Welcome to Fashion as Design

Among all objects of design, our clothes are the most universal and intimate. Every day,
everywhere, everyone wears something, whether a full outfit or nothing more than a tattoo.
Like other kinds of design, fashion thrives on productive tensions between form and
function, automation and craftsmanship, standardization and customization, universality
and self-expression, and pragmatism and utopian vision. It exists in the service of others,
and it can have profound consequences—social, political, cultural, economic, and
environmental.

The first exploration of fashion at The Museum of Modern Art was in 1944, when architect
and curator Bernard Rudofsky organized the exhibition Are Clothes Modern?, intended to
prod museum-goers to reconsider their relationship with their clothes. The question still
holds. Fashion as Design and the 2017 MoMA exhibition Items: Is Fashion Modern?
expand this exploration and shift the focus from the individual to the collective sphere,
highlighting not only the ways in which clothing is made but also the ways in which it
might be made.

Fashion as Design focuses on a selection of garments from around the world—ranging

from kente cloth to jeans to 3D-printed dresses. Through these garments, we’re going to
look closely at what we wear, why we wear it, how it’s made, and what it means. Each
week begins with a conversation between the course instructors that introduces the themes,
items, and questions that we will explore. Hear directly from a range of designers, makers,
historians, and others working with clothing every day—and, in some cases, reinventing it
for the future. Studio visits, interviews, abecedarium presentations, and other resources
will introduce the history and development of each garment and their changing uses,
meanings, and impact over time.

We also want to hear from you. Reflect and exchange ideas with fellow learners in the
discussion forums. Review what you have learned each week through a short quiz and, in
the final week, draw on the discussions and course resources in a culminating, peer-
reviewed assessment. As you progress through the course, we hope you will look at fashion
with more curiosity, awareness, agency, and respect.
Vedio

Welcome to Fashion as Design,

a course that is brought to you by the Museum of Modern Art.
I am Paola Antonelli.
I'm a Senior Curator in Architecture and Design at MOMA.
>> I'm Michelle Millar Fisher.
I'm a Curatorial Assistant at MoMA.
>> Stephanie Kramer, Research Assistant at MoMA.
>> And we're all brought here together by a great project,
which is the exhibition Items: Is Fashion Modern?
It's a very ambitious project because it brings together 111 items of clothing and
accessories that had a strong influence on the world in the past 100 years.
We believe strongly that fashion is a form of design.
We believe strongly that no true design history can be told without discussing
also garments and everything that they encompass, from aesthetics and technology,
to economy, sociology, anthropology, labor practices, the whole world.
That's what we believe that design is, a way to understand more deeply and
with more awareness, the world in which we live.
So we have these two realms.
We have design, we have fashion.
We have the larger world of the Museum of Modern Art that has traditionally
the fine arts and architecture.
And with this course we would like to try and position them together.
>> When we go through this course,
we're going to see pairings of humble masterpieces like the white t-shirt
like perhaps the Panama hat with things that are perhaps more entrenched in a
designer-led mode of fashion that isn't necessarily humble.
But when we take them together, we really see that they're no different from one
another in terms of providing lenses through which we can really uncover some
of these larger issues that both fashion and design allow us to explore.
>> We've played a game during the exhibition preparation where as we've been
walking through the city, we've looked at people who were walking by us and
thought, what are they wearing that's on our checklist of 111?
If you look around you, on a daily basis, you see someone wearing a turtleneck,
a white t-shirt, a biker jacket, a pair of jeans, etc.
And you realize that the subjects that you'll see in this course, the items that
you'll see in this course, really are from the very esoteric to the very quotidian,
things that really do affect us on a day-to-day basis.
>> It really is about not only playing the game and looking at what other people
are wearing, but rather playing the game, which is a serious game, and
look at what you are wearing and understand in delight, and also in really
sense of responsibility, understand what you're putting on yourself.
This is not about punishing people or about taking the fun out of things,
quite the opposite.
We believe that by knowing what is contained in every single garment,
there's going to be just a fuller life presented in front of you, and
also a more, how can I say, a more aware stance as a serious
citizen to be able to push back, accept, and celebrate good deeds.
And instead also,
push the industry towards a more ethical stance when necessary.
>> We hope you enjoy the material in the weeks to come.
And we look forward to hearing what you have to say in the discussion forums.
Incorporating Innovation Into the Design Process
So let's imagine you're a designer in the process of creating a new collection.
Where do you begin?
The fashion industry is more than just making beautiful products and creative
designs.
It's also about context, innovation, new materials, technology and how to incorporate
them into the creative process.
In order to do that, I'd like to address my creative approach and process, in regard to
innovation, new materials and technology.

