A glare illusion emulate reflector

the project is a theatrical garment head for women attending show events or professionals in the sector.

The goal is to tackle the problem of environmental pollution by working through digital technologies, using natural products and proposing a custom garment, promoting the rental of the product as a market model.

The garment is made up of a skirt that wants to simulate the classical ballet tutu and a playsuit that recalls the wood textiles technique with an experimental aluminum material.

This natural material, besides having many properties, is also washable and is well protected against corrosion, it is light and has the ability to reflect light.


During the woodtextile exercise I was able to recognize a certain difficulty in creating the desired effect with plywood.

At this moment it is still unclear to me whether I will consider the development of the with the woodtextile and if in what form. I decided to focused on the skirt.

During my experiments for bio textile exerciese I had the opportunity to create a new recipe that gives me the possibility to obtain a dry texture and also very thin and at the same time flexible.

This is where my inspiration comes from.

1) DONE - Draw the skirt on inkscape or on paper with misurment and understand how many materials i need to create the whole skirt;

2) DONE - Test lasercutter of my piece of bio fabric;

3) 4/02 - do the skirt;

4) 6-25 - Menage a meeting with who can help me to develop my idea and Think about the materials that I need and want to use;

5) 6-25 - Create a 3D model of a body and work on mesh;

6) 25/2-11/3 - Translate my 3D projct in 2D;

7)- 11-26 - Lasercut the pattern, make playsuit and compliete documntation.



The tulle and, in particular, the tulle skirt is the classicism grafted on the profane, on the vapors and the wonderful inconsistency.

It appeared for the first time in the ‘700 in France, in the city of Tulle that was famous for lace and silk and which gives it its name and it is from the intertwining of a fabric with small hexagonal holes that the tailors gave life to tulle.

Even if the processing has changed over time, it is always a gauze with a rarefied but resistant weave, spun in natural fibers like cotton and silk, or synthetic like polyester, the most common, nylon and lurex.

It is common to use today the syntetic tulle because it is more resistant, easier to use and cheaper than silk which is very thin and expensive.

The production was industrialized in the nineteenth century, thanks to the lace weaving machine invented in 1809 by the Englishman John Heathcoat.

Since then, tulle is mostly used in evening and formal wear, in underwear and in wedding dresses; a fashion, the latter, spread by Queen Victoria of England, who in 1840 married a white dress in tulle.

ABOVE ALL BECAME THE DISTINCTIVE FABRIC OF THE TUTU ‘OF CLASSIC DANCE: the first was worn in 1832 by the great dancer Marie Taglioni in La Sylphide, on the Germanic mythological figures of the spirits of the winds, depicted as slender and light girls.

As far as I know nobody has reinvented the skirt in short tutu because it is functional light and fluffy vaporous.

My skirt can potentially compete for lightness and at the expense of softness can be a skirt totally biodegradable and therefore that respects the environment.

Even if the tulle can be made of natural fibers to get the plate that remains high on the waist I think it is necessary to use the nylon that while keeping the lightness may be more rigid but flexible to the touch. Alternatively, a reinforcement of another kind would be needed.

The short plate is generally composed of 6 plies of about 25 cm diameter. The semiprofessional has a wheel about 35/38 cm wide and consists of 8 plies. While the professional can also be 40 cm wide and have 11 or more veils. To the tulle is added a final layer called copripiatto, decorated with the most varied decorations, from trimmings to sequins, from rhinestones to flowers, etc.

There are also versions of “fallen” tutus, which means that the structure of the veils is held together the same, but descends like a bell on the upper part of the dancer’s thigh.

My version will therefore be in bioplastic and in no way detract from the effectiveness of the original tutu, my project proposes to simply create an original and alternative version to use more than in a professional capacity, for aesthetic reasons and for versatility.

It will have a length of about 35 cm to ensure lightness despite the volume and not to be too short if wears normally.


There will be holes in the waist that with the 2 cm folds will give a thickness such as to allow, according to my considerations, to stand in a horizontal position.

I did a test to check the validity of the recipe. The result was even better than the one previously done that gives the possibility to bend the bioplastic without lasercutting it.

I will presumably use the laser to “draw” the lengths of the folds as well as to create the holes at the waist.

After having carried out the first tests and verified that the recipe recreated the same consistency, I created the edge in plywood to fill the bioplstic and give it the shape.

In this passage, various problems have occurred.

