BEA DODI 2013
SERPENTINO MORPHO CLOTHING AND JEWELLERY
SKETCHBOOK DEVELOPMENT WORK FROM EARLY DESIGNS TO FINAL PRODUCTS
MC ESCHER SPIRALS
MEDIEVAL MEN COSTUMES INSPIRATION
knot 3d printed corselet with knotted 3dprinted chainmail
CRYSTALS SPREADING FROM CENTER FRONT CLEAR RESIN 3DPRINTING
BATIK MOTIF LASER CUT LEATHER ON THE BACK OF A JACKET
ARCHITECTIURE Daniel Libskin
JAPAN INSPIRATION kimono sleeves shoulder treatment
AZZEDINE ALAIA fashion illustration
KNOT TOP made of leather with hard internal structure to hold the shape
KNOT GARTER BELT as the top
SENSUALITY LINGERIE-LIKE ENSEMBLE impact _ use of leather _ underwear garments as ouetrwear leather leg-brace
WOMEN ONLY BEGET WITH THE DEVIL HR Giger
3D PRINTED METAL NECKLACES
FRACTALS DESIGNS TO MODIFY FOR LASER-CUT ENGRAVE DIGITAL PRINT
idea for a neckpiece &/or a jumpsuit
pattern initially thought as DIGITAL PRINT then possibility of create a CHAINMAIL with all these circles with 3dprinting SLS technology.
FIRST VERSION SPIRAL SLEEVE
MODELLED WITH 3DS MAX ON A FEMALE AVATAR
SPIRAL 3D PRINTED SMALL SCALE VERSION
3D SCAN TRIAL WITH ARTEC 3D SCANNER_ This is the 3D scan of the fabric prototype I did_ Not really a successful one_ Motivation_ The Artec 3D is not exactly the best 3D scanner to use for big items like the sleeve. -The complexity of the design didn t allow a 360 degrees scan -I did many trials and after the results I decided to pursue a different way -I think best results could have been possible with a most suitable 3D scanner and by hardening the fabric structure of the sleeve with clear casting resin. The latter would have made the sleeve rigid, helping the 3D scanner
NEXT STEP: I decided to work with Marvelous Designer, a great 3D visualization software for fashion designers and 3D modellers. By uploading 2D patterns of garments, it is possible to stitch them together digitally and do proper fittings afterwords with a body-avatar (3D simulation). My aim was to translate the 2D pattern pieces of the sleeve onto 3D datas,. It was needed to create the basic spiral first and then apply the snake skeleton structure on it with a 3D software. Marvelous Designer would have helped me building the sleeve shape.
5 PATTERN PIECES FROM THE SPIRAL SLEEVE 2D PATTERN TO BE UPLOADED ONTO MARVELOIUS DESIGNER
AFTER HAVE STITCHED THEM DIGITALLY, I NEEDED TO WORK OUT FABRIC PROPERTIES
THIS PROVED TO BE AN ISSUE., BECAUSE I COULDN’T GIVE ENOUGH STIFFNESS TO THE MATERIAL IN ORDER TO HOLD THE REQUIRED SHAPE.
MARVELOUS DESIGNER SNAPSHOT_TRIAL YOU CAN SEE TWO LOOPS AT THE END OF THE SLEEVE BUT THE SHOULDER PART IS COMPLETELY MESSED UP
AFTER MANY TRIALS IT WAS CLEAR THIS WASN’T THE RIGHT PROCESS FOR THIS KIND OF PROJECT.
MARVELOUS DESIGNER PROVED TO BE A GREAT TOOL TO WORK WITH AND I AM GLAD I HAVE LEARNED HOW TO USE IT. IT IS POSSIBLE TO VISUALISE YOUR GARMENT IN 3 DIMENSION SOON AFTER YOUR 2D PATTERN IS READY, BEFORE STITCHING A TEST GARMENT. I think fashion courses with a digital base should adopt it It would be a great resource for fashion students..
