6. Computational Couture¶
Research & Ideation¶
Research
Fashion and artistic expression come together in wearable art. It transcends clothing, transforming clothing into means of expressing individuality and creativity.
Here are a few well-known performers in this genre. In practice, computational couture allows designers to build intricate, zero-waste garment patterns that would be difficult to produce with traditional design. Designers, for example, can utilize algorithms to develop patterns that fit together without leaving any excess material, or they can mimic fabric usage to test and change designs before going into production. This digital technique not only allows for garment fit modification, but it also allows designers to experiment with zero-waste concepts through iterative testing and optimization of fabric arrangements.
Zero-waste fashion¶
Zero-waste fashion is a method of garment design and production that reduces or eliminates fabric waste while focusing on sustainability in response to the high waste levels found in traditional fashion manufacturing. By creating designs that fit together like a puzzle and leave little to no scraps behind, makers of zero-waste patterns seek to utilize the entire piece of fabric. This strategy minimizes the environmental impact by reducing resource consumption and waste generation at the source, in addition to reducing waste.
Parametric design¶
Parametric design is a technique in which design aspects are defined by parameters or rules, resulting in extremely flexible, adaptive, and generative designs that can alter based on input data. In architecture, fashion, and product design, it allows designers to build complicated geometries and structures by modifying factors that alter the design's form, size, and proportions in real time.
Through the use of software programs such as Grasshopper for Rhino, Fusion 360, or Houdini, designers establish connections between design elements (such as curves, edges, or surfaces) and specify algorithms or guidelines for their interactions. For example, by modifying a single parameter in a skyscraper's blueprint, one can alter the shape or layout of the building's façade without having to redraw the entire construction.
References & Inspiration¶
Julia Koerner
Julia Koerner is an award-winning Austrian designer working at the convergence of architecture, product and fashion design. She is internationally recognised for design innovation in 3D-Printing, Julia's work stands out at the top of these disciplines. Her designs have been featured in the National Geographic Magazine, VICE, WIRED and the New York Times among other publications.
Collaboration between Julia Koerner and Swarovski , 2018 3D-Printed Glass on CNC-routed base
Marvel’s Black Panther: Wakanda Forever features 3D Printed Costumes by Ruth E Carter, in collaboration with Austrian Designer Julia Koerner
Iris van Herpen
One of the first to use parametric and 3D design in haute couture is Dutch fashion designer Iris van Herpen. The clothes in the Voltage Collection are algorithm-generated and have complex, flowing structures. Using 3D printing and parametric design, Van Herpen, who is renowned for her avant-garde style, produced sculptural clothing that addressed the themes of movement and electricity. The collection features delicate, fluid patterns that appear to ripple and pulse with energy, highlighting the designer's concern with nature's invisible powers.
Hypnosis
For this collection, the designer found inspiration in the hypnotic manifolds within our ecologies through the work of American artist Anthony Howe. The three-dimensional cyclical harmony of Howe’s kinetic sculptures is the wind beneath the wings of this collection. Howe's spherical ‘Omniverse’ sculpture explores our relationship with nature and intertwines with infinite expansion and contraction, expressing a universal life cycle. The meditative movement of the ‘Omniverse’ serves as a portal for the collection and the models, encircling a state of hypnosis.
Anouk Wipprecht
Spider Dress 2.0
Anouk Wipprecht created the "spider dress 2.0," a wearable piece of technology that uses 3D printed sensors to improve animatronic mechanical limbs. The clothing can define and protect the surroundings around the wearer by reacting to outside stimuli with the use of proximity and respiration monitors.
From Vimeo¶
Tools¶
Blendern 2.8
Ultimaker Cura 5.8
Process and workflow¶
Step 1¶
To begin my parametric design process in Blender, I first opened the software and created a basic 3D shape, typically a cube or sphere, to start as my base model. I then applied modifiers, such as the Array Modifier and Mirror Modifier, to generate repetitive patterns or symmetrical designs, adjusting parameters for spacing, rotation, and scale to refine the overall structure.
Step 2¶
After setting up the base shape, I used Edit Mode to select vertices and edges, modifying them to form more intricate geometries. I experimented with adding nodes in Blender’s Geometry Nodes Editor, where I could control aspects like density and pattern variation by adjusting numeric parameters, which allowed for dynamic customization of the design based on specific measurements.
