Shaping Sustainable Fashion: Changing the Way We Make and Use Clothes PDF by Alison Gwilt & Timo Rissanen


Shaping Sustainable Fashion: Changing the Way We Make and Use Clothes

Edited By Alison Gwilt & Timo Rissanen

Shaping Sustainable Fashion_ Changing the Way We Make and Use Clothes


5 List of Figures

7 Acknowledgements

8 List of Contributing Authors

1 1 Foreword — Amy Rosser

1 3 Introduction from the editors

Chapter 1 Source

1 7 Introduction

19 1.1 ____Remediation: Discussing Fashion Textiles Sustainability — Joan Farrer

35 1.2 ___Case Study: Upcycling Materials for Fashion

39 1.3 ___Case Study: New Materials for Fashion

43 1.4 ___Sustainable Textiles – Nature or Nurture? — Marie O’Mahony

Chapter 2 Make

57 Introduction

59 2.1__ Producing Sustainable Fashion: The Points for Positive Intervention by the Fashion Designer — Alison Gwilt

75 2.2 Case Study: The Tailor’s Craft

79 2.3 Case Study: The Perfect Solution

83 2.4 Zero-Waste Design Practice: Strategies and Risk Taking for Garment Design— Holly McQuillan

Chapter 3 Use

99 Introduction

101 3.1 _Sustainable Clothing Care by Design — Kathleen Dombek-Keith and Suzanne Loker

119 3.2 Case Study: Slowing Fashion

123 3.3 Case Study: Personalizing Fashion

127 3.4 Designing Endurance — Timo Rissanen

Chapter 4 Last

141 Introduction

143 4.1 Textile Recycling Options: Exploring What Could Be — Jana Hawley

157 4.2 Case Study: Reuse in the Fashion Cycle

161 4.3 Case Study: A New Future Fashion Industry

165 4.4 Post-growth Fashion and the Craft of Users — Kate Fletcher

177 Case Study Designer Profi les

180 Resources

183 Editors’ Biographies

184 Index


25 1.1.1 Fashion and textile supply chain

26 1.1.2 ReDress – ‘T series’ dresses by Kim Fraser

29 1.1.3 Hooded jacket and dress by Angie Finn

30 1.1.4 Conscience Clothing shoot, showing garment miles to New Zealand and related carbon footprint

34 1.2.1 Romance Was Born, Renaissance Dinosaur S/S 2010

34 1.2.2 Romance Was Born, Renaissance Dinosaur S/S 2010

36 1.2.3 Romance Was Born, The Garden of Eden, with Del Kathryn Barton 2008

38 1.3.1 Experimenting with light responsive woven material and encapsulated within a polyamide monofilament double cloth channel, photographed under UV light

40 1.3.2 Free standing installation consisting of panel woven with spun silk and light responsive elements, tensioned over frame with concealed UV light.

4 1 1.3.3 Close-up stills from projected light transition showing gradual colour change on woven textile from warm to cool stripes

44 1.4.1 Recycled wool carpet and jute from LaRoche

48 1.4.2 The laser sintering process from Freedom of Creation (FOC)

50 1.4.3 Grado Zero Espace’s Vectrasilk hybrid yarn

5 1 1.4.4 Environmental packaging from Mambo

52 1.4.5 Fashion Technology: The Rip Curl Project 2009, Sydney, Australia. Example from student Tara Savi presents the material separated, layered, bonded and fringed

6 1 2.1.1 The fi ve phases of fashion design and production

66 2.1.2 Infl uencing change across the production process: Journey of an ornate sleeve

68 2.1.3 Linking sustainable strategies with the process of design and production

70 2.1.4 Mark Liu, MA graduation collection 2007

7 1 2.1.5 Alabama Chanin Spring 2010. Hand-stitched dress in 100 per cent organic cotton with Anna’s Garden appliqué

74 2.2.1 Stages of a bespoke jacket

76 2.2.2 Bijan Sheikhlary at work

78 2.3.1 Reaching for higher standards by engaging people in an open and transparent way

80 2.3.2 Luxury Redefi ned, from UK knitwear company John Smedley / Better thinking Ltd

88 2.4.1 Initial tesselation idea

88 2.4.2a Reducing tesselation design

90 2.4.2b One possible garment design from tesselation

92 2.4.3 Design in progress, showing established fi xed areas in yellow

94 2.4.4 Hoody/T-shirt embedded design; pattern, line drawing, rendering of possible digital print colourways

103 3.1.1 Laundry as a System of Systems

108 3.1.2 Green Clothing Care (GCC) label

110 3.1.3 The Uniform Project series

113 3.1.4 ‘Suit yourself’ modular/updated suit designs

118 3.2.1 Portrait of Dr Gene Sherman

120 3.2.2 Issey Miyake ‘PLEATS PLEASE’, pleated polyester jacket, Autumn/Winter 1999

121 3.2.3 Gene Sherman’s collection notebook, Sydney, Australia 1999.

122 3.3.1 The Brown dress project series

124 3.3.2 For 365 days Alex Martin wore the same brown dress

130 3.4.1 Fisherman’s coat from Awaji Island from the collection of the Hokudan Town Historical and Ethnographic Museum, Japan

133 3.4.2 Endurance shirt by Timo Rissanen, 2009

134 3.4.3 Pattern layout for Endurance shirt, 2009

137 3.4.4 Shredded Marimekko T-shirt by Outi Pyy, 2010

145 4.1.1 Baled used textiles (sweater)

146 4.1.2 Women cutting buttons off used sweaters to make blankets

148 4.1.3a Blankets being made from used sweaters for IKEA

148 4.1.3b Warp beam of yarns made of used sweaters

152 4.1.4 Junky Styling. VD Mac

156 4.2.1 The clothing donation bank of The Smith Family organisation in Sydney

158 4.2.2 The recycling process of collecting, sorting and distribution at The Smith Family organization in Sydney

160 4.3.1 Wonderland at London College of Fashion

162 4.3.2 Detail, Wonderland spider fl owers

167 4.4.1 Edward

167 4.4.2 Yvonne

168 4.4.3 Andy

173 4.4.4 Ever-growing cycles of production and consumption

173 4.4.5 Steady-state economics


Education is a key component of the New South Wales (NSW) Government’s commitment to foster sustainable development. Education is a vital tool because it helps people to understand the nature and complexity of environmental challenges and builds their capacity to take appropriate action. The NSW Government’s Learning for Sustainability 2007–2010 plan calls on all sectors to play their part in building a learning society, one in which we are all informed and active contributors to creating a more sustainable future. Within the fashion industry, Shaping Sustainable Fashion: Changing the Way We Make and Use Clothes has achieved this by teaching us how we can match sustainability and fashion in a unique, contemporary and diverse way.

The Environmental Trust, an independent statutory body established by the NSW government, funds projects like the University of Technology Sydney’s Fashioning Now project, from which this book originates. Supported by the NSW Environmental Trust’s Environmental Education programme, Fashioning Now has delivered an array of enlightening learning methods, including sustainability workshops, symposiums and exhibitions featuring innovative research projects from Australian and international practitioners that investigate fashion and sustainability. All of this knowledge has been pulled together in this publication to disseminate the vast range of sustainable solutions currently being explored by designers, researchers and manufacturers.

This book is certainly a step forward in changing the face of a fashion industry that is characterized by a high level of waste among manufacturers and driven by a fast-paced cycle of seasonal products. Shaping Sustainable Fashion raises awareness of the problem of textile waste, and gives consumers and designers the opportunity to learn how to work sustainably through solutions on waste avoidance, waste management and resource recovery. Additionally, by holding both consumers and designers accountable, Shaping Sustainable Fashion demonstrates the importance of making informed choices for the environment.

Shaping Sustainable Fashion’s lessons on how to ‘source, make, use and last’ should be explored and shared by designers, researchers and consumers alike to make for a more sustainable and ethical fashion industry.

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