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In recent years, 3D fashion design has been relied on for improving attire fashion, design, and presentation with fewer flaws and better visualization. This aids consumers in providing visualized recommendations on modifications, suggestions, and customized attire designs. Considering the influence of automation and intelligent processing in the fashion designing industry, it introduces a Flaw Detection Method in 3D Representation (FDM-3DR) to reduce frequent modifications. The proposed method visualizes the design in three dimensions for its completeness and flawless representation. Based on the consumer recommendation, the lack of design flaws in the representation is identified, and multiple detections are presented. This is required to improve consumer satisfaction and the multi-dimensional projection between flaws and complete attire products. The learning is trained using the fixable representation, and therefore, the previous unsuitable designs are repelled by different recommendations. This improves the design adaptability, recommendation ratio, and representation ratio. Besides, it reduces the recommendation time and flaws.

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Among the many teaching methods, inquiry-based teaching is considered to be an effective way for students to learn and solve problems on their own. However, most of the research related to inquiry-based teaching and learning has concentrated mainly on K-12 education, while few to no studies have focused on the application of inquiry-based teaching and learning in project design courses at university level. Therefore, in order to expand the understanding of the application effect of inquiry-based teaching at university level, this study adopted the quasi-experimental design method, and through the purposive sampling method, 20 students from the Department of Fashion Design at a University of Science and Technology were invited to participate in this study. During the 9-month period, teaching experiments were carried out using two inquiry models, QC/ADEAC and QD/ODEAC. First, when participants were thinking of a creative topic, they followed the process: Question (Q), Collection/Analysis (C/A), Discussion (D), Explanation (E), Amendment (A), and Confirmation (C) in the course. During the production process, the participants were allowed to improve on their work through the process of Question (Q), Doing/Observation (D/O), Discussion (D), Explanation (E), Amendment (A), and Confirmation (C). The teacher became a true guide, so that the participants could explore and work out how to improve their designs through independent inquiry and practice. In this study, questionnaires were administered to participants at five important stages of the design project: "theme development," "color development," "first Work," "second Work," and "third Work." The results of the five surveys showed that the participants' curriculum interest, curriculum value perception, and curriculum confidence in the inquiry program all increased.

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This paper reports on a new approach to the creation process in fashion design as a result of the exploitation of thermal camouflage in the conceptualization of clothing. The thermal images' main variation factors were obtained through the analysis of their color behavior in a (diurnal and nocturnal) outdoor beach environment, with the presence and absence of a dressed human body (through the use of a thermal imaging camera), such as the analysis of textile materials in a laboratory (simulating the captured outdoor atmospheric temperatures and those of the model's skin using the climatic chamber and the thermal manikin). The combination of different patternmaking, sewing and printing techniques in textile materials, along with the study of the camouflage environment and the human body's variation factors, as well as the introduction of biomimetic-inspired elements (chameleon's skin), enabled the creation of a clothing design process with innovative de-sign elements which allow us to thermally camouflage the human body and take clothing beyond the visible spectrum in a functional and artistic way.

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In the context of fashion/textile innovations towards Industry 4.0, a variety of digital technologies, such as 3D garment CAD, have been proposed to automate, optimize design and manufacturing processes in the organizations of involved enterprises and supply chains as well as services such as marketing and sales. However, the current digital solutions rarely deal with key elements used in the fashion industry, including professional knowledge, as well as fashion and functional requirements of the customer and their relations with product technical parameters. Especially, product design plays an essential role in the whole fashion supply chain and should be paid more attention to in the process of digitalization and intelligentization of fashion companies. In this context, we originally developed an interactive fashion and garment design system by systematically integrating a number of data-driven services of garment design recommendation, 3D virtual garment fitting visualization, design knowledge base, and design parameters adjustment. This system enables close interactions between the designer, consumer, and manufacturer around the virtual product corresponding to each design solution. In this way, the complexity of the product design process can drastically be reduced by directly integrating the consumer's perception and professional designer's knowledge into the garment computer-aided design (CAD) environment. Furthermore, for a specific consumer profile, the related computations (design solution recommendation and design parameters adjustment) are performed by using a number of intelligent algorithms (BIRCH, adaptive Random Forest algorithms, and association mining) and matching with a formalized design knowledge base. The proposed interactive design system has been implemented and then exposed through the REST API, for designing garments meeting the consumer's personalized fashion requirements by repeatedly running the cycle of design recommendation-virtual garment fitting-online evaluation of designer and consumer-design parameters adjustment-design knowledge base creation, and updating. The effectiveness of the proposed system has been validated through a business case of personalized men's shirt design.

