原文

Effect of Seams on Drape of Fabrics

Sukumar ；Gnanavel. P. , Ananthakrishnan, T.

Abstract

Drape of the fabric is its ability to hang freely in graceful folds when some area of it is supported over a surface and the rest is unsupported. Drape is a unique property that allows a fabric to be bent in more than in one direction, When two-dimensional fabric are converted to three-dimensional garment form. In the present study, the effects of sewing of different seam were selected on different fabric and their behaviors were studied. In this study drape of ten fabrics are analyzed with three types of seams and three stitch densities. Sample without seam is a control sample and drape of seamed samples are compared with control sample to analyze the drape behavior of seamed fabrics. This paper presents a fundamental drape analysis of seamed fabrics using drape meter. Drape behavior is determined in terms of drape coefficient. The effect of seams on the drape coefficient and Drape profile has been made. Drape coefficients significantly differs between the fabrics and also between the seam stitch density combinations. Investigating drape on seamed fabrics can improve fabric end use application.

Key words: drape, computer aided design, seam, stitch density

Introduction

Drape is an important property that decides the gracefulness of any garment as it is relates to aesthetics of garments (Kaushal Raj sharma and B.K. Behera. 2005). The mechanical properties of fabrics were first studied during the late 19th century by German researchers working on developing airships (Postle, 1998). Drape ability has been regarded as a quantitative characteristic of cloth, and several devices as well as virtual systems have been developed to measure it (Booth, 1968; Jeong, 1998; Stylios and Wan, 1999). Instruments for measuring drape ability have been developed by Chu et al.(1950) and later by Cusick (1965, 1968) using a parallel light source that reflects the drape shadow of a circular specimen from hanging disc into a piece of ring paper at present numerous instruments, ranging from a simple cantilever bending tester to a dynamic drape tester developed for measuring fabric drape. During recent years, the investigation of fabric drape has attracted the attention of many researchers because of the attempts to realize the clothing Computer aided design (CAD) system by introducing the fabric properties, in which fabric drape is the key element. It is obvious that fabrics have to be sewn together for a garment to be formed. The seams of a garment affect the fabric drape greatly (Matsudaira, M. and Yang, M. 2000). It is unrealistic to realize the appearance of a garment system without the consideration of seams and the methods of assembling of fabrics into garments (Jinlian Hu et al, 1997).

When a fabric is draped; it can bend in one or more directions. Curtains and drapes usually bend in one direction, whereas garments and upholstery exhibit a

complex three-dimensional form with double curvature. Hence, fabric drape is a complex mathematical problem involving large deformations under low stresses (Postle, 1993).

A plain seam the most typical seam found extensively in apparel is the simplest type in which a single row of lock stitches joins two pieces of fabrics together. Thus, investigating the effect of a plain seam on fabric drape has a significant value for both the textile and clothing industries. The quantified drapeability of a fabric into a dimensionless value called a “Drape coefficient”, which is defined as the percent of the area from an angular ring of fabric covered by a vertical projection of the draped fabric (Brand R.H.1964). “Drape co efficient (DC)” the main parameter used to quantify fabric drape (Narahari Kenkare and Traci May-Plumlee. 2005). Though useful, it is insufficient to characterize complex forms such as garments. Stylios and Zhu, 1997 considered that the drape coefficient by itself did not capture the full aesthetic quality of the drape of a fabric.

Drape profile of fabrics with seams provide guidance for garment designs and producers in the apparel industry and improve the understanding of drape properties corresponding to different seam features (Fourt.L and Hollies.N.R.S.1970). Furthermore, we expect that the results will be useful in predicting garment drape with clothing CAD systems.

Different types of seams are used in garment making and also wide stitch densities are employed. Once the fabric is joined with seams possibly its drape configuration would vary.

The product range of textile industry has extended to the garments. Mass production of operational systems and automated sewing is making more and more presence, it is very essential to understand to the change in properties the fabric under goes once it is seamed. This study is an attempt to understand the effects of seams on the drape of fabrics, which is one of key characteristics for apparels and certain draperies.

Types of Seam

The types of seams were selected and in each type, three stitch densities were employed. Fabrics were sewn along the warp and weft direction on a 35cm square side. Control sample for the test is a piece with no seams. This resulted in 9 treatment combinations.

(1) Plain Seam (S1)

This is the most common seam used in the garment industry. This is easy to make and pliable. It is normally suitable for all types of garments. And, it is suitable for curved locations like armhole. To make this seam we have to place two pieces of fabrics to be joined together right sides facing, matching the seam lines, and we should stitch the seam exactly on the seam line.

(2) Welt Seam (S2)

For constructing this, we should stitch the plan seam and press both seam allowances to one side. Then the inside seam allowance is trimmed to ”. Then top stitching is done on the right side of the garment by catching the wider seam allowance. This type is normally used on heavy coats.

(3) French seam (S3)

The French seam is stitched twice once from the right side and once from the wrong side. It is the classic seam for sheers and looks best if the finished width is” or less. To form this seam, with wrong sides of the fabric together, we should stitch 3/8” from the edge on the right side of the fabric. The seam allowance in trimmed to 1/8” and the seam is pressed well. Then the right sides are folded together with stitched line exactly on the edge of the fold and pressed again. Then the stitches are made” from the fold.

Conclusion

A study on effect of seams on the drape coefficient Drape profile is been made. Three types of seams namely three stitch densities 5, 4 and 3 per centimeter has been employed. Ten fabric verities containing different fibres weaves are analyzed. Drape coefficients significantly differs between the fabrics also between the seam stitch density combination.

The Drape Coefficient alone may not give a clean idea of real drape. For this purpose the drape profiles were generated with the help of radii measures. The drape profile has clearly indicating shapes that takes place with the seams put on. Seamed fabrics have generally shown more stabilized pattern compared to control samples.

Sateen weave followed by BHC MAT weave has shown highly symmetrical patterns. The seam has markedly improved drape profile of honeycomb fabric. Polyester, Polyester/Viscous fabrics have registered better drape profiles than Polyester/Cotton fabrics. Both the cotton gray casement has shown agreeable drape

profiles.

译文

接缝对面料褶皱效

库马尔；甘拉维尔；安娜

摘要

褶皱服装面料的一个内在特性，这使得它能够优雅挂在服装面料的表面，特别是当面料的有些区需要用到褶的时候。褶皱有一个独特的属性，就是它许将织物以一个或多个向弯曲，由此，可以将二维平面的服装织转换为三维的服装式，这样一来，服装的立体装饰感就会变得更强。在目前的研究中，有许多专家学者们对缝纫方法的选择进行了多研究。在本文的这研究中，主要分析了十面料褶皱设计，它含有三类型的接缝和三密度的缝线。选取一个没有的样作为一参照样品，以用来对褶皱本与参照样本进行一个比较分析。本文提出了一种基本的缝合织物褶分析。服装面料的皱行为可以通过悬垂显示出来，还有接缝对衣物面料中褶皱效果的影响。不同的褶皱面料之的系数显著不同的，它们的缝密度之间也不同。过对缝合织物的褶皱进行调，可以提高未来的织物应用水

关键词: 褶皱；计算机辅助设计；接

引言

褶皱是一个重要的属性，它决定服装的优雅程度，为它与服装美学密切相关的(考沙尔和布哈拉，2005)。在19世纪，德国的研究人员第一次研究织物的力性能，这究的成果，（完整译请到百度文库）后来

它行 (波斯特尔,1998)。褶皱的程度认为是服装布料的一特征 (波特,1968；宋,1968；黛丽,1999)。服的褶皱度可以通过仪器测量来（楚等人，1950)，后来由卡西于1965和1968年使用特殊的方法展示出了一个圆形的褶皱影子标本。撇开技术上的研究，在最近几年，对服装织物皱的调查已经吸引许多研究者的注意，因为目前服装行业内正试实现服装的计算辅助设计，将该系统引入设计，定织性能的织物褶皱则是关键元素。很明显，服装的面料必须以不同的形式缝在一起才能形成的衣物。衣服的合处处理的如何会地影响织的褶皱样式 (马特斯黛拉，2000)。必须要意识，一件服的外观不考虑到面的接缝和服装面拼接组合方法，这是不现

