6. Computational Couture¶
Introduction¶
The concept of computational couture represents the intersection of algorithms, digital modeling, and creative fashion design. In this field, shapes are not constructed through traditional cutting and sewing, but rather generated through mathematical and software logic based on data, equations, or digital simulations. The goal is to free designers from physical constraints and open the way for designing digitally customized fashions for each user's body, while maintaining geometric precision and artistic beauty.
Research & Ideation¶
Theoretical Foundation¶
This approach relies on the use of tools such as:
Rhino + Grasshopper: to create complex shapes generated by generative equations or algorithms.
CLO3D / Blender / Rhino plugin: to simulate fabrics and digitally test them on the body.
The designer relies on parametric design systems that allow variables (such as length, curvature, and repetition) to generate an infinite number of models.
The computational approach focuses on the relationship between data and final form; each piece of clothing can express personal or environmental data.
Design Philosophy¶
Computational design combines mathematical logic and technical precision on the one hand, and aesthetic and creative sensibility on the other.
In this approach, the designer becomes both a programmer and an engineer, treating code and equations as tools for artistic expression.
Fashion is no longer merely a covering for the body, but rather an extension of digital data that expresses the user's identity, movement, and even emotions.
This shift leads to the concept of "mass customization," the production of digitally customized fashions instead of repetitive industrial production.
Techniques and Tools Used¶
Parametric modeling: Creating flexible systems for design generation.
Algorithmic design: Programming shapes using code (such as Python for Rhino).
3D scanning: Customizing designs based on real-world body dimensions.
Digital fabrication: Such as 3D printing, laser cutting, and computer modeling.
Trend Analysis¶
Computational Couture aims to redefine "tailoring" as a digital computational process.
It reduces waste and enables sustainable fashion design through simulation before manufacturing.
It opens the door to interdisciplinary collaborations between designers, engineers, programmers, and scientists.
This approach represents a step toward a future where artificial intelligence and generative models are essential components of the fashion industry.
References & Inspiration¶
The field of computational couture is a fertile ground for inspiration, combining art, science, and technology. This week's inspiration ranged from experimental art projects to design research based on algorithms and parametric modeling. Designers in this field explore how data and equations can generate shapes that touch the body in unconventional ways, and how programming can transform into a new design language.
Inspiring Projects and Designers:¶
- Iris van Herpen – Voltage Collection
She used algorithms that simulate electrical energy and the movement of waves around the body.
The collection was created using 3D printing techniques in partnership with the MIT Lab.
- Anouk Wipprecht – Spider Dress
An interactive dress equipped with sensors and robotic movements that reacts to people's proximity.
The project combines electronic engineering, fashion design, and artificial intelligence.
It represents a powerful example of fashion as an intelligent and autonomous entity.
- Nervous System – Kinematics Dress
A design studio that combines mathematics and nature.
The dress is composed of small, interconnected units that move freely to fit the body.
It was generated using Parametric Design algorithms and then fully printed without any seams.
- Julia Körner – 3D Printed Couture
Specializing in the integration of computer modeling with luxury fashion printing.
Her works reflect precise organic geometry inspired by nature.
KUFLAG BAG¶
3d printers 101¶
In our lab tow types of FDM 3D printers available;
- Ultimaker
- Prusa
grasshopper 101¶
grasshopper first try ever¶
During this week I started to learn grsshopper from scratch, so the below swatch is like grasshopper 101.
First swatch - The sun¶
Second swatch - The net¶
Step¶
This model 1 was obtained by..
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Step¶
The paramteric model 2 was created using.. it allows the user to follow, shape, adapt, increase, mimic..
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Step¶
...
My final model for printing is ...
The STL model 3 was obtained by..
Print with file [^4] was created using..
footnote fabrication files
Fabrication files are a necessary element for evaluation. You can add the fabrication files at the bottom of the page and simply link them as a footnote. This was your work stays organised and files will be all together at the bottom of the page. Footnotes are created using [ ^ 1 ] (without spaces, and referenced as you see at the last chapter of this page) You can reference the fabrication files to multiple places on your page as you see for footnote nr. 2 also present in the Gallery.
3D Models¶
upload the 3d models of MakeHuman, Final 3d modelled body, 3D Scans, etc use the fabrication files at the bottom of the page to link and upload models, referencing them with a footnote
Videos¶
learn how to add video tutorials, inspirational videos and movies etc
From Vimeo¶
Sound Waves from George Gally (Radarboy) on Vimeo.
From Youtube¶
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Fabrication files¶
- Two images side-by-side
- Image reference
- Download reference
Links to reference files, PDF, booklets,
about your images..
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Remember to credit/reference all your images to their authors. Open source helps us create change faster together, but we all deserve recognition for what we make, design, think, develop.
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remember to resize and optimize all your images. You will run out of space and the more data, the more servers, the more cooling systems and energy wasted :) make a choice at every image :) This image is optimised in size with resolution 72 and passed through tinypng for final optimisation.