3. Circular Open Source Fashion¶
Research, Inspiration & Ideation¶
Fabricademy alumni¶
Projects and processes that inspired and guided me in the process
1.Aleksandra Piotrowska 2.Leos Bogers 3.Sophia di Matteo 4.Ailin Sandlien 5.Capucine Robert 6.Alve Lagercrantz
Designers and Brands¶
- Birgitta Helmersson is Swedish-Australian designer working with zero waste pattern cutting and circular design models.
- Flavia La Rocca is an Italian designer known for her modular fashion approach, creating garments made of interchangeable units that can be combined in different ways.
- Rifò is an Italian brand specializing in regenerated fibers made from recycled wool, cotton, and cashmere.
Credits: Birgitta Helmersson - Flavia la Rocca - Rifò
Geometric Patterns¶
Missoni is an iconic Italian fashion brand, celebrated for its innovative use of color and knitwear patterns. Its signature zigzag motif, introduced in the 1960s, was inspired by an ancient knitting technique rediscovered by founders Ottavio and Rosita Missoni: a symbol of craftsmanship and movement.
Credits: collage of Missoni.it photos
Sardinian handwoven rugs
Sardinian rugs are testament to a tradition passed down from generation to generation. Woven on a loom from naturally dyed, carded wool, they feature motifs that are symbolically related to ancient legends and local beliefs.
Each geometric shape has its own meaning, for example:
- the diamond can represent the eye that protects from evil
- zigzag lines evoke the mountains or the heartbeat of pastoral life.
These motifs appear in the traditional Nule rug.
Nule is a small village where weaving is part of its cultural heritage. The typical carpet, woven on a vertical loom, was traditionally included in the wedding trousseau.
It was not only decorative but also used as a blanket ("sa fressada"). In smaller versions, it could become a bag for carrying items, or even serve as an improvised seat or cover. We could say it was a multifunctional object.
Credits: Altervista
IDEATION
Building on the research above, the idea focuses on:
- Geometrical shape recalling a zig zag pattern
- No-waste approach
- Combinations that can generate multiple objects
- Only leftover material in the lab, ideally something similar to wool
- Exploring the visual impact of colors within limited leftover materials
- Testing the felted wool as biodegradable material, produced as shown here if there's enough time.
Materials:
- Synthetic felt in terracotta, ocher and blue.
- I found a piece of cork-like fabric, a material commonly used in Sardinia. I thought that if I had time, I’d try cutting and engraving a few pieces on this material as well.
- Smooth green and yellow velvet. Note: I didn’t have the chance to use this material, as it was quite soft and I wasn’t sure about the right laser settings within the available time.
Final result¶
Each module size: approx. 7x7cm.
In the photo below you can see all the colour and shape combinations I managed to create during this week.
Some of the objects I created by assembling the pieces
Breakfast placemat - Alternative bustier - Stole:
Note: I have more combinations and I hope I have time to upload everything!
Final considerations:
-
The color combination is not really my favorite (too many colors for my taste), but I’m happy I used pre-cut and leftover fabric pieces.
-
The assembled modules create interesting geometries, without strictly following the zigzag pattern.
-
This week taught me how an idea can turn out differently once realized, but that is the beauty of creating.
-
Learning to use 2D tools more effectively will help me optimize my time and create shapes and patterns more efficiently.
Process to get there¶
Prototyping with paper and scissors¶
I started the drawing by creating a grid on which I placed a series of Vs in a row. I cut each V with scissors (they looked like swallows) and start playing with them.
The question was: "How to combine them to create a zig zag motif?"
By placing the V shapes side by side, a zigzag pattern emerged. I tested several connection methods, destroying almost all the paper prototypes in the process.
At one point, I felt stuck and went back to the square shape to better understand the interlocking system, but eventually returned to the initial idea.
Modular configurations in 2D tools¶
I had no experience with 2D tools and this step took much longer than expected. I decided to follow Claudia's training and tried Autodesk Fusion first.
1. Autodesk Fusion
I found some of the tool's features very useful:
- Construct the figure with a series of lines, without using any predefined shape (in my case, a sort of V).
- Know the precise dimensions and distances of the points, as if it were a sheet of graph paper.
- Draw only half the figure and then use the "mirror" function to obtain a perfectly symmetrical drawing.
- Test slightly different shapes (e.g., more elongated) on the same sheet, simply by dragging the elements and adjusting the dimensions.
The downside, however, is that the program requires a lot of memory and was significantly slowing down my computer. So, after exporting the drawings to DXF format, I decided to uninstall it and switch to Inkscape.
2. Inkscape
Reviewing the file with the various modules together with Capucine, we realized that the drawings weren't correct for the cutting test.
In some cases, I had forgotten to delete the lines that served as guides in Autodesk Fusion (for example, for the "mirror" function), and more than one line overlapped in the same spot (probably a bad copy-and-paste). Furthermore, the modules weren't proportioned correctly (too large compared to my idea). In short, the file had to be completely reworked before cutting.
After several adjustments, I finally had the file ready with some modules to test for laser cutting!
Testing design connections and materials with laser cutting¶
I performed a first cutting test on the Trotec R400 machine using the synthetic terracotta felt.
| Thickness | Cut Power | Cut speed |
|---|---|---|
| 1mm | 45.00 | 5.00 |
The test was almost a failure!
Only the “arrow” connection at the top worked as expected, while the other combinations were wrong. Probably when I resized the shapes in Inkscape, I lost the proportions of some connections. As a result, some connections were misaligned or didn’t fit together properly.
I proceeded with a second test after drawing some new configurations.
I keep the "arrow" at the top and try different lateral interlockings.
I repeated the test also with the yellow fabric and confirmed the second shape as the final choice, as it proved to be the strongest in terms of pull and push.
Final laser cutting of modules¶
Nesting
Before cutting, I manually optimized the layout in Inkscape. I created a first module and replicated it using "Duplicate" and "Mirror" functions.
I designed the layout to cover roughly half of the Trotec machine’s working area (full area: 1030 x 630 mm), since I wanted to experiment with different colors and smaller pieces, so this layout was more than sufficient.
I tried to reproduce the typical diamond shape of Sardinian rugs at the central intersection of the pattern, but also as a solution to have less fabric waste.
I also created a smaller version of the repeated module to accommodate fabrics that were long but not wide enough.
Final Module: Open PDF - Smaller Module: Open PDF
I tried to use all the remaining space in the design to avoid any material waste, in this case represented by the triangles at the right and left edges of the sheet. However, the interlocking combinations I tested for these pieces were not strong enough, and I ran out of time to experiment further.
Cutting
I cut the final modules based on below parameters.
| Material | Thickness | Cut Power | Cut speed |
|---|---|---|---|
| synthetic felt | 1mm - 2mm | 45.00 | 5.00 |
| cork-effect fabric | 0.05mm | 78.00 | 22.00 |
Assembling the modules¶
I assembled the pieces in different directions and combinations of colors and lines.
The combinations are probably too colorful for my taste but they reminded me of the colors of the Sardinian costume from the town of Desulo.
Credit: Nemesis Magazine
I tested the interlocking and the strength of the interlocking (pull):
Fabrication files¶
Tools¶
Extra: learn how to felt wool¶
During the Fabricademy program and since Lyon Lab is part of EU Woolshed, Diana and I have the chance to study wool, its processes, challenges and potential.
We focus on the wool produced by the Thônes et Marthod sheep, a French breed. It yields coarse, durable fibers that, while less soft than fine wool, are a sustainable resource valued for their strength.
This week, Capucine guided us through the felting process, which consists of transforming loose wool fibers into a dense, fabric-like material.
We learned the wet felting method using water and Marseille soap. The process takes time, consists of several steps, and requires full physical engagement. We created a small panel and really enjoyed the experience!
Process
- Prepare layers of carded wool, alternating fiber directions, and repeat the operation four times.
- Moisten the wool with warm water and Marseille soap (the soap helps open the wool scales).
- Cover the layers with bubble wrap (bubbles facing the wool) and roll them around a cardboard tube, applying firm pressure.
- Roll the wrap several times and then unwrap it. At this stage, a significant portion of the previously added water is expelled from the fibers.
- Massage the wool using warm water and Marseille soap, working the fibers in multiple directions.
- Repeat the wrapping, rolling, and massaging steps three times. Increasing the number of repetitions improves the quality of the final result.
- Rinse the wool thoroughly with clean water and strike it repeatedly against a flat surface (the impact further compacts the fibers).
Note: Pressure, rubbing, and rolling are essential to interlock and bind the fibers. Repetition gradually compacts the wool, resulting in durable felt.
After drying, the felted wool is ready for use. At the end of the process, our hands were wonderfully scented and moisturized by the Marseille soap and the natural lanolin released from the wool.
More to come: soon we will test it with modules on laser cutting!
While working with wool, I was reminded of an idea mentioned by Zoe Romano during this week’s lecture: “Think about the supply chain.”
The more I learn about this material, the more I realize how complex its supply chain is, and it’s definitely something I want to explore further in relation to my final project.