Enhancing the employability of fashion students through the use of 3D CAD

The textile and apparel industry has one of the longest and most intricate supply chains within manufacturing. Advancement in technology has facilitated its globalisation, enabling companies to span geographical borders. This has led to new methods of communication using electronic data formats. Throughout the latter part of the 20th Century, 2D CAD technology established itself as an invaluable tool within design and product development. More recently 3D virtual simulation software has made small but significant steps within this market. The technological revolution has opened significant opportunities for those forward thinking companies that are beginning to utilise 3D software. This advanced technology requires designers with unique skill sets. This paper investigates the skills required by fashion graduates from an industry perspective. To reflect current industrial working practices, it is essential for educational establishments to incorporate technologies that will enhance the employability of graduates. This study developed an adapted action research model based on the work of Kurt Lewin, which reviewed the learning and teaching of 3D CAD within higher education. It encompassed the selection of 3D CAD software development, analysis of industry requirements, and the implementation of 3D CAD into the learning and teaching of a selection of fashion students over a three year period. Six interviews were undertaken with industrial design and product development specialists to determine: current working practices, opinions of virtual 3D software and graduate skill requirements. It was found that the companies had similar working practices independent of the software utilised within their product development process. The companies which employed 3D CAD software considered further developments were required before the technology could be fully integrated. Further to this it was concluded that it was beneficial for graduates to be furnished with knowledge of emerging technologies which reflect industry and enhance their employability skills

Transforming shape: hybrid practice as group activity

Printed textile and garment design are generally taught and practised as separate disciplines. Integrated CAD software enables textile and clothing designers to envisage printed garments by assimilating graphic imagery with 2D garment shapes and 3D visualizations. Digital fabric printing can be employed to transpose print-filled garment shapes directly onto cloth. During a recently completed practice-led PhD (1998-2003), I researched the aesthetic design potential of combining new CAD technology with garment modelling methods to create new innovative printed textiles/garments. The merging of physical and screen-based making resulted in a hybrid 3D approach to the body, cloth and print referred to as the 'simultaneous design method'. In 2001 this hybrid practice provided the catalyst for a collaborative textile research project at the Nottingham Trent University, UK. The group included surface, shape and multimedia designers. The key group aim was to explore the transforming effects of computer-aided textile design through dialogues between two and three dimensions. In parallel with my own practice, print and embroidery were considered from a 3D starting-point through the relating of geometric cloth shapes to the form. Each designer took an idiosyncratic approach to the selection and integration of imagery with the shapes. The novel consideration of the final modelled textile at the start of the designing process influenced each designer in different ways, leading to a collection of contrasting, original outcomes that were displayed in the exhibition Transforming Shape (UK 2001, Denmark 2003). The exhibition demonstrated the design opportunities (and limitations) of new and existing technologies, specifically the relationship between innovative textile imagery and three-dimensional form. The designs illustrated the premise that surface designs can be engineered through different pattern shapes and that engineer-printed shapes transform the body

2D3D2D: a diagnostic approach to textile and fashion research practice

In the School of Art and Design, at Nottingham Trent University, a range of research methods and practices have developed through PhD and post doctoral study in relation to printed textile design and new technology. Individual research projects have addressed pattern (Bunce 1993); photographic imagery (Briggs 1997); colour (Leak 2001); non-repeating pattern (Carlisle 2003) and 2D/3D (Townsend 2003). Post-doctoral research (Briggs-Goode & Bunce 2001) and Townsend's research into 2D/3D informed a group project and exhibition Transforming Shape (2004). The outcomes created by Gillian Bunce, Amanda Briggs-Goode, Gillian Bunce, Rosemary Goulding and Katherine Townsend explored the relationships between innovative surface imagery and three-dimensional prototypes, based on the simple geometric forms of square, rectangle and circle

