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Material Fragmentation as a Design Strategy for Sustainable Fashion Practice
Introduction
With increasing environmental pressure on the fashion industry, there is a growing emphasis on the need to transform both production models and design strategies. The global textile industry generates more than 92 million tons of waste annually, of which only a small fraction is recycled or reused for secondary design [1]. In response to this situation, designers are seeking new creative approaches to turn waste into valuable resources while maintaining aesthetic and commercial quality.
This paper explores the potential of applying a material oriented design methodology - Material Driven Design (MDD) - to create one of a kind wool coats from post industrial textile offcuts. The aim of the study is to evaluate how the integration of textile fragments with diverse structural and aesthetic characteristics, through an experimental design process, can generate garments that meet the expectations of both contemporary fashion aesthetics and sustainability.
Material Driven Design Methodology: Theoretical Background and Practical Application
Material Driven Design (MDD) is a methodological approach in which material is not treated as a passive component of production, but as an active guide in the design process. MDD emerged in response to the functionalist paradigm that dominated industrial design, where material merely had to meet the requirements of form and function [2]. Karana et al. (2015) propose a four step MDD structure: (1) understanding the material, (2) determining the material experience value, (3) developing the design concept, and (4) material product integration [3].
Importantly, MDD emphasizes not only the technical properties of the material but also its cultural, emotional, and semantic potential. Material is understood as a multidimensional phenomenon - it can convey stories, evoke emotions, and engage users. This perspective aligns with the concept of “material experience” - a sensory, emotional, and symbolic relationship between humans and materials [4].
In this study, MDD was applied in an unconventional way - not with a single material, but with fragmented textile waste comprising various types of wool fabrics: merino wool, cashmere, and alpaca. These materials were chosen deliberately; all are high quality animal fibers with distinct physical and aesthetic properties. Merino wool is among the most valuable and commonly used high quality wool fibers. It features excellent thermoregulation, softness, elasticity, natural antibacterial properties, and breathability, making it ideal for garments worn close to the body [16]. It also has good draping qualities, enabling the formation of soft, flowing silhouettes that align with contemporary fashion aesthetics. Cashmere, derived from the undercoat of goats, is valued for its exceptional softness, warmth, and luxurious appearance. It is one of the most expensive types of wool and is characterized by a subtle sheen and delicate texture [17]. However, due to its delicacy, cashmere is mechanically less durable and often requires additional structural support in the design process. Alpaca wool is strong, naturally hypoallergenic, and warm, yet lighter than sheep’s wool. Its structure is less elastic than merino or cashmere, making it suitable for components requiring shape retention, such as collars, sleeves, and back panels [18]. Aesthetically, alpaca provides a tactile richness and visual warmth often associated with “natural luxury” [19]. These wool types differ not only in mechanical performance but also in their cultural and symbolic values - they represent quality, longevity, and responsible consumption. This allows design decisions to be based not only on functionality but also on semantic logic, where each fragment becomes a carrier of meaning and value. Designing with such fragments requires evaluating contrasts and compatibilities, which leads to a new kind of aesthetic composition based on dialogue between differences rather than homogeneity.
As offcuts rather than uniform material are used, seams in this project became both aesthetic and structural design elements. The orientation, placement, and visual emphasis of seams (e.g., through contrasting threads or exposed stitching techniques) were employed to ensure structural integrity while also contributing to the garment’s visual language [5]. The seams thus formed part of the fragmentation narrative - expressing connection, transformation, and tension.
Applying the “material storytelling” approach [15], each fragment gained historical, aesthetic, and conceptual value. They embodied a narrative of transformation - from waste to design object - communicated not only through verbal explanation but also through visual codes. The constructed object acquired an additional conceptual dimension: the juxtaposition of seams and different surfaces evoked aerial images of landscapes or maps, interpreted in a broad sense - from sustainability as a mental map to references to current geopolitical tensions and the symbolic redrawing of borders. At the same time, the coat as a garment symbolizes warmth and comfort - a metaphor of refuge and resilience, evoking survival under harsh conditions.
Experimental Process: Research Through Design
The Research through Design (RtD) methodology provides a valuable framework for generating knowledge directly through the act of designing. Rather than relying on theoretical abstraction alone, this approach emphasizes learning through hands-on engagement with materials, intuitive and informed decision-making, and critical reflection on each stage of the design process [6][7]. In this study, garments were not created from predefined sketches or rigid design blueprints. Instead, their development unfolded through an iterative and responsive creative process, where the material itself became an active participant in shaping the outcome.
