Automatic 3D Pattern Making of Fitted Upper Garments Considering Individuals' Figures and Shear Limit of Fabrics

Takahashi, Yoshi; Sofue, Akito; Kim, KyoungOk; Takatera, Masayuki

doi:10.5057/ijae.12.169

Cited by 4 publications

(4 citation statements)

References 8 publications

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“…To investigate the validity of the proposed method, we performed 3D modeling of the bodice and sleeve using the contours of two existing jackets with curved sleeves. We developed a 3D modeling program using C++ language with OpenGL based on previous studies [3][4][5][6][7][8][9][21][22][23][24]. With the program, we can obtain contour lines of garment and also deform models along to the contour lines.…”

Section: Methodsmentioning

confidence: 99%

“…To reduce the difference and create garment patterns more efficiently, researchers have conducted many studies on virtual three-dimensional (3D) draping, in which draping is performed on a computer [3][4][5][6][7][8][9]. Virtual 3D draping requires the creation of 3D models of a wearer or garment.…”

Section: Introductionmentioning

confidence: 99%

“…For the 3D draping method in which patterns are made from created 3D clothing models, various methods have been proposed. Fitted clothing models for the upper bodice and trousers were created by deforming dress forms or human bodies [3][4][5][6][7][8][9]. A making method for a 3D garment model was proposed by creating a Bézier surface and controlling its control points using dress forms and human bodies [19,20].…”

Section: Introductionmentioning

confidence: 99%

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Direct 3D Modeling of Upper Garments from Images

KIM

MIYACHI

Takatera

2023

IJAE

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As an efficient approach to create garments with a designer's Kansei, we developed a method for three-dimensional (3D) garment modeling with sleeves by deforming a 3D reference clothing model according to the contours of garment images with the aim to apply it to garment patternmaking. We determined an appropriate reference bodice model from various dress forms. We made the reference sleeve model by sweeping the armhole of a dress whose armhole was on a plane. Using this method, we obtained models of two jacket bodices and sleeves by deforming each reference clothing model using the contours of jacket images from the front and side views. After adjusting the positions of the 3D models of the bodice and sleeve, we obtained jacket models with a sleeve. We obtained the jacket armhole from the intersection of the surfaces of the bodice and sleeve models. We successfully made 3D garment models and armholes using the proposed method. We also obtained bodice and sleeve patterns that reflected the armhole. The simulated patterns exhibited a similar clothing shape to the images with curved shapes along the arm. Thus, we demonstrated that the proposed method efficiently reflected the designer's Kansei clothing model.

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Section: Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Direct 3D Modeling of Upper Garments from Images

KIM

MIYACHI

Takatera

2023

IJAE

Self Cite

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“…We set the cutting line according to the detected seam lines. We then used our model to obtain patterns, a process that was performed by the pattern-making system by Cho et al (2006a) and Takahashi et al (2013). After making the jackets, we compared the patterns and jackets with the originals.…”

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confidence: 99%

Upper garment 3D modeling for pattern making

Zhang

Innami

Kim

et al. 2015

International Journal of Clothing Science and Technology

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PurposeThe aim of this study is to produce an upper garment model for three-dimensional (3D) pattern making. This model will take into account ease allowance and silhouette, and will be used to propose a size-changing method. Design/methodology/approachWe used two real garment bodices with a surface suitable for pattern development. The garments were fitted to a designated dummy body and scanned. Using the scanned data, we made those upper garment basic models suitable for 3D pattern making. Using one model, we produced two bodice patterns, one with the original seam lines and the other with seam lines that differed from the original ones, and then compared them with the original jacket bodice. To construct garment models that were different in size from the basic model, we calculated multiplication factors of cross-sectional dimensions (in the front, back, and lateral directions) between the basic garment and the actual garment shape worn on a body for each basic model. Using the multiplication factors, we made two different size garment models from two different size dummies for each basic model. We used these models to make patterns and garments. FindingsThe reproduced jackets had similar shapes, silhouettes and ease allowances to the original jacket. Two garments of different sizes for each original jacket were made using the multiplication factors, and these garments also had similar silhouettes to the original jacket. Research limitations/implicationsThe implications of the work could be the new size-changing method. Originality/valueUsing our modeling method, we were able to make complex new garment models that take into account ease allowance and silhouette. The ability to size these models up or down using multiplication factors could be a substitute for the grading method.

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International Presence and Fashion Business in Japan

Otani

Kim

Takahashi

et al. 2014

Transactions of Japan Society of Kansei Engineering

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:In "Cool Japan," the government has been trying to promote the internationalization of the fashion business by Japanese companies as a national policy since 2005. The aim has mostly failed, and only partially completed efforts have been confirmed. Consequently, the presence of the Japanese fashion business remains weak in the global fashion market. The purpose of this paper is to explain the cause. While the domestic fashion market has experienced rapid growth over the 50 years following World War II, fashion companies have not shown an interest in foreign markets. Designers of ready-to-wear apparel have followed the fashion styles of Paris and Milan. As long as fashion companies were realizing growing revenues, top management of large-scale fashion companies supported these trends. Top management did not delegate significant discretion for designs to the chief of design, and chief or creative directors had uncertain roles. As a result, designers may have lost their creativity in a commercial sense, and the chief of design is no longer responsible for sales. Top management has given more priority to modelisme than stylisme. Much interest was focused on mistakes in the product details rather than customer profiles. Senior management understood that we had efficiently conducted our fashion business in this manner. It became impossible to assume the risk associated with international market expansion. In the 1990s, the price of the property price in Tokyo decreased after collapse of the bubble economy. It attracted the famous fashion houses of Europe to the burgeoning commercial areas of Tokyo. On the other hand, Japanese entrepreneurs were unable to recover markets lost to the Europeans, even by expanding into foreign markets. Despotic leadership is necessary for the success of the fashion business. As for the company form, possession and management should be the same one. The entrepreneur should delegate the necessary discretion to the chief of design. The chief's discretion will depend on the decision premise, which precedes the first stage of fashion design. The design of fashion clothing will be added according to going through the manufacturing process. The virtual "design chain" is determined by the chief of design. The manufacturer of ready-to-wear is to "make to stock." If nobody buy it, ready-to-wear would not exist, and the values are not found. The defects are caused at the design of the first stage. The cheif should owe its responsibility. This business depends on the sensibility or affection of humans, which is difficult to understand. However, the design chiefs of the textile manufacturers have promoted abduction about the decision premise of the chief designer at Maison. Therefore, marketing activities are being conducted aggressively. The role of a fashion designer of ready-to-wear clothing is different from that of an artist. From a large chaotic space, a "subset" is extracted. Subset is action space that is shared by certain people. It is assumed that a subset of these is represented by...

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Automatic 3D Pattern Making of Fitted Upper Garments Considering Individuals' Figures and Shear Limit of Fabrics

Cited by 4 publications

References 8 publications

Direct 3D Modeling of Upper Garments from Images

Direct 3D Modeling of Upper Garments from Images

Upper garment 3D modeling for pattern making

International Presence and Fashion Business in Japan

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