Study on 3D modeling and pattern-making for upper garment（上衣の三次元モデルの構築およびパターンメーキングに関する研究）

信州大学(Shinshu university)博士（工学）ThesisZHANG JUN. Study on 3D modeling and pattern-making for upper garment（上衣の三次元モデルの構築およびパターンメーキングに関する研究）. 信州大学, 2017, 博士論文. 博士（工学）, 甲第663号, 平成29年03月20日授与.doctoral thesi

Qualitative Research on Pant Fit: To Improve Plus-size Fit in the Plus-Size Market

This study explored the plussize apparel fit and the satisfaction of the plussize women in the United States. According to researchers, there is a well-known gap for apparel grading when it comes to plus-size apparel. This study took a qualitative approach and used structured interviews and surveys with twenty plus-size women size 16 through 22 and ages ranging from 22 through 50 in the Midwest area. The results of the interviews and the survey indicate the plus-size woman is unsatisfied with the fit of their clothing, more specifically the fit of their pants. The results indicate there are many variants that can cause the fit of a garment not to fit as intended. In this industry, advancement of apparel mass production to include mass customization is imperative. The research questions this researcher intended to answer were: What is the current plus-size apparel dissatisfaction for the top three body shapes? What pattern shape changes should be made on plus-size pants? Can we achieve a good fit with the traditional grading? In theory, does it make sense to create a grade rule for various body shapes? For mass customization, should plus-size apparel align with menswear techniques

Standardization of the size and shape of virtual human body for apparel products

International virtual human body (VHB) standards from the International Organization for Standardization (ISO) specifically used in virtual garment systems in the apparel field, as suggested in ISO/TC 133/WG 2 (Working group 2), contain fundamental content regarding definitions of terms, attributes of composition, and the expression and alteration of VHBs. As the first attempt in the series of international standards dealing with VHBs, this study has dealt with fundamental content related to VHB size. Additional standardization is required to allow the size and shape of VHB to be reproducible. Therefore, this study suggests academic and industrial requirements from the perspective of standardization to identify and solve issues regarding the reproduction of human bodies in terms of VHB size and shape. This study is meaningful in that it provides an overview of current VHB standardization efforts, related proceedings, and additionally required assignments. The suggested industrial and academic requirements are anticipated to be helpful in the systematic development and utilization of VHB and general standardization work.This work was supported by the National Research Foundation of Korea (NRF) Grant funded by the Korean Government(MSIT) (No.NRF-2016R1A5A1938472)

Size prediction for plus-size women's intimate apparel using a 3D body scanner

Garment “fitting” from tailor-made to ready-to-wear clothing, has evolved over time. Ready to-wear and standardized sizes appeared in the middle 19th century. Today garment fitting is one of the most important criteria in the consumer buying decision making process. This is particularly so with “body hugging” garments, such as intimate apparel; or the bra that moulds the form of the wearer to produce “smooth” outer garment silhouettes. The South African bra retailer and manufacturers sizing charts are generally based upon body dimension data collected using traditional anthropometric methods. Professional measurers are not able to capture the hidden areas of the breast such as the inframmatory fold line, the volume, shape and contour of the breast using tape measures, calipers and other measuring devices. Traditional anthropometry also does not have the ability to systemically observe the bottom line of the breast base and extract accurate data on breast volume which are key factors in designing underwire bras and in the pattern making of the bra cup panels. Exploratory retail and consumer studies have indicated that consumers, notably plus size women, experience considerable problems and dissatisfaction with poorly fitting bras. There is therefore clearly a need in South Africa to conduct a 3D anthropometric study, focusing especially on the plus-sized women’s bra market segment, as there is very little or limited studies, to date, conduct for this market segment of the population. This pilot study collected 3D torso body measurement data from a convenient sample of 176 plus sized women, recruited from Playtex (Pty) Ltd. situated in Durban, KwaZulu Natal, South Africa. The study evaluates the 3D breast volume measurement data extraction process, using an expert system developed by [TC]2 integrated into the propriety NX12-3D full body scanner software and that taken using the traditional dress-makers tape-measure. The objective is to establish the relationship between the 3D torso and breast volume data measurement output as extracted by the expert system when compared to the South African bra manufacturers sizing chart, for use in pattern making for bra cup panel designs and in the designing of underwire bras for large breasted or plus size women. The results contained in this dissertation cannot be extrapolated to the larger population of South Africa and is limited to the 176 plus size women selected by Body Mass Index; recruited from KwaZulu Natal, South Africa

