Fashion tech pioneer Julia Daviy has launched the world's first zero-waste digitally customisable 3D-printed skirt. 3D printing has come a long way in the last few years, finally, finding its place in commercial applications.

The first industry to be revolutionized by the technology might be the last one you'd imagine; fashion. A technology that allows zero-waste and cruelty-free clothing production becoming a reality with large-format professional 3D printing.

After 'The Liberation Collection' launched in 2018 at New York Fashion Week in 2018, Julia Daviy became obsessed with the idea of making 3D printed clothing commercially available, disrupting the idea of standardisation.

"It was critical to simplify digital customisation and 3D print wearable clothing with flexible materials. We've accomplished that, and I think that consumers will respond fast."

"Our goal was never to demonstrate the viability of 3D printed clothing and leave things at that. We'll have succeeded when beautiful, comfortable, ethically manufactured and environmentally friendly clothes are the standard," she added.

With a patented technology that uses 100 percent recyclable filaments, Julia and her team can meet the most exigent customer demands. The team is being able not only to create highly customisable 3d printed garments according to consumers' needs but also apparel of zero-waste for a cleaner and more sustainable world.

Once the customers finalise their choice for a garment's pattern, style, colour, waistline, and lining, Daviy and her team use the information to create a digital model of the garment.

Once modelled, the creation is approved by the client and sent to the 3D printers. The final product takes around ten days to complete.

We've heard some rumours that the next innovation in 3D printing fashion apparel includes some filaments made from biodegradable materials. Interested to know more? Subscribe now to be in the know before the news become mainstream!

This article has not been edited by Fibre2Fashion staff and is re-published with permission from