服装英文翻译.docx

1、服装英文翻译本科生毕业论文（英文文献翻译）题 目 时尚与人体工学设计：影响的方面服装可用性 学 院 轻纺与食品学院 专 业 服装设计与工程 学生姓名 钟 炯 学 号 * 年级 2012级 指导教师 李晓蓉 教务处制表二一六年六月三日6th International Conference on Applied Human Factors and Ergonomics (AHFE 2015) and the Affiliated Conferences, AHFE 2015Fashion and Ergonomic Design: Aspects that influence the perce

2、ption of clothing usabilityrica P. das Neves a *, Aline C. Brigatto a , Luis C. Paschoarelli aa UNESPUniv. Estadual Paulista, Av. Eng. Luiz Edmundo C. Coube 14-01, Bauru17033-360, BrazilAbstractThe relevant issues about clothing have been increasing in recent times. The increase number of consumers

3、and users that search for differentiated and appropriate products to their needs and expectations is impacting on the design stages as well as on manufacturing process. Thus the understanding of specified segments of consumers and users emerges as a competitive strategy that is favourable to the dev

4、elopment of products that are adequate and satisfactory to different individuals. Regarding the fashion context, the clothing product provides to the emotional level channels of signification and subjective identification. Considering the direct contact between clothing and user, the information abo

5、ut anthropometric biomechanical and ergonomic are of extreme relevance for the development of modelling that are appropriated to different needs of different segments of users. 2015 The Authors. Published by Elsevier B.V.Peer-review under responsibility of AHFE Conference.Keywords:Fashion, Ergonomic

6、 Design, Anthropometric, Usability1. IntroductionThe relevant issues about clothing have been increasing in recent times. The increase number of consumers and users that search for differentiated and appropriate products to their needs and expectations is impacting on the design stages as well as on

7、 manufacturing process.Thus the understanding of specified segments of consumers and users emerges as a competitive strategy that is favorable to the development of products that are adequate and satisfactory to different individuals. Considering the direct integration of the clothing with the skin

8、and the topography of the body, the garment generates value of judgment inherent to the perception of the aspects of usability, pleasantness, comfort, enjoyment and satisfaction regarding the needs of the subject.From this principle, ergonomic design provides tools that when applied during the stage

9、s of clothing conception,may be able to direct more precisely the characteristics of the product in favor of safety, efficiency and comfort. In order to understand the complexity of the integration of body and clothing, the study of anatomy and body movement are necessary. It is important to underst

10、and the balance plans of the entire body as well as the its movements such as flexion, extension and other 1.In this way, the multi and interdisciplinary interaction between project of clothing and ergonomic design contributes to the progress and to the resolution of the project of clothing projects

11、. The understandings of the concepts of usability, comfort and ergonomics which are specific of certain groups (niches) are necessary in order to obtain fashion patterns that adequately meets to their expectation and requirements.1.1. The metamorphosis of FashionThroughout the evolution of societies

12、, fashion contributed to the identification of social and identity role of the subjects by hierarchical use of different clothes and accessories. Its symbolic character is a reflection of subjective and cultural aspirations of a certain period, which, in turn, significantly reflect on the physical a

13、nd constructive aspects of fashion products, especially clothing.With respect to the symbolic, physical and materials aspects of clothing, it can be noticed an infinity of transformation that expressed the social,cultural and technological context of a given period. In general, the clothing has gone

14、 through a process of simplification, especially from the decade of 1800. This phenomenon is primarily due to new industrial technologies, to higher demands of products and to the adaptation to new manufacturing process.As an example,the revolution in womens clothing led by French designer Paul Poir

15、et in the early twentieth century can be mentioned. Thanks to the fashion creator, the womens clothes were simplified becoming lighter, thus facilitating the movements of body 2.The fashion innovation broke with the rigid structure of the corsets that made pressure on womans abdomen in order to crea

