fab textiles

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Future Fabrics Open Call


Yucatan | Mexico, July 26th to August 2nd, 2024

ūüß∂Makers tackling the topic of cultural preservation: Future Fabrics Mexico – Weaving Technology Into Tradition. ūüí°

Future Fabrics, the winning Bhutan Fab City Challenge project strikes again, with a focus on the Mayan weaving and the Mexican cultural heritage.
Join the Fabricademy team, the Future Fabrics group and Fab Lab Yucatan, in a week of immersion into the local tradition of weaving, learning from the experts, and visiting craftswomen weaving communities.

Building upon the methodology developed in Bhutan, the project solutions should be oriented towards three main scopes.

  • How can we preserve traditional arts, culture & crafts
  • How do we make art and culture more accessible
  • Can we foster knowledge exchange and upgrade traditional tools?

Concretely, we seek to research and develop :

  • A downloadable digital vector pattern library of Mayan symbols
  • A second version of an educational weaving kit for kids
  • An assistive solution for the traditional back-strap loom


Makers and enthusiasts from various disciplines are all invited. It is not required to have any previous experience in textiles or weaving. It is encouraged to have experience in working with communities, fostering digital crafts and empowering women in innovation and entrepreneurship. Future Fabrics Mexico has capacity for 25 participants.


Future Fabrics Mexico is led by Fabricademy, in collaboration with Future Fabrics Group and it is hosted by Fab Lab Yucatan, in Merida.


  • Fill in the application in THIS FORM.
  • Register for the FAB24 ONLINE Informative Session, March 14th, 14:00pm CET
  • Submission deadline: April 10th
  • Selected Finalists will be announced on April 25th.

There is no participation fee for the challenge, but the selected applicants should manage their accommodation and transportation independently. Our host, Fab Lab Yucatan we offer access to equipment, tools and consumables as well as lunch breaks.

Future Fabrics MEXICO is building upon the results of Future Fabrics Bhutan. All participants are invited to review the open and extensive documentation of Fab23 Challenge in Bhutan in order to get a better understanding and overview of the scope of the project.


Beyond Fashion will be held from July 26th to August 2nd, 2024, in Fab Lab Yucatan, Merida.

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Beyond Fashion Open Call

Beyond Fashion, Fab24 Mexico | Open Call

Puebla, August 8th, 2024

ūüöÄ We seek visionary projects that go beyond conventional fashion, exploring diverse, more than human, and digital futures at the crossroads of innovation and sustainability. ūüí°ūüĎó

During #Fab24, participants from all over the world will have the opportunity to experience a unique eco-futuristic runway that goes beyond the norms of production and consumption. How do we imagine the future of clothing in a context where we can digitally design, fabricate, and grow our garments? Can our garments become expressive interfaces that are connected and responsive? What will occur when the only remaining resources are waste materials? If you wish to showcase your work in an international platform of fashion pioneers, read through the open call below!


Designers from various disciplines and passionate individuals in textiles, fashion, technology, and sustainability are invited. We welcome participants of all races, genders, and ages, fostering a culture of inclusivity. Participation is open for both individual and group projects.


Beyond Fashion is a collaboration between Fab24 International Fab Lab Conference, Fabricademy, 3D Fashion Week, Ibero Puebla Idit and Fab Foundation. If you share our vision and wish to support our initiative, we invite you to partner with us.



  • Sustainable Biomaterials & Biotechnology
  • Regenerative fashion, Recycling, Upcycling, Circular Design
  • Digital Fabrication, 3D printing, laser cutting, molding, digital knitting or weaving, digital embroidery
  • Wearable technology and E-textiles
  • Assistive Technology and Prosthetics
  • Experimental techniques and Digital Craftsmanship

Beyond Fashion is the second Runway organized during an international Fab Lab Conference. The first Runway was organized by Fab Textiles and Protein Lab UTEM, in 2017, during Fab13 in Santiago de Chile. Coming back to South America, Beyond Fashion Runway 2024 seeks to become a platform for showcasing international talents and bring innovative and alternative perspectives to South America.

Beyond Fashion will be held on the 8th of August 2024 at the Ex-Hospital de San Roque, in Puebla, Mexico.

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DLab Artistic Residency

In January 2019 I had the amazing opportunity to be invited for an artistic residency and workshop at DLab USFQ in Ecuador by my very good friend and amazing researcher Cristina Mu√Īoz to work together on Biofabricated textiles based on starch and natural colorants.

Our collaboration began in 2017, through a collaboration fund from the Universidad de San Francisco, on biomaterials applied to textile fabrication that allowed us to work in distance as co-researchers together with a team of chemical engineers and designers from Ecuador. I was in charge of the methodological supervision in prototyping bio-fabrics and assessing the development of the biomaterials, the fabrication techniques and the product design. As the conclusion of the project, I was invited for a three week artistic residency together with a series of workshops and a public lecture at USFQ.

During the residency we explored  developed further the recipes of starch based bioplastics, explored natural colorants, codesigned a series of garments and established the fabrication protocols for producing them. We experimented with cochineal, since Ecuador has large production of this natural red colorant, whose primary constituent is carminic acid, that is made of the dried and pulverized bodies of female cochineal insects and is used to color food and cosmetics. (freedictionary)

The pattern of this soluble swimsuit aims to bring awareness around the “plastic floating islands” that travel in the open sea.

The pattern was made by using a database by the Sea Education Association showing the urgency

Floating plastic debris sampling in the North Atlantic, by the Sea Education Association.

You can see this data in this interactive map and read the article here

The different laser cut layers for the swimsuit>

Starch based Bioplastic with Cochineal (top + skirt)

You can find the downloadable patterns at OS circular fashion

Research references

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Stamps and Pomegranate Ink


This project is about creating inks and pastes for stamping that can be used as a sustainable alternative for customizing packaging and conference materials such as tote bags, posters, lunch boxes e.t.c.
We experimented on the production of black ink from pomegranate peels applied on various surfaces (cotton fabric, paper) with different types of stamps (ewa foam, rubber, wood).

The technique originates from medieval Europe and was also used traditionally for a long time for dyeing oriental carpets. Due to
high concentration of tannin in the pomegranate and ease of production, it is currently having a renaissance. 
It can be used as an ink for silkscreen printing, calligraphy or textile printing.

The experiments were carried out with differently proportioned ink-rubber mixtures. Furthermore, we tested the effect of vinegar as an additional base solution for preserving the dye.
Basis for our evaluation was the color intensity, the distribution of the ink, the sharpness of contours and the detail of the stamps.
The stamps were laser engraved and cut. The files were images in png format or vectors and various tests for adjusting the laser power were conducted.
To mix your ink, you  can optionally use a magnetic stirrer or mix it by hand with a spoon and heat it to speed up  the dissolution of the gum. Do not boil the ink.  

Adding iron changes the color of the pomegranate liquor to deep black.  Vinegar has no effect on the result, but it can still be used as a preservative. 
Gum arabic and guar gum improve the consistency of the ink (the more viscous the ink, the better the results for stamping on fabric).
1. Recipe – most suitable for rubber and Ewa foam stamps on paper
Stamping Remix El Barrio logo for creating a foodwaste biomaterial kit for workshops.

- 25 ml pomegranate dye
- 1,5 teaspoons gum arabic
- 3 pinches of iron
- optional: small amount of vinegar


- mix the pomegranate dye and the gum arabic until everything dissolved
- add the iron and stir the solution
- optional: add the vinegar
- the ink had to be very viscous, almost like syrup
- cast half of the mixture onto the ink pad
- spread the ink using the roller
- the stamp has to be pushed onto the ink pad so that the letters are fully covered with ink - apply the stamp onto the ground material, putting slowly the stamp on and press down evenly  with a lot of force 

2. Recipe – most suitable for ewa foam and wooden stamps on fabric

- 50 ml pomegranate dye
- a pinch guar gum
- 4 pinches of iron

- mix the pomegranate dye and the guar gum until everything dissolved
- add the iron and stir the solution
- the ink had to be very viscous, almost like syrup
- cast the mixture onto the ink pad
- spread the ink using the roller
- the stamp has to be pushed onto the ink pad so that the letters are fully covered with ink - apply the stamp onto the ground material, putting the stamp slowly on and pressing down evenly. You can optionally scour the fabrics beforehand.
Ingredients:  - pomegranate ink (water based)  - gums (gum arabic, guar gum)  - iron  - water   - optional: vinegar  
Tools:  - ink pad (flat tray with specific material to hold the ink)  - roller for applying and spreading the ink in the tray  - teaspoon  - glass wares (200 ml)  - magnetic stirrer (optional) 
Materials:  - paper  - cotton fabric   - for the stamps: rubber for laser engraving, wood, ewa foam

This research was developed by Anastasia Pistofidou and Pauline Stockmann during her internship at FabTextiles in December 2021.

Many thanks to all the valuable online references:

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STARTS PRIZE ’21 | Remix el Barrio

STARTS Grand Prize ‚Äď Innovative Collaboration: Awarded for innovative collaboration between industry or technology and the arts that opens new pathways for innovation.

Over the last 30 years, plastic production has increased by 620%.
In Catalonia alone, every day, 720,000 kg of food is thrown away. This wasted food, totaling 260,000 tons per year, is equivalent to the food needs of 500,000 people for one year. Remix el Barrio was born with the ambition to propose a learning space to encourage and nurture new practices based on food-waste crafts. It is the result of a pilot program where various designers learn about biomaterial design and explore projects with food scraps using artisanal techniques and digital fabrication. Remix El Barrio was created in the regenerative district of Poblenou, more specifically in the ecosystem of Fab Lab Barcelona, where designers united to co-produce new forms of crafts from their individual aspirations, benefiting from regular peer-learning sessions, access to machines and tools, and learning from the maker open source culture present all over the place. Each designer has initiated a creative design driven material innovation approach where they identify a recurrent local food waste case, learn about its characteristics, investigate how to best collect and process it, and imagine future applications and material life-cycle narratives.

Guided and mentored by experts from the field at Fab Lab Barcelona, they experimented with different recipes for making materials with appropriate flexibility, strength, and esthetics, and tested diverse fabrication techniques, from molding to extrusion, laser cutting, CNC milling, and 3D printing. Each project could have entered into an iterative loop of prototyping, fed by intrinsic people creativity and interactions with peers, lab gurus, external experts, local providers, and future users. This resulted in a strong diversity of projects with outstanding circular narratives, materials, products, and services:

  • KOFI: Making paper and packaging from coffee husks, by Dihue Miguens Ortiz
  • RE-OLIVAR: Creating design objects such as lamps, chairs, and tiles from olive pits, by Silvana Catazine y Josean Vilar of Naifactory
  • EN(DES)USO: A poetic approach to materialities using eggshells and yerba mate for design artefacts, by Lara Campos
  • SQUEEZE THE ORANGE: A jacket made of vegan fruit leather based on orange peel, by Elisenda Jaquemot, Susana Jurado Gavino y Nuria Bonet Roca
  • COLORES, Empowering natural dyes from avocado pits, by Giorgia Filippelli
  • DULCE DE PIEL, Making Soaps from used oils, by Clara Davis
  • ORGANIC MATTER, Designing a platform about regenerative circular design, by Laura Freixas
  • LOOK MA NO HANDS, 3D printing cookies from fruit peel and skins, by Secil Asfar
  • CIRCULAR GOS, Making snacks for pets from restaurant food leftovers with environmental awareness, by Arleny Medina of Leka Restaurant
  • BIOPANTONE, a collaborative artwork of nature¬īs color palette with natural dyes, conceived by Anastasia Pistofidou and made by Fabricademy alumni 2019


Beyond the pilot, Remix has transformed into a collective that experiences circularity, not only by creating materials with local food leftovers but also by exploring collaboration, inclusiveness, and self-management towards shared knowledge with local actors and global outreach.

The Remixers‚Äô leitmotiv: ‚ÄúWe are exploring new practices to stop wasting our time and our resources and act at a local scale to foster more social circular practices. We collaborate and involve local agents from the neighborhood such as restaurants, urban gardens, and neighborhood associations, to promote a local circular economy ecosystem. We affirm the potential of co-design, digital manufacturing, and crafts to reinvent our ways of producing, consuming, and living with awareness of the environmental ecosystem. We claim the need to imagine new models and techniques to innovate with what we commonly call ‚Äėwaste‚Äô. We value innovative and artistic practices as a motor for social change. We are convinced that living shared design experiences can facilitate the empowerment of territories to implement a circular economy.‚ÄĚ


Fab Lab Barcelona at IAAC represented by the project team Anastasia Pistofidou, Marion Real and Milena Juarez Calvo. Fab Lab Barcelona is an innovation center rethinking the way we live, work, and play in cities. Located at the Institute for Advanced Architecture of Catalonia (IAAC), it provides access to the tools, knowledge and means to educate, innovate and invent using technology and digital fabrication to allow anyone to make (almost) anything. The institution supports contemporary educational and research programs related to the multiple scales of the human habitat. Fab Lab Barcelona is also the headquarters of the global coordination of the Fab Academy program in collaboration with the Fab Foundation and the MIT’s Center for Bits and Atoms.

Anastasia Pistofidou is a digital fabrication expert, wearables and e-textiles practitioner, biomaterial maker, and educator. Part of the Fab Lab Barcelona at IAAC team since 2011 as a tutor, advanced manufacturing office manager, coordinator and researcher she is currently leading the Materials and Textiles strategic area. In 2013 she co-founded FabTextiles and in 2017 she co-founded Fabricademy, a new Textile Academy, a globally distributed program that explores the implications and applications of new technologies at the intersection of textiles, digital fabrication and biology. She also works as a content curator for Fab Foundation.

Marion Real is a systemic design researcher exploring co-creation processes in the territorial transformations toward circular economies and cosmopolitan localism. She is currently working at Fab Lab Barcelona at IAAC where she has coordinated the 10 pilots in the SISCODE project, including Remix el Barrio. She is also associate researcher at Estia, Chaire
Bali and Centre for Circular Design.

Milena Juarez Calvo is a Brazilian environmental engineer with master’s in Interdisciplinary Studies in Environmental, Economic and Social Sustainability and specialization in Urban and Industrial Ecology at the Universitat Autònoma de Barcelona. She currently coordinates the CENTRINNO Barcelona pilot at IAAC and works as an action researcher for the SISCODE, FoodSHIFT and REFLOW EU projects.

The Remixers collective has emerged as a group incubated in Fab Lab Barcelona within the SISCODE EU project pilot. They experience the value of co-creation and open knowledge and formed a group of like-minded individuals who defend sustainability, cooperativism, shared infrastructures, and circular glocalism. They wish to further collaborate in establishing a space to experiment with local food waste and biofabrication with a goal to connect with local services, activate circularity, and scale up by collaborating with open-minded and visionary industries. The Remixers is formed by Arleny Medina, Clara Davis, Dihue Miguens, Elisenda Jaquemot, Giorgia Filipellini, Jose√°n Vilar, Lara Campos, Laura Freixas, Nuria Bonet Roca, Secil Asfar, Silvana Catazine, Susana Jurado Gavino and local agents from Poblenou and Barcelona.

Remix el Barrio is part of the SISCODE project that has received funding from the European Union‚Äôs Horizon 2020 Research and Innovation under grant agreement programme n¬ļ788217.