当一个服装织物需要用到皱工艺时，褶皱可以服装布料在一或多个方向弯拼接。一般饰物的褶皱通常在一个方弯曲，而服装和装饰则需要到一种复杂的立体褶皱工艺。因此，织物褶是一个复杂研究问题，涉及到很多方

普的接缝在服装中是最典型，接缝中，最广泛流传的，也是简的类型就是使单个行锁针，将块面料连接在一起。此，在纺品和服装行业中，调查普通接缝对面料褶皱的效果，是具有重价值的。服装织物拼接的量化值称为“悬垂系数”。通过它来对织物的皱度进行量化分析(娜拉哈瑞和特拉奇，2005)。虽然有用，不足以描复杂服装的褶皱形式。斯黛丽和朱在1997年，认为悬系数本身并没有充分反映褶

面料的褶皱形状与接形式，服设计中和生产中，着指导作用，要运用不同的接缝方法，不断改善衣物面料的褶皱效果 ( 福特和霍利斯，1970)。此外，我们预计文的研究结果，在进服装的褶皱设计中式

服装制造中，不同型的接和不同密度的接缝得到了广泛地使用。一旦面料中使用了接缝，那

纺织工业的产品范围经扩展到装行业。大规模生的运营系统和自缝纫正越来越普遍，所以，很有必要的对接缝的属性进研究。本研究是为了了解不同的接缝形对衣物面褶皱效果的影响，这服装行业中的一个关

接缝的类型

选取的接缝类型，每类型的接缝使用了三针密度。织物的接缝沿经纱和纬纱的35厘米方向。选取的参照样品一块

(1)普通接缝 (S1)

在服装行业中，这是使用最常见的接。这种接缝很容易处理，并且很柔软。它通可以适用于所有类型的衣服。它也同适用于服装织物中，一些弯曲位置，比如：袖孔。使用这种接缝，我们可以两块面料的相两边配合起来缝接，匹配比较好，应该沿着接缝线

(2) 贴边缝(S2)

对于这种接缝的用，需用针有计划沿着压缝进行缝接。然后在里面进行平行缝接”。然后，在服装面料的右边使用更宽缝头线。这种类型接缝方

(3)法式接缝 (S3)

法式接缝的缝是缝次，一次从边开始，一次从另外的一边。如果成品宽度不足的话，最好是使用人字起架的

物错和在一起，们应从边缘缝合3/8右边的织物。削减1/8的子口，并且缝压好。然后两边折叠缝合在一起，边的褶皱一次，缝合以

本文主要研究了接缝褶皱效的影响。分析了种类型的接，三针密度的缝合分别为5、4和3厘米。十织物事实上包含了对不同的纤维织物进行分析。的面料缝接密度和物褶皱的影响也

褶皱的程度并不能表衣物的真褶皱效果。为此，衣物中做出效好的褶皱需要借助一些辅助措施。不同的褶皱程度，对用的接缝形状有明确的要求。相比于需要褶皱物来说，织物的缝通常需要更稳定的缝

紧随六氯垫编织式之的是缎织法，显示除了高度对称的接缝模式。这种接缝能够显著改善蜂窝织物褶皱的状况。涤、涤/织物的褶皱效

服装设计外文翻译文献

服装设计外文翻

(文档含中英文对照即英文原文

原文 :

Trend prediction

Trend prediction information is much broader than ‘fashion prediction’ in that it may not be specifically related to fashion. Trends are recorded and trend predictors (looking for patterns of human behaviour, indicating changing markets or new consumer needs) constantly monitor the media and society.

Many industries use trend prediction to forecast relevant changes and plan product development, for example the interest in all things spiritual was forecast by Faith Popcorn, initially in the ‘Popcorn Report’ and was developed and continued in ‘Clicking’.

Spirituality is seen in the interest of such things as ‘Feng Shui’ which is a popular approach to interior design. Bookstores now have shelves dedicated to spirituality, as individuals look inwards to discover themselves in a fast-moving world.

The fashion prediction consultancy relies on experts in a variety of fields for its structure. They have personnel all over the world to help in gathering intelligence.

The full-time staffing of a consultancy generally consists of the editor who creates the company philosophy. The publisher, on the technical side, puts the information together. The retailing and merchandising professionals and fashion directors work on consultancy for individual clients, by applying the general fashion trends more specifically to their needs. They must be skilled in, and aware of, a variety of markets. This could, for example, involve developing exclusive collection strategies, concepts and designs for spinners, weavers, textile printers, men’s, women’s and children’s garments, shoe and accessory manufacturers and for retailer’s private labels. They may also be expected to sell subscriptions to the publications to new clients.

The objective is to work closely with the client to determine their concerns, goals and potential customers with a view to tailor-making a design solution.

The success of prediction companies relies on pinpointing trends and developing these for individual markets at the right time! Trends may be affected by social, cultural, political and economic moods, as well as evolutions in lifestyle, technological developments, media and retailing. This information is tapped and recorded by international correspondents who provide up-to-date intelligence from

fashion capitals, such as London, Paris, Milan, New York, Florence and Tokyo.

The design team determines how this intelligence affects fashion and consumer awareness.

Designers/Illustrators are employed with design skills in menswear, womenswear and childrenswear, and illustration skills in interpreting and developing silhouette themes, knit and woven samples, print stories and accessories. They visualise new ideas developed from the trend information and consider carefully figure proportions and stylization so that any personnel, using the service, can understand what is suggested by the visual.

International agents promote and sell the service to clients worldwide, for example in Los Angeles, Tokyo, London and Paris.

Colour

Colour is the first consideration of season and is produced for autumn/winter and spring/summer ranges.

The colour is put into dye 18 months ahead of the specified season (some clients may require this information up to 2 years earlier, but this may not be shown in the final presentation box).

Fibre and fabric manufacturers require advanced information regarding colour as they have to develop their product early enough for designers and garment manufacturers to buy it and in turn develop their product. Presentation packs are usually presented with a fixed range of colour and a removable range so that clients can develop their own colour combinations. Colour packages are included in the subscription price and may be sold separately to clients who only require colour information and not the rest of the service.

The follows the setting of the mood for a new season by developing fabric and silhouette themes. Prediction consultancies produce a variety of materials and publications for their clients.

Directional themes and full-figure silhouette illustrations of menswear, womenswear and childrenswear together with accessories are shown. Included in the publication may be exclusive handlooms for wovens, knits and prints produced by freelance and in-house designers.

Commercial fabrics may be published at this time, derived from fabric fairs such as, Premiere Vision, Interstoff and Prato. These are created from hand cut and stuck swatches of directional fabrics relating to the season’s previously predicted themes.

The fashion prediction design process

One publication is worked in at a time (there may be 12-one a month, or more, depending upon the size of the consultancy and its breadth of expertise).

A company that develops its own thematic material will hold a succession of meetings with the core team resulting in decisions being made regarding the amount and content of the themes for a particular season, including evocative names. This is achieved by discussion. Each individual states what they fell will be a strong trend in the coming season. Where one idea is repeated by several members it is incorporated into the plan for the book. Where similar ideas are mentioned they are amalgamated to form a strong and identifiable trend.

A colour palette is decided upon. The colours are divided into groups corresponding with the themes. Some colours unavoidably overlap, but as main and accent colours alter the overall impression, each theme is sufficiently different.

The designers then start designing. The walls are covered with tear sheets from magazines, separated into appropriate themes as inspiration. Photographs from the trade fairs are used for guidance on design details.

