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Citation: Carrico, M.; Dragoo, S.L.;
McKinney, E.; Stannard, C.; Moretz,
C.; Rougeaux-Burnes, A. An Inquiry
into Gradable Zero-Waste Apparel
Design. Sustainability 2022,14, 452.
https://doi.org/10.3390/su14010452
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Received: 31 October 2021
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sustainability
Article
An Inquiry into Gradable Zero-Waste Apparel Design
Melanie Carrico 1, * , Sheri L. Dragoo 2, Ellen McKinney 3, Casey Stannard 4, Colleen Moretz 5and
Ashley Rougeaux-Burnes 6
1Department of Consumer, Apparel and Retail Studies, University of North Carolina Greensboro,
Greensboro, NC 27412, USA
2
Department of Human Sciences & Design, Robbins College of Health and Human Sciences, Baylor University,
Waco, TX 76798, USA; Sheri_Dragoo@Baylor.edu
3Department of Apparel, Events and Hospitality Management, Iowa State University, Ames, IA 50011, USA;
emckinne@iastate.edu
4Department of Textiles, Apparel Design and Merchandising, Louisiana State University, Baton Rouge,
LA 70803, USA; stannard@lsu.edu
5Department of Fashion, Dress and Merchandising, West Virginia State University, Morgantown, WV 26506,
USA; colleen.moretz@mail.wvu.edu
6
Apparel Design and Manufacturing, Department of Design, Texas Tech University, Lubbock, TX 79409, USA;
ashley.rougeaux-burnes@ttu.edu
*Correspondence: mrcarric@uncg.edu
Abstract:
The implementation of standardized grading production practices within the mass market
has been challenging for scholars experimenting with zero-waste apparel design. The purpose of
this research was to test the efficacy of the Carrico Zero-waste Banded Grading (CZWBG) technique,
which utilizes bands inserted in strategic locations as a method of grading zero-waste patterns across
various consumer categories. An additional purpose was to evaluate the ways in which this grading
approach affected the aesthetic outcomes of garments across a size run, and to determine whether this
method affected the overall design process of the designers involved. Through experimental research
design, six design scholars successfully tested and incorporated the CZWBG technique in zero-waste
one or two-piece apparel item(s), subsequently developing three sizes in an industry-specified size
range for their product category. Each design was cut from zero-waste patterns in a mid-range size
and graded up and down one–two sizes using an industry-standardized grading scale. The grading
was achieved by varying the widths and lengths of strategically inserted bands of fabric or trim. The
designers utilized various grading methods, textiles, pattern development methods, and size runs,
showing that the CZWBG technique can successfully be applied across multiple consumer categories
in the apparel industry.
Keywords: zero-waste; grading; patternmaking; slow fashion
1. Introduction
Textile waste, due to inefficiencies in the apparel manufacturing process, amasses
over 60 billion square meters of fabric annually [
1
]. This waste is not limited to fabric,
but includes fibers and yarns, dyes and chemicals used in coloration, and increasingly
valuable time, labor, and money invested in processing [
2
]. As the global demand for
apparel products grows, and because resources are commodity driven, the apparel industry
continues to seek methods of sustainability to address this growing global issue. The
exploration of zero-waste design methods has gained traction over the past decade [
3
,
4
]. In
the apparel production process, 15 percent of cut fabric is lost due to patterns and markers
(how the various pattern pieces are laid out on fabric) [
5
,
6
], and most garment markers still
generate significant fabric waste. Zero-waste patterns can eliminate all fabric waste, either
through the use of patterns made from whole cloth, interlocking pattern pieces, or multiple
size or garment pattern layout methods [
6
,
7
]. In addition to the increased time needed
Sustainability 2022,14, 452. https://doi.org/10.3390/su14010452 https://www.mdpi.com/journal/sustainability
Sustainability 2022,14, 452 2 of 21
for the making of zero-waste patterns, generating the designs in a range of sizes creates
challenges in the mass marketability of products [
7
,
8
]. Creating individual markers for
each garment size within identified fabric width constraints is highly inefficient and costly.
Thus, zero-waste designers tend to create one-size-fits-most options, customized one-off
designs, or single-consumer use pattern options for home use, thus limiting mass-market
applicability. Each of these approaches addresses the global carbon footprint challenge [
9
].
Despite the environmental benefits, zero-waste pattern design, as an apparel production
approach, is not without its challenges. An analysis of 64 publicly available zero-waste
patterns revealed the following six key issues: (1) the patterns often only work for one
garment size, (2) the patterns only work for the intended textile width, (3) edge finishes
are not considered in the pattern, (4) the pattern pieces are off-grain, (5) the patterns are
not engineered for mass production, and (6) the patterns have insufficient directions [
10
].
Until an approach is created that streamlines zero-waste into a fully executable, integrative
process in mainstream fashion, environmental and sustainability impacts will be limited [
5
].
While zero-waste pattern design offers meaningful design ownership and sustainable
stewardship at an individual level, currently, it does not support broad-spread sustainable
behavior across mass markets.
However, zero-waste contributes to the larger picture of sustainable practice in the
apparel industry, building on core tenants of the Slow Fashion philosophy defined by
Fletcher [
11
]. Slow Fashion’s foundation, as defined by Fletcher, is grounded in sustainabil-
ity values paired with traditional values, ecosystem preservation, a diversity of sources, and
a responsible approach [
11
]. Freestone and McGoldrick further expanded Fletcher’s defi-
nition, adding the tenant of ethical choices made by consumers [
12
]. Furthermore, Stefko
and Steffek (2018) noted that Slow Fashion (SF)’s boundaries have not been clearly defined
within academic environments [
13
]. In the pursuit of the characterization of sustainable
practice through the definition of Slow Fashion, they presented a fashion matrix framework
that evaluates Slow Fashion across eight areas of product characteristics within six key
fashion segments, including the Mass Market segment. The authors note the exclusion of
the sustainability factor from the fashion matrix, as it “presents an indisputable landmark
cornerstone of Slow Fashion and the Slow Movement in general.” This characterization
of slow fashion reinforces the notion that sustainable practices such as zero-waste design
fit within the philosophical model of Slow Fashion and have not gained momentum in
the mass market due to the limitations of standardized production practices. However,
if the production barriers to zero-waste applications in a mass-market structure could be
broken, the sustainability benefits could be far-reaching globally and highly impactful.
Thus, the challenge for design scholars over the past decade has been to examine the pro-
cess of zero-waste design and its application to and opportunities within a ready-to-wear,
contemporary apparel industry.