Jury Statement

Remember the 19th century Arts & Crafts Movement? Remix el Barrio can be seen as translation of Arts & Crafts into our times, confronting well-known contemporary issues with manufacturing and consumption in our daily life. Remix El Barrio is a collective of designers who propose projects with food leftovers using artisan techniques and digital manufacturing. They collaborate with agents from the Poblenou neighborhood to promote a more local and circular ecosystem. In their manifesto they want to ‚Äúpromote artisan-manufacturing sites and designer/craftsman cooperatives in the development of short-loop products, creating direct synergies with neighborhood actors, facilitate the access and the rehabilitation of abandoned sites, support logistics, and partnerships between local actors.‚ÄĚ

The jury was most impressed by the wide array of beautifully up-cycled products made from waste‚ÄĒranging from dye colors made from avocado stones, bioplastics out of orange peel, soaps from used oil, or paper made of coffee peels. Their initiative, Organic Matters, explores the intersection between design, biology, chemistry, technology, material science, community, and self-sufficiency. It could be interpreted as a reformulation of the STARTS idea itself.

View full Jury Statement here.

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E-stitches Barcelona

If you are working with e-textiles, conductive threads, craft and technology, combining hand embroidery with electronics, then you should learn about the e-stitches community of practitioners! E-stitches started in London by Melissa Coleman, Camille Baker, Irini Papadimitriou and Emilie Giles and they are expanding to other cities like Briston, Berlin and now Barcelona!

The idea is to bring together artists, designers, researchers, technologists, curators, choreographers, journalists, entrepreneurs and industry thought leaders that want to share theis practices and research, collaborate and connect.

We are launching the first E-sticthes Barcelona with 3 talks, on Thursday 20th of May at 17:00 CET with three speakers:


Citlali Hernández (Mexico City, 1986)
Industrial Designer at UNAM; Master in Digital Arts at the Universitat Pompeu Fabra; Fab Academy at IaaC Fab Lab Barcelona.
Citlali focuses her work on the body as a space for research in artistic practices that through diverse multimedia formats, relate the experience of the body and the use of technology from a critical perspective. Some of her projects have been presented in various spaces and festivals, including: CCEMx (Cd.Mx), CMMAS (Morelia), GAM Cultural Center (Santiago de Chile), L’Estruch Cultural Center (Sabadell), Sala OFF (Valencia ), Contemporary Art Fair JustMAD 15 and 17 (Madrid), Mercat de les Flors (Barcelona), ECOSS Festival 18 and 19 (Barcelona), VERTEX Video Art Festival (Medell√≠n), among others. Currently, and in collaboration with Nuria Nia (Matics Barcelona), she is doing an artistic residency at Hangar (Center for Artistic Research in Barcelona) developing the ¬†project “Satelite Bodies” ¬†centered on the tensions between data and body over the Internet. Citlali is also dedicated to teaching digital fabrication and interaction, and is a doctoral student at the Centro Universitario de Dise√Īo BAU with the theme ‚ÄúBody, Technology and Performativity: The body in the practices of new media art‚ÄĚ.

Agustina Palazzo is an Argentinean artist with a degree in Audiovisual Design from the Blas Pascal University with a Master in New Media and interactive technologies from the IAAC (Institute of Advanced Architecture of Catalonia.)
Her practice oscillates between art, education and cultural management in the context of the digital world and new technologies. Fluctuating between a critical and poetic vision, she takes communication technologies and human behavior as the basis for her creation and thinking. With a multidisciplinary attitude, between performance, sound design and objects she uses new technologies as creative tools. Based in Barcelona she is a professor of Digital Creation and Wearables technologies at ESDIo Escola Superior de disseny and she has participated in solo and group exhibitions, festivals and residencies around Latin America and Europe.
Paola Guimeráns is an E-textiles education specialist and an Interaction Design and Wearable Technology expert.  She holds a BFA major at the University of Seville, an MFA Design + Technology at Parsons School of Design, New York. and a Ph.D. major at the Complutense University of Madrid. My Ph.D studies examined how the improvements that have taken place in the field of e-textiles provide new opportunities for research and learning in what visual arts concerns, with the use of digital technologies and electronics.Since 2013, I  have taught and developed interdisciplinary STEAM curricula focused on e-textiles and  Wearable Electronics. Among other projects, I am the founder of the innovative educational technology project Aula STEAM:E-textiles and Education and the author of the online e-textile DIY resources platform written in Spanish PrototipadoLAB.
Check the event details here
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Materia Bruta/Worth Project

Materia Bruta is a Limited collection of garments from new  and old biomaterials

Bacterial-dyed buryat modernised dress

Presenting a year-long collaboration with Surzana Radnaeva from Traditional Futures that was supported by¬†Worth Partnership project. This garment was made from Bacterial-dyed linen using Shibori tie-dye technique. The design is inspired by Surzhana’s Buryat traditional costume ¬ęDegel¬Ľ. It directly relates to and nourishes her explorations within the Traditional Futures brand. This brand is about modernization of traditional costumes, and making them continue living, being worn and not end up behind the glass in museums. It is exciting to see how old things meet new things in harmony, I think its a right way to live.

Algae-based vest Charcoal-dyed and reinforced with wool fibers.

Surzhana loved the alien look of this material that she asked for this specific design the moment she touched it. I helped her get inspiration from the material, through the way it feels- and imagine the ready garment.
Another piece that was produced during this project is Amadou fungi hat made by one of the last artisans in Transylvania. The design of this hat is inspired by Buryat traditional hat,  after having consulted Surzhana about fungi biomaterial producers. She combined the fungus material and the traditional hat design will the intention to prolong life of both disappearing traditions.

It was a great year of work to develop together with Jessica Dias from @formalisedcuriosities in the lab of @fablabbcn the materials for Surzhana Radnaeva from @traditionalfutures.

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Esther Hates PVC / Worth Project

This is the amazing collaboration with Esther Perbandt through the Worth Partnership Project. The collection ¨To The Moon“ was presented at Mercedez Benz Fashion Week Berlin where we showcased 3D forms of molded leather. This was a successful and didactic collaboration but the most amazing part of it was working with a professional such as Esther.

This technique of  ¨cuir bouilli¨ in French dates back to the Middle ages for making armor, helmets and other objects for the military and for other functional uses. Leather was considered to be the ¨plastic¨ of the days. It is a traditional craft that due to the petroleum based economy and the automation and mass production is being used less and less and it is a perfect topic for Fab Textiles mission of rescuing traditional craft techniques through new technologies and digital fabrication. Mastering the material was not an easy job!

Our collaboration with fashion designers is actually facilitating them to ¨ make their dreams come true ¨. The workflow is quite direct, we receive drawings and sketches and we digitize them through 3D modeling  later on digital fabrication.


Esther¬īs proposal initially was to 3D mold recycled PVC from a local Berlin provider she was in contact with. As a circular design idea and converting very low cost waste to up-cycled luxury the project was very promising and coherent. The problem is that PVC is a nasty material¬†
and when heated emits hazardous gases  that contaminate the environment but also put your own health into risk.
Due to the instability of the material and the fact that it should not be heated we concluded 
that it was inappropriate to work with this technique at the Fab Lab and we changed the project to molding leather technique.We wrote and email to MIT Health and Safety department and they answer was:
MIT's industrial hygiene specialist; he does advise dealing with softening PVC as a hazardous process. 

1. PVC plastic start to decompose when the temperature reaches 140 ¬įC, with melting temperature starting around 160 ¬įC. It will release a variety of toxic gases/vapors and odor based on ingredients.
2. They should definitely think about air exchange in the room (probably around 6Ach or more) for controlling the odor
3. They also should think about an local exhaust ventilation which is connected to the house exhaust system. Using fume hoods, canopy hoods, exhausted enclosures and other types of ventilations is recommended.
4. In lack of in-house ventilation, another option is to use the carbon/HEPA filtered fume extractors which adsorb the toxic gases and fumes and don’t need the exhaust drop in building. Check Air Exhaust
5. Using good lab practices in lab/shop work is required like using lab coat, eye protection(goggles) and lab gloves.
6. If they can’t provide enough ventilation in place, they should use respirators with combo cartridge for particles and both organic/inorganic vapors (acid mists). Check Air Purifying Respirators

Initial Research on Recycled PVC heat forming

As complementary accessories to the collection we continue with the organic shapes and use 3d printing for rapid prototyping. The 3D printed pieces where used for metal casting.




Project Team :
Anastasia Pistofidou 
Nicolas Olmos, Internship at FabTextiles Lab
Fanni Huszár, Internship at FabTextiles Lab
Photo Credits: Worth Project Team & Fab Lab Barcelona Team

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Contest Fashion Digital Made / ALTA Roma

BE grounded
Project of Fabricademy BCN alumni Lara Campos

BEgrounded Project

Digital Python
Project of Fabricademy BCN alumni Juan Felipe Enrriquez Fiallo

Digital Python Project

Project of Fabricademy BCN alumni Ana Correa

E-Shoes Project


Check all the projects presented at Fashion Digital Made here

Thanks to Matteo Viscogliosi and Irene Carreti for their support and amazing coordination!

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Honoring the Earth Day on the 22nd of April 2020 with BIO RIOT! , worn by Jessica Guy  at the strike against climate this past September in Barcelona!

Made with the same recipe of the Coffee Leather Bag, one can find the file to download the pattern here

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Maker Faire BCN 2019 / Fabtextiles

FabTextiles and Materials Lab participated in the Makerfaire BCN 2019 at Nau Bostic.

The projects we presented were:

  • Textile Dyeing with Bacteria, a series of scarves and postcards from our research in the biolab
  • The atlas of Biomaterials, a materials library with various samples and recipes we have been developing since 2016
  • The algae warrior, final fabricademy project of Catherine Euale
  • 3D printed hats and digitally fabricated contemporary millinery from Betiana¬īs Pavon final project
  • A collection of Fabricademy final projects worldwide
  • A parametric leather molded bag made by Nicolas Olmos

Check out the exhibition here:

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Development of Samsung EGO / Betiana Pavón

Winner of the contest SAMSUNG EGO Innovation Project / 
Mercedes Benz Fashion Week Madrid
Project by Betiana Pavón / FabTextiles / Fabricademy BCN Student
Betiana Pavon, an Argentinian Accessories designer with her brand ¨ALASKA Accesorios¨ studied at Fabricademy Barcelona in 2018-19.
With her final project she applied to the Samsung Ego Innovation Prize and was selected to present a complete collection for the edition of July 2019 with a prize for development of 10.000 euros!

The project is focused on the design, prototyping and development of "head accessories". Re-referred to as "portable objects", a perfect excuse to crown the head with a distinctive piece, a piece that can be unique, that identifies directly with its user and interacts with it, using Samsung devices as a link.

The project was developed at Fab Textiles Lab in Fab Lab Barcelona for 1,5 month where all looks and custom electronics where designed and fabricated.

As for typologies and morphologies, the concept of ‚Äúportable structures‚ÄĚ is addressed, which can be constructed and deconstructed through modules, achieving almost abstract accessories.

The inspirational axis of this collection is the "Deconstructivist Movement" reflected in organic forms, fragmented, distorted and complex geometries ... product of the incorporation of new technologies (Hardware: machinery, electronics) and computational design tools (Software). The conception of this collection is based on the liberation of geometry and rules in general.


3D Print

The computational design allows a new reinterpretation of the forms, in this case applied in portable accessories. By erasing old construction limits, 3D printing allows for the realization of unique, custom-made pieces and contributing to a sustainable digital manufacturing model, where it is produced only on the basis of real demand, thus reducing the waste generated by the fashion industry.

Laser cut

The implementation of new materials (such as acrylic, technical textiles, etc.) and the inclusion of parametric digital patterns that allow the creation of fragmented geometries, distortion and complexity of shapes, require the use of new tools, such as laser cutting. The inclusion of this machinery in the manufacture of this type of parts is key, since it allows perfect finishes, pinpoint accuracy and reduces manual work. Thus achieving in a single step, fast and efficient cutting of pieces and perfect patterns in series.

The main intention of this project is that Samsung devices are not only an addition in the proposed style, but that they interact directly as a link between the carrier and accessories. That is, include technology in the entire project.Runway Mercedes Benz Madrid Fashion Week / July 2019
LOOK 1 / Concentric Hat -Input: Sound vibrations (microphone sensor) -Output: Rhythmic flashing of the lights (neo pixels) integrated in the prototype. Visualization of the sound vibrations received at the moment, on the tablet device.

LOOK 2 / Aurora Cap -Input: The device is connected via Bluetooth using the Android APP "Adafruit Bluefruit". -Output: This APP allows the user to select between 16 million colors, the adjustable brightness of the light source and also use this app to generate their own color light show.

LOOK 3 / Lamp Hat
-The hat contains a custom board, in which a rhythmic code of the LEDs was turned on and off, based on the song of the catwalk, which was saved in ATtiny format. The LED light is channeled and is reflected in the lateral reflectance optical fiber.

LOOK 4 / Parametric Hat
-Input: A webcam incorporated into the accessory records in real time.
-Output: the filming of the runway of the model on the catwalk is displayed on the tablet device

LOOK 5 / Reflecting Hat
-The structure hat formed by a helmet printed in 3D and wing deconstructed parametrically achieved through laser cutting in methacrylate, is assembled and joined through ribbons of reflective material, which reacts to the light of the flashes.

LOOK 6 / Geological Hat
-Input: The device is connected via Bluetooth using the Android APP "Adafruit Bluefruit".
-Output: The user can select the color, but in this case of the neo pixels incorporated in the hat, which in turn are programmed to generate a loop circulation effect pattern around the helmet.

LOOK 7 / Vader Cap
-The user can change the light effects of the built-in LEDs through a button (custom circuit and board). In turn, the light is reflected in the "hair" of fiber optic embroidered by hand in the translucent layer.


Project by Betiana Pavón
Mentoring by Anastasia Pistofidou
Design and production assistant Ana Correa
Electronics consulting and development Angel Mu√Īoz and Ioannis Vogdanis
Developed in Fabtextiles, FabLab Barcelona, ‚Äč‚ÄčIAAC Institute of Advanced Architecture of Catalonia.
 ZAGV clothes
 Silvia Fado shoes

http:// Samsung EGO / INNOVATION PROJECT 2019 from ALASKA Accesorios on Vimeo.

http:// ALASKA Accesorios / Mercedes Benz Madrid Fashion Week / 2019 from ALASKA Accesorios on Vimeo.



Adafruit Feather M0 Bluefruit LE
 Adafruit Microphone / Breakout Boards
 Programmable RGB LEDs
 MakerHawk 3.7V rechargeable lithium battery
 Optical Fiber / Slide Glow
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Harvested in the Collserola Natural Park just above Barcelona, the Pisolithus arhizus, is a poisonous / inedible mushroom. It belongs to the family of Puffballs and its name, in the Greek etymology, is composed of : Piso- meaning a pea, and lith meaning a stone, and the arrhizus means 'rootless'. It is  also known as : pisolithus tinctorius, dyeball, dead man's foot, horse dung fungus, perdebal, bohemian truffle , dog turd fungus, dyermaker's puffball.
Under a rainy evening hike, the dyeball appeared in front of me. I had to use a series of mobile apps (applications such as Mushroom ID, Plantnet and finally google images search) to identify the mushroom and when I realized that I had foraged the so called "dyeball"  I felt lucky!
This particular fungus is frequently used by foresters and gardeners as the basis of a soil inoculant as it forms strong bonds known as mycorrhizas with almost any kind of root, promoting tree and plant growth. Its powerful hyphae are also strong enough to push through tarmac where it can be found as bumps on roads.

