English for designers. Английский язык для дизайнеров

4. Одежда производится в небольших количествах, чтобы гарантировать эксклюзивность, так что они довольно дорогие.

5. На сегодняшний день наибольшая часть одежды рассчитана на массовый рынок, в особенности для удобной и повседневной носки.

9. Ответьте на вопросы по тексту упражнения 4.

? What is the function of fashion designers?

? What kind of garments can you name ‘haute couture’?

? What type of collections are presented each season during a period known as Fashion Week?

? How does Myriam Chalek explain the designing process?

10. Перескажите текст упражнения 4, используя фразы в приложении.

Unit 2

FASHION HISTORY

1. Прочитайте следующие слова вслух и переведите их письменно:

cyclas, sleeves, transition, kittle, floor-length, ankle-length, abundant, doublets, hose, collars, opulence, farthingale, ornamentation, shoulders, waistlines, reveals, petticoats, foreparts, somber, stomachers, breeches, ensembles.

2. Прочитайте и переведите следующие глаголы:

to divert, to inaugurate, to enable, to include, to reflect.

3. Подберите эквивалентный перевод словосочетаний из колонки A в колонке В.

4. Прочитайте и переведите текст.

EUROPEAN STYLE

Clothing throughout the thirteenth century was very simple and varied very little between men and women. A loose-fitting fulllength gown with fitted sleeves worn with a narrow belt and a sleeveless coat called the cyclas was the norm. Until this point, very little diverted from Roman influence.

The fourteenth century inaugurated the Renaissance and brought the first major from simple draped shapes to fitted garments. Contoured seams and the start transition of tailoring techniques now enabled clothing to become more of a sheath around the body. Buttons and lacing allowed for an even closer fit. Women of the time wore an ankle- or floor-length chemise called a cotte, or kittle. The fitted version of the gown worn on top, called a cotehardie, often featured long hanging sleeves. In Europe throughout this period, fashion began to change at an unprecedented pace.

During the fifteenth century Europe experienced an abundant prosperity, the growth of the middle classes, and the development of a skilled workforce. This created an appetite for extravagances. Voluminous gowns called houppelandes featured floor-length sleeves and were worn with doublets, high collars, and hose. Headwear became more important and was trimmed with all manner of feathers and jewels. Everything became more complex and varied by region.

The sixteenth century was characterized by an increased opulence in fashion, most especially in England under Elizabeth I. Some of the atypical fashion details included the lace Tudor ruff, a hoop skirt called a farthingale, and rich surface ornamentation. In sharp contrast to the sloping narrow shoulders of the early 1500s, the Elizabethan court adopted shoulders that were high and wide with narrow sleeves reflecting French and Spanish styles. The shoulders were further enhanced by padded and jeweled shoulder rolls and accentuated by deep V-shaped waistlines. The V shape was mirrored by skirts that opened at the front to display petticoats or heavily decorated foreparts.

Fashion of the seventeenth-century baroque reveals a strong Puritan influence, evidenced in the natural, dark, somber colors and modest designs. Excessive ornamentation was discarded in favor of simpler broad lace and linen collars. Full slashed sleeves became very fashionable. Waistlines rose to create shorter bodices that were worn with contrasting stomachers. The period also witnessed the change from hose to breeches for men. A desire for uniformity became evident with the popularity of matching ensembles that speak to the contemporary suit. Under Louis XIV, the French began to focus on becoming leaders in the production of luxury products and fashionable clothing began to reflect the demands of the season and comfort.

    (From the book “Form, Fit, and Fashion” by Jay Calderin)

5. Ответьте на вопросы:

? What does the word “cyclas” mean?

? Can you describe the garments of Renaissance period?

? What can you say about fashion of the 15

century?

? What do you know about fashion in England under Elizabeth I?

? Which styles in fashion prevail in the 17

century?

6. Закончите предложения, используя следующие слова: hose, headwear, kittle, shoulder, waistlines, lace.

? Women of the time wore an ankle- or floor-length chemise called a cotte, or …

? … became more important and was trimmed with all manner of feathers and jewels.

? The shoulders were further enhanced by padded and jeweled … rolls.

? … rose to create shorter bodices that were worn with contrasting stomachers.

? The period also witnessed the change from … to breeches for men.

? Excessive ornamentation was discarded in favor of simpler broad … and linen collars.

7. Прочитайте и переведите текст письменно.

FASHION HOUSES AND THEIR ADS

Fashion houses are the companies behind the bigger name designers. They’re considered houses because the company bears the designer’s name, even after the designer has retired and someone else has taken over designing the label. The fashion houses influence trends and, consequently, sales through the use of advertising. If you look through a fashion magazine, you see that most of the pages are ads. These ads, which are just as visually interesting and informative as the editorial pages, can have quite an impact. For example, department stores didn’t want to stock designer jeans back in the 1980s, but the ads placed by the jeans companies created the public demand, and it wasn’t long before those jeans were in every store.

8. Переведите следующий текст.

Анализ целостности ансамбля

Анализ целостности ансамбля проводится на примере костюма (представленного на рис. слева).

В этой модели нельзя убрать отделку в плечевой части из цветного крепдешина бежевого цвета, так как сразу нарушится целостность композиции.

Если убрать один из главных элементов в костюме, а именно цветную драпировку, то исчезнет один из сильных контрастов, который проявляется в сочетаниях основного и отделочного материалов, их цветовой гамме и фактуре поверхностей. При всем этом, костюм становится неполным и скучным.

Однако, умелое использование материалов, декоративных элементов в головном уборе позволяет добиваться выразительности представленного костюма и его эстетической ценности. При изъятии из ансамбля шляпы и легко драпирующегося отделочного материала изменится форма модели (расширенная в плечевой части и зауженная в линии талии).

Нарушается связь форм, если убрать из костюма головной убор и дамскую сумочку.

На основе анализа внешней формы костюма можно заключить, что представленная композиция является законченной и достаточно целостной, так как соблюдаются меры контраста.

9. Прочитайте и переведите цитату. Выучите высказывание наизусть.