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JJuiiuJJ: connecting you and me

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JJuiiuJJ: connecting you and me

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Copyright 2020 Juan Ye

JJUIIUJJ:

CONNECTING YOU AND ME

by

Juan Ye

A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
(DESIGN)

December 2020

ii

TABLE OF CONTENTS
List of Figures ................................................................................................................................ iv
Abstract .......................................................................................................................................... vi
Introduction ..................................................................................................................................... 1
Note on the Structure of This Thesis ....................................................................................... 1
Design Process ......................................................................................................................... 2
Concepts .................................................................................................................................. 3
Product Positioning ......................................................................................................................... 4
User Research .......................................................................................................................... 4
Competitor Analysis ................................................................................................................ 5
Brand Positioning .................................................................................................................... 6
SWOT Analysis ....................................................................................................................... 9
Technological and Historical Research ........................................................................................ 10
About Storage ........................................................................................................................ 10
SFIT: Smart Fabrics and Interactive Textiles ........................................................................ 14
Google: Jacquard Project ....................................................................................................... 17
Flexible Structures ................................................................................................................. 17
Inspirations .................................................................................................................................... 21
Origami and Paper ................................................................................................................. 21
Weaving ................................................................................................................................. 22
Chinese Knotting ................................................................................................................... 23
Materials ....................................................................................................................................... 24
Inspirations ............................................................................................................................ 24
Eco-friendly Materials ........................................................................................................... 25
Color and Trim Mood Boards ................................................................................................ 27
Structures and Patterns .................................................................................................................. 27
Traditional Patterns ................................................................................................................ 27
Geometric Patterns ................................................................................................................. 28
Pattern Tessellation ................................................................................................................ 29
Parametric Patterns ................................................................................................................ 30
3D Printing .................................................................................................................................... 31
3D Printing Materials ............................................................................................................ 31
3D Printing Process ............................................................................................................... 33
Experiments .................................................................................................................................. 34
Paper Prototypes .................................................................................................................... 34
iii

3D Printed Prototypes ............................................................................................................ 38
Design Proposals ........................................................................................................................... 42
Wearable Accessories ............................................................................................................ 42
Pet Wear ................................................................................................................................. 45
Fashion Purses ....................................................................................................................... 46
Conceptual Garments ............................................................................................................. 48
Conclusion .................................................................................................................................... 53
Bibliography ................................................................................................................................. 55
Works Cited .................................................................................................................................. 57

iv

List of Figures
Figure 1 Concepts of JJuiiuJJ ......................................................................................................... 3
Figure 2 Different relationships between people ............................................................................ 4
Figure 3. Potential users and their lifestyles ................................................................................... 5
Figure 4 Competitor analysis .......................................................................................................... 6
Figure 5 Brand positioning ............................................................................................................. 7
Figure 6 Brand positioning ............................................................................................................. 8
Figure 7 Brand positioning ............................................................................................................. 9
Figure 8 SWOT analysis ............................................................................................................... 10
Figure 9 Traditional Chinese way of storage around body ........................................................... 11
Figure 10 Pocket Density, by Rudofsky, B., 1947 ........................................................................ 12
Figure 11 Storage and their connections to the body .................................................................... 13
Figure 12 Storage positioning ....................................................................................................... 14
Figure 13 Those Who Affected Me, by Malin Bobeck, 2016 ........................................................ 15
Figure 14 Garment That Can Reflect Air Pollution, byKasia Molga, 2016 ................................. 16
Figure 15 Google’s Jacquard Project ............................................................................................ 17
Figure 16 3D Printed Garments, by Danit Peleg, 2015 ................................................................ 18
Figure 17 Nervous Studio’s kinetic structures .............................................................................. 19
Figure 18 Comparison of flexible structures ............................................................................... 20
Figure 19 Structure positioning .................................................................................................... 21
Figure 20 Origami Garments, by Issey Miyake, 2011 ................................................................. 22
Figure 21 Haute-couture Garments Made from Scraps of Recycled Fabrics, by Viktor & Rolf’s,
2016............................................................................................................................................... 23
Figure 22 Chinese Knotting, by Juan Ye, 2020 ............................................................................ 23
Figure 23 Different materials ........................................................................................................ 24
Figure 24 Modern Meadow’s Zoa leather .................................................................................... 25
Figure 25 Piñatex® leather ........................................................................................................... 26
Figure 26 Green Banana Paper ..................................................................................................... 26
Figure 27 Mood board .................................................................................................................. 27
Figure 28 Traditional patterns ....................................................................................................... 28
Figure 29 Geometric patterns ........................................................................................................ 28
Figure 30 Pattern tessellation ........................................................................................................ 29
Figure 31 Interactive tessellated pattern ....................................................................................... 30
Figure 32 Grasshopper design methods ........................................................................................ 31
Figure 33 PLA and TPU filaments used in this project ................................................................ 32
Figure 34 3D printing with Prusa MK3s....................................................................................... 33
Figure 35 Support generation and 3D printing results .................................................................. 34
Figure 36 First paper models: Feel the Joy, Feel the Time, Feel the Heart. ................................. 35
Figure 37 Paper models ................................................................................................................ 36
Figure 38 Paper models ................................................................................................................ 37
Figure 39 Paper models ................................................................................................................ 37
Figure 40 Paper models ................................................................................................................ 38
Figure 41 3D printed interlocking structures ................................................................................ 39
Figure 42 3D printed knitting patterns .......................................................................................... 39
v