Dyeing with the Dyeball - Safety Protocol

What you will need:

50-100g of dry weight natural wool
20g of Pisolithus arhizus (1 fresh young mushroom)
Large pot
Wooden spoon
Dusk mask
Safe place to boil the mushroom - powerful extractor fan or outdoors
Sodium Carbonate or pH neutral detergent (for scouring)
Aluminum Potassium Sulfate (for mordanting)
Cream of Tartar  (for mordanting)


- Firstly weigh the wool and write down the WOF ( weight of fibers). You need to scour it with a ph neutral soap and then mordant it with 8% of WOF Aluminum Potassium Sulfate ( for protein/animal fibers) and 2% WOF cream of tartar. Once mordanted, rinse well and let the wool soaking in water. Try to be gentle with temperature changes because you may destroy the fibers.
- In a large pot, bring water to boil and add the sliced up dyeball mushroom - being careful not to breathe in any spores whilst breaking it up
- Simmer for 20-30 minutes and strain out the mushroom remains, now you will have a deep reddish brown color. If you have more mushrooms, you may need to simmer for longer.
- Bring the temperature down to just below simmer and gently place wool in the pot
- Stir gently to evenly distribute color - There will be a strong smell at this stage so be careful to wear mask and have powerful enough extractor fan or work outdoors.
- Cook 1 ‚Äď 2 hours or if you can, leave it overnight simmering and slightly covered. If you want lighter colors, leave for 45 minutes, for darker ones, let soak overnight.
- Allow to cool, remove wool fibers and rinse the wool to take of the excess of the dye.
- Preserve liquid for in sealed jars or bottles for future dyes! ( The more you use the dye, the lighter shades you will have!)


If you are interested in learning more about dyeing mushrooms, have a look at the MUSHROOM COLOR ATLAS


Photo credits : FabTextiles, 2019


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Textile Academy Bootcamp 2019

This year¬īs annual bootcamp will happen in ICELAND!

We believe that fashion education should be updated, embrace multidisciplinarity and change the current model of fast fashion to customized and sustainable. We love making , experimenting and innovating using hands on bottom up approaches and new technology. In this 40h course, we have included all the new tools a fashion designer should learn! If you are an educator, a professional or a student this is the course for you!
Reserve your place here 

The annual Fabricademy Bootcamp this year is focusing on blending traditional industrial processes with new technologies.  We learn from the contemporary industry with factory visits around Iceland and workshops at the Icelandic Textile Research Center. We explore materials , tools and digital fabrication technologies at the Fab Lab and design for a sustainable and inspired future.

Project development in groups every afternoon .

For any questions , please contact with us at [email protected]
This activity is powered by  DDMP project funded by Creative Europe
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A simple T-shirt

A Simple shirt, is not so simple

Everyone needs a basic shirt. Here you can learn how to create this sleeveless top  tailored to your own size. If you are using the Seamly 2D pattern making program, I created a pattern that you can download and change the measurement table to your own size.  If you are not familiar with this program you can also choose from 3 different standard sizes (S, M, L). The print I’m working with was created by Aldana Persia, in Fab Lab Barcelona with thermochromic silk screen printing paint, therefore it changes colour with temperature change.


1.Print the pattern and cut out the pattern pieces,  working on the interior side of your fabric. 
2.Using the Overlock machine, or a zig-zag stitch (if you don’t own an overlock machine) sew along the sides and the shoulders of the back and front of the T-shirt. As well as one side of every bias stripe.

3.With right sides facing together, sew the front and back shirt together the shoulders and the sides.

4.Press the seams

5. Sew the end of the stripes together to create a circle.

6.Pin and stitch the stripes on the neckline, right sides facing together.

7.Make cut-ins on seam allowance with small scissors. Make sure that you don’t cut the actual seam or other parts of the T-Shirt.

8.Flip and press the stripe to the inside of the neckline. Pin and stitch on top to keep it in place.

9.Repeat the same steps (4, 5,6, 7) to finish the armhole.
10.Finish the raw bottom with overlock machine (or zig-zag stitch), fold the seam inside( 1cm) and stitch on top.

voil√°.. your custom made the shirt is ready!

Download the T-shirt file at oscircularfashion.com

Pattern and documentation made by Fanni Huszár


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5th Digital Fashion & Wearables Exhibition

5th Digital Fashion & Wearables exhibition by FabTextiles and Textile Lab Amsterdam, Villette Makerz, Paris, 2018

(picture by Clara Davis)


This year FabTextiles participated in the FAB14, the annual gathering of Fab Labs globally. The event took place in different locations across France from the 11th to the 22th of July. First, FabTextiles exhibited the 5th Digital Fashion & Wearables in Paris at Villette Makerz. This exhibition was an open invitation to all curious minds that aspire to redesign our society with shared ethical and visionary values. It is a group of creators that design concepts, techniques and materials and offer strategies relevant to merging technology with fashion and sustainability. They envision a future of synergies between disciplines, combining textiles, biology, materials, science, digital fabrication and embedded electronics.

Featured works included projects from Fabricademy labs (Fab Lab Barcelona, Textile Lab Amsterdam, Fab Lab Kamp-Lintfort), final projects of Fabricademy graduated students (Brigitte Kock, Clara Davis, Fanny Trivero, Laura Civetti, Pauline Bianchi, Sofia Guridi Sotomayor, Sophie Akihbi and Wei Chung), and invited artists (Claire Eliot, Elisabeth Jayot and Jeanne Vicerial,) all exhibited on 3d printed mannequins by WASP.

Anastasia Pistofidou, Cécilia Raspanti, Clara Davis, Cristian Rizzuti,

5th Digital Fashion & Wearables exhibition

by FabTextiles and Textile Lab Amsterdam, Villette Makerz, Paris, 2018

(picture by Clara Davis)


Claire Eliot, 5th Digital Fashion & Wearables exhibition

by FabTextiles and Textile Lab Amsterdam, Villette Makerz, Paris, 2018

(picture by Clara Davis)

Elisabeth Jayot, 5th Digital Fashion & Wearables exhibition

by FabTextiles and Textile Lab Amsterdam, Villette Makerz, Paris, 2018

(picture by Clara Davis)

Cécilia Raspanti, 5th Digital Fashion & Wearables exhibition

by FabTextiles and Textile Lab Amsterdam, Villette Makerz, Paris, 2018

(picture by Clara Davis)


Fanny Trivero, 5th Digital Fashion & Wearables exhibition

by FabTextiles and Textile Lab Amsterdam, Villette Makerz, Paris, 2018

(picture by Clara Davis)


The 5th Digital Fashion & Wearables exhibition continued in Toulouse with other activities, conferences and workshops. Anastasia Pistofidou and Clara Davis, from the FabTextiles team, gave a workshop on how to make bioplastics, starting with an interactive analysis of the many possibilities of bioplastics in order to inspire participants to think about potential bioplastic design applications. Then participants had the opportunity to play with two bioplastic recipes : gelatine-based and agar-based. Several additives were available for the participants like natural color pigments, food waste, fibers. Each piece of bioplastic was cast inside a puzzle mold, which, by the end of the workshop, formed a collective experimental bioplastic pattern.


How to make bioplastic?, FabTextiles team, Fab14 workshop,

Pierre Baudit Convention Center, Toulouse, 2018

(picture Tristan Copley Smith)

How to make bioplastic?, FabTextiles team, Fab14 workshop,

Pierre Baudit Convention Center, Toulouse, 2018

(picture Tristan Copley Smith)

How to make bioplastic?, FabTextiles team, Fab14 workshop,

Pierre Baudit Convention Center, Toulouse, 2018

(picture Tristan Copley Smith)

How to make bioplastic?, FabTextiles team, Fab14 workshop,

Pierre Baudit Convention Center, Toulouse, 2018

(picture Tristan Copley Smith)

How to make bioplastic?, FabTextiles team, Fab14 workshop,

Pierre Baudit Convention Center, Toulouse, 2018

(picture Tristan Copley Smith)

How to make bioplastic?, FabTextiles team, Fab14 workshop,

Pierre Baudit Convention Center, Toulouse, 2018

(picture Tristan Copley Smith)

How to make bioplastic?, FabTextiles team, Fab14 workshop,

Pierre Baudit Convention Center, Toulouse, 2018

(picture Tristan Copley Smith)

How to make bioplastic?, FabTextiles team, Fab14 workshop,

Pierre Baudit Convention Center, Toulouse, 2018

(picture Tristan Copley Smith)



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Bioplastic Cook Book

Bioplastics samples by Margaret Dunne, FabTextiles, Fab Lab Barcelona, 2018


During her two month internship at FabTextiles and Materials lab, Margaret Dunne, a fiber scientist researcher studying at the College of Human Ecology at Cornell University, contributed to the research and development bioplastic experimentation. Her task during the internship was to master Bioplastic recipes, experiment and amplify the materials catalogue and publish the second open source book of FabTextiles lab called The Bioplastic Cook Book.
After The Secret of Bioplastics, written by Clara Davis in 2017, which explained the history of bioplastics, The Bioplastic Cook Book focuses on recipes for making bioplastics. You can find precise instructions for making gelatine, agar-agar and corn-starch-based bioplastics. Dunne also offers bio-composite recipes using clay, burlap and hemp.

Bioplastic cook book page by Margaret Dunne, FabTextiles, Fab Lab Barcelona, 2018

In the Bioplastic Cook Book every single ingredient is biodegradable. They are made with biopolymers, plasticizers, solvents, and sometimes an additional, additive. The book opens with the indispensible basics anybody with a passing interest ought to know, required reading before any attempt to make bioplastic. At the end, a question is posed : are bioplastics harmless to the environment ? Margaret Dunne atteimpts to address this problem, exploring the carbon footprint that results from bioplastics.

Bioplastic cook book page by Margaret Dunne, FabTextiles, Fab Lab Barcelona, 2018


There is a link to the Bioplastic Cook Book at the end of this post. Below, some pictures of Margarette Dunne’s experiments.

Gelatine-based bioplastic sample by Margaret Dunne, FabTextiles, Fab Lab Barcelona, 2018

Agar-agar-based bioplastic sample by Margaret Dunne, FabTextiles, Fab Lab Barcelona, 2018

Bio-composite gelatine+clay sample by Margaret Dunne, FabTextiles, Fab Lab Barcelona, 2018

Bioplastic gelatine+spirulina sample by Margaret Dunne, FabTextiles, Fab Lab Barcelona, 2018

Bio-composite gelatine+burlap sample by Margaret Dunne, FabTextiles, Fab Lab Barcelona, 2018

Bioplastic gelatine foam sample by Margaret Dunne, FabTextiles, Fab Lab Barcelona, 2018


Bioplastic cook book by Margaret Dunne, FabTextiles, Fab Lab Barcelona, 2018



And if you’d like to know more about the general history of bioplastics, when, where and why they were created you can check our first published book:

 The Secrets of Bioplastics by Clara Davis here.



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3D printed Mannequin

This mannequin is the 5th of the collection of Digital Mannequins that manifest different digital fabrication and 3D modeling strategies to represent and fabricate the human body. The need for starting this project, back in 2013 was due to the first of the series of exhibitions of Fab Textiles Digital Fashion and Wearables Showcase. Not only we realized that renting mannequins for exhibitions is a huge and expensive industry, but also the majority of the mannequins that one can find in accessible prices, where of bad quality, using human proportions that were fermenting a society of anorexia.
One can find many articles about landfills full of mannequins and the fact that its cheaper to purchase a new one instead of fixing a broken one. The worst thing is that they are made either of fiber glass composite or out of plastic, very difficult to recycle. There is a good initiative and lucrative business called Mannakin that recycles and restores old mannequins that one can find online when searching on the BBC news.
The process of creating custom made, digitally fabricated mannequins became an annual artistic ritual and transformed to an educational methodology for the Fabricademy, Textile and Technology Academy since 2017.  Scanning the body or using an open source 3D character modeling software called MakeHuman and then translating the 3D mesh into files for production, in this case an STL object for 3D printing.
The advantage of 3D printing is that multiples copies does not bring any difference in terms of time or cost. One can design and 3D print infinite variations of a 3d model.  With the sponsorship of WASP Madrid and the amazing help of Gianluca Pugliese we produced 10 variations of 3D printed mannequins that served for the 5th annual Exhibition of Digital Fashion and Wearables Exhibition in Paris and Toulouse during Fab City Summit and Fab14 conference.

Contouring command in rhinoceros3D for creating one of the 3D mannequins version
Reduce Mesh command that creates lower resolution triangulated meshes.

It¬īs very crowded here!
3D printing with WASP IBERIA! With SPIRALIZE command we print in a continuous single line for optimizing material and time! I full mannequin was printed in 4hours!

contact me for the files!
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Fab Textiles : Exhibitions of 2017- 2018

This year Fab Textiles travelled in various spaces and events, continuing to spread, between innovation and sustainability, a new vision for the future industry of textiles and fashion.


VICE Espa√Īa: HUMAN HARDWARE: Creators meets Anastasia Pistofidu

Anastasia Pistofidu nos habl√≥ en #MazdaCreators sobre las posibilidades para paliar el proceso m√°s contaminante de la industria textil: el te√Īido de fibras. Con ella, cerramos el ciclo de ponencias Human Hardware en el Mazda Space.

Posted by VICE Espa√Īa on Wednesday, 4 April 2018


Last October, Fab Textiles was represented at one of the world’s largest 3D printing conferences, the In(3D)ustry, hosted this year at Fira Barcelona and titled “From Needs to Solutions”.¬† Fab Textiles was also part of the jury at the 3rd edition of the Reshape competition, ¬®Programmable Skin“.¬† whose theme focussed on new materials and the interactions between¬† garment and body.¬† Fab Textiles presented two pieces at its exhibition – a 3d printed top and a biofiltering top.

The 3D printed top is a chainmail composed of 3d modules printed in such a way as to create a flexible structure. This assembling system allows you to create a garment adaptable to any body shape. This design is an open source file, create on Rhinoceros software, that you can download online to make your own.
The biofiltering top is a garment that cleans the air by absorbing pollutant particles. This experimental top was made out of bioplastic mixed with activated charcoal.


Fab Textiles Booth, Reshape exhibition, In(3d)ustry, Fira Barcelona, 2017


Here you can see the interview from the Reshaper team:


In December, Fab Textiles presented Fabricademy, its new textile and technology academy, at Maker Faire Rome 2017. Anastasia Pistofidou, Cécilia Raspanti and Fiore Basile, Fabricademy founders, gave a talk about evolving education in fashion, wearables and biology with distributed networks. Fabricademy is a transdisciplinary educational program that uses digital fabrication and new technologies to open new perspectives in the fashion industry.

Fabricademy Team : Luisa Valente (student), Cécilia Raspanti (Textile Lab Amsterdam, Waag Society), Zoe Romano (WeMake, Milan), Anastasia Pistofidou (Fab Textiles, Fab Lab Barcelona), Maker Faire Rome, 2017


One year ago, Mazda Space started a series of events based on Human Hardware, a theme studying the relationship between Human and Technology in several disciplines. After the conference of Neil Harbisson, cyborg-artist, and the demonstration of Burton Nittab, biotech designer, Anastasia Pistofidou closed the cycle with the BioShades workshop and the exhibition Crafting the Future.
How can we find alternatives and more sustainable ways to dye our fabrics? BioShades is a project led by Waag Society, supported by the European program of Textile & Clothing Business Labs (TCBL) that connects textile designers, industries and innovative laboratories to study the potential uses of bacteria dyeing in the textile industry and its scaling up to industrialization. The purpose is to create new micro-industries, local and independent, returning us to a closer relationship between producer and consumer by raising awareness and educating. You can read more about the BioShades workshop on this page.
Crafting the Future is a collection of sustainable and innovative garments, prototypes and materials made by the FabTextiles team, Fabricademy students and  with outside collaborations.* In this exhibition you can see a rich selection of revolutionary designs like digital body mannequins, modular & seamless garments, bioplastic cloths, 3d printed tops, wearables, an embroidered speaker, crystals experiments, bacteria dyeing, bioplastic swatches, 3d printed tests and natural dyeing and thermochromics samples.


