3. Circular Open Source Fashion¶
goals of the week¶
- Study artists and projects focused on modular and zero-waste systems.
- Use paper and scissors to experiment with modular designs and interlocking connections.
- Create 2D digital versions of my modules, focusing on precise interlocking mechanisms.
- Test and laser cut the design, noting machine settings, material type, and thickness.
- Construct a modular or seamless garment, ensuring strong connections under stretch.
- Document all the steps.
- Upload my 1:1 PDF file and 1-5 pictures to oscircularfashion.com.
- Submit some modules to the lab’s material library (20cm x 20cm).
Projects of previous participants that I love:
research & ideation¶
first ideas¶
At the beginning of the week, I had a few ideas in mind and was excited to explore some specific inspirations. One of the first ideas I really focused on, was my interest in weaving and traditional patterns, especially tartan. I was leaning toward making a seamless garment and experimenting with using the stripes as seams, rather than focusing on modular design.
I started by making paper and fabric prototypes and played around with several alternatives. I wanted to try diagonal stripes, adding holes instead of just cuts, using vertical and horizontal stripes to create an image, having a negative version of that image on the reverse side of the fabric, and using a double fabric for a better result. But as I continued, I found myself more drawn to modular design and really enjoyed both the process and the result, so I discarded this idea, but hopefully I'll find other opportunity to explore it.
final proposal¶
- ORSON OXO VAN BEEK, organic forms blended with industrial shapes.
- WRETCHED FLOWERS, brutalism.
- PHYRE FORGE, modular design crafted in metal.
- ?, gothic and medieval art.
- MARCO VANUCCI, fusion of nature and humancraft.
- ALI MAHDAVI , 3D effect.
- ?, interlocking systems.
- JOE LEACH, parametric design.
Additional artworks/ artists that I found interesting:
This image was my main source of inspiration for the final module. I've always liked Gothic and Medieval art and architecture. I wanted to challenge myself by incorporating harsh, angular, and spiky forms, traditionally seen in metalwork, into the realm of modular fabric design.
What particularly fascinates me, and what I sought to replicate in my project, is the striking fusion of organic, flowing shapes with rigid, industrial aesthetics. The first four images, in particular, capture this contrast. In bringing those ideas into fabric, the challenge is making sure the sharp and angular shapes comes through, while still keeping the material flexible and wearable.
workflow¶
paper prototypes & cricut¶
- CriCut is a design platform primarily used for creating cutting files that can be sent to Cricut machines. These machines are popular for cutting various materials like fabric, vinyl, paper and leather.
We used a CriCut machine to cut our paper prototypes. Initially, I began the design process by sketching and prototyping using paper, scissors, and an x-acto knife. As I refined my vision for the module I wanted to develop, I exported it to create the module in Rhino 8. Once the design was complete, I exported the file to the Cricut software. I then laid the paper flat on the cutting mat, ensuring it was aligned with the grid lines. However, the machine's performance was not perfect, as demonstrated in the video below, the machine did not cut through the lines perfectly, and there were other sections that ended up damaged.
Here are some images of the development of my module. All prototypes were made using paper, with some cut by hand using scissors, while others were cut using the Cricut machine and Laser Cutter. Throughout the process, I experimented with various shapes, but none of the alternatives achieved the same level of zero waste and effective interlocking systems as the final module design.
As I began interlocking the pieces, I ended up with the design shown in the middle photo of the second row, where all the paper lay flat on the table. I decided to cut a center piece from one of the four main shapes and placed it where all four shapes connect in the middle. This interlocking caused some of the pieces to bend, creating a 3D effect, like the last image.
rhino8¶
I decided to use Rhino8 to create my final module. With Asli's help, I began by designing and refining the shapes to my liking. The process of aligning everything and making precise cuts to ensure the interlocking worked seamlessly was straightforward.
