CyberCraft B y
B a r t
v a n
D r i e s s c h e
RMIT s3446066 Semester 2 2013
For many years the freedom designers had when creating products was limited by the way in which the products were manufactured. Complex, twisting or dynamic shapes were difficult to achieve. However, new additive manufacturing techniques have opened the doors to a new world, where almost every design was possible: the world of 3D printing. It has caused a change in how we think about design. As it has to me too. The use of this technique in obscure design areas, like fashion and millinery, in combination with my product design experience, has created a great opportunity to merge both fashion and product aesthetics into one design: a 3D printed fascinator. The process of 3D printing can be used to enhance the design. With this technique one can manipulate a digital model in such a way that it perfectly suits its context and intended purpose, meaning that this technique is a new form of craft. Furthermore, this previously niche trend, of using additive manufacturing techniques in fashion and millinery, has now gained great acceptance and interest. So I challenged myself to design a highend ‘cyber craft’ headpiece.
Image: Julie Fleming Millinery Melbourne
“The race that stops a nation” Australia’s most famous race is the place where all milliners from across the country present their best and most flamboyant fascinators. The refined look and elaborated details of the fascinators attract many people’s attention. With a lot of visitors, photographers and journalists coming to the track, this is a day where a fashion statement has to be made. In other words, this event provided me with the opportunity to get great recognition and attention.
Design research ‘Going into the field’ resulted in a better understanding about the meaning of millinery and fascinators. The information I collected from professional milliners, like Julie Fleming Millinery, gave me inspiration and helped me to envision the aim of designing fascinators: “providing women a high quality and elegant headpiece that exactly matches with the shape of the woman’s head and the colours of her eyes, dress or hair. A fascinator has a personal as well as an aesthetic purpose; it enhances a woman’s confidence and completes the outfit, due to its unique and matching design.” Image: Julie Fleming Millinery Melbourne
Fashion trends Not only field research, but also searching for trends and delving into the world of fashion and millinery helped me to create my own design vision too, in respect to fashion. It also allowed me to approach fashion trends more professionally and objectively. Current fashion trends for spring 2013 include a checkerboard pattern, the use of stripes, monochrome and ruffles. In terms of accessories clear material, statement necklaces, angular structures and â€˜gladiatorâ€™ motives are trendy.
All collages: http://www.marieclaire.co.uk/blogs/fashion-team/541341/springsummer-2013-fashion-trends-1.html
Models To create as many ideas and shapes as possible I started to experiment with paper and cardboard. This method of creative thinking allowed me to make quick models, but still provided me with enough feedback about the overall form. Due to the feedback of several users I was able to implement or eliminate certain design elements in subsequent models.
Inspiration For the design of the fascinator I was predominantly inspired by the influences of the Art Nouveau. This style of art was a reaction to academic art of the 19th century and was affected by natural and curved forms, structures and lines (Wikipedia, 2013). The right image shows Loie Fuller, a pioneer of both modern dance and theatrical lighting techniques at that time, performing one of her dances. The main influences of the Art Nouveau are clearly visual here: the dynamic and natural movement. The behavior and motion of water and wind are strongly related to this movement. These characteristics and the Art Nouveau are reflected in my final design.
“One moment in time” My fascinator captures one moment in time. It freezes the movement where the wind intervenes with the dynamic motion of water. Its charismatic attitude brings energy and life to it. Moreover, the elegant pattern of the base provides a light look and feel that creates the visual effect of a vortex. The ‘ribbons’ that cross the forehead ensure a lower visual weight and help to draw emphasis onto the eyes.
Additive manufacturing After 34 hours of printing, and an investment of more than $600 for the production, this highend fascinator was finally realized. It weighs around 150 grams, but due to the complex geometry more than one kilogram of support material was needed. Most of the support material was removed by hand. Subsequently, when it was no longer possible to reach the support material by hand and when removing by hand could have resulted in damage to the fascinator, a hydro jet was used for more precise removal.
Detailling and finishing For a perfect and refined finish I gently removed the last support material with a wooden clay set. The fascinator was smoothly sanded and post treated with isopropyl alcohol, before spray painting a top coat.
Due to the collaboration with and the help and advice of Julie Fleming Millinery the fascinator was worn at Melbourne Cup Day.
This folio presents the design process and outcomes of one of world's first 3D printed fascinators.