Deliverables¶
GANTT¶
Detailed 3-Month Development Timeline¶
This timeline outlines a structured approach to developing the project over a period of three months. It divides the work into clear phases with specific tasks, ensuring steady progress while deeply engaging with the concept of chaos both theoretically and practically. Each phase builds on the previous one, combining research, material experimentation, design development, and final production. The goal is to create a cohesive collection that visually and conceptually embodies the theme of chaos through innovative textiles, natural dyeing, and experimental techniques.
| Week | Phase | Tasks | Objective |
|---|---|---|---|
| 1–2 | Research & Framing | - Philosophical research on chaos (Deleuze, McQueen, Galliano...) - Collect visual references and create a moodboard - Analyze emotional and aesthetic impact of chaos in fashion |
Establish conceptual foundation |
| 3 | Sketching & Ideation | - Hand-draw sketches expressing chaos, fragility, and contrasts - Select visual and structural elements |
Transform abstract ideas into tangible designs |
| 4 | Material Testing | - Experiment with tulle, denim, and thick burgundy threads - Create bio-textile using agar-agar - Test blending, stretching, folding of materials |
Explore material contradictions to reflect chaos |
| 5 | Natural Dyeing | - Natural dye tests using turmeric + sodium carbonate - Test color fixation with vinegar, salt, heat - Document each result |
Use color to convey emotional instability |
| 6 | First Prototypes | - Create first garment prototypes - Merge bio-materials with denim - Test durability and flexibility |
Develop hybrid pieces that embody chaos physically |
| 7 | Electronics Integration | - Test sensors (touch, pressure) - Write simple Arduino code - Evaluate fabric-sensor interaction |
Express chaos as a dynamic inner state |
| 8 | 3D Printing | - Draw abstract, surrealist-inspired 3D shapes - Print on tulle fabric - Assess visual integration |
Add conceptual layer of visual disorder |
| 9–10 | Final Garment Production | - Construct 6 complete outfits - Refine finishing details - Test wearability and movement |
Produce a visually and conceptually coherent collection |
| 11 | Documentation & Shooting | - Photograph final pieces - Write reflections and technical summaries - Prepare presentation materials |
Present the project as a holistic artistic vision |
| 12 | Presentation & Delivery | - Upload final files (BoM, fabrication files, tutorials) - Finalize written narrative - Rehearse oral presentation |
Complete documentation and submit project |
bill of materials¶
Materials List Used in the Project with Estimated Prices¶
This table provides detailed information about all the main materials used in the project development, including approximate quantities, descriptions, and prices according to the current Jordanian market. The materials are carefully selected to reflect the concept of chaos through contrasting textures, the use of natural dyes, and 3D printing experiments. Notes clarify the specific use of each material within the project.
| Material | Quantity | Description | Approximate Price (JOD) | Notes |
|---|---|---|---|---|
| Tulle | 15 meters | Transparent, delicate fabric | 27 JOD | Maroon color |
| Denim | 20 meters | Heavy, sturdy fabric | 60 JOD | All colors |
| Thick Threads | 200 grams | Thick sewing threads | 1 JOD | Maroon color |
| Turmeric | 250 grams | Natural dye | 2 JOD | For fabric dyeing |
| Sodium Carbonate | 500 grams | Color modifier | 9 JOD | Used with turmeric |
| Vinegar | 500 ml | Color fixer | 2 JOD | Dye fastness experiments |
| Salt | 1 kg | Color fixer | 0.5 JOD | Dye fastness experiments |
| Agar-Agar | 200 grams | Natural material for biofabric | 10 JOD | For creating organic fabric layer |
| Aluminum Sulfate | 700 grams | Dye fixer and mordant | 25 JOD | Used in color fixing process |
| 3D Printing PLA Filament | 1 kg | Plastic filament for 3D printing | 20 JOD | For printing on tulle and 3D experiments |
| Gelatin | 500 grams | Natural biopolymer for fabric textures | 12 JOD | Used in biofabric and texture experiments |
| Zippers | 10 pieces | Used for garment fastening | 5 JOD each | Assorted colors and sizes |
| Buttons | 50 pieces | Decorative and functional closures | 3 JOD each | Various styles |
| Regular Sewing Threads | 500 grams | Standard threads for stitching | 3 JOD | Multiple colors |
Table of Applications Used in the Project¶
| Application | Purpose of Use | Notes |
|---|---|---|
| Canva | Creating presentation slides and moodboards | For layout and visual storytelling |
| Adobe Illustrator | Designing vector graphics and garment details | Used for prints and technical illustrations |
| Rhino (Rhinoceros) | 3D modeling of abstract forms and accessories | For creating experimental 3D printable objects |
| Cura | Slicing 3D models and preparing them for printing | Converts Rhino models into G-code for 3D printing |
| Fusion 360 | Advanced parametric 3D modeling | Used for structural or mechanical design elements |
| Slicer for Fusion 360 | Generating 3D sliced structures from models | Used for experimental 3D slicing techniques |
| Meshmixer | Editing and repairing 3D meshes | For refining STL files before printing |
| MakeHuman | Generating digital human models for garment fitting previews | Used for testing garment scale and proportion |
Slide show¶
In this presentation, I will walk you through my graduation project, which combines fashion design and interactive media in an artistic experiment exploring the concept of chaos, and how it can be visually and sensorially translated through textiles, natural dyes, and modern technologies such as 3D printing and bio-materials.
The project aims to create a contemporary fashion collection that merges contradictions: fragility and toughness, order and disorder, manual and technological.
Throughout this presentation, I will highlight the development stages, materials used, experiments conducted, and the challenges I faced on the path to the final outcome.
Copy of Minimal Black & White Fashion Brand Portfolio Presentation by Omar Otuom
Story telling¶
It all began not with a design, but with a feeling. A vague, overlapping, unstable sensation—like the chaos we experience when we lose control. That emotion became the seed of the idea.
At every step, chaos followed me—not as an obstacle, but as inspiration. I searched for unfinished forms, broken balance, a kind of beauty that emerges from confusion. Slowly, the concept turned into a path, then into a vision, then into a visual identity.
My aim was never to create something "beautiful" in the traditional sense, but rather to build a world that feels like the edge—a place where nothing is certain, nothing is still, and everything is in motion.
Over time, the final pieces became an extension of that world. Every detail tells a moment of tension, hesitation, or fragmentation—but together, they speak honestly: within chaos, we can find ourselves.