Step 3¶
Once I finalized the parametric model in Blender, I exported it as an STL file suitable for 3D printing. I opened Cura and imported the STL file, making sure to verify the model's dimensions to ensure it would print at the desired scale. After setting up the material type and layer height in Cura, I previewed the slicing and adjusted the print settings, like infill density and print speed, to balance strength and material usage. Finally, I saved the G-code file for the 3D printer and was ready to start the printing process.
Step 4 Exploring 3D printing filaments¶
PLA¶
PLA (Polylactic Acid): A biodegradable, easy-to-use filament, PLA is a popular choice for beginners and general-purpose prints. It prints at a relatively low temperature (around 190–220°C), requires minimal bed heating, and produces smooth, high-quality prints. However, PLA is less durable and has a lower melting point, making it less ideal for functional parts.
TPU¶
TPU (Thermoplastic Polyurethane): TPU is a flexible, rubber-like filament that is ideal for items requiring elasticity, such as phone cases and gaskets. It can be challenging to print because of its flexibility, so slower print speeds and specific retraction settings are crucial. TPU requires a heated bed and prints at temperatures around 220–250°C.
Experimenting with PLA on fabric
First Design¶
I produced my models with the help of Fab Lab's industrial designer Elen. She helped me work with Blender and make those models.
This model is a modular curved structure designed to connect and build intricate compositions. The design combines functionality with artistic inspiration, particularly from Armenian geometrical motifs. It features flowing curves and interlocking elements, creating a dynamic and visually engaging piece that can be used in wearable designs, decor, or installations.
Steps to Create the Model in Blender¶
Starting the Design:
## Step 1: Open Blender and Set Up the Scene
Open Blender.
Select the default cube, press X, then press Enter to delete it.
Press Shift + A → choose Mesh > Circle.
In the bottom-left panel (after placing the circle), open the Add Circle options:
Set Vertices to 64 (for smoothness)
Radius: 1
Fill Type: Nothing
Step 2: Add a Curve Path for the Arms Press Shift + A → Curve > Bezier Curve.
Tab into Edit Mode (Tab key).
Use G (grab), R (rotate), and S (scale) to shape the curve like a flowing arc.
Press E to extrude the curve and make more flowing pieces.
You can move the handles to smoothen the curve.
Step 3: Turn the Curve into 3D Tube (like a ribbon)¶
Go to the Properties panel → click the Curve icon.
In the Geometry section:
Increase Depth (under Bevel) to give it 3D thickness.
Optionally increase Resolution for smoothness.
Step 4: Create the Spiral Design¶
With your ribbon-shaped curve selected:
Add a Modifier → choose Array.
Set Count to 6 or 8 (depending on how many arms you want).
Set the Offset to 0.
Add another Modifier → choose Simple Deform > Twist
Set axis to Z
Adjust angle (e.g., 360°) to twist into a spiral.
Step 5: Make Central Ring¶
Press Shift + A → Mesh > Torus
Or use Mesh > Cylinder, then delete the center by boolean (advanced).
Scale it down and place it in the center.
Step 6: Duplicate Arms Around a Circle¶
If you want better control than using Array:
Select the curved arm → press Shift + D to duplicate → R to rotate → Z to spin around Z-axis.
Repeat to place each arm evenly around the central ring.
Step 7: Add the Outer Circle¶
Add another Mesh > Circle
Scale it bigger than everything else
Give it depth using Solidify Modifier or extrusion
Step 8: Convert Everything to Mesh and Join¶
Select each object → Alt + C → Convert to Mesh.
Select all (Shift click) → press Ctrl + J to Join into one object.
Step 9: Final Touches¶
Press Tab to go into Edit Mode and check if everything is clean.
Go to Modifiers to add Subdivision Surface for smoothness if needed.
Add Materials or Shading to visualize it better.
- Convert the object to Triangulate Meshes for slicing (Ctrl + T).
- Export the file in STL or OBJ format (File → Export → STL/OBJ).
Print Settings
- Infill: 20% for a balance between strength and material use.
- Print Speed: 50 mm/s for high accuracy.
- Material: PLA or another preferred filament.
- Enable Supports if overhangs are present in the design.
Fabrication file
Result¶
Second Design¶
Create the Base Pattern Element
- Press Shift + A > Mesh > Plane.
