時(shí)裝及紡織展比較研究留學(xué)碩士畢業(yè)dissertation摘要寫(xiě)作介紹

Topic:fashion and textile exhibition comparativeresearch（notappropriatetopic）

Total 12000 words

Abstract (200-300)

Introduction (500-700)

Methodology (500)

 

服裝和紡織品的歷史可追溯到紡織和其他材料的可用性和使用，以及技術(shù)的發(fā)展，使服裝在人類(lèi)歷史上的發(fā)展。服裝的穿著是一種人性化的特征，是人類(lèi)社會(huì)的一個(gè)特征。這是未知的，當(dāng)人類(lèi)開(kāi)始穿衣服，但人類(lèi)學(xué)家認(rèn)為，動(dòng)物的皮膚和植被被改編成覆蓋物作為保護(hù)免受寒冷，熱和雨，特別是當(dāng)人類(lèi)遷移到新的氣候。另一種假設(shè)是，覆蓋是第一次用于其他用途，如魔術(shù)，裝飾，邪教，和威望，后來(lái)發(fā)現(xiàn)是可行的。服裝和紡織品在人類(lèi)歷史上很重要，它們反映了人類(lèi)所掌握的一種文明和人類(lèi)所掌握的技術(shù)。成品的社會(huì)意義體現(xiàn)了他們的文化。

在我們的文明意識(shí)到它意味著什么之前，“時(shí)尚”的概念可能已經(jīng)被啟發(fā)了。時(shí)尚已經(jīng)成為第一和第二次世界大戰(zhàn)之間的狂熱中，當(dāng)大批量生產(chǎn)的服裝真正發(fā)展起來(lái)。然而，直到在英國(guó)，生產(chǎn)方法變得更加精簡(jiǎn)，才引入了服裝配給制。布和縫紉用品配給，以及嚴(yán)格的規(guī)范保證了服裝生產(chǎn)的快速、高效、經(jīng)濟(jì)的方式而達(dá)到一定標(biāo)準(zhǔn)的質(zhì)量控制。到了20世紀(jì)50年代，越來(lái)越多的婦女被遺棄的小裁縫從增加大多數(shù)連鎖店買(mǎi)的。The history of clothing and textiles traces the availability and use of textiles and other materials and the development of technology for the making of clothing over human history. The wearing of clothing is exclusively a human characteristic and is a feature of most human societies. It is unknown when humans began wearing clothes but anthropologists believe that animal skins and vegetation were adapted into coverings as protection from cold, heat and rain, especially as humans migrated to new climates. An alternative hypothesis is that covering is first used for other purposes, such as magic, decoration, cult, and prestige, and later found to be practical as well. Clothing and textiles have been important in human history; they reflect the materials available to a civilization as well as the technologies that humans hasmastered. The social significance of the finished product reflects their culture.

The notion of “fashion” may have been inspired way before our civilization realise what it means. Fashion has become a frenzy inreality between the First and Second World Wars, when mass production of clothing truly developed. However, it was not until clothes rationing was introduced in the UK that production methods became more streamlined. Rationing of cloth and haberdashery, along with strict specifications ensured manufacturers created garments in a speedy, efficient, economical manner whilst attaining a certain standard of quality control. By the 1950s, increasing numbers of women abandoned the little dressmaker and bought from the increasing majority of chain stores. #p#分頁(yè)標(biāo)題#e#

一系列的令人興奮的紗線(xiàn)，新的時(shí)尚面料，保護(hù)材料和工程織物成為廣泛使用后1960。新材料和織物整理技術(shù)是在第一排和昂貴的。最初，他們提供給高級(jí)時(shí)裝的世界。幾年后，他們到了大眾市場(chǎng)。

時(shí)尚在紡織品中的性質(zhì)是為了顯示。所有紡織服裝企業(yè)都希望在公眾面前展示他們的產(chǎn)品。展覽是展示他們獨(dú)特的時(shí)尚身份的重要手段，它們的品質(zhì)和地位。然而，對(duì)于本文的論點(diǎn)點(diǎn)，時(shí)裝和紡織展覽更重要，因?yàn)樗麄兇硪粋€(gè)歷史。一段時(shí)間的歷史，社會(huì)和它的觀點(diǎn)，技術(shù)。事實(shí)上，除了模特走秀、時(shí)裝展覽告訴一個(gè)故事博物館做。這也是為什么我們有專(zhuān)門(mén)的時(shí)裝和紡織品展覽的博物館。

因此，本dissertation試圖進(jìn)行比較研究，以服裝和紡織展覽和博物館的做法，對(duì)這樣的展覽。首先，我們首先看時(shí)裝和紡織工業(yè)的起源。我們?cè)囍チ私膺^(guò)去和現(xiàn)在的時(shí)裝展覽，在歷史上發(fā)生的變化形式。在時(shí)裝展覽館的做法，將它們進(jìn)行檢查，在其成功和缺點(diǎn)。第二部分將集中于如何在實(shí)踐中構(gòu)建一個(gè)優(yōu)秀的服裝展。本dissertation將比較和對(duì)比的方式，以普通博物館展覽和時(shí)裝展覽。我們將試著找出有意義的因素，并討論時(shí)裝展覽的商業(yè)影響。A whole range of exciting yarns, new fashion fabrics, protective materials and engineered fabrics became widely available after 1960. New materials and fabric finishing techniques are at first exclusive and expensive. Initially they are offered to the world of Haute Couture. A couple of years later they filter to the mass market.

Fashion in textile in its nature is for display. All textile and fashion enterprises wish to showcase their products in front of the public. Exhibitions are crucial ways to present their unique fashion identities, their quality and status. However, for the argument point of this paper, fashion and textile exhibitions are more significant as they represent a history. History of a time, of society and its opinions, of technology as well. Indeed, apart from catwalk shows, fashion exhibitions tell a story as museums do. That is also why we have museums devoted to fashion and textile exhibitions. 

This thesis, therefore, is trying to conduct a comparative research into fashion and textile exhibitions and museum practices towards such exhibitions. We firstly begin by looking at provenance of fashion and textile industry. We try to understand the past and present of fashion exhibitions, the changes that have occurred along the history in forms. Museum practices in fashion exhibitions will them be examined, in both its success and drawbacks. The second part will be concentrated on how to construct a good fashion exhibition in practice. This thesis will compare and contrast fashion exhibitions to general museum exhibitions and runway shows. We will try to identify the significant factors in exhibitions, and discuss the commercial impact of fashion exhibitions.