The design journey began with a careful selection and classification of textile fragments. These offcuts were organized according to specific physical and aesthetic properties such as thickness, elasticity, draping behavior, and surface texture. The classification allowed for a functional approach to garment construction, where each fragment was placed in a role that suited its characteristics. For example, thicker or more rigid materials were chosen for areas requiring structural support like shoulders, while softer and more flexible textiles were used in zones that demanded greater movement such as sleeves. This compositional logic reflects a systemic and sustainable design mindset, where every element is considered not only for its visual contribution but also for its functional integration into the whole [8].
Each coat emerged through a hands-on exploration of form, construction methods, and fragment compatibility. The process relied on a close and ongoing interaction with the materials themselves, rather than on adhering to a predetermined silhouette or aesthetic vision [9]. As the material qualities revealed themselves during the making process, the designer adjusted choices accordingly, resulting in garments that were both visually expressive and structurally balanced.
To bring cohesion to the garments and ensure long-term wearability, various technical strategies were employed. Different types of adhesive interlinings were used to stabilize and harmonize the behavior of dissimilar materials, depending on their location and functional role in the garment. These interlinings helped reinforce areas under strain and maintained overall shape and comfort. A number of other technical decisions—including seam reinforcement, edge finishing, and local stabilization—were made through careful observation and response to how each textile behaved in interaction with others. This required a deep familiarity with material behavior, sometimes referred to as material literacy, which enabled the designer to navigate the complexity of fragmented textiles and transform them into durable, coherent garments [14].
Findings and Insights: Aesthetics, Consumer and Value Creation
To assess the aesthetic impact of experimental garments and the effectiveness of sustainability communication, a qualitative consumer behavior observation methodology was applied, based on principles of naturalistic observation [20]. Observations were conducted in a branded boutique, where the coats were presented as part of a limited collection.
Observations were carried out with the designer present but without interfering in customer choices to ensure natural behavior. Reactions to the garments (touching, trying on, verbal comments) were recorded, including behavior before and after being informed of the garment’s sustainability. Each observation episode lasted between 3 and 10 minutes depending on the customer’s engagement. In total, 38 interaction cases were documented over two months.
Data were recorded in free form, based on ethnographic reflection. Recurrent behavioral patterns were identified: initial aesthetic response, interest in texture, reaction to sustainability information, curiosity about origin, and pursuit of uniqueness. No personal data were collected. All observations took place in public spaces without direct intervention or interviews. The project adhered to ethical research principles applicable to design practice [21].
Observations revealed that visual appeal determines initial interest. Only afterward do consumers evaluate sustainability [10]. This confirms that aesthetics is a prerequisite for sustainable design acceptance. The uniqueness, creativity, and textural richness of the pieces allowed consumers to perceive the garments as “artistic” or “individual.” This aligns with theories of post industrial design [11]. Communication about material origin, reuse, and conceptual narrative enhanced the product’s emotional value. Consumers felt connected to the story, contributing to a more durable and
mindful relationship with the object [12].
Conclusion
The application of the Morphological Design Development (MDD) methodology to heterogeneous material sources reveals its powerful adaptability and potential to reshape sustainable fashion practices. Traditionally, textile fragmentation caused by leftover materials, irregular offcuts, or damaged fabrics has been perceived as a constraint within conventional fashion production. However, through the lens of MDD, this fragmentation is reinterpreted as a resource rather than a flaw. It becomes an aesthetic language, offering structural possibilities that challenge standard notions of form, symmetry, and material uniformity. Each irregular fragment invites the designer to engage in creative problem-solving, fostering a dialogue between material and form that results in unique, one-of-a-kind garments.
In this context, textile fragmentation is no longer viewed as an obstacle to overcome but is instead seen as a generative condition. It inspires experimentation, reveals the expressive potential of imperfection, and enables garments to carry visual narratives of their making. These narratives play a vital role in cultivating a more conscious and emotionally engaged relationship between the product and its wearer. When consumers recognize the story embedded in the garment’s structure, whether through visible seams, material contrasts, or unconventional silhouettes, they are more likely to value the product as something meaningful and irreplaceable. This emotional connection, grounded in the consumer’s aesthetic experience, becomes a key strategy for extending the lifecycle of clothing.
Furthermore, experimental design facilitates not only the construction of garments from such fragmented resources but also encourages the reimagining of design processes themselves. It allows designers to move beyond industrial norms and explore alternative paths of making that are more responsive to limited resources, circular thinking, and cultural storytelling. Through experimental design, fashion becomes a medium of both personal expression and systemic transformation.
Ultimately, the integration of MDD with fragmented textiles signals a broader shift in fashion design thinking. It moves from standardized, efficiency-driven production toward a more reflective, material-sensitive, and sustainability-oriented practice. This approach encourages innovation, nurtures creative resilience, and most importantly, affirms the potential of design to contribute meaningfully to environmental and cultural goals.
