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This study investigated changes in appearance due to variations in the amount of ease allowance at the bust, waist and hips with ready-made women's shirts in two different styles. The authors also examined the suitable range for ease allowance with those two styles using a sensory test for evaluating appearance.

The authors employed two women's shirts (samples I and II) in different styles (fit and straight). The authors modified the size of the bust, waist and hips with a changeable-size dress form using 1-cm intervals. The authors observed the shape changes. With the pictures at 2-cm intervals, the authors conducted a sensory test to evaluate appearance. 20 Japanese university students in their 20s made their assessments using seven items (wrinkles, fit, silhouette, beauty, fashionable impression, comfort and purchase intention) with a five-point scale. The proportion of subjects who scored 1 or more was 40% or greater when using ease allowance in the suitable range.

The appropriate ranges of ease allowance differed according to the style and evaluation items. Regarding appearance and purchase intention with sample I from the front, the suitable range of ease allowance was 1–7 cm for the bust, 2–6 cm for the hips and 13 cm for the waist. From the side, the range was 0–6 cm for the hips and 7 cm for the bust. With sample II from the front, the suitable range of ease allowance was about 4 cm for all parts. From the side, the range was 11 cm for the bust and 4 cm for the hips.

Using a dress form, the authors determined suitable ranges of ease allowance for two women's shirts in fit and straight styles with seven bust, six waist and six hip sizes. The authors found that the suitable range of ease allowance varied according to the style, direction and parts of the shirt. Our results can act as a guideline for designing and selecting ease allowance for women's shirts, taking into account comfort from appearance, purchase intention and beauty.

Considering only two-dimensional (2D) ease allowance cannot fully reflect the three-dimensional (3D) relationship between the position of clothing and the human body. The purpose of this paper is to propose a method with a 3D space vector and corresponding distance ease to characterize fitting garments and then used to construct personalized clothing for similar shape body.

Firstly, a 3D scanner was used to obtain mannequin and fitted garment data, and 17 layers of cross-sections of the upper body were extracted. Then, 37 space vectors and corresponding space angles on each cross-section were obtained with the original point. Secondly, the detailed distance ease between the mannequin and garment was constructed due to the difference between garment vectors and body vectors. Thirdly, the distance ease mathematical models were achieved and used to calculate distance ease on a similar shape body. Additionally, the fit garment is constructed, and the garment pattern is altered by the geometric pattern alteration method.

The results show that 3D space vectors can explain the relationship between body skin and garment surface of the upper body properly. The distance ease is modeled by mathematic expressions and successfully used to make a new garment to fit a similar shape body.

The proposed method of constructing garments based on distance ease and 3D space vectors can create a fitted garment for a similar shape body effectively and accurately. It is useful for the personalized garment design and suitable for the manufacturing process.

Body positivity movement empowered plus-size women globally to speak up boldly about their clothing needs. Retailers cannot satisfy this group with some classic style offerings anymore. By taking clue from existing literature, this study aims to identify clothing preferences and problems related to ready-made plus-size clothing in India. Although many past literature pointed out about poorly fitted and size unavailability issues worldwide, very few of them addressed about clothing style preferences.

A self-administered close-ended questionnaire was used to answer a set of objectives. A pilot study with 40 plus-size women was carried out to check the reliability and validity of the instrument. Four hundred subject's data were gathered from six Indian cities with a purpose of varied geographical importance. Statistical tests like binomial distribution was used to analyze fit-related problems of 12 bodily sites such as shoulder, upper arm, lower arm, bust, waist, stomach, abdomen, hip, thigh, lower leg, armhole and elbow, and frequency charts were used to examine Likert scale data of sizing problems. The choices of 12 clothing styles were mapped through four factors which affect the purchasing decision of a plus-size woman.

Poor-fitted clothes at 10 body sites out of the 12 reflected about the fit aspect of plus-size clothing in India. Findings associated to sizing issues like unavailability of trendy clothes in appropriate sizes, which also adorn Indian curvy figure, shows synonymy to the worldwide researcher's findings related to sizing chaos. Classic silhouettes like Straight Indian kurti, A-line dresses and regular-fit trousers were majorly preferred by women. Hiding body bulges was mostly preferred while purchasing loose-fitted garments, and fitted garments were preferred only if these suits to the curvy body proportion. Appropriate fit and size availability are always a prime requisite for this class of women.

