AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX

VIRTUAL RECONSTRUCTION OF HISTORICAL MEN’S SUIT

Victor Kuzmichev1, Aleksei Moskvin2, Mariya Moskvina2

1Ivanovo State Polytechnic University, Textile Institute, 21, Sheremetev Av., Ivanovo, Russian Federation 2Saint Petersburg State University of Industrial Technologies and Design, Department of Clothes Design and Technology, 18, Bolshaya Morskaya Str., Saint Petersburg, Russian Federation E-mail: [email protected], [email protected], [email protected]

Abstract:

Nowadays, the virtual technology is being widely applied in the area of clothing design and try-on. However, the possibilities of these technologies cover only the contemporary marketable clothes, while the insight in the aspect of historical costume is very limited. In this research, we developed the method that allows to reconstruct and do the virtual try-on of historical men’s suit consisting from four different garments—trousers, shirts, vest, and coat. The method includes, on one hand, the analysis of pattern drafting systems, patterns construction, special means of bespoke tailoring that were popular in the history and, on the other hand, the way of its adapting and preparing to contemporary technologies of 2D and 3D design. The exploration was done with men’s suit and the patterns from the nineteenth century. We studied how the tailors took all measurements, the content of size charts including divisional, direct measurements, and its combination. To parameterize the historical patterns of men’s clothes, we created the schedule of special indexes. We developed the method how to identify the means of garment shaping by steam pressing, which are hiding in the patterns, and how to perform ones by darts. The preparation of historical patterns to virtual try-on was done by CAD. As example, the reconstruction of full-dress suite painted on the Prince Albert of Saxe-Coburg and Gotha’ portrait (1840) was done, and high adequacy between the historical prototype and the virtual suit has been proved.

Keywords:

