RJTA Vol. 17 No.

1 2013

The Cutting Circle: How to Make Challenging Designs

Holly McQuillan1*, Timo Rissanen2 and Julian Roberts3
Massey University, College of Creative Arts, Wellington, New Zealand, [email protected]
2
Parsons The New School for Design, New York, United States of America, [email protected]
3
Royal College of Art, London, United Kingdom, [email protected]

ABSTRACT
The Cutting Circle is an international research initiative by fashion designers/patternmakers
and educators Timo Rissanen, Julian Roberts and Holly McQuillan. By exploring alternative
methods of making clothes and patterns, we have employed 'risky' design practice, research
and teaching to develop zero waste fashion and subtraction cutting. The project manifested
as an intensive two-week practice-based research event, where via a series of collaborative
collisions, experiments and design intersections, we asked the following three questions.
What costs/benefits can we identify to aid the development of a sustainable fashion industry
through risk taking at the intersection of our design practices? What new knowledge arises
in risky collaborative design practice? And how can this new knowledge be best
communicated to foster an environment of risk-taking within the traditionally risk adverse
fashion industry? This paper primarily discusses our responses to the first two questions and
related issues raised. It covers how experimenting with each others design practice and
practicing in each others creative space as we both designed and made, enable the free
transfer of ideas and cross-pollination, thus expanding our ability to identify links, gaps and
opportunities. The Cutting Circle project has developed experimental practices with
emphasis on the fusion of aesthetics, patternmaking, craft and socially invigorating design.
Keywords: Fashion, Design, Patternmaking, Open Design, Collaboration, Experimentation

1.

Introduction

This paper breaks with some conventions in

academic writing; this is partly driven by a desire
to see an exuberantly creative field written about
creatively. The lack of a long history of academic
writing about fashion practice is an opportunity,
not a hindrance. As an example, throughout the
paper, we have written about what we did in the
first person, to eliminate the oft-utilised
detachment that seems in this instance
unnecessary, even misleading. Given that the
paper is in part driven by a desire to give makers a
voice, it seems crucial to give makers a voice in
this paper too.

2.

Introduction: Secretive, Glamorous

and Flat?

At once a secretive clique and the very public face

of their brands, fashion designers are reluctant to
* Corresponding author. Tel.: 64 4 801 5799 ext 62447; Fax: 64 4 801 2692
E-mail address: [email protected] (Holly McQuillan)

39

share ideas or lay their design processes and

problems open for the world to see. The industry
maintains a strict veil of glamour around the
notion of what a designer is and does, often
ignoring the many hands that go into the
production of clothing. Contributing to this,
students are often encouraged to view themselves
as creative geniuses with visions of a career as
fashion designers somewhere between rock star
and artist, designing mainly with a sketchbook and
directing a group of able production people,
which is how industry representative Paul
Blomfield (Blomfield & Trade, 2002) had put it in
his influential scoping study of designer fashion in
New Zealand. The patternmaker is one of those
able production people and by contrast,
generally hidden from the public gaze, instead
working behind the scenes to help manifest the
vision of the designer. The distance between
designer and maker of fashion at the design stage
can be both philosophical and physical, with
manufacture often hidden from view in far away
factories and sweatshops, kept at arms length, and

RJTA Vol. 17 No. 1 2013

not talked about or celebrated. Roberts further

stated that before you buy a garment and wear it,
it will have been touched by many skillful hands,
but often the hand that touches it the LEAST is the
hand of the fashion designer (Romano, 2011).
Patternmakers often operate entirely separately
from designers, sometimes even in different
buildings, or entirely different countries. This
divorcing of roles within the fashion industry
requires highly detailed specification drawings
and details in order to communicate the intentions
of the designers, the drawings for which are
almost always fronts and backs. Indeed, one
common name for these line drawings is flats,
which reveals the flattened nature of the garment
design process. In translating these flats,
patternmakers base their interpretations on blocks
which are simplified front and back pattern pieces
from which many of the worlds garments are
derived. Yet the body is three-dimensional and not
flat, and to design and pattern-make for the human
body, while pretending that it is flat, seems
manifestly counterintuitive. Once the garments are
produced and released into the market in the usual
storm of media, mostly taking the form of the
ubiquitous front view photographs from the
catwalk or look-book, once again, fashion
garments are flattened. When Rei Kawakubo of
Comme des Garons sent models down the
catwalk for AW 2012 devoid of a soundtrack with
two-dimensional garments full of wry clich, it
was perhaps a critique of the growing flatness of
the industry. Kawakubo is renowned for being an
innovator in the true sense of the word in the
fashion world, constantly pushing viewers and
wearers with her own unique view of the dressed
body famously bulging and distorted, always
three-dimensional so for her to present such a
flat body of work speaks volumes of the state of
the industry. As the representation of the fashion
industry becomes more and more about head to
toe, front views, ubiquitous and repetitive copies,
fashion rebels like Rei Kawakubo and Junya
Watanabe seek to find alternatives. For many, this
alternative is evident in the rise of craftsmanship,
in particular, a re-emergence of innovative
patternmaking. The three designer/patternmakers
who collaborated in The Cutting Circle
intentionally conflated the design, pattern making
and construction processes, thus acknowledging
the difficulties in marrying flat fabric with the
three dimensional figure by taking advantage of
the fluidity of cloth, all while attempting to

uncover alternative aesthetics, processes and ways

of looking at fashion clothing.
During The Cutting Circle, we, through
experimenting with each others design practice
and practicing in each others creative space as we
both designed and made, enjoyed the free transfer
of ideas and cross-pollination, a process which
expanded our ability to identify links, gaps and
opportunities. This collaborative, co-creative and
open design process is in stark contrast to the vast
majority of the fashion industry, but one that
demonstrates what can be possible through the
sharing of ideas. The project gave scope for the
collaborative team to knit their skills and expand
their design research practices and developed
experimental practices with emphasis on the
fusion of aesthetics, patternmaking, craft and
socially invigorating design. We asked three
questions: what costs/benefits can we identify to
aid the development of a sustainable fashion
industry through risk taking at the intersection of
our design practices? What new knowledge arises
in risky collaborative design practice? And finally,
how can this new knowledge be best
communicated to foster an environment of
risk-taking within the traditionally risk adverse
fashion industry?

3.

What Costs / Benefits can We Identify

to Aid the Development of a
Sustainable
Fashion
Industry
Through Risk Taking at The
Intersection of Our Design Practices?

The separation of designer, maker and consumer

within the fashion system has led over the last 200
years to an industry responsible for large volumes
of waste at both the pre- and post-consumer end of
the system. Much of both pre- and post-consumer
waste is invisible to the designer, and yet design
that incorporates critical making may be the
source of some solutions for this waste. The
fostering of opportunities for deeper and richer
engagement between designer, maker and
consumer needs to be on top of the fashion design
agenda for sustainability.
Subtraction cutting is a design approach developed
by Julian Roberts (Romano, 2011) that makes no
separation between design and making. Similarly,
zero waste fashion design, which is an old
approach that results in no fabric waste and
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RJTA Vol. 17 No. 1 2013

extensively researched and practiced by Holly

McQuillan and Timo Rissanen, incorporates
making into design. Both subtraction cutting and
zero waste fashion design are processes that
enforce a change in structure within workrooms
that take up the challenge to design in these ways.
To design both zero waste and subtraction cut
garments, one needs to be able to pattern cut from
nothing rather than in response to a sketch;
pattern cutting is integral to design ideation.
Design for the three of us occurs in many places,
perhaps most importantly in the development of
the pattern in response to the body that will inhabit
it. Such approaches can be inherently risky design
and garment creation processes and forge an
alternative design approach routed in making and
the linked dimensions of body and cloth. We will
briefly explain our processes and their differences
and similarities.
3.1

body. The older I get, the more it is just about the

interaction between these. As for design ideation,
any and all methods are used. I do not separate
pattern cutting and draping in silos they meld
into one. I sketch because it is a fast way of
thinking through an idea; however, this is not
limited to sketching garments patterns and
pattern layouts on fabric are sketched in equal
numbers. Trying toiles on is an inherent part of the
design process; how a garment feels on, how it
moves when the wearer moves these are all
important. Garment construction is firmly part of
the design process for me; seam and edge finishes
are invented based on the cloth and during
toile-making. Zero waste fashion design is
liberating for me; my practice before was always
about adhering to the sketch cutting the pattern
and making the toile according to the sketch. Zero
waste fashion requires pattern cutting without
knowing exactly what one is pattern cutting.

