Skip to content

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.