Joe S. Au

A robust adaptive clustering analysis method for automatic identification of clusters

Identifying the optimal cluster number and generating reliable clustering results are necessary but challenging tasks in cluster analysis. The effectiveness of clustering analysis relies not only on the assumption of cluster number but also on the clustering algorithm employed. This paper proposes a new clustering analysis method that identifies the desired cluster number and produces, at the same time, reliable clustering solutions. It first obtains many clustering results from a specific algorithm, such as Fuzzy C-Means (FCM), and then integrates these different results as a judgement matrix. An iterative graph-partitioning process is implemented to identify the desired cluster number and the final result. The proposed method is a robust approach as it is demonstrated its effectiveness in clustering 2D data sets and multi-dimensional real-world data sets of different shapes. The method is compared with cluster validity analysis and other methods such as spectral clustering and cluster ensemble methods. The method is also shown efficient in mesh segmentation applications. The proposed method is also adaptive because it not only works with the FCM algorithm but also other clustering methods like the k-means algorithm.

Block pattern generation: From parameterizing human bodies to fit feature-aligned and flattenable 3D garments

Research on clothing related CAD is blooming rapidly in the last two decades. It speeds up the product development process significantly and shortens the time to market of fashion products. Although many important results have been obtained, particularly in the computer graphics community, the textile industry is somehow reluctance to adopt these results in actual apparel manufacturing. The main concern is the accuracy of the resulted patterns, because the pattern generation processes ignored some important textile material and manufacturing constraints. This paper introduces a method for generating 2D block patterns from 3D scanned body. A parameterization process is first conducted on a scanned body to create a parameterized model, represented by horizontal B-spline curves. A basic wire-frame aligned with body features is then established based on the parameterized model. Proper clothing ease is carefully incorporated into the model by scaling the wireframe to accomplish the desired fit. Based on the deformed wireframe, a 3D flattenable garment is modeled by boundary triangulation. The main contribution of the proposed method is that the created 3D garment blocks are geometrically flattenable to produce accurate 2D patterns with optimized ease distribution to ensure garment fit. The proposed method is validated and compared to two conventional block patternmaking methods. The experimental results indicate that the proposed method is easy to implement and can generate patterns with satisfactory fit. Furthermore, the method can be used to create fit-ensured mass-customized apparel product.

Automatic Block Pattern Generation from a 3D Unstructured Point Cloud

Accurate and fitted garment patterns are fundamentally important in garment manufacturing. Even though a virtual body can now be obtained by 3D scanning, the problem of generating patterns model is still challenging because the mapping from a 3D body to 2D pattern is constrained by complex garment style information and sewing definitions. This paper presents a new approach for generating 2D block patterns directly from scanned 3D unstructured points of the human body. The new approach consists of a series of steps from body recognition, body modelling to pattern formation. In the paper, algorithms for body feature extraction and body modelling are first described, then the relationship between the human body, patterns and darts are investigated, and pattern creation through automatic dart transformation are thus developed. The paper has demonstrated that the proposed method can generate 2D block patterns from a 3D unstructured point cloud.

A Study of the Perfect Suit for Young Men in Hong Kong in Terms of Aesthetics, Comfort and Functionality

ABSTRACT The suit is standard formal menswear traditionally; almost all businessmen wear suits to work every day. In Hong Kong, some retail shops only offer a list of similar suit styles to customers. However, the suit designs currently available might not be able to cope with the needs of young male customers. Young men in Hong Kong seek out styles that look good and they have their own preferences on suit design, which might be different from other age groups; hence, there is a strong market niche for this age group. The aim of this research was to understand the needs of young men aged from eighteen to thirty-two with regard to a perfect menswear suit and recommend a desirable suit design for them. Forty-seven young men and twenty-seven young women were invited to complete the questionnaire relating to the issues of creating a perfect suit for young men in Hong Kong in terms of aesthetics, comfort and functionality, and ten male respondents from the questionnaire survey were invited to the wearing trials. Finally, a menswear suit was designed according to the findings of the questionnaire survey and wearing trials.

How are European and Japanese Fashion Designers Inspired

This paper discusses research undertaken to identify and compare design theories of European and Japanese fashion designers. Various influencing factors, including historic, cultural, aesthetic and psychological influences, methods of generating ideas, and design process were analysed. Research questions which were posed were subsequently answered using a range of methodologies, and models representing design theories were formulated. The similarities and differences between the two groups of fashion designers were observed in each of the relevant, cultural settings. It is believed that the findings of the research can be used to further understand the relationships between causes, conditions, consequences and design process of fashion designers of different cultural backgrounds when creating new fashion.

Grounded Design Theory of Japanese Fashion Designers

The purpose of this paper is to formulate the underlying design theory of Japanese fashion designers by using the qualitative research method of grounded theory (Glaser, 1992). The researcher stayed in Tokyo for three weeks for the purpose of data collection. The method of data collection included in-depth interviews, questionnaire surveys and participant observations. Constructs for a grounded theory of fashion designers are synthesized. The design theory of the Japanese fashion designers is portrayed through the major constructs, namely, ‘aesthetic presence’ and ‘psychological satisfaction’

GROUNDED DESIGN THEORY OF BRITISH FASHION DESIGNERS

The first author is currently registered as a doctoral research student at The Hong Kong Polytechnic University. This paper is derived from the findings of a full-time doctoral research programme relating to the design theory of international fashion designers. The researcher stayed in London for three weeks for the purpose of data collection. The method of data collection included in-depth interviews, observations and questionnaire survey. The purpose of this paper is to formulate the underlying design theory of British fashion designers by using the qualitative research method of grounded theory developed by Glaser and Strauss (1967) and Glaser (1978). Different factors influencing fashion designers when creating new fashion are examined. A framework of factors influencing fashion designers is developed. Constructs for a grounded theory of fashion designers are synthesised from in-depth interviews, observations and questionnaire surveys of 25 fashion designers, students and educators in London. The design theory of the British fashion designers is portrayed through the major constructs subsequently identified, namely, ‘psychological satisfaction’ and ‘aesthetic presence’.

Categorization of Hong Kong Modern Males with Regard to Predictors of Menswear Design Preferences in Terms of Physical and Socio-Psychological Dimensions

Abstract Proportional grading, which offers the closest fit by producing various sizes, is commonly used in sizing systems for mass production today. However, wearers’ socio-psychological concerns are not taken into account during the development of the system, which may churn out ineffective fits. This study provides knowledge of menswear evaluation by taking into account men’s physical and socio-psychological dimensions. This study successfully categorizes modern males according to their preferences of menswear, concerning the predictors of menswear design preferences in physical (i.e. Body Mass Index [BMI]) and psychological dimensions (i.e. menswear functions and menswear involvement). Subjects were divided into three clusters: (1) Fashion & Masculine; (2) Low-Function Value; and (3) Camouflage and Comfort; in which they were identified as having different clothing preferences as they had unique characteristics in clothing functions and levels of fashion involvement. The results suggested that modern men treat fashion in a multidimensional way that might be even more complicated than women. Not just for practical function and performance, they also dress to promote their identity, style and image based on their own concerns.

Creation of Conceptual Fashion Design Process Model

In recent decades, the world of fashion and textile design has become increasingly close and reliant on one another. Fashion designers understand that the future of their profession lies to a great extent of the individual’s ideas and meaning, not only depends on forms and materials. High-fashion has been referred to as “idea fashion”, and idea makers have been labeled as “fashion conceptualists” whose work is epitomized by innovation and experimentation. Conceptual fashion design can also defined as a fashion help in “finding yourself, in presenting the authentic nature of your internal and external self. Not reflection on the observation and evaluation of others, but instead personal sensation and enjoyment, and fashion as a medium to achieve this.Although designers have intrinsic talents that may not be bound by rigid rules, a systematic framework should be helpful to provide a more effective and efficient design process. The existing models of creative processes of other design disciplines to tend to illustrate the diversity of the process and provide a broad description of the design process, but no specific framework has been proposed for conceptual fashion design. As there is an obvious knowledge gap between the subjects of conceptual fashion design, this study seeks to identify the dimensions of creative success within this specific domain. A thorough understanding of the dimensions of creativity theories and, creative processes in different design disciplines will help to develop a rich background to the study of creative activities within the domain of conceptual fashion design. The present research attempts on 1) explore the identification of the innovative conceptual fashion design and its creative system, 2) develop a theoretical framework of design process that presents a series of creative actions and 3) develop a model of design process that is generic to both textile design and fashion design, by rationally integrating professional knowledge from different design domains into a systematic conceptual framework. Completed with regard to detailed investigation on design process of conceptual fashion design, these raise my interests on the investigation of the design process of developing conceptual fashion design and the creative thinking within the mind of conceptual designers. Finally, this study documented and tracked the emergence and development of conceptual fashion, exposing interdisciplinary practice at the edges of the fashion discipline.

Design preferences and experience of older people's choice in fashion in Hong Kong

ABSTRACT In recent decades, the contemporary generations of older people have exhibited a strong requirement for improved fashion products. The design preferences of older people on fashion clothing change with their physical and sociopsychological characteristics. Studies on fashion aiming to understand the needs and preferences of older people in the fashion market in relation to gender characteristics in Hong Kong are limited. This study generated invaluable data for understanding older people, aged 60–80 years, in Hong Kong in terms of their psychological factors, design preferences, and fashion experience regarding gender differences. Thus, design practitioners can apply the findings to create modern fashion for older people to meet the ever-changing needs of the market.