First of all, the quantity of product to be created is much lower than the approximate estimate.

As for the tests I created a base of baking paper and I joined the sheets with paper tape to avoid that it infiltrated between the different layers.

The first considerations made during this phase are:

An half disaster!

The quantity used is 8 times the basic recipe for assigment tests.

For the second panel I prepared less product, 7 times the starting recipe.

I removed the baking paper from the base, I leveled the table top, tried to pour the bioplastic in order to fill all the space quickly and I tried to create a layer of about half the thickness of the plywood that is 3mm.

Trying to fill where there seemed to be less product has immediately created a surface with imperfections because it has thickened very fast.

The color of the table that is also made of glass made it difficult to understand if the product was spread well on the whole surface.

I weighed the leftover bioplastic before pouring it on the marble of another table with greater thickness.

The result of the calculations is 5 times the quantity of the original recipe.

The advice of Anatasia and Cecilia were to remove the panel from the glass before it dried completely and to create folds by inserting the cloth between paper and film and then pressing it into the desired shape.

In this way the bioplastic dries up taking the desired shape without having to lasercut it as I had previously considered.

The panel laid out without baking paper and folded between two sheets of paper I isolated it on one side, recycling the baking paper that should have served as a base, and on one side with kitchen foil.

After a couple of days I noticed that the bioplastic was not as rigid as in the tests.

Popping it out of the envelope I noticed that one part of the panel and on one side was opaque in an uneven and quite rigid, while the other part was totally transparent and very flexible.

The first panel spread on the baking paper resulted with veins and from the thinner side the holes were created as feared.

Everywhere, on the thinner side and on the thicker side, the panel is opaque and stiff enough to think of creating the flat effect I wanted to obtain.

It is clear that chemically treated baking paper presumably releases with heat, a patina that adheres and stiffens the bioplastic and also makes it opaque.

So the secret of this texture is not so much in the recipe as in the action of baking paper.

The paper tape became an integral part of the bioplastic where it had been properly ascended.

The surplus bioplastic laid on the marble table has a thickness greater than I wanted to give the panels and is transparent and rigid enough to create the plate.

Apparently what makes the non-stick oven paper and resisitente at high temperatures is a silicone film.

What I did not know and I bet very few people worry about knowing is, that is the maximum threshold for using this material?

It is 220° and above this threshold there is no guarantee of any release of chemicals in food.

As a fact present in an article that I read as for each material treated it is always better to make limited use to situations of real necessity.

As with other materials that have proven to be highly harmful over time, it is always better to limit their use when possible.

I have also written to the customer service of the brand of baking paper that I used to have, if possible, information on the composition and chemical process used.

Another question I asked myself is: How to dispose of the parchment paper?

Not recyclable as treated as mentioned above exept if on the packaging is reported that once cleaned can be trashed with paper.

Cuki (a brand in Italy) and other brands are developing a baking paper created with cellulose fibers that thanks to the innovative production process is biodegradable, recyclable and COMPOSTABLE.

In this case, if CLEAN can be thrown into the PAPER. If DIRTY, instead, can be thrown in the HUMID / ORGANIC.

So we have to read the notes on the package!

Despite all this information I wonder why even at lower temperatures, the baking paper releases this opaque patina that stiffens the bioplastic.

What I would like to exploit, therefore, is the ability of the baking paper to create this irregular patinated effect and the stiffness with a minimum thickness to obtain even the lightest possible skirt.

New test!

With a small amount I poured the bioplastic into two molds with less glycerol. Half of the original recipe.

In one of the two I inserted, immediately after casting, the baking paper resting it on the surface to see the different consistencies with and without baking paper.

After a couple of hours I tried to immediately remove the bioplastic from the glass top.

The one with the baking paper applied I decided to try to fold it immediately to get the effect I would like for the skirt.

On the one side I put the kitchen film that leaves the surface shiny and transparent while on the other I kept the baking paper that I had applied immediately after casting.

The bioplastic was still too soft.

The folds came irregular and the bioplastic was broken and curled.

The other bioplasic, the one that at first had nothing, I put it on the back of the baking paper and without bending it.

The day after the result was bad for the one I had folded and I tried to give shape to the one I had just put on the baking paper.

I do not remember if it was necessary to put the kitchen film or anything, probably not because already dry, at least on the surface.

I left the baking paper on which I had placed it, and folded leaving it for a few hours under a weight.

