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The purpose of this paper is to focus on how to automatically generate the individualized patterns for women’s suits based on the 3D body point-cloud images.

With the software Imageware, the point-cloud data of the female body were measured according to the female body feature to obtain the heights, widths, depths and girths at various landmarks. Then the relationship between the height of each landmark and the body height was analyzed to build the height calculation rules by software SPSS, and the prediction models of body girths were established from the body widths and depths using regression analysis for pattern generation.

The pattern generation rules were built with the relationships between a human body and the garment patterns using the graphic flattening method. Based on the above rules, the final patterns were drafted automatically by using these dimensions to fit the subjects. The try-on experiment also showed that the individualized suits could fit the subjects’ body well at some feature landmarks.

In order to realize tailor-made and meet the consumers’ demands for individualized clothes, the development of garment CAD system has become inevitable in the garment industry. This paper could provide the foundation for automatic pattern generation, and technical support for tailor-made.

While authenticity, gender, and genre have all been studied in relation to music, the links between the three are underdeveloped theoretically. Specifically, the ongoing gendered process of constructing authenticity and the role of gendered authenticity in the creation and articulation of new musical genres remain fairly unexplored. In particular, more work is necessary to explain the role of gender in the emergence of new subgenres, in the ongoing maintenance of genre boundaries, and in fans' identity work as they construct “authentic” participation in “underground” scenes. In this paper, we examine genre as a gendered process in the Extreme Metal (EM) music scene, a popular subgenre of heavy metal. We explore several gendered dimensions of the EM genre, including the music (instrumentation, vocal style, lyrics, record covers, merchandise), live performance (gender distribution and arrangement, moshing/dancing, audience/crowd interaction), and embodied genre performance (fashion, hair style, makeup). We conclude by suggesting that the construction of new subgenres is, in part, a process of reestablishing and valorizing masculine traits, denigrating feminine traits, and connecting such traits to authenticity, thereby perpetuating gender inequality and hegemonic masculinities.

In keeping with recent body image social trends, consumer demand for the adoption of plus-size models is increasing, although the use of thin models remains prevalent. The current study explores how consumers process information about fashion products displayed on different sizes of models in advertisements, focusing on model and consumer body sizes and both genders. As an underlying mechanism explaining how the relationship between model and consumer body sizes shapes consumer purchase intention, this study explores the role of guilt, shame and mental imagery.

The current study uses a text analytics technique to identify female consumers' general opinions of thin models in advertising. Employing a 3 (consumer body size: normal, overweight, obese) × 2 (model body size: thin, plus-size) × 2 (gender: male, female) between-subjects online experiment (n = 718), the main study comparatively analyzes the influences of plus-size and thin models on consumer responses.

The results reveal that, despite body positivity movements, thin models still generate negative emotions among female consumers. For obese female consumers, advertisements featuring plus-size models produce fewer negative emotions but not more mental imagery than advertisements featuring thin models. Conversely, for obese male consumers, advertisements featuring plus-size models generate more mental imagery but not more negative emotions than advertisements featuring thin models. The results also reveal that the relationship between consumer body size and guilt is moderated by perceived model size, which is also moderated by gender in generating mental imagery. While guilt plays a mediating role in enhancing mental imagery, resulting in purchase intention, shame does not take on this role.

This study is the first to present an integrated model that elucidates how consumers with varying body sizes respond to different sizes of models in advertising and how these responses impact purchase intentions.

Our findings only apply to contexts where consumers purchase fashion clothing in response to advertisements featuring thin versus plus-size models.

Exposing normal-size consumers to plus-size models generates less mental imagery, and thus, practitioners should seek to match the body sizes of the models featured in advertising to the body sizes of their target audience or ad campaigns that include both plus-size and thin models may help improve message persuasiveness in fashion advertising. Moreover, guilt-appeal advertising campaigns using thin models would appeal more to thin consumers of both genders than shame-appeal advertising.

This study aims to examine the effects of character body size, subject body size and product type on female adolescents’ attitudes toward the character. Given prior research showing that adolescents identify more strongly with those whom they view as similar to themselves, it is possible that heavy and obese adolescents will react more favorably to plus-size ad characters.

Two studies were conducted, one with females aged 12–14 and a second with females aged 15–17. Based on their body mass index, subjects were classified as of small/average size or overweight/obese. Ads featured either a thin, average-size or plus-size character, and promoted either a healthful or an unhealthful snack item.

In general, small/average size female adolescents responded more favorably toward thin characters, whereas their overweight/obese counterparts responded more favorably toward plus-size characters. Moreover, subjects’ responses were not moderated by the nutritional value (healthful vs unhealthful) of the product being advertised.

To effectively promote healthy foods to overweight/obese adolescents, it may be advantageous to incorporate plus-size characters. Additional research is needed, however, to determine whether this approach can effectively influence brand attitudes and consumption behaviors.

As obesity rates continue to rise, it has become vitally important to encourage healthier food choices among youth. To develop effective communication strategies, marketers need to better understand how young consumers respond to various advertising cues.

To the best of the authors’ knowledge, this is the first study to examine the effect of character size and subject size on female adolescents’ attitudes toward the character.

Grave (English title: Raw), the 2016 feature film debut from French writer/director Julia Ducournau, is a body horror that explores cannibalism in a contemporary setting. A vegetarian student, Justine, develops cannibalistic desires after she is forced to eat rabbit kidneys in a hazing ritual at a veterinarian school.