Figure 43 Chinese Knotting patterns ............................................................................................ 40
Figure 44 Hexagon interlocking patterns ...................................................................................... 40
Figure 45 Chinese knotting square patterns .................................................................................. 41
Figure 46 Origami patterns ........................................................................................................... 42
Figure 47 3D printed accessories inspired by Mimulus Pictus ..................................................... 43
Figure 48 3D printed accessories inspired by Lathenia Glabrata ................................................. 44
Figure 49 3D printed bracelets ...................................................................................................... 45
Figure 50 3D printed pet wear ...................................................................................................... 46
Figure 51 3D printed handbag ...................................................................................................... 47
Figure 52 3D printed handbag with vegetable-tanned leather ...................................................... 47
Figure 53 3D avatar and tank top models ..................................................................................... 48
Figure 54 Retopology in Blender .................................................................................................. 49
Figure 55 Voronoi shapes in Grasshopper .................................................................................... 50
Figure 56 Voronoi shapes in Grasshopper .................................................................................... 50
Figure 57 3D garment models ....................................................................................................... 51
Figure 58 Voronoi shapes in Grasshopper .................................................................................... 51
Figure 59 Product renderings ........................................................................................................ 52
Figure 60 3D animation of interactive shows ............................................................................... 53

vi

Abstract
The world is evolving into a complex web where technology is invented to help people become
more digitally connected. However, under the glamour of wonderful digital creations, many
people are separated and isolated in this cold technological era: their hearts become more remote
to each other than before. To bring out the warmth of our society and to slow down the fast-
moving pace brought by modern technologies, this project focuses on creating personal fashion
accessories to establish emotional connections between people. By implementing interaction
design and generative algorithms, JJuiiuJJ combines traditional techniques with modern
technology—namely 3D printing, interactive fabrics, and smart wearables—to bring a sense of
connection, belonging, and joyfulness to life.
Comprehensive research was conducted to analyze the basis of the topic of how technology
influences people’s daily life and emotional expressions. Historical and technological research
on personal belongings, storage, and the body indicated possible directions for this project.
Business aspects of product positioning such as user analysis, competitor analysis, brand
positioning, and SWOT analysis helped identify the path for this product line. Additionally,
sustainability was addressed by looking into eco-friendly materials such as bio-leather and tree
fibers.
In the design process, both traditional and modern ways of creation were taken into consideration
and practice. Inspirations came from traditional forms of origami, weaving, Chinese knotting,
and from nature, in the example of endangered plants in California. I played with a variety of
materials which include paper, felt, leather, PVC, and eco-friendly fabrics. I explored different
forms and structures with advanced 3D printing techniques and generative algorithms.
Prototypes were created along this journey as a result of intensive research and experimentation.
Keywords: interaction design, 3D printed fashion, design research, parametric design,
generative algorithms, wearable technology, interactive fabrics and smart textiles, sustainability,
tradition vs. technology, nature, memory

1

Introduction
To slow down the fast-moving pace of modern life, JJuiiuJJ focuses on creating a
personal fashion accessory line to establish emotional connections between people. JJuiiuJJ
integrates handmade techniques —namely Chinese knotting, origami, weaving, and
leathercraft—with 3D printing, responsive surfaces, and wearable technology to give users
brand-new experiences when interacting with the products as well as with each other. JJuiiuJJ’s
techno-artisanal accessories designed by hand and felt by the heart establish the deep emotional
bonds we get when we receive something made just for us.
This accessory line targets women who care about the details of their daily lives,
particularly those bringing a sense of beauty, belonging, and joyfulness. The products that meet
these criteria need to be both subtle and personalized. I attempt to address the great diversity of
women’s needs and sizes so that my products become a “perfect fit” offering both customization
and inclusivity.
Within two years, a fashion accessory line was attempted including products such as
bracelets, necklaces, bags, pet wear, and conceptual garments. All the products have fully
customizable features—colors, materials, types of embellishments, etc. With the mission to
encourage communications between people, in the future, this product line will be further
developed with advanced interactive technology to become fully functional.
Note on the Structure of This Thesis
Much of the research and design that has gone into JJuiiuJJ has required analysis and
consideration of multiple factors at once. Many of the results are best understood graphically
represented along two or more axes. Consequently, the following texts and figures carry equal
2

weight in conveying process and outcomes and should be read as part of a continuous textual
exposition of my project.
JJuiiuJJ is an on-going design practice that creates fashion along with research into
historical and contemporary aspects of fashion, smart fabrics, culture, community, and the body.
Design Process
The development of JJuiiuJJ took place in three phases over two years. In Phase 1, I
focused on experimentation with materials, textures, forms, functions, usability, and multi-
sensory feedback. For example, an exploration into materials incorporated Japanese Washi
paper, pressed flowers, felt, leather, canvas, and other recycled and/or sustainable materials. At
this stage, products were not really finished but embodied tireless experimentation with the goal
of defining both my unique design language and brand identity. At the same time, research for
this personalized accessory line included but was not limited to analyzing competitors— their
styles, strengths, and weaknesses, user-centered market research, 3D printed fashion, wearable
technologies, and flexible structures. On-going research and the learning of techniques and
specialized artisan craft were essential to the original premise.
In Phase 2 the design of products began. Exploration included a variety of ideas created
as drawings, sketches, and patterns, which were then realized through fabrication. An important
aspect of this on-going investigation was continued experimentation with forms and deliverables
with the objective of creating a line of prototypes, which included paper, leather, fabric, and 3D
printed prototypes. Response to these prototypes involved getting feedback from women in my
immediate circle as well as iterating and refining the design.
The final phase was documenting my line of products: using photography, motion
graphics, 3D computer-generated (CG) animations, and video narratives to illustrate my concepts
3

and work progress. As some of the technological compartments need to be further developed, 3D
animations were created to showcase the concepts. Ongoing analysis, feedback, rethinking, and
iteration were key components of this project.
Concepts
The overall concept of JJuiiuJJ is to combine tradition and technology to create joy,
wellness, and connectivity among people (see Figure 1). It considers physical as well as
emotional functions to create interactions among people and between users and the world.
Traditional techniques include handcraft, origami, weaving, and Chinese knotting, while cutting-
edge technologies used include 3D printing, Smart Fabric and Interactive Textiles (SFIT), and
generative algorithms.

