Image-Based Virtual Clothing

Online shopping has found speedy growth for the fast-paced world in the present situation. Precisely garments shopping are one of the most exciting parts especially for ladies. The continuous changing fashion and newly designed outfits motivates customers for shopping. New online shopping stores have added an ease for shopping your desired products by removing the constraints of places and time limits. As far as garments are concerned, predicting the appropriate size and imaging the real life look of that garment just by viewing its image is a challenging task. The project introduces an easy and feasible solution for the online shopping try-on scenario by introducing an app with a digital try-on feature. It can enhance online shopping experience. In this project, we propose an idea for fitting a given 3D garment model on a person. We will use  3d models of the clothes that will fit on the image of the user and enable a user to see himself/herself wearing virtual clothes. The 3D models of the clothes are stored in the system. On opening the application, user can view the clothes available and by using the mobile’s camera the user can get an idea of how the garment will fit on him/her. This way the user can have a fair idea about the look of the garment

Block party: contemporary craft inspired by the art of the tailor

Block Party: contemporary craft inspired by the art of the tailor, is a new touring exhibition from the Crafts Council curated by Lucy Orta - Professor of Art, Fashion and the Environment at London College of Fashion, and renowned visual artist whose own practice fuses fashion, art and architecture. Block Party explores the alchemy of the centuries-old skill of tailoring by presenting work by 15 UK and international artists who push pattern-cutting beyond the fashion garment. The artists Lucy Orta has selected take pattern-cutting as a starting point to produce sculpture, ceramics, textile, moving image and collage. Through experimentation the artists have found new ways to assemble pattern shapes, not to create garments but to manipulate shape to realise new outcomes. Block Party focuses on three themes; Storytelling, Embracing the Future, and Motif and Manipulation. In Storytelling artists use pattern-cutting as a means of expression. Turner Prize-nominated Yinka Shonibare MBE presents a child mannequin, dressed in a historically accurate Victorian outfit crafted from African fabric to reference culture, race and history. Claudia Losi’s 24m whale made of woollen suit fabric was transported around the world to stimulate discussion and storytelling before being deconstructed and transformed into jackets in collaboration with fashion designer Antonio Marras. In Embracing the Future existing pattern-cutting methods are manipulated and challenged through the use of innovative processes and technologies. Simon Thorogood’s patterns are created using digital programmes whilst Philip Delamore of the Fashion Digital Studio at London College of Fashion seeks to apply the latest developments in 3D digital design to the garment making process. In Motif and Manipulation the beauty of the paper pattern block is the visual inspiration. Ceramist Charlotte Hodes directly incorporates these familiar shapes into her ceramics whilst Raw Edges re-appropriate the use of a pattern block by creating a flat paper pattern of a chair which is then filled with expandable foam to create the 3D ‘Tailored Wood Bench’

Real-time virtual fitting with body measurement and motion smoothing

Cataloged from PDF version of article.We present a novel virtual fitting room framework using a depth sensor, which provides a realistic fitting experience with customized motion filters, size adjustments and physical simulation. The proposed scaling method adjusts the avatar and determines a standardized apparel size according to the user's measurements, prepares the collision mesh and the physics simulation, with a total of 1 s preprocessing time. The real-time motion filters prevent unnatural artifacts due to the noise from depth sensor or self-occluded body parts. We apply bone splitting to realistically render the body parts near the joints. All components are integrated efficiently to keep the frame rate higher than previous works while not sacrificing realism. (C) 2014 Elsevier Ltd. All rights reserved

Historic Costume Simulation and its Application

This study highlights the potential of new technology as a means to provide new possibility for costumes in fragile condition to be utilised. The aim of this study is to create accurate digital duplicates of costumes from historical sources, and to explore the possibility of developing them as an exhibitory and educational method applying 3D apparel CAD and new media. To achieve this, three attributes for qualities of effective digital costumes were suggested: faithful reproduction, virtual fabrication, and interactive and stereographic appreciation. Based on these qualities, digital costumes and a PC application were produced and evaluated

A review on potential technological advances for fashion retail: smart fitting rooms, augmented and virtual realities = Uma revisão sobre os potenciais avanços tecnológicos para o varejo de moda: provadores inteligentes, realidades aumentada e virtual

