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FRĒDA SALVADOR Holds Fall 2014 LAUNCH EVENT + POP UP SHOP WITH CRIMSON MIM

August 19, 2014 Leave a comment
   
 FRĒDA SALVADOR      FRĒDA SALVADOR      FRĒDA SALVADOR      FRĒDA SALVADOR      FRĒDA SALVADOR

The Ultimate Guide to Wearing a Chambray Shirt

January 14, 2014 Leave a comment

UPDATE (Feb 27 2013): If you like this article – you should ‘Like’ Confessions of a Product Junkie’s brand new Facebook page to get updates when there are more fashion how to’s and articles like this one.

Chambray and denim shirts have been popular for quite a few seasons now, and for good reason. They are, hands down, one of the easiest trends to wear. They’re also the glue that ties many other spring trends together (as you’ll see in this guide).

Personally, I’m a huge fan of the chambray. Some of my favorites are from J Crew (I have this one), Lauren by RL and Urban Outfitters.

More options…

However, I’m sad to see that many women have avoided purchasing a chambray because they’re just not sure how to wear them. That’s where I come in. Because one of the questions I get asked most often is how to pull off the chambray (or I get asked how to wear other things and the answer is always “with a chambray!”), I decided it was time to put together a guide. So here are my tips for wearing a chambray or denim shirt. Enjoy!

Image on left via See Jane. Image on right is me.

So if you add one thing to your wardrobe this spring, make it a chambray or denim shirt. In fact, make it two – because if you follow these tips for wearing yours, you’ll get so much use out of it that you’ll want to own both.

UPDATE (Feb 27 2013): If you like this article – you should ‘Like’ Confessions of a Product Junkie’s brand new Facebook page to get updates when there are more fashion how to’s and articles like this one.

You might also like:

Dress it up a little

10 of-the-moment styles and how to wear them

10 Ways to Wear Jeans and a T-Shirt
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The Sweet Spot: Why Netflix Matters

July 26, 2013 Leave a comment

Incorporating Artlandia SymmertyWorks/SymmetryMill into an Adobe Pattern Design for Industry Course

September 29, 2012 Leave a comment

The Adobe Pattern Design for Industry class offered by the Fashion Textile Technology program at Buffalo State college has undergone continual revisions and modifications over the years. When I first started teaching it we did not use computers. We made a book of fabric swatches with different surface treatments [pen/paint/dye etc; marbling rubber stamp, stenciling, rubber cement, etc] We also hand drew motifs and developed repeats using tracing paper and the light table and carefully taped together copies before we transferred the repeat design to good paper for painting.

Everything took so long not much was developed for student portfolios in 15 weeks of class that we have. I slowly started transferring time-consuming steps to the computer starting with scanning in the hand drawn motifs so that the hand drawn motif could be developed into a seamless repeat on the computer. The single repeat was printed out and traced on to paper to be hand painted. This handpainted single repeat would then have to be scanned in and color separated – lots of time again.

I thought we could save a lot more time if we scanned in individual handpainted motifs or elements like individual flowers, color separated them in Photoshop and maybe duplicated and arranged a motif and repeat design once they were already separated. This saved lots of time and more student assignments could be completed for this class. At this point the major portion of the class was shifting to Photoshop and Illustrator, we no longer worked on the book of fabric swatches. Students take a fiber design course to develop traditional printing, multi-media or weaving techniques.

Currently the class is focusing primarily on Illustrator because it really speeds things up in a major way. The final files are much smaller and all elements created in this resolution free vector environment can easily be archived and used for other projects, or can be imported into a raster program like Photoshop at any size and resolution.

Having the students working on increasing Illustrator skills also reflects the graphics infusion with surface design trends that are everywhere to be seen in commercial fabrics. A quick review of the fabrics in the SS13 NY and London ready-to-wear designer collections will verify this observation. We do continue to use Photoshop for concept board development to instruct students how to use a variety of special effects and layer masks. We also have a color separation and cleaning and recoloring assignment to instruct students how they would color separate, clean and recolor hand painted artwork.

Students from the fiber design class are encouraged to either scan in or take a digital photograph of their original work so they can learn how to make a seamless repeat and recolor a tonal image [as well as a photograph] in Photoshop. This semester the addition of Artlandia SymmetryMill to expand on this assignment is sure to excite the students. SymmetryMill is the perfect application to develop the current pattern patch work type designs that include multiple different pattern repeats for one fabric using one overall color palette in different proportions for each pattern repeat.

Artlandia SymmetryMill is a stand-alone full function Web Browser application, all you need is an Internet connection.

Another place we make be able to make use of SymmetryMill is in an assignment were we start with a scanned image of a water-color flower, we desaturate it, create a repeat and develop multiple custom colorways for it.

We have also recently incorporated the new Adobe CS6 Pattern Tool into the course assignments. Here is a link to a previous post (Adobe Illustrator CS6: New Pattern Tool Video Tutorials) that has some video tutorials of the new Pattern Tool. During the last 4-5 classes of the semester, students will first be introduced to using Artlandia SymmetryWorks in Illustrator then they will take the Illustrator motifs they have already developed earlier in the class and create SymmetryWorks layouts that will include the original motif and 6 repeat tiles and in repeat swatches that they developed from each motif using Symmetry Works. Artlandia SymmetryWorks has been around for a while. The SymmetryWorks application is continually being upgraded to enable the user to develop more sophisticated and complex vector [and raster] patterning.

