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Designing Dissolving Wearables
Anonymous Author(s)∗
Figure 1: Examples of dissolving wearables. a) “Seasonal Footwear" (crochet) loses the straps after dissolving, becoming more
open to suit warmer seasons. b) “Unfolding Lace Top" (knit) unfolds into a new design upon dissolving.
ABSTRACT
Bio-based materials enable more sustainable devices and wearables,
and furthermore, their properties oer novel design possibilities
beyond the current scope of conventional materials. Our work with
biofoam explores one such quality, dissolving, as a unique aor-
dance for designing and interacting with wearables. We developed
techniques to make biofoam yarns, then used the yarns to craft
three wearables: Seasonal Footwear, a Reveal Bralette, and an Un-
folding Lace Top. These wearables feature portions that dissolve
in water, adapting the item to the user’s needs while remaining
comfortable to wear and providing a unique tactile experience. The
three wearables illustrate short-term use cases, such as a one-time
reveal or shape change. We discuss these cases as a new design
space for sustainable, ephemeral fashion where bio-based dissolving
materials aord revelation, transformation, and other interactions.
CCS CONCEPTS
•Human-centered computing;
KEYWORDS
bio-based materials, wearables, design to dissolve, textile craft
ACM Reference Format:
Anonymous Author(s). 2018. Designing Dissolving Wearables. In Name
of Conference, 2023. ACM, New York, NY, USA, 5 pages. https://doi.org/
XXXXXXX.XXXXXXX
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Conference acronym ’XX, June 03–05, 2018, Woodstock, NY
©2018 Association for Computing Machinery.
ACM ISBN 978-1-4503-XXXX-X/18/06.. . $15.00
https://doi.org/XXXXXXX.XXXXXXX
1 INTRODUCTION
In recent years, designers and researchers from the wearables and
HCI communities have shown a growing interest in incorporating
bio-based materials into their works, mainly aiming for more sus-
tainable wearables or interactive objects. In this regard, bio-based
materials such as mycelium skin or SCOBY leather have been used
as scaolding for embedding electronics [
3
,
19
,
20
]. These materials
provide additional interactivity by changing texture and appearance
over time, beyond electronic circuitry. Material traces created by the
changes in the materials can further serve as inputs and enhance-
ments to other, more traditional, forms of interactivity [
16
,
18
]. Due
to their properties of biodegradability, such materials can also allow
the reuse or reharvesting of electronic components at the end of
the life of such wearables or electronic devices. Besides sustainabil-
ity benets, bio-based materials also possess other less explored
qualities such as their ability to dissolve in water or be shaped
in ways apart from molding and layering [
2
,
9
]. Thus, we believe
that expanding the current fabrication techniques could open new
design opportunities to integrate bio-based materials in wearables
and textiles design.
In this paper, we further explore biofoam [
9
], a gelatin-based
foam-like material, and focus on one of its unique material quali-
ties, dissolving, as an intentional design aordance when designing
short-term wearables for fashion. We expand on current fabrication
techniques used to make biofoam and present our design process
to make biofoam strings, resembling yarns. We demonstrate 3 dis-
solving wearables created using weaving, crocheting, or knitting.
We speculate on various use cases of these wearables presenting
our vision of a sustainable fashion. Later, we discuss the limitations,
lessons learned while making biofoam yarns, and the design consid-
erations and opportunities that emerged when designing dissolving
wearables using traditional textile craft techniques.
Conference acronym ’XX, June 03–05, 2018, Woodstock, NY Anon.
2 RELATED WORK
Bio-based materials include grown materials which were once alive,
e.g. kombucha, mycelium, as well as materials derived from living
matter (biomass) such as food waste.
Sustainable fashion: Bio-based materials oer innovative al-
ternatives to conventional fashion materials. For example, start-up
Fruit Rotherdam [
17
] uses local fruit waste streams to make leather-
like fabrics. Designer Suzanne Lee created a jacket made out of
kombucha SCOBY (Symbiotic Culture Of Bacteria and Yeast) [
10
],
and Aniela Hoitink from Dutch start-up NEFFA [
12
] made wearable
accessories from mycelium (the root structure of mushrooms).
