4. results and discussion - shodhgangashodhganga.inflibnet.ac.in/bitstream/10603/6680/10/10_chapter...
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4. RESULTS AND DISCUSSION
The results of the study is discussed under the following heads,
4.1 3D Design Library
4.2 Evaluation of 3D Design Library
4.1. 3D Design Library
The main aim of this study is to create a 3D design library for selected
women’s garments namely Salwar Kameez, Saree and blouse, Midi and Tops
and Long Skirt and Tops. The details of the design library are as follows,
The design library is created in the 3D studio max and therefore is in the
‘max’ format
The output of the design library is rendered as a video and the output is
in the ‘mpeg’ format
This video file can be opened and viewed in any player
The video runs for a period of 30 seconds approximately
The model is positioned in the centre and the camera moves around the
model and hence the garment designs can be viewed in 360 degrees
The complexion of the model also can be changed using ‘max’ files.
This helps to view suitability of the garments for different skin types
The texture and the colour of the garments can be changed using the
.max files. This enables to mix and match colours in various parts of the
garments, for example, one colour in a Salwar and another colour in
Kameez.
As mentioned earlier 680 fabric samples are available with the
investigator. New fabric samples can be photographed or scanned into
the system and applied on the garment for more varieties.
Way of draping the texture on the garment can also be edited. For
example, number of repetitions can be increased or decreased. The
designs can be rotated in any angle as desired
Design library has folders and files grouped in an organized form
Design library has folders and files grouped in an organized form in four
DVD’s titled 3D Design library 1, 2, 3 and 4.
3D Design Library 1- Salwar Kameez
3D Design Library 2- Saree and Blouse
3D Design Library 3- Midi and Tops
3D Design Library 4- Long Skirt and Tops
All the design libraries have 500 designs and hence the total number of
designs created sum up to 2000.
4.1.1 3D Design Library 1 – Salwar Kameez
Kameez variations include long, short and frock type. In the frock type,
single, double and three layered skirts were created. Tight and loose Salwars
were designed. Other variations are neckline (close, open, halter neck and
shoulder straps) sleeve (sleeveless and half sleeve), asymmetric designs,
half/half designs, yoke designs (shoulder and neckline) and panels (centre and
side panels)
Nomenclature of Features
LK – Long Kameez; SK – Short Kameez; FK - Flared Kameez; FT –
Frock Type; TS – Tight Salwar; LS - Loose Salwar; CN – Close Neck;
ON – Open Neck; HN – Halter Neck; SS – Shoulder Straps; SL –
Sleeveless; PS – Plain Sleeve; PK – Plain Kameez; SP – 2 Side Panels;
HH – Half / Half; BH – Border at Hem; SY – Shoulder Yoke; AS –
Asymmetric; CP – Centre Panel; NY – Neckline Yoke; PN – Panelled;
LS 1 – Single Layered Skirt; LS 2 – Double Layered Skirt; LS 3 – 3
Layered Skirt
Designs created in Salwar Kameez sums up to 500. All the designs are
in the 3D form and hence viewing of the designs in the computer as a video is
ideal. Figure 8 shows one sample in all variations. All the 500 styles of Salwar
Kameez are presented in the enclosed DVD (Figure 8a) titled ‘3D Design
Library 1’. This consists of designs of Salwar Kameez neatly arranged in
folders and sub folders. The folder can be selected and double clicked for
viewing of Salwar Kameez designs.
Figure 8 – Style Variations in Salwar Kameez
LK, TS, CN, SL, PK LK, TS, CN, SL, SP
LK, TS, CN, SL, HH LK, TS, CN, SL, SY
LK, TS, CN, PS, PK LK, TS, CN, PS, SP
LK, TS, CN, PS, SY LK, TS, CN, PS, BH
LK, TS, ON, SL, AS LK, TS, ON, SL, CP
LK, TS, ON, SL, HH LK, TS, ON, PS, HH
LK, TS, ON, PS, CP LK, TS, ON, PS, AS
LK, TS, HN, PK LK, TS, SS, PK
LK, TS, SS, BH LK, TS, SS, HH
LK, LS, CN, SL, PK LK, LS, CN, SL, SY
LK, LS, CN, SL, SP LK, LS, CN, SL, BH
LK, LS, CN, PS, PK LK, LS, CN, SL, SY
LK, LS, ON, PS, AS LK, LS, ON, PS, HH
LK, LS, HN, PK LK, LS, SS, PK
LK, LS, SS, BH LK, LS, SS, HH
FK, TS, CN, SL, PK FK, TS, CN, PS, PK
FK, TS, ON, SL, PK FK, TS, ON, SL, BH
FK, TS, ON, SL, AS FK, TS, ON, SL, NY
FK, TS, ON, SL, SP FK, TS, ON, SL, SY
