6. Computational Couture

Research & Ideation

Introduction to Computational Design in Couture

Computational design in couture refers to the integration of algorithms, computer-aided design (CAD), and advanced digital fabrication techniques into the traditional fashion design process.

It allows designers to explore new forms, materials, and functionalities that are difficult to achieve through conventional methods.

This intersection of fashion and technology leads to innovations in fabric manipulation, pattern generation, and customization.

Historical Context and Evolution

Computational design has its roots in architecture and industrial design, where software tools are used to create complex geometries.

In couture, early adoption can be traced to designers like Iris van Herpen, who has been a pioneer in using 3D printing and digital techniques in haute couture.

Her work demonstrates the fusion of art, technology, and fashion, showcasing the potential of computational design to create intricate, futuristic garments.

Key Technologies in Computational Couture

• 3D Printing: Enables designers to create custom shapes and textures directly onto fabric or as standalone elements.
• Parametric Design: Allows the creation of garments that adapt to different body shapes and movements, generating unique patterns with every input variation.
• Generative Design: Uses algorithms to create highly detailed and complex designs based on predefined rules, resulting in innovative patterns and forms.
• Laser Cutting and CNC Milling: These digital fabrication techniques allow for precision cutting and detailing of fabrics, creating intricate patterns with minimal waste.
• Wearable Technology Integration: Combining computational design with e-textiles and sensors to create interactive garments that respond to the environment or user actions.
  

Challenges and Future Outlook

• Material Limitations: Although computational design offers endless possibilities, the limitations of materials suitable for digital fabrication (like 3D printing) still pose challenges. Developing new flexible, durable, and wearable materials is key for further advancements.

• Cost and Accessibility: The technology involved in computational design can be expensive, making it more accessible to high-end fashion brands and designers than mainstream fashion. However, with advances in digital fabrication and open-source software, it is becoming more affordable.

• Skill Gap: Designers need to be proficient in both fashion design and computational tools, which requires an interdisciplinary approach to education and training.

Computational design in couture is pushing the boundaries of fashion, blending art and technology to create garments that are highly innovative, customized, and sustainable. As technology advances, the fusion of digital tools with traditional craftsmanship will continue to evolve, leading to new possibilities in the realm of high fashion. This approach not only enhances creativity but also addresses key challenges in the fashion industry, such as sustainability and personalization.

Source of Inspiration

Iris van Herpen: Known for her integration of 3D printing and computational design in high fashion. Her collections showcase complex, architectural shapes and avant-garde aesthetics.

ThreeASFOUR: A New York-based collective that uses computational tools and 3D printing to create garments with futuristic, geometric designs.

Hussein Chalayan: His work incorporates technology to create garments that transform in real-time, from changing silhouettes to embedded lighting, representing the cutting edge of computational design in fashion.

Neri Oxman:A professor at MIT Media Lab, Oxman merges design with biology in her groundbreaking projects like the Silk Pavilion, an architectural structure woven by silkworms. Oxman’s work in biodesign has expanded the boundaries of biofabrication in both the art and architecture worlds.

Process and workflow

Step 1. Become Familiar with 3D Printing

Here's a sample table that outlines common properties and features of various 3D printers.

Feature	Printer Model A	Printer Model B	Printer Model C
Printing Technology	FDM (Fused Deposition Modeling)	SLA (Stereolithography)	SLS (Selective Laser Sintering)
Build Volume	220 x 220 x 250 mm	220 x 220 x 250 mm	220 x 220 x 250 mm
Layer Resolution	50-400 microns	25-100 microns	60-150 microns
Nozzle Diameter	0.4 mm	N/A (uses laser for curing resin)	N/A (uses laser for sintering)
Nozzle Temperature	Up to 250°C	N/A	N/A
Bed Temperature	Up to 100°C	N/A	N/A
Supported Materials	PLA, ABS, PETG, TPU	Resin (Standard, Tough, Flexible)	Nylon, PA 12
Material Diameter	1.75 mm	N/A	Powder
Printing Speed	40-150 mm/s	20-50 mm/hr	10-20 mm/hr
Cooling System	Fan cooling	No cooling required	No cooling required
Software Compatibility	Cura, PrusaSlicer, Simplify3D	PreForm	Blender, MeshLab, Netfabb
Layer Adhesion	Strong due to heated bed	Strong due to laser curing	Strong due to laser sintering
File Format	STL, OBJ, G-Code	PSTL, OBJ	STL, OBJ
Ideal for	Prototyping, hobbyist projects	High-detail models, jewelry	Functional parts, industrial use

Step 2. Learn G-Code and Slicer Software

G-code is a series of commands that control the 3D printer’s movements, temperatures, fan speeds, layer heights, and more. Each line in a G-code file usually starts with a command (like G1 for movement) followed by specific parameters.

For example:

 G1 X10 Y10 Z0.3 F1500 ; move to X=10mm, Y=10mm, Z=0.3mm at 1500 mm/min

This command tells the printer to move to a point at X=10 mm, Y=10 mm, Z=0.3 mm, with a speed of 1500 mm/min.

How Cura Generates G-code

Cura "slices" the 3D model based on the printing settings you choose (layer height, infill density, print speed, etc.), converting the 3D geometry into 2D layers. For each layer, Cura generates G-code commands to move the extruder, adjust temperatures, and control other functions based on these settings.

When you click "Slice" in Cura:

1. Cura analyzes the 3D model and divides it into layers.
2. For each layer, it calculates the tool path for the nozzle to create the desired shape.
3. It then writes this path, along with commands for speed, extrusion, and more, into a G-code file.

Key G-code Commands in Cura:

G1 - Linear Move: Moves the print head to a specified location at a certain speed.
Example: G1 X10 Y10 Z0.3 F1500

G28 - Auto Home: Sends the print head to its home position.

M104/M109 - Set Extruder Temperature: M104 sets the temp without waiting, while M109 waits until the target temp is reached.

M106/M107 - Fan Control: M106 turns the fan on; M107 turns it off.

Customizing G-code in Cura

• Start/End G-code: Found under Printer Settings, these commands set actions for beginning and ending a print (e.g., homing, heating).
• Post-Processing Scripts: Add specific commands post-slice, useful for advanced tweaks like mid-print pauses.
  

Previewing and Understanding Cura’s G-code Output

After slicing, Cura’s G-code preview shows the extruder’s path layer-by-layer, helping you verify settings and spot potential issues before printing.

Using G-code Efficiently in Cura

Understanding G-code helps in fine-tuning your prints, troubleshooting issues, and achieving better results by customizing commands directly. In advanced projects, like when integrating with electronics or sensors (such as in an e-textile with embedded circuits), custom G-code can also control various hardware components beyond just the 3D printer.

Step 3. Rainbow PLA Journy

This week, I explored parametric design using a stunning infinity symbol. My initial model was a bracelet featuring this elegant infinity motif; however, the first version came out too thin. Captivated by its beauty, I created a second version, adjusting the thickness for a more robust design. This time, the result was truly striking. Both bracelets were crafted with PLA material, highlighting the infinity symbol's refined lines and timeless appeal.

Inspired by my personal interest in jewelry and a beautiful infinity symbol I encountered as an ancient accessory at the Dilijan Museum, I decided to incorporate this timeless motif into a bracelet or bangle. I began by crafting the initial design in Blender, refining its form, and then used UltiMaker Cura to prepare the file for 3D printing.

