10. Textile Scaffolding: Fish Leather Garment Prototype¶
Research¶
References & Inspiration¶
The foundation for this project originated during Week 7 of Fab Academy, where I first developed fish leather using a tanning and dyeing process. After successfully producing a soft, workable material, I was inspired to explore how this sustainable leather alternative could be transformed into a wearable garment—specifically, a vest*.
My aim was not only to test the leather’s durability and flexibility in garment construction but also to experiment with decorative surface treatments, such as stamping patterns into the leather. These design elements would allow for a personalized and professional finish while also informing how the material could be applied to other fashion items in the future—like bags, belts, or accessories.
By using fish leather, a byproduct of the seafood industry, this project embraces circular design and sustainability, transforming what would otherwise be waste into high-value, usable material.
Process and workflow¶
Step 1: Conditioning the Leather¶
After tanning the fish leather, the first step in the process was conditioning. This is a crucial phase, as freshly tanned fish leather can be stiff and fragile if not properly treated.
I began by gently massaging and stretching the fibers by hand, ensuring the leather remained soft and pliable. Simultaneously, I applied a conditioning mixture of natural oil and glycerin, which penetrated the leather and helped preserve its elasticity. This step is vital not just for the texture but also for the long-term durability of the material, especially if it’s going to be worn close to the body.
Step 2: Shaping and Initial Drying¶
Once the leather was fully conditioned, I mounted it onto a wooden frame, pulling it gently to maintain tension across the entire surface. This helped prevent wrinkles, curls, or warping as it dried—issues that can make later steps like cutting or applying patterns more difficult.
By securing it in place, the leather dried flat and even, providing a clean, predictable surface for pattern testing and garment construction.
Step 3: Final Drying and Softening¶
After the leather was removed from the frame, I allowed it to continue drying naturally by placing it on a textured fabric surface, which provided air circulation while avoiding hard pressure points.
I repeated the softening process one more time, applying another thin layer of the oil and glycerin mixture and gently working the leather by hand. This final round of conditioning resulted in a soft, supple finish—perfect for manipulating into garment shapes or sewing into accessories.
Step 4: Pattern Application – Stamping the Leather¶¶
With the leather now fully dried and conditioned, I turned to surface decoration. I tested two different methods of stamping patterns into the material to add a tactile and visual texture.
Version 1: Stamping from Above¶¶
In the first attempt, I slightly moistened the surface of the leather and applied a stamp from above, pressing it into the leather’s face with steady hand pressure. However, this method did not produce a clear or lasting result. The stamp failed to make a strong enough impression, and the surface remained mostly flat. This version was considered unsuccessful due to lack of definition and durability.
Version 2: Reverse Stamping from Below¶¶
For the second attempt, I developed a 3D stamping method that produced much better results. After moistening the leather slightly to soften the fibers, I sandwiched the material between two layers: the patterned stamp underneath and a supportive piece of plain leather on top.
Using a hammer, I carefully struck the top surface, forcing the patterned stamp underneath to press upward into the fish leather. The repeated hammering allowed the texture to mold deeply into the material, creating a clear, raised pattern that felt three-dimensional to the touch.
This technique was particularly effective because:
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The moisture made the leather fibers more receptive to deformation.
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The pressure was evenly distributed by the top leather piece, preventing tearing or unwanted marks.
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Hammering provided enough force to achieve deep, lasting impressions that hand pressure alone could not.
This reverse stamping method with hammering proved to be far more successful than direct stamping. It produced a strong, well-defined, and visually striking texture that highlighted the natural characteristics of the fish leather without damaging its delicate structure.
Second Experiment: Growing Crystals from Natural Dye¶
Building on the work from Week 4, I conducted a second experiment using the leftover red cabbage dye to grow crystals directly onto surfaces. The idea was to concentrate the natural pigment even further by encouraging it to crystallize as the liquid dried, creating textured, pigmented surfaces that could potentially be used for decorative or functional biofabrications.
To begin, I repeatedly added layers of the red cabbage dye onto a piece of fabric and let each application dry slowly. As the liquid evaporated, small crystals started to form, carrying both the pigment and the mineral content from the cabbage. With each new layer, the crystals grew larger and more defined, resulting in a richly colored, crystalline coating.
During refinement of the method, I discovered that while the crystals were beautiful, they were also extremely fragile and easily flaked off with handling. To improve durability, future iterations of this process will require the addition of a natural adhesive—such as a diluted plant-based glue or a bioresin—mixed with the dye solution or applied afterward to help bind the crystals securely to the substrate.
For this trial, I focused exclusively on the red cabbage dye, given its strong pigmentation and the unique visual effects it produced when crystallized. Other dyes from Week 4 were not used for this particular experiment, as their color concentrations and chemical properties differed significantly and did not show the same crystallization behavior.
This process opens new possibilities for combining natural pigments and material texture, offering a more sculptural approach to biochromatic design while maintaining a zero-waste philosophy by utilizing every part of the dye extraction.Additionally, by repurposing the leftover dye liquids for painting and crystallization experiments, I was able to extend the life and utility of every material used. These explorations not only deepened my understanding of natural dye behavior but also embodied a full zero waste philosophy—transforming byproducts into new creative possibilities rather than discarding them.
Final Result¶
The final piece of leather was soft, flexible, and visually enhanced with a clearly defined stamped pattern. The treatment created a surface suitable for use in garment construction, offering both beauty and functionality.
The stamped fish leather is now ready to be cut and sewn into the vest prototype, with its unique texture and sustainable origin serving as a focal point of the design. Beyond this project, the material holds great promise for other fashion uses, such as structured accessories, trims, or statement pieces.
Looking ahead, I plan to explore additional patterning techniques, experiment with layered embossing, and investigate the potential for laser etching or resist dyeing on fish leather. These next steps will further expand the versatility and design potential of this remarkable sustainable material.