• Fashion & Textile Research Journal
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• v.12 no.5
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• pp.582-590
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• 2010

Garment design needs an iterative manipulation of 2D patterns to generate a final sloper. Traditionally there have been two kinds of design methodologies such as the flat pattern method and the pattern draping method. But today, it is possible to combine the advantages from the two methods due to the realistic cloth simulation techniques. We devised a new garment design system which starts from 3D initial drape simulation result and then modifies the garment by editing the 2D flat patterns synchronously. With this interactive methodology using real-time pattern deformation technique, the designer can freely change a pattern shape by watching its 3D outlook in real-time. Also the final garment data were given relative coordinates with respect to the human anthropometric feature points detected by an automatic body feature detection algorithm. Using the relative human body coordinate system, the final garments can be re-used to an arbitrary body data without repositioning in the drape simulation. A female shirt was used for an example and a 3D body scan data was used for an illustration of the feature point detection algorithm.

• Journal of the Korea Institute of Information and Communication Engineering
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• v.15 no.10
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• pp.2157-2163
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• 2011

In this paper, we designed 2D, 2.5D cloth design system and a 3D cloth animation system. They make the 3D cloth animation possible by using coordinate points extracted from 2D and 2.5D cloth design system in order to realize a system that allows customers to wear clothes in the virtual space. To make natural draping, it uses for description the mesh creation and transformation algorithms, path extraction algorithm, warp algorithm, and brightness extraction and application algorithms. The coordinate points extracted here are received as text format data and inputted as clothing information in the cloth file. Moreover, the cloth file has a 2D pattern and is realized to be used in the 3D cloth animation system. The 3D cloth animation system generated in this way builds a web-based fashion mall using ISB (Internet Space Builder) and lets customers view the clothing animation on the web by adding the animation process to the simulation result.

• Journal of Fashion Business
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• v.19 no.6
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• pp.28-41
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• 2015

Properties of textile fabrics influence the appearance, aesthetics, and performance of garment. Drape and related properties of fabrics affect profoundly the static and dynamic appearance during wearer's movement. The three dimensional shape of the folded structure often deforms with time or with subtle vibration around the fabric specimen during the drape measurement. Due to the uneven and complex nature of fabrics, the overall shape of the fabric specimen on the drape tester often becomes unstable. There is a need to understand the fundamental mechanisms of how draping may generate pleasing forms. Two drape test methods, conventional Cusick drape test, and in-built drape tester, based on a depth camera, are compared. Fabric specimens including cotton, linen, silk, wool, polyester, and rayon are investigated for the fabric drape and other physical/mechanical parameters. Drape coefficient values of fabric specimens are compared based on the final drape images, together with the intermediate 3D drape images of the specimens during elevation process of the drape tester equipped with a stepper motor system. The correlation coefficient between the data based on the two methods is reasonably high. Another advantage from the depth camera system is that it allows further analysis of three-dimensional information regarding the fabric drape shape, including the shape of nodes or crest and trough.

• Journal of the Korean Society of Costume
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• v.54 no.4
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• pp.63-74
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• 2004

This study shows that clothes to be just the same as the real thing can be Produced through the third dimension computer graphics, and then presents that not only the area of fashion design can be expanded in the virtual reality field by doing the simulation of the fashion show, but also the information can be made the real time public ownership and the communication can be fulfilled smoothly. In this study, analyzing the third dimension computer graphic programs to be used much at present, Alias Wavefront Company's Maya software which was the most effective in the clothes simulation and the clothes CAD SGS OptiTex 8.7 which went well substitutive for it were used of them. The conclusions of this study that got through the work manufacture are as follows： The first, if the file manufacturing in the clothes CAD by using the computer was stored, the pattern used 3D simulation was available because it could be summoned in 3D software. The second, if the data of DXF form in Maya program was summoned, they could not be applied by Maya Cloth supported in Nurbs only because they were recognized as the DXF＿layer. So the curve along the outer lines of the pattern was drawn and Maya Cloth was applied to be possible to get the natural silhouette of clothes. The third, when the clothes were manufactured by 3D, if the draping character was applied according to the textile special quality, not only the control of textile's thickness, weight, quality feeling, and silhouette was available, but also the clothes were available to graft the special textile materials. The fourth, the natural motion of model was produced by capturing the actual model's walking action In order to produce the fashion show motion and also the dynamic fashion show was available by the angle of camera, the establishment of lighting, and etc. in the final rendering. The clothes manufactured by 3D are available to change the design by changing the materials, or by adding the details, or by utilizing the special materials on clothes. Therefore, the trial and error following at the clothes manufacture can be reduced. But the elevation of the rendering speed, the price down, the strengthening of personal security, and etc. are required.

• Journal of the Korean Society of Clothing and Textiles
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• v.33 no.2
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• pp.266-275
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• 2009

Variations of individual hip shapes are a major obstacle in pattern making for fitness. The drafting method is used for pattern making in today's apparel industry. Whilst catering to a limited number of information such as waist and hip sizes, this method does not cater to variations in hip shape. This paper describes the analysis of hip shapes using 3D body model and tries to make sure the relationship between hip shape and pattern by calculating hip angle and dart amount. We achieved results in analyzing various hip shapes by extracting hip angle. Moreover, various hip shapes can be divided into three types(A, B and C) by the hip angle value($K_{sh}-K_{wsh}$). When we use computerized draping method to make a personalized pattern for a tigth skirt, we easily create complex dart lines automatically. Therefore we achieve the result of individual dart amount such as distance between dart lines and dart areas. C type of hip shape had short dart length, long distance between dart lines and a large amount of dart area. On the other hand, A type had long dart length, short distance between dart lines and small amount of dart area. B type had long length and long distance between dart lines and large amount of dart area. In traditional pattern making, distance between dart lines is usually proportional to amount of dart area because of similarity in dart line shape. In our pattern, there is no proportional relationship between dart line distance and dart area. This means that variations in hip shapes result in a wide variety of dart line curvature resulting in a wide range of dart area. By ensuring an accurate relationship between hip shape and pattern, it is possible to make patterns which result in clothing that not only fits well, but also exhibits other desirable properties.