For me, design is a strange word. I think of it more as creation. In three years four,
were artists who express ourselves with clothes. I say creation because we consider
ourselves creators of garments. We use clothing as a way to communicate ideas, a
means of self expression.

As I once told vogue, most of the time I feel I'm channeling universal energy. The
ideas come through me, not from me. I am really interested in the impact that
technology has on fashion, particularly 3D printing, which is a process that is central
to my design practice. Three years four, have collaborated with materialized. The 3D
printing service bureau, who created a range of software solutions and 3D printing
services, which together forms the backbone of the 3D printing industry.

This has allowed us to create unique forms and geometric shapes for garments, that
could not be constructed using regular materials and fabrics. Essentially 3D printed
fashion, turns movable flexible material into clothing. It's still early, but this method
has a chance to create as much of an impact as the sewing machine. One issue,
however, is speed, as 3D printing was very slow upon its introduction to the industry.
There was also a lack of flexible materials, but fortunately technology has improved,
as material is now available, that can be washed and Ireland like cloth. However, it's
still not as smooth as cotton or flexible as Lycra. That's why for now, most 3D printed
fashion focuses on accessories, like footwear, jewelry and Iowa. Pretty printing is
also an exciting new platform for designers, as it allows them to innovate faster with
reduced lead times. There are also more geometric possibilities with clothing, that
are limited in the physical world. Large companies should pay attention as well, as
through depending can transform their speed to market and supply chain. Fashion is
an ever evolving industry. Keeping in step with new stars has always been a hurdle.
But 3D printing is fast and efficient enough, to maintain success, as the faster
clothing can be printed. The faster it can go into stores. 3D printing is also beneficial
in producing small batch sizes, which can have a positive effect, on capital
requirements and budgeting. Prototyping or sample making is also cost effective and
time efficient with 3D printing and is often referred to as rapid prototyping. However,
no new technology or technological disruption comes without its downsides. 3D
printing is no different. For one, there's issues with copyright, just like piracy is a
problem for the music and movie industries. Design filed piracy could damage the
fashion industry. If someone has a 3D printer, they can potentially steal a design,
and illegally share it and print it, which hurts the original creator. There are also
economic factors, mainly the loss of jobs in the manufacturing industry. Automation
is a concern in many sectors, and since 3D printing requires more from machines
and less from labor, is definitely a few. In the near future, the reality of people
printing close in their homes, and companies making small batch sizes for specific
collections. Will make the business model of large factories manufacturing high
volumes, a thing of the past. And then there's quality control, companies spend
incredible amounts of time and money, to ensure the quality and futures of their
products, as well as their brand image. However, in a decentralized world, if
someone's printing a garment at home, this can all be compromised. Tweaks can be
made to the design, and there's no way to tell that the printing process is being done
correctly, so these are all factors to consider it. In conclusion, technology is generally
beneficial to the creative process. It pushes us to be thoughtful and innovative, by
incorporating new ideas into the process itself. However, as creatives, we must
carefully consider both the benefits and the pitfalls of new technological advances,
within our industry, thanks for watching.
Exploring Different Design Processes Through Collaboration

