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Even in a design where the aesthetic outcome is open, there always exists fabric width as the parameter or constraint, with the resulting ‘problem’ of waste to be solved. When engaging with the zero-waste redesign of an existing garment – we know its overall desired form, but we strive to achieve something similar without making so much waste – so the design ‘problem’ is the waste. Zero-waste fashion design could be seen as a practice concerned with solving a problem.
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Rissanen ( 2007) discussed the relationship between two-dimensional (2D) and 3D processes in fashion design and pattern cutting, and identifies that a number of commonly utilised methods can pose significant problems for waste elimination from the designers perspective. Written before the emergence of successful 3D design tools, Rissanen’s categorisation still provides a clear framework for the analysis of emerging workflows for zero-waste practice made possible with digital tools. Rissanen ( 2007) expands on our understanding of design processes (including pattern cutting) by articulating eight design workflows from idea to sample ( Figure 1), and discussed them for their potential to consider waste elimination. The more ‘random’ and holistic practices favoured by creative pattern cutters make an uneasy fit into most commercial fashion. The nature of the industry – that it is predominantly linear, siloed and cost-sensitive – means that divisible, sequential design processes are favoured. 12) two distinct fashion design processes – Linear and Random – creative pattern cutting likely fits into the later. Recent conferences 3 dedicated to creative pattern cutting have highlighted the increasing rejection of the design–pattern cutting divide. Almond ( 2010), in contrast, writes that the ‘luxurious art’ of creative pattern cutting generally has a more holistic and collaborative approach between design and pattern cutting. Here, like McKelvey and Munslow, design and pattern cutting are not part of the same stage of a process. While ‘Make’ includes an iterative first patterns and second patterns stage, followed by production sample, factory sample and lastly final production. Here ‘Design’ includes – in sequence – research, ideation, concept development, design development and design selection. James, Roberts, and Kuznia’s ( 2016) articulation of the traditional fashion production process is divided into design and make. Implying that pattern cutting sits slightly outside of basic fashion design practice. McKelvey and Munslow ( 2012) write that despite pattern cutting being an implicit part of the fashion design process, they will not discuss it in depth because ‘we are dealing with the basic design process’ (p. This process of seeking aesthetic difference as achieved through sketching is the dominant design process taught to and utilised by fashion designers.
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Lee and Jirousek ( 2015), when articulating Cross’ ( 2001) ‘designerly ways of knowing’ for fashion designers, describe the ‘design process path that can be traced in every stroke of a professional designer’s sketches’ (Lee & Jirousek, 2015). Hallnäs ( 2009) asserts that while the majority of the design industry seeks to solve a problem on some level, fashion differs in its primary goal to introduce aesthetic ‘difference’. 3D software is often primarily used by the industry as a visualisation tool for merchandising and marketing however, this article expands on this use to discuss how as an exploratory design and prototyping tool the software could transform zero-waste design practice in industry, education and research.Īccording to Davis (in Lee & Jirousek, 2015), the goal of an apparel designer is to create aesthetically pleasing garments by manipulating design elements conditional on design principles. Most attempts in industry to reduce waste occur at the marker making 2 stage, and not at the design stage where the majority of waste is determined. 19) of the cloth needed to make a garment.
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4 Runnel, Raihan, Castle, Oja, & Bhuiya, 2017, p. Conventional fashion production wastes between 15 and 25% (Rissanen, 2013, p. 1 Zero-waste fashion design is the process of designing of garments which aims to prevent the creation of waste when the garment is cut and sewn (Rissanen & McQuillan, 2016 Townsend & Mills, 2013). This article describes the use of 3D software (in this case CLO) in zero-waste fashion design, with a particular focus on its application in the context of the authors Artistic Research PhD.