Woven Voices: an Interactive Wearable Technology Installation

Welcome to Woven Voices, a wearable technology installation that combines storytelling, interactive design, and artistic expression. Inspired by the resilience of the lotus flower—which blooms in even the most challenging conditions—this project explores the power of overcoming adversity through human connection.

The installation features a custom-made lotus-inspired dress embedded with seven LED-lit flowers. As participants come closer, the flowers "bloom" with a light that glows brighter the longer somebody is present near the flower, reacting in real time to their presence. The flowers "wilt" the farther a person gets from the flowers. This is to symbolize the importance of authentic human connection, support, and presence in overcoming adversity.

This Instructable will guide you through how to recreate your own version of Woven Voices, from design concept to wearable tech implementation. Whether you're an artist, engineer, or just curious, I hope this project inspires you to blend technology and emotion in your own creative work.

Garment Materials

These are the textiles and tools used to create the lotus-inspired dress base.

1. Fabrics:
2. Green chiffon
3. Pink chiffon
4. Green organza
5. Pink organza
6. Teal crepe
7. Light pink polyester (for flower petals)
8. Dark pink polyester (for flower petals)
9. Trims & Closures:
10. Pink chiffon ribbon
11. Pink ruffle ribbon
12. Hooks (for closures)
13. Grommets (to feed wires through)
14. Sewing Tools:
15. Sewing machine
16. Matching threads (pink, green, teal, etc.)
17. Hand sewing needles
18. Fabric scissors
19. Pins/clips
20. Mannequin (for draping and construction)
21. Fake Flowers (for finishing touches)

Electronics & Mechanics

These components power the interactive lighting and movement in the installation.

1. Microcontroller:
2. Adafruit Trinket M0 (or compatible microcontroller with Arduino IDE)
3. Sensors & Outputs:
4. VL53L0X Time-of-Flight Distance Sensors
5. NeoPixel Mini Button PCB LEDs (individually addressable RGB)
6. Micro servo motors (for flower blooming mechanism)
7. Hardware & Mechanics:
8. Brass rods (for mechanical flower)
9. Brass tubing (for mechanical flower's actuation)
10. Dremel with Dremel Bits
11. Wiring & Connectivity:
12. Flexible, silicone-coated stranded wire (various colors)
13. Soldering iron
14. Solder
15. Power & Support:
16. Battery pack (compatible with Trinket M0)
17. Switches compatible with battery packs
18. Electrical tape

Core Concept

At the heart of Woven Voices is the belief that while each of us may face different struggles, we all experience adversity—and in that shared truth, we can find connection and community. I wanted to create an interactive wearable installation that invites reflection, empathy, and healing.

The lotus flower became the symbol of this journey. In Indian culture, the lotus is a sacred flower that grows through murky water to bloom beautifully—something that deeply resonates with me. It represents the strength and resilience we cultivate when we face challenges and grow through them. I also wanted to infuse a part of my own South Asian identity into this work through a symbol that is both personal and universal.

When someone interacts with the installation, the intention is for them to:

1. First experience wonder as the flowers respond and bloom,
2. Then reflect on their own moments of hardship, and
3. Finally realize we’re not so different from one another—we grow stronger together.

Visual & Aesthetic Influence

I began the design process with mood boards to explore color palettes, shapes, and material textures inspired by the lotus flower. Its delicate yet vibrant layers guided my choices in fabric, structure, and motion.

1. Colors: Pinks, greens, and teals—all pulled directly from real lotus blossoms and leaves.
2. Fabrics: Lightweight materials like chiffon, organza, and crepe were chosen to emulate the softness and flow of petals.
3. Silhouettes: Layered petal shapes were integrated into the skirt and flower mechanisms to mimic organic forms.

Nearly every design choice—from the silhouette to the movement—was inspired by the lotus and the emotional symbolism it carries.