Figure 1 Concepts of JJuiiuJJ

When speaking of interpersonal connections, it’s important to consider the closeness of
relationships between different people. Figure 2 illustrates some typical relationships. JJuiiuJJ
creates bonds and connections even between the most distant strangers. For example, if users
wear my smart products and come across each other within a distance of fifty meters, the
4

electronic modules will send out signals, and change colors or patterns. With a closer distance
between families and friends, the products can work as a connection in between to send out
signals and feedback through mobile applications connected with the wearables.

Figure 2 Different relationships between people

Product Positioning
User Research
The target consumers are women between eighteen and fifty-eight years old who care
about the details of daily life, enjoy a healthy lifestyle, and want to be connected (see Figure 3).
Some of them may take regular yoga classes and they enjoy the beauty of Chado (Japanese
traditional way of drinking teas) where they can find a peaceful space living inside a loud
industrialized metropolis, and at the same time, want to be connected with other people and the
5

world. They look forward to every interactive activity they encounter even in their own
accessories and garments.

Figure 3. Potential users and their lifestyles
1

Competitor Analysis
To find out the best feasible position for this product line, competitor analysis was
conducted to analyze the current market. There were four competitors chosen from different
perspectives: Building Block, Niwa Leathers, Pop & Suki, and One Six One. Design concepts,
brand identity, target consumers, materials, product lines, prices, and social media impacts were
compared and analyzed. From Figure 4, a clear overview of the competitive market can be seen.

1
Mandarin Oriental. Well Living Stay,
https://www.mandarinoriental.com/guangzhou/tianhe/luxury-hotel/offers.
Japanese Tea Ceremony. Tea Preparation, http://japanese-tea-ceremony.net/preparation/.
TeamLab, Forest of Resonating Lamps - One Stroke, Metropolis, 2016,
https://borderless.teamlab.art/ew/forest_of_resonating_lamps_metropolis/?autoplay=true
6

Figure 4 Competitor analysis

Brand Positioning
To position JJuiiuJJ in the market, I analyzed several dimensions, such as the
involvement of tradition and technology, price range, audience, customization, and design styles.
Figure 5 shows JJuiiuJJ’s position vis-à-vis its competitors along the axes of affordability/luxury
7

and hand-/industrial- manufacture. It indicates that the brand will use both handmade and
industrial processes and its price will be targeted at a medium affordability level.

Figure 5 Brand positioning

Figure 6 shows that customers will enjoy a large control over customization provided by
JJuiiuJJ. As JJuiiuJJ creates a new realm in fashion that introduces advanced technology, the
8

product line will cater to a comparatively small niche market whose target consumers are those
with a spirit of exploration and experimentation.

Figure 6 Brand positioning

In figure 7 we see design elements and styles. Instead of pure planer impressions and
geometric patterns, JJuiiuJJ will have dimensional and free forms with a neutral color pallet.
9

Versatile materials, textures, and finish details will allow users to customize base form and color
elements.

Figure 7 Brand positioning
2

SWOT Analysis
Analysis of JJuiiuJJ’s strengths, weaknesses, opportunities, and threats (SWOT) are
shown in figure 8. Compared to traditional brands, JJuiiuJJ incorporates creativity with
technology to explore a new direction in the fashion industry. Although it may lack recognition
at early stages, it is promising that the new creative combinations of tradition and technology
will be brought to people’s attention.

2
Pictures from Pinterest
10

Figure 8 SWOT analysis

Technological and Historical Research
About Storage
To learn about people’s needs when carrying items on and around the body, research into
traditional and modern storage was conducted. Figure 9 shows traditional Chinese ways of
storing things—the use of sleeves. From the Shang Dynasty (ca. 1600-1050 BCE) to the Ming
Dynasty (1368-1644), the shape of the sleeves changed dramatically from a normal thin shape to
a large rounded shape to carry important items. For example, in the Song Dynasty (960-1279),
people always put their most important object—the name stamp, which indicated their identity—
inside the sleeves. The evolution of the sleeve shapes reflects people’s choices of items carried
for daily life. Another major way of carrying important objects was by hanging them on the
waistband. Some people carried little bags to take some money with them. As it was considered
not appropriate to show the money bags, people hid them either inside the sleeves or hang them
on the waistband and covered them with the outer layer of the garments.
11

Figure 9 Traditional Chinese way of storage around body
3

As indicated in Figure 10, there is an area around the body where people like to place
pockets on the garments. This area implies people’s feelings of intimacy and safety, and their

3
Huaxiahanyun, Types of Sleeves, https://www.zy6868.com/article/article_50587.html
12

considerations of accessibility as well as mobility. This is what JJuiiuJJ needs to pay attention to
when providing storage around the body.

Figure 10 Pocket Density, by Rudofsky, B., 1947
4

In modern times, with the development of different materials and forms of storage,
people are no longer restricted to carrying things only on their garments, instead, as shown in
Figure 11, they use bags, which provide a wide variety of sizes, shapes, and tastes. Storage is
therefore not limited to certain areas as discussed before, rather it can be everywhere that hands
can reach or in the places the body’s structure can hold. For example, one can carry a camera

4
Pocket Density, Bernard Rudofsky, 1947, “Are clothes modern? An essay on
contemporary apparel”, Chicago: Paul Theobald.
13

with a strap around the neck. The creation of attachments around the body opens huge
possibilities for storage.