- Press S and scale it to your desired size (e.g., scale by 2 or as preferred).
- Press Tab to go into Edit Mode.
- Right-click on the plane and select Subdivide.
- Adjust the Number of Cuts in the bottom left menu (try 25 cuts, depending on the complexity).
Create the Grid Base
- Select all the faces by pressing A.
- Press I (Inset Faces) and adjust the thickness (0.10) to create a grid-like structure.
- Press Delete, and select Faces to remove the inner sections, leaving a grid outline.
Add the Knotted Design
- In Edit Mode, use Alt + Left Click on the edges to select loops.
- Bevel the Edges:
- Press Ctrl + B (Bevel) to add more geometry to the edges.
- Use the mouse wheel to increase segments for a smoother curve.
- Add a Curve Modifier
- Convert the beveled edges into a smooth path
- Press Shift + A > Curve > Bezier Curve
- Use the Snap Tool to align the curve on the grid lines.
- Adjust the curve points to make them follow a knot-like structure.
Solidify the Structure
- Go to the Modifiers Panel on the right (wrench icon).
- Add a Solidify Modifier and adjust the thickness.
- Smooth the Geometry:
- Add a Subdivision Surface Modifier from the same panel to make the edges smooth.
- Adjust the levels of subdivision for higher detail.
Duplicate the Pattern
- Apply the Modifiers
- In the modifiers panel, click Apply for all active modifiers
- Add an Array Modifier from the modifiers panel.
- Adjust the X and Y offsets to duplicate the pattern.
- Increase the count to cover the entire surface.
Process
Fabrication file
Result
Trying to work with TPU¶
Steps how a created the model - Create the Circular Frame - Press Shift + A, go to Mesh > Circle. - In the lower-left corner (the "Add Circle" menu), set Vertices to 64 for smoother edges. - Press Tab to enter Edit Mode. - Select all vertices (A), press E (Extrude), and then press S (Scale).
Step 3: Create the Petal Shape¶
We’ll make one “petal” (a vesica piscis) from two intersecting circles.
In Object Mode, press Shift + A → Mesh → Circle.
Again, set Vertices = 64, Fill Type = None.
With the circle selected:
Press Tab to enter Edit Mode.
Press A to select all points.
Press E → S → type 0.9 and press Enter. This extrudes and scales inward.
You now have a ring shape.
Press Shift + D to duplicate it.
Move it upward slightly on the Z-axis: press Z, then type something like 0.9, then Enter.
You now have two intersecting rings.
To create the petal:
Go to Modifiers (Wrench icon) → Add Modifier → Boolean.
Choose Intersection and select the duplicated ring as the second object.
Apply the modifier.
Delete the second circle after applying.
Step 4: Duplicate the Petal Around a Center¶
Now we replicate the petal radially:
Select the petal.
Press Shift + D to duplicate.
Press R (rotate) → Z → type 60 (degrees) → Enter.
Repeat this:
Duplicate again → rotate by another 60°.
Do this until you have 6 petals forming a flower.
Then, add 6 more around them.
Instead of doing this manually:
Add a Modifier → Array Modifier.
Then use an Empty object to control rotation:
Shift + A → Empty → Plain Axes.
Add another modifier: Array.
Use the Object Offset → select the Empty.
Then rotate the Empty on Z-axis (R, Z, 60) to distribute them radially.
Step 5: Arrange the Full Flower of Life¶
Once you have one flower (center + 6), you can duplicate the whole group and move them horizontally and vertically to form the entire grid.
Use the snapping tool (magnet icon) and set it to “Vertex” to make sure everything aligns well.
Step 6: Add Outer Ring (The Medallion Frame)¶
Shift + A → Mesh → Circle.
In Edit Mode:
Press E to extrude.
Then press S to scale out a bit.
Press E again and scale in slightly to form the ring thickness.
Add a smaller ring on the side:
Create another circle.
Scale it down.
Place it slightly outside the large ring.
Extrude it inward to form the keyhole ring (like in your image).
Step 7: Solidify the Mesh¶
Select all parts.
Join them (Ctrl + J).
Add a Solidify Modifier to give it thickness.
Go to Modifiers → Add Solidify.
Adjust thickness (try 0.05 to start).
Step 8: Smooth Shading & Export¶
Right-click → Shade Smooth.
File → Export → STL or OBJ (for 3D printing).
Result