The result of this test is excellent.

The consistance is very rigid and this gives hope for an excellent result for the final plate. The thickness is not much but I would like to get it finer again.

The baking paper has created opaque veins that create an interesting pattern.

During my research on the materials for the palysuit I landed on the phosphorescent colors that are recharged with light.

It is possible to find them in powder to be mixed or added to the surface (the fact that they can work even once integrated into the bioplastic must be verified).

On Amazon for 100 grams of product we spend on €25 for a product with excellent reviews.

For my tests I decided to go to a paint shop to see the effect of the colors and the various textures.

Those in powder have proved to be still very expensive.

What I wanted to test was a cheaper version, already diluted to be able to include in the recipe and to use it as a normal color to be applied with a brush.

I decided to immediately check the effect on the last tests performed.

And I painted with a brush on the surface.

Some notes on the chemical processes implemented to obtain a charge of light by a pigment that releases it in a certain period of time even after exposure.

Chemiluminescence, is the emission of electromagnetic radiation, particularly in the visible and near infrared, which can accompany a chemical reaction.

Considering a reaction between reactants A and B to give the product P:

A + B → P * → P + hν

In practice, the reaction leads to the product P in an excited state and the decay at the ground state does not lead to the formation of heat, but of a photon.

Luminol is a chemical compound used by the Scientific Police to detect blood, from biologists for the research of copper, iron and cyanide and from biochemicals for allow the identification of specific proteins separated by electrophoresis.

Electrophoresis is an analytical and separative technique based on the movement of electrically charged particles immersed in a fluid due to the effect of an electric field applied by means of a pair of electrodes to the fluid itself.

The principle underlying bioluminescence is the same as that of chemiluminescence, in which some molecules, produced in an excited electronic state, emit part of energy in the form of light radiation (photons) returning to the ground state.

Having to use the color for a biodegradable material, I decided, however reluctantly, to look for a totally natural pigment without chemical treatments.

As far as bioluminescence is concerned, it is a natural phenomenon of which I am very fascinated and which I hope to be able to deepen one day.

In the absence of time for this research and study I therefore looked for an alternative to the color that lights up in the dark.

I found a natural pigment that does not be part of the lands and that can create a metallic effect recalling, at a chromatic level, the material that I would like use for my playsuit.

This pigment is the result of chopped shells and has an almost mother-of-pearl silvered-color.

The step was therefore to create two more tests following the steps that had previously obtained a good result.

In one of these I mixed the pigment with the bioplastic, thus integrating it with the recipe.

In the other I decided to use it as a decoration and to spread it only on the surface.

These tests obviously showed me the different effects not only in the techniques but also in the color tones obtained.

I decided to divide the different materials obtained and to compare the chromatic effects to understand what the ieter would be like to follow during the development of the final panels.

After about half an hour the bioplastics inside the plywood circles have solidified enough to be detached from the glass top.

I placed them on baking paper to make this create the opaque patina that stiffens and creates patterns on the surface.

To do this I first divided the two bioplastie into smoller pieces that I placed on the baking paper with the back or front of the bioplastic and another part left on the glass.

Before they dried completely I put all the different pieces between two layers of baking paper and folded to give it the desired shape.

Some of these are inserted between two layers of kitchen film.

I left the bioplastic on a sheet of baking paper.

The effect obtained was that the paper curled a lot.

What I have been able to check out later is that the bioplastic wipes out.

This is another effect that I will later reproduce with what will advance bioplastic by making the definitive panels of the skirt.

Before placing the leftover on baking paper, I poured a little bit on some dry leaves and on an inner-skin of a Peruvian fruit the GRANADILLA.

The effect was particular because on the leaves the bioplastic did not spread but retreat and concentrate in some places.

While the inside of the fruit (which is not the pulp but the inner skin) has covered itself with bioplastic, obtaining what I wanted, otherwise a less dry and flexible material, the leaves simply decorated themselves.

skirt development#


First I spread the baking paper to create the layer on which to lay the panel after a couple of hours.

From the last tests I had decided that the effect that I preferred was the opaque and non-homogeneous pattern created by baking paper, I also created, with the addition of a small part of bioplastic in which I had melted the powdered pigment, some decorative abstract effects.

The baking paper seemed to me to create a better effect if lying on the back side and not on the font but this actually makes little difference.

The bioplastic panel proved to be very thin.

at first this scared me because in trying to remove it from the glass top, different cuts were created.

