Exploring Modularity: A New Way to Relate to Clothing

Exploring Modularity: A New Way to Relate to Clothing Submitted by Valentina Chirkes on April 24, 2024 Final Research Paper for Advanced Research Seminar: Fashion Jessica Young, Instructor Parsons The New School for Design School of Art and Design History and Theory Spring 2024

Table of Contents

List of Figures.................................................................................................................................. 2 Introduction......................................................................................................................................4 Chapter 1: Dressing Through Assembly..........................................................................................7 Chapter 2: Extensive Possibilities..................................................................................................11 Chapter 3: Sustainability and Longevity........................................................................................14 Conclusion..................................................................................................................................... 16 Figures............................................................................................................................................17 Bibliography.................................................................................................................................................25

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List of Figures Fig. 1.1: An American 19th century bustle, 1868–69, courtesy of the Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/17360.

Fig. 1.2: A silk embroidered Italian stomacher, early 18th century, courtesy of the Metropolitan Museum of Art. https://www.metmuseum.org/art/collection/search/173601.

Fig. 1.3: Closeup view of Sofia Ilmonen’s modular clothing and detailed loop and button closures, accessed April 2024, courtesy of Sofia Ilmonen. https://www.sofiailmonen.com/concept.

Fig. 1.4: Individual Module from Sofia Ilmonen’s store, accessed April 2024, courtesy of Sofia Ilmonen. https://www.sofiailmonen.com/store/fullmodule.

Fig. 1.5: Children shown making and wearing their own Puzzleware creations, December 14, 2021, featured in Modular Fashion brings DIY to Childrenswear, courtesy of Ignition. https://www.ignitiondg.com/news/modular-fashion-brings-diy-to-childrenswear.

Fig. 2.1: A visual demonstration of Bundhi’s detachable sleeve concept, accessed April 2024, courtesy of Bundhi. https://www.buhndi.com/pages/understanding_modular_fashion.

Fig. 2.2: Sebastian Errazuriz’s zipper dress showcasing multiple style options, 2003, courtesy of Sebastian Studio. https://sebastian.studio/multiples-zipper-dress.

Fig. 2.3: T. Toyoda’s patent for an adjustable waistband closure for mens pants, September 17, 1972, courtesy of Google Patents. https://patents.google.com/patent/US3835473#patentCitations.

Fig. 2.4: Pregnant person wearing Petit Pli’s maternity pants that expand or contract in the stomach area, accessed April 2024, courtesy of Petit Pli. https://shop.petitpli.com/collections/adultwear/products/adult-beta-bottoms?variant=4003900155 5140.

Fig. 3.1: Vetement’s zipp-off denim pants-to-shorts, accessed April 2024, courtesy of SSENSE. https://www.ssense.com/en-us/men/product/vtmnts/blue-detachable-leg-cargo-pants/15406841?g 2

ad_source=1&gclid=CjwKCAiAt5euBhB9EiwAdkXWOzZfflNB0J97cYzCB7vsphiJKxF4sNA QRjOWqsdmU2fuArBdW6JaxRoCEHcQAvD_BwE. Fig. 3.2: Hussein Chalayan’s transformable mini-to-maxi dress from his Autumn Winter 2013 collection, March 6, 2013, featured in the article Rise by Hussein Chalayan courtesy of Dezeen. https://www.dezeen.com/2013/03/06/rise-by-hussein-chalayan/.

Fig. 3.3: Multiple looks from Wei Hung Chen’s thesis collection on modular clothing and capsule wardrobes, accessed April 2024, courtesy of Not Just a Label’s article on the artist. https://www.notjustalabel.com/wei-hung-chen.

Fig. 3.4: Concept rendering of a modular sports jacket by Off-Wrld, September 22, 2023, featured in the article What is Modular Clothing? Courtesy of Off-Wrld. https://www.offwrld-techwear.com/blogs/techwear-blog/modular-clothing.

Fig. 3.5: ThreadLab’s shirt with iron on components for increased customization, December 28, 2012, featured in the article ThreadLab Makes Dress Shirts With Iron-On Pockets, Collars, Cuffs, courtesy of Cool Things. https://www.coolthings.com/threadlab-open-source-apparel/.

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Introduction There have been multiple ways throughout history in which people have modified their clothing in order to better fit their needs, desires and environment. As an ever-evolving species, humans have sought different methods for garments to mimic their own changes and evolution.

