3D Printing, The Third Exploration In 3D

In order to understand where we are headed with 3D technology it is important to look back and see where we have come from and to put it into perspective, Julia Haselhorst from TFIA presented an excellent overview in her presentation at 3 Explorations in 3D held earlier this month.

Outlining what Chris Anderson, CEO of 3DRobotics, had described in relation to the Maker Movement when he spoke of the industrial revolutions that we have experienced over the past century. The first industrial revolution was about mechanisation, replacing people power with machine power, creating intelligent and efficient production lines where before it was all manually done. The second being a computer revolution and the democratisation of computers, when everyone gained access to a PC and the internet. This digital community has changed the way we live and work in the world today. The third revolution in his opinion will be the meeting of the two, which is what we are experiencing now with 3D printing. The combination of the industrialised machine and the digital space, with designing and printing of products in new materials.

This begs the question of, “is everyone then a manufacturer?” It certainly means that everyone is able to make a prototype of what they would like to see manufactured. We see this now with 3D printed accessories ranging from sunglasses, to necklaces, bracelets and shoes. Similar in a way to everyone having a sewing machine at home you can make your own clothing.

The 3D printer is fairly easy to use and with access to open source software, we can collaborate on designs, and share ideas, and in doing so remix, refine and in some instances improve on the original product. This can however have copyright and design ownership issues when large profits are gained from a new or reworked design. There is a shorter lead time from prototyping with a 3D printer to entering the commercial space. Commercialisation is made easier by awareness through social media helping to promote products and start-ups having platforms like Etsy to sell their items on. Websites like Kickstarter campaigns encourages entrepreneurs to put their ideas online to get sponsorship in order to enter the commercial domain.

There are many opportunities to be explored with 3D printing. Julia spoke on the work being done at Cornell University, lead by Dr Hod Lipson director of Creative Machines Lab; also a co-author of the book “Fabricated: The New World of 3D Printing”. One of the points he makes in regards to 3D printing is that “complexity is free”, as apposed to traditional manufacturing where any depth of complexity is expensive. Julia used high heel shoes to illustrate this, pointing out that although the design time for a complicated heel could take longer in drawing, the actual printing of the intricate shapes and twists take the same amount of time as a standard heel shape. Thereby, allowing designers infinite possibility and freedom with shapes, because there are no longer financial constraints or worry about how much that is going to cost in production. An example of this is Marla Marchant’s shoes which have a strong architectural reference shown at the Digital Fashion conference in London, as seen below.

Another great aspect to come with 3D printing is that “variety is free”. Designers no longer have to commit to one style, and multiple styles in a range of colours can be tested on the target market, without the minimum unit orders that come with traditional manufacturing. This also offers great opportunities for personalisation and one-offs in an ever increasing market for customised products. There is also little to no assembly required, especially for smaller objects which are printed in one, because with 3D printing it prints in layers and so reduces the cost of manufacturing further. Although, currently dresses are printed in parts and fused together which may change with large capacity printers. Printing on demand means shorter lead times, it has implications for the supply chain but also means less waste which is environmentally sustainable, if we are mindful of what we print. Little to no inventory or sample sales means businesses only make what is needed without holding stock where demand is uncertain. This is greatly advantageous to small companies who often can’t make the minimum number of units required in manufacturing and when taking risks with design innovation could mean make or break. It sets creativity free!

 "Unlimited design space” The concept is realised in a work of collaboration between designer Michael Schmidt and architect Francis Bitonti, with the nylon dress made to measure for Dita Von Teese. Fashion draws on the experience of architecture when it comes to CAD systems and structure. As 3D clothing advances so fashion will rely heavily on other disciplines for example science labs to develop new materials. Another example of this fashion/architecture cross disciplinary collaboration is Iris van Herpen’s white coat from Spring Summer 2013 Voltage collection, which looks like it has been made of paper. Iris has this to say: “That piece was made from a very light but very strong technical material that the architect Philip Beesley has introduced me to. The material is super thin and it’s laser cut, and Philip has balanced out the shape so well – cutting it a little bit shorter here, and then a little bit longer there – that it just stands out and holds  itself. It’s really a miracle structurally!” The quote is taken from Talking Fashion by Jan Kedves.

