面。由于服裝設(shè)計(jì)師是通過(guò)高科技可穿戴設(shè)備延伸的可能性進(jìn)行繪制的，所以服裝作為技術(shù)接口的發(fā)展受到技術(shù)發(fā)展的高度影響。</p><p>　　人體本身就是一個(gè)生物受體界面，有人提到，服裝和時(shí)尚在身體和社會(huì)方面都與人體有著密切的關(guān)系。使用智能服裝，服裝成為一種額外的界面，導(dǎo)致在身體、服裝和環(huán)境之間的循環(huán)交互。例如詹妮·蒂羅森和艾德琳·安德烈設(shè)計(jì)的Smart Second S

46、kin（2004）由香味遞送系統(tǒng)組成，該系統(tǒng)被設(shè)定為響應(yīng)穿戴者的情緒和分發(fā)嗅覺(jué)刺激的芳香療法, 以改變穿戴者的情緒。這是一個(gè)復(fù)雜的反饋設(shè)計(jì)的例子。首先，穿戴者的情緒變化，可能是對(duì)環(huán)境中有意識(shí)或潛意識(shí)刺激的反應(yīng)，這種情緒反應(yīng)成為觸發(fā)傳感器并產(chǎn)生輸出的輸入，在這種情況下，這是配發(fā)的芳香療法，反過(guò)來(lái)又把穿戴者的情緒帶回期望狀態(tài)作為反饋。身體、環(huán)境和服裝相互作用，這種相互作用受所涉及的技術(shù)設(shè)定的調(diào)控。</p><p>　

47、　雖然紡織品可以轉(zhuǎn)化為技術(shù)界面，一些設(shè)計(jì)師很快就受到啟發(fā)，開(kāi)始研究材料制造技術(shù)本身。對(duì)這種可能性的探索促使了對(duì)跨學(xué)科方法的需求。設(shè)計(jì)師不僅僅是藝術(shù)家，他們變成工程師、程序員、化學(xué)家，甚至生物學(xué)家。Micro’be’ Fermented Fashion項(xiàng)目嘗試?yán)眉t酒釀造中產(chǎn)生的渣滓與細(xì)菌制作有機(jī)織物。由纖維素微纖絲形成的培養(yǎng)物是可生物降解的，可用于制作無(wú)縫服裝。它具有環(huán)境友好、織物生產(chǎn)成本低的優(yōu)點(diǎn)。隨著合成纖維石油價(jià)格的上漲，藝術(shù)家的視

48、野逐漸延伸到生物領(lǐng)域。這只能證明雜交的跨學(xué)科方法的好處。此外，還有另一個(gè)蘊(yùn)涵的文化影響，高科技文化的特點(diǎn)是提高效率，改善現(xiàn)狀，以及采用高度科學(xué)的先進(jìn)方法（如自動(dòng)化、生物培養(yǎng)等）來(lái)實(shí)現(xiàn)這些改進(jìn)。近年來(lái)，社會(huì)開(kāi)始意識(shí)到有限資源的影響，從而引領(lǐng)了環(huán)保意識(shí)的潮流，激發(fā)了Micro’be’ Fermented Fashion等項(xiàng)目。對(duì)環(huán)境問(wèn)題的關(guān)注讓生命科學(xué)成為服裝技術(shù)的熱門(mén)主題，出現(xiàn)了實(shí)驗(yàn)室里培育紡織品的想法。</p><p

49、>　　紡織品的定義不斷受到挑戰(zhàn)；現(xiàn)在的設(shè)計(jì)師們不僅看重紡織技術(shù)，而且還在意紡織生產(chǎn)技術(shù)。一個(gè)著名的制作工具是3D打印，這對(duì)服裝業(yè)產(chǎn)生了重大影響。新加坡南洋理工大學(xué)舉辦的3D打印大賽，收到了不錯(cuò)的反響，它吸引了很多人的興趣,至少3D打印的前景是有利的。3D打印最初被認(rèn)為是對(duì)產(chǎn)品設(shè)計(jì)和醫(yī)療支撐非常有用的一個(gè)工具，直到像伊里斯·凡·赫本這樣的服裝設(shè)計(jì)師發(fā)現(xiàn)其在建筑風(fēng)格上的潛力。凡·赫本因她復(fù)雜的3D印花連衣

50、裙贏得了一致的好評(píng)，她的成功引發(fā)了服裝3D打印的增長(zhǎng)趨勢(shì)，無(wú)論是連衣裙、珠寶，還是鞋子，3D打印正在成為服裝設(shè)計(jì)師的流行工具，現(xiàn)在很容易就能買(mǎi)到價(jià)格低廉的臺(tái)式3D打印機(jī)。即使在3D服裝領(lǐng)域，也有各種各樣的制作方法；外形、材料、質(zhì)地和顏色都可以方便地操作。</p><p>　　雖然設(shè)計(jì)師們接受了材料制作技術(shù)，但傳統(tǒng)的服裝設(shè)計(jì)過(guò)程和情感正在逐漸與高科技方法融合，產(chǎn)生了全新的工藝方法，因此設(shè)計(jì)過(guò)程不可避免地被改造以適應(yīng)