Design scholar Carrico [
14
,
15
], after years of exploration, developed a plausible
method of resizing garments made from zero-waste patterns without making changes
to the original pattern shapes and thus, the marker. In traditional apparel production,
garment patterns are made in a single size and then systematically altered at key loca-
tions to create a range of sizes in a process called grading [
16
]. In Carrico’s technique,
grading is accomplished through carefully planned seam placements with varying widths
of banded trims inserted. These bands grow or shrink in width, effectively sizing the
garment up or down, utilizing apparel industry grading metrics, to create multiple sizes
of a garment. Through the application of this technique to several prototypes, Carrico
fine-tuned the approach across a range of women’s separate garments and fit styles in her
own research. In order to further evaluate the application of the Carrico Zero-waste Banded
Grading (CZWBG) [
14
,
17
], design scholars were invited to select one of six different gar-
ment categories (athletic wear [
18
], menswear [
19
], children’s wear [
20
], eveningwear [
21
],
outerwear [22], and loungewear) and create a gradable zero-waste design.
The purpose of this research was to test the effectiveness of the CZWBG technique,
utilizing the insertion of bands at strategic locations, as a method of grading zero-waste
Sustainability 2022,14, 452 3 of 21
patterns across multiple consumer categories. A further purpose was to determine the
ways in which this grading approach affected the aesthetic outcomes of garments across a
size run, and to determine whether this method affected the overall design process of the
designers involved.
1.1. Contextual Review
In research through practice, “a contextual review is similar to a literature review
but extends more broadly to include a critique of other media, interviews, exhibits, and
artifacts” [
23
] (p. 214). Thus, we discuss not only previous scholarship of zero-waste
fashion design but also the context of standard apparel manufacturing processes and what
is available on the market. This review provides a holistic understanding of the problem in
context, allowing for solutions that are more meaningful.
1.1.1. Grading in the Apparel Manufacturing Process
Apparel products are designed and manufactured for a range of customer categories
and product types [
24
]. Garments must be produced in sizes to fit most customers within
each market category [
24
]. The process of generating garment patterns in a range of sizes
from an original is called grading [
25
]. Typically, the garment sample is produced in a
size in the middle of the range, and then incrementally graded into larger and smaller
sizes [
16
]. Thus, a new set of pattern pieces is created for each size in which the garment
will be produced.
The individual pattern pieces are not simply enlarged or reduced a uniform percentage
from the original to resize. Instead, the pattern pieces grow systemically to accommodate
standard body sizes, which have greater variances in girth than height. For example, the
bust circumference for a standard female customer may increase 3.8 cm between two sizes,
but the length from shoulder to waist may only increase 0.6 cm. Additionally, while bust,
waist, and hip girths tend to increase and decrease by uniform amounts between sizes, the
neck, arm, thigh, and other girths all scale at different rates from the former. Therefore,
all of the pattern pieces used to construct a garment must be analyzed before grading to
determine where the pieces will grow, if they grow at all, in order to maintain the proper
fit for each size while also preserving the silhouette and style lines of the garment [
16
]. A
simple method of grading a bodice pattern is to slash the pattern along the lines illustrated
in Figure 1. The cut lines can then be overlapped specific amounts for smaller sizes and
spread out for larger sizes.
Figure 1. Illustration of the slash lines for grading.
1.1.2. Scholarship of Zero-Waste Patternmaking
Several exhibitions focusing on zero-waste designs have been mounted in recent
years to support and promote the practice, including YIELD in the United States and New
Zealand [
1
], Zero-Waste: Fashion Re-patterned in the United States [
14
], and Make/Use
in New Zealand [
15
]. In addition, at the design exhibition during the annual conference
Sustainability 2022,14, 452 4 of 21
for the International Textile and Apparel Association, the number of professional, sustain-
able designs being made with zero-waste methods steadily increased between 2012 and
2016; in 2016, 34% of sustainability-themed pieces were zero-waste or produced minimal
waste [26].
1.1.3. Apparel Mass Production with Zero-Waste Patternmaking
While zero-waste has become a popular way for some fashion designers to integrate
sustainability into their work, the overwhelming majority of the apparel sold today is not
made with zero-waste patterns. Few designers have bridged the gap between creating a
single zero-waste garment (as shown in an exhibition) and marketing multiple designs in
the ready-to-wear market. Tara St. James is one designer who is well known for sustainable
practices with her label, Study NY, and she advertises some of her pieces as zero-waste.
While her zero-waste Kimono Dress is available in two sizes (XS/S and M/L), her Square
1 dress is sold as a “one size fits most” garment [
27
]. Yeohlee is another brand with select
items that are zero-waste; in fact, the Fall 2015 collection offered a zero-waste pant, jacket,
and skirt in a size range from 2–12. The same collection also featured a zero-waste rain
coat, which was only one-size-fits-all [
28
]. A one-size-fits-all garment may be feasible for a
small number of apparel items, and may suit some consumers. However, in order to fully
assimilate a sustainable practice like zero-waste into today’s fashion markets, zero-waste
garments will need to resemble current apparel assortments in the ready-to-wear category,
which includes being available in a range of sizes [9].
Cut and sew fashion production uses standard fabric widths, and a designer must work
within those widths. Traditional garment grading methods, then, would not work within
a zero-waste pattern layout because there is no negative space available for expansion to
larger sizes, nor is there allowance for reduction to smaller sizes. Because “it is not possible
to grade a zero-waste garment in a conventional manner if the intention is that all sizes
are zero-waste” [
29
], p. 137, designers must explore other ways to offer a range of sizes for
zero-waste garments.
Strategies for offering sizes of zero-waste garments beyond the one-size-fits-all ap-
proach include working with different fabric widths for each size, redesigning a pattern
for each size, and applying traditional grading techniques to the patterns, followed by
rearranging the layout [
29
]. Additionally, the patterns for different garments and sizes can
be combined in one marker to utilize all of the fabric. Holly McQuillan designed a top in
sizes small, medium, and large that is cut zero-waste when the small patterns are placed in
the marker alongside the large patterns [
30
]. The resulting tops are the same length, which
is a diversion from conventional pattern grading rules. The zero-waste “woodgrain” dress
by the Australian brand Material By Product was produced in a range of sizes by altering
the amount of fullness consumed in its pleats and folds. In reference to the difference in
fullness between sizes, the designer, Susan Dimasi, states, “no two sizes are the same” [
31
]
(8:42). While these designers kept the general aesthetic features constant in the graded
garments, they did not strictly adhere to conventional grading rules for length or fullness
proportions. Further research is needed to develop apparel-industry-ready solutions to the
problem of creating zero-waste garments in a range of sizes.
1.1.4. Slow Fashion and Zero-Waste
While not all slow fashion is zero-waste, the reduction of textile waste is a principle of
the slow fashion movement [
32
]. Slow fashion is democratized [
11
] for consumers and those
who create and produce it. Creating garments by a zero-waste pattern cutting methods
removes apparel industry hierarchies and requires significant collaboration between the
designer and patternmaker. This is a deviation from the traditional structure in apparel
manufacturing, in which designers dictate the look to the patternmakers [
6
,
29
]. Slow
fashion emphasizes sharing and transparency [
33
], especially related to the provenance
of materials used and labor hired for garment creation. Zero-waste, too, has a practice of
sharing; it is common for designers to share copies of their pattern layouts for zero-waste
Sustainability 2022,14, 452 5 of 21
garments. Traditional garment manufacturers generally do not make such proprietary
knowledge public. A final common thread that runs through both slow fashion and zero-
waste is one of time. Zero-waste pattern cutting takes considerably more time to execute
than most ready-to-wear apparel [
8
]. Similarly, slow fashion demands that designers not to
be rushed and be able to plan well [34].
1.2. CZWBG Origins
When designing the Boho Blouse, Carrico first realized the potential for the creation of
a zero-waste pattern that could create garments in a range of sizes [
17
]. The blouse design
did not start with that goal, but the idea emerged as the design progressed. The plan for
the Boho Blouse was a billowy, peasant-style top with lace inserts. Employing “inquiry
derived from practice” [
23
] (p. 214), Carrico knew from experience creating zero-waste
patterns that simple straight-edged geometric shapes interlock better in the pattern layout
than do shapes with concave and convex curves. Therefore, she began the design of the
blouse by draping rectangles and squares of muslin on the dress form. Similar experiences
lead to approaching the sleeve more like a raglan sleeve than a set-in sleeve based on how
the pattern shapes would relate in the marker. The front bodice pieces needed a vertical
division but additional width to maintain a zero-waste layout; thus, flat lace inserted
between them provided the necessary increase in width across the bodice. For design
cohesiveness, more flat lace was added to other parts of the blouse. The placement of
the lace pieces brought to mind the lines in Figure 1used for the grading of patterns, as
the locations of the lace inserts were places where the garment size could be reduced or
enlarged. Carrico theorized that by changing the widths of the lace trim, the blouse could
be made in varied sizes without changing the original pattern shapes. Further analysis of
the design upon completion proved this line of inquiry to be correct.
After completing the blouse, Carrico tested the design approach to see if inserted trims
could be used for size changes on other zero-waste garments. The method was applied to a
skirt, pants, and a fitted top [
15
]. The skirt is a straight silhouette with diagonal seams and
an elastic waist. Similarly, the pants have diagonal seams that spiral around the leg. Then,
the method was tested on a zero-waste sleeveless top with a fitted midriff. The top has
vertical princess seams at the midriff, along with side seams. The amount of change in size
was predictable due to the vertical seams. However, the change in size was also uniform
for the waist and midriff’s top and bottom edges. Because the front bust pattern piece is on
the bias, it could be manipulated to fit the range of sizes from 4 to 8. The top is limited in
size ranges without modifying the shape of the bra/bust pattern piece. Further testing the
method, Carrico created a different skirt and blouse in which “the pattern shapes remain
constant across the size range while different garment sizes are achieved by varying the
width of the narrow trims inserted at strategic points” [14] (p. 1).
2. Research through Practice: Multi-Category Testing Methodology
Six design scholars (called designers for the remainder of this work) used an ex-
perimental research design to evaluate the feasibility of the CZWBG method across six
contemporary apparel categories. The designers were asked to test the applicability of
Carrico’s method by creating a one- or two-piece apparel item(s) using a zero-waste pattern
method and applying the CZWBG grading method to create three sizes in an industry
specified size range for their product category. Each design was patterned in a mid-range
size and graded up and down one–two industry standardized sizes using the CZWBG
method. The designers were asked to document and evaluate the steps in the process, and
to conduct final product evaluations of the fit and aesthetic review.
In an initial research meeting, the designers selected from the following categories
based on their design expertise and background: childrenswear, menswear, outerwear,
lingerie/loungewear, plus size, evening/cocktail, and athletic wear. Discussions about
experience in zero-waste, the desired product category, and the agreed-upon parameters
were conducted. Carrico presented a summary of prior work using the CZWBG method
Sustainability 2022,14, 452 6 of 21
and her successful approaches. Guidelines were presented and agreed on, including details
of grainline use, fabric guidelines, patternmaking approaches, the use of selvedges, and the
design process.
A multi-page Research Process Documentation form (Appendix A) was created and
distributed to the members. The pages included (a) Process Documentation, (b) Design
Specifications, and (c) the Zero-waste End Product and Process Evaluation and Narrative.
The Lamb and Kallal FEA six-step model [
35
] was used as a framework for the design
process. The Process Documentation page of the form required the design scholars to
document the dates, time spent, time period, project goals, achievements, challenges, and
photos for each work period. Early in the design process, the designers were asked to
complete the Design Specification page of the form documenting the apparel category,
fabric(s) to be used for self, band and combo, size range, mid-size choice, extended sizes,
and fit (fitted, moderate fit, or loose fit) of the garment.
The guidelines for the design process were fairly broad in order to allow the designers
to utilize their own approach to design. The designers could utilize manual flat patterns,
computer-aided patternmaking, draping, or 3D modeling to complete their design pro-
totypes. Additionally, the markers for the zero-waste design could be hand drafted or
computer generated. The designers could work from half scale and transition to full scale as
desired, or begin in full scale. The requested guidelines required that the designers (1) create
one mid-range sized zero-waste pattern for their chosen product category; (2) accomplish
grading through the use of inserted bands for each garment size produced, where the
band width varied and expanded at different rates; (3) work with bands on the straight of
grain or bias where the bands could cross each other in the design; (4) execute the garment
in a base size and at least one larger and one smaller size (a total of three sizes); (5) use
mass production techniques for apparel construction; (6) select the fabric and fabric width
determined by appropriateness for the product category; and (7) use all selvages if possible.
The designers were reminded that manufacturability at a mass level was the goal to keep
in mind.
Periodic virtual meetings of the group were held for updates, process alignment,
discussions, and trouble-shooting. Time frames were created to keep the scholars on pace,
and the designers were encouraged to submit their work to an international exhibition
and competition. Upon the completion of the three zero-waste garments, the designers
were asked to submit their Research Process Documentation form (Appendix A) with
photographs.
Following the design process, the six designers met virtually to discuss their outcomes,
the gradable zero-waste design process, and the resulting research project. At this meeting,
it was determined that an additional Process Assessment form (Appendix B) should
be completed by each designer in order to accurately capture their thoughts related to
the outcomes of the research. The assessment form was used to collect data on what
worked well and what did not through the stages of (1) Conceptualization, (2) Preliminary
Design/Patternmaking/Draping, (3) Implementation/Construction, and (4) Evaluation.