(Case Study)

The objective of this dissertation is to investigate and study the connection between the technological development found in the history of fashion clothing and design. A further objective is to consider the importance of anthropometry, ergonomics, volumetrics, geometry and body shape, and to demonstrate, through case study, avenues for adapting and incorporating flat patterning in the creative process of Fashion Design Teaching: “Amalgamated (Hybrid) modelling as a creative resource”. Every fashion designer needs to think about his personal creative process and how best to stimulate his own creativity. There are some methods that can promote creativity and these need to be made part of the designer’s daily routine in order to develop distinctive and innovative work. When building a collection, the fashion designer must adopt a methodological approach. Flat patterning reaches the heart of mathematics. It demands logical reasoning and an ability to integrate a number of disciplines. Consequently, it can give the impression of being a rigorous, complex practice, full of often incomprehensible rules, because it can be difficult to grasp its precise theory and practice. But this is an area of knowledge of great significance to students of fashion design while undergoing their academic training because the good professional must have at least a basic understanding of how their design will be put together as a result of flat patterning. In teaching, flat patterning is often set apart from the creative process and is combined with the later stage of execution. According to Mariano, “it is the process of flat patterning that defines the transformation of flat materials into three-dimensional shapes capable of adaptation to the human body. [...] It also determines whether the clothing can be reproduced”. Mariano (2011, no page) It is clear that developing a flat pattern is a very important step in the creation of a garment. Its function is not only to configure the garment but also to ensure it can be standardized and reproduced. However, when dealt with as a predominantly technical subject, its application can become divorced from the concept of creation because it appears to have no artistic content. By approaching flat patterning technique in a composite way, taking advantage of its two-pronged nature to incorporate it in the creative elements of the Fashion Design course, it can become a means of sparking the creative process which has made great names in high fashion in the past. Coelho (2008) argues that patterning should be understood as being more than a technique. He says that it loses the dynamic sense intrinsic to the concept of a method that is part of a larger process - all the research carried out by the designer – when flat patterning is either not fully understood or taught simply as a technique. Logical reasoning is vital when making flat patterns. But mastery of technique is also essential. Novaes (2008), extends Coelho’s reasoning by saying: “Other possible routes in processing a garment result from cross-referencing between standardization methods and production systems. [...] Configuring geometric patterns with three-dimensional modelling when developing a prototype is a further possible method of shaping a garment.”. (Novaes, 2011, p.93). A great example of composite patterning as a creative resource in the teaching of Fashion Design is the stylist Tomoko Nakamichi, who teaches at the famous “Bunka” Fashion School in Japan. She departs from the traditional patterning approach and, in effect, offers a hybrid technique which combines and enlarges the ranges of standard flat and three-dimensional modelling. It follows that educators should bear in mind that a study and understanding of the principles of human anatomy will instil a knowledge of how to evaluate the human profile, so contours can be followed or altered. Concepts of proportion, symmetry and volume (or volumetrics), as well as height and width measurements, are fundamental to producing a technical design and modelling pattern. This information needs to be included in the planning of a garment during graphic design. In conclusion, teaching flat patterning in a creative way, combining its different elements, can be a force to promote creativity, giving the student the opportunity to see a garment, or fashion product, in three dimensions. This modelling technique allows the fashion professional greater creative freedom thanks to immediate three-dimensional visual contact with the product. It also benefits the student who gains greater control over the creation of a garment in a liberating way that also facilitates