Fabrics are then discussed in conjunction with the designers designing the garments. It is important to consider the balance of outerwear and separates fabrics. When decided, lengths of fabric and any interesting accessories are ordered to provide swatches for the books.

After the designs are completed they are illustrated with reference to particular markets and ‘lifestyles’ and to capture the ‘essence of the themes’. Technical drawings are also produced, either by the design team or by freelance illustrators.

Samples of knitwear and new textiles may be commissioned which will be photographed for the books.

Mood boards, containing visuals, fabric and trim, depicting the themes, are completed. The mood boards are sent away to be photographed and return as transparencies.

During the process of compilation, agents worldwide will have seen securing old and new clients, to whom the books will be sent on completion. a master copy of the book is compiled and sent to the printers to have a sample copy printed and bound. The copy is checked for any mistakes before the book goes into production.

Travel is an important aspect of fashion research and visiting trade fairs allows reports to be compiled which observe not only trends apparent from the exhibitors’

displays, but also from the people (who are mainly from the fashion industry) as they walk around the shows. This exercise helps to understand the differences in international fashion, which is important when catering for foreign clients.

Theme development

Fashion prediction for a new season is usually promoted as a series of ‘themes’. These are designed to inspire and direct the designer for a number of markets. Themes, often, are given names to evoke feelings and moods and reflect the content of the theme. Each theme may appeal to one or more markets and requires interpretation from the designer to develop for their particular market. Often the prediction company offers some consultation to the designer which is helpful in this development.

Markets are usually defined by cost of the merchandise. Nowadays the markets referred to have vague names such as boutique, fashion aware, better end, pm dressing. This is more reflective of changes in ‘lifestyle’.

These can be interpreted into customers buying from:

Lower market – budget; lower middle – high street, chain stores; middle – independent labels and department stores; upper middle – designer diffusion; upper – designer.

Fashion prediction themes have often been very literal in their nature: nautical would show striped sweaters and sailor hats; utility always involve dungarees of some description and multiple pockets. A chic, tailored look may well involve a French beret.

It is important that visual codes are identifiable and mean similar things to different people. The illustration must work hard to convey a mood, an attitude, in the pose, that convinces the viewer about the sort of person that is being targeted.

Similarly, a total look is always helpful because accessories can contribute to not only the communication of the theme, but may also convey the type of person who would wear the ‘look’.

It is important that the proportion is believable and that the information is clear. Themes nowadays are less literal and are more about mixing ideas together to create something fresher. ‘Lifestyle’ has become important, consequently themes may not be put into an evocative setting which helps to create the correct mood. Less clothing detail is on view but the message allows the designer to make their own interpretations.

New uses of technology have resulted in the development of the Worth Global

Style Network (WGSN) who produce a comprehensive on-line service to fashion industry. Members pay an annual subscription to view the full site; students may visit an educational version free of charge (for a limited period). The services available are: news updates daily; women’s, men’s, youth and children’s trends; city reports from London, Paris, Milan, New York and Tokyo plus seasonal reports from new and trendsetting areas; international trade fair calendar; lifestyle reports - consumer attitudes, evolving buying patterns, seasonal phasing; catwalk shows and trade event reports; graphics libraries; resource listings; licensing reports – brands, films, sports events; mailbox problems and solutions; technical and production news – garment and fabric technology, dyeing and finishing, print techniques, footwear and leathergoods technology.

译文:

流行趋势预测

流行趋势预测信息所含的内要比时装预测丰富多，原因是其一定与时装有关。流行趋势是会被记录下来的。趋势预测者（寻找人类行为特点，指出变中的市场新兴的消费需求）会媒体及社会不断地

许多行业都使用趋势预测来预相关变化并定产品开发计划。例如，费?波普康(Faith Popcorn)预测了人们对所有精事物的兴趣。最初是在《爆米花报》（‘Popcorn report’ )中进行预测，后来又进了扩展并继续在《新爆米花报

人们认为精神性是符诸如‘水’此类东西的益的。‘风’是室内设计普遍采用的方法。当今的书店都设立了论述精神性书籍的书架，主要是由现代世化迅猛，人们都希进行内省从而来

从事流行款预的咨询司只有依靠各领域的专家才能形成自己的体系。它们在世界

咨询公司的专职人员一般包括编辑（定公司的宗旨），出人（从技术的角度将信息汇），零售与推销专人员及装经理（为个人客户提供咨询，将时装的总体趋势更体地用来满足他们的需要）。这些人员必须备必要的技能并各种市场。例如，这些技能可能包括开发独特收集战略；纺纱机，织布机，纺织印花机，男人，妇女及儿服装的概与设计；鞋子与附件的

商的自有品牌。还有可能需要他们向新客户

其目标是与户起紧密合

预测公司的成功取决于准确定趋势并时为个性化市场开发这趋势。趋势社会，文化，政治及经济气氛以及生活方式变化，技术发展，媒体与零的影响。本信息是由国际记者开发并记录的。他从时装之都，如伦敦，巴黎，米兰，纽，佛罗伦萨及东京，提供

设计小组确定该情报会如何影响时装及消

雇用了具有男女与儿童服设计技能说明并开发廓形主题，针织与机样品，印花织物的详情与附件说明技能的设计人员/说明人员。他们从趋势信息开发而来的新思维形象化并仔细虑体形的比及风格，以便使用服务的何人员都能清楚视觉

国际代理向界各地，如洛杉矶，东京，伦敦及巴黎，的客

预测流行色

颜色是季首要考虑的问题，是根据秋/冬及春/夏

在所说季节到之的18个月染料染出颜色（有些客户最多可能要求提前两年提供该信息，但终的

纤维及织物生产商要求提供色的超前信，因为他们要提早开发产品供设计员及装生产商进行购买并转而开发他们的产。外观盒的颜色通常是固定并除去的，这样户可开发自己的颜色。订购价格包括了彩色包。只需要颜色信息而不需要他服务的客户也可单独购

他们通过开发物及型主题来确定新季节的色调。预测咨询公司为客

它们给出指导性题及括附件在内的女，儿童服饰的完整廓型图。杂志可能包括由从事自由职业的设计师及内部设计设计的特的手织机织

此时可能会发表来织物博会，如Premiere Vision, Interstoff与Prato，的商业织物，系与提前测季节题有关的指导性织的手工裁剪及

流行预测设计过程

每次安排一期志（月可能会安排12期或更多。这取决于咨询公

开发自有主题材料的公司会与心团队召开一列的会议来决定某一季节题的数量及内容，包括人怀旧的名称。他们是通过讨论的方式做出定的。每位与会者均应各抒己见，出他们认为的下季节的主流趋势。如若数位与会者均同一想法，则该法会被包括在杂志的计划中。如法相似，则将这些想法融合

流及大家认同的

然后确定调色。根据题将颜色成不同的小组。有些颜色会重复，这是不可避免的。但由于主要及重点颜会改变

然后设计者们始进行计。他们从杂志上撕下的图片贴在墙上并将图片按相关主题分类以获得灵感。他们用从行

然后与设计服的设者讨论织问题。重要的是要考虑外衣与单件衣着织物之间的平衡。决定后就订购物及

设计完成后将据某市场及‘活方式’的要求进行说明，来抓住‘主题的精髓’。设计小组或从自由

可能会委制作针织物及新纺织品的样品，并为其

然后做出用来说主题，

在杂志的编辑过程中，于世界各的代理们会看到牢的新老客户们，便于在杂志编辑完成后将杂志寄送给他们。编辑一本原始料版，将其送到印刷公司印刷并装订一样品杂志。志在批量生产前前要对内容进行校对，找

旅行是时装研究的重点之一。参加行业博览会

服装设计外文翻译文献

文献信息：

文献标题：Proactive Fashion Design for SustainableConsumption（可持续消费的

国外作者：Kirsi Niinim?ki

文献出处：《Nordic Textile Journal》，2012，1:60-69.