Usual Ways of Working

Julian Roberts: I use a process I invented called
subtraction cutting. I design in patterns, rather
than in vague illustrative drawings, which would
usually become reinterpreted by other skilled
cutters. My process involves designing not the
exterior, not the front, back or side; indeed, there
are usually no side seams to my garments (after all,
do humans have side seams?). Instead, I design the
interior space of the garment that the body travels
through. This approach results in forms that are
difficult to predict, requiring an intimate
relationship between designer, hand, cloth and
body. I spend much of my time teaching
workshops full of students on how to take the
creation of clothing in new directions by engaging
their maker-mind in the design process.

Holly McQuillan: I acknowledge my usual design

process is an isolated one working alone, usually
on a computer with a vector graphics software
program to develop two-dimensional patterns,
often in response to a challenge or problem
defined either by myself or a client. The pattern is
tested in the relative safety of my office using
small printed patterns that are cut and stuck
together with masking tape. Once the design is
more resolved, it is cut in cloth, sewn in private,
enabling more time for resolution and refinement
through exploration of finishings and further
design decisions. An important aspect of this is
exploring its relationship with the body and space
and if successful, may then be shown in public. I
do share some of my process through my blog
(http://www.hollymcquillan.com), but this is
inevitably edited to some degree, and the distant
format enables a degree of detachment from
possible critique. The opportunities working
within the boundaries of zero waste are for the
possible emergence of new forms, a difficulty in
copying existing aesthetics and a required holistic
approach to design that requires that the
designer/pattern
maker
acknowledge
the
materiality of the cloth used and develop all
aspects of the garment design and production
simultaneously.

All: Initially, the experience of working together

creatively was a challenge, as demonstrated by the
first day of The Cutting Circle. Very little was
achieved by way of actual work on garments. A
meeting was called in a caf and there was a
mutual acknowledgment that working in front of
the other two was an uncomfortable experience.
While we knew each other and each others work,
the act of practicing in the company of others was
intimidating, largely due to the regard in which we
held each others research and practice, and also
due to the unfamiliarity of working at all in front
of one another. At the beginning of any
collaborative design process, there will be a period
of settling in and getting to know the strengths,

Timo Rissanen: I have the same two starting points

for every design project: the cloth and the human
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weaknesses of the team members, and more

generally,
how
they
work.
Through
acknowledging the shared discomfort on the first
day, it was to a large degree extinguished and we
were able to move on (Figure 1).

Fig. 1. The Benefits of Collaboration

3.2

Fig. 2. A Timo Rissanen Scale Ruler and Sleeve

Risk Taking in Action

The sleeve then travelled in two directions: Holly

cut a body for the sleeve, with a collar made from
the subtraction holes that were my debris/waste;
Timo put the sleeve on his leg instead of his arm,
that's the kind of guy Timo is. He simply doesn't
follow the strict rules policed by Vogue. When
accidents happen, new design arises, so in
response, I developed a pair of trousers from the
sleeve that became named 'Timo's Lost Luggage
Trouser' (Figure 3), which Holly then digitized
and tightened up to reduce waste.

Julian Roberts: Although we were initially

intimidated at the prospect of working together, it
became easier to start by identifying a problem,
rather than a challenge. The problem of the hour
was that Timo's luggage had not arrived from
Finland, and he had no clothes to wear except for
a fetching pair of grey jersey Qantas pants and a
t-shirt. So, it seemed a good idea to make him
something to wear.
I started by drawing around the outline of Timo
who laid down on the floor, to get a sense of his
(gigantic!) proportions, and then to make my own
ruler based on the outline of his arm in order to
construct a sleeve (not a top or shirt or jacket, but
a sleeve in isolation, awaiting a body). When
making a Timo-sized sleeve, there seems little
point in using a ruler with centimeters or inches
marked on it, when you can instead use a ruler
made from the arm that the sleeve will cover
(Figure 2). In such circumstances, it makes perfect
sense to make your own tools and measures, rather
than use abstract measurements that can become
lost in translation between metric and imperial
conversion.

Fig. 3. Timo's Lost Luggage Trouser

These two feedback loops created further
momentum and experimentation. We were by this
point, all working in parallel, on a roll. We began
to show off a little and have fun, and relax in each
others company.
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Timo Rissanen: I decided to adapt Julians

subtraction cutting technique to zero waste
through designing a pair of trousers. I adapted one
of the square cut trousers that I had previously
made, and extended the leg length that I
anticipated of needing more fabric based on my
observations of Julians garments. Instead of
cutting circles to make the holes for the tunnels, I
cut the required pieces gussets, waistbands,
pocket pieces from the leg shapes. At this point,
however, I didnt have a clear understanding of the
impact that sewing the pairs of holes together
within the leg tunnel would have. The first toile
was such that no human with two legs could get
into them as the placement of the holes had made
one leg too narrow. The second toile was more
successful, albeit for a human with legs some two
metres long (Figure 4). These two seeming
catastrophes were crucial to contributing towards
my understanding of subtraction cutting, and
particularly the impact of the placement of the
holes on the overall piece and in relation to each
other. Through this exercise, I was also able to
confirm a hunch from several years earlier that
subtraction cutting lends itself to a zero waste
outcome easily.

by others. The design of this garment followed a

kind of Exquisite Corpse game approach. Julian
designed two subtraction cut patterns, which could
be both sleeve and trouser leg. Through a group
discussion, it was determined that one of the
sleeve/legs might work best as a sleeve and so the
task was given to me to generate the remainder of
the garment. The (now) sleeve was not zero waste
and there remained two circles and two teardrop
shaped sections from the sleeve crown area for
each sleeve. The resulting garment (Figure 5)
attempts to be unisex and celebrate the form of
Julians sleeve design while resolving the use of
the left over sections generated by Julian and
being zero waste in its entirety. As part of this
process, I had to fully understand and investigate
how Julians sleeve was made, Due to its
non-traditional sleeve form and pattern, much of
my usual understanding of a sleeve needed to be
built on substantially. By the time I had made my
final version, I had grasped the process enough to
begin to develop it further in my own practice. So,
I asked, who owns this design? Both of us, of
course, but in many ways, it exists as a product of
the existing fashion design process, where
incremental adaptations over time lead to an
evolution of style. However, the spirit in which
this has been enacted is quite different.

Fig. 4. Rissanens Second Subtraction Cut, Zero

Waste Trouser Toile
Holly McQuillan: A collaborative exercise
between Julian and me revealed issues of
ownership, but revealed opportunities for zero
waste pattern design to respond to waste created

Fig. 5. Roberts/McQuillan Collaboration Shirt

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As part of a later independent work Void

exhibited in Object Gallery in Sydney, I further
developed the Collaboration Shirt design. In this
example (Figures 6 and 6.1), you can see the
development and application of the innovative
practice employed by Julian during The Cutting
Circle applied in my own work. The previously
square perimeter of the looped sleeve pattern is

fully integrated into the curved side body and

armhole of the body of the VOID shirt. This
translation and development of ideas from one
design to another would not have occurred without
the full understanding possible through
collaboration as opposed to visual copying which
usually takes place in a fashion studio.

1150mm x 2570mm

Fig. 6. The Cutting Circle Collaboration Shirt Fig. 6.1 VOID Collaboration Shirt Pattern
Pattern
Timo Rissanen: Towards the end of the two weeks,
I redesigned a shirt I had made for an exhibition
two years earlier. My intention was to resolve one
particular issue with the original shirt: in order for
it to be zero waste, two shirts needed to be cut, as
the marker of one interlocked into the marker of
another to create one rectangular marker (Figure
7). Redesigning the shirt was fast as
considerations such as garment shape and fit were

already resolved. However, the fabric I was now

using was wider than the one from two years
earlier. Through discussion with Holly, I was able
to resolve the redesign of this shirt (Figure 7.1) so
that the only visual change was the loss of the
elbow patches in the original shirt.

