An exploration into the impact of Laser Technology onto the fashion design process.

Parveen Bazaz: Fashion Designer and Laser Artist

What is Laser Technology and its future? Co2 Flat Bed Laser The Co2 flat bed is one of the most versatile for fabric experimentation. • Can be used on a vast array of materials including fabrics. • Creates a range of effects including cut-through, engrave and raster. • Large flat bed for ease of use.

Current Laser Technology Products • Cards, Stencils • Interior decoration, home upholstery • Commercial Appliqué • Commercial pattern cutting • Fashion garments Figure  1:  Robert  Ryan  Laser   Cut  card  

“…technology  essen:ally  broadens  my   language  as  a  designer.  I’m  interested  in   languages  that  allow  you  to  go  beyond   considera:on  of  the  body  or  ‘normal’  clothing   to  create  new  ways  of  looking.  The  importance   of  technology  in  my  work  is  that  it  presents  a   fresh  means  of  expression.”          

(Hussein  Chalayan  from  Lee,  Suzanne  2001  pg95.)    

My intentions

 

• To  challenge  how  designers  use  Laser   Technology  and  how  it  is  incorporated   into  the  design  process.  

  • To realise if Laser Technology can change a designers’ design methodology.

  • To use laser technology as a creative design aid rather than as a mechanical tool. • To demonstrate how laser technology can be incorporated into fashion.

Chloe   HSerman   Fall   2006   /W   0R1/02   eady   Ctut   o   W Collec:on   ear   Giles  DDaniel   eacon   pring   0A 8   Ready   to  W ear.   Laser  cut  dress.    

Laser Development – Fabric Distortion

Develop a pattern or manipulate the surface of a textile by investigating: • Line distortion. • 3D fabric manipulation. • Double sided fabric. • Layered Fused fabric • Heat sealed edges • Sectional fused fabrics Figure 5: Bridge Line pattern laser cut on to Duchess Satin

Figure 6-8: Laser cut fabric draped on the body.

Laser Development – Fabric Distortion

Fig 9: Laser cut flap pattern sample

Fig 11: Satin ‘flap’ laser sample, pleated horizontally to create a 3D fabric

Fig 10: Laser Cut pleated flap pattern sample

Creative Pleating and Folding

Figure  12:  Laser  cut  pleated  paper  silk,  own  sample  

Figure  13:  Laser  cut  sleeve  draped  on  the  body  

3D Shapes - Toiling • How laser cut textiles drape and react on the body. • Understand if the changes to fabric properties, can withstand shaping around the body? • Creation of new effects, mixing of pleating and laser cutting. • Realisation of scale in relation to the body. •  Generation of silhouette shapes in relation to laser cut textiles.

Figure 14-16 Draping of laser cut textiles, own samples

Laser Cut Sleeves Figure 17-19: Conceptual garments created by using laser cut textiles, demonstrating how laser technology can dictate the garment silhouette.

Laser Cut Sleeves

Figure Figure21: 20:Laser LaserCut Cut‘Flaps’ BridgeSleeve Line Sleeve

Laser cut sleeve details

Figure  22  &  23  :  twisted  sleeve  detail  

Twisted Sleeve

Figure 24

Laser Cut Dress -Development

Figure 25-28: The shape of the dress is enhanced by the directional laser pattern demonstrating the effect of considering laser technology during the design process.

