c i r c u l a r . f a s h i o n¶
r e s e a r c h¶
Circular fashion is an approach that aims to minimize waste and make the most of resources by designing clothes with longevity, recyclability, and repurposing in mind. Instead of following the traditional linear model of “make, use, dispose,” circular fashion encourages closed-loop systems where garments are reused, repaired, or transformed into new products. This approach not only reduces the environmental impact of the fashion industry but also promotes sustainability by conserving resources and reducing textile waste. In the context of Fabricademy and Fab Lab, circular fashion takes on even more significance as digital fabrication and innovative material creation offer new ways to rethink how we design and produce clothing, encouraging creative solutions that align with sustainability goals.
i n s p i r a t i o n¶
p a t t e r n s¶
BAUHAUS
The Bauhaus movement, established in 1919, revolutionized the landscape of design and architecture through its emphasis on the unity of art and technology. Characterized by geometric forms, primary colors, and functional simplicity, Bauhaus patterns reflect a philosophy that values both aesthetics and usability. This movement sought to eliminate the distinction between fine art and applied arts, advocating for a holistic approach to design that remains influential today. The interplay of form and function in Bauhaus patterns encourages a re-examination of how we interact with our environment, inviting designers to create objects that are not only visually striking but also enhance daily life through practical innovation.
ARMENIAN RUG AND CARPET
Armenian rugs and carpets embody centuries of cultural heritage and craftsmanship, showcasing intricate patterns that are steeped in symbolism and tradition. Each design often incorporates motifs inspired by nature, mythology, and historical narratives, reflecting the diverse experiences of the Armenian people. The complexity of these patterns is not merely decorative; they serve as a visual language, communicating stories and values from generation to generation. This rich tapestry of design provides a lens into the cultural identity of Armenia, celebrating the artistry of skilled weavers who transform wool and dye into vibrant expressions of heritage, resilience, and community.
a r t . a n d . f a s h i o n¶
VIVIENNE WESTWOOD
Vivienne Westwood is renowned for her radical approach to fashion, blending punk aesthetics with high fashion to challenge conventions. Her work is not only about style but also deeply intertwined with activism, particularly in the realm of sustainability. She once famously said, "Buy less, choose well, make it last." This mantra captures her philosophy of resisting fast fashion and advocating for thoughtful consumption. As a dedicated activist for the planet, Westwood has used her platform to raise awareness about environmental issues and promote sustainable practices in the fashion industry. Her designs encourage both rebellion and responsibility, merging art and fashion in a way that pushes the boundaries of creativity while promoting a more sustainable future.
PRIYA AHLUWALIA (AHLUWALIA)
Priya Ahluwalia is a trailblazing designer whose work represents the fusion of sustainability and cultural narrative. Her brand, Ahluwalia, draws on her dual heritage, integrating elements from her Nigerian and Indian backgrounds into her designs. Ahluwalia is renowned for her innovative use of upcycled materials, reimagining discarded textiles into fashion-forward pieces that tell a story. Her approach not only highlights the importance of circular fashion but also challenges the fashion industry to reflect cultural identities. Through her designs, she promotes a vision of fashion that is inclusive, sustainable, and deeply connected to personal and collective histories.
RE DONE
Re Done is a fashion brand that epitomizes sustainability by transforming vintage denim into modern, stylish pieces. Founded on the principle of reducing waste in the fashion industry, Re Done takes pre-owned jeans and reimagines them into unique designs, effectively minimizing the environmental impact of traditional manufacturing. The production of a single pair of jeans typically requires an astonishing 1,800 gallons (approximately 6,814 liters) of water, highlighting the unsustainable nature of conventional denim production. Re Done’s innovative approach not only promotes circular fashion but also emphasizes the importance of conscious consumption, encouraging consumers to consider the environmental footprint of their wardrobe choices.
KAREN BARSEGHYAN
Karen Barseghyan, an artist from Gyumri, Armenia, embodies the principles of sustainability through his innovative use of denim in paintings and installations. His work not only repurposes a material often discarded but also highlights denim's historical significance as a symbol of protest during the Soviet Union when it was scarce and coveted. By transforming denim into a medium for self-expression, Barseghyan champions a sustainable approach that encourages viewers to reconsider the life cycle of materials. Through various printing techniques, he breathes new life into denim, marrying art with a message of environmental consciousness and advocating for mindful consumption in the fashion industry.
SERGEY PARAJANOV
Sergey Parajanov was a seminal figure in cinema and art, whose unique vision transcended conventional filmmaking. His works are characterized by a rich visual language that draws from diverse cultural influences, particularly the folk art and textile traditions of Armenia, Georgia, and Ukraine. Parajanov’s films are known for their vibrant color palettes, elaborate compositions, and a profound appreciation for cultural heritage, often incorporating textiles and motifs that reflect the narratives of identity and history. By blending visual art with storytelling, Parajanov redefined cinematic expression, influencing not only filmmakers but also artists across disciplines, and reminding audiences of the power of art to evoke emotion and convey complex cultural narratives.
c h i l d r e n s . g a m e s¶
"The first idea I had related to circular fashion was inspired by a classic children’s game where you create paper art. The process involves folding a piece of paper, making random cuts with scissors, and then unfolding it to reveal unexpected and intricate shapes. This simple yet creative technique sparked my curiosity about how randomness could lead to unique designs.