The technique I used was to roll up the bioplastic on itself with baking paper added above and then unroll it on the new paper base that I composed before pouring the bioplastic.

I used recycled paper every time I needed it, as well as the kitchen film I decided not to use anymore, but with each panel I made a new paper base to ensure the stiff and opaque effect .

I have also halved the amount of glycerine since the last tests.

After preparing the baking sheet, I cooked the bioplastic and, once it was ready, I poured it aside a little with the dye before pouring it on the glass.

Once the boplasty was finished, I bleed the dye and drew irregular motifs.

The still slightly sloping top has created larger and less defined areas of color.

The same part of dyed bioplastic has been poured a little in the “clean” one before being poured to see if the color veins were created but to obtain this result the two bioplastics must have different temperatures otherwise the color simply tends to spread uniformly above all due to the fact that during pouring, to ensure a uniform spread over the entire surface, I use a spoon to distribute the product as it goes.

Once the bioplastic was laid out and the decoration finished, I prepared the layers of paper to create the folds.

During the first test I realized that the folds that I had also drawn on rhino were smaller than the original sample which was also longer.

So I used the original paper sample on which I placed the sheet of baking paper that perfectly reflects the current shape and length of the skirt panel and redesigned the folds.

After at least two and a half hours I removed the panel from the glass top with some difficulty because very thin and still too cool in some places.

The panel spread between two sheets of paper is left for one day between two layers of paper, one of which was recycled from previous work.

Almost a day later the bioplastic is dry enough to bend it.

The timing depends on several factors.

The thickness of the panel, the size of it, the temperature of the environment, the humidity, if there are sources of heat nearby etc …

At home the glass top is placed in front of the heater when it is turned on the top heats up. Even during drying I also noticed that the bioplastic with the highest temperature of the top and being also very thin, tends to melt again but the environment then remains drier.

Placed it a sandwich between the sheets of baking paper and placed on the sheet with the folds drawn I began to bend it.

No weights are served because it bends easily, positioned correctly, makes weight to itself on the folds and does not need to remain tightly closed once dried.

Some tests done with the bioplastic surplus.

The technique has been improved for each panel to follow!


For each panel and something remained is:

400 gr water

100 gr jelly

50 gr vinegar

25 gr glycerine


Qty Description Price Link Notes
1 gelatine 1kg 20,65 € Amazon: Gelatina suina 200 Bloom, in polvere, 1 kg 700 gr
1 glycerine 1lt 30,00 € Amazon: Glicerina Liquida Vegetale 5Kg 350 gr
1 paper tape 6,00 € Amazon: Nastro Adesivo in carta 1 pz
1 baking paper
1 vinegar
1 pigment 13,00 € Crespi Milano q.b


I would like to create a playsuit with the model of wood textile but using a material that is always rigid but different and can be joined to the fabric by sewing the parts.

During the assignment textile as scaffold, the playsuit presented was the result of a long work and multiple steps from the paper pattern modified several times after having cut off the defects from the test cloths, and finally making it.

I would like to start in the opposite direction from a 3d model of my avatar with my measurements and then work on the meshes obtaining large geometries and working on the three-dimensional model to obtain the wearability following the same rules of the modeling.

I would like to bring the 3d model in 2d and create the palysuit by combining the geometries.

My idea therefore arises from the desire to develop the technique of wood textile combined with different materials, mainly metals!

At the same time I considered which elements, including the pigments, to integrate into my bioplastic skirt.

What do these materials bring together?

They are all natural!

when I decided to do a search for the color to be applied to the skirt and the effect I wanted to recreate with the entire outfit, what came to my mind were the natural elements that have the ability to refract the light.

So, like some metals and depending on how they are processed, there are animals and precious stones that have the ability to refract or create light by taking advantage of the existing one.

The question was: how to create something that can take advantage of natural light to get more effects and colors?!

I started considering the precious stones that refract the light thanks to the cut worked on it.

It is a very delicate work and an art able to definitively determine the value of the stone itself.

The ability instead, for some animals, to create bright colors visible in the dark is given by the bioluminescence or a chemical process that take place inside the body of themself, described together with other artificial phenomena, in the above documentation.

The cut of the precious stone and the technique of wood-textile seem to fit perfectly in at least the optical point of view but certainly not from the functional point of view.

What I can not develop at the moment is to create facets that can refect the correct light, another study this, that I could deepen in a seocnodo moment.

