服裝設計外文翻譯--刺繡紡織品設計（節(jié)選）

1、<p>　　3150漢字，1750單詞，9600英文字符</p><p>　　出處：Miller M. Embroidered textile design[J]. Textile Design, 2011:129–145.</p><p><b>　　原文</b></p><p>　　Embroidered textile desi

2、gn</p><p><b>　　M. MILLER</b></p><p>　　Abstract: Various forms of embroidery have become prevalent on all manner of clothing and household textiles. This chapter provides an overview

3、of the different mass-production methods commonly used, and discusses the commercial applications of embroidery.</p><p>　　Key words: commercial mass-production embroidery, Schiffli embroidery, multi- head em

4、broidery, embroidery digitising, mass-customisation, branding/corporate clothing.</p><p>　　Introduction</p><p>　　Embroidery design is inextricably linked to the specific method of production, so

5、 this chapter provides an overview of the processes currently used for embroidery production. It provides an account of the recent changes in technology that have radically altered the use of embroidery, and includes sec

6、tions outlining the key areas embroidery is used in. Finally there is a section suggesting likely future trends in embroidery.</p><p>　　Embroidery has always been a key feature of both household textiles and

7、 clothing, in recent years embroidered decoration has become even more predominant. This is for two reasons: the advances in embroidery technology have made it much cheaper and easier to produce embroidery, also increase

8、d globalisation and the easy access to cheap labour means hand-stitched embellishment is now created for mass-market clothing as well as for the more expensive end of the market. There is a third reason that h</p>

9、<p>　　The commercial mass-production of embroidery is a surprisingly complex area. Embroidery is not a discrete process. It encompasses all types of stitched decoration, from all-overs on household textiles, to pla

10、cement logos on caps and sweatshirts, to complex designs combined with print and sequin embellishment.</p><p>　　Commercial embroidery is produced in a whole range of different ways, from huge factories with

11、the latest computerised 20-metre long schiffli machines stitching metres and metres of all-overs, to tiny sweatshops in the third world where children hand stitch embroidery for a pittance.</p><p>　　Although

12、 we are now well into the 21st century, the technology of production currently being used to create commercial embroidery includes both the very latest, most efficient machines, as well as machinery that has changed very

13、 little since the beginning of the 20th century.</p><p>　　In order to create designs for embroidery it is necessary to have an understanding of the different production processes. Depending on the production

14、 process used the embroidery design process varies greatly. Designing for schiffli production is more complex than designing for multi-head production.</p><p>　　Definition of embroidery</p><p>　

15、　The word embroidery has many meanings and connotations, in this chapter it is used to denote commercial embroidery, i.e. that done on or applied to garments or house- hold textiles for retail sale, as opposed to embroid

16、ery done for commission, as one-off pieces. The types of commercial embroidery covered in this chapter can be defined by method of production, i.e. tambour, Irish machine, Comely machine, schiffli machine, multi-head mac

17、hine. (These different production processes are described bel</p><p>　　The generally accepted meaning of the word embroidery is decoration of fabric with stitches formed by thread, by piercing the fabric wit

18、h a needle. These stitches can be made by hand or machine. However, as well as being made with a needle, stitches can also be made with a hook. This is known as tambour work when it is done by hand, Cornely when done by

19、machine, and results in the formation of a chain stitch.</p><p>　　A vast range of different specialist machines have been utilised over the last 180 years to create embroidered embellishment on clothing and

20、household textiles. These machines have ranged from individually controlled machines that stitch only one item at a time, such as the Cornely and the Irish, to the machines that employ a multitude of needles to literally

21、 mass-produce embroidery: currently the schiffli machine and the multi-head machine; historically the hand embroidery machine.</p><p>　　The main division is between hand-stitched and machine-stitched embroid

22、ery. Given the advances in embroidery technology since the advent of computerisation, it can be considered amazing that it is still economically viable to create embroidery by hand. And yet that is still the case. A tele

23、vision documentary in the UK highlighted how much hand production is still used to create embroidery for sale in mass-market high street stores (Primark on the Rack, BBC 1 Monday 23 June 2008).</p><p>　　Type

