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To suggest a garment for a wider market, the purpose of this paper is to assess the appearance of garments manufactured by a combination of four methods of flat pattern making and four dress forms from different countries. The paper also compares Japanese and British women’s evaluations of these garments’ appearances.

The authors made 16 garments by combining 4 pattern making methods with measurements from 4 dress forms and evaluated their appearance. The four dress forms were from Japan (Kiiya, called “Kii”), France (Siegel & Stockman, called “St”), the UK (Kennett & Lindsell, called “KL”) and the USA (Wolf Form, called “Wo”), and the four pattern making methods were from Japan (Bunka), Italy (Secoli), France (ESMOD) and the USA (Fashion Institute of Technology, called “FIT”). The authors captured 64 sets of pictures of the 16 garments with the 4 dress forms from the front and the side. The authors then showed images of the four garments made using the same pattern making method with measurements from the four dress forms to subjects for assessment. The subjects – 15 Japanese and 11 British women in their 20s – ranked the pictures in descending order of appearance.

Subjects from both countries rated garments manufactured using the Bunka and Secoli pattern making methods with the Kii and KL dress forms, and those made using ESMOD and FIT with St and Wo as the highest, even though the dress forms used for pattern making and those for wearing were not coincident. On the contrary, many garments made using Bunka and Secoli with St and Wo, and those made using ESMOD and FIT with Kii and KL were rated lowest in terms of appearance, even though the target dress form and wearing dress form were coincident. Therefore, there are appropriate body measurements for each pattern making method that can render the relevant garment more attractive, likely because these measurements are derived from assumed body proportions in the pattern making method of each country.

Although the evaluation of the appearance of garments is an important factor in garment manufacture, scant research has addressed this issue. Moreover, the comparison between Japanese and British women provided here will help manufacturers make garments that are more attractive to people in both countries.

A suitable dress form is necessary for patternmaking when manufacturing a garment for the global market. The purpose of this paper is to investigate the similarities and differences in visual impressions and preferences of dress forms between Japanese and British female university students.

The authors carried out sensory evaluations of the visual impressions of dress forms using images of four forms made in Japan, France, the UK and the USA. The participants (18 Japanese and 11 British female university students in their 20s) assessed them using the semantic differential method. In total, 22 adjective pairs concerning style, image and preference factors were used. The authors performed a principal component analysis on the results for style and image. For preference factors, one-way analysis of variance was used to analyze whether there was a difference in preference between the dress forms.

The Japanese students evaluated dress forms by considering balance and cool (fashionable) as the first principal component, and frailty and delicacy as the second. A large bust-to-waist ratio strengthens the impression of the latter component. The Japanese preferred dress forms of the kind worn by fashion models. Their preference was heavily influenced by the first principal component, but this preference decreased when the dress form evinced a weak impression. The British students assessed dress forms using healthy and cool (fashionable) as the first principal component, and frail and thin body as the second. A ratio of the width of the shoulder to that of the waist (at the front) of 1.6:1 and a rounded back shape from the side view were considered healthy.

These results can help understand the Japanese and British customers’ impressions and preferences on the dress form. Moreover, apparel manufacturers choose a suitable dress form to manufacture garments for the global market, by considering similarities and differences in people’s preferences.

Digital technologies are widely used for digitization of museum and archival heritage and creation of digital, multimedia and online exhibitions, especially in terms of costume history. Digital exhibitions require historical dress forms which were used in the past for costume presentation. The purpose of this paper is to develop a new method for parametric modeling of the nineteenth century dress forms in accordance with fashionable body shape.

Due to limited number of body measurements in historical sizing tables, it is impossible to redesign the morphology of old fashionable body with high accuracy by means of contemporary CAD. The developed method is based on two sources of information: first, historical sizing tables with body measurements; second, historical corsets. By combining both resources and applying virtual try-on technology, the full anthropometric database about the nineteenth century fashionable body shape has been organized and the parametric model of historical dress form has been generated.

The digital replica of deformable parametric dress form was created automatically in accordance with the historical sizing systems and the corsets construction. The process of reproduction of a historical dress form has been done with high accuracy due to substantial advantages of contemporary software.

This study shows new way of anthropometric data generating from the construction of close-fitting and compression undergarments. The developed method and the new database can be applied for each type of dress forms which were used in the second part of the nineteenth century to generate its digital replica in virtual reality. The new approach is joining the digital technologies and the professional knowledge as an important part of cultural heritage for studying, recreating and presenting historical costume.

