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6. COMPUTATIONAL COUTURE

RESEARCH

PARAMETRIC DESIGN

Parametric design is an algorithmic approach that defines and encodes the relationships between a designer's intent and the design's response through parameters and rules, offering flexibility and precision. Unlike traditional CAD systems, where each element is generally independent, parametric design links decision variables and constraints directly to geometry, enabling interdependent relationships and dynamic control over design components. This approach allows designers to efficiently generate complex geometries, testing multiple design variants without the need for manual adjustments to individual elements, even as the project evolves. By establishing a network of relationships within the model, designers can easily manipulate parameters, exploring a range of solutions simultaneously and achieving a level of freedom and adaptability not possible in conventional drafting. This capability makes parametric design especially valuable in handling complex projects with numerous parameters, enabling designers to integrate various design aspects into a cohesive, responsive system that autonomously adapts and generates novel solutions within defined constraints.

KEY 3D PRINTING AND DIGITAL FASHION TECHNOLOGIES:

    𖡎 SLA – Stereolithography is a 3D printing technique that uses UV light to cure liquid resin into solid layers, creating highly detailed, smooth surfaces. It's widely used in fashion design for crafting intricate pieces, as explored in resources like Digitally Crafted Couture, which delves into the applications of SLA in producing wearable art and detailed couture.
    𖡎 PolyJet Technology is a multi-material 3D printing method from Stratasys that enables printing directly onto fabrics, offering the ability to integrate flexible, colorful textures and designs into textiles. This method is popular in fashion tech for creating garments that combine both 3D-printed and traditional fabric elements, enhancing customization and flexibility.
    𖡎 Laser Sintering (EOS) particularly with EOS machines, is an additive manufacturing process that fuses powdered materials using a high-powered laser. It allows for the creation of durable, lightweight structures, often used in fashion for creating high-strength components or intricate, wearable designs that require precision and durability.
    𖡎 Fused Deposition Modeling (FDM) is a widely accessible 3D printing method that extrudes thermoplastic filaments layer by layer. Known for its versatility and cost-effectiveness, FDM is commonly used in prototyping and creating wearable tech, where flexibility and functionality are key.

ARTISTS INSPO

JULIA KOERNER

This week began with a presentation by Julia Koerner, an Austrian designer whose work in 3D-printed architecture, fashion, and product design has been a major influence in my own creative journey. Watching her speak felt surreal—I’ve followed her for years, in love with her unique ability to blend organic beauty with technology. Her projects, from the iconic costumes in Marvel’s Black Panther to stunning haute couture designs, have truly pushed the boundaries of what's possible in design. Getting to hear her insights firsthand was a genuine fangirl moment for me and an incredible way to start the week!

GANIT GOLDSTEIN

Ganit Goldstein is a designer at the forefront of computational textile and fashion design, focused on creating smart textile systems. She is passionate about blending traditional craft with technology, using digital tools in combination with physical materials to unlock new possibilities in programmable textiles. Her work is especially innovative in applying 3D printing methods to develop custom, three-dimensional textiles, redefining the potential of textile design.

DANIT PELEG

Danit Peleg, founder of the 3D Printed Fashion Lab, is on a mission to transform the fashion industry with a focus on innovation, technology, and sustainability. She envisions a future where 3D printing allows for on-demand, customized clothing that is not only wearable but also eco-friendly and circular, redefining how garments are made and worn. Her commitment to reshaping the industry through research, collaboration, and outreach has earned her recognition, including being named one of Europe’s Top 50 Women in Tech by Forbes and an inspiring figure on the BBC’s 100 Women list.

JULIA DAVIY

Julia Daviy (Berezovska) is a visionary sustainability innovator, inventor, and clean tech entrepreneur known for her groundbreaking work in sustainable digital 3D-printed fashion. From spearheading eco-friendly fashion to building ecosystems that advance clean tech and renewable energy markets, Julia’s journey has always been about expanding the limits of innovation. Leading companies and initiatives in sustainability, she has dedicated her career to creating impactful solutions that not only promote sustainable practices but also help shape policies and initiatives at both state and international levels.

SUSANA MARQUES

Susana Marques, a self-taught expert in additive manufacturing, embarked on her 3D printing journey during her Master’s studies, aiming to stand out in the fashion world. Her fascination with technology led her to pursue and complete a PhD focused on the intersection of fashion and 3D printing. Among her proudest achievements is developing 3D-printed textiles with flexibility and comfort akin to traditional fabrics. Susana sees 3D printing as a revolutionary force in sustainability, enabling zero-waste production, complex designs, and easy integration of electronics and sensory elements. Despite the challenges of working independently and the biases she faces as a woman in a male-dominated field, Susana remains driven by her vision for the future of 3D printing. She believes building communities for women in tech is essential for inspiring more to join and push boundaries in this transformative space.