Crafting the future, exhibition Fab Textiles and Fabricademy, Mazda Space, Barcelona, 2018

At the end of March, Fab Textiles presented at the inauguration of the new space, Noumena. A circular 3d printer machine of 800 mm diameters printing clay, drones, robots, virtual reality, other 3d printers reproducing parametric designs, innovative materials. Noumena, founded in 2011 by Aldo Sollazzo, is a multidisciplinary and international practice, invested in fields such as architecture, robotics and wearable technology, and working with parametric design, data design, digital fabrication, electronics and hardware development. Fab Textiles and Noumena collaborate closely on several projects and Aldo Sollazzo is the global istructor of the Fabricademy program on parametric fashion and computational couture.. This year, Anastasia Pistofidou will be one of the jury of the fourth edition of the Reshape competition, “Sensing materialities”.

NOUMENA | inauguration

Thank you so much to all friends, who came yesterday or wrote us, cheering from distance! Lot of thanks to our partners of WASP, Extrudr, and to the ecosystem of creative people we wanted to celebrate: √Āngel Mu√Īoz with BounceyBox, Silvia Rocchino and her team, to Anastasia Pistofidou and Clara Davis from FabricademySpecial thanks to our team, working hard every day, believing in our program, bringing talent, passion and professionality. Thanks to our family and beloved ones, never lacking support. Last words for my two partners far away: Efilena and Chirag we missed you guys. This one is for you too!

Posted by Noumena on Thursday, 29 March 2018

Noumena Inauguration, Noumena, Barcelona, 2018

In April, Fab Textiles exhibited Bioplastics Wunderpants in “What’s Next ? Materials that will shape the future” at the Design Museum of Barcelona. In this exhibition you could see advanced materials made with new manufacturing processes like high performance polymers, nanomaterials, gels, foams, biological materials, light alloys and other types of innovative fibers and fabrics.

What’s Next ?, Materials that will shape the future, exhibition, Disseny Hub Barcelona, 2018

In April, Fab Textiles also flew to Amsterdam to participate in a 3 days workshop, The Future of Clean Garments, for BASF. During this event Fab Textiles presented a smart micro-factory with two booths : a scanning room and a designing room. Machine automation is slowly replacing manual labour. The fashion store of tomorrow will offer designing platforms for personal and mass personalized fabrication. Consumers will be able to desgin their garments through parametric programs and will choose (or even produce their own) the material. The consumer will become prosumer, producing only what he likes, wants and needs.

The Future of Clean Garments, BASF workshop, Amsterdam, 2018

Right after the BASF workshop in Amsterdam, Fab Textiles showcased the bacteria-dying collection, outcome of the¬†¬†BioShades¬†workshop, at the “Innovation in Design” exhibition at Etopia, the Art and Technology Center of Zaragoza. This exhibition, organized by the Superior School of Design of Aragon (ESDA), promoted sustainable and innovative concepts of creation using technology and digital fabrication.The BioShades project presents bacteria as a possible alternative to current polluting dyeing processes.

BioShades collection Fab Textiles, “Innovation in Design”, ESDA, Etopia, Zaragoza



Events to come :

  • Maker Faire Barcelona 2018
  • Fab 14 – Paris & Toulouse
  • Reshape 2018
  • In3dustry 2018


Save the date and come to see us !



Article written by Clara Davis
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Thermochromic research

Thermochromic inks have the property to change color with temperature. In the mid-sixties, laboratories started to develop thermochromic liquid crystal materials. That research emerged at the same time as the first digital watches based on liquid crystal technology.  Nowadays one can find various playful reactive paints like hydrochromic, photochromic, glow in the dark e.t.c.  Instead of using an electric current to change the crystal structure, heat is utilized. We used thermochromic ink with silk screen printing and digital embroidery of conductive thread,  for the creation of garments that are reacting to heat and are ¨ expressive ¨. They charge color as a visual feedback, while providing heat to the wearer. Even though the technology is not new, they create a ¨magic¨ effect and from all our exhibition, where the most popular and comprehensive for the wider public. 


Thermochromic samples with conductive threads, Fab Textiles, Mazda Space, Barcelona, 2018


Initially the research was the application of thermochromic ink on different types of fabrics : jeans, cotton, neoprene, 3d knitted and synthetic. Different thermochormic inks were tested. The main supplier was SFXC¬†. One can buy directly a paste ready for silk screen printing or the pigment powder and mix it with a base of silk screen binder. The pigments and inks are reacting to different temperatures. If the desired result is to change by the body temperature (passively) the¬†31¬įC is fine. If the effect is activated by a heated pad or conductive thread-wires then it is recommended to use a higher temperature , such as 50¬įC.¬†After various tests, we selected a white neoprene like fabric to apply the silk printed design.

The second part of the project involved testing different conductive -resistive threads to understand how the system works best. For making a heated circuit , the thread needs to be RESISTIVE, so that the current goes through ¨more difficult¨ and it makes the thread heat up. At the same time, it can not be too resistive because it will require a lot of power. We tested threads with different resistance : Karl-Grimm High Flex 3981 (fine copper fiver plied with synthetic fiber core), Karl-Grimm High Flex 3991 Silver 14/000 (fine copper fiber coated with silver plied with synthetic fiber core), Elitex (235/34 polyamide plated with silver), Shieldex (silver plated synthetic thread) and Bekinox VN (fine stainless steel fiber plied).  The two Karl-Grimm and the Elitex threads were difficult to use with the sewing machine and the Bekinox VN was the one that worked the best for use with heat. We order a thread from MADEIRA, a distributor in Spain and the thread arrived the next day!


Thermochromic tests, Fab Textiles, Barcelona, 2018


Thermochromic ink and conductive threads test, Fab Textiles, Barcelona, 2018


At the end of this research, we decided to develop a Thermochromiconductive Top* that changes pattern according to conductive threads linked to an Arduino system. The Arduino is connected to a Bluetooth device (Adafruit M0 Feather) which allows one to control the pattern of the dress with a mobile phone. The code implemented in the Arduino produced several heating combinations, such that lines appears in the thermochromic paint, gradually changing the shape of the pattern.

All conductive threads have different properties, the resistance per meter is different in all of them. The ideal conductive threads to build a heating source are made of steel or copper.

Some recommended conductive threads like Bekinox stainless steel thread from Bekaert or Copper thread from KarlGrimm.

The best scenario would be to have a 6-50 Ohm conductive thread with a current of 300-1000 mA flowing through it. The time the thermochromic ink takes to change its color is directly proportional to the amount of current. For 300mA it will need more time than for 1000mA.

To¬†calculate the voltage¬†we just need to use ohm’s law formula:

Voltage equals Current times Resistance or V = I x R

We know our conductive thread resistance(measured with the multimeter), for example 32 ohm, the current has to be a value from 300mA to 1000mA.

For 300mA:

V = 0,3 * 32 => V = 9,6V

For 1000mA:

V = 1 * 32 => V = 32V


Thermochromiconductive Top, sewing detail, Fab Textiles, Barcelona, 2018


Thermochromiconductive Top, sewing detail, Fab Textiles, Barcelona, 2018


Thermochromic ink test with conductive thread, Fab Textiles, Barcelona, 2018


Thermochromiconductive Top, Fab Textiles, Barcelona, 2018


Thermochromiconductive Top, Fab Textiles, Barcelona, 2018


Our Thermochromiconductive Top project made us realize that body heat was causing undesirable changes to the pattern. The thermochromic inks we were using were too sensitive, so we decided to remove the conductive threads and create a dress with thermochromic ink only.

Anastasia designed a form-fitting dress with an organic pattern representing the body flow. The model of the dress was conceived on Illustrator and laser cut with the lab Trotec. The motif was screen-printed before assembling and sewing the pattern of the dress.


Digital file, Thermochromic Dress, Fab Textiles, Barcelona, 2018


Screen-printing, Thermochromic Dress, Fab Textiles, Barcelona, 2018


Thermochromic Dress, Fab Textiles, Barcelona, 2018


Thermochromic Dress, Fab Textiles, Barcelona, 2018


Body flow, Thermochromic Dress, Fab Textiles, Barcelona, 2018


If you like our Thermochromiconductive Top and the Thermochromic Dress designs, you can download the files for FREE on our Circular Open Source Fashion plateform :



Thermochromics: SFXC

Resistive Thread : Spanish distributor: Madeira

Conductive yarns : Shieldex



  • Arduino UNO board
  • Transistor, TIP122 or IRLZ24N or IRLB8743
  • Conductive thread
  • Jumper wires
  • Protoboard
  • Variable DC power supply

Download from Github



Dynamic Textile Displays


* Thermochromiconductive Top project by :

Team Coordinator : Anastasia Pistofidou

Material Designer : Rose Ekwé

Fashion Designer : Clara Davis

Programmer :Angel Mu√Īoz

Photographer : Clara Davis

Model : Rose Ekwé


* Thermochromic Dress project by : Anastasia Pistofidou

Photographer : Clara Davis

Model : Rose Ekwé


Article written by Anastasia, Clara & Rose


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BioShades Workshop, Textile Bacteria Dyeing

BioShades Workshop, TCBL, Fab Textiles, Mazda Space, Barcelona, March 2018


Textile dyeing chemical processes contributes significantly to pollution and results in waste products that find their way into our rivers and oceans. This problem can be addressed through the use of natural dyes, and by educating consumers on how to develop these on their own, using local raw materials. In the future, even the materials themselves will be consumer-produced. This forges a closer relationship between consumers and products, leading to a more sustainability-conscious society. Could dyeing with bacteria be an alternative to chemical dyes? With BioShades we explore the potential of dyeing with bacteria as a less harmful alternative to the environment. BioShades is a project part of TCBL that aims to renew the European Textile & Clothing sector. We explore new ways to design, make, and work together for inventing new business models to open up new markets.


The TCBL event was organized in a distributed way, running in many Labs all over the world at the same time. In Barcelona, 22 participants gathered in Mazda Space and performed a global experiment following a live demonstration lead by the TextileLab Amsterdam. Participating TCBL labs were set up with an inventory that included petri plates, inoculation loops, prepared nutrient broth, sufficient sterilization and safety equipment, and a sample of natural textile like silk. The bacteria used is called Janthinobacterium lividum (violacein) and the medium of growth is agar and LB broth. Textile dyeing with bacteria is part of the Fabricademy classes content.

BioShades Workshop, TCBL, Fab Textiles, Mazda Space, Barcelona, 2018


BioShades Workshop, Textile Lab Amsterdam, Waag Society, Amsterdam, 2018


After an introduction into the days program and an overview of the previous research conducted, the participants were given instructions to fold or scrunch their silk samples – giving room for designers creativity and versatility of results.The samples were compiled and placed in an autoclave bag for 15 mins of sterilization, enough to kill off any previous microorganisms. Each sample was then placed in a sterile petri plate working within 10 cm of the Bunsen burner were the prepared LB broth was dispensed equally into each plate.Then each fabric was placed in a petri-dish, filled with LB broth medium and inoculated with the bacteria. Following this the plates were placed in the incubator with a temperature of 25¬ļC and left to colonize the fabric for 4-5 days. The unfolded results are as shown.

Bacteria dyeing experiments, BioShades Workshop, Fabricademy, Fab Textiles, Mazda Space, Barcelona, 2018


Bacteria dyeing results, BioShades Workshop, Fabricademy, Fab Textiles, Mazda Space, Barcelona, 2018


Check the interview made from Vice Creators on Textile Bacteria Dyeing

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Bio Filter : bioplastic + activated charcoal

In 1831, Mr. Touery, a professor at the French Academy of Medicine, drank strychnine, a deadly poison, in front of all his colleagues. He survived. How ? He had combined the lethal dose with activated charcoal. “That’s how powerful activated charcoal is as an emergency decontaminant in the gastrointestinal (GI) tract, which includes the stomach and intestines. Activated charcoal is considered to be the most effective single agent available. It is used after a person swallows or absorbs almost any toxic drug or chemical.”*

Diagram displaying the major health effects of air pollution, CEDIM Lab by Restology project, 2017


Last year Fab Textiles worked on a flexible bio filter design to reduce the pollution of Monterrey, the most polluted city in Mexico. This research was undertaken for an architecture project named Restology, a multidisciplinary project between architects, interior designers, product designers, fashion designers, material designers, graphic designers, electronic engineers and marketing strategists. During one month, Maria Luisa Becerril and I collaborated at Fab Textiles, Fab Lab Barcelona on the development of a bio-composite made of bioplastic mix with activated charcoal.


Grains of activated charcoal, Fab Textiles, Fab Lab Barcelona, 2017

Liquid mixture of bioplastic and activated charcoal, CEDIM Lab by Restology project, 2017


Activated charcoal is one material that seems especially applicable to Fab Lab makers, because of its ecologically sound and purifying properties. It is essentially a form of incredibly microporous carbon, processed from natural carbon-rich materials by applying various gases or chemicals to ‘burn’ in tiny holes and thus exponentially increasing its surface area. The result ? A material that can efficiently filter out all manner of impurities and toxins. A super-sponge, if you will. Bioplastics present themselves as an excellent and similarly sustainable substrate for activated charcoal with a wide range of uses.


Bio-composite module tests, CEDIM Lab by Restology project, 2017


During the material research, Maria Luisa and I tried out 10 different recipes to discover the correct ratio of ingredients that provided the most appropriate amount of flexibility for using activated charcoal as a filter. For this research, we decided to use gelatin as our biopolymer and glycerol as our plasticizer. By experimenting with the quantities of glycerol relative to activated charcoal, one can influence the degree of flexibility of the mixture. Maria Luisa told me that in the previous experiments  with her team, the issue was that the samples were cracking  after the drying process. Probably because the bioplastic mixture was containing too much activated charcoal according to the glycerol ratio.


Bio-composite recipe experimentations, Fab Textiles, Fab Lab Barcelona, 2017


At the end of the experiments, we succeeded to have good results, with samples with different flexibility (hard like a rock to flexible like rubber) and textures (Rough to Smooth and Matte to Shiny). I noticed that some of the samples were conductive, an interesting fact that we could use for future e-textiles and wearables.


Bio-composite recipe experimentations, Fab Textiles, Fab Lab Barcelona, 2017





Activated Charcoal






10 cm


100 ml

25 g

15 g



Smooth & Matte


80 – 200 Ohm


100 ml

25 g

15 g

10 g


Smooth & Matte


100 – 200 Ohm


100 ml

25 g

15 g

25 g

Very Flexible

Smooth & Shiny


150 – 200 Ohm


100 ml

25 g

15 g

35 g

Very Flexible

Smooth & Shiny

Non conductive


100 ml

25 g

5 g

10 g


Rough & Shiny

Non conductive


100 ml

26 g

16 g

10 g


Rough & Shiny


100 – 200 Ohm


100 ml

16 g

16 g

10 g


Smooth & Matte


150 – 200 Ohm


100 ml

50 g

16 g

10 g


Rough & Matte

Non conductive


70 ml

26 g

16 g

10 g


Rough & Matte

Non conductive


130 ml

26 g

16 g

20 g


Rough & Matte




Some samples made for the Restology project were sent to the laboratory to be tested. The scan of electrons viewed in the microscope shows that the best recipe for creating a bio filter is one with the greatest amount of activated charcoal and almost as much glycerol as gelatin for better flexibility. The amount of ingredients use for this recipe is 20% glycerol , 28% gelatin, 57% activated charcoal and 14% water. Compared to the others, this recipe presented the highest average pore-size of 50őľm, “creating a set of thin porous walls one behind another with inside cavities allowing the filtration of air pollutants.”**


Microscope scan of the bio-composite electrons, CEDIM Lab by Restology project, 2017


The laboratory analysis proved that one of the activated charcoal and bioplastic mixture was porous enough to fix pollutant particles. To validate the filtering potential of this bio-composite, the Restology researchers developed a machine measuring microparticles and gases such as NH3, Nox, Alcohol, Benzen, Smoke, CO2… This two-chambered device contains an Arduino system connected to two sensors : one reading dust density (GP2Y1010AU0F sensor) and one calculating air quality (MQ135 sensor). The two chambers are separated by the bio-composite filter, the polluted air is introduced in the first chamber, measured, and then remeasured in the second chamber after passing through the bio filter.


