Final protype

Key Axes in Project Development¶

This project was developed through three main phases that formed the foundation of the concept and its practical realization:

1. Fabric Collection and Material Preparation
The project began with research and careful selection of materials. Various fabrics were purchased and gathered to reflect the contrast between fragility and rigidity—such as delicate tulle and heavy denim. Special attention was given to color, texture, and how these fabrics interact with light and movement, aiming to use them as visual tools to embody the concept of "chaos."

2. Creation of Initial Samples
In the second phase, I produced initial samples to explore the visual and experimental direction of the collection. These samples involved cutting, shaping, and combining materials in unconventional ways to discover new relationships between form and substance and to lay the groundwork for the final design structures.

3. Exploring Diverse Techniques
The project emphasized the integration of diverse techniques that contributed to building a distinct visual language. These included natural dyeing, the creation of bio-fabrics (such as agar-agar and gelatin), and 3D printing on fabric. These approaches allowed for an expression of chaos as a state of constant transformation, shifting between order and disorder within the garments themselves.

Project Kickoff¶

At the start of the project, I visited the fabric store I usually work with and selected all the textiles I needed to bring my concept to life. I focused on choosing materials that reflect the contrast between strength and fragility—such as heavy denim and delicate tulle—alongside other complementary fabrics. This step was essential to securing a solid material foundation, allowing me to begin the practical experiments and shape the visual identity of the collection.

From Pattern Making to Final Product¶

After completing the initial experiments on the dyed and bio-coated fabric samples, I began the practical implementation phase of the designs. I followed a structured series of steps that led to the execution of final pieces expressing the main concept of the project: chaos.

1. Pattern Drafting¶

I started by drafting the initial patterns based on the conceptual sketches I created during the ideation phase. The selected cuts featured asymmetrical lines and layered forms to reflect a sense of instability and fluidity.

2. Transferring Patterns to Test Samples¶

I transferred the patterns onto the dyed and bio-treated fabrics to test how the designs interacted with the new materials, particularly in terms of softness and structure after applying agar.

3. Cutting and Sewing the Samples¶

The fabrics were cut according to the drafted patterns and then sewn using both hand and machine techniques. At this stage, I assessed how well the shapes worked with the materials and whether the visual impact met expectations.

4. Pattern Adjustments¶

Based on the sample results, I modified the patterns to improve the fit and visual balance. Adjustments included sleeve lengths, opening placements, and curve refinements to better match the final concept.

5. Preparing Final Fabrics¶

I selected the final fabrics that had undergone dyeing and bio-material processing, pressed them, and prepared them for cutting. I intentionally used varied materials to emphasize differences in texture and appearance.

6. Executing the Final Pieces¶

I carefully sewed the final pieces, paying close attention to the quality of finishing both inside and out. I maintained elements of chaotic design such as unexpected cuts and layered construction.

7. Fitting on Models¶

After completion, the garments were tested on models to assess comfort, movement, and fabric behavior in real-life conditions. Some bio-treated materials responded differently to body heat and tension, prompting minor finishing adjustments.

8. Documentation and Photography¶

The final designs were documented in a professional photo shoot. I captured each piece from multiple angles and wrote both technical and conceptual notes, creating a complete record of the project's journey from idea to execution.

Natural Dyeing Phase – First Experiment with Turmeric and Sodium Carbonate¶

This was the first experiment in the natural dyeing phase. I conducted an initial natural dyeing experiment using turmeric as the main coloring agent, combined with sodium carbonate to shift and intensify the tone. This was the first of several trials aimed at exploring the expressive potential of natural colors on fabric.

Experiment Summary¶

I boiled turmeric in water to create a concentrated dye bath.
Sodium carbonate was added to modify the color tone and improve dye uptake.
The solution was used to dye denim fabric in various shades: white, off-white, dark blue, and light blue.
Fabrics were soaked for 45–60 minutes and then rinsed and color-fixed using vinegar.

Color Outcome¶

Though turmeric typically produces a bright golden yellow, its interaction with sodium carbonate and the heavy structure of denim fabric yielded a rich, unexpected burgundy-like tone. The color varied slightly across different denim shades, producing unique and unpredictable results—perfectly in line with the concept of chaos explored throughout the project.

Dye Recipe Table¶

Ingredient	Quantity	Purpose
Turmeric	250 grams	Natural dye base
Water	5 liters	Solvent for dye extraction
Sodium Carbonate	50 grams	Color modifier and pH adjuster
Denim Fabric Samples	Various colors	Fabric for testing (white, off-white, light and dark blue)
Vinegar	Approx. 200 ml	Color fixative after dyeing
Soaking Time	45–60 minutes	Duration of dyeing process

The Second Experiment in Natural Dyeing Using Turmeric and Sodium Carbonate¶

This is the second experiment in the natural dyeing phase. Based on the first experiment, I improved the process by adjusting the dye concentrations and soaking time to achieve more consistent results. Turmeric was again used as the primary dye with sodium carbonate as the color modifier.

Experiment Summary:¶

Increased turmeric concentration for a deeper color.
Extended soaking time to 90 minutes to improve color penetration.
Used denim fabric samples in different colors: white, off-white/beige, light blue, and dark blue.
After dyeing, fabrics were rinsed and fixed with vinegar to enhance color fastness.

Color Result:¶

The resulting colors were closer to a dark purple with less variation between fabric colors, indicating better control over the dyeing process while maintaining the project’s theme of unpredictability and transformation.

Material	Quantity	Notes
Turmeric	300 grams	Natural dye
Water	5 liters	Solvent for the dye
Sodium Carbonate	70 grams	Color modifier
Denim Fabric Samples	Various	White, off-white/beige, light blue, dark blue
Vinegar	200 ml	For color fixing
Soaking Time	90 minutes	To improve color penetration

After that, I adopted the final experiment to create the final look on the fabric that I would use in the final designs.

