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DIGITAL LASER CUTTING IN FASHION:
SOPHIA WEBSTER
Student: Ernesta Ratkute
Student number: 9621273
Word count: 2362
2
CONTENTS
INTRODUCTION 3
SOPHIA WEBSTER 4 ACADEMY AND EARLY CAREER 4 DESIGN AESTHETIC AND INSPIRATION 5 AWARDS AND ACCOMPLISHMENTS 7
DIGITAL LASER CUTTING IN FOOTWEAR MANUFACTURE: SOPHIA WEBSTER 10
DIGITAL LASER TECHNOLOGY 13 LASER CUTTING PROCESS 13 ADVANTAGES AND DISADVANTAGES OF LASER CUTTING 14
CONCLUSION 15
REFERENCES 16 IMAGE REFERENCES 17
DIGITAL PRINT EVALUATION 20
DIGITAL LASER CUTTING 21
DIGITAL KNIT AND WEAVE EVALUATION 23
3
INTRODUCTION
Contemporary fashion designers and technicians are continually looking for
ways to ease their manufacture processes and enable new possibilities of
expressing their designs. This is where fashion and digital technology worlds meet.
Digital knit and weave have enabled advanced manufacture of textiles while cutting
wastage and saving time. Digital printing allows transferring designs straight onto
fabrics fast and cost effectively. Another digital technology that fashion world could
not do without is laser cutting. It allows producing intricate fashion garments,
footwear and accessories in a quick and efficient manner. Sophia Webster was one
of many designers looking for advanced ways of expressing her creative mind
when she came across and mastered digital laser cutting technology, which has
clearly helped her to build a strong and desirable brand all over the globe.
4
SOPHIA WEBSTER
Sophia Webster is a British footwear
designer who launched her first witty shoe line
during The London Fashion Week in 2012. She
is a graduate of the Royal College of Art and
the renowned Cordwainers College, where she
developed her shoemaking skills. After
university she landed an internship and an
assistant role with a famous British footwear
designer Nicholas Kirkwood, who had helped
the young designer to develop her skills and
launch her own collection. Webster is now
recognized for her colourful and bold designs, which have been picked up by well-‐
known retailers, such as Bergdorf, Net-‐a-‐Porter and Harvey Nichols, and worn by
celebrities all over the world, including Anna Dello Russo, Rihanna and Chloe
Moretz, to name a few.
ACADEMY AND EARLY CAREER
As an artistic soul, Sophia Webster started her creative career with a fine art
foundation course, where she discovered an interest in shoes during drawing
classes. The next step for the young footwear
enthusiast was a BA degree at the prestigious
Cordwainers College, which prides in having
educated well-‐known names in footwear industry,
such as, Emma Cook and Jimmy Choo. Later,
Webster decided to do a specialized MA degree in
footwear at the Royal College of Art, where she
began to develop her signature candy-‐like style
(Matchesfashion.com, 2013). During the first year
of her MA she met Nicholas Kirkwood and his
Figure 1: Designer Sophia Webster (Sophia Webster 2015).
Figure 2: Designer Nicholas Kirkwood (Vogue 2011).
5
business colleague Christopher Suarez, and later secured herself an internship at
their studio. “She struck a deal with the designer to join his studio after graduation
for two years before branching out on her own, with his support” (South China
Morning Post, 2013). Kirkwood offered to mentor Webster for two years, which
was a great benefit for an up-‐and-‐coming designer, as she was given an insight on
footwear industry and a chance to draw from professional experience. Later,
Kirkwood helped by providing production facilities needed to launch her first
Sophia Webster collection.
DESIGN AESTHETIC AND INSPIRATION
Designs of Sophia
Webster are known to be
loud yet feminine, created for
women that do not take
themselves too seriously and
want to express themselves
through what they wear
(South China Morning Post,
2013). Eye-‐popping colours and
perky designs come from many
cultural inspirations. In an interview with the iconic fashion magazine Vogue
(2012), Webster admitted her admiration for famous footwear designers Manolo
Blahnik and Edmundo Castillo. She is highly inspired by the way these designers
sketch their shoe designs (Figure 3).
