By Aura Mihai, Raluca Lupu, Antonela Curteza, Dorin Ionesi, Radu Firicel and Iuliana StrebaGheorghe Asachi Technical University of Iasi
Introduction
The ISO/ASTM 52900:2021 standard defines 3D printing as a layer-by-layer process that constructs objects directly from 3D model data, distinguishing it fundamentally from traditional subtractive and formative manufacturing methods. 3D printing has emerged as a transformative technology within the fashion industry, offering significant potential to minimise waste and enhance sustainable production practices.
Unlike traditional clothing manufacturing—which often generates large volumes of off-cuts, intermediate semi-fabrics, and material scrap—3D printing operates through an additive process, depositing material only where it is required (Sun & Zhao, 2017). This on-demand production model reduces overproduction and limits excess stock, directly addressing a significant environmental impact in the fashion industry (Pasricha & Greeninger, 2018). Moreover, 3D printing allows precise control over design geometry, material use, and structural optimisation, enabling designers and artisans to experiment with complex forms without generating additional waste (Manaia, Cerejo & Duarte, 2023).
By incorporating biodegradable or recyclable filaments such as polylactic acid (PLA), the environmental footprint of production can be further reduced (Khajavi, 2021). Beyond materials alone, 3D printing also supports innovative strategies to optimise energy consumption through print orientation, infill density and multi-part integration, demonstrating that technological adoption can align with both creative ambition and sustainability goals. Consequently, 3D printing not only represents a technological advancement but also a paradigm shift toward more responsible, resource-efficient fashion practices.
Photo credit: Painted Egg Museum, Vama, Romania, 2025 https://www.muzeuloului-vama.com/index.php?lang=en
The intersection of traditional craftsmanship and digital innovation presents both opportunities and challenges for the fashion industry. Having these ideas in mind, a Focus Group session was organised with students, designers and artisans who elaborated the capsule collection presented by Gheorghe Asachi Technical University of Iasi, Romania, at Romanian Creative Week 2025, in the framework of the CRAFT IT4SD project (https://craft-it4sd.eu/pilot-cases/pilot-1-tuiasi-reginnova/). This focus group examined how the participants perceive and engage with emerging technologies—specifically 3D printing—in the context of sustainable design practices.
Methodology
The focus group was organised to explore participants’ perspectives on adopting digital innovations, specifically 3D printing, within sustainable fashion practices. Participants were selected based on their willingness to valorise artisanal craft, their skills in clothing pattern-making, demonstrated knowledge of manufacturing, and prior involvement in fashion projects integrating new technologies.
The session was structured around a semi-structured interview guide, covering three main themes: sustainability and future directions, technical challenges and collaboration, and the integration of traditional craft with digital innovation.
Open-ended questions encouraged participants to share detailed experiences, insights, and reflections, yielding rich qualitative data. The discussion was moderated to ensure balanced participation, and follow-up questions clarified responses and probed deeper into technical and creative considerations. All interviews were transcribed and systematically analysed to identify recurring themes, patterns, and illustrative quotations that informed the findings of this study.
Photo credit @TUIASI and RCW2025 – Egg collection at Romanian Creative Weeks 2025, Designer Crina Croitoru, 3D printing Iuliana Streba
Results and Discussions
3D printing, sustainable fashion and technological expectations
Participants widely recognised 3D printing as a transformative tool for sustainability. It enables on-demand production, thereby eliminating issues of overstock and material waste commonly associated with traditional manufacturing.
“3D printing has huge potential for sustainable fashion because it allows for on-demand production—no overstock, no large batches, no cutting waste.”
Similar to findings by other researchers, participants emphasised the use of biodegradable materials, such as PLA filament derived from renewable resources, such as cornstarch. While acknowledging its limitations, participants viewed this material as a more responsible alternative to petroleum-based plastics. Efforts were also made to optimise print parameters—including orientation, infill density, and shell thickness—to minimise material consumption and energy use. Creative design strategies, such as colour variation by height rather than layer, further reduced filament waste and print time while maintaining visual appeal.
Participants expressed optimism about the evolving role of 3D printing in fashion, anticipating greater integration as materials and software advance. They pointed to the emergence of flexible, multi-material, and high-resolution printing technologies that can better replicate textile qualities.
“The future is definitely leaning toward more integration of 3D printing in fashion, especially as the technology becomes more versatile. One of the built-in advantages of 3D printing is that there is very little waste/you are only using the exact amount of material needed”
Considering the technology they applied for 3D printing, the participants anticipated emerging advancements that could be addressed in the near future:
- development of biodegradable and recyclable materials with fabric-like flexibility.
- improved software interfaces that offer real-time feedback on design printability, bridging the gap between artistic conception and fabrication.
- specific waste-reduction strategies to reflect a deliberate effort to integrate ecological awareness into the digital fabrication process, such as: designing models to minimise the need for support structures; streamlining colour changes to avoid excessive filament purging; reducing energy use through efficient print planning.
