Creation Of Clothing Research Articles

Održivost u modi - kreativnost iz prošlosti kao inspiracija za budućnost

Even before the emergence of the fashion sustainability movement, some European and Japanese fashion designers were active in inventing new creative principles. Key examples of such designers are: Martin Margiela, Rei Kawakubo, Yohji Yamamoto and Issey Miyake. They have created a completely new, different and personal style in fashion, as a consequence of exceptional aesthetic creativity. With their ingenious creativity and by pushing the boundaries in fashion design and artistic creation, they managed to create a basis for the development of modern sustainable fashion. Among the creative-experimental solutions available to a fashion designer as a strategy for sustainable fashion design, the creation of clothes without fabric waste ("zero-waste") stands out. The inspiration for such a creative-experimental design solution can be found in methods and techniques of traditional Japanese paper folding skills - origami, as well as in traditional Japanese costume - kimono. The introduction of this concept into fashion provides an opportunity not only to reshape the relation between body and clothing, but also has the potential to create clothing design based on sustainability and a new universality in the twenty-first century. Nevertheless, following the approach of famous designers, it can be seen that for success in sustainable fashion design is necessary to master the fundamentals of traditional and sometimes forgotten craftmanship, which could surely lead to further progress by upgrading one's own ideas.

Estimation of body surface area coverage by garment items: different approaches using mesh base modelling

Digital Human Modelling can be applied to determine skin exposure to sun as a factor in modelling risk of skin cancer. To determine body area covered by clothing (BSAC), a variety of garment data must be overlaid with the human model. Two approaches, one based on creation of clothing using MakeHuman add-ons in Blender, and the other based on the import of data are exemplified. Results are compared with data from Zhang [6]. We found that a scalable library of garment elements, assembled to typical apparel is a feasible way to model clothing. We conclude that valid BSAC could be determined.

Estimation of body surface area coverage by garment items: different approaches using mesh base modelling

Digital human modelling can be applied to determine skin exposure to sun as a factor in modelling risk of skin cancer. To determine body surface area covered by clothing (BSAC), a variety of garment data must be overlaid with the human model. Two approaches, one based on creation of clothing using MakeHuman add-ons in Blender, and the other based on the import of data are exemplified. Results are compared with data from Zhang (Shah and Luximon, 2019). We found that a scalable library of garment elements, assembled to typical apparel is a feasible way to model clothing. We conclude that valid BSAC could be determined.

ЕКОЛОГІЧНІСТЬ ЯК СВІТОВИЙ ТРЕНД: НАПРЯМИ ТА ПЕРСПЕКТИВИ В ДИЗАЙНІ ОДЯГУ

The study is devoted to the analysis of theoretical aspects of ecological design, the study of methods of secondary use of materials and things in the fashion industry, the analysis of the practical experience of designers and specialists in the textile industry regarding innovations in ecological directions. It was determined that the priority directions of the modern fashion industry are the search for ways to solve global environmental problems, the preservation of natural resources, the harmonious comparison of fashion trends and ecological approaches to their implementation. The relevance of this study is explained by the aggravation of environmental problems at this stage of the development of society, the increased attention of designers to ecological design practices in the fashion industry and, in connection with this, the need to find sustainable solutions and methods of creating an ecological design product. An analysis of the categories "upcycling" and "recycling" was performed, the features of the global trend of abandoning natural fur and leather and the production of alternative materials for the creation of clothes, shoes and accessories were determined. The latest practices of famous Ukrainian and foreign designers and their approaches and methods of secondary use of textiles and things are considered. The foreign experience of creating alternative materials from such natural raw materials as coconut and hemp fiber, winemaking waste, orange peel, marine plants, as well as the results of secondary processing of plastic to obtain a new form of textile was analyzed. Conclusions were made regarding the need for future designers to focus their efforts on cyclical design processes in the fashion industry, on the condition of finding ways to access the latest materials, introducing their own technologies for their creation in Ukraine, to overcome the contradiction between the high cost of the latest ecological materials and the urgent need to switch to their use.

The eco-trend as a new tendency in the fashion industry and its influence on modern design

The aim of the study is a rationale for the concept of eco-design in the modern fashion industry. General scientific and special methods of scientific research were used in the work on the article, such as methods of scientific abstraction, analysis, synthesis, systematization, generalization of special scientific literature and Internet resources on certain theoretical provisions of the topic. Literary-analytical, visual-analytical methods and system-structural analysis are used. The influence of the trend of eco-fashion on modern design is reflected in the activities aimed at the development of objects of material culture in the fashion industry, which correspond to the concept of ecological conscience. In this aspect, there are such directions of eco-design: production of clothes from eco-materials, waste recycling, zero-cut waste; creation of clothes, which has a long period of non-aging and so on.