FK, TS, ON, SL, CP FK, TS, ON, PS, AS
FK, TS, ON, PS, CP FK, TS, ON, PS, NY
FK, TS, ON, PS, SY FK, TS, ON, PS, SP
FK, TS, ON, PS, BH FK, TS, ON, PS, PK
FK, TS, HN, PK FK, TS, HN, BH
FK, TS, SS, PK FK, TS, SS, BH
FK, LS, CN, SL, PK FK, LS, ON, SL, PK
FK, LS, ON, SL, BH FK, LS, ON, SL, AS
FK, LS, ON, SL, SP FK, LS, ON, SL, NY
FK, LS, ON, SL, SY FK, LS, ON, SL, CP
FK, LS, ON, PS, CP FK, LS, ON, PS, PK
FK, LS, ON, PS, BH FK, LS, ON, PS, AS
FK, LS, ON, PS, SP FK, LS, ON, PS, NY
FK, LS, ON, PS, SY FK, LS, HN, BH
FK, LS, HN, PK FK, LS, SS, PK
FK, LS, SS, BH SK, TS, CN, SL, PK
SK, TS, CN, SL, SP SK, TS, CN, SL, SY
SK, TS, CN, SL, BH SK, TS, CN, PS, PK
SK, TS, CN, PS, SP SK, TS, CN, PS, SY
SK, TS, CN, PS, BH SK, TS, ON, SL, HH
SK, TS, ON, SL, AS SK, TS, ON, SL, CP
SK, TS, ON, PS, HH SK, TS, HN, PK
SK, TS, SS, PK SK, TS, SS, BH
SK, TS, SS, HH SK, LS, CN, SL, PK
SK, LS, CN, SL, SP SK, LS, CN, SL, SY
SK, LS, CN, PS, PK SK, LS, CN, PS, SP
SK, LS, CN, PS, SY SK, LS, ON, SL, AS
SK, LS, ON, SL, CP SK, LS, ON, SL, HH
SK, LS, ON, SL, BH SK, LS, ON, PS, AS
SK, LS, ON, PS, CP SK, LS, ON, PS, HH
SK, LS, ON, PS, BH SK, LS, HN, PK
SK, LS, SS, PK FT, TS, CN, SL, LS 1, PK
FT, TS, CN, PS, LS 1, PK FT, TS, ON, SL, LS 1, PN
FT, TS, ON, SL, LS 1, AS FT, TS, ON, SL, LS 2, PK
FT, TS, ON, SL, LS 3, PK FT, TS, ON, PS, LS 1, AS
FT, TS, ON, PS, LS 1, PN FT, TS, ON, PS, LS 2, PK
FT, TS, ON, PS, LS 2, PK FT, TS, HN, LS 1, PK
FT, TS, HN, LS 2, PK FT, TS, HN, LS 3, PK
FT, LS, CN, SL, LS 1 FT, LS, ON, SL, LS 1, AS
FT, LS, ON, SL, LS 1, PN FT, LS, ON, SL, LS 2, PK
FT, LS, ON, SL, LS 3, PK FT, LS, CN, PS, LS 1, PK
FT, LS, ON, PS, LS 1, PN FT, LS, ON, PS, LS 1, AS
FT, LS, ON, PS, LS 2, PK FT, LS, ON, PS, LS 3, PK
FT, LS, ON, SL, LS 2, PK FT, LS, HN, LS 1, PK
FT, LS, HN, LS 2, PK FT, LS, HN, LS 3, PK
Figure 8a – 3D Design Library 1
4.1.2. 3D Design Library 2 - Saree and Blouse
Saree and Blouse has variations in the draping style (Gujarathi style and
Tamilnadu style), fabric variations (embroidery, printed, plain, net and
transparent Sarees) variations in the Blouse are created by varying the sleeve
and necklines. 500 designs were created and a sample of the variations is
presented in the Figure 9.
Nomenclature of Features
TN - Tamil Nadu Style; GU – Gujarathi Style; PS – Pleated Style; SPS –
Single Pleated Style; WB – With Border; WOB – Without Border; CN –
Close Neck; ON – Open Neck; HN – Halter Neck; PS – Plain Sleeve;
SL – Sleeveless; EM – Embroidery Sarees; PR – Printed Saree; PL –
Plain Sarees; TR – Transparent Sarees; NE – Net Sarees
As mentioned earlier, Figure 9 shows one sample in all variations. All
the 500 designs of the Saree and blouse can be viewed in the DVD enclosed
(Figure 9a). The enclosed DVD contains ‘3D design library 2’. The folder has
500 designs neatly arranged in sub folders. Saree designs can be viewed in the
player by selecting and double clicking the folders and files.
Figure 9 – Style Variations in Saree Blouse
TN, PS, WB, CN, PS, EM TN, PS, WB, CN, PS, PR
TN, PS, WB, CN, PS, PL TN, PS, WB, CN, PS, TR
TN, PS, WB, CN, PS, NE TN, PS, WB, CN, SL, EM
TN, PS, WB, CN, SL, PR TN, PS, WB, CN, SL, PL
TN, PS, WB, CN, SL, TR TN, PS, WB, CN, SL, NE
TN, PS, WB, ON, PS, EM TN, PS, WB, ON, PS, PR
TN, PS, WB, ON, PS, PL TN, PS, WB, ON, PS, TR
TN, PS, WB, ON, PS, NE TN, PS, WB, ON, SL
TN, PS, WB, ON, SL, PR TN, PS, WB, ON, SL, PL
TN, PS, WB, ON, SL, TR TN, PS, WB, ON, SL, NE
TN, PS, WB, HN, EM TN, PS, WB, HN, PR
TN, PS, WB, HN, PL TN, PS, WB, HN, TR
TN, PS, WB, HN, NE TN, PS, WOB, CN, PS, EM
TN, PS, WOB, CN, PS, PR TN, PS, WOB, CN, PS, PL
TN, PS, WOB, CN, PS, TR TN, PS, WOB, CN, PS, NE
TN, PS, WOB, CN, SL, EM TN, PS, WOB, CN, SL, PR
TN, PS, WOB, CN, SL, PL TN, PS, WOB, CN, SL, TR
TN, PS, WOB, CN, SL, NE TN, PS, WOB, ON, PS, EM
TN, PS, WOB, ON, PS, PR TN, PS, WOB, ON, PS, PL
TN, PS, WOB, ON, PS, TR TN, PS, WOB, ON, PS, NE
TN, PS, WOB, ON, SL, EM TN, PS, WOB, ON, SL, PR
TN, PS, WOB, ON, SL, PL TN, PS, WOB, ON, SL, TR
TN, PS, WOB, ON, SL, NE TN, PS, WOB, HN, EM
TN, PS, WOB, HN, PR TN, PS, WOB, HN, PL
TN, PS, WOB, HN, TR TN, PS, WOB, HN, NE
TN, SPS, WB, CN, PS, EM TN, SPS, WB, CN, PS, PR
TN, SPS, WB, CN, PS, PL TN, SPS, WB, CN, PS, TR
TN, SPS, WB, CN, PS, NE TN, SPS, WB, CN, SL, EM
TN, SPS, WB, CN, SL, PR TN, SPS, WB, CN, SL, PL
