Tech-Couture: Behind the ‘Seamlessness’ of 3D Printing

I recently became aware that a home could one day, be ‘built’ in less than a day, by a 3D printer. Astonished by this, I began to wonder about the possible effects of 3D printing on the fashion industry. After reading this article on LuxuryDaily.com, it became clear to me that there are many ways this could shake the industry, and the world, as we currently know it. While there are many benefits to 3D printing, it is a quickly growing technology, and the potential of rapid industry acceleration that it offers on various levels is not something that I feel neither companies or consumers are yet ready to embrace. Much 3D printing has been recently used for prototyping and custom artistic exploration, but as the technology becomes perfected and companies such as HP are developing their own printers, many concerns arise. From the law-protected classification of “Haute Couture”, to sales and consumer customization, as well as intellectual property infringement, the industry as a whole is running out of time to find the answers to a growing list of questions.

3D printing has not yet become readily available for mass production, much in part to what the retail price of the product would equate to. Designer Iris van Herpen has been incorporating 3D printed accessories and garments into her collections for Paris Fashion Week. Couture is also unavailable to the mass market, so it makes sense that while 3D printing has been experimented on the wings produced for the Victoria’s Secret Fashion Show, this would also be a technique being explored in Haute Couture. An advocate for 3D printing integrating into the fashion industry, van Herpen sees the possibility of bringing the custom fit aspect of couture to every retail consumer. A technology that is bound to “trickle down to ready-to-wear”, to combine 3D printing with existing white-light body scan technology will eventually eliminate ill-fitting clothing from every consumer’s wardrobe. In terms of globalizing the industry, this is a very important thing to consider; this would ultimately affect not only retail buying techniques, but ultimately also the industry’s production calendar.

To further understand the impact that 3D printing could have on Haute Couture, I looked into the work of designer Michael Schmidt. He was commissioned to create a custom gown for burlesque icon Dita von Teese in collaboration with a 3D printing symposium held during New York Fashion Week in February 2013. Working with architect Francis Bitonti, the duo created a seamless, custom fitting gown with “3,000 articulated joints rendered within the printing process itself”. The printed material was lacquered and hand-embellished with Swavorski crystals. The custom fit and hand-finished elements are techniques that aid in classifying a garment under the legal “Haute Couture” luxury status. As this technological movement gains progression, will thread and needle become obsolete? I can just imagine Charles Frederick Worth rolling in his grave at that suggestion.

The issue of supply and demand is something that is essential to be addressed. We live in an age where a coveted, limited edition sneaker is being resold on eBay for over $16 million dollars. With companies such as Nike jumping on board with 3D printing technology, it is only a matter of time before it is adapted to the Ready-To-Wear and luxury markets. If not integrated slowly, this technology has the potential to disrupt retailers due to the need-it-now culture we’ve allowed ourselves to become immersed within. Buying, distribution, and production calendars as well as ultimately the design cycle itself could be shattered from instant, in-store customization. The rapid financial growth that 3D printing suggests is tempting, but the faster production that this new technological revolution offers is something that we must approach with caution.

Intellectual property violations are another concern to touch upon. It was suggested in the LuxuryDaily article which I initially read, that when eventually adapted to the luxury market, companies should explore a process to embed anti-counterfeiting technology into their product to protect their trademarked logos. This could halt the production of 3D printed counterfeit handbags and accessories, but then fast-fashion is now an even larger threat. The turn-around time to “knock-off” a runway look would drastically decrease, further questioning an already hazy line between inspiration and plagiarism.

While the industry has much to discuss, there are many positives to be had from 3D printing if handled from a globally ethical standpoint. LuxuryDaily encourages companies to begin questioning the inevitable impact that this technology is bound to have our our industry. Less waste and faster production will allow for company funds to be used elsewhere, perhaps towards further marketing to the Asian consumer. In relation to this, it is interesting to note that China has now developed the largest capacity of 3D printing, and Shanghai has recently hosted the first 3D printing festival. With luxury conglomerates already hesitant to enter the world of e-commerce, further expansion into the Asian markets forces both technologies to be addressed – and quickly.

It is inevitable that as this technology is perfected and industry regulations are set, 3D printing will become a common production technique. The retail facilitation alone that this process offers serves as a great beneficial component to both couture and ready-to-wear designers. Not only this, but as 3D printers become more affordable and accessible, emerging designers and local boutiques are bound to thrive from the innovation as well. If controlled by councils such as CFDA and The French Federation of Fashion and of Ready-to-Wear of Couturiers and Fashion Designers, the financial surplus 3D printing will bring to the industry could assist with the development of local fashion councils in developing countries. Ultimately, not only does this technology serve to further globalize the production and sale of fashion, but also the cultural globalization and collective human understanding in an industry notorious for being culturally exclusive.

June 2013 – Michael Schmidt, The First Fully-Articulated 3D Printed Gown

September 2013 – Francis Bitonti, New Skins: Computational Design for Fashion Workshop

January 2013 – Iris van Herpen, Paris Fashion Week

December 2013 – Singapore International Fashion 3D Printing Competition