This film portrays the female cannibal as having lost control of her bodily impulses. Justine displays a loss of cognition that results in involuntary actions when confronted with raw flesh. One can observe parallels in this portrayal and that featured in earlier films Dans ma peau (In my Skin, 2002, dir. Marina de Van) and Trouble Every Day (2001, dir. Claire Denis). These two films are identified with the early twenty-first-century French ‘cinema of the body’ trend, which involves disturbing and horrific portrayals of alienated protagonists, sexual debasement and transgressive urges.

In my exploration of the mind/body divide featured in Grave, I’ll argue that the film moves away from portrayals of the cannibal in the two earlier films, as we now observe a female protagonist who is actively engaged in meaningful relationships with others. As such, Justine seeks connection rather than disconnection from those around her, with varying levels of success.

Considering two-dimensional features in the body shape classification system cannot fully reflect the three-dimensional (3D) morphological characteristics of human body. The purpose of this paper is to propose a 3D feature based method to characterize and classify the upper body shape of women, and then obtained the corresponding garment block and improved the fitness of clothing.

In this study, the [TC]² 3D scanner was used to obtain human data, and 15 layers of cross-sections of young females’ upper body were extracted. In total, 240 space vectors were obtained with the center of the bust cross-section as the original point. By using the principal component analysis and K-means clustering analysis, the body shape classification based on the space vectors length was realized. The garment block corresponding to three body types was obtained using the 3D scanning data and the cross-section convex hull, and compared with existing garment block and evaluated fitness of the blocks.

In total, 11 main components used to characterize the 3D morphological features of young women were obtained, which could explain 95.28 percent features of young women’s upper body. By cluster analysis, the body shape of women was divided into three categories. The block of three body types was obtained by the construction of the convex hull model.

This paper investigates a classification method of the body shape based on space vector length, which can effectively reflect the difference of surface shape of human body and further improve the matching degree of human body and clothing.

With the rapid advancement of computer information technology, the traditional clothing industry has stridden towards automation and digitization that drive the growth of electronic commerce and line retailing. The purpose of this paper is to propose an approach on 3D upper body modelling based on the body measurements extracted by non-contact anthropometry.

Based on the frontal and side images of the human body, the body sizes were extracted through silhouette extraction, identification of landmarks and girth prediction. The generation rules of 15 characteristic cross-sectional curves were established using a method “feature points – inserted points – feature curves – basic surface – mannequin”. The feature points of each position were determined at each curve, such as the side neck point, front neck point, shoulder point, bust point, and bust root point and so on to get the cross-sections, and then some feature points were inserted at the curves according to the widths and depths to establish the calculative models. For example, there are 18 points distributed at the bust cross-sectional curve to determine the shape.

The final mannequin could describe the basic characteristics of a human body, and the shape of the feature curves could also fit the body type to provide basis for the future research on automatic pattern generation.

This study can realize the 3D virtual modelling of female upper body and the automatic generation of the individualized apparel patterns based on the frontal and side images.

The purpose of this paper is to concentrate on the development of individualized prototype of apparel patterns for young females from 3D body scanning data.

The authors presented a new pattern-making approach that is composed of three major steps: to establish the relationships between body features and corresponding elements in a prototype (e.g. curve or a point); to classify the relationship into grades that provide alternatives to fit a variety of bodies; and to assemble each individual element into a personalized prototype.

The experiment demonstrated that this method could be used for customized prototype development from 3D body scanning in a relatively easy way.

Currently, the subjects of this study included only Chinese young females, and the regression models were just suitable for the similar body types though, the research method could be extended to other somatotypes and age groups.

This approach can be used in the field of made-to-measure, mass customization, and the quick response for apparel pattern making. The technology in this paper facilitates to generate an individualized pattern prototype from 3D body scanning data.

Originated from the relationship between the features of a human body and the elements of a pattern prototype, the authors presented a new approach to develop an individualized pattern prototype by classifying the features into grades.

For much of its peak popularity in the 1970s and 1980s, women in action films were relegated to the damsel in distress and/or the romantic interest for the male lead. This was particularly evident in action films where women were depicted as being petite and submissive, especially towards the heroic male. Rarely did women occupy the primary focus in action films. Nowadays women are more frequently occupying positions of creative power as producers and actors, and there are some notable examples of progressive female roles in modern film. Female action stars tended to occupy one of two roles, that of what Marc O'Day (2004) labelled ‘action babe’ cinema, using the colloquial and dismissive term ‘babe’ as an indication of the derogatory nature of the female action hero who was often just a supermodel with a gun. However, there has emerged another type of female action star, the tough, aggressive and physically capable female action star, such as Sarah Connor in Terminator 2: Judgement Day (1992).

Yvonne Tasker coined the term ‘musculinity’ to define this new model of tough women; female action stars who appropriate what are considered traditionally masculine traits (developed muscles, aggression, confidence, leadership skills, bravery). The presence of athletic women in action films, especially when compared to their male counterparts, defies expectations for women, and as such provides a unique example to analyse in terms of gender dynamics. This is especially true of combat sports, where aggression is a feature of the sport and still considered a testosterone-oriented attribute. Indeed, in the 1970s and 1980s, the peak of the male action star, martial arts and associated combat sports provided opportunities for many former athletes to transition into action films. Using Tasker's framework of musculinity, I will examine Haywire (2011) as a notable progression in the representation of female action stars and musculinity. Focusing on a case study of Gina Carano's role in Haywire, and her subsequent career narrative, this chapter highlights how perceptions of masculinity and femininity in both combat sports and action films have previously limited roles for women and how much that has shifted in contemporary filmmaking.