 Joshua Harris, an industrial designer who helped create and conceptualise an in-house clothing printer for use in 2050 is a fascinating futuristic example of where you print what you need for immediate use and recycle the material at the end of the day. The project made it into the semi-finals of the annual Electrolux design competition. Although this idea of never wearing anything twice or washing and returning to a wardrobe may seem unrealistic, elements of this concept could very well be a reality one day. 3D printers are already coming down in price and are relatively easy to use if set up by a technician for a low skilled operator. 3D printing as a process creates less waste and is far more efficient in carving, cutting and moulding than traditional manufacturing which has been responsible for polluting and sometimes wasteful in energy and resources.

 

3D printing also necessitates the need for innovation in materials, for example printing leather and silk. Printing materials with properties that can be programmed, to create fabrics which are sturdy in parts and thinner in other areas, which have strength and get thicker by stretching them because that is the way they are programmed, or a material that repairs itself!! My favourite to date is the idea of a garment made of a metabolic fabric that could potentially grow with you from childhood into adulthood.

Touching on the skills that a modelista might need in the future and how to educate for this new revolution is challenging, when we see at the forefront of this technology industrial designers and architects tinkering in fashion. It is still craft meets technology, but this will change as demand grows for higher level technicians and specialists. Merging ideas from different industries is very exciting in developing this new technology, a very interesting aspect of 3D printing is the ability to manufacture via remote access, for example in emergency situations to print out what may be needed to potentially save a life.

With all revolutions come risks. Julia mentioned some forerunners to this technology such as photocopiers, scanners and printers. As with the internet and the music industry, file piracy and counterfeiting will need to be controlled through legislation. Perhaps in future we will have “iTunes for fashion”!

Natasha Fagg has made some of the most exquisite 3D printed designs, based on her knowledge of hand embroidery and experience from travelling through India. Through her intense curiosity she began exploring 3D and digital design in 2011 as an elective subject. Natasha graduated from RMIT Bachelor of Design in Fashion with first class honours. For her graduating parade titled “Arthropoda”, she created a range of wearable styles embellished with 3D printed trim elements and motifs. The significant contribution of the collaboration between science, medicine and fashion in this instance can not be overlooked and for many 3D designs the inspiration comes from nature. In this case from insects under the microscope, intimately studied and broken down into a voxel stack and replicated for printing the surface textures that you see on the garments. Natasha is currently London based working at
Alexander McQueen.

 

Iris van Herpen is a pioneer in 3D printing, she is a Dutch fashion designer who also interned at Alexander McQueen before starting her own fashion label in 2007. Her early collections are themes of intricate and dense thread work with panelled corsetry lacing entire areas. crochet panelled leather strips, with sheer fabrics combined with metallic armour is another strong element of her design. She embraced 3D printing in 2010 her with her collection “Crystallization” which was shown at Amsterdam Fashion week, this was a collaboration with London-based architect Daniel Widrig.

Since then this exploration into 3D printing has become her signature and has lead to many creative partnerships, for example architects Philip Beesley and Julia Koener in “Hybrid Holism” 2012. As well as, Neri Oxman of the MIT Media Lab in “Voltage Haute Couture” with new softer more fabric like materials. Her partnering with United Nude’s Rem D. Koolhaas and Stratasys, in “Wilderness Embodied” 2013 led to the tree-root like bootlets. The imagination and science behind her work is truly impressive, considering that when she grew up she was never interested in computers until she was introduced to 3D technology. 3D technology offered her limitless design possibilities and attracted her to this way of working and collaborating.

 

The collaboration between jewellery designer Silvia Weidenbach and architect Tobias Klein in 3D Print Show, London 2012 is a beautiful example of small scale versus large scale and the virtual meeting of two minds. “Impressum”, is in essence a friendship necklace that is printed as one piece, but when broken in two the necklaces separate and the chains fall out of the case becoming individual pieces. So save the elephant ivory and 3D print instead!

 

 “After me, the flood” Valentino said these words in the autobiographical movie “Valentino, the last emperor”. His prophecy is coming true, when everyone is a designer and everyone can be a manufacturer. Apart from 3D printed clothing, the list for 3D printed products is long and varied some examples are edible meat in the food industry, bionic ears and jaw bones in medicine, guns, bullets and rockets in defence. There is a lot of money being invested in research and development. Everyday there are new stories and innovation is moving fast. It is exciting to be witnessing this revolution!

I would like to thank Julia Haselhorst for the fascinating, informative and entertaining presentation. 3D technology is a broad and new subject which she was able to condense into easily understandable and tangible ideas. The TFIA’s Textile and Fashion Hub supports learning and research with the latest cutting edge technology, workshops and training. I have attended a number of these sessions and always come away inspired and motivated to do better. I recommend you check out their website it’s a great place to learn!!