Data compilation machine : measuring air particles and gas, CEDIM Lab by Restology project, 2017


3 Days try out results, data compilation machine : measuring air particles and gas, CEDIM Lab by Restology project, 2017



Outdoor filter module : concrete, bioplastic and activated charcoal, CEDIM Lab by Restology project, 2017


Indoor filter module : bioplastic and activated charcoal, CEDIM Lab by Restology project, 2017


* E-Medecine Health Article, Medical Author: John P.Cunha, DO, FACOEP and Medical Editor: Melissa Conrad Stoppler, MD, Chief Medical Editor / Medically reviewed by John A. Daller, MD; American Board of Surgery with subspecialty certification in surgical critical car.


** Restology, absorption of suspended particles through bioplastic and activated charcoal, multidisciplinary thesis, Centro de Estudios Superiores de Diseno de Monterrey S.C., 7 December 2017.


Restology project by Monterrey Center for Higher Learning of Design (CEDIM University), Monterrey Mexico, Architecture Department Direction :

Project Leader : Yessica Mendez Sierra

Students : Ada Gloria Gonzalez Mireles, Ana Graciela Gonzalez Sanchez, Ana Maria Vargas Lasserre, Andrea Lizette Najera Rodriguez, BaŐĀrbara Garza SaldanŐÉa, Carla Ruizvelasco Garza, Cristina Adriana Briones NunŐÉez, Dana Mayeli Rangel Torres, EstefaniŐĀa Flores JimeŐĀnez, Juana Valeria Gonzalez Ortiz, Kathia Quintanilla Garcia, Maria De Lourdes HernaŐĀndez Lima, Maria Luisa Becerril Garcia, Mayra Valeria Moreira Balderas, Melissa Chapa Gil, Oscar Javier Alvarado Contreras, Priscila Luna Ramos, Roberto Luis Valenzuela Cortazar, Sara Eugenia Gonzalez MascarenŐÉas, Veronica SaldanŐÉa Garza


-> About Restology project : https://www.trendhunter.com/trends/reduce-air-pollution


Article written by Clara Davis

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BioShades Workshop & Talks

Workshop  Thursday, March 15, 2018, - 15:00 to 18:00 
Talks     Thursday, March 15, 2018, - 20:00 to 22:00
Location : MAZDA SPACE, Carrer Commerc 60
The entrance to this event is free. There are limited spots available. 
You can register HERE for the workshop
You can register HERE for the TALKS

BioShades is coming to a TCBL Lab near you!  
Learn how to dye fabrics with bacteria together with other participants across Europe. 
During this BioShades event TextileLab Amsterdam will connect with labs across Europe and dye textile with bacteria together! 
BioShades exists of a hands-on workshop and evening lectures with experts from the field. 
The whole event will take place at TextileLab Amsterdam ‚Äď Waag, but you can join in different TCBL labs¬†across Europe. 
Fab Textiles is one of the TCBL participating labs, offering the workshop and the live streaming of the talks.

Could dyeing with bacteria be an alternative to chemical dyes? With BioShades we explore the potential of dyeing with bacteria as a less harmful 
alternative in TextileLab Amsterdam and the participating TCBL labs. The upcoming BioShades event on 15 March 2018 there will be a workshop and talkshow during which we explore 
dyeing with bacteria together.The workshop takes place at TextileLab Amsterdam ‚Äď Waag and streamed live in different TCBL labs across Europe where local instructors while lead you through the process step by step. 

During this TCBL BioShades event labs across Europe will connect through a video conferencing system and address this issue during a distributed 
bacteria dyeing workshop and an evening talks that gives the floor to experts from different fields.
BioShades is part of TCBL [tcbl.eu/content/bioshades] that aims to renew the European Textile & Clothing sector. 
We explore new ways to design, make, and work together and inventing new business models to open up new markets. 
BioShades is one of the research topics. Join the event and connect to the TCBL BioShades network and other people interested in this topic.

Program (CET) BioShades Workshop (limited places available)
-14.30 Doors open
-15.00 Start workshop: get to know the other workshop participants across Europe!
-15.15 Introduction of bacteria dyeing
-15.30 Hands-on workshop
-17.30 Instructions for next steps
-18.00 End workshop

Program (CET) BioShades evening TALKS (open to the public)
The entrance to this event is free. There are limited spots available.Please register HERE
Did you know that in the textile industry one the most environmentally disastrous processes is the dyeing of fibers and textiles?  
-19:30 Doors open
-20:00-22:00  Talks via streaming
During two hours we give the floor to experts from different fields, explore the potential of bacteria dyeing together and connect to different participating TCBL labs on the spot!
The BioShades talks follow up on the BioShades workshop in the afternoon.The exact program and speakers of this evening will be announced soon.

Participating TCBL labs 
-Fab Textiles ‚Äď Barcelona, Spain 
-Fabrica Arca ‚Äď Palermo, Italy 
-Textile Museum ‚Äď Prato, Italy 
-Lottozerro ‚Äď Prato, Italy 
-Redu Place Lab - Ia»ôi, Romania 
-Oliva Creative Lab - S√£o Jo√£o da Madeira, Portugal 
-Sanjotec Design Lab - S√£o Jo√£o da Madeira, Portugal 
-FabLab Kamp-Lintfort - Kamp-Lintfort, Germany

This project has received funding from the European Union’s Horizon 2020 research and innovation program under grant agreement no. 646133.

Join BioShades distributed workshop and let’s push the boundaries of the textile and clothing industry together!


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Bioplastic Wunderpants

These Wunderpants were inspired by the anonymous Superheroes and Wonderwomen of the world, who are everyday fighting to save the environment one design at a time.




They have been made from the standard recipe of a gelatin-based Bioplastic, which can have written in our book publication HERE

In addition to this recipe we added wax, which improves the materials hydrophobic properties as well as provides the material with a sheen. The color in this piece was made by blending various acrylic paints directly into the pot while cooking the Bioplastic.

The after the curing time of 3-5 days depending on the thickness, the result is almost a leathery texture.




The flat sheet of Bioplastic is then laser-cut using a pattern designed in Rhino, based on the custom measurement of the mannequin. Then the pieces can be manually assembled. All the connections are seamless using a modular system, in order to eliminate the need for sewing as well as to add detail to the garment.

The Wunderpants are will be exhibited from February – June 2018 as part of the exhibition ¬ęWhat’s next?¬Ľ: The materials that will shape the future¬†at Materfad at the Museu del Disseny de Barcelona. See the link below:¬†http://es.materfad.com/servicios/11/exposiciones-de-proyectos-y-materiales

Team: Clara Davis, Noor El-Gewely, Aldana Persia, Mohamed Elatab, Anastasia Pistofidou

Activated Charcoal Top

The top was made using the same material and technique as described above. The main difference with this one was that the black color was created by adding activated charcoal to the bioplastic. This also makes the material conductive.  The CNC laser cut pattern in this garment creates the openings and draping.

Team: Clara Davis,  Anastasia Pistofidou, Mohamad Elatab


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Textile Academy Bootcamp @ WEMAKE , Milan

Our annual Bootcamp will take place in Milan !  After the first edition of the Textile- Academy , from September 2017- March 2018, we come back for our annual Bootcamp, where professionals, future instructors, students and artists gather together to have a skills exchange and training of 40 intensive hours.

If you are interested in becoming a future Node and you did not have the chance to attend one of our Bootcamps, if you are a student that always wanted to learn about 3D printing in Fashion, Bacteria textile dying, Graphene 3D printing and open source circular fashion, this is the course for you! If you are very far away you can also attend our course online!

In order to reserve your spot , click on the image below:


Detailed schedule:

Reserve your place HERE !

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painting electro-luminescence

At the Fab Textiles¬†‚Äč‚Äčwe explored the functioning and application of electroluminescent paint. Different tests were developed on different type of¬† materials. 
Two final prototypes were generated with the designer Cristina Noguer for her exhibition "Refraccions" at Barcelona Desing Week 2017.
Research and development: Aldana Persia

About electroluminescent:
What is Electroluminescence?
Electroluminescence is an optical and electrical phenomenon in which a phosphorescent material emits light in response to an electric current or to a strong electric field. 
It is different from light emission resulting from heat (incandescence), from a chemical reaction (chemiluminescence) or other mechanical action (mechanoluminescence).

What is electroluminescent paint?
Electroluminescent Paint is essentially a painted circuit. A multi-layered system which uses an alternating current (A.C) power source in order to emit light.

How to make electroluminescent paint circuits?
Basically we need to generate a phosphorescent layer between 2 conductive layers. They must not touch each other in order to not generate a short circuit, so an insulating layer must also be added between them.

Electroluminescent Paint requires a minimum of 100v of alternating current to emit light. Standard electronics consist of 12-18v D.C inverted to approximately 180v A.C. When an inverter applies the proper voltage and frequency, it excites the electrodes contained in the paint and its lights up. 
Materials used during the project: 
Lumilor electroluminescent paint: (Conductive,Transparent conductive,Dielectric,Phosphorescent)
Clear paint (any kind of transparent layer)
Masking tape
UV light
Low pressure gun 
Heat Gun 
Inverter (DC into AC)
9-12 Batteries


1- BASE: 
We developed tests on different materials such as fabrics, conductive glass, acrylic, wood and paper. Ideally the material does not to have texture, to avoid the layers cross the material or mix it each other.
We masked the surface that wouldn’t be painted.
Using a low pressure gun we applied coats in horizontal and vertical way checking that the whole surface was covered.
15 to 30 minutes must be waited before applying the next layer to let the paint dry. 
We checked Ohms with a multimeter to ensure that the electricity flowed freely into the whole surface.
We made a new mask covering the conductive flange.
We mixed slowly the paint to avoid bubbles that could cause problems to cover conductive layer (a minimum free point can cause a short circuit between conductive layers).
Using a low pressure gun we applied coats in horizontal and vertical way.
We waited 15-30 minutes before applying the next layer.
We applied the phosphorescent layer with a low pressure gun under a UV light to check that the paint was applied in an uniform way over the whole surface. A good rule of thumb its to shake the pressure gun during the process, so that the phosphorescent pigments and the paint do not separate.
Same materials used at layer 1. This layer distributes the electric current. It size has to be  20-30% of the phosphorescent layer. 
It was the most difficult layer to apply because the paint was very liquid.  We resolved this issue drying the paint with a heat gun during the process. It is necessary to apply a thin coat to let the light be seeing under it.
We used a painted material to encapsulated the circuit and prevent electric shock when touching it. It can be or not a paint material depending on the purpose (for example glass), but always a transparent material to let the light be seeing. 



Different tests

Refraccions exhibition
With the Designer Cristina Noguer 2 paper lamps were created and developed for her exhibition Refraccions at Barcelona Design Week- 12ª edition, Design Unique Piece 2017. Her exhibition was based on the natural and artificial light as main material.

Pictures from Refraccions Exhibition, Cristina Noguer
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Fab13 Fashion Show

During Fab13, the international Fab Lab conference held in Santiago de Chile in August 2017, we organized a Fashion Show, demonstrating
the applications of digital technologies in haute couture and wearables, the local designers and the ones from the Fab Lab Network that are researching and creating around the subject.
The Fashion Show was celebrating the 4th annual Digital Fashion and Wearables Showcase, and it was organized in collaboration with Protein Lab of UTEM.

In Santiago de Chile there were few initiatives of designing digitally for fashion and the integration of electronics on the garments.
Fab Textiles, traced the few designers and labs that are promoting this field, Claudio Paredes with Utem Proteinlab and Open Textiles of Fab Lab Santiago.
International designers from the Fashion School of Veritas of Costa Rica, Fab Textiles of Barcelona, Fab Lab Kamp-Lintfort, Textile Lab Amsterdam, Aachen University and others were showcased.
Applications from 3D printed fashion, 3D printing on Fabrics, Haptic Vibrational feedback and light emitting garments were some of the projects one could see at the Show. 
Probably this was the first initiative in Chile, open to a wide public that for the first time was exposed to a different imaginary for the prominent future of fashion technology.

Collection below:
Claudio Paredes in collaboration with Protein Lab , UTEM

Claudio Paredes, Claudio Paredes,Veritas Moda Costa Rica,Adriana Cabrera, Cecilia Raspanti-Aldo Sollazzo
Collection below: 
Claudio Paredes in collaboration with Protein Lab , UTEM
Collection below: 
left : Anastasia Pistofidou, right:students work at Veritas Moda, Costa Rica
A sneak pick of the fashion show
Backstage !

Coralia by Cecilia Raspanti and Aldo Sollazzo

HaptiVest by Sophy Stönner and Jan Thar, RWTH Aachen University 

Ana de Lara, OpenTextiles, Fab Lab Santiago
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BioBags collection

This BioBags collection, created by Clara Davis  as part of her training internship at the lab. It is an environmental project about how to replace plastic bags and daily life packaging with biodegradable materials. A plastic bag takes about 450 years to disintegrate in nature. Those three BioBags, made with gelatin base bioplastic are completely biodegradable. It takes about one week to dissolve completely in the water. This project comes as a research outcome of  Biomaterial practices at FabTextiles at Fab Lab Barcelona.

Gelatin base bioplastic is a recipe with 100% natural ingredients : 78% of water, 16% of gelatin and 6% of glycerol. With this recipe you can cook a strong material. The difference between gelatin bioplastic and petroleum plastic is that bioplastic is not long-term resistant to heat (more than 40¬į) and water (more than one week). That’s why it’s so easy to recycle it.

For now the problem is still the price of creation, too high to considerate the BioBags collection just like simple packaging. It’s costing approximately 80 euros to create one BioBag : price of material, design, machine and time of work. You should know that gelatin base bioplastic takes about one week to dry. A long cooking process before starting to laser cut the BioBag.

The BioBag collection stay at the moment a project between Art & Design but with financial investment we can easily imagine a biodegradable industry coming in a near future.

-> Create your own Biobag

-> Print your bioplastic recipe

-> Learn more about bioplastic

-> Buy a BioBag at Lottozero shop online



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Fab13: Challenge on Fashion & Assistive Technology- Winners

Prizes announcement from Shapeways and Fab Foundation for our fashion and Assistive Technology Challenge!
We celebrated Fab13 with a Challenge on Fashion and Assistive Technology to recognize the ways society embraces digital fabrication in the most intimate way. Technology gets closer, it becomes an extension of our body to assist and augment our abilities, to gather and process our data. How can society adapt and benefit from the democratic access to knowledge and skills found in Fab Labs, to improve the life of people? How does the industry of fashion transform with digital distributed production and communities?
The participants of Fab13 were called to demonstrate the power of creation through visionary prototypes and innovative concepts. During the conference days makers, inventors, thinkers, and innovators had access to the Super Fab Lab in order to develop their projects, ideas and technologies to prescribe the impact of wearables, digital fashion, and assistive technology, through digital fabrication and global collaborations.
All projects were presented on Saturday at the main stage of Fab13Festival and the winning teams received great prizes by Shapeways and Fab Foundation.
Check the 3 winning teams and the rest of the entries here:
1st winner:
Fab Shake is a wearable glove that counts the times you give a handshake with somebody and gives a visual feedback with a LED stripe! It encourages people to socialize in a fun way and was made out of Fab13 printed textile
TEAM: Luciana Asinari, Santi Fuentemilla, Andreas Kopp, Xavi
2nd winner
Coralia is a laser cut dress with a 3D printed necklace using generative design using Grasshopper and Rhinoceros. The pattern of the dress is inspired by radiolaria minerals.
TEAM : Cecilia Raspanti, Aldo Sollazzo
3rd winner
Marinera skirt, combining northern pre-inca designs, colonial dances and digital fabrication, this laser cut skirt brings the tradition of Peru to the modern society.
Other projects that participated:
1st place 2.000$
2nd place :1.000$
3rd place :500$
1st place 1.500$
2nd place :1.000$
3rd place :500$
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3d printed top!

Currently a 3d printer that prints clothes does not exist. In the sense that there is not any popular, low cost, numerically controlled deposition of textile matter (fibers) such as a textile 3d printer.  There were some previous projects that failed, but it is something that we will see in the near future. While I am writing this article, I am already foreseeing posibilites of textile printing and I hope can get some time to make some experiments. A good example of a new digital fabrication method would be the robotic weaving, but I guess that this is something old for the automotive industry and the weaving of carbon fibers.  The textile industry is extremely advanced and uses digital tools for producing patterns, stamps, techniques since long time now and we should be careful when saying ¨the first 3D printed cloth¨.  The most usual ways of using popular 3D printing in Fashion is to Make ¨chain like¨ structures  in order to obtain a textile behavior or use flexible filaments or even 3D print on Fabric.

This 3D printed TOP is made out of many pieces soldered together. due to the limitations of the machine size. The file is open source and can be found on thingiverse as a customizable thing, anyone can use the customizer to prescribe the width and length. Here you can download the file.

Capture d‚ÄôeŐĀcran 2017-06-27 aŐÄ 17.21.25

Capture d‚ÄôeŐĀcran 2017-06-27 aŐÄ 17.22.58 The Customizable Chain Mail on Rhinoceros software.


3d top1

The technique of joining the pieces is actually melting the chain with a hot needle, opening it on one side, add it a new piece and re-closing it with the same PLA filament. It is meticulous but finally there is no other piece added and it’s clean work.

3d top 2

For creating this 3d printed TOP you need to assemble 12 pieces. You have to know that 1 piece take 12 hours to print, so do the math for 12 pieces… 144 hours without counting the assembled part. Today, it still take a lot of time to create a 3d print garment but we can imagine that it’s gonna change fast ! Still the amount of material it uses is only 84grams and it makes a proof of the theory ¬® optimize in the¬†material, take your time to make ¬® , well, in this case, it is ¬®take your time to make 3D printer!¬®cause you just leave the print overnight.

3d top 3

chainmail 3d printed top



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Barcelona Maker Faire 2017

barcelona maker faire 2017

This year the team FabTextiles (Fab Lab Barcelona) of Anastasia Pistofidou and Clara Davis participated to the Maker Faire Barcelona 2017.

Maybe you are wondering what is a MakerFaire ? A Maker Faire is a world event gathering makers : creators, innovative craftsmans, inventors and engineers. This Maker Movement is about using technology, creating new ways to produce together, learning how to do it yourself for changing our industry. The first Maker Faire was established by Dale Dougherty, one of the creators of Make Magazine, in San Mateo, California, in 2006. The goal is to introduce to the people the latest inventions and innovations, to teach them how to do it themselves with workshops, to discuss with them about different topics and to allow makers to meet each other and share their knowledge.

 stand fabtextiles barcelona maker faire 2017 Fab Textiles stand at the Barcelona Maker Faire 2017

For the Maker Faire Barcelona 2017, FabTextiles presented :

  • three pieces of the ECOcyborg collection thought by Alex-Murray Leslie, a collaborative work with IED school and FabTextiles (Fab Lab Barcelona)
  • a laser cut parametric origami hat and two seamless garment design by Anastasia Pistofidou
  • a 3d printed top assembled by Clara Davis
  • a bioplastic collection of accessories created by Aldana Persia and Clara Davis

eŐĀcocyborg Three looks of the ECOcyborg collection tought by Alex-Murray Leslie, a collaborative work with IED (Istituto Europeo di Design) Barcelona and Fab Textiles (Fab Lab Barcelona). First look, electroluminescent woven shoulder piece on top of a laser cut petticoat. Second look, retro-futuristic biopastic shirt made with ultraviolet colors pigments. Third look, 3d printed chainmail coating dress.

3d printed top copie 3d printed top, chainmail assembled by Clara Davis, you can follow the DIY on this page.

table3 copiebioplastic collectionBioplastic Collection of accessories created by Aldana Persia & Clara Davis

FabTextiles showed but also shared. On their booth, they revealed to the public The secrets of bioplastic and gave the opportunity to learn how to do it yourself by distributing the recipe used for the Bioplastic Collection. Anastasia Pistofidou animated the discussion about embedding digital and Bio Technology in Fashion and Clara Davis gave two workshops : learn how to fold a stone paper origami hat and create your own jewelry with the bioplastic collection waste.

workshop1 workshop2 people1 people2    people3people5Workshops : learning how to fold a parametric stone paper origami hat and creating jewelry with bioplastic collection waste.

Thanks to the FabTextiles team : Anastasia Pistofidou, Clara Davis, Aldana Persia and Sabina Micheli

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Fabricademy, textile & technology academy

We are officially launching the : Fabricademy. A textile and technology academy that combines soft fabrication, wearable technology, sustainability and materials.
The program consists of 13 classes given by world known experts and the two month incubation and project development with mentorship.
Starting on the 26th of September 2017, students from Europe and overseas will learn tools and develop concepts that intersect fashion, technology and biology with a scope to equip the multidisciplinary future designer.
If you are interested in studying at the Fabricademy or participating as a hosting node, check the details here !

Are you a fab lab, institution, school, makerspace that wants to host and run the Fabricademy at your space?
Check our hard and soft requirements and apply as a node here

fabricademy screen

Enroll at the Fabricademy course, starting the 26th of September 2017. Check our current nodes or
find your closest lab to use for your classes here
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“ECOcyborg” YoMo festival 2017

ECOcyborg is a fashion tech show created by Alex-Murray Leslie and the students of the IED (Istituto Europeo di Design) Barcelona. This artistic performance is about the impact of technologies in our way of creating, producing and consuming today. The show took place in the Youth Mobile Festival (YoMo) during the Mobile World Congress 2017 (27 February – 2 March) in Barcelona.

During the last two months, the team of FabTextiles collaborated on this project by designing and producing materials used for making the garments of the show : bioplastics, 3d printed fabrics, thermoformed acrylic masks, laser cut textiles, weaving with electroluminescent threads…alex murray leslie yomo Alex-Murray Leslie (founder of Chicks on Speed, an¬†internationally renowned art band) during the performance “ECOcyborg” at the YoMo Festival 2017.

  • BIOPLASTIC WORK : USING BIODEGRADABLE MATERIAL AS A FABRIC (You can find more information about bioplastic in this previous post ‚Üí The secrets of Bioplastic)anastasia pistofidou & alex murray leslie fabtextile Anastasia Pistofidou and Alex-Murray Leslie creating bioplastic in FabTextiles and Materials Lab.

We cooked a huge quantity of bioplastic with gelatin base for making a flat piece of 2000×1500 mm. Adding¬†ultraviolet colors pigment inside the mixture to make the bioplastic shining in the dark. This bioplastic piece was used by the students of IED Barcelona to create a futuristic shirt for the show.bioplastic creation yomo bioplastico

Anna Masclans, a student from the IED school interning in the FabTextiles, create a new type of material by combining wastes of fabrics with bioplastic. A nice way to recycle the textile leftovers when people make garments inside fashion schools. Her samples were used as patchwork for one look in the show.anna masclans bio+fabrics


Anastasia Pistofidou design on the software Rhinoceros and Grasshopper a chain for printing in 3D.  The 3D printed chain like textile allows to print a pattern made of small rigid volumes that assembled together becomes a flexible material. The students from IED Barcelona took the chain for making the coating of a dress.3D print fabrics 3D print fashion tech show

  • THERMOFORMED ACRYLIC : It’s possible to deform an acrylic sheet by heating it up to 160degrees and using a vacuum forming machine. You can give to the acrylic sheet the shape you want by using a mold. For creating those thermoformed acrylic masks Anastasia Pistofidou 3Dmodel a human face made in MakeHuman software. The next step is to CNC mill the¬†piece of PU high density foam (can be negative or positive. After, the 2d pattern¬†is laser cut on an acrylic sheet of 3mm and¬†finally heated-up and placed it on the foam face and put it under the vacuum forming machine. 3C2A3092mask thermo fashion tech show
  • WOVEN ELECTROLUMINESCENT THREADS : During the last day of the Textile Bootcamp Academy, a group mentored by Alex-Murray Leslie developed a woven piece that embedded Corning Fibrance Light-Diffusing Fibers from Versalume, reflective textiles and recycling elements like plastics bags and packaging papers. The loom used for creating the weaving was laser cut and built in the Fab lab from an¬†open source file found in instructubles. The final woven piece became a shoulder piece inside a laser cut petticoat.
    weavingg weaving laser cut fashion show yomo

Inside the FabTextiles Lab we question ourselves about the future of textiles, technology and try to find hands ON ways to change the fashion industry. We using technology to create our own tools and discover new materials.

¬ęHa sido incre√≠ble colaborar con Anastasia Pistofidou y Fab Lab Barcelona en la creaci√≥n de nuevos textiles hechos de materiales ecol√≥gicos, para el wearable tech fashion show que estoy dirigiendo para YOMO¬Ľ
Alex Murray-Leslie

Fabtextiles team : Anastasia Pistofidou, Anna Masclans, Aldana Persia, Laura Ramos & Clara Davis


Betevé, reportage of 3 minutes
–¬†Diari Ara¬†
–¬†El Mundo – Innovadores¬†
–¬†It Fashion
–¬†It Fashion
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Textile Academy Bootcamp WrapUp

Textiles Academy Bootcamp was an intensive 40h course that took place at IaaC Fab Lab Barcelona with 25 participants from US, Canada, France, Germany, Argentina, Italy, Holland, Chile, Sweden, Greece, England, India and with 20 more participants in the fashion of distributed online education, joining remotely from Wellington, Santiago de Chile, Amsterdam, Seoul, Kamp Lintfort, Leon, Madrid, Lima, Limerick.01textile academy bootcamp paricipants

Participants from all over the world gathered in Fab Lab Barcelona to attend the bootcamp, it was great to see many friends and to meet new people, all sharing the same excitement for the week-long journey about to start!
02textile academy bootcamp kamp lintfort copy In Germany, the group at Fab Lab Kamp-Lintfort, mentored by Adriana Cabrera, also a Fab Academy alumni, participated to all week’s activities producing many tests for all the hands-on and three projects.

The Textile Academy Bootcamp was the kick off and a pilot course to test the forthcoming Fabricademy, a new textile academy that will run in multiple places all over the world simultaneously, starting mid September 2017. 

Missed it? Don’t worry! We decided to publish this short summary to keep everybody who is interested in the Textile Academy updated.

03textile academy bootcamp onlineIntroducing the Fabricademy program to the network and brainstorming on what are the requirements in infrastructure and skills in order to be able to run the Fabricademy.

Fabricademy, a new textile academy is will be functioning on the same principles and infrastructure of the global Fab Lab network, but focused on new alternative materials, processes and techniques related to textiles, wearables and soft fabrication. The class will be launched in September 2017, with a top level faculty and an extensive program of 13 weeks, followed by two months of individual project development. Many labs around the world have already expressed interest in participating to this program and we will be opening soon students applications. The course is planned to be carried out all over the world, and the bootcamp is already showing that we will be able to involve everybody interested no matter in which continent they are based.

OUR WIKI !¬†All the content, videos and teaching materials produced during the bootcamp has been edited and collected on the Textile Academy Wiki, the basis for the Fabricademy syllabus, accessible to all the Bootcamp participants.We‚Äôll be updating constantly this repository with new materials, expanding the classes and adding useful resources such as glossaries, recipes and much more…keep an eye on it and feel free to send us suggestions and interesting material to be added to our growing repository! ¬†

05textile academy bootcamp wiki04textile academy bootcamp wiki

Day 1 – Hacking the fashion industry-seamless clothes

To start the day we did a round of introductions from the local participants, the Bootcamp staff and remote sites. The aim of the first day was to define the context in which we are going to work, the reasons behind this forthcoming and explorative textile movement in Fab Labs and other typologies of innovation labs.Anastasia Pistofidou presented the Fab Textiles project and Cecilia Raspanti showed her work at the Textile Lab Amsterdam and on the TCBL EU project.06textile academy bootcamp zoe romanoAnastasia and Zoe discussing about open source economic models in the textile and clothing industry

Zoe Romano, founder of the wemake.cc makerspace and expert in circular fashion, followed with her lecture on “Hacking the fashion industry”, where she presented her work describing a new approach in the design and production of clothing using networks, hacked and open hardware machines, open source softwares. Zoe gave a comprehensive overview about open source branding and gave many examples of open designs that can be realised by anyone in an accordingly equipped lab.

For the Hands-On sessions this day was focused on exploring laser cutting techniques. Anastasia introduced the topic with a tutorial for an effective and safe use of the laser for cutting and engraving fabrics.  The objective of the hands on section was to create seamless clothing & reconfigurable modular systems, using any 2D or 3D software to create patterns ready for cutting. Participants were challenged to design and test a modular connection for a pattern in order to assemble textiles in 3D shapes. Lots of interesting projects started to take shape from the different groups all over the world in their research on laser cut inter-laceable patterns.07textile academy bootcamp modular copyExploring first interlocking tests. Curious? Take a peak in the exciting outcomes on the JAM day photos!08textile academy bootcamp modulesViki Fernandez seamless patterns, Brazil09textile academy bootcamp modules010textile academy bootcamp modules011textile academy bootcamp modules In Peru, the Fab Lab ESAN group showed mastery of seamless design producing lots of examples with different materials.012textile academy bootcamp chilefabricademy modular systems laser cut 2 copy Ana de Lara from Santiago de Chile, a member of the opentextiles.org project, produced this beautiful skirt seamless pattern and right, other possibilities combining laser cutting and weaving

Day 2-  Р New materials, alternatives processes

The goal for this second day was to learn how to work with new material and processes aimed at growing your own clothes. While this might sound sci-fi, Anastasia and Cecilia guided the participants in this innovative topic with their lectures on Bio-Couture, Bio-Plastics and Bio Dyes. Participants and mentors joining the lecture were really impressed by the projects shown and the global issues related to the use of traditional materials and processes, that have a huge impact on the environment and labour conditions in developing countries. The textile industry, second most polluting industry on earth, often tries to hide the environmental impact of certain chemicals used to process materials and textiles. Fabricademy aims also to explore more friendly and relevant alternatives around these issues, highlighting research paths of the ones driving these innovative future materials and processes.

On the technical side the two sessions started a very interesting recipe exchange, for creating and mixing materials, for dyeing with natural ingredients and growing vegan leather. All these materials are being collected and will be part of the Fabricademy online resources. What made this day really great were the hands-on sessions! The local workgroups and all the labs connected remotely started experimenting with the materials covered in the lectures, a meter of kombucha leather, grown for the last two months, was unrolled and cut into pieces to be molded into shape and a rainbow of colors populated the room showing the participant’s bio-dyeing skills.

Bacteria textile dyeing

013textile academy bootcamp bacteria014textile academy bootcamp bacteria  Growing bacteria, dyeing textiles

015textile academy bootcamp bacteria016textile academy bootcamp bacteriaIn Germany, the group at Fab Lab Kamp-Lintfort, mentored by Adriana Cabrera following the exercises at their biolab

Natural Dyes

fabricademy natural dyes017textile academy bootcamp bacteriaWendy Neale, Creative Director of Fab Lab Wellington in New Zealand preparing her natural dyes.