TN, SPS, WB, CN, SL, TR TN, SPS, WB, CN, SL, NE
TN, SPS, WB, ON, PS, EM TN, SPS, WB, ON, PS, PR
TN, SPS, WB, ON, PS, PL TN, SPS, WB, ON, PS, TR
TN, SPS, WB, ON, PS, NE TN, SPS, WB, ON, SL, EM
TN, SPS, WB, ON, SL, PR TN, SPS, WB, ON, SL, PL
TN, SPS, WB, ON, SL, TR TN, SPS, WB, ON, SL, NE
TN, SPS, WB, HN, EM TN, SPS, WB, HN, PR
TN, SPS, WB, HN, PL TN, SPS, WB, HN, TR
TN, SPS, WB, HN, NE TN, SPS, WOB, CN, PS, EM
TN, SPS, WOB, CN, PS, PR TN, SPS, WOB, CN, PS, PL
TN, SPS, WOB, CN, PS, TR TN, SPS, WOB, CN, PS, NE
TN, SPS, WOB, CN, SL, EM TN, SPS, WOB, CN, SL, PR
TN, SPS, WOB, CN, SL, PL TN, SPS, WOB, CN, SL, TR
TN, SPS, WOB, CN, SL, NE TN, SPS, WOB, ON, PS, EM
TN, SPS, WOB, ON, PS, PR TN, SPS, WOB, ON, PS, PL
TN, SPS, WOB, ON, PS, TR TN, SPS, WOB, ON, PS, NE
TN, SPS, WOB, ON, SL, EM TN, SPS, WOB, ON, SL, PR
TN, SPS, WOB, ON, SL, PL TN, SPS, WOB, ON, SL, TR
TN, SPS, WOB, ON, SL, NE TN, SPS, WOB, HN, EM
TN, SPS, WOB, HN, PR TN, SPS, WOB, HN, PL
TN, SPS, WOB, HN, TR TN, SPS, WOB, HN, NE
GU, PS, WOB, CN, PS, EM GU, PS, WOB, CN, PS, PR
GU, PS, WOB, CN, PS, PL GU, PS, WOB, CN, PS, TR
GU, PS, WOB, CN, PS, NE GU, PS, WOB, CN, SL, EM
GU, PS, WOB, CN, SL, PR GU, PS, WOB, CN, SL, PL
GU, PS, WOB, CN, SL, TR GU, PS, WOB, CN, SL, NE
GU, PS, WOB, ON, PS, EM GU, PS, WOB, ON, PS, PR
GU, PS, WOB, ON, PS, PL GU, PS, WOB, ON, PS, TR
GU, PS, WOB, ON, PS, NE GU, PS, WOB, ON, SL, EM
GU, PS, WOB, ON, SL, PR GU, PS, WOB, ON, SL, PL
GU, PS, WOB, ON, SL, TR GU, PS, WOB, ON, SL, NE
GU, PS, WOB, HN, EM GU, PS, WOB, HN, PR
GU, PS, WOB, HN, PL GU, PS, WOB, HN, TR
GU, PS, WOB, HN, NE
Figure 9a – 3D Design Library 2
4.1.3. 3D Design Library 3 – Midi and Tops
Midi and Tops are grouped and placed under 3D Design library 3. The
variations created in the skirt include tubular, panelled, gathered, and frilled
skirt. The variations in the Tops are plain, front open, frills at the waistline,
neckline (close, open, halter, shoulder straps and shoulderless), sleeve
(sleeveless, half sleeve) and yoke (shoulder, princess line and neckline yoke).
Nomenclature of Features
TS – Tubular skirt; SP – Skirt panelled; TMS – Tubular mini skirt; PS –
Plain skirt; FH – Frills at the hemline; CN – Close neck; ON – Open
neck; HN – Halter neck; SS – Shoulder Straps; SH – Shoulderless; SL –
Sleeveless; PS – Plain sleeve; PT – Plain Tops; PTF – Plain Tops, front
open; WF – Waistline frills; WFF – Waistline frills front open; PY –
Princess line Yoke; HH – Half half; NY – Neck line yoke; SY –
Shoulder yoke
Figure 10 shows one sample in all variations. All the 500 styles of the
Midi and Tops can be viewed in the DVD enclosed (Figure 10a). The DVD
consists of ‘3D design library 3’ with 500 designs of Midi and Tops. In order
to view the entire collection of Midi and Tops, the folder can be selected and
double clicked.
Figure 10 – Style Variations in Midi and Tops
TS, PS, CN, SL, PT TS, PS, CN, SL, WF
TS, PS, CN, SL, PTF TS, PS, CN, SL, WFF
TS, PS, CN, PL, PT TS, PS, CN, PL, WF
TS, PS, CN, PL, PTF TS, PS, CN, PL, WFF
TS, PS, ON, SL, PY TS, PS, ON, PL, PY
TS, PS, HN, PT TS, PS, HN, PTF
TS, PS, SS, PT TS, PS, SS, PTF
TS, PS, SS, WF TS, PS, SH, PT
TS, SP, CN, SL, HH TS, SP, CN, PS, HH
TS, SP, CN, PS, WF TS, SP, HN, TP
TMS, PS, CN, SL, PT TMS, PS, CN, SL, WF
TMS, PS, CN, SL, PTF TMS, PS, CN, SL, WFF
TMS, PS, CN, PS, PT TMS, PS, CN, PS, WF
TMS, PS, CN, PS, PTF TMS, PS, HN, PT
TMS, PS, HN, PTF TMS, PS, HN, WF
TMS, PS, HN, WFF TMS, PS, SS, PT
TMS, PS, SH, PT TMS, SP, CN, SL, PT
TMS, SP, CN, SL, WF TMS, SP, CN, PS, PT
TMS, SP, HN, HH TMS, SP, SS, TP
TS FH CN SL PT TS FH CN SL PTF
TS FH CN PS PT TS FH CN PS PTF
TS FH ON SL PY TS FH ON PS PY
TS FH HN PT TS FH HN PTF
TS FH SS PT TS FH SS PTF
TS FH SH PT TS FH SP CN SL PT
TS FH SP SS PT TS FH SP SH PT
TS FH SP HN PT FGS PS CN SL PT
FGS PS CN SL PTF FGS PS CN SL SY
FGS PS CN PS PT FGS PS CN PS PTF
FGS PS ON SL PY FGS PS ON PS PY
FGS PS HN PT FGS PS HN PTF
FGS PS SS PT FGS PS SS PTF
FGS PS SH PT FGS SP CN SL HH
FGS SP CN PS HH FGS SP SS HH
FGS SP SH PT NGS PS CN SL PT
NGS PS CN SL PTF NGS PS CN PS PT
NGS PS CN PS PTF NGS PS ON SL PY
NGS PS ON PS PY NGS PS HN PT
NGS PS HN PTF NGS PS SS PT
NGS PS SS PTF NGS PS SH PT
NGS SP CN SL HH NGS SP CN PS HH
NGS SP HN HH NGS SP SH HH
NGS SP SS PT DS PS CN SL PT
DS PS CN SL PTF DS PS CN SL HH