improvements to the final results.Esta dissertação objectiva estudar e investigar a relação do desenvolvimento tecnológico velados na história da indumentária, moda e design, assim como antropometria, ergonomia volumetria, geometria, corpo e formas para fins, de buscar e exemplificar través de estudo de caso a possibilidade de incorporar e adequar a modelagem no processo criativo do ensino de design de moda “modelagem hibrida como recurso criativo”. Nesse contexto, todo criador precisa pensar sobre seu processo criativo na moda e como estimular sua própria criatividade. Existem algumas ferramentas que podem ser usadas para promover a criatividade, e estas devem ser incorporadas à rotina diária para que o designer possa desenvolver um trabalho diferenciado e inovador. O designer de moda deve estabelecer uma abordagem metodológica para desenvolver uma colecção. A modelagem por passar pelo cerne da matemática, esta requer raciocínio lógico e a capacidade de articular uma série de disciplinas dando a impressão de ser uma prática complexa, rigorosa e cheia de regras, muitas vezes incompreensível devido a uma certa dificuldade de assimilação do seu teor prático e exacto. Por conseguinte esta área do conhecimento se faz de grande importância na formação académica dos alunos de cursos de design de moda pois o bom profissional deve pelo menos deter o conhecimento básico do produto que se vai construir através da modelagem. A modelagem no ensino é frequentemente separada do processo criativo, sendo incorporada mais tarde na etapa do processo de execução. Segundo Mariano (2011), “a modelagem e o processo que determina a transformação dos materiais planos em formas tridimensionais adaptáveis ao corpo humano […] e também por determinar a reprodutibilidade do vestuário” […]. É certo que a elaboração da modelagem é um estágio muito importante, com uma função não apenas de configurar, mas também de garantir que a roupa possa ser reproduzida e padronizada. No entanto, tratando-a como um assunto predominantemente técnico, sua aplicação pode se tornar divorciada da concepção criativa, uma vez que a mesma parece ser desprovida de conteúdo artístico. Abordar e incorporar as técnicas de modelagem de uma forma hibrida e de maneira criativa no ensino do design de moda, através de suas técnicas ramificadas, desta forma a mesma pode se tornar uma ferramenta capaz de potencializar o processo criativo assim como ja no passado fazia grandes nomes da alta costura. Coelho (2008), explica que modelagem não deve ser entendida apenas como técnica porque, quando a modelagem sendo ela plana ou não é compreendida ou ensinada apenas como uma técnica, ela perde o sentido dinâmico amplo consagrado no conceito de um método que é parte de um processo maior, que é toda a pesquisa feita pelo o designer. O raciocínio lógico é essencial para realizar a modelagem plana. Mas o domínio da técnica também é essencial. Novaes, completa os pensamentos de Coelho nos dizendo que “outros caminhos possíveis no processamento de uma peça de roupa são o resultado de cruzamentos entre métodos de padronização e sistemas de produção […] já que a configuração de padrões geométricos com modelagem tridimensional no desenvolvimento de um protótipo é outro método possível para modelar peças de vestuário. Um grande exemplo de uma modelagem hibrida como recurso criativo no ensino de design de moda é a professora e designer da famosa escola de moda japonesa “Bunka” Tomoko Nakamichi, cujo oferece uma ruptura com a padronização da modelagem tradicional e oferece efectivamente uma técnica híbrida que mescla padrões recursos de modelagem plana e tridimensionais. Portanto, educadores não podem esquecer-se que com o estudo e a compreensão dos princípios da anatomia humana é possível transmitir ideias através do conhecimento de como avaliar o perfil, para que os contornos possam ser seguidos ou alterados, conceitos de proporção, simetria e volume (ou volumetrics), bem como medidas de altura e largura, são fundamentais para a realização do desenho técnico e padrão da modelagem e devem ser trazidos para o planejamento do item como informação durante o design gráfico. Desta forma então conclui-se que o ensino da modelagem de forma hibrida e criativa pode ser usada para promover a criatividade, proporcionando ao aluno a possibilidade de ver a roupa ou produto de moda em três dimensões. Pode-se dizer que essa técnica de modelagem dá maior liberdade criativa ao profissional da moda devido ao contacto visual tridimensional imediata do produto e que também beneficiará o aluno sob um maior controle sobre a criação da roupa de uma maneira incomum e que também facilitará os ajustes finais

Evaluating garment size and fit for petit women using 3D body scanned anthropometric data

Research suggests that there is a plethora of information on the size and shape of the average and plus sized women in South Africa (Winks, 1990; Pandarum, 2009; Muthambi, 2012; Afolayan & Mastamet-Mason, 2013 and Makhanya, 2015). However, there is very little information on petite women‟s body shapes, their body measurements and their shopping behaviour, especially in South Africa, for manufacturing ready-to-wear garments. The purpose of this petite women study was to investigate the shapes and sizes of a sample of petite South African women and develop size charts for the upper and lower body dimensions. This study used a mixed-method; purposive, non-probability sampling method to achieve the objectives of the study. A (TC)² NX16 3D full body scanner and an Adam‟s® medical scale were used to collect the body measurement data of 200 petite South African women, aged between 20-54 years with an average height range of 157cm, residing in Gauteng (Pretoria and Johannesburg). Other data collection instruments included a demographic questionnaire to collect the subjects‟ demographic information such as, age, height, weight, etc.; and the psychographic questionnaire to gather the petite subjects‟ demographics as well as their perceptions and preferences on currently available ready-to-wear shirt and trouser garments. Of the 200 subjects that were initially recruited, based on the petite women‟s body height that ranged from 5‟ 4” (163 cm) and below, the most prevalent body shape profile that emerged from the dataset, was the pear body shape which was evident in 180 of the 3D full body scanned petite women subjects. Therefore, the anthropometric data for these 180 subjects was used in the development of the experimental upper and lower body dimensions size charts and as the basis for the fit test garments developed in this study. The collected data was analysed and interpreted in Microsoft Excel and the IBM SPSS Statistics 24 (2016) software package, using principal component analysis (PCA) to produce the experimental size charts for the upper and lower body dimensions necessary for creating prototype shirt and trouser garments. Regression analysis was used to establish the primary and secondary body dimensions for the development of the size charts and for determining the size ranges. The experimental upper and lower body dimensions size charts were developed for sizes ranging from size 6/30 to size 26/50. Subsequently, the accuracy of the size charts developed in this study was evaluated by a panel of experts who analysed the fit of the prototype shirt and trouser garments, manufactured using measurements for a size 10/34 size range from the size chart, on a sample of the petite subjects. The fit of these garments was also compared with the fit of garments manufactured using the 3D full body scanned measurements of a size 10/34 petite tailoring mannequin, that is currently commercially available for use in the production of garments for petite women in South Africa. The shirt and trouser prototype garments developed using the size 10/34 upper and lower body dimensions size chart measurements had, overall, a better quality of fit than the garments made to fit the current, commercially available, size 10/34 mannequin. These findings thereby confirmed that the data extracted from the (TC)² NX16 3D full body scanner and the size charts subsequently developed using the data, has the potential to provide better/improved fit in garments for petite South African women than data hitherto published. From the evidence of this study, it is recommended that the South African garment manufacturing industry needs to revise the current sizing system for petite women to accommodate the body dimensions and shape variations that currently prevail amongst consumers. The South African garment manufacturers and retailers also need to familiarise themselves with the needs, challenges and preferences of the petite consumers‟ target market that purchase ready-to-wear shirt and trouser garments in South Africa.Life and Consumer SciencesM.ConSci. (Department of Life and Consumer Science

Women's self-perceptions: an exploratory study of optical illusion garments

Although previous research provides insight into how women construct and idealize their appearance through clothing, the connection to the design elements of a garment is lacking. Using an exploratory approach, the current study, theoretically grounded in the self-discrepancy theory, investigated a woman's perceptions of her body shape. The primary goal of this exploratory study was to understand how garments created with optical illusion prints or patterns, can affect women's perceptions of body shape and if optical illusion garments can increase body satisfaction while helping a woman achieve the appearance of a more ideal body shape. Fifteen women were body scanned to determine their body shape and then participated in an in-depth semi-structured interview while viewing a personalized avatar (created from their body scan) depicted in the seven different optical illusion garments created by the researcher. Data analysis revealed seven themes: (1) Perception of Self, (2) Clothing and the Body, (3) Defining Ideals, (4) Optical Illusion Applications, (5) Preferences by Body Shape Category, (6) Effects of Wearing Optical Illusions, and (7) A More Ideal Self. Results from this study showed that optical illusion garments do effect the visual perception of body shape and can result the perception of a more ideal body shape

Interactions gestuelles multi-point et géométrie déformable pour l’édition 3D sur écran tactile

Despite the advances made in the fields of existing objects capture and of procedural generation, creation of content for virtual worlds can not be perform without human interaction. This thesis suggests to exploit new touch devices ("multi-touch" screens) to obtain an easy, intuitive 2D interaction in order to navigate inside a virtual environment, to manipulate, position and deform 3D objects.First, we study the possibilities and limitations of the hand and finger gestures while interacting on a touch screen in order to discover which gestures are the most adapted to edit 3D scene and environment. In particular, we evaluate the effective number of degrees of freedom of the human hand when constrained on a planar surface. Meanwhile, we develop a new gesture analysis method using phases to identify key motion of the hand and fingers in real time. These results, combined to several specific user-studies, lead to a gestural design pattern which handle not only navigation (camera positioning), but also object positioning, rotation and global scaling. Then, this pattern is extended to complex deformation (such as adding and deleting material, bending or twisting part of objects, using local control). Using these results, we are able to propose and evaluate a 3D world editing interface that handle a naturaltouch interaction, in which mode selection (i.e. navigation, object positioning or object deformation) and task selections is automatically processed by the system, relying on the gesture and the interaction context (without any menu or button). Finally, we extend this interface to integrate more complex deformations, adapting the garment transfer from a character to any other in order to process interactive deformation of the garment while the wearing character is deformed.Malgré les progrès en capture d’objets réels et en génération procédurale, la création de contenus pour les mondes virtuels ne peut se faire sans interaction humaine. Cette thèse propose d’exploiter les nouvelles technologies tactiles (écrans "multi-touch") pour offrir une interaction 2D simple et intuitive afin de naviguer dans un environnement virtuel, et d’y manipuler, positionner et déformer des objets 3D.En premier lieu, nous étudions les possibilité et les limitations gestuelles de la main et des doigts lors d’une interaction sur écran tactile afin de découvrir quels gestes semblent les plus adaptés à l’édition des environnements et des objets 3D. En particulier, nous évaluons le nombre de degré de liberté efficaces d’une main humaine lorsque son geste est contraint à une surface plane. Nous proposons également une nouvelle méthode d’analyse gestuelle par phases permettant d’identifier en temps réel les mouvements clés de la main et des doigts. Ces résultats, combinés à plusieurs études utilisateur spécifiques, débouchent sur l’identification d’un patron pour les interactions gestuelles de base incluant non seulement navigation (placement de caméra), mais aussi placement, rotation et mise à l’échelle des objets. Ce patron est étendudans un second temps aux déformations complexes (ajout et suppression de matière ainsi que courbure ou torsion des objets, avec contrôle de la localité). Tout ceci nous permet de proposer et d’évaluer une interface d’édition des mondes 3D permettant une interaction tactile naturelle, pour laquelle le choix du mode (navigation, positionnement ou déformation) et des tâches correspondantes est automatiquement géré par le système en fonction du geste et de son contexte (sans menu ni boutons). Enfin, nous étendons cette interface pour y intégrer des déformations plus complexe à travers le transfert de vêtements d’un personnage à un autre, qui est étendu pour permettre la déformation interactive du vêtement lorsque le personnage qui le porte est déformé par interaction tactile