Biofabric Preparation Experiment Using Agar Agar (First Sample)¶

In the first experiment to prepare biofabric, specific ingredients were used, and precise steps were followed to obtain a flexible and transparent biological layer on denim fabric.

Method and Time Required for Each Stage:¶

Preparation and Mixing
Mix 5 grams of agar agar with 24 grams of glycerine, 250 grams of water, and 1 gram of food coloring in a heat-resistant container.
Cooking and Heating
Heat the mixture while continuously stirring for about 10 minutes until boiling and thickening.
Pouring and Forming
Immediately pour the hot mixture onto the denim fabric and spread evenly to form an organic layer.
Cooling and Drying
Leave the fabric with the layer to cool at room temperature for 30 minutes until it sets.
Leave the fabric in a well-ventilated area to dry completely for 12 to 24 hours depending on humidity.

Results:¶

A transparent and flexible biological layer was obtained that adheres well to the denim fabric, making it suitable for use in final designs with the possibility to modify texture or color in later experiments.

Experiment Ingredients (Agar Agar):¶

Material	Quantity
Agar Agar	5 grams
Glycerine	24 grams
Water	250 grams
Food Coloring	1 gram

Note: This is the first sample in the biofabric preparation phase.

Second Sample of Biofabric Preparation Using Agar-Agar¶

Based on the first experiment, I adjusted the proportions of the ingredients and drying conditions to obtain a stronger and more flexible biofabric layer on denim fabric.

Preparation Method and Time Required for Each Stage:¶

Preparation and Mixing
Increased agar-agar to 7 grams and glycerine to 30 grams, keeping water at 250 grams and food coloring at 1 gram. Mix well in a heat-resistant container.
Cooking and Heating
Heat the mixture while stirring continuously for about 12 minutes until it thickens and reaches boiling point.
Pouring and Shaping
Pour the hot mixture directly onto the denim fabric and spread evenly to form a cohesive organic layer.
Cooling and Drying
Let the fabric cool at room temperature for 30 minutes to allow the layer to set.
Allow the fabric to dry completely in a well-ventilated area for 18 to 24 hours.

Results:¶

The second sample produced a more durable and flexible biofabric layer with improved adhesion to the denim. The texture was softer, and the color distribution was even, making it more suitable for wearable designs.

Experiment Ingredients (Agar-Agar, Second Sample):¶

Material	Quantity
Agar-Agar	7 grams
Glycerine	30 grams
Water	250 grams
Food Coloring	1 gram

This is the second sample in the biofabric preparation phase.

new experment¶

During the development phase of my designs, I made a significant visual and artistic discovery while working with biofabric layered over denim. After fixing the biofabric sheet onto the denim, I experimented by applying a few drops of liquid dye directly onto its surface. Unexpectedly, the material reacted by forming beautiful, random cracks. These cracks introduced a new aesthetic dimension that visually expressed a sense of chaos and disorder—perfectly aligning with the core theme of my project.

Following this step, I added a layer of tulle fabric over the cracked biofabric. This layering created a refined overlay that combined transparency and texture, producing a new tactile experience. This discovery—born through trial and spontaneity—became a central visual feature in the final pieces. I am truly proud of this breakthrough as it embodies the essence of chaos both visually and conceptually.

Combined Material Table (Biofabric + Second Dyeing Experiment)¶

Material	Quantity	Usage
Agar-Agar	5 g	To create the base for the biofabric
Glycerine	24 g	Softens and adds flexibility
Water (for biofabric)	250 g	Solvent for the biofabric mix
Food Coloring	1 g	Adds color to the biofabric
Liquid Dye (extra)	A few drops	To create cracking effect on surface
Denim Fabric	As needed	Base fabric for applying biofabric
Tulle Fabric	One layer	For layering and texture
Turmeric	300 g	Natural dye used in second experiment
Water (for dyeing)	5 liters	Dye bath base
Sodium Carbonate	70 g	Color modifier to fix turmeric dye
Vinegar	200 ml	Used to fix dye post-process

3D Printing Process¶

As part of incorporating the concept of "chaos" into my designs, I explored 3D printing as a way to create artistic, random shapes that add a tangible dimension to the pieces.

1. Designing Random Shapes:¶

I began by drawing a series of freeform, chaotic shapes inspired by surrealism using Procreate on my tablet. My goal was to create irregular, unpredictable lines that reflect the core theme of the project.

2. Preparing the Drawing File:¶

After completing the drawing in Procreate, I transferred the artwork to Adobe Illustrator to convert the lines into vector format. At this stage, I cleaned and adjusted the lines precisely to be ready for 3D processing.

From Procreate to Illustrator: Export as PNG → Trace the image in Illustrator to convert it into a vector (SVG or AI).

3. Converting the Drawing into a 3D Model:¶

Once the vector file was ready, I exported it as an .AI or .SVG file and imported it into Rhinoceros (Rhino) software, where I transformed the flat design into a 3D model. In Rhino, I defined the thickness, depth, and final dimensions for each shape.

From Illustrator to Rhino: Export as SVG or AI → Open in Rhino → Use the Extrude command to convert paths into 3D objects.

4. Print Setup:¶

After finalizing the model in Rhino, I exported it in .STL format (the standard file format for 3D printing) and imported it into Ultimaker Cura, a slicing software used to prepare models for 3D printing.

In Cura, I tested multiple print settings, such as:

Printer temperature
Print speed
Infill density
Support structures
Layer height

5. Printing and Testing:¶

I printed several prototypes using a 3D printer to test the quality and consistency of the shapes. This iterative process helped me fine-tune the designs and adjust the technical parameters to create well-formed pieces that could later be applied to fabrics such as tulle or denim.