The short-term aim of this R&D project (financed by the Centre of Expertise Creative Industries) is to develop a virtually simulated textile database that renders 3D visual representations of these fabrics. The idea is for this database to be open source and be able to interface with 3D design applications such as those of Lectra. The textile database will include a number of different digital datasets per textile that contain information about the fabric’s drape, weight, flexibility etc., to virtually render prototypes in a 3D simulated environment. As such, in building garments via a 3D software design application, designers will be able to see how a garment changes as new textiles are applied, and how textiles behave when constructed as different garments. This will take place on 3D avatars, which may be bespoke body scans, and will allow for coordinated and precise fitting and grading.
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Recent developments in digital technology and consumer culture have created new opportunities for retail and brand event concepts which create value by offering more than solely marketing or transactions, but rather a place where passion is shared. This chapter will define the concept of ‘fashion space’ and consumer experience, and delves into strategies for creating experiences that both align with a brand’s ethos and identity and build brand communities. It will provide insight on creating strong shared brand experiences that integrate physical and digital spaces, AR and VR. These insights can be used for consumer spaces but also for media and buyer events, runway shows, test labs and showrooms. Since its launch in 2007, international fashion brand COS has focused on creating fashion spaces that build and reinforce a COS fashion community. COS retail stores with their extraordinary architecture, both traditional and contemporary, contribute stories and facilitate intense brand experiences. Moreover, COS’ dedication to share the artistic inspirations of its people led to collaborating on interactive and multi-sensory installations which allow consumers to affectively connect to the brand’s personality and values. Thus, the brand was able to establish itself firmly in the lifestyle of its customers, facilitating and developing their aesthetics and values. This is an Accepted Manuscript of a book chapter published by Routledge/CRC Press in "Communicating Fashion Brands. Theoretical and Practical Perspectives" on 03-03-2020, available online: https://www.routledge.com/Communicating-Fashion-Brands-Theoretical-and-Practical-Perspectives/Huggard-Cope/p/book/9781138613560. LinkedIn: https://nl.linkedin.com/in/overdiek12345
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De wereld verandert in een razend tempo. Technologische ontwikkelingen hebben een grote impact op mens en maatschappij. Het verandert niet alleen onze manier van werken maar ook onze manier van leven. Steeds meer disciplines hanteren technologie als basis om in een professionele omgeving het werk kwalitatief beter, sneller en effi ciënter uit te voeren. Digitalisering, globalisering en informatisering maakt het mogelijk om plaats- en tijdonafhankelijk te studeren en te werken. Fontys Hogescholen speelt hier op in door tal van initiatieven te ondersteunen die gericht zijn op het volgen van deze en opkomende trends rondom technologische ontwikkelingen en de impact voor het onderwijs. Met het Fontys Objexlab zetten we deze beweging door. Opkomende technologieën zoals 3D printing en Robotica maken we graag toegankelijk voor collega’s. Andere instituten kunnen hiervan gebruik maken zodat zij hun onderwijs nog aantrekkelijker en actueler kunnen maken. In het najaar van 2014 zijn we gestart met het samenbrengen van collega’s van verschillende instituten en opleidingen om enerzijds deze nieuwe technologieen te leren en te ervaren, om daarna een stap te maken in het initiëren van ideeën en plannen om met deze kennis en vaardigheden onderwijsvernieuwing gezamenlijk vorm- en inhoud te geven.
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The problem with investments in digital technology arise when much wanted and needed small companies and entrepreneurs have to invest in costly device the benefits of which are largely unforeseen, or unpredictable. An example of this is the use of 3D whole garment knitwear machines, there not only the machine itself is costly, not only the outcomes unpredictable in terms of sale, but also and mostly the development of knowledge necessary to create and translate fashion into informatic tools is more unique than rare. In the specific case of fashion as a creative industry, unpredictability of outcomes poses serious problems to making joint investments. So how can multiple small companies best share such investments and benefits from these? Mostly in the context of local production (eco)systems, this is a fundamental question to be answered. In this paper we further elaborate on the question using the pivotal framework as developed by Ostrom E [1] and further elaborated by Bridoux F, et al. [2]. We discuss three possible collaborative frameworks in the specific context of fashion and textiles production.In the paper we look at the case of a shared 3D whole-garment knitwear machine to test and further develop this framework of collaboration. The paper ads to theoretical knowledge where we do contribute to adding insights from the creative industry into existing knowledge of collaborative efforts, or the literature on shared ownership, which is mainly applied e.g. in the context of finance of real estate ownership. The practical relevance lies in the applicability of the model to implement and foster the use of technologies carrying a high financial risk, to promote local, communitybased ecosystems of production (and consumption).
