Circular Open Source Fashion¶

RESEARCH & INSPIRATION¶

RESEARCH¶

Watching the lecture about modular and circular design really inspired me to start my own textile project, using these two ideas together with all the new information about design types and materials. I couldn’t quite understand at first the difference between a material that can only be recycled once and one that can be recycled a hundred times. I had never thought about it before, and when I did, it felt like a new breath of fresh air.

And then modular design — oh, that’s too interesting! Modules that lock into each other make such strong and playful connections. I started mixing different modules from the lab, partly to understand their structure, but also just because it’s fun and sticky. Mixing male and female modules, finding new, unknown locks, creating anything out of them — it’s like playing. And again, the colors! Those juicy colors that you put together, they feel like the best toy you’ve ever seen.

And what I love is that it’s not only fun — it’s also recycling design. You can use the same objects again and again, as many times as you want, and still create anything your imagination can reach.

Key Features of Modular Design¶

Just like every design method, there are some key features of modular design. Let’s have a look at them.

✧ Flexibility: It enables the design to adapt to changing requirements and be customizable easily.
✧ Abstraction: The modular design system offers clear, high-level interfaces abstracting complex functionality.
✧ Collaboration: Modular design systems allow teams to work on different modules independently through parallel development.
✧ Testing: Modular design promotes validation as each segment can be individually tested since they are in modules.
✧ Documentation: Modular design needs to be properly defined and documented, which is why this approach promotes better communication and transparency. It includes documenting all the system’s technical and operational information, such as schematics, manuals, and instructions.
✧ Modules: Modules are small individual segments that build the entire system. Every module is self-contained and performs a specific task through well-defined interfaces.
✧ Interfaces: Interfaces in modular design are bridges connecting different systems to communicate effectively. They can have electrical, mechanical, and software connections as they are communication points between different modules that show how they interact.
✧ Maintenance: This is observing, maintaining, and upgrading the system to ensure it works properly. This can also include modifying or replacing individual modules to improve efficiency.
✧ Interchangeability: Modular designs do not affect the system’s overall functionality as they can be upgraded and exchanged. This promotes exceptional compatibility.

INSPIRATION¶

Here we can see so many objects created with modular design. And it’s not only about fashion — we can also see interior design elements: lights, sofas, tables, chairs, almost anything. In fashion, it can be bags, hats, shirts, and more. It could even be jewelry or any kind of accessory.

And that’s what makes it so exciting — modular design is always changeable. If you don’t want to use it in one way, you can start changing it into something else. Flexible, yes — that’s the word. In fashion it feels even more free, because you can change it every time and never wear the same thing twice. You can add something, remove something, and create something new every time.

New objects, new interest in your design. The most powerful thing is this flexibility — the changeable design that lets you add, remove, play, and create endlessly. You can add something new, something unique, something that no one else could ever make in the same way. It’s not about the model itself, but about how you mix the modules. That’s where the creativity lives — in the mixing, in the process, and in the endless possibilities of creation.

EYE OF THE LIGHT BY STUDIO MMOZOLEWSKA¶

Malgorzata Mozolewska of Studio MMozolewska has created a highly flexible metallic fabric that she uses to shape beautiful lamps and screens that reflect light in a subtle way. The different colors are achieved through the galvanizing process of the steel. The Polish designer draws inspiration from nature: fish scales, bird feathers, or butterfly wings to play with and shape organic and almost magical pieces.

Even more interesting is the fact that Malgorzata takes this 'metal fabric' a step further, in her creation of a series of table, floor and ceiling lamps, room dividers and decorative objects, called Eye of the light. Here the 'metal fabric' is weaved and turned into various shapes, in order to reflect light in the best way possible. The texture of this fabric responds to light and enhances the 'play' of light on it. Working with local Polish artisans to produce the Eye of the light series, Malgorzata has experimented with multiple forms and finishes for the metals (such as steel galvanization) to achieve the glimmering effect of many colors, when light falls on these objects.

The second, radical shift in our minds is the idea of 'ornament,' which Malgorzata changes for us completely. Hers is an idea of an ornament, that is something more than skin deep,"A structural ornament" really. She says "I am interested in an ornament which is closely related to form, and resulting from the structure of the product. In this approach, I am inspired by nature –the wings of butterflies, the scales of fish, the shimmering feathers of birds. In my work, tt is the very fabric that serves as an ornament, along with the sparkles of light reflected off the metal fabric surface."

Here you can see Malgorzata Mozolewska’s works and read about her.

WE CREATE BIOMATERIAL¶

When I started thinking about which material and color would be more preferable for me, I began to wonder — what if I tried making biomaterial? Some parts for it were available in the lab, but not enough to create all the details I wanted. And then Anush and Erika supported me with this idea, so we started working on it together.

What we need: 60 ml water, 12 g gelatin, 72 g glycerin, 5 g clay, 4 small pieces of soap

Step-by-step guide:
✧ mix it together,
✧ blend it,
✧ heat it but do not boil,
✧ wait for 2 minutes for the temperature to rise,
✧ then pour it into the special form.

WHAT KIND OF MODULS I WANT TO CREAT¶

Wednesday’s lecture sparked something in my mind — I began thinking about my future project and the types of connections I wanted to explore. In Fab Lab Armenia, I noticed many fascinating details, most of them created by Erika. I became curious and started experimenting with them, mixing pieces, studying their structure, and imagining how my own future modules could look and function.

It was truly exciting to consider the details — how the parts could connect smoothly, what materials would work best, and which colors would bring the design to life. Because every idea feels more real when the right colors join the process.