Modular clothing refers to pieces designed to be assembled or disassembled by the user based on what they are looking to get out of their outfit. This type of clothing is made out of modules, which are best defined as “a subset of an additive group that is also a group under addition”.1 These individual modules can function on their own and/or as a whole, but are meant to be interchanged and customized by the user.

In an age of fast and readily-available fashion, humans have lost touch with the meaning behind their clothing and spend little time conceptualizing and figuring out what they want to wear. Clothes today are so ready-to-wear that most textiles in the market don’t even need to be ironed.2 The lack of a conscious connection creates a disconnect between the user and the garment, and has tarnished an area of design and human behavior that used to be considered one of the meccas of self expression. It can be difficult for standard, mass produced garments to not only be referential of one's personality and preferences, but to also evolve alongside them.

Jonathan Chapman best describes this by stating that “developed world consumer desires grow and flex while material possessions remain hopelessly frozen in time. This incapacity for mutual evolution renders most products incapable of sustaining a durable relationship with users.”3 This causes garments to be disposed of more than ever before in history.4 All of these ideas tie to a lack 1

“Module,” Merrriam Webster, accessed April 7, 2024, https://www.merriam-webster.com/dictionary/module.

Alexander Kunst, “Laundry Being Ironed in the U.S. 2018,” Statista, January 6, 2020, https://www.statista.com/forecasts/1020599/laundry-being-ironed-in-the-us.

3 Jonathan Chapman, Emotionally Durable Design: Objects, Experiences & Empathy (London: Earthscan, 2005), 20 4 Martina Igini, “10 Concerning Fast Fashion Waste Statistics,” Earth Org, August 21, 2023, https://earth.org/statistics-about-fast-fashion-waste/.

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of perceived value and importance in garments and material objects in general, which end up creating a large environmental problem.

Modular clothing can theoretically tackle most, if not all of the problems that were previously mentioned, which are directly related to the use and purpose of each garment. There are multiple kinds of transformations and adjustments that it can undergo, and they each provide the user with a unique benefit. Brands that are focusing on modularity today –which will be introduced and described further on in this paper– explore and challenge the benefits that can be extracted from this type of garment. One main type of transformable clothing is that which provides more sizing options within a single piece. This allows the owners to fluctuate size while still being able to wear the clothes that they already own. It also allows people with different body types to share clothing, while creating a more inclusive sense of community, and slowly eliminating the divide generated by sizing. Another main type of modular clothing is one that allows for different styling and silhouette customizations. By changing the length, materiality or overall shape of a garment, the user can get multiple pieces in one. This extends its possibilities and lifecycle, which can make it more sustainable and increase its perceived value.

The idea of assembly and module set-up enforces the concept of spending more time with your clothing and therefore paying more attention to what you wear and own. Additionally, having clothes that serve more than one purpose can increase their functionality and therefore the perceived value, as well as make them stand out within the mass market of single-type garments.

Modular clothing presents a lot of opportunities for the person wearing them but can also bring along extra work and dedication that not everybody may be open to. Adopting modular clothing for everyday wear requires a change in mentality and in the way that we see clothing. These clothes can benefit the user by offering more variations, longer garment lifecycles, more 5

sustainable practices, and sizing changes, but they also require extra time and attention which not everybody has or wants to spend on their clothing. There are psychological and attitudinal changes related to the way people shop, get dressed and perceive clothing that need to occur in order to gain access to the full benefits of modularity. Defining what exactly these changes are will depend on the function and origin of the garment and its transformation, as well as on the user’s lifestyle and environment.

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Chapter 1: Dressing Through Assembly Clothing before the 19th century in western societies was used as a signifier of wealth and status.5 Although the material and manufacturing had a lot of influence, the most expensive aspect of this type of clothing was the assistance required to put them on. They consisted of multiple layers, such as the bustle shown in figure 1.1, which is clearly complicated for the wearer to put on without assistance. This idea of layering and assembling one's outfit is one of the first origins of modular thinking in clothing. A single piece on its own was not able to satisfy the needs of the wearer, so multiple ones were layered in order to reach the desired silhouette. Stomachers (figure 1.2) are one of the most classic and clear examples of how modular clothing existed before the 19th century. They consisted of a single panel that was meant to sit in the front stomach area of a woman’s dress.6 They were an individual piece and were usually adorned delicately and meticulously. These could come in different shapes and styles and were meant to be changed around with different gowns.