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We considered the implications that designing in

this manner might be on the development of a
sustainable fashion industry. For a start, it can
result in the unexpected. Much of the fashion we
see is a copy of what has been done before, either
last week, season or century. For many, the design
process directly or indirectly involves the copying
of an existing design, so the work of the
patternmaker has become to faithfully recreate the
look within the size range of the company and for
the desired fabrication, perhaps with a few
modifications. This rapid design production
directly and indirectly leads to the dissemination
of similar styles globally, a process that leads to its
ever-faster fashion death. Such critique of
fashion is an old one; Simmel (1957) said that
whenever we imitate we transfer not only the
demand for creative activity, but also the
responsibility for the action from ourselves to
another, while his contemporaries Veblen &
Mills (1899) wrote that for style to be reputable, it
also needed to be wasteful, highlighting that
without rapid turn over of styles due to consumer
boredom, many companies would struggle to
make a profit. Pamela Church Gibson (Black &
Alexander, 2012) argued that (t)he only argument
that has yet to be convincingly refuted is that
regarding the link between fashion and
unnecessary change. Perhaps new methods of
design and the liberating embrace of openness can
assist in de-coupling the fashion experience from
incessant change?

Fig. 7. Original Endurance Shirt Pattern

For most companies, it does not make economic

sense to invest time (and therefore money) into the
development of a design if the likely outcome is
not known. The speed of change is driven by the
monetary benefits of economies of scale and
consumer demand, so while the argument for
which comes first often descends into a chicken
and egg debate, the problem is a very real and
immediate one for fashion companies. They solve
this problem by repeating and copying existing
styles. It is the foundation of the contemporary
fashion system. The Canongate Wall of the
Scottish Parliament has a quote from the architect
Charles Rennie MacIntosh: There is hope in
honest error. None in the icy perfections of the
mere stylist. Have fashion designers become
mere stylists? With economic and time pressures
at an all time high for fashion creatives, the space
once available for truly innovative fashion is being

Fig. 7.1 The Cutting Circle Endurance Shirt

Pattern
What costs/benefits can we identify to aid the
development of a sustainable fashion industry
through risk taking at the intersection of our
design practices?
45

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squeezed out and much of what does happen

occurs at the fringes of the industry. This is often
in education, where both graduates and academics
in many cases have more creative time and space
without the financial restrictions demanded by the
need to produce a commercial body of work up to
6 times per year or more in the case of fast fashion.
To keep up with demand, imitation becomes
necessary, and since, as Simmel (1957) argued,
imitation transfers responsibility to someone else,
our waste becomes someone elses problem. At a
time when we all need to take responsibility for
our actions, perhaps imitation as it exists within
the fashion world needs to transform.

themselves. The very designing and making of

garments through The Cutting Circle is an act of
criticality, questioning the very design processes
traditionally used within the context of fashion
creation (secretive, linear, hierarchical). Ratto
(2011) wrote:
Critical making is less about the aesthetics and
politics of design work (as Critical Design is), and
focuses instead on making practices themselves as
processes of material and conceptual exploration.
The ultimate goal of critical making experiences is
not the evocative or pedagogical object intended
to be experienced by others, but rather the creation
of novel understandings by makers themselves.
Neither object nor services are the currency of
critical making. For me, it is the making
experience that must be shared.

At the conclusion of the two-week event, each of

us wrote the word risk on fabric, with the aim
of turning the resulting pieces into garments. At
the time of writing this paper some 18 months
later, only Holly has completed these garments.
This suggests that without the immediacy of the
collaborative space generated by The Cutting
Circle, much of the momentum generated can be
lost, and each of us largely reverts back to our
practices as they existed before with a few small
but important exceptions. A major benefit of
working collaboratively is the push that we get to
move out of our respective comfort zones.

4.

Rattos (2011) assertion is one shared by the three

of us as makers and educators. Making cannot be
an act after thinking, neither can the goal be to
create more things even critical things.
Fashion design practice separates making from
thinking from designing while creating artifacts
which most often provide a single serve use and
with both subtraction cutting and zero waste
fashion design, these separations are impossible.
Ratto explained that (t)he objects of critical
making are intended to be shared making
experiences, curated through both material and
textual instructions, an approach which could
meld well with patternmaking, extending and
improving on the current model of education and
practice.

What New Knowledge Arises in Risky

Collaborative Design Practice?

