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The purpose of this paper is to develop a virtual body that resembles the customer’s body shape using only the minimum information provided by the customer and without requiring individually scanned data.

The target of this study includes the three-dimensional scanned data of 91 senior women aged 60 or older and human body measurement data of 268 people. The parametric virtual body was generated in three steps: a basic virtual body, a trans-shaped virtual body, and a trans-sized virtual body.

Using organic relationships found in the body shape factors of the lower body, this study developed an algorithm to generate elderly women’s parametric virtual lower body that is quick and reproducible. Having tested the reproducibility of the algorithm, the parametric virtual body showed excellent reproducibility vis-à-vis the personal scanned data in both the shape acceptability and size acceptability.

Because virtual bodies in this study are based on the results of body shape analysis related to apparel design, those resembling customer body shapes can be quickly and accurately generated. In addition, because body shape information for target groups is provided to the clothing manufacturers, it will likely contribute significantly to enhancing clothes fitting.

The research evaluated the feasibility of 3D dynamic fit utilizing female compression tops by comparatively analyzing the virtual and actual dynamic fit.

Six female participants were 3D body-scanned and photographed in compression tops in four types of athletic movements (pull-up, kettlebell swing, circle-crunch and sit-up). Fit measurements, waist cross-sectional areas, waist width, waist depth, numerical simulation of clothing pressure (kPa) and objective pressure measurements (kPa) were collected from 3D virtual animation, 3D fit scan data and actual photos with the four types of athletic motions. The data were comparatively investigated between virtual and actual dynamic fit.

The 3D-animated body was not reflected with human body deformation because only bone structure was changed while maintaining the constant forms of muscle and body surface in athletic movements. Due to this consistency of virtual dynamic fit, there were significant differences with the actual dynamic fit at the top length, shoulder width and waist cross-sectional areas. Also, the virtual dynamic pressure indicated significantly higher levels than the objective dynamic pressure while presenting no significant correlations at the front neckline, breast, lateral waist, upper back, back armhole and back waist.

This study is the first to verify multiple aspects of virtual dynamic fit using 3D digital technology. This study provided useful information about which aspects of the current virtual animation need to be improved to apply in the dynamic fit evaluation.

Drawing on virtual liminoid theory, the purpose of this paper is to examine factors that induce a multisensory flow experience in an e-shopping context through the use of augmented-reality interactive technology (ARIT).

To validate the research framework, a task-based laboratory study was performed. Participants were recruited through a snowball e-mail method and requested to freely and independently use ARIT for clothes fitting in the laboratory, after which they completed a questionnaire; 336 valid responses were received.

Empirical results revealed that three decorating psychological states (sense of body ownership, sense of ownership control, and self-explorative engagement) directly induced a multisensory flow experience. Furthermore, two multisensory factors (sense of self-location and haptic imagery) mediated the multisensory flow experience through these three decorating psychological states.

Consumers not only rely on generating self-display for optimal fitting in virtual avatar decoration in an e-shopping context but also concentrate more on expression and control of self-body. As consumers’ decorating psychological states require an ideal form of self-expression, a high degree of autonomy in exploring self-decoration options will create more value for consumers. Considering that expressing and controlling the self-body in addition to self-explorative engagement in virtual avatar decoration will trigger the flow experience in an e-shopping context, increasing the use of multisensory ARIT to trigger decorating psychological states in e-shopping contexts is highly recommended.

In this study, a relationship was constructed among virtual liminoid theory, flow theory, and multisensory technology, and an integrated conceptual framework was developed for the relationship between decorating psychological states and multisensory flow experience.

The purpose of this paper is to use body shape analysis and develop a 3D virtual body formation and deformation model that can accurately express size and shape.

In this paper, 1,882 sets of direct measurement data of Korean women in their 20s (19–29 years) were analyzed. These data sets were sourced from the sixth and seventh “Size Korea” anthropometric survey data. Through body shape analysis, the authors classified them into seven body types and selected their representative bodies. A 2D image based on the height, breadth, depth and length was first formed, and the representative virtual body was modeled using the polygon technique. The authors calculated the grading ratios for each body type according to the clothing sizing system, and modified the virtual body size type by morphing technique.

In order to accurately evaluate the fit in a virtual fitting system, it is necessary to study the body size and shape of the target age; this makes it possible to form virtual body reflecting the size and shape.

In this paper, the authors propose a new 3D virtual body formation method that is more accurate in shape and size compared to the present system. Through this, it will be possible to grasp the accurate simulation state in the virtual fitting system, and thereby evaluate the accurate fit.

This study seeks to examine the effects product presentation types on consumer's perceived risk reduction about apparel attributes (i.e. silhouette, colour, texture, and fit), and the effect of 3D virtual models' body shapes on consumer's perceived risk reduction about apparel fit. Internet shopping trust and consumer's actual body size have been considered as moderating variables, respectively.

Three types of web sites were developed for the experiment. Participants were recruited by a survey firm, explored the web sites, and filled out online questionnaires.

3D virtual models significantly reduce perceived risk about the four apparel attributes more than 2D images. Especially, they are effective to reduce perceived risk about apparel fit when their bodies represent a consumer's actual body shape.

This study verifies the informative role of 3D virtual models in apparel shopping. The implications related to the usage of the technology and the suggestions for future research are discussed.

The purpose of this paper is to develop a multi‐purpose body form that could be used to develop different types of garments by putting body skins with ease on the standard body form.

Free form deformation method was used to generate a virtual model upon the basis of the averaged wire frame. The virtual model was made into a real‐life model by a rapid prototyping (RP) process, and then, the standard body form was made by molding the RP. The 3D polygon shell for a body skin got flattened down to 2D patterns and made by a urethane material.

