The Experts below are selected from a list of 129 Experts worldwide ranked by ideXlab platform
Torikka Inga - One of the best experts on this subject based on the ideXlab platform.
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TIETOKONEAVUSTEINEN KAAVOITUS : Case: Suomen Lucia-neidon lammasturkin suunnittelu ja tietokoneavusteinen kaavoitus
Centria ammattikorkeakoulu (Keski-Pohjanmaan ammattikorkeakoulu), 2013Co-Authors: Torikka IngaAbstract:Opinnäytetyön teoriaosuuden tavoitteena oli tutkia kaavoittajan työtä, ja sitä, miten kaavoitus ja kaavoittajan työ eroavat vaatetus/turkis- ja nahka-alalla. Teoriaosuuteen kerättiin aineistoa sekä painetusta tekstistä että kvalitatiivisen tutkimuksen keinoin haastattelemalla vaatetus- ja turkisalan asiantuntijoita eli kaavoittajina ja mallimestarin työtehtävissä toimivia henkilöitä. Haastattelujen avulla selvitettiin vaatetus/turkis- ja nahkatuotteen kaavoituksellisia eroja, kaavoittajan työtehtäviä ja ammatissa tarvittavia ominaisuuksia. Opinnäytetyön käytännön osuudessa suunniteltiin ja kaavoitettiin lammasturkki valtakunnan Lucia-neidolle. Työn toimeksiantaja oli kansanterveyttä edistävä järjestö Folkhälsan. Turkin kaavoitus tehtiin tietokoneavusteisesti. Naisten pukineita valmistava Friitala Fashion Oy valmisti lammasturkin opinnäytetyön tekijän laatimien kaavojen ja työohjeiden perusteella. Friitala Fashion Oy:n mallimestarilta saatu palaute kaavoista oli positiivista. Hänen mielestään työohjeet olivat selkeät, eikä kaavoissa ollut teknisesti vikoja tai epäselvyyksiä. Suomen Lucia-neito käytti lammasturkkia Helsingin tuomiokirkossa järjestetyn kruunajaistilaisuuden yhteydessä. Opinnäytetyön tekijän mielestä turkki sopi juhlavaan tilaisuuteen hyvin.The aim of the theory part of this thesis was to study the Patternmaker's job and how the patternmaking process and the Patternmaker's job tasks differ in the clothing/ fur- and leather trade. The research was done through literature review and the research method used was qualitative in nature including interviews with experts within the clothing and fur/leather trade, in other words, Patternmakers and persons working with tasks related to the patternmaking profession. The interviews helped to identify the differences in patternmaking when working respectively with textile, fur and leather products; the tasks of a Patternmaker and the qualities needed for this specific profession. The practical part of this thesis consisted of the design and patternmaking of the sheep fur coat for Finland's Lucia maiden. The commissioner for this thesis was the organization Folkhälsan, which is working for the promotion of public health in Finland. The pattern making of the sheep coat was made with the help of computer programs. The women's clothes manufacturer Friitala Fashion Ltd. completed the sheep fur coat based on the pat-terns and written instructions made by the author of this thesis. The feedback given by the Patternmaker at Friitala Fashion Ltd. was positive. Her opinion was that the instructions were clear and that there were no obscurities or flaws in the patterns. Finland's Lucia maiden wore her sheep fur coat at her coronation in Helsinki Cathedral. The sheep fur coat was suitable for the festive occasion according to the thesis writer
Timo Rissanen - One of the best experts on this subject based on the ideXlab platform.
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The Cutting Circle: How Making Challenges Design
Research Journal of Textile and Apparel, 2013Co-Authors: Holly Mcquillan, Timo Rissanen, Julian RobertsAbstract:The Cutting Circle is an international research initiative by fashion designers/Patternmakers and educators Timo Rissanen, Julian Roberts and Holly McQuillan. By exploring alternative methods of making clothes and patterns, we have employed 'risky' design practice, research and teaching to develop zero waste fashion and subtraction cutting. The project manifested as an intensive two-week practice-based research event, where via a series of collaborative collisions, experiments and design intersections, we asked the following three questions. What costs/benefits can we identify to aid the development of a sustainable fashion industry through risk taking at the intersection of our design practices? What new knowledge arises in risky collaborative design practice? And how can this new knowledge be best communicated to foster an environment of risk-taking within the traditionally risk adverse fashion industry? This paper primarily discusses our responses to the first two questions and related issues raised. It covers how experimenting with each other's design practice and practicing in each other's creative space as we both designed and made, enable the free transfer of ideas and cross-pollination, thus expanding our ability to identify links, gaps and opportunities. The Cutting Circle project has developed experimental practices with emphasis on the fusion of aesthetics, patternmaking, craft and socially invigorating design.
