1. Dyeing leather¶

I visited a leather manufacturer in Yerevan and selected smooth leather for my project. While exploring different textures and finishes, I chose a high-quality, supple material that fits my design needs. This leather will be an essential element in my work, allowing me to experiment with form, structure, and possibly even integrating other techniques like laser cutting or embroidery.

Mordant

The leather mordanting process I use involves alum and cream of tartar to prepare the material for dyeing. First, I dissolve alum in warm water, ensuring it fully dissolves before submerging the leather. Alum acts as a fixative, helping the dye bond to the fibers more effectively. I then add cream of tartar, which softens the leather and enhances color absorption, giving a more even and vibrant result. The leather is left to soak for several hours or overnight, allowing the mordants to penetrate deeply. After mordanting, I rinse the leather gently and let it dry before proceeding with the dyeing process.

Natural dyes with Indigo¶

Indigo is a unique natural dye that works through a fermentation and oxidation process rather than directly bonding to fibers like other dyes. When dyeing leather with indigo, I first prepare the material by mordanting it with alum and cream of tartar to improve dye absorption. Unlike typical water-soluble dyes, indigo requires a vat dyeing process, where the dye is reduced in an alkaline solution, turning it into a soluble form. The leather is submerged in the vat, where it takes on a yellow-green hue. Once removed and exposed to air, oxidation transforms the color into the deep blue characteristic of indigo. Multiple dips enhance the intensity of the shade. After dyeing, I rinse the leather thoroughly and allow it to dry, revealing the rich, layered tones of the indigo dye.

Scaffold: Indigo dyes leather

At first, I thought I'd utilize textile scaffold in my clothing, as well as the mold that my lab ladies and I made during textile scaffold week, but in the end, I didn't use them and made fantastic bags out of them.

Using Cyanotype to Create a Gradient¶

Materials: - Measuring cup

Sponge (for applying the solution)
Potassium Ferricyanide (for the sensitizing solution)
Ferric Ammonium Citrate (iron source)
Ammonium Citrate (additional iron source, often used in cyanotype)
Teaspoon
Pasteur pipette (to measure liquids accurately)

Recipe for Cyanotype Solution:¶

Part 1: Ferric Ammonium Citrate Solution

Ferric Ammonium Citrate – 25g
Distilled Water – 100 ml
Instructions:
Dissolve 25g of Ferric Ammonium Citrate in 100 ml of distilled water.
Stir until fully dissolved.
Store the solution in a dark container, as light will degrade the chemicals.

Part 2: Potassium Ferricyanide Solution

Potassium Ferricyanide – 25g
Distilled Water – 100 ml

Instructions

Dissolve 25g of Potassium Ferricyanide in 100 ml of distilled water.
Stir until fully dissolved.

Store this solution separately, also in a dark container to prevent degradation.

Mixing the Cyanotype Solution

When you're ready to use your cyanotype solution, mix equal parts of the Ferric Ammonium Citrate solution and the Potassium Ferricyanide solution.

For example: Mix 20 ml of the Ferric Ammonium Citrate solution with 20 ml of the Potassium Ferricyanide solution.

Stir gently until the two solutions are fully combined.

Applying the Solution

Prepare the fabric or paper you want to print on. If using fabric, ensure it is clean and prewashed (without fabric softeners).

Use a sponge to apply a thin, even layer of the cyanotype solution onto your fabric or paper.

Allow the fabric or paper to dry in a dark place to prevent premature exposure to light.

Exposing the Cyanotype

Once your fabric or paper is dry, place objects, stencils, or negative images onto the surface.

Expose the item to UV light (sunlight works well) for about 10-20 minutes, depending on the intensity of the light. You can check the exposure by looking at the paper—once it turns a pale yellowish green, it's ready.

After exposure, carefully remove the objects.

Developing the Print

Rinse the fabric or paper under cool water to stop the reaction.

The exposed areas will turn a deep blue, while the covered areas will remain white.

Natural dyes with St. John's-wort¶

• Parts used: Flowers and leaves (fresh or dried) • Color range: Golden yellow, greenish-yellow, sometimes even red-brown with iron modifiers • Best results on: Wool, silk, and mordanted cotton/linen • Mordants: Alum (for yellow), iron (for olive tones), copper (for green)

🍃 Materials Needed: • Fresh or dried St. John’s Wort (about equal weight to fiber) • Alum (10–15% weight of fiber) – mordant • Optional: Cream of tartar (5% WOF) • Iron modifier (small amount if desired for duller, olive tones) • Wool, silk, cotton or linen fabric/yarn • Large pot, strainer, water, stirring spoon