Webster also draws her inspiration
from the art world. The colour and
pattern palette for her SS’13 collection
(Figure 5) was highly influenced by a
Japanese artist and writer Yayoi
Kusama, who is well known for her
psychedelic colours and a wide variety
of media creations. The same collection
Figure 3: Left- Manolo Blahnik (The English Group 2012), right- Edmundo Castillo (Shoe Tease 2011)
Figure 4: Japanese artist Yayoi Kusama (Time Out 2013)
6
featured models packed-‐up in Sophia doll boxes, which could be interpreted as a
pop culture inspiration of a Barbie doll.
Sophia Webster’s designs have a clear Nature reference, as well. Her SS’14
shoe line presentation featured an “insect slumber party” idea: models were
dressed as ladybugs and placed in a flowerbed scene, while shoes were covered in
butterfly motifs and polka dots (see Figure 6). That season, Webster had expanded
her product range by adding a line of bags showcasing phrases like “High Flyer”
and “Bite Me” (Figure 8).
Figure 5: SS’13 collection (Boy meets fashion 2012).
Figure 6: SS’14 collection (Rainbows and fairy dust 2013).
Figure 7: SS’15 collection (Flavourmag 2015).
Figure 8: S. Webster's clutch bags from SS’14 collection (Her World Plus 2014).
7
According to a video interview with Matchesfashion.com (Youtube, 2014),
the AW’14 collection represented a Russian doll and a modern fairy tale princess
get-‐together, which is an evidence of fantasy and influences of the past (Figure 10).
An inspiration for Webster’s SS’15 collection was drawn from her trip to Brazil,
where all of her designs are manufactured (see Figure 6). “Jungle is Massive” was a
theme for the presentation that featured “…electric camo prints, sandals complete
with floral motifs and daring bondage boots…” (Daily Mail, 2014). Designer has also
admitted that she is very inspired by the society: “It’s a two-‐way street. Just as
customer demand can contribute to and create trends, street style can influence
fashion…” (Matchesfashion, 2013).
Figure 9: AW’13 collection (Mirror Me 2013).
Figure 10: AW’14 collection (Le Blow 2014).
Figure 11: AW’15 collection (The Salty Stiletto 2015).
AWARDS AND ACCOMPLISHMENTS
At only 29 years of age, Sophia Webster has a bunch of awards and
accomplishments to be proud of. Starting with many awards during her academic
career, including an Award of Excellence (2008) at The London College of Fashion,
The Drapers Student Footwear Designer of the Year (2009) and the Browns Shoe
Designer Award in 2010. In 2012, Webster was awarded The Conde Nast Footwear
Emerging Designer of the Year, which was followed by the prestigious New Gen
Award, for her first three seasons (University of the Arts London, 2014). Sophia
Webster was the first ever footwear designer to be awarded with a New Gen
award. Webster has also received the Mayor of London and British Fashion
Council’s Fashion Forward prize for AW’14 and SS’15. On top of all footwear
awards, she was also presented with The British Fashion Award for Emerging
Accessories Designer in 2013.
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The commercial viability of the “Sophia Webster” brand together with
Webster’s design talent, landed her shoes on the shelves of world-‐wide stockists
like, Harvey Nichols, Bergdorf, Net-‐a-‐Porter and Dover Street Market. The prices of
her designs range between £140 for a pair of printed sneakers up to around £700
for a pair of satin high-‐heel sandals. According to the availability on Sophia
Webster’s website, shoes simply fly off the shelves. Prices of her bags range
between £340 and £400. During an interview with women’s magazine Glamour,
Sophia Webster admitted that she is proud to be able to offer a designer brand at
such an affordable price, as she wants girls her age to be able to buy them (Glamour
Magazine, 2014).
During the summer of 2013, Sophia launched her first pop-‐up shop in the
Burlington Arcade, which proved to be a great success. A second one was opened in
Covent Garden in February 2014.
Figure 12: S. Webster's pop-up shop in Covent Garden (Streets are the New Runway 2015).
9
INDUSTRY COLLABORATIONS
Throughout her considerably short but fascinating career Sophia Webster
has had quite a few collaborations with both high end and high street brands and
designers. One of her continuing collaborations with an American multi-‐brand
retailer J. Crew has started in fall of 2013. Along the way it has produced very
luxurious collections featuring J. Crew’s textiles, Webster’s design and a splash of
bright colours and beading. She worked with Nicholas Kirkwood for Victoria’s
Secret fashion show in 2014, and designed shoes for Preen by Thornton Bregazzi
SS’14 collection that was presented during London Fashion Week. She also
designed an exclusive Pre-‐ AW’13 style for a global luxury-‐shopping site
Matchesfashion.com featuring her signature stripes and colourful bobbles. Aside
form the footwear fashion; Webster has collaborated with Rock Beauty London to
create her own nail art products, and created shoes for an American cosmetics and
skincare brand Revlon, for their ColorStay Ultimate Suede lipstick campaign.