MODELLING WITH Z-BRUSH PROVED TO BE THE BEST SOLUTION
CREATING A DOUBLE TWIST SPIRAL WITH Z-BRUSH_ AVATAR FROM POSER (3D SOFTWARE)
1 SNAPSHOTS FINAL Z BRUSH WORK
BASIC SHAPE SPIRAL ON TOP OF WHICH IS DIGITALLY ‘PAINTED‘ A SNAKESKIN TEXTURE
SNAPSHOT visible snake skin texture. SLS NYLON 3D PRINTING + BRONZE PAINT
idea for closure back bodice- piercing with eyelets- effect of piercing on skin with flesh tone leather
PLEATS SNAKE SKELETON SHAPE FOR THE BODICE
and the SKIRT
BODICE SHAPE IS RECALLED BY THE SKIRT PLEATED BACK CENTER PANELAS THE BODICE FRONT PANEL
( CHANGE PANTS INITIAL DESIGN TO SKIRT PLEATED ON THE BACK PANEL)
SERPENTINOMORPHO ENSEMBLE SPIRAL SLEEVE & LEATHER PLEATED DRESS
THAT REPEATS IN THE JEWELLERY-ACCESSORY RANGE FIRST VERSION EAR-HOOK Z-CORP 3D PRINTED/ it is very big needs lots of adjustments
snapshot LAST MODIFICATION (FINAL VERSIONS)
EARHOOKS .ai files: I have worked with Illustrator to create 2Ds as reference for my italian 3D modeller Guido (italian instructions). There have been multiple versions of the ear-hook before getting a perfect fit for the ear. I came up with 3 FINAL VERSIONS following different ears morphology 43mm; 53mm; 63 mm (distance higher to lower ear point). snapshot of second MODIFICATION
(working with 3D scanned ears)
EAR-HOOK SERPENTINO PRODUCT DEVELOPMENT
1- FIRST PROTOTYPE PRINTED WITH Z-CORP CRYSTALS EMBEDDED
2- SECOND VERSION PRINTED WITH Z-CORP
3- THIRD VERSION NYLON SLS 3DPRINTING EARHOOK IS VERY FLEXIBLE WITH THIS MATERIAL, IT CAN BE ADJUSTED TO THE EAR TO FIT
4-FINAL VERSIONS: DYED NYLON SLS 3D PRINTING -SHOCKING PINK WITH BLACK DIAMONDS -BLACK _WITH AND WITHOUT SWAROWSKY
5- METAL VERSION STAINLESS STEEL WITH OLD SILVER FINISHING
The METAL VERSION is a quite heavy one for the ear. I love the old silver finishing and I think another possible way to achieve a metal look withoutmiuch weight will be using gilding. Gilding is an ancient technique used originally to restore antiques. Today gilding is used with a wide variety of materials and for different applications (interior design, architecture, jewellery). Nylon and some other 3D printing materials offer quite a straightforward alternative and the results of their combination with gold or silver leaf are really interesting and unused. I decided to experiment combining gilding and 3d printing (Shell_O_Morph Armlet). The dychotomy ancient/new, craft/technology is evident within this approach. GILDING ONTO WHITE NYLON SAMPLE GOLD LEAF 23CARATS HAS BEEN APPLIED ONTO A WHITE NYLON EAR-HOOK. THE NYLON SURFACE WOULD NEED ADDITIONAL POLISHING BEFORE THE GOLD LEAF COULD BE APPLIED. THE GOLD LEAF IS NOT AS SMOOTH AS IT SHOULD BE. I LOOK FORWARD TO COME BACK TO THIS PROCESS AND GETTING BETTER RESULTS WITH THE PROCEDURE ABOVE MENTIONED (POLISHING THE 3D PRINTED SURFACE).
I WILL APPLY DIFFERENT GOLD ^ SILVER LEAF HUES TO SOME OF MY EAR-HOOKS, TO GIVE THEM A METAL FINISHING AND KEEP A VERY LOW WEIGHT.
I HAVE LOVED COMBINING SEMI-PRECIOUS STONES WITH 3D PRINTING. GEMSTONES GIVE SO MUCH LIGHT TO THE PIECES, OUTER THAN ADDING PRECIOUSNESS
SHELL_O_MORPH ARMLET 3D SCANNING, 3D PRINTING ^ GILDING COMBINED This big/little animal has been the starting point of this project. I was inspired by crustaceans, imagining the scales of this shrimp to be transformed into metal in a sort of magic alchemy. Alchemy that I looked for and I found in the cross-referencing of three different processes. 3D scanning and 3D printing on the digital and technological side. Gilding: an entirely manual technĂŠ, antique and fascinating.
Rendering_Maya_ 3D scanned big shrimp from Philippines 1-first step 3D scanning the shrimp with a very high res 3D scanner
2Modelling with Z-Brush This has been quite a funny step. neckMy initial idea was to make a neck lace and by playing with the software an idea for a cuff came out instead. The shrimp has been cleaned up from the parts I was not interested in and it has been mirrored, creating the shape it has now. I added little holes for embedding gemstones and bigger holes for the closures.