The designers were asked to assess the fit, function, and aesthetics of their resulting
garments. Feedback was gathered on the challenges and strategies for the documentation
process; perceived issues with taking the design to the mass production stage at the various
levels of fabrication, patternmaking, cutting, assembly, and cost; and the aesthetic review
of the final garment across all of the constructed sizes. A compilation of all of the datasets
was completed, and a final summary of feasibility was drawn. The results are presented
below.
3. Results
3.1. Demographics
Six academic designers participated in the research project. The designers had a
range of experience in academic design ranging from 6 years to 25 years (an average
of 15 years). The six designers teach apparel design courses and actively participate in
Sustainability 2022,14, 452 7 of 21
peer-review apparel design exhibitions. Six different categories of apparel (menswear,
childrenswear, outerwear, athleisure, cocktail/eveningwear, and loungewear) were chosen
by the designers to represent a wide range of possible consumer applications for this
approach. A range of fabrics was chosen based on the target consumer groups; they appear
below (see Table 1).
Table 1. Design outcomes information.
Designer Consumer Category Fabrication
Industry Size
Standard
Referenced
Sizes
constructed Band Grain
Designer One Athleisure 95% Polyester/ 5%
Spandex Double knit
Moore, Mullet, &
Young, (2015) S, M, L 1Straight of Grain
and Cross Grain
Designer Two Menswear 100% linen plain weave Hanford (2003) M, LG, XL Straight of Grain
Designer Three Childrenswear
100% cotton plain weave
Hanford (2003) 3, 5, 6x Straight of Grain
Designer Four Cocktail/eveningwear
100% Polyester Satin;
100% Nylon
embroidered lace
Mullet (2015) 4, 8, 12 Straight of Grain
Designer Five Outerwear 100% cotton canvas Mullet (2015) 6, 10, 14 Straight of Grain
and Bias
Designer Six Loungewear 100% silk taffeta, 100%
nylon lace Mullet (2015) 4, 6, 8 Straight of Grain
1Sizes XS and XL were tested on virtual models.
The results were compiled from two major sources of data: self-reported Research
Process Documentation forms (Appendix A) and Process Assessment forms (Appendix B).
The design process forms were completed by each designer while working through their
creative process. The assessments were completed following the completion of the gradable
zero-waste design activities. Each designer reflected on their outcomes and recorded them.
3.2. Self-Reported Design Process
Overall, the designers spent most of their time in Stage 4: Prototype Development
(an average of 24.208 h spent). The Problem Identification stage was the least frequently
documented by the designers (an average of 1.667 h spent). The average amount of time
spent completing the design project was 49.625 h (see Table 2).
Table 2. Time spent (hours) per design stage.
Designer
Stage 1
Problem
ID
Stage 2
Preliminary
Ideas
Stage 3
Design
Refinement
Stage 4
Prototype
Development
Stage 5
Evaluation
Stage 6
Implemen-
tation
Total
Designer One 3.5 1.5 5 35 7 17 69
Designer Two 1.5 3.5 5.75 12 10 8.5 41.25
Designer Three 2.5 1.25 1 27 0.5 0 32.25
Designer Four 0 3 10.5 34.5 0 0 48
Designer Five 1.5 2 32.5 26.5 0 19.5 82
Designer Six 1 1 13 10.25 0 0 25.25
Average Time Spent 1.667 2.042 11.292 24.208 2.917 7.5 49.625
3.2.1. Conceptualizing the Project
When approaching the gradable zero-waste project, many designers chose to begin
their process with research. For instance, Designer Five started with “a lot of research
about zero-waste patterns . . . . I looked at the actual pattern layouts to see what shapes
were common and how designers were dealing with areas of the pattern that are typically
curved.” Looking at the markers of other successful zero-waste designs was a common
Sustainability 2022,14, 452 8 of 21
strategy of the designers. Two designers created designs from shapes that would be easier
to use in a zero-waste marker, Designer Six used diamond shapes, and Designer Four
focused on rectangles. Multiple designers also mentioned that they visualized the specific
pattern shapes that might cause issues in a marker early on. Crotches, hoods, and armscyes
were mentioned as challenging pattern shapes that would have to be addressed while
creating the zero-waste marker. A few of the designers also specifically researched classic
styles or consumer needs for their specific apparel categories.
Other major considerations when approaching this project were the grading and where
to place bands. Considering the possible placement of the bands before designing was
a consideration made by all of the designers. For example, Designer Four stated that “I
was able to get a design envisioned based on where the grading bands naturally lay on
the body—I’ve always thought these were placed in an aesthetically pleasing manner, so I
wanted to highlight this with my design.”
The designers detailed various conceptual challenges with their projects. Some felt
that their categories did not lend themselves to the grading band method, i.e., “There is not
a ‘good place’ to add in the bands for many styles without visually ruining the garment
style and aesthetics” (Designer Three). Others described a trial and error process when
determining how to create the zero-waste marker.
3.2.2. Preliminary Designs
Either a flat pattern or draping was used to generate the initial garments. The designers
then created possible zero-waste markers with the initial pattern pieces and adjusted the
pattern shapes or added new design elements (such as pockets or bows) when unused
areas presented themselves on the marker. As part of this process, some of the designers
created small-scale paper patterns to test their design concepts as they evolved. Designer
One said, “I did go back and forth [between working on the computer and working] with
printed small scale pattern pieces initially which satisfied my need to touch and feel the
patterns, plus it helped to lay them out and look at ways the pieces could be placed.” In
contrast to this approach, one designer relied on diamond-shaped pieces that fit in the
zero-waste marker, and then draped those on a dress form to fit the body.
Another major consideration when working on the preliminary design ideas was
the grading bands. The designers described having to think through not only the initial
garments but also how the graded sizes would be accomplished. Designer Three stated,
“Using the band-insertion method of grading requires more in-depth knowledge of grading
than typically required of designers. Grading must be considered at the initial concept
phase.”
The fabric selection posed yet another set of possible issues for the designers. The
fabrics had to be selected early in the design process to create the zero-waste marker. One
designer exclaimed, “First, I designed the whole thing for 45” wide fabric, but I couldn’t
find 45” wide fabric, so I had to redo the layout for 58” wide” (Designer Four). Another
designer said that the “grainline of the ZW pattern pieces should stay consistent if there
are any nap, pattern, or nuance issues with the fabric” (Designer Two).