Figure 13: S. Webster for J. Crew AW’13 (Departures 2014).
Figure 14: S. Webster for Preen SS’14 (Buzzfeed 2013).
Figure 15: S. Webster for Nail Rock London (Fashion’s Passion 2013).
Figure 16: S. Webster for Revlon (Refinery 29 2013).
10
DIGITAL LASER CUTTING IN FOOTWEAR MANUFACTURE: SOPHIA WEBSTER
Other than most high-‐end shoe designers, Sophia Webster decided to
manufacture her collections in a factory in Brazil, as it helps to keep the prices
more affordable for her customers. When choosing her manufacturers, Webster
performed factory tests to check if the quality was up to the standards of her brand.
“I picked the factory that I felt was the best quality and understood the line the
best”(Fashionista.com, 2013).
During an interview with Matchesfashion.com
(2013), Sophia Webster said: “I am constantly looking
for references and inspirations from the art world,
but also continually researching new fabrics and
techniques”. The designer is known to work with a
wide range of materials like leather, vinyl, plastic,
rubber and several types of woven fabrics. Her
designs are embellished with beading, metallic
surfaces, and luxurious embroidery, but one of the
key technologies used over several of Webster’s
collections is digital laser cutting. It is used to both,
cut patterns for the shoes and make cut outs in the
fabric for a paper cutting effect. One of the most
significant Webster’s designs that employed digital
laser technology was the “Athena” over-‐the-‐knee
gladiators, or a smaller version -‐ an ankle bootie
“Electra”, that were worn by Candice Swanepoel at
the Victoria’s Secret fashion show in 2014.
Figure 17: “Athena” gladiator sandal (Bergdorf Goodman 2015).
11
The “Angel wings” collection is also a proof of the digital laser importance in
Webster’s design. The collection features glossy and feminine high heel sandals,
pointy sling backs and flats with three-‐dimensional laser cut angel wing details (see
images below).
Figure 18: “Evangeline” sandal (Sophia Webster 2015).
Figure 19: “Angelo” sling back
(Sophia Webster 2015). Figure 20: “Seraphina” sandal
(Sophia Webster 2015).
Pictured below, more of Sophia Webster’s shoe designs that employ digital
laser technique.
Figure 21: ”Keira Doiley” sandal
(Sophia Webster 2015).
Figure 22: “Mila” sandal
(Sophia Webster 2015). Figure 23: “Kimimi” mules
(Pinterest 2015).
Figure 24: “Greta” mules
(Pinterest 2015). Figure 25: AW’14 collection
(Pinterest 2015). Figure 26: “Riko” sandals (Viva Luxury 2014).
12
Shoes, presented in Sophia Webster AW’15 collection, come in line with her
previous collections, featuring booties with laser cut patterns.
Figure 27: Sophia Webster AW’14 (Candid Magazine 2014).
In the beginning of 2015, Sophia Webster has launched an adorable shoe
line for children, which also features laser cut designs.
Figure 28: “Yoyo” (Sophia Webster 2015). Figure 29: “Yayoi” (Sophia Webster 2015).
It is clear, that digital laser cut is an important element of Sophia Webster’s
footwear manufacture. There is no doubt that she combines her great design talent,
wide range of inspirations and digital technology beautifully, to create her dreamy
collections and force the fashion conscious people to fall in love with them.
13
DIGITAL LASER TECHNOLOGY
Laser cutting is a digital technology that uses a laser to cut various types of
materials for industrial manufacture purposes, which lately is applied for more
commercial use by schools, small businesses and crafty people. According to Dr.
Ineta Vilumsone-‐ Nemes (Industrial cutting of textile materials, 2012), laser cutting
was invented in 1960s and adapted to industrial metal sheet cutting in 1970s.
Within the next decade, laser cut was adapted to a wider spread of areas, such as,
information technology, electronics, science, medicine and military. These days,
lasers are used to cut stones, metals, plastics, glass, leather, rubber, textiles and
other materials. Digital laser cut holds a very important place in the fashion
industry of today, as it is widely used for apparel, footwear and accessories
manufacture in all levels of fashion industry: from high end to high street.