Fashion design is not a simple task. It fundamentally requires the participation and
collaboration of various value chain members within organizational process,
information, and coordination areas. For me, collaboration is central to my work and
it is how I defined my creative technique and process. threeASFOUR is a
collaboration between creative individuals working as one entity. That is the basis of
our entire creative process. Collaboration happens in many different ways. External
partner collaborations where a designer or brand collaborates with a partner outside
of their organization has become very popular in the last few decades. How does a
collaboration start? Well, it depends on the collaborator. A good collaboration gives
back more than the collaborators bring to the project. Though we will discuss
designer collaborations in the future, I would like to focus on threeASFOUR's
external partner collaborations which have included brands and designers such as
Kate Spade and the GAP, technology companies including Stratasys, an American-
Israeli manufacturer of 3D printers and 3D production systems, Epson, a Japanese
electronics company and one of the world's largest manufacturers of computer
printers, Sony, one of the world's largest manufacturers of consumer and
professional electronic products, and Mimaki, a global industry leader and a
manufacturer of wide-format inkjet printers, cutting plotters, 3D modeling machines.
We have also collaborated with various artists including Lady Gaga, Rihanna, Yoko
Ono, and Matthew Barney. One of our longest collaborations is with Björk for whom
we have produced numerous stage costumes over a long period of time. When we
recently took on the challenge of creating Björk's image for the cover of W
Magazine, we decided to work in collaboration with Christina Cabada, a recent
Parsons School of Design alum who specializes in the medium of motion. Christina
was showing her work as part of the Parsons final exhibition. We saw Christina's
broccoli molds and saw that she had tackled new skin tones, also using fractals that
appeared to be 3D printed but we're not. They looked like they were underwater and
plants-like. It was nicely naive and the result was fabulous. Christina was such a
pleasure to work with. We set to work on a surreal 3D dress, made of these silicone
broccoli shapes. With over 100 molds, the form took on an aquatic feeling like sea
creatures in a brilliant shade of peach, though finding the correct peach was not an
easy task. Collaborating with Björk is a treat because we share the same sensibility.
ThreeASFOUR were doing costumes for Björk's tour and she wanted the costumes
to look like amphibious fairies. Björk said, "You should make me a piece for the W
cover." which was shot by photographer Tim Walker. We did and the next thing we
know, there's a super heavy dress being shipped to London. The inspiration was
somewhat set in place by Björk, who was very specific about color. Her album is all
about peach. Just like Björk, the image on the cover feels very solitary, and it was a
perfect fit between threeASFOUR's silicone coral dress, James Merry-style, who
created the beautiful silicon mask, and Björk's own spirit. For me, the merging of
peach and coral hues and scales and the look we created for Björk resembles a skin
disease. Although strange, the organic shapes create a vivid texture and conjures a
confusion that inspires the onlooker to think of a bit deeper about the garment and
silhouettes. This was a very successful collaboration, providing an outcome that is
greater than all the combined collaborators. A great collaboration provides both
sides with access to something that the other side does not have. Our collaboration
with Epson, for example, gave us access to new technology. In conclusion, fashion,
in general, requires the collaboration of various value chain members across all
stages of the creative process. For a collaboration to be successful, there should be
shared goals and a shared sensibility in order to create a successful outcome.
How to Experiment with 3D Design
threeASFOUR has always sought to blend technology and art. It prides itself for
taking its own course and the fashion cycle. In this video, we will talk about how to
experiment with various media from 2D to 3D. In order to do this, I will reflect on the
threeASFOUR approach to collaboration with Materialise. Who became involved
after experimentation with laser cutting. 3D printing is taking the fashion industry
steps ahead in terms of form and function. I think it's going to alter the fashion
industry enormously, particularly in the area of 3D modeling. The potential for 3D
printing will change the face of fashion. This radical transformation of the fashion
industry by 3D printing is similar to the emergence of LYCRA in the 1980s. Indeed,
the now ubiquitous Lycra changed materiality and the way clothing was made. It also
changed the manner in which garments behave. Think of the athleisure lifestyle
clothing or how skinny jeans suddenly became ubiquitous. Adding Lycra to woven
