-
Fashion,which is as old as time and as new
as tomorrow,is one of the most powerful forces in
our
lives .It influences what we
wear,the way we talk,the foods we eat,the way we
live,how and where
we travel,what we
travel,what we look at,and what we listen n is
what lead us todiscard
a
product that is still useful but is no longer
―
in
‖
.It is
also what makes us sometimes wear more
clothes than we may actually need,and
sometimes less than is needed to product us from
the ccold
or the sun.
流行是这样一
种事物,
是我们抛弃了还可以使用,
但不再时髦的产品。
有时候使我们穿比我
们真正穿的衣服多,有时候比我们穿抵御严寒酷暑
的少。
If
there
is
one
absolute
constant
pertaining
to
fashion,it
is
the
fact
that
it
is
always
changing-sometimes
rapidly,sometimes
slowly,but
it
is
never
static
or
element
of
change
is recognized in the definitions of fashion itself
cited earlier,by the use of such words as
< br>―
prevailing
‖
or
―
a given period of
time.
‖
To ignore the element
of change is like looking at a still
photograph in place of a motion still
tells you what is happening here and now the
motion picture shows you what came
before and what may lie ahead.
如果存在着一种符
合流行的绝对永恒,那就是流行是永远变化着的这一事实,
(这种变化)
时快时慢,但绝不会固定下来或呈休止状态。
“
Fashion is a social
phenomenon which reflects the same continuing
change that rides through
any given age
.
‖
Change in fashion ,he
emphasized,
‘
correspond with
the subtle and often hidden
network of
forces that operate on
society
??
’
“流行是一种社会现象,
它反映了任何特定年代同样都要经历的持续变化。<
/p>
‖
他强调说:
“流
行变迁与那些作用于社会的影响力量所具有的微妙,而又常常是暗藏着的系统是一致的。
”
It is
only in restrospect that fashion
changes seem marked or sudden .Autually ,they come
about
as
a
result
of
a
series
of
gradual
shifts
from
one
season
to
the
example
,when
women
’
s
skirts
began
inching
up
from
midcalf
in
the
1960s,this
gradual
shortening
was
not
particularly noticeable
at first .It was only when skirts moved thigh-
high,in the form of minis and
micro-
minis
,that
people
took
notice
of
the
approaching
rly,when
men
begin
to
abandon
ultrannarrow
ties
and
suit
lapels
in
favor
of
more
and
more
width,the
changs
are
not
noticed
at first.
只有当追溯过去的时候,
流行的变迁才显
得特别引人注目或突然,
实际上,
这些变迁的发生
是从一个季节到另一个季节的一系列逐渐变化的结果。
例如,
女裙的逐渐变短的时候并没有
被注意到,
。
??????????????????????
Color
can
be
the
basis
for
a
whole
group
or
line .It
is
the
first
element
to
which
consumers
respond .People
relate personally to color,usually either
selecting or rejecting a garment beccause
of its ccolor ore,designers must
cconsider their customers and provide colors that
are
both appealing and flattering.
色彩是整个款式系列中的基本要素,
它是能够引起顾客回应的第一要素。
人们把色彩和个人
联系起来,
他们往往
根据颜色来选择或拒绝一件衣服,
因此设计师必须考虑他们的顾客,
并
且提供出令他们喜爱和满意的色彩,消费群体。
In clothing,neutrals such as
beige,tan,brown,white ,gray,and black are even
more popular than the
ccolors
just
reason
is
probably
that
they
present
a
pleasing
background
for
the
wearer
without
completing
for
attention.
Neutrals
are
part
of
every
season
‖
s
fashion
picture
,as
either a strong fashion
statement or a way to round out a color story.
在服装中,中色调例如灰中色,深褐,褐色,白灰和黑色,甚至还有比刚刚提到的更多的
颜色。
原因大概是因为这些中间色调不会因
被关注而引发攀比,
从而为竞争者提供了一个满
意的穿着环境,
每季时装系列中都会运用一部分中间色调,
不是用以加强时装的
表达,
便是
使色彩系列搭配更趋完善。
The Brewster and Prang therories define
red ,yellow,and blue as the three primarries from
which
all
other
colors
are
yellow
and
red
paints
creats
orange
;red
and
blue
creat
purple
;and
blue
and
yellow
creat
green
—
the
three
secondary
es
of
primary
and
secondary
colors creat every color in between.
p>
布鲁斯特和普朗定义红,
黄,蓝为三原色,即所有颜色的起源。将黄
色和红色的颜料混合变
成橘黄,红色加蓝色变成紫色,
蓝色和黄
色变成绿色,三种二次色。混合原色和二次色将会
变成两色之间任何一种颜色。
Monochromatic
or
tonal
color
schemes
employ
varying
values
and
intensities
of
one
hue
.(Mono,means
one
and
chroma
means
hue
or
color.)The
resulting
look
is
very
refined .However
,textural,variety is needed to created interest. <
/p>
单色调或同色调的色彩设计方案是在同一色相下变幻同一色彩的明度和纯度(
Mono
是“一
个”
“单”
的意思,
Choroma
是色相或颜色的意思)这种方法会达
到极强的效果,构成上的
变化要能够使人产生兴趣。
29
页
Color is
interpreted in the medium of colors are chosen
first,then prints are colored in the
desired scheme are solids dyed to
mes,however,the fabric itself will inspire the
color
group.
色彩以面料为媒介得以体现,
p>
先选择颜色,
然后按要求的方法去印花和染色,
然而有时面料
本身就会激发出色彩的组合。
The adaptation of a trend depends on
the particular group of people whp are potential
consumers.
Sources
of
influence
and
methods
of
adaptation
vary
with
the
consumers
’
age
range,income
level ,lifestyle,and fashion
preference.
产生影响的来源和采纳(流行)
的方
法因消费者的年龄层,收入水平,
生活方式以及对时装
的偏爱而
异。
54
页
It
would
impossible
to
ask
all
consumer
what
they
will
want
two
or
three
years
from
now
.Therefore,producers and manufacturers must
anticipate cconsumer wants and needs .Before
they do any designing,manufacturing,or
retailing,they undertake market studies to
determine who
ccurrent
or
potential
customers
are,what
factors
influence
their
buying
decisions,and
ultimately
what
they
will
r,market
research,with
or
without
advertising,can
only
doesn
’
t show how
to fill consumer wants and needs.
我们不可能
了解所有的消费者从现在开始的两年或三年内他们打算买什么样的商品。因此,
生产商必
须满足消费者的需求,
在他们作出任何设计制造或零售计划之前,
他们需要着手做
市场研究来确定哪些人是目前或潜在的什么因素影响他们购买的决策以
及最后他们想要得
到什么。
When
viewing
the
major
collections
,manufaccturers,retailers,and
the
press
try
to
analyze
trend
y
a
few
collections
take
similar
directions
because
of
common
economic
,technological,and
social
ers
and
buyers
alike
try
to
single
out
the
styles they feel are
prophetic .It is very helpful to be able to see
and feel the actual garments and to
examine styling details,construction
techniques ,and fit.
在观看比较重要的时装发布会时,
生产商,
制造商
,
零售商和新闻界会试着分析流行趋势,
由于相同的经济技术几个
发布会会出现相似的局势,
同样地,
设计师和买手们,
尝试着选出
他们认为将会流行的款式,能够观察和感受到实际的服装,考
察款式,
细节,
结构技术和合