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1、中文1700字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
2、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
3、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：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
4、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、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
5、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
6、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，弹力纤维面料的发展激发了设计师们设计紧身服装的灵感。文献出处：Mete, Fatma. The creative role of sources of inspiration in clothing desig
7、n. International Journal of Clothing Science and Technology 18.4 (2006): 278-293.原文The creative role of sources 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
8、of observed design behaviour and early stages of the clothing design process, what is the nature of design inspiration, 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 studi
9、es looking at ready-to-wear clothing design has been undertaken; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empirical approach used ethnographic observational methods, which is effective in situations where conventional knowledge acquisiti
10、on 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. Findings - Identifies the major types of idea sources in clothing design and provides information about each source. Recognises that th
11、ese sources of inspiration help designers to create design elements and principles of individual designs. In order 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 collec
12、tion planning. Originality/value - This paper highlights the role of sources of inspiration and its effect in creativity and originality in the clothing design process. Offers practical help to clothing designers and design-led clothing companies.Keywords: Fashion design, Clothing, Creative thinking
13、, Design calculations, Design managementIntroductionSources of inspiration and its personal interpretation, visually 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
14、 and actual clothing design processes is open to scientific investigation like aesthetically driven designs in other 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 principl
15、es, material properties, adaptation and modification of design inspiration are complex. Clothing design, as a variety of aesthetic and functional design processes, shares many characteristics of engineering design process. Research and observation are critically important in the fashion business. By
16、 researching and observing, designers gather background information for design, including studying current and future 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
17、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: process and product, as verb and noun. As design problem solution process, it is researching, setting the source of inspiration, planning, org
18、anizing 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 outcome of that process or plan. Clothing is an example of applied design, even the most exciting, original idea must show awareness of its practi
19、cal purpose and environment. We realise that some art is pure, art for arts sake but most creations in the daily 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 pro
20、cess 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 and service falls into two major categories: sensory and behavioural. Sensory design is perceived through the senses, and is classified as visual,
21、auditory, olfactory, tactile and gustatory. Behavioural design is planned action. Many products, however, include 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. Researc
22、h methodology and findingsThe importance of source of inspiration and their role in creative clothing design has 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 characteris
23、tics of complex engineering projects and as an example of practical design in a fast moving and highly competitive 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 communic
24、ation problems within design teams. 15 Mkirinne-Croft et al. (1996) tried to explain the fashion design process 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 progr
25、essive series of empirical studies, based on observation and interviews, looking at ready-to-wear (RTW) clothing design; in situ observation, semi-structured interviews and constrained and semi-constrained design tasks. This empiric approach combines ethnographic observational methods with the knowl
26、edge analysis techniques of artificial intelligence. It 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 or company. In this researc
27、h, the creative role of sources of inspiration in visual clothing design by novice and expert clothing designers 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 an
28、d five professional designers participated in the experiment carried out in this research. The first group of subjects 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,
29、who also works as a free lance or part time assistant designers in the clothing industry. The second group was composed 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
30、inspiration for new styles? The answer is everywhere and everything. Anything visual and tactile, in fact sensual, 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 influence
31、s of all the arts, and lifestyles throughout the world. Because consumers are exposed to movies through international 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
32、 travel are all sources of design inspiration to fashion designers. The fashions of the past are also a rich source 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 garm
33、ent 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 spirit of the times also called the zeitgeist. Understanding the state of current fashion and searching for ideas and sources of inspiration involve
34、s looking at art objects and books, going on trips to places like Paris and Milan, visiting museums, watching people 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 indus
35、try that there are two fundamental approaches in the creative clothing design processes: (1) material, thus fabric, 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
36、-fashion name designers typically develop a concept, also called theme, for their collection in order to be more 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, fabr
37、ics and trims as previous products, play an important role in sources of inspiration. Although, there is a broad 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
38、or invented materials. For example, the development of elasthen fabrics, such as Lycra, inspired designers to figure-hugging silhouettes. 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.
39、 First, the designer does careful research, but what makes a designers 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 awaren
40、ess 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 influence
41、s 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 creative
42、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 as follows: -
43、 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 appropriation of the season; and - drawing the borders for the design framework.
