3. CIRCULAR OPEN SOURCE FASHION¶
.. in progress
Overview¶
This assignment explores alternative approaches in the fashion industry, focusing on circular, agile & open-source systems. The goal is to design modular garment elements that can be resized, reconfigured or repaired — promoting adaptability, sustainability & open sharing.
Learning Outcomes¶
Research:¶
Understanding circular systems, zero-waste fashion & open value chains
Design:¶
Idea development through sketching, paper models & digital 2D vector design
Fabrication:¶
Laser cutting, material testing & connection techniques
Process:¶
Full workflow from concept to physical prototype
Originality:¶
Thoughtful, modular designs that are adaptable & reproducible
Checklist¶
Research:¶
artists & projects related to modular or zero-waste fashion
Create:¶
physical prototypes using paper & scissors
Develop:¶
2D digital modules (e.g. Illustrator, Rhino, Valentina)
Test:¶
& laser cut, documenting material type, thickness & machine settings
Assemble a working module or garment showing flexibility & strength
Upload:¶
1:1 scale files (PDF) & high-res images to oscircularfashion.com (Optional) Submit physical modules (20×20 cm) to the lab’s materials library
Tools & Materials¶
Software:¶
Illustrator, Rhino3D, Grasshopper, Valentina, OpenFitLab
Materials for Laser Cutting:¶
Preferred: PLA felt, vegetable-tanned leather, safe neoprene
Avoid:¶
Chrome-tanned leather (toxic when heated)
Also:¶
Sealable synthetic fabrics that cut cleanly with heat
FABRICADEMY BOOTCAMP BRUSSELS 2025¶
As part of the FABRICADEMY BOOTCAMP2025 in Brussels, I developed a modular textile pattern during the “Circular Open Source Fashion” lessons and assignments. The structure is based on a stylized floral shape and consists of repeatable, openly combinable units. The pattern was created using self-made bioplastic (gelatin and glycerin-based) and laser-cut into form.
The aim was to combine circular design principles with experimental material research and to develop a module that is both aesthetically and functionally adaptable. The individual elements can be scaled in size – from small applications such as jewelry or identification tags to larger formats, for example as playground structures or architectural features.
REFERENCES & INSPIRATION¶
SVENJA JOHN¶
contemporary jewellery
Macrofol® (Polycarbonate) + water jet cutting
Since 1994, Svenja John has been crafting jewelry from painted plastic foil: composed, stacked, and interlaced, she creates ambiguous structures. In Berlin, the jewelry artist explores the symbiosis of art, technical precision, and craftsmanship.
„As our daily lives become increasingly virtual, working with our hands represents a return to the real. Perceiving the world's materials with our senses enhances our intelligence: It makes us attentive, stimulates our imagination, and compels us to improvise and combine.“
PLUG IN GAMES¶
MEMPHIS PLUGGING GAME & Plug-in game set Hex
INSECTS¶
Inspiration: Insects – especially lace bugs
For this collection, insects—particularly lace bugs (Tingidae)—are my starting point. I translate their forms, interplay of structure, light, & movement into wearable, modular forms.
- Lattice & negative space: delicate areoles, airy grids.
- Translucency & light play: semi-opaque planes, shimmering “windows.”
- Silhouette & framing: oval shield with a continuous rim.
- Modularity & articulation: segmented components, subtle mobility.
- Microtextures & contrast: relief vs. smooth, matte/gloss.
PREVIOUS WORK¶
Since I have already worked several times with laser-cut textiles & connection elements, I decided to approach this assignment using a sheet material instead — specifically 3 mm transparent acrylic glass.
The concept is a modular construction set, inspired by a children’s plug-in toy, where the individual pieces can be combined to create fantastical insect forms that may also be worn as jewelry or body-related objects.
MODULAR BEETLES¶
To begin, I transferred the contours of a beetle into CAD Rhino. I then applied a minimalistic interlocking system to the individual parts.
The main challenge was to determine the exact laser offset, ensuring that the modules fit together precisely — not too loose so they wouldn’t fall apart on their own, but not too tight either, to avoid the risk of breaking the acrylic pieces.
3 mm is never exactly 3 mm¶
— during laser cutting, a small amount of material always melts away. To determine the kerf (the width of material lost in the cut), there are 2 main approaches:
1. Scaled Test Pieces¶
Take one module and scale it to several slightly different sizes. Test-fit the variations to find which version connects best. Measure the difference in fit and calculate the percentage offset. Adjust the rest of the design accordingly. Label each test piece clearly to avoid confusion.
2. Kerf — Explanation & Quick Test¶
All materials lose a small amount of material during cutting — this loss depends on the diameter of the tool or the subtractive technique used. When using a laser cutter, you must perform a kerf test to determine the exact “slot offset.” This ensures your digital design compensates for the material lost during cutting, allowing parts to fit precisely when assembled.
Quick Kerf Test Procedure¶
Draw a sequence of 9 equal rectangles, each separated by the same distance between cutting lines. Laser cut the design using the same material and settings as your final project. Align all the cut pieces tightly to one side of the frame. Measure the leftover gap — this is the total material removed by the laser.
Kerf Calculation¶
To determine the kerf (material lost during laser cutting):
Example:
If the leftover space = 1.8 mm and the number of cuts = 9:
Kerf = 1.8 : 9 = 0.2
Use this value to adjust your design (slot offset) for accurate press-fit connections.
Example:¶
If the leftover space measures 1.8 mm and there are 9 cuts, then: Kerf = 1.8 / 9 = 0.2 mm Kerf=1.8/9=0.2 mm
You can then use this kerf value to adjust your design dimensions (e.g., by offsetting the slot or tab width) for a perfect press-fit connection.