Researchung the method of designing special clothing for workers of metal-working enterprises

Due to the increase in production volumes in the metallurgical and metalworking industries, the need for personal protective equipment for metallurgical workers has significantly increased. The development of special clothing is dealt with by the Central Scientific Research Institute of the Garment Industry, but scientific developments and experience were in limited demand. one state-owned enterprise that would be engaged in research and development of the creation of clothes.

Effects of Pattern Maker’s Work Experience with Designer on Clothing Creation

The effects of a patternmaker’s prior experience working with a designer on their patternmaking was investigated by comparing two patternmakers’ (P1 and P2) work processes. P1 had considerable experience working with the designer involved, while P2 had none. We asked both patternmakers to make patterns for two garments and observed their work processes. We compared the results after their first and second session working with the designer. P1 had a high level of understanding of the design and required less verification of points by the designer. Few modifications were required. Conversely, P2 asked the designer more questions and the designer requested more modifications following the toile check. However, P2 required less points confirmed by the designer following the second session compared with the first session. It was shown that greater experience working with a designer enabled a patternmaker to obtain a better understanding of the designer’s intention in a design. Thus, the patternmaker was able to make a pattern that satisfied the designer’s requirements more quickly and with fewer modifications. This finding increases our understanding of the effects of interactions between designers and patternmakers on efficient garment design.

ClothGAN: generation of fashionable Dunhuang clothes using generative adversarial networks

Clothing is one of the symbols of human civilisation. Clothing design is an art form that combines practicality and artistry. The Dunhuang clothes culture has a long history which represents ancient Chinese aesthetics. Artificial intelligence (AI) technology has been recently applied to multiple areas, which is also drawing increasing attention in fashion. However, little research has been done on the usage of AI for the creation of clothing, especially in traditional culture. It is challenging that the exploration of computer science and Dunhuang clothing design, which is a cross-history interaction between AI and Chinese classical culture. In this paper, we propose ClothGAN, which is an innovative framework for “designing” new patterns and styles of clothes based on generative adversarial network (GAN) and style transfer algorithm. Besides, we built the Dunhuang clothes dataset and conducted experiments to generate new patterns and styles of clothes with Dunhuang elements. We evaluated these clothing works generated from different models by computing inception score (IS), human prefer score (HPS) and generated score (IS and HPS). The results show that our framework outperformed others in these designing works.

Ethnographic Documentation of Professional Seamstresses of Folk Clothing in Selected Localities of Southeast Moravia

Abstract The article aims to point out the continuity of folk clothing creation and to document the active creators - professional seamstresses who have been sewing parts of folk clothing. The research was carried out in the Moravian Slovakia region, namely in the Strážnice and Veselsko areas. The text follows the previous long-term researches of the last generation of folk clothing wearers who wore folk costumes every day in the area. Wearing folk costumes is a dying phenomenon today. The text documents a generation of professional seamstresses working in Strážnice at the beginning of the 20th century which still existed at a time when folk clothing was worn on a daily basis mainly by women. The personalities of Anděla Tvrdoňová – Baňařová (1907) and her mother Marie Tvrdoňová (1878) were described to the detail. These women lived in Strážnice and worked as professional seamstresses and made clothes for the inhabitants of the surrounding villages. The research of this generation of seamstresses used the family chronicle and memories of the respondents Marie Baňařová, the daughter-in-law of Anděla Tvrdoňová-Baňařová, both very unique sources of information that provide authentic testimonies. The article also publishes photographs from a family album depicting work and sewing and embroidery training. Subsequently, the research is focused on the current generation of professional tailors who continue the work of previous generation. Two seamstresses Ludmila Kočišová from Strážnice and Alena Šikulová from Kněždub were chosen. They are both engaged in making folk clothing professionally, but not commercially, i.e. they don’t have their own business in this field. The research focuses mainly on the transfer of know-how and therefore in-depth interviews with respondents of the current generation were used. The study does not deal with material study of folk clothing and its typology. The today’s generation of seamstresses of folk clothing defines a number of problems that prevent from maintaining the traditional aesthetics of clothing, such as the lack of typical materials (fabrics and lace). The respondents also pointed out the overall transformation of clothing aesthetics and its impact into the wearing of folk clothing. The contribution of the article to the field of ethnology consists in the description of way of intergenerational transfer of knowledge associated with folk clothing and its aesthetics.

