As a long-time leader in the 3D printing industry, Stratasys is generally associated with quality technology, accompanied by forward-thinking users bringing us a wide range of complex projects. Associated with everything from aerospace applications to electronics, we have also seen a fascinating variety of innovations in the art and fashion world via Stratasys 3D printers, especially with the recent trend in techniques. direct manufacturing to textiles.
Now Stratasys is working with two new fashion designers, Julia Koerner and Ganit Goldstein. This collaboration follows not only the unveiling of the new 3D printing capability on fabric, but also new examples of such techniques via other designers like threeASFOUR and Travis Fitch. The announcement to New York Fashion Week last year and subsequent haute couture work was apparently just a harbinger of innovation work to come.
While 3D printing continues to offer designers greater freedom in creating complex geometries with fabric, the European Union has funded a research project called Re-FREAM, an effort bringing together designers, engineers and scientists who combine 3D printing and fashion.
To begin with, Koerner has just launched his ARID collection at ARS Electronic Festival, which will be held September 9-13 in Linz, Austria, as a virtual event. Like so many 3D printed projects impacting research, Koerner’s designs take inspiration from nature, while promoting more sustainable technology, reducing energy consumption and also resulting in a substantial reduction in material waste.
The collection includes 38 different pieces, forming a modular design that can be incorporated into an entire dress or âcascaded into a number of different looks and combinations,â according to the press release sent by Stratasys to 3DPrint.com. Koerner relies on Stratasys PolyJet technology to 3D print its colorful and shimmering fashion creations, supposed to seduce by their obvious glamor, but also by their comfort.
Best of all, the designs allow for consumer-specific customizations made possible by 3D scans taken from the wearer. The parts are not sewn but linked together by 3D printed connectors (a first in textile assemblies).
Goldstein’s fashion shows the versatility of this collaborative research by combining artisan techniques with 3D printing for a kimono-inspired dress. After a year in Japan studying Asian design, Goldstein beautifully displays his knowledge of interlacing, handcrafted embroidery and textile painting, also using the ikat coloring method, adopted in Japanese design. Goldstein’s design is also based on a 3D scan of the wearer, resulting in direct-to-textile multi-color printing.
âIn fashion, it’s important that we continually optimize and evolve to introduce new forms of design,â says Goldstein. âOver the past year, I have experimented with many different fabrics and technologies to incorporate 3D printing into textiles. Reaching this milestone takes us away from 2D design and opens up a world of wearable 3D clothing.
âLooking at the fashion world today, I want to introduce a new way of manufacturing – moving from mass production to custom design,â Goldstein says. â3D printing has always offered the ability to personalize design in a way that wasn’t possible before, but to really create a new way of manufacturing you need a new kind of fabric. My goal is to create a new hybrid world of craft and multicolor 3D printing – connecting past, new and future techniques to evolve fashion design.
Koerner and Goldstein both offer impressive and inspiring proof that Re-FREAM’s ambitious goal of digitizing the workflow is possible from start to finish of a design project. Although still in the testing stage, direct-to-textile technology offers further advantages in digital manufacturing with on-demand production as well as the possibility of mass customization.[Source / Images: Stratasys]