3D Printing¶
3D printing is a powerful digital fabrication technique that allows us to transform virtual designs into physical objects by building them layer by layer. It opens up endless possibilities for creating customized, complex, and innovative forms that would be difficult or even impossible to produce using traditional manufacturing methods. In this project, I used 3D printing not just as a tool for fabrication, but also as a creative medium to explore textures, structures, and the interaction between technology and costume design.
Fabrication Journey¶
The fabrication journey was a process full of experimentation and refinement. I used Crystal Clear PLA as the main 3D printing material, which added a beautiful translucent effect to the final pieces. The Sandwich Technique was applied, where the material was printed directly onto a layer of stretchy, thin mesh fabric, allowing the piece to be both flexible and wearable. The design was inspired by a broken glass pattern, developed through parametric design tools, which helped in creating a unique and intricate visual texture. It took around 2 to 3 weeks of testing and refining to finalize the design and achieve the desired level of flexibility, durability, and aesthetic impact.
Broken Glass Dress¶
First Phase – Exploring Random Shapes¶
The first phase of the 3D printing journey started with random shapes that I extracted from a real broken glass pattern. I experimented with different thicknesses, which led to interesting variations in both flexibility and appearance. This phase was essential in helping me understand how the material reacts to changes in the design.
Below are screenshots showing the printing settings, the process while printing, and the final results:
I started by getting the sketch from a real brpken glass pattern
then I EXTRUDED the shape and export it to STL
then I opened it in CURA Slicing .. and this this the settings I used
| Setting | Recommended Value |
|---|---|
| Material | Transparent PLA |
| Layer Height | 0.2 - 0.3 mm |
| Infill | 0% |
| Wall Thickness | 1.2 - 1.6 mm (3–4 wall lines) |
| Print Speed | 20 - 40 mm/s |
| Cooling Fan Speed | ≤ 50% |
| Nozzle Temperature | PLA: 205 - 215°C |
| Top Layers | 3 |
| Top/Bottom Pattern | Concentric |
| Nozzle Size | 0.4 mm (standard) or 0.6 mm (for thicker layers) |
| Build Plate Adhesion | Use brim or skirt as needed for adhesion |
Let the printer tp print the first layer then you pause it manually or by adding the pause from cura to placeand tight the fabric
Second Phase – Parametric Design Using Voronoi¶
In the second phase, my instructor suggested using the Voronoi technique to bring a more parametric approach into my project. This allowed me to explore a new layer of complexity while keeping the visual essence of broken glass.
Again, I went through rounds of testing before reaching the final outcome.
Here are the screenshots of the Voronoi design, print settings, printing process, and the final result:
So first I started with playing with Grasshopper on the shattered glass file that you can find below
During working with Grasshopper, I found so many ways to play with the thicknesses of the shape.
But the problem was that the only extrude I could do for that shape was for the outlines, not for the real pieces I wanted
So to fix this problem, after baking the shape I chose Curve Boolean, and then selected the pieces I wanted to extrude, and then extruded them with the thickness I wanted
And to arrange the design on my dress, I put the pattern of the dress and started placing the pieces as I wanted them to look
Then I started doing some adjustments like removing the frame of the shape
And adding some pieces between them to merge them and show you that they are like one piece from the beginning
For the technique I used to extrude the pieces gradually from 3mm to 8mm,
I started by drawing circles from the midpoint of each crack.
Each new circle is 30mm bigger than the previous one, and the thickness increases by 1mm.
When two circles interact with each other, I do some calculations to keep the extrusion consistent.
And for the way I printed this top, I divided it into 4 pieces and then sewed them together.
then I extruded them one by one as STL File one opened it on cure to be printed
I printed the first swatch and...
I started thinking to change the color of the dress (the layer under the pieces) to show more dark and contrast in my design
I kept printing the other pieces on black mesh
This was the first assembly for the dress
An important thing to mention is that when I printed the 4 pieces for the top,
my plan was to sew them together to bring them back as one piece, like it was on Grasshopper.
So this is a very important step to take into consideration.
Then the stitching part took longer than I thought,
but it ended with the result I really wanted!
Let's Wrap This Journey¶
Working with 3D printing gave me more opportunities to express what I have in mind,
without the need to struggle with different materials.
Working on different swatches until I reached the final sample was a very exciting journey!
Inner Child Dress¶
As I consider this dress a complementary piece, the inspiration behind it was bubbles.
My main goal was to 3D print perfect spheres to reflect that concept.
To achieve this, I started experimenting in Fusion 360, trying out different random sphere shapes until I finally reached the perfect settings.
so first I started with 0Fusion360
I exported the file as STL File then I opened it in Cura and this is the settimgs I used for the spheres
| Setting | Value / Note | Purpose |
|---|---|---|
| Material | PLA | Easy-to-print filament |
| Print Temperature | 200–210°C | Standard PLA range |
| Bed Temperature | 50–60°C | Helps raft and first layer stick |
| Print Speed | 40–60 mm/s | Standard speed for clean PLA prints |
| Retraction | 4–6 mm @ 25–40 mm/s | Prevents stringing |
| Raft Enabled | Yes | For better bed adhesion |
| Raft Top Layers | 1 or 2 | Easier removal of model from raft |
| Raft Top Layer Flow (%) | 90–95% | Softer contact with model |
| Raft Air Gap | 0.2–0.3 mm | Helps separate model from raft cleanly |
| Raft Print Speed | 15–20 mm/s | Prevents model from fusing too tightly |
| Initial Layer Flow (%) | 105% | Ensures strong first layer adhesion |
| Infill Density | Increased (e.g. 15–25%) | Supports inner geometry (especially spheres) |
| Gradual Infill | Enabled | Lighter top layers, faster printing |
| Z-hop When Retracted | Enabled | Avoids knocking over prints |
| Model Spacing | 2–5 mm apart | Minimizes raft size and print time |
| Bed Adhesion (Extra) | Glue stick if needed | Improves raft grip on the bed |
I first tried to print a flat sheet that reflected the pattern of bubbles,
but then I realized that my project needed more of a 3D effect to truly bring the concept to life.
Here you can see the effect of inserting light into the bubbles,
and how adding layers or using different types of light affects the diffusion of the light.
To achieve this beautiful result, I 3D printed bubble shapes in three different sizes,
which helped create a more dynamic and visually interesting effect.
Magnetic Interaction Ring¶
As part of the exploration into interactive fashion, I designed and 3D-printed a special ring that contains a small magnet embedded inside it.
The purpose of this ring is to activate a hidden Hall sensor integrated into the other dresses. When the ring comes close to the sensor, it triggers a response — opening the door to subtle and magical interactions between the wearer and their clothing.