Introduction
With increasing environmental pressure on the fashion industry, there is a growing emphasis on the need to transform both production models and design strategies. The global textile industry generates more than 92 million tons of waste annually, of which only a small fraction is recycled or reused for secondary design [1]. In response to this situation, designers are seeking new creative approaches to turn waste into valuable resources while maintaining aesthetic and commercial quality.
This paper explores the potential of applying a material oriented design methodology - Material Driven Design (MDD) - to create one of a kind wool coats from post industrial textile offcuts. The aim of the study is to evaluate how the integration of textile fragments with diverse structural and aesthetic characteristics, through an experimental design process, can generate garments that meet the expectations of both contemporary fashion aesthetics and sustainability.
Material Driven Design Methodology: Theoretical Background and Practical Application
Material Driven Design (MDD) is a methodological approach in which material is not treated as a passive component of production, but as an active guide in the design process. MDD emerged in response to the functionalist paradigm that dominated industrial design, where material merely had to meet the requirements of form and function [2]. Karana et al. (2015) propose a four step MDD structure: (1) understanding the material, (2) determining the material experience value, (3) developing the design concept, and (4) material product integration [3].
Importantly, MDD emphasizes not only the technical properties of the material but also its cultural, emotional, and semantic potential. Material is understood as a multidimensional phenomenon - it can convey stories, evoke emotions, and engage users. This perspective aligns with the concept of “material experience” - a sensory, emotional, and symbolic relationship between humans and materials [4].
In this study, MDD was applied in an unconventional way - not with a single material, but with fragmented textile waste comprising various types of wool fabrics: merino wool, cashmere, and alpaca. These materials were chosen deliberately; all are high quality animal fibers with distinct physical and aesthetic properties. Merino wool is among the most valuable and commonly used high quality wool fibers. It features excellent thermoregulation, softness, elasticity, natural antibacterial properties, and breathability, making it ideal for garments worn close to the body [16]. It also has good draping qualities, enabling the formation of soft, flowing silhouettes that align with contemporary fashion aesthetics. Cashmere, derived from the undercoat of goats, is valued for its exceptional softness, warmth, and luxurious appearance. It is one of the most expensive types of wool and is characterized by a subtle sheen and delicate texture [17]. However, due to its delicacy, cashmere is mechanically less durable and often requires additional structural support in the design process. Alpaca wool is strong, naturally hypoallergenic, and warm, yet lighter than sheep’s wool. Its structure is less elastic than merino or cashmere, making it suitable for components requiring shape retention, such as collars, sleeves, and back panels [18]. Aesthetically, alpaca provides a tactile richness and visual warmth often associated with “natural luxury” [19]. These wool types differ not only in mechanical performance but also in their cultural and symbolic values - they represent quality, longevity, and responsible consumption. This allows design decisions to be based not only on functionality but also on semantic logic, where each fragment becomes a carrier of meaning and value. Designing with such fragments requires evaluating contrasts and compatibilities, which leads to a new kind of aesthetic composition based on dialogue between differences rather than homogeneity.
As offcuts rather than uniform material are used, seams in this project became both aesthetic and structural design elements. The orientation, placement, and visual emphasis of seams (e.g., through contrasting threads or exposed stitching techniques) were employed to ensure structural integrity while also contributing to the garment’s visual language [5]. The seams thus formed part of the fragmentation narrative - expressing connection, transformation, and tension.
Applying the “material storytelling” approach [15], each fragment gained historical, aesthetic, and conceptual value. They embodied a narrative of transformation - from waste to design object - communicated not only through verbal explanation but also through visual codes. The constructed object acquired an additional conceptual dimension: the juxtaposition of seams and different surfaces evoked aerial images of landscapes or maps, interpreted in a broad sense - from sustainability as a mental map to references to current geopolitical tensions and the symbolic redrawing of borders. At the same time, the coat as a garment symbolizes warmth and comfort - a metaphor of refuge and resilience, evoking survival under harsh conditions.
Experimental Process: Research Through Design
The Research through Design (RtD) methodology provides a valuable framework for generating knowledge directly through the act of designing. Rather than relying on theoretical abstraction alone, this approach emphasizes learning through hands-on engagement with materials, intuitive and informed decision-making, and critical reflection on each stage of the design process [6][7]. In this study, garments were not created from predefined sketches or rigid design blueprints. Instead, their development unfolded through an iterative and responsive creative process, where the material itself became an active participant in shaping the outcome.