Sensuality is a dynamic that has driven fashion to undergo endless changes and left distinctive imprints on the style of each period. Particularly in the fashions of the 19th century, sensuality played a crucial role in shaping the essence of contemporary dress aesthetics, as well as the physical form of the dress. This study begins by questioning how sensuality, a concept of ideal aesthetics, can be represented in a visual form. In order to provide the answer to this question, the formative representation of sensuality in 19th century fashion is examined by considering the major factors that affect dress form, such as silhouette, material, the body and movement, and space. Based on the analysis, a close connection between sensuality and the dress form designed to reflect the body and its movement is established. Interaction between the dress, body, and their surrounding space creates a discontinuous, changeable, and obscure silhouette, known to be a criterion of the open form. In conclusion, sensuality can be more explicitly and conspicuously observed in dresses through the formative characteristics of an open form. Fashions of the early, midand late 19^th century are compared to illustrate the analysis.

The final goal of this study is to virtualize draping. Draping which is one of the methods to design paper patterns for clothing requires much labor and time. The sub-goal of this study is to construct a system in which the fundamental functions of draping are equipped.

The system is realized in the virtual world by integrating the virtualized elements of real draping. The cloth is modeled by mechanical formulation, and the shape is determined by numerical calculation. The hand is geometrically modeled, and the captured motions of the hand and fingers are applied to the model. The model dress form is made from the data by measurement. The system in which darts can be made in the virtual space is constructed by integrating the models.

It is confirmed that the cloth model in the virtual world can be manipulated by the motions of the fingers in the real world. And it is suggested that it is possible to design practical paper patterns for clothing by adding functions to the system.

We are aiming at the system to design paper patterns by the movements of the fingers. With this system, it is expected that the efficiency in designing paper patterns is much improved, and it becomes possible to design clothing that fits individuals efficiently.

The design and testing of clothing for activewear requires complex assessments of the suitability of the clothing when the body is in motion. The purpose of this paper is to investigate full body 3D scanning of active body poses in order to develop “watertight” digital models and half-scale dress forms to facilitate design, pattern making and fit analyses. Issues around creating a size set of scans in order to facilitate fit testing of activewear across a size range were also explored.

Researchers experimented to discover effective methods for 3D body capture in the cycling position and reconstruction of the body in a reliable way. In total, 25 cyclists were scanned and size representatives were selected from these participants. Methods of creating half-scale forms were developed that make optimum use of modern materials and technologies. Half-scale dress forms were created in two active positions in a range of sizes for fit testing and design. A set of half-scale and full-scale bike shorts in two styles were manufactured and fit tested on the half-scale forms compared to fit testing on the scan participants to test validity of this method of assessing fit.

Issues in capturing and reconstructing areas occluded in the scanning process, and reconstructing the interface with the bicycle seat were addressed. Active digital forms were developed across the size range, from which both digital avatars and physical mannequins were developed for pattern development and fit testing. The production and use of precisely half-scaled tools for garment testing was achieved and validated by comparing fit test results in active positions on the half-scale forms and on participants who were scanned to create these forms.

Design modifications for active positions to date are based on linear measurements alone, which do not define the 3D body adequately. Despite much research using body scanners, only limited data exist on the body in active poses, and the concept of creating half-scale forms by scanning fit models throughout the size range in active body positions is a novel concept. The progress made in resolving material and process experiments in creating the actual half-scale forms, and testing their suitability for fit testing provides a basis for further research aimed at developing similar dress forms for other activewear garments.

The purpose of this paper is to clarify changes in the appearance of a ready-made tailored jacket due to changes in the ease allowance and determine suitable ranges of the ease allowance for the jacket.

Images were taken of the front, side and back of a jacket placed on a dress form with varying sizes of bust, waist and hips. The authors observed the appearance of the jacket for the different sizes of the dress form. A sensory evaluation of the suitable range of ease allowance for the jacket involving 20 female Japanese university students was carried out. The evaluation items were the fit, beauty, comfort and purchase intention.

The jacket appearance was lowly evaluated if there were many wrinkles and highly evaluated if there was a curved silhouette. Changes in bust, sleeve and waist parts affected the evaluation of the suitable ranges of ease allowance. The suitable range of ease allowance varied depending on the jacket part and viewing direction. In terms of fit, the suitable ease allowance ranged between 5.6 and 9.9 percent for the bust, between 7.6 and 17.8 percent for the waist and between 2.6 and 8.6 percent for the hips. The suitable ranges were determined considering the wrinkling and silhouette in these parts.