LASER CUTTING PROCESS
Laser cutting uses an optical
system of mirrors that help to point
the laser beam from the laser
source, through the focusing lens in
the cutting head and onto required
area (Figure 30). The focused point
of the laser beam is usually smaller
that 0.1 mm in diameter, which
makes the laser beam very intense
and creates temperatures around
1000 degrees in Celsius. Once the
laser hits the work piece, it melts,
burns and evaporates, usually,
leaving a small amount of smoke
and a strong smell. For this reason,
fume extraction systems are attached to laser cutters to get rid of any melted debris
and fumes, which in some cases can be harmful. Although, it might seem like it is
visible during the cutting process, the laser beam cannot be seen. A led light,
Figure 30: Digital laser cutting head diagram (Wikiwand 2015).
14
installed into the cutting head, creates an illusion of a laser beam in order to
determine where it hits the material.
Digital laser technology requires a vector-‐based software to design and edit
images. Adobe Illustrator, Corel Draw or APS Ethos are all suitable for this purpose.
Another specialist software is required to interface with the laser cutting machine,
it allows to set up cutting or engraving parameters according to the material, set
the amount of copies that need to be cut and send the design to the cutter.
Depending on the power applied, laser can also engrave materials instead of
cutting trough them. In order to be able to engrave, the velocity of cutting has to be
increased and/ or the power of the laser has to be reduced. Digital engraving can
also be performed on various materials, from metals and plastic to fabrics. Figure
31 shows image engraving on denim
using a digital laser cutter.
Kiss cutting is another
application of digital laser, which is
mostly used for creating self-‐adhesive
labels and post stamps, as it only cuts
through the adhesive layer, leaving the
backing sheet merely “kissed”, which
allows multiple labels remain together
on one sheet.
ADVANTAGES AND DISADVANTAGES OF LASER CUTTING
Digital laser cutting has both advantages and disadvantages. The main
advantage is that there is no physical contact between the material that is being cut
and the cutting device, as it enables cutting very fine and fragile materials without
damaging them. There is also no way for the material to get contaminated during
the cutting process. Furthermore, when cutting synthetic materials, the cut edges
are sealed, so there is no need for post-‐cut finishing. Other great advantages are the
accuracy and high speed of the cutting process. This is especially great for fashion
applications as it saves time and cuts expenses for hiring skilled cutters to perform
Figure 31: Digital engraving (Ernesta Ratkute 2015)
15
cutting of intricate designs by hand. However, there are some drawbacks, like high
energy consumption in comparison to other cutting mechanisms, or limited 6mm
thickness of the cut material. Other major disadvantages are deformation and
production of toxic fumes, when cutting plastics, which are used for making
contemporary jewelry (Science and Technology, 2011).
CONCLUSION
All in all, digital laser cutting is definitely one of the most important and
effective technologies used in fashion manufacture. It is a very precise and time
effective method of creating patterns and fine cutouts for fashion wear and
accessories. Sophia Webster is just one of many examples who has clearly
benefitted from adapting this technology throughout her footwear lines. It has
helped her to introduce new elements to her designs and conquer even more
hearts of fashion-‐forward people. Hopefully, fashion designers will keep
experimenting and pushing the boundaries of modern technology, and even more
innovative technologies are going to be developed in the future.
16
REFERENCES
British Fashion Council Online, (2015). NEWGEN. Britishfashioncouncil.com. Available at: http://www.britishfashioncouncil.com/business-‐support-‐awards/NEWGEN [Accessed: May 5, 2015].
Fasionista, (2013). It-‐Shoe Designer Sophia Webster on her Dream Collaboration. Fashionista.com. Available at: http://fashionista.com/2013/06/sophia-‐webster [Accessed: May 6, 2015].
Glamour Magazine Online, (2014). LFW Q&A: How many shoes does Sophia Webster own? Glamourmagazine.co.uk Available at: http://www.glamourmagazine.co.uk/news/fashion/2014/09/09/lfw-‐designer-‐qa-‐sophia-‐webster [Accessed: May 3, 2015].