Rapid Manufactured Textiles

Rapid Manufacturing (RM) is increasingly becoming a viable manufacturing process due to dramatic advantages that are achievable in the area of design complexity. Through the exploration of the design freedom, this paper introduces the concept of manufacturing textiles for potential smart and high performance textile applications. This paper discusses the current limitations associated with the manufacture of textiles through RM and presents a novel methodology for the generation of 3D conformal RM textile articles. The paper concludes that through RM it is entirely possible to manufacture a structure that incorporates drape and free movement properties directly comparable to conventional textiles.Mechanical Engineerin

Accessing axis : exploring design coginition from visual and haptic experiences as an apparel designer in digital 3d imaging using 3d printing technology

Despite the rise of 3D printing technology in recent years, the novel technology has not yet heavily expanded to the realm of textile and apparel design. Although 3D printed design explorations have been unique and successful, the information shared only pertains to unique garment silhouettes or materials applied as oppose the insights into the specific 3D CAD process, which is the core of such digital fabrication methods. Following the Mutual Shaping of Technology framework, this study zoomed in on the ways for traditional apparel designers transition into the digital 3D modeling process from the visual and haptic cognitive aspects. This investigation involved a focus group study with 10 participants who are 3D CAD practitioners with hands-on object making backgrounds. The group study outcomes further contributed to the strategy that was then utilized in an independent case study involving studio practice and the development of a 3D printed wearable garment. The results from this exploratory study suggest that the transition from hands-on to digital modeling is a rather challenging process and relies heavily on tacit knowledge and the combination of object and spatial visualization skills interpreted in the forms of visual and haptic memory in order to develop an efficient workflow in the digital design process. The findings of this study are of great value in understanding the cognitive nature of the apparel designer's virtual design process in order to reflect on the current design curriculum. This study also is of importance to the future 3D CAD program interface design for both apparel and non-apparel design practice

Reprogramming the hand: bridging the craft skills gap in 3D/digital fashion knitwear design

Designer-makers have integrated a wide range of digital media and tools into their practices, many taking ownership of a specific technology or application and learning how to use it for themselves, often drawing on their experiential knowledge of established practices to do so. To date, there has been little discussion on how digital knitting practice has evolved within this context, possibly due to the complexity of the software, limited access to industrial machinery and the fact that it seems divorced from the idea of 'craft'. Despite the machine manufacturers' efforts to make knitting technology and software more user-friendly, the digital interface remains a significant barrier to knitwear designer-makers, generally only accessed via experienced technicians

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

Intelligent Design Support System for Japanese Kimono

A yukata is a type of traditional Japanese clothing. The designers have difficulty in drawing its cutting pattern with texture alignment. In this paper, we describe a CAD system for the yukata. First, we developed image processing algorithms for achieving the texture alignment. Second, we developed a measurement system for the wearer's body shape. Third, a three-dimensional garment simulation was achieved. By using this system, designers easily tailor the yukata regardless of their skill </p

Implementing Zero Waste Fashion in Apparel Design

The fashion industry is one of the largest contributors to the economy in Indonesia. However, this industry is the producers of both pre-production and post-production waste in large quantities causing environmental pollution. To meet the needs of consumers for fashion products, this industry actively design or renewing the design of apparel, resulting fabric waste from production in significant quantities during the process. Currently, there are varying viewpoints from practitioners and academics who argue that in order to reduce waste, the effort will be optimized when done during the pattern making and cutting process. Since the year 2008, the concept of zero waste fashion design or better known by the acronym ZWFD has been widely studied and practiced by students, academics, and practitioners in the field of fashion that has interest in the issues of waste pre-production and its influence on the environment. ZWFD itself refers to the steps to produce apparel with the minimum waste from fabrics during the pattern making and cutting process. This research aims to examine how the concept of ZWFD can be implemented in the course of design and apparel production. Characteristic of the fabric used in this experiment is first identified in order to deliver the possible way to work with the fabric in a three dimensional form. Furthermore, the experiment process continues until a certain form and and a lowest waste percentage is achieved. The final result of this research is a garment with as much as seven different looks from one key pattern with two different pattern making methods, namely flat pattern cutting and draping. Keywords : Apparel, Draping, Zero Wast