室內(nèi)設(shè)計(jì)風(fēng)格外文翻譯參考文獻(xiàn)

#室內(nèi)設(shè)計(jì)風(fēng)格外文翻譯參考文獻(xiàn)（文檔含中英文對(duì)照即英文原文和中文翻譯）淺釋室內(nèi)設(shè)計(jì)中的女性裝飾風(fēng)格美國(guó)著名的女藝術(shù)家弗洛琳?斯蒂海默曾經(jīng)在她的繪畫《家庭畫像第2號(hào)》中傳遞了一個(gè)她所鐘愛(ài)的被繁華織錦與鮮花包圍著的住所，畫面中的室內(nèi)空間和女人們以極其艷麗的姿態(tài)占據(jù)了整個(gè)視覺(jué)中心。一切正如她詩(shī)歌里描述的那樣“韋羅內(nèi)塞綠的蕾絲緊身衣，深色花紋的長(zhǎng)裙還有針織荷葉邊，絲制珠寶盒里裝滿串串羅馬珍珠；非常喜愛(ài)的淡色水洗絲窗簾，帶有輕快羅馬條紋的緞帶，滿布花束的地毯，塞夫爾瓷花瓶和鍍金飾邊的桌子上灑滿清晨的光輝；母親為我們朗讀的童話故事，還有花園繁華盛開(kāi)和梅拉德的甜點(diǎn)和沃爾特?迪斯尼的卡通……”在這些文字里，跳躍性的細(xì)節(jié)描述和純感官的認(rèn)知特征解讀了女性的感知體驗(yàn)特性，而所敘述的鮮花、織物、擺設(shè)、童話正是女性對(duì)于家的最溫柔、最甜美的期待，這所有的一切也都是女性裝飾風(fēng)格最完美的詮釋。古往今來(lái)由于女性特殊的生理本能，女性風(fēng)格的裝飾藝術(shù)在歷史上一直占有很大的市場(chǎng)空間，尤其是十七至十八世紀(jì)在意大利文藝復(fù)興發(fā)展起來(lái)的具有強(qiáng)烈女性特征的巴洛克藝術(shù)(BAROQNEART)裝飾風(fēng)格更是風(fēng)靡和影響了整個(gè)歐洲，其藝術(shù)語(yǔ)言多少的影響了緊跟其后的是新藝術(shù)運(yùn)動(dòng)的產(chǎn)生與發(fā)展。然而，作為一種愛(ài)好和時(shí)尚風(fēng)格，巴洛克也只局限在奢華的宮廷和達(dá)官貴人的居室裝飾中流行，裝飾風(fēng)格的概念局限了，從而與女性裝飾風(fēng)格的內(nèi)涵上產(chǎn)生了偏離。今天，社會(huì)經(jīng)濟(jì)飛速發(fā)展，女性的地位也因其教育和收入水平的提高達(dá)到了一個(gè)相對(duì)合理的高度，一個(gè)嶄新的女性話語(yǔ)世界正在全面構(gòu)建。就如人類學(xué)家海倫費(fèi)希認(rèn)為的那樣，21世紀(jì)的女性將是“第一性”。由于她們的介入，直接或間接地影響了現(xiàn)代的審美意識(shí)和消費(fèi)觀，一種獨(dú)特的以女性為代表的消費(fèi)文化和審美思潮正潛移默化的流行于時(shí)尚消費(fèi)層。這就是我們稱之為“她”時(shí)代的女性消費(fèi)文化，依照國(guó)際廣告協(xié)會(huì)主席卡波爾對(duì)“她”時(shí)代的內(nèi)涵的解釋：“今天，以男性為主的消費(fèi)主義正在向以女性為中心的消費(fèi)主義平衡?！迸砸庾R(shí)的設(shè)計(jì)也越來(lái)越占上風(fēng)，甚至有學(xué)者將女性設(shè)計(jì)意識(shí)作為人性化設(shè)計(jì)的體現(xiàn)。預(yù)言世界的“她”時(shí)代已經(jīng)到來(lái)。一、女性裝飾風(fēng)格的科學(xué)性室內(nèi)設(shè)計(jì)中突現(xiàn)的女性文化現(xiàn)象并不緣自對(duì)女性平等追求的呼聲和善意的尊重，這里有著更多客觀的因素。國(guó)外的科學(xué)家們通過(guò)測(cè)試研究發(fā)現(xiàn)，女性身體器官構(gòu)造比男性更為復(fù)雜，由此導(dǎo)致女性的植物神經(jīng)系統(tǒng)發(fā)達(dá)，女性的觸覺(jué)、味覺(jué)、視覺(jué)和聽(tīng)覺(jué)反應(yīng)大都比男性敏感，情感表現(xiàn)更為明顯和細(xì)膩。有調(diào)查報(bào)告顯示，現(xiàn)今女性出于各種原因，對(duì)建筑、室內(nèi)空間和裝飾藝術(shù)的喜惡態(tài)度上比男性反應(yīng)的更為分明而堅(jiān)決，在需求態(tài)度上更為積極而有主見(jiàn)。同時(shí)，就心理特征分析比較，男性是外向的，女性多表現(xiàn)含蓄；男性是公眾性的，女性則偏向私密；男性是理性化的，而女性細(xì)膩感性；男性體現(xiàn)剛強(qiáng),女性展示柔美；男性是社會(huì)性的，而女性更多體現(xiàn)為自然性。因此，以女主人的眼光來(lái)決定家裝風(fēng)格更能營(yíng)造和諧的家庭環(huán)境。在這種實(shí)際需求的影響下，女性風(fēng)格應(yīng)運(yùn)而生。二、室內(nèi)裝飾中女性裝飾設(shè)計(jì)的表現(xiàn)“女人心，海底針”是一句耳熟能詳?shù)睦显?，其?shí)，女性的行為與其生理構(gòu)造互為表里，具有一定的共通性和規(guī)律性。通過(guò)對(duì)女性生理、心理以及社會(huì)歷史原因的分析，不難發(fā)現(xiàn)以下幾個(gè)方面的特征深刻的影響著女性裝飾的風(fēng)格。1、女性生理所具有的敏感和善變因素從生理心理學(xué)角度來(lái)看，女性生理平衡不斷發(fā)生變化的周期性生殖循環(huán)使得她們雖強(qiáng)于觀察體會(huì)、感受敏銳但卻不擅于保持長(zhǎng)久的精力集中與情緒的穩(wěn)定。