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A mini article by Dory Youhana - May 2024

Dory's childhood photos

Early life in Tehran

I grew up in the capital city of Iran, Tehran, in the 90s. My daily life was primarily soundtracked by the cacophony of horn-blaring cars mixed with the voices of the people on the jam-packed sidewalks. My father was a software engineer and always away on business and my mother was a diligent accountant for a large corporation. She would put in long hours at the office and most often would bring her work home. The sound of her leafing through papers late at night is engraved in my memory. 

 

My fascination with drawing and painting was ignited at a young age when my kindergarten teacher advised my mom to sign me up for art classes. I felt an unfathomable sense of joy whenever I held a paintbrush in my hand and saw the colors meld on the canvas. I learned how to draw portraits, landscapes, still life, and even caricatures between the ages of six and fifteen.

 

I don’t have a vivid recollection of my father, but I do recall when he brought home my first computer. I was seven years old, and that big raucous off-white colored machine had just become my world. The sound of its clunky keyboard and the humming noise of its whirring fan would fill my room every day as I would sit in front of it and play games for hours as soon as I got home from school. My first ever video game obsession was The Sims. It was a virtual world where I would get to build my dream houses and create families to live in them. I was able to choose their appearances and clothes, tell them what to do, who to date, what to eat, and where to go. I was like a digital god, choosing the destiny of my small, pixelated creatures. Looking back, I believe this game had a remarkable influence on how I developed and proceeded to make decisions with my own life. But at that moment, as a wide-eyed seven-year-old, I was just engrossed in the magic of that game.

Growing up in Iran, every parent’s dream for their child is to study in a field that leads to financial security, even if that means dismissing the child’s talents and interests altogether. Parents would carefully plan and strategize their child’s future, sometimes even before they are born. My mom was no exception. Despite her support for my dreams and hobbies, knowing that I wanted to pursue a career in the creative field, was alarming for her. She never forced me into decisions, but I could always hear the worry in her voice every time she reminded me that “art is not a job” or that “you can always follow your dream on the side”. She wanted me to have a stable, high-paying career; and pursue my art on the side. Her voice was always with me as I grew up and it was finally time to choose my life path.


I chose to study architectural engineering in college. It was the middle ground between being an artist and an engineer. It required a creative ability, plus, it provided a somewhat stable career path, not by my mom’s standards, but almost there. My college was in the city of Qazvin, a lush green city, where the scent of freshly cut grass and wet soil would fill my lungs. The city’s skyline was filled with historic buildings with intricate ancient designs. It was all so beautiful, but the downside was, it was two hours away from my home. In our college, lockers were non-existent, and being an architecture major, meant we had a lot of tools and equipment to carry each day such as a huge set of rulers like T-squares, set squares, etc. Different grades of pens, pencils, and markers filled a whole backpack on their own. Plus, lots and lots of paper. The weight of my tools was almost unbearable, growing heavier with each step, it felt almost like a mini workout.


During the first few semesters, we were acquainted with the basics of architecture. We were taught to draft by hand on paper, on enormous drawing boards. Each line had to be perfect, each angle had to be precise. We had to rip off the sheet and start over every time we made a mistake. I can certainly admit that I used more than a million sheets of paper by the end of my freshman year. We were also asked to build models for each project that early in the game. Building models was a messy process, with bits of paper and cardboard scattered across the classroom. It also required a lot of supplies that half would go to waste since we were novices and had no experience building responsibly. I understand how learning the ropes and starting with basics is important in every field, but I couldn’t help but wonder about the financial burden that all of this was placing on my mom. Every sheet of paper, every tub of glue, and every piece of cardboard cost money, and I couldn’t shake off the guilt that came with knowing that so much of it was going to waste. As I packed my supplies at the end of each day, the questions that had been nagging at me lingered in my mind. “Was this the right path for me? Would I ever be able to stand out in this competitive industry? Should I have listened to my mom?”


But it didn’t stay like that. Later on, in our second year, we were introduced to digital design software. We were now sophomores and were allowed to use computers to draft and sketch. It was a completely different experience than drafting by hand. I could zoom in and out of my work with ease, every line I drew was perfectly straight, and just by clicking the undo button, I could wipe out a mistake, like nothing ever happened. I didn’t need to carry all that heavy equipment every day, nor was I wasting any more of my materials. I could draft and make mistakes and no paper would go to waste. The 3D design software on the other hand, reminded me of the time when I used to play The Sims. It was reassuring to see how I used to be obsessed with building houses in a childhood game and now I was learning to do it professionally. Just like my childhood game, it was like stepping into a virtual world where I could design and create anything I wanted. Since we learned how to use digital design software, we weren’t even required to make samples of our architectural models anymore. We could create samples on our computers and just build the finalized model. I couldn’t ask for more. I was so thrilled since I no longer needed to carry all that heavy equipment, I was saving so much time, material, and my mom’s hard-earned money.