Much of what we do could be regarded as to what

Ratto (Abel et al., 2011; Ratto, 2011) referred to as
critical making. The term critical making is
intended to highlight the interwoven material and
conceptual work that making involves...it attempts
to connect humanistic practices of conceptual and
scholarly exploration to design methodologies
including
story
boarding,
brainstorming,
bodystorming and prototyping. While his
description and following examples tend to lean
toward technological making which involves
hardware and software for formats such as
cellphones, the concept is readily transferable to
other products and processes. In The Cutting
Circle, we actively sought to share the process,
progress, and how to aspects of the work
undertaken, which ultimately led to a series of
workshops that directly disseminated the findings
of our research to participants both online through
a blog (http://thecuttingcircle.com) and Facebook,
and in person in the workshops and discussions

Patternmaking is seen by many to be an aloof,

mathematical and often dry practice, certainly not
design or even creative, and very inaccessible.
Almond (2010, p.16) described how pattern
making is often presented as a technical and
mathematically complex science but that what is
needed is awareness of experience, self-reliance
and manipulation of concepts as a link to
creativity he even uses the term rebellion to
describe the approach necessary to be a creative
pattern cutter. Unfortunately, the basic skills are
usually shared through highly technical books and
by highly skilled technicians within educational
institutes, both of which often place importance on
the accurate manifestation of design sketch instead
of the more holistic approach, which is possible.
However, when patternmaking and design do meet
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as equals, magical things can happen.

Patternmaker, designer and educator Shingo Sato
gives away many of his techniques and makes his
tools of the trade readily available on YouTube
and through free online workshops mediated
through Facebook. While his approach, which he
calls Transformation, Reconstruction (Sato,
2012) has been critiqued as simply dart
manipulation and elimination, something which is
neither new or innovative, importantly, he
demystifies the process, merging design with
patternmaking to draw line and form on the
dress form, often with a magic marker. An
exploration of his techniques reveals an ease with
breaking tradition, and with the adoption of new
form, the old rules need not apply. The skilled and
creative patternmaker can become a kind of
magician-designer, deceiving the wearer and
viewer, distorting the dressed body, giving us
something refreshing.

appearance of the sleeve and create a kind of

surface copy, but in doing this, I wouldnt have
uncovered the opportunities of thinking this way
within the confines of zero waste pattern cutting.
The kinds of copies or imitations that occur within
the fashion industry are usually superficial,
aesthetic copies rather than technique or process
developments. The goal is to generate a facsimile
of the original that only withstands shallow
consumer inspection, and to provide it at a lower
price point. The process leads to superficial
novelty within the fashion industry that provides
access to fashion to the masses. While the lack of
intellectual property protection afforded the
fashion industry is on the one hand lauded
(Raustiala & Sprigman 2006) as a testament to the
success of openness, true, ground breaking and
transformational innovation are not achieved
because what is shared, copied and developed is
often aesthetics only.

4.1

Timo Rissanen: The overall experience (designing

together, teaching together) with Holly opened up
new perspectives about my own practice. For
example, Holly noted she was not satisfied with a
garment until the pattern appeared beautiful to her
and that this two-dimensional beauty might
somehow be translated into the three-dimensional
form. This was a revelation about zero waste
fashion design: pattern cutting is as much a two
dimensional aesthetic pursuit as it is a
goal-oriented form of three-dimensional making.

Other Ways of Working and Sharing

Upon reflection, an interesting aspect of our

collaboration in The Cutting Circle is that we were
not using fashion images of other people to
inspire us or map out how our work might
aesthetically fit together. "A typical design studio,
professional or academic, has a high material
characterin the sense that it is full of material
objects and design artifacts; office walls and other
working surfaces full of post-it notes, sketches and
magazine clips for sharing ideas and inspiration;
physical models and prototypes lying on the desks
and so on" (Vyas et al. 2012, p.1). Our design
studio was highly material; it had bits of patterns,
sewing machines, toiles of garments that we had
made, diagrams of "your work is crap/my work is
crap/together our work is crap" but there was
nothing directing the look of our work or
inspiring it. Instead, we went to a fabric store
and selected fabric together. We did not operate in
the traditional manner of a design collaboration as
the goal was not artifacts, but as in the case that
Ratto (2011) made for critical making, new ways
thinking about making, uncovered through the act
of making.