The standard body form developed by using 3D body scan data better represented the characteristics of the body shapes than the previously hand‐made ones. In addition, by standardizing the production of the body form itself, it is now possible to make body forms into the standards and be consistent in their qualities.

This paper presents the methodology of utilizing 3D body scan data in a garment design, which is possible by incorporating advanced 3D modeling technologies and 3D data of a human body in making body forms. For the mass production of a body skin, it is necessary to develop various special materials simulating soft tissues.

The apparel industry can enjoy cost cutting effects by using this multi‐purpose body form. A company does not have to spend money in purchasing different sizes and shapes of body forms, let alone saving the spaces to store them once purchased.

The aim of the research is the development of 3D virtual models of lower female bodies from scanned data of different body types for computer‐aided 3D product development of loose‐fitting garments.

In order to develop reproducible construction of fashionable/functional outerwear (e.g. ladies’ trousers) on the basis of generated scalable 3D virtual female models, 3D‐CAD methods have to be developed. In doing so, the variable parameters are predefined and the block pattern of a trouser design can be modified by changing the parameters for the variety of trouser models. Two‐dimensional (2D) pattern pieces are then automatically generated and modified if necessary. According to morphological changes, the whole process proceeds automatically up to 2D patterns and thus corresponds to a grading in 3D.

The generated 3D virtual model and trouser design corresponding to a basic design or block pattern can be offered to the garment industry. The task of the designer or stylist is only to define the intended pattern design on the created trouser shell. Therefore, the approach is also very feasible for pattern makers who are not skilled in computer technology. The goal of this research is to provide an indispensable basis for an effective new technology for the construction of fit‐relevant, loose‐fitting garments, and in doing so, further accelerate the textile chain.

This paper provides methods of creating 3D garment design as well as grading in 3D, based on scalable virtual models of female lower bodies, which are worked out using a new German size designation system. Since the data processed for the generation of virtual models derives from direct scan data from women (taking into account different body types), the targeted German population is reflected.

Games are rapidly becoming a site where cultural ideas are explored and consumed and have recently become an arena for debate around representations of gender. This chapter draws attention to key debates occurring in the field of video games that are also applicable to film studies. This interdisciplinary approach demonstrates the relevance to game studies of a rich vein of scholarship on the gendered action body in film studies. Drawing on research by Yvonne Tasker (1993, 2015), Lisa Purse (2011) and Jeffrey Brown (2011), this chapter seeks to unpick the tensions around gender and violence in the reception of The Last of Us Part II (Naughty Dog, 2020), particularly regarding the surprisingly vehement backlash against the unconventionally muscular deuteragonist Abby.

This chapter asks what happens when the ‘spectacular’ and ‘hard’ bodies of the action heroine enter the soft virtual world of the video game. A focus on whether Abby's body is realistic in the reception of the game leads to a discussion of the ontological status of games as a virtual medium. I argue that the process of motion capture and the real-world reference of CrossFit athlete Colleen Fotsch trouble the conventional dichotomy that understands the medium of games as virtual and film as indexical. Throughout, I use the more ambiguous and ambivalent historical reception of the body of Lara Croft as a useful point of contrast. I argue that the obsessive, hysterical response to Abby's muscular body is indicative of larger tensions between conservative ‘hardcore’ fandoms and the industry's recent drive for progressive change. By denying Abby's authenticity such players also deny female access to traditional masculine pursuits and identities, whether that be bodybuilding or gaming. This is because virtual female action stars, just as much as their real-world counterparts such as Linda Hamilton, trouble the gendered norms that underpin both second-wave feminist accounts of muscular women and the audience of hardcore video game players. As Fron, Fullerton, Morie, and Pearce (2007) critique in their article ‘The Hegemony of Play’, a double standard therefore exists in which such women must justify the reality of their musculature through a kind of ‘proof of process’. Ultimately, I conclude that a similar demand is made of the emergent female audience of gamers, who are continuously made to justify their right to play in a traditionally male space.

In the Transcendental Aesthetic part of the Critique of Pure Reason, Immanuel Kant stated the a priori necessity of the singularity of space that, “we can represent to ourselves only one space; and if we speak of diverse spaces, we mean thereby only parts of one and the same space … these parts cannot precede the one all‐embracing space … they can be thought only as in it”. If correct, Kant places a tight bound around the universe we consciously inhabit. Established arguments against Kant’s claims are reviewed and criticised based on the notion of dream spaces, before outlining the novel hypothesis that the widespread use of cyberspace and large scale multi‐user virtual realities illustrate public spaces beyond physical reality, and as such provide an empirical refutation of the a priori necessity of the singularity of space.

This chapter is about physicality in virtual space, where one generally does not expect to find any physicality according to research and literature. Here, working in virtual space includes interactions and cooperation through the mail, internet, Skype and video-conferencing. The authors use their own experience of collaborating and leading in a virtual project team. Their own personal accounts, impressions and insights reveal a story of organizational cooperation where physicality matters for developing relations and leadership in virtual space. The piece reveals how an aesthetic consciousness of self and others intensifies in virtual communication, especially in relation to the senses of seeing and listening. For instance, the authors describe perception of the self is possible on SKYPE in a way that is not possible in face-to-face meetings (allowing one to realize if one is not dressed ‘properly’). They argue it is important to identify the physical ‘digital self’ and realize the challenges of being fit to operate across time zones, having personal and public boundaries blurred, as well as the heightened sensitivity to imagine what is left out in a virtual relationship. The examples illustrate what kind of sensuous cues become central in virtual communication. The chapter brings forth the need to sensitize to the physicality and to develop skills to perceive and act on it.