Massey Documents by Type

Permanent URI for this communityhttps://mro.massey.ac.nz/handle/10179/294

Browse

Subject: search.filters.subject.Pattern design

Search Results

Now showing 1 - 4 of 4
  • Thumbnail Image
    Item
    Modularity in apparel production : an industry-integrated investigation : Master of Design exegesis, Massey University, Wellington, New Zealand
    (Massey University, 2019) Hoori, Te Paea
    The central focus of this project, as outlined in the industry brief, is to develop the workflow and manufacturing capabilities of the apparel company Kapinua, through expansion of the brand’s 3D-integrated, customer driven, e-commerce platform. Based in Levin, New Zealand, Kapinua is a vertically-integrated manufacturing and retailing company. Specialising in made-to-order (MTO) digitally printed garments, Kapinua have developed an online platform that allows its users to select and customise garments from their web browser. With the support of New Zealand government organisation Callaghan Innovation, Kapinua wishes to expand, develop and refine this digital asset. Through iterative design practice, analysis of Kapinua’s systems and processes, reflective documentation, and literary research, this work looks to explore possible applications of customisation and modularity in the production of apparel. Informed by client needs, the primary project outcomes are relevant sizing charts informed by parametric research; grading rule tables; modular pattern templates; a library of products prepared for Kapinua’s 3D-integrated, online platform; and a structured filing system to organise and access digital assets. Further objectives include improved efficiency through workflow streamlining and early iterations of resources designed to assist with future product development within the company. More broadly, this research poses the question: How can digital technologies help create economically-viable, structurally customisable patterns - and how can this increase customer satisfaction, garment fit, and improve the way we engage with clothing?
  • Thumbnail Image
    Item
    The new costume designer : an exploration of digital and physical technologies for costume development in the film industry : an exegesis presented in partial fulfilment of the requirements for the degree of Master of Design, Massey University, College of Creative Arts, Wellington, New Zealand
    (Massey University, 2019) Lewis, Jessica
    Three-dimensional (3D) simulation software is utilised for digital visualization of garment design, pattern development, drape, and fit on virtual models and avatars within the costume and fashion industries. This practice-led project explores the use of digital design technologies for costumes created in a digital space and asks “How do current digital and physical technologies work as integrated practice within the industry of costume design for film?” From a fashion perspective, many researchers have looked into how historical costumes can be reproduced as accurate 3D models or how 3D modelling software can be used for prototyping and fit for production efficiency. However, there is little published academic research discussing the use of digital technologies by costume designers for physical costume design and development in the film industry. Initial research for this project included interviews with experts from physical costume design departments in the film industry to gain insight as to the extent and relevance of collaborative work experiences using both physical and digital processes, systems and technologies within their practice. Through an original creative project using an iterative design process, this research project focuses on the generation of physical costume concepts for a fantasy creature. These costumes are designed to tailor to the exaggerated humanoid body of the “koloss” character from Brandon Sanderson’s Mistborn: Era 1 series as he morphs from a child to an adult. This project explores how patternmaking and 3D cloth simulation software can be applied to costume generation that navigates the physical and virtual world. Digital and physical visual, patternmaking, and sampling tools are utilised with tacit knowledge of an experienced technical fashion designer to explore how physical costume designers can feel empowered in the creative process when working between physical and digital departments.
  • Thumbnail Image
    Item
    Draped garments : the influences of fabric characteristics and draping methods on 3D form : a thesis presented in partial fulfillment of the requirements for the degree of Master of Design at Massey University
    (Massey University, 2006) Li, Ying
    This thesis explores the way in which fabric characteristics; in particular the drapeability can influence and create three-dimensional form for garments. The aim is to combine scientific, visual and drape research and design methodologies to better inform the final design outcome - in this case a collcction of garments. The characteristics of a fabric influence the draping effect. How fabrics with different drapeabilities influence design ideas and final forms is explored and revealed in this thesis. An experimental fabric drape testing method is developed, which is suitable for the design processes of a practicing designer in order to investigate fabrics' drape characteristics. Six fabrics are chosen from the experiments that establish the quantitative and visual evidences for the design development. Each fabric is draped into one form according to its characteristic that influences the design ideas. Then other fabrics arc draped into the same form to provide comparisons of their different performances and evaluate how they create different appearances for the same form. A range of three-dimensional effects that are different from conventional garment shapes are created in which the fabric controls the final form. Various draping methods inspired by selected contemporary designers are employed to design the spatial effects around the body. Concepts of deconstruction, imperfection, volume, voids and architectural shape, are addressed in the design methodology. The collection "Changing Dresses" is the final outcome of the initial design research, in which six dresses are creatcd with variations from a single basic form. A range of draping methods are employed that best highlight the qualities of the fabrics and create sculptural forms that reflect the knowledge of fabrics on the body gained through the research. The three-dimensional garments, thus, stem from the research into the relationships among fabric characteristics and draping methods.
  • Thumbnail Image
    Item
    A garment for the upper body with a collar and sleeves and buttons down the front : shirts designed through patternmaking : an essay presented in partial fulfilment of the requirements for the degree of Master of Design at Massey University, Wellington, New Zealand
    (Massey University, 2010) Lumsden, Julia; Lumsden, Julia
    While garment design traditionally starts with a sketch it can also occur through the process of making a garment’s pattern. I am designing men’s shirts by manipulating a basic size medium men’s shirt pattern. Though this design is framed by several factors, I have adopted the criterion that the shirts created using these patterns will not create any fabric waste, often referred to as “zero-waste pattern design”. Examples of shirts that meet similar criteria exist from the early 1800’s. Often referred to as square shirts they were made up entirely of rectangles. These rectangles were sized proportionally from lengths of the body and the width of the fabric hence wasting little to no fabric. Rather than making patterns to recreate shirts from a time when they were inherently fabric efficient, the purpose of this project is to design shirts through manipulating the standard shapes of a modern shirt pattern with the parameter of not creating fabric waste and the aim of discovering shirts that could not have been conceived of through drawing. The process has evolved through designing patterns for shirts and then testing the pattern and designing the shirts through construction. Over the course of the year I have developed a process for designing the patterns using a combination of Gerber pattern design software and Adobe Illustrator. I have constructed seventeen finished toiles and four half-scale mock-ups of shirts created using these patterns. Fabric length, width, occasional mistakes and fortuitous shapes arising from what would have normally been waste have guided my designs. Ongoing research into other designers who design through pattern making and to reduce fabric waste has informed my ideas and decisions. In this research, I am questioning the predominant method of designing fashion clothing through drawing by exploring the potential of a specific approach to design through pattern making. My findings will add to the pool of knowledge on the benefits and limitations of the use of pattern making for the design of shirts that don’t create fabric waste.