The late 19th century and early 20th century saw the rise of ready-to-wear clothing7, which brought along the ease of getting dressed quickly and simply. The term was coined to name “the inexpensive collections designed by fashion houses throughout the world”8 but is commonly used for “all readymade clothing.”9 The clothes that were produced massively or made at home had a more simple design and arrangement, and therefore less assistance was required to put them

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Valerie Mendes, Amy de la Haye, Fashion since 1900, (New York: Thames and Hudson, 1999), 17-18 Valerie Cumming, C. W. Cunnington, and P. E. Cunnington, “Stomacher,” in The Dictionary of Fashion History, (Oxford: Berg Publishers, 2010), 195, Accessed April 18, 2024. https://www.bloomsburyfashioncentral.com/dictionary?docid=b-9781474264822-div12840.

7 Mendes, de la Haye, Fashion since 1900, 17-18 8 Valerie Cumming, C. W. Cunnington, and P. E. Cunnington, “Ready-to-wear,” in The Dictionary of Fashion History, (Oxford: Berg Publishers, 2010), 170, Accessed April 18, 2024. https://www.bloomsburyfashioncentral.com/dictionary?docid=b-9781474264822-div12516.

9 Ibid 6

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on. After the First World War, previously-established fashion concepts started to shift and it became more difficult to hire help that could assist with tasks like getting dressed.10 This change in the social and economical scene marked the first departure from the effort that had historically been given to getting dressed in high class societies. After this, clothing became easier to wear and assemble, until interchangeable modules and layers became practically nonexistent. People’s perspective of clothing slowly began to change; it stopped being such an immediate indicator of a person’s social standing and became more a necessity that just needed to be covered.

There are designers today who are looking to create a new paradigm on how people get dressed and the importance given to this activity. Sofia Ilmonen is one of these artists who have found new ways in which to use the idea of assembly through modularity as a way for people to connect with their clothing. Instead of completely sewing all the pattern pieces together, some of them are left as individual modules that can be reassembled and rearranged to change the garment’s style and silhouette using different closures and textile technology (figure 1.3). They also sell additional panels for anyone who wants to add an extra piece to their existing garments, to change its length, size or silhouette (figure 1.4). They are creating a new landscape for the relationship between the brand and the consumer by offering a “modification service.”11 Through this service, they extend personalized assistance to the customer by providing them with new ways to assemble their garments. In turn, the client receives a limited-edition or one-of-a kind garment. This allows the brand to connect with consumers after the purchase has been made, which is often the point when this relationship decreases significantly. This service provided by

10

Mendes, de la Haye, Fashion since 1900, 48 “Modification Service,” Sofia Ilmonen, accessed April 7, 2024, https://www.sofiailmonen.com/store?category=modificationservice.

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Sofia Ilmonen prompts new ways of thinking about made-to-order or custom clothing, as well as about brand-client relationships.

Another company that is using the process of getting dressed through assembly as a way for consumers to interact with their clothing is Almaborealis’ Puzzleware (figure 1.5). This childrenswear project sells garments as a set of independent geometric knit pieces and a sewing kit for kids to assemble and construct their own garments. This creates a fun and educational activity for children, who are able to customize the shape and style of the garment as well as decorate it using the provided yarn. The process of assembly makes the garment a special one within the infant’s closet and it can even be redesigned or reshaped as they grow up. The nature of the knit modules allows for a lot of flexibility within the piece and design, which can last longer through a child’s fast-paced growth. The project shows how assembly, craft and education can work together to visibly change a garment’s nature and value. By letting the customer do something that would have been done by a brand or manufacturer, the company is able to provide a space for imagination, exploration and true expression through clothing.

These examples of dressing through assembly clearly present that this type of design thinking opens up playful, innovative and thought-inducing environments. However, these examples also show that additional money can be necessary. The puzzleware set retails for £7912, and Sofia Ilmonen’s modification service costs €165 –which is low compared to her garments which start at €1,400, but high for the modification of an existing garment.13 Additionally, they both ask for a surplus of time and dedication. The puzzleware set can be thought of as an activity, but this project has to occur in order for the garment to be accessed and worn and it needs to be 12

“Puzzleware,” Almaborealis, accessed March 26, 2024, https://www.almaborealis.com/shop/p/puzzleware-megalearn-to-make-your-own-kit.

