Contents Aēsop Pinterest Mood Boards Dye room Creating my prints Lectra Finalizing Hybrid Design Essay Bibliography
P.1-2 P.3-4 P.5-8 P.9-14 P.15-24 P.25-34 P.35-38 P.39-42 P.43
Introducing
Aesop The luxury skin brand Aesop was born in Melbourne Australia in 1987. With the aim on creating high quality products based on both laboratory made and plant based ingredients. The have a high focus on even the smallest detail, this brand tries to be as complete as possible, both with their product ingredients, focus on sustainability and the aesthetic of their brand. Introduces itself as a brand for the intellectual, cultural educated healthy living person who enjoys a moderate intake of wine and a stimulating dosage of literature.
My Collaboration with Aesop
Aesop previously collaborated with the Finnish company Marimekko, a company who specializes in printed fabrics. Their collaboration was based on the rituals in Scandinavian bathing culture. And the end result was a Sauna gift pack with Marimekko prints on the packaging. My suggestion to collaboration is based in a different angle; my idea is a new work uniform with my prints on them. As Aesop is a firm that emphasizes the importance of a clear exterior aesthetic to not be just another soulless chain they make a lot of effort in their branding. My idea for a new work uniform comes from their promotion of the use of science in creating their products. On their website they promote literature, architecture and film amongst other. And after watching some of their short films I realized how inspired they were by the process that goes on in the laboratory. So I started of with the idea of a standard lab coat with my prints on them.
Pinterest I used pinterest to find images for my digital mood boards. After re-searching my brand trough the Aesop website I found the key words that I used in to developing my mood boards. I used pinterest to find images that would express my words the best way and to use in creating my mood boards. I also added the definition of each word using Google definition.
Mood Boards
Mood boards base on my key words with examples to a colour palette and the first draft of prints. I made my mood boards in Photoshop mainly just using the quick selection tool to drag over the parts of the photos I wanted to use.
The process of eroding or being eroded by wind, water, or other natural agents. As a skin care brand, Aesop find it important with products to protect the skin against the rapidly change of weather. The word can also refer to the chemical process when copper is exposed to oxygen. Inspired by their use of copper in their packaging and the interior of their shops.
The process of transformation from one form into another in two or more distinct stages. Inspired by the short film by the same name. Where Aesop collaborates with Lucy McRae in playfully presages a new juncture for science and
beauty in a speculative tale that embodies thematic aspects of Mary Shelley’s Frankenstein. However, the film departs from this emphasising an adroit marriage of science and nature – an allusion to Aesop’s philosophy and formulations.
The intellectual and practical activity encompassing the systematic study of the structure and behaviour of the physical and natural world through observation and experiment. Inspired by Aesop emphasize on to use of science in their products and relates again to the film by Lucy McRae and her presentation of the Aesop lab.
Dye Room In the dy room we were introduced into dyeing fabrics and several ways of creating prints and manipulating fabric. In out first session we dyed fabric pieces using colour dye, water, soda ash and salt, NB: important to use a mask, some of the ingredients may be poisonous. We played around with different types of pigment, and used flock and foil with textile glue, and made prints with puff and pearl binder. For normal coloured print we used standard binder mixed with bricoprint concentrated pigment.
As Aesop is gives a lot of thought in their branding and packaging I used it as inspiration when I experimented with the different binders and flock and foil.
I experimented by attempting to create the texture and colour of my Erosion mood board on paper and fabric using the techniques we’ve learned. Then putting them in to a mood board together with my packaging prints.
Screen Printing To make a screen print you need your chosen image in black and white printed on acetate. A screen covered with emulsion. And a squeege to spread the paint across the screen. When screen printing we start by developing our print by fastening the acetate to the screen and exposing it to bright light. Then wash of the emulsion that’s not been exposed to the light. (The black ink on the acetate will hinder the light to expose the emulsion) Then tape of the screen to reassure any paint going through the screen onto you paper or fabric. Then we’re ready to go, choose a desired colour and use the squeegee to spread the paint.
I chose to experiment with some photos of Aesop’s bottles and a print made by Marimekko’s collaboration with Aesop and in the end making my tag for my final prints.
Creating my prints in Photoshop
I created all my prints in Photoshop. Starting by two prints inspired by each mood board, including the mood board I made from the experimentation in the print room. Basically using the quick selection tool and dragged whatever part of my mood boards I found interesting and copy pasted it, altered the size and mirrored it until I found my self pleased with the results. To colour the print I used the colour selection tool a bit to copy the colours from my palettes, and also edited the hue and saturation. After making two prints for each mood board I kept altering them until I had some more examples. Then I picked the print I thought would represent my brand the most and developed my final six prints.