Interactive bio-based materials: In HCI, the DIYBio [
6
] and
wearable technology communities have been using bio-based ma-
terials to make interactive wearables [
21
], displays [
1
], or grow-
able devices [
8
,
20
], or to design embodied interactions [
13
,
15
].
However, many designs use molding and layering fabrication tech-
niques [19, 20], which are rarely used to create garments.
Dissolving textiles: While not strictly bio-based, textile artists
and craftspeople have been designing with dissolving materials
for years, e.g. commercially-available dissolving thread to tem-
porarily secure quilt layers. Besides these functional supports, dis-
solving materials can be a provocative feature for aesthetics and
expression. In fashion, Chalayan’s Spring/Summer 2016 collection
presentation featured dresses which dissolved to reveal Swarovski-
crystal-embellished gowns underneath [
11
]. Textile artist Sasha de
Koninck used dissolving embroidery materials in their 2020 "Knot-
ting.Knotted.Knot" work, washing pieces away in order to explore
states of emotion and anxiety [
5
]. In 2023, designer Soa Guridi
created their work “Cambio de Piel - Change of skin", a textile piece
integrating biomaterials that dissolve to reveal a hidden image in
the textile structure [7].
Design Considerations: Designers across these aforementioned
domains have noted that using bio-based materials also shifts cer-
tain values in the design process. Working with grown materials
requires a designer to focus on slowness [
14
] and intentionality [
3
]
in their process, as living organisms grow more slowly than manu-
factured outputs. On the other hand, working with materials derived
from food waste requires innovation in the fabrication techniques
to shape the bio-based raw materials into dierent form factors
and bring design considerations of imperfection and uncertainty
accompanying the designer along their design process [4].
We build upon this body of work, by exploring the dissolving
quality of biofoam through three textile applications and envision-
ing scenarios in which this bio-based material can be integrated into
daily life. We especially focus on yarn-based, textile craft techniques
to reect upon the process of working with bio-based materials,
before and after dissolving.
3 DISSOLVING WEARABLES
We explore dissolving as an intentional design aordance in wear-
ables for fashion. Through three use cases, we demonstrate how
biofoam yarns that have dissolving attributes could be leveraged
when combined with other materials through traditional textile
craft techniques. To create the wearables, we used weaving, cro-
cheting, and knitting. When choosing a bio-based material to work
with, comfort and tactile experience were the two guiding design
aspects. From a larger perspective, this work is an incipient attempt
to better understand biofoam yarn behavior, e.g., when blended
with other materials or when subjected to dierent levels of stress
at fabrication and wearing time.
3.1 Fabricating Biofoam Strings and Yarns
Biofoam strings, resembling yarns, are the main "building blocks"
laying at the base of making seasonal footwear, day-to-night bralette,
and an unfolding lace top. Our biofoam is using an open-source
recipe [
9
]. For the three use cases in this paper, we decided to take
advantage of using recycled biofoam and we used the scraps we had
available in our lab, however, it can also be obtained from scratch
as described in [
9
]. To obtain the strings, we developed a simple,
but new, technique adapted from traditional cake piping. Using
syringes of dierent diameters, as well as pipe bags, we slowly ex-
trude the biofoam into strings of various thicknesses and textures.
We present below the steps involved in our process.
3.1.1 Melting biofoam scraps: To obtain the biofoam strings, we
started by chopping the biofoam scraps into small pieces using
scissors. Then, we added half a cup of chopped biofoam to 20 ml of
boiling water in a pot. Keeping the mixture at a constant tempera-
ture of 140 F, we stirred with a silicone spatula until the biofoam
scraps fully melted. One of the challenges at this phase occurs when
there are density inconsistencies (lumps) in the biofoam scraps. In
this case, the gelatin, the main component of the biofoam, visually
starts sticking to the bottom of the pot. If that happens, the solution
is to add the same initial amount of water to the pot (20 ml), remove
the pot from the heat and continue stirring with the silicone spatula.