BRIGITTE KOCK

Brigitte Kock is a pioneering modular 3D-printed fashion designer dedicated to creating wearable pieces that individuals can 3D print from home. I was so happy to find out she will present this week! She guides enthusiasts through every stage of the process, from concept to completion, teaching how to work with TPU fabric, assemble modular components, and blend various 3D printing techniques to achieve distinctive, customizable results. In collaboration with Balena, Brigitte designed a 3D-printed fashion garment crafted from BioCir®flex3D, a compostable, biobased material. Utilizing the 'Artillery Sidewinder 2x' 3D printer.

KATRINA MCLAUGHLIN

Katrina McLaughlin merges traditional textile crafts like embroidery and print with modern 3D printing technologies, transforming the 3D printer into a flexible, design-oriented tool. Her doctoral, practice-based research focuses on the potential of open-source, low-cost 3D printing software, allowing her to remix and adapt the 3D printer much like a sewing machine. Through this approach, she explores the digitalization of textile techniques, aiming to create a new taxonomy of design applications. Katrina has developed a collection of 3D-printed, embellished textiles as part of her research, showcasing how traditional craft skills can translate into innovative, technology-driven creations. Her exhibition highlights these experimental outcomes and illustrates new possibilities for the fashion, textile, and costume industries. Additionally, she integrates post-production processes rooted in her expertise in print and dye techniques, bringing a rich, textured quality to her 3D-printed textiles. Read here to learn more.

BRUNO TOGNIN

Bruno Tognin is a Brazilian artist based in France who focuses on blending 3D printing and artificial intelligence with fashion and art. His journey into digital fabrication began at a Fab Lab, where he initially joined as a resident artist due to his music background. Over time, he transitioned into managing the lab’s 3D printing operations, gaining hands-on experience and quickly mastering 3D modeling through self-teaching.

STEPHANIE SANTOS

Stephanie Santos is a visionary designer blending the art of traditional haute couture with cutting-edge digital techniques and 3D fabrication creating stunning 3D printed lingerie. Her creations are either meticulously handmade or crafted through 3D hand-printing, resulting in unique pieces that fuse craftsmanship with innovation. Drawing inspiration from nature, her designs mimic the organic forms of fungi and plants, transforming these elements into ergonomic, body-contoured garments that enhance natural elegance. With a deep commitment to sustainability, Stephanie ensures that all 3D filaments used in her work are 100% recyclable, reflecting her dedication to eco-conscious design.

EDEN SAADON

Eden Saadon, a 3D lace and textile designer, brings an innovative approach to traditional lacework by integrating 3D printing technology into her designs. Eden graduated in 2017 from the Textile Design Department at Shenkar College of Engineering, Design, and Art. For her final project, she crafted a line of feminine, hand-made lace undergarments using a 3D printing pen, sponsored by 3Doodler. This technique, which uses Flexy™ biodegradable material, produces no waste, making her creations environmentally friendly. By merging the delicate aesthetics of traditional lace with the modern, synthetic forms of 3D drawing, Eden has developed a unique visual language that expands the creative possibilities within textile design. Currently she works as a Textile Designer at Mira Zwilinger, luxury brand focusing on bridal couture mixing tradition with technology.

BATOUL AL RASHDAN

Batoul Al Rashdan is a professional in the field of digital fabrication and innovation, with a strong foundation of expertise gained through hands-on experience and impactful projects. Known for her commitment to advancing sustainable design, Batoul has built a remarkable career in developing creative, practical solutions using advanced fabrication techniques.

NERI OXMAN

Neri Oxman is an architect, designer, and professor at MIT Media Lab, where she leads the Mediated Matter research group. Renowned for her groundbreaking work in 3D-printed art and architecture, Oxman’s approach merges design, biology, computing, and materials engineering. Her team explores the intersection of computational design, digital fabrication, materials science, and synthetic biology, applying their insights to a wide range of projects from microscopic to architectural scales. Oxman aims to deepen the connection between built, natural, and biological environments by drawing on nature-inspired design principles to develop innovative design technologies. Oxman also worked on a research project focusing on 3D printing glass.

