英语翻译

题目

英语翻译
ONE peculiarity of textile design in the 1980s was that,despite the boom in design of domestic products on the one hand and of the interior decoration market on the other,these two areas,which one would have expected to complement one another,by and large developed quite separate,if not antithetical,aesthetics.A crisis in confidence in the future,combined with an increase in demand for luxury,meant that the major trend in interior decoration was retrospection.Luxury became associated with the past.From the mid-1980s onwards- particularly in America,France,Italy and Britain一the style of furnishing fabric responded to the mounting interest in conservation and restoration with a widescale revival of eighteenth- and nineteenth-century prints.
The old furnishing fabric houses,such as Brunshwig and Fils (USA),Berger (France),Rubelli (Italy) and G.P.and J.Baker,of London,which had survived on low ebb since the 1960s,responded with alacrity to the growing demand for archive prints.Even the new companies who achieved success at this time,such as Ted tyler in New York,and the Designer's Guild and Osbourne and Little in London,took much of their inspiration from the archive.This mood of retrospection was

答案

一个特别的纺织设计在1980年代是这样的,尽管繁荣本国产品的设计;另一方面,室内装饰市场的另一方面,这两个区,一个没有料想到会相辅相成,并已发展的大型相对独立的,如果不是相互对立的,美学.一个危机,对未来充满信心,结合奢华需求的增加,意味着在室内装饰的主要趋势是反思.豪华成为联系在一起的过去.从1980年中期开始,尤其是在美国的年代,法国,意大利和Britain一the风格的装饰布对安装的兴趣与widescale保护与修复的复兴,道光十八的照片.
旧的装饰布的家族,如小Brunshwig和(美国)、柏格(法国),Rubelli页(意大利)及g与贝克,伦敦,活在低潮自1960年代以来,欣然回应日益增长的需求为档案的照片.即使新公司的成功在这段时间,如泰德·泰勒在纽约,和设计师的工会和瑞和小在伦敦,费了好大的灵感来源于档案.这种情绪的反思