3. CIRCULAR FASHION#
Fashion and architecture: a ratio of proportions#
The relationship between fashion and architecture is not based solely on the fact that both are visual languages, it is something more important and intimate. Both are based on structures, proportions, shapes, textures, colors, colors and creativity.
The proportions and volumes, which are fundamental for the architect when designing a building, are also for the creators of fashion. Achieving the perfect balance between creativity and functionality is a common goal for both.
Inspiration#
Architecture is how the person places herself in the space. Fashion is about how you place the object on the person. Zaha Hadid
The Iraqi architect Zaha Hadid, her forms are carried away by what is enveloping and does not follow the standardized rule. It is called deconstructive architecture; a current that was born in the 80s and that she defends as the sum of rationalism and experience. Non-linear, emotional and intuitive design.
The work of this architect is recognized for its advanced spatial concepts and the innovative use of technology, it is said that it freed architectural geometry with the creation of fluid shapes and fragmented geometry that evoke the chaos and flow of modern life.
ModulART#
My first ideas (and drawings on paper) were aimed at composing through modules a piece to be worn on the head (a fusion between hood and scarf). This idea was mutating, as was the development of modular design.
- First, the material chosen to work was felt wool (the main material used in headgear) which already outlined some guidelines to follow, based on the physical characteristics of the same (rigidity, structure and at the same time fragility to the being of natural base).
- One of my first intentions was that the module itself was three-dimensional (own volume). The geometric figure base, was the Rombo. To generate a volume effect, I added V-shaped cut lines to link it in the same shape (similar to the morphological resolution of sandals).
- The test modules were made on paper, which I found very entertaining, like creating my own puzzle.
- The assembly system was male-female vertical and horizontal posterior. For the union of the different “layers” the front axle and “sandal” type assembly are used.
- Perform many tests, in different materials and thicknesses, to make sure that the “fabric” works.
- With the progress of the process, my idea took another path; taking this module and climbing it in a decreasing way, in order to form in the final assembly of all its parts, the shape of a Rombo.
- The next stop was to assemble the file for laser cutting, trying to make the most of the textile surface.
- The assembly process took time, starting with the central line (the widest part) with 8 modules assembled vertically. Then, they decrease horizontally to the right and left.
Drawing in Rhino & Laser cut#
Technical Process:
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The first model was a more organic figure; observing it later it had a certain resemblance to the shape of a fish. With it, make the first samples in laser cutting, using artificial felt.
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After testing the assembly with the first cut, I decided to change the module by a mirror symmetrical figure (rombo) and thus achieve a “fabric” with smaller holes between layer and layer.
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The biggest difficulty was when I had to scale the module, to make the sea versatile and adapt to the different patterns. To do this, I reduced the size by 10% and thus obtained 4 different measurements.
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For the assembly to be maintained, it was necessary to modify the 4 module sizes, since their extremities and perforations had to always maintain the same size.
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Finally, I put together a “map” of how the pieces would be arranged and also how many should be cut from each one.
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Felt thickness used = 2mm
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In the interface of the laser cutting machine, create a new Fabric / Felt and the parameters used were: Power = 60 / Speed = 2 / PPI = 1000
Morphological evolution of the module#
Final Result#
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