DS PS CN PS PT DS PS CN PS PTF
DS PS CN PS HH DS PS ON SL PY
DS PS ON PS PY DS PS HN PT
DS PS HN PTF DS PS SS PT
DS PS SS PTF DS PS SH PT
DS SP HN HH DS SP SS PT
DS SP SH PT TS PS CN SL PT
TS PS CN SL PTF TS PS CN PS PT
TS PS CN PS PTF TS PS ON SL PY
TS PS ON PS PY TS PS HN PT
TS PS HN PTF TS PS SS PT
TS PS SS PTF TS PS SH PT
TS SP CN SL HH TS SP CN PS HH
TS SP HN HH TS SP SS PT
TS SP SH HH
Figure 10a – 3D Design Library 3
4.1.4. 3D Design Library 4 – Long Skirt and Tops
This consists of 500 designs of Long Skirts and Tops. The skirt designs
include tubular, silk, gathered, layered and frilled skirts. The designs in the
Tops include variations in sleeve (sleeveless and half sleeve), neckline (close,
open, halter, shoulder straps and shoulderless) and yoke (princess line, shoulder
and neckline yoke)
Nomenclature of Features
TS – Tubular Skirt; GS – Gathered Skirt; LS – Layered Skirt; FS –
Frilled Skirt; PL – Plain Skirt; SP – Skirt Panelled; TMS – Tubular Mini
Skirt; SKS – Silk Skirts; PS – Plain Skirt; FK – Frills from Knee; BH –
Border at the Hemline; DB – Double Border at the Hem; WB – With
Buttas; FH – Frills at the Hemline; CN – Close Neck; ON – Open Neck;
HN – Halter Neck; SS – Shoulder Straps; SH – Shoulderless; SL –
Sleeveless; PS – Plain Sleeve; PT – Plain Tops; PTF – Plain Tops, front
Open; WF – Waistline Frills; WFF – Waistline Frills, Front Open; PY –
Princess line Yoke; TP – Tops Panelled; AS – Asymmetric; NY –
Neckline Yoke; CY – Centre Yoke; HH – Half / Half; SY – Shoulder
Yoke; CP – Centre Panel
Figure 11 shows one sample in all variations. All the 500 styles of the
Long Skirt and Tops can be viewed in the enclosed DVD ‘3D Design Library
4’.
Figure 11 – Style Variations in Long Skirt and Tops
TS, PL, CN, SL, PT Design 1 – 14 TS, PL, CN, SL, PTF
TS, PL, CN, SL, SY TS, PL, CN, SL, WF
TS, PL, CN, SL, WFF Design 1 – 4 TS, PL, CN, PS, PT
TS, PL, CN, PS, WF TS, PL, CN, PS, WFF
TS, PL, ON, SL, AS TS, PL, ON, SL, NY
TS, PL, ON, SL, PT TS, PL, ON, PS, NY
TS, PL, HN, PT TS, PL, HN, PTF
TS, PL, SS, PT TS, PL, SH, PT
TS, SP, CN, SL, PY TS, SP, CN, SL, PT
TS, SP, ON, SL, AS TS, FK, CN, SL, PT
TS, FK, CN, SL, PTF TS, FK, CN, SL, PY
TS, FK, CN, SL, SY TS, FK, CN, SL, WF
TS, FK, CN, SL, WFF TS, FK, CN, PS, WF
TS, FK, CN, PS, WFF TS, FK, CN, PS, PT
TS, FK, CN, PS, PTF TS, FK, HN, PT
TS, FK, HN, PTF TS, FK, SS, PT
TS, FK, SH, PT GS, PL, CN, SL, PT
GS, PL, CN, SL, SY GS, PL, CN, SL, PTF
GS, PL, CN, SL, WF GS, PL, CN, SL, WFF
GS, PL, CN, SL, PY GS, PL, CN, PS, WF
GS, PL, CN, PS, WFF GS, PL, CN, PS, PT
GS, PL, CN, PS, PTF GS, PL, ON, SL, NY
GS, PL, ON, SL, PT GS, PL, ON, SL, AS
GS, PL, ON, PS, NY GS, PL, HN, PT
GS, PL, SS, PT GS, PL, SH, PT
GS, FH, CN, SL, PT GS, FH, CN, SL, SY
GS, FH, CN, SL, WF GS, FH, ON, SL, AS
GS, FH, ON, SL, PT GS, FH, CN, PS, PT
GS, FH, CN, PS, WF GS, FH, HN, PT
GS, FH, SH, PT GS, FH, SS, PT
LS, PL, CN, SL, PT LS, PL, CN, SL, CY
LS, PL, ON, SL, PT LS, PL, ON, SL, AS
LS, PL, ON, SL, NY LS, PL, ON, SL, HH
LS, PL, CN, PS, PT LS, PL, HN, PT
LS, PL, SS, PT LS, PL, SH, PT
FS, CN, SL, PT FS, CN, SL, PY
FS, CN, SL, SY FS, CN, SL, WF
FS, ON, SL, AS FS, ON, SL, PT
FS, CN, PS, PT FS, CN, PS, WF
FS, HN, PT FS, SS, PT
FS, SH, PT SKS, BH, CN, PS, PT
SKS, BH, CN, PS, BH SKS, BH, ON, PS, PY
SKS, BH, ON, PS, NY SKS, BH, WB, ON, SL, SY
SKS, BH, WB, HN, PT SKS, BH, WB, SH, PT
SKS, BH, CP, ON, PS, PT SKS, BH, CP, ON, PS, PY
SKS, BH, CP, HN, PT SKS, BH, CP, SH, PT
SKS, BH, WB, CP, ON, PS, PY SKS, DB, CN, PS, BH
SKS, DB, WB, ON, PS, PY
Figure 11a – 3D Design Library 4
4.2 Evaluation of the 3D Design Library
A questionnaire was administered to 1050 individuals to evaluate the 3D
design library. The individuals were from different walks of life and were
relevant to the design field. These include fashion designers, faculty members
of fashion designing, fashion design students, textile / garment manufacturers,
textile / garment showroom, tailors, working women, housewives, computer
professionals, college students and computer illiterates as shown in the Figure
12. Hundred samples were selected in each category and fifty in fashion
designer. The presence of designers in the fashion field is limited in South
India and most of them are either busy or were reluctant to view the design
library and evaluate it.