The outcomes of research will help Indian retailers/manufacturers to update their patterns in order to provide desired fit. In this lacuna of standard size chart, the study will add value in the development of Indian plus-size women's size chart. The factor mapping with clothing preferences will be useful to reduce rejections and inventories.

The purpose of this paper is to propose an interactive 2D–3D garment parametric pattern-making and linkage editing scheme that integrates clothing design, simulation and interaction to design 3D garments and 2D patterns. The proposed scheme has the potential to satisfy the individual needs of fashion industry, such as precise fit evaluation of the garment, interactive style editing with ease allowance and constrained contour lines in fashion design.

The authors first construct a parametric pattern-making model for flat pattern design corresponding to the body dimensions. Then, the designing 2D patterns are stitched on a virtual 3D mannequin by performing a virtual try-on. If the customer is unsatisfied after the virtual try-on, the adjustable parameters (appearance parameters and fit parameters) can be adjusted using the 2D–3D linkage editing with hierarchical constrained contour lines, and the fit evaluation tool interactively provides the feedback.

The authors observed that the usability and efficiency of the existing garment pattern-making method simplifies the garment pattern-making process. The authors utilize an interactive garment parametric flat pattern-making model to generate an individualized garment flat pattern that effectively adjust and realize the local editing of the garment pattern-making. The 2D–3D linkage editing is then employed, which alters the size and shape of garment pattern for a precise human model fit of the 3D garment using hierarchical constrained contour lines. Various instances have validated the effectiveness of the proposed scheme, which can increase the reusability of the existing garment styles and improve the efficiency of fashion design.

First, the authors do not consider the garment pattern-making design of sophisticated styles. Second, the authors do not directly consider complex garment shapes such as wrinkles, folds, multi-layer models and fabric physical properties.

The authors propose a pattern adjustment scheme that uses the 3D virtual try-on technology to avoid repetitions of reality-based fit tests and garment sample making in the designing process of clothing products. The proposed scheme provides interactive selections of garment patterns and sizes and renders modification tools for 3D garment designing and 2D garment pattern-making. The authors present the 2D–3D interactive linkage editing scheme for a custom-fit garment pattern based on the hierarchical constraint contour lines. The spatial relationship among the human body, pattern pieces and 3D garment model is adequately expressed, and the final design result of the garment pattern is obtained by constraint solving. Meanwhile, the tightness tension of different parts of the 3D garment is analyzed, and the fit and comfort of the garment are quantitatively evaluated.

Excess consumption of apparel is driven by the apparel industry to offer more styles at lower prices in shorter time and the consumers’ desire to change fashion. The purpose of this paper is to apply adaptable design in apparel as a sustainable design solution for excess consumption problem.

Guided by sustainable apparel design model C2CAD, two adaptable apparel prototypes for female college students were designed and developed. Focus group discussion and wear test were conducted with female college students to evaluate users’ acceptance, fit, comfort, and adaptability of the two prototypes.

Both prototypes were comfortable to wear by users with different sizes, indicating the users could wear the garment when she changed size. The adaptations and conversions were easily and enjoyably figured out by the users. The users would keep and use the adaptable apparel for a long time. The users would also buy fewer apparel if they were to own the adaptable apparel. Adaptable apparel would increase apparel utilization, eliminate the need to purchase unnecessary additional amount of clothing, and reduce excess consumption.

This research provided a pilot study on adaptable apparel design as an innovative approach to help solve excessive consumption problem. The adaptable garment prototypes would allow the fashion-forward female college student to easily change the function, fit, and style of the environmentally friendly garments.

Plus-size women represent a large consumer segment that has grown in popularity with the fashion industry, retailers and advertisers. Despite advancements in clothing availability for plus-sized women, the shopping experience for these women (compared with that of straight-size women) often still falls short. The current experience leaves plus-sized women feel like a second-class, minority group despite the fact that the majority of women in USA are considered plus-size. The purpose of this study was to assess how US-based, value- and mid-market online clothing retailers position their plus-size female clothing sections in their site navigation.

This study assessed the websites of N = 68 popular plus- and straight-sized US-based, value- and mid-market retailers to evaluate the placement of, and options available in, their plus-sized clothing sections.

Findings revealed that the majority of retailers completely separated out the plus-sized section from the straight-sized section and that the language used to describe plus-size clothing was body-focused (versus clothing-focused for straight-size clothing sections). Theoretical and practical implications for marketers, advertisers and retailers are discussed.

This is the first study to assess the separation of plus- and straight-sized clothing sections in online retail spaces. As brands begin to consider combining plus- and straight-sized clothing sections (see Old Navy), it is important to assess how wide-spread the separation of sections currently is in online retail environments.

