4. RESULTS AND DISCUSSION - Shodhgangashodhganga.inflibnet.ac.in/bitstream/10603/6680/10/10_chapter 4.pdf · Saree and Blouse has variations in the draping style (Gujarathi style

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.


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


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).


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


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)


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


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


Faculty Members of


Fashion Design


Textile/Garment

Manufacturer 79 17 3 1 -

Textile/Garment

Showroom 96 4 - - -

Tailor 92 8 - - -

College Students 86 12 1 1 -



Computer

Professionals 80 16 3 1 -


Total in Percentage 83.9 14.1 1.6 0.4 -

Figure 14 - Feature Variation in the Collection



Working Women

Housewives

College Students

Tailor


Textile/Garment Manufacturer


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


Highly

Dissatisfactory


Faculty Members of


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 - -


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.



Working Women

Housewives

College Students

Tailor


Textile/Garment Manufacturers


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


Highly

Dissatisfactory


Faculty Members of


Fashion Design


Textile/Garment


Textile/Garment

Showroom 78 22 - - -

Tailor 86 13 1 - -


Housewives 85 14 1 - -


Computer


Computer Illiterates 100 - - - -


Figure 16 - Colour Combination Used



Working Women

Housewives

College Students

Tailor





Fashion Designers

100

78

84

85

79

86

78

71

70

86

92

0

15

13

14

17

13

22

24

23

12

6


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


Highly

Dissatisfactory


Faculty Members of


Fashion Design


Textile/Garment


Textile/Garment

Showroom 75 25 - - -

Tailor 93 5 2 - -


Housewives 88 12 - - -


Computer



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



Working Women

Housewives

College Students

Tailor





Fashion Designers

98

82

82

88

80

93

75

70

65

84

80

2

15

13

12

18

5

25

27

33

15

14


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.


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


Faculty Members of


Fashion Design Students 78 18 3 1 -

Textile/Garment

Manufacturers 84 12 1 2 1

Textile/Garment

Showrooms 100 - - - -

Tailors 93 4 3 - -




Computer Professionals 89 11 - - -


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



Working Women

Housewives

College Students

Tailor





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


Faculty Members of


Fashion Design Students 74 18 8 - -

Textile/Garment


Textile/Garment

Showroom 75 21 - 4 -

Tailor 95 5 - - -

College Students 76 18 5 - 1





Total in Percentage 83.7 12.4 3.4 0.4 0.1

Figure 20 - Presentation of Garments in 3D form



Working Women

Housewives

College Students

Tailor





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


Highly

Dissatisfactory


Faculty Members of


Fashion Design


Textile/Garment


Textile/Garment

Showroom 96 2 2 - -

Tailor 92 8 - - -



Working Women 95 5 - - -




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’.



Working Women

Housewives

College Students

Tailor





Fashion Designers

98

76

95

86

87

92

96

87

89

86

80

2

20

5

13

10

8

2

10

10

13

16


Table XV - Replacement of catalogs with 3D designs

Respondents

Response (%)

Highly

effective Effective Neutral Ineffective

Highly

Ineffective


Faculty Members of


Fashion Design


Textile/Garment

Manufacturers 86 11 2 1 -

Textile/Garment

Showroom 96 4 - - -

Tailor 92 8 - - -





Computer Illiterates 100 - - -


Figure 22 – Replacement of catalogs with 3D designs



Working Women

Housewives

College Students

Tailor





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.

Documents

4. RESULTS AND DISCUSSION - Shodhgangashodhganga.inflibnet.ac.in/bitstream/10603/6680/10/10_chapter 4.pdf · Saree and Blouse has variations in the draping style (Gujarathi style