The Artlandia SymmetryMill and Artlandia SymmetryWorks applications are excellent additions to the Adobe Surface Design for Industry class. These applications enable students to create an unlimited number of tonal and vector repeats in a very short time. The different symmetries also help students understand the interlocking repeat construction of the repeats. The new SymmetryMill in particular is excellent for an educational setting because students can work right from their Web browsers (see image above), no other application is needed to develop the pattern repeats. Students can work on assignments from anywhere they have an Internet connection.

You may wonder how I learned about Artlandia SymmetryMill. I was recently invited to beta test it and I must say it is totally addictive for anyone that loves to create and develop and endless variety of repeat seamless patterns. You can upload your custom image and very quickly develop repeat patterns from seventeen planar symmetry types.

You can learn about:

SymmetryMill HERE.

SymmetryWorks HERE.

You can keep your patterns private or share them with the community at Pattern Central.

Here is the link to the SymmertyMill patterns I developed while beta testing the product for Artlandia. SymmetryMill has step-by-step tutorials HERE.

SymmetryWorks has excellent easy to follow step-by-step tutorials. Below are some images of the patterns developed from following their tutorials.

Artlandia has even developed a pattern glossary that the students can easily refer to learn about the different pattern terms and categories.

The students at Buffalo State are looking forward to working on Artlandia SymmetryMill[raster] and Artlandia SymmetryWorks [vector] this semester.

I will post again about integrating the Artlandia SynmmetryMill and SymmetryWorks applications in my course after the semester ends.

The full assortment of Artlandia products are HERE.

How PAM and Mini-Factories can help us Avoid the US Apparel Industry’s Perfect Storm

August 15, 2012 3 comments

Retail shopping is being transformed by technology in multiple ways. A recent article in USA Today titled ” Why shopping will never be the same,” by Jon Swartz touches on just a few of them.

This blog post has a follow-up guest post to a recent posting titled: Demand Manufacturing: AM4U (Apparel Made 4 You). I asked Bill Grier (founder and current chief technology officer (CEO) of Critical Mass Manufacturing (CMM), Bud Robinson (Chief Marketing Officer of Critical Mass Manufacturing Inc.) and Dr Peter Kilduff (chair of Cal Poly’s Apparel Merchandising and Management department (AMM)) to comment by developing the guest post below on the perfect storm currently taking place in the US apparel industry.

Current Online Apparel Sales Trends

How PAM and Mini-Factories can help us Avoid the US Apparel Industry’s Perfect Storm

We may never see a “parting of the waves” opportunity like this again, where crisis level problems meet potential solutions head on. The confluence of technological advances and market need has never been more in sync than it is today.  Yet with all this opportunity the apparel sector has been slow to recognize and embrace change, blinkered and straight-jacketed via sunk investments that link distant low-cost offshore manufacturing locations to increasingly dynamic and fragmented consumer needs.  The reality is that the existing US apparel marketing philosophy of mass foreign production, seasonal market overloading, up to 50% markdowns, and eventual unsold product dumping, is becoming increasingly untenable economically, environmentally, and (ultimately,) politically.

Yet, we have solutions close at hand if we just extend our reach.  Here is a list of the available technologies that have developed separately over the last ten years.

  1. We have a massive sophisticated consumer base with an expanding multichannel retail infrastructure (ERP, CRM) ready to serve.
  2. Bar code SKU based prediction profiles for trends and purchasing patterns.
  3. Both the government (DAMA) and the private sector have created efficient and accurate tracking (RFID) and communication/control (PLM, MMS) programs for supply chain management.
  4. Incredible design and visualization capabilities, with digital 2D and 3D computer-aided design (CAD) applications enhancing product development capabilities.
  5. Body scanning to obtain up-to-date sizing data, improved fit selections and with the promise to enable virtual reality fit to avatar permitting custom fit and custom design.
  6. Cutting and sewing technologies enhanced by computer integrated manufacturing systems are evolving at digital speeds.
  7. “Change-on-the-fly” digital printing technology that utilizes fewer water and energy resources and is perfect for the shorter runs needed by today’s fickle fashion industry.
  8. New advances in chemical-physics have unlocked the ability to permanently dye and print the polyester, spandex and nylon micro fabrics that dominate today’s worldwide fashion choices.

Individually, these technologies have provided the industry with opportunities for significant but incremental advances.  When amalgamated, as demonstrated by the Apparel Made for You (AM4U) project, they open the way for a radical new approach to apparel retailing and manufacturing – one that begins with the consumer purchase and integrates this with fabric and garment design, retail selling and garment assembly.  This Purchase Activated Manufacturing (PAM) model will produce custom-designed, custom fitted, and custom labeled apparel, eliminating finished goods inventories and dramatically improving profitability.  At the same time, it will considerably reduce pollution, energy and water use, and return a significant number of apparel jobs back to the USA.  PAM has the potential to be the most disruptive technical event to affect the sewn goods industry since the innovations pioneered by Elias Howe and Isaac Singer.   PAM promises an answer to the building storm of eroding profit margins, and the generation of huge waste and pollution in a world progressively expending its natural resources.  Not so much a perfect storm more a parting of the waves.