Quick selection tool and print development in Photoshop, with a overlook in finder and iPhoto.
I decided on the print from my Morphe mood board, but used more of the colours from the Erosion one as they fit more to Aesop’s colours.
Illustrator & Photoshop -Creating an illustration. I drew up a simple lab coat inspired Dr.Frankenfurter’s lab coat in Rocky Horror Picture show in illustrator and opened it in Photoshop to place my print in it. For adding the print in the illustration I selected the inside of my lab coat, then copied my selected print and clicked on edit and paste-paste into.
I played around a bit before I made a Photoshop collage of the lab coat.
Lectra
Lectra is a French software company that specializes in the use of computers to design and manufacture products. Primarily used in the fashion and textile industry, but also used in the automotive and furniture industry as well as other industries. Lectra offers several programs that specialized in different stages of your garment making process. Lectra contributes to international design schools by donating software licenses and training teaching staff on their latest technologies, by this their part of preparing students for the modern creation development of the textile industry.
We used four different programs within the Lectra software in making our standard t-shirt. -A gentle warning, this part of the manual is highly infused with text to explain the process.
Modaris Modaris is a computerized patternmaking program that gives you the opportunity to create and re-shape pattern in an effective way. Here you can manipulate your pattern by pivoting darts, changing lengths and measuring the different pieces to each other to ensure they’ll match when stitched together.
Pattern Prep & Digitizing We started by preparing for the digitizing of the pattern. Which will say marking of a standard t-shirt block pattern and copying it over to a computer. We used a pencil and marked the corner points with 2 and the curves with c and notches with 6 and grain lines with A. So when we to digitized our pattern we could place it on the digitizer board and click on the marked points with the digitizer mouse, which would be recognized and loaded in to a computer. We created our own folders and saved the patterns. Important thing to remember is no spaces in the filenames.
Opening pattern in Modaris After completing the digitizing we opened it in Modaris. As a rule we always started of by setting the access paths by filling all the boxes with our filename, if not the complete model could end up being saved in a wrong folder or the information could be lost.
Straightening lines
The most important keys on the keyboard are “home” to zoom in on the specific pattern we’re working on and 8 to zoom out to see the complete model. We started off by straightening out the lines of our central fronts and backs using F2Rot2pt and our hemlines using F1-Ali2pts. Then we compared and adjusted the side seams and shoulder seams of the back and front so it was matching. We repeated this to match the sleeves.
Adding Grain lines
Then we added the grain lines to the pattern pieces using F4 and added axis. Next adding seams allowances, 1cm all around parts from the hemline where we added 1,5cm, still in the F4 using line seam, industrialization and exchange.
Mirroring pattern
We mirrored the pattern pieces from the CF and CB in F5 Sym2pt. And finalized the pattern using F2 to add the notches.
Title Block
After completion of the pattern, we added useful information to the separate pieces. Adding the name for each pattern peace and cutting information. Using Display, then title block.
Then made a new sheet to make the cuffs and collars. We just made rectangles in the measurements of cuffs and collars of the standard t-shirt. Finishing by adding seam allowance and grain line.
Making a Variant
The variant sends out the information to our lay plan program Diamino. It will tell how many pieces you require of the different pieces of the pattern, which fabric to use and the size of your pattern.
With our completed pattern we used FB-Variant-Create piece article, then added the relevant information so that we could open it in Diamino. We made a variant for the main pieces of the pattern
and then a second variant for the cuffs and collar so when you open it in Diamino it will know that they are in different fabrics, then a third variant for the paper lay-plan.
Diamino Diamino is the program that makes out our marker, or lay plan. It helps you print out your pattern in the best efficiency, and the idea of product costs. If you’ve done a mistake previously in the patternmaking process, for example not having the right access paths, it’ll inform you that your variant can not be opened because there’s something wrong.