24、s of embroidery</p><p>　　Embroidery can be created in many different ways; it can also be used in many different ways. The schiffli machines can create metres and metres of all-overs that can be used for hou

25、sehold textiles or fabrics for clothing. These machines can also used be used for the creation of badges that are then attached to clothing when large quantities are required. They are also used to create embroidered tri

26、mmings.Multi-head machines are mostly used for placement embroidery, most commonly logos and brand</p><p>　　The main focus of this chapter is embroidery that is mass-produced, i.e. that pro- duced on machine

27、s with a multiple of needles. However, it is necessary to have an awareness of the other, more labour-intensive methods of commercially producing embroidery, since they directly affect changes in technology in the mass-p

28、roduction of embroidery, and occasionally companies use both individual and mass-production methods side by side. Also many of the machine processes deliberately emulate a hand-stit</p><p>　　Commercial produ

29、ction methods for embroidered textiles</p><p>　　Commercial production methods can be broadly divided into two, those that essentially consist of one person working on one piece of embroidery at a time, where

30、 the labour required is intensive and skilled: hand embroidery, tambour, Irish machine, Comely machine; and those that result in the production of more than one piece of embroidery at a time: schiffli machine, multi-head

31、 machine.</p><p>　　Digitising embroidery designs</p><p>　　Although schiffli and multi-head machines operate in different ways, the compute-rised digitising systems for inputting design informati

32、on are very similar. The terms‘punching’ and ‘digitising’ refer to the same process - the process of converting a design into a machine-readable format. This can be direct to machine, or stored on a disc. The term ‘punch

33、ing’ originated from when holes were manually punched into a paper or cardboard roll. Until the 1990s computerised systems were also commonly re</p><p>　　Pattern control in embroidered textile designs</p&

34、gt;<p>　　All machine embroidery is carried out by the movement of a piece of fabric beneath, or perpendicular to a needle or set of needles.</p><p>　　Embroidery done on these machines requires a consi

35、derable amount of skill by the operator. The movement of the fabric to create the design is controlled freehand by the machine operator. There is sometimes an implication that embroidery created by machine is in some way

36、 inferior to that created by hand, as if less skill is involved. In fact the creation of embroidery on the Irish and Comely machines is very skilled.</p><p>　　Applications of commercial embroidery production

37、</p><p>　　Although a certain amount of information about what is produced by the different methods has been provided in the above sections on production methods, it is useful at this point to reiterate some

38、of the applications of commercial embroidery focusing primarily on the schiffli and multi-head industries.</p><p>　　A wide range of different types of threads and fabrics can be stitched on all these types o

39、f embroidery machines. The threads used can range from thick wools to fine silks, the fabrics stitched can range from sheer chiffons to thick plastic, for certain fabrics special backings or toppings may have to be used.

40、</p><p>　　Household textiles</p><p>　　This includes, but is not limited to, towels, tablecloths, napkins, bed and table linen, and curtains. The use of embroidery on household textiles has becom

41、e common-place; once it was limited to only high-end textiles, and mostly stitched on the schiffli machines; however, with the lessening production costs cheaper ranges of household textiles also use embroidery.</p>

42、;<p><b>　　Clothing</b></p><p>　　Although in theory the application of embroidery to clothing is limitless, it tends to be used extensively in the following areas: childrenswear; womenswear

43、, lingerie, sportswear, corporate clothing/workwear.</p><p>　　Children swear</p><p>　　Since the 1990s embroidery has been used extensively by manufacturers of children’s clothing, at all market

44、levels, from the low end, such as Primark, to upmarket brands such as Burberry. Stores such as Marks and Spencer use multi-head embroidery on a very large proportion of their children swear. The signature look of both Oi

45、lily, and Monsoon is highly embellished, decorative clothing. Both these brands use a range of textile techniques to achieve this look, embroidery is a significant part of </p><p>　　Women swear</p>&l

46、t;p>　　Whilst many clothing ranges include elements of embroidery occasionally, there are a small number of companies for whom embroidery is a key part of their identity. Monsoon and Whistles are both upmarket companie

47、s whose garments often utilize different types of embroidery.</p><p><b>　　Lingerie</b></p><p>　　Women’s underwear has featured embroidery since before embroidery was automated. The s