Figure 11 Storage and their connections to the body
5

5
Pictures from Pinterest
14

Figure 12 analyzes different bags and their relationship with the body. JJuiiuJJ’s product
line falls in the middle of the weak and strong connections with the body. The sizes allow
flexibility for customers’ choices.

Figure 12 Storage positioning
6

SFIT: Smart Fabrics and Interactive Textiles
Smart Fabric and Interactive Textiles (SFIT) refers to a newly developed realm of
technology that builds electrical cords or sensors inside textiles to sense the body and generate
signals or interactions through fabrics. Over the last decade, SFIT has developed significantly in

6
Ibid.
15

fields such as entertainment, personal health management, as well as werable devices integrated
into fashion.
Textile designer Malin Bobeck pioneered interaction with smart fabrics in 2016.
7
She
created an installation named Those Who Affected Me where the textiles were lit by 500 LEDs
(see Figure 13). When visitors touched a textile, it responded with a wave of changing color and
pattern. The design was so interactive and fun that people immediately understood Bobeck’s
intention. Bobeck’s next challenge was to transform these textiles into something lightweight
enough to be carried by the human body, which coheres with my project and intentions.

Figure 13 Those Who Affected Me, by Malin Bobeck, 2016
8

7
Gabrielle Bruney, “500 LEDs Bring an Interactive Textile to Life,” Jan 16, 2016,
https://www.vice.com/en_us/article/d74kdx/500-programmable.
8
Ibid
16

Since the early 2000s many SFIT products have been developed and used for personal
health monitoring.
9
The first successful prototypes, projects like Wealthy, MagIC, SmartShirt,
and MyHeart
10
were developed in Europe and the U.S. In 2016, UK based designer Kasia Molga
created a wearable garment that reflected the amount of air pollution as a means of stressing and
strengthening environmental awareness (see Figure 14).
11
Sensors were built into the garment
that changed color and pattern according to the levels of black carbon detected in the immediate
atmosphere. Projects like these shift the function of SFIT from individual medical use or pure
entertainment to something that addresses social benefit.

Figure 14 Garment That Can Reflect Air Pollution, by

Kasia Molga, 2016
12

9
Andreas Lymberis & Rita Paradiso, “Smart fabrics and interactive textile enabling
wearable personal applications: R&D state of the art and future challenges,” Annual
International Conference of the IEEE Engineering in Medicine and Biology Society. IEEE
Engineering in Medicine and Biology Society. Conference. 2008. 5270-
3.10.1109/IEMBS.2008.4650403.
10
Ibid
11
Chelsea Harvey, “How Wearable Technology Could Change the Way We Think About
Air Pollution,” June 28, 2016, https://www.washingtonpost.com/news/energy-
environment/wp/2016/06/28/this-futuristic-suit-will-turn-colors-to-tell-us-about-air-pollution/
12
Ibid
17

Google: Jacquard Project
As indicated by Lymberis and Paradiso, SFIT applications were mainly developed by
technology companies before 2008 without the involvement of the fashion industry, until Google
stepped forward to combine technology with fashion by creating smart fabrics in cooperation
with Levi’s. Google’s Jacquard Project invented textiles with electrical cords built inside.
13

When people touch certain areas of the garment—such as the cuff—they remotely control
devices programmed to interact with the garment (see Figure 15). In this on-going, many
designers and engineers with multi-disciplinary backgrounds work together to create possible
futures for interactive wearables.

Figure 15 Google’s Jacquard Project
14

Flexible Structures
To achieve flexible wearables that suit the body’s needs, many designers have explored
ways to create flexible technological garments using 3D printing. Two designers/design studios
that inspire the JJuiiuJJ project are Danit Peleg and Nervous System.
Peleg is a fashion designer who combines 3D printing technology with every-day
garments. Her purpose is to develop 3D printed fashion that everyone can print at home, which is

13
Google ATAP, “Jacquard,” https://atap.google.com/jacquard/
14
Ibid
18

highly customizable and reasonably priced. She uses a soft material TPU, thermal polyurethane,
to achieve this result. Elastic structures are created with the designated shapes that render
garments that feel like normal fabrics and flow with the wearer’s movements (see Figure 16).
The elastic structure also contributes to design details like a dedicated lace embellishment.
Another feature is her multi-layered design, whereby the garment is not too transparent and
largely covers the body.

Figure 16 3D Printed Garments, by Danit Peleg, 2015
15

Nervous System, a design studio based in NYC, combines algorithms with aesthetics to
create wearable fashion inspired by nature. Instead of drawing patterns one by one, they
programmed computers to do the work. Advanced algorithms are developed to generate patterns

15
Danit Peleg, “3D Printed Fashion,” https://danitpeleg.com/
19

and shapes under the control of the two designers. Their flexible structure is based on a
triangular shape which forms as a unit or “cell” (See Figure 17). Each side of the cells has a
hinge so that they can fold in three-dimensionally along the sides, rendering the whole piece
flexible. There is, however, a major problem with the method: it uses, Selective Laser Sintering
(SLS), an extremely expensive 3D printing technique.

Figure 17 Nervous Studio’s kinetic structures
16

In addition to Peleg and Nervous System, flexible structures using different methods are
in development, such as interlocking structures and traditional knitting patterns. Figure 18
illustrates a variety of methods, their flexibility, and their applications. Peleg’s draping method
provides two directions of flexibility, but with the soft material, it can actually achieve flexibility
that feels like a traditional garment. Nervous System’s hinge solution creates three-dimensional

16
Jessica Rosenkrantz and Jesse Louis-Rosenberg, “Kinematics Dress,” 2014, https://n-e-
r-v-o-u-s.com/projects/sets/kinematics-dress/
20

flexibilities, but the cells are comparatively thick, keeping the garment from feeling lightweight.
While we all know traditional knitting, interlocking structures are less familiar though chainmail
is the most common example. In the context of materials and 3D printing process, interlocking
method can be used to create surfaces to be used in wearables that provide space to store items.