Historical costume, reconstruction, VR, men suit, CAD, 3D

1. Introduction Virtual reconstruction is the second and parallel way of getting 3D images of historical costume. Technological platform for The reconstruction of historical costume is the new direction of the virtual reconstruction includes 3D methods of simulation of engineering design that can be applied in museums, theaters, and system “avatar—clothes” and try-on. Many scientists are doing cinemas. Famous designers very often have taken the historical an exploration in this area. costume as an inspiration for new clothes designing. Martin and Ko [25] described the methods how to shape the There are three objects saving the information about the 3D historical garments based on their pattern blocks and historical costume such as real full-size clothes, printed images, shown the possible areas of its application. Kang et al. [16- and full-size and small-size patterns that were published in the 18] did the exploration about virtual and real reconstruction illustrated books, the pattern-drafting books, and the pattern of historical costume. Magnenat-Thalmann developed the manuals. 2D or 3D objects mentioned have different content method of 3D modeling and simulating of historical garments related to outline shape, construction, and style. There are in different styles in according with textile materials properties many pictures, paintings, historical illustrations, engravings, [24, 40]. Cybulska [10, 11], Crowfoot, Pritchard, and Staniland and so on that have 2D images of historical costume in small, [9] studied the properties of textile materials used in the history real, or big sizes as the resources of important information and developed the process of virtual simulation. such as total view, silhouette, style, and different details. The pattern blocks that were created by measuring the garment But obtaining the information and databases aren’t enough or the body are the additional and technical-base supporting for the reconstruction of historical clothes, either as real or as resource of bespoke tailoring, main measurements, ways of virtual objects. For example, to reconstruct 3D garments, Arnold garment shaping, and so on. [5, 6], Thursfield [33], and Waugh [37, 38] used the pattern blocks from the modern manuals without the consideration of To do the real reconstruction of historical costume with high its drafting algorithm. precision, we should extract the information from each object and consider all objects together. For example, the results of Aldrich explored the different aspects of the tailoring such as reconstruction will be different if we have only the image printed the changing of measurements used in the history, the system or when we use the image and the patterns published together. of sizing, the pattern-drafting methods of men’s wear and http://www.autexrj.com 281 AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX women’s wear, the anthropometrical methods, the size tables, the chosen costume can be supported by the published pattern and the ways of pattern drafting and clothes shaping that the blocks. tailors and the dressmakers have used in the history [3,4]. The second step “preparation of initial database” is devoted Muller and Sohn [21-23] have systematized the huge to the choosing and analyzing of pattern blocks by special information about the historical costume including pattern- indexes, body measurements and conditions of its taken drafting algorithms and studied the methods of pattern shaping from the body, and size charts used in chosen period of and sewing of historical garments by using the complex time. It’s necessary because the chosen prototype has not analysis of own real experience. published patterns. After this step, the full information should be completed about bespoke tailoring, system of sizing or So, to better understand the state of historical clothes’ shaping size tables, applying of measurements to pattern drafting and to use this database in 3D simulation, it is necessary to and construction, and system of pattern drafting (divisional know all aspects of male body morphology, pattern-drafting system, direct measurements for pattern calculation, or methods, pattern construction, and the relations in between. systems which combined the both, indexes for accurate Contemporary mathematical-based methods of pattern parameterization of pattern, etc.). construction can be put as the fundamental for accurate application of historical patterns in 3D CAD. This approach The third step “2D reconstruction” includes the adaptation of can help to avoid the subjective decisions during the virtual historical patterns to the similar positions of contemporary reconstruction and to get the realistic presentation of virtual patterns positioned in rectangular net and the evaluation of the garment. fabric deformations that are used to shape of the costume and its transformation during the manufacturing technology. The goal of the current study is to develop the method of virtual reconstruction of historical men’s suit into two categories, 2D The fourth step “3D reconstruction” includes the designing of and 3D. This method will use the information after complex an avatar in accordance with the measurements used in the analyzing of pattern-drafting manuals and its unification, the chosen period of time and virtual try-on simulation. The avatar body measurements, and its application in pattern-drafting, should be an exact replica of historical prototype that has to sewing methods of pattern shaping. The main criteria of virtual have real-looking image, the same body measurements, and reconstruction are the high reality of simulated system “avatar- morphological features. When the virtual system “avatar– clothes” and huge adequacy between a real prototype and a costume” is designed, it should be compared with the historical virtual simulation. The flowchart of the developed method of prototype to check the adequacy. There are two possible virtual reconstruction of historical costume, which is based situations that can take place after the comparison. If both on the costume’s image and adapted patterns, is shown in objects—the prototype and the virtual analog—have the Figure 1. significant differences and not equal to each other, the pattern’ indexes, body dimensions, and properties of textile materials Figure 1 shows five steps that should be done to transform the should be changed. historical image into the virtual system “avatar-costume.” The fifth step “3D virtual system avatar-costume” includes the The first step (named as 2D historical costume) is based on presentation of virtual system “avatar-costume” obtained with the 2D image of historical costume taken from the published authentic and realistic view as the initial prototype. books, journals, or paintings. The 2D image is the recourse from which the initial database could be built, such as the In our study, we investigated men’s full-dress suite of the period of time when the costume was designed, the basic body nineteenth century. This study includes a block patterns, styled measurements, the construction of garment, and the features patterns, 3D design and 2D pattern preparation, virtual garment of style to evaluate the costume fit from 2D image. Sometimes prototyping, and prototype image.

2. Preparation of initial database 3. 2D reconstruction

Choosing of Not equal Equal historical costume"

- pattern Pattern block Adapting of Comparison of 3D drafting indexes pattern block and prototype system

Generating of Adaptation the avatar avatar poster to Choosing of Body Virtual try-on prototype size chart measures

"avatar system D virtual 2D historical costume (prototype) historical costume 2D

1. 4. 3D reconstruction

5. 3

Figure 1. Flowchart of virtual reconstruction of historical costume http://www.autexrj.com/ 282 AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX

2. Experimental Under the development of anthropometry and pattern drafting systems based on direct body measurements, more complex 2.1. Men’s suit combination of body measurements such as arcs and diameters are used to the evaluation and presentation of male The costume of Prince Albert of Saxe-Coburg and Gotha, bodies. Figure 3 shows the schemes of bodies measuring in 1840 (the painter is Sir William Ross) [28], was chosen for the nineteenth and twenty-first centuries. reconstruction. Figure 2(a) shows this costume titled as “the full-dress suite” and related to distinctively evening dress Figure 3(a) presents the collecting measurements from the “Correct dress” [12]. There are four garments combined in this drafting systems 1840, 1867, and 1891 [31, 1, 7]. Figure 3(b) costume: the coat, the vest, the trousers made of high-quality shows the contemporary measurements from W. Aldrich’s black wool (worsted, either very narrow diagonal or fine wales), drafting system 2009 [2]. Contemporary methods of pattern and the shirt made of linen or cotton with a linen or pique making using the direct measurements in which points of the bosom. Figure 2(b) shows the total contour of the costume, draft were identified with direct reference to body or garment Figure 2(c, d) shows only the visible parts of the vest, the shirt, measurements. The similar measurements belonging to and the trousers. historical and contemporary anthropometrical sizing systems are shown by solid lines; outdated measurements are shown Figure 2 demonstrated that the image of the costume contains by dotted lines. the limited information of outline shape, silhouettes, and construction of the garments. The contour of the coat could Table 1 contains the anthropometrical measures to be used in be seen only in the front view, not on the back or side (Figure the nineteenth century and at present time (the numbers 1, 2, 2a), but the silhouette features of the vest (Figure 2b), the 3,... 32 are following Figure 3). shirt (Figure 2c), and the trousers (Figure 2d) are completely hidden. So, the absence of information how all garments have As shown in Table 1, some historical measurements (5, 15–20, been constructed needs more deep knowledge which we can 22–26, 28, 29, 31) are not applied in modern anthropometrical find in pattern-drafting books published in present time. programs. Special feature of drafting manuals of the nineteenth century is using the additional arc measurements for the 2.2. Body sizes presentation of upper bearing surface located between neck line, armhole line, and bust line. For example, there are “an To build the Prince Albert’s avatar, we should know the collecting upper shoulder measurement” (Figure 3, 19) and “lower body dimensions, methods of body measuring, and chart sizes shoulder measurement” (Figure 3, 20) that have been used to draft the patterns. During the first half of the nineteenth measured, respectively, across the armhole line from seventh century, the divisional systems that used the proportions of cervical and the middle of back near the blade prominence. breast or a combination of the breast and the back length to “Front shoulder measurement” (Figure 3, 15) is the circle from calculate the coordinates of specific points were very widely seventh cervical across the shoulder area to front armscye. The spread. The number of measurements was limited and included tailors in the nineteenth century also used the measurement only a few ones. For example, nine measurements were used “Blade” (Figure 3, 50) that is equal to half of the back width + to draw the coat pattern in the system “The taylor’s instructor,” armhole width. The sleeve length (9) was measured from the 1809 [27]. Full girths (bust, hip, etc.) and linear measurements center of back as shown in Figure 3(a). To draft a trouser’s were not divided between the front and the back, so the front pattern block, the heights 12, 13, 14, 29 and the arcs 2, 3, 29, width and the back width were calculated in proportions. 30, 31, 32 were measured as shown in Figure 3(a).

(a) (b) (c) (d) Figure 2. The contours of Prince Albert of Saxe-Coburg and Gotha’ full-dress suite (a), and visible contours of the vest (b), the shirt (c), and the trousers (d). http://www.autexrj.com/ 283 AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX

(a) (b) Figure 3. Garment and body dimensions used in the nineteenth century (a) and W. Aldrich’s system (b) [2]

Table 1. Historical measures and its contemporary analogs

Measure Measure No. No. Historical Contemporary Historical Contemporary 1 Breast Bust 17 Length at front - 2 Waist Waist 18 Length at the hip - 3 Seat Hips 19 Upper shoulder measure - 4 Back/half back Back width 20 Lower shoulder measure - 5 Blade - 21 Length to bottom of seat Body rise 6 Neck/around the neck Neck size 22 Back waist - 7 Back scye depth Armscye depth 23 Side length - 8 Length to natural waist Nape to waist 24 Back armseye depth - Sleeve length + back 9 Sleeve length 25 Over shoulder - width 10 Upper arm/biceps Top arm 26 Seye to waist - Waist to floor – body 11 Sleeve at cuff Wrist 27 Inseam length rise 12 Length to seat line Waist to hip 28 Upper seat - 13 Length to knee Waist to knee 29 Thigh - 14 Length to sole of foot Waist to floor 30 Knee Knee 15 Strop / front shoulder - 31 Calf - 16 Over shoulder - 32 Bottom width Ankle