48、chiffli embroidery manufacturers, such as Bischoff in St Gallen, Switzerland (www.bischoff-textil.com) have developed incredibly sophisticated ways of stitching onto complex stretch fabric bases.</p><p>　　Br

49、anded sportswear</p><p>　　Performance clothing designed specifically for sports has been around for a very long time, one of the first instances is the short skirt worn by Suzanne Lenglen to play tennis at W

50、imbledon in 1922. However the wearing of branded sportswear as everyday clothing is a more recent phenomenon. Casual clothing, especially for men, in the teenage–30 years age group, predominantly consists of branded spor

51、tswear. The big brands, Nike, Adidas, Reebok and Fila, link their image to particular sports person</p><p>　　Branded clothing</p><p>　　In the past there were a small number of makes that did uti

52、lise a logo to signal the name of the brand, for example Fred Perry tennis shirts with their distinctive laurel wreath logo were first marketed in the 1940s, cashing in on Fred Perry’s Wimbledon success in the 1930s. How

53、ever, it was in the 1980s that the use of logos and ‘designer’ names became really prevalent.</p><p>　　For certain sections of youth culture, wearing the ‘right’ label is very important, and clothing ranges

54、capitalised on this by developing a clear brand image.</p><p><b>　　譯文</b></p><p><b>　　刺繡紡織品設計</b></p><p><b>　　作者：米列爾</b></p><p>　　摘要

55、:各種刺繡已經(jīng)在各種服裝和家用紡織品上流行起來。本章概述了各種常用的大規(guī)模生產方法，并討論了刺繡的商業(yè)應用。關鍵詞:商業(yè)大規(guī)模生產刺繡，袖扣刺繡，多頭刺繡，刺繡數(shù)字化，大規(guī)模定制，品牌/企業(yè)服裝。</p><p><b>　　1引言</b></p><p>　　服裝刺繡設計的具體方法與生產過程是緊密聯(lián)系在一起的，所以本文對目前用于刺繡的生產工藝作了一個概述，并闡述了

56、最近這方面的技術變化，這些技術進步己經(jīng)從根本上改變了刺繡工藝及其在服裝設計和制作中的使用，最后是概述了刺繡使用中的幾個關鍵部分，并表明了刺繡的未來發(fā)展趨勢。</p><p>　　近年來，刺繡一直是家用紡織品和服裝的一個關鍵特性，繡花裝飾在服裝設計中越來越重要，居于主導地位。這主要有兩個原因：刺繡技術的進步使得刺繡的使用成本變的更便宜，也使得刺繡在服裝設計中的應用變得更容易，也增加了其在全球范圍的使用，尤其是全球范

57、圍內可以獲得的廉價勞動力，意味著手工縫制裝飾的人工成本也大大降低，可以為大眾來設計并制作服裝，以及獲得更昂貴的高端市場，為那些更加追求品質的高端人群服務。還一個原因，導致了刺繡服裝的大量設計和應用，那就是在過去的二十年左右，品牌商品的市場認可度獲得了一個巨大的增長。</p><p>　　刺繡的大規(guī)?；虡I(yè)化生產是很令人驚訝的。刺繡不是一個孤立的過程。它包含所有類型的接縫裝飾等，從普遍使用的各類家用紡織品到帽子和運

58、動衫的標識縫制，以及結合印刷和金片裝飾的復雜設計。</p><p>　　商業(yè)刺繡以各種不同的方式生產，從擁有最新的電腦化20米長的袖扣機的大型工廠，到第三世界的小型血汗工廠，兒童手工刺繡的費用很低。</p><p>　　雖然我們已經(jīng)進入了21世紀，但目前用于制造商業(yè)刺繡的生產技術既包括最新的、最高效的機器，也包括自20世紀初以來變化不大的機器。</p><p>　　

59、為了創(chuàng)建刺繡的設計，有必要了解不同的生產工藝。刺繡設計過程因生產工藝的不同而有很大差異。袖扣產品的設計比多頭產品的設計更復雜。</p><p><b>　　1.1刺繡的定義</b></p><p>　　刺繡一詞有多種含義和內涵，而在本文中，它被用來特指刺繡的商業(yè)應用，即將刺繡應用于銷售的服裝或居家紡織品設計。刺繡的商業(yè)化應用，其在所有類型服裝或紡織品中的在制作都可以通