這些都不是女性主觀的選擇而是與生俱來(lái)的特性。因此她們因?yàn)樵谏钪邪l(fā)生問(wèn)題或?qū)徝榔诙３０亚榫w發(fā)泄轉(zhuǎn)換給周邊的事物，對(duì)居室環(huán)境空間裝飾作不定期的改換與室內(nèi)陳設(shè)不斷的以舊換新。這種特性，決定了風(fēng)行一度的傳統(tǒng)務(wù)實(shí)的的固定式實(shí)木家具為裝飾主體的裝修手段逐漸被淘汰，活動(dòng)式、便攜式家具和易更換的軟性裝飾材料將成為設(shè)計(jì)的主流。2、女性的神秘主義傾向從人類起源開(kāi)始，無(wú)論處于被崇拜還是被壓迫地位，女性與宗教巫蠱仿佛有著千絲萬(wàn)縷的聯(lián)系。毫無(wú)疑問(wèn)，女性比男性迷信，女性由于長(zhǎng)期的弱勢(shì)使她們更需要找尋心理的安定和依靠。而女性與自然天生的息息相關(guān)使得她們更能夠感悟其中不可名狀的神秘性，而感性先于理性的思維方式讓她們更愿意以“心”而非“腦”去理解一切玄異。因此，她們易于受到神學(xué)與宗教的影響。拋開(kāi)理論研究的結(jié)論，我們?cè)诂F(xiàn)實(shí)生活中也可以很容易的發(fā)現(xiàn)，女人更樂(lè)于鉆研星座，重視風(fēng)水，相信命運(yùn)。因此在室內(nèi)設(shè)計(jì)中，不用說(shuō)她們更喜歡采用一些有宗教意象或自然氣息很濃的裝飾物（圖3），也很樂(lè)意接受關(guān)于納吉避兇的建議。這些都是她們追求安定幸福生活的地愿望的體現(xiàn)。3、女性的身體健康需求在這個(gè)講求生活品質(zhì)的年代.健康正成為人們?cè)絹?lái)越重視的話題。由于女性的生理構(gòu)造遠(yuǎn)比男性復(fù)雜，因此受到疾病侵害的可能性和衰老的速度大大高于男性。相比從前為悅己者容，現(xiàn)代女性更樂(lè)于用有情調(diào)的生活善待自己。她們閱讀美容書籍，烹調(diào)養(yǎng)顏食品，參與健身訓(xùn)練，購(gòu)買化妝用品，添置時(shí)尚衣飾，一切的一切只緣于對(duì)青春與健康的愛(ài)惜。此外，越來(lái)越多的女性向男性一樣走向了職業(yè)的舞臺(tái)進(jìn)行公平競(jìng)爭(zhēng)，為了工作的需要，她們花費(fèi)更多的精力與時(shí)間在超市購(gòu)物，商場(chǎng)血拼，在居室烹飪美食，在咖啡廳里享受細(xì)心暢談的樂(lè)趣，在旅行的酒店里感受大自然給予的快樂(lè)時(shí)光，在健身房里體驗(yàn)流汗的舒暢……，種種跡象證明設(shè)計(jì)中必須充分滿足這些需求，為女性消費(fèi)者營(yíng)造自我關(guān)照的需求空間。4、女性的“洛麗塔”公主情結(jié)“新性感主義”是當(dāng)今女性時(shí)尚界最流行的話題，洛麗塔式的天真性感一派無(wú)疑是其中最具誘惑力的?，F(xiàn)實(shí)生活中的男性往往需要在情感中超越年齡對(duì)自己的束縛，體驗(yàn)著長(zhǎng)輩、哥哥和情人相互混雜的角色。女性則通過(guò)與比自己年長(zhǎng)許多的男性們交往，享受著一種永遠(yuǎn)的依靠與信賴。具有洛麗塔情結(jié)的女人樂(lè)意“以小博大”，借著天真幼稚包裹成熟，扮演著被支配的主角，從而獲得依賴和安全感。近年來(lái)在服裝界掀起的韓流就是一個(gè)很好的例證，小圓領(lǐng)、公主袖、蕾絲掐邊、玩具熊造型的耳環(huán)和項(xiàng)鏈，以及各類粉色系布料等不同元素相互組合，從嫻靜中透著活潑，于優(yōu)雅處展露純情。這種風(fēng)格受到一個(gè)年齡跨度很大的女性階層的喜愛(ài)。同樣在家居裝飾中，明艷的墻壁，色彩濃烈的團(tuán)花地毯，綴有花草藤蔓圖案的裝飾拒，玻璃雕花屏風(fēng)，斷斷續(xù)續(xù)墜落的流蘇燈飾，綴滿亮片、珠珠的靠墊，鏤空的紗質(zhì)窗簾等飾品以及富有夸張色彩的裝飾物仿佛呵護(hù)了女性小公主似的童心，隨著新性感潮流風(fēng)行在時(shí)尚家庭中。三、居家中女性裝飾風(fēng)的主要特征就像美國(guó)藝術(shù)家弗洛琳?斯蒂海默所描繪場(chǎng)景一樣，正是女性在童年時(shí)代。家的最甜美的期待，以及兒時(shí)沉醉于王子公主美妙的童話世界里帶來(lái)最最美好的回憶，因此或多或少都會(huì)誘發(fā)女性最溫柔、最美好的一面，也是女性裝飾風(fēng)格最完美的詮釋。不同于男性，女性幾乎是一種情緒化的動(dòng)物，內(nèi)心的纖細(xì)與敏感使她們除了要求空間有基本的實(shí)用功能之外更為注重自身與空間中所蘊(yùn)涵的情緒、文化的精神交流，更在意家庭氛圍的營(yíng)造。因此重裝飾輕裝修是女性裝飾風(fēng)格不變的定位，柔性主題是設(shè)計(jì)的重點(diǎn)。1、柔性材料的大量運(yùn)用布藝是女性裝飾風(fēng)格中用的最多的一種元素，它不但能從實(shí)用性上滿足女性需求，在很大程度上甚至是女性氣質(zhì)的物化品。從窗簾、紗、慢、床上用品、布藝沙發(fā)到地毯、壁掛，無(wú)論是嗅覺(jué)、味覺(jué)還是觸覺(jué)，無(wú)不透著女性的柔情和溫馨。