奢饰品配饰设计外文翻译文献（英文+中文）

文献信息：文献标 题 快递公司问题件快递公司问题件货款处理关于圆的周长面积重点题型关于解方程组的题及答案关于南海问题 ：EcoDesignandSustainableManufacturinginFashion:aCaseStudyintheLuxuryPersonalAccessoriesIndustry（服饰生态设计与可持续制造：以奢侈品个性化配饰行业为例）国外作者：BarbaraCimatti，GiampaoloCampana，LauraCarluccio文献出处：《ProcediaManufacturing》，2017，8:393-400字数统计：英文3717单词，20458字符；中文6365汉字外文文献：　EvolutionofFashionDesignintheEraofHigh-TechCultureAbstractTheFashionmarketischaracterizedbytherapiditywithwhichaproductbecomesoutmoded.Enterprisesproducingclothes,shoes,bagsandotheraccessoriesgeneratewastesatafastrhythm,duetothecontinuouschangeofcollections.Theymuststorenotablequantitiesoftextilesandcomponentsnotlongerusedforproduction.Furthermore,thepercentageofscrapsoffabrics,leatherandothermaterials,isoftensignificant.RecyclingcanbeappliedtotheFashionsectorinordertorecuperatewastesandcreateoriginalitems,whichcanbeparticularlysuccessfulinamarketwherecustomersareincreasingtheirsensitivitytowardssustainability.WedescribethecaseofaprestigiousItalianbrand,manufacturinghighluxuryleatherandfabricaccessorieswhereEcoDesignandRecyclinghavebeenapplied.ALifeCycleAssessmentofatraditionalproductofthecompanyisalsopresentedtoenhancethesignificantaspectsofsustainabilityinFashion.Keywords:Sustainability;SlowFashion;EcoDesign;Recycling;LCA.1.IntroductionBeforemassproduction,peoplepossessedfarfewerclothesandaccessories.Itemsweretailoredforthewealthy,whilethelowersocialclassesmadetheirownclothes.Garmentswereusedandmaintainedforseveralyearsbyrepairingandremodelling.Indeed,theycouldbeconsideredlonglifeproducts.Thebirthofready-to-wearfashionimpliedthestandardizationofsizesandareductioninproductioncoststhatallowedconsumerstobuymoreclotheseveniftheydidnotfitasperfectlyastheonesofthedressmakers.Atthesametime,globalisationofproduction,increasedcompetitionandconsumerdemandhaveresultedinacceleratedfashioncycles,whichinturnhaveledtoacultureof“fast”anddisposablefashion.Developingcountrieshavebecomeclothingmanufacturinglocationsofchoice,whileindustrialisedcountries,duetotheirhigherinputcosts(labour,capital,energy,environmentalandconsumer-protectioncompliance,etc.)havebeenincreasinglyunabletocompetewiththelowcostsofferedbyemergingcountryproducers.Priceshavefurtherdecreasedbutsotoohasquality.Inrecentdecades,theideaofcustomizationinclothingandaccessorieshasstronglydevelopedandthedemandformorepersonalisedproductshasexpanded.ItisinthiscontextthatFastFashionhasappearedasatooltosatisfyconsumerdesireforLuxuryFashionbutataffordableprices,especiallyfortheyoungergeneration.Infact,FastFashionreferstolow-costclothingcollectionsthatmimiccurrentluxuryfashiontrends.Itisbyitsverynature,afast-responsesystemthatencouragesdisposability.Theideaofsustainabilitywasfirstdefinedin1987inaReportoftheWorldCommissiononEnvironmentandDevelopment:“Sustainabilitymeansbeingabletosatisfycurrentneedswithoutcompromisingthepossibilityforfuturegenerationstosatisfytheirownneeds”.DimensionsofsustainabilityhavebeenintroducedthroughtheconceptoftheTripleBottomLine:Environment;Economy;Society.FastFashionbringsupethicalandenvironmentalissuesasitclearlyembodiesunsustainability.Inparticularthelackofsocialdimensionisevident.Fashion’sfastobsolescenceishighlyunsustainableanditisduetoasocialandculturalissuecomingfromacontinuousdesireforfashionablerenewal,whichindividualshaveinordertoachieveapersonalaffirmationandtodistinguishthemselvesfromothers.Clothesandaccessoriespeoplechoosetoweararestronglyaffectedbythedecisionandactionsofotherslivinginthesamesocialcontext.Theneedtocontinuouslybuynewgarmentsisfosteredbymassmediaandbusinessspeculations.AformerlystandardturnaroundtimefromcatwalktoconsumerofsixmonthsisnowcompressedtoamatterofmereweeksbysuchcompaniesasH&MandZara,typicalexponentsofFastFashion,withheightenedprofitstomatch.Fastfashioncompaniesthriveonfastcycles:rapidprototyping,smallbatches,combinedwithlargevariety,moreefficienttransportationanddelivery,andmerchandisethatispresented“floorready”onhangerswithpricetagsalreadyattached.Technologyadvancessuchastrackingsaleswithelectronictillsandlinkingthesedatatosupplierfactorieswithflexibleproductionscheduleshasnowmadeitpossibletorestockarailwithpopularitemsasdemandrequires;andcomputer-aideddesigninterfacedwithjust-in-timemanufacturingmethodshasenabledadesignsketchtobeturnedintoafinishedproductinaslittleasthreeweeks.FastFashionenterprisesgenerallyemployin-housedesignerswhoworkinteams.Thebrandisnotanymoreidentifiedwithaparticularstylist’sname,asitisinthecaseofArmani,Versace,Guccietc..Designersremainanonymous,thenameofthebrandinmostcasesdoesnothaveaspecificmeaningorcorrespondtotheowner’ssurname,thisisbecausemostofthesecompaniesaremultinationalsandbelongtoseveralstakeholders.Productionisoftenlocatedinemergingcountries,suchasChinaandTurkey.FastFashionproductsdonotlastlongandgeneratealotofwastes,alsotheenvironmentaldimensionofsustainabilityisrelevant.Thinkingmorewidely,Fashioningeneral,morethananyotherindustry,embracesobsolescenceasaprimarygoal,onwhichmostprofitsarebased,inoppositiontothecriteriaofsustainability.Durabilityenjoysaneasyrelationshipwithsustainability,dependingonthechoiceofmaterials.Obsolescenceoffashionproductsinstead,ismainlydrivenbychangesinaestheticsandtiedtoshiftingsocialpreferences,underscoringthepsycho-socialnatureoffactorswhichaffectthelifespanoffashion.Garmentsthatdefyobsolescencedosoininformalorunintentionalways,rarelyasaresultofdesignplanningormaterialorproductqualities.Designfordurabilityinthissectorshiftsawayfromafamiliarfocusonmaterials,products,anduser-objectrelationshipstoemergingstrategiesofhumanaction.Whilefacilitatedbymaterials,designandconstruction,durabilityisdeterminedbyanideologyofuse.Clothesandaccessoriesmainlybecomeobsoleteinpsychologicaltermsbecauseofaesthetics,socialpreferencesandculturalconditions.Therefore,theshortlifecycleofgarmentsisnotmainlyduetomaterialconsumptionbuttosocialtrends.However,thisisnottheonlyreasonFashioncangenerallybedefinedasunsustainable.BeyondthesocialaspectofFashionunsustainability,asalreadymentioned,theenvironmentalfactoralsoplaysanimportantrole.Theproductionprocesses,andinparticularthephasesofdyeing,dryingandfinishing,makeintensiveuseofchemicalproductsandnaturalresourcesandgenerateahighenvironmentalimpact.Thetextilesectorhasexperiencedsignificantenvironmentalproblemslinkedtotheproductionprocess,whichischaracterisedbytheintenseuseofchemicalproductsandnaturalresources.ButalsotherelevanceofSupplyChainManagementincontributingtoenvironmentalsustainabilityeveninFashionproductionmustbeconsidered,evenifthiskindofindustryistypicallystudiedfromotherperspectives(e.g.Brandmanagement,marketingandretailing).Whilelargecompaniestendtofocusmoreonproductsandprocessesimprovement,reshapingonlyonepartofthesupplychain,smallcompaniesaremoreoftenabletocompletelyreshapetheirsupplychain,fromboththeinboundandoutboundperspectivesputtinginplacepracticesthatlargecompaniescannotpursue,primarilyforreasonofscale.Agreensupplychainmanagementcontrolledbyeffectivedrivers,practicesandperformanceindicatorsisfundamentalforsustainabilityinthefashionindustry.2.LuxuryFashionandSustainability2.1.FastFashionversusLuxuryFashionFastFashionallowssatisfyingaspirationsofluxuryforconsumerswhocannotaffordprestigiousbrands.LuxuryFashionremindspeopleofexclusivity,beautyandartandowninguniqueitemsfromaluxurybrandmakethempursuetheirdreamsanddesires.Fastfashionreplacesexclusivity,glamour,originality,andluxurywith“massclusivity”andplannedspontaneity.IntheintroductionwehavementionedthereasonswhyFashionandinparticularFastFashioncangenerallybeconsideredunsustainable.WhichistherelationbetweenLuxuryFashionandsustainability?Apparentlytheconceptofopulenceandsumptuousnesscanremindusofunnecessaryandredundantproducts,excessiveobjectsthatcouldhavebeenmadeinasimplerandcheaperway,i.e.inamoresustainablemanner.Butthisinterpretationisrathersuperficialanddoesn’tconsideralltheinvolvedaspects.Whatmatterstoevaluatethesustainabilityoffashionisthetypeofproduction.Massstandardizedfastfabricationisacompletelydifferentapproachcomparedtomanufacturingreliantonartisanalcraftforamorelimitedproduction,whichistypicalofluxuryitems.Craftdenoteshighlyskilledlabour,usingsimpletoolstomakeuniqueitems,oneitematatime,andaccessibletoonlyaselectclientele.Hermes’affluentcustomers,forexample,mightwaitforseveralyearstoacquireaparticularbag.CanLuxuryfashion,withostensiblyanemphasisonauthenticity,anditsconcomitantrespectforartisansandtheenvironment,fostervaluesofbothqualityandsustainability?Actualratherthanfauxluxurybrandscan,ironically,unitetheidealsoffashionwiththoseofsustainability.2.2.SlowFashionThemeaningofcraftsmanshipinmanufacturingdoesn’treferonlytotheaddedvalueoftheproductintermsofqualityanduniquenessbutalsotothesustainabilityofthemanufacturingapproach.Sustainablemanufacturingimpliesmethodsandtechniquesofproductionthatallowworkerstoexpresstheirskillsandcreativity,contributingtotheimprovementoftheproductandthecompetitivenessoftheenterprise.Severalentrepreneursindifferentindustrialsectorshavedecidedtorecoverthevalueoftraditionandcraftworkenhancingthepositivemeaningofaslowworkingprocess,whichcanadddistinctivevaluetoaproduct.TheSlowFactoryparadigmhasbeenintroducedtodescribethisapproach.TheItalianentrepreneurGiovanniBonotto,whofirstusedthisterm,producestextilesandfabricsforHighFashionstylistsusingtraditionaltechniques,whichallowtheachievementofuniqueandinnovativeproducts.HelovestodefinehisfactoryasacontemporaryequivalentoftheRenaissanceworkshopandheclaims:“Timeisthenewluxury”.Ataxonomyofenterprisescanbedefinedinordertodistinguishbetweendifferentgradesofcraftsmanshipemployedinmanufacturebasedonaslownessindicator,whichcanmeasurethe“slownessoftheproduction”.Itdoesn’tonlyconsidertheLeadTimeoftheworkunit,butalsotheskilledcraftworkperformedtofabricatetheproduct.Awiderangeofresearchhasbeencarriedoutinordertoquantifya“craftsmanshipindex”,assigningaconcretevaluetoartisanalcompetences.Thisindexcanbeusefulinunderstandinghowtohoneanddevelopthesekindofskills,whichcanbeofsignificantcompetitiveadvantagetomanufacturingenterprises.AfirstinvestigationhasbeendevelopedattheItaliandistrictofluxuryleatherproductionaroundthecityofFlorence,involvingprestigiouscompaniesandachievingsomepositiveresults,eveniffurtherresearchisrequired.TheconceptofslownesshasbeenappliedtoFashionproductionbyKateFletcherwhenshecontributedinfoundingtheSlowFashionmovement.Forseveralyearsshehasbeenworkingtopushforwardsustainablefashion,enhancinghowthetimeoffabricationcanberelatedtohighqualityclothesandaccessoriesandcanthenbeconsideredavalidalternativetoFastFashion,especiallyifwerefertosustainability.AsummaryofthemostsignificantelementscharacterisingtheFastandSlowapproachesareshowninTab.1below.Table1.ComparisonbetweensomesignificantconceptsofFastandSlowapproachesapplicabletoFashionproduction FastMindset SlowMindset Mass-production Diversity Globalisation Global-local Image Senseofself New Makingandmaintaining Dependency Mutualtrust Unawareofimpact Deeplyconnectedwithimpacts Costbasedonlabourandmaterials Truepriceincorporatingecologicalandsocialcosts Largescale SmalltomediumscaleSlowFashiontakesinspirationfromtheSlowFoodmovementfoundedbyCarloPetriniinItalyin1986,whichlinksthepleasureoffoodwiththeawarenessandresponsiblenatureofitsproduction,preservingculturalandregionalculinarytraditionsandagriculturediversity.Similarly,theslowmovementinfashiondoesn’tsimplyreferonlytospeed.Ratheritrepresentsadifferentworldviewthatnamesacoherentsetoffashionactivitiestopromotethepleasureofvariety,themultiplicityandtheculturalsignificanceoffashion,throughsmall-scaleproduction,traditionalcrafttechniques,localmaterialsandlocalmarketsandbecomingaguardianofdiversity.Asquality,attentiontodetailandenhancementoftheculturalconnectionwiththeterritory,typicalofthisslowapproach,requiretime,itcanbeinferredthatluxuryhasastrongconnectiontosustainability,asBonottostates.3.EcoDesign,LCAandthe6RsinFashionEcoDesignisasustainabledesignapproach,consideringtheenvironmentalimpactoftheproductduringitswholelifecycle.EcoDesigncanhelpinreducingtheecologicalfootprint,whichisthemeasureofhumanimpactonEarth'secosystems.Thelifecycleofaproductmainlyincludes4phases:procurement,manufacture,useanddisposal.IntheFashionworld,EcoDesigncanbeappliedchoosingsustainablematerials,suchascottonandwool,insteadofsyntheticfibresandselectingprocessesthatdon’timpacttheenvironment,substitutingdamagingchemicalsubstanceswithnaturalones.LifeCycleAssessment(LCA)isamethodologyforassessingtheenvironmentalimpactsandresourceconsumptionassociatedwiththeexistenceofproductsthroughouttheirentirelifecycle“fromcradletograve”.Startingfromrawmaterialextraction,itconsidersmaterialsprocessing,manufacture,distribution,use,maintenanceandrepair,anddisposal.LCAisanimportanttooltohelpmanagerstomakeproductionchoicesinordertoincreasesustainability.SeveraltypesofsoftwarehavebeendevelopedandcommercializedtosupportandimplementtheLCAprocess.Nowadaysmanyenterprisesusesoftwareofthiskindtobeawareoftheenvironmentalimpactoftheirproductionactivityandtrytomakeitmoresustainable.LCAcanbeconsideredasignificanttooltosupportEcoDesign,providinginformationthathelpdesignersinmakingthemostsustainablechoicesfortheproductfromitsfirstphasesofdevelopment.Thetraditional3Rconceptpromotinggreenmanufacturingtechnologies(Reduce,ReuseandRecycle)hasbeensurpassedbythemorerecent6Rconceptformingthebasisforsustainablemanufacturing(Reduce,Reuse,Recover,Redesign,Remanufacture,Recycle)sincethisallowsforthetransformationfromanopen-loop,singlelife-cycleparadigmtoatheoreticallyclosed-loop,multiplelife-cycleparadigm.RecyclingcanbeeasilyappliedtoincreasesustainabilityinFashionproduction.Recyclingistheprocessofcollectingandprocessingmaterialsthatwouldotherwisebethrownawayastrashandturningthemintonewproducts.InthecaseofFashion,storedunusedfabrics,leatherandothercomponentsarewastethatcanberecuperatedbythismethodology,obtainingnewproducts.Themethodsandtechniquesabovedescribedaremainlyfocusedontheenvironmentaldimensionofsustainability.Butsustainablefashionalsoinvolvesanimportantsocialissue,relatedtotheperceptionofthegarmentbyconsumers.Theapplicationofthesepracticestoclothesandaccessories,inparticulartheideaofRecycling,cannotbesplitfromthecustomers’need,onwhichtheirpurchaseisbased.ThisisevenmorevalidforluxuryFashion,whereoftendesireisthemainreasonpushingbuyerstogetanarticle;notforitsrealvalueandfunction,butforitsintangiblevalues,suchasimageandprestige.Itisthereforeparticularlysignificanttoexplorepossibleapplicationsofsustainabledesignandproductionapproachesatluxurybrands.4.Thecasestudyofsustainablepracticesappliedbyaluxurybrand4.1.TheBorbonesecompanyBorboneseisahistoricMade-in-Italybrand.Ithasastrongheritage:createdinTurinacenturyago,in1910,asabag,jewelleryandaccessorieslabel,itsoonjoinedtheleadingnamesinItalianluxurywithproductsthatexpressedbothclassandelegance.AmarkofdistinctioninBorbonesecollectionsistheO.P.orOcchiodiPernice(partridgeeye)print,thebrand'ssymbolandtrademark.Createdinthe1970s,theO.P.textureisstillthebrand'semblemtodayandisproducedthroughaspecialtreatmentoflamb’sleather,whichenhancesitsweave,obtainingamicro-spottedeffect,typicalofthismaisonproduction(Fig.1).Fig.1.SewingatBorboneseBorbonesecombinespreciousmaterialsandrefinedtechniqueswithmasterlycraftingtoemphasisedetailsandcharacteristics.Thecentralroleofresearchindevelopingthebrand’sproductionandstylehasledtothecreationofnewwaysofpresentingthehistoricOcchiodiPernice(partridgeeye),texture,whichisproducedinnewandinnovativevariations,materialsandcolours.Somebagsfabricatedbythisfirmarerealicons,suchastheLunaBag(Fig.2),basedonthedrawingsofGiacomoBalla,oneofthemostimportantartistsbelongingtotheItalianFuturistmovement.Ballaclaimedinhis“Manifestodell’abitoantineutrale”(Manifestoofanti-neutralclothing),theneedtosubstitutetheold,dark,oppressivegarmentwithitemsmoredynamicinthedesignandcoloursoffabrics,expressingmorehappinessandmovement.Hisintentionwastocreateclothesdifferentfromtradition,moreappropriatetomodernityandprogress.Borboneseisthenanexampleofabrandwhereartjoinsindustry.Fig.2.(left)FirstsketchoftheLunaBagbyGiacomoBalla,1916.(right)TheLunaBagmanufacturedbyBorbonesein1986,basedontheBalla’sdrawing.4.2.EcoDesignandRecycleofBorboneseluxuryproductsAswithmanyFashionenterprises,Borbonesemustproposenewmodelseveryseasonandlaunchanewcollection.Obsoletematerials,suchasleatherandaccessoriesofpastcollectionsarethenstoredinwarehousesandnotused.Asustainableapproachhasbeenimplementedrecuperatingthesenon-consumedwastes,whichhavebeenintegratedintoanewlifecycleinsteadofbeingdisposedofinadump.Theideatousepre-productionwastestodesignandmanufactureanewproductisbasedonanEcoDesignapproachandusesoneofthe6Rs:Recycle.Afirstinventorywasrealizedinordertounderstandwhichmaterialswerestoredandinwhatquantities,thenaFlashcollectionof“sustainablebagsandaccessories”wasdesignedandfabricatedusingtheavailablearticles,combiningdifferentkindsofstoredleatherwithunusedmetalclaspsandshoulderstraps(Fig.3and4).Theseaccessorieshavebeendesignedandmanufacturedtoreducewastes.Theuseofthesenon-employedmaterialstocreateoriginalproductsshowsthecompany’ssensitivitytowardssustainability.Fig.3.Keychain“Fiocco3D”(3DBow)madefromrecycledmetalaccessoriesandleather.Fig.4.(left)Keychain“Charm”and(right)Keychain“Girandola”(Pinwheel)madefromrecycledmetalaccessoriesandleather.Thisprojectcanbeconsideredasuccessfulexampleofarecyclingprocessappliedtoaluxurybrand.Usingwastestoproduceluxuryarticlescouldappearacontradiction,butthisexperiencedemonstratesthatitisindeedpossibleandthattheobtainedproductscannotonlyfindapositioning,buthaveaspecialkindofappealtothemarket.4.3.LCAoftheBorboneseSavileBagTheSavileBaginsuedepartridgeeyetextureisoneofthemosttraditionalproductsofBorbonese.Itispresentedineverycollection,beingmadeindifferentmaterialsandcominginarangeofcolours.ALCAofthisbaghasbeencarriedoutusingtheopensourcesoftwareopenLCA,developedbyGreenDelta.ThestudyreferstotheproductionanddistributionphasesinItalianandforeignshops,withoutconsideringtherawmaterialsprocessesthatarenotperformedatthecompany.Thentheassessmentcanbedescribedas“fromgatetograve”.TheInventoryanalysishasbeenrealizedusingreports,documents,databasesandinterviewswithBorbonese’semployees.Thefollowingpointswereinvestigated:●Theenergyconsumptionnecessaryforthecuttingofleatherandtextiles.●Wastesandscrapsproducedduringproduction.●Transportforsupplyingrawmaterialsanddistributingtheendproduct.●Disposal.Themostsignificantimpactcorrespondstotransport,becauseoftheemissionsproducedintheatmosphere,mainlyofCO2.Inordertohaveanideaabouttheenvironmentalimpactattherawmaterialsphase,wecanrefertotheprojectInnovationforaMadeGreenINEurope(I.M.A.G.I.N.E.),astudyrealizedinfourfashion-manufacturingdistrictslocatedinTuscanyfrom2009to2012.Thefouranalysedareaswere:1.TextilemanufacturinginPrato.2.GarmentmanufacturinginEmpoli.3.ShoemanufacturinginLucca.4.TanneriesinSantaCrocesull’Arno.Fromthesedata,itisevidentthatthestrongestenvironmentalfootprintcorrespondstotheleathertreatments.Tanneryisconsideredaheavyindustrynotonlybecauseoftheconcentrationofpollutantsinthedrainedwaterbutalsoforthegasemissions(organicsolventsandH2S)andforrefusesproducedduringtheproductworkcycle.Furthermore,itisnotanexceptionthatanimalsarebredandkilledforthesoleuseoftheirskinsatluxurycompanies,insteadoftheuseofleatherthatcomesfromscrapsofthefoodindustry.5.ConclusionTheFashionindustryischaracterizedbytherapiditywithwhichaproductbecomesoutdated.Thisisnotgenerallyduetothematerialswearingoutbutrathertotheconstantdesireofchangefromconsumers.Socialreasonsaremainlyatthebaseofcustomers’needssoFashiontendstobeconsideredunsustainable.ThisstudydemonstratesthatconsideringFashionunsustainableisnottheonlypossibleinterpretation.Ifwerefertothesocialdimensionofsustainability,luxurybrandsproductioncanhavesustainableaspects,especiallyinregardstotheslownessofproduction,encompassingthequalityofworkandlifeoftheskilledemployeeswhofabricatetheproduct.Somesustainablemethodsan