The Top Challenges in Apparel Retail

Reducing Out-of-Stocks. This is more critical than ever to apparel retailers, since many have adopted defensive inventory practices designed to keep only as much inventory in the store as is absolutely needed. This has put significant pressure on retailers to enhance supply chain efficiency by having real-time visibility to merchandise levels in their stores and at distribution centers.  PAM/Mini-Factory:  Garments are stored in digital form and sized to fit and produced when purchased.  There is no out-of-stock for any product ever stored in the inventory i.e., a standard DVD will hold over 1200 digital garments including all colors and sizes.

Lowering the Cost of Inventory. Retailers had to adapt during the recession, making difficult cuts to their inventories in order to avoid overstocks and markdowns. But the short selling seasons of apparel, as well as frequent reconfiguration of products on the sales floor, makes this challenge particularly poignant in the apparel industry. PAM/Mini-Factory: By targeting PAM production on high inventory cost and high risk designs, colors and prints, retailers can use a single display or touch screen image in place of product on the floor.

Improving Speed to Market. Fashions change at blinding speed, and new trends and consumer preferences emerge at the blink of an eye – today, even more than in the past. Apparel brand-owners must get their products from the design center to the store faster than ever, and retailers must stock and sell those products immediately while consumer interest is at its highest – and before the next selling season begins. PAM/Mini-Factory: With real time design, on the fly patternmaking and one-off production, retailers can test the market continuously without delay or cost.  Consumers can make, color and print changes and see them on their bodies before they purchase.

Reducing or Reallocating Labor. Gross margins on apparel have dropped significantly in the past two years as a result of the recession, as retailers have slashed prices to move merchandise. This has put renewed pressure on retailers to be more efficient with their labor allocation in order to recoup a few percentage points of margin lost by price-cutting. Additionally, more retailers have begun adopting source tagging, moving the process of attaching tags to the front end of the supply chain, where it can be done more cost effectively.  PAM/Mini-Factory: Consolidation of tasks removes the dye-house, the wet printer, the label maker, the hang-tag printer, the cutter and all the transportation and duties in between these sites.  The key to gross profits is not paying less per person but to pay less people. A mini-factory will pay less people higher wages and still more than double gross profit.

Generating Data to Manage and Maximize Programs. As both sales and gross margins have slipped among apparel retailers and brand owners in recent years, more money has been spent on direct-marketing programs to drive store traffic and encourage purchasing activity. But retailers need additional, real-time information in order to determine what promotions are working and which ones are not, while manufacturers need this information to determine which retailer marketing campaigns they will continue funding.  PAM/Mini-Factory: PAM is both real time and real money data, plus it generates size and demographic details never before available.  Remember there are no markdown or sale promotions because there is no inventory to markdown.

Preserving Brand Integrity. Apparel counterfeiting remains a huge, vexing problem. It robs retailers of legitimate sales opportunities, erodes margins, confuses supply-chain partners and erodes a brand in the eyes of consumers who receive shoddy substitutes for the real thing. Retailers and brand-owners are taking extra steps to ensure that their brands are properly and consistently presented to consumers. PAM/Mini-Factory: Total manufacturing control of high end products allows security and anti-counterfeit techniques and applications never before possible.

Enhancing Customer Satisfaction. Research from Harvard Business School has consistently noted that when a product is out of stock when a customer comes in, that customer is highly likely to shop for the product in another store and perhaps unlikely to return again in the future to the original store for that product. It also means that the customer doesn’t buy additional apparel products and accessories, robbing the retailer of important add-on sales and profits. PAM/Mini-Factory: The consumer participates in the fitting and coloring in real time online or in the store and since the inventory is digital nothing is ever out of stock.

Reducing Shrink. Apparel is the number-two category for shrink worldwide, according to the Global Retail Theft Barometer. Reducing shrink is a huge step toward improving the bottom line of apparel retailers, especially considering that higher-margin products such as accessories, designer-label clothing and intimate apparel are stolen at even higher rates. PAM/Mini-Factory: Every garment has an owner before it even starts through the factory. Elimination of shrink is a major contributor to increased gross profit.

Maximizing Sales. At a fundamental level, retailers are in business to sell products that their customers want to buy, and they need to do everything possible to maximize sales. Having the right mix of products, maintaining adequate shelf availability, and keeping prices competitive are all key to their long-term success. PAM/Mini-Factory: The PAM selling strategy increases consumer participation, provides for multichannel convenience (in store, online/in store pickup, online/ship) and creates personal tailor level customer loyalty.