62,98 % efficiency
0,940 m width
sleeve cut one pair M
1,503 m length
Front cut 1 M
paper_elm__1,503 m__0,940 m__61,58 %__29/01/15
cuff cut one pair M
Neck rib cut 1 M
Neck rib cut 1 M
cuff cut one pair M
cuff cut one pair M
tshirt_elmrib__0,162 m__0,880 m__58,92 %__29/01/15
1,084 m length
back cut one M
tshirt_elm__1,084 m__1,480 m__62,98 %__29/01/15
sleeve cut one pair M
back cut one M
1,480 m width
Front cut 1 M
sleeve cut one pair M
61,58 % efficiency
We opened a new file and filled in essential information, as the width and maximum length of the fabric, the selvage value and global spacing in the box on the left side. At the box on the right side we had to fill inn our model name (the pattern we made in Modaris), the size and our variant. By doing this we were able to open our new marker as a plx file in Diamino. We laid out our pattern so we would get the best efficiency when cutting the fabric. The efficiency should be over 60%, when achieving that we’d configured it to a PDF-form by choosing edit, plot on plotter, configure in to a pdfform. After making the pattern we continued by repeating the same process for the cuffs and collar, and then paper pattern, which we printed out using the Lectra plotter. By doing this we had t-shirt paper pattern ready to use for when we had to cut out the fabric for our t-shirt.
Kaledo Kaledo is an illustration program specialized for fashion illustrations. From flat sketches to creating complete production ready technical packs, it can also ensure you that your garments are produced correctly. We used Kaledo to draw up our working sketch of the T-Shirt. We started drawing the front using a symmetry line that would mirror our t-shirt as we drew, so we would only need to draw up one half of the t-shirt. The graphic status box in the corner gave us the ability to make a rib on our cuffs and collar selecting ribbed stitch line and selecting our collar and cuff shape and then select it as a clipping mask. Then we grouped our drawing, copy and pasted it and ungrouped the copy. The copy of the front would be altered into a back. We reshaped the neckline by adding more anchor points. Then we added our completed drawing in to a working sketch template and added essential information as fabric and thread description and labeling and sizing the garment.
Placing print in pattern To place our print in the Kaledo we opened the t-shirt illustration as normal. Then we opened our print in a new window and selected graphic status- motif then selected the parts of the print we wanted and clicked apply and saved it as a swatch. When doing this we could use it as a normal colour to apply in our t-shirt pieces.
My T-Shirt with print
Back
Front
3D fit
Lectra 3d fit allows you to test the modaris constructed patterns for our garments by virtually sewing them together and gives you the opportunity to out different fabrics and textile designs without producing a physical prototype.
Open Variant
When making a 3d avatar of our t-shirt we had to open our pattern variant modaris first to stitch all our pieces together. Selecting all pattern pieces except from the rub and cuff, then click on create piece article, create piece to stitch then 2-phase and add phase.
We stitched our pattern pieces together the same way as you would on an actual t-shirt starting with the shoulders. Select stitch, and then add stitch. When stitching together you have to remember to always start on the same point and left click to start stitch line and right click to finish stitch line. When we finish one seam we would left click outside the pattern to see the result of our seam. (To pause a stitch line you just left click on starting point, then left click again where you want your seam to pause and start over on new starting point, then again right click to finish).
Marking where our limbs come out.
To inform the 3D-fit to know where arms and legs comes out of the t-shirt openings, we have to mark them using F1-Slider and add a point of the left thigh on the t-shirt front. When the left thigh is marked we clicked on Stitch-Add slip on point then pressed the tab key to mark all the openings and name them after their function.
Opening in 3D-fit
We selected the purple F1 to check the 3d fitting. Then we selected Assemble to stitch the t-shirt together and then fall and relax and refine mesh and simulate to add gravity and make the fabric look intact.
Adding the pattern
For adding our print in 3D-fit we selected design then the arrow tool in the tool bar and then opened our print to use it on out t-shirt.
Further practise in Modaris Pivoting Darts in Modaris
Using a standard bodice, we added a new point to the desired position for the new dart using F1-add points. Then pivoted the new dart using F5, first marking off the bust point to the original dart, then to the new dart and up to the original dart again. Then we deleted the original darts and used Dart-Cap to fill in the missing space in-between out new darts, marking it from right to left. To complete our new darts we use F1-Semicircular to draw in the new dart, then click left and right to finish. Then we completed it adding seam allowance, marked notches and mirrored the pattern. We made five blocks with different darts, neck, side, armhole, French and center front dart.
Altering standard T-Shirt
We continued the practice by altering a standard t-shirt block. As long as the place of the pattern where the front and back are going to be stitched together matches, we could do what we wanted with the block. We matched the CF to CB first, using F2Xsym to flip the front bodice so the CF was horizontal to the CB. Then we married the patterns using F8 and dragged a line from the front to the back and clicking move marriages to place the side seams of the pattern pieces together. If the patterns don’t match, use F3-Reshape so that the shoulder points and the side seams equally. Then we divorced to front and back and used the
reshaping tool to change the design of the vest, but kept the shoulder and side seam to the same length as it’s going to be stitched together.