字数统计：英文3104单词，17881字符；

外文文献：

Proactive Fashion Design for SustainableConsumption Abstract This article presents a study that investigates product satisfaction in the context of clothing. The paper furthermore presents suggestions on how this knowledge can be used to create proactive fashion design for sustainable consumption. One of the main challenges in today’s consumer society is how to design products that encourage consumers to engage in more environmentally responsible behaviour, sustainable consumption. This paper opens the discussion on how to change current unsustainable consumption behaviour related to clothing through a visionary, far-sighted design approach. Designers can create future-oriented sustainable designs that can transform consumption patterns towards more sustainable ones. Design for sustainability can thus be a redirective practice that aims for sustainable consumption, and the ways in which fashion design can be a proactive process with this aim will be described.

Keywords: proactive design, sustainable design, sustainable consumption, emotional satisfaction, PSS.

Introduction

Products configure consumer needs and use patterns; hence, design can be said to be “practice-oriented”, creating certain everyday practices and consumption behaviour (Shove et al. 2007, 134–136). Current industrial design and

mass-manufacturing systems stimulate consumerism and the production of disposable products (Walker 2007, 51). Fast changing trends lead to consumers’ unsustainable consumption behaviour. To create a new, sustainable balance between design, manufacturing and consumption, alternative ways to create products are required to drive more sustainable consumption behaviour. Therefore, designers should evaluate how each design decision affects a consumer’s consumption patterns. Understood in this way, sustainable design can bea redirective or a proactive practice that aims for sustainable practices in consumption (Fry 2009, 53).

Higher production volumes and simultaneous growing consumption have caused an increase in material consumption (Throne-Holst et al. 2007). Ever-changing fashion trends, affordable product prices and low-quality products cause consumers to engage in unsustainable consumption behaviour, such as impulse purchases, overconsumption, short use time and premature disposal of products. The increase in the purchase of short-lifespan products results in a notable increase in waste. Currently, approximately 70 percent of disposed clothing and textiles end up in landfills, and in many Western countries clothing and textile waste is estimated to be the fastest growing waste stream (Fletcher 2008, 98). Consumers discard gaments not only because they are worn out but also because they actively seek novelty. Nevertheless, product durability and longterm use are prerequisites for sustainable consumption: i.e. extending the life span of products is essential when the goal is sustainable consumption (Cooper 2005). Importantly, however, consumers associate durability with high quality and not with environmental impact.

Emotions lie at the centre of human life, and they influence most of our behaviours, motivations and thought processes (Desmet 2009, 379). Emotions also play a strong role in consumption. The interplay between wants, needs, values, attitudes and experiences is emotionally meaningful for a contemporary consumer. Clothing and fashion items belong to the category of self-expressive products, and with such products, consumption-related emotions are important to the consumer. As Richins (2009) argued, these consumption emotions are important elements in contemporary society and especially after the purchase event. The purchase situation

becomes a strong positive experience for a consumer, but it is very short term in nature and has no connection to the experience of deeper satisfaction or person –product attachment (ibid). Through a new purchase event, the consumer can again experience excitement, enjoyment, joy and pleasure, at least momentarily.

From an environmental point of view, studying consumption patterns and the meanings of consumption is important when sustained positive emotions in person–product relationships are desired or solutions are sought to replace materialistic consumption with other positive emotional states. The design process should focus on sustainable consumer satisfaction with a product or with the person –product attachment process. Moreover, a new kind of product service system (PSS) should be developed that aims to prolong the enjoyable use time of the product. A PSS strategy can also offer the consumer new emotional experiences, which can postpone the disposal of the product; PSS thinking can thereby aim to avoid a new garment purchase, which is an opportunity to decrease materialistic consumption.

Sustainable Satisfaction with Clothing

If current unsustainable consumption patterns are to be transformed into more sustainable ones, the ways in which design can offer sustainable satisfaction must be investigated. To gain a deeper understanding of the opportunities to deliver satisfaction by design and how the enjoyable use of garments can be extended, the satisfaction process must first be explained.

According to Swan and Combs (1976), the performance of clothing can be separated into instrumental performance (physical properties) and expressive performance. Expressive performance is linked to a consumer ’s psychological response to the garment, such as the experience of beauty. Instrumental requirements (e.g. quality expectations) must be satisfied first. Nevertheless, only fulfilling instrumental requirements will not result in satisfaction. Therefore clothing must also meet consumers’ emotional needs if it is to deliver satisfaction (Swan and Combs 1976).

Hence good intrinsic quality is optimal for ensuring consumer satisfaction and to

guarantee the longevity of clothing. High quality means durable materials and high manufacturing quality. The ageing process of a pleasant, aesthetic garment requires not only maintaining high intrinsic quality but also the design of a more classical style and use of durable materials. Some textile materials look old after a short use time. The material might experience pilling or may look old after a few washes. Garments needing frequent washing may look old rather quickly; therefore, recognising materials that age in a more aesthetically pleasing manner is important. Studies have shown (Niinim?ki 2010) that consumers experience e.g. wool and real leather to age in an aesthetically pleasant way. Consumers report that with high quality wool the ageing process does not show as obviously and in leather the ageing process is experienced as an attractive temporal dimension (ibid.).

Consumers respect aesthetic attributes in the long-term use of clothing, and aesthetic attributes correspond to expressive performance in clothing satisfaction. Accordingly, expressive performance affects the psychological response to clothing. The aesthetic attributes that correlate to the longevity of clothing are good fit, personal cut, nice colours and comfortable materials,as well as a classic look (see Table 1). Garment tactility is important to the wearer and a pleasant tactile experience during the use situation is one attribute for enjoyable long-term use of clothing.

Table I: Attributes that enable longevity in clothing

Not only quality, functionality and aesthetics are important attributes; the values behind the product are also important to consumer satisfaction. Clothing choices must connect strongly with the wearer’s self -image, identity and values. Wang and Wallendorf (2006) have argued that consumers with high materialistic values seek novelty and evaluate their possessions more often than consumers with lower materialistic values. They also highlight that materialistic consumers have less appreciation for deeper person –product relationships that develop during longer use situations. Consumers’ materialistic values may also connect with social status-related elements in garments and possessions. Consumers with lower materialistic values may have greater appreciation for the personal meanings attributable to the product that emerge during long-term use (Wang & Wallendorf 2006). Consumers with high environmental and ethical interests place high importance on being able to find environmental value behind a product. These consumers respect credence quality attributes – local and ethical production, eco-materials and long garment life spans – and they want to see these attributes and environmental values in the products they purchase. The value aspect is most important and consumers’ value expectations should be fulfilled to create deep product satisfaction (Niinim?ki 2011).

Fashion Design for Sustainable Satisfaction

How can a designer offer sustainable satisfaction to the consumer and how can s/he propose a prolonged use time of the product to the consumer? Firstly identifying the attributes associated with satisfaction and including them in the design is the most important strategy. Secondly identifying the determinants that lead to dissatisfaction helps the designer to avoid these elements in design and concentrate on design for

sustainable satisfaction. The previous section described the satisfaction elements in clothing:

-good intrinsic quality;

-good functionality;

-aesthetics;

-values in the product, in manufacturing or the company’s values.

The easiest way to offer product satisfaction is to increase the product’s intrinsic quality and inform the consumer accordingly. However the clothing satisfaction process is complex and not easy for a designer to control. Table 2 presents the temporal dimensions in clothing satisfaction, combining those elements and attributes that enable satisfaction to emerge or even create person-product attachments in the field of clothing. These are the elements that a designer should try to embed in design if s/ he is aiming for proactive fashion, deep product satisfaction and extended use time of the products.

Table 2: Elements of proactive sustainable fashion design

The following section presents several design approaches to deeper person-product satisfaction in the field of clothing. With these design strategies the designer can aim to achieve proactive and sustainable design.