Photo credit TUIASI – Egg collection at Romanian Creative Weeks 2025, Designers Iuliana Streba and Crina Croitoru
Technical challenges and adaptation
While elaborating the collections, the participants encountered several technical challenges. The collection featured the Romanian Easter egg as its central motif. Adjustments to proportions and surface details were necessary to maintain design integrity at smaller sizes.
“Some craft motifs looked great at full size but lost clarity when scaled down for wearable elements. A key issue involved scaling designs for wearable applications without losing visual clarity or symbolic meaning.”
Another challenge concerned colour fidelity, as printed filament sometimes appeared differently after processing. One artisan described a bronze filament that shifted hue depending on layer thickness and background colour. Despite initial frustration, these variations later proved to be unanticipated outcomes that enriched the final product’s aesthetic quality. This adaptability highlights participants’ growing comfort with experimentation and their ability to integrate technological unpredictability into artistic expression.
Photo credit TUIASI – Egg collection at Chisinau 2025, Designer Theona Chelariu, 3D printing by Radu Firicel
Collaboration and teamwork
Collaboration was identified as a central factor in the success of these projects. Several students demonstrated strong creative direction, while others focused more on respecting technical constraints. The synergy between technical and artistic perspectives enabled a cohesive realisation of the collection’s conceptual goals.
“The designers had a clear artistic direction rooted in heritage and symbolism, and it pushed me to think beyond our technical comfort zone, said a 3D printer textile technologist.”
A pivotal moment occurred during the visualisation of the prototypes on an AI-generated model, which allowed participants to see the digital and physical elements merge cohesively. This demonstrates how digital visualisation tools can enhance collaboration and inspire greater appreciation for the convergence of craft and technology. Moreover, several participants described experiencing renewed creative satisfaction upon viewing the completed garments for the first time. Despite their deep involvement in the production process, the final assembly offered a sense of surprise and accomplishment.
Photo credit TUIASI – Egg collection at Chisinau 2025, Designer Briada Zaplitnii , 3D printing by Radu Firicel
“When I finally saw the first completed outfit, it genuinely caught me off guard—in a good way… It reminded me why I do this work in the first place.”
Such reflections suggest that digital innovation, rather than diminishing craftsmanship, can reinvigorate designers’ creative engagement when integrated thoughtfully into the design process. As Durst et al. (2024) note, traditional crafts increasingly intersect with digital innovation, reshaping traditional identities and practices. The participants unanimously affirmed the continued relevance of traditional art and culture within modern fashion. They perceived heritage as a source of authenticity and emotional depth, particularly in an increasingly digitised world.
“Traditional art and culture will always have a place in fashion—they give depth and meaning to what we wear.”
Participants advocated for a dialogue between craft and technology, in which innovation reinterprets rather than replaces cultural practices. This balance fosters designs that are both technologically advanced and culturally resonant.
Photo credit TUIASI – Egg collection at Chisinau 2025, Designer Alina Iacob, 3D printing by Radu Firicel
Conclusions
This report presents findings from a focus group conducted with students, designers and 3D printing practitioners who collaborated on a fashion collection integrating additive manufacturing technology. The collection was very well received at the Romanian Creative Week 2025 international event. The interviews explored their perspectives on sustainability, technological adaptation, collaboration, and the relationship between heritage craft and digital innovation. Findings reveal that a new wave of designers is increasingly open to adopting digital tools when these technologies align with traditional values of precision, creativity, and sustainability. The results suggest that 3D printing, in particular, enables craftspeople and designers to engage in environmentally responsible practices, reimagine traditional techniques, and participate actively in the evolving dialogue between craft and technology.
When discussing future directions, participants offered practical advice for new entrants to the field, students, craftspeople, designers, or freelancers. They encouraged hands-on experimentation with affordable 3D printers to build foundational skills and technical confidence.
“Learn by experimenting, failing, and fixing it yourself”, concluded one of the participants.
Beyond technical competence, the participants highlighted the importance of mindset—curiosity, adaptability, and resilience—as key attributes for success at the intersection of craft and technology. Understanding material behaviour, troubleshooting errors, and iterative problem-solving were seen as extensions of traditional craft values.
Photo credit TUIASI – Egg collection at Chisinau 2025, Designers Iuliana Streba and Crina Croitoru
Collaboration and teamwork emerged as key factors in bridging traditional crafts, digital design and emerging technologies, reinforcing the notion that technology serves as a complement—not a replacement—for craftsmanship. The findings indicate a growing openness among designers and students in art and engineering study programmes toward digital innovation, particularly when it reinforces environmental responsibility and cultural authenticity.
Acknowledgements:
The collection was developed for the CRAFT IT4SD project, being coordinated by the Faculty of Industrial Design and Business Management of the «Gheorghe Asachi» Technical University of Iași, with support from REGINOVA NE. Companies and cultural institutions, photographers and artists, have supported the initiatives, among them we mention Irina Shrotter, Romanian Creative Week, CONDUR by alexandru, and Muzeul Oului Vama.
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