Figure 12 - Occupational Distribution of Evaluators of 3D Design Library
The evaluators belonged to 11 different cohorts who are potential end
users or clients of end users. In total 550 (52.4) end users and 500 (47.6%) end
user clients evaluated the design library. All questions were responded by the
evaluators and there was no missing data.
The evaluation results are presented under the following heads
Fashion Designers, 50
Fashion Teaching Faculty, 100
Fashion Students, 100
Textile Garment Manufacturer, 100
Textile Garment Showroom, 100
Computer Professionals, 100
Tailor, 100
Housewives, 100
Working Women, 100
Illiterates, 100
Students, 100
4.2.1. Evaluation of the Garment Collection
4.2.2. Feature Variations in the Collection
4.2.3. Textural Variations in the Collection
4.2.4. Colour Combinations Used
4.2.5. Suitability of the Garment and the Design
4.2.6. 3D Design Library as a Teaching Aid
4.2.7. Operating the 3D Design Library
4.2.8. Presentation of Garments in the 3D Form
4.2.9. View of the Garments in all the Angles
4.2.10. Replacement of Catalogs with 3D Designs
4.2.11. Remarks and Suggestions
4.2.12. Evaluation through Internet
4.2.1. Evaluation of the Garment Collection
The evaluation of the garment collection is presented in Table VI and
Figure 13.
A majority (85.1%) of the respondents felt that the garment collection in
the 3D design library was extremely unique (Table VI and Figure 13). Twelve
percent felt that the collection was very unique, 3% of the respondents have
rated the collection as unique and 0.3% (housewives and textile and garment
manufacturers) felt that it is slightly unique. None reported that the garment
collection as ‘not unique’.
Table VI - Evaluation of Garment Collection
Respondents
Response (%)
Extremely
Unique
Very
Unique Unique
Slightly
Unique
Not
unique
Fashion Designers 86 10 4 - -
Faculty Members of
Fashion Design 81 15 4 - -
Fashion Design
Students 66 31 3 - -
Textile/Garment
Manufacturer 83 12 3 2 -
Textile/Garment
Showroom 94 4 2 - -
Tailor 92 8 - - -
College Students 81 12 7 - -
Housewives 97 2 - 1 -
Working Women 85 13 2 - -
Computer
Professionals 73 19 8 - -
Computer Illiterates 99 1 - - -
Total in Percentage 85.1 11.6 3 0.3 -
From the Table VI, is evident that 92 – 99% of the computer illiterates,
housewives, textile/garment manufacturers and tailors expressed that the
collection is extremely unique. The fashion designers, working women, faculty
members of the fashion design and the college students (81 – 86%) echoed the
same rating, computer professionals (72%) and students (66%) studying
fashion design courses has less number of respondents expressing this rating,
this might be due to the fact that they are professionals in this field and have set
higher visions in this area of digital library. It is clear that the design library
collection has impressed the computer illiterates, where 99% have given the
rating ‘extremely unique’. Hence it maybe concluded that the garment
collection is ‘extremely unique’.
Figure 13 - Evaluation of Garment Collection
4.2.2 Feature Variations in the Collection
The evaluation of the garment collection for feature variations is
presented in Table VII and Figure 14.
Table VII and Figure 14 indicates that 83.9% of the evaluators are
highly satisfied with the feature variations applied in the design library,
whereas 14% of them feel that it is satisfactory, 1.6% of them have shown
neutrality and 0.4% have shown dissatisfaction and none have chosen to rate
‘highly dissatisfactory’.
It may be observed that 99% of the computer illiterates and 64% of
fashion design students have shown the highest and the lowest percentage for
the parameter ‘highly satisfactory’. The remaining group of evaluators rated
between 96 – 76%. Therefore it may be stated that the created 3D design
library has a wide range of variations in features of the garments.
Table VII - Feature Variation in the collection
Respondents Response (%)
Computer Illiterates
Computer Professionals
Working Women
Housewives
College Students
Tailor
Textile/Garment Showroom
Textile/Garment Manufacturer
Fashion Design Students
Faculty Members of Fashion Design
Fashion Designers
99
73
85
97
81
92
94
83
66
81
86
1
19
13
2
12
8
4
12
31
15
10
Extremely Unique Very Unique Unique Slightly Unique
Highly
Satisfactory Satisfactory Neutral Dissatisfactory
Highly
dissatisfactory
Fashion Designers 76 18 6 - -
Faculty Members of
Fashion Design 84 15 1 - -
Fashion Design
Students 64 35 1 - -
Textile/Garment
Manufacturer 79 17 3 1 -
Textile/Garment
Showroom 96 4 - - -
Tailor 92 8 - - -
College Students 86 12 1 1 -
Housewives 82 17 - 1 -
Working Women 81 14 5 - -
Computer
Professionals 80 16 3 1 -
Computer Illiterates 99 1 - - -
Total in Percentage 83.9 14.1 1.6 0.4 -
Figure 14 - Feature Variation in the Collection
Computer Illiterates
Computer Professionals
Working Women
Housewives
College Students
Tailor
Textile/Garment Showroom
Textile/Garment Manufacturer
Fashion Design Students
Faculty Members of Fashion Design
Fashion Designers
99
80
81
82
86
92
96
79
64
84
76
1
16
14
17
12
8
4
17
35
15
18
Highly Satisfactory Satisfactory Neutral Dissatisfactory
4.2.3 Textural Variation in the Collection
The results of the textural variations are presented in Table VIII and
Figure 15
Table VIII - Textural Variation in the Collection
Respondents
Response (%)
Highly
Satisfactory Satisfactory Neutral Dissatisfactory
Highly
Dissatisfactory
Fashion Designers 74 16 10 - -
Faculty Members of
Fashion Design 82 15 3 - -
Fashion Design Students 68 29 3 - -
Textile/Garment
Manufacturers 77 21 2 - -
Textile/Garment
Showroom 76 20 4 - -
Tailor 94 6 - - -
College Students 77 18 4 - 1
Housewives 84 15 1 - -
Working Women 80 16 3 1 -
Computer Professionals 78 15 7 - -
Computer Illiterates 97 3 - - -
Total in Percentage 80.9 15.8 3.0 0.1 0.1
As far as the textural variations in the design library are concerned, 81%
of the respondents felt highly satisfied and the same is presented in the Table
VIII and Figure 15. It also depicts that 16% of the judges felt satisfied, whereas
0.1% of the working women and computer professionals rated the textural
variations as ‘dissatisfactory’ and ‘highly dissatisfactory’ respectively.