60、過以下類型的生產制作工具來完成，如：用繃圈刺繡鼓、愛爾蘭機器、科恩機器、飛梭刺繡機、多頭機等。（這些不同的生產過程如下所述）</p><p>　　刺繡這個詞的普遍接受的含義是通過用針刺穿織物而用線形成針腳的織物的裝飾。這些針可以用手或機器縫。然而，除了用針縫合外，也可以用鉤縫合。當它是手工完成時，這就是所謂的刺繡架，形成鏈式線跡。</p><p>　　在過去的180年中，大量不同的專業(yè)機器

61、被用于在服裝和家用紡織品上制作刺繡裝飾。這些機器從一次只縫制一件物品的獨立控制機器，如短號機和愛爾蘭機，到使用大量織針大量生產刺繡品的機器:目前的袖扣機和多頭機；歷史上的手工刺繡機。</p><p>　　主要分為手工刺繡和機器刺繡。鑒于電腦化以來刺繡技術的進步，人們認為通過手工創(chuàng)作繡花在經(jīng)濟上仍然是可行的，這是令人驚訝的。然而，情況依然如此。英國的一部電視紀錄片強調了大量手工制作刺繡仍被用于在大眾市場的商業(yè)街商店

62、銷售（英國廣播公司2008年6月23日星期一的Primark on Rack）。</p><p><b>　　1.2刺繡的類型</b></p><p>　　刺繡的制作可以使用許多不同的方法。刺繡本身也可以通過許多不同的方式來應用它。比如：用飛梭刺繡機，就可以制作山很均勻的織品布料，然后用于家用紡織品、而料服裝中。這些機器也可以被用于制作衣服的名牌。他們也用于制作繡花裝

63、飾。多頭機主要用于制作最常見的商標和品牌的刺繡，然而，他們也廣泛用于在各種各樣的服裝和家用紡織品，特別是在毛巾中使用刺繡工藝。</p><p>　　本章的重點是大量生產的刺繡，即在多針機器上生產的刺繡。然而，有必要了解商業(yè)生產刺繡的其他勞動密集型方法，因為這些方法直接影響到大規(guī)模生產刺繡的技術變化，有時公司同時使用單獨和大規(guī)模生產方法。此外，許多機器過程故意模仿手工縫制外觀。</p><p&g

64、t;　　2商業(yè)生產刺繡紡織品的方法</p><p>　　商業(yè)生產刺繡紡織品的方法大致上可以分為兩個，一種是由一個技術工人在一定時間內獨立完成一整刺繡品的制作，這種方法，所需要的就是密集的勞動力，以及嫻熟的工人技藝，這是種傳統(tǒng)的手工刺繡方法。而通過使用愛爾蘭機器、科恩機、飛梭刺繡機、多頭機，則是在一定時間內大批量的生產制作刺繡品，各單元各自負責一部分，最后組合起來，這是現(xiàn)代化的機器化生產，所依賴的就是先進的機器設備

65、。</p><p><b>　　3刺繡的數(shù)字化設計</b></p><p>　　盡管飛梭刺繡機和多頭機器都能按照自己的運作方式來生產和制作刺繡品，但是數(shù)字化的設計方法目前也變得越來越流行。術語“沖壓打孔”和“數(shù)字化”指的是相同的設計過程，只不過將這種設計的過程轉換為機器可讀的格式。它可以直接連接到機器，或者存儲在一個存儲盤上?！皼_壓打孔”一詞最早起源于手動打孔紙或紙板

66、。直到20世紀90年代，隨著計算機技術的發(fā)展，這些與計算機數(shù)字化設計方式連接在一起的“沖壓”術語，目前仍應用于某些領域的刺繡行業(yè)中。</p><p>　　4刺繡紡織設計的模式控制</p><p>　　刺繡的所有機械化操作，是由或垂直于針或套針的一塊布料的各方向的運動來完成的。</p><p>　　使用機器來進行刺繡的這些機器操作員需要具備嫻熟的技能?？椢锏倪\動，需要

