Classification of Fashion Models' Walking Styles Using Publicly Available Data, Pose Detection Technology, and Multivariate Analysis: From Past to Current Trendy Walking Styles.

Understanding past and current trends is crucial in the fashion industry to forecast future market demands. This study quantifies and reports the characteristics of the trendy walking styles of fashion models during real-world runway performances using three cutting-edge technologies: (a) publicly available video resources, (b) human pose detection technology, and (c) multivariate human-movement analysis techniques. The skeletal coordinates of the whole body during one gait cycle, extracted from publicly available video resources of 69 fashion models, underwent principal component analysis to reduce the dimensionality of the data. Then, hierarchical cluster analysis was used to classify the data. The results revealed that (1) the gaits of the fashion models analyzed in this study could be classified into five clusters, (2) there were significant differences in the median years in which the shows were held between the clusters, and (3) reconstructed stick-figure animations representing the walking styles of each cluster indicate that an exaggerated leg-crossing gait has become less common over recent years. Accordingly, we concluded that the level of leg crossing while walking is one of the major changes in trendy walking styles, from the past to the present, directed by the world's leading brands.

Gait pattern can alter aesthetic visual impression from a third-person perspective.

Beauty is related to our lives in various ways and examining it from an interdisciplinary approach is essential. People are very concerned with their appearance. A widely accepted beauty ideal is that the thinner an individual is, the more beautiful they are. However, the effect of continuous motion on body form aesthetics is unclear. Additionally, an upright pelvic posture in the sagittal plane during walking seems to affect the aesthetic judgments of female appearance. We directly analyzed the influence of body form and walking pattern on aesthetic visual impressions from a third-person perspective with a two-way analysis of variance. Captured motion data for three conditions-upright pelvis, normal pelvis, and posteriorly tilted pelvic posture-were applied to each of three mannequins, representing thin, standard, and obese body forms. When participants watched stimulus videos of the mannequins walking with various postures, a significantly higher score for aesthetic visual impression was noted for an upright pelvic posture than for a posteriorly tilted pelvic posture, irrespective of body form (F(2, 119) = 79.89, p < 0.001, η2 = 0.54). These findings show that the third-person perspective of beauty can be improved even without being thin by walking with an upright pelvic posture.

Individual Step Characteristics During Sprinting in Unilateral Transtibial Amputees.

To understand the step characteristics during sprinting in lower-extremity amputees using running-specific prosthesis, each athlete should be investigated individually. Theoretically, sprint performance in a 100-m sprint is determined by both step frequency and step length. The aim of the present study was to investigate how step frequency and step length correlate with sprinting performance in elite unilateral transtibial amputees. By using publicly-available Internet broadcasts, the authors analyzed 88 races from 7 unilateral transtibial amputees. For each sprinter's run, the average step frequency and step length were calculated using the number of steps and official race time. Based on Pearson's correlation coefficients between step frequency, step length, and official race time for each individual, the authors classified each individual into 3 groups: step-frequency reliant, step-length reliant, and hybrid. It was found that 2, 2, and 3 sprinters were classified into step-frequency reliant, step-length reliant, and hybrid, respectively. These results suggest that the step frequency or step length reliance during a 100-m sprint is an individual occurrence in elite unilateral transtibial amputees using running-specific prosthesis.

Differences in spatiotemporal parameters during 200-m sprint between bilateral and unilateral transfemoral amputees.

BACKGROUND AND AIM:: Although Paralympic T42 class Men's 200 m sprints are currently competed by athletes with bilateral and unilateral transfemoral amputations, there may be performance differences between the groups. This study aimed to compare the spatiotemporal parameters of a 200-m sprint between bilateral and unilateral transfemoral amputees wearing running-specific prostheses. TECHNIQUE:: We analyzed 29 races (nine sprinters) with bilateral or unilateral transfemoral amputations from publicly available Internet broadcasts. For each sprinter's race, the average speed, step frequency, and step length were calculated using the number of steps in conjunction with the official race time. DISCUSSION:: Average speed of bilateral transfemoral amputees was 5.7% greater than in unilateral transfemoral amputees. Bilateral transfemoral amputees exhibited lower step frequency (-8.9%) but longer step length (16.3%) than unilateral transfemoral amputees. Therefore, even in the same Paralympic classification (T42), different spatiotemporal strategies exist between bilateral and unilateral transfemoral amputees wearing running-specific prostheses during 200-m sprints. CLINICAL RELEVANCE: Since different spatiotemporal strategies exist between bilateral and unilateral transfemoral amputees during 200-m sprints, our data supports recent revisions of classification rules (1st January, 2018), which each population was allocated into the different classification (T61 and T63, respectively).

On the skilled plantar flexor motor action and unique electromyographic activity of ballet dancers.

The study aimed to compare the ability of dance and non-dance subjects to perform fine control of a simple heel-raising/lowering movement, and to determine if there are any differences in motor unit activity in the primary plantar flexor muscles during the movement. Subjects were instructed to accurately track a sinusoidal trace with a heel-raising and lowering movement at four controlled frequencies (1, 0.5, 0.25, and 0.125 Hz). The ankle joint angle was used to characterize movement errors from the target. Surface electromyography was recorded from the soleus and medial gastrocnemius muscles. One trial including five sinusoidal traces was divided into two phases: an up phase and a down phase. To characterize motor unit activity of the plantar flexor muscles, a wavelet transform was applied to electromyographic signals recorded in each phase. For both phases, errors in movement accuracy were lower in dancers than in controls (8.7 ± 4.6 vs. 11.5 ± 6.8%, P < 0.05) regardless of the frequency of the sinusoidal wave traced. During the down phase, peak power of soleus electromyographic signals at ~ 10 Hz was statistically larger in control subjects than in dancers (10.4 ± 0.7 vs. 6.3 ± 0.4% total power, P < 0.05). These results indicate that dancers have a higher degree of motor skill in a heel raise tracking task and exhibit adaptations in the motor unit activity during skilled dynamic movements.

Corticospinal excitability of the ankle extensor muscles is enhanced in ballet dancers.

We tested the corticospinal excitability of the soleus muscle in ballet dancers to clarify whether the presumed long-term repetition of the specific plantarflexion results in changes of excitability in this neural pathway. We compared motor evoked potentials of the soleus muscle at rest and during isometric contraction of the plantar flexors in dancers and non-dancers. The amplitudes of motor evoked potentials elicited by transcranial magnetic stimulation during contraction were examined against the background electromyographic activity. A regression line was calculated for each subject. Results showed that the slope of the regression line is significantly greater in the dancer group than in the control group, suggesting that the corticospinal tract of ballet dancers has adapted to long-term repetition of plantarflexion in daily ballet training.