Design & Fashion Inspiration

My wearable tech inspirations came from two visionary designers who blend technology and couture:

1. Iris van Herpen, especially her Met Gala dress for Mona Patel, which was inspired by the Lotus Temple in India. Her use of fluid, feminine shapes and kinetic components deeply influenced my approach to combining beauty with movement.
2. Yin Gao, whose interactive fashion pieces react to proximity and sound, particularly her garment with mechanical flowers that bloom when someone approaches. This directly inspired the blooming/wilting interaction I created using sensors and servos.

Their work showed me what was possible when fashion and technology merge—and gave me the courage to push beyond traditional materials and methods.

Dress Construction

The garment at the heart of Woven Voices is a lotus-inspired dress featuring a corset-style bodice and a layered, petal-like skirt. It was important to me that the dress embody both delicacy and resilience — just like a lotus flower. Here's how I designed and constructed it:

Design & Planning

The silhouette consists of a structured, fitted bodice with a flowing, voluminous skirt. I wanted the dress to feel ethereal and organic, so I chose light, sheer fabrics that mimic the layered petals of a lotus. The bodice and skirt were constructed separately and then joined once each component was complete.

Materials

Fabrics:

1. Teal crepe (under layer of bodice)
2. Pink chiffon (outer layer of bodice, inner skirt layer)
3. Green chiffon (skirt underlayer)
4. Green and pink organza (outer petal-like skirt layers)
5. Pink chiffon ribbon (corset lacing and decorative edging)
6. Pink ruffle ribbon (finishing trim on skirt)

Sewing Notions:

1. Matching threads
2. Hand sewing needles
3. Sewing machine
4. Grommets (for back lacing + wire channels)
5. Hooks & Eyes (to tightly secure skirt to mannequin's form)

I chose not to use interfacing or lining to keep the garment light and flowing — anything too rigid would’ve distracted from the soft, organic feel.

Bodice Construction

1. I took measurements from the display mannequin and drafted a corset-style bodice to match with a muslin fabric as a draft before translating that draft to my final fabrics.
2. The base layer of the bodice was teal crepe, layered with pink chiffon on top for softness and translucence.
3. Grommets were installed at the back to create a corset closure using a light pink chiffon ribbon laced in a crisscross pattern.
4. I finished the edges of the bodice with the same ribbon for a cohesive and complete look.

Skirt Construction

1. I started the skirt by draping fabric directly onto the mannequin to build a flowing shape with natural movement.
2. The base consisted of green chiffon under a layer of pink chiffon.
3. On top of this, I added overlapping petal-like panels of green and pink organza to evoke the shape and layering of lotus petals.
4. The pink chiffon layer was edged with a pink ruffle ribbon to prevent fraying and add visual texture.
5. The green chiffon layer was hemmed with a clean folded edge, and the organza petals were carefully singed to seal the raw edges without bulk.

Joining Bodice & Skirt

Once both parts were finished, I stitched the bodice and skirt together to form one cohesive garment. Because the skirt added more weight than expected, I hand-sewed hooks & eyes to the back of the skirt and tightened the corset lacing to better support the structure and prevent slipping on the mannequin.

Planning for Electronics

At this point, the dress was complete — but all the interactive elements were still to come. I added grommets strategically in the bodice to allow wiring and components for the mechanical flowers and other electronics to feed through the inside of the dress. While none of the electronics were built in from the start, I left enough flexibility to mount components later.

Some finishing details like flower embellishments were added after the electronics were mounted, while others were built into the earlier fabric layers.

I built seven mechanical flowers for the dress—three mounted at the shoulder and four around the waist. These flowers are not just decorative; they respond to audience interaction by blooming and wilting based on proximity. The closer someone is to the garment, the more the petals open. As they move away, the flowers slowly close back up. This motion is powered by individual servo motors controlled by distance sensors, which will be covered in more detail in the Electronics section.

To build the flowers, I shaped thin brass rods and tubing to create the petal mechanism, then soldered the joints for durability. The petals were made from light and dark pink polyester fabric, cut into varied organic shapes. I singed the edges to prevent fraying and add a soft, natural finish. I then glued them to the brass petals with jewelry glue.