Fashion Design with Meaningful Uniqueness

Products carry symbolic meaning, which consumers use to construct their own personality and identity. Consumers use products to express themselves and want

association with the characteristics, uniqueness or values symbolised by a product (Norman 2005). If products are easily personalised, the opportunity exists to connect the product more deeply with consumers’ identity construction and to create deeper product satisfaction and an emotional attachment through the person –product relationship (Chapman 2009). This opportunity enables the product to be more meaningful to the wearer, making possible an extension of the product’s lifetime.

Design services are one opportunity to address consumer satisfaction by deeply connecting the des ign outcome with a consumer’s personal needs. By using digital technologies that enable individual design or measurements, meaningful uniqueness can be designed. Furthermore, unique design and “made-to-measure” services offer improved product satisfaction by meeting a consumer’s individual needs and preferences better thanmass-manufactured garments. The company NOMO Jeans offers computer-assisted made-to-measure jeans by using a 3D scanner (Nomo Jeans). Jeans are made individually according to each customer ’s measurements. The customer can also choose the cut, colour, effects and details of his/her jeans.

An enterprise can also base its function only on consumer orders. The designer can create their own collections, produce a couple of sample collections and enable consumers to specify all orders and measurements on an individual basis. Garments can then be created based on each wearer’s measurements, thus enabling him/her to experience greater satisfaction. This design and manufacturing strategy may also help producers avoid the problem of overproduction. Small enterprises could offer their collections in small shops carrying a sample collection and obtain orders directly from consumers, allowing them to avoid extra production.

Designer Anna Ruohonen creates long lasting and high quality fashion (Anna Ruohonen). She has created a timeless collection called Black Classic, where the designs are permanent but itis possible to order them in seasonal colours. Garments are manufactured only according to customer’s o rder and according to each customer’s individual measurements. This strategy helps to avoid overproduction. Moreover the good fit of the clothing helps ensure deeper garment satisfaction.

Co-creation

One possibility for creating deeper person –product attachment is through a consumer’s own efforts during the design or realisation process. A sense of personal achievement is strongly connected to a positive sense of self (Norman 2005) and allows the product to begin to be more important to the wearer. The consumer’s own achievement through a “made by me” approach to design creates positive experiences through the sense of effort and the opportunity to realise her/his own creative skills.If the user builds the product herself/himself, s/he acquires a deeper knowledge of the product and, therefore, has the ability to repair the product (Papanek 1995). Kit-based design and halfway products give the consumer a more active role in the realisationprocess.

One option for including the consumer in the design or manufacturing process is to offer her/him an opportunity to make decisions during the process. Consumers have shown an interest in taking part in the design or manufacturing process by using the Internet (Niinim?ki 2011). If the design is based on a modular structure and the consumer is allowed to make her/his own choices – even from a limited selection – in creating a unique style, this process gives consumers new power and a more active role.

Opening fashion field is one way to offer the consumer more active role. Lastwear is a company that offers ready-madegarments, halfway clothing (kit-based) and patterns of their fashion designs (Lastwear clothing company). They also invest in quality and offer a guarantee on their garments, which is a good way to ensure product satisfaction.

Giving consumers more power is also possible by offering environmentally-related options. Consumers may be allowed to select a manufacturing location and different materials – and be provided with corresponding prices – enabling them to express their values through their choices. For example, many consumers, especially those who consider themselves ethical consumers, would like to buy locally manufactured garments even if they are more expensive (Niinim?ki 2011).

Fulfilling Consumers’ Changing Needs Through PSS

The symbolic meanings of products are connected to psychological satisfaction through an emotional response. When the product no longer offers a positive emotional response because, for example, it falls out of fashion or the wearer becomes otherwise tired of it, the consumer experiences psychological obsolescence and easily replaces the product with a new one. Accordingly emotional and psychological obsolescence results in premature disposal of a product that may still be functional.

Consumers’ needs and aesthetic preferences that change over time raise the question of how to avoid the psychological obsolescence of garments. The challenge in extending product lifetimes is to achieve continuing satisfaction with the product. The PSS approach allows the creation of new experiences with a product or changes to a product to enable it to better suit a consumer’s changing needs.

Positive ways that a product’s lifetime can be extended include upgradability services, modification services and exchange stocks. These strategies can postpone garment disposal by keeping the consumer satisfied longer. Modification or redesign possibilities for quality garments allow for an extension of a product’s life span. Many websites already advise consumers on how to modify their old garments themselves and encourage consumers to extend the use of their garments. Many small and locally functioning repair and redesign studios also already exist, where the consumer can repair a damaged garment but can also order a redesigned garment made from old ones.

A design based on a modular clothing structure also offers the possibility to create services to upgrade garments. This strategy offers the opportunity to update the appearance in a sustainable way (Fletcher & Grose 2012, 82). It is possible to play with theclothing elements to create unique combinations of colours or shapes to develop a new look. The consumer does not need to then buy a new garment; instead s/he can simply change some parts or elements in the garment to have the experienceof newness.

Garment exchange or renting services offer possibilities for consumers to make

changes to their clothing in more sustainable ways. New and interesting examples of clothing membership clubs exist. By paying a monthly membership fee, a consumer can select a certain number of garments to use, giving himor her the opportunity to change the appearance in a more sustainable way. This type of business strategy has emerged e.g. in the field of children’s clothing. Consumers can rent children’s outfits and when the child outgrows a size, the parent can obtain larger-size garments from the clothing club.

Conclusions

This study investigated product satisfaction in the context of clothing and this knowledge was used to understand and define proactive fashion design for sustainable consumption. It opened views into the process of consumer satisfaction. A main issue that arises when aiming to extend the life of garments is to increase their durability and intrinsic quality. Moreover, fulfilling consumers’ other expectations regarding the garment ’s aesthetic and functional attributes is important to ensure product satisfaction. Finally the issue of value is most important with regard to deep product satisfaction: values associated with the product, the manufacturing process and behind the companies have to meet the consumers’ own value base so that the consumer feels completely satisfied with the product.

By identifying the reasons for the short and long-term use of clothing, it is possible to find new ways to create sustainable designs that can result in a redirective practice directed towards sustainable consumption. Proactive fashion design for sustainable consumption takes these reasons into account, thus enabling clothing longevity. Satisfying consumers ’ expectations regarding quality, functionality, aesthetics and value is a key to extending the use time of a product. Moreover, the emotional side of consumption must be understood to provide more sustainable ways to ensure customer satisfaction.

The PSS approach provides an opportunity to extend the enjoyable use of a product and thus avoid psychological obsolescence and a garment ’s premature disposal. Stimulating a sense of meaningful uniqueness and achievement through

design services or “self-made ” approaches is a promising route to enhancing consumer satisfaction. If a consumer is satisfied, then strengthening the emotional bond between the product and consumer is possible. In turn, this meaningful attachment is the best way to postpone a product’s disposal. When the product or its use is somehow special to the consumer, s/he will take good care of it to extend its enjoyable use time.

The most promising sustainable design strategy is the combination of product design with service elements: PSS strategies are therefore a future path to proactive and sustainable design.