🧪 Dyeing Proces

Step 1: Mordanting

Dissolve alum (and optional cream of tartar) in warm water.
Soak your fabric/yarn in this mordant bath at ~60–70°C for 45–60 minutes.
Let it cool, then rinse gently and set aside (can also dry and store for later use). Step 2: Preparing the Dye Bath
Chop fresh St. John’s Wort flowers and leaves, or use dried ones.
Simmer the plant material in water for 1–2 hours (don’t boil).
Let it sit and steep overnight (optional but deepens color).
Strain out the plant matter using a sieve or cheesecloth. Step 3: Dyeing
Add your pre-mordanted fabric/yarn to the dye bath.
Heat gently to 60–70°C for 45–60 minutes.
Stir occasionally for even dye uptake.
Let cool in the bath for deeper color. Step 4: Modifying (Optional)

• Dip the dyed fabric in a very diluted iron bath (1–2% WOF) for olive tones. • Or a copper modifier for green hues. Step 5: Finishing

Rinse the fabric gently in cool water.
Hang to dry out of direct sunlight.
Cure for a few days before washing.

Laser cutting¶

Design and Construction

Each vest is crafted with a commitment to sustainability and circular fashion. The garments incorporate:

Zero-waste pattern-making techniques to minimize fabric waste. BioChromes and natural dyes, maintaining an ecological approach. Digital fabrication methods (laser cutting, 3D printing, textile scaffolding) to create intricate geometric patterns.

Here, I test designs on several elements to see which one works best for my clothes.

2D files¶

Testing patterns¶

Material; Leather Technique; Laser- cut

## parametres

Speed- 95
Min. power-70
Max. power- 75

Here, I experiment with different designs to figure out which one is better.

Water- Line¶

In this project, I explored the theme of water through a sustainable and artistic approach to fashion design. I started with a single pattern, carefully cutting it to minimize material waste. Instead of discarding the leftover pieces, I repurposed them, integrating them into the shoulder section of the design. This process aligns with circular fashion principles, where every material finds a purpose, reducing excess and embracing sustainability.

To enhance the design, I incorporated metallic elements, including chains and metal accents. These materials introduced a structural contrast, symbolizing the balance between fluidity and rigidity—much like water’s interaction with solid surfaces in nature.

A key visual aspect of the project was the use of linear ornaments. I redesigned these ornaments to create a rhythmic flow, mirroring the movement of water. The process involved refining traditional decorative motifs and adapting them to fit the overall aesthetic, ensuring a dynamic yet harmonious composition.

By combining fabric, repurposed waste, and metal, I aimed to evoke both the softness and strength of water, emphasizing its transformative power. This project not only reflects artistic exploration but also reinforces my commitment to sustainability and innovative textile design.

3D garment

I created this ornamnet in Blender using Armenian symbols based on the water element.

Workflow

✅1 Add One Petal Using a Curve This will form the basic interlaced loop unit.

Press Shift + A → Curve → Bezier Curve.

Go to the top view (Numpad 7) to see it from above.

In Edit Mode (Tab), select the curve.

Use G to grab the handles and move the shape into a petal (looped teardrop shape).

You want it to curve symmetrically around a center point.

In the Object Data Properties (green curve icon):

Set 2D instead of 3D for a flat pattern.

Under Geometry > Bevel, give it some Depth like 0.01 to see its shape.

In Object Mode, rename it “Petal”.

✅ 2. Duplicate & Rotate to Form a Flower You need four petals rotated to form the full motif.

Select the Petal.

Press Shift + D → then R → Z → 90, press Enter.

Repeat Shift + D and rotate until you get 4 petals forming a flower/cross.

Arrange them to touch at the center.

Select all 4, press Ctrl + J to join them into one object. Name this “Motif”.

✅ 3. Create the Grid Pattern Now you duplicate this motif into a repeating structure.

Select “Motif”.

Go to the Modifiers tab (blue wrench icon).

Add a Array Modifier:

Set Count to, say, 5.

Set X Offset until they sit next to each other without overlapping (like 1.5).

Add another Array Modifier:

Move it below the first one.

Change the offset to Y axis (set X to 0, Y to 1.5).

Set Count to 3 or more.

✅ 4. Add the Frame and Cutting Details You have some frame and cut shapes (like triangles and ovals).

For Frame:

Add a plane (Shift + A → Mesh → Plane).

Scale it to fit around your pattern.

Go to Edit Mode, delete the inside face (press I to inset then X → delete faces).

This will be your outer border.

For the Gray Cut Shapes:

Add a mesh (e.g., cone or ellipse).

Position them in the in-between spaces like your reference.

Copy and mirror using Shift + D and S (scale -1 on axis).

Once done, use a Boolean Modifier to subtract these from the background mesh (if needed for laser cutting).

✅ 5. Finalize for Export (e.g., Laser Cut) Convert all curves to mesh: select them → Alt + C → Mesh from Curve.

Select everything, Ctrl + A → Apply All Transforms.

Export as SVG (for laser) or STL (for printing).

Dots- Earth¶

Final Design

LaserCut

parametres

• Laser cut - Speed- 100 - Min. power- 70 - Max. power- 75

• Laser scan - Speed- 250 - Min. power- 15 - Max. power- 17

Result