This is because what I want to show and enhance is the ability to recreate a tailored garment starting from the shape of own body.

The choice of the rigid material dictate to follow those that are the faces created through the cad program and that determine precisely the shape of the object in this case the body and finally my playsuit.

Cecilia has shown a polymer material that has the ability to create a mirror effect and at the same time remain flexible and transparent.

The choice of this material would mean distorting the structure of the garment, the totally natural origin composition and the
starting idea,that is, by adequately modeling the forms of the rigid material, it is possible to create a garment that is however flexible.

for the time being, I hold both materials in consideration by hazarding the hypothesis to use them both for their different properties depending on the areas of the playsuit.

Another material dear to me, is the glass for which I have just done an initial research not yet detailed.

I’m considering the idea of implementing another item that is completely biodegradable and edible like the skirt.

For the moment, I am deeping the subject of metals.

Metal reseach#


Metals have had a significant influence on the history of mankind, whose development epochs have been marked each time by the one in force in each of them, such as the age of iron, copper, etc.

In ancient times, within the theory of the four elements proper to the philosophy of nature, metals were considered to belong to the earth element, but unlike normal earthy materials, such as stones and crystals, they were also considered to share the qualities of fire because of the their luster and caloric transmissibility. Alchemy studied its properties, even symbolic ones, leading each of them to a first principle, and discovering a link with the seven then known planets of astrology, of which it was noted as the different angular velocity with which they move in the sky. corresponds to the difference in conductivity of the relative metals. Each planet was thus placed under the control of a particular metal according to the following combinations: Sun - gold, Moon - silver, Mercury - mercury, Venus - copper, Mars - iron, Jupiter - tin, Saturn - lead. The astrological symbology is still used today to mark these seven metals.

Subsequently, the Arab and medieval alchemists came to teach that all the metals of the sublunar world were composed, in a metaphorical sense, of the masculine principle of sulfur, responsible for the fuel faculty, and the feminine mercury, their archetypal mother and bearer of the characteristic of liquidity, volatility, and merger capacity. The possibility of a personal evolution of the alchemist was placed in analogy to the belief that all the metals present in the bowels of the earth were destined to become gold, through the appropriate transmutations, combinations of heat, and elimination of waste.


A metal is a conductive material of heat and electricity, capable of reflecting light (thus giving rise to the so-called metallic shine), which can be attacked by acids (with hydrogen development) and bases, often with good characteristics of mechanical resistance. Metals (especially those of the first and second groups) can also be attacked by water, which snatches the valence electrons from them by giving hydrogen through an exothermic reaction. Furthermore, metals are fused if subjected to heat.

Metals are chemical elements, constituting one of the three categories in which these elements are subdivided, together with that of semimetals and that of non-metals. With the expression metal material refers to a material that contains metals or alloys.

There are various types of metals, discovered in ages distant in time, because very few metals can be found naturally in the native state and because each metal has its own particular melting temperature which makes it more or less easy to extract it from the rocks that contain it. The first historically processed metals (copper and tin) naturally have a relatively low melting temperature, already obtainable with the ancient ovens of about 10,000 years ago (a period in which, presumably, copper processing began).

A vocabulary of concepts of organic chemistry states that one could define metal: a) any element that generates cations when one of its salt is solubilized in water, or b) any element with high electrical and thermal conductivity, ductility and malleability. A 2002 IUPAC technical report cited as a metal definition that proposed by Atkins and Jones that a metal is a “chemical element” that conducts electricity, has metallic shine, is malleable and ductile, forms cations and oxides basics.


The metals are polycrystals, that is, they are solids formed by numerous microscopic crystals called crystallites (also called “grains” in the metallurgical field) which are formed when the metals in the liquid state are cooled in a controlled manner. The size of the grains is an image of the speed at which the cooling process takes place and their edges represent an important area of discontinuity of the metal structure.

The spatial arrangement of the metal atoms are those typical of crystalline solids, that is, the atoms are arranged according to a regular geometric arrangement that repeats indefinitely in the three spatial dimensions (crystal lattice). For each crystalline lattice it is possible to identify an elementary cell, ie the smallest part of the crystal which, repeated in space through translations, forms the entire crystal. The most common elementary cells in the case of metals are: Gallium, bismuth, silver, gold and copper crystals.


