CURRENT A generative tool for working with Zero-Waste Pattern Cutting NATALIE TILLEN IMPROV THEATRE techniques create the conditions to embody the design space through collaborative action, as a generative tool that provides structure through constraints in the creative process for designers. This research will demonstrate what improv theatre principles are and how they relate to design, as well as identify precedents using similar theories and opportunities as the ones I’m exploring in my undergraduate thesis. METHOD To strengthen skills, improv actors practice techniques through exercises, games and activities; the methods demonstrated in this research use the conditions of this space. Exercises refer to a singular task or sense to be activated and flexed, games refer to the generation of play and silliness that can induce cognitive or physical flow, and activities refer to a series of intentioned tasks to reach a collective goal. The main principles of improv theatre can be described as: - Yes, and... - Spontaneity. - Creating collaboratively. - Showing up, as you are. - Failing awesomely, often. - Anything and everything is interesting and inspirational. Improv and design are both social in nature and create from an unknown space in the early stages. During the creative process of design, principles of improv are optimally utilized at the ideation and iteration phase (see figure 1). The d.school of Stanford Univer- sity has done the most effective work around Design Thinking and Improvisation. In an email conversation with Erik Olesund Teach- ing Fellow at d.school, he mentioned that “when I (or most people at the d.school) use the word design we refer to the process of solv- ing problems in a human-centered and collaborative way... It is the way to the solution (process) not the solution itself (artifact) that we see having a lot overlap with improv theater” (E. Olesund, per- sonal communication, October 21, 2015). The goal of using improv theatre techniques in design is the exchange of tacit knowledge when a group of people create together rather than in isolation. Improv’s framework provides the container for divergent thinking and rapid form development, shifting a designer’s reaction from patterned and automatic to conscious and playful. Having the ability to spontaneously react to one’s internal and external envi- ronment throughout the design process is crucial [1]. With these exercises designers can begin to broaden their responsiveness and imagination to new ways of problem solving. CONTEXT At the height of rapid consumer culture and environmental deg- radation, the fashion industry is built on efficient standardized processes that avoid risk and uncertainty [2]. How can a shift towards more sustainable practices in the fashion and garment industry take place? Current fashion design practices involve con- ventional patterns that contribute to 15% fabric waste at the cutting stage [3]. Zero-Waste Pattern Cutting (ZWPc) is an alternative cut- ting technique that addresses material waste at the design stage in the garment lifecycle. What tools are designers missing or do they need to be more autonomous from groupthink? How do you create change without risk?