Directional Laser Cutting

Figure 29: Laser cut dress detailing

Changes to my design process • Integrating technology into my design process. • Considering the effect of the technology on to the fabric prior to designing . • Development of textiles and fabric to co-inside with the theme/ trend/concept. • To use the laser technology in less traditional manner, pushing the creative boundaries. • The process of development – the laser cut pattern is refined as it is placed on the body. • A longer period of time is spent developing the prototype, rapidly reducing the manufacture time. • The application of lasers has become more sophisticated, it is moving beyond intricate pattern cutting to considered placements of designs and patterns. It is not about over stated obvious laser cutting but using it is an understated intriguing method which will allow to be more appealing and wearable. Figure 30-33 Laser cut garments

Final Design (Fig: 34-37)

Images    

Bibliography  

Figure  1:  Robert  Ryan.  2009  These  Bells  Will  Peal  h[p://rob-­‐ryan.blogspot.com/   • Figure  2:    Daniel  Herman  A/W  01/02  Cut  Collec1on–dress  www.danielherman.com/en/start.php   • Figure  3:  Giles  Deacon  Spring  08  Ready  to  Wear.  Laser  cut  dress.  www.style.com   • Figure  4:  Chole  Fall  2006  Ready  to  Wear  Laser  Cut  Dress.  www.style.com   • Figure  5:  Parveen  Bazaz.  2009  Laser  cut  sample:  bridge  line  pa>ern  on  Duchess  Sa1n.  Own  sample.   • Figure  6:  Parveen  Bazaz.  2009  Laser  cut  sample:  bridge  line  pa>ern  on  stretch  jersey.  Own  sample.   • Figure  7:  Parveen  Bazaz.  2009  Laser  cut  sample:  bridge  line  pa>ern  on  silk  taffeta.  Own  sample.   • Figure  8:  Parveen  Bazaz.  2009  Laser  cut  sample:  bridge  line  pa>ern  on  sa1n.  Own  sample.   • Figure  9:  Parveen  Bazaz.  2009  Laser  cut  flap  pa>ern  sample  on  to  sa1n.  Own  sample   • Figure  10:  Parveen  Bazaz.  2009.  Laser  Cut  pleated  flap  pa>ern  sample  on  silk  taffeta.  Own  sample   • Figure  11:  Parveen  Bazaz.  2009.  Sa1n  ‘flap’  laser  sample,  pleated  horizontally.  Sa:n.  Own  sample     • Figure  12:  Parveen  Bazaz.  2009  Laser  cut  sample:  pleated  paper  silk.  Own  sample.   • Figure  13:  Parveen  Bazaz.  2009  Laser  cut  sleeve  draped  on  the  body,  sa1n.  Own  sample   • Figure  14:  Parveen  Bazaz  2009.  Laser  cut  ‘flaps’  skirt,  duchess  sa:n.  Own  sample   • Figure  15:  Parveen  Bazaz.  2009.  Laser  cut  ‘bridge  line’  pa>ern  onto  pleated  sa1n.  Own  sample   • Figure  16:  Parveen  Bazaz.  2009.  Laser  cut  ‘flaps’  skirt,  Silk  Dupion.  Own  sample   • Figure  17:  Parveen  Bazaz  2009.  Conceptual  laser  cut  garment.  Computer  Aided  design.  Own  sample   • Figure  18:  Parveen  Bazaz  2009.  Conceptual  laser  cut  garment.  Computer  Aided  design.  Own  sample   • Figure  19:  Parveen  Bazaz  2009.  Conceptual  laser  cut  garment.  Computer  Aided  design.  Own  sample   • Figure  20:  Parveen  Bazaz.  2009.  Laser  cut  ‘bridge  line’  sleeve,  sa:n.  Own  sa:n     • Figure  21:  Parveen  Bazaz.  2009  Laser  cut  ‘flaps’  sleeve,  sa:n.  Elen  Arrowsmith  photography.     • Figure  22&23:  Parveen  Bazaz.  2009.  Laser  cut  ‘twisted  flaps’  sleeve  detail,  sa:n.  Elen  Arrowsmith  photography.     • Figure  24:  Parveen  Bazaz.  2009.  Laser  cut  ‘twisted  flaps’  sleeve,  sa:n.  Elen  Arrowsmith  photography.   • Figure  25-­‐26:  Parveen  Bazaz.  2009.  Final  dress  toile,  planning  laser  cut  pa>ern  and  direc1on,  calico.  Own  sample   • Figure  27-­‐28:  Parveen  Bazaz.  2009.  Final  dress  toile,  direc1onal  laser  cuLng,  sa:n.  Own  sample   • Figure  29:  Parveen  Bazaz.  2009.  Laser  cut  ‘flaps’  dress  detailing,  duchess  sa:n.  Elen  Arrowsmith  photography.     • Figure  30:  Parveen  Bazaz  2009.  Laser  cut  ‘flaps’  dress:  close  up,  duchess  sa:n.  Own  sample   • Figure  31:  Parveen  Bazaz  2009.  Laser  cut  ‘flaps’  sleeve  toile,  sa:n.  Own  sample   • Figure  32:  Parveen  Bazaz  2009.  ¼  scale  laser  cut  ‘flaps’  dress  toile,  duchess  sa:n.  Own  sample   • Figure  33:  Parveen  Bazaz  2009.  Laser  cut  ‘plain  flaps’  dress,  duchess  sa:n.  Own  sample   • Figure  34-­‐37:  Parveen  Bazaz  2009.  Laser  cut  ‘flaps’  dress,  duchess  sa:n.  Elen  Arrowsmith  photography.  

Books  

• Gale,  Colin.  2004.Fashion  and  tex:les.  Oxford,  UK  ;  New  York  :  Berg.   • Lee,  Suzanne.  2005.  Fashioning  the  future:  tomorrow s  wardrobe.  London:  Thames  &  Hudson.   •   Braddock,  Sarah,  1998,  Techno  Tex:les:  revolu:onary  fabrics  for  fashion  and  design.  London:  Thames  &  Hudson.   •   Braddock,  Sarah.    2005.  Techno  tex:les  2:  revolu:onary  fabrics  for  fashion  design.  London  :  Thames  &  Hudson.   •   Gale,  Colin.  2004.Fashion  and  tex:les.  Oxford,  UK  ;  New  York  :  Berg.   •   Holtzschue,  Linda.  1997.    Design  fundamentals  for  the  digital  age.  New  York  ;  Chichester  :  Wiley   •   Kressel,  Henry.  2007.  Compe:ng  for  the  future:  How  digital  innova:ons  are  changing  the  world.  Cambridge  ;  New   York  :  Cambridge  University  Press.   •   Lee,  Suzanne.  2005.  Fashioning  the  future:  tomorrow’s  wardrobe.  London:  Thames  &  Hudson.   •   Leonard  Polly.  2006.  Fashioning  fabrics:  contemporary  tex:les  in  fashion.  London  :  Black  Dog   •   Quinn,  Bradley.  2002.  Techno  Fashion.  Oxford:  Berg   •   Quinn,  Bradley  2009.  Tex:les  designers  at  the  cuing  edge.  London  :  Laurence  King.   • Quinn,  Bradley.  2003.  The  Fashion  of  Architecture.  Oxford:  Berg.     •   Vyzovi:,  Sofia,  2003.  Folding  architecture  :  spa:al,  structural  and  organiza:onal  diagrams.  Amsterdam  :  BIS.   •   Vyzovi:,  Sophia.  2006.-­‐Supersurfaces  :  folding  as  a  method  of  genera:ng  forms  of  architecture,  products  and  fashion  .   Amsterdam  :  BIS  ;  [Enfield  :  Publishers  Group  UK.       Websites   • h[p://rob-­‐ryan.blogspot.com/     • h[p://www.cct-­‐uk.com/html/laser_cuing_machines.htm   • h[p://danielherman.com/en/collec:ons.php?c=aw_0102&s=s&p=1   • h[p://www.gs-­‐uk.com/   • h[p://www.muji.eu/index.asp     • h[p://www.style.com/   • h[p://www.wgsn.com     • h[p://en.wikipedia.org/wiki/Laser   • h[p://www.zimbio.com/Giles+Deacon/ar:cles/2/London+Fashion+Week+Giles+Deacon