Este artigo técnico avaliará os novos avanços tecnológicos que podem mudar a forma como compramos roupas, explorando soluções existentes que ainda são comumente confundidas entre si: provadores inteligentes, espelhos interativos, Realidade Virtual (RV) e Realidade Aumentada (RA). A abordagem metodológica baseada numa pesquisa exploratória terá início com uma revisão da literatura sobre provadores inteligentes e espelhos interativos, comparando as principais diferenças entre essas duas tecnologias e abordando as suas tentativas de implementação malsucedidas no varejo. A nossa pesquisa também avaliará tecnologias diárias, aquelas que possivelmente poderiam melhorar a experiência dos clientes com compras online, bem como de clientes com mobilidade reduzida. Com dispositivos inteligentes em cada esquina, é hoje mais difícil convencer os consumidores com produtos inovadores. Neste contexto, propomos algumas possibilidades de futuro para o varejo de moda, com os resultados a serem apresentados numa primeira abordagem, na esperança de que a partir deles possam ser criadas soluções inovadoras para o futuro. Além disso, as implicações sustentáveis relacionadas com esta abordagem serão abordadas nas considerações adicionais. Este estudo técnico considera apenas duas soluções básicas, que, eventualmente, eram muito complexas para caber no varejo de moda, e explora soluções adicionais que poderiam mudar essas limitações. Embora exploradas e pesquisadas nos últimos anos, soluções como os provadores inteligentes e os espelhos interativos já fizeram parte do que se considerou o futuro do varejo de moda. No entanto, modelos de negócios deficientes e falta de avanços tecnológicos na época limitaram essas soluções. As novas tecnologias, como a Realidade Aumentada (RA), a Realidade Virtual (RV) e a Realidade Mista (RM), combinadas com a mais recente evolução dos smartphones, podem relançar estas soluções.This technical paper will assess new technological advances that could change the way we buy clothes, exploring existing solutions that are still commonly confused with each other: Smart fitting rooms (SFR), interactive mirrors (IM), Virtual Reality (VR), and Augmented Reality (AR). The methodological approach based on an exploratory research will start with a literature review on SFR and IM, comparing the main differences between these two technologies and addressing their unsuccessful attempts in retail. Our research will also assess daily technologies, which could possibly improve the customer's experience with online shopping, as well as customers with reduced mobility. With smart gadgets in every corner, consumers are more difficult to convince with innovative products. We will propose future possibilities for fashion retail, where results will be presented as a first approach, in hopes of creating innovative solutions for the future. Moreover, sustainable implications related with this approach will be addressed in our additional considerations. This technical study considers only two basic solutions that were eventually too complicated to fit into fashion retail, exploring additional solutions that could change these limitations. Although explored and researched in the last years, solutions like IM and SFR were once part of what was considered the future of fashion retail. However, poor business models and lack of technological advances at the time limited these solutions. New technologies such as Augmented Reality (AR), Virtual Reality (VR) and Mixed-Reality (MR), combined with the latest smartphone evolution could relaunch solutions like these

Exploring the effectiveness of an augmented reality dressing room

In this paper, we describe our experience with the design of an augmented reality dressing room in which 3D models of a dress are overlaid with a color image from a camera to provide the function of a sort of virtual mirror. In such a way, the customer can move around to understand if a dress suits and fits them well. The project is implemented in Unity 4 Pro in combination with the Microsoft Kinect 2 for the tracking process. Design issues and technical implementation as well as the prospects for further development of the techniques are discussed. To assess the validity of our proposal, we have conducted a user study using 47 participants with different levels of experience with video games and devices used to play them. The empirical method used is qualitative. To this end, we used questionnaire-based surveys. The obtained results suggest that our solution represents a viable means to simulate dressing rooms, and participants in the study found the interaction with our 3D models to be natural for understanding if a dress suits and fits them well. Overall, the participants found our application very useful from a practical point of view

ADVENT OF AUGMENTED REALITY EXPERIENCE IN RETAIL AND ONLINE SHOPPING AND ITS INFLUENCING SIGNIFICANCE IN FUTURE

Augmented Reality (AR) is a trending technology that augments or superimposes an image generated by a computer system virtually into the real world environment for the user’s viewpoint using a smart phone or other hand held devices. AR shows recent advancements in the shopping domain with various implementation trails and refinement. The simplicity and flexibility in online shopping where people stay in their own place and do shopping brought a great challenge to retail shopping environment today. Retail stores are now struggling a lot to bring in the customers and the foot traffic has been greatly reduced due to which online sales are boosting and retail sales are stalling. This necessitates to bring new technological innovations to offline shopping to attract people. With the use of AR, it is possible to merge digital component to physical products in the store to stimulate the engagement of the shopping experience with more fun and joy. On the other hand, in the online shopping, though user reviews and product showcase aids the customers to analyze the quality, look and feel of diverse products, the buyer still cannot see how exactly the product fits in a real environment or how it works. Here plays AR a vital role in online shopping where it uses animations and visualization techniques to offer more value to their shoppers virtually aiding to see exactly the look of the product in user environment. This paper explains the advancement of AR in both retail and online shopping of various product domains with an implementation model of ShopAR for Online shopping and AR significance in near future

