• Fashion & Textile Research Journal
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• v.23 no.2
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• pp.247-260
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• 2021

While it is an important element of clothing construction, research has so far been very limited on the similarities between virtual and real clothing in terms of the type of neckline. The purpose of this study is to verify the similarity, accuracy of virtualization, and actuality of neckline, which all play an important role in individual impressions and image formation, and require considerable modification when fitting real samples. A total of 5 neckline models were selected through the analysis of dress composition textbooks. The selected designs were then planned and manufactured in muslin. The specimen clothes were then tested on a female model in her 20s. 2 kinds of virtual bodies were created in order to compare the real and the virtual dressing. The first virtual body was made through an Artec 3D Eva scan of the model, and the other was made by entering the model's measurements in a CLO 3D program. A visual image of the front, side, and back image of both the real and virtual dressing were subsequently collected. The collected images were then evaluated by 20 professional fashion workers who checked the similarity between the real and the virtual versions. The current study found that the similarity between the actual and virtual wearing of the five neckline designs with reality appeared higher with the virtual wearing image using the 3D-scanned body. The results of this study could provide further information on the selection of appropriate avatars to clothing companies that check the fit of clothing by utilizing 3D virtualized programs.

• The Research Journal of the Costume Culture
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• v.17 no.3
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• pp.499-511
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• 2009

As the demand of the consumer for high-sense clothing, relation with materials is becoming important even in clothing construction. Especially, the cutting angle of materials is becoming an crucial element in the formation of silhouette, and drape of Hem line, of skirts. Accordingly, in this study, Hem line shapes between real clothing and 3D virtual clothing of "i-Designer" were analyzed by manufacturing semi-flare skirts of polyester 100% according to a cutting angle, and the results are as follows. As a result of comparison of silhouette between the real clothing and the virtual clothing, the real and the virtual have a similar feeling regardless of a cutting angle. In case of drape shapes, both the front and the lateral side were represented in almost similar shapes. The back side, however, the real and the virtual showed a great difference in case of grain direction. And in the whole silhouette, the real and the virtual were represented similarly. It could be known that with regard to Hem-line drape shapes between the real clothing and the virtual according to a cutting angle, the real clothing is represented in a location farther from the body than the virtual clothing and, the location or number of node was similarly showed in the real and the virtual.

• Fashion & Textile Research Journal
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• v.24 no.3
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• pp.315-324
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• 2022

This study aims to verify the sewing technology and the expression of the virtual garment program by comparing the appearance similarity between the real and the virtual power shoulder jacket. To this end, the H and the X silhouettes of the power shoulder jacket were selected as the reference designs. After making the reference designs into real jackets by applying the human body dimensions of women in their twenties, virtual avatars and jackets were produced using CLO 3D programs. The results showed that the H-type with only expanded shoulders and less design variation had a high similarity between the reference photo and real garment, the real and virtual garment, and the reference photo and virtual garment. The power shoulder jacket of the reference picture was well reproduced in the real and virtual garments. Conversely, the X-type jacket, which is a tight fit and has many design variations, showed somewhat low similarity in the circumference items and the basic construction line. Especially in tight-fitted power shoulder jackets, the fact that shoulder angles and the essential items for pattern making cannot be reflected in reproducing virtual models was found to be a limitation in increasing the similarity of virtual clothing. Furthermore, the sewing system gap between the real and the virtual clothing exposed a difference in the appearance of virtual clothing.

• Korean Journal of Human Ecology
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• v.21 no.2
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• pp.299-314
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• 2012

The purpose of this study was to explore effects of pattern alteration using a virtual clothing simulation approach in combination with 3D analysis software. Three raglan sleeves of different patterns were worn by an avatar using virtual clothing simulation with silk and cotton as the test fabrics. It was observed that the silhouette and hemline shape were affected differently based on raglan sleeve pattern and fabric type. By examining clothing pressure distribution, the cotton fabric designs and pattern shapes provided for a variety of influences on armhole and bust regions as well as the back sleeve area. For representative locations, cross section circumstance, cross section area, and volume were measured by using 3D analysis and the resulting correlation between the 2D and 3D data were investigated. Among different fabrics, there was little difference between the 2D and 3D clothing surface area. However, when using 3D analysis, clothing volume was significantly affected by different fabrics and pattern types. By simultaneously adopting the virtual simulator and 3D analysis, quantitative assessment of virtual clothing simulation was successfully conducted. In light of the results of this study, the resulting methodology is expected to be used as a comprehensive evaluation tool for virtual clothing simulation wear testing.

• Journal of the Korean Society of Clothing and Textiles
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• v.34 no.11
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• pp.1836-1843
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• 2010

This research examines the possibilities of a traditional costume revival and digital exhibition as well as the application of 3D virtual clothing modeling data in order to preserve and record a disappearing costume heritage to realize it as a social education tool through the newly emerging technology of 3D virtual clothing. A 3D revival of costumes worn by royal families and aristocrats was accomplished through the 3D animation and simulation technology of Maya 2011 (Autodesk, Inc.) and Qualoth (FX Gear, Inc.). The simulation shows the possibility of a 3D revival and digital exhibition of costume heritage. However, further technology support to analyze and realize the composition and design is still necessary to develop the digital contents of traditional garment culture that includes skirt pleats, petticoat silhouettes, that exaggerates the skirts and knots of traditional upper garments (Jeogori). Further studies on design attributes of historic costumes and the upgrading of 3D simulation software are required to realize 3D virtual clothing. Korean traditional costumes will be revived as a cultural content in the digital era as a result of outstanding issues detected by this study.