51、它。這就引出了計(jì)算機(jī)輔助設(shè)計(jì)（CAD）主題。對(duì)于3D打印，需要CAD來(lái)創(chuàng)建用于打印的3D模型。自從1830年縫紉機(jī)發(fā)明以來(lái)，工業(yè)上就一直使用圖案來(lái)生產(chǎn)衣服，隨著CAD的使用，設(shè)計(jì)師開(kāi)始在計(jì)算機(jī)上創(chuàng)建他們的設(shè)計(jì)，而不是在紙上畫(huà)出來(lái)。CAD和3D打印可以繞過(guò)或改變?cè)S多傳統(tǒng)的裁剪過(guò)程。此外，計(jì)算機(jī)可以在許多方面用于創(chuàng)建紡織品設(shè)計(jì)，例如，編碼可以產(chǎn)生有趣的計(jì)算機(jī)生成圖案。某些創(chuàng)新技術(shù)包括利用諸如掃描等技術(shù)從物理轉(zhuǎn)換到數(shù)字而產(chǎn)生的過(guò)渡性設(shè)計(jì)效果。

52、日本紡織公司Nuno以傳統(tǒng)和技術(shù)結(jié)合生產(chǎn)美麗的紡織品而聞名。編織結(jié)構(gòu)圖案1984是Nuno的創(chuàng)始人君一新居通過(guò)多次復(fù)印非洲肯特布，直到它變成像素，從而設(shè)計(jì)出來(lái)的面料；然后在計(jì)算機(jī)驅(qū)動(dòng)的提花織機(jī)上進(jìn)行掃描和編織。</p><p>　　計(jì)算機(jī)的一個(gè)更直接的用途是使用插圖軟件生成設(shè)計(jì)，或者手工繪制，然后在數(shù)字印刷之前掃描到布料上?；蛘?，矢量設(shè)計(jì)可以發(fā)送到激光切割機(jī)，以切割各種材料的形狀。這種方法用于在“Text-ile

53、 Landscape memories”連衣裙中創(chuàng)造切氈。激光切割是生產(chǎn)平面設(shè)計(jì)的一種快捷、方便的方法。無(wú)論是金屬、塑料、木材、毛氈，還是紙張，都能夠?qū)@幾種材料進(jìn)行精密切割。該設(shè)置只需要根據(jù)材料進(jìn)行調(diào)整。對(duì)設(shè)計(jì)師來(lái)說(shuō)，這樣的自動(dòng)化節(jié)省了時(shí)間，以便可以將更多的時(shí)間放在設(shè)計(jì)的創(chuàng)意方面。這些都是技術(shù)如何改變服裝的制作方法的實(shí)例，如前所述，技術(shù)類(lèi)型影響服裝的類(lèi)型。在“Text-ile Landscape”中，平面氈材料被激光切割，然后被操縱以

54、適應(yīng)三維形狀。激光切割機(jī)和3D打印機(jī)的精確特性激發(fā)了更多的建筑風(fēng)格?？梢哉f(shuō)，科技激發(fā)出一種更加具有幾何性、更加干凈清晰、更加“未來(lái)主義”的風(fēng)格。</p><p>　　技術(shù)的普及和進(jìn)步改變了服裝行業(yè)的競(jìng)爭(zhēng)環(huán)境。傳統(tǒng)剪裁需要大量的時(shí)間來(lái)測(cè)量客戶以實(shí)現(xiàn)完美定制，但3D掃描儀能夠在幾秒鐘內(nèi)快速獲得準(zhǔn)確的三維測(cè)量。最近一項(xiàng)名為bodi.me的服務(wù)使用身體掃描儀，以便客戶可以根據(jù)注冊(cè)服裝公司的尺寸信息，將其尺寸與網(wǎng)上購(gòu)買(mǎi)的服

55、裝進(jìn)行匹配。想像一下，如果3D掃描儀與服裝3D打印相結(jié)合，就能高效快速地制作出完美適合的定制服裝；這將大大改變服裝設(shè)計(jì)的制造過(guò)程。</p><p><b>　　研究模式</b></p><p>　　在所有的例子中，應(yīng)該注意到有一種模式。首先，技術(shù)的不斷改進(jìn)，設(shè)計(jì)師往往會(huì)充分利用這些工具進(jìn)行設(shè)計(jì)，從而影響到他們的設(shè)計(jì)理念。其次，雜交技術(shù)在可穿戴工藝中很流行。服裝是一個(gè)復(fù)

56、雜而又源遠(yuǎn)流長(zhǎng)的行業(yè)，為了將先進(jìn)技術(shù)融入到有著如此悠久歷史的領(lǐng)域中，雜交技術(shù)幾乎是不可避免的。這就產(chǎn)生了新的或組合的工藝或設(shè)計(jì)技術(shù)。</p><p>　　可穿戴技術(shù)設(shè)計(jì)與他們傾向于表達(dá)的概念有關(guān)。輸入和輸出原則憑借技術(shù)的系統(tǒng)性。因此，它自然適用于與互動(dòng)、社會(huì)或其他有關(guān)的問(wèn)題。而且由于服裝基本上是人體的一種裝飾，身份認(rèn)同和文化感知就成為了一個(gè)常見(jiàn)而又受人喜愛(ài)的主題。</p><p>　　可穿

57、戴技術(shù)的崛起可以說(shuō)是我們當(dāng)前文化的反映。諸如Lilypad套件等專(zhuān)門(mén)套件的可用性表明了可穿戴技術(shù)的市場(chǎng)。同樣也證明了服裝設(shè)計(jì)師的技術(shù)進(jìn)步和設(shè)計(jì)愿望之間的依賴(lài)性和共同影響力。技術(shù)激發(fā)靈感，愿望刺激發(fā)展。</p><p><b>　　結(jié)論</b></p><p>　　總之，本文所研究的各種項(xiàng)目的例子表明，隨著技術(shù)的不斷發(fā)展，智能服裝的潛在用途會(huì)成倍增長(zhǎng)，同時(shí)也影響并受到時(shí)