A level of higher satisfaction was expressed by 97% of the computer
illiterates followed by the 94% of the tailors. The lowest percentage for ‘highly
satisfactory’ was expressed by fashion design students (68%). Hence it maybe
concluded that the design library will provide higher level of satisfaction with
reference to the textural variations
Figure 15 - Textural Variation in the Collection
4.2.4 Colour Combinations Used
Table IX and Figure 16 depicts the responses tabulated for the
application colour combinations in the design library.
Colour combinations used in the library are rated as ‘highly satisfactory
by 82.2% of the respondents, ‘satisfactory’ by 14.9%, ‘neutral’ by 2.9%.
College students (0.1%) have rated the collection ‘highly dissatisfactory’
It is interesting to note that 100% of the computer illiterates found the
colour combinations highly satisfactory. The maximum and the minimum
percentage were rated by 92% of the fashion designers and 70% of the students
of fashion design. Frequency pattern of respondents for this rating is the same
as textural variations and feature variations with computer illiterates at the
highest and fashion design at the lowest. It maybe therefore stated that the
design library has an excellent set of colour combination.
Computer Illiterates
Computer Professionals
Working Women
Housewives
College Students
Tailor
Textile/Garment Showroom
Textile/Garment Manufacturers
Fashion Design Students
Faculty Members of Fashion …
Fashion Designers
97
78
80
84
77
94
76
77
68
82
74
3
15
16
15
18
6
20
21
29
15
16
Highly Satisfactory Satisfactory Neutral
Dissatisfactory Highly Dissatisfactory
Table IX - Colour Combination Used
Respondents
Response (%)
Highly
Satisfactory Satisfactory Neutral Dissatisfactory
Highly
Dissatisfactory
Fashion Designers 92 6 2 - -
Faculty Members of
Fashion Design 86 12 2 - -
Fashion Design
Students 70 23 7 - -
Textile/Garment
Manufacturers 71 24 5 - -
Textile/Garment
Showroom 78 22 - - -
Tailor 86 13 1 - -
College Students 79 17 3 1 -
Housewives 85 14 1 - -
Working Women 84 13 3 - -
Computer
Professionals 78 15 7 - -
Computer Illiterates 100 - - - -
Total in Percentage 82.2 14.9 2.9 0.1 -
Figure 16 - Colour Combination Used
Computer Illiterates
Computer Professionals
Working Women
Housewives
College Students
Tailor
Textile/Garment Showroom
Textile/Garment Manufacturers
Fashion Design Students
Faculty Members of Fashion …
Fashion Designers
100
78
84
85
79
86
78
71
70
86
92
0
15
13
14
17
13
22
24
23
12
6
Highly Satisfactory Satisfactory Neutral Dissatisfactory
4.2.5 Suitability of the Garment and the Design
The views of the respondents regarding the suitability of the garments
and the design is presented in the Table X and Figure 17. Design refers to the
prints or embroideries applied in the garment
Table X - Suitability of the Garments and the Design
Respondents
Response (%)
Highly
Satisfactory Satisfactory Neutral Dissatisfactory
Highly
Dissatisfactory
Fashion Designers 80 14 6 - -
Faculty Members of
Fashion Design 84 15 1 - -
Fashion Design
Students 65 33 2 - -
Textile/Garment
Manufacturers 70 27 3 - -
Textile/Garment
Showroom 75 25 - - -
Tailor 93 5 2 - -
College Students 80 18 1 1 -
Housewives 88 12 - - -
Working Women 82 13 5 - -
Computer
Professionals 82 15 3 - -
Computer Illiterates 98 2 - - -
Total in
Percentage 81.6 16.4 1.9 0.1 -
Table X and Figure 17 show that 81.6% and 16.4% of the evaluators
expressed a rating of ‘highly satisfactory’ and ‘satisfactory, with respect to the
suitability of the garment and the design. A minor portion (1.9%) of the
evaluators have rated ‘neutral, while 0.1% of the college students have rated
‘highly dissatisfactory’. None of them have rated the suitability of the design
as ‘highly dissatisfactory’.
Computer illiterates (98%) and tailors (93%) have expressed the rating
as ‘highly satisfactory’. All the other respondents have rated between 88-75%.
It may be concluded that suitability of the garments and designs were
extremely appealing.
Figure 17 - Suitability of the Garments and the Design
4.2.6 3D Design Library as a Teaching Aid
The evaluation for the efficacy of 3D design library as a teaching aid is
given in the Table XI and Figure 18.
Table XI – 3D Design Library as Teaching Aid
Respondents
Response (%)
Highly
Effective Effective Neutral Ineffective
Highly
ineffective
Fashion Designers 88 12 - - -
Faculty Members of
Fashion Design 88 12 - - -
Fashion Students 71 22 7 - -
Total in Percentage 81.2 16 2.8 - -
Table XI and Figure 18 illustrates the evaluation of the 3D design
library as teaching aid by fashion designers, faculty members and students of
Computer Illiterates
Computer Professionals
Working Women
Housewives
College Students
Tailor
Textile/Garment Showroom
Textile/Garment Manufacturers
Fashion Design Students
Faculty Members of Fashion …
Fashion Designers
98
82
82
88
80
93
75
70
65
84
80
2
15
13
12
18
5
25
27
33
15
14
Highly Satisfactory Satisfactory Neutral Dissatisfactory
fashion design. Eighty eight percent of the faculty members of fashion design
and fashion designers have rated the design library as a highly effective
teaching aid. Twelve percent of the same group of respondents have evaluated
the library as ‘effective’. However neither faculty members nor fashion
designers have the rated the efficiency of design library as teaching aid as
‘ineffective’ or ‘highly ineffective’. Hence it is evident that the created design
library could act as an effective teaching aid.