018textile academy bootcamp natural dyes019textile academy bootcamp natural dyes Natural dyeing of textile with turmeric, hibiscus, turmeric and ph modifiersfabricademy natural dyes all


020textile academy bootcamp bioplastic @fabricademy Instagram Cooking Bioplastics based on Glycerine and Glycerol022textile academy bootcamp bioplastic Combination of bioplastics with fabric and pigments applied on a thin surface to create flexible sheets of bioplastic

KOMBUCHA CELLULOSE SKIN023textile academy bootcamp kombucha Kombucha skin of 1mx1m grown for 2 months using the biocouture recipe of Susan Lee for growing your own cellulose fabric

024textile academy bootcamp kombucha025textile academy bootcamp kombucha Molding kombucha skin and knitting 027textile academy bootcamp kombucha Dried kombucha skin

Day 3 – Computation Fashion

The main theme of this day was to investigate how computers and digital technologies can revolutionize the work of fashion designers and common people alike.  The first lecture, by Amber Slooten, a dutch fashion designer, gave participants a glimpse of new ways for designing fashion virtually and digitally, using CAD tools, as well as an overview of the tools used. Aldo Sollazzo from Noumena, a world-renowned expert in computational design, introduced tools such as Grasshopper and plugins needed for computational couture with a really extensive lecture.028textile academy bootcamp aldo During the hands-on session he also gave many examples, all ready to be customized, for modeling ready-for-production 3D printed pieces around a digital mannequin. The topics presented are so vast, that many participants promised to get back to it once home, using the resources provided as a starting point for further experimentation. In parallel with the Digital Couture Hands-On session Anastasia presented several fabrication techniques.  From 3D printing on textiles, to thermoforming plexiglass on CNC milled body parts.029textile academy bootcamp 3dprinting030textile academy bootcamp 3d printing More 3D printing on Fabrics and 3d printing with Filaflex auxetic structures.030textile academy bootcamp thermoforming CnC milling of high density foam parts of the human body made in MakeHuman serve as the mold for thermoforming laser cut acrylic. 032textile academy bootcamp wendy Wendy Neale documented her bootcamp outcomes in her blog where you can see interesting experiments with dyeing, digital couture with grasshopper and more.

Day 4 – Electronics – Soft Sensors- Attiny – Open Hardware

033textile academy bootcamp electronicsElectronic components kits for bootcamp attendees in Barcelona

The focus of the day was to enter the electronics, wearables field and the development of soft sensors using conductive fabric. With the help of Angel Mu√Īoz and Christian Rizzuti participants explored the possibilities of smart leds, the Arduino family of platforms, e-textile sensors, motors, SMA, and fabric speakers.034textile academy bootcamp soft sensors¬†Christian Rizzuti introducing DIY soft sensors, bend, stretch and pressure.

For the hands-on session Liza Stark, Content + Community Lead at littleBits showed interesting projects based on the ATTiny microcontroller, and participants engaged soldering, assembling and integrating basic textile circuits under the mentor‚Äôs supervision.035textile academy bootcamp liza starkWhat we all will remember about this session is Liza telling us that ‚Äúthe ATTiny is our new best friend‚ÄĚ. She presented a wonderful selection of projects she developed, one of which, was her actual wedding dress, displaying though led lights her heart beat and the one of her husband.036textile academy bootcamp liza starkLiza Stark doing the tutorial and hands-on for the ATtiny Embroidery Swatch.

The artist duo Varvara Guljajeva & Mar Canet introduced participants to the topic of open source machines for the textile industry. Their Knittic and Circular Knittic projects are pioneer experiments of bringing soft fabrication tools and machines at low cost into the fab lab network.037textile academy bootcamp varvara y mar canetCircular Knittic project by Var & Mar

Day 5 – JAM

After a super full week, the JAM day was the perfect moment to bring together all the lessons learnt during the bootcamp and make stuff! We had an amazing team of mentors helping the participants in the project fabrication, a great thanks goes to them for the support and passion.

The group mentored by ALEX MURRAY-LESLIE, developed a woven shoulder piece that embedded Corning Fibrance Light-Diffusing Fibers from Versalume, reflective textiles and other types of yarns. 

038textile academy bootcamp alex murray-leslie¬†They 3d wove the piece using a loom that was laser-cut at Fab Lab Barcelona, and the elements developed during the jam became part of the ‚Äúeco cyborg‚ÄĚ outfit for the performance YoMo for MWC, the Mobile World Congress held in Barcelona, that was directed by Alex herself.

3C2A3078 making of ecocyborg

A laser cut cape combined different techniques learnt along the way during the course, was animated through electronics components, in which it’s shoulder elements moved according to the stretch achieved with a soft, knitted sensor. CRISTIAN RIZZUTI  lead this group exploring with them extensively all the different possibilities in implementing electronics in the garment. 040textile academy bootcamp alex murray-leslie

The third group, mentored by  ZOE ROMANO developed an entire outfit, composed by a bolero and skirt, entirely constructed by variations of the same modular element that were laser cut in neoprene and integrated a sewn circuit with a lilypad and a stretch sensor. The combined modules created a structural and decorative tridimensional pattern creating an incredibly complex and beautiful look. The choice of material also impacted the final result, neoprene has clean, structured but soft properties that enhance the pattern and shape of the garments.043textile academy bootcamp zoe romano modular systems041textile academy bootcamp zoe romano

The fourth group, mentored by ANNEMIE MAES, tested the use of kombucha, the vegan leather, for molding tridimensional objects. They implemented conductive wires between the layers, to understand the possibilities to embed electronic sensor in the still wet kombucha in order to create a seamless object. They also tested the effect of different types of natural dyes on the wet kombucha, to further study the outcomes once the material is dry.

This series of experiments have the aim to bring the research of Annemie in order to ¨ grow your beehive ¨ project a step further. 045textile academy bootcamp annemie maes kombucha046textile academy bootcamp annemie maes kombuchaKombucha skin dyed with Hibiscus, Kurkuma, bois de campèche 047textile academy bootcamp annemie maes kombucha Molding Kombucha skin on a CNC high density foam fractal pattern.

During the afternoon ALI YERDEL came and gave a demo of spraying fibers using his ¨Candy Tool¨, this is the method that ¨Fiber Dress¨of FabTextiles was made.049textile academy bootcamp ali yerdel fibres048textile academy bootcamp ali yerdel fibres2Completed cocoon made with natural fibers Ali Yerdel showing the Candy Gun operation

The outcome of the bootcamp are many projects, made in Barcelona and around the globe, by the great community born out of the course.051textile academy bootcamp kamp-lintfort In Germany, the group at Fab Lab Kamp-Lintfort showing their week’s activities and projects they made.


We consider the Textile Academy Bootcamp a great proof that these topics are valuable to the Fab Lab network but also to a larger audience of artists, professionals and individuals. It also makes us even more motivated to work on the Fabricademy course for this autumn, which will include many more topics and more in depth investigations than those covered by the short and intense bootcamp. We hope to be able to host it in as many labs as possible, so people around the world would have the opportunity to join and participate in this amazing fast growing network. 052textile academy bootcamp kamp-lintfortIn Germany, the group at Fab Lab Kamp-Lintfort showing their week’s activities and projects they made.

Next Events
We‚Äôll be participating to the Fab Lab Festival 2017 in Toulouse on the 11-14 May, were we will present the program to the European network. You will also be able to join us at the upcoming FAB13 Conference in Santiago de Chile on 31 July - 06 August. ¬†If you are interested in joining or participating with your lab to the program, write us at [email protected]
Organized with love by : Anastasia Pistofidou, Cecilia Raspanti, Fiore Basile with the support of IaaC Fab Lab Barcelona
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The secrets of Bioplastic

bioplastic layers bioplastic black

During a week we created samples of bioplastic with gelatin base, experimenting and testing the limits of this material.
Bioplastic made with gelatin base is a hydroscopic, low temperature biopolymer. It's a simple recipe than anyone can try at home you just need gelatin, glycerol and water. 
You can find the recipe and the explanations step by step of how to make bioplastic in the pdf "The secrets of bioplastic" at the end of this post.  
materiel bioplastic
cooking & drying process bioplastic
You can get different harness or (elasticity) depending on the quantity of glycerol you put inside your mixture. 
You can also change the opacity and the texture by creating foam with spitting air inside the heated mix.

You can try to mix bioplastic with many materials like fabrics, fibers, threads, pigments, tape, wood, metal...


bioplastic plastic

bioplastic fabric tape
You can also decide to not put any other material than bioplastic and just play with the textures and the patterns you can make.


bioplastic fabric

bioplastic fabric pattern
During our experimentation we discovered than bioplastic :
- can take any shape (volume, surface, sheet...)
- can have different performance by changing the dosages of water, gelatin and glycerol (elastic -> rigid)
- can be transparent & smooth or opaque & fluffy if you add air inside the mix
- can dissolve in the water (it is not water resistant)
- can be easily recycled and reused by warming it again
- don’t smell good (especially when you cook it, once dry the smell begins to fade)
- glues to wood, metal, cardboard but not on glass of plastic surface
- doesn’t resist the heat (never put bioplastic in the oven, it will melt !)
- if you create a  large volume of bioplastic it will tend to mold
- it will shrink and change its shape while it dries (use a frame if you don't want it to lose it's shape)
If you are curious you can read and learn more about bioplastic inside this pdf "The secret of bioplastic".

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Encapsulated Pollen

encapsulated pollen
WebEncapsulated pollen is a project that brings together technology and creativity. 3D printing, jewelry and perfumes.It is a proposal that we made for a workshop on the future packaging of fragrances. One piece of jewelry entirely 3D printed, inside of it is possible to introduce fragrance capsules made from hydrogel, allowing to carry with you a smell of a perfume and prolong it throughout the day, the week or even the month. It isn’t just an accessory, it isn’t just a packing more, this prototype allows to include a forgotten public, it couples perfectly with the people who don’t tolerate the perfume in their skin as it generates allergies to them, this is a new option to the people that wish to use perfume not directly on the body but with an accessory that contains our fragrance, needs to be watered and lasts for a month.






Does it transform the error in charm? We design with the material properties of the PLA plastic to create the effect of the leaves of the flower

For development this piece is using a technique that is controlling the error of the machine. A series of extruded squares are proposed in the digital model, they have a minimal measurements that when the printing is making this really generate an error, they are so thin. what is extruded are fine threads of filaments,these form petals that are present in the piece, it generates unique pieces for each printing.

fab textiles flower 3d printed

fab textiles 3D printed




We use FDM 3D printing in order to make the leaves of the flower by extruding thin filament lines without support material. We pause the 3D print in specific height  in order to introduce the hydrogel spheres and the metallic pin that stays encapsulated in the flower.

For prototype development the model is initially made in Rhinoceros this is a software FOR 3D MODELING, providing a real view of the printing, the attachments must be CAD in STL this a monochrome version.

Find our complete documentation here!



3d printed flowers


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Textile Academy Bootcamp



Fashion needs to be updated! We are making a bespoke program for the new hybrid fashion and textile designers, artists and curious technologists combining the essential tools and knowledge of our digital era.

Lectures :

Hacking the fashion industry  by Zoe Romano

Open source hardware for soft fabrication, by Varvara Guljajeva and Mar Canet

Tutorials :

Computational Couture with Rhinoceros and Grasshopper by Aldo Sollazzo,

E-textiles and wearables by Angel Mu√Īoz and Cristian Rizzuti

Bio couture , Bacteria textile dying and Bioplastics by Anastasia Pistofidou and Cecilia Raspanti


On our JAM you will make groups and collaborate with local and international artists for developing projects of the things you ve learned throughout the week!

Subscribe here!


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Mannequin 2016

mannequin fab12

One of the lab¬īs research themes is the design and production of digital mannequins¬†as¬†an abstract representation of the human body¬†using different fabrication processes and materials. In order to obtain the body you can either scan yourself – even using 123d catch of skanect or you can make your proportions replica with MakeHuman freeware.¬†Up to now we have a waffle mannequin and various stacked mannequins using 123 make application but this year we decided to focus on the creation of a laminated composite of textile and thin wood bending process on a high density foam mold. The idea of a soft-hard mannequin like skin and bones that is sketched with few lines but at the same time maintains structural properties.

mannequin fab

The composite is made of 3 layers of wooden stripes and 3 of textile alternating and glued with cascamite wood glue, layers over the CNC milled molds and vacuum pressed for 5hours. The final pieces are joined with screws.

molds for wood bendingvacuum forming

Making of: https://www.instagram.com/p/BIIcWpgAlOP/

fab12 fabtextiles

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Dye Sublimation Transfer Printer



This project is a series of garments made as a collaboration between FabTextiles and Roland DG, using Texart RT-640 Dye Sublimation Plotter.

The collaboration is based on the possibility of providing the fab lab community with the access to a ready to print textile plotter and encouraging everybody to get to learn the process and the different fabrics that are available of the market for Dye Sublimation Transfer printing.

Custom digital textiles prints are existing in the market as online services, still they is a problematic of the designer not being able to touch and chose the desired fabric, which eventually creates a limited variety and potential in customization.


The printed patterns are a glitch generated by an old mac computer before shutting down forever generating a pixelated 2 dimensional landscape.  Other prints are based on  a series called Spaghetti Art, ¨glitches¨ made by an FDM 3D printer, where the printed object resulted a failure. Images of failed 3D prints were processed and converted to repetitive patterns.


Fashion Designer : Saeunn Kjartansdottir

Prints : Anastasia Pistofidou, Cristian Rizzuti

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Fab Textiles Bootcamp

Bootcamp with Icelandic teachers:
Introduction to soft fabrication and the use of digital fabrication applied on textiles and fashion
New mediums of production and accessibility to new technologies are changing the way we learn, design, produce and consume. Fashion education and the industry are still in the process of adaptation to the new technologies and the open source culture. Innovative processes and multidisciplinary synergies are defining the new era, which calls upon the awareness of the way things are made and the opportunities that the new tools offer to innovate and reimagine the future.
This¬†bootcamp with¬†FATEX –¬†Association of apparel and textile secondary school teachers focused¬†on transmitting Digital Fabrication and New Technologies applied in Fashion. Digital fabrication allows us to experiment with the way we design, produce and consume fashion introducing the participants to 3D modelling, parametric design, 3D printing, new techniques and materials.
 kombucha culture/ grow your own textile
Day 1 (6 hours)
Presentation of the Roadmap of the fab textiles projects.
Hands on use of laser cutting technology for fabrics, from 2D patterns to 3D structures. The participants were introduced to 2D design programs and file preparation for laser cutting fabrics. A great variety of different fabrics was tested and a catalogue of speeds and power for each fabric was generated for cutting and laser engraving. The participants brought as well local fabrics from Iceland such as fish leather, felt, cow leather and horse hair in order to learn how these materials can be used with digital fabrication technologies and apply the techniques back in their schools.


Day 2 (6 hours)
Molding Felt and CNC milling
Hands on work
Day 3 (6 hours)
Introduction to 3D printing applied in fashion
The exercise was a introduction to 3D modelling through parametric design using Rhinoceros and Grasshopper and file preparation steps and tips for 3D printing. The technique implies the use of fabric on the 3D printer platform where the flexible filament adheres. The grasshopper definition generates curly volumes that vary in width and height. If the fabric used on the platform is stretched the curly pattern can impose the deformation of the fabric into a 3D structure.
This tutorial gives an insight into the correct choice for fabric and appropriate 3D geometries that give properties to the soft structure.

