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10. Textile Scaffold

Research

Introduction: What are Textile Scaffolds?

Textile can procvide a structure for other materials t grow Define textile scaffolds in both biomedical and design fabrication contexts Explain the concept: temporary structures that support material formation, then dissolve/remove Historical context: from medical tissue engineering to fashion/textile applications

Types of Textile Scaffolds:

Dissolvable scaffolds: Water-soluble materials (PVA, alginate) that wash away Heat-removable scaffolds: Wax, thermoplastic materials that melt out Mechanical scaffolds: Rigid structures removed after curing (wire frames, 3D printed molds) Biological scaffolds: Organic materials that decompose or integrate

Materials & Methods:

Water-soluble options: PVA (polyvinyl alcohol) fabric/thread, alginate films, gelatin Heat-sensitive: Wax, low-temp thermoplastics, soluble stabilizers Structural supports: Wire, monofilament, 3D printed PLA/PETG forms Compare properties: dissolution time, temperature sensitivity, strength, cost

Industry Applications:

Fashion/Costume: Creating 3D sculptural textiles, pleating, complex draping Medical textiles: Tissue engineering, wound dressings, biodegradable sutures Technical textiles: Composite materials, aerospace applications Art/Installation: Temporary structures, performance textiles

Digital Fabrication Integration:

3D printing custom scaffold molds Laser cutting precise scaffold patterns CNC milling complex forms Parametric design for optimized scaffold structures

Companies/Researchers:

Biomedical scaffold companies (look up specific names) Fashion designers using dissolvable materials Textile research labs exploring scaffold techniques Open-source projects and Fabricademy alumni work

Limitations & Challenges:

Material waste and sustainability concerns Time-intensive processes Difficulty controlling final form after scaffold removal Cost of specialty materials Scalability for production

Connection to Alpine Wool Project:

Could scaffolds help shape/structure wool fibers during processing? Creating 3D wool felt forms using dissolvable supports? Wool composite materials with temporary scaffolding?

References & Inspiration Section Prompts to research:

Which fashion designers have created sculptural garments using scaffold techniques? What biomedical textile research could translate to fashion applications? Are there Fabricademy alumni who've experimented with scaffolds? What traditional textile techniques use similar principles (starch, sizing, blocking)? How do costume/theater designers create rigid textile forms?

Document for each reference:

What technique or material did they use? What was innovative about their approach? How could this inform your exploration? What aesthetic or technical qualities interest you?

Process & Workflow Section Planning Phase:

What scaffold material(s) will you test? (Choose 2-3 for comparison) What textile substrate will you apply to the scaffold? What form/shape are you trying to create? How will you remove the scaffold (water, heat, mechanical)?

Experiment Design:

Test 1: [Material combination 1]

Scaffold type and preparation Application method (dip, layer, wrap, embed) Curing/drying process Removal method Document: time, ease, final form quality

Test 2: [Material combination 2]

[Same structure as Test 1]

Test 3: [Material combination 3]

[Same structure as Test 1]

Documentation During Making:

Initial scaffold preparation (photos of materials, measurements) Application process (step-by-step photos) Drying/curing stage (time-lapse if possible) Scaffold removal (before/after comparison) Final form evaluation (does it hold shape? texture? flexibility?)

Observations to Record:

How long did each stage take? What was the working time before materials set? How difficult was scaffold removal? Did the textile maintain the desired form after scaffold removal? What unexpected behaviors occurred? How does the material feel/drape after scaffold is gone?

Critical Reflection Prompts Technical Success:

Which scaffold material worked best for your application? What surprised you about the process? Which techniques need more refinement?

Material Behavior:

How did different textiles respond to the scaffold materials? Did removal damage the textile substrate? What trade-offs exist between scaffold strength and ease of removal?

Design Potential:

What forms or structures became possible with scaffolding that wouldn't work otherwise? How might this technique create new textile possibilities? What aesthetic qualities emerged that you didn't anticipate?

Practical Considerations:

Is this technique feasible outside a well-equipped lab? What's the time/cost investment vs. results? How repeatable are the results? Could this scale for small production?

Alpine Wool Context:

How might scaffold techniques support small-scale wool processing? Could this create value-added wool products (sculptural felt, 3D forms)? What applications make sense for Alpine wool ecosystem? Are there traditional wool techniques that already use scaffold principles?

Limitations Encountered:

What didn't work as hoped? What material constraints limited your experiments? What would you need to make this technique more successful?

Sustainability Assessment:

How much material waste was generated? Are the scaffold materials biodegradable/recyclable? Is the water/energy use justified by the results? What circular approaches could minimize waste?

Next Steps Prompts Immediate Refinements:

What ratio/formula adjustments would you test next? Which failed experiments deserve another attempt with modifications? What tools or techniques would improve results?

Extended Explorations:

How could you combine scaffold techniques with previous weeks' learnings? (Bioplastics? Wearables? E-textiles?) What larger or more complex forms would you attempt with more time? Could scaffolds enable new applications for Alpine wool waste?

Knowledge Gaps:

What don't you understand yet about the material chemistry? Who could you consult for deeper expertise? What research papers or resources would help?

Integration with Final Project:

Does this technique have a place in your Alpine wool project? How might scaffolds solve specific challenges you've identified? What's the most practical application for your context?