The Struggle Between Passion and Practicality

First semesters of fashion school

Banned. Collection

Final design for CFDA

Banned. Collection

Toile #4

Fast forward to years later, I was in San Francisco, California, in my third year studying fashion design. Now, I’m a very hands-on type of person. As much as I believe that digital design was developed to make our lives easier, I’ve always enjoyed learning and creating art by hand as well. I love the process of designing something from scratch, yet, something about sewing never really clicked for me. I managed to learn sewing techniques in my first year, but when it got more advanced, I would struggle to finish each sewing project. Something that I noticed in a lot of fashion students is that they enjoy sewing, yet I never did. That realization has always haunted me that maybe fashion isn’t my true calling.

 

Normally for each garment, we needed at least two to three samples that each required so many hours of drafting patterns, cutting, sitting behind a sewing machine, and sewing for days. To save costs, we used muslin fabric for our samples. Yet, tens of yards of muslin would be cut and go to waste to create one successful sample to eventually be made in the final fabric. Even with all the hard work, more often than not, the samples would end up in the trash. It was daunting to see so much time and material go to waste.

 

It was not mandatory, but it was advised for fashion students to take one digital fashion design course that the school offered. As soon as I heard that such a class exists, I was intrigued. As soon as I started using digital design software to create my designs, I wasn’t able to put it away. There was not one day in that semester that I didn’t create a garment on that software. I was so fascinated that after finishing my assignments for each day, I would watch tutorials to learn and work with the professional features of the software since in our class we were only taught the basics. I was so immersed in my work that hours seemed to fly by without me even noticing. Here I was, someone who disliked sewing, thought sampling was a waste of time and resources, and therefore always felt intimidated by taking on sewing projects, but now was able to sew samples and create the most complex garments and nothing would go to waste. Yet again, I found out my mistakes could get wiped out just by clicking the undo button instead of throwing a whole sample away because of a wrong cut in the fabric. A new digital design software, had once again, given me a new-found love for design.

The Need for Change in the Fashion Industry

The Need for Change in the Fashion Industry

As I reflected on the differences between architecture and fashion, I had an epiphany. The architecture field had been automated and digitalized decades ago, resulting in significant improvements in sustainability, productivity, and efficiency. Meanwhile, the fashion industry still relies on traditional techniques and methods, from teaching its aspiring designers to manufacturing its products. It’s time for the fashion industry to utilize the technology that has been made available to us and reduce waste, just like the architecture industry did. It’s time for the fashion industry to catch up with the rest of the world.


Let’s take a look at this from another aspect: You are walking around at a shopping mall, taking in the dazzling windows of your favorite clothing brands. All of a sudden, you spot a beautiful jacket on a mannequin that draws your attention. You can totally picture yourself wearing it on a night out. But as you step into the store to try it on, you get disappointed. The color isn’t as vibrant on your skin, it doesn't have the perfect fit, and worst of all, they don’t make it in your size. You feel dissatisfied as you leave the store and wonder why the fashion industry keeps on letting you down. Except, there is a solution for that; if only there was someone to listen and follow through carefully. The end goal is clear, and the route is provided. The fashion industry must take advantage of the new digital design softwares and 3D technologies and make them an essential part of their business model.


This shopping mall scenario is relatable for many of us. Limited sizing, lack of diversity in models, and unsustainable manufacturing practices. Consumers are tired of being limited to the same mass-produced options and are looking for unique and personalized clothing. This demand for customization, combined with advancement in 3D and digital fashion technologies, presents an opportunity for the fashion industry to revolutionize their operations and meet consumer needs. By doing so, they will not only provide an inclusive and personalized shopping experience to a greater extent, but they will also help reduce waste and promote sustainability. It’s time for the fashion industry to take a step toward making a change.

Digital Solutions for a Sustainable Future

One proposed solution is integration of 3D and digital fashion technologies into the industry’s operations. A report by the Ellen McArthur Foundation in 2020, found that the textile waste could be reduced by 60% using 3D printing technologies. These technologies enable the creation of customized, on-demand garments that fit the unique needs and preferences of each customer. For example, Adidas has launched shoes that are fully recyclable and can be modified to fit the precise size of each person’s foot using 3D printing technologies. This approach promotes sustainability and remarkably reduces waste, while creating a more individualized product for the consumer. (“Future Craft Loop: The Shoe That Never Dies.”)