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The attempts of combining fashion and technology together to provide digital functionalities at the closest distance users has been continued based on context-aware computing and wearable sensing. Through such convergence, the productive benefits of user-oriented computing and the expansion of traditional fashion functionality can be achieved. In this study, we aim to investigate the optimized way for the development of convergence-smart-fashion prototypes that provide user-oriented multi-functionality to increase the potential features of fashion and widen the application scope of related technologies. Through research and development (R&D), we developed four convergence prototypes which could provide four different functions: 1) Rear-detection, which detects vehicles or people approaching from rear-side and warns the user through vibrations. 2) Bluetooth hands-free provides remote-control functions, such as phone-call and sound-streaming. 3) Vital-signal monitoring, which measures and displays user's heart-beat rates and body heat through a built-in-screen and smartphone application for a user's health-care. The development was proceeded based on the following steps: the determination of the basic usability as a garment and its related practical digital functions, the minimization of the size of the system modules which could be easily assembled and disassembled to ease washability, and the system maintenance, which could help to diversify the usage of convergence fashion.

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This paper combines the perceptual aesthetic sentiments with the objective physiological responses of the human brain. By analysing the characteristics of the brain electrical activities in processing of different types of sentiments, this paper uses the specific physiological indicators of the brain to quantify the aesthetic sentiments about clothing. The purpose is to introduce the EEG quantitative analysis method for sentiment perception into the aesthetic field of clothing, and establish a theory of quantifying aesthetic sentiments towards clothing design through the brain electrical physiological responses.

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We examine creativity from a qualitative process rather than a quantitative product perspective. Our focus is on "habits of mind" (thinking dispositions) used during the creative process, and the categories we used were those of the eight Studio Habits of Mind observed in visual arts classrooms (Hetland et al., 2007, 2013). Our source of data was footage from a popular reality television show, Project Runway, in which nascent fashion designers are given garment design challenges. An entire season of the show (14 episodes) was transcribed and coded for the presence of eight Studio Habits of Mind. We found abundant evidence of all eight of these thinking dispositions in all portions of the show. We argue that the creative thinking occurring during fashion design bears strong resemblances to that which occurs in the art studio-classroom. Qualitatively created frameworks, like those of the Studio Habits of Mind, can be used to inform our understanding of creative behavior in various disciplines.

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The role of figurative language such as metaphor and metonymy in creativity has been studied in cognitive linguistics. These methods can also be applied to analyze non-linguistic data such as pictures and gestures. In this paper, we analyze fashion design by focusing on visual metaphor and metonymy. The nature of creativity in fashion design has not been fully studied from a cognitive perspective compared to other related fields such as art. We especially focus on fashion design as a communication tool between the designer and audience in conveying a designer's image of human beings. Photos from two fashion shows were analyzed. We carried out an experiment to compare how human images in two shows are interpreted by those who are familiar with fashion and those who are not. We obtained three results: (1) As far as figurative (metaphorical and metonymic) interpretations of human images are concerned, two groups with different levels of familiarity with fashion had significantly different patterns of responses to two shows. (2) For the non-figurative interpretations (such as physical or personal attributes), no significant difference in the pattern of response to the show was observed between the two groups. However, the participants as a whole responded to the two shows differently. (3) In addition, for the non-figurative interpretations, the fashion experts found significantly more attributes in human images than the other group. The results show that the analysis of figurative interpretations is effective in understanding how familiarity with fashion affects the mode of seeing fashion shows.

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A autora ensaia uma interpretação de um fenômeno novo no mundo fashion: a apresentação de fotos em que top models aparecem nuas em revistas de moda. Subjetivamente, a modelo não está nua, mas vestindo apenas o nome do estilista.(AU)

The author proposes an interpretation about a new phenomenon in the fashion world: magazine photos of nude top models. The model is not nude, but dressed only with the stylist name.(AU)

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