Potential Experiments to Propose Option A: Dissolvable Support for 3D Wool Forms

Create PVA scaffold shapes (3D printed or cast) Layer wet wool fibers around scaffold Felt the wool while scaffold provides structure Dissolve PVA in warm water, leaving hollow 3D wool form

Option B: Wax Scaffold for Textile Composites

Dip textile in melted wax to create rigid form Apply bioplastic or resin over waxed textile Melt out wax with heat/solvents Result: lightweight composite with embedded textile texture

Option C: Alginate Film Scaffolding

Create alginate film shapes (flexible scaffold) Use as temporary backing for delicate textile work Dissolve in water after construction complete Useful for embroidery, appliqué, or complex assembly

Option D: 3D Printed Scaffold Molds

Design and print custom shapes in PLA Use as forms for wet felting, bioplastic casting, or textile draping Remove mechanically after material sets Reusable molds for consistent production

Japanese papermaking

describe what you see in this image

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get inspired!

Check out and research alumni pages to betetr understand how to document and get inspired

Add your fav alumni's pages as references

Crystals on Wool

Inspiration:

Left - Zendaya in Alexander McQueen. Photo by Karwai Tang

Right - Zendaya in custom Valentino. Photo by AXELLE/BAUER-GRIFFIN/FILMMAGIC

Zendaya custom mask. AMY SUSSMAN/GETTY IMAGES

* 63g of T&M wool yarn
* Scouring: 3g of natural soap according to the recipe in biochromes week. . for 1h <80C. Leave to dry overnight
* Mordant for animal fibers: 12.6g of alum according to the recipe in biochromes week. Enough water to cover fibers.
* Dye bath: 15% of WOF (63) = 9.45g of alkanna tinctoria dye. Enough water to cover fibers. Leave for 1h
* Crystals: 250g of alum salts, 1L water

* Pots
* Spatulas

Process:

  • I started by using tape on a mannequin to define the shape and measure and cut the wool yarn needed.
  • I went through the wool dyeing process using alkanna tinctoria to get a grey/purple hue
  • After dyeing, I created all the knots for the cowweb shape.
  • Prepared the crystals using water, alum and a big container. Filter the solution so that impurities are removed.

Dyeing

  • Weigh the wool and calculate the ammounts for scouring, mordant and dye bath.
  • Scouring: Leave in hot water for 1h at <80C. Stir ocasionally. Leave to dry overnight
  • Mordanting: Leave in hot water for 1h at <80C. Stir ocasionally.
  • Dyeing: Leave in hot water for 1h at <80C. Stir ocasionally. Leave to dry overnight

Observations

  • Using wet wool beofre putting into the solution may help to avoid air bubbles and areas with no crystals. This is important since wool is naturally water repellent.

Wool Molding/Frosting

Sarah Hambly corset.

Three-Dimentional Textile Preform Using Advanced Textile Technologies for Composite Manufacturing September 2017 DOI:10.5772/intechopen.68175 Decoden crafts

gelatin?? + carded wool shredded in pieces

* TBD 
* TBD

* Pots
* Spatulas
* Piping bags
* Piping tips 
* Plastic wrap
* Dressform

Process:

  • Use the plastic wrap to protect the dressform. Then, add the fabric pattern on top (optional)
  • TBD ** making the paste!!!!!!!!!
  • TBD
  • TBD
  • Use a silicon spatula to transfer to the piping bag. Use the desired piping tip.
  • Use the material to cover the surface of your model.
  • Leave to dry overnight.

Observations

Mesh

Do-Ho Suh/ fabric architecture -> piñata structure

Masks?

  • wool yarn + mesh + gelatin resin
  • yute mesh + gelatin resin 
* Plastic grid box
* Mesh fabric
* Wool yarn

* Plastic grid box
* Spatulas

Process

  • Cut a piece of wool yarn long enough to go around the box a few times.
  • Started "weaving" a shape in the box. Make sure the tension is strong, it should support the resin and create indents on your mesh because of the weight of the material.
  • Before cutting your mesh piece, emulate the weight of the resin by pushing it downwards. It should be bigger than the box.
  • Preparing the resin:

Observations

Wool Paper

* 40g of washed and (carded) + shredded T&M wool
* Water

* Large container box to make the mixture in
* Mesh on a wood frame to use as a mold
* Sponge
* Drying mat

Process:

  • Precut the material in small chunks to avoid clogging the machine.
  • The machine has an emergency stop button + a forward, backwards and off button.
  • Use backwards direction to unclog if needed.
  • Never touch the blades area before stopping the machine!!!
  • Add the shredded wool to the continer with water
  • Use the flat side of the frame to dip into the mixture and rise to remove water.
  • Flip the frame onto your dryin mat or surface.
  • Use a sponge to remove excess water before lifting the frame
  • Leave to air dry

Observations:

  • Wool is not the best material to make paper with this process. It naturally repells water so once it dries out, you're left exactly where you started (carded/shredded wool)
  • Adding another material such as cotton led to a more stable material however, the texture of paper was not achieved.
  • To get the "paper" look and feel, using only 1 thin layer with very small fibers to felt could potentially work but in the end it's another process for felting.

Overview material research outcomes

example from the documentation of Loes Bogers TextileLab Amsterdam 2019-20
Biofoam Gelatin foil Bioresin Biosilicone
Starch Rubber Biolinoleum Alginate net Alginate foil
Alginate string Agar foil Bio composite Reused PLA

Documenting and comparing experiments

TEST SERIE BIO-PLASTIC
Material pic Material name polymer plastifier filler emulsifier
bio-rainbow biokelp powder 12 gr glycerol 100 ml rainbow dust 1 kg green soap a drop
bio-rainbow biokelp powder 12 gr glycerol 100 ml rainbow dust 1 kg green soap a drop
bio-rainbow biokelp powder 12 gr glycerol 100 ml rainbow dust 1 kg green soap a drop
bio-rainbow biokelp powder 12 gr glycerol 100 ml rainbow dust 1 kg green soap a drop

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Recipes

  1. recipe: salmon skin fish-leather ↩