33D print the model and work oiut the surface.
The armlet has been 3D printed with Z-Corp at Ravensbourne and it has been applied a particular coating glue on it for making the plaster material stronger and less breakable. Unfortunately the scales didn’t come up perfectly so I needed to work them out a litlle bit with very thin sand paper and with the help of a pointed tool.
4The model is ready to be gilded. I came across a professional gilder, Claire Lewis, and I sorted out the armlet finishing with her.
Gold Caplain leaf
I discovered a new and amazing world with this project and I am glad I have not 3D printed the whole armlet in metal. That way it would have been extremely heavy, almost not wearable, outer than hugely expensive.
55GILDING FINISHINGS I wanted my creation to have a strong, decise look. Before applying the proper metal leaf, the surface needs to be coated with the ‘bole’, kind of coloured clay. The clay is very important for the final look of the piece. For example a red hue is very classic, it gives an antique appearence and it is used a lot in restoring. I chose a black hue for the armlet, I like the play of strong colours and the combination metal leaf with a dark hue underneath. The leaf is a Gold Caplain, a warm hue in between of gold and white gold.
6APPLICATION OF STONES AND CLOSURES I have chosen a red stone. I love ruby hues and the shokingpink/dark red colour is part of my collection. The closures I thought about were not that straightforward in the end. I needed to join together the 2 pieces of the armlet and I created 4 short chainmails attached to the holes via silver jump rings. One side of the armlet have to be open and closed in order to be worn and I have jiust piut a regular clasp to do the job. I think the closure needs further improvement. I want to find a more stable solution.
PYTHON SKULL PENDANT and
As for Shell_O_Morph Armlet also for this project I am using the combination of two technologies: 3D scanning and 3D printing.
3D rendering python skull 3D scanned and modelled with Z-Brush and Mudbox
PYTHON SKULL PENDANT_ White Nylon SLS
snapshots modelling necklace with Z-Brush Little SNAKE SKELETON 3D scanned and re-modelled to be the neckpiece. The python skull scanned has been attached to it
-buckram pleated -interfacing fusible -seam sample with topstitch
non fusible interfacing Fusible heavy canvasthe one I have used
FROM â€˜LITTLE X â€™SHAPE_ FIFTIES GIRDLE original model made of Lycra
1_THE GIRDLE PATTERN proved to be quite straightforward. The only difficulty has been to deal with elastic fabric, STRETCH LEATHER. I did a test garment with jersey, and it behaved a bit differently to the stretch leather, so I have been very careful modifying (reducing) the pattern as I would have done if the jersey was my final fabric. I have left the pattern as it was, right size, without reducing anything. And this proved to be ok. The pattern needed to be positioned following the elasticity of the stretch leather that was only in one direction.
2 firsts tests for laser cut detail I decided finally to add a laser cut detail to the bottom part of the 2 crossed front panels. It look as a lace detail on the skin. Making a laser-cut motif on a stretch fabric was a risk, because the fabric could have break while laser cutting. I needed to find a solution to make it work, strenghtening the fabric detail.
4_ 3_Trying to back the leather with fusible interfacing to strenghten the detail
Best solution: fusing ONLY the part to laser-cut with interfacing fleshtone, LASER-CUT leather and interfacing altogether. Laser Cut detail not anymore so fragile. The laser is cutting the new fabric very well.
girdle_ stretch black leather stretch georgette lining line of stiuds along center front laser-cut detail onto both the front panels
the GIRDLE has been stitched professionally.
Fifties_ Vintage Pattern Flesh Tone Lamb Leather Satin Lining Manufactured professionally
BRA PATTERN_ CORSELET FIFTIES toile
leather veg tanned moulded onto spine corset bits
toile with moulded piece
cup stitched veg tanned leather I needed to change the leather at last because the veg tanned was too thick to be stitched without leaving raw edges. I decided to use a flesh tone lamb leather, same hue as the veg tanned, so it would have still workied with the moulded part .
BURGUNDY REAL SNAKE SKIN LABRADORITE GEMSTONE
The headpiece has been created to complete the outfit. It has been manufactured entirely by hand by a milliner. Its shape is something in between of a snake and a question mark. It ends with a little gemstone that can be positioned as ‘third eye’ between the eyes, or a little bit above on the head. The back has a flexible metal thread that allow teh headpiece to be positioned in different ways. It can be worn also as a mask.
Development work Fashion & Jewellery collection