• Fashion & Textile Research Journal
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• v.12 no.5
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• pp.642-649
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• 2010

This study was designed to generate briefs pattern for women in their twenties using 3D parametric body model. 151 women in their 20's were random sampled and measured using Martine's anthropometry. And one subject was chosen as the representative subject for 3D scanning. Parametric model was generated of using CATIA P3, Unigraphics NX4.0, Rapidform 2006. And the 3D surface of parametric body model was flattened onto the 2D plane. 3 downscale ratios(0%, 10%, 15%) were applied to generated pattern to figure out what downscale ratio was suitable to make briefs with stretch fabric. 4 kinds of experimental briefs were made with stretch fabrics(0%, 10%, 15% downscale) and worn on the dressform. Subjective evaluation on the appearance was done and the data was analyzed by ANOVA with post-hoc test. Briefs pattern was generated through the process of flattening the parametric surface and arranging the patches to make briefs pattern by dart manipulation. The different ration of outline and area between 3D surface and 2D pattern were 0.22% and 0.09% respectively. It showed that a parametric model could provide a desirable pattern with minute size error. The results of subjective evaluation on the appearance of 4 experimental briefs showed that stretch briefs with 15% downscale ratio was evaluated most highly in most items. Findings imply that it is feasible to apply 3D parametric model to generate patterns for various items considering various fabric properties.

• Journal of the Korean Society of Clothing and Textiles
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• v.29 no.12 s.148
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• pp.1582-1594
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• 2005

The purpose of this study is to rediscover the value of form in fashion design by developing a new perspective of design appreciation. By examining and modifying the theories of Wolfflin and Belong, this paper tries to of for a new perspective for analyzing the characteristics of form in fashion designers' works. The three new perspective, Flat & Rounded, Closed & Opened and Part & Whole, can be used to analyze the formative aesthetic character of Vionnet's and Dior's works. Ten of Vionnet's and eleven of Dior's representative works selected and applied Delong's visual priority diagram to analyze their character. Vionnet and Dior, emphasized form and construction in their design and applied geometric shapes in their works. The main differences between Vionnet and Dior is that Vionnet's work transforms from geometric shapes in 2-dimentional space to drapery shapes in 3-dimensional space, Dior's work displays geometric shapes in 3-dimensional space. Vionnet created new formative art through the relationship between the clothes and human body. Vionnet's work has distinctively different qualities depending on whether the space is 2-dimensional or 3-dimensional showing transposition of form. In 2-dimensional space, Vionnet's works consist of triangles, rectangles and circles which are 'flat' and 'closed' in quality. These transform to solid forms by draping bias fabrics, which have a 'rounded' and 'open' quality. Dior tended to show artificial form rather than the natural lines of the body which is very different with Vionnet. Dior created clothes by using solid geometric form such as spheres, prisms, cylinders, pyramids and cubes in 3-dimensional space, which were visualized through constructive technique such as dart manipulation, boning, gathering, tucking, pleating, shirring and layering. Dior's works have their own form which does not relate with body shape. So his Works have a 'rounded' and 'closed' quality.