**4. Fashion and textile choices**

Although our end goal is to create full body AR fashions, for technical reasons this is still too ambitious an undertaking. Obtaining one set of AR elements to follow the garment is already a significant challenge. So we have focused on the creation of a set of belts. One of our reasons for choosing belts is a consequence of the technology we are using, that is, the cylindrical recognition feature of the Vuforia API. However, it took considerable experimentation to work out how to do this efficiently. For example, although we earlier used patterned targets printed on paper (**Figure 1**), we wanted to develop fabric-based targets, but fabrics have a stitch structure that acts to effectively degrade the contrast and resolution features of the target images.

Tests with different woven fabrics were undertaken first to determine which features are best for ensuring recognition by the Vuforia software. The image used must be non-repetitive and asymmetrical as well and must favor sharp linear edges rather than curves. Experimentation showed that high contrasts are required for the Vuforia recognition and tracking software to function effectively. Furthermore, recognizable scene elements must be evenly distributed across the cylinder to ensure the belt can be tracked adequately over time and body movement. Some occlusion, for example from the arms and hands, can be tolerated without losing the tracking lock. We initially tested printed images such as the one shown in **Figure 2**.

Although the Vuforia API supports a range of possible cylinders, for our application we needed a wide, relatively narrow cylinder, since it was to be worn as a belt and remain flat in its lengthwise dimension, thereby keeping its design stable. After some experiments varying the width of the belt, we found that it needed to be at least 15 cm wide to provide a reliable recognition lock. This is wider than most belts, but there are many examples in fashion where belts of that width are used. We also discovered that the Vuforia API was happier if the belt had a high contrast edge (see **Figure 3**).

Images can be pre-tested in Vuforia before they are definitively used. Essentially, Vuforia in its test mode can provide a map of recognized points (**Figure 4**,

**Figure 2.** *Example of a printed image used to test the cylinder recognition process.*

*Plenum a la Mode - Augmented Reality Fashions DOI: http://dx.doi.org/10.5772/intechopen.99042*

**Figure 3.** *The finished moon belt with its black edging.*

**Figure 4.** *Recognition results for the moon belt.*

corresponding to a segment of the belt shown in **Figure 3**). Hence if the density of recognized points is too weak, the image can be further manipulated to enhance recognition, but only up to a point. Furthermore, in the case of a woven belt, such as shown in **Figure 3**, modification poses a challenge. Although we tested the scene recognition initially using printed images (e.g. **Figure 2**), the final tests had to be done with the finished weave, as the Vuforia software is sensitive to small deformations in the image. However, once the weave, itself a time- consuming step, is finished, further correction is difficult. Since some contrast is lost with the move to the woven image, we had to be creative to seek better recognition at that stage of development. We did attempt to further enhance the contrast using embroidery techniques, but ultimately the solution was of a different nature (see the discussion below concerning the background).

Weaving complex scenes such as the image of the lunar surface shown in **Figure 3** could be done accurately on a Jacquard loom. Although there are a number of Jacquard looms in Quebec City, access to them proved to be difficult (and would have been virtually impossible once the pandemic arrived). Fortunately, Michaud had completed a degree program in the textile arts and was able to use a range of different techniques to achieve similar results.

Considering the restriction of available equipment, Michaud used her own four-shaft jack table loom to test three fabric designs; overshot, shadow weave, and a double ikat-like technique (without resists). Cotton was used, as it is easy to find, does not stretch, is affordable, and can be dyed if necessary, with thread counts of 16/2, 8/2, and 8/4. Overshot in black and white, with the bigger thread 8/4, proved to be the most effective. However, the results were deemed too abstract for the project, so a compromise was made for a more pictural solution, using a double Ikat technique [8, 9], which offers a way of painting the threads before they are woven. Tests were undertaken to determine the appropriate weave density and to validate the painting techniques.

The second belt produced used an image of the solar surface (**Figure 5**). Recognition was generally stronger than it had been for the lunar surface (**Figure 6**). The belts for scenes 3 (space habitat) and 4 (fractal textures) are still under development. More details will be given below, since other parts of this work are in a more advanced stage of development.

Also, in order to ensure recognition, the belts needed to be reinforced to make them stiffer. Otherwise, they would bend to conform to body shape and thereby

#### **Figure 5.**

*The finished solar belt with its black edging.*

#### **Figure 6.**

*Recognition results for the solar belt.*

distort the image viewed by the Vuforia software, disrupting recognition. A canvas backing was therefore added to the inside of each finished belt. The belts are 32 in. in circumference, that is, they were designed for the slender physique of most fashion models, and an elastic closure was added so that they can be adjusted to different sized waists. Experimentation has shown that the presence of a small gap in the image at the back does not appear to disrupt the recognition and tracking, nor does a small overlap.

Each of the four scenes is characterized by a different color palette. This was, of course, intentional, to give a distinct character to each scene/belt combo. The lunar scene presents yellow and orange elements, while the solar scene is more red and orange. The platform itself is gray, but the nebula is predominantly blue and green with splashes of red, purple and yellow. For the fractal scene, we decided to produce the patterns in blue and white rather than black and white. This gives its corresponding belt a distinctive color.