13 “Store,” Sofia Ilmonen, accessed April 7, 2024, https://www.sofiailmonen.com/store.

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assisted by parents. To use Sofia Ilmonen's customization service, clothing has to be shipped out to the brand for them to reassemble it. Although this takes extra time, it also gives the customer the excitement of receiving a new garment without actually having to buy one. As it can be seen, these time and money implications have their benefits and drawbacks. But it is evident that additional labor and effort are required to access the garment’s full use and possibilities.

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Chapter 2: Extensive Possibilities The nature of modular and transformable clothing lies in providing the user with multiple options within one garment or outfit. Having these can be beneficial for the users as they get more from a single piece. It can also be positive for the environment, as increased functionality and frequency of use can make the users take a longer time to feel the need to dispose of the garment.

Modularity could include as little as two options, which would still be one more than that of standard clothing, or it could include many more, practically without limit. This is something that designers of modular clothing have to keep in mind, as few transformations may not get the point across but too many could be overwhelming for the wearer.

One kind of transformation that can occur in clothing is the change of style or silhouette.

Buhndi style (figure 2.1) is providing this through their shirt that consists of a “base” and “blueprints”14. The bases are sleeveless tops which house hidden zippers along the sleeve opening to interchange the blueprints15 that can be combined with them. There are different colors and silhouettes that one can choose from. By following this simple concept, the user can have a top with different sleeves without changing the body. This can be particularly useful for people who struggle with finding tops that fit and for space saving purposes. Additionally, the brand is cutting down the amount of fabric needed for each garment as the body part is always reused.

On the other extreme, style transformations that occur in clothing can be greater and allow for more composition and creativity from the wearer. In 2003, Sebastian Errazuriz came up with the “Zipper Dress” (figure 2.2) which consists of 120 zippers which can all be completely

14 15

“Collections,” Buhndi, accessed April 7, 2024, https://www.buhndi.com/collections.

Buhndi’s term for sleeves

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detached, or simply opened to change the silhouette of the dress.16 This leaves the user with many options to choose from, including changes in neckline, hem, skin revealed, and even what type of garment they want, as it can easily serve as a top, skirt, and even a belt. Although this concept may be fun for some, it can also be overwhelming for others, as a single knee-length dress can exist as hundreds of garments. It is also a clear example of how transformation affects the item’s value, as you are no longer paying for just one garment, although it technically still is one. The designer believes that “the concept is particularly poignant in the current economic crisis; buy one dress, get a hundred different fashion possibilities.”17 This demonstrates how one of the many benefits that style and fit transformations have is that they are giving the user more for less.

Another example of transformations are those which allow for changes in size. This aspect plays an important role in sustainability, as clothing that can evolve with the user will last longer and people who undergo physical changes won’t need to purchase an entirely new wardrobe. A 1970’s clothing patent by T. Toyoda (figure 2.3) shows a mechanism that allows for change in the overall circumference of a pant’s waistband. This provides a perfect fit for the user, no matter what changes the wearer’s body may undergo. Although the modification provided from one or two tucks can be slight, they can make the difference between pants that fit and don’t, or between an outfit that looks polished and put together or sloppy. Size transformations can also offer possibilities for pregnancies, a temporary but drastic change in the person’s body that usually requires lots of new clothes. Petit Pli (figure 2.4) is looking to solve this problem through their pleat technology, which lets a garment expand and contract easily.18 This saves the user time and

16

Errazuriz, Sebastian, “Multiples - Zipper Dress,” Sebastian Errazuriz Studio. n.d. https://sebastian.studio/multiples-zipper-dress.

17 Ibid 18 Petit Pli, “Adult Maternity Bottoms,” n.d. https://shop.petitpli.com/collections/adultwear/products/adult-beta-bottoms?variant=40039001555140.

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money by seamlessly allowing them to have a garment that fits without even having to think about it. This concept is successful as it doesn’t require the user to assemble or arrange anything, compared to the patent previously mentioned. The textile expands on its own to whatever size the wearer needs. However, this product can have styling limitations, as the textile needed for the transformation has a very specific appearance that may not be universally desired or accepted.