Figure 18 Comparison of flexible structures
17

Based on the structures discussed, JJuiiuJJ’s potential product line is positioned along a
spectrum of flexibility paired with design form features as seen in Figure 19. For accessories like
bracelets, necklaces, and bags, interlocking methods are used, while for garments, draping
methods are incorporated.

17
Ibid
21

Figure 19 Structure positioning
18

Inspirations
To combine traditional techniques with technology, inspirations from origami, paper,
weaving, and Chinese knotting were analyzed.
Origami and Paper
Origami, or Japanese paper folding, inspired this project with its formal creation and the
aesthetics of transformative 2D and 3D shapes.
Issey Miyake, a Japanese fashion designer, is a master of playing with origami. His
fashion show in 2011 revealed a series of origami garments that wrapped huge pieces of paper
around the body (see Figure 20). The shapes of the garments were no longer constrained to the
shape of the body, instead the body shape was reinforced by the beauty of folded paper. A 2D
form then became 3D and flowed with the body.

18
Ibid
22

Figure 20 Origami Garments, by Issey Miyake, 2011
19

Weaving
Weaving is an ancient technique to create fabrics that people can wear. Nowadays,
designers still use weaving to produce conceptual garments. In 2016, Viktor & Rolf, a Dutch
fashion brand, created a series of hand-woven haute-couture garments using recycled fabrics (see
Figure 21). The leftover fabrics and materials were redesigned and reconstructed by the
designers into new garments through hand-weaving.
20
They smartly used this old technique and
gave trash a new life. It was a significant creation for the fashion industry, and also a step-
forward towards a sustainable environment.

19
Jessica Bumpus, “Issey Miyake’s Origami garments,” March 4, 2011,
https://www.vogue.co.uk/shows/autumn-winter-2011-ready-to-wear/issey-miyake/collection by
20
Dan Howarth, “Viktor & Rolf's Vagabonds wear haute-couture garments made from
scraps of recycled fabrics,” July 7, 2016, https://www.dezeen.com/2016/07/07/viktor-rolf-
vagabonds-autumn-winter-2016-haute-couture-garments-recycled-fabrics/
23

Figure 21 Haute-couture Garments Made from Scraps of Recycled Fabrics, by Viktor & Rolf’s, 2016
21

Chinese Knotting
Chinese knotting is an ancient Chinese art form used by artisans as a token of blessing for
their families and friends. The knot is usually created with only one cord to form a symmetric
shape, front and back, and from both sides (see Figure 22). Especially fascinating are the unique
forms that lock each thread together with the others to create an endless loop.

Figure 22 Chinese Knotting, by Juan Ye, 2020

21
Ibid
24

Chinese knotting is an important constituent of Chinese people’s lives due to the use of
threads. In Chinese, the pronunciation of “thread” is the same as “God.” What’s more, the shape
of a thread looks like a dragon, which is their ancestor in Chinese culture. Thus, in the early
stages of Chinese cultural development, ancient people worshipped threads.
22
The historical
implications of knotting thread remain in contemporary China. With the distinctive shape and
cultural meaning of Chinese knotting, JJuiiuJJ’s products aspire to bring people good wishes.
Materials
Inspirations
This project explored versatile materials to search for directions and solutions for the
final product line. The materials included Washi (Japanese paper), vegetable-tanned leather,
canvas, polyvinyl chloride (PVC), recycled fabrics, and sustainable materials (see Figure 23).

Figure 23 Different materials

22
Baidu, “Chinese Knotting,” 2019,
https://baike.baidu.com/item/%E4%B8%AD%E5%9B%BD%E7%BB%93/187053
25

Eco-friendly Materials
Another aspect core to JJuiiuJJ was sustainability-conscious eco-friendly design. A
number of promising environmentally friendly materials are currently available or under
development.
Modern Meadow’s Zoa is human-made leather created in the lab using biology (see
Figure 24). They design, grow, and assemble protein cells to create artificial leather.
23
They refer
to such materials as part of a new era, the “Bio-fabrication Age”. In this way, eco-friendly
materials can be created that are fully customizable and cater to customers’ specific needs.

Figure 24 Modern Meadow’s Zoa leather
24

Piñatex® is a sustainable manmade leather that is made from the pineapple plant (see
Figure 25). They make use of the waste of pineapple leaves, extract the fibers, and use a non-
woven structure to create fabrics that feel like leather. The sustainable process makes it possible
for the brands to be highly socially responsible with a world-wide impact through collaborations
with big brands such as Hugo Boss and H&M.

23
Modern Meadow, “Technology,” 2020, https://www.modernmeadow.com/technology
24
Ibid
26

Figure 25 Piñatex® leather
25

Green Banana Paper produces banana paper made from banana waste in Kosrae,
Micronesia (see Figure 26). They extract the banana fiber and fuse them to form a strong
material that feels like leather. Interestingly, such materials are waterproof. Perhaps this has
something to do with the banana tree containing 90% water that is blocked by the tree skins.
While this material might not be as durable as real leather, its uses are endless, and it is
environmentally friendly.

Figure 26 Green Banana Paper
26

25
Ananas Anam, “About Us,” 2017, https://www.ananas-anam.com/about-us/
26
Green Banana Paper, “About Our Products,” July 16, 2018,
https://greenbananapaper.com/blogs/about-us/about-our-products
27

Color and Trim Mood Boards
With sustainability in mind, I researched multiple materials that would contribute to the
product line. I also developed color themes using blues and beiges evoking the coldness of
technology and the warmth of tradition (see Figure 27).