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TYPES OF FASHION DESIGN AND PATTERNMAKING PRACTICE
2007Co-Authors: Timo RissanenAbstract:This article originates from a PhD research project that investigates the elimination of fabric waste from the production of clothing. Most efforts to reduce the amount of fabric waste have centred on various types of marker-making software that place the garment pieces on a length of fabric as tightly as possible. Despite these efforts, in adult outerwear on average 15 percent of the total fabric used is wasted at the cutting out stage, according to Cooklin (1997: 9). Feyerabend’s estimate is 10 to 20 percent (2004: 4), while Abernathy, Dunlop et al. (1999: 136) put the figure at 10 percent for pants and jeans, but higher for blouses. The primary obstacle for fabric waste elimination is that the software, regardless of its level of sophistication, is always limited by what has already been designed and patternmade. This project proposes that to eliminate fabric waste, the garment must be designed, and a pattern made for it, with fabric waste elimination as a design consideration, alongside aesthetics, price, target market, etc. To avoid wasting any fabric, the pattern pieces of a garment must interlock on a given length of fabric prior to cutting; therefore fabric waste elimination is also a patternmaking consideration. One of the aims of the project is to provide practical, accessible information for fashion designers and Patternmakers about how they may modify their practices so that fabric waste is eliminated or drastically reduced. The research is motivated primarily by environmental/ ecological sustainability.
Masayuki Takatera - One of the best experts on this subject based on the ideXlab platform.
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Suitable bustline position in designing a well-fitting and attractive garment
International Journal of Clothing Science and Technology, 2019Co-Authors: Kyoungok Kim, Maina Sakaguchi, Masayuki TakateraAbstract: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.
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Effect of Patternmaker’s Proficiency On the Creation of Clothing
Autex Research Journal, 2017Co-Authors: Kyoungok Kim, Tsuyoshi Otani, Masayuki TakateraAbstract:Abstract The 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.
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relationship between Patternmaker s proficiency and the creation of clothing
한국감성과학회 추계학술대회, 2015Co-Authors: Kyoungok Kim, Tsuyoshi Otani, Masayuki TakateraAbstract:We investigated the effect of Patternmaker’s proficiency on the creation of clothing by observation of the patternmaking process for clothing. A designer made a jacket and skirt design. Japanese (P1) and French (P2) Patternmakers were asked to make a clothing pattern for the same design to satisfy the designer. We observed the differences in resultant clothing patterns by the two Patternmaker and discussed the reasons. Even though their patternmaking processes were similar, they made different shape of toiles. The collar shape that the designer emphasized in the illustration were different. It was owing to different recognition of the design. Differences in patternmaking process and resultant patterns were discussed in terms of education, experience and proficiency. P1 made her pattern considering the illustrations and her own information about the target consumer. P2 focused on capturing the designer’s intension by matching the proportions of the illustration. This difference was because of the Patternmakers’ different working experiences and the different manufacturing systems in Japan and Europe. Even though the resultant toiles had different shape, measurements and silhouette, the designer was satisfied with both toiles. The Patternmaker’s discretion was thus demonstrated. It was found that a fashion designer’s creation partly depends on a Patternmaker’s proficiency.
Maria Adele Cipolla - One of the best experts on this subject based on the ideXlab platform.
