Skip to content

13. Implications and applications

Below you will find the evolution of my final project pitches. I made 2, which eventually evolved and were combined together as seen in the Project Development tabs:

Pitch 1 - Natural Rhythms — Harnessing Nature’s Patterns to Instill Wonder

Step 1 cut Cymatics captured by Erika Weitz and Thomas Noya

I have always been captivated by nature's patterns - and the systems and reactions that make those patterns.

For my final project I would like to explore analogue paramteric pattern generation using the methods of cymatics and water marbling (Ebru). My aim is to capture these paramtetric patterns on fabric and show case them on a jacket that I design and build.

Cymatics are made by sending a tone to a metal plate that transforms its vibrations into visible pattern. The first thing I'll do is build this set up.

To generate my cymatic patterns, I will experiment with both wet and dry materials mixed with pigment, such as cornstarch, water and alum powder. For some experiments I will attempt to capture these cymatics using the Ebru fabric dipping technique. For others I will see if a pattern is generated by pigmented solids that migrate along the fabric (attached to the metal plate).

While I've read of others using marbling to imprint cymatics, this will be larely experimental. I have yet to find visual examples, although I believe it is entirely possible to generate some kind of pattern, and capture it on fabric under the right conditions, based on my exprience with Ebru.

The techniques from our lectures that I would like to employ include;

  • Circularity

  • Parametric Pattern Making

  • Machine Making, and

  • Natural Dyes

VISUALIZATION

Step 1 cut

My jacket will be a "system" - in the production process, and on the body. I would like it to incorperate layers, or swappable patches that can be mixed and matched to generate multiple looks. Elements of one layer may also structurally manipulate the surrounding layers.

Depending on the patterns I achieve - should I choose to cut out these patterns - my "system" may also include using offcuts to generate one of the layers.

LAYERING EXAMPLES Step 1 cut

LAYERING ON THE BODY Step 1 cut

FORM IDEAS & IMPRINTING TECHNIQUES

Step 1 cut

FIRST PERSON RESEARCH

In terms of first person research - my desire to take on this project stems from previous projects and studies I've done over the years.

Photography and Patterns

I have been documenting and studying natural patterns in a casual way through my photography for years.

Step 1 cut Poppies I grew and photographed - Claire Cavanagh 2025

This week, as part of my research - I looked into analgoue pattern generating methods. Voronoi patterns are a great example of this. They are everywhere. I liked them for their analogue potential, as they can be generated by simply blowing bubbles in milk with a straw. Voronoi patterns are explained well in this video:

Why this pattern shows up everywhere in nature || Voronoi Cell Pattern - Dr. Terfor Bazett.

I've also been familar with turing patterns for a long time - a concept developed by Alan Turing explained here:

Turing pattern - Wikipedia.

However turing patterns are harder to create without the use of in depth chemistry exprience - so this forced me to consider safer and more practical methods.

Textiles and Pattern

I was working a lot with marbling last year.

Marbling Marbling Experiments - Claire Cavanagh, Winter 2025

This is also when I first encountered the science of generating cymatics on water. Naturally, since both mediums involve baths of water, I wondered if they could be combined.

One evening, while I was discussing my marbling experiments with a friend - without even mentioning my idea for combining these techniques - she brought up an interview she'd conducted with two artists who were blending cymatics and marbling.

As part of my research I have contacted her and have begun the process of tracking down these artists to see if I can interview them myself - as I don't yet have access to anyone who has tried this.

Textiles and Pattern Con'd...

Because I imagine this jacket will involve some elemement of patchwork once I get to assembling my patches, I wanted to show some of my previous quilt work. What I've learned is that assymetrical shapes are very difficult to work with. If I choose to sew my cymatic swatches together I may opt for imprinting them on square fabric.

Step 1 cut

  1. I have also started researching affordable ways to create cymatics rigs and would like to begin doing my own tests in the new year.

YouTube Short – Marbling Experiment

Why, What, Who, When, Where?

WHAT IS THE MEANING OF THE PROJECT

The meaning of my project stems from three main values I've been contemplating during my time at Fabricademy - things I want more of in my life. I think it involves all three:

  • Connection I think combining disperate things to make new things is a great way to make mental connections that keep me motivated and get other people excited to collaborate.

  • Leaning into simplicity i.e. working with nature instead of fighting it. I want to gett better at letting materials tell me what their strengths are instead of forcing them into the form I want them to be.

  • Blancing planning with space for the unexpected Planning is necessary to get things done! But play is what keeps it fun. And sometimes the best ideas come from things unplanned. So I want to find a way to balance these aspects in my work so that it always keeps me motivated and excited to learn.

WHY THIS PROJECT

In my opinion, cymatics are one of the most magical examples of nature's (often unseen) wonder made manifest - so I think they are the prefect medium for a final project

Cymatics are a focused, achievable, and safe methods for me to explore organic pattern creation through (mostly) analogue reactions.

I've also been looking for more ways to work with fashion. Fashion is such a social art form. It has a life outside of one's private home. It has a strong capacity to engage others and elicit questions. So with connection in mind, I think a garment is the best way to explore this.