Figure 27 Mood board

Structures and Patterns
Traditional Patterns
At first, traditional patterns such as weaving were considered. I used 3D design
software—Blender and Grasshopper—to create a weaving pattern where thin technological
threads were interwoven to act as sensors that illuminate in the dark (see Figure 28). The
problem with this pattern was that it was not very flexible and it was difficult to wear.
28

Figure 28 Traditional patterns

Geometric Patterns
I then developed some geometric patterns inspired by Islamic Art with the idea that
interactive changeable patterns indicate emotional connections between wearers (see Figure 29).
The patterns change when different parts of the shapes are illuminated.

Figure 29 Geometric patterns
29

Pattern Tessellation
I later turned to tiling patterns, tessellations. For example, in the pattern shown in Figure
30, there is a basic cell with points moving along each axis. Lines are connected between the
points. When the points move from one end to another, the pattern created by the lines is
tessellated. This idea easily becomes an interactive pattern change on the garments.

Figure 30 Pattern tessellation

Figure 31 shows a tessellated pattern that changes by moving the cursors in Grasshopper.
The positions of the points on the lines are defined by the distance to the position of the cursor.
When the cursor moves, the pattern changes accordingly. This phenomenon is interesting if
embedded in a garment in which a finger acts as the cursor.
30

Figure 31 Interactive tessellated pattern

Parametric Patterns
Grasshopper is a plug-in for 3D modeling software Rhinoceros (Rhino) which creates
patterns and shapes by using algorithms. There are three main approaches to such manipulations
(see Figure 32). The first one is like the method discuss before—using tessellations. The second
one is to divide a surface into smaller cells and generate patterns in each cell to form a generative
pattern. The third one is dividing a surface by a process known as UV mapping which divides a
3D surface by projecting a 2D pattern onto its surfaces. After creating a sample using a
complicated shape, the shape is projected/morphed onto the surface in the UV map. JJuiiuJJ uses
the first and the second methods.
31

Figure 32 Grasshopper design methods
27

3D Printing
3D Printing Materials
This project used 3D printing methods based in Fused Deposition Modeling (FDM).
There are a variety of 3D printer filaments on the market, namely Polylactic acid (PLA),
Polyethylene terephthalate glycol (PETG), Acrylonitrile Butadiene Styrene (ABS), Nylon, and
Thermoplastic polyurethane (TPU). This project used PLA and TPU for most of the design’s
nature (see Figure 33). PLA is the most popular filament—stable, eco-friendly, affordable, and
easy to print with. When being heated, PLA does not emit an odor and Volatile Organic

27
Illustration and 3D work belong to Juan Ye and Om. egvo
32

Compounds that ABS does. PLA is also biodegradable and can be recycled and reused. Another
material used is TPU—a flexible material that feels like rubber. As most of JJuiiuJJ’s products
are wearables, it’s important to keep in mind the feel when people wear them. It needs to be both
flexible and soft, so people won’t be hurt or injured. TPU is comparatively difficult to print with
because of its softness. TPU is hard to extrude and is prone to tangling itself. It took numerous
rounds of trials and errors before I could print it successfully.

Figure 33 PLA and TPU filaments used in this project
28

28
Amazon, “Hatchbox 3D Filament,” https://www.amazon.com/HATCHBOX-3D-
Filament-Dimensional-Accuracy/dp/B00J0GMMP6/ref=sxts_sxwds-bia-wc-
p13n1_0?cv_ct_cx=pla&dchild=1&keywords=pla&pd_rd_i=B00J0GMMP6&pd_rd_r=db567cc
5-63fc-416a-a6cd-bd859ae8bc3b&pd_rd_w=rNR0M&pd_rd_wg=WDXT9&pf_rd_p=224b59c9-
c98f-46fd-96d6-
8e952866d6a3&pf_rd_r=DNT63AR7YDT9NR6427ET&psc=1&qid=1601509508&sr=1-1-
a14f3e51-9e3D-4cb5-bc68-d89d95c82244
Amazon, “Sain Smart Flexible Printing Filament,” https://www.amazon.com/SainSmart-
Flexible-Printing-Filament-
Dimensional/dp/B00TI3JUUQ/ref=sr_1_8?dchild=1&keywords=tpu&qid=1601509529&s=indu
strial&sr=1-8&th=1
33

3D Printing Process
As most of the designs were very detailed and complicated, it took patience and
numerous trials to achieve successful prints. 3D printers made by MakerBot and Prusa were used
for this project. Prusa is more capable of printing detailed shapes as well as flexible materials
(see Figure 34).

Figure 34 3D printing with Prusa MK3s

Problems were encountered when printing complicated shapes. The overhangs were so
many that the shapes could not be perfectly printed. I used MeshMixer to generate supports to
help the print. However, TPU was such a soft filament that it could not be printed well and
resulted in lots of extra strings (see Figure 35). This problem might be due to the limitation of the
34

FDM 3D printing method. One solution may be using a 3D printer that uses dissolvable supports
or by using SLS 3D printers, which obviously will add to the budget.

Figure 35 Support generation and 3D printing results
Experiments
Several phases of design experiments were conducted using different materials and tools.
Paper models were used to develop the form and shape of the products inspired by Origami. 3D
printing methods were used to test the design ideas of patterns, flexible structures, and functional
forms.
Paper Prototypes
In the first stages, the overall feel of the product line were sought by creating products
such as bags and bracelets. Figure 36 shows three possible themes of how customers interact
with the products. “Feel the Joy” triggers an interaction with the bag when users rotate the round
disk in front of the bag. “Feel the Time” takes on a form that changes with time. The shape
transforms between 2D and 3D, serving different functional purposes. When being 2D, it is a
decorative wall-hanging piece. When changed to 3D, the single piece becomes a form of storage.
35

“Feel the Heart” uses the theme of Chinese knotting to form an endless loop with technological
cords built inside, which can sense and record the heartbeat.