The trousers that Julian made for Timo started as a

made sleeve, which could then be interacted with
physically, worn on the body in traditional and
non-traditional ways, questioning customs of form,
method and aesthetics. It was through making and
the resulting team conversation, which led not
only to trousers (from a sleeve) but also the
realization that we were a collaborative design
team, engaging with something that could be
called critical pattern making.
All: Ratto (2011) discussed the way in which
critical making draws attention to the interwoven
social and technical aspects of modern life
rather than being primarily about technical
expertise or functional knowledge about the
natural world. The collision of patternmaking and
design that occurs in both zero waste pattern
design and subtraction cutting is a clear
celebration of these interwoven strands, giving the

Holly McQuillan: In making Julians sleeve to

develop the body in response, I gained an
understanding of how it was made and therefore
the opportunities it posed to my own work. It
would have been possible to copy the outward
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design, maker and wearer a different and deeper

understanding of the complex relationships
between personal expression, form/body/space,
industry and manufacture.

5.

small companies (which form the majority of

fashion companies in New Zealand) do not
produce offshore and as a consequence, many
New Zealand designers need to perform the roles
of designer, pattern cutter and sample machinist
all at once, and fashion degrees in New Zealand
emphasize the links between designing and
making. This may enable more fluid
communication and knowledge transfer than the
larger scale industries in North America and
Europe may allow.

How Can This New Knowledge be

Best Communicated to Foster an
Environment of Risk-Taking to
Ameliorate
the
Traditionally
Risk-Adverse Fashion Industry?

During the two weeks and upon later reflection,

we recognized that to respond to this final
question, longer dialogue with the industry that is
mentioned is required. We did not measure any
impact either quantitatively or qualitatively;
nonetheless, the value of non-hierarchical
collaboration was clear to the workshop
participants. Teaching together raises some
interesting questions about parallels between
fashion designer and fashion design educator.
Fashion educators in general and the three authors
in particular are often lauded by peers for their
openness. Yet in a collaborative teaching situation,
there needs to be room for disagreement and
multiple points of view; this can be confusing to
the students who are after singular answers.

6.

The Future: Open Source Fashion

Design?

Much of what fashion designers produce could be

considered as putatively new, as Osborne (2003)
recently said, creativity is a value which,
though we may believe we choose it ourselves,
may in fact make us complicit with what today
might be seen as the most conservative of norms;
compulsory
individualism,
compulsory
innovation, compulsory performativity and
productiveness, the compulsory validation of the
putatively new. Traditional fashion design is a
creative process that favours the progressive
evolution from one style to the next with only the
occasional spasm of rebellion. Its success relies on
consumer buy-in for new season styles, which are
either minor aesthetic developments of what exists
in their wardrobes already or apparently
reactionary leaps of visual rebellion. Very little of
real worth and impact actually changes, yet
fashion designers and the larger fashion industry
are celebrated as creative and innovative.

It is worth noting that the final exhibition of the

work from the three researchers and workshop
participants is non-hierarchical. Individual makers
were not identified, leaving the viewer to ponder
the circumstances of making and the identity of
the maker. The clear benefit is that all garments
were equal, their anonymity affording perhaps a
deeper inquiry from the viewer.

Both Shingo Sato and Julian Roberts freely share

their design processes, rebelling not only against
aesthetic norms but also against the tradition of
secrecy in the fashion industry. Timo Rissanen and
Holly McQuillan similarly share all garment
patterns on their respective websites. Many other
examples of collaborative, open source fashion
design have emerged in recent years, Zoe
Romanos Openwear at the vanguard. The
growing call for openness and transparency may
still strike fear into the hearts of many designers
and the wider implications still need to be worked
out. The sharing of design processes that do not
lead to mindless copying (from designer to
designer to high street to trash) may help to slow
the fashion juggernaut down. The results of open
source, collaborative design potentially provides

The locating of The Cutting Circle in New

Zealand was primarily initially through chance.
Upon reflection, however, it raised interesting
issues related to the nature of the New Zealand
industry in contrast to that in Europe/UK, where
Roberts is based and the US where Rissanen is
based. The New Zealand designer fashion industry
has been recently materializ[ed] out of the old
Apparel and Textile Industry (Bill, 2005) a
transition which demonstrates the desire for a
disconnect between making and design, something
that for New Zealand was seen as a necessity due
to the small scale of the manufacturing industry
and the inability to compete with larger labour
markets such as Asia. New Zealand had to become
a land of designers. However, the reality is that
48

RJTA Vol. 17 No. 1 2013

consumers with real choices instead of the illusion

of choice. Finally, it has the power to reconnect
designers and consumers with makers and
producers, making possible an industry, which is
able to do everything better. For that, we should
all rejoice.