FRANCIS BITONTI

Studio Bitonti, founded by Francis Bitonti in 2012, is a visionary design firm that uses emerging technologies to craft forward-thinking products and experiences. Known for blending aesthetics with functionality, the studio employs computer-controlled manufacturing processes and innovative materials, embracing the concept that the future of design is both digital and physical. With a philosophy centered on shaping the next version of humanity through technology, Bitonti and his team—composed of Design Futurists and Computational Designers—help clients create culturally resonant products that adapt to evolving markets. Bitonti’s book, 3D Printing Design: Additive Manufacturing and the Materials Revolution, captures this ethos, exploring how 3D printing and material innovation are reshaping design possibilities.

BEHNAZ FARAHI

Behnaz Farahi is a designer, creative technologist, and critical maker who currently serves as an Assistant Professor at the MIT Media Lab, where she leads the Critical Matter Research Group. With a background in architecture, Farahi focuses on creating empathetic interactions between the human body and its surrounding spaces by integrating emerging technologies inspired by natural systems. Her work addresses themes of feminism, emotion, bodily perception, and social interaction, leveraging computational design, interactive technology, and digital fabrication. Recognized with numerous awards, including the Cooper Hewitt Smithsonian Design Museum Digital Design Award and the Fast Company Innovation by Design Award, Farahi’s work is also part of the permanent collection at the Museum of Science and Industry in Chicago and has been exhibited globally. She is the co-editor of Interactive Design: Towards a Responsive Environment (Birkhäuser Verlag, 2023) and 3D Printed Body Architecture (Wiley, 2017) and author of the forthcoming Emotive Design (Routledge). Farahi has collaborated with top firms like Adidas and Autodesk and contributed to NASA-funded projects with Professor Behrokh Khoshnevis on robotic 3D printing for lunar and Martian structures.

METHODS TO 3D PRINT TEXTILES

    𖡎 Lace Method uses 3D printing to create delicate, lace-like structures that mimic the aesthetic and texture of traditional lacework. Often achieved through the use of flexible filaments or 3D printing pens, the lace method allows for intricate patterns and openwork designs that can be used in fashion for undergarments, overlays, or decorative textile elements.
    𖡎 Yarn Method involves 3D printing textiles with minimal thickness, creating a continuous, interwoven pattern that resembles the properties of yarn-based fabrics. This method typically avoids added thickness, resulting in a flat, flexible structure that can move and drape similarly to fabric woven from natural fibers.
    𖡎 Chainmail Method uses interlocking shapes or modular pieces that move independently, creating flexibility similar to chainmail. By designing small, interconnected parts, you can produce textiles with a high degree of movement and adaptability, suitable for garments, accessories, or even armor-inspired fashion.
    𖡎 Interwoven Structures Combining 3D printing with traditional weaving, this method involves printing thin, flexible layers that can be woven with threads or other materials to create hybrid textiles.
    𖡎 Layered Gradient Printing This method prints multiple thin layers with varied densities to create gradient effects. By changing the density or thickness in different areas, you can achieve textiles with flexibility in certain zones and rigidity in others, useful for garments that need structured support in specific areas while remaining comfortable.
    𖡎 Knitted or Braided Patterns Using 3D printing to simulate knitted or braided textures, you can create flexible, stretchy textiles with complex, interlocking loops. This method can be achieved through customized printer settings that allow small overlaps, imitating traditional knitting but in a continuous 3D-printed form.
    𖡎 Flexible Filament Grids Printing in a grid pattern with flexible filaments (such as TPU) allows for textiles with a “stretch and rebound” quality. By adjusting the grid’s spacing, you can control the elasticity, making it suitable for fitted garments or accessories that benefit from a bit of stretch, like gloves or sportswear.
    𖡎 Parametric Design for Textiles Using parametric design software, you can create generative patterns that adapt to specific body shapes or sizes. This method enables the creation of personalized garments, where each design can be tailored in real-time by adjusting the pattern parameters. It’s ideal for custom-fit, on-demand textiles.
    𖡎 Embedded Electronics Combine 3D printing with embedded sensors or LED lights to produce smart textiles. Flexible 3D-printed substrates can house electronic elements within their layers, creating interactive garments that respond to touch, movement, or environmental changes, popular in wearable tech.
    𖡎 Textured Surface Techniques Instead of smooth layers, experiment with textured surface patterns like spikes, scales, or hexagons. These elements can be designed to flex or pop up, adding dynamic visual and tactile qualities that mimic organic textures, such as animal scales or plant surfaces.
    𖡎 Microporous Structures Use 3D printing to create a network of tiny pores within the fabric, allowing airflow and breathability. This method can result in lightweight, comfortable textiles ideal for activewear or outer layers that benefit from enhanced ventilation.
    𖡎 Multi-Material Printing Some 3D printers allow for multi-material printing, enabling you to combine different filament types (e.g., flexible and rigid) in a single textile. This versatility can create hybrid textiles with varied textures, allowing for stiffness in specific zones and flexibility in others, useful for structured yet comfortable wearables.

