Said to have turned the industry on its head (Forbes), the monumental influence of fast fashion is evident in the immense success of chains such as Forever 21, Zara, and H&M, whose offerings are seasonal, trendy and, unprecedentedly affordable. In retail, the meteoric rise of “fast-fashion” in the 21st century has been undeniable. With technological requirements on the cusp of widespread availability, justification for the pursuit of this innovative industry’s transformation falls to market conditions and the climate of demand. Founded in late 2013 with a $200 budget, the staggeringly quick development of this close to mass-market viable clothing demonstrates the fast paced development one can expect from this infant industry, reasonably shifting the time line of in-home clothing production into the realms of achievability for the current generation. While current offerings are limited to a tank tops, skirts, and hats, the start-up is already venturing into the introduction of silk and acrylic iterations of the products. Without any major corporate backing, this small firm managed to print its first pliable and wearable garments in May 2015 by spraying a specially formulated polyester/cotton blend on the moulds. However, for clear indicators of the viability of future endeavours in 3D printed textiles, one need look no further than the small San Francisco start-up, Electroloom. Today’s in-home 3D printers are energy hogs, can produce harmful emissions, and are better (or exclusively) suited to brittle, solid outputs, tailored to primarily create precise plastic prototypes and intricate metalwork. There are still obstacles to the widespread adoption of this technology for consumer clothing purchases. Dubbed the “Uber” of 3D printing, this online platform allows users to rent out usage time on locally owned devices (HBR), making this technology available to not only one-seventh of the global population but well over 65% of global consumer buying power (3D hubs). In the non-corporate environment of hobbyists and entrepreneurs, it is estimated that 1 billion people worldwide already have direct access to a 3D printer within 10 miles of their home through the online site 3D Hubs.
In fact, within corporate large scale manufacturing processes, this technology is well on its way to becoming mainstream, with a threshold reserved for 20% adoption with 3D printing hovering at 11% and growing, according to a 2014 PwC survey (HBR). Originating in the early 1980s, 3D printing, then more commonly known as additive manufacturing, is hardly a novel idea. However, forward thinking industry innovator and Nike COO, Eric Sprunk, has openly expressed a belief that in the not-so-distant future, Nike will be selling data files, not shoes, as the manufacturing burden shifts directly to the consumer (Huffington Post). Admittedly, the sheer idea of printing a new blazer just before an important meeting still seems bizarrely futuristic. While many clamor in fear when confronted with the ethical implications of 3D printing in weaponry or organ regeneration, the feasibility and colossal ramifications of integrating this technology into the textile and clothing manufacturing process are often overlooked. While this kind of striking yet short-lived innovation is typical of 3D printing news within the last decade, the truly disruptive implications of 3D printing in the fashion industry lies not within the luxury segment, but in the vehement and growing demand for “fast-fashion” from the masses.
Pairing a futuristic silhouette with the classic Chanel aesthetic created exactly the kind of buzz the luxury fashion market relies on. The fashion world fell silent in awe and admiration at the Fall 2015 Chanel Fashion Show as industry giant, Karl Lagerfeld, proudly displayed what he dubbed the label’s first 3D printed suit.
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