6. Computational Couture

References & Inspiration

For this new week, I was inspired by sportswear textiles and organic patterns. I was really interested in this new technique, so I thought, “Okay, let’s go, let’s try and see what happens !”. Sorry Rico, but Blender wasn’t really my cup of tea, so I decided to start experimenting in other ways first and give Blender another try later !

I also looked at what had been done in previous years, and I loved the work of Ainhoa, Jeanne, and of course, Stephanie. It was really inspiring to discover the different interpretations and approaches.

Tools

• Grasshopper
• Rhino3D
• Blender
• Prusa Slicer
• Inkscape
• 3D Printer
• Light fabrics like tulle
• Stretch fabrics like lycra
• USB stick

First try

First, we did an initial test with Stephanie to understand how the 3D printer works, as well as the different types of filament and the settings to adjust in Prusa Slicer.

We trapped a sheer fabric between 3D-printed rings, and right away we could see the potential of this technique to add both structure and flexibility to textiles. We used a thin layer of PLA, which helps maintain the fabric’s flexibility while giving it more structure.

Inkscape and 3D printing on fabrics

Since I wasn’t fully comfortable using Blender, I decided to adapt the exercise by working with Inkscape to generate geometric patterns similar to “geometry nodes”.

After creating a 2D shape, I went to Path Effects and selected the Tiling mode. This tool provides access to various transformation options that allow you to duplicate, shift, and modify the shape by adjusting the X and Y parameters.

By combining multiple path effects and experimenting with their values, I was able to obtain more organic and material, like surface effects, which I later used as a base for 3D printing patterns on textiles.

I did a first printing test with this pattern on tulle. To insert the fabric, I paused the printer when the print reached 50%, placed the material tightly stretched with clips, and then resumed the print.

Using the same pattern, I made a second test with a white PLA filament. I inserted tulle again, resumed the print, and then paused it once more to stretch a piece of lycra, hoping it would retract and create small “bubble” effects. I also took this opportunity to change the filament to a turquoise PLA before restarting the print.

Once finished, the “bubble” effect didn’t work as expected, but I ended up with a nice double-sided (front/back) result.

3D Printing and Elasticity

I wanted to try the elastic effect again with a new shape, this time less rigid and more freeform, inspired by a wave to achieve a more organic result. Once again, the outcome was not exactly what I expected, despite the tension applied to the fabric. I only obtained a sort of “shell,” but there was no small volume forming between the elements.

Flexible Filament and Density

For this sample, I chose to draw an organic but solid shape, using the same process as before with the Tiling tool in Inkscape. Once my shape was saved as an SVG, I transferred it to Prusa Slicer, where my 3D printer is configured.

Here, I decided to experiment with the infill of my shape, selecting a low density and the “Concentric” fill pattern to create new textures. For this print, I chose a FLEX filament, as I wanted to use a soft, flexible material. Once the print was set up, I exported the G-code and saved it on a USB stick to connect to the printer.

During the print, I paused it at 50% to insert a KWAY/GORE-TEX, like fabric, then resumed the print. Unfortunately, once finished, the textile was only integrated on one side of the print. I really like this effect, as the pattern is revealed depending on the light, remains soft, and gives a slightly anti-slip, technical texture.

After that, I carried out new material tests using circles, experimenting with the repetition of circles of varying thicknesses. I also created an open shape that traps two layers of tulle to form pockets that can be filled. The superposition of two tulles in different colors creates a moiré effect on the textile.

3D Models

I decided to reproduce the Grasshopper tutorial I saw on Ainhoa’s site because it matched the aesthetic I like, which reminds me of the beach where I grew up, with ocean waves and endless sand dunes.

I downloaded the Grasshopper definition file from the video and followed the tutorial, trying to understand the pre-built tree structure and adjusting the parameters. I experimented with the parameters to obtain two shapes I liked: one with larger waves and another with more details, to create different effects.

Some tips for following the tutorial that aren’t mentioned:

• To change a parameter, make sure to select the circle next to the number and drag it.
• Experiment with different wave effects to achieve varied results.
• At the end, you need to click Bake to save your file as an STL.

Wavy Results

Wave N1 by clairejouanchicot on Sketchfab

Wave N2 by clairejouanchicot on Sketchfab

When I imported my STL into Prusa, it said that my file was not closed. I used Meshmixer to close it:

1. Import the model: File → Import (.STL or .OBJ).

2. Check for holes: Analysis → Inspector (open edges appear in red).

3. Auto repair : click Auto Repair All.

4. Manual repair if needed : select any remaining holes and click Close.

5. Verify: go back to Analysis → Inspector to make sure there are no more open edges.

6. Export: File → Export to get a closed mesh ready for printing.

That’s it!

Now I can import my STL file into Prusa. I chose to use Flex filament and two layers of tulles to create a moiré effect.