67、通過機器操作員的徒手控制來完成。人們通常覺得由機器完成的刺繡，在某些方面看，不如手工制作的好。事實上，愛爾蘭和科恩機器可以非常熟練的完成刺繡的制作過程。</p><p>　　5商業(yè)刺繡成品的應用</p><p>　　盡管上文中一定數(shù)量的信息提供了不同的生產方法，重中一些商業(yè)刺繡的應用程序應主要關注飛梭刺繡機和多頭產業(yè)，在這一點上它是非常有價值的。</p><p>　

68、　各種不同類型的縫線和面料可以在不同類型的繡花機中進行縫合。縫線的使用的范圍從厚羊毛到細絲綢，面料縫合的范圍從純粹的雪紡到厚塑料制品，對某些面料而言，則必須使用某些特殊襯墊物或澆頭。</p><p><b>　　5.1家用紡織品</b></p><p>　　這包括但不僅僅限于，毛巾、桌布、餐巾、床罩餐布和窗簾。在家用紡織品中使用刺繡已成為常見的事;而曾經(jīng)，它只限于在高

69、端紡織品中使用，并主要在飛梭刺繡機機器中進行縫合;然而，減少生產成本與便宜的家用紡織品也使用刺繡。</p><p><b>　　5.2服裝</b></p><p>　　從理論上看，雖然刺繡在服裝上的應用是無限的，它通常能在以下領域里得到廣泛應用:童裝、女裝、內衣、運動裝、企業(yè)服裝/工作服。</p><p><b>　　童裝</b

70、></p><p>　　自1990年代以來，刺繡已經(jīng)獲得了兒童服裝制造商的廣泛應用，從市場水平看，從低端品牌如普里馬克到巴寶莉等高端品牌?，斏儇浀壬痰暝谠S多童裝上使用多頭刺繡。這些繡花看上去非常圓滑，裝飾非常華麗。這兩個品牌使用的紡織技術使得服裝看上去達到了如此的效果，當然，刺繡也是一個重要的組成部分。</p><p><b>　　女裝</b></p&g

71、t;<p>　　雖然有些服裝偶爾也包括許多刺繡的元素，對于一小部分公司來說,刺繡是他們品牌展示的一個關鍵部分。Monsoon and Whistles (英國品牌服裝店）都是 高端服裝品牌公司，其出售的服裝往往會利用不同類型的刺繡。</p><p><b>　　內衣</b></p><p>　　女性特色刺繡內衣，出現(xiàn)于刺繡自動化之前。飛梭刺繡機刺繡制造商

72、，瑞士圣加侖如Bischoff (www.bischoff-textil.com)己經(jīng)研究出令人難以置信的復雜方法，用來縫合復雜的彈力織物。</p><p><b>　　品牌運動裝</b></p><p>　　專為運動而設計的高性能服裝已經(jīng)存在了很長一段時間，首先是蘇珊娜冷倫在1922年在溫布爾??頓打網(wǎng)球的短裙。然而，將品牌運動裝作為日常服裝是一種較新的現(xiàn)象。休閑服

73、裝主要由品牌運動裝組成，尤其是針對30歲以下的男性。耐克、阿迪達斯、銳步和菲拉等大品牌將自己的形象與特定的運動個性和團隊聯(lián)系起來，品牌形象的外觀對于保持其市場份額至關重要。部分特定品牌對其忠實消費者的吸引力在于使用獨特的徽標來識別品牌。印花和刺繡都用于確?；諛烁叨瓤梢?。 20世紀90年代，品牌運動服裝市場的大幅增長與刺繡技術的發(fā)展相吻合。很難將這兩者分開，他們非常協(xié)作。</p><p><b>　　品牌

74、服裝</b></p><p>　　在過去，有少數(shù)品牌確實使用標志來標示品牌的名稱，例如弗雷德佩里網(wǎng)球衫與他們獨特的月桂花環(huán)標志首次在40年代上市，利用弗雷德佩里在30年代溫布爾登的成功。然而，直到20世紀80年代，標志和“設計師”名稱的使用才真正流行起來。</p><p>　　對于青年文化的某些部分來說，佩戴“正確”的標簽非常重要，通過發(fā)展清晰的品牌形象，服裝產品在此基礎上得到