After the mixture becomes more homogeneous, it can be placed
back on the stove at 140 F and stirred until reaching a "soft" or
"sti" peaks meringue stage (see Fig.2).
3.1.2 Making biofoam meringue: This step needs plenty of atten-
tion to the stage the meringue is in (foamy, soft, sti, or broken) as
it plays a crucial role in the success of the extrusion. If the biofoam
meringue is in its foamy stage, the strings will contain too many
air bubbles that evaporate during the drying process resulting in a
attened shape (Fig.2a). An increased amount of air also impacts
the follow-up interaction, as the more airy strings tend to compress
at the touch. Piping the biofoam when the meringue is at a soft peak
stage will create a half-moon cross-section in the biofoam strings
(Fig.2b). From our experience, piping at this stage works well for
novice crafters like us because it gives us time to test out our ex-
trusion steadiness and allows for trial and error. Piping when the
biofoam meringue is at a sti peak stage creates the most rounded
string as seen in the cross-section (see Fig.2c). This stage is ideal
for experienced piping craters as they need to maintain a constant
extrusion speed (and that is, manually) to avoid clogging. Moreover,
at this stage, the mixture can harden fairly quickly, so the extru-
sion needs to happen fast and steady. If the biofoam meringue is
at a broken stage (usually this occurs due to too much stirring), it
would be best to x the consistency of the mixture or start over.
Extruding from a piping bag lled with a broken meringue is likely
to be unsuccessful, because of the high risk of clogging. To x the
consistency, we would recommend adding a bit of hot water again
Designing Dissolving Wearables Conference acronym ’XX, June 03–05, 2018, Woodstock, NY
Figure 2: Dierent consistencies of biofoam meringue: a.
foamy, b. soft peak, c. sti peak, d. broken, e. cross-section
of biofoam yarns at dierent consistencies.
and stirring the mixture until "soft" peaks appear on the tip of the
spatula.
3.1.3 Extruding biofoam strings and making yarns: To extrude bio-
foam strings, we used a piping set used to decorate cakes
1
that
came with various shaped tips. The extruded strings were subse-
quently dried for at least 12 hours, on a non-stick surface such as
an acrylic sheet or non-stick silicone. Ensuring the biofoam has
enough time to cure is crucial as it results in fewer sticky strings to
work with. When extruding, we kept a cup with hot water close
by in case of clogging, so that we could dip the metal tip in the
water for one minute to unclog the tip and continue the piping.
Initially, our extrusion process was rather slow and the biofoam
would set quickly inside the bag. When that happened, we had to
put the biofoam back in the pot and recook it starting over the pro-
cess of making biofoam meringue. After plenty of experimentation,
we decided the best option for making larger amounts of biofoam
strings is to restrict to using only the piping tips with 1 and 2-mm
diameters. The original color of the biofoam scraps was not lost in
the process and transferred further, thus resulting in multi-colored
strings. The volume of our piping bags allowed for a maximum
size of 1 m length for the extruded strings. To elongate the strings,
we developed methods to adhere multiple strings together. One
method is to dip one end of a string in warm water and immediately
place it on top of a second dry biofoam string end. Water causes
the biofoam string to swell and function as glue. We then pressed
the two string ends together for a couple of seconds and released
the pressure afterward to verify the pieces joined successfully. The
second method involves spinning. We used this method only when
we wanted to make 2-ply biofoam yarns.
1Wilton 55-Piece Cake Decorating Tip Set. https://tinyurl.com/4bzvcdum
3.2 Use Cases
We used the biofoam yarns to create dissolving wearable fashions
and envision three use cases for such a feature: 1) a pair of Seasonal
Footwear, 2) a Reveal Bralette, and 3) an Unfolding Lace Top. In
the rst two cases, the user intentionally triggers the dissolution
process; however, the third case considers how rainy or humid
weather conditions might participate in the wearable’s dissolution
or shape-change. The biofoam yarns dissolve, leaving behind the
non-dissolving yarns to form a new wearable pattern and structure.
3.2.1 Seasonal Footwear.This wearable, shown in Figure 1a, is a
customized crocheted sandal that blends biofoam, cotton yarn, and
a ip-op base. After being worn in the Spring, the sandals can turn
into a more open sandals for the Summer. The sandal transforms
when the user intentionally washes it, dissolving the biofoam: the
Summer sandal in Fig.1b is the result of one machine cycle with
warm water. As Spring sandals, they have heel and ankle support
crocheted only with biofoam yarn, that dissolved completely during
the washing. The top of the vamp was crocheted with blended
cotton and biofoam yarn, which only dissolved partially as the
biofoam yarn was merely decorative without compromising the
wearing, stretchiness, and comfort of the sandals when worn. After
several iterations that involved decisions on which sections would
be made of biofoam and which of standard cotton, we used a single
crochet stitch around the strap to cover the rubber and to create a
base to continually crochet o of. Next, we used a blend of cotton
and biofoam yarn with a single crochet stitch to cover the top
section of the sandal and decreased the number of stitches in order
to compensate for the triangle shape (a decrease stitch is when
you crochet into two stitches from the previous row). We single-
crocheted a back strap to secure the Achilles heel and the upper
ankle out of biofoam and attached it to the sides of the straps. Then,
we chained a lace (the rst step to crochet, the foundation for most
crochet projects) and threaded it through the top ankle strap.
3.2.2 Reveal Bralee.We crocheted a bralette that uses dis-
solving to reveal a new design after interacting with water. As
shown in Figure 3, the light blue biofoam yarn matches the color
of other yarns in the bralette, concealing the dissolving features.
The bralette’s overall design draws from various crocheted granny
square designs, traditional motifs that are also popular in contempo-
rary crochet fashion. The garment needed to maintain its structural
integrity after the biofoam yarn dissolved, so we selected a granny
square design based around long, spoke-like stitches (dark blue) that
could support alternating rings of biofoam and cotton yarns. The
non-dissolving rings of fabric were additionally stitched through
with matching yarn so that they would not unravel when the bio-
foam dissolved. Our solution to prevent “falling apart" also led us
to realize that we could use the biofoam to intentionally cause a
design to fall apart. We explored this by having the bottom border
fall from its original held position to create pieces that hung far
more than before (Fig.3b). To achieve this, a bottom border was
crocheted in the light-blue yarn most similar in color to the biofoam
strings. Along with it, chain stitches were tied and made with ei-
ther biofoam or light-blue yarn. Thus, when interacting with water,
some of the stitches (specically the biofoam ones) would dissolve,
Conference acronym ’XX, June 03–05, 2018, Woodstock, NY Anon.
Figure 3: a. Crocheted bralette chest before dissolving. b. Af-
ter dissolving the light blue biofoam, patches become hollow
and reveal the color underneath.
releasing the orange yarn strings as another change to the design
(Fig.3b).
We imagine wearing the Reveal Bralette at a festival where, in
the case of the wearer being doused in water, their wear would be
transformed with a new design, such as a color pop or a transition
to a more lacey pattern (Fig.3b). In our vision, this concept could be
expanded to full clothing pieces in which a second skin is revealed
after the soluble material interacts with warm water.
