COLOPHON © 2011 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 Text and editing Mette Fersløv Schultz Designers Mia Kappelgaard, Louise Stubkjær Sørensen and Rikke Stetter Translation Marianne Baggesen Hilger and Helle Raheem Graphic Design OddFischlein Photos (collection and styles) Sacha Maric Retouching Werkstette Hair and Makeup Marianne Jensen Model Therese, 2pm Other photos Mia Kappelgaard, Louise Stubkjær Sørensen and Rikke Stetter Print and Textile Assistant Ulla Næraa Mariager Printing Akaprint Paper Munken Print White Fonts GT Regular / GT Bold / GT Heavy / ITC Charter ISBN 978-87-90775-99-5 Special Thanks to Ulla Næraa Mariager for her invaluable support with printing and dyeing. We would also like to express our thanks to Helene Jensen for her assistance regarding knit work and to Head of the Department of Product Design Mathilde Aggebo. Thank you to associate professors Joy Boutrup and Vibeke Riisberg who have functioned as consultants during the creation of Living Lightly, the collection and the publication. Finally, we would like to thank designer, author, and sustainability expert Kate Fletcher for helping us discover an inspirational and sustainable direction.
Living Lightly is published by the Laboratory for Design, Innovation and Sustainability at Kolding School of Design. The objective of the Laboratory is to develop new teaching methods and modes of communication as well as provide spaces for experimenting, alternate ways of thinking and working with bold ideas across the educational sector, the business sector, and cultural institutions. The Laboratory is funded by The European Regional Development Fund through The Region of Southern Denmark’s Growth Fora (Vækstforum).
LIVING LIGHTLY
TAB LE OF CