Next week sees Fashion Tech take a step closer to the mainstream with the ‘Wardrobe of the Future’ showcase at the Munich Fabric Start trade show, in collaboration with FashNerd.
Top, Orange Fiber X Salvatore Ferragamo. Above, Nadi X
The showcase features a number of existing products, including the citrus waste recycler Orange Fiber’s collaboration with Salvatore Ferragamo, which proved the quality and appeal of their waste to cellulose textile. Alongside this is Nadi X by Wearable X, the yoga legging that uses sensors and an App to guide your alignment during poses.
Flair Atelier’s mass customisation
Other brands in the showcase include Flair Atelier, which offers shoppers ‘base designs’ that they can customise within a set of design parameters on their website. With mass customisation a key opportunity for product and brand differentiation, this business model looks to a changing consumer landscape, breaking the usual retail mould. Their website states that they “create a unique digital pattern with your name on it and send it to our tailors in Italy”, suggesting the use of Gerber or Lectra digital pattern cutting software, which no doubt helps them achieve the 2 week order to delivery time. It would be interesting to know if there is any other technology employed in the manufacturing process that would allow this business to scale and truly achieve mass customisation, or whether the remainder of the process is essentially manual, as per tradition.
Thesis Couture heels
Thesis Couture have used technology, broadly speaking, for R&D to design a sole for high heels that redistribute weight more effectively than standard heels, thereby reducing pain under the ball of the foot and shifting some of the weight back to the heel. Tackling the problem of foot pain by “using structural design and advanced materials” to replace the metal shank and cardboard in standard heels makes Thesis Couture’s development a smart leap in the engineering of a product that has barely changed for a hundred years.
Top, Lorna & Bel. Above, Emel + Aris
Lorna & Bel will also feature in the ‘Wardrobe of the Future’, with their bags with built-in phone chargers. London-based brand Emel + Aris, will also be presenting their heated coats.
PerFlex 3D printed composite bra.
On the speculative side, the PerFlex project bra is a ‘proof of concept’ that harnesses the customisable sizing and 3D printing of plastics by PerFlex, in collaboration with Brigitte Koch of the Technical University of Eindhoven.
The PerFlex website provides consumers with the option to combine parametric patterns made by designers with their body data to get a personalised 3D printed product at the same unit cost as a mass produced item – truly achieving mass customisation. This application of 3D printing combined with traditional textiles could be a game-changer.
The significance of this fashion tech showcase is the placement of products that have arguably been viewed as ‘futuristic’ amongst mainstream textiles at a trade show, throwing them into the commercial spotlight.
Target Open House Garage
Along with the recent launch of Target’s Open House Garage – a testing ground for new fashion tech products that are not yet ready for widespread industry roll-out – it seems like commercial retailers and the industry at large are showing increasing interest in fashion tech products and innovations and their potential to woo consumers.
The Wardrobe of the Future runs from 4th-6th September 2018 at Munich Fabric Start’s KEYHOUSE.
Strolling along Old Street yesterday, I came across a plastic waste installation created by Andy Billett for Corona x Parley for the Oceans to mark their ambitious sustainability collaboration. Well known for their work with Adidas, Stella McCartney and other brands, the Parley team have pioneered the use of ocean waste transformed into synthetic yarns which are then reworked into textiles and products including apparel and footwear. I then connected with the Parley and Corona teams and came to learn more about how for World Oceans Day they are reimagining and recreating the Hawaiian shirt out of ocean plastic and safeguarding 100 beaches.
In the lead up to World Oceans Day, Corona is using plastic from beaches to build sculptures in London, Melbourne, Santiago, Bogota, Santo Domingo and Lima. These installations serve as a representation of the issue with the local plastic seamlessly integrating into Corona’s paradise imagery. The “Wave of Waste” sculpture in Old Street, London, features Australian actor Chris Hemsworth surfing in a wave of plastic collected in the UK, including waste from Holywell beach collected by The Marine Conservation Society. It brings the total weight to 1,200kg of plastic, with over 10,000 individual pieces of plastic – representing the amount of marine plastic pollution found on the beach every two miles in the UK.
To mark World Oceans Day, Corona and Parley for the Oceans have created a symbolic Hawaiian shirt woven from recycled ocean plastic yarn, complete with plastic waste print design (toothbrushes morph into marine life, amongst waves) to drive home the issue of often unseen plastics infiltrating our oceans.
The team at Parley are known for their Parley For The Ocean drive and previous collaborations include Parley x Adidas swimwear, clothing and trainers. This time around, they are working with Corona to go beyond product collaboration, on an initiative that seeks to protect 100 Islands around the world by 2020, spanning Mexico, Australia, Chile, Dominican Republic, Italy and the Maldives. The initiative combines an educational drive to put in place preventative measures for plastic waste entering the oceans, collection of plastic waste from beaches and design and development to convert the recovered plastic into new products. ‘Avoid. Intercept. Redesign.’ is the overarching strategy.
With sustainability and materials waste an ever more important issue, it’s interesting to reflect on public perception of textiles that are natural, and often considered more environmentally sound, versus those which are synthetic. This Hawaiian shirt is 100% polyester, created from plastic bottles which are made of a synthetic polymer that is structurally equivalent to polyester. The bottles are broken into flakes, then turned into a liquid form which can then be extruded into filaments which are spun – the resulting yarn can then be woven or knitted into new products, like this Hawaiian shirt. By contrast, recycling natural fibres like cotton or linen is not nearly as simple or efficient, and currently does not yield sufficient quality yarn that can be remade into apparel and footwear. In this sense, achieving sustainability with synthetics is currently more achievable, a fact that is often overlooked in the sustainability narrative between brands and consumers. It will be interesting to see how this changes as consumers continue to seek more sustainable clothing options and request transparency over materials sources, manufacturing and environmental impact.
To know more about the polyester making process click here
To know more about the recycled yarn process take a look at Bionic Yarn
The limited-edition shirts can be purchased here and proceeds from each Corona Hawaiian shirt will go to Parley for the Oceans to help support its mission to protect our oceans.
You would be hard-pressed to find a more frequently used buzz word in fashion than ‘sustainability’, right now. Following its use, the obvious question is often, “but what do you mean by sustainable”. Both a problem and a solution, sustainability runs a broad gamut including textile and garment manufacturing practices, to chemistry and materials science, then finally product sales, consumption and usage patterns. Digging deeper, what underlies this urgent and growing focus on sustainability in the global fashion industry is the fact that is it the second most polluting industry in the world after oil and gas, but you probably know that by now. Why does that suddenly matter to many fashion brands and companies? Why are brands adopting “sustainability”. Broadly speaking, it is because of threats to profit margins (caused by increasing cost of natural resources and materials which are in sharp decline) and potential backlash from consumers who are beginning to understand the fashion industry’s wasteful methods are damaging the planet and its people.
To understand the environmental implications of the current methods used in the fashion industry it is helpful to understand the volume of resources (including energy and water) we use to make our clothes and how much use we get out of those clothes. Remembering that the planet’s resources are finite – we don’t have an endless supply of fossil fuels to burn to create electrical energy to power manufacturing and we don’t have endless access to clean water for growing cotton and dyeing processes), it follows that a circular way of manufacturing makes more sense than a linear one.
To differentiate between circular and linear using the example of jeans – If it takes up to 10,000 litres of water to make a pair of jeans and we wear them for a matter of months then throw them in the bin, never to be used again, this linear process depletes resources catastrophically. However, if those jeans could be turned into new materials (rather than thrown in the bin) that are themselves recyclable, then the resources used to manufacture those jeans provide products for a long and circular life – a perpetual one that is energy efficient and reduces the burden of future manufacturing and reduces the depletion of natural resources significantly.
This circularity was at the heart of the thinking behind the latest EU-funded project by the teams at BRIA and SABINNA, who created a fashion capsule collection of cotton and viscose garments which were then transformed into new, 100% recyclable and biodegradable materials that could be used for packaging and shop interiors. The materials are circular in that they can then be recycled a large number of times in order to keep the core fibres of the materials ‘alive’ and in use – thereby avoiding landfill.
BRIA x SABINNA garments, processes and new materials transformed into packaging
New materials in development in lab
New materials as garment swing tags
The processes BRIA x SABINNA used are based on simple organic chemistry – dissolving and reforming the cellulose molecules in the clothing into new 100% cellulose-based materials that were compressed into flexible sheets, in some cases like paper or a film, and in other cases like a thicker MDF-type ‘wood’ material. The processes vary depending on the new material being created, and the initial experiments were done on a small scale in a London-lab as ‘proof-of-concept’ that it is possible to turn any clothes made of cotton or viscose into new materials using minimal chemicals (and sometimes no chemicals at all) in ways that are sustainable in terms of the amount of natural resources (energy and water) needed to perform the recycling process and also in terms of the material outcome.
BRIA x Sabinna viscose knitted jumper, cotton shirt and denim jeans – later transformed into new materials
Laminate-effect textured card created from BRIA x SABINNA viscose knitted jumper above
Processing of denim into new packaging materials
If we look at other narratives around sustainability in fashion that call for up-cycling and wearing clothes for longer, or buying less, we see a shift of responsibility for sustainability from the industry to the consumer. Whilst this makes sense in terms of educating and informing consumers, it poses a huge problem in that it does not instigate change in the industry or challenge processes that are destroying the planet and harming people. This is what is making the shift of focus to circularity and science and technology for the answers to our most burning questions and problems in the industry crucial.
Development of new material from denim
In my design and innovation role at BRIA, I was a member of the team that conducted this project with the support of EU-funding from WEAR Sustain. The project was instigated following a trip to Copenhagen Fashion Summit in 2017, during which my conversations with Marie-Clarie Daveu of Kering, Anna Gedda of H&M and Mira Duma of Future Tech Lab instigated a quest to understand just how big a challenge making sustainable products is for fashion brands, from the initial design process through to the end-of-life of the garment. Could brands, small and large alike, design and produce collections in a circular manner? What would it cost? Would the designs be compromised? What would the restrictions be? During a conversation with Vanessa Friedman she told me she thought sustainability was inherent in good fashion design, rather than an ‘add-on’. But how is it inherent? Does choosing organic cotton make a garment ‘sustainable’. Not if we consider circularity as the ultimate solution to the depletion and pollution caused by the fashion industry. So it has to go further. It has to be part of the way the collection is conceived, the materials are made, the construction methods used and the strategy for the ‘end-of-life’ of the garment – where does the garment go when it is no longer used? These were the questions we at BRIA sought to answer along with our collaborator SABINNA.
The result proves that any designer using 100% cotton and viscose is creating garments that are forever recyclable – any designer can use our processes to recycle their garments. It also proves that cotton and viscose clothing can even be recovered from landfill and processed using our method in order to keep the fibres in the circular system. One of the most exciting elements for us was to achieve new materials with garments including hand-knits, denim jeans and multi-yarn jacquard knits – showing that the thickness and form of the textile yields to the process equally well. The chemistry checks-out, giving clean and biodegradable results every time.
BRIA x SABINNA jeans
New materials created from 100% cotton jeans above
Bowl from recycled viscose process and swing tag and box from recycled denim process
The next step is to explore brand partnerships to allow companies to clean up their own supply chains – jeans offcuts used to make the shelving and flooring in-store? There is no reason why not. Branded silky cellophane-like film packaging made from recycled high-end viscose dresses? Hell yeah!