materials gave fabrics different performance factor, allowing for more comfort and
body conscious fit. I approach 3D printing as a source for tactile fabrics of the future,
which can have some very special properties. For example, I see the possibility for
materials that are heat resistant or cooling. At this moment, we are at the start of that
journey. I'm fascinated by the possibility of different interlocking weaves that would
not be possible without 3D printing. Many more shapes can be created with 3D
printing versus traditional fashion cutting methods. 3D printing is both about function
and form. In 2013, threeASFOUR began collaborating with Materialise. The result
was the Mer Ka Ba collection, which took 3D printing and fused it with avant-garde
couture, architecture and video projections. Our inspiration for the collection was the
sacred geometry and tile patterns found in places of worship such as synagogues,
churches, and mosques all throughout the world. These motifs were then combined
with modern design aesthetics to emphasize what I like to call threeASFOUR's
hybrid identity and utopian vision. We were then joined by Materialise, an architect,
Bradley Rothenberg, who assisted us in developing 3D printed textiles based on
symbolic lattice work. I conceptualized threeASFOUR spring, summer 2016
collection as a meta-retrospective. This work looked back at familiar motives while
pushing the envelope of technological innovation. The challenge was to forge a true
marriage of traditional tailoring and contemporary 3D modeling. I did this by using
3D printed surfaces as pattern pieces, as if they were fabric being cut into [inaudible]
and sections of the dress. threeASFOUR's dress design belongs to a category of
fashion that is more about peace urging the future than evoking the possibilities of
pet up or take. Joined once again by Bradley Rothenberg, threeASFOUR and
materialize, created an example of how ingenious 3D fabric weaves multiplied and
the geometry became more intricate. The dress reads as an extension of the body of
the model. Whereas sheer portions revealing the flesh beneath the complex weaves,
a 3D printed fabric. While the projecting portions suggest delicate, elegant, lacey
outcroppings of the landscape of the body. Historically haute couture, has never
been about wearability as much as it has been about potential. With threeASFOUR's
latest design and it's significant collaborative efforts combining couture, architecture
and 3D modeling and printing, we've been provided with a scintillating glimpse of the
future of fashion. In conclusion, 3D printing will live in undeniable impact on the
fashion industry. Now that the 3D printed dress is a success, mass production of this
apparel is on the horizon. Looking forward, the potential of printing our own clothes
at home is another strong possibility. Look no further than the iconic Q-printer
designed by Scott Summit, that's become more readily available. Thanks for
watching everyone.
Experimenting with Draping, Assembling, and Constructing
In this video, we'll talk about the three-dimensional design process, which includes
draping, assembling, constructing, and looking at the body in geometric shapes. I'm
obsessed with and thrilled by creating garments with one team, one piece of fabric,
making two focal points by trying to use one piece of fabric. The drape on
construction mixed together to create a singular defining shape. It's really about
constructing a garment from what is inside the body. I am fascinated with connecting
the holes in the garment, like connecting the arm hole to the neck hole and so on.
This has been a guideline to my creative process, to start the spiral and finish the
spiral. I love spirals that look like stingrays or cartoon animals. Signs and symbols
that can be used to create a garment. It's a fun process and it makes fashion less
burdensome, as well as more playful. My main three-dimensional design process is
to put the scenes around the energy flows of the body. I'm interested in areas like
the respiratory system and vascular systems. I cut garments following the energy
lines of the body. I see the respiratory system of a human and the leaf basically the
same. It's circular and it's about connectivity. I believe everything is connected. Even
though humans tend to separate from one another as a species. That is why I'm
attracted to circular design. Everything comes from a circle and comes back to a
circle. These are cycles of life. The work of Pierre Cardin is one of the greatest
examples of using the circular in construction and clothing. Now he founded his
fashion house in 1950 and in 1954, he introduced the bubble dress, a short-skirted
bubble-shaped garment made by bias cutting overs different base. He's known for
his avant-garde style and space H designs, which preferred geometric shapes,
motifs, and unisex experimental designs. Let's now consider how a designer can
resolve the form of the body in an aesthetic way. How can seam placements