中文译文：

可持续消费的具有前瞻性

摘本文从服装的角度对产品满意进行了研究。对如何利用这些知识创面向持续消费的具有瞻性的服装设计，本还提出了建议。当今消费会面临的主战之一是如何设计产品，鼓励消费者从事更环保的行为，可持续消费。文采用一种有智慧、有远见的设计方法，就如改变当前与装相关的不可持续消行为开了讨论。设计师可以创造面向未来的可持续设计，将消费模转变为更可续的消费模。因此，可持续设计是具有针对性的实践活动，主旨是持续消费，其，服装设计可以成为实现这一主

关键词：前性设计，可持续设计，可持续消费，情感

引言

产需要符合消费者需求和使用式；因此，设计可以说是“实践向”，创造某些日常践和消费行为（肖等人，2007，134-136）。目前的工业设计和批量生产体系导致了消费主义和一次性产品生产（沃克，2007，51）。快速变化的趋势导了消费者不可持续的费为。为了在设计、制造和消费之间创造一个新的、可持的平衡，诞了可以推动可持续消费行为的另一种创造产品的方法。因此，设计师应该估每个设计决策将如何影响

这个角度来，持续设计一种重新的、积极的实践活动，其主旨是实现可持续消费（

更高产量和同时增长的消费量导致了物质消费量增加（特罗恩-霍斯特等人，2007）。不断变化时尚趋、经济实惠的产品价格及质量下的消费产品，使得费者不得不从事不可持续的消费行为，冲动购买，过度费，使用时间短，过早处置产品，等等。随着使用寿命短的产品的购买量的增加，其废品量也在显著上涨。目前，约有70％的置衣物和纺织品最终进入垃圾填埋场，在许多方国家，服装纺织品废料被认为是增长最的废流（弗彻，2008，98）。消费者丢弃服装，不仅因为这些服装已经穿旧了，还因为他们总求新奇的东西。而，产品的耐久性期使用是持续消费的先决条件：即延长产品的寿命是实现可持续费的必条件（库珀，2005）。不过，重要，消费者将耐久性与高品

情感人类生活的中心，它们影响着我们大部分行为、机和思维过程（德斯梅特，2009，379）。在消费情感也发挥着重要作用。当代消费者来说，欲望、需求、价值观、态度验之间的相互作用是具有情感意义的。服装和时尚用品属于自我表达产品的范畴，此类产品，与消费相关的情感对消费者来说是重要的。如瑞金斯（2009）认为的那样，这些费情是当代社会的重要因素，尤其是在购买活动之后。购买情况对消费者来说一种强烈的正体验，但它具暂性，与更深层次的满足感或个人-产品依附的体验无关（同）。通过新的购买动，消费者暂时可以再次体验到

从境的角度来看，当人与产之间需要持的积极情感，或者求用他积极情感状来取代物质消费解决办法时，研究消方式和消意义是十分重要的。设计过程应着眼于可持续的消费者对产品的意度或与个人-产品依附的过程。此外，还应该发一种新的产品服务统（PSS ），以延长产品的使用时间。PSS 策略可以为消费提供新的感体验，从而推迟产品的处置；因此，PSS 思维可以避购买新的衣服，这是一个减

对服装的可持续

如果将当前可持续的消费模式转变为可持续的消费模

设计方式能产生持续满意。为了更深入地了解设计怎样产生满意度，以及如何延长服装的使用

根据斯旺和库姆斯（1976）观点，服装的能可以分为工具性能（物理质）和表现性。表现能与消费者对服装的心理反应有关，如美的体。工具性要求（例如质量预期）必须先得到满足。，只完成工具性要求并不能达到满意度。因此，如果要完达到满意度，服装也必须满足消者的情

良好内在质量是确保消费者满意度和服装用时间的最佳选。高质量意味着材料的耐用制作质的高超。一件令人愉的、漂亮的衣服在长时间用的过程中，不仅需要保持较高内在质量，而还设计的款式更经典、使用的材料更耐用。一些纺织材料经过短期使用之后会显得很陈。这些材料可能会出现起球现象，或者在几次洗涤后看起来旧。需要频洗涤的服装可能看起来得很，因，识别以更美观的方式变旧的材料很重要。研究显示（Niinim?ki ，2010），消费者的体验而，羊毛和皮的老化过程比较美观。消费者报告说，使用高质量的毛，老化过程并不显，而在皮中，其老化过程随时间的

消费者在服装的长期使用中遵循学属性，而美属性对应于服装满意度的表性能。因此，现性能响消费者对服装的心理反应。与服装的使用时相关的美学属性是合身的、个人裁剪、漂亮的颜色和的材料，以及经典的外观（见表1）。穿戴者来说，服的触感很重要，在使用的过程中，愉悦的觉体验是服装长期使

表1：使用时间长的服

不仅量、功能和美观是重要的属性；产品背后的价值也消费者满意度的重要因。服装的选择必须与穿戴的自我形象、身份和价观紧密结合。王和瓦伦多夫（2006）认为，物质主义价值较高消费者往往比物质主义价值较低的消费者，喜欢追求新奇和评价己财产。他们还强调，在长期使用的情况下，物质主义的消费者对更深层次的个人与产品之间的关系不太感兴趣。消费的物质价值观可能与装和财产中与社会地位有关的因素联系在一起。物质义价值较低的消费可能对因长期使用而产生的产个人更感兴（王和瓦伦多夫，2006）。具有高度环保和道德利益的消费者非常重视能在产品背后找到环境价值。些消费者关注信誉质属性——本地和伦理，生态材料长期使用的服装——他们希望在购买的产品中看到这些属性和环价值。价层面是最重要的，消费者价值期望应得到

符合可持续满意度的

设计师怎样才能为消费者提供可续的满意度？/她怎样向消费者提出延产品使用时间的议呢？先，应该确定与满意度相关的属性，并将其含在设计中才是最重要的策略。其，确定导致不意决定元素，这有助于设计师在设计中免这些元素，并注意力集中在可以实现可持续满度的设计。前一节描述了服

-良好的内在质量；

-良好的功能；

-美学；

服装设计 女装设计 外文文献翻译

文献出处：Bennett JA. The stitched textile technology and its emotional consideration property in fashion design[C]// 2014 2nd International, Conference on Advances in Social Science, Humanities, and Management, (ASSHM-14). Atlantis Press, 2014. 者：Bennett JA发

第一

默认格式：文五号宋体，

缝制纺技术及在其

摘要：在现代世界，时装设师一直在产品研发领域不断索面料功能性。由于其情感丰富，易塑和色彩匹配的特点，缝制纺织技术了越来越多的关注。本文介绍了这种纺织品的重新设技巧和位名为Gwen Hedley的服装艺术家，他在缝纺织应用方做得非常出色。此外，本分享了我们在装设计中采用的这种术的生动案例。我们得出结论，缝纺织品可以有助于高时装设计中整体性和情

关键词：缝制纺织品，

1引言

随着公众的审美推，普通服已经不能满足人们的需求。在工业化和机械化社会中，时尚产品被显示出样的利用。多设计在这个领域失去己的个性。虽然纺织品设计出来，将技术与造型相结合，灵感可会更好。这种趋势指导设计师进入一个新的思维领域。如何发和创独特的料风格以及独特品牌的文化时装设计师应该虑的。Albers （2000）声称手工处理织物外观对装设计有很大影响。通缝合，纹理织物将很好地装

在产品开发域，装设计师开始更多研究面料。Hedley （2010）认为，线有很强的通用性，这是服装设计的本素，它可以用来创建纹理，标记和表现出多种形。缝合纺织品结

这个人，她是一位在纺领域得到认可的英国纺织艺术，她可以在织物上使用械缝合，通过使用机械缝合手工缝

2缝

2.1缝制纺织品的技术和情感表现

在纺织艺领域，无论手工还机器，拼接是缝制，刺绣和钩编基本。可分为运动针迹，十字，式针迹等。另一方面，颜色或图案设和织物设计具共同的区域，即纹理或表面形状。这种物质效应会有效地增加

McQuaid （2005）声称技术纺织品当今最具创意和最新设计的一个例。它不仅要求审和装饰，还觉上阻止纺织品。技术纺织品及其应用是独无二。它需要艺术家，设计师和工程师非凡的研究和验。莎拉和丽（2007）表示，利用最近的术创新，传统的方可以升级和更新，而工艺和制造可以聚在一起，创造独特和特殊的艺术

我选择Gwen Hedley为我的案例研的原因不是因为她的研究涉及纺织品的缝合，而且是从自然美景中吸取的作品。她有很多技术来制作不同的维表。而她写的《DrawingtoStitch 》一书包含了很多灵感源。有很多书籍可以说是缝合的技，但这本书不仅教导读者如何拼，还可以引导学者寻找灵感，它逐步展示了的整个设计过程，从灵感视觉介绍了最终的工作。她分享了起点，后用不同的方法来获得创造的想或特殊情感表达。每术作品都附有原创设计参考。此外，她向前推进是自然而然的。Hedley （2010）说：“作为设计师，您图纸是为了您自己的目的而制作的，作为接下来的工作文件和视参考。”面料的想法是从设计师的原思想翻译出来的，这些想法总是伴随着一些特别的

2.2Gwen Hedley采用拼接技术的重新设计过程

格温·赫德利（Gwen Hedley）的作品目前在两独立但相关的领域。一个是基于鹅卵石和石的标记和条-大连续的隆起的纹，点和破折号的散射等。她有兴趣探索这些东西，然后画，拼。她喜欢节奏缝合过程，因为不同的线可能会影响织物的表质量。另一个集中在木材，金属，织物，头等小型丢弃冲洗物品的表面上。他拥有分裂和元素变化的痕迹，这是个神秘的历史。她相侵蚀和转变包含了自己的某

我欣赏她的想是，看似正常的体可以是美

个视觉品来表达美和情感。第一步是绘制，有助于密切观主题，了解其特点。然后，当观察和写笔时，她会绘制标记颜色。最后一步接。她以为是用线程绘制的。她推荐了各种易于获得工具，棒，枝条，棉花芽和搅拌机。那些在我们日常生活中是正常事情，通过这工具，工作应该有一种特的生活习惯。此，她还介绍了几种绘，着色媒体和辅助材料。在这本书中，她使用不同的材料，墨盒，报纸，二手茶袋作

以Gwen Hedley于2007年作出的“创意之旅”为例。首先，她拍摄镶嵌在墙壁上的金属板（图1）。她从被腐蚀和蚀的属中选出了颜色，些金属是色，绿松石，锈和勃第。她专注的是大量的色调化，有趣的衬里形状和柔软的不规则边。那么她做的下一就是画和设计。她用一棍子和墨水画了。Hedley （2007）指出，一面，她接近的时候自由; 另一方面，通过用锋利的肉棒来绘画。同时，回到了照片，她调整了每种颜的颜色范围和色调的变化。接下来的步骤是根据以的研究结合在织物上。最后一是柔软的边缘颜色，最后的布完成如

图1金

图2最成品缝合件。（

正如Hedley （2007）所说，当以这种方式进行自由加工时，我认为我机器是一图工具，使用针头可以自由地工作，改方向和颜色，就像铅笔一样。在这个阶，我回到术品，再次看到

3缝合

3.1

从对我们的观点看，对缝合技术进行了大量思之后，重新设计的面料具有以下个特点：首先，织在拼接后会。它更容易做雕刻，所以它似乎更好地应用一些特的部分（图3）。其次，抽象的图案，我可以自选择颜色，匹配颜色。这将有助提高整体收的统一性。最后但常重要的是缝合的面料总是表现出一些非常适合感表达的特殊的视觉和

图3

服装设计褶皱外文文献翻译最新译文

文献出处：N Umetani. Garment structural designing and pleat effects [J]. ACM Trans. Graph., 2015, 30(4): 90.

原文

Garment structural designing and pleat effects

Abstract

The research on the clothing wearing effect evaluation based on the subjective evaluation method, explore a kind of objective and quantitative evaluation method to describe the clothing on the pleat. Through analyzing the principle of image technology, design the clothing in image acquisition system, using image processing software for image processing, and the drape of clothing. This study garment sleeve parts of the pleat as an example to carry out the work, the drape on the sleeve image into grayscale curve, analyses the corresponding relation between gamma curve and pleat.

Keywords: structural design, pleating effect, evaluation index

Introduction

Clothing structure design is based on clothing, rendering it by cutting division, in the form of fabric, fabric pleating, joining together a series of process performance. It basically is to accurately grasp the effect of design, namely according to the structure characteristics of the clothing design renderings, determine the plane state of structure are measured.2d pattern and solid state of the corresponding relationship between the body and clothing itself the cooperate relationship between the various components and consistent state, and then combined with the characteristics of the clothing material and the characteristics of the craft, has designed a set of reasonable structure, have different specifications of the series, to lay a good foundation for the process design and clothing production. Therefore, clothing structure design is a bridge of art and technology, and process design and processing production preparation and protection.

Clothing structure design method has a lot of kinds, during which there is a difference between large and small. The same kind of style, the same kind of fabrics, clothing structure design method of using different made clothes on the model and the

garment effect might be different, so need in different structure design method of a costume effect evaluation, on the basis of various clothing structural design method in the comparison.

Clothing structure design basis of the human body

Clothing structure design is based on the human body, clothing for its formation, from the design, playing board, to sew, the overall ironing, are based on the human body. Clothes need to be able to adapt to the human body structure, and can make up for the inadequacy of the human body, and beautify the human body shape. This request of dressers not only possess fine sewing process, more important is fully understand and master the human body structure, the clothing modelling, as well as the relationship between human body and clothing such as knowledge, a comprehensive understanding of the structure of the human body, dynamic and static characteristics of the human body, and make use of the excellent cutting and sewing skills, modification and exaggeration, to rectify defects, beautify the effect of clothing style.

The relationship between clothing and human body, clothing should first cover have to meet the practical function. Early gown jacket is flat coated body, simple cylinder structure, it is a kind of embodiment of style, but it can't reflect the body curves. Later, the introduction of western clothing, made an enormous change in the costume history, from plane to three-dimensional clothing from now on, people began to study clothing structure on the basis of the human body structure. Through the use of provincial roads, make clothing more perfectly reflects the human figure, it is the aesthetic function of clothing, is also the modern clothing trends of the research.

Clothing is the length, size, its merits and broken the whole, different forms such as square, wide, and on the sewing process complexity, Jane, fine, coarse, but plus ca change, is inseparable from the basic condition of human body shape and physical activity. In clothing modelling design, before and after the paper, the layout of the collar and sleeves exquisite modelling is unified, coordinated and harmonious, and as the criterion in each part of the human body prototype form, make the crop science, fine sewing, aesthetically pleasing, and wearing form-fitting. “Wearing form-fitting",

refers to the specific amount of costume design, cutting, sewing skills should conform to the human body shape, show fashion figure, the best effect. The human body to constitute the clothing modelling beauty plays an important leverage.

The generation of clothing pleat

Rushing form design is the basis of visual expansion. Human visual sense to pleat cognitive derived from the cognitive skirt decorated side line. Side line is skirt act the role of sensory induction and abstraction of the form, rules of ruching produce order form, irregular ruching produce disordered form. Orderly form of circulation and repeated give a person with the feeling of calm and the expansion of the collect inside, this is a rational, calm the visual feelings. The various forms of garment hem shape irregular line, a messy disorderly recruit ACTS the role of design form, such as length, weight of rolling line in the form of. Skirt ruffles form in the plane design of clothing deviation from the conventional disorderly change, form an exciting visual points.

Clothing pleat is for aesthetic needs, artificial set some pleat on the items. Such as pleat and pleat the garment processing process on the surface of the arts and crafts. Have certain adornment sex, this kind of pleat is what we expected. Fabric on this kind of pleat is often referred to as "crepe", clothing on this man-made craft pleat is a kind of aesthetic embodiment.2 it is goods material influenced by all kinds of bad factors in the processing of pleat, this kind of pleat often influence the processing quality of the products and the beautiful, is don't want to produce in the process of production. Especially in the process of garment processing, an operator easily sew stitches of not neat, easy to produce bad pleat. Three is a costume on the human body, as a result of human movement tensile and bending deformation of the flexible fabric, produce pleat. Clothing production of pleat in the very great degree is closely related to the human body. The body's static and dynamic ever-present affects the dress effect, the surface of the clothing pleat changes constantly.

Passive, negative plait, bring certain negative influence to clothing. The second pleat bring certain obstacles to the products, we carry on the detection, prevention, and research has not. Currently there is very little research on the third cause of pleat,

the focus of this article is to evaluate objectively the garment in appearance, is also the formation of a costume surface pleat for objective evaluation and analysis.

Clothing as a kind of modern goods, have the function of the royal covering clothing, the cold, and can meet the needs of the people's life and work, to adapt to all kinds of manners, seasonal demand. The appearance of the clothing quality and wearing effect directly determine its sales in the market and location. With the improvement of people's living standard, people are not content with the simple body clothing apparel, but the pursuit of more high quality, comfortable, good image of the garment appearance. As clothing itself, its overall image not only with the design level, the use of the surface of the fabric quality, wearing comfort, quality, and clothing is closely related to the appearance of the effect after wearing. Factors directly affect the outcome of a costume is a costume caused by surface drape. Great impact on the pleat of the garment appearance beauty.

Clothing drape evaluation index

Grey value

The index can reflect distribution of wrinkle is the surface of a garment. Clothing formation pleat, the rendered image gray scale is not stable. Pleat area grey value small dents; drape projection area of grey value. Because the grey value itself is the color of the material, the influence of light source intensity and image processing, can't give direct information, but can be used for the first item (3) of the following indicators

Pleat number

The index can reflect the detection area, the number of the drape of clothing surface, can use the image curve of wave number (or trough), a wave (or trough) corresponds to a pleat. On the premise that the size of the image acquisition area, the greater the value of N, the more pleat number.

The depth of the pleat

The index can reflect the drape of clothing surface the most protruding part and the height of the concave part difference, can use the adjacent peaks and troughs of the region's biggest gray scale and minimum difference of gray, is used to evaluate

clothing pleat which is formed by the surface depth.

Pleat width

The index can reflect the size of the drape of clothing surface. The location of the distance between the adjacent two troughs valley (D) reflects the distance between adjacent pleats down concave part; the location of the distance between adjacent wave peaks (D) reflects the width between the adjacent pleats protruding parts.

Pleat evenness

Pleat uneven can from the size of the pleat and pleat the depth of the two aspects of evaluation.

Conclusion

From the subjective analysis of clothing appearance in drape effect, can see the different structure design methods, different fabrics and different pattern effects are wrinkle on the appearance of a garment. Pleat subjective evaluation from the garment body and the sleeves as you can see, garment body loose shirt ago plait is relatively small, the formation of culture fit shirts (ordinary fabrics) pleat of the base sample shirt, because the culture type prototype in the chest and back width is base sample is small, tight clothing than base samples, forms pleats more easily. Loose shirt sleeves plait is relatively small, the sample sleeve pleat more, because of the loose shirt sleeves is fat, it's not easy to pleat formation, or pleat number is less, the base sample sleeve is tight, the involved in easy to form a pleat. And adopts the cultural prototype is with ordinary fabric shirt and shirt pleat compared with soft fabrics, the formation of the pleat are also different.

译文

服装

摘要

本研究在以往服装穿着效果的评价所用的主观评价方法基础上，探索一种客观的、量化的评法来描述服装上的褶皱。通过对图像术的理分析，设计了服装穿着图象的采集系，利用图处理软件对服装褶皱进行图像处理。本研究以服装袖子部位的褶皱为例开展了工作，袖子图像上的褶皱

灰度曲，分析了图象灰

关键词：结构设计，褶皱效果，评价指标

引言

服装结构设计是根据服效果图，将其以织物、面料的形式通过裁剪分、打褶、拼接表现的一系列过程。它主要是对服款式设计的效进行准确把握，即根据服款效果图的结构特点，确定平面状态下的衣片结构线与立状态的体之间的应关系以及服装自身部件之间的配合关系和吻合状态，然后再结合服材料特性及工制作的特点，设计出一整套具有理结构、不同规格系列样板，为工艺设计和装生产打下良好的基础。因此，服装结构设是艺术与技术的沟通桥梁、也是工艺设计和加工生产的准备

服装结构设方法很多种，其间存着大大小小的差异。同一种款式、同一面料，不同的服装结构设计方法制作出的服在样板和成衣效果上可能有所不同，因而需在对不同结构设方法所得到的服装穿着效果进行评估的基础上，对各种服装构设计方法进行

服装

服装的结构设计是人体为据的，服装就其形成来看，从计、打板，到缝制、整体熨烫，都是依据体来进行的。服装要适应人体的结，能弥补人体的不足、美化人体外形。这就要求服装师仅具备细的缝制工艺，更重要的是充分认识和掌握人体结构、服装型以人体与装的关系等知识，全面了解体的结构、人的动态及静态特征，并用高超的裁剪及缝制技艺、修饰与张的手法，达到矫正形缺陷、美化服装外观造型

就服装与人体的系来看，服装首先要具有满足遮体实用功能。早期的长衫马褂是平面的覆人体，简单的式结构，这固一种风格的体现，但不能体现人体的曲线美。后，西服饰的引入，在服装史上产生了巨大的变革，服装从从平面走向体，人们开始依据人体构来研究服结构。通过省道的运，使服装更完美地体现人体体，这是服装的美学能，也是现代服装研究的

服装虽有长短、大小、曲直、碎整、方圆、宽紧同形态以及在缝制艺上的繁、简、精、粗分，但万

本条件。在服造型计中，前、后衣片，子与袖子的布局讲究造型统一，协调和谐，并人体原形位形态为准绳，使裁剪科学，缝制精细，造型观，穿着合体。所谓“穿着合体”，是指具的服装设、量体裁剪、缝纫艺都应符合人的体形，显示出服装形体美的最佳效果。人体对构成服装造美起着重要的杠杆

服装褶皱的产生

褶饰形态设计是视扩张的础。人对于褶的视觉感观认知源于裙饰边形线条的认知。边形线条是饰感官形态的归纳与炼,规则的褶生有序形,不规则褶饰产生无序形。有序形的循环与复给人平静与内敛的扩张感,这是一种理性、冷静的视觉情感。服不则褶边形条的形式多样,有凌乱的招饰图案形式,有长短、轻重的起伏线形式等。裙饰边形在服装的平面款中产生了偏离常规的序变化,形成令人兴奋的

服装褶皱一是出于美观需要，人为的在物上设置一些褶皱。比如工艺品表面的褶皱及服加工中的工艺褶皱。这类的褶皱具有一定的装饰，是们所望的。面料上这种褶通常被称“绉”，服装上这种人的艺褶皱是一种审美的体现。二是物品材料在加工中受到各种不良因素的响而产生褶皱，这种皱往往影响产品的加工质量美观，是生产程中不希望产生的。特别是在服装加工过程，不熟练操作工容缝线缝的不整齐，易产生不良褶皱。三服装穿着在人体上，由柔性面料的弯曲变形、人体运动拉而产生褶。服装褶皱的产生在很大程度上是与人体密切关的。人体的静与动无时无刻不影响着着装效果，服装的表面褶皱也随之

被动的、消的褶，给服装带来一定的面影响。第二种褶皱给产品带来一定的碍，我其进行检测、预防研究一直都没有断。目前对第三种原因产生的褶皱研究非常少，本的重点是对服装着外观效果进行客观评价，也就是对服装穿着时形成的表面褶进行客观评价及

服装作为一种代商，具有遮身蔽体、寒御冷的功能，并能满足人们的生活、工作要，适应礼仪、季节需求。服装质量的好坏及着时外观效果直接决定其在市场上的销售量与位。随着们生活水平的提，人们不在满足于简单的遮身蔽体的服装，（完整译文请到百度文库）而是更多的追求高

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