Asli also shared a great tip for Rhino8: using the Block feature, which made it incredibly easy to expand and repeat the module effortlessly. This allows you to manage and organize repetitive geometry, allowing you to create a single instance of an object and when you modify the block definition, every instance of that block in your model will automatically update to reflect the changes.
Here1 you can download my module as .dxf and as an image .svg.
Once I was satisfied with the shape and had cut some paper prototypes to experiment with the interlocking, I decided to make a few more adjustments to the module.
Below is a video of this process, where I cut some triangles to see how they would work, you can see it in my second fabric prototype. Ultimately, I chose not to use the module with the triangles because I felt the additional cutouts would complicate the design too much. I already had cutouts in the center of some pieces, and adding different cutouts to the others would alter the module significantly without enhancing it.Moreover, the triangles would have created unnecessary waste, and incorporating them into the design would have been difficult. However, I believe this design is an interesting possibility for further exploration.
fabric prototypes & alterations¶
For the fabric prototypes, I started with a red felt fabric from the lab inventory. I used my initial module, which measured 90mmx90mm, resulting in fairly large pieces. I liked the outcome but was aiming for something more chic and refined.
Interlocking the pieces in fabric was a hundred times easier than with paper, as fabric doesn’t tear like paper does. I had felt a bit frustrated with the paper prototypes, although the interlocking process is easy, the fit is quite tight, requiring precise alignment and resilience for the pieces to connect securely.
I was really happy with the outcome of my first fabric prototype but decided to scale it down a bit. The final measurements of the module are now 60mmx60mm, as shown in the video above. At this stage, I chose to use the actual fabric intended for my final product to see how it would look. In this version, you can see the triangle cutouts in some pieces, which I ultimately decided not to include in the final design.
laser cutter¶
For the laser cutting process, I began by testing the fabric, which is 100% wool. The first step is always to ensure that all safety equipment is within reach in case of an emergency. After that, I laid the fabric flat on the material bed, securing it with weights to keep it in place. I then connected my USB drive to the computer and opened my file in LightBurn, deleted all duplicates and joined all shapes.
For the test, I created a 15mmx15mm square and used the following settings:
Speed (mm/sec): 100.00
Max Power (%): 20.00
Min Power (%): 20.00
The laser cut through the fabric perfectly, but after consulting with Asli, I was advised to increase the max speed to 25.00 for even better results. With the second test complete, the next step was to proceed with cutting the final module.
Here2 you can download my Laser Cut sheet.
I used two different colors of the same fabric. Initially, I wanted to find an ombré fabric with a felt-like texture and some thickness, but I couldn’t find exactly what I had envisioned. Instead, I experimented with two different colors to create a similar ombré effect. The cutting took more than 10min for each fabric.
After the cutting process, I waited a while before opening the machine, as the smell from the laser cutting isn’t very pleasant after cutting fabric :D.
assembly¶
I began by experimenting with the interlocks, exploring what I could create with the modules. My goal was to design a neckpiece that can be called a tie, necklace, or even a scarf. The pieces interlock easily, and once the final central piece is connected, bringing together the four main pieces, it creates a 3D effect.
While this 3D effect was a pleasant surprise at first, I soon realized that it doesn’t hold up perfectly when the piece isn’t lying flat, as the interlocked sections tend to shift place. To address this, I decided to add a few hand stitches to secure the pieces and keep the 3D structure stable. While stitching isn’t strictly necessary, I found that I preferred the finished look when the pieces were sewn together, though it can be worn both ways.
tools¶
outcome¶
I’m really happy with the outcome of my project! If I had more time, I would love to refine the module design to secure the 3D shapes without the need for stitching. I believe that solving this would elevate the design to its full potential, and it's something I’m eager to improve.
Overall, working with modular design was an amazing experience! I'm really excited to apply these methods in the future and see how they can improve my projects.
fabrication files¶
Here you can see my project in oscircularfashion.com.
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File: Module File and Module File as an image ↩
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File: Laser Cut File ↩