optically change the shape of the body. We will reflect on the work of French fashion
designer, Madeleine Vionnet, whose pioneering work with the bias cut and drape,
put these ideas in contexts. While many designers create garments using flat pattern
techniques, garment designs can also be created by working directly on a
mannequin using techniques often referred to as draping. Draping could be seen as
sketching in fabric. It's when an entire pattern is drafted on the flat surface for
measurements using rulers, curves and straight edges. You can carry out draping in
category or muslin or directly with the final fabric. This depends whether your
creation is a one-off design or if you need the patterns so that date details can be
duplicated. Draping lends itself to creativity as you can quickly mock up different
ideas and concepts on the mannequin and experiment with different silhouettes
before committing to the construction of a single idea. During this process, you may
work so fast that you lose yourself in the fabric, moving and repositioning without
any care of changes. Therefore, it is important to take photographs and draw
sketches as you work through these experimental stages. Also take notes as some
details and construction elements may not be detected by photos. For instance, the
position of grain lines on rough sketches may affect the way the fabric shapes to the
body. Let's look at the limitations of draping on a mannequin. One point to be aware
of when draping on a mannequin, is that designing understand will tend to
encourage you to create very body conscious garments. Be mindful that this can
lead you down a path where the end design may seem a bit generic. Ask yourself a
bit more interesting result would be by creating a base structure first and draping
over that. Or perhaps position objects and shapes on the mannequin only to remove
them later so that the excess fabric hangs off the body. You can even pin,
manipulate or alter the shape of the fabric first before even beginning to draping on
the mannequin. Don't be afraid to mix up the process as happy accidents are bound
to occur. In order to fully understand the process of draping, let's examine Vionnet's
work was called the Queen of the bias cut, and the architect among dressmakers.
Beyond she is best known for her elegant Grecian style dresses and for popularizing
the bias cut within the fashion world. She was inspired by ancient Greek art in which
garments appear to float freely around the body rather than distort or mold it's
shape. Vionnet is credited with inspiring a number of contemporary fashion
designers, including [inaudible] , Halston, John Galliano, [inaudible] , and Isimiaki,
who upon seeing Vionnet's work for the first time, remarked that the impression was
similar to the one that one fields at the site of a woman emerging from bathing,
draped only in a single piece of beautiful cloth. Vionnet viewed core sets, padding
and stiffening as unnecessary distortions of a woman's natural curves. Influenced by
the modern dances. [inaudible] , Vionnet envisioned designs that accentuated the
natural female form. Already an established designer in the 1920s, Vionnet turned
heads when she began cutting cloth diagonal to the grain of the fabric, which
enabled it to cling to the body as the wear moved. While Vionnet didn't invent this
technique called bias cuts, she was the first to utilize it for entire garments. Vionnet
use of bias cost to create a lustrous and material look, Transform women's clothing
and placed her firmly atop the fashion world. An expert Couturier Leoni developed
the technique by using it in its traditional form on skirts, trims and embellishments
which she then applied to full body the dresses. She keenly understood that cutting
textiles on the bias could be draped to not only match a woman's natural curves, but
demonstrate fluidity of motion as well. Her seemingly simple styles were deceptively
elaborate. In preparation, she did everything from printing fabric onto miniature dolls
to recreating full garments on life-sized models. They also use curious materials for
the time period, including Gulbuddin, [inaudible] and Saturn. Classic Vionnet styles
include the cowl neck, handkerchief dress, and how to top. In conclusion, there are
several key points to remember. Draping is a useful tool in the pattern-making
process and could be seen as sketching in fabric. The bias cut as personified by the
pioneering work of Madeleine Vionnet, is a technique for cutting cloth diagonal to the
grain of the fabric, enabling it to cling to the body while stretching and moving with
the wear. Textiles cut on the bias where the woven or knitted can be draped to
match the curves of a woman's body and express fluidity of motion. Finally, a
successful three-dimensional design process is really about constructing a garment
by considering whether it's inside the body. It is both exciting and inspiring to
discover what techniques, fabrics and shapes inspire your own work. Experiment
and take yourself on a journey. Thanks for watching.