I began by taking a sheet of paper and randomly cutting into it, allowing the shapes to emerge organically. After completing the first attempt, I started noticing patterns and a sense of logic in how the pieces fit together. This led me to explore the idea of creating male and female shapes that could interlock. I thought carefully about how to design these shapes so they would connect seamlessly, forming a unified structure.
Through this iterative process, I ended up with three types of shapes: male, female, and a hybrid male-female design, all of which could connect to one another. This method of connecting parts felt both functional and artistic. I realized that these shapes could be digitized and translated into fabric or other materials, opening up possibilities for creating beautiful and unique clothing. For this particular concept, I envisioned applying the idea to a garment specifically designed for our mannequin, bringing the paper-cutting inspiration into the realm of fashion design.
l e a t h e r . c o r a ls¶
f r o m . b o o t c a m p . t o . f a b r i c a d e m y¶
During the Fabricademy Bootcamp 2024 in Dilijan, Armenia, I was introduced to circular fashion for the first time, thanks to an inspiring lecture-workshop led by Claudia Simonelli. During the session, I experimented by cutting two pieces of paper that fit together beautifully, creating a sustainable and interconnected design.
Initially, my idea was to recreate this concept using leather. However, due to the limited time available during the workshop, I wasn’t able to complete the project. This week provided the perfect opportunity to revisit and finish what I had started, allowing me to bring my original idea to life.
d e s i g h . a n d . m a k i n g¶
Fabricademy is all about new discoveries, so this time I decided to learn a new tool, Adobe Illustrator, with the help of Erika Mirzoyan, Fab Lab Armenia's Graphic Designer and Fabricademy participant. She introduced me to the tool and showed me how I could easily create my shapes
After putting the simple shapes together, I selected the Pathfinder tool and used 'Unite' to merge them into a single shape. However, this process caused the loss of some details, which I had to manually add back.
For the second shape, I followed a similar process. I designed a base part and then used the rotation tool to arrange the design details symmetrically on the three sides of a triangle.
To learn more about rotating an object around different points, check out the video.
Here are final shapes ready to by laser cut!
I made the right arrangements, which allowed me to use less material and achieve almost zero waste. My first prototype was made from paper to check if everything worked as expected.
Our CO2 laser cutter is an 80W Chinese model with a worktable size of 600x400 mm, ideal for a range of materials. The power and table size provide great flexibility for various cutting and engraving tasks, allowing for detailed and precise results.
Focusing the laser is crucial for achieving the best quality cuts and engravings, as it ensures the beam is concentrated at the right spot for optimal performance. The focal point of the laser must be adjusted based on the material you're working with. For example, thicker materials, like leather or wood, require a different focus distance than thinner ones like paper or fabric, to ensure clean cuts and avoid excessive burning or incomplete cuts. Proper focusing ensures maximum efficiency, accuracy, and minimal material waste, making it an essential step in every project.
For cutting 0.3 mm paper, I use the following settings on the laser cutter:
- Speed: 250
- Power: 20
These settings ensure clean, precise cuts while minimizing the risk of burning or damaging the paper. The low power combined with a high speed allows the laser to cut through the material efficiently, maintaining the quality of the design.
c u t t i n g . t h e . l e a t h e r¶
Laser cutting leather requires careful consideration of material type, thickness, and settings to achieve precise and clean results. The best leathers for laser cutting are typically vegetable-tanned or chrome-free, as they do not release harmful fumes like chrome-tanned leather when exposed to the laser. Leather requires slower cutting speeds and higher power settings compared to thinner materials, with adjustments made based on the thickness of the leather. Proper focusing is also essential to ensure the laser beam is concentrated on the material's surface, avoiding excess heat and burning. Additionally, it’s important to ensure adequate ventilation during the cutting process to safely manage the fumes and ensure high-quality cuts.
When choosing leather for laser cutting, it's essential to select the right type to achieve the best results and ensure safety. One key consideration is avoiding chrome-tanned leather. Here's why:
-
Toxic Fumes: Chrome-tanned leather contains chromium salts, which, when exposed to the intense heat of the laser, can release harmful fumes, including toxic gases such as hexavalent chromium. These fumes can pose serious health risks to anyone in the vicinity, including respiratory issues, irritation, and long-term health effects.
-
Burning and Odor: Chrome-tanned leather can produce unpleasant odors and excessive smoke when cut, making it difficult to work with in an enclosed space. The cutting process might also result in undesirable burn marks, which can affect the final appearance of the leather.
-
Inconsistent Results: Chrome-tanned leather tends to be more rigid and may not cut as cleanly as vegetable-tanned leather. It can also have varying densities and coatings that might interfere with the laser’s ability to make precise, clean cuts.
When cutting leather with our CO2 laser cutter, it’s important to adjust the settings to account for the material's thickness and density. For non-tanned 0.8mm cowhide leather, I use the following settings:
- Speed: 15
- Power: 70
The assembly process was wonderfully satisfying!
f i n a l . t h o u g h t s¶
Circular fashion week highlights the crucial shift towards sustainability in the fashion industry, emphasizing the need to rethink how we design, produce, and consume clothing. By focusing on circularity—where materials are continuously reused, repurposed, and regenerated—we can reduce waste, lower carbon footprints, and foster a more responsible relationship with fashion. This movement goes beyond just recycling; it challenges us to reimagine the entire lifecycle of clothing, encouraging innovation in design and materials that prioritize longevity and environmental impact. As the world faces growing environmental challenges, circular fashion presents a powerful opportunity to create a future where creativity, sustainability, and responsibility coexist.