Figure 18 - 3D design Library as a Teaching Aid
4.2.7 Operating the 3D Design Library
Table XII and Figure 19 depicts the responses for the level of difficulty
faced in the operation of the 3D design library.
Fashion Design Students
Faculty Members of
Fashion Design
Fashion Designers
88
88
71
12
12
22
Highly Effective Effective Neutral
Table XII - Operating the 3D Design Library
Respondents
Response (%)
Very
Easy Easy
Neither easy
nor difficult Difficult
Very
Difficult
Fashion Designers 80 16 4 - -
Faculty Members of
Fashion Design 88 10 2 - -
Fashion Design Students 78 18 3 1 -
Textile/Garment
Manufacturers 84 12 1 2 1
Textile/Garment
Showrooms 100 - - - -
Tailors 93 4 3 - -
College Students 76 20 4 - -
Housewives 95 5 - - -
Working Women 84 13 3 - -
Computer Professionals 89 11 - - -
Computer Illiterates 97 3 - - -
Total in Percentage 88 9.9 1.7 0.3 0.1
As far as the operating of the 3D design library is concerned, 88% of the
respondents felt that the operating of the design library is very easy and the
same is presented in Table XII and Figure 19. A minor proportion of 10% has
expressed that the operation is easy; whereas textile/garment manufacturer and
students of fashion design (0.3%) has articulated the operation as ‘difficult’.
‘Operation of the design library is very difficult’ is the statement voiced by
0.1% of the textile/garment manufacturers only.
All the textile/garment showrooms and 97%, 95% and 93% of the
Computer illiterates, housewives and tailors have expressed that the operation
of design library as very easy respectively, while 76-78% of the students of
fashion design and college students have least rating for the same parameter.
All the other evaluators (80-89%) have rated the operation of design library as
‘very easy’. It is very interesting to note that 97% and 3% of the computer
illiterates has rated ‘very easy’ and ‘easy’. The computer illiterates do not have
any knowledge of a computer. Hence it is clear that the operation of 3D
design library is very easy.
Figure 19 - Operating 3D Design Library
4.2.8 Presentation of Garment in 3D form
The responses for the presentation of garments in the 3D form are
presented in the Table IX and Figure 20.
Respondents felt that the presentation of garment styles in the 3D form
was extremely appealing and 12.4% found it appealing. A minor proportion
(3.4%) has expressed that the presentation appealing, whereas textile garment
showrooms (0.4%) has articulated that the presentation was slightly appealing.
Very small group of college students (0.1%) feel that the presentation was not
appealing.
With reference to the presentation of garments in 3D form the maximum
and the minimum rating as extremely appealing was given by computer
illiterates (99%) and fashion design students (74%). The evaluation clearly
Computer Illiterates
Computer Professionals
Working Women
Housewives
College Students
Tailor
Textile/Garment Showroom
Textile/Garment Manufacturers
Fashion Design Students
Faculty Members of Fashion …
Fashion Designers
97
89
84
95
76
93
100
84
78
88
80
3
11
13
5
20
4
0
12
18
10
16
Very Easy Easy Neither easy nor difficult Difficult Very Difficult
depicts that the presentation of the garments in the 3D form is extremely
appealing.
Table XIII - Presentation of Garments in 3D Form
Respondents
Response (%)
Extremely
Appealing
Very
appealing Appealing
Slightly
appealing
Not
appealing
Fashion Designers 84 10 6 - -
Faculty Members of
Fashion Design 80 17 3 - -
Fashion Design Students 74 18 8 - -
Textile/Garment
Manufacturers 88 7 5 - -
Textile/Garment
Showroom 75 21 - 4 -
Tailor 95 5 - - -
College Students 76 18 5 - 1
Housewives 87 13 - - -
Working Women 86 9 5 - -
Computer Professionals 77 16 7 - -
Computer Illiterates 99 1 - - -
Total in Percentage 83.7 12.4 3.4 0.4 0.1
Figure 20 - Presentation of Garments in 3D form
Computer Illiterates
Computer Professionals
Working Women
Housewives
College Students
Tailor
Textile/Garment Showroom
Textile/Garment Manufacturers
Fashion Design Students
Faculty Members of Fashion …
Fashion Designers
99
77
86
87
76
95
75
88
74
80
84
1
16
9
13
18
5
21
7
18
17
10
Extremely Appealing Very appealing Appealing
Slightly appealing Not appealing
4.2.9 View of the Garments in all Angles
The level of satisfaction for the view of garments in all angles is
depicted in the Table XIV and Figure 21.
Table XIV - View of the Garments in all Angles
Respondents
Response (%)
Highly
Satisfactory Satisfactory Neutral Dissatisfactory
Highly
Dissatisfactory
Fashion Designers 80 16 4 - -
Faculty Members of
Fashion Design 86 13 1 - -
Fashion Design
Students 89 10 1 - -
Textile/Garment
Manufacturers 87 10 3 - -
Textile/Garment
Showroom 96 2 2 - -
Tailor 92 8 - - -
College Students 87 10 3 - -
Housewives 86 13 - 1 -
Working Women 95 5 - - -
Computer Professionals 76 20 4 - -
Computer Illiterates 98 2 - - -
Total in Percentage 88.8 9.6 1.5 0.1 -
It maybe observed that the overall rating given for the view of the
garment designs in all angles is ‘highly satisfactory’ by majority of the
respondents (88.8%) as given in the Table XIV and Figure 21. Ten percent
have rated the viewing of garments in all angles as ‘satisfactory’. Among the
repondents, 1.5% of them has rated ‘neutral’ and 0.1% of the housewives has
rated ‘dissatisfactory’. The opinion ‘highly dissatisfactory was rated by none
of the respondents.
