服飾專業(yè)英語(yǔ)

內(nèi)容概要

《服飾專業(yè)英語(yǔ)》屬高等教育院校教材，本教材內(nèi)容涉及當(dāng)代時(shí)尚藝術(shù)，時(shí)裝專業(yè)職業(yè)，時(shí)尚生產(chǎn)商，時(shí)尚插畫(huà)，CAD軟件，生產(chǎn)過(guò)程等?！斗棇I(yè)英語(yǔ)》旨在讓學(xué)生和愛(ài)好者了解服裝專業(yè)術(shù)語(yǔ)。本書(shū)共有相關(guān)時(shí)裝專業(yè)的六個(gè)章節(jié)13個(gè)單元，每單元由三部分組成，課后的練習(xí)中有填空題，選擇題，連線題，問(wèn)答題，寫(xiě)作題，還有討論與角色扮演。我試圖讓這本書(shū)不僅僅是教給學(xué)生單詞，更重要的是給學(xué)生一個(gè)能夠用到它的機(jī)會(huì)。

書(shū)籍目錄

ChaPter 1  時(shí)尚世界  Unit 1  最簡(jiǎn)單的服裝    Part 1  不用“縫”的衣服    Part 2  縫制的衣服的開(kāi)始    Part 3  寫(xiě)一封抱怨信  Unit 2  什么是經(jīng)典    Part 1  服裝術(shù)語(yǔ)    Part 2  什么是經(jīng)典    Part 3  一個(gè)普通女孩的靈感活頁(yè)本  Unit 3  時(shí)裝貿(mào)易    Part 1  設(shè)計(jì)師的職責(zé)    Part 2  時(shí)裝貿(mào)易的范圍    Part 3  貿(mào)易協(xié)商ChaPter 2  紡織面料  Unit 1  紡織面料工業(yè)    Part 1  紡織面料工業(yè)的流行趨勢(shì)    Part 2  紡織面料的市場(chǎng)    Part 3  自由的伸展  Unit 2  毛皮工業(yè)    Part 1  毛皮工業(yè)    Part 2  瀕臨絕種物種的保護(hù)行為    Part 3  買面料ChaPter 3  產(chǎn)品開(kāi)發(fā)過(guò)程  Unit 1  產(chǎn)品開(kāi)發(fā)過(guò)程中的階段(1)    Part 1  什么是生產(chǎn)線、誰(shuí)在開(kāi)發(fā)它？    Part 2  西班牙襯衫    Part 3  分析一個(gè)大賽  Unit 2  產(chǎn)品開(kāi)發(fā)過(guò)程中的階段(2)    Part 1  大批量生產(chǎn)的成衣    Part 2  伊斯蘭襯衫    Part 3  在購(gòu)物中心購(gòu)物ChaPter 4  繪畫(huà)專家  Unit 1  插畫(huà)師    Part 1  插畫(huà)與插畫(huà)師    Part 2  時(shí)尚插畫(huà)    Part 3  技術(shù)性插畫(huà)  Unit 2  電腦輔助設(shè)計(jì)    Part 1  CAD軟件    Part 2  服裝CAD    Part 3  授課ChaPater 5  其他生產(chǎn)商  Unit 1  鞋類    Part 1  鞋類的組織生產(chǎn)    Part 2  女士鞋子    Part 3  浪費(fèi)金錢  Unit 2  服飾配件    Part 1  服裝珠寶    Part 2  別針    Part 3  紀(jì)念品掛墜ChaPter 6  化妝品與發(fā)型  Unit 1  化妝品    Part 1  彩色化妝品    Part 2  身體的廓型    Part 3  買化妝品  Unit 2  發(fā)型    Part 1  發(fā)型簡(jiǎn)史    Part 2  描述發(fā)型    Part 3  我要理發(fā)Answers參考書(shū)目

章節(jié)摘錄

　　he first loom of which we have any knowledge in the Greek world, and in adjacent parts of Europe andAsia, was different from the Egyptian loom and usually much wider. It had a simple, almost vertical framefrom which the warp threads hung and were attached in groups to weights. The weaver stood and workeddown from the top of the loom. This is known as the warp-weighted loom and is important because itscapacity for wide widths and considerable lengths affected the form of Greek and Roman costume.Moreover, this loom eventually spread north to exert its influence on the development of costume in thewhole of Europe.The garment which can be seen in Greek vase paintings and Greek and Roman sculpture——cloaks, wraps,mantles, dresses and tunics——are all dependent on large wide pieces of material. These were truly clothcultures, with no evidence of the skin garments that came before and which were still a recognizableinfluence on the garments of earlier Mediterranean cultures. The Greek tunic or dress （chiton） worn indifferent lengths by men and women was simply a very large loom piece used sideways, sometimes withexcess width folded over to form a flap at the upper edge. It was fastened at the shoulders, usually bypinning, and could be worn with the open edge loose down one side of the body or caught into place;girded around the waist and breast the whole garment fell in graceful folds. This type of dress continuedthrough Roman times, along with simpler tunic forms and many types of straight cloak, but the best knownpiece of Roman clothing, the toga, the mark of the Roman citizen, was somewhat more specialized. Al-though it was also a straight piece of woolen material, the lower comers were cut off to make the drapingof it easier.

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