• The KIPS Transactions:PartB
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• v.11B no.6
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• pp.683-690
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• 2004

Garment modeling and simulation is now one of the important elements in broad range of digital contents. Though there have been recent products on garment simulation, general users do not know well enough how to design a virtual costume that meets some requirements about its specific clothing pattern. In particular, Hanbok - the Korean traditional costume - has many different characteristics against western ones in the aspect of its pattern design and of draping. This paper presents a knowledge-driven approach for virtual Hanbok modeling without knowing how to make real Hanbok. First, parameterized knowledge for several fabric types art solicited using visual similarity assessment from simulated and real cloth. Secondly, based on the analysis of designer's knowledge, we defined multi-level adjustment processes of Hanbok measurements with regard to body shape features for different virtual actors. An experimental system is developed as the form of a Maya plug-in and the result shows the applicability of the proposed method.

• The Korean Journal of Community Living Science
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• v.24 no.4
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• pp.457-469
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• 2013

The purpose of this study is to quantitatively analyze the impacts of the distribution of easing contraction of the sleeve on the external appearance of bodice and sleeve through virtual clothing simulation. Virtual clothing is conducted by differentiating the sleeve easing in accordance with the experimental condition of bodice and sleeve that are followed by draping. And then the evaluation is carried out. As a result of an analysis of the similarity between the virtual garment and the actual clothing, the whole external appearance of the bodice and sleeve was expressed similarly. The external appearance according to the distribution of easing contraction got better as the easing contraction of sleeve was concentrated on sleeve cap in front while the appearance was better at the back as it was more gently distributed than in the front. In a comparison of armhole form, the clothing of which the top of it was most similar to S0 was S4 in which the gap between the armhole and the arm was the least and the front and rear silhouette fell relatively well. In a comparison between the position of bust circumference line and that of the sleeve base line, the front of the sleeve matched the bust circumference line as the easing contraction was distributed close to the center of the sleeve cap while in the back, the sleeve base line and the bust circumference line matched when some easing contraction ratio was added close to the armpit point. The cross section figures of garment space of the shoulder, the margin was evenly distributed in S4 or S5 with differing distributions of easing contraction in the front and the back. This study is significant in that it supplies the objective baseline data which makes a novice more able to make a good external appearance of the sleeve.

• Korean Journal of Human Ecology
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• v.17 no.5
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• pp.963-973
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• 2008

Clothing pressure is closely connected with the degree of comfort of an athlete's tight-fitting garments. Therefore, the construction of sports garments is very important to the wearer's athletic performance. In this study, the fundamental relationship between the reduction rates of stretch fabrics and clothing pressure was explored with the aim of improving clothing comfort and obtaining a systematic pattern reduction for women's tight-fitting bodysuits. A women's bodysuit pattern was obtained by the draping method using a dressform. The basic pattern was divided into four parts and changed into reduced pattems according to the amount of fabric stretch determined by ASTM D2594. Clothing pressure was measured using an air-pack-type pressure sensor (model AMI 3037-2) at 20 locations (shoulder, 9 locations; bust, 5; and armhole, 6). Among the 15 garments tested, the mean pressure of the A1 bodysuit was 4.60 $gf/cm^2$, and that of the C5 bodysuit was 22.98 $gf/cm^2$. The mean pressures of the bodysuits with reduction rates of 10% and 20% were below 10 $gf/cm^2$, while those of suits with reduction rates of 30%,40%, and 50% (except C5) were below 20 $gf/cm^2$. The pressure at the shoulder was 9.50$\sim$32.24 $gf/cm^2$, which was higher than that at the bust (3.34$\sim$24.56 $gf/cm^2$) and the armhole (0.95$\sim$12.15 $gf/cm^2$). The mean pressures of the 15 bodysuits were divided into five groups using analysis of variance (ANOVA), and were found to be significantly different (p<0.001). Regression analysis afforded the following expression: mean pressure ($gf/cm^2$) = 1.607 + 0.369[reduction rate (%)].

• The Journal of the Convergence on Culture Technology
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• v.10 no.1
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• pp.379-386
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• 2024

The purpose of this study was to pay attention to the increase in the frequency of expression of butterflies and insects, whose decrease in the number of individuals is symbolized as a measure of environmental pollution, among the various motifs of nature as we go through the COVID-19, when we realized the importance of nature. The scope of this study was limited to fashion collection fashion show photos and interview articles of online for fashion collections from 2019 to 2023. As a result of the study, 185 butterfly motivation fashion design appeared, and digital printing techniques were the most used as a type of plane expression method. Along with this, techniques such as quilting, embroidery, and beading have appeared a lot as techniques to express the planar motif of butterflies. As for the three-dimensional expression types, 3D printing, laser cutting, corsage techniques, and draping techniques showed similar proportion. It can be seen that the expressed butterfly motif had more realistic description the shape of the butterfly as it was than abstract expressions. In conclusion, it can be seen that the butterfly motif fashion design over the past five years contains a stronger message about the environment than the butterfly motif fashion in the past. It was confirmed that it is a motif with a great symbolic meaning that can convey an eco-friendly message beyond just the morphological beauty and colorful design elements of the butterfly.