The tailors in the first half of the nineteenth century took all tailors took the measurements from customer’s vest because measurements including the breast girth from their customer’s the vest was close-fitting garment with smallest eases. As garments such as coats, frock coats, and morning coats. These these measurements are more similar to the anatomical body measurements are used to copy the ready-wear clothes. measurements, we used ones from the size table published for But this combination of such measurements couldn’t help to generating an avatar. The schedule of historical measurements parameterize the male body shape, to generate an avatar using that were chosen for virtual simulation has been completed computer graphics, or to test the fit of reconstructed historical only by ones that have not the analogs in contemporary system costume. During the second half of the nineteenth century, the of sizing and CAD modules. http://www.autexrj.com/ 284 AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX

For generating the avatar and drafting the pattern block, we Pattern manuals of the beginning of the nineteenth century were applied the main arcs and heights to construct the shape and based on the body measurements that allowed to alter the pattern the proportions of body such as 1–14, 21, 27, 30, 32 published block in total and some parts, but the position of patterns was in the nineteenth century (Figure 3; Table 1). In addition, we irregular because each pattern was corrected independently measured some arcs on the upper surface of the body (15–20, from others ones, see Figure 4(a). Under the development of 22–26, 28, 29, 31). All the mentioned measures were also used mathematical-based pattern construction and the size tables for drafting the pattern block. of body measurements taken directly from the body, the tailors have drafted the patterns by using these measurements that 2.3. Historical pattern blocks allowed to find the coordinates of anthropometrical points in the reference to body measurements, see Figure 4(b). At the end Before the reconstruction, we analyzed the published pattern of the nineteenth century, the patterns were built in rectangular manuals to enrich the initial information generated from a 2D net consisting main horizontal and vertical lines, see Figure image of the costume. Forty-eight pattern manuals of men’s 4(c). Figure 4(c, d) shows that the pattern position in 1895 was clothing published during 1809–1906 in Europe, the United similar to contemporary basic pattern block in 2010. So, the States, and Russian Empire were investigated for extracting variety of patterns and ways of its drafting in different manuals the following databases: need the unique approach for its analysis. - collection of anthropometrical data (method of measuring, sizing system construction, body measurements); - collection of pattern blocks (parameters, outline configurations, 3. Results and discussion etc.); - algorithms of drafting or altering pattern blocks (such as the 3.1. Parameterization of patterns relations between direct or proportional measurements and the positions of patterns points and dimensions); The main aim of this step is to adapt the historical patterns to - pattern-drafting methods; the possibilities of CAD modules and digital processing. For - means of garments shaping during its manufacturing. this purpose, we established the method how to parameterize the pattern blocks. Figure 5 shows the scheme how to measure Figure 4 shows the row of pattern blocks and additional the patterns of coat, frock coat, morning coat, vest, shirt, and rectangular lines in manuals (1809, 1840, 1895, 2010). trousers created in nineteenth century.

Figure 4(a) shows that the location of pattern has been We used 2D AutoCAD for measuring the patterns. To changed from irregular that was similar to their position on the parameterize the patterns, we have developed the absolute fabric before cutting to a regular position inside rectangular net. and zero relative level indexes in four groups: The second one was based on the overlapping the basic levels belonging to the body and the patterns levels (bust, waist, hip) 1. the lengths (a6, a7, b2, b3, c6, d1, R1, etc.). The indexes with in accordance with the grain direction. As we can see, different “a” and “b” are related to the bodice and the collar (Figure 5 (a, methods have been developed for using the different number b, d, e, f, g)), those with “c” are related to the sleeve (Figure 5 of body measurements. (b, e)), those with “d” and “e” are related to the trousers (Figure

(a) (b) (c) (d) Figure 4. The pattern blocks: (a) frock coat with the skirt and front designed in one piece 1809 [27], (b) frock coat 1840 [30], (c) morning coat 1895 [14]), (d) frock coat designed in two piece 2010 [20])

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(a) (b) (c)

(d) (e) (f) (g) Figure 5. Scheme of patterns measuring of men’s clothing in nineteenth century. (a) Bodice of dress coat, frock coat, and morning coat; (b) sleeve- in and collar; (c) trousers; (d) bodice of shirt; (e) sleeve of shirt; (f) vest; (g) pockets.