Design, Technology and Education, vol. 3, no.

1, pp. 1524.
[3] Bill, A., 2005, 'Blood, sweat and tears:
disciplining the creative in Aotearoa New
Zealand', unpublished paper, College of
Design, Fine Arts and Music, Massey
University, viewed 18 November 2012,
Available
at:
http://neumann.hec.ca/iccpr/PDF_Texts/Bill_
Amanda.pdf.
[4] Black, S. & Alexander, H., 2012, The
Sustainable Fashion Handbook, Thames &
Hudson, London.
[5] Blomfield, P. & Trade, N.Z., 2002, The
designer fashion industry in New Zealand: A
scoping study commissioned by Industry New
Zealand, Industry New Zealand, Wellington.
[6] Osborne, T., 2003, 'Against creativity: a
philistine rant', Economy and Society, vol. 32,
no. 4, pp. 507525.
[7] Ratto, M., 2011, 'Critical Making: conceptual
and material studies in technology and social
life', The Information Society, vol. 27, no.4,
pp. 252260.
[8] Raustiala, K. & Sprigman, C.J., 2006, 'The
Piracy Paradox: Innovation and Intellectual
Property in Fashion Design', Virginia Law
Review, vol 92, no. 8, pp. 1688 - 1777.
[9] Romano, Z. 2011, 'Julian and Subtraction
Cutting part 1', Openwear, viewed 18
November
2012,
Available
at:
http://openwear.org/blog/?p=1249
[10] Sato, S. 2012, TRpattern Design Studio,
viewed 19 November 2012, Available at:
http://www.trpattern.com/
[11] Simmel, G. 1957, 'Fashion', The American
Journal of Sociology, vol. 62, no. 6, pp.
541-558.
[12] Veblen, T.B. & Mills, C.W., 1899, The
Theory of the Leisure Class, Transaction
Publishers, New Brunswick, NJ.
[13] Vyas, D., van der Veer, G. & Nijholt, A.,
2012, 'Creative practices in the design studio
culture: collaboration and communication',
Cognition, Technology & Work, viewed 19
November 2012, pp.129.

Julian Roberts: I have been quite reluctant to add

to this document, because in doing so, Id be
drawing conclusions, and the story would
therefore reach an end. And I don't want it to ever
end. The English summer I spent in New
Zealand's winter was a very special time. I got to
cut with two very talented individuals, and get a
measure of them as people. Fashion is too rarely
approached from an anthropological direction. But
our own humanity is revealed in our actions and
sensitivities as makers. We were able to overcome
our intimidation, take risks and spin ideas out in
directions none of us intended, and to involve a
talented group of students in our collaboration.
They made us have to seek out the sense in our
actions, we needed not just a passive audience
with wide eyes, but a group of skilled hands able
to test drive ideas and allow them to crash. We
learned so much from our mistakes, but also from
a collaborative audience, making their own errors
and doing the things we simply don't have time or
inclination to. I don't want to reach a conclusion. I
don't want the reader to think that the possibilities
of our collaboration were somehow exhausted,
and that we're content in our academic ingenuity,
because actually, we barely scratched the surface.
The possibilities of creative cutting and risk taking
are inexhaustible. We better get our collective
skates on because we've a long way to go, and
we've barely started out.

REFERENCES
[1] Abel, B. van, Klaassen, R., Evers, L. &
Troxler, P. (eds) 2011, Open Design Now:
Why Design Cannot Remain Exclusive, BIS
Publishers, Amsterdam.
[2] Almond, K., 2010, 'Insufficient allure: the
luxurious art and cost of creative pattern
cutting', International Journal of Fashion

49