The purpose of this paper is to develop a novel method for establishing the mathematical link between the restored Hogarth curve and the golden ratio, and to advance the potential application of the Hogarth curves in standardization of the garment pattern design by using this method.

The Hogarth curve was fully restored by using the plant design system (PDS) software package and divided the restored curve into two fragments based on the intersection point between the curve and the straight line joining the curve endpoints. The ratios between two fragments of curves and straight lines were calculated and compared with the golden ratio, respectively, which was set as a normalized value. The potential application of the restored Hogarth curves in the normalization of the garment pattern design was therefore studied by using the standard mannequins.

The ratio in the most beautiful curve, i.e., the fourth Hogarth curve, was found to be infinitely approaching to the golden ratio. Furthermore, the incorporation of the Hogarth curves into the garment pattern design demonstrated that the fourth Hogarth curve was the most aesthetic line.

This work offered a novel method for bridging the gaps between arts and maths, i.e., the mathematical relation between the Hogarth curves and the golden ratio. Such a method will provide the protocol to promote the potential applications of the Hogarth curves in the garment pattern design and the human body decoration.

This chapter draws on 17 months of ethnographic observations in the Parade department at an American theme park that I call Wonderland. The Parade department is a homonormative workplace, numerically and culturally dominated by gay men. I examine how this work culture challenges the dominance of heteronormative masculinity often embedded at work through an exploration of backstage interactions among performers. I also explore the gendered and racialized meanings of the camp aesthetic that performers embody. I argue that while Parade culture undermines workplace heteronormative masculinity, it also reproduces the epistemology of the closet through its reliance on the gay/straight binary.

A survey of 100 young women's body measurements was undertaken during 1992/93. The findings are the basis of Part 3, which aims to explain how size charts are developed for garments; to evaluate the measuring equipment used and to compare the size chart body measurements with those proportionally derived by traditional formulae. A size chart is the artificial dividing of a range of measurements which are concise and consistent. There are different types of size charts. Some are of body measurement for specific proportion and shape. Others are for garments including ease allowances which vary according to the garment style and type of fabric. Size charts can be developed in three stages commencing with the raw survey data, which is then rounded to the nearest 1.0 cm or 0.5 cm and finally ease allowance is added for the finished garment. During the survey some measurements were repeated using different measuring equipment so that a comparison could be made to select the most suitable for pattern construction. The use of the anthropometer is limited as it can only take linear measurements. However, it is helpful when analysing body proportion, whereas the tape measures attached to the harness and a metal tape measure can record the contour surface of the body, which is more appropriate for clothing. The adjustable square and angle were a little difficult to position correctly but were useful to check the formulae used for pattern construction. A comparison is made between the survey body measurements and traditional formula to derive body measurements which are difficult to take. The dividing of the height by eight heads is useful for length proportions. The derived neck shape and survey measurements were comparable. Head measurements suitable for hoods were similar for all bust and neck sizes. Only the height showed any progression in size. This concludes the three articles which explain the taking of body measurements, methods of analysing the data and applying it to clothing pattern construction. It is hoped that this will aid those in industry and education who wish to undertake research and to develop new technology.

On 2 September 2015, it was announced that Tom Ford would again be ‘dressing James Bond’, Daniel Craig, in Spectre (Mendes, 2015) after tailoring his suits for Quantum of Solace (Forster, 2008) and Skyfall (Mendes, 2012). Ford noted that ‘James Bond epitomises the Tom Ford man in his elegance, style and love of luxury. It is an honour to move forward with this iconic character’.

  With the press launch of ‘Bond 25’(and now titled No Time to Die) on 25 April 2019, it is reasonable to speculate that Ford will once again be employed as James Bond’s tailor of choice, given that it is likely to be Craig’s last outing as 007. Previous actors playing the role of James Bond have all had different tailors. Sean Connery was tailored by Anthony Sinclair and George Lazenby by Dimitro ‘Dimi’ Major. Roger Moore recommended his own personal tailors Cyril Castle, Angelo Vitucci and Douglas Hayward. For Timothy Dalton, Stefano Ricci provided the suits, and Pierce Brosnan was dressed by Brioni. Therefore, this chapter will analyse the role of tailoring within the James Bond films, and how this in turn contributes to the look and character of this film franchise more generally. It aims to understand how different tailors have contributed to the masculinity of Bond: an agent dressed to thrill as well as to kill.