3.2.3 Unfolding Lace Top.We designed this wearable to use
dissolving to alter the shape of the wearable (Figure 1b). Combining
various hand-knitting techniques, we rst created an unfolding
stitch structure and knitted a sample swatch to test the combination
of stitches and yarns (Fig. 4). The structure consists of densely
knitted cords with lace bands in between. The lace portions use
thinner yarn and open stitches to create a signicantly lighter-
weight fabric. The biofoam yarn is worked into the fabric between
cords, scrunching the lace into a pleat. As seen in Figure 1b, we
knitted a bra, for demonstration purposes, serving as a base to sew
in the lace panel. Using a spray bottle, we then dissolve the biofoam
while wearing the top. By applying small amounts of water at a time,
we observed that the biofoam stitching dissolved gradually, so that
some segments of the garment unfolded rst, leaving others still
folded. Agitation would dissolve the biofoam more quickly, created
by the wearer’s movements. We hypothesize that the unfolding
depends on how water touches the garment, whether through an
intentional application or through environmental factors, e.g. rain.
We can envision the Unfolding Lace structure being applied in
several pieces across an entire garment, e.g. a jumpsuit, to produce
more dramatic changes in shape and silhouette. Even if multiple
identical garments were made from a single design, each garment
would transform dierently based on how they were exposed to
water, including how the weather was that day and how the wearer
moved. We imagine a set of dance costumes for a chance-based
performance series, each dance producing a unique shape.
4 DISCUSSION AND CONCLUSION
When designing dissolving wearables, we found ourselves being
incredibly conscious of the body, centering our attention on where
the biofoam dissolving sections will lay on the body, how will
the body interact with the biofoam, etc. We centered on a body-
conscious approach, where one becomes hyper-aware of materials
and construction. Designing to dissolve also required a dierent
Figure 4: “Unfolding Lace Top" swatch to test the unfolding
stitch structure. a. before, and b. after dissolving the swatch
in cold water.
head space where one must become detached from their labor
because, at one point, it will all dissolve away. All of the work
it took to knit or crochet and all of the work it took to create the
biofoam yarns, all of that labor will be gone after an interaction with
water. Thus, wearables that are made with these dissolving biofoam
materials become ephemeral. They have a limited lifespan because
of their ability to dissolve. They can wash away in a rain storm, or
because of sweaty armpits. But in that ephemerality, there is also
an ability to record, to become a physicalization of something- the
weather, or emotions.
Reecting on textile craft techniques, we ended up choosing
techniques in which we can customize the structure or stitch den-
sity of the garment. Thus, knitting and crocheting showed to be
the techniques that support such customization over weaving. For
instance, while the dissolving or unraveling of woven structures
leads to full garment disassembly, knitting or crocheting allowed
us to explore other design attributes such as revealing or unfolding.
For instance, crocheting with blended biofoam and cotton yarn,
allowed us to form a tight mesh, that after dissolving the mesh freed
up and became airier showing a change in stitch density (Fig. 1b,
Fig 4).
In terms of the limitations of our proposed wearables, the bio-
foam yarn is highly environment-dependent. For instance, while
knitting the Unfolding Lace Top, A3 traveled from a humid to a
much drier climate. Then, the biofoam yarn became noticeably less
sticky and less elastic as it dried out. Overall, it was not easier or
more dicult to work with the biofoam, but it was just dierent in
terms of the tactile experience. Another limitation is presented by
the residues left behind once the biofoam is dissolved, especially
in non-intentional scenarios (e.g., in the rain or a water ght at a
festival). This is impacting as well the non-water soluble yarn left,
as it becomes a bit crunchy. This made us reect on the importance
of where the biofoam is purposefully placed, making this act an
intentional design decision instead of just an experiment.
We conclude this exploration with a provocation on scenarios of
fast fashion which are usually connected to waste. Thus, we raise
the question of why not harness these bio-based dissolving materi-
als to make fast fashion that is only meant to be worn once? Our
exploration shows that dissolving could become a design aordance
that provides a unique perspective on this fast fashion problem
– if we cannot yet change our desires then why not change the
materials? We thus imagine a future where wearables will not sit
in a garbage heap and o the gas, instead, they will break down
(dissolve) until nothing remains.
Designing Dissolving Wearables Conference acronym ’XX, June 03–05, 2018, Woodstock, NY
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