Mathchesfashion Online, (2013). In conversation with… Sophia Webster. Matchesfashion.com. Available at: http://www.matchesfashion.com/womens/the-‐style-‐report/archive/in-‐conversation-‐with/sophia-‐webster/ [Accessed: May 3, 2015].
Science and Technology Online, (2011). Advantages and disadvantages of digital laser cutting. Beepangeaworldscience.blogspot.co.uk. Available at: http://beepangeaworldscience.blogspot.co.uk/2011/11/advantages-‐and-‐disadvantages-‐of-‐laser.html [Accessed: May 7, 2015]
South China Morning Post Online, (2013). Fashion & Luxury. The rise and rise of shoe designer Sophia Webster. Scmp.com. Available at: http://www.scmp.com/lifestyle/fashion-‐watches/article/1166670/rise-‐and-‐rise-‐shoe-‐designer-‐sophia-‐webster [Accessed: May 3, 2015].
University of the Arts London Online, (2014). LFC News. LFC Cordwainers Alumni steal the show at LFW. Arts.ac.uk. Available at: http://blogs.arts.ac.uk/fashion/2014/09/24/lcf-‐cordwainers-‐alumni-‐steal-‐show-‐lfw/ [Accessed: May 3, 2015].
Vilumsone-‐ Nemes, I., (2012). Industrial cutting of textile materials. Cambridge, UK: Woodhead Publishing Limited.
Vogue Online, (2012). Meet Sophia Webster. Vogue.co.uk. Available at: http://www.vogue.co.uk/news/2012/10/31/sophia-‐webster-‐shoes-‐interview-‐and-‐profile [Accessed: May 3, 2015].
Youtube, (2014). MATCHESmeets: Sophia Webster. Youtube.com. Available at: https://www.youtube.com/watch?v=L_dDfwNDxeo [Accessed: May 5, 2015].
17
IMAGE REFERENCES
Cover Image -‐ Sophia Webster Online, (2015). Evangeline. Sophiawebster.com. Available at: http://us.sophiawebster.com/product/view/6901 [Accessed: May 5, 2015].
Figure 1-‐ Sophia Webster Online, (2015). About. Sophiawebster.com. Available at: http://us.sophiawebster.com/about [Accessed: May 5, 2015].
Figure 2-‐ Vogue Online, (2011). Nicholas Kirkwood. Vogue.co.uk. Available at: http://www.vogue.co.uk/spy/biographies/nicholas-‐kirkwood-‐biography [Accessed: May 5, 2015].
Figure 3 (left)-‐ The English Group Online, (2012). The Art of Shoes: Manolo Blahnik. Theenglishgroup.co.uk. Available at: http://www.theenglishgroup.co.uk/blog/2012/03/10/the-‐art-‐of-‐shoes-‐manolo-‐blahnik/ [Accessed: May 5, 2015].
Figure 3 (right)-‐ Shoe Tease Online, (2011). Incredible Heels by Edmundo Castillo for Spring 2011! Shoe-tease.com. Available at: http://www.shoe-‐tease.com/2011/04/12/incredible-‐heels-‐edmundo-‐castillos-‐spring-‐2011-‐collection/ [Accessed: May 5, 2015].
Figure 4-‐ Time Out Online, (2013). Hellen Sumpter meets the artist in the Tokyo phychiatric hospital she calls home. Timeout.com. Available at: http://www.timeout.com/london/art/interview-‐yayoi-‐kusama [Accessed: May 5, 2015].
Figure 5-‐ Boy Meets Fashion Online, (2012). Sophia Webster’s delightful shoes provoke a sensation of excitement. Boymeetsfashion.com. Available at: http://www.boymeetsfashion.com/2012/09/26/sophia-‐websters-‐delightful-‐shoes-‐provokes-‐a-‐sudden-‐sensation-‐of-‐excitement/ [Accessed: May 5, 2015].
Figure 6-‐ Rainbows and Fairy Dust Online, (2013). Sophia Webster SS14. Rainbowsandfairydust.blogspot.co.uk. Available at: http://rainbowsandfairydust.blogspot.co.uk/2013/09/sophia-‐webster-‐ss14.html [Accessed: May 5, 2015].
Figure 7-‐ Flavourmag Online, (2015). Sophia Webster’s Funky SS15 Styles. Flavourmag.co.uk Available at: http://www.flavourmag.co.uk/sophia-‐webster-‐funky-‐ss15-‐styles/ [Accessed: May 5, 2015].