The design was inspired by the Ever-Blooming Mechanical Tulip by jiripraus (link), though my version omits LEDs, petal veining, and a flowerpot base. Since these were part of a wearable installation, I adapted the structure for horizontal mounting.

To keep the flowers upright—especially with the added fabric weight—I designed and 3D printed supports for each stem, which then fed through pre-installed grommets on the dress. Because this was a prototype and not fully designed for wearability on a person, I mounted the servo motors and the electronic components inside the mannequin rather than on the dress itself. Inside the mannequin, I mounted each servo motor on wooden scaffolding. Holes were drilled through the installed grommets using a Dremel to align the flower stems with the internal servo arms. As the servo moves, it pulls or pushes the stem, opening or closing the petals accordingly.

Although troubleshooting each flower took time—especially in terms of wire routing and consistent mechanical motion—all seven flowers ultimately functioned as intended, creating an immersive and interactive floral experience.

Custom 3D printed components played a crucial role in both the structural and aesthetic elements of this wearable installation. All models were created using Tinker CAD and SketchUp and printed in PLA using Prusa and Bambu printers. Pink PLA was used for visible components, while clear PLA created a diffused lighting effect in the skirt.

Mechanical Flower Supports

To stabilize the weight of the mechanical flowers—especially with added fabric petals—short cylindrical supports were designed with a hole for the stem to pass through with built-in sew tabs for secure garment attachment. These kept each flower upright and prevented drooping.

Sensor Mounts

Each mechanical flower is paired with a VL53L0X time-of-flight sensor to measure proximity. To house and conceal the sensors, a modified lotus flower model was used, designed to accommodate the sensor’s emitter and receiver. These were printed in pink PLA and hot-glued near each flower.

LED Mounts

Two styles of 3D printed flower mounts were used for LED integration:

1. Near mechanical flowers: A resized and adjusted flower model held individual LEDs in place. These pink PLA mounts were hot-glued close to the flowers for a localized lighting effect.
2. In the skirt: The same flower model was enlarged, flattened, and filled in to diffuse light. Printed in clear PLA, these mounts created a soft glow and were fitted with resized tabs to secure the LEDs.

Design Process

There was some trial and error to get dimensions and fit just right—especially for snugly holding electronics—but once finalized, the printing process was fast and easily repeatable.

This installation uses nine Adafruit Trinket M0 microcontrollers—seven for the mechanical flowers and two for the LED string lights in the skirt. Each is powered by its own rechargeable battery and connected to a toggle switch for easy control.

The mechanical flowers are powered by 4000 mAh batteries housed inside the mannequin. Due to their weight, these required careful mounting to prevent strain on wires and solder joints. Each flower’s Trinket M0 controls a servo motor (connected to a digital pin), a VL53L0X time-of-flight sensor (connected via I²C), and a NeoPixel RGB LED (connected to a digital pin). The sensor detects a person’s distance, triggering the flower to bloom or wilt, while the LED brightens with prolonged interaction.

For the skirt LEDs, I used four strands of NeoPixel RGB LEDs per microcontroller, with two LEDs in series per strand, totaling eight LEDs per microcontroller and sixteen LEDs overall. These are powered by 3.7V, 2000 mAh batteries stored in stitched pockets. Each strand is assigned to its own digital pin, and the LEDs are programmed to twinkle in green, pink, and white—matching the garment’s palette.

To house the electronics, I widened parts of the mannequin and drilled holes aligned with grommets to run wires inside. A wooden scaffolding inside supported the servo motors and held components in place. I closed the mannequin back up once all of the mounting inside was complete. All wiring was hand-soldered—no breadboards or custom PCBs were used. While I burned out a few boards early on, I improved with practice.

In the future, I’d explore smaller battery packs for easier concealment and consider a more powerful microcontroller to reduce the number of separate boards and batteries.

The code for this installation was written using the Arduino IDE. I used Adafruit libraries to interface with the VL53L0X time-of-flight distance sensors, servo motors, and Neo Pixel LEDs. Each mechanical flower’s blooming state was directly tied to the real-time distance data from the sensors, with the servo motor’s position mapped proportionally to the user’s proximity (ranging from 2000mm to 5mm). The longer someone stayed within the sensor's range, the brighter the corresponding LED became, creating a dynamic and time-based visual response.