The design journey began with a careful selection and classification of textile fragments. These offcuts were organized according to specific physical and aesthetic properties such as thickness, elasticity, draping behavior, and surface texture. The classification allowed for a functional approach to garment construction, where each fragment was placed in a role that suited its characteristics. For example, thicker or more rigid materials were chosen for areas requiring structural support like shoulders, while softer and more flexible textiles were used in zones that demanded greater movement such as sleeves. This compositional logic reflects a systemic and sustainable design mindset, where every element is considered not only for its visual contribution but also for its functional integration into the whole [8].
Each coat emerged through a hands-on exploration of form, construction methods, and fragment compatibility. The process relied on a close and ongoing interaction with the materials themselves, rather than on adhering to a predetermined silhouette or aesthetic vision [9]. As the material qualities revealed themselves during the making process, the designer adjusted choices accordingly, resulting in garments that were both visually expressive and structurally balanced.
To bring cohesion to the garments and ensure long-term wearability, various technical strategies were employed. Different types of adhesive interlinings were used to stabilize and harmonize the behavior of dissimilar materials, depending on their location and functional role in the garment. These interlinings helped reinforce areas under strain and maintained overall shape and comfort. A number of other technical decisions—including seam reinforcement, edge finishing, and local stabilization—were made through careful observation and response to how each textile behaved in interaction with others. This required a deep familiarity with material behavior, sometimes referred to as material literacy, which enabled the designer to navigate the complexity of fragmented textiles and transform them into durable, coherent garments [14].
Findings and Insights: Aesthetics, Consumer and Value Creation
To assess the aesthetic impact of experimental garments and the effectiveness of sustainability communication, a qualitative consumer behavior observation methodology was applied, based on principles of naturalistic observation [20]. Observations were conducted in a branded boutique, where the coats were presented as part of a limited collection.
Observations were carried out with the designer present but without interfering in customer choices to ensure natural behavior. Reactions to the garments (touching, trying on, verbal comments) were recorded, including behavior before and after being informed of the garment’s sustainability. Each observation episode lasted between 3 and 10 minutes depending on the customer’s engagement. In total, 38 interaction cases were documented over two months.
Data were recorded in free form, based on ethnographic reflection. Recurrent behavioral patterns were identified: initial aesthetic response, interest in texture, reaction to sustainability information, curiosity about origin, and pursuit of uniqueness. No personal data were collected. All observations took place in public spaces without direct intervention or interviews. The project adhered to ethical research principles applicable to design practice [21].
Observations revealed that visual appeal determines initial interest. Only afterward do consumers evaluate sustainability [10]. This confirms that aesthetics is a prerequisite for sustainable design acceptance. The uniqueness, creativity, and textural richness of the pieces allowed consumers to perceive the garments as “artistic” or “individual.” This aligns with theories of post industrial design [11]. Communication about material origin, reuse, and conceptual narrative enhanced the product’s emotional value. Consumers felt connected to the story, contributing to a more durable and
mindful relationship with the object [12].
Conclusion
The application of the Morphological Design Development (MDD) methodology to heterogeneous material sources reveals its powerful adaptability and potential to reshape sustainable fashion practices. Traditionally, textile fragmentation caused by leftover materials, irregular offcuts, or damaged fabrics has been perceived as a constraint within conventional fashion production. However, through the lens of MDD, this fragmentation is reinterpreted as a resource rather than a flaw. It becomes an aesthetic language, offering structural possibilities that challenge standard notions of form, symmetry, and material uniformity. Each irregular fragment invites the designer to engage in creative problem-solving, fostering a dialogue between material and form that results in unique, one-of-a-kind garments.
In this context, textile fragmentation is no longer viewed as an obstacle to overcome but is instead seen as a generative condition. It inspires experimentation, reveals the expressive potential of imperfection, and enables garments to carry visual narratives of their making. These narratives play a vital role in cultivating a more conscious and emotionally engaged relationship between the product and its wearer. When consumers recognize the story embedded in the garment’s structure, whether through visible seams, material contrasts, or unconventional silhouettes, they are more likely to value the product as something meaningful and irreplaceable. This emotional connection, grounded in the consumer’s aesthetic experience, becomes a key strategy for extending the lifecycle of clothing.
Furthermore, experimental design facilitates not only the construction of garments from such fragmented resources but also encourages the reimagining of design processes themselves. It allows designers to move beyond industrial norms and explore alternative paths of making that are more responsive to limited resources, circular thinking, and cultural storytelling. Through experimental design, fashion becomes a medium of both personal expression and systemic transformation.
Ultimately, the integration of MDD with fragmented textiles signals a broader shift in fashion design thinking. It moves from standardized, efficiency-driven production toward a more reflective, material-sensitive, and sustainability-oriented practice. This approach encourages innovation, nurtures creative resilience, and most importantly, affirms the potential of design to contribute meaningfully to environmental and cultural goals.