An example of the PAM Mini-Factory strategy for recovering the US apparel manufacturing base can be seen daily in thousands of Lowes, Home Depot, Orchard Supply, and other home centers and paint stores through the country.  Paint was a staple product for years but it suffered from high inventory costs and large floor space consumption.  The problem was that every color had to be in stock and if you did try to mix a new color it was almost impossible to match the customer’s chip.  Sound familiar…?  Then a smart young lady decided to apply the new low cost spectrophotometer technology to the problem.  This permitted colors to be mixed and matched in-store right at the counter with white paint!  Voila! Purchase Activated Manufacturing mini-factories were born in home centers across the United States (and the rest of the world)! Suddenly, integrated diverse technologies joined to reduce waste and inventory and more than double gross profit.

Standby, because in the next guest blog post, Bill, Bud and Peter will demonstrate how to maximize profits through matrix product selection and multichannel sales distribution.

Demand Manufacturing: AM4U (Apparel Made 4 You)

August 14, 2012 9 comments

“Demand Manufacturing” what is it? Just as it states, it directly connects consumers’ demand to manufacturing. The AM4U (Apparel Made 4 You) concept represents the set-up of turnkey purchase activated manufacture (PAM) mini-factories in the USA for making and selling active performance apparel online. With this method the need for all finished goods inventory will be eliminated. Mini plants can be placed inside a distribution site or near a shopping hub and can be easily moved on two trucks.

Bud Robinson is Chief Marketing Officer of Critical Mass Manufacturing Inc, (CMM) which is the leading member of a group of apparel industry advisors to Cal Poly Pomona’s Department of Apparel Merchandising and Management (AMM). Dr. Peter Kilduff, Chair of AMM has assembled a team to demonstrate a revolutionary new way to manufacture and market Active Apparel. “Bud’s Apparel background includes: President of Levi Strauss International, and President of Hang Ten and Catalina Swimwear, he was also EVP of the Gap Stores and was instrumental in their startup. Bud is coordinating the AMM advisory group that has incorporated itself as AM4U.

Bill Grier is a pioneer in the digital printing industry and he is also the inventor of numerous international and US patents. Bill is the founder and current chief technology officer (CEO) of Critical Mass Manufacturing (CMM). For the AMM demonstration project that Bud recently coordinated, Bill teamed up with Styku virtual body-scanning, Tukatech Apparel Technology, AIMS apparel management system and Eton Systems to launch an initial demand manufacturing AM4U prototype project aimed at illustrating how consumers can be  directly connected to manufacturing to create the demand manufacturing process.

After listening to Bill speak so eloquently about the AM4U demand manufacturing mini manufacturing modules he would like to see set-up across the US, I decided that you should have an opportunity to listen to him talk more in detail about the historical background of how numerous developments in technology have come together to create a “perfect storm of opportunity and transformation for the American apparel industry.”

Bill Grier

Audio interview here – please listen to Bill’s historical background story.

 Bill details the historical background:

  • On the confluence of bar codes, digital printing, fiber development, environmental awareness, the DAMA Project,overseas manufacturing, custom body scanning and the Internet, which presented this unique opportunity for change.
  • Zero Inventory Production (ZIP).
  • Technology Advantages. incorporated into AM4U digital printing.
  • Critical Mass Manufacturing (CMM).
  • Purchase activated Manufacturing.

Dr. Peter Kilduff

The companies initially came together with Cal Poly Pomona’s Apparel Merchandising and Management department to work on the project, hoping to find a solution to waste and overproduction in the apparel industry.

The video clip below represents the initial demonstration of the AM4U solution. AM4U’s mentor Dr Peter Kilduff, chair of Cal Poly’s Apparel Merchandising and Management department (AMM) explains one of the major problems plaguing American manufacturing. He introduces how AM4U technology has the capacity to change the apparel industry from supply and demand to demand and supply.

Critical Mass Manufacturing: Cost Effective Demand to Supply Green Technology

When I spoke to Bill Grier about this green cost-effective demand and supply technology he spoke passionately of his dream to bring the industrial base in textiles back to the U.S. by doing demand manufacturing.” Bill went on to say that “The Internet is not about price it’s about choice. Our purpose is to make the technology or products available to people who need them on a wider scale.  The AM4U concept represents a huge shift for the apparel industry. It’s switching supply and demand to demand and supply.”

CMM has developed the Active Tunnel Coloration (ATC) process (patent pending) that replaces huge water-based dye houses. No water or hazardous chemicals are used.This represents a green technology with no use of chemicals.

Bill states:

–  that the colors produced by his method are so permanent that you could pour bleach on it and the colors will never change. Cleaning agents or bleach cannot affect the coloration of the fabric, resulting in the most durable colored fabrics available. Since water is eliminated in the AM4U color application process, production is simplified.

This technology allows color changes on the fly, any colors and different colors for each garment, that includes all over prints and graphics. This process will eliminate finished goods inventory and the related carrying costs will increase retained gross profits by up to 100%.

CMM’s technology is devised around a single principle: The fiber itself contains enough energy to conduct colorization from the energy stored in the fiber, rather than requiring external chemicals to create color.

What we found is that there was energy stored in the fiber when it was formed that we could trigger to move dye into the fiber.

Most fabric coloring requires mass production through multiple processes and factories, which often results in excess fabric from over-estimating production. This technology enables dying, printing and labeling only the amount of fabric needed, all on one machine in a single pass  and on a much quicker schedule, instead of a designer having to place an order overseas to separate dye houses and printing manufacturers.

Grier’s technology is devised around a single principle: The fiber itself contains enough energy to conduct colorization from the energy stored in the fiber, rather than requiring external chemicals to create color, Grier explained.

“What we found is that there was energy stored in the fiber when it was man-made that we could release at certain frequencies,” Grier said.

Currently, his research has been limited to man-made polymers, such as nylon and polyester.

Beyond the environmental benefits of conserving water, the new technology also helps conserve resources by enabling users to use demand manufacturing, which negates the need for over-production, Grier says.

Most fabric dyeing requires mass production through multiple factories, which often results in excess fabric from over-estimating production, Grier explained. His technology enables him to dye, print and imprint only the amount of fabric needed, all on one machine and on a much quicker schedule, instead of a designer having to place an order overseas to separate dye houses and printing manufacturers, Grier said.

“We’re trying to tie the manufacturing speed directly to consumer takeaway speed. That way, there’s no extra production. We can produce a one-off for the Internet for the same price as mass production,” he said.

Grier said this technology could help bring the textile industry back to the United States instead of relying on large-scale mass printing and production overseas.

“Four out of every five blouses produced overseas is not sold at retail price. That means we’ve produced four blouses more than we need for the marketplace, and the water use is somewhere around 100 to 150 gallons of water per blouse, so if we don’t produce four of them because the technology is closer to the consumer, we’ve saved water and pollution,”  He explained. “Water is becoming a precious commodity, especially in California, and without waterless technology we lose the ability to control our own destiny on the products we produce in California.”

California Apparel News

Top Benefits of AM4U Technology

  • A perfect Fit every time for the consumer.
  • A zero inventory production system.
  • ACT technology save the environment by eliminating the use of billions of gallons of water with no caustic chemicals.
  • Very important is the bottom line – AM4U technology will result in a 40% higher profit and will produce thousands of new jobs.

Higher Education Partnerships Wanted

Bill Grier and Bud Robinson would like to partner with higher education to continue testing AM4U (Apparel Made 4 You) demand manufacturing green technology. At the same time they would like to support higher education by providing an opportunity for schools and students to build funding streams for more student centered research projects. They will provide more details in an upcoming post.

If you can’t wait here is contact information for you:

Adobe Illustrator CS6: New Pattern Tool Video Tutorials

I just completed some very basic Adobe Illustrator video tutorials for the new Pattern Tool in CS6. They are meant to be class exercises but you are welcome to use them if you like. First I watched THIS VIDEO TUTORIAL from Adobe, then I made these video tutorials for the students.

Part 1 of Intro to Pattern tool in Adobe CS6 – create a 6 sided flower, create 6 different pattern repeats using the new CS6 pattern tool.

Part 2 of Intro to Pattern tool in Adobe CS6 – recolor, single repeat, in repeat swatch, resize, pinked edges

If you like them – here is a link to five more from my fashioncad.info site: INTRO ADOBE CS6 ILLUSTRATOR PATTERN TOOL & PATTERN

  • Adobe Illustrator CS6 Pattern Tool – Bug: Draw a simple bug to use in a two way and non- directional pattern using Adobe CS6 Pattern Tool.
  • Adobe Illustrator CS6 Pattern Tool – Tossed Crayon: Intro Pattern Tool Adobe CS6, Simple crayons: Tossed, non-directional repeat pattern, 3 colorways, 2 in pat tool, 1 on layer palette, single cropped repeats, in repeat swatches, title, pinked edges, drop shadow added.
  • Adobe Illustrator CS6 Pattern Tool – Flower Pattern: Using Adobe CS6 – sketch simple flower and use Pattern Tool to make repeat pattern.
  • Adobe Illustrator CS6 – Pattern Tool – Comma Pattern: Using Adobe CS6 – sketch simple comma shape and create w/pattern Brush & pattern inside pattern; use Pattern Tool to make repeat pattern.
  • Adobe Illustrator CS6 – Make a simple argyle pattern: Video Tutorial of simple argyle pattern – not using the pattern tool – traditional method.

“[TC]2 , Textile Clothing technology Corporation: 3D Body Scanning Technologies

The mission of TC2  is to elevate the level of technology, manufacturing systems, and business processes employed in the global soft goods industry through research and development, education, training, and outreach.  [TC]2 is a provider of direct and indirect technology products and services to industry.

Their Web site offers information on multiple types of body scanners for the global soft goods industry. 3D body scanning is just one research area of [TC]2.

Some end uses for 3D body scanning are: • Health/medical and fitness management • Body shape analysis • Sizing surveys • 3D product development for fashionable and functional apparel • Made-to-measure clothing •  Clothing size and style recommendation • Virtual Fashion

An overview of some of the technologies used in the apparel industry are referenced in this article titled, “Sewn Product Technology.” by Kerry King Director of Product Development and Sustainability Initiatives at [TC]2 , Textile Clothing technology Corporation. According to Sally Aitkin on her Exploring the World of Sustainable Fashion blog article titled ” Innovative Technology–3D Body Scanning.