Suitable ranges of ease allowance of a tailored jacket were determined by evaluating a jacket for 11 dress form sizes of the bust, nine sizes of the waist and seven sizes of the hips, at 2 cm intervals. The obtained suitable ease allowance ranges are useful to manufacturers in terms of garment design and to customers in terms of selecting suitable garments.

The purpose of this paper is to investigate a suitable position for the bustline of the upper garment and its effect on appearance for various body types. It also provides an appropriate balance between the bustline and the waistline.

The authors manufactured five upper garments using a patternmaking method that allows for the distance between the side neck point and the bust point (BL) to be altered. The appearance of the garments on four dress forms with different values of BL was compared using Scheffe’s paired comparison (Nakaya’s variation) of seven scales. In total, 20 Japanese subjects in their 20s evaluated the garments. Six evaluation items – wrinkle amount, fit, attractiveness, beauty, youthfulness and slimness – were used. The vertical ratios of the garments on each dress form, a (projected distance between the horizontal line of the shoulder points and the bustline) and b (projected distance between the bustline and waistline), were measured using 3D scanned data. The relationship between the ratios and the results of the sensory test was investigated.

It was found that changing the values of the BL influenced the appearance of the upper garments. The upper garment for which the BL was adjusted according to dress form was determined to not be well-fitting, attractive and beautiful. The garment with an a:b ratio of close to 1 was evaluated as beautiful, attractive and better fitting than all others.

The results of this study will help designers and patternmakers create more beautiful, attractive and fitting upper garments.

Augmented Reality (AR) integrates computer-generated images to a physical environment in real-time. Online apparel shopping presents some product-related risks, as consumers can neither physically see and touch the products nor try them on. The present study examined whether AR conveys reliable apparel product information in terms of fit, size, and product performance; and how AR affects attitudes toward apparel and purchase intentions when shopping online.

This research was designed as a within-subject quasi-experimental study using repeated measures in two conditions: virtual try-on using the AR technology vs. physical try-on. A scenario was developed to help participants imagine themselves shopping online for a specific dress.

Results indicated that size and color of dresses were conveyed accurately when utilizing AR as compared to physical try-on. Visual attributes such as style, garment details, and coordination with other items were found to be satisfactorily predicted when AR was employed. Overall, attitudes towards both AR and real dress, and purchase intentions were favorable. Participants with higher telepresence levels were found to have more positive attitudes towards the dress and greater purchase intentions when using AR as compared to the participants with low telepresence levels.

Our findings implied that AR can provide enough information especially for garment sizes and visual characteristics when making purchase decisions. AR technology can be instrumental in introducing a certain style, building positive attitudes towards products, and driving sales, when the consumers perceive a certain level of “being there”. This study was limited to female students in North America. Also, because a single stimulus was used, the results cannot be generalized to other stimuli.

Our study findings showed that participants were able to select the right garment size by using AR. The average ratings for visual characteristics such as style and detail were above the neutral level when using AR; indicating that participants can understand visual attributes in AR when shopping online. Moreover, in the AR condition participants with higher telepresence levels had higher attitudes towards the garment and purchase intentions as compared to the participants with low telepresence. AR can be instrumental for online apparel shopping. Retailers need to understand the potentials of these technologies and work with technology developers to enhance consumers' experiences.

The purpose of this paper is to propose a size-changing method with three-dimensional (3D) garment modeling for various body sizes considering vertical body proportions in addition to horizontal dimensions, while preserving the silhouette and ease of the original garment.

Cross-sectional dimensions and shapes of one dress form (the standard body) and jacket bodice were obtained by 3D scanning. The authors calculated horizontal multiplication factors of the relationship between the standard body and jacket bodice, and vertical body proportions. A target dress form was deformed using multiplication factors and vertical body proportions to construct a garment model that fitted the dress form. The method was verified using three different dress forms. The bodices of the jackets were compared with those obtained without adjusting vertical proportions.

Employing the proposed method, jacket bodices were made and fitted on target bodies while preserving the original shape. Jackets bodices made without considering vertical proportions had many wrinkles and deformed shape and poor fit around the bust line owing to the different vertical proportions. The vertical proportion is thus an important factor in the 3D garment modeling of garments of different size fitted on a body.

The proposed method is a new size-changing or grading method for a bodice that preserves the original silhouette.

The proposed modeling method allows the construction of jacket bodice models and jackets of different size considering vertical body proportions. The method is applicable when making individually tailored garments or ready-to-wear garments for different targets.