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Digital Pattern Making: a Personal Story
2017Co-Authors: Maria Adele CipollaAbstract:For more than twenty years, different types of software for designing sewing patterns have appeared on the market, mainly 2D CAD adapted to specific tailoring requirements. They are not sold alone, but are part of complex platforms that include other software components (e.g. workflow and warehouse management) along with sophisticated equipment such as digitizers and laser cutting machines. These platforms are widely used in large scale industrial manufacturing, and allow users to digitize existing paper patterns (drawn with traditional methods), make changes and variations, perform grading and placement, and connect to automated cutting systems. Even though the greatest limitation of this system is the need to start with paper based patterns (still in the 21st century!) and then digitize them, the market is dominated by 3 or 4 platforms of this kind of tailoring software, all with more or less similar features. Anyone aiming for medium-large scale production is therefore forced to invest a great deal of money to buy these platforms and related equipment. Recently, however, this model is facing an unforeseen problem: the demand for ever smaller production batches. My experience in pattern making About 15 years ago, when I was involved in the production of theatre costumes, I was looking for a digital pattern making system completely different from that offered by these platforms (which at the time were very similar to today’s versions). Firstly, theatre costumes are “made to measure”, and these platforms only provide standard sizes. Secondly, I wanted to draw directly on the computer rather than tracing on paper and then digitizing the design. Finally, I wondered if it were possible to memorize body measurements and cutting rules, to create shapes capable of being transformed when the measurements previously provided varied. After all, the calculations at the base of tailoring are quite simple (indeed, traditional tailors do not need a high educational level). In addition, it is very boring to memorize many small rules and mentally make the same, simple calculations over and over. This is also an element of risk, since fatigue often leads to small errors of calculation that can have important consequences later. I thought: “if rules and calculations were saved in a spreadsheet, drawing a sewing pattern would become a quick and fun exercise.” Not being a software programmer, I searched the web looking for someone who had already developed this idea, and I finally found Macrogen™, a software that produces “Macros” created as part of the Patternmaker™ platform ( www.patternmade4you.com ). Since then, the two products offered by the company, Macrogen and Patternmaker, have become my main working tool, and my interest shifted from theatrical costumes to custom-made (historical, but also contemporary) sewing patterns. Meanwhile, the world of apparel manufacturing was changing: the weaving process has witnessed significant technological improvements, price competition has led to the relocation of manufacturing in the search for low cost labour, and the physical tools for cutting have evolved. Even so, it is still necessary to draw pattern pieces on paper. A half failed revolution When I discovered Macrogen I considered it a revolutionary software, expecting that it would soon dominate the market, but I did not count on some factors: Often software imposed on the market is not the most intelligent solution, but the most advertised. In the apparel supply chain, the actual production of clothing is the most immature part of the process; just think that the mechanics of sewing machines is based on a patent deposited by Isaac Merrit Singer in 1851. Great energy and financial resources are needed to keep a software platform stable and bug-free, especially to keep up with the evolution of operating systems. In spite of these factors, Patternmaker-Macrogen has survived for more than 20 years; it keeps its customer base and is constantly updating with new versions. In fact, it remains a useable and accessible platform: you can start working with an investment of less than 1.000 Euros and if you don’t have a plotter, you can print patterns with a common home printer (or export to PDF in any format). You don’t need a digitizer, and you can design for made to measure or develop sizes. Despite these benefits, using Macrogen still requires patience with bugs (issues in the current version are being addressed, hopefully soon), but in my opinion it’s worth it. In the meantime, an open source platform has appeared Last year, I became aware of another possible solution: the open source Valentina Project ( http://valentina-project.org/ ). Valentina Project is based on the same principles as Macrogen, namely to draw a pattern based on calculations derived from body measurements. Being open source, Valentina is free and has a vast community of users. On the other hand, it’s less user-friendly and does not yet have all the features offered by MacroGen, being a more recent development. TCBL Design and Place Labs are looking carefully at both Macrogen and the Valentina Project as two economical, frugal, simple, and flexible tools, perfect for small designers and/or independent producers. We hope the TCBL community will collaborate to share, experiment and improve this innovative approach to designing sewing patterns. Patternmaker/Macrogen versus Valentina Project (based on my personal experience) Patternmaker/Macrogen Costs less than 1000 euros Developed by a software house It has a limited user group Its software house provides written tutorials in few languages It consists of two softwares: one for projecting a the other for printing Uses Cartesian coordinates You can design many pieces of a pattern in the same file Contains a wide range of points that meet all the pattern maker needs (coordinates, rectangle, right angles, darts, angle degrees, intersect lines and curves …) You can switch quickly from the design software to the print one and vice versa, also edit the pattern in last one and bring back the changes in the first. The Patternmaker print software has all the functions of a 2D CAD, and the pattern pieces can be further modified