WHO IS IT FOR

For now this project is for me - to prove I can generate organic patterns in a safe, accesible and viable way.

But the ultimate goal is to eventually collaborate with others through workshops and product collaborations if I can really nail this process.

WHEN WILL IT BE ACHIEVED

I see surface pattern design as a life long interest. But for this specific project, I will continue further research throughout the holidays. I plan to make the cymatics rig and my natural dyes in early January. The middle of the winter will be for exploring and playing with the results from my experiments and the last month of the course will be for assembling my garment and documentation.

WHERE WILL IT HAPPEN

The hope is that most aspects of this project can be done at my home - or with minimal access to a lab / maker space. I'd like this to be an accessible process for anyone who wants to engage in it and I will also have limited access to a lab.

ACADEMIC RESEARCH

Below is the only academic article I was able to find that combines the subjects of cymatics and textiles - it requires translation

The following academic articles pertain to cymatics and Ebru specifically:

STATE OF THE ART

Mentions of People Combining Ebru with Marbling

Cymatic Marbling Paint Workshop

Versa – Wavelength Music

Makers who employ values I respect in their work

Simone Gertz Simone Giertz YouTube Channel

Living Labs Low-Tech Lab Presentation

Relevant Cymatics Based Work

Lachlan Turzan Captures Cymatics Through Watergrams Website Link 1

Lachlan Turzan Work - Gallery Sonder Website Link 2

Transmuting vibrations - by Erika Weitz and Thomas Noya Cymatic: Transmuting Vibrations

Kinetic and Cymatic Experiments by Brusspup Brusspup YouTube Channel

Cherry Harrison Cymatics Photography Tutorial Cymatics Photography Tutorial

Why Sound Replicates organic pattern - Gaia YouTube Video

Pitch 2 - Background Bio-Materials

For my final project I'd like to focus on fashion-centric bio-materials. My hope is to expand the aesthetic and construction possibilities of materials like mycelium and kombucha leather, crystals, and root fabrics.

By adopting the optimal growing methods for these fabrics, as discovered by myself and researchers before me, I hope to spend most of my time evolving them - focusing on colour, print, scale and geometry. I'd like to use these elements to create one playful, quirky and yet unified look .

Essentially, Bio- materials just happen to be the materials used. This is just as much about evolving my abilities as a designer.

My goal in my work over time is to demonstrate that bio-materials can be dynamic, accessible and "ready to wear".

In the video below, Suzanne Lee of Biofabricate, works to change the attitudes and acceptance of bio-materials in fast-fashion. This is the same kind of approach I'd like to take in my work.

🎥 Video:
Watch on YouTube: https://youtu.be/z2SXuRRBXwY

Why, What, Who, When, Where?

WHAT IS THE MEANING OF THE PROJECT

I want to work more with fashion. This is where my creative impulses have been for a very long time.

I got out of costume design and avoided my desire to work with textiles because I started to resent how toxic and wasteful large-scale production methods are. Now I see a way to engage in this world again with an easier conscience.

WHY THIS PROJECT

I care a lot about connection. Fashion is such a social art form. It has a life outside of the home. It goes everywhere we go. It can stir up curiosity and questions from others at any time. This is why, more and more, I think my creative impulses have been leaning towards it.

I'm trying to build new ways of working and I want my work to surprise me daily and keep me humble. I learned this as a gardener and when I started fabric marbling. Nature will forever be my favorite teacher. There is always more to learn.

I think this project is a great way for me to blend these concepts.

WHO IS IT FOR

This project is for me, to keep practicing all the things I love in one project, but also anyone who asks me about it when it's done, and for anyone who wants to try doing something similar and learn from my discoveries.

WHEN WILL IT BE ACHIEVED

January:

Early:

  • Self reflection - what is my style?

  • Aesthetic documentation research ( how do I want to share it when it's done)

Mid:

  • grow samples and get the hang of the optimal processes

  • try different moulds

  • make lake pigments and natural dyes using plants from my own garden and food waste

  • start mushroom samples and leave to incubate

  • start kombucha samples and leave to incubate

  • set up crystal tests and leave to grow in a dark space

Late:

  • return to Ontario and grow more root samples

  • finalize motif research and garment designs

February

Early:

  • use bust from digital bodies week and fill out to use as dress form

  • source final wool / silk fabrics

  • make muslin mock ups / patterns for all garments

  • dye and marbling tests on silk / wool

Mid:

  • return to Quebec to harvest mushroom, kombucha and crystal samples

  • start new crystal and mycelium growth for final product

  • hardcore pigment and pattern tests on existing samples

Late:

  • Assembling sewn elements ( silk & wool)

March

Early:

  • Assemble grown garments ( roots, leathers and crystals)

Mid - late:

  • Documentation

WHERE WILL IT HAPPEN

Both at my home in Ontario and at the lab in Quebec.

VISUALIZATION

The actual garments I make will be determined by my initial experiments. At the very least I'd like to end up with a tapestry or sample book showcasing new aesthetic approaches.