ХУДОЖНЬО-ОБРАЗНІ ОСОБЛИВОСТІ СПЕЦОДЯГУ В ДИЗАЙНІ ХХ СТОЛІТТЯ

Analysis and generalization of scientific and practical developments in the aesthetic-harmonic design of special-purpose clothing: features of forming and means of compositional expressiveness. For the analysis of literary sources of information, the literary-analytical method was used; for the analysis of visual sources - the visual-analytical method. The method of deduction (conclusions about the process of forming uniforms for workers of coal and mining mines) and incomplete induction (manifestations of compositional expression) were used. The practical developments and conceptual provisions of the activity of constructivist artists in the creation of clothes for labor are considered. The situation in the field of designing overalls in the territory of the Ukrainian SSR and the USSR as a whole has been investigated. The characteristic of changes in the form of overalls, intended for workers of coal mining and mining mines during 1920-1980 years was received. The overalls are considered as an art object and analyzed the manifestations of possible means of compositional expressiveness, the principles of combining forms in suits of various special purpose. The means of compositional expressiveness and the volume-spatial form of special purpose clothes from the position of visual perception are systematized. The modification of the form of overalls made during the 1920-1980 years for workers of coal mining and mining mines during the period was investigated. The obtained results of the research give an opportunity to form an idea of the aesthetic component in the general concept of special purpose clothes and to supplement the available theoretical information in this field. Also, the findings of the study may serve as an additional informative source at the stage of artistic-constructive analysis in modern design engineering not only the class of industrial clothing, but also domestic.

Fashion and Related Intellectual Property Rights Issues

There is a substantial effort to create an intellectual capital in the domain of fashion and further its value addition. Fashion design is a form of art dedicated to the creation of clothing and other lifestyle accessories. Due to inadequate awareness on the subject, not only the individual fashion designers but many small and medium-sized enterprises do not appreciate protecting such intellectual assets. Now days, in the business environment, intellectual assets have proved the competitive advantage, including those in the fashion industry. Many fashion hoses earning a lot by commercializing their IPR in their fashion creations by licensing. Licensing means renting or leasing of an intangible asset. It is a process of creating and managing contracts between the owner of a brand and a company or individual who wants to use the brand in association with a product, for an agreed period of time, within an agreed territory.

Effect of Patternmaker’s Proficiency On the Creation of Clothing

AbstractThe effect of the patternmaker’s proficiency on the creation of clothing was investigated by the observation of the patternmaking process for clothing that satisfies the designer. We asked Japanese and French patternmakers to make a clothing pattern for the same design. The reasons for the differences in resultant clothing patterns and toiles made by the two patternmakers are discussed. Although the patternmaking processes used by the proficient patternmakers were similar, the resultant patterns were different owing to different recognition of the design. In particular, the shape and size of the collar that the designer emphasized in the illustration were different in the resultant patterns. Differences in patternmaking originated from differences in the patternmakers′ levels of expertise in terms of education, experience, and proficiency. However, the designer was satisfied with both patterns.

3D Digital Methods of Clothing Creation for Disabled People

3D Digital Methods of Clothing Creation for Disabled People

Application of Fractal Graphics in Fashion Design

This paper mainly discusses the characteristics of fractal graphics as well as theoretical basis, and the use of Maple and other mathematical software raw ingredients -shaped graphics, and thus will be fractal images to use to the fabric recycling, restructuring of fractal images, in order to create realistic visual effects, so that garment shape and fabric images pattern combination of organic, the final completion of the clothing creation. Fractal graphics of this new fashion element in fashion design is of great significance to design new and unique clothing, so that more practical significance to the study of fractal graphics.

