Materializing the Digital 변형 가능한 직물 3D 인쇄 by Valentina Favaro

Materializing the Digital 변형 가능한 직물 3D 인쇄 by Valentina Favaro is a highly esteemed winner of the very prestigious 2020 A' Design Award 동상 in 텍스타일, 직물, 텍스처, 패턴 및 천 디자인 Competition Category.

동텍스타일· 2020

Materializing the Digital 변형 가능한 직물 3D 인쇄

by Valentina Favaro

Client: Valentina Favaro

A' Design Award 동상 Winner in 텍스타일 Category

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The Design

About Materializing the Digital 변형 가능한 직물 3D 인쇄

이러한 디자인은 디지털 시대에 대응하여 프로그래밍 가능한 재료를 사용하여 도시 의류에 움직임을 구현하는 방법을 탐구합니다. 목표는 물질과의 연결과 이에 대한 적응 및 반응을 통해 신체와 움직임의 관계를 분석하는 것입니다. Materialization은 물질적 형태를 취하는 것을 의미합니다. 강조는 현실과 인식입니다. 운동을 구체화하는 것은 개념적, 사회적 목표뿐만 아니라 기능적 목표도 가진 길이다. 영감은 다양한 스포츠 활동에서 우리 몸의 모션 캡처를하는 것입니다.

The Recognition

About the A' Design Award 동상

Materializing the Digital 변형 가능한 직물 3D 인쇄, 이 작품은 A' Design Award 동상 수상작으로, 창의성, 독창성, 영민함으로 돋보이는 뛰어난 디자인에 수여되는 높은 권위의 인정입니다. 동상 수상작은 충분히 숙련되고 인상적으로 창의적인 작품으로, 디자이너의 폭넓은 경험, 상상력, 기지를 입증합니다. Materializing the Digital 변형 가능한 직물 3D 인쇄, 이 작품은 높이 평가받고 감탄과 사랑을 받는 사물로서 두드러지게 전문적이고 혁신적일 것으로 기대됩니다. 이 동상 수상 디자인은 예술, 과학, 디자인, 기술의 모범 사례를 담고 있으며 세부에 대한 주의로 훌륭합니다. Materializing the Digital 변형 가능한 직물 3D 인쇄, 이 작품은 필요를 훌륭하게 충족하고 욕망에 닿으며 감정을 매료하고 호기심을 불러일으킵니다.

Behind the Design

Press Kit

Credits, team members and technical details provided by the designer.

Unique Properties: These designs explore how movement can be embodied in our urban garments through the use of programmable materials in response to the digital era.Aiming to analyze the relation between body and movement, through the connection with materials, and their adaptation and reaction to this. Materialization means to assume material form: the emphasis is on reality and perception. To materialize the movement is a path which has not only a conceptual and social goal, but also a functional one.
Dimensions & Packaging: Transformable 3d printed fabrics are a research based on the development of programmable materials. Printing with a solid material ( in this case verbatim primalloy to assure the right solidity meanwhile being flexible on the body) on a stretched fabric, means when the fabric will be released it will take different shapes based on the texture which has been printed.
Every piece of fabric has been done 40 for 40 cm when stretched ( the dimension of the available 3d printer I had) and less, depending on the texture, when realised.
In these way fabrics become adaptive and reactive.
Before it the use of motion capture has been really useful to understand body movements during the activities and to analyze and research to later design.
Tags: programmable fabrics, transformable fabrics, digital era, 3d printing, movement, adaptation, reaction, materialisation, changeability
Production Technology: This work focuses on the programmable fabrics: this means fabrics which are stretchable and can react, trough shrinking, to the contrast of the more solid matter 3d printed on them.
In prestressed textiles, textiles with a high degree of elasticity, such as neoprene and jersey, can be used as the active material of the programmable composite. Less elastic material, such as plastic, can be used as the non-active material to structure the textile and constrain its stretched state.
Moreover the research beginning the shapes study, and done on the movements of the body during different activities, has been done through the motion capture of people biking, running and skating.
Design Challenge: The hardest part has been facing the production possibilities, and still is open a question on how to produce the collection on a large scale.
Besides also the design challenge of putting together a conceptual reflection on our time, and a functional study for our body.
Research: The aim of this research is to analyze and underline the relation between body and movement, through the connection with materials, and their adaptation and reaction to this. This research explores the possibility to create a new category of fabrics
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The narration behind this is a reflection on the digital ages we are living in, where virtual is overwhelming the physical aspects of life.

We are now the new tribe of digital natives. Digital people in digital environments. The research explores the question: how can movement be embodied in our urban garments through the use of programmable materials in response to the digital era?
Moreover, in support to the conceptual world of materialization versus volatility, of tangible vs intangible, physical vs virtual, it follows an investigation on what is movement, how we can produce and trace it.
The focus is on the challenge of materialize our movements, in order to bring awareness on our situation.
What would be a world only virtual? How can we save the material world?

We need to investigate the essence of our physical body, the movement. This is the story, or better say, the wardrobe, of our new digital era; of the materialization of movement.
Inspiration: These designs investigate the possibility to create a new category of fabrics enabling movement and using it as source of inspiration for the creation of new shapes. The narration behind this is a reflection on the digital ages we are living in, where virtual is overwhelming the physical aspects of life.
We are now digital people in digital environments. How can we save the material world?
This is the story, or better say, the wardrobe, of a digital era, of the materialization of movement.
Project Duration: The project started in Ravensbourne university in January 2019 and ended as my own dissertation in October 2019.
Operation Flow: These clothes have been design studying a way to embrace the movement of our body and, at the same time, as a reflection on how this digital era is making everything more virtual, literally tracing the shape of movement on fabrics. So both, functional and conceptual.
On the practical aspect this has been made choosing three activities that are riding our urban scenario (biking, skating and running), and which makes us needing adaptable clothing more and more everyday.
People movements, making these activities, have been analysed through the use of motion capture. The movements has been traced through the use of Maya software, and after it studied and elaborated into skatches.
In these phase the functional part has been interwoven with the conceptual one.
Once decided the shapes and movements for every outfit, the fabrics has been stretched on a 3d printer and printed, so once released it could shrink into shapes.
After this the design was sewn ( due to the little dimension of the 3d printer plate every part has been divided in more and sewn together)
Image Credits: Image #1: photographer Suthathip Saepung/ model Savannah Smith/ model Sara Dett /creator Valentina Favaro
Image #2: photographer Suthathip Saepung/ model Savannah Smith/ model Sara Dett /creator Valentina Favaro
Image #3: photographer Suthathip Saepung/ model Savannah Smith/ creator Valentina Favaro
Image #4: photographer Suthathip Saepung/ model Savannah Smith/ creator Valentina Favaro
Image #5: photographer Suthathip Saepung/ model Sara Dett /creator Valentina Favaro