in photoshop and corel illustrator (expensive software) Calculations are performed through simple and intuitive dialog windows Creating a object is very simple and shapes are editable Switching from one software to another does not lose the grainline direction You can design up to 300 points in a file before it becomes heavy to handle Having a small group of users and few developers, the detection and solution of bugs is slow Valentina Project Totally free Open source software It has a wide user community The community provides video end written tutorial in many languages It consists of two softwares: one for projecting a the other for printing Uses polar coordinates You can design only a pattern piece in a file A pattern maker has to reach some compromises with the software to meet all her/him needs Switching from one software to another is a bit insidious The printing software has limited features, but the template pieces can be further edited in an open source vector program (inkscape) Calculations are performed with formulas similar to those in spreadsheets Creating a shape object is a bit complicated, it may take some attempts When passing from one software to another, you may lose the grainline direction You can design a limited number of points Having a large number of users and developers the detection and solution of bugs is fast enough
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Portrait: Marzia Donzelli, MAD
2017Co-Authors: Maria Adele CipollaAbstract:Established in 2007 by Donzelli (S.A.S.), MAD is a fashion design company specialising in clothing and fashion accessories for women, which express passion for the sea, the sun, and the wild and unspoiled charm of Sicily’s land. Production is based around the creative headquarter in Sicily and comprises a national network of professionals, who have been selected for their distinguished expertise in fashion production. The aim of this setup has been to create a nimble and flexible production model, focused on quality and innovation. The open dialogue with a skilled network of experts and consultants rooted deeply in the Italian fashion industry, it also allowed MAD to build up intellectual capital very quickly and then raise its profile as a key player of the industry. TCBL’s Maria Adele Cipolla spoke with Marzia Donzelli, the founder, about how TCBL has helped her company. “At the beginning I saw TCBL as an opportunity to enhance my knowledge of the T&C sector and find opportunities for my business. Later, I realised that all the input coming from the network made me reflect upon my business model and the way I produce clothes. What I like is to be part of a closed user group that will test innovative machines and software in a network of labs. It’s really an opportunity to work together with TCBL partners to co-design innovation services that best fit for businesses like mine. Sometimes my colleagues and I regret that innovation is far from Sicily and we don’t have enough power to design services suitable for us.” “A good example for this is what we are doing with digital pattern making and, in particular, the MacroGen Patternmaker software suite. Starting from this software made available for free by the local lab, Arca Textile Lab, I’m testing it with my real models and then go into production organization totally based on TCBL associates.” “It is a bit too early to say”, says founder Marzia Donzelli, “but tests in the network with software such as Macrogen are promising and could potentially lead to a different business model or different production system for the brand”. Asked about future scenarios, she responded: “I think that the next few year will bring about a market revolution in the clothing sector and a small brands like mine need to start adapting and be informed now. What I hope for my brand is to keep on growing and maybe produce my clothes in Sicily or with the help of the TCBL network, developing partnerships, be informed, and testing cutting edge technology impossible to reach for my small brand on my own.”
Kyoungok Kim - One of the best experts on this subject based on the ideXlab platform.
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Suitable bustline position in designing a well-fitting and attractive garment
International Journal of Clothing Science and Technology, 2019Co-Authors: Kyoungok Kim, Maina Sakaguchi, Masayuki TakateraAbstract: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.
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Effect of Patternmaker’s Proficiency On the Creation of Clothing
Autex Research Journal, 2017Co-Authors: Kyoungok Kim, Tsuyoshi Otani, Masayuki TakateraAbstract:Abstract The 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.
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relationship between Patternmaker s proficiency and the creation of clothing
한국감성과학회 추계학술대회, 2015Co-Authors: Kyoungok Kim, Tsuyoshi Otani, Masayuki TakateraAbstract:We investigated the effect of Patternmaker’s proficiency on the creation of clothing by observation of the patternmaking process for clothing. A designer made a jacket and skirt design. Japanese (P1) and French (P2) Patternmakers were asked to make a clothing pattern for the same design to satisfy the designer. We observed the differences in resultant clothing patterns by the two Patternmaker and discussed the reasons. Even though their patternmaking processes were similar, they made different shape of toiles. The collar shape that the designer emphasized in the illustration were different. It was owing to different recognition of the design. Differences in patternmaking process and resultant patterns were discussed in terms of education, experience and proficiency. P1 made her pattern considering the illustrations and her own information about the target consumer. P2 focused on capturing the designer’s intension by matching the proportions of the illustration. This difference was because of the Patternmakers’ different working experiences and the different manufacturing systems in Japan and Europe. Even though the resultant toiles had different shape, measurements and silhouette, the designer was satisfied with both toiles. The Patternmaker’s discretion was thus demonstrated. It was found that a fashion designer’s creation partly depends on a Patternmaker’s proficiency.