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Curated by Rebecca Earley
& Kate Goldsworthy
Part of the Circular Transitions Conference
23 – 24 November 2016,
Tate Britain & Chelsea College of Arts,
London
3
It is only when we see examples of circular
design approaches in their physical forms that
we really begin to understand their true potential.
The work of these 45 individuals, companies
and organisations provides a wealth of tactile,
aesthetic, functional and sensory ideas that cannot
be captured through writing. We have to make,
enact and experience circular fashion textile design
concepts in order to appreciate the complexity,
the strategic decision-making, and the practical
considerations of transitioning to a more circular
industry and culture. The three conference themes
– materials, models and mindsets – are here
explored through 25 exhibits which all oer the
viewer a dierent perspective on designing for
a more ecient and thoughtful use of resources.
In the Materials section we ask ourselves to
think about the stu we are going to put into the
system in the rst place – can we avoid ‘monstrous
hybrids’ and make products as ‘pure’ as they can
possibly be? (Eccomi, Muto); could we make
futuristic mono-material forms ourselves at home?
(Material Activism); can we create ultra-fast
materials that enable fashion users to be conscious
consumers yet still responsive to trends? (A.S.A.P.)
As our modern lives demand so much more from
textiles, the range of blended materials in use
continues to grow, and creates some of the biggest
challenges for the circularity of the industry. But
how blended is our wardrobe in reality? (112) The
Material Handling Collection allows visitors to have
a feel of new materials created by emerging and
leading researchers.
In the Models section we switch our fashion
brains into furniture mode as we consider how
reupholstery – essentially replacing an old fabric
with a ‘new’ one – can inform and inuence circular
behaviours and practices (ReThread / Mutton
chairs). One model for creating transparency and
connectivity via QR codes (DfC) for brands and
users; and another model for design activist
approaches to upcycling, oered via open source
platforms (Space Between), demonstrate that the
next generation of designers are radical thinkers
and eective communicators and strategists.
The Models Handling Collection encourages play
and interaction with a range of new design tools.
Our changing Mindsets are going to be key for
our circular futures. So, appropriately, the work
here is softer and more subtle. How can we design
to change mindsets? We don’t know yet, is the
answer. But we do know that we can design with
dierent questions and intention and that is where
change can begin. We consider how designers can
use great literature to valorise waste (Shakespeare
Scarf); we connect silent meditation and prolonged
eye contact, with co-creation and bridge-building
for interdisciplinary research (Silence Shirt);
we seek to be our whole selves as designers, so
that we can connect with others and work towards
authentic change (Transitionary Textiles); and
we look at moth hole and damage and see not
the end of the lifecycle but the beginning of
something exquisite and unique – and a place for
us to interact and enjoy our own clothes in new
ways (Reknitting Sampler Jumper). The Mindsets
Handling Collection present garments and tools
that explore where the artist and the industry meet
to lead the change.
The Posters section of the exhibition gives
space to some of the most formative and inuential
projects and organisations of our time – from
across the UK, Europe and Asia. They are here to
represent the importance of making – not just
things – but making things happen – they make
circles with people and communities. In a similar
vein, the lm trailer (Reverse Forward) celebrates
20 years of the now iconic Chelsea College of Arts
research group, TED Textiles.
Last – but very far from least – the Student
and Graduate Showcase demonstrates to us all
what this research work is ultimately all about.
The teaching and curriculum development that is
already evident in the eld leaves us with the
knowledge that the next generation of designers
are well able to deliver a circular future. This work
celebrates the passion, energy, diversity and
courage that emerging circular designers and
entrepreneurs are rapidly gaining a reputation for.
Professor Rebecca Earley
UAL Chair of Sustainable Fashion/Textile Design
Making Circles
Circular Transitions Conference Exhibition
Curated by Rebecca Earley & Kate Goldsworthy
23 – 24 November 2016,
Tate Britain & Chelsea College of Arts, London
Introduction 3
Materials 4
Models 6
Mindsets 8
Posters 9
Film installation 9
Student & Graduate Showcase 10
Introduction
54
Materials
1
Eccomi Dress, AO Textiles (UK)
‘eccomi’ – Here I am.