To ensure smooth, simultaneous operation across components, I used non-blocking code and timing functions to handle LED brightness over time without interrupting other behaviors. Careful calibration and threshold mapping allowed for a fluid and lifelike blooming interaction. The full code is attached as a reference for anyone interested in the technical side of this work.

Upon entering the installation space, visitors first encountered a poster board providing the project’s emotional and narrative context. From there, they were invited to approach and interact physically with the garment using their hands and bodies. Embedded time-of-flight sensors near each mechanical flower detected proximity and triggered responsive behaviors.

When someone entered the 5 mm to 2000 mm range of a sensor, the corresponding flower began to bloom—fully closed at 2000 mm and fully open at 5 mm. At the same time, the adjacent LED gradually increased in brightness the longer the visitor remained within range, brightening every 5 milliseconds until reaching its maximum brightness. This interplay between distance and time was designed to represent how presence, connection, and support can help someone bloom and shine through adversity.

Proximity-based interaction was intentionally chosen over other inputs to evoke the feeling of physical presence—like a hug or simply standing beside someone—as a metaphor for care and resilience.

Audience responses varied: some circled the dress, others tested hand movements to observe different effects, and some focused on one flower to explore its full range. Because the electronics were discreetly integrated, some visitors needed a moment to locate the sensors—but once they did, reactions ranged from delight to meaningful reflection.

The system reset when participants moved out of range, causing flowers to close and LEDs to dim. Due to sensor positioning and overlapping ranges, multiple flowers could bloom at once—especially when multiple people engaged with the dress simultaneously.

One of the biggest challenges was mounting the electronics inside the mannequin. The tight space made it difficult to secure everything properly, and testing often meant reopening the mannequin to troubleshoot, which sometimes caused other components to shift or break. The mechanical flowers were especially delicate—mounting them without damage was tough, and I occasionally had to re-solder joints in tight spaces, being extra careful not to burn the dress or nearby wires.

Wire management was another hurdle due to the sheer number of components, batteries, and microcontrollers. Even with color-coding, keeping everything organized was tough. These challenges taught me how to work in constrained spaces, stay flexible, and prepare for things to go wrong. I also sharpened technical skills like soldering, 3D modeling, 3D printing, and dressmaking.

More broadly, I learned how to build an interactive experience that communicates a personal story while engaging others. I leaned heavily on human-centered design and constant iteration—build, test, fail, repeat. I also discovered how helpful online communities can be for troubleshooting, and how essential it is to ask for support. Early on, I felt pressure to do everything alone, but over time I realized collaboration strengthens the process.

If I rework this project (which I plan to), I’d like to house all the electronics within the dress itself, reduce the number of microcontrollers, and use more compact rechargeable batteries to cut down on weight and bulk. I'd also start prototyping sooner and ask for help earlier rather than letting fear slow me down.

This project reaffirmed my passion for fashion technology and taught me that connection—both personal and collaborative—is key to overcoming challenges. Like the story I told through the installation, we all bloom brighter with presence, support, and persistence. I’m excited to keep learning, experimenting, and designing in this space. Thank you!

This installation marks a milestone in my exploration of wearable technology as a form of storytelling. It challenged me to think beyond aesthetics or mechanics and instead design for emotion, connection, and presence. I didn’t just want to make something that looked impressive—I wanted to create something that felt meaningful, both to me and to those who interacted with it.

Throughout this process, I pushed myself technically and conceptually, learning how to design under constraints, adapt in the face of challenges, and build systems that respond intuitively to human presence. The response from viewers reminded me that thoughtful interaction can create quiet moments of reflection and joy. That kind of impact—the small, human moments technology can create—is what excites me most about this field.

This project affirmed how much I love working at the intersection of fashion, engineering, and emotional design. I’m leaving this experience with stronger skills, deeper curiosity, and a clearer sense of the kind of work I want to keep pursuing.