The selection of the band material was of equal concern. The designers considered
drape compatibility when selecting the band material. Designer One stated “I think the
use of the same fabric with two tones was beneficial, not just for aesthetics but also for
fit and sewing because it was sewing like materials together—They agreed in stretch and
drape.” Designer Two also noted of the band material that “The most critical is alignment
of weight and fabric structure to the self [primary] fabric.” The outerwear and loungewear
looks did present challenges with the band materials. “After my first half-scale muslin, I
discovered I needed to replace my collar, cuffs, and hem band with rib knit. This allowed
these pattern pieces to adjust to the new width of the jacket bodice” stated Designer Five,
whose final jacket used three different materials for the bands. The choice of a rib knit at the
collar, cuffs and hem was appropriate for the bomber-style jacket. Additionally, Designer
Five chose to cut a portion of their bands on the bias grain in order to allow for stretch
Sustainability 2022,14, 452 9 of 21
when attaching the bands to the curved princess seams of the jacket. All of the bands from
this textile were also cut on a bias for consistency and to eliminate waste. However, the
drape of the garment was not affected negatively by the change in the grainline due to the
finishing technique used on the inside of the garment; each band is backed in another band,
creating stability. Designer Six did experience a slight difficulty when joining the lace to the
silk taffeta in the loungewear, and decided “Strips of illusion sewn in first before applying
the lace would make the lace application easier, but add cost and time to the garment”
(Designer Six).
3.2.3. Implementation
The first muslins revealed issues that had to be solved, such as requirements for addi-
tional grading bands, the order of the sewing operation requirements, aesthetic elements
that were unsuccessful, and the need for precision sewing. The designers were able to
address these issues and move to the creation of their final design prototypes. When
creating the prototypes, Designer Three remarked, “Because the main fabric marker was
the same for all three sizes, I could layer the fabric and cut these three different sizes with
the same cutting stroke. Layered cutting of different sizes was more efficient and would
not be possible with a regular multi-size marker.” The results of Designer Three’s layered
cutting are shown in Figure 2.
Figure 2. Side and back views of the child’s dress, executed in three sizes.
Other designers commented that the sewing was fairly simple. Two designers noted
that while the sewing was straightforward, the order of operations was highly specific for
these garments, and did cause some issues. Designer Two stated, “Because of the number
of inserted bands and intersecting and matching seams, construction order was critical.”
Additionally, the designers found that given the number of seams with the inserted bands,
precision in sewing was an absolute requirement. Designer Four commented, “I had to
spend a ton of time making sure all my lines were exact and perfect.” Figure 3shows three
sizes of the dress achieved by Designer Four. Other designers noted that in some cases,
varying seam allowances had to be employed in order for each size to fit properly. Designer
Six stated, “I had to make the SAs smaller on several of the pieces. The seam allowances
are not consistent across the entire garment.” The flat drawings and garment photos of
the implemented designs are presented in Table 3. The zero-waste pattern layouts are
shown in Table 4. The pattern pieces are color coded to show their alignment with the
corresponding garment parts. Notice that the markers shown in Table 4do not include
Sustainability 2022,14, 452 10 of 21
bands, as they do not remain constant across sizes. The designers cut the bands from fabric
or used pre-existing narrow trim such as lace. As noted in Table 1, the grain direction of
the rectangular bands varied.
Figure 3. Front views of cocktail/eveningwear dress prototypes in three sizes.
Table 3. Photos of the completed designs and garment flats.
Designer and Category Front View and Back View Flat Drawing with Gray Indicating Band Locations
Designer One,
Athletic wear
Sustainability 2022, 14, x FOR PEER REVIEW 10 of 23
varying seam allowances had to be employed in order for each size to fit properly. De-
signer Six stated, “I had to make the SAs smaller on several of the pieces. The seam allow-
ances are not consistent across the entire garment.” The flat drawings and garment photos
of the implemented designs are presented in Table 3. The zero-waste pattern layouts are
shown in Table 4. The pattern pieces are color coded to show their alignment with the
corresponding garment parts. Notice that the markers shown in Table 4 do not include
bands, as they do not remain constant across sizes. The designers cut the bands from fabric
or used pre-existing narrow trim such as lace. As noted in Table 1, the grain direction of
the rectangular bands varied.
Figure 3. Front views of cocktail / eveningwear dress prototypes in three sizes.
Table 3. Photos of the completed designs and garment flats.
Designer
and Cate-
gory
Front View and Back View Flat Drawing with Gray Indicat-
ing Band Locations
Designer
One,
Athletic
wear
Sustainability 2022,14, 452 11 of 21
Table 3. Cont.
Designer and Category Front View and Back View Flat Drawing with Gray Indicating Band Locations
Designer Three
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Designer
Two
Designer
Three
Designer
Four
Designer Four
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Designer
Two
Designer
Three
Designer
Four
Designer Five
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Designer
Five
Designer
Six
Table 4. Color-coded flats and corresponding pattern layouts.
Designer Flats and patterns1.
Designer
One
Designer Six
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Designer
Five
Designer
Six
Table 4. Color-coded flats and corresponding pattern layouts.
Designer Flats and patterns1.
Designer
One
Sustainability 2022,14, 452 12 of 21
Table 4. Color-coded flats and corresponding pattern layouts.
Designer Flats and Patterns 1
Designer One
Sustainability 2022, 14, x FOR PEER REVIEW 12 of 23
Designer
Five
Designer
Six
Table 4. Color-coded flats and corresponding pattern layouts.
Designer Flats and patterns1.
Designer
One
Designer Two
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Designer
Two
Designer
Three
Designer
Four
Designer Three
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Designer
Two
Designer
Three
Designer
Four
Designer Four
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Designer
Two
Designer
Three
Designer
Four
Sustainability 2022,14, 452 13 of 21
Table 4. Cont.
Designer Flats and Patterns 1
Designer Five
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Designer
Five
Designer
Six
1 All patterns shown with straight of grain vertically oriented.
In order to further demonstrate the grading method with one example from the
study, Designer One created Tables 5 and 6 below. The tables show the hip circumferences
for the top and skort she created. When determining the amount of grade necessary be-
tween sizes, the designer referenced existing grade rules, as well as size charts [16]. With-
out any bands, the hip circumference of the top was 91.44 cm. Designer One determined
that one band placement would need to be at the side seam in order to allow for armhole
and sleeve growth. Additional bands were placed near traditional princess seam locations
because the zero-waste pattern accommodated their placement well. Because chest and
hip circumferences grade similarly, all of the vertical bands were the same width within
a size. Thus, six bands around the body of the top evenly distributed the necessary grade
between each size. Figure 4 shows virtual renderings of the left side views for sizes XS
and XL, where band placement can be viewed. Because the skort had compression while
the top did not, the hip grade of the skort differed. Without bands, the skort pattern meas-
ured 77.72 cm at the hip. In order to achieve the desired 80.26 cm for size XS, Designer
One inserted four bands, each measuring 0.635 cm wide. The decision to split each side of
the skort to insert two bands was made to allow for a consistent pocket construction and
appearance. Of course, other bands were used in the garments to achieve other grades
between sizes. For example, the hood center band widens as the neck grows (due to diag-
onal armhole bands), and the hood band grows in length to allow for modest growth in
the center back length of the top.
Designer Six
Sustainability 2022, 14, x FOR PEER REVIEW 14 of 23
Designer
Five
Designer
Six
1 All patterns shown with straight of grain vertically oriented.
In order to further demonstrate the grading method with one example from the
study, Designer One created Tables 5 and 6 below. The tables show the hip circumferences
for the top and skort she created. When determining the amount of grade necessary be-
tween sizes, the designer referenced existing grade rules, as well as size charts [16]. With-
out any bands, the hip circumference of the top was 91.44 cm. Designer One determined
that one band placement would need to be at the side seam in order to allow for armhole
and sleeve growth. Additional bands were placed near traditional princess seam locations
because the zero-waste pattern accommodated their placement well. Because chest and
hip circumferences grade similarly, all of the vertical bands were the same width within
a size. Thus, six bands around the body of the top evenly distributed the necessary grade
between each size. Figure 4 shows virtual renderings of the left side views for sizes XS
and XL, where band placement can be viewed. Because the skort had compression while
the top did not, the hip grade of the skort differed. Without bands, the skort pattern meas-
ured 77.72 cm at the hip. In order to achieve the desired 80.26 cm for size XS, Designer
One inserted four bands, each measuring 0.635 cm wide. The decision to split each side of
the skort to insert two bands was made to allow for a consistent pocket construction and
appearance. Of course, other bands were used in the garments to achieve other grades
between sizes. For example, the hood center band widens as the neck grows (due to diag-
onal armhole bands), and the hood band grows in length to allow for modest growth in
the center back length of the top.
1All patterns shown with straight of grain vertically oriented.
In order to further demonstrate the grading method with one example from the study,
Designer One created Tables 5and 6below. The tables show the hip circumferences for
the top and skort she created. When determining the amount of grade necessary between
sizes, the designer referenced existing grade rules, as well as size charts [
16
]. Without
any bands, the hip circumference of the top was 91.44 cm. Designer One determined that
one band placement would need to be at the side seam in order to allow for armhole and
sleeve growth. Additional bands were placed near traditional princess seam locations
because the zero-waste pattern accommodated their placement well. Because chest and hip
circumferences grade similarly, all of the vertical bands were the same width within a size.
Thus, six bands around the body of the top evenly distributed the necessary grade between
each size. Figure 4shows virtual renderings of the left side views for sizes XS and XL,
where band placement can be viewed. Because the skort had compression while the top did
not, the hip grade of the skort differed. Without bands, the skort pattern measured 77.72 cm
at the hip. In order to achieve the desired 80.26 cm for size XS, Designer One inserted four
bands, each measuring 0.635 cm wide. The decision to split each side of the skort to insert
two bands was made to allow for a consistent pocket construction and appearance. Of
course, other bands were used in the garments to achieve other grades between sizes. For
example, the hood center band widens as the neck grows (due to diagonal armhole bands),
and the hood band grows in length to allow for modest growth in the center back length of
the top.
Sustainability 2022,14, 452 14 of 21
Table 5. Hem circumference for Designer One’s top. All of the measurements are in centimeters.
Size of Top Grading/Growth
Needed
Number of
Bands
Width of
Bands in
Hem Circumference
for the Top
Pattern without
bands 91.44
XS 3.81 6 0.635 95.25
S 8.38 6 1.397 99.82
M 13.41 6 2.24 104.85
L 21.03 6 3.50 112.47
XL 28.65 6 4.78 120.09
Table 6. Hip circumference for Designer One’s skort. All of the measurements are in centimeters.
Size of Skort Grading/Growth
Needed
Number of
Bands
Width of
Bands
Hip Circumference
for the Skort
Pattern without
bands 77.72
XS 2.54 4 0.635 80.26
S 5.08 4 1.27 82.80
M 10.16 4 2.54 87.88
L 17.78 4 4.45 95.50
XL 27.94 4 6.985 105.66
Figure 4.
Sizes XS and XL for Designer One’s athleisure wear, left side view. The tops are shown
without sleeves for a better side view. The skort is shown without its skirt and pockets.
3.2.4. Evaluation
Overall, the designers were happy with their resulting work. Many of the garments
had a fit that “does not look like a typical zero-waste garment that usually does not have a
close fit to the body” (Designer Five), making the garment more marketable and successful
according to the designers. Three designers specifically commented that they felt their
garments were aesthetically superior to typical zero-waste designs because a close fit was
achieved.
Sustainability 2022,14, 452 15 of 21
When considering the band grading method, many of the designers felt it was success-
ful. Designer Three commented that the use of bias bands on her design provided “some
‘give’ in the circumference of the dress”, making it easier for the target consumer to don and
doff the garment. Each designer fully acknowledged that the band grading method would
create differences in the aesthetics for the three different sized garments. As Designer Three
stated, “The aesthetics of each sample was pleasing; however, their proportions did differ.”
Designer Six was the only designer who utilized lace for her bands. She pointed out that
sourcing multiple different widths of lace to create each size could be tricky.
Some of the designers felt that one of their graded sizes was less aesthetically successful.
For instance, “In the smallest size, I do not like the size difference between the bands. The
vertical bands are much narrower and look ‘wimpy’ to me” (Designer Five). Figure 5shows
three jackets by Designer Five, executed in different sizes.
Figure 5.
Back views of the jacket by Designer Five. Note that black bands were utilized in the
shoulder area of the size 10 garment.
There were some drawbacks to this method. Some of the designers discussed the
limitations that would be encountered when using this method. For instance, creating more
than five sizes in a run would most likely result in less aesthetically pleasing garments, as
the bands would be too large or small proportionally. Designer Six utilized diagonal grade
lines, and worried that, “The diagonal lines added not only girth but also length to the
design as the sizes would increase, the result could be a garment that would be too long,
and the portions would be thrown off.”
It was common among the resulting graded garments that small alterations had to be
made to create the final design across the three sizes. For instance, one designer had to vary
the depth of the sleeve cap pleats between the sizes to accommodate the growth. Another
created a gathered skirt that did not feature any grading bands; thus, it was slightly less
full in the largest size. The seam allowances were also sometimes varied across the sizes.
While these slight changes did affect the aesthetics, the designers felt that changes between
sizes were acceptable.
A few designers also commented on whether consumers would accept the aesthetic
changes occurring when using this method in a size run. Designer One mused,
I do wonder how much consumers would notice in a store/shopping situation. I
could see if one was shopping online and only saw a small garment image and
ordered a large how they might notice the band width difference, but if someone
is grabbing the garment off a rack in the store, would they notice the difference in
band widths across the sizes? If they noticed, would that bother them?
Sustainability 2022,14, 452 16 of 21
Designer Two determined that it “may take clarifying and marketing approaches to
educate the consumer.”
3.3. Documentation Process
As part of the research, each designer was asked to document their design process
carefully. Some of the more successful documentation strategies were the photographing of
each step of the work and automatically dropping the files into a digital folder. The photos
were time and date-stamped, allowing the designers to easily return and calculate how
much time was spent on each stage of the work. Designer Three used the Capture App
because it “saves the date and time, so it is easy to keep track of the order and time used for
steps.” Other successful tips were to write down the information at the end of each design
session before the details could be forgotten.
Some of the drawbacks related to the documentation process related to remembering
what had been done. Additionally, two of the designers commented that documenting
disrupted the flow. Designer One stated, “It is just hard to stop and record one’s thoughts
while working. Once I’m in the flow of problem-solving, I just need to stay in that mode
and not pause to document.” It would be beneficial to find a method of documentation that
would not disrupt flow while allowing designers to capture their thoughts.
4. Discussion
The goal of this research was to test the Carrico Zero-waste Banded Grading technique,
which utilizes bands inserted in strategic locations as a method of grading zero-waste pat-
terns across various consumer categories. The participating designers created six zero-waste
garments in various consumer categories, and utilized CZWBG to grade two additional
garments from the initial size. All six designers successfully created a gradable zero-waste
garment which was appropriate for their chosen consumer and product category. Addi-
tionally, all six designers reported that they felt the CZWBG was a successful method for
grading zero-waste garments. This was a significant achievement, as the designers utilized
various grading methods, textiles, pattern development methods, and size runs, showing
that the CZWBG technique can successfully be applied across multiple consumer categories
in the apparel industry.
Past literature has expressed concerns about making zero-waste design common
practice in the apparel industry. A major concern has been the execution of designs in
multiple sizes [
7
,
8
]. As research has shown, when zero-waste patterns are graded using
traditional methods, they no longer interlock, resulting in overlaps [
15
]. This project
addresses these concerns by utilizing a standard zero-waste pattern layout for all sizes, and
by allowing grading with inserted bands.
Previous work utilizing the band grading method for zero-waste garments was limited
to women’s ready-to-wear garments [
14
,
15
,
17
]. Through our results, we have extended the
research to show that the CZWBG method applies to various customer categories.
4.1. Effect on the Aesthetic Outcome
Overall, the designers were satisfied with their garment’s aesthetic outcomes. Most of
the designers attributed their satisfaction to the ability to achieve a closer fit than traditional
zero-waste garments. Band insertion significantly increased the number of seams necessary
in the garment design, which could be distracting to the viewer’s eye. However, some
designers relieved this distraction by cutting the chosen inserts from self-fabric, allowing
the bands to blend in.
Implementing the CZWBG technique created proportional differences between the
sizes. The length and girth of garments do not expand or reduce at the same rate, creating
a difference in the widths of the band insertions. This difference becomes more apparent
the further the design is graded from the mid-range size.
Sustainability 2022,14, 452 17 of 21
4.2. Effect on the Design Process
Patternmaking is integrated into the zero-waste design process. Furthermore, the
textiles must be selected before the zero-waste pattern development processes can be
completed, as the pattern layout will depend on the width of the chosen textiles. Compatible
materials were used for the bands and garments throughout in order to ensure that there
was no change of drape, and to facilitate construction. Each designer had to consider the
pattern layout from the beginning of the design process, a step that usually is not taken into
account in traditional garment productions until the garment is fully designed. Designers
Four and Six first considered their pattern layouts using rectangles and diamonds in order
to utilize the full width of their textile efficiently. Once the layout was established, they then
used the shapes to drape and develop their garment designs. As the design took shape,
they altered their pattern layouts to accommodate changes in their design. This process
shows how the patternmaking became intertwined with the garment design process, and
ultimately significantly affected the final aesthetics.
One major finding of this study was the inability to grade patterns exclusively using
diagonal band insertions. Diagonal bands increase the garment proportions more in
width than length, causing larger sizes to be too short for the wearer. This finding was
demonstrated in Designer Three’s garment. Designer Three began the grading process
using diagonal bands intersecting at the corners of their patterns, such that the band would
add to the length and width at the same time. However, when this method was tested,
Designer Three realized the effect on the garment proportions. As a result, Designer Three
added bands at the side seams and shoulders of their design, effectively balancing the
garment proportions (see Figure 2).
Grading also became an integral part of the garment design process, as it must be
considered from the beginning. The grading lines and areas for band insertion must
be established as the pattern is created and the garment is designed. As a result, these
three actions must be completed simultaneously, instead of in linear design process where
garment design is completed first, pattern development is completed second, and grading
is completed third. These findings support suggestions that the “design and make process
has to be transformed in order to create garment designs, both desirable and achievable” in
zero-waste [36] (p. 142).
The CZWBG technique had a strong effect on the construction process. The order
of operations became significant due to intersecting, matching seams, and seam finishes.
Just as zero-waste pattern cutting methods require significant collaboration between the
designer and the patternmaker, the CZWBG technique would require collaboration with
the construction team.
4.3. Limitations
The aesthetic differences between the graded sizes could be considered a limitation
of the method. However, changes between sizes are not an uncommon trait in zero-waste
garments. As mentioned previously, designers who have produced zero-waste garments
in a range of sizes have mitigated these changes by notifying the customer. Referring
back to the zero-waste “woodgrain” dress, Material By Product prepared the customer for
aesthetic changes between sizes by stating that “no two sizes are the same” [
31
] (8:42). If
brought to the mass market, brands utilizing the CZWBG technique will also need to notify
customers of the differences and educate the customer about the benefits. Additionally,
the aesthetic differences are mitigated by the ways in which the method meets industry-
standard grading and manufacturing processes. Unlike Holly McQuillan’s zero-waste top,
which is the same length for all sizes, the CZWBG technique allows for the garments to
grade in length as well as girth, creating a superior fit [30].
Another limitation of the study is the additional time which is necessary in produc-
tion, potentially increasing the garment costs. However, the expenses saved in materials,
transportation and the disposal of textile waste will potentially offset this cost. Further
Sustainability 2022,14, 452 18 of 21
research into the streamlining of the production process could also help lower production
times and costs.
The documentation of the design processes presented limitations to the study, as details
were forgotten between working on the design and the documentation. The designers
noted difficulties documenting as they worked; as such, many waited until the end of their
work session or until the end of the project to document their process. As a result, some
specific data may not be included in the designer’s accounts.
4.4. Further Research
Further research into the CZWBG technique may include a qualitative study to assess
whether the aesthetic differences between sizes would be acceptable to consumers. It
may also be necessary to explore marketing strategies in order to find the most effective
approach to educating the customer and driving sales of garments created using the
CZWBG technique. Showing effective sales strategies will encourage designers to adopt
the technique and application in mass-market design.
Future iterations of this study will include the creation of additional garment types
within each consumer and product category. The continued testing of the method’s applica-
bility to various garments will further illuminate the changes necessary to the production
process. The six designers involved in this study will develop best practices for garment
production using the CZWBG technique. Additionally, it would be highly valuable to esti-
mate the savings of water, emissions, fabric waste, and production time from the utilization
of this approach. Researchers should collaborate with fashion industry professionals to
determine the potential cost savings for the production of a zero-waste line that utilizes the
CZWBG approach.
5. Conclusions
The challenge over the past decade for design scholars experimenting with zero-
waste design applications has been to overcome the limitations of the implementation of
standardized grading production practices within the mass-market structure. Thus, the
intent of this research was to test the efficacy of the CZWBG method, which utilizes bands
inserted in strategic locations as a method of grading zero-waste patterns across various
consumer categories. Additional purposes were to evaluate the ways in which this grading
approach affected the aesthetic outcomes of garments across a size run, and to determine
whether this method affected the overall design process of the designers involved.
Through experimental research design, six design scholars successfully tested and
incorporated the CZWBG technique in the creation of zero-waste one- or two-piece apparel
item(s), subsequently developing three adjacent sizes in an industry-specified size range for
their product category. Each design was cut from zero-waste patterns in a mid-range size,
and was graded up and down 1–2 sizes using industry-standardized grading. Grading was
achieved by varying the widths of strategically inserted bands of fabric or trim.
Based on the designers’ aesthetic review of the final design prototypes of each initially
constructed size, it was concluded that the design outcomes were highly successful. These
designs were perceived as being more marketable than typical zero-waste designs due
to the achievement of showing the body’s contours. However, the proportions of the
garment components differed among the graded sizes. These differences could impact
consumer acceptance. Still, it was determined that transparency and the education of the
consumer could be an asset as a marketing approach by emphasizing the sustainable aspect
of reducing textile waste. As consumers’ sustainability awareness and concerns within the
fashion industry increase, addressing these issues is worthy of exploration, and could have
significant global impacts.
The designers evaluated the manufacturability of the CZWBG technique at a mass
level, as it applied to their intended diverse consumer category. They identified and ad-
dressed numerous issues while creating the zero-waste marker and during the production
phase of the final prototypes. While additional time and production costs were added
Sustainability 2022,14, 452 19 of 21
during these phases, time was reduced in the cutting phase because the same pattern was
utilized for all of the sizes (only the band widths changed). A further production barrier to
taking zero-waste designs to the mass production stage is the variation of the construction
details to include inconsistencies in the seam allowances. These nuances will also add time
and cost to train the technicians in these specifics, and extra steps will be needed to add the
banding. Overall, it was determined that the CZWBG method meets industry-standard
grading and manufacturing processes, giving zero-waste designs the ability to compete in
the mass market domain. Realistically, there are major economic factors that are likely to
slow adoption.
The six designers plan future testing of the CZWBG method. The intention is to
establish that the CZWBG method applies to a broader offering within the designers’
chosen diverse product categories by creating an additional style and developing the three
sizes. It will also be worth testing sizes beyond the three sizes to integrate fully a sustainable
practice like zero-waste into today’s fashion markets. By offering a broader range of sizes,
zero-waste garments will better assimilate current apparel assortments in ready-to-wear
garments.
Author Contributions:
Conceptualization, M.C. and S.L.D.; methodology, M.C. and S.L.D.; formal
analysis, C.S.; investigation, M.C., S.L.D., E.M., C.S., C.M., and A.R.-B.; resources, M.C., S.L.D., E.M.,
C.S., C.M. and A.R.-B.; writing—original draft preparation, M.C., S.L.D., E.M., C.S., C.M. and A.R.-B.;
writing—review and editing, M.C., S.L.D., E.M., C.S., C.M. and A.R.-B.; visualization, C.M. and M.C.;
supervision, M.C.; project administration, M.C., S.L.D. and E.M. All authors have read and agreed to
the published version of the manuscript.
Funding: This research received no external funding.
Institutional Review Board Statement: Not applicable.
Informed Consent Statement: Not applicable.
Data Availability Statement:
The data are available upon request. Contact the corresponding author
for access.
Conflicts of Interest: The authors declare no conflict of interest.
Appendix A
Table A1. Research process documentation.
Research Process Documentation
Challenge Statement: Goal—Apply Carrico Banded Grading to Garments across Apparel Categories.
Date
Worked Hours Project
Goals Achievement Challenges Photo 1 Photo 2 Stage # per Lamb &
Kallal FEA model
[
35
]
Table A2. Design specifications.
Defined Reasoning
Fabric Selection and Fiber Content
Pattern Production Technique
Fit Choice—highly fitted, moderate fit, loose fit
Apparel Classification Category
Garment Type
Base and Graded Sizes Defined
Sustainability 2022,14, 452 20 of 21
Table A3. Zero-waste End Product and Process Evaluation and Narrative.
Zero Waste End Product and Process Evaluation and Narrative Self Scoring (1-Highly
Successful, 5-Unsuccessful)
1 2 3 4 5
Perceived Success of Design Concept
Perceived Success of Pattern Approach
Perceived Success of Product Aesthetic
Perceived Success of Product Fit
Perceived Success of Graded Duplicates
Perceived Success of Graded Duplicate Aesthetics
and Cohesiveness
Appendix B. Process Assessment Form
Zero Waste Process Assessment Researcher _________________________
Summary of Preliminary Zero Waste Challenge March–June 2021
Category ________________________________
Band/Strip Direction
Straight of grain
Bias
Straight of grain and bias
What Worked Well?
Conceptual Stage:
Preliminary Design/Patternmaking/Draping Stage:
Implementation/Construction Stage:
Evaluation Stage (Fit, Functionality, Dressform Applications, Aesthetic Review):
What DID NOT Work Well?
Conceptual Stage:
Preliminary Design/Patternmaking/Draping Stage:
Implementation/Construction Stage:
Evaluation Stage (Fit, Functionality, Dressform Applications, Aesthetic Review):
Perceived Challenges with taking the design to Mass Production
Fabrication:
Patterning/Marker:
Cutting:
Assembly:
Cost:
Documentation Process
Greatest Challenge(s):
Best Strategy(s):
How did the GRADING affect the final Garment appearance across all sizes?
How did the end product differ from Mainstream grading? Is it acceptable? Can it be addressed?
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