5(c)), and those with “R” are related to the curved lines; 2. Raster images of pattern blocks have been transformed into vector ones. 2. the angles between two lines (γ, β, δ1, δ2, etc.); 3. Patterns have been posed in the rectangular net. The 3. the ease allowance added to the body measurements or to patterns of bodice (coat and similar garments) have been the line of patterns such as a1, a2, a3, b1 (Figure 5a); joined along bust, waist, and hip levels, which were drawn as perpendicular to gain line (Figure 5a, d, f). The upper and down 4. the proportions between the widths of two parts as /W1/ − / parts of sleeve were posed along the vertical gain line and W6/ (Figure 5a). the horizontal line across the lowest point of the cup of sleeve (Figure 5b). One-piece sleeve was posed along the vertical The unit of indexes of first and third groups is millimeter, and gain line (Figure 5e). The front and the back of trousers were that of second one is degree. The indexes of forth group have joined along crotch, knee, and bottom in horizontal direction been calculated by dividing two values. To measure all indexes and along the folding line in vertical direction (Figure 5c). mentioned, we used the next procedure of pattern preparation. 4. The width and length of the rectangular net have been 1. The pattern blocks have been analyzed by means of the calculated. combination of specific parameters (eases, lengths, etc.). 5. Small-scale patterns have been transformed into full- http://www.autexrj.com/ 286 AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX size patterns in accordance with the width and the length of clothes in manufacturing process in the nineteenth century [8; rectangular net. 26; 29; 32]. The aim of this process is to adapt the shapes of clothes to human bodies or fashionable style. Figure 6 shows 6. The indexes of first and second groups have been measured the areas of historical patterns that must be treated by steam directly from the patterns. press for shaping and fitting the body.

7. The indexes of third group have been calculated by using the Figure 6 shows the places of steam pressing in all dressmaker body measurements and the pattern parameters. manuals. For coats, after steam pressing, the length of edges should be elongated or shorten: in area 1, from 0 to 9 mm; 8. The indexes of forth group have been calculated by using the in area 2, from 6 to 13 mm; in area 3, from 6 to 64 mm; and body measurements and rectangular net parameters. in area 4, from 6 to 25 mm. For trousers, the dressmaker’s manuals have recommended the next deformations: in area A total of 139 patterns, including 24 coats, 15 frock coat, 14 5, from 0 to 9 mm; in area 6, from 12 to 29 mm; in area 7, morning coats, 18 vests, 15 shirts, and 36 trousers, have been from 23 to 31 mm; in area 8, from 32 to 59 mm; and in area parameterized. The total number of measured and calculated 9, from 19 to 37 mm. The edges in areas 5, 7, and 9 should pattern indexes were 54 for the coat, 53 for the frock coat, 53 be elongated under steam pressing, but in other areas 1–4, for the morning coat, 26 for the vest, 28 for the shirt, and 37 for 6, 8, these should be shorten. But contemporary technologies the trousers. The precision of parameterization was near ±1 of men’s wear production don’t need such huge deformations. mm because of 2D CAD, vectoring, scaling, and measuring. So for accurate reconstruction of chosen costume, we should consider all means of shaping hidden in the pattern blocks. These indexes could be measured in parallel from the patterns or from the ready clothes; so by this approach, both the objects The values of deformations can be calculated as the difference will be considered as one system for different purposes such as between the lengths of sewing edges belonging to the front an identification, a classification, reconstruction, and creation and the back. But to recognize the deformation of front edge to of universal databases. The schedule of indexes is enough for change its configuration from convex to straight is impossible. the identification of the pattern construction of garments that formed the male costume during 1807–1906. To find the relations between the front edge configuration and the values of its deformation, we studied many pattern blocks 3.2. Parameterization of deformations along the front edge designed with steam pressing or without steam pressing [13]. Figure 7(a) shows the construction of initial right front consisting This step was devoted to how to produce the effects of steam the side and the central parts that we used to establish new pressing in virtual clothes and how to change this kind of method. The front shaping is based on two approaches: first, deformation by darts along the front edge. Steam pressing or by the vertical waist dart located between the side part and the heat-moisture treatment was widely used for the deformation of central part and, second, by decreasing the neck line.

(a) (b) Figure 6. The places of steam pressing: (a) coat [13, 8] and (b) trousers [34]

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(а) (b) (c) Figure 7. Scheme of front side part adapting: (a) pattern of initial parts (1906) [12], (b) pattern shaping by means of five darts from neck and front edges, and (c) position of five darts

We have shaped the front parts as shown in Figure 7(b). The bust, waist, and hip positions are marked by means of the sums of the measurements such as “back scye depth,” “waist 1. We calculated the dart length (in cm) by using the following height,” and “seat height” (or “length to seat line”) and an ease equations: allowance. The position of horizontal line across the lowest point of armhole is in an ease value down than the bust line. lb = 0.4 (FW + ease), (1) The waist darts WD and the values FBO of the front and the lw = 0.35 (FW + ease) (2) back overlapping on hip level have been calculated as the where lb is the length of dart located on the bust level, lw is the differences by using the following equations length of dart located on the waist level, and FW is the front width. WD = [(BG + ease) − (WG + ease)]/2, (3) 2. We measured the distance L between bust and waist levels (Figure 7c). FBO = [(BG + ease) − (HG + ease)]/2, (4)

3. We divided the front central part into five segmentsA1–A5 in where WD is the sum of waist darts designed along waist level, 0.3L (thick dotted line, Figure 7b). FBO is the value of the front and the back overlapping along hip level, and BG, WG, and HG are the girths of bust, waist, 4. We have drawn the central lines of darts as the perpendiculars and hip, respectively. to the edge of central part. These principles of adapting and describing historical patterns, 5) We have drawn the neck dart instead of steam pressing including the rectangular net drawing, the position of patterns deformation on the front side part. inside the rectangular net, and equations for the calculation of darts and overlapping, are important to ensure the relations 6) We moved the segments A1–A5 from the front central part to with contemporary methods of pattern drafting. side one into new positions В1–В5 (thick solid line, Figure 7b). After opening the new darts on front side part, the vertical waist To draw the patterns, we used the body measurements from dart should be closed. chart sizes published in “The American coat, vest and trousers system” [14] because this manual has the biggest number Figure 7(c) shows the modified front with four darts along front of measurements. The Prince Albert’s body was perfect in edge instead of the deformation after steam pressing. accordance with beauty rules in the first half of the nineteenth century “...beautiful figure, broad in the shoulders, and a fine 3.3. Preparation of historical patterns for virtual try-on waist” [39]. We have corrected some measurements and used the values: bust girth is 37 inch (94 cm), height is 68 inch (172.7 To do a virtual try-on and to adapt the historical pattern to cm), half back is 7 inch (17.8 cm), blade is 11 inch (27.9 cm), contemporary modules of CAD, we used the relationship waist girth is 28 inch (71.1 cm), seat girth is 38 inch (96.5 cm), between the body measurements and the patterns parameters. thigh girth is 22 inch (55.9 cm), knee girth is15.5 inch (39.4 cm), After comparison of all the methods of pattern drafting that back scye depth is 8.5 inch (21.6 cm), back length to natural existed in nineteenth century, we presented the common rules waist is 17 inch (43.2 cm), length to seat line is 24.5 inch (62.2 of rectangular net drawing in Figure 8. The width of rectangular cm), length to bottom of seat is 27 inch (68.6 cm), length to net (Figure 8) is equal to the sum of half bust girth and an knee is 41 inch (104.1 cm), length to sole of foot is 59.5 inch ease allowance, the length is equal to the garment length. (151.1 cm), and sleeve length is 31.5 inch (80 cm). http://www.autexrj.com/ 288 AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX

Figure 8. The adaptation of historical patterns of coat to contemporary rules of pattern drafting.

The systems of pattern drafting and some constructive have chosen the same rare fabrics as in nineteenth century to parameters were taken from “The tailor’s master-piece” (1840) be sure to copy the silhouette of the prototype. The next fabrics [31] and “A treatise on cutting garments to fit the human form” with specific physical and mechanical properties were used as (1841) [30]. presets in garment simulations: • cotton for shirt, From tailor manuals, we took the recommendations • cotton pique for the front of vest, how to shape the patterns under next sewing and heat- • silk satin for the back of vest, moisture treatment (or steam press). We transformed these • wool for coat and trousers. recommendations in accordance with the previous method by the calculation of the darts, which should be design instead Also we took into consideration the position of supportive trims of the deformations. For trousers, the location of deformations that were mainly applied between two layers of fabric or on back was chosen in accordance with the properties of textile fabrics side of fabrics for maintaining the actual shape and comfort of and fashionable silhouette. garments. The supporting fabrics made of cotton or linen were an essential accessory in garments, which we used in collar, We used AutoCAD for pattern drafting. Figure 9 shows the cuffs, shoulder, and the front part of coat. The location of these pattern blocks of all garments from which the full-dress suit was supporting fabrics has been chosen in accordance with the combined. Dotted lines show the positions and values of darts tailors manuals [15, 19, 35, 36]. For the front part and the collar that can be designed instead of heat-moisture treatment. of coat, the front part of vest, the additional front part of shirt, and the cuffs of shirt, the physical and mechanical properties After these modifications, all historical patterns were similar to such as bending, buckling ratio, buckling stiffness, internal the rectangular pattern construction that could be adapted into damping, and density were changed. Textures of fabrics were contemporary CAD. designed under consideration of colors and structures on the prototype. 3.4. Virtual try-on Under virtual try-on, we coped the order of Prince Albert’s The virtual try-on of historical costume was made by software dressing by chosen garments (shirt-trousers-vest-coat) and Clo3D®. This software and other popular ones such as modeled the interactions between the garments. Figure 10 Marvelous Designer, Optitex, 3ds Max, DC Suite, and Vidya shows the virtual systems “avatar-full-dress suit 1840” formed used the similar algorithm. Before the virtual simulation, we on different steps of dressing. http://www.autexrj.com/ 289 AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX

(a) (b)

(c) (d) Figure 9. Parameterized and adapted patterns (1840) with the positions of deformations obtained under steam pressing (heat-moisture treatment): (a) coat, (b) trousers, (c) shirt, (d) vest

3.5. Evaluation of reconstructed 3D systems 2. 3D system “avatar-full-dress suite 1840” generated from the patterns without taking into consideration the deformations To evaluate the precision of our method, we compared three under steam pressing; contours of next objects: 3. the prototype. 1. 3D system “avatar-full-dress suite 1840” generated from the patterns with the simulation of deformations under steam We put all images in the same scale and the same poses as pressing (moisture-heat treatment); Prince Albert standing. Figure 11 shows the contour of the full- http://www.autexrj.com/ 290 AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX

(a)

(b)

(c) Figure 10. Virtual systems completed layer-by-layer: (a) avatar + shirt + trousers, (b) avatar + shirt + trousers + vest, and (c) avatar + full-dress suite http://www.autexrj.com/ 291 AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX

(а) (b) (c) Figure 11. Contours of suits: (a) with steam press simulation, (b) without steam press simulation, (c) overlapping three contours and the measurements location

Figure 12. The distances between the contours of virtual and real initial suits dress suite that combined all the mentioned garments objects. Х5—the distance between the side contours on waist level, Х6—the distance between the side contours on hip level. The next horizontal and vertical distances between the contours have been measured: Figure12 shows the measured values in millimeters. Х1—the distance between the lapel edges near the neck, Х2—the distance between the lapel edges on the waist level, Figure 12 shows that the virtual coat reconstructed by ignoring Х3—the distance between the front edges near the bottom, steam pressing (without moisture-heat treatment) along the Х4—the distance between the bottom positions, front edge has the biggest errors of edge length and wrong http://www.autexrj.com/ 292 AUTEX Research Journal, Vol. 18, No 3, September 2018, DOI: 10.1515/aut-2018-0001 © AUTEX configurations of front edge, lapel folding and side contour images. This method can help to save the lost information (dash-and-dot line): the values are X1 = 12 mm, Х2 = 42 mm, about the construction of historical costume and to enrich the and Х3 = 16 mm. These values indicated how the ignorance professional treasure. of the deformations during the steam pressing can affect the silhouette. The value of X4 = 24 mm shows that the length of front edge is bigger than the prototype has in reality. The folds ACKNOWLEDGMENTS and the misfit in hip area have happen under the ignorance of skirt deformations; the value X6 = 57 mm indicated this This work has been fully supported by the Ministry of Science influence. and Education of Russian Federation under the project № 2.2425.2017/ПЧ “Development of software for virtual design of As shown in Figure 12, the reconstructed coat with the simulation system ‘body – clothes’ in static and dynamic and for virtual of steam pressing (with moisture-heat treatment) has coped the try-on FashionNet.” outline shape of historical prototype with great precision. The differences between the initial and virtual garments are near to References 8 mm for Х1–Х4, X6 and 12 mm for X4. The reasons of small deviations are appearing from the average body measurements [1] Acton, WM.R. (1867). Acton`s improved system of actual that were used to the reconstruct the Prince Albert’s body and measurement. William R. Acton & Co. 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