” The first two scanners were deployed by Levi Strauss and North Carolina State College of Textiles.  They had a footprint of 180 square feet and had a price tag of $200,000.”

The price has been reduced dramatically since then and continues to drop. The current [TC]2 version of the Image Twin full body scanner uses white light and has a 4′ by 5′ footprint and scans in 6 seconds.

Image Twin Full Body Scanner

The  [TC]2 KX-16  [laser] is similar to the [TC]2 NX-16 body scanner [white light] we have at Buffalo State college. We have it linked to the OptiTex application and we can easily create customized body scanned avatars to use directly in the OptiTex garment pattern application. Here is a link to the post: Body Scanning and OptiTex

[TC]²’s scanning technology scans the whole body in seconds and rapidly produces a true-to-scale 3D body model.  The measurement extraction software package features capabilities for Virtual Fashion visualization with links to 3D garment pattern making applications from major industry CAD packages. Just a few end-uses for body scanning are at the beginning of this post. Link to a recent Textile World article: [TC]2 Introduces KX-16 Body Scanner

An email quote from David Brunner [dbruner@tc2.com] Vice-President, Technology Development at [TC]2 states:

Our “16 depth sensor” machine the KX-16  though is overall equal to full body scanners like our own NX-16 or laser scanners, and supports hundreds of measurements with better than 1/4″ accuracy.  In fact, it is better on 8 of 10 technical points of comparison (3X more data, scan any color garment or skin, good hair coverage, faster scan, etc).   It is only $10,000 (portable) or $12,500 in the booth version.  I have attached a picture of the portable version just taken at an installation in Portugal (it can scan in open air with no problems).  The booth version is much like the NX-16 booth.

TC2 Image Twin Single Windows Kinect Body Scanner

TC2 Image Twin Single Windows Kinect Body Scanner Accurate human avatars for all applications including size selection advice, virtual fashion and weight loss visualization. Retail uses for Kinect – to create your own personal avatar including face for size selection, virtual fashion [try-on], and weight loss simulation end uses for home, Web-based, retail or smart phone use.  TC2 Kinect

TC2 offers Virtual Fashion System and V-Dresser: Web-based and Smart Phone Virtual Fashion

One of the unique and best features about this [TC]2 mobile smart phone system is that the user can either input manual measurements, upload a body shape scan from a home based Single Windows Kinect set-up, or upload your actual bodyscanner data from your own scanner or from a registered partner scanner! This is really great. It would really be great to be linked to the Me-Ality scanners that are being installed across North America or any other publicly placed bodyscaners.

 [TC]2’s Virtual Fashion System  – makes lifelike natural pose avatars and can show them with clothing, and can predict sizes or provide custom clothing specficiations.  The TC2 system can utilize 3D clothing generated from V-Dresser, CLO3D/Marvelous Designer, OptiTex, Lectra, Maya, etc etc etc.

V-Dresser – TC2 is the world-wide distributor for V-Dresser. Leveraging recently released low cost scanning devices for home use, [TC]² has combined that low cost power and availability with its Size Selection, Avatar Creation, Virtual Fashion, and Weight Loss Visualization technologies developed over the years for use with high-accuracy 3D full body scans. The result is an extremely high value-low cost solution for retail, at-home, and web-enabled smart phone applications.

For more information on personal avatar creation email avatars@imagetwin.com

 Portable Body Scanning: Spacevision Cartesia

[TC]2 offers Spacevision Cartesia the first portable body scanning system. Space Vision Incorporated is a venture company based on the results of research undertaken at Nagoya Institute of Technology and Keio University. Julia Haselhorst, strategic manager of The Textile & Fashion Hub stated that The Council of Textile & Fashion Industries of Australia (TFIA) Textile & Fashion Hub has the Spacevision Cartesia, which uses software from TC2.

“It is much lighter, more portable, accurate and price accessible than many of the other scanners on the market.”

It is light, portable and can be set up in 15 minutes. It can scan a body shape in 2 seconds.

To Brand Developers: Educational Researcher Seeking Plus Size Design/Patternmaking/Sizing Expertise

 

Plus size clothing is such a large target market in this country yet very few people in academics have researched apparel specifically for plus sizes.  Only a handful of colleges/universities offer classes for designing, patterning and manufacturing apparel for plus sizes and these usually are under enrolled.Why is there such a disconnect?  I would like to try and close this gap in knowledge by writing an article pertaining to designing for the plus size (female) target market aimed at academicians.

Specifically, I would appreciate it if I could interview you to learn more about the industry.  Some of the questions I currently have include:

  • What do you feel are the key issues regarding design of plus sized apparel?
  • Do you take into account for the different body shapes of the plus size consumer? If so, how is this accomplished?
  • Did you develop your own sizing and what is a typical size break / grade?
  • Are there certain styles that you feel look better on your target market? Are there some styles you don’t think look good? Why do you think these styles are more/less successful?
  • What do you feel are some future trends for plus size clothing?