Based on all of the previous examples, the transformations present in modular clothing can generally be divided into either functional or decorative. They serve two very different purposes but achieve a homogeneous result: they present the wearer with options. Whatever these may be, they are providing the users with a space to think about their clothing for a little bit longer and more consciously, allowing them to choose exactly what it is that they want to wear and what function their outfit has to provide. The required time and dedication is something that can be seen as very exciting or impossible for some people. The amount of time and attention spent getting dressed can vary greatly depending on a person’s situation, needs and desires. Those who don’t give great importance to getting dressed when using regular clothing are much less likely to be open to spending more of their energy understanding and accepting transformable and modular clothing. Whereas individuals who are already excited about composing and assembling their daily outfits may be more open to incorporating this type of design into their lives.

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Chapter 3: Sustainability and Longevity After analyzing the possibilities and opportunities of modular clothing, it is evident that sustainability emerges as a big component and advantage of these transformations. Although for most of the designers studied previously it is not necessarily the main objective, it is an inherent part of all their proposals. The concept of having a garment that can be used more often, serve multiple purposes and last longer is sustainable at its core. Modularity and transformations can encourage people to think about their clothing in a slower and more meaningful way.

Within the world of modularity, sustainability is achieved mainly through the extension of a garment’s life cycle, which may be as simple as a zipp-off pair of pants to shorts, such as Vetements’ pair of detachable jeans (figure 3.1). The useful life of a garment can also be increased by giving a more wearable aesthetic to special occasion garments. Hussein Chalayan did exactly that in his Autumn/Winter 2013 collection,19 which featured heavily-printed mini dresses that transformed into long black simple ones (figure 3.2). This allows an item which is typically worn only on a handful of occasions to be used more frequently and for a longer period of time. The idea of extending a garment’s lifecycle can also be the main concept within a modular collection.

Designer Wei Hung Chen created a compilation of transformable garments that can all be styled and combined together20 (figure 3.3). He describes this collection as “an attempt to lengthen lifespan of garments and alter how a wardrobe functions.”21 This ties back to the idea of a capsule wardrobe which is best defined as “a small, carefully selected set of clothes that go well together and serve as the foundation of multiple outfits.”22 This concept introduces modularity as an

19

Dan Howarth, “Rise by Hussein Chalayan,” Dezeen, March 6, 2013, https://www.dezeen.com/2013/03/06/rise-by-hussein-chalayan/.

20 Wei Hung Chen, “Wei Hung Chen,” n.d., https://www.notjustalabel.com/wei-hung-chen.

21 Ibid 22 “Capsule Wardrobe,” Dictionary, accessed April 7, 2024, https://www.dictionary.com/browse/capsule-wardrobe.

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abstraction, where a set of basic garments serve as independent modules of a person’s closet. Wei Hung Chen combined this idea with transformable clothing, therefore enhancing the sustainable effect of both aspects.

Furthermore, sustainability can appear in modular clothing as the possibility of customizing your own clothing. Personalizing garments to suit your own taste, style, size, and needs can make the piece all the more valuable and durable. This concept can be present through something that is constantly available to change, such as Off-Wrld’s modular activewear jacket (figure 3.4), which allows the wearer to choose how much warmth and coverage they want to have.23 It can also be present in a fixed modular customization, such as ThreadLab’s shirt with iron-on components (figure 3.5), where the client chooses what they want to add to the shirt to fit their needs.24 Although these changes are permanent, the wearer gets to select what components they need the most, and therefore gives the garment a unique value.

In this context, sustainability is closely tied to the real and perceived value of a garment as a more valuable piece is less likely to be discarded. Although all modular and transformable clothing has some level of sustainability incorporated, the benefits, opportunities and inconveniences present may alter the perceived value of the piece. In most of the cases mentioned above, the perceived value increases if the wearer sees the changes as improvements, and decreases if they are seen as an impediment. The opposite occurs with the monetary value, if the purchaser recognizes multiple benefits, the price may seem low to them, whereas if it is seen as inconvenient, the price can appear too high.

23

Romain Faure, “What Is Modular Clothing?,” OFF-WRLD, September 23, 2023, https://www.offwrld-techwear.com/blogs/techwear-blog/modular-clothing.

24 Sunny Singh, “ThreadLab Makes Dress Shirts With Iron-On Pockets, Collars, Cuffs,” CoolThings.com, December 28, 2012, https://www.coolthings.com/threadlab-open-source-apparel/.