Aluminum is a chemical element of the periodic table of elements with atomic number 13 and with a 2P1 / 2 spectroscopic term. His symbol is Al.

It is a silver-colored ductile metal that is extracted mainly from the bauxite minerals and its softness, lightness and oxidation resistance is remarkable, due to the formation of a very thin layer of oxide that prevents oxygen from corroding the metal below. Raw aluminum is processed by various industrial production processes, such as casting, extrusion, forging or molding.

Aluminum is a chemical element of the periodic table of elements with atomic number 13 and with a 2P1 / 2 spectroscopic term. His symbol is Al.

It is a silver-colored ductile metal that is extracted mainly from the bauxite minerals and its softness, lightness and oxidation resistance is remarkable, due to the formation of a very thin layer of oxide that prevents oxygen from corroding the metal below. Raw aluminum is processed by various industrial production processes, such as casting, extrusion, forging or molding.


The ancient Greeks and Romans used alum (which was produced by processing alunite, an aluminum sulfate found in nature), to build statues, weapons and armor.

Alum was fundamental in the textile industry as a fixer for colors, for prints on parchment, for leather tanning, for the production of glass and, as a haemostatic agent, for treating wounds.

In 1761 Guyton de Morveau proposed to call the base aluminum with the name of alumina. The metal was first identified by Humphry Davy, in the alum KAl (SO4) 2 · 12H2O, but failed to isolate it, therefore proposed the name alumium (from the Latin alumen, alum, bitter salt), then modified in aluminum.

It does not exist in nature in a free state and the silicates are aluminum minerals that are found in nature in huge quantities; it is the third element in order of abundance after oxygen and silicon.

It was isolated for the first time in 1825 by H. Oersted and subsequently obtained pure in 1827 by F. Wohler.

In 1886 Hall-Héroult invented the process of dissolved alumina electrolysis in cryolite (Na3AlF6) which made economic the extraction of aluminum from the minerals still commonly used in the world today.


Aluminum is a LIGHTWEIGHT and DUCTILE but RESISTANT metal. Its density is 2.71 g / cm³, which corresponds to a specific weight of about a third of steel and copper.

Other salient properties of aluminum are the EXCELLENT RESISTANCE to corrosion and durability; its silver-gray appearance is due to a thin layer of oxidation (called “passivation film”) which is formed rapidly when exposed to air and which prevents corrosion by blocking the passage of oxygen to the underlying aluminum; HIGH THERMAL AND ELECTRICAL CONDUCTIVITY (about two thirds of that of copper); paramagnetic; it is the second metal for malleability and sixth for ductility; high PLASTICITY; LOW RADIANT POWER; DOES NOT GENERATE SPARKLES for RUN; WELDABILITY: many aluminum alloys can be welded using normal techniques.


Few elements in nature lend themselves to forming such a large number of alloys such as aluminum. To improve the mechanical characteristics, certain quantities of alloying elements are added to the aluminum. When combined with other elements, the c haracteristics of this metal, which in its pure state is soft and ductile, change radically. Besides the main ones, there are other materials that are considered corrective to improve some aspects of the alloys.

Sugar glass#

It’s time to speak instead of the biodegradable material that I thought of integrating with aluminum and that recalls glass.

With the fear that the metal playsuit is excessively heavy and for the desire to use as many materials as possible I thought to create another biodegradable, edible, sweet and for these reasons totally natural element.

This gives me the opportunity to create a further fil rouge with the skirt and to approach for the first time an artificial, though natural, version of the glass.

I’m talking about the glass of sugar.

The idea is to replace some pieces/geometries of three-dimensional suit with this product by pouring it into shapes always obtained by plywood.

The next phase to the two-dimensional model is to understand which pieces I want to replace and lasercut in plywood.

This passage could be very long if I consider using also the material suggested by Cecilia.

From a little research carried out it seems that isomalt is better than fructose.


Isomalt is a substitute for sugar, an alditol mainly used for its physical characteristics similar to those of sugar.

It has a small impact on blood glucose levels and does not lead to the formation of dental caries. Provides 2kcal / g, half of those of sugar. However, like most alditols it involves risks related to gastric disorders including flatulence and diarrhea if consumed in large quantities. Because of its laxative properties, consumption of isomalt in doses above 50g per day for adults and 25g for children is not recommended. It is generally combined with substances with a high sweetening power, such as sucralose in such a way as to obtain a mixture with approximately the sweetness of the sugar.