CHATGPT + GRASSHOPPER

Here you can find a tutorial on how to connect your ChatGPT to Grasshopper.

GENERATIVE DESIGN (SOUND + FORM)

Super interesting idea that I would like to try out in my future work.

PARAMETRIC MODELLING ON GRASSHOPPER

LOFT

VERONOI

FUR

HISTORY OF POLISH LACE

Lace-making in Poland has a rich heritage dating back to the 17th and 18th centuries, with workshops and lace schools emerging across the country. The tradition found its strongest roots in the south, particularly in Krakow and the nearby village of Zakopane in the Tatra Mountains, where intricate lace techniques became an essential part of local decor and identity. However, Poland’s turbulent history, marked by partitions among Russia, Prussia, and Austria, caused a temporary decline in traditional crafts, including the art of lace-making. By the 19th century, handmade bobbin lace saw a period of regression not only in Poland but across Europe as well.

MODERN LACE INSPO

This week, my main inspiration, aside from the history of Polish lace, came from Alexander McQueen’s Spring 2012 Collection, particularly the striking masks featured in that show, as well as other lace balaclavas I discovered on Pinterest. I thought creating a lace balaclava would be a perfect accessory for the upcoming Halloween, blending traditional lace-making techniques with a modern, edgy twist.

Here are some examples of the work done in the previous years by Fabricademy graduates from Barcelona.

TIPS ON HOW TO USE RHINO + GRASSHOPPER

  1. Open Rhino and type Grasshopper in the Command box. Press Enter to launch the Grasshopper interface in a separate window. (Note: Grasshopper is pre-installed in Rhino 6+; for earlier versions, it needs to be downloaded separately.)
  2. Begin creating your lace pattern. If you're looking for inspiration or want pre-designed templates, check Etsy or tutorials on YouTube to help you design it.
  3. For the base design, look for seamless patterns on Pinterest or other design resources. Using a seamless pattern is crucial, as it enables easy extension to the desired size in Rhino.
  4. Rhino Essentials: Keep Grid Snap ON for precise alignment. Commands like Line can be used by typing Line, entering the length, and pressing Enter. To repeat the last command, simply press Space.
  5. Troubleshooting: Initially, I downloaded lace images and attempted vectorization for 3D printing. However, Rhino 6 lacks a direct vectorize command, and my attempt with Illustrator didn’t produce clean, accurate vectors. This led me to develop my own lace from scratch.
  6. I began by experimenting with commands like Rectangle, then applied Hatch -> Grid60 to achieve a basic grid structure. I incorporated .dfx files (e.g., rose designs from Etsy) to add decorative elements.
  7. Experimentation with Chain Patterns: When seamless chain patterns didn’t align correctly, I opted to use the Voronoi function to experiment with organic forms, though this too proved challenging. Ultimately, I settled on a simpler pattern and incorporated roses for decorative effect.
  8. I downloaded a balaclava pattern from Pinterest and created its shape on Rhino.
  9. Each piece was designed to be 20x20 cm, but an initial test was printed at 10x10 cm due to a mix-up. Surprisingly, the smaller size better suited the final vision for my balaclava design.
  10. Future Steps: Additional segments will be printed at 10x10 cm to complete the design, which will later be assembled using a 3D printing pen to form the final wearable piece.

3D PRINTING + SETTINGS

  1. Printer Setup: I worked on a 3D printer Bambu labs A1 suitable for flexible filaments and set it up for optimal performance with TPU, ensuring smooth movement and minimal clogging.
  2. G-code: Exporting files from Rhino to 3D print involved saving the design in STL format and using slicing software (we used Ultimaker Cura) to set up print parameters (layer height, infill density, and print speed) based on the filament and desired flexibility.
  3. Step-by-Step 3D Printing Process:
    𖡎 Step 1: Load the STL file into the slicer software.
    𖡎 Step 2: Set up slicing parameters based on material requirements, ensuring high flexibility and low infill.
    𖡎 Step 3: Export the G-code file to the printer, verify bed leveling, and begin printing.
    𖡎 Final Steps: As each piece prints, inspect for consistency and quality. Adjust print speed or layer height if necessary for optimal results.

  1. 3D MODELLING OF A MANEQUIN ↩

  2. LASER CUT SHEETS ↩

  3. ADDITIONAL MODELS ↩