A-line Skirt
-Reshaping a standard skirt block in to an A-line skirt.
We started of adding a point to the hem from the notch dart. Then pivoting a new dart from the original waist dart and to the new point. Because of the alternation the skirts grain line became altered as well, so we had to draw up a new. Then we did as before, deleting the old dart points (without straightening of the waistline of the skirt). Then we added curve points to the hemline to ease it out into a nice curve. Because the back of the skirt consists in two darts we added two points to the hemline before repeating the same procedure as the front. Then we merged and deleted the lower point of the waistline and married the front and back by merging the hip notches together and reshaped the back hem so it matched to the front. And finalized it by reshaping the front hip notches to give the skirt complete a-lined form, and then mirrored it.
Facings
By adding facings we used F1-paralell, marked the waistline, then dragged the new line down using the box in the left corner pasting in 6cm so parallel line would end up 6cm down on the skirt. To drag the parallel line out to the side seam, we clicked on the parallel line and then the side seam of the skirt, using F3-Adjust 2lines to drag. And then we cut it out using F4-seam-left click- right click. Facings of the back with new notch Then we did the same for the back of the skirt with 19cm facing. Further exercise, going through what we have learned.
Interfacing
When adding the interfacing we marked the facings and pressed cut without seam to make interfacing pattern without seam allowance.
Finalizing Creating my final working sketch and sewing up my T-Shirt in jersey. My essay about Hybrid Design.
Jersey Worksop In the jersey workshop we were introduced to the over lockers and their different functions and settings.
We were shown how to change the differential feed by making two samples to see each extreme. Making one sample where the stitching were really tight and gathered the fabric and one that made the fabric overly stretchy. We tested out the Kansai twin needle machines for the finishing of the hem line. Then we made two other samples changing the stitch length to a wider stitch length and then to a smaller one to see the differences.
To know how to attach the collar and cuff rib to our t-shirt we made a toile first before starting making up the entire shirt.
A Brief Order of Assembly
Over lock shoulder seams –RST. Over lock sleeves to armhole (on the flat) –RST Over lock side seam & underarm in one continuous sequence – RST Overclock neck and cuff ribbing to form loops -RST Over lock neck and cuff rib to the neckline and the end of the sleeve –RST Gently steam the neck rib and press down with your hands Press a straight & even hem at the bottom Stitch the hem in place using the Kansai five-thread cover stitch machine. Give the garment a very light final press, but not press wrist & neck ribs directly with the iron.
Hybrid Design Hybrid Design Eyrun M端ller Digital Fashion Hybrid Design Eyrun M端ller Eyrun M端llerMilan - Digital Fashion - Milan Digital Fashion Milan
Hybrid Design
The word hybrid means the mixture of two different elements combined to make, in this case, an object or a product. Hybrid design is nothing new, it simply means that a designer have collaborated with a second part to produce something new. There are designers who choose to collaborate with scientists in order to create concepts that never been done, or imagined possible before, but is this really something that’s sustainable for the future? Today the big talk in the fashion industry is wearable tech. Wearable tech is the bo-
arder line where science meets fashion. And from that you have several offspring. The 3d printer has been on everybody’s lips for quite some time now, a way of creating wearable tech within your own home. But have we given much thought about the consequences in creating it? It still uses oil based plastic materials, which are no good for the environment. While the company Studio XO is creates wearable robots, making humans into cyborgs,
using the 3d printer as one of their main tools, the company Biocouture uses science in a rather different way creating fabric from bacteria, or bio-lace, which is still a mere idea. The companies are science based, and what they do is happening right now, but it wouldn’t work without having an engineer or a biologist on the team.
Lady Gaga in the Bubelle emotion sensing dress by Studio XO. Photograph: Nick Knight
Biocouture
Biocouture is a forward thinking design company witch takes use of new scientific knowledge to create fabrics made by different types of microorganisms. The founder of Biocouture Suzanne Lee started of by making fabrics in her own bathroom using a simple recipe with the main ingredients cellulo-
se-producing microbes and green tea in a fermented liquid. She got the idea of an biologist who asked her if she wanted to rethink the way of how you would create a piece of clothing, something that’s yet to be seen in the world of fashion. This way might be clo-
ser to brewing beer than the traditional way of producing textiles1. But this procedure has the chance to enable a way of producing a large amount of textiles without any toxic waste, as it comes from living organisms. 1:Lee, S (AEG, 2014)
Studio XO
With the very strong catchphrase «making science fiction Science fact»2 with two of the co-founders of studio XO, Nancy Tilbury as creative director and Benjamin Males as Technology director, they are charging ahead with a whole new way of looking at fashion. Studio XO is a hybrid company between
fashion and technology. They include a design team with backgrounds amongst other from engineering coding and fashion. Together they create garments with the focus of the role of the human body in the 21st century, with the thought of generation digital in the back of their mind.