Step-by-Step Process

1. Prepare the File: Exported the model from Blender as an STL file, then imported it into Cura.
   • infill: 100
   • Support: -
   • Layer height: 0.2 mm
   • Material: PLA
   • Generated G-code for printing.
2. Printer Setup: All setting are loaded from G-code.
   • Nozzle Temp: 210°C
   • Bed Temp: 50°C
   • Print Speed: 100 mm/s

3. Load Filament: Inserted PLA filament into the extruder, ensuring it was feeding smoothly.

4. Bed Leveling: Ran auto-leveling and fine-tuned the Z-offset for proper adhesion.

5. Start Print: Launched the print and monitored the first layers to confirm adhesion.

6. Post-Print: After cooling, removed the model and cleaned the bed.
   
   

Bracelet by fatemmollaie on Sketchfab

Step 4- TPU Journy

For my next challenge, I chose to design an accessory, this time crafting a beautiful pair of earrings with TPU, a flexible and resilient material perfect for creating elegant, wearable pieces.

Step-by-Step Process

1. Prepare the File: Exported the model from Blender as an STL file, then imported it into Cura.
   • infill: 100
   • Support: -
   • Layer height: 0.2 mm
   • Material: TPU
   • Generated G-code for printing.
2. Printer Setup: All setting are loaded from G-code.
   • Nozzle Temp: 240°C
   • Bed Temp: 55°C
   • Print Speed: 30 mm/s

3. Load Filament: Inserted TPU filament into the extruder, ensuring it was feeding smoothly.

4. Bed Leveling: Ran auto-leveling and fine-tuned the Z-offset for proper adhesion.

5. Start Print: Launched the print and monitored the first layers to confirm adhesion.

6. Post-Print: After cooling, removed the model and cleaned the bed.

Earrings by fatemmollaie on Sketchfab

Step 5- From Fabric to Form: 3D Printing on Textiles

In the end, I attempted to print a design onto lace fabric that I had positioned at a 45-degree angle on the printer plate to maximize stretch. Using PLA material, however, the outcome fell short of my expectations for several reasons:

1. I realized that, to achieve an assembled effect with printed patterns closely aligned post-printing, the design elements should be separate and unconnected. My initial design, however, included connected parts.
   

2. Adhering the lace to the back of the printing plate created surface irregularities, making leveling both challenging and time-consuming.
   

3. Due to its intricate texture, the lace fabric risked getting caught on the printer nozzle, which led to slight damage on some sections of the fabric.
   

4. The lace, being high in polyester content, is sensitive to heat. The heated plate and nozzle increased fabric tension, softening it and complicating the printing process. An ideal solution may involve using specialized adhesives to stabilize the fabric during printing.

Fabric by fatemmollaie on Sketchfab

Recycling

In 3D printing, the recyclability of materials varies, with some being easier to recycle than others. Here’s a quick guide on the recyclability of common 3D printing materials:

Material	Recyclability	Notes
PLA	Limited (compostable, not easily recyclable)	PLA is biodegradable under industrial composting conditions but isn’t widely recycled through standard facilities.
ABS	Recyclable (in some areas)	ABS is recyclable but needs to be processed in facilities that accept plastics like those in the recycling code #7.
PETG	Recyclable	PETG is similar to PET, the plastic used in bottles, making it recyclable in many facilities.
TPU	Not widely recyclable	TPU has a rubber-like flexibility, making it challenging to recycle in most municipal systems.
Nylon	Recyclable (special facilities)	Nylon can be recycled but typically requires specialized recycling centers.
Resin	Not recyclable	Cured resin is considered hazardous waste and is generally not recyclable.
PA 12	Recyclable (special facilities)	Nylon-based materials like PA 12 can be recycled but require specialized handling.
PVA	Not recyclable	PVA dissolves in water, so it’s not recyclable in conventional systems.
Polycarbonate (PC)	Recyclable	Polycarbonate can be recycled, but the process requires specialized facilities.
Carbon Fiber Reinforced Filaments	Not easily recyclable	Carbon fiber particles are difficult to separate, making recycling challenging.
HIPS	Recyclable	HIPS is recyclable and can be handled like other plastics, typically in facilities that accept PS (#6 plastic).

For ease of recycling:

• PETG and ABS are among the more easily recyclable options in standard facilities.
• PLA is biodegradable but usually not recyclable through standard means. Recyclability often depends on local facilities and their capabilities, so it’s good to check with local waste management providers.