Figure 8-‐ Her World Plus Online, (2014). 6 questions with quirky shoe queen Sophia Webster. Herworldplus.com. Available at: http://www.herworldplus.com/fashion/updates/6-‐questions-‐quirky-‐shoe-‐queen-‐sophia-‐webster [Accessed: May 5, 2015].
Figure 9-‐ Mirror Me Online, (2013). Richard Braqo, Sophia Webster, Mawi. Mirrorme.me. Available at: http://mirrorme.me/richard-‐braqo-‐sophia-‐webster-‐mawi/ [Accessed: May 5, 2015].
Figure 10-‐ Le Blow Online, (2014). London Fashion Week AW14// Fancy footwork: Shoes are the new clothes. Leblow.co.uk. Available at: http://leblow.co.uk/london-‐fashion-‐week-‐aw14-‐shoe-‐trends/ [Accessed: May 5, 2015].
Figure 11-‐ The Salty Stiletto Blog, (2015). Shoe envy -‐ AW 15. Thesaltystiletto.com. Available at: http://thesaltystiletto.com/shoe-‐envy-‐aw-‐15/ [Accessed: May 5, 2015].
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Figure 12-‐ Streets are the new Runway Blog, (2013). Sophia Webster pop-‐up store. Streetsarethenewrunway.blogspot.co.uk. Available at: http://streetsarethenewrunway.blogspot.co.uk/2013/12/sophia-‐webster-‐pop-‐up-‐store.html [Accessed: May 5, 2015].
Figure 13-‐ Departures Magazine Online, (2014). Sophia Webster x J. Crew. Departures-international.com. Available at: http://www.departures-‐international.com/home/style/womens-‐fashion/sophia-‐webster-‐x-‐j-‐crew-‐shoe-‐collection.html [Accessed: May 5, 2015].
Figure 14-‐ Buzzfeed Online, (2013). 21 of The Absolute Best Pairs of Shoes at London fashion Week. Buzzfeed.com. Available at: http://www.buzzfeed.com/angelamv/21-‐of-‐the-‐absolute-‐best-‐pairs-‐of-‐shoes-‐at-‐london-‐fashion-‐wee#.loPpodaXY [Accessed: May 5, 2015].
Figure 15-‐ Fashion’s Passion Blog, (2013). Sophia Webster x nails rock 2013 Collection. Fashionspassion.com. Available at: http://www.fashionspassion.com/beauty-‐news/sophia-‐webster-‐x-‐nail-‐rock-‐2013-‐collection/ [Accessed: May 5, 2015].
Figure 16-‐ Refinery29 Online, (2013). Weird or Awesome? Sophia Webster pairs up with Revlon. Refinery29.com. Available at: http://www.refinery29.com/2013/05/47636/sophia-‐webster-‐revlon#slide [Accessed: May 5, 2015].
Figure 17-‐ Bergdorf Goodman Online, (2015). Sophia Webster. Athena Butterfly Gladiator Sandal, Black. Bergdorfgoodman.com. Available at: http://www.bergdorfgoodman.com/Sophia-‐Webster-‐Athena-‐Butterfly-‐Gladiator-‐Sandal-‐Black/prod96160018/p.prod [Accessed: May 6, 2015].
Figure 18-‐ Sophia Webster Online, (2015). Evangeline. Sophiawebster.com. Available at: http://www.sophiawebster.com/product/view/5493 [Accessed: May 6, 2015].
Figure 19-‐ Sophia Webster Online, (2015). Angelo. Sophiawebster.com. Available at: http://www.sophiawebster.com/product/view/5481 [Accessed: May 6, 2015].
Figure 20-‐ Sophia Webster Online, (2015). Seraphine. Sophiawebster.com. Available at: http://www.sophiawebster.com/product/view/5469 [Accessed: May 6, 2015].
Figure 21-‐ Sophia Webster Online, (2015). Keira Doiley. Sophiawebster.com. Available at: http://www.sophiawebster.com/product/view/7056 [Accessed: May 6, 2015].
Figure 22-‐ Sophia Webster Online, (2015). Mila. Sophiawebster.com. Available at: http://www.sophiawebster.com/product/view/2194 [Accessed: May 6, 2015].
Figure 23-‐ Pinterest, (2015). Available at: https://www.pinterest.com/pin/485192559828481848/ [Accessed: May 6, 2015].