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Three-dimensional (3D) body scanning becomes increasingly important in the medical, ergonomical and apparel industry. The SizeStream 3D body scanner is a 3D body scanner in the shape of a fitting room that can generate a 3D copy of the human body in a few seconds. The Poikos modeling system generates a 3D image of a person using a front- and side photo. This study evaluates the repeatability and validity of both systems with human subjects. Hundred fifty-six participants were included in this study, of whom 85 were scanned twice by the SizeStream Scanner and 139 by the Poikos modeling system. The repeatability is assessed by calculating the intra-class correlation coefficients (ICC) and standard error of measurement (SEM), and the validity of 6 Sizestream and 4 Poikos measurements is evaluated by comparing these measurements with collected tape measurements. The ICC and the SEM results indicate that 79 of the 163 SizeStream measurements are repeatable enough to use for fashion purposes, since they had an ICC above 0.80 and a SEM below 10mm. Fifty-one measurements give a good indication but are not accurate enough for pattern making. The waist, chest and hip circumferences are valid after a correction of the over- or underestimation of the measurements. The Poikos modeling system is a promising, but is as expected, less repeatable and valid than the SizeStream scanner. Although the Poikos modeling system can give a good estimation of the body shape, the measurements are not accurate enough (SEM > 10mm) to use in the fashion industry. Future studies have to be performed to validate more Poikos and SizeStream measurements and to assess the usability of these measurements for the fashion industry.
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Keeping it Local is een onderzoeksproject van het Fashion Research & Technology Lectoraat aan de Hogeschool van Amsterdam. In dit ‘levend laboratorium’ wordt onderzoek gedaan naar co-creatie, lokale productie in een stedelijke omgeving en duurzaam consumentengedrag. Wij produceren 3D-gebreide truien, geïnspireerd op de traditionele visserstruien. Net zoals hun traditionele voorgangers, vertellen deze truien het verhaal van lokale gemeenschappen: de enige Amsterdamse commerciële Noordzeevisser Hendrik Kramer en bemanning, studenten Cultureel Erfgoed van de Reinwardt Academie, studenten HBO-ICT van de Hogeschool van Amsterdam en modestudenten van het AMFI.Met een mix van traditionele en computergegenereerde patronen vertellen de truien over het leven in Amsterdam en de toekomst van de visserij, de mode-industrie, ICT en cultureel erfgoed anno 2023. Ze zijn ontworpen voor en in samenwerking met de bovengenoemde gemeenschappen.Gevestigd op de Amstel Campus van de Hogeschool van Amsterdam, omvat onze productieketen ontwerp, productie en verkoop. We volgen onze consumenten om te weten te komen hoe ze hun trui 'behandelen' na het verkooppunt. Want leidt zo’n door en voor jou gemaakte trui tot een hechtere emotionele band met jouw trui en vervolgens tot duurzamer kledinggedrag?Door gebruik te maken van een geavanceerde 3D-breitechniek is het mogelijk om lokaal en op bestelling te produceren. Dit voorkomt overproductie en mogelijke verspilling door onverkochte truien. Daarom hangen er alleen pasmodellen in de winkel: consumenten kunnen binnenlopen om de truien van dichtbij te zien, te voelen, te passen en te bestellen. Vervolgens wordt de trui speciaal voor de drager gebreid.Onze productieketen wordt niet alleen volledig gerund door het project, maar is ook 'ultra lokaal'. De afstand tussen het punt van ontwerp, het 3D-Knitlab waar de truien worden geproduceerd en de University Store waar ze worden verkocht is slechts 300 meter. Dit geeft ons de kans om te experimenteren in een levensechte omgeving en 'op de knoppen te drukken' in elke fase van de keten om te zien waar en hoe we dit project duurzamer kunnen maken.
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This research aims to obtain more insight in the perception of fabric drape and how fabric drape can be cat-egorized With the current 3D virtual technologies to simulate garments the fashion and clothing industry can speed up work processes, improve accuracy and reduce material consumption in fit, design and sales. Although the interest in 3D technology is increasing, the implementation on a large scale emerges only slowly. At the threshold between physical and virtual fitting the fashion industry faces new challenges and demands re-quiring responses out of rule. The measurement of fabric drape started in the first half of the previous cen-tury, after the introduction of 3D garment simulation fabric drape gained interest from more researchers to obtain information for the virtual drape. Intensive research has been undertaken to define ‘fabric hand’, however, research is limited for the definition of fabric drape. Better understanding of how fabrics drape and how they can be selected based on their drape might contribute to the understanding of the virtually as-sessed material and accelerate the selection process of virtually, as well as digitally presented fabrics. For this research the drape coefficient of 13 fabrics, selected based on their drape, was measured with the Cusick drape tester. Images and videos of the fabrics draped on pedestals were presented to an expert tex-tile panel who were asked to define the fabric drape. From these definitions categories, as well as identifying key-words, were derived. During a group session the expert panel evaluated the drape categories and identi-fying key-words. In the next phase an expert user panel, familiar with the assessment of fabrics in a virtual environment, assessed the appropriateness of the categories and identifying key-words which were present-ed along with the fabric drape images and videos. Moreover, both panels judged the stiffness and amount of drape, next to that they indicated similar draping fabrics. The relation between the subjective assessment of drape and the drape coefficient was investigated. The agreement of the user panel with the drape categories defined and evaluated by the textile panel was high. Further, the agreement of the majority of the user panel with the identifying key-words was above 78%. A strong relation was found between the measured drape coefficient and the subjectively assessed stiffness and amount of drape. Additionally, the analysis of the fabrics combined by the panels based on drape simi-larity, as well as the analysis of the drape coefficients, confirms with previous research, that significantly dif-ferent fabrics can have a similar drape. Fabrics can be divided in drape categories based on the way they drape, and the identifying key-words are useful to distinguish between significantly different fabrics with similar fabric drape. Moreover, the cate-gories are related to the drape coefficient.
