Jean Paul Gaultier brings 3D printing to haute couture with the AI 26-27 collection
The Parisian house Jean Paul Gaultier has integrated additive manufacturing into five looks of the Autumn/Winter 2026-27 collection, presented during haute couture week in Paris. The debut of Duran Lantink as creative director marks a turning point in the industrial use of 3D printing in the fashion sector.
Designer ROMI collaborated with the French company Sculpteo to produce the 3D printed elements. The components were made in PA12 and flexible TPU, using HP Multi Jet Fusion (MJF) technologies for structural parts and selective laser sintering (SLS) for more complex elements.
- Five looks from the AI 26-27 collection integrate 3D printed components
- Materials used: rigid PA12 and flexible TPU
- Technologies: HP Multi Jet Fusion and SLS
- Production partner: Sculpteo
Look 7: the biomimetic bustier in TPU
The first look demonstrates how 3D printing can simulate human skin through artisanal post-production processes.
The bustier with deformed shapes arrived at Matisse Di Maggio's Parisian atelier directly from the printer, in raw TPU. After sanding and priming, the piece underwent several latex baths.
To achieve a realistic finish, the bust was immersed several times in pigmented latex to reproduce the model's skin tone. Freckles and moles were hand-painted. The nipples, made separately in latex, were applied later.
Look 11: printed guipure with flocked finish
The combination of 3D-printed structure and traditional textile covering creates a hybrid effect between digital and artisanal.
The dress features a bodice and dome-shaped skirt structure made via 3D printing. Maison du Flock manually applied the covering, depositing the fibers directly onto the printed structure.
This technique allows achieving the visual lightness of the fabric while maintaining the structural rigidity necessary for sculptural forms.
Look 19: thousands of scales in PA12
The snake dress demonstrates how the repetition of independent rigid elements can create overall flexibility.
The dress is made entirely of individual scales produced in PA12 using SLS technology. Each element was hand-sewn, overlapping in rows along the entire garment.
PA12 is rigid by nature. However, the structure composed of thousands of independent elements allows the garment to follow the body's movements, replicating the mechanics of snake scales.
SLS technology (selective laser sintering) makes it possible to produce thousands of identical components in a single printing session, optimizing time and costs for serial production of small elements.
Look 26: from 3D scanning to the feathered serpent
The complete digital process – scanning, modeling, printing – transforms the human body into wearable sculpture.
The look originates from a 3D scan of the model's body, reworked through software. The shapes were progressively modified with organic protuberances until the torso was transformed into a structure reminiscent of a feathered serpent.
Sculpteo printed the piece in TPU, dividing it into multiple sections that were subsequently assembled. The flexible TPU ensures wearability despite the complex sculptural shapes.
Implications for additive manufacturing in fashion
The integration of 3D printing in haute couture opens up production scenarios that combine extreme customization and artisanal craftsmanship.
The collection demonstrates three key applications of additive manufacturing in the fashion sector. First: customization through 3D body scanning. Second: production of geometries impossible with traditional techniques. Third: integration with post-printing artisanal processes.
The use of different materials – rigid PA12 for structural elements, flexible TPU for components in contact with the body – highlights the technological maturity achieved. MJF and SLS technologies provide the precision and repeatability required for haute couture applications.
The collaboration between ROMI, Sculpteo and the Parisian artisan workshops defines a new production model. 3D printing does not replace craftsmanship, but enhances it with unprecedented geometric possibilities.
article written with the help of artificial intelligence systems
Q&A
Which 3D printing technologies were used by Jean Paul Gaultier?
The collection utilized HP Multi Jet Fusion (MJF) technology for structural parts and Selective Laser Sintering (SLS) for more complex elements. These processes were managed by French production partner Sculpteo.
What materials were employed in the 3D-printed looks?
Components were made using rigid PA12 for structures and scales, and flexible TPU for the biomimetic bustier. The choice of polymers allowed balancing structural rigidity with body adaptability.
How was the realistic finish of the TPU bustier achieved?
After raw TPU printing, the piece was smoothed, primed, and dipped in several baths of pigmented latex to replicate skin tone. Freckles and moles were added by hand, while latex nipples were applied separately.
How does Look 19 combine rigidity and flexibility?
The dress consists of thousands of individual rigid PA12 scales produced via SLS and hand-sewn with overlapping layers. This structure allows the ensemble to follow body movements, replicating snake scale mechanics.
Who handled the production and textile finishes of the garments?
Production of printed elements was entrusted to French company Sculpteo, while designer ROMI collaborated on the project. For the flocked finish of Look 11, Maison du Flock manually applied fibers onto the printed structure.
