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This article describes the use of three-dimensional (3D) software in zero-waste fashion design, with a focus on its application in the context of the authors' research and experience in industry and education. It expands on its use in visualisation for merchandising and marketing, to discuss how as a hybrid design and prototyping tool, 3D software could transform zero-waste design in industry, education and research. This research uses an experimental design approach and reflects on the authors' design process before using 3D software, and its transformation upon learning, due to its utility for holistic 2D/3D practices. The article explores a range of examples of 3D software in use, revealing new design workflows that it allows for in articulating the relationship between form, pattern cutting and wasteand concludes that the advantages of 3D software to augment the garment design process is particularly evident for zero-waste fashion design.

This practice-based design research explores methods of eliminating textile waste through utilising zero waste pattern cutting to expand the outcomes possible through composite garment weaving and speculates as to the implications for the wider industry and society. Employing a hermeneutic phenomenological approach, I tested known strategies in the context of industry and responded with new emergent strategies to the challenges that arose. The findings that emerged from the iterative design practice, and surrounding discussions and reflections, inform the experimental design work that follows. It is this experimental 'future-making' that is the focus of this paper, which outlines foundational pattern cutting theory and methods for an emerging field-composite garment weaving-as well as findings relating to the impact and use of technology in the fashion industry while bringing into sharp relief the inherent conflicts that exist within the fashion system.

If you would like to write for this, or any other Emerald publication, then please use our Emerald for Authors service information about how to choose which publication to write for and submission guidelines are available for all. Please visit www.emeraldinsight.com/authors for more information. About Emerald www.emeraldinsight.comEmerald is a global publisher linking research and practice to the benefit of society. The company manages a portfolio of more than 290 journals and over 2,350 books and book series volumes, as well as providing an extensive range of online products and additional customer resources and services.Emerald is both COUNTER 4 and TRANSFER compliant. The organization is a partner of the Committee on Publication Ethics (COPE) and also works with Portico and the LOCKSS initiative for digital archive preservation. ABSTRACTThe 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 other's design practice and practicing in each other's 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.

in Wellington. She's interested in facilitating access to information through design, whatever format or form that takes. With a former-life degree in Geography, she has a strong interest in the environment and conservation. She believes in making things as simple as they can be, but not simpler. Karl Kane's research focuses on service, experience and social design, civic participation and brand communication. His research interests primarily sit within the area of 21st Century Citizenship. He teaches in the visual communication degree and consults/mentors within Massey University's Open Lab, with a focus on service, experience and social design. As an Industrial Design lecturer and product designer, Emma Fox Derwin's practice concentrates on furniture design targeting new cross-disciplinary approaches to flat-pack furniture design through new materials and construction methods. Her work pushes the boundaries of furniture design through functional designs that both challenge the way we relate to and use the objects in our daily lives.