Although the garments I hope to make are as follows:

  • Mycelium leather wallet and / or kombucha tote bag

  • A grown root vest and / or slippers

  • A naturally dyed silk top with grown crystal embellishment

  • A naturally dyed wool top and/ or trousers

CONCEPT:

The techniques from our lectures that I would like to employ include:

  • Circularity ( aka modular pattern marking)

  • Parametric Print Making

and

  • Natural Dyes

I would like it to incorporate swappable / replaceable square or triangular patches into the design. This decision is three fold (pun intended):

  1. Practicality: Patches are practical and circular - we can focus only on the part of the garment that needs to be mended when it's time to do so and the rest of the garment can stay in tact. These shapes are also much easier for manufacturing.

  2. Symbolic Appeal: I love juxtaposition - things that are different but yet somehow work together. In this case I'll put wild grown textures inside more rectilinear shapes - maybe this will serve to "frame" or highlight the dance of wildness and control - not putting one over the other. That's the goal.

  3. Aesthetic Appeal: I find grids have a relaxing aesthetic. I find myself drawn to them for their beautiful simplicity.

STYLES & "CUTS"

Step 1 cut

PRINTS, GEOMETRY & SCALE

Step 1 cut

LEATHERS

Step 1 cut

CRYSTALS

Step 1 cut

FIRST PERSON RESEARCH

Plants

I have been documenting and studying natural patterns in a casual way through my photography for years.

Step 1 cut Poppies I grew and photographed - Claire Cavanagh 2025

In terms of first person research - I've spent the last 5 years gardening and better understanding how to grow plants. Now I'd like to apply my green thumb to growing strong root networks with:

  • Grass Seed

  • Black Lentils

  • Oat Groats

Patterns

What I've learned from previous sewing projects is that asymmetrical shapes are very difficult to work with. I would love to work with squares now.

Step 1 cut

My professional and academic experience in costume design will also help me draft and sew the garment patterns. I will also continue trying different garments in the real world to study fit, proportion and scale.

Textile Prints

I was working a lot with marbling last year.

Marbling Marbling Experiments - Claire Cavanagh, Winter 2025

I still want to focus on analogue pattern techniques - so I will continue working with marbling as a method for colouring my bio-fabrics, but mostly my wool / and or silk under layer.

Voronoi patterns and salt absorption patterns might also come into the mix:

Both are explained well in the videos below:

Voronoi Patterns

Why this pattern shows up everywhere in nature || Voronoi Cell Pattern - Dr. Terfor Bazett.

Salt Patterns on Silk

See the video: HOW TO USE SALT SILK PAINTING A SCARF.

ACADEMIC RESEARCH

Plant structured textile fabrics – ScienceDirect Plant structured textile fabrics – ScienceDirect

Woven organic crystals – Nature Communications Woven organic crystals – Nature Communications – A research article on creating woven architectures from long organic crystals, expanding their potential use in materials science and textile-like structures. :contentReference[oaicite:0]{index=0}

Biobased Approaches to Textile Surface Creation: Example of Grass Root – DAI Journal Biobased Approaches to Textile Surface Creation: Example of Grass Root – DAI Journal – An article exploring biobased textile surface creation using natural grass root materials and sustainability-oriented design approaches in textile art and surface formation.:contentReference[oaicite:1]{index=1}

📘 Thinking in Systems: A Primer — Donella H. Meadows (PDF)
👉 Download/View the full PDF

Grow-Made Textiles, p.23-36 (EKSIG 2017 proceedings) – UAL Research Online Grow-Made Textiles, p.23-36 (EKSIG 2017 proceedings) – UAL Research Online – A research paper by Carole Collet exploring grow-made textiles and experimental mycelium-based material processes in the context of living systems, sustainable biofabrication, and textile surface patterning. :contentReference[oaicite:0]{index=0} More context on this document (from the repository):

Photonic Crystal Structural Color on Textiles – ScienceDirect Photonic Crystal Structural Color on Textiles – ScienceDirect – A research article exploring how photonic crystal-based structural coloration is formed on textile surfaces, detailing the mechanisms and factors that affect color formation and tunability.:contentReference[oaicite:0]{index=0}

An article on Eco-Friendly Marbling techniques By Aldi Hendrawan and S. Siti Suhaily, School of The Arts, Universiti Sains Malaysia Development of Marbling Technique on Fabric Using Eco-Friendly Surface Design

STATE OF THE ART

Diana Scherer

YouTube Video

Zena Holloway Zenaholloway – Reef Dresses

Barbara Rakovska

PROCESS | Embroidery cultivation & advanced technologies – Barbara Rakovska

Suzanne Lee

Biocouture on Biodegradable Fabric – YouTube

Suzanne Lee – Biomaterials & Biofabrication (YouTube)

Mycelium Leather Companies Mycelium Materials Poised to Leave Conventional Leather Industry Hanging by a Thread – Sustainable Brands – An article on how biotech startups are developing mycelium-based leather alternatives that aim to replace traditional animal hide leather with sustainable, fungus-derived materials, highlighting innovators like Bolt Threads, Ecovative, and Zvnder and the environmental impact of conventional leather production.:contentReference[oaicite:0]{index=0}

Makers who employ values I respect in their work

Simone Gertz Simone Giertz YouTube Channel

Living Labs Low-Tech Lab Presentation