It is a crystalline substance, white and odorless, containing approximately 5% crystallization water. Isomalt is an alcoholic sugar produced from beets.

It is produced in a two-step process in which the sugar is first transformed into isomaltose, then hydrogenated using a metallic catalytic converter.

Isomalt can also be used for carving sugar and some prefer it to sugar as it crystallizes more slowly and therefore increases thermal stability.

Low hygroscopicity (ability to absorb water from the environment): this is why it is excellent for working and creating sculptures.

Brought to the temperature of 150 ° C-180 ° C, the isomalt passes to the liquid state and, following a brief period of warming, can be shaped with the hands and shaped as desired giving life to extraordinary structures.


For this reason I would like to isolate them before applying them on the dress.

This would make the material less natural but I think it can be another of the details to be studied for a more advanced phase of the prototype.

With fructose it is possible to add citric acid, obtaining a metalized effect.

For this reason I am still undecided whether to use isomalt which is better for modelling or fructose with which I would have more possibilities to achieve the desired effect considering also the fact that in this case the sugar would not be processed but only cast in the mold .

3D Modelling#

After evaluating different options to get the avatar of my body I used the CLO3d program with which it is possible, inserting the prorprie measures in the circumferences and heights that the program considers, obtain a true copy of themselves.

I did a search on the different fables in Milan where it is possible to scan the body. The technologies used are very similar to the kinect used in WeMake and one of these offers a paid scan service through photos getting a better resolution in details.

I uploaded the file to meshmixer in order to work with the meshes. It was my desire to obtain rather large geometries without necessarily having a uniformity between the forms.

Working on the geometries and the vertices I kept as a program option a form as coherent as possible with the initial model. Having to give up the number of meshes that are therefore larger, it is normal that the model loses details.

What interests me is to get the shape of my playsuit.


By double clicking on the model it is possible to select the whole group of meshes.

With the CLO model the individual limbs, the head and the trunk are already subdivided into groups of meshes.


With this option it is possible to decide the dimensions and the number of meshes in percentage and also indicating how many geometries you want to obtain.

There are also several options it is very easy to find mini tutorials for almost any changes you want to make.

Once the mesh on meshmixer was defined, I created two files thinking about working separately.

First I changed the length of the bust to fit the playsuit and in rhino we did it twice before creating geometries by hand with polylines and then filling the surface then, given that with the mesh and the net we couldn’t let the parts fit together well and the bust could not be cut, we decided to lengthen the torso by lining the geometries.

I made a thousand attempts trying to model the body from meshmixer also and exploit the patterns but the problem remains of having to work on a flat surface.

The work on rhino was really unnerving and a very long process with many many steps and tests.

test for panel of playsuit

one panel from half body

Fabric dyeing#


For the test I used:

I left the fabric for an hour with alum and an hour the cabbage in water on the fire.

Then I kept soaking for at least 1h the fabric in the color solution alone and with vinegar to see different color effects.

The fabric has shrunk to 11 cm * 36 cm.

Think to take in mind in proportion to the amount of fabric to use.

The 500 ml colored water was reduced to 120 ml after just over half an hour.

The kitchen fires at my disposal do not allow me to keep both pots on low heat, the one with the cabbage has boiled all the time.

So another consideration is that almost a fifth of the water used for color for half an hour of cooking was obtained and that it is just enough to keep the small piece soaked.

For the final Project i wash the cotton fabric in washing machine at 90 degrees, then i used 3 kg and half of purple gabbage in 6 lt of water.

For the ammount of purple gabbage was neccesary about 9 lt but there was no more space in my pot.

Befor to dyed the fabric i lasercutted the panel to have more space during laying in color.


Qty Description Price Link Notes
1 Isomalt 5,50 € Amazon: Isomalto cristallino puro 500 gr
1 Fruttosio 3,90 € Esselunga supermarket 750 gr
1 Citric acid 6,85 € Amazon: Nortembio Acido Citrico 500 gr
1 Aluminium sheet 8,50 € Bricoman Segrate (40 mm * 100 mm)
700mm Fabric 16,00 € Tessuti e scampoli (H. 240 mm) 1 mt
1 zip 1,50 € Tessuti e scampoli (invisibile) 60 mm
3 Purple cabbage 1,40 € Esselunga supermarket 1500 gr
1 Alum 9,90 € Amazon: Alluminio solfato di potassio 1000 gr