The core concept of the eccomi project
was to create a scalable and repeatable
fabric, suitable for haute couture. This is
the rst time that such a fabric has been
created for commercial use. The key area
of research addressed by this project is
to take sustainable production methods,
especially natural dyeing, into the 21st
century. The project forms a case
study, with the aim of displaying the
innovative fabric and design techniques.
AO wanted to use the dress as a vehicle
to demonstrate the sustainable practices
at the core of their business. This dress
puts their naturally dyed fabric front and
centre, while also allowing them to
showcase the diverse aspects of AO’s
work: embroidery, hand dyeing and
printing. After rigorous research, they
developed a pioneering naturally dyed silk
yarn. It was important for the success of
this project that the dyeing be compatible
with available production practices. As
eccomi evolved, they investigated every
aspect of creating a garment, from sewing
thread, to lining and interlining, with the
aim of keeping each part of the production
as sustainable and transparent as was
feasibly possible. ↓
2
Muto, Laetitia Forst (France)
As part of a larger collection, these
textiles oer a new approach as to how
we might use materials in a creative and
circular economy. Most waste materials
are deemed unrecyclable as they are
what Cradle to Cradle call ‘monstrous
hybrids’. In textiles, one of the most
ubiquitous hybrids is cotton and polyester
blends, often used for cheap and
short-term use products. These textiles
re-imagine how resources might be used
for high value, cyclic materials bringing
together techniques from dierent ages
and places, from traditional ikat weaving
to laser cutting through to digital printing
and vegetable dying. The two materials
from opposing cycles are transformed
according to the criteria that allow them
to remain nutrients to either the technical
cycle in the case of polyester, or the
biological cycle for cotton. As the material
goes through time and use, it gradually
evolves revealing a new pattern, bearing
the marks of the user's life and creating
emotional attachment, therefore
prolonging the product's life, until
eventually all the cotton scales have worn
o and the entire object can be recycled
as a pure polyester product. Inspired by
the life cycle of the common moth, these
textiles mimic its natural evolution; as the
scales on its wings wear o, is it not aging
and dying but simply preparing
for a new life. ↓
3
Liquid Shape, Miriam Ribul
in collaboration with Dr Hanna de la
Motte (UK & Sweden)
In a circular economy, designers will
embrace large volumes of recycled
materials, which through pioneering
scientic work are leading to new
regenerated resources. Liquid Shape
explores low-value regenerated materials
that cannot go into the conventional textile
production cycle. These will be redirected
into new product streams where the
material properties will inform the
product’s use. Modularity and assembly
strategies will be co-developed by design
and science inside the science laboratory
to prototype systems for regenerated
cellulose that disrupt the supply chain of
textiles. Regenerated materials will be
assembled into any shape and structure
– achieving individual types of decorative
lace, warming mesh and embossed grip
with enhanced properties. A new synergy
for textiles will evolve where materials and
products are both considered at their raw
material stage in the science laboratory,
leading to shifting material properties,
processes and interactions.
This exhibit explores new production
models that emerge when designers
work with regenerated cellulose materials
at their raw, liquid state in the science
laboratory. A design residency at SP
Technical Research Institute of Sweden
explored prototyping with regenerated
cellulose lms for a connected supply
chain from material development
to product design. The prototypes
demonstrate how regenerated materials
can be transformed into new shapes
that do not require a conventional textile
production model from bre, yarn and
textile to product. The resulting design
possibilities for applications are many,
ranging from body to spatial use. ↓
4
A.S.A.P., Kay Politowicz,
Kate Goldsworthy, Hjalmar Granberg
(UK & Sweden)
A.S.A.P. is the rst of a series of
collections made from a wearable,
non-woven material developed with
Innventia, a world-leading Swedish
research institute innovating new
materials derived from forest ingredients.
In a revolutionary approach to fashion
sustainability, innovation in fabrics and
nishes are proposed for desirable fashion
products with both convincing aesthetics
and performance. The premise for the
project acknowledges the consumer’s
many reasons for buying clothes and
addresses the damage caused by fast
fashion by creating materials appropriate
for this market. It enables the prevailing
‘disposable’ culture in fashion to be
transformed by the development of
inexpensive, bio-based ‘recoverable’
garments with sustainable credentials.
We also aim to eliminate the ‘consumer
washing’ phase and therefore remove
its large carbon footprint. Through the
collaboration of designers and scien tists,
this collection relies on the mass
production of various blends of wood
bres and PLA bres, which can be
separately recovered to break new ground
in cyclability, including the molecular
recycling of thermoplastics. Our aim is
to connect compelling strategies for
economic growth with sustainable, fast
track business models. Raw materials
are developed to oer alternative,
renewable qualities as a complement to
the resilience and durability of an existing,
classic, wardrobe. ↓
5
77, Trash-2-Cash (EU H2020),
Dr Rosie Hornbuckle, UAL; Helena
Wedin, SP; Pailak Mzikian, SOEX;
Vittoria Troppenz, SOEX; Chetan
Gupta, I:CO, SOEX group; Lucija Kobal,
Tekstina; Martin Krečič, Tekstina;
Micol Costi, Material Connexion
A sample box containing 112 samples,
collected from 1 tonne of mixed post-
consumer textile waste, containing 77
fabrics and 63 blends, shows the unique
challenge for textile recyclers like SOEX,
and also the great opportunity for
regenerating cellulosic bres from mixed
cotton waste. The samples are presented
along with key results from work package
4 of the Trash-2-Cash project, an EU
H2020-funded project that aims to
develop new high quality bres from
textile and paper waste. The research
involves the whole material cycle,
importantly including the textile waste
supply chain. Technical research institute
SP is assisting textile recycler SOEX
in testing emerging textile sorting
technologies. These spectroscopic
technologies can recognise the bre
content of each piece of clothing and
could enable SOEX to reliably and
eciently sort unusable clothing waste
into dierent bre ‘fractions’. The sorted
textile can then be prepared for
regeneration into new bres. As well as
providing invaluable knowledge about
the dierent sorting technologies and
how they can be used, this work involved
a survey of post-consumer textile waste.
The 77 sample collection demonstrates
the complex composition of 1 tonne of
mixed post-consumer textile waste in
a material form which can be handled by
visitors at this landmark exhibit. ↓
6
Handling Collection / Materials:
LaserLine, Kate Goldsworthy (UK)
Orange Fibre (Italy) ↓
Rivet, Camira (UK)
Algae Fabric, Studio Tjeerd Veenhoven
(Netherlands)
Adhocism, Hannah Robinson (UK) ↓
76
Models
7
ReThread Chair, Ella Doran (UK)
Ella Doran collaborated with Avantika
Agarwal’s Reweave technique with her
iconic Icelandic photographic design
‘Rekki of Reykjavik’ to produce a piece of
woven furnishing silk that transforms into
an abstract expression of the design
through the ‘Reweave’ process. Reweave
was born on the back of India’s rich history
of resist dyed ikat fabrics; traditionally it
involved resist dyeing the yarns by hand
prior to weaving and when woven, this
produced intricate fabrics with multi-
layered abstracted patterns. Due to the
time-consuming nature of the craft, the
modern (machine woven) ikat has evolved
as a means to preserve its aesthetics, but
the role of the craftsman has diminished.
Through collaborating with craftsmen and
introducing digital techniques into their
process the project now creates new and
unexpected textile patterns, using digital
printers to print photographs onto the
yarn as a means of dying the thread.
The printed warps are then unravelled
and hand-woven, creating new abstracted
textiles. Ella runs live re-upholstery events
aiming to educate and readdress the
design issues around bulky waste and
how to retain and re-evaluate furniture for
a new generation through design and high
quality materials. ↓
8
Mutton Chair, Rosie Hornbuckle
and Vicky Cable (UK)
Posing circular materials questions
through collaborative (re)making.
The ‘mutton chair’ is an ongoing
exploratory collaboration between design
researcher Dr Rosie Hornbuckle and
furniture upholsterer Vicky Cable. The
aim is to investigate sustainable design
practice and circular materials through
an experimental collaborative research
methodology, based on collaborative
‘peer’ learning and ‘mobile methods’.
