XYZWorkshop in New York
On the 12th February, XYZ Workshop partnered with Ultimaker
to present alongside the talents of internationally acclaimed designers such as ThreeasFour
who has designed for Lady Gaga
, Francis Bitonti
renowned for his 3D printed dress worn by Dita von Teese
, Nervous System,Joshua Harker
, Bradley Rothenberg
and others on the 3D PrintShow: Inspire runway
show in New York City. During the event, the key players present the immense possibilities of additive manufacturing technology in the fields including film-making, fashion, architecture, medicine and art. It is about the inherent technique of making that many will adopt in the future.
CNNMoney Coverage of 3D Printshow
In Bloom Dress
Our interest in 3d fashion perhaps stems from our background in Architecture. We found that the relationship between fashion and architecture were not too dissimilar. The “fabric” much like the “skin” of a building defined the space it inhabits around the user; create a personal micro climate. Fashion like architecture evokes the user’s senses of self-expression, culture, pride, comfort, and status. Our 3D printed fashion piece titled the “In Bloom” dress is our second foray into the fashion world, after previously securing the top spot in an international 3D fashion competition
organised by the Singapore’s Nanyang Technological University. While the previous design was based on the brief to explore water related themes and reference to the local culture by way of mimicking the silhouette of a cheongsam, this new fashion piece is more ambitious in many ways. The quintessential floral printed dress
came as the first point of inspiration for the In Bloom Dress by XYZ Workshop. We wanted to capture the intricacy what such a dress could be and push the boundaries of PLA as textile. Besides showcasing flexible PLA material as being rather delicate and lacelike, we set out with the objective to do two things. Firstly, We wanted to make a fully 100% 3D Printed piece that was not only wearable but had qualities of movement within it. Secondly, we were interested in showcasing that 3D Printed fashion was NOT something you can only achieve using complex 3 Dimensional modelling tools or limited to large expensive commercial 3D Printers. In doing so, we believe we have successfully proven that 3d Printed fashion is not only accessible but also highly affordable. We believe we may have created the longest ever 100% fully 3D Printed gown using a personal desktop 3D Printer. The entire look measures a total of approximately 7 feet (2.1m) long. The dress comprises a total of 191 panels and took 450 hours and 25 minutes for printing, used 240m or 1.7kgs of 3mm Flexible Filament from Ultimaker. This is equivalent to approximately USD$103.50 worth of filament. It puts forth the question if one day, downloading and printing your own 3D fashion could be as easy as XYZ. We are currently working with Ultimaker
to make the digital files of our dress available to the public, to encourage more “makers” to play and push the boundaries of personal 3D Printing and 3D fashion. People interested in the digital files are encourage to follow us on Twitter, Instagram, or Facebook to get the latest news/update to when it will be available for download.
In our first 3d fashion piece, we had used a technique of unfolding a complex 3D mesh derived from a point cloud using a 3D scanner
. We questioned if 3D printing were to have a place in a fashion house, it needed to meld ways of the old and new. Otherwise, digital fabrication within the fashion world would be limited to the expert user. The process started out using standard sewing pattern blocks
, which were then cut out and pinned to the mannequin. Numerous sewing pattern blocks are readily available for purchase from sewing shops or over the Internet to be printed at home.. The relative rigidity of the flexible PLA used meant that we needed a design that was relatively structured. The pieces were segmented accordingly to work within the constraints of the Ultimaker printer bed of approximately 200mm x 200mm. These pieces were then scanned in and the outlines traced accordingly. From there, we modelled each pattern by creating simple geometries within the outlines of the pattern. The textile is made from a primary mesh of a geometric floral motif. There were various tests carried out to seek that delicate balance between transparency and movement.A thickness of 0.4mm offered flexibility and strength whilst reducing the thickness even to 0.2mm still allowed for a structural integrity while imbuing a sheer quality and allowed for movement. The accent motif is a bouquet of leaves and flowers, which were modelled using Rhino. However, one could also use free downloadable software like Sketchup or cloud based modelling tool like Tinkercad, giving users another level of accessibility. Once the pieces were in hand, we had to come up with a way of stitching. Overlap tabs were created which were then fixed together using adhesive. These three base elements were used repeatedly in the composition of the panels of the dress.
We saw that a layered approach was appropriate for the skirt where the same floral motif became more solid just below the waist but gradually became increasingly transparent towards the bottom. By understanding the thermal properties of the material, we manipulated the geometric shape of the skirt panels in post-production by applying some heat, curving the edges to create an additional 3 dimensional volume. This was exciting, as suddenly the process of the hand meeting the machine presented new opportunities of manipulating the material. The way the light bounced off these curved edges contrasted against the filigree at the bottom rim of the skirt.
The outer skirt consists a knee-length piece over the front with hints of the black layers beneath. As it draped towards the back, the skirt became full length ending with an impressive 193 cm long train. The layers start the reveal itself by way of increasing transparency as you move your eye from the waist down towards the back. The thinner panels again seek to create a sense of sheerness and movement as the model walks down the runway.