6. Computational Couture¶
Research & Ideation¶
I began exploring the history and applications of 3D printing in the textile industry.
The integration of 3D printing into textiles and fashion has come a long way—from its beginnings in the 1990s as a tool for rapid prototyping to the creation of fully 3D-printed garments by the 2010s. Early uses centered on producing prototypes for accessories and tools that supported traditional manufacturing. However, major technological advances in the 2010s made it possible to fabricate entire garments directly through 3D printing.
3D printing has significantly expanded creative possibilities in fashion design. It enables designers to push the boundaries of imagination, producing everything from garments and accessories to ornamental structures and complex meshes. Whether crafting intricate patterns or bold, unconventional shapes, this technology opens the door to truly avant-garde creations. Its potential—especially in terms of geometry and form—is virtually limitless. Moreover, compared to conventional textile manufacturing, the 3D printing process is often more streamlined and efficient.
While it’s now possible to 3D print complete garments, the technology is also frequently used to enhance traditional designs by adding decorative elements, embellishments, and accessories.
References & Inspiration¶
My main inspiration comes from designers who have redefined the boundaries between fashion, technology, and craftsmanship.Iris van Herpen stands out as a true pioneer in this field. She was among the first to integrate 3D printing and laser cutting into haute couture, merging digital innovation with traditional handcraft. Her runway collections demonstrate how technology can be used not just as a tool for efficiency, but as a medium for artistic expression, resulting in sculptural garments that challenge the conventions of fabric and form.
Another influence is Arantza Vilas, whose work explores the combination of pleated textile designs and 3D structures. Her approach highlights the potential of merging texture, material manipulation, and dimensionality to create garments that are both technically sophisticated and visually dynamic.
For this assignment, I drew inspiration from Brussels lace, a traditional craft known for its delicate patterns and refined aesthetic. I find the intricate motifs and ornamental flow of Brussels lace particularly beautiful, and I sought to reinterpret these patterns through modern digital fabrication techniques. My goal was to bridge historical textile artistry with contemporary design methods, creating a piece that honors tradition while embracing innovation.
- Left: Iris Van Herpen Wedding dress & Right: Arantza Vilas
Tools and Materials¶
- Illustrator
- Tinkercad
- 3D Printer: Ender 3 V.1
- Slicer: Cura
- Filament: PETG
- Fabric: Tulle
Process and workflow¶
I explored two design ideas — a 3D-printed drink coaster inspired by the delicate patterns of Brussels lace, and a blouse adorned with a hexagonal print.
Drink coaster¶
Step 1¶
I vectorized and cut in circular shape the Brussels lace image using illustrator.
Step 2¶
Using Tinkercad, I reviewed the image parameters and adjusted to 2mm high and a diameter of 130mm.Then I transformed it from 2D into a 3D object and exported it to .stl file.
Step 3:¶
I uploaded the .stl file to Cura , review the slices, and selected the fast print option. It was 2hrs 1min.
Step 4:¶
Setup the printer and the fabric:
- Adjust the fabric to the printer bed using clamps and Level it.
- Load the filament to the printer.
- Load the file from the microSD to the printer.
- Select the temperature to 90 Celsius and the speed, starting at 75% to test the behaviour with the fabric.
- Start printing
Blouse with hexagon design¶
Step 1¶
Using Tinkercad I created an hexagonal pattern, starting with a poligon and changing the high and width parameters. I used the duplicate function to replicate it as much as I needed to creat the pattern and exported it to an .stl file.
Step 2¶
I uploaded the .stl file to Cura, review the slices, and selected the fast print option. It was 1hr 38min.
Final Result¶
Fabrication Files¶
Learning outcomes and Observations¶
After printing the drink coaster on the fabric, I realized that the project could have been completed without using the fabric at all. However, experimenting with tulle was a valuable experience. I also noticed that the results were better when using a thicker tulle compared to a thinner one.
Since it was my first time using Illustrator, it took me some time to achieve the design I wanted.