布藝品總是以它特有的圖案和柔軟的質(zhì)感，呈現(xiàn)在居室空間內(nèi)，起著聯(lián)系家具與人之間的紐帶和模糊空間的劃分作用，體現(xiàn)著物的人性化，彌補(bǔ)了室內(nèi)現(xiàn)代建筑中大量使用鋼筋、水泥、玻璃等硬性材料所帶來(lái)的冷漠感;進(jìn)而，也滿足了人們渴望寧?kù)o和向往自然與溫馨的需要。并且，布藝雖然依附于硬裝修器物之上屬于從屬地位，但卻能以柔克剛的決定整個(gè)裝修風(fēng)格，這正是當(dāng)今女性家庭角色的最佳詮釋。2、粉色系列的色彩顏色溫暖、手感舒適，帶有個(gè)性化的裝飾材料，成為當(dāng)代女性裝飾選材的重要選擇傾向。甜甜蜜蜜的色彩是女性感性的特征，近年來(lái)流行的粉色、粉藍(lán)色、粉綠色，這些帶有透明感覺(jué)和糖果感覺(jué)的色彩逐漸在女性室內(nèi)環(huán)境中流行開(kāi)來(lái)。甜蜜的顏色多用于窗簾、隔斷用的帷幕、床上用品、桌布、椅墊等，柔性色彩營(yíng)造一個(gè)甜蜜的生活氛圍，帶給人一天工作后的放松。由于女性裝修和裝飾對(duì)個(gè)性化材質(zhì)的需求，符合女性審美風(fēng)格的材料在市場(chǎng)上越來(lái)越受到歡迎。3、曲線造型的圖案女人如花似水，在室內(nèi)女性風(fēng)格裝飾中，花鳥和魚水的主題都是最鮮明的特征。無(wú)論是織物器皿上的圖案還是家具墻體中的曲線造型，無(wú)論是地面上的圖案還是天花板上吊頂?shù)臉邮?，都是營(yíng)造女性氛圍的最佳元素。女性風(fēng)格的室內(nèi)裝飾紋樣擁有與時(shí)代符合的雍容、柔美之感。一方面，曲線的形態(tài)是受外界支配的線形，外界壓力的大小可以使線形發(fā)生變形，產(chǎn)生出豐滿、優(yōu)雅、柔軟、和諧等審美特點(diǎn),而許多卷草紋、纏枝花紋等正是利用流動(dòng)的曲線創(chuàng)造了層層疊疊、圓潤(rùn)飽滿的藝術(shù)效果，突現(xiàn)女性的魅力。另一方面，從紋樣構(gòu)圖結(jié)構(gòu)來(lái)看柔性紋樣生動(dòng)變化中尋求一種規(guī)范，布局由緊密變得更開(kāi)朗，形態(tài)有概括有寫實(shí)。不管是飽滿的團(tuán)花組合方式，還是散花和小折枝花都或含苞欲放，或蓓蕾初綻，或昂首怒放，姿態(tài)各異，花草鳥蝶，富于民俗趣味；情愛(ài)祥瑞，表達(dá)美好愿景；運(yùn)動(dòng)舞蹈，描畫日常生活蟲鳥相嘻，鸚鵡雙追，則傳第出一種韻味十足的女性的自然景象。4、無(wú)處不在的鏡面空間曾經(jīng)有男性慨言：女人不能五分鐘不照鏡子。這個(gè)論斷有點(diǎn)夸張但可以肯定的是女性在意自己的外表，樂(lè)于欣賞自己的體態(tài)。基于這個(gè)原因，在女性主義裝飾中必須重視鏡子的擺設(shè)和照明的計(jì)算，通過(guò)科學(xué)設(shè)計(jì)的鏡子可以幫助女性增長(zhǎng)自信，增添動(dòng)力。另外，玻璃材料營(yíng)造出的奕奕發(fā)光的鏡空間也同樣暗示著女性的珠光寶氣。時(shí)隨鏡遷，新女性風(fēng)格的裝飾讓室內(nèi)私人空間成為了女主人的衍生體，一個(gè)既充滿活力，有具有柔美細(xì)膩新新女性風(fēng)格的公共場(chǎng)所，同樣會(huì)使工作壓力繁重的男人們心中充滿生機(jī)和活力?，F(xiàn)今，以女性特有的溫暖細(xì)致?tīng)I(yíng)造著時(shí)尚溫馨的室內(nèi)氛圍，已經(jīng)成為一種風(fēng)尚。ABriefAnalysistotheInteriorDesignofShallowWomenAdornmentStyleAmericanwomenartistsFuLuolin?Sidihaimohadherpainting"FamilyPortraitNo.2"inthetransferofoneofherfavoriteflowersaresurroundedbybusytapestryandhomepictureoftheinteriorspaceandawomanareverybeautifulgesturetooccupytheentirevisualcenter.Allasshedescribesthepoemsas"Veronesegreenlacecorset,darkpatternedskirtareknittedlotusleaf,silkjewelryboxesfilledwithstringsofpearlsRome;veryfavoritepalewashedsilkcurtains,stripedribbonwiththelightofRome,fullofflowerscarpet,Sevresporcelainvasesandgiltedgingofthetableandscatteringthemorninglight;motherreadfairytalesforus,thereareflourishinggardeninfullbloomandMaillard'sconfectioneryandWaltDisney'scartoon"Inthesewords,thejumpofthedetailsofthedescriptionandthecognitivecharacteristicsofpuresensoryperceptionofwomensexperiencecharacteristics,anddescribedtheflowers,fabrics,furnishings,fairytaleisthemostgentleofwomenforhome,themostsweetlooking,thisallwomenarealsothemostperfectinterpretationofdecorativestyle.Agesaswomenuniquephysiologicalinstinct,womenstyleofdecorativeartsinhistoryhavebeenenjoyingalargemarketspace,especiallyfrom17to18centuryRenaissanceinItalydevelopedastrongfemalecharacteristicsofBaroqueart(BAROQNEART)ispopulardecorativestyleandaffectsthewholeofEurope,howmuchoftheirartisticlanguagewascloselyfollowedbytheemergenceofnewartmovementanddevelopment.However,asahobbyandfashionstyle,theBaroqueisalsoconfinedtotheluxuryofthecourtanddignitariesoftheroomdecoratedinpopulardecorativestyleoftheconceptofalimittothecontentandstyleofthedecorationofwomenhadadeviation.Today,therapidsocio-economicdevelopment,womenstatusbecauseoftheireducationandincomelevelsincreasedtoarelativelyreasonableheight,anewwomendiscourseintheworldisinfullconstruction.AsanthropologistsHailunfeixithat,aswomeninthe21stcenturywouldbe"primary."Becauseoftheirinvolvement,directlyorindirectlyaffecttheaestheticawarenessandconsumptionofmodernconcept,auniquewomen-representativesofconsumercultureandpopularaestheticthoughtsaresubtlefashionconsumerlevel.Thisiswhatwecall"her"femaleconsumercultureofthetimes,inaccordancewithInternationalAdvertisingAssociation,Xikaboeron"her"interpretationoftheconnotationofthetimes:"Today,consumerismismale-dominatedtofemale-centeredbalanceofconsumerism."feministconsciousnessmoreandmoreprevaildesign,andevenscholarsofwomenashumandesigndesign-consciousreflection.Predictedthattheworldof"her"timehascome.First,thescientificnatureoffemaleDecoInteriorDesignemergentculturalphenomenonofwomenisnotoriginatedfromthepursuitofequalityforwomenvoicesandtherespectofgoodwill,herehaveamoreobjectivefactors.Foreignscientiststestfoundthatthefemalebodyorgansandstructuresmorecomplexcomparedwithmen,whichledtodevelopmentofwomenautonomicnervoussystem,womensenseoftouch,taste,visualandauditoryreactions,betterthanmen,sensitive,emotionalperformanceinamorevisibleandfine.Asurveyreportshowsthattoday'swomen,forvariousreasons,architecture,interiorspaceanddecorativeartsoflikesanddislikesattitudemoreclearlythanmen,andfirmresponse,thedemandforamorepositiveattitudeandassertive.Meanwhile,onthepsychologicalcharacteristicsanalysisandcomparison,outgoingmen,womenandmoresubtleperformance;menarepublicinnature,femalestendtoprivacy;menarerational,whilewomendelicatesensibility;maleexpressionofpower,andwomenshowsoft;mensocial,whilewomenaremorenaturalsexualexpression.Therefore,thehostess'seyestodeterminethestyleofdecorationtocreateamoreharmoniousfamilyenvironment.Theimpactofthisactualdemand,femalestyleemerged.Second,interiordecorationdesignperformanceoffemale"Theheartofwoman,submarine-pin"isafamiliaroldsaying,infact,womenbehaviorandphysicalstructureinteractswithacertaindegreeofcommonalityandregularity.Onfemalephysiology,psychologyandtheanalysisofsocialandhistoricalreasons,notdifficulttofindthefollowingaspectsofthecharacteristicsofaprofoundimpactonwomendecorativestyle.femalephysicalsensitivityandvolatilityofthefactorsthathavePhysiologicalpsychologyfromthepointofview,womenarechangingphysiologicalbalanceofthereproductivecycleofthecyclicalwhilemakingthemstrongerandobserveandunderstandandfeeltheacutebutnotgoodatmaintaininglong-termfocusandemotionalstability.Thesearenotanoptionforfemalesubjectivityinherentcharacteristics.Therefore,becauseoftheirproblemsinlifeorShenmeipilaoandoftenemotionalventingconversiontotheperipheralthings,ontheindoorenvironmentofspacefordecorationandfurnishingschangefromtimetotimetokeeptheTMto.Thisfeature,oncethedecisionofthepopulartraditionofpragmaticfixedfurnitureforthedecorationofthemainmeansofgraduallyfittingout,andmobile,portableandeasytoreplacethesoftfurniture,decorativematerialswillbecomethemainstreamofthedesign.womenmysticaltendenciesStartingfromtheoriginofman,whetherinworshiporoppressedbythestatusofwomenandreligiousWitchcraftseemsinextricablylinked.Thereisnodoubtthatmorewomenthanmensuperstition,womenmakethemvulnerablebecausethelong-termpsychologicalneedtofindstabilityandrelyon.Thewomenandnaturearecloselyrelatedtonaturalsentimentwhichmakesthemmorecapableofindescribablemystery,andemotionalandrationalwayofthinkingaheadsothattheyaremorewillingto"heart"ratherthan"brain"tounderstandallthemysteriousdifferences.Therefore,theyarevulnerabletotheimpactoftheologyandreligion.Setasidetheconclusionsoftheoreticalstudies,alsoinreallifewecaneasilyfindthatwomenaremorewillingtodelveintoconstellations,attentionFengShui,believeinfate.Therefore,interiordesign,needlesstosaytheyprefertousesomeverystrongreligiousimageoradecorativenaturalflavor,andverywillingtoaccepttheproposalonNajibtoavoidfierce.Thesearetheirhappylifetothepursuitofstability,theembodimentofdesire.SetupwomenhealthneedsInthiseraofemphasisonqualityoflife.Healthisbecomingatopicofgrowingimportance.Asthephysicalstructureofwomenthanformencomplex,thepossibilityofabusebydiseaseandagingmuchfasterthanmen.WyatthasbeencomparedtothosewhoformerlyYang,modernwomenaremorewillingtotreatwithaflavoroflifeitself.Theyreadbooksonbeauty,cooking,beautyfoods,participateinfitnesstraining,purchaseofcosmeticproducts,purchasefashionableclothing,andeverythingisonlyduetothecareofyouthandhealth.Inaddition,anincreasingnumberofwomentomenastotheprofessionalarenaforfaircompetition,theneedtowork,theyspendmoreenergyandtimeonsupermarketshopping,mallshopping,cookingfoodintheroom,thecoffeeshopEnjoycarefullytalkedaboutthefunintravelhotelexperiencenatureforhappyhour,sweatinginthegymexperiencetheeaseofmindtovarioussignsthedesignmustfullymeettheneedsoffemaleconsumerscreateademandforself-carespace.women"Lolita"PrincessComplex"Newsexydoctrine"istodaythemostpopularwomenfashionindustrytopics,Lolita-styleinnocencesexyfactionisundoubtedlythemosttempting.Real-lifeemotionsinmenoftenneedtogobeyondtheshacklesofageontheirownexperiencewithelders,brothersandloversmixedwitheachother'srole.Femaleswithmucholdermenthantheirowncontacts,andenjoyakindofforeverrelyonandtrust.HappywomanwithLolitaComplex"leverage",wrappedbynaivematureprotagonistofbeingdominatedplaytogaindependencyandasenseofsecurity.Inrecentyears,launchedtheKoreanfashionindustryisagoodexampleofasmallroundneck,princesssleeves,lacepinchedge,teddybearshapedearringsandnecklaces,andavarietyofpinkfabricsandcombinationsofdifferentelementswitheachother,Fromthedemuretraceoflively,elegantofficeattheexposeinnocent.Thisstyleofawideagerangeofwomenfavoriteclass.Similarly,inthedecorating,strong,beautifulwalls,richcolors,thefloralcarpets,embroideredwithflowersandvinesresistpatterndecoration,glasscarvedscreens,lightingtasselsfallingoff,encrustedsequins,beadbeadcushion,hollowingShazhicurtainsandotheraccessories,andfullofexaggeratedcolorornamentslikecareoftheprincess-likeinnocenceofwomen,withthenewsexyfashiontrendspopularinthehome.Third,homedecorationinthestyleofthemaincharacteristicsofwomenAsAmericanartistsFuLuolinSidihaimoscenedepicted,asisthewonhomeinchildhoodontheexpectationsofthemostsweetandwonderfulchildhoodimmersedintheprinceandprincessfairytaleworldtobringfarthemostbeautifulmemories,Therefore,inducingmoreorlessthemostgentleofwomen,mostbeautifulsideofwomendecorativestyleisthemostperfectinterpretation.Unlikemen,womenalmostanemotionalanimal,theinnerthinandsensitivesothattheynotonlyseektospacebeyondthebasicfunctionofagreaterfocusonpracticalandspaceimpliedintheirownemotional,spiritualandculturalexchanges,morecarecreateafamilyatmosphere.Soheavydecorativelightfittingisthesamepositionofwomeninstyle,designflexibilityisthekeytheme.extensiveuseofsoftmaterialsFabricisadecorativestyleusedinmostwomen,anelementnotonlytomeetwomenonthedemandfromtheutility,toalargeextentevenfemininephysicalandchemicalproducts.Fromcurtains,yarn,slow,bedding,clothsofatothecarpet,wall,whetheritisthesenseofsmell,tasteortouch,withoutexception,revealsawoman'stendernessandwarmth.Clothproductsarealwaysuniquedesignanditssofttexture,showingtheroomspace,furnitureandplayacontactlinkandblurbetweentheroleofthedivisionofspace,embodythehumanethingtomakeuptheinteriorofalargenumberofmodernbuildingsuseofsteel,cement,glassandotherhardmaterials,broughtasenseofapathy;then,andalsosatisfytheaspirationofpeoplelongingfornatureandtranquilityandwarmthneeds.And,althoughattachedtoahardclothdecorationobjectsonasubordinateposition,butthedecisioncanbedealtwithgentlystyleofthedecoration,whichistodaythebestinterpretationoftheroleofwomeninthefamily.thecolorpinkseriesColorawarm,comfortable,withapersonalizeddecorationmaterials,aselectionofimportantcontemporaryfemalechoicedecorativetendency.Sweetsweethoneycolorcharacteristicsoffemalesensibility,popularinrecentyears,pink,powderblue,lightgreen,thecandywithatransparentfeelingandsenseofcolorgraduallywomenbecamepopularindoorenvironment.Sweetcolorsareusedforcurtains,withcurtainpartition,bedding,tablecloths,cushions,softcolorscreateanatmosphereofsweetlife,bringingpeopletorelaxafteraday'swork.Asthefemalefittinganddecorationmaterialsontheindividualneedsofthematerialsmeetthefemaleaestheticstylehasbeengainingpopularityinthemarket.curvemodelingpatternWomanflowerlikewater,inthefemalestyleinteriordecoration,thethemeofflowers,birdsandfishandwaterarethemostdistinctivefeatures.Whetherorfabricpatternonthevesselwallinthecurveshapeoffurniture,bothonthegroundorceilingceilingdesignstyles,allthebestelementstocreateanatmosphereofwomen(Figure8).Womenhaveastyleofinteriordecorationpatternsconsistentwiththeageofgrace,softfeeling.Ontheonehand,thecurveshapeisdominatedbytheexternallinear,externalpressurecanm