To this day, the fashion industry, has had an unsustainable production procedure that has resulted in significant environmental consequences, including deforestation, air and water pollution, and greenhouse gas emissions. According to an article by McKinsey & Company, the majority of clothing ends up in landfills or incinerators, which means that only 1% of clothing is purposefully recycled into new garments. (Remy) By simplifying production roadmaps and supplying their stores with popular trendy looks, some fashion brands have not only allowed their customers to diversify their wardrobes for cheap, but also facilitated them with the means to refresh them as often as they wish. Shoppers now keep a garment for about half as long as when they did before. Based on this study, customers now consider lower-priced items of clothing as discardable, and dispose of them after using them for a short time.

First attempts at digital fashion

Compared to other proposed solutions, integrating 3D and digital fashion technologies is the most effective option. Other solutions, such as using sustainable fabrics or implementing size-inclusive practices, may address some of the industry’s challenges, but they do not solve the problem of limited options for individual consumers. By contrast, 3D and digital fashion technologies enable consumers to create garments that fit their unique body shapes and styles, while also reducing waste and promoting sustainability.


The practicability of this resolution is also significant. While there may be preliminary expenses affiliated with integrating new technologies into existing procedures, the potential cost savings from reduced waste and more efficient production processes make this a worthwhile investment. Additionally, the availability of 3D printing technology and other digital design tools means that the infrastructure for this solution already exists.


According to a report by the Boston Consulting Group, the integration of 3D printing technology into the fashion industry could save up to $640 million annually by reducing inventory costs and improving supply chain efficiency. (Hämmerle) Although it will be a time-consuming process, but companies who follow through with digitization and integrate 3D technologies with their businesses, will eventually cut down their physical sample waste by 70%. This will not only conserve factory capacity, but also reduce the fashion industry’s carbon footprint. In addition, a 2020 study published in the International Journal of Fashion Design, Technology and Education found that 3D and digital fashion technologies can significantly reduce lead times and increase production efficiency. (Yue Pan)


But on the other hand, there are some who disagree with the use of 3D and digital fashion technologies in the industry. They argue that integrating this technology takes away from the craftsmanship and artistry of traditional fashion design, plus it will probably be costly. However, these oppositions can be negated with verifiable evidence that shows cost savings and the ways in which 3D and digital technologies can enhance the design process, rather than detract from it.

DRSSXCODE

The utilization of 3D and digital fashion technologies into the fashion industry’s logistics is not only a breakthrough to the industry’s impediments, but can also be a wake up call for all of us to be more calculated consumers. We can no longer overlook the destructive ecological impact of the fashion industry’s unsustainable operations. As consumers, we have the power to demand change and support sustainable practices by choosing to purchase from companies that prioritize sustainability and ethical production.

 

As the fashion industry continues to evolve, it is up to us to ensure that it does so in a way that encourages sustainability and waste management. By promoting and fostering the incorporation of 3D design technologies, we can create a more environmentally friendly and equitable future for both the fashion industry and the planet.

Dory Youhana

DRSSXCODE

Resources

Dory Youhana's fashion portfolio

Remy, Nathalie, et al. “Style That’s Sustainable: A New Fast-fashion Formula.” McKinsey Sustainibility, 20 Oct. 2016, www.mckinsey.com/capabilities/sustainability/our-insights/
style-thats-sustainable-a-new-fast-fashion-formula#. 

 

“A New Textile Economy: Redesigning Fashion’s Future.” Ellen McArthur Foundation, 2017, ellenmacarthurfoundation.org/a-new-textiles-economy. 


“Future Craft Loop: The Shoe That Never Dies.” Adidas, www.adidas.com/us/blog/476166- adidas-futurecraft-loop-the-shoe-that-never-dies. 


Hämmerle, Volker, et al. “Why Fashion Must Go Digital—End to End.” BCG Global, Jan. 2021, www.bcg.com/publications/2020/why-fashion-must-go-digital-end-to-end.


Dip, Tanvir Mahady, et al. “3D Printing Technology for Textiles and Fashion.” Textile Progress, vol. 52, no. 4, Taylor and Francis, Oct. 2020, pp. 167–260. https://doi.org/ 10.1080/00405167.2021.1978223.


Yue Pan, et al. “Fashion Thinking: Fashion Practices and Sustainable Interaction Design.” International Journal of Design, vol. 9, no. 1, Apr. 2015, pp. 53–66. EBSCOhost, search.ebscohost.com/login.aspx? direct=true&db=asu&AN=109190274&site=ehost- live.

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