Figure 24-‐ Pinterest, (2015). Pinterest.com. Available at: Pinterest, (2015). Available at: https://www.pinterest.com/pin/290130400971163395/ [Accessed: May 6, 2015].
Figure 25-‐ Pinterest, (2015). Pinterest.com Available at: Pinterest, (2015). Available at: https://www.pinterest.com/pin/338403359476001216/ [Accessed: May 6, 2015].
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Figure 26-‐ Viva Luxury Blog, (2014). A Touch of Tweed. Vivaluxury.blogspot.co.uk. Available at: http://vivaluxury.blogspot.co.uk/2014/06/a-‐touch-‐of-‐tweed.html [Accessed: May 6, 2015]
Figure 27-‐ Candid Magazine Online, (2014). LFV Sophia Webster AW ’14. Candidmagazine.com. Available at: http://www.candidmagazine.com/lfw-‐sophia-‐webster-‐aw14/ [Accessed: May 7, 2015].
Figure 28-‐ Sophia Webster Online, (2015). Yoyo. Sophiawebster.com. Available at: http://www.sophiawebster.com/product/view/7657 [Accessed: May 6, 2015].
Figure 29-‐ Sophia Webster Online, (2015). Yayoi. Sophiawebster.com. Available at: http://www.sophiawebster.com/product/view/7650 [Accessed: May 6, 2015].
Figure 30-‐ Wikiwand, (2015). Laser cutting. Wikiwand.com. Available at: http://www.wikiwand.com/en/Laser_cutting [Accessed: May 6, 2015].
Figure 31-‐ Ernesta Ratkute (2015). Image taken by E. Ratkute during a digital laser cut workshop.
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DIGITAL PRINT EVALUATION
Digital printing is commonly used in fashion for sample or one off prints. It
works similarly to an inkjet paper printer-‐ spraying dyes on the surface of the
fabric. The fabric for digital printing has to be pre-‐prepared with chemical coating
to avoid dyes from spreading, which makes it the most expensive component of the
print. Printing requires the image to be saved in a TIFF format and once sent to the
printer, the image started to slowly build up on cotton satin. Steam was used to set
the printed image, which was later washed and dried to remove excess dyes. The
printed image came out very accurate to the one original, but the colours were not
as bright.
Figure 1: Digital print on cotton satin (Ernesta Ratkute 2015).
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DIGITAL LASER CUTTING
Digital laser cutting in fashion is used to produce patterns and complicated
cutouts in leather, textiles and other materials. Several software programs were
used to get the design through to the cutter. It uses an optical mirror system to
point the laser through the cutting head onto the working piece. High temperature
of the laser beam melted acrylic sheet and polyester and burnt card when cutting,
which provided neat edges. Although the process is relatively quick different
materials had different cutting times, depending on thickness and type of design.
When appropriate settings were made engraving process was performed on a
denim fabric. Because denim has blue threads front facing the fabric and white
threads back facing it, a contrast effect could be achieved by engraving. After the
cutting a strong burning smell could be felt.
Figure 2: Digital laser cut on polyester (Ernesta Ratkute 2015).
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Figure 4: Digital laser cutting on card (Ernesta Ratkute 2015).
Figure 3: Digital laser engraving on denim (Ernesta Ratkute 2015).
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DIGITAL KNIT AND WEAVE EVALUATION
Digital Jacquard knit in fashion is used to create complicated designs within
a knitted fabric. Specialized software is used for creating fabrics where designers
can use knit formations and pick colour combinations. Images can also be scanned
and then prepared for knitting. Because a limited amount of threads can be used in
the process the original image colours may have to be downsized. The software
allows seeing what will be knitted on the front and back beds and what the final
result will be, so any changes necessary can be made before the knitting process is
started, which saves time and reduces wastage.
Digital Jacquard weave in fashion is used to produce fabrics with
complicated weave combinations for intricate designs. Software “Scotweave” is
used to create artwork for weaving process. It allows combining up to five weave
structures, which represent different colours in the image and the system.
“Jacquard designer” allocated those structures in a way they would be possible to
execute by the loom. The design information was transferred to the Jacquard
controller by a floppy disc. Although the weave process could not be seen because
of technical difficulties, in theory the harness is used to control each warp end by
harness cord attached to heald wire in order to replicate a created image. The
design on both sides of the produced fabric came out in opposite colours.