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This investigation is undertaken based on the indicated improvements for fabric simulations, defined during the panel discussion “Driving the Uniformity of Material Measurements for Accurate Virtual Simulation” at the Product Innovation Apparel Conference (PI Apparel) in Berlin 2017, by experts from industry and academia. According to the expert panel, there is no coherency between methods used to measure the fabric properties and the simulated results of the same fabric among the different software packages. In praxis, fashion brands use different 3D software packages and need to measure a fabric with different methods to obtain the same fabric properties. In addition to the time investment, the simulated results for the same fabric vary significantly between the different software packages. The experts indicated the lack of standardization in material measurements, the lack of correlation between the data of the different measurement systems, and the lack of correlation between the simulated results of the different software packages for the same material. The contributions of the panel were followed up during the next edition of PI Apparel in the United States and resulted in the 3D Retail Coalition (RC) innovation committee to work on the indicated areas to improve the efficiency of material measurements. Moreover, this topic was further discussed during the PI Apparel Conference at Lago Maggiore in 2019 within the panel discussion "How Can We Collectively Achieve the Standardisation of Fabric Measurements for Digital Materials?"This paper investigates, on the one hand, the suitability of the current available measurement technologies for retrieving fabric parameters for precise virtual fabric and garment simulations. The focus is on the main properties required by the software packages—bending, shear, tensile and friction—aiming to identify and specify the most suitable methods to retrieve mechanical fabric properties and to start a standardization process for fabric measurements for virtual simulations.Seven fabric measurement methods and their output data are reviewed, namely the Kawabata Evaluation System (KES), the Fabric Assurance by Simple Testing (FAST), the Fabric Touch Tester (FTT), the CLO Fabric Kit 2.0, the Fabric Analyser by Browzwear (FAB), the Optitex Mark 10, and the cantilever principle. A set of fabrics with different mechanical behavior and physical drape has been tested with the FAB method. Other measurement methods have been discussed with expert users. In addition, fabrics have been tested with ZwickRoell’s (ZwickRoell) measuring systems applying various standard measurement methods, developed for similar materials. This publication will give for each property an overview of the different measurement methods, as well as recommendations based on their accuracy. Further, a SWOT analysis is provided. The outcome of this research can be used to pave the foundation for further work on the standardization of the fabric measurement.
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This text has become a performance of (affirmative) entrepreneurship. This is done by a set of writing (and methodological) techniques: autoethnography, the triptych of mimesis, poiesis, kinesis and a life journey that forms the base of the chapter. As such, this text challenges some well-known shortcomings of entrepreneurship research such as being enacted by a distant observer/writer, decontextualized accounts of entrepreneurship and disregard of creativity and playfulness. The main contribution of the chapter is methodological, in its broadest sense (Steyaert, 2011): I propose autoethnography as “more than method” for engaging with processes of (affirmative) Entrepreneuring that speak to the increased attention for narrativity and playfulness in entrepreneurship (see for example Hjorth, 2017: Hjorth and Steyaert, 2004: Gartner, 2007; Johannisson, 2011). The autoethnographic story offers an engaging and relevant account of the practice of entrepreneurship and provides rich emic insight into the socio-materiality of lived experience. It also highlights the temporality of entrepreneurship – both in terms of chronos (continuous flow of time) and Kairos (taking advantage of the “right moment”) (Johannisson, 2011). And as I continue performing affirmations, I am curious how you are Entrepreneuring your life – tell me. This is a draft chapter/article. The final version is available in Research Handbook on Entrepreneurial Behavior, Practice and Process edited by William B. Gartner and Bruce T. Teague, published in 2020, Edward Elgar Publishing Ltd https://doi.org/10.4337/9781788114523
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We need mental and physical reference points. We need physical reference points such as signposts to show us which way to go, for example to the airport or the hospital, and we need reference points to show us where we are. Why? If you don’t know where you are, it’s quite a difficult job to find your way, thus landmarks and “lieux de memoire” play an important role in our lives.
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