Bio-Lace
The founder of the textile future course at Central St. Martins Carole Collette encourages her students to set themselves in near future scenarios where they would have to create interactive design as a solution to their scenario3. She proposes a solution to one future scenario in her own project Bio-lace, where plants are genetically engineered to produce lace. This will have a multi purpose, the fruits of the plant will be eaten and the textile used as clothing, also adding more nutrients to the plant to benefit who ever eats the fruits. Today the agriculture is under constant threat from the pollution of the textile industry, but by combining the two there would be need for clean soil and water to make the fruits eatable, witch means this could be a sustainable solution for today’s problem. 2:Tilbury, N(AEG, 2014) Strawberry Noir- Black strawberries with high levels of anthocyanin and vitamin C, black lace
3:(Wainwright, 2013)
How do these companies effect both the present and the future?
Today the textile industry is worth 1.7 trillion dollar4. What will happen to this industry and their laborers if we all created our clothes at our home-based 3dprinter? Or if we all made our own bacteria based textile? Maybe these scenarios will only come to life if the textile industry dies first. We all have gained a lot of concern about our future, we are starting to become more aware of the climate change and how it’s most likely to be human caused. The fashion industry and their consumers are responsible for massive amounts of yearly waste. Polluted water due to fabric die effects the agriculture, leaving farmers without usable crops. Science is an excuse to play God, but how about embracing
nature rather than dominating it? Both the scientist and the designer are alike, when it comes to solving a puzzle; they’re too focused on what’s in front of them, to recognize any consequence of their creation, just the creating itself. When the puzzle is solved, the result might be something else than originally imagined. Sometimes the result is a success, but it could also take a wrong turn, and there might not be a way back. Studio XO is a company that plays around with today’s technology creating wonderful design, it might be closer to art than a solution to near future problems. Suzanne
Lee and Carole Collette work in a different manner with a concern for what happens next. The aesthetic might not be as much in focus as convening a message and changing the way people think. It’s important to find the magic in things for what they are. We can’t be serious all the time, Studio XO’s bubble machine dress for Lady Gaga are both clever and fun, but maybe not so important for the future? We should be able to appreciate design as pure art, but still be conscious about its effects on our society. And that’s why we should promote people who are consciously designing for a sustainable future. 4:Dworsky, D (AEG, 2014)
Bibliography Podcast
AEG, (2014). The Next Black-A film about the Future of Clothing.
Websites
Compton, N. (2014). Studio XO, the "fashion laboratory" adding digital light and magic to what we wear. [online] the Guardian. Available at: http://www.theguardian.com/technology/2014/sep/22/-sp-wearabletechnology-clothes-that-let-you-download-the-latest-look [Accessed 8 Feb. 2015] Facebook, (2013). Studio XO. [online] Available at: https://www.facebook.com/StudioXOofficial/info?tab=page_info [Accessed 8 Feb. 2015]. Fibre2fashion.com, (2015). Impact Of Textiles And Clothing Industry On Environment: Approach Towards Eco-Friendly Textiles Free Textile Industry Articles Fibre2fashion.com. [online] Available at: http:// www.fibre2fashion.com/industry-article/textile-industry-articles/impact-of-textiles-and-clothing-industry-on-environment/impact-of-textiles-and-clothing-industry-on-environment2.asp [Accessed 8 Feb. 2015]. Griffiths, A. (2013). Genetically-engineered plants by Carole Collet produce food and lace. [online] Dezeen. Available at: http://www.dezeen.com/2013/11/30/genetically-engineered-plants-that-produce-edible-textiles-by-carole-collet/ [Accessed 8 Feb. 2015]. Lee, S. (2014). home. [online] Biocouture. Available at: http://www.biocouture.co.uk/ [Accessed 8 Feb. 2015]. Wainwright, O. (2013). Textile futures: the living shoe and the strawberry plant that grows lace. [online] the Guardian. Available at: http://www.theguardian.com/artanddesign/architecture-design-blog/2013/jan/23/textile-futures-living-shoe-strawberry-lace [Accessed 8 Feb. 2015].