16、te and define a slim waist, a protuberant bust and a straight posture. The stylist also proposed a lighter silhouette, deeper necklines (mainly the V” model), apparent shoulder, ample shapes, and other modeling variations.In general, throughout history, a variety of social, cultural and professional

17、 practices have contributed to a more efficient and realistic view about the needs of the individual and of their daily tasks. Due to this trend and the industrial logic of large-scale production between 1950 and 1960, the fashion has become more democratic, and therefore, the user began to be perce

18、ived with more relevance by companies in the sector.The new phase was characterized by what came to be known in France as prt-porter, and in the United States as ready to wear. Rigidity, ostentation and exclusivity of the haute couture were no longer consistent with the new economic, cultural and de

19、mographic realities of the postwar years. There was a need for more agility and quantity of products. Thus a rapid production system began to be practiced under new industrial characteristics that were adapted to the increasing demands of garments product 3,4.The new industrial system promoted great

20、 transformation within the creative and development process of fashion products. The demand for products increased significantly due to new social groups which had higher purchasing power and new forms of consumption established with the advent of mechanization and mass production. Consequently, the

21、 system was quickly disseminated through several regions of the world, favoring the strengtheningof the textile and apparel industry. The design and planning stages of clothing increasingly improved concerning to new textile and industrial technologies, as well as became more sensitive to social and

22、 cultural movements.The hedonistic consumption was becoming increasingly present, intensified primarly by aesthetic and symbolic elements of fashion products. Consequently, the industry had to be opened to the perceptions and desires of a society increasingly focused on the present, on the new and o

23、n the possibilities of identity expression. The youth groups, for instance, were a segment of consumer which significantly influenced guidelines of development and production of a few fashion products over the course of the decades after the consolidation of the industrial system 3.With the postmode

24、rnism ideas, markets became more complex and were no longer large and homogeneous. The new tendency of consumption led the industry to divide into smaller and smaller segments, which were identified by different needs and expectations of individuals 5.In this scenario, consumers came to be perceived

25、 as determining factor in product development of products. As in previous periods, their actions, desires and expectations induced significantly the correct sizing of the products, considering aesthetic, physical, practical and functional aspects. These factors, in turn, began to determine new const

26、ructive methodologies for garment products. The aspects of fashion pattern began to become more prominent,especially due its focus on the assertiveness of the product. The target audience began to be analyzed and considered, especially when industries realized that to increase the production and sal

27、es, it was necessary to stimulate the consumption must be effective and continuous. Buying and having were actions that were able to construe the individual subjectivity through non-verbal elements, reflecting on how the subject would be perceived.In the context of industrialization, some ergonomic

28、knowledge arising from World War II began to be inserted6. Withthe industrial production, clothing patterns of shapes and sizing/measuresbegan to be essential in order to cover the dimensional standards of some individual variations 6.When well-know the user, recognizing their needs, capabilities an

29、d limitations, it is possible to identify in advance the occurrence of accidents, health damages and discomfort 6. Consequently, the individuals are gradually being seen as users and not just as mere consumers.Allied to this, the market segmentation began to offer variations in functional benefits a

30、s well as more attention towards the hedonistic needs 5. Mainly with the postmodernism advent, the researchers with users and consumers began to extrapolate the aspects of marketing and advertising. The image manipulation realized by media, especially after mid-1950s, were no longer sufficient given

31、 the vastness of products that constitute the market. In the post-industrial society the ostentatious aspects of the product were no longer sufficient to the user or consumer, becoming the experience and the emotion both aspects of significant importance to the quality of a product 7.Regarding the f

32、ashion context, the clothing product provides to the emotional level channels of signification and subjective identification. Besides symbolic and aesthetic elements and composition, it gives indistinguishable tools for the promotion of affective states to individual 8.Thus, the basic functions of clothing extrapolate the function of dressing and covering the body and are associated with the social conditions of subjectivity and construction of identity 8. Considering its direct contact with thetopography of the body and the skin, the fashion product gene