IMG_26273D printing on fabrics Technique

Day 4 (6 hours)
Integrating soft circuits in the garment
Basic Tilt sensor with LED circuit
Participants used basic electronic components such as conductive thread, LEDS, battery and tilt sensor in order to make a small circuit that was integrated into a laser cut bracelet pattern.
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Wooden Textile Bracelet


What do you need:
textile (denim)
woodglue + brush or paint roller
vacuum press
lasercutter (trotec speedy 100)
4 buttons (for cling sealing)
rivet gun for buttons


How to do:
Connecting fabric and wood
1. Cut your fabrics and veneers in nearly the same size
2. Brush one side of the wood with the woodglue and put it on the fabric (ensure that the fabric is flat). For a better result we recommend, to do it with the paint roller, so that the glue is very thin and evently distributed
3. Now, place the two materials into a vaccum press and wait until the materials get connected and dried


IMG_0399 IMG_0404




Preparing the Lasercut
Meanwhile you can create your File for the lasercut. You can do that in Adobe Illustrator (save as DXF) or directly in Rhinoceros. The lines should be colored red for cutting.
You have to think about how you want to connect the bracelet (we choose the buttons).
Our Example, you can download here.


Lasercutting the wooden-textile
1. For a good result (only the wood gets cut) you need the the right power and speed for the lasercut-settings
Here you can see some examples made with the Trotec Speedy 100:


01 1.5mm wood + denim Power:70 Speed:3
02 1 mm wood + denim Power:50 Speed:4
03 0.5mm wood + synthetic fabric Power:50 Speed:5
04 1mm wood + synthetic fabric Power:50 Speed:4
05 1mm wood + very thin synthetic fabric Power:57 Speed:7
2. First do the engraving (the pattern), after, the cutting part (the shape)
3. For cutting you just have to put the power to a higher value ( f.e.: 50 > 90)

Now you can finish your piece by attaching the buttons to the blacelet. For that you just need the appropriate rivet gun or tool.



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Skin2 Elective Seminar // Biocouture// Bioplastics

Master in Advanced Architecture ‚Äď Skin2 Seminar Final Presentations
SO.18 ‚Äď Elective¬†Seminar

What will the human of the future be like? Focusing on the human skin, as a means for protection but also a mediator of our senses and the environment, the Master in Advanced Architecture seminar Skin2 led by Manuel Kretzer and Anastasia Pistofidou, wanted to look into ways of creating novel interactions and bodily experiences.MAA students experimented with raw materials and recipes to create thin membranes and surfaces, which were further supplemented through embedded electronics. Besides developing advanced material systems, a crucial task for the students was been to think about the practical applications and implications of a second skin.



by Jonathan Irawan, Lalin Keyvan, Jean Sebastian Munera and Connor StevensSKINS2 - Encripted Biometrics - IAAC - 2What we envision as a result of the new skin, is that the world will no longer be defined by political or geographical boundaries, but rather territories of health zones to maintain certain liveability aspects. Whether this is a good outcome or not we shall tell. Another result of the skin is the development of a new sense, a sixth sense.As a design, pockets to analyse blood and a vein network were to combined as the encrypted biometric skin.

Video SKINS2 – Encypted Biometrics


by Thora H. Arnardottir, Noor Elgewely, Jessica Dias, Ingried Ramirez11We imagine a future that is completely dark. Where humans have evolved into an altered state of organisms, forming a different species interdependent on each other. Our concept for the skin was to create a new organ as an extension of the human body. We want to host living organisms on our second skin to illuminate the otherwise invisible creatures from the deep sea.We dried the bio-plastic cast on a mannequin in order for it to take the contour of the body and spine. The geometry of this wearable was developed from the hand sketches, and then translated into a 3D model using Rhino.

Video BIO(lum)SKIN


by Jengrung Hong, Sameera Chukkapalli, Hsin Li, Tanuj Thomas83-730x516Based on the final system for the proposed skin design, the Material and Fabrication techniques decided are as follows: Fabric: Laser cutting / Folding, Thermochromics: Screen Printing, 3D Printing: SLS nylon / Mold casting. The Miura fold is a form of rigid origami, meaning that the fold can be carried out by a continuous motion in which, at each step, each parallelogram is completely flat.

Video Miura Ori Skin


by Robert Chacon, Khushboo Jain, Christopher Wongvoidskin-page-7-960BanteringDynamics is pleased to introduce an innovative weapons paradigm that will revolutionize the global battle against crime and disorder. VOIDSKIN (Variable Organic/Inorganic Differentiation System K_________ Inhibition N_________) transparently protects security personnel from the deleterious effects of VOID weapons technology through the thermoreaction of shielding picoparticles to the instantaneous pseudoabsolute zero generated by the discharge of a VOID weapon. VOIDSKIN’s triple layering system redundantly ensures protection against dematerialization while incorporating thermonegative resistance to plasma weapons.

Video Voidskin


by Justyna Brzakala, Lina Salamanca,Dirk Van Wassenaer, Pedro Levit ArroyoIMG_1046We will create a membrane which permits people to maintain intimacy without therisk of contamination.Intimate relationships allow a social network for people to form strong emotional attachments. These relationships involve feelings of liking or loving one or more people, romance, physil or sexual attraction, sexual relationships, or emotional and personal support between the members.

Video El Amor Ee Los Tiempos Del Cólera


by Sahana Sridhar, Nisarg sheth, Anastasia Stephany

09What we need is a second skin that could produce or attract negative ion for our body. Therefore we try to invent a new material which we named [ION]-Tex. From all the experiment and research, it was figured that the best way to achieve our goal is to combine few steps with turpentine and graphene with the silicon mold, to make sure that the prototype could work. This material that we found could be produce as vary products such as blanket, mask, belt, etc.


The first phase of the seminar focused on creating new materials or combining existing materials into advanced composites, with a particular focus on bioplastics and kombucha. During the second part of the course students could investigate the augmentation and actuation of the material systems through means of electronics and physical computing.

The final phase was reserved to developing a functional application, working prototype and speculative future scenario, presented through means of video and material catalogues.

What will the human of the future be like? Ray Kurzweil predicts the ‚ÄėSingularity‚Äô, the progressive amalgamation of the human brain and machine intelligence. Aubrey de Grey understands aging as a disease that can be cured and may lead to infinite life extension. And Zoltan Istvan, who with his ‚ÄėTranshumanist Party‚Äô is currently running for US presidency, advocates -among other things- the technological enhancement of the mind and body through robotics and smart devices.¬†Within the context of ‚ÄėHumanity +‚Äô we want to explore the possibilities and potential effects of augmenting the self and extending the body. Focusing on the human skin, as a means for protection but also a mediator of our senses and the environment we want to look into ways of creating novel interactions and bodily experiences. ¬†We will work with raw materials and recipes to create thin membranes and surfaces, which will be supplemented through embedded electronics. Besides developing advanced material systems a crucial task will be to think about the practical applications and implications of a second skin.
The first phase of the seminar will focus on creating new materials or combining existing materials into advanced composites. During the second part of the course we will investigate the augmentation and actuation of our material systems through means of electronics and physical computing. The final phase is reserved to developing a functional application, working prototype and speculative future scenario.


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Fiber Dress “Cloudio”

The pieces are part of the exhibition  VESTIR I DESVESTIR COSSOS. Fenomenologies d’aparició
Del 13 de febrer al 22 de maig de 2016, at the art center > La Panera

The Fiber dress is an ongoing collaboration between Ali Yerdel “Stigmergic Fibers” and Anastasia Pistofidou¬†“FabTextiles” that explores the applications of the candy tool and the process applied on non woven¬†clothing sprayed.

The concept of Natural making soft envelopes on the body and creating the garment and the textile in one step. Combining automated methodology and craftmenship.

By the direct engagement of the two disciplines, cloth making and spraying process, Creates a unique¬†Organisations and single process. The new hand tool Gives a new role to how to design new non‚Äźwoven¬†clothing.







The pieces are part of the exhibition  VESTIR I DESVESTIR COSSOS. Fenomenologies d’aparició
Del 13 de febrer al 22 de maig de 2016, at the art center > La Panera

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Dress up Workshop Tel Aviv

We got invited to the international workshops of the College of Management¬†Academic Studies, COMAS in Tel Aviv, Israel and the FabLabIL¬†with a proposal for a workshop on¬†“Soft Space”

Soft Space is a seminar that explores new relationships between our body and the surrounding environment. Even if our body is 90% of the times enveloped in soft materials, we cannot declare the same with space and its architecture. What if we imagine a fluid , soft, maleable , interactive surrounding as an extension of our body?

Digital Fabrication and CAD-CAMM technologies give us easy and direct access to tools and create a fertile ground for experimentation.

Through the exploration of soft materials and different fabrication techniques we can design new interactions and perspectives about objects, our body and space.








As far as the program overview, if the workshop is an intensive course of 1week / 40hours (8h/day)

1.1. Processes and techniques – digital manufacturing

1.2. New materials, intelligents, reagents, soft, technicians, biomaterials

1.3. Space as body- extention of technology and the new body

1.4. Digital fabrication techniques on materials

1.5. The imaginary space

2.1. Laboratory project proposals

2.2 Fabrication Laboratory models

2.3. Submission of proposals.

2.4 Manufacture of selection of proposals in scale 1: 1 (Cut Laser- impression 3D- CNC milling – elecronic)

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3D PRINT ON FABRIC @MCE3 conference

This is a quick tutorial to make your 3D printing on fabrics.

This samples have been realised during the workshop at MCE3 conference in Warsaw. That shows you how 3D printing with rubber filament adheres on textiles and what kind of geometries you can try to print. The 3d printers are from Monkeyfab, that supported the workshop during the conference.

1)To make the fabric fixed during the printing, put double sided tape on the platform of the 3d printer.
¬†2) Now you can place the fabric. Be careful, don’t stretch it if you don’t want deformations on the result.
 3)  You have to readjust the nozzle height so that you fine tune the distance between the fabric and the extruder.
 4) Print with rubber/ flexible filament for better adhesion
5) Try to heat up the build platform if you see that it doesn’t stick much in order to fuse the plastic inside the fibers
6) prefer undulated outlines than clear shapes because the total perimeter length is bigger so you have more adhesion strength.
7)The fabric preferably needs to be a little bit fluffy. On more synthetic fabrics or wider mesh fabrics the adhesion was not as good as the “hairy” ones.
If you want to contribute to the tutorial send us an email at> [email protected]
samples 3D print on fabric


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SSIC AND PAUL shop front mannequins

SSIC AND PAUL saw our work of making custom digital fabricated mannequins and commissioned us to produce mannequins for the shop front. (Carrer dels Santjoanistes, 14, 08006 Barcelona).

The mannequins are manufactured by the process of laser cutting after using MakeHuman application and 123d Make to produce the files to cut. You can find the designs for downloading here



3D mannequin

The Mannequin project started with a 3D conception.














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Modular system – FTex workshop Feb 2016

Ece Tankal &¬†Ilkim Er worked on the exercise “Modular Systems” where one geometry can assemble with the other to create a seamless form of textures. There are many Fashion Designers as well as product designers that work with unit repetition. We can imagine clothes that are multifuncional and you can reconfigure with this technique.

modular textile systems fabtextiles

They chose a triangular form that once it’s assembled it stays bent in a 3d shape that creates volume and rotation. The distance of the hole of the triangule can vary and form less or more volume and mold.



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3D Print on Fabric – Ftex workshop Feb 2016

Print on Fabric

The process of printing on fabric is quite direct, you have to attach the fabric with black clips on the printing platform and readjusting the nozzle according to the fabric height.

After some experiments on different fabrics we ‘ve noticed that 1mm hole meshed fabric does not adhere properly on the surface. We have tried on viscose and on lycra and it works , still need more tests.


According to different fabrics and and 3d models you can impose forms on the fabrics, 3d volume, different weight and deformation.

Check this project here>



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FabTextiles @ Veritas University _ CINNO Costa Rica

modulocircolar3web  modulopuzzleweb


The seminar is taught to students from the 1st and 3rd year of fashion school at Veritas University in Costa Rica,, in collaboration with Fab Lab Veritas, CINNO. In this 20hour seminar the students of fashion are introduced to the possibilities, the techniques and the processes of digital fabrication applied in fashion.

They get to understand what is the procedure from design to production, how different materials can be manipulated through laser cutting and what kind of 3D geometries can printed to imitate textiles.

The exercises imply the use of open source tools, such as Make Human, 123d make,rhinoceros, grasshopper,illustrator.

Check the students on fabtextiles vimeo


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WinterLAB [+] @ Laboral, Asturias

Laboral organised a meeting on community and the critical use of technology with a weekend programme of presentations, round tables and workshops in November 2015. 

Here you can see the streaming of the presentation.

WinterLAB is aimed at exchanging community work experiences that foster the creative use of technology and bring the new media for creation and production closer to the public.The aim of the hands-on workshops is to disseminate maker and DIY culture among the general public and, at the same time, provide professionals with open source tools and techniques suitable for creative projects.

The workshop was an overview of techniques and digital fabrication methods where different background participants worked with 3D printing on Fabric, 3D modeling and laser Cutting.




We have used the customizer application of Thingiverse and the mesostructured materials development of Andreas Bastian  to create different patterns and understand adjustable flexibilities imposed by the density, the shape, the thickness and the height. Flexible structures, auxetic, bistable geometries are one of the options on 3D printing for elastic performance.



¬†We also had some participants that brought patrons and wanted to digitalise them, so we made an “easy patron” tutorial.

We took pictures of the paper patron and designed their outlines in Rhinoceros. We also applied patterns for laser engraving on the synthetic neoprene that turn to be darker after the etching. White color turns brown and dark colours would not make much difference.


easy patron fab textiles

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Parametric Origami Hat- Hatori!



hatoriWThe idea behind the hat was to create a 3D matter out of a 2D production, laser cutting, through origami folding.

Using a program like Rhinoceros with Grasshopper plug in, one can play with parametrics of the hat to personalize it. The process starts with laser cutting desired fabric to eventually be the outer layers and the skeleton. Next, they are glued together layer by layer, occasionally placing them in the vacuum press. Once dried, the folding process starts and a ribbon to hold the foldings is placed on the inner side of the hat. We have developed different techniques of making the origami hat from different materials. The material is the most important if we want to make an origami directly out of one textile fabric layer.  The textile should be thick enough to maintain the folds. The stripe that goes around the hat is actually the part that maintains the whole origami. It can be out of the same material or it could be also elastic so that the Hatori fits and stays in your head better.

Here are some origami versions that we made in Fab Lab Veritas, in Costa Rica, during the International Course on  Digital Fabrication Technologies Applied in Fashion. Each student chose different material to work with, customized the Hatori variating in the number of folds, the angles and adding custom patterns for perforations or engravings.hatoriW1 hatori13w hatori7w

Here is the step by step process for the 3 layer sandwich technique where one can use any kind of fabric.

Step by Step Process

  • Cutting out the internal skeleton out of cardboard with 1mm offset
  • Iron the interior¬†fabric that comes with¬†glue on the¬†cardboard in order to fix their positions
  • Place and iron the¬†upper layer (any fabric, it this case the pink one)
  • Fold the circular ears in between so that they stay inside ( you can also leave them outside according to the aesthetics you want)

origami hat

This method of 3 layers is more complicated but has the benefit of playing with light and transparency. We integrated and RGB addressable stripe in the interior of the hat and the effect looks like that:

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Fab 11 Boston Exhibition

15 participants showcased their works during Fab11 Conference in Boston. From performance garments, prosthetics, experimental couture made in fab labs all over the world to brands that have introduced 3D printing to their collections and clothes that measure your pulse and express themselves.

Have a look at the projects presented!fab-11-poster-participants2

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This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.