Figure 36 First paper models: Feel the Joy, Feel the Time, Feel the Heart.

In the second stage, ideas were developed for how technology can be built into the
products and how customers can interact with each other. Figure 37 shows a prototype that
allows the customer to use the products to connect with families and friends. The sensory panel
is rotated to send out signals/messages to others, which functions as an alert system. The electric
cords built on the panel receive signals such as touch and motion. The products are connected
with smart devices for further control, information display, and communication.
36

Figure 37 Paper models

Figure 38 shows a concept that when users hold the products and come across each other,
there is an interaction between them. The patterns on the bags change, illuminate, or send out
sounds. This audio-visual cue is used in special events, for example, where people can play a
version of Bingo gaining points when meeting someone with the same series of numbers.
37

Figure 38 Paper models

The 3rd stage focuses on combining tradition and technology to connect users. Figure 39
is a development of a former stage. Replaceable modular technical chips are built inside the
surface, which serve as interaction units. The technical strap can be worn as a bracelet.

Figure 39 Paper models
38

Figure 40 illustrates a way the product can transform from a 2D ornament to a 3D
functional object. When viewed as 2D, this product can be an embellishment hanging on the
wall, while being 3D, it can be a bag with tessellated technical patterns. The rotatable panel also
serves as an interactive unit between the product and the user.

Figure 40 Paper models

3D Printed Prototypes
After experimenting with paper, 3D printing technology was incorporated and tested with
different prototypes of patterns, structures, and conceptual fabrics. A series of designs were
developed as the basis of my final products. Different methods of connecting small modules
were tested in the early stages. It is a journey of trial and error, but I have learned a lot as well.
Then I found a great way to connect them: by using interlocking structures (see Figure 41). The
following development in the case of PLA 3D printing follows this method.
39

Figure 41 3D printed interlocking structures

The inspiration in Figure 42 came from traditional structures of knitting. The question
arose: How to transfer this technique with new technology to create a new fabric? The outcome
of the traditional method was very flexible. The fabric bends from two directions. This solution
is promising for the base structure of a larger piece of fabric.

Figure 42 3D printed knitting patterns

The inspiration in Figure 43 came from Chinese Knotting. I developed different
structures to create patterns, which are used to form the technical parts of my product lines.
40

Figure 43 Chinese Knotting patterns

Figure 44 is an interlocking hexagon pattern. Small modules are connected in different
rows and lines. The outcome is very flexible. However, due to the size limitation of a desktop 3D
printer, the problem is how to connect these in a modular or piecework to form a larger wearable
piece. Is there a way to print the second piece by connecting its sides with the first one? Or do
further connections between parts need to be developed?

Figure 44 Hexagon interlocking patterns
41

Figure 45 is a square pattern. By raising the scale of each cell, the whole piece achieves
enough room to allow for flexible motions. The form of the loop resonates with the theme of
Chinese knotting. The up and down structure also gives this structure vertical flexibility.

Figure 45 Chinese knotting square patterns

42

Figure 46 is an example of searching for solutions inspired by Origami. The piece of
fabric is printed flat, but with certain lines design loosely, when holding up it, the piece becomes
a 3D special object that become functional.

Figure 46 Origami patterns

Design Proposals
Wearable Accessories
For the first few accessories made with PLA, the form was inspired by endangered plants
in California. The first one is called Mimulus Pictus. Structures and patterns were abstracted into
geometric forms. Small modules were connected with each other to create the basic pattern,
which was used to form necklaces and bracelets (see Figure 47). Scales of each cells were varied
in order to conform to the structure of the body. Different colored PLA filaments were used to
highlight the feeling of technology. These accessories are quite flexible but due to the nature of
43

PLA, they feel a bit abrasive on the skin when wearing. It is very important to pursue high-
quality printing as well as cleaning the extruded buds and strings.

Figure 47 3D printed accessories inspired by Mimulus Pictus

The second group was inspired by Lathenia Glabrata, another endangered plant in
California. The symmetric shape was extracted to form a geometric pattern (see Figure 48).
44

Openings were added in the end cells so that the accessories can be locked by themselves
without extra structures.

Figure 48 3D printed accessories inspired by Lathenia Glabrata

To better achieve the goals of comfort, TPU filaments were tested and incorporated in the
following designs. With soft rubber-like TPU, the shape can be bendable. I designed geometric
45

cells and tessellations to create bracelets (see Figure 49 and Figure 50) with small circles added
as hooks for the ends to interlock.

Figure 49 3D printed bracelets

Pet Wear
One step forward from bracelets and necklaces, a small-scale garment was developed and
tested on my pet rabbit. The patterns were inspired by the cell patterns of leaves and were
mimicked by creating generative Voronoi cells in Grasshopper (see Figure 50). In areas around
the holes for the rabbit’s front legs, the cells are smaller by adding attractors as a circle in
Grasshopper to allow for extra flexibility. Buttons were added at each side of the half shape. The
whole piece was 0.3mm thick so that it was light enough for the bunny to wear. The result was a
bit tight for a bunny with thick fur.
46

Figure 50 3D printed pet wear

Fashion Purses
Next, fashion purses were developed. Figure 51 was a bag made fully by 3D printing
materials except for the wood handle and the aluminum rings. The blue modules are the
electronic interactive modules that connect users to one another. The handle is also rotatable, and
the disks can send out signals. To keep the functionality of a bag, the piece was designed with
limited flexibility to form a comparatively firm surface.
47

Figure 51 3D printed handbag

Figure 52 was another exploration of the handbag by combining traditional material—
vegetable tanned leather—with 3D printed panels. Apart from a pure art piece, this helps this
design become more practical in daily use by adding spacious room for storage and a magnetic
cover cap.

