中西方文化比较与服装审美

通过对中西方文化的差异的比较 ,有助于加深对服饰文化内涵的进一步了解 ,为现代时装设计提供借鉴。     

有感于民族服饰的文化底蕴

民族服饰是民族文化的载体,我国五缤纷的民族服饰中蕴涵了深厚的民族文化底蕴,研究民族服饰,弘扬民族文化,是推动当今服饰文化发展的一项重要工作。     

学龄前儿童着装特点及其科学性研究

着装对儿童身心发育以及健康成长有着不可估量的作用。文章通过分析儿童身心发育特点、儿童对着装的特殊需求以及对儿童着装现状的调研,分析了学龄前儿童着装中出现的一些问题,并对学龄前儿童如何进行着装科学性提出了相关建议,为童装市场,童装设计与现代父母科学育儿提供一定的参考价值。     

Developing Distinctive Dress: Textiles and Clothing of the Katang and Mankhong Ethnic Groups of Southern Laos

Abstract

The Mainland South-east Asian country of Laos is renowned for its traditional costume composed of intricate hand-woven textiles. The woven material that is the focus of exhibits and publications are primarily produced by the politically dominant Lao and related groups, which together make up a small percentage of the sixty-eight ethnic groups recognized in Laos. The traditional textiles and dress of the people making up the minority groups, especially groups living in the southern region, are often overlooked. Information about the clothing and textiles of the Katang and Mankhong, two minority groups living in upland areas in southern Laos, has been limited. Field research conducted by the author revealed that Katang and Mankhong women, as the primary producers of cloth, have mastered weaving and other adorning techniques to decorate cloth with patterning. The weavers have utilized embroidery, supplementary weft, weft ikat, and supplementary warp techniques to develop distinctive textiles used as costume and ceremonial items. Over the last ten years, regional trade has developed rapidly in the area inhabited by the Katang and Mankhong due to Asian Development Bank sponsorship of such projects as the East–West Economic Corridor in the Greater Mekong Subregion. The distinctive heritage of these minority groups is at risk, but projects encouraging the production of their traditional attire may assist the Katang, Mankhong, and related groups in preserving their culture.     

我国女性传统婚服的文脉与趋势

我国女性传统婚服虽经漫长演变,其蕴含的民族特征与文化精髓至今依存。在追求个性的时代中,人们虽可自由选择婚服,但婚礼习俗依然带有传统特色。如加以引导、推广和创新,女性传统婚服依然有着满足现代消费者的基础。     

礼服创意设计过程中设计切入点的研究与应用

礼服创意设计过程中由于设计目的不同,设计构思的切入点也会不同,设计构思有时是单一切入点,有时也会过多个切入点。因此应该选择最能体现设计目标的切入点进行服装设计构思。文章阐述了从风格、情调、主题、色彩、造型、材料、装饰纹样等为设计切入点进行礼服创意设计。     

从北京奥运礼服看旗袍文化的继承和发展

介绍了旗袍的历史沿革和现代旗袍的艺术特点.通过对北京奥运礼仪服饰的剖析,阐述了旗袍文化继承和发展的途径和方法,探讨了旗袍工业化生产的方法.     

修身型礼服不同部位起点的褶皱结构设计

文章以女式修身型礼服为例,在综合实验过程中,通过对省道转化褶皱的数据综合分析进行实践,对礼服不同部位起点的褶皱结构及变化规律与人体体表结构的关系进行解剖,明确其起点、消失点、走向、褶量的变化、弯曲程度等因素的变化特征,并进行详细研究分析。     

羌族服饰现状及其发展的思考

为了探讨羌族服饰的传承与发展的问题,通过对四川茂县地区的羌族服饰进行考察和调研,提出了相关建议以便使羌族服饰能完整地保存并发扬光大。     

论人体各部位骨骼形态与服装设计之间的关系

本文阐述了人体骨骼形态对服装设计的重要性,研究了人体标志性骨骼点和关节点在服装结构设计中的作用,并以合理性和舒适性为宗旨,设计出符合人体工程学的皮革裙装和皮革拼接裤装。     

Visions of Dress: Recreating Bronze Age Clothing from the Danubian Region

Abstract

This article highlights and discusses the challenges of recreating the clothing of a wealthy Bronze Age woman from Winklarn in Austria. She was buried with jewelry and dress fittings that appear almost theatrical, such as a wide belt of bronze, extremely long pins, and a collar consisting of fourteen spiked bronze pendants. A series of different sources underpin suggestions of what her dress might have looked like: placement patterns of jewelry in Bronze Age graves from Central Europe; Bronze Age iconography; textures of Bronze Age textiles, including a group of completely preserved garments from Denmark; and tailoring principles. Each of these sources has its own rules and pitfalls. Do the remnants of clothing we find in the graves represent garments worn in daily life, or garbs for burial? To what degree do stylized human images in Bronze Age art depict the shapes and decoration of “real” clothing? How can we use complete outfits of clothing found in oak-log coffin graves in Denmark, far away from Central Europe? A series of experiments has been carried out in order to investigate how the lady of Winklarn may have been dressed. The appearance of the resulting outfits is discussed, focusing on perception, visual appearance, and the interplay between clothing, dress accessories, textures, decoration, colors, and glittering bronzes.     

高级女装衣身结构分析与探索

利用立体裁剪的手法,分析胸腰的造型,探索腰省位置、大小的比例关系,为高级女装衣身结构建立了科学的基础。     

谈国内婚纱设计中传统与时尚的融合——“蔡美月”婚纱的创新设计分析

中国的婚纱行业相对西方起步较晚,产品的设计理念与思路多数停留在简单模仿和抄袭国外设计的水平上,缺少体现民族特色和传统文化的原创婚纱设计作品.通过对我国当前婚纱市场和设计情况的调研与综合分析,以及对本土品牌蔡美月婚纱部分系列作品深入分析,从设计角度找出中国民族文化和国际时尚流行之间的结合点,在借鉴西方现代婚纱设计精妙之处的同时巧妙地将我国历史文化和民族特色融入其中,设计出体现"国粹新意"的婚纱作品,为我国婚纱设计领域发展开辟新的方向.     

当代影视作品中中国传统服饰文化的身份建构

服饰文化元素是影视作品的重要构成部分,在文化身份建构和文化传播中具有重要的价值。文章基于影像叙事、传承与创新、全球语境下传统服饰文化的发展等动态的、多维的视域,全面观照当代影视传统服饰文化的身份建构路径,并探讨传统服饰文化资源在影视生产中合理转化的途径。     

时尚设计纪录片的叙事性与思想性——兼谈时尚批评的话语传播

本文着重围绕以时装设计师为核心人物的纪录片进行影像叙事的特征分析,对比导演对纪录片的整体结构意图和叙事视角,探究时装设计师的设计思想和美学风格与纪录片叙事模式的内在关联;提出叙事性是建构纪实影像档案的风格化呈现,思想性则是片中人物的时尚观念、设计哲学和批评话语的表达;同时观照纪录片所反映的中国时尚发展及其必须面对的批评问题。     

剪纸艺术在服装设计中的运用

文章从文化创意角度入手,以剪纸艺术为例,分析民族文化与现代服装设计结合的有效方式。从剪纸图案的选择、剪纸色彩的诠释及剪纸艺术在服装上的工艺表现进行分析,探讨剪纸艺术在现代服装设计中运用的方法。     

中国白酒行业品牌升级与文化诉求的思考

白酒品牌升级是企业在建立和维护自己品牌资产时所使用的重要战略和战术手段。从品牌的发展路径看,一个企业的品牌从无到有,从弱到强,正是品牌培育与建设的方向。纵观许多知名品牌的成长轨迹,就是通过不断的升级,实现了从无名品牌转向知名品牌,从区域名牌发展为全国名牌;中国白酒所蕴含的文化基因是丰富多彩,问题在于,我们如何把这种基因以消费者喜爱的方式植入他们的意识,从而让他们对白酒文化产生热爱,这就是白酒时尚化的实质。     

The Power of Fashion: The Influence of Knitting Design on the Development of Knitting Technology

Abstract

It is recognized that technology, with its possibilities, affects industrial design. Likewise, it is believed that design has a reversible impact on technology. This study looks for clear examples of design's influence on the development of knitting technology. The parallel development of design and technology is traced back to the emergence of the knitting frame in 1589. The brocade influences from the seventeenth century, which influenced the development of knitting techniques, are apparent, as well as the effect of eighteenth- and nineteenth-century market demands for lace, which strongly encouraged the development of devices for knitted lace production. The short-lived fashion trend of vertically striped socks has left far-reaching consequences in the construction of wider knitting frames and the new method of knitwear production. In the first half of the nineteenth century, changes in fashion almost destroyed the knitting industry. From the beginning of the twentieth century, the debut of knitted pullovers for sport encouraged the development of innovative flat knitting machines. It was through these machines that the biggest potential for the production of different designs came through and the fashion industry encourages it—until the 1980s. Up until this time, the world of fashion has been surprisingly showing very little interest.     

传统手工艺发展的当代困境与时尚化升级路径

随着时尚文化消费日益高涨,传统手工艺融入现代生活并实现时尚化升级,是其焕新的重要途径。针对活态性的传统手工艺生态面对现代化工业生产规制化、效率化生产的冲击,基于传统手工艺与时尚的内外部联系,总结出“消费主导”、“生产主导”、“政府主导”三种发展模式,不同定位的传统手工艺品适用于不同的发展模式,进而提出深化文化理念与表达、提升产品综合价值、升级品牌经营维护、搭建生产协作平台、打破边界的立体营销等具体提升策略。