In the ‘highly satisfactory’ rating, computer illiterates have given the
highest percentage and computer professionals have the lowest as 98% and
76% respectively. All the other evaluators fall between 96 and 80%.
Therefore it maybe concluded that the level of satisfaction for the view of the
garments in all angles is high.
Figure 21 - View of the Garments in all Angles
4.2.10 Replacement of Catalogs with 3D Designs
The effectiveness of replacement of catalogs with 3D designs is shown
in Table XV and Figure 22.
It is evident from the Table XV and Figure 22 that a majority of the
respondents (85.9%) have felt that the replacement of catalogs with 3D designs
in the shops for the selection and purchase of garments is highly effective.
Twelve percent of the respondents felt that the replacement is ‘effective’, 2.1%
have shown neutrality while 0.1% of the textile / garment manufacturers felt it
is ineffective. None of the respondents chose to rate ‘highly ineffective’.
Computer Illiterates
Computer Professionals
Working Women
Housewives
College Students
Tailor
Textile/Garment Showroom
Textile/Garment Manufacturers
Fashion Design Students
Faculty Members of Fashion …
Fashion Designers
98
76
95
86
87
92
96
87
89
86
80
2
20
5
13
10
8
2
10
10
13
16
Highly Satisfactory Satisfactory Neutral Dissatisfactory
Table XV - Replacement of catalogs with 3D designs
Respondents
Response (%)
Highly
effective Effective Neutral Ineffective
Highly
Ineffective
Fashion Designers 84 14 2 - -
Faculty Members of
Fashion Design 80 17 3 - -
Fashion Design
Students 75 18 7 - -
Textile/Garment
Manufacturers 86 11 2 1 -
Textile/Garment
Showroom 96 4 - - -
Tailor 92 8 - - -
College Students 87 11 2 - -
Housewives 85 15 - - -
Working Women 85 11 4 - -
Computer Professionals 74 23 3 - -
Computer Illiterates 100 - - -
Total in Percentage 85.9 11.9 2.1 0.1 -
Figure 22 – Replacement of catalogs with 3D designs
Computer Illiterates
Computer Professionals
Working Women
Housewives
College Students
Tailor
Textile/Garment Showroom
Textile/Garment Manufacturers
Fashion Design Students
Faculty Members of Fashion …
Fashion Designers
100
74
85
85
87
92
96
86
75
80
84
0
23
11
15
11
8
4
11
18
17
14
Highly effective Effective Neutral Ineffective
All the computer illiterates and the textile / garment showrooms have
the maximum rating (96%). Computer professionals have the minimum rating
of 74% for replacement of catalogs with 3D designs. This clearly says that the
replacement of catalogs with 3D designs is highly effective for the selection
and purchase of garments.
4.2.11 Remarks and Suggestions
Of the 1050 respondents who agreed to evaluate, only 158 (15.0%) left a
remark. The views of the respondents are presented in Table XVI.
It may be noted that 30.4% of the fashion design students and 15.2 % of
the textile and garment manufacturers have recorded the maximum number of
remarks and suggestions. Tailors, housewives and college students have the
least number of comments recorded in the questionnaire.
Table XVI – Overall Response for the Remarks
Category of Respondents Number of
Respondents Percent
Fashion Designers 18 11.4
Fashion Teaching Faculty 12 7.6
Fashion Design Students 48 30.4
Textile /Garment Manufacturer 24 15.2
Textile /Garment Showroom 12 7.6
Tailor 2 1.3
College Students 3 1.9
Housewives 2 1.3
Working Women 11 7.0
Computer Professionals 18 11.4
Computer illiterates 8 5.1
Total 158 100.0
Fashion designers, faculty members and students of the fashion design
field have appreciated the collection as good and impressive, good teaching aid
and an ideal presentation suitable for the future generations. The tailors, textile
/ garment showrooms and manufacturers have remarked the library as an
effective and satisfactory tool for marketing and an impressive one. It is a
good presentation, say housewives, working women and college students.
They also said that the collection is good and it is a best replacement for
catalogue. The Computer illiterates have voiced that the library is ideal for
selection and purchase of garments in the future. Computer professionals are
amazed with the concept, idea, presentation, and creativity, while admiring the
hard work taken to complete this study
Faculty members of fashion design have recommends for brighter
colours and more varieties in the features and textures. Fashion design students
expect more types of fabrics on the garment and wish there is movement in the
model and the fabric. They also expressed a need to include a wider variety of
accessories for the garments.
Textile and garment manufacturers suggest that the designs should be
viewed more closely, where prints can be seen in a larger size. They also
expressed that movement of the figure maybe slowed down. Textile and
garment showrooms recommended for a more naturalistic movements in the
fabric and the model with a change in the background for every design.
Computer professionals look for real life models and prefer to view the designs
in many more angles.
4.2.12 Evaluation through Internet
The following is the consolidation of the views aired in the website.
The website is viewed by 203 viewers as on 1st November 2011. All the
viewers have appreciated the collection as good, knowledgeable, interesting,
awesome, innovative, novel, creative, and as having wide range of garment
styles and good presentation. Many of them has appreciated the hard work and
effort taken to create this library and also mentioned that it would help the
fashion designers, retailers, garment manufacturers and the general public.
Suggestions given for improvement include viewing of the fabric and
model with naturalistic movements and to add more clarity. The lesser grade
of clarity in the website maybe due to the conversion of ‘mpeg’ format into
thumbnails. The video files occupy a larger space in the mpeg format and to
reduce the file size, the conversion was made. The original design library is in
the ‘mpeg’ format and has more clarity.
Garment designs like Saree and Blouse are a treasure to cultural heritage
and storing them in the digital format will definitely a boon to the generations
to come. The concept of 3D designing was widely acknowledged by all groups
of people and hence this may serve as replacement for the catalogs used in the
retail showrooms, textile/garment manufacturers. The design library will
enrich the knowledge of the fashion design students and may serve as an
effective teaching aid in the days to come. It was evidenced that the computer
professionals and computer illiterates were immensely pleased with the concept
and are looking forward to view in the retail shops in the days to come. The
storage of library in the digital format will definitely help the future generation
to view the rich and cultural heritage of Indian garment styles and traditional
Indian fabrics.