I am very flexible on dates/times if someone would be so kind as to agree to speak to me. Our conversation can be as confidential as you feel comfortable with – I can either give credit to you by mentioning your name/company next to all the information I use or I can keep you out of the spotlight so that no information can be traced back to you. Or it can be a combination of these as you  see fit for your business needs.

I would like to get this article written by mid-August so drop me an email by the end of July so that we can communicate: booradlm@buffalostate.edu

CLO3D Student Virtual Fashion Collection Projects

 

The student projects posted here represent an optional CLO3D project that was part of a 4 week CLO3D module that was part of an Adobe FashionCAD class. No garment pattern skills or pattern making prerequisites are required for this class. Some apparel design and product development students are mixed in with fashion merchandising, fashion/textile design technology.

CLO3D was used exclusively as a fashion product visualization tool to view the 2D fashion product line concepts they created earlier in the semester in a 3D environment.

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The specific challenge for this optional project was to develop CLO3D virtual representations [6] to match a previous 2D fashion product development class assignment that included concept,description, color, fabric, print pattern and line boards. They were to develop the garments , create CLO3D layouts illustrating different viewpoints and a CLO3D animation for each garment.

Examples of other  student virtual fashion collection projects:

Cara Walsemann: The Flow of Nature Collection

Ebenezer Baawuah: Earthlistic Collection

Previous CLO3D post: CLO3D Student Virtual Fashion Concept Visualization Project

note: If you are an educator and have a 2D/3D apparel/textile product development prototype project that either you or your student(s) created and would like to share with readers of this blog, please contact me at polvinem@buffalostate.edu

copyright © 2012 by Elaine Polvinen all rights reserved.

CLO3D Student Virtual Fashion Concept Visualization Project

The video above is an example of Introduction to CLO3D to a FashionCAD class that focuses on developing  intermediate Adobe skills for the Fashion Industry. Each semester we try to include one big final project that has the potential to incorporate some of the previous skills as well as introduce a 3D working environment to students. The students in this class are not exclusively apparel design students. Some apparel design and product development students are mixed in with fashion merchandising, fashion/textile design technology. No garment pattern skills or background are required for this class.

The video below has additional submissions.

Introducing CLO3D was an experiment conducted to determine how user-friendly and easy CLO3D would be in a general fashion Adobe design product development class as a fashion product visualization tool. The results were outstanding.  The videos posted are the result of the very first CLO3D class assignments. Each student watched the CLO3D  intro video tutorials and they were each assigned to develop 3 garments. They were to use fashion colors developed in class and if they used print patterns – they should be the ones developed earlier in class.

These first assignment videos illustrate partial results from the class.

Once the students familiarized themselves with the basic functions they began to really see the creative development possibilities and really began to enjoy working in CLO3D. This was a user-friendly application that they could use to quickly visualize their fashion product concept.

CLO3D was not used as a garment pattern making tool in this class – it was used exclusively as a fashion product visualization tool to view their 2D fashion concepts in a 3D environment. The time alloted for the CLO3D project was the last 4 weeks out of a 15 week semester.

The students were then challenged to an optional project to develop CLO3D virtual representations [6] to match a previous fashion product development class assignment that included concept,description, color, fabric, print pattern and line boards. Future posts will illustrate some of the student submissions.

note: If you are an educator and have a 2D/3D apparel/textile product development prototype project that either you or your student(s) created and would like to share with readers of this blog, please contact me at polvinem@buffalostate.edu

copyright © 2012 by Elaine Polvinen all rights reserved.

Digital Fabric Design: Creative & Technical Exploration

Using CLO3D to visualize engineered garments

This post summarizes a customized undergraduate student project that incorporated an exploration into and experimental development of vector based surface design graphics. The new methods explored by the student were non-repeat yardage & engineered garment design.

The aesthetic goal of this project is to capture the essence of Hawaii. Water life, flora, and volcanoes of Hawaii are incorporated into the surface designs. Research was conducted to integrate the surface theme with the traditional sarong garment styling as well as develop engineered garments inspired by the sarong.

Faith Scheffer Moeuhane-Fabric-Design-II

The challenge was to first conduct a variety of research then develop a Hawaiian theme that is integrated with current color and print trends. A new method of print design for the student involved four very large lengths of silk fabric (four sarongs)  that did not contain a repeat. Another challenge was to explore and develop custom engineered prints for garment pattern design and construction. Garment patterns were traditionally developed and digitized into the OptTtex application. From there they were exported and then imported into Adobe Illustrator where the surface graphics were added. CLO3D was used as a 3D visualization aid for viewing surface graphic design placement.

Vector based applications are perfect for creation of either large width/length pieces of yardage or for developing graphics for full-scale garment patterns because vector files are resolution free thus the file sizes are manageable as compared to raster files. Vector files can be easily exported as a raster of any quality.

The wide scale  (42″ by 72″) fabric non-repeat design was easily created by the student in Adobe Illustrator. The silk fabric yardage was printed at Inkdrop Printing. Garment patterns for this project were  created using the traditional methods of flat patternmaking and then patterns are digitized into the computer. The full-scale garment patterns were then imported into Adobe Illustrator and surface designs were created directly onto the garments patterns. 3D visualization helps with design development. Fabric was digitally printed with the digitally embellished surface patterns at Spoonflower. The two garments are then constructed.

The resulting Moe’uhane, (which means “dream” in Hawaiian) collection consists of four sarong yardages and two Hawaiian-inspired garments. They were recently presented publicly at the BSCRUNWAY 5.0 annual fashion event sponsored by the Fashion and Textile Technology Program at Buffalo State College, USA.

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Link to Faith Scheffer student designer interview

note: If you are an educator and have a 2D/3D apparel/textile product development prototype project that either you or your student(s) created and would like to share with readers of this blog, please contact me at polvinem@buffalostate.edu

copyright © 2012 by Elaine Polvinen all rights reserved.

Behind the Scenes of Flamingo PAU with KadesMode

Videographer: Alexandersvisions.com
Designer: Elaine Polvinen
Photographer: Bruce Fox
http://www.kadesmode.com/

2D/3D Fashion Product Development Prototype Flamingo Pua VII

– Summary

Flamingo Pua Collection

The Flamingo Pua project involved the design, development and creation of prototypes of a collection of 6 garments from initial concept to virtual to real garment prototypes.

The use of 2D and 3D applications throughout enables very quick response design development. This project took approximately 3 weeks from start to finish. Applications used were Adobe Photoshop and Illustrator, OptiTex, and CLO 3D.

Photoshop was used to develop the initial concept board, Illustrator was used to develop print pattern repeats and create the garment basic silhouettes, silhouettes with print patterns and all full size garment pattern surface design and graphics.

OptiTex is a very easy to use multi-dimensional application. For this project it was used for garment pattern development, initial 3D garment testing before and after graphics were applied, and export of garment patterns to Illustrator.

CLO3D was used to develop Animations for the virtual fashion show and the four-way layouts.

The four-way static posed layouts could also easily be generated in the OptiTex application.

Other product development steps you would need to complete if you were ever planning on some sort of limited production would be to create a specification pack [spec pack or tech pack] that included all detailed  garment measurements for each size you are planning to order the garment in and every single other material [fashion fabric/lining, interfacing], notion and embellishment needed to reconstruct the garment. Last but not least by any means would be to put together a costing sheet that includes all costs associated with producing the item. I will put together a follow-up post in near future.

Hope you enjoyed the series.

note: If you are an educator and have a 2D/3D apparel/textile product development prototype project that either you or your student(s) created and would like to share with readers of this blog, please contact me at polvinem@buffalostate.edu

Previous posts:

2D/3D Fashion Product Development Prototype Flamingo Pua VI: – Runway

2D/3D Fashion Product Development Prototype Flamingo Pua V: – digital fabric printing of engineered garment pattern prototypes.

2D/3D Fashion Product Development Prototype Flamingo Pua IV: CLO3D virtual fashion show

2D/3D Fashion Product Development Prototype Flamingo Pua III: garment pattern development in OptiTex, garment sketch development, engineered garment pattern surface design development, OptiTex 3D simulation test.

2D/3D Fashion Product Development Prototype Flamingo Pua II: color palette, print pattern and garment sketch development.

2D/3D Fashion Product Development Prototype Flamingo Pua I: inspiration, initial research for concept & silhouette development

copyright © 2012 by Elaine Polvinen all rights reserved.

2D/3D Fashion Product Development Prototype Flamingo Pua VI

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A very special thank you to Kristina, Kadejah and Ashley.

BSCRUNWAY 5.0 was held at Pierce Arrow Building on Saturday April 21st at 3 and 8pm. Here is a link to the BSCRUNWAY FACEBOOK page and the BSCRUNWAY blog.

 

The Flamingo Pua collection was in Runway 5.0. Video of the entire show will soon be on the Buffalo State YouTube site and a video clip of just the Flamingo Pua collection will be posted here when it is ready.

  • Nate Benson Photo links for Runway 5.0 here.
  • Eric Winton Photography Runway 5.0 link here.
  • Buffalo.com photo links for Runway 5.0 here.

Next Post: 2D/3D Fashion Product Development Prototype Flamingo Pua VII: Summary

note: If you are an educator and have a 2D/3D apparel/textile product development prototype project that either you or your student(s) created and would like to share with readers of this blog, please contact me at polvinem@buffalostate.edu

Previous posts:

2D/3D Fashion Product Development Prototype Flamingo Pua V: – digital fabric printing of engineered garment pattern prototypes.

2D/3D Fashion Product Development Prototype Flamingo Pua IV: CLO3D virtual fashion show

2D/3D Fashion Product Development Prototype Flamingo Pua III: garment pattern development in OptiTex, garment sketch development, engineered garment pattern surface design development, OptiTex 3D simulation test.

2D/3D Fashion Product Development Prototype Flamingo Pua II: color palette, print pattern and garment sketch development.

2D/3D Fashion Product Development Prototype Flamingo Pua I: inspiration, initial research for concept & silhouette development

copyright © 2012 by Elaine Polvinen all rights reserved.