Rozważania na temat modelowania i symulacji odzieży na wirtualnym manekinie adaptującym się

This work is part of a reorganizing strategy of the manufacturing chain for the textile clothing. The main objective is to develop a new concept of clothing creation to reduce time and costs of product development. Two industrial markets have been analyzed, the ready-to-wear (Mass production) and the ready to measure (mass customization). We notice that the effects of globalization lead to produce quickly in order to avoid copying and require constant renewal of collections in a very short time. The production is no longer local, it is now imperative to communicate the data in digital form through the Internet. This analysis of the clothing making business shows the need to evolve to a 3D virtual world correlated with industrial needs raised at the international measurement campaigns. The latter advised to work with 3D virtual models within the morphologies of the human body to prevent the return of unsold cloths. This need has transformed the concept of table size in the concept of high morphotypes segmentation. To meet all these criteria, methods of work must be changed, designers must adapt to the modern world of virtual 3D internet. Also, we propose a concept of creating clothing virtual 3D model adaptive morphotypes.The first chapter presents the state of the art of the subject in the different areas representative of the study, ie: anthropometry, biometrics and means of measurement, design virtual clothing heavily virtual.The second chapter is devoted to modelling of the human body through the implementation and development of an adaptive model morphotypes.The third chapter provides a model of 3D virtual clothing associated with the previous model. An ease model is integrated upstream of the global model to control the well being and the drape of garment. Orientation of the application into a mass customization process has led to precisely adjusted ease parameters using the tools of image treatment.The last chapter represents our contribution to the extension of the clothing dynamic model through the establishment of a non-linear fabric model with the parameters value calculated by genetic algorithms using a suitable methodology to identify the process.

Magical Dress: Clothing and Transformation in Folk Tales

Magical Dress:Clothing and Transformation in Folk Tales Carole Scott (bio) The recognition that clothing is inherently magical, its fabric woven from the stuff of dreams, is repeatedly expressed in folk literature. In its simplest form an article of clothing such as a cloak or a hat may transform the ordinary person into a powerful one; the effect of such garments is impersonal, passing from wearer to wearer without distinction. But besides these uncomplicated fantasies of empowerment arc subtle, complex, and symbol-laden narratives in which clothing becomes the agent of many kinds of metamorphoses. These range from simple changes in appearance to dramatic magical transformations that revolutionize the lives of the characters involved. In some cases garments express the rules of a moral universe with appropriate rewards and punishments. But in a more magical dimension, especially in those tales that Ruth Bottigheimer identifies as "fairy tales" (9), clothes are used to break the rules of the ordered world and the boundaries of the reasonable expectations that life has taught. Not only are the social barriers shattered and the web of conventions dissolved; clothing is also used to express in outward form the psyche's deepest desires and shadowy dreams, by enchantment bringing about a fantastical transmutation into our other or into our ultimate selves. Clothes mark the point at which the inner and outer vision meet, the point at which the physical self and the world touch. Clothing is the outer expression of an inner identity, an imaginative vision transformed into tangible form for others (and ourselves) to sec. Dress enables people to identify themselves—socially, sexually, morally, aesthetically—to be recognized or to be misrecognized. The folk tales in which clothing takes on significance focus upon two kinds of transformation: the transformation of raw, shapeless material into cloth and clothes, and the transformation of the wearer who puts on the finished product. The talcs involve questions of self-definition and identity, image and disguise, and the implicit sense of power that these invoke. I have chosen for special attention Jakob and Wilhelm Grimm's "The Six Swans" and its variants to illustrate the lonely struggle that characterizes the creation of clothing as a symbol for self-realization and identity in a hostile world, and "Cinderella" in its diverse forms to exemplify the transformation of people by means of clothing, with emphasis on image, recognition, and misrecognition. Both lines of inquiry lead to an examination of what kind of power clothes represent, what the talcs reveal about the balance of power in society, and what they challenge us to change. In an indirect slap at the fashion industry, the story of Adam and Eve presents the first clothing as the outcome of moral transgression. As described in Genesis, eating the forbidden apple from the tree of the knowledge of good and evil leads the pair to a sense of shame at the realization of nakedness and to the need to conceal their bodies with the clothes they must fashion. They arc also driven to hide themselves away from God's sight: "And the eyes of them both were opened, and they knew that they were naked; and they sewed fig leaves together, and made themselves aprons....and Adam and his wife hid themselves from the presence of the Lord God amongst the trees of the garden" (Genesis 3:7-8). The thought that clothing was immediately involved in humanity's first moment of self-consciousness is of particular interest when one considers the story in terms of Jacques Lacan's mirror stage. This is the point at which the sudden awareness of ourselves caught in another's vision causes self-image and self-understanding to fragment; we become both the person we feel ourselves to be and the image that the mirror reflects, "what one sees and how one is seen" (McGillis 42). This dramatic event gives rise to a sense of defined perspective, of otherness, which alters the person's relationship with him or herself. As Psalm 33 tells us, "From where [God] sits enthroned he turns his gaze on all who dwell on the earth. He fashions all the hearts of them and understands all their works...