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This system employs novel mathematical models of garment shapes to generate the shapes from sets of constraints defined by the garment categories and the measurements (Eckert and Bez, 2000). Traditionally garment shapes are constructed in the knitwear industry using a manual craft approach. The pattern cutters use measurements provided by the designers to derive the dimensions of the garment; the’ have remarkable tacit skills in drawing curves for armholes and sleeves that have exactly the same lengths and the right shape within company parameters. The system’s construction of garment shapes achieves the same results by employing mathematical methods to guarantee that two curves that need to be joined have lengths that are the same or in a specified ratio.

Figure 4 This system employs novel mathematical models of garment shapes to generate the shapes from sets of constraints defined by the garment categories and the measurements (Eckert and Bez, 2000). Traditionally garment shapes are constructed in the knitwear industry using a manual craft approach. The pattern cutters use measurements provided by the designers to derive the dimensions of the garment; the’ have remarkable tacit skills in drawing curves for armholes and sleeves that have exactly the same lengths and the right shape within company parameters. The system’s construction of garment shapes achieves the same results by employing mathematical methods to guarantee that two curves that need to be joined have lengths that are the same or in a specified ratio.

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and that this is a natural activity for human designers. The human can guide the generative system by setting the constraints on the generation process (as in the knitwear design systems discussed here), and/or by selecting alternatives for further iterative evolutionary development (as in William Latham’s virtual sculptures [Todd and Latham, 1992] and lan Kelly’s colour scheme design systems [Eckert, Kelly and Stacey, 1999]).
and that this is a natural activity for human designers. The human can guide the generative system by setting the constraints on the generation process (as in the knitwear design systems discussed here), and/or by selecting alternatives for further iterative evolutionary development (as in William Latham’s virtual sculptures [Todd and Latham, 1992] and lan Kelly’s colour scheme design systems [Eckert, Kelly and Stacey, 1999]).
Figure 2. Pattern Placing: Changed Distance between Pattern Elements
Figure 2. Pattern Placing: Changed Distance between Pattern Elements
Figure 3. Prototype Garment Shape Design System Cross and Johnson, 2000). The system handles the designers’ desire to employ incomplete sets of measurements by using sets of default values; these could easily be set to company standard values or taken from a previous design. (The system could sensibly be extended using Case Based Reasoning techniques [Kolodner, 1993; Voss, 1996; Voss, Bartsch-Spérl and Oxman; 1996] to choose appropriate previous designs to supply the default measurements for incomplete designs.) It deals with inconsistency indirectly by showing the designers the consequences of their mistakes.
Figure 3. Prototype Garment Shape Design System Cross and Johnson, 2000). The system handles the designers’ desire to employ incomplete sets of measurements by using sets of default values; these could easily be set to company standard values or taken from a previous design. (The system could sensibly be extended using Case Based Reasoning techniques [Kolodner, 1993; Voss, 1996; Voss, Bartsch-Spérl and Oxman; 1996] to choose appropriate previous designs to supply the default measurements for incomplete designs.) It deals with inconsistency indirectly by showing the designers the consequences of their mistakes.
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