• Journal of the Korea Fashion and Costume Design Association
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• v.22 no.1
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• pp.1-13
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• 2020

The purpose of this study is to create a 3D avatar from 3D human body shape data using the CLO 3D virtual clothing program and to verify the feasibility of avatar production using the virtual clothing system for verifying size and shape. The research method was to select one virtual representative model that is the closest to the mean size of each body item for each age group. Using the 3D human body scan shape of a 40-69 years old male was applied to the CLO 3D virtual wearing system. Using the CLO 3D Avatar conversion menu, we verified the feasibility of creating a 3D avatar that reproduces the human body scan shape. In the dimension comparison between the 3D avatar and the fictitious representative model, the dimension difference was noticeable in height, circumference, and length. However, as a result, the converted 3D avatar showed less than a 5% difference in most human dimensions. In addition, since the body shape and posture were reproduced similarly, the utilization of the avatar was verified.

• Fashion & Textile Research Journal
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• v.23 no.4
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• pp.504-514
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• 2021

This study attempted to extract and structure the job skills required for 3D designers, which have been recently introduced to the fashion industry. The study aimed to materialize and objectify the 3D designer's job, using a focus group interview for the survey. The 3D designer has the TD task of making 3D virtual samples using the pattern files developed in Pattern CAD. Graphic design and fabric digitization are also major tasks for the 3D designer. CLO is mainly used for 3D virtual sample production, and PixPlant, Substance, Photoshop, Cinema 4D, Daz studio, and 3ds MAX are used for image and avatar editing. As per the job skills required for 3D design work, basic knowledge about patterns and sewing, skill in 3D virtual clothing technology, ability to use various software, and English skills were considered important, in that order. In particular, the need for knowledge about patterns and sewing became more important than the skill in 3D virtual clothing technology itself. To train 3D designers, it was found that not only 3D virtual clothing software, but also education on patterns and clothing construction, CAD developer's curriculum certification system, and 3D designer qualification management were required. In addition, 3D designers are recognized as an essential job in fashion vendors, and the demand for domestic brands is increasing. The biggest limitation of the 3D virtual clothing system is the perfection of the digital fabric. Also, technical improvement is needed.

• Textile Coloration and Finishing
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• v.35 no.2
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• pp.107-120
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• 2023

The purpose of this study was to analyze the patterns of D level protective clothing, improve their ease of movement by modifying the patterns, and validate the effectiveness of the improvements through 3D virtual fitting and subjective wearing evaluations. Based on previous studies that identified numerous complaints, the patterns of the neck, armpit, and waist areas were modified, resulting in the development of new patterns. To compare and analyze the improved protective clothing with the basic protective clothing, stress and strain were examined after 3D virtual fitting. Additionally, to assess the clothing's allowance, the overall distance between the avatar and the protective clothing, as well as the sectional circumference length and distance of each avatar body part, were measured. Furthermore, the improved protective clothing was manufactured, and a subjective wearing evaluation was conducted with ten males in their twenties as participants. The results showed that the improved protective clothing had evenly distributed stress, larger sectional circumference, and lower average cavity distance. The subjective wearing evaluation also revealed that the suit with improved patterns exhibited superior size suitability, reduced pulling sensation in different body parts, and increased ease of movement. In conclusion, this study confirmed that even minimal pattern modifications can enhance the functionality of protective clothing, alleviating discomfort for wearers.

• Journal of the Korean Society of Clothing and Textiles
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• v.27 no.9_10
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• pp.1015-1025
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• 2003

This paper proposes a method for constructing the virtual characters adopting the personal body types for the clothing coordination. At first, the method produces the 38 kinds of the Korean 3D body models considering sex, ages and body types, and constructs model DB. We select a model similar to the personal body size from DB and deform the selected model according to body size. The method deforms the model linearly for height 12 items, width 6 items, depth 5 items and round 13 items, and constructs the personal character fitted to the personal body size. The preprocess for model deformation consists of grouping for body part and establishing the feature points. Linear deformation for each group leads us to easy construction of the virtual personal characters. This method has two advantages as follows: 1. Large reduction of man power, cost and time for DB construction of the body 3D models, since the preprocess permits us to effectively use the various body models whose geometrical structures are different, 2 Suitability to Web-based clothing coordination, since the body deformation method is simple and its speed is very high.

• Journal of the Korean Society of Clothing and Textiles
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• v.47 no.1
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• pp.123-136
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• 2023

To develop smart sportswear capable of measuring biometric data, we created a close-fitting pattern using two- and three-dimensional (2D and 3D, respectively) methods. After 3D virtual fitting, the tightness of each pattern was evaluated using image processing of contact points, mesh deviation, and cross-sectional shapes. In contact-point analysis, the 3D pattern showed high rates of contact with the body (84.6% and 93.1% for shirts and pants, respectively). Compared with the 2D pattern, the 3D pattern demonstrated closer contact at the lower chest, upper arm, and thigh regions, where electrocardiography and electromyography were primarily carried out. The overall average gap was also lower in the 3D pattern (5.27 and 4.66 mm in shirts and pants, respectively). In the underbust, waist, thigh circumference, and mid-thigh circumference, the cross-section distance between clothing and body was showed a statistically significant difference and evenly distributed in the 3D pattern, exhibiting more closeness. The tightness and fit of the 3D smart sportswear sensor pattern were successfully evaluated. We believe that this study is critical, as it facilitates the comparison of different patterns through visualization and digitization through 3D virtual fitting.