The first step was choosing what kind of element I wanted to create. After some experiments and sketches, my decision stopped on one idea — a headpiece called “Chapchik.”

Chapchak Hat¶

The Chapchak hat was born in the wide lands of Central Asia and the Caucasus, shaped by the rhythm of nomadic life. It carries the soul of the Turkic and mountain peoples, whose journeys across wind, sun, and snow inspired a perfect balance between protection and beauty.

Made from felt, wool, or fur, Chapchak is both soft and architectural — a small structure that warms the head and frames identity. Its round or cone-shaped form holds centuries of craftsmanship, where every fold and stitch was once a code of belonging, age, or strength.

Dark tones spoke of dignity and wisdom; lighter shades told stories of youth and renewal. Women’s Chapchaks often glowed with threads of gold and silver, decorated with beads that shimmered under sunlight like small pieces of sky.

Today, this traditional headpiece continues its life in modern design and fashion, reimagined with recycled materials, metallic finishes, and new digital patterns. In this transformation, Chapchak becomes more than a relic — it turns into a bridge between heritage and innovation, a reminder that culture is not static but constantly redesigned through human hands and imagination.

Then I began working with the elements — choosing textures and blending different styles. My first idea was to create modules that looked completely different and unique from one another. I wanted them to contrast — not to match perfectly, but to challenge and balance each other.

One module needed to be curved, wavy, and smooth, almost like it was flowing. The second one had to be the opposite — angular, sharp, and structured, showing precision and stability. And the third module became the bridge between them — a mix of both worlds, combining fluidity with geometry, softness with strength.

Together, they started to form not just a design, but a conversation between shapes and ideas.

The first modul look like as a flower with no semetri in any point. But it will not be good connective, becouse of it I started to sketching something else.

I worked in Illustrator. I know it a bit but during work I sart to learn new tools and tecnics to work. What I lirned: 1. Undo and Redo Ctrl + Z = go one step back, Ctrl + Shift + Z = go one step forward

How to keep simetry. Select the object and choose the Reflect tool. Then click Alt and select the point around which you want to reflect it. After that, a tab will open with different options. Choose the axis, rotation percentage, and then click Copy or OK, depending on what you want to create.
How mix the lines or objects Select the objects that need to be joined, then choose the Shape builder tool. After that, simply draw a line over the parts you want to connect.
How I used it in my module

Using this knoliges I create my first modul.¶

On the left side of the photo, you can see the first steps. My first module is unique and interesting, but I didn’t use any symmetry and had no idea how it would connect with other modules or with itself. Then I started thinking about symmetry and creating simpler modules. I learned a new tool from Erika, which I mentioned a minute ago, and used it to create this module. It is the soft, flowery, and sweet one I had been imagining at the beginning of my work. I cut some parts of the object to allow for free connections in the future, enabling easy assembly and multiple types of connections.

The second module is coming from the feeling of opacity. It creates a new object with lines and angles, and of course allows for easy connections with the flower module.

This object is meant to create connections, helping the modules continue as long as desired, split apart, and allow freedom in creation. These two modules are very different, but they still look harmonious and elegant together.

First Cut¶

The first cutting process was a testing step. We wanted to understand how they would look together, how many variations we could create by mixing them, and whether the connecting parts fit properly with each other.

The modules were cut from paper using a cutting machine to ensure that all sizes would be accurate, continuing the knowledge gained from the previous week and saving time.

The connection looks interesting and offers various solutions, but the connecting parts are too loose. With just a little force, they can easily disconnect.I started by changing the flower holes and making them smaller.

Third Module¶

After that, I began creating a new module — the third one. I started sketching it in Rhino, which is a 3D program. I know it quite well, so the process felt comfortable and didn’t cause any discomfort.

Which tools I used in Rhino 1. Undo and Redo Ctrl + Z = go one step back, Ctrl + Y = go one step forward

To understand what size and shape my new module should have, I placed the screenshots of the previous two modules in the background. To insert the image, I used the Picture Frame tool — I selected the tool, chose the photo, and placed it in the workspace. It’s important to define the plane you want to work on. I prefer working in the Top view, so I positioned my image there. To keep the picture angles perfectly at 90 degrees, I held down the Shift key while placing it.
Interpolat poins - it makes a smooth line that goes exactly through the points I click. Every point I put will be part of the curve.
Edit points (PointsOn/PointsOff) – when I turn it on, I can see small dots on my curve and move them to change the shape. When I turn it off, the dots disappear.
Rebuild curve – it makes my curve cleaner. I can choose how many points it will have and how smooth it will be. The form stays almost the same but looks softer and better for work.
Join – connects two or more curves together if they touch. After that, they become one line.
Explode – the opposite of join. It breaks the object again into small separate lines.

Using these tools, I created my modules and chose the best version for me — the one on the right.

CUTTING, CUTTING AND AGAIN CUTTING ...¶

I was cutting a lot — paper, fabric, leather, then again fabric — and finally my biomaterial, which managed to dry in three days.

What Parameters For Cutting Machine I Use For Different Materials ¶

For paper - Speed 230, MinPower 13, MaxPower 15
For textile - Speed 200, MinPower 20, MaxPower 30
For leather - Speed 20, MinPower 60, MaxPower 65
For biomaterial - Speed 20, MinPower 30, MaxPower 35

After cutting, the leather must be washed because of the burned edges. After that, blot it with a napkin and leave it to dry under pressure. If it’s not smooth enough, iron it — but do it like in the next video.

MY MODULES' CUTTING FILES ¶

✧ Open Lilit's modules PDF