Videopelit ja pukutaide - analogisten pukusuunnittelumetodien digitalisointi

This thesis explores ways of integrating a costume professional to the character art team in the game industry. The research suggests, that integrating costume knowledge into the character design pipeline increases the storytelling value of the characters and provides tools for the narrative. The exploration of integrating a costume professional into game character creation as a process is still rare and little information of costume in games and experiences in transferring an analogue character building skillset into a digital one can be found, therefore this research was generated to provide knowledge on the subject. The research's main emphasis is on immersion-driven AAA-games that employ 3D-graphics and human characters and are either photorealistic or represent stylized realism. Technology for depicting reality is advancing and digital industries have become aware of the extensive skills required to depict increasingly realistic worlds. Also, tools for character art are beginning to lean on actual costume construction: the pattern based cloth simulation software entitled Marvelous Designer has become the industry standard for character clothing. The material of this thesis is based on the author's experience as an intern and Costume Artist at the game company Remedy Entertainment and on data collection in the form of participant observation, conversational interviews, archival searches and assorted documents as an internal employee of the company. Therefore, an ethnographical research that applies to qualitative, descriptive, nonmathematical and naturalistic research methods is utilized in this thesis. The result of this research is a costume production pipeline for integrating a costume professional into the game character design process. It is formed by comparing costuming processes of game and film industries to explore the similarities and differences in methods to analyze the most effective combination of these two. The final pipeline introduces the costume professional’s position during the different stages of the character design process. Furthermore, the thesis categorizes aspects essential for a costume designer to internalize in order to become a functional part of the Character Art team and the skills and knowledge required to support the character design in a production. This research identifies the need for costume knowledge in realistic AAA-games. When employing a costume professional into a game production, this thesis offers tools and vocabulary for collaboration. Costume designers are Character Artists, but with different tools and skill set and costume design can be seen as a live form of character art.Tämä opinnäytetyö käsittelee pukusuunnittelua peliteollisuudessa ja pukusuunnittelijan tarvetta hahmosuunnitteluprosessissa. Tutkimuksen materiaali perustuu kirjoittajan omaan kokemukseen harjoittelijana ja pukusuunnittelijana (Costume Artist) Remedy Entertainment -peliyhtiön hahmosuunnittelutiimissä. Työ esittelee eri peliyhtiöiden hahmotiimien käyttämiä pukusuunnittelumetodeja ja arvioi, miten pukusuunnittelun tiedostaminen erillisenä osana hahmosuunnitteluprosessia ja puvun kerronnallisten elementtien tunnistaminen ja hyödyntäminen tukee uskottavan pelihahmon luomista realistisissa peleissä. Tutkimuksen lähtökohtana on ajatus, että pukusuunnittelun integroiminen hahmosuunnitteluprosessiin syventää hahmoa ja kuluttajan pelikokemusta ja näin ollen nostaa pelin arvoa tuotteena. Tutkimuksen tuloksena syntyi uusi pukusuunnittelun tuotantolinja (Costume production pipeline) peliteollisuuden käyttöön. Se esittelee pukusuunnittelijan asemoitumisen pelituotannon hahmosuunnitteluprosessiin. Teknologinen kehitys mahdollistaa yhä realistisempien digitaalisten todellisuuksien luomisen, jonka seurauksena peliteollisuus työllistää enenevässä määrin myös perinteisten alojen erityisosaajia, kuten arkkitehtejä sekä elokuva-alan valosuunnittelijoita. Myös digitaalisen hahmonluonnin työvälineet nojaavat jo tosielämän vaatetuotantoon: vaatesimulaatio-ohjelma Marvelous Designer perustuu vaatteiden kaavoihin ja on laajalti käytössä pelihahmojen suunnittelussa. Pelit, joita tutkimus tarkastelee, ovat AAA-pelejä, jotka hyödyntävät 3D-grafiikkaa ja ihmishahmoja ja jotka ovat joko photorealistisia tai edustavat tyyliteltyä realismia. Tutkimuksen materiaali on koostettu keskustelullisista, strukturoimattomista haastatteluista, kirjoittajan työpäiväkirjasta, yhtiön edellisten pelien arkistomateriaaleista, sekä yhtiön sisäisistä ohjeistuksista. Tutkimus esittelee keinoja, joilla fyysisen ihmisvartalon kanssa työskentelemään kouluttautunut pukusuunnittelija voi integroitua digitaaliseen hahmonluontiprosessiin ja osoittaa, että pukusuunnittelijat ovat analogisilla metodeilla työskenteleviä hahmosuunnittelijoita. Hahmosuunnittelun etu suhteessa esitystaiteen pukusuunnitteluun on vapaus näyttelijän fyysisen ruumiin sekä fysiikan lakien tuottamista rajoitteista. Vaatesuunnittelu keskittyy vaatteeseen ja pukusuunnittelu fyysisen ihmisruumiin ja vaatteen synnyttämään kombinaatioon ja interaktioon, mutta hahmosuunnittelu tarjoaa pukusuunnittelullisesti rajoittamattoman vapauden hahmotulkintaan