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Conclusion Modular clothing is an under-explored, under-utilized and under-exploited area of fashion.

Although the concept itself has existed for a long time, designers and wearers are just starting to see it with new eyes, paying attention to the benefits and opportunities that can emerge from it.

However, it must be noted that concepts clustered around this idea are very different from that of mainstream, ready to wear25 garments. Modular clothing requires a lot more time and attention in order to be fully appreciated and taken advantage of. Potential users should not only be open to these requirements but also have the time, need and longing for what this kind of clothing offers, an approach that may be difficult to find in our hectic current times. Consumers need to see the potential for the bigger reward that transformable clothing provides compared to ready-made pieces in order to undertake and understand the additional effort required.

Wearers’ attitude and relationship with clothing will need to evolve in order to fully understand everything that is involved in modularity: better options, adaptability, creativity and sustainability. Real and perceived value can play a big role in changing this paradigm, as the possibility of multiple garments in one can make an object more valuable. The appearance of a simultaneous transformation and evolution of an object alongside its owner can also change the way that wearers see and relate to their clothes. It is crucial for the success of this area of fashion that all these concepts are made public and shared enough for potential users to know what they are missing out on and everything they could possibly get from their clothing. Without spreading and communicating these possibilities, it is hard for people to know that lots of their clothing-related problems are common and have easy solutions.

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Ready-to-wear referring to garments that don’t require or involve any assembly or transformation

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Figures

Figure 1.1, Bustle, Linen, cotton, metal, 1868-69, American, Brooklyn Museum Costume Collection at The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/173601.

Figure 1.2, Stomacher, Silk, early 18th century, Italian, Rogers Fund at the Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/102642.

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Figure 1.3, Ilmonen, Sofia. “Sofia Ilmonen,” n.d. https://www.sofiailmonen.com/concept.

Figure 1.4, Ilmonen, Sofia. “Full Module,” n.d. https://www.sofiailmonen.com/store/fullmodule.

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Figure 1.5, Kramers, Lindie. “Modular Fashion Brings DIY to Childrenswear.” Ignition, March 15, 2022. https://www.ignitiondg.com/news/modular-fashion-brings-diy-to-childrenswear.

Figure 2.1, Buhndi. “Understanding Modular Fashion.” Accessed March 4, 2024. https://www.buhndi.com/pages/understanding_modular_fashion.

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Figure 2.2, Sebastian Errazuriz Studio. “Multiples - Zipper Dress,” n.d. https://sebastian.studio/multiples-zipper-dress.

Figure 2.3, Toyoda, T. “US3835473A - Waist-size Adjustable Trousers - Google Patents,” March 15, 1972. https://patents.google.com/patent/US3835473#patentCitations.

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Figure 2.4, Petit Pli. “ADULT MATERNITY BOTTOMS,” n.d. https://shop.petitpli.com/collections/adultwear/products/adult-beta-bottoms?variant=40039001555140.

Figure 3.1, Ssense. “VTMNTS Blue Detachable Leg Cargo Pants.” Accessed February 9, 2024. https://www.ssense.com/en-us/men/product/vtmnts/blue-detachable-leg-cargo-pants/15406841?gad_source=1&gclid =CjwKCAiAt5euBhB9EiwAdkXWOzZfflNB0J97cYzCB7vsphiJKxF4sNAQRjOWqsdmU2fuArBdW6JaxRoCEHc QAvD_BwE.

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Figure 3.2, Howarth, Dan. “Rise by Hussein Chalayan.” Dezeen, March 6, 2013. https://www.dezeen.com/2013/03/06/rise-by-hussein-chalayan/.

Figure 3.3, Chen, Wei Hung. “Wei Hung Chen,” n.d. https://www.notjustalabel.com/wei-hung-chen.

22

Figure 3.4, Faure, Romain. “What Is Modular Clothing?” OFF-WRLD, September 23, 2023. https://www.offwrld-techwear.com/blogs/techwear-blog/modular-clothing.

Figure 3.5, Singh, Sunny. “ThreadLab Makes Dress Shirts With Iron-On Pockets, Collars, Cuffs.” Cool Things.

December 28, 2012. https://www.coolthings.com/threadlab-open-source-apparel/.

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