On face-value re-upholstery is
a sustainable activity; repairing and
updating undervalued furniture so that
artefacts endure and materials aren’t
wasted. However, the need to keep costs
down and the practice accessible has
meant that traditional materials and
methods have largely been replaced with
quick-xes and modern materials that are
less durable, sometimes dangerous and
not compatible with circular systems for
material recovery.
The work is being conducted through
a series of (re)making workshops focusing
on The Mutton Chair, a co-selected
secondhand chair with questionable
material integrity, where guided
conversations are recorded during the
physical act of stripping and upholstering
in Vicky’s workshop. This exhibit will
focus on the circular materials questions
that the collaborators have ‘posed’ as
a result of the (re)making process,
showing both the old materials and
the possible new alternatives that are
currently being considered. Messages
to our future selves are hidden within
the upholstered seat, stating the intended
next step for each material used. ↓
9
Design for Circularity,
Ina Budde (Germany)
Design for Circularity is a sustainable
design agency co-creating product and
system innovation for a circular future
of fashion. The founder and designer
Ina Budde invented an industry
connecting system to realise a ‘cradle-
to-cradle’ inspired circular economy:
The EXTENDED CLOSED LOOP platform.
The tool supports the creation of products
with recyclable materials and modular
pattern constructions, specically
designed for both reuse and valuable
closed-loop recycling. It aims to extend
the product lifespan in circular retail
models and to enable material-specic
recovery for bre-to-bre recycling.
The platform will establish a traceable
closed-loop material ow for textiles by
creating a coherent interconnection
between material innovators, designers,
retailers, customers, textile sorters and
recyclers. The key is an individual
QR-Code in each garment, that leads to
a specic product website. This provides
transparency about the sustainability and
traceability of the whole product reuse
history; and enables recyclability through
providing reliable material identication. ↓
10
The Fundamentals /
Space Between, Jen Whitty
(New Zealand)
This exhibition of the Fundamentals range
from the Space Between project makes
manifest new ways to reframe problems
of the current system through design
activism, design thinking and reuse.
This work unlocks the latent qualities of
undervalued resources, cast aside from
a linear system as it aims to address
how design can, and needs to, evolve
in response to changes in our social,
technical and ecological contexts.
The range demonstrates solutions for
the industry’s waste stream. In this case,
post-consumer corporate uniforms form
a capsule limited edition collection,
designed by fashion researchers from
Massey University and made by EarthLink
– a not-for-prot organisation that opens
the door to employment for many people
with health and social barriers. All work
created in the Fundamentals range is
wholly transparent and open to access,
adapt, remix, share (Creative Commons)
by all fashion users through the online
networked community via multimedia
options to encourage micro cooperative
practices of fashion practice to emerge.
Operating outside of the linear
commercial system, it aims to provide
the tools and ability to reconnect and
re-value our clothing, fostering the
potential for a more dynamic and less
passive relationship with our clothing and
an increased understanding of the link
between the environmental, social and
cultural impact of clothing production. ↓
11
Handling Collection / Models:
The Textile Toolbox,
Rebecca Earley (UK) ↓
The Great Recovery Period
Table Cards, The Great Recovery (UK)
Unmade (UK)
Upscaling Upcycling Venn,
Emmeline Child (UK)
Sweaver, Josen Landalv
(UK & Sweden) ↓
98
Mindsets
12
Shakespeare Scarf, Nigel Graham
Cheney (Republic of Ireland)
As more artists and designers turn to
waste materials as their starting point,
cultural referencing can draw the
audience in and engage them on many
more levels than the often o-putting
facts about the unsustainability of the
industry. Here, a £4 scarf from TKMaxx
is upcycled to a £200 textile artwork,
in a collection of work that celebrates
William Shakespeare’s death 400 years
ago this year.