Figure 52 3D printed handbag with vegetable-tanned leather
48

Conceptual Garments
The final stage was developing human-scales conceptual garments. At first, a 3D avatar
model modeled on my own size was created in Make Human, which included the dimensions of
my body. JJuiiuJJ will provide customers with this fully customizable feature when designing
garments for them. They will get a 3D scan of the body, and 3D models will be built
accordingly. Initially, a comparatively small tank top was designed in CLO3D, and patterns were
exported as 3D objects (see Figure 53).

Figure 53 3D avatar and tank top models

49

As the exported 3D model of the garment was triangulated and difficult to edit in the
future, it is very important to retopology (manually remake the meshes from triangles to quads)
in Blender (see Figure 54). To save time, only the part without the straps was tested.

Figure 54 Retopology in Blender

Meshes were imported in Grasshopper to create generative Voronoi patterns (see Figure
55). It is interesting to notice the complementary shapes of the cells and the outer web.
50

Figure 55 Voronoi shapes in Grasshopper

In Grasshopper, certain cells were selected to created more detailed generative patterns to
indicate the technological modules (see Figure 56). These patterns also resonate with the
inspiration of traditional Chinese knotting.

Figure 56 Voronoi shapes in Grasshopper
51

After the test of a tank top, a larger dress pattern was designed in CLO3D and
retopologied in Blender (see Figure 57). Inspired by traditional Chinese clothing, the dress was
designed asymmetrically with a large seam from the left shoulder to the right bottom.

Figure 57 3D garment models

In Grasshopper, patterns were generated with algorithms and certain cells were selected
to created more detailed generative patterns to indicate the technological modules line (see
Figure 58).

Figure 58 Voronoi shapes in Grasshopper
52

Figure 59 shows the concept that the technological cells in the middle curvature line are
interactive modules that users use to connect with each other and/or with other products. These
modules change pattern, color, or illuminate when users trigger that feature.

Figure 59 Product renderings

In the future, a show will be held with my products being exhibited in an interactive
environment. People choose the products to wear such as bracelets and necklaces and come
inside the room. When they come near a garment, both products will illuminate. The pattern on
the garment also changes when people touch in certain areas. A conceptual 3D animation
showing this idea was created as Figure 60.
53

Figure 60 3D animation of interactive shows

Conclusion
JJuiiuJJ is an innovative product line that combines technology and tradition to create
connections between people. It is not a finished product, but rather on-going research as well as
an exploration into different materials, and design methods. Whenever there was a problem,
research was conducted, directions were tested, and solutions were created for improvements.
Design is a process of trial and error. Throughout this project, I learned a variety of
traditional techniques, fashion history, 3D printing technology, and smart fabrics technology. 3D
printed fashion is a realm that warrants further exploration. It holds great promise for developing
smart wearables that can benefit humans and bring pleasure and well-being to the wearer or user.
In the future, this project will partner with technical talents to further develop and
implement the interactive modules. At this point, JJuiiuJJ has created a fashion accessory line of
bracelets, necklaces, bags, pet wear, and stepped into the development of conceptual garments.
The design process encompassed conceptualizing ideas, testing materials and forms, and
developing 3D printing techniques. For the next step, interactive technical modules will be
developed and customized to fit within these products. When users wear my products and come
54

within range of others wearing similar “wired” accessories and garments, the technical modules
send out signals, illuminate, change colors or patterns to encourage communication between
users and a memorable experience.

55

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Abstract (if available)

Abstract The world is evolving into a complex web where technology is invented to help people become more digitally connected. However, under the glamour of wonderful digital creations, many people are separated and isolated in this cold technological era: their hearts become more remote to each other than before. To bring out the warmth of our society and to slow down the fast-moving pace brought by modern technologies, this project focuses on creating personal fashion accessories to establish emotional connections between people. By implementing interaction design and generative algorithms, JJuiiuJJ combines traditional techniques with modern technology—namely 3D printing, interactive fabrics, and smart wearables—to bring a sense of connection, belonging, and joyfulness to life. Comprehensive research was conducted to analyze the basis of the topic of how technology influences people’s daily life and emotional expressions. Historical and technological research on personal belongings, storage, and the body indicated possible directions for this project. Business aspects of product positioning such as user analysis, competitor analysis, brand positioning, and SWOT analysis helped identify the path for this product line. Additionally, sustainability was addressed by looking into eco-friendly materials such as bio-leather and tree fibers. In the design process, both traditional and modern ways of creation were taken into consideration and practice. Inspirations came from traditional forms of origami, weaving, Chinese knotting, and from nature, in the example of endangered plants in California. I played with a variety of materials which include paper, felt, leather, PVC, and eco-friendly fabrics. I explored different forms and structures with advanced 3D printing techniques and generative algorithms. Prototypes were created along this journey as a result of intensive research and experimentation.

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Asset Metadata

Creator Ye, Juan (author)

Core Title JJuiiuJJ: connecting you and me

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Publication Date 12/02/2020

Defense Date 12/01/2020

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag 3D printed fashion,design research,generative algorithms,interaction design,interactive fabrics and smart textiles,memory,Nature,OAI-PMH Harvest,parametric design,sustainability,Sustainable Design,tradition vs. technology,wearable technology

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Fung, Alice (committee chair), Adams, China (committee member), Burruss, Laurie (committee member), Guirguis, Sherin (committee member)

Creator Email jjuanye@gmail.com,juanye@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-c89-401691

Unique identifier UC11668247

Identifier etd-YeJuan-9178.pdf (filename),usctheses-c89-401691 (legacy record id)

Legacy Identifier etd-YeJuan-9178.pdf

Dmrecord 401691

Document Type Thesis

Rights Ye, Juan

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Access Conditions The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the a...

Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA