Sustainable Fashion – Issues to be addressed

100 Pages·2010·7.19 MB·English

DK:Lab    Sustainable Fashion – Issues to be addressed

DK:Lab    Sustainable Fashion – Issues to be addressed
n Colophon Sustainable Fashion 
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op - Issues to be addressed
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C © 2010 
Designskolen Kolding / Kolding School of Design
Aagade 10
6000 Kolding
Denmark
www.designskolenkolding.dk
Laboratory for Design, Innovation and Sustainability
Head of development Mette Strømgaard Dalby
Editor Mette Fersløv Schultz Teachers
Translation Marianne Baggesen Hilger Textile engineer and associate professor Joy Boutrup,
Graphic Design OddFischlein fashion designer Silvio Vujicic and textile designer and
Photo Anne Mie Dreves /Stefan Maria Rother /Jens Christian Hansen /Sacha Maric associate professor, Ph.D. Vibeke Riisberg.
Stylist Bettina Milling Bakdal
Printing Zeuner Grafisk Students
Paper Amber Graphic Adam Gefen, Angela Buur, Anna Katharina Thomsen,
Fonts GT Regular / GT Bold / GT Heavy Anna Kirstine Borg, Anne Bretschneider, Anne Woidemann
Christensen, Bruno Peter Heinrich Kleist, Camilla Skøtt
Christiansen, Carina Sveistrup Mikkelsen, Hellene Jørg-
ensen, Katja Brüchle Knudsen, Katrine Terese Nielsen,
Kristoffer Guldager Kongshaug, Laura Locher, Lea Zaar
ISBN 978-87-90775-04-9 Østergaard, Linea Lund Hjorhöy, Louise Ravnløkke Munk
Pedersen, Maja Lindstrøm Hansen, Maria Rokkedahl
Sustainable Fashion is published by the Laboratory for Design, Innovation and Sustaina- Nørholm, Marie Louise Udby Blicher, Mathilde Louise
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Sustainable Fashion sues to be addresse– Is biabfnoliutglriest Rmyirnne aeeagtstt ihKoeso noswdaeldaslc iy Dntasogen ro vdS afe c mntlohhdoopi ncdomkueli elnostnu gfo trDaf at nechl disornoi mgswuntmoigt. urhTukt hVinioneiæcgn o askwb.ts iiTjottefhhnoc e btra iuoLvsmeal dwb o /eiodf l Trlet aahhatseeos p rRLayraceo ibrgsvooi iofsdrunsaen tt odsohfpere Syad e oc ibsdue yuttso hc Tf eaohdrtereni o ve EDnexuapelorleno psmrpe inmecaeatrewoknnr. ,Ftt ietnuhagnec,d h - MtSWMeaasner.asa  Rkelhoeni unMi,kf dR ioC lSa yhSnv rutedihsdni taoSden,asn tmeksene xs,nto iT,ln eaMs ndeejaent tsL,e iRgu Lnonöedswar., éTDonir,lne Nocitvvo iCar qloa fuB NsineUznNe, rO K, r is-
Mr. Ikeda and Ms. Nakajima of TEIJIN.
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 Sustainable Fashion – Sustainability as a Mindset T
By Mette Strømgaard Dalby,
Head of Development, Kolding School of Design
   P12 
Teaching sustainable design to textile and fashion students
- from a micro and macro perspective
By Vibeke Riisberg
   P24 
ECO CIRCLE polyester project
By Joy Boutrup
   P34  
Fashion and Sustainability
By Kate Fletcher
   P 42  
Sustainable = Fashionable
By Lene Hald
   P52  
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Considerate Design: Empowering fashion designeBrys  Stoan tdhyTiBn hBykel a La cribnokeol ae uHn otad fsn  Cutghlasaetaua rdddiinea Na sEibi e cgilknslPieeet6ryn6rt   Sustainable Fashion sues to be addresse– Is
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100% Polyester – the TEIJIN ECO CIRCLE PROJECT DK: 
- Student designs
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Dalby, Design If alosvheio fna sehniaobnl,e dsa urslin tgo! pAl aloyt w oift hu sid aepnptirteiecsia. Oten teh ed awya y einr sre dlaot inoont tdoo tuhbet cthreea stiiognni foicf aan mceo doef rtnh eidseen atsitpye acntds tlahreg esm chaall nsgteeps st hthroaut,g whh setrne pamut ltinoignegt,h reatr,io cnaanl icsaretiaotne
aard ol of we wear a 1950s inspired dress looking like some- communication of that identity. However, it is hard- and minimising of resources. Radical innovation,
mgho one from the TV show ”Mad Men”, the next day we ly vital, and not many would permanently trade their on the other hand, is something entirely different.
Mette StrøKolding Sc hthaivneg coonm a pplaeitre olyf jdeiaffnesr,e an st.m Thaell bploaicnkt disr tehsast o I rr escoomge-- aiocncaebslse tgoa fromoedn wt –it ha ltthheo upgohs sI itboiloit yh atov ea creqaudir eth ae f eafs-h- Hfoerr sep, eoankei ncgr eaabtoeus ta a cnodm dpolientge tlhyi nngesw; ofonuen edxaatmion-
By ent, nise the fact that fashion is important and essential. ficient self-branding of the fashion people telling ple could be the Internet’s influence on our ability
m Fashion reflects our time, gives the user the oppor- stories of how, back in the day, one would eat oat- to communicate globally; or the Cradle-To-Cradle
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el tunity to play with different identities and in some meal for three weeks just to be able to purchase this mindset, which consciously focuses on not creating
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d artistic experience. However, the majority of fash- nal cycle of recirculation. This is a vision of consider-
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H ion – and the various fashion brands – is primarily Where am I going with this? Well, if fashion is not able proportions: wanting to eliminate the concept
commercial; that is to say a business that someone outright vital, we should carefully consider the way of waste and instead, refer to industrial and natural
has to live and make money on. When everything the fashion industry impacts our already damaged recycling, respectively. In the industrial cycle, the
comes together in an artistic vision, a craftsman planet. In other words, we must take action and a materials have to be able to be disassembled into
prowess or a technical skill, fashion is definitely a closer look at one of the most polluting industries individual components, whereas the natural cycle
wonderful thing. worldwide. We must innovate the way the fashion can easily create a decorative abundance of ma-
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Sustainable Fashion sues to be addresse– Is Hwvw(sioohutawerrlvl.rde eiWv’vs ate hhflra)ee, fsa nopht rl hiotmohyones tk ie horindielsogi ktb goa aoirtcsf sMa i,bs lI ,ae n wtsiehnlioelegl wdr sleyts’as n ifst oche qhri et ueohridabater vtbc ifayoha ulsyaohs lonl i rotgfeh n nwae eis aseo yndn otssot, itK‘ppnSouoadu pttiunsserts t oiaF,tt d rifltnyaehuas ticccsbhto hliiweoone anndFr,y ,ua a a:ccs su”hht Butsoiho usiiotcunssreia n abo lo eniufsfsd st smnh iTn oaeeaets xtt s aertuseinrls,ein aubosdlao ps-slt t eaDhoiont retw,ndi snm”h idgg.eo nibsnr pJoe itooo tcusokoar tnlmh.e eey ss ’, tptohlyehaaf er avtriia t emfnsll o atatehwhtn uepaedrmtrra otirlnh e dwege-ulei netcchn mhdeeteeisesrr r imnarn tytwhta eitenanrgy eycar ea y–nb,tc eeebwlea cuihnu otoi ttct-ofihsfh n uyih sfalsa o f“ttrluerwom ramwae lssee.. ht FsreTsosoh”, r ir eonti s i pdnn pmesilovytreiai indtornotued c ia-s el ,
self-realisation and the need for free, individual ex- that one solution is not better than another. The in-
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DK:  20th and 21st century sociologists and consum- mental and radical. The first kind can be identified as pre-industrial times. Indeed, what is appealing about
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tmhea aCbraodulte ”-gtoo-oCdra” dalned m ”binadds”e its i sa bthaantd torandeidtio. Inna ol tdho-g- Dalby, Design
er words, natural cotton is not necessarily the most aard ol of
eco-friendly material, and polyester is not by defini- mgho
tdiounc eedc.o In-h oorsdteiler tjuos pt rboedcuacues e1 ikt iilso soyfn ctohtettoicna ollnye p uros-es Mette StrøKolding Sc
an average of 8000 litres of water, whereas one is By ent,
able to produce 1 kilo of polyester using hardly any m
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water. On the other hand, polyester fibres are made el
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from oil, and particularly the petrochemical industry D
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ly and environmentally. H
My reference to cotton and polyester is not coinci-
dental: From the world’s total textile fibre consump-
tion of 59.5 million tonnes in 2005, cotton makes up
24.4 and polyester 24.7 million tonnes. Thus, these
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tttirinnwhaeg ieltona h ma wtteibeooo cxlnerratle i dtslwo ed’esa eim vyotxoe fapf troctalseoorilwt ritttyiteaaao xaltrsnitdno i,cl d necao ohnopmuedfr poln tdlherdc iebssues eec sl e dotttihosoeilse, pnb c v,eve raunaognldsinpndtee f mcnaraaocnialbunyojoirt tloeeihrtinym,et ye rfipn o toscl sauf.s tsi--l Sustainable Fashion – Issues to be addresse
fuels in the case of polyester. With reference to the
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H.C. Andersen tale The Woman with the Eggs, it is La
never wise to put all one’s eggs in one basket! DK: 
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Dalby, Design Dinidsecuesds ain cgo smusptlaicinaatebdili tmy aatntedr t, ewxhtiilceh p rreoqduuicretiso rne i-s Thhoep ere tshuelyts s apreea pkr feosre tnhteemd sine tlvheiss p –u abllsicoa itnio rne,la atniodn w toe KRaetefe Frleetnchceer sSustainable Fashion & Textiles
aard ol of search in order to be able to understand the com- the exciting and challenging design problems with- – Design Journeys – Earthscan, 2008
mgho plexity. The Cradle-to-Cradle mindset can help us in the entire area of sustainability. It is a far cry from William McDonough & Michael Braungart Cradle-to-Cradle.  
Mette StrøKolding Sc ucyncdleer ostfa tnhde tphraotd ouncet, hnaost tjous ct ofrnosmid ecrr athdele e tnot igrrea lvifee tthheat ” wloen sga-hwa iirne tdh”e e 1c9o7-c0lso ttoh eths em madoed efrronm ve hresimonps of Remaking the Way We Make Things – North Point Press, 2002
By ent, but from cradle to cradle. In this respect, polyes- sexy, sustainable fashion. We hope that in the long
m ter is an interesting material in that all polyester has run, sustainability will become an integral part of a
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el the potential to be recycled. Because polyester, like designer’s mindset, so we will no longer have to ad-
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Apart from the student suggestions for sustainable
This material and aesthetic challenge was presented fashion items, the publication includes a number
to a number of fashion and textile design students at of articles by experts of sustainability from Den-
Kolding School of Design during a course in autumn mark and abroad, practitioners as well as theoreti-
2009. Based on the new polyester recycling ECO cians. Kolding School of Design and the Laboratory
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Sustainable Fashion sues to be addresse– Is CtsttahuhinIgereRdnny Cs d cutLwuiosrEedeen rcedcceont e c tnptpolsocrt i,wwten hwpteoe htorrs ekbinc f ytawoho st rie htk trhhneee ecdl caJo ymastuoceparl raidant cneegguerev.i tsaesAte illctn.o cTotgphho,n eatemsr u scaapamnosamsmsenfigeerypsn r ltT emitpmEotreeI ierJn nedI,tN t- e ,- fabsinoulosdreoo eD ko epe fwdas S riiagltul noqhs,tufe aI tenliphnns eataoi botDvtlnraaea tn ociFoifsta n dhas e hatFtsnieaoidgnsn nhtS i–.iouo nbsn te taZocion atnhauebese i –liim ti nhyp o t–ohp rweet ah etnhinctadh its iit-tsh isis
for the future designers was to adopt sustainabili- Finally, I would like to give a warm thank you to the
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DK:  sustainability come together naturally.
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