‘A fascination with Shakespeare
and the adaptation and reinterpretation
of his text led me to produce a number
of clothing forms that responded
to existing garments. Embellishment
is a wonderful act of dominance over
a surface, whilst simultaneously being
an act of repair. The threads have a life
outside of their integration into the object,
just as Shakespeare’s text has a place in
society outside of the play itself. This scarf
represents 36 hours of hand stitching on
an item rescued from the high street store
TK Maxx. With a tiny hole in the scarf,
it had been reduced down to the bargain
price of £4, become eectively worthless,
and no doubt destined for landll.’ ↓
13
Silence Shirt, Rebecca Earley,
Trash-2-Cash (EU H2020)
Practising collaboration through making,
Trash-2-Cash partners were invited to
co-create an upcycled shirt during
workshop 6, 21 – 22nd November 2016.
For many years now Rebecca has been
using the remanufacturing shirt project,
Top 100 (1999 –), to explore ideas about
sustainable textile design strategy,
education and innovation. The current
focus is on building bridges between
science, industry and academic
researchers towards new models for the
circular fashion textile industry. In the
article ‘A New “T” for Textiles’ (The Design
Journal 2016) Rebecca proposes that
textile designers need to begin to develop
new, mindful approaches to design
practice. Shavasana Shirt (2015/6)
explored yoga practice and co-creation;
this new work extends the question to
silent meditation. Referring to research
that argues that strangers can fall in love
within four minutes by staring into each
other’s eyes – (Kellerman, Lewis and Laird,
1989; Aron et al, 1997) – this exhibit was
co-created by Trash-2-Cash researchers
who gathered together at work after
lunch, silently meditated, stared at each
other in pairs, and then quietly drew each
other’s portraits. The drawings were then
transferred onto a second-hand shirt.
Reections on the eect of the exercise
on the co-creators and the collaboration
will be reported on T2C project blog
trash2cashproject.eu ↓
14
Transitionary Textiles /
Inner Outer Jacket,
Clara Vuletich (Australia)
A hand-quilted and patchwork jacket
and collection of swatches, created as
the nal outcome of a PhD project titled
Transitionary Textiles, funded by MISTRA
Future Fashion. The jacket was inspired
by the Hundred Family Jacket in a textile/
costume museum in China. Using
hand-quilting to create a layered eect
for warmth, comfort and emotional
durability, the jacket oers ‘psychic
protection’ to designers in the transition
to sustainability. Transitions in the textile/
fashion system will occur across multiple
levels of the material: technical; social/
cultural; and individual. At the individual
level, there are inner and outer dimensions
of transitionary change. Designers will
need to be aware of their own and others’
inner dimensions, in order to support
positive change across the textile supply
chain and in local communities. On a
material level, the jacket oers possible
solutions for the combined use of recycled
and virgin materials, using a modular/
patchwork design and quilting techniques
to make upcycling more ecient and
scalable. On a symbolic level, the jacket is
a metaphor for these psychological
change processes. Just as the Hundred
Family Jacket in China was traditionally
made of patchwork pieces to oer
psychic protection to orphans by their
extended family, this jacket represents
the protection and support needed for
transformation of textile/fashion
designers and the design community.
Sustainability requires us to become
‘whole selves’ and this jacket can be
a comforting and protective companion
on that transitionary journey. ↓
15
Reknitting Sampler Jumper,
Amy Twigger Holroyd (UK)
Reknitting Sampler Jumper is a garment
produced as part of Amy’s doctoral
research which demonstrates ve
reknitting treatments: replace edge
section, integral embellish, stitch-hack,
afterthought pocket and cardiganise.
The original item is a mass-produced ne
gauge cashmere jumper, with Amy’s
alterations highlighted through the use
of red yarn. The treatments shown can
be used to alter any existing item
of knitwear, whether hand-knitted or
mass-produced, by independent makers
in the domestic sphere, using knitting
knowledge and skills. Therefore,
it embodies the research discussed in
her paper ‘Shifting Perceptions:
The Reknit Revolution’, presented at the
Circular Transitions conference. ↓
16
Handling Collection / Mindsets:
Frontrunners, Filippa K (Sweden) ↓
Library Jumper, Bridget Harvey (UK)
Latch Tools, Amy Twigger Holroyd (UK) ↓
18
Reverse Forward: 20 Years of
TED Research, a lm by Sophie
Politowicz (UK)
This short lm marks the 2016 anniversary
of 20 years of Textiles Environment Design
research. A creative montage of illustrative
archive footage and interviews, Reverse
Forward highlights key developments
in TED’s history and sets out its aims,
challenges and achievements along the
way. Looking outwards from the nucleus
of design roles concerning sustainability,
the lm focuses on circular models and
mindsets, using ‘the circle’ as a visual
trope to represent the group’s conceptual
processes. Contributors include those
practitioners, academics and teachers
who have been involved with TED.
Reverse Forward describes the impact
of environmental issues relating to textile
production, use and disposal. It outlines
TED’s identity and position within the
current framework of academic research,
looks back to its origins within the
context of UAL and then swings forward
to identify future possibilities for its
networks with education and industry.
Promoting sustainable practice, TED
highlights its commitment to circular
thinking and ever-evolving design
strategies for change. ↓
Film Installation
17
Circle Economy (Netherlands)
Clothes in Motion (UK)
DAFI/ECAP (EU Life Project)
Design World of Cellulose (DWOC),
Aalto Arts (Finland)
Fashion Revolution (Global)
Green Strategy (Sweden)
Mistra Future Fashion (Sweden)
Plan C (Belgium)
Smart Works, (UK)
ReDress (Asia)
Top 100 Project (UK)
Trash-2-Cash (T2C) (EU H2020)
Posters
1110
22
#none: intended collection,
Katharina Buczek
A collection: no gender, no season,
no trends; no inuences of place, time,
or a person; not intended for certain
people; no identity – the absence of
fashion? Using classic pieces – ‘wardrobe
essentials’ – as reference, the collection
presents clothes on male and female
models, dressing ‘the stranger as a
prototype of the citizen‘ with a provocative
understatement. The encoded identity
leads to a unisex wardrobe, anonymous
and stripped-o identity, thus adoptable
by everyone. Passing prefabricated role
models that are presented by the media
as buyable fashion identities. Out of
a love-hate relationship with fashion
and ironical seriousness, without
expiration date. ↓
Student & Graduate Showcase
19
ReDress Asia, Patrycja Guzik (Poland)
The EcoChic Design Award
2015/16 Winner
‘To me sustainable fashion means living
in balance. We need to slow down
consumption and stop creating new, new,
new. We need to change our thinking
around clothes and more designers need
to show consumers that we are able to
make beautiful clothes using old clothes
and damaged textiles.’
For The EcoChic Design Award
2015/16 collection, Patrycja was inspired
by the saying ‘Heaven is a place on
earth’ and she wanted to make clothes
that were a shelter for a heaven-like
space. She combined the upcycling
and reconstruction design techniques
by hand-weaving damaged textiles and
unravelled second-hand garments, which
she sourced from fabric wholesalers and
second-hand shops in Cracow. ↓
20
ReDress Asia, Esther Lui
(Hong Kong), The EcoChic Design
Award 2015/16 Finalist
‘As a designer witnessing our earth’s
resources diminishing and the increasing
amount of textile waste discarded
day-by-day, I’ve become very motivated to
utilise every piece of textile waste into my
creations. It gives me a great sense of
satisfaction to give a new life to previously
discarded textiles.’
For The EcoChic Design Award
2015/16 collection, Esther was inspired
by the Chinese heroine Mulan, who was
known for being strong on the outside
but with a gentle heart. She used the
upcycling design technique with surplus
textiles and clothing labels, which she
sourced from factories in Hong Kong.
21 – 23 University of Applied Sciences
& Arts Hannover (Germany)
21
SALE, Julia Schaak
The collection is challenging fashion as a
linear process of renewal. Garments can
be transformed into various collection
pieces, avoiding pre-consumer waste.
Single styles are made to t dierent body-
types to give the wearer room to perform
their own form of identity, beyond
pre-limited constructs such as age or
gender. By making the garments easily
adaptable, this collection also challenges
the traditional hierarchy between
producer and consumer. The clothes
themselves become circular, without
reserving the power of ownership to
the producing participator of fashion.
The use of natural dyes, easily achieved
with non-industrial equipment transfers
the formerly passive consumer into an
active ‘empowered’ individual. A change
in mindsets is achieved. ↓
24
Giving Surplus a Purpose,
Shirley Mclauchlan (Scotland)
How can we work as a commercial textile
designer in a sustainable manner?
Shirley researches using a creative
philosophy of designing pieces that are
modern family heirlooms – passed from
one generation to another – using only
materials that have already had a rst
life (namely Ayrshire wool blankets).
In July 2015 Shirley had the opportunity
to explore the possibility of transferring
some ‘left over’ textile material from the
IKEA store in Edinburgh into commercial
products. The project is a practical case
study of ‘how to give surplus a purpose’.
During the project Shirley and her
students explored the circular economy
and industrial symbiosis. The surplus had
come to the end of its commercial life,
so without the Edinburgh Textile
Collective’s intervention it would remain
a surplus with zero commercial value. ↓
23
3D Biocomposite, Lisa Rammelkamp
This experiment is challenging the way
clothes are produced by exploring
three-dimensional methods as opposed
to cutting, sewing and knitting. Inspired
by industrial production techniques,
methods of creating garments using two
component biocomposites (polyester/
viscose) were examined. Wrapping
bres around a T-shirt shaped frame,
or drawing bre pulp through shaped
mesh, forms are created and then
baked to fuse. In contrast to traditional
production methods, no waste is
produced. The absence of the ‘traditional’
seams is challenging the designer
to create a variety of new aesthetics
therefore changing and minimising the
design process irrevocably and showing
the potential of industrial materials and
techniques applied to fashion. ↓
a colour recycling approach was
employed (navy and grey) and
subsequently blending the recycled
outcome with small percentages of virgin
bre to produce the nal materials.
Anneka Textiles is the rst in the UK,
and one of the few in the world, that is
producing this form of sustainable
mixed bre material; closing the loop
for the future textile industry. ↓
25
Unexpected Loop, Cathryn Hall (UK)
Ten thousand items of clothing go to
landll every minute. The fast fashion
industry’s current practice of shortening
lead times, increasing volumes, and
cutting costs creates the inevitable
consequence of ravenous resource
consumption and a vast accumulation of
waste. This project looks at the current
mechanical recycling (or shoddy) industry
and proposes an improved system to
upcycle the abundance of garments we
throw away. Looking at knitted items –
problematic due to the mixed bre blends
used consistently in high-street fashion –
this projects demonstrates multiple
blends can be fully recycled back to bre,
re-spun or felted to make high-value
products for a Western market. Studying
the current shoddy industries worldwide,
26
Film: Sustainability and other
stories (2015), Mayya Saliba,
MA Sustainability in Fashion,
ESMOD (Germany)
This collection examines how social
pressure can inuence everyday life in
the context of a globalized and capita listic
world, in an attempt to nd solutions to
fast fashion and sustainability paradox,
opening the way to democratic sustain-
ability. As a case study, with the support
of multiple innovative companies, Mayya
Saliba developed a capsule collection with
a Cradle-to-Cradle concept tackling dier-
ent pillars of circular economy: zero waste,
recyclability, mono-material, compost
ability, by-product and water based prints,
to showcase how sustainable strategies
can become a business strategy. ↓
Curators Rebecca Earley & Kate Goldsworthy
Curatorial Assistant Gabrielle Miller
Creative Collaboration Ella Doran
Exhibition Design Consultant Phil Dolman
Graphic Design Polimekanos
Project Manager Susan Hamilton
Research Assistant Josen Landalv
Photography 4, 14: Phillip Knoll, 5: SOEX
GROUP, 6: Maximilian Probst, 7: Joelle Green,
10: Nikita Brown, 19: ReDress, 21: Patricia
Kühfuss, 22: Pascal Winter, 23: Martina Pötter,
26: Roland Kunos
With thanks to Chelsea College of Arts,
University of the Arts London, Mistra Future
Fashion, AO Textiles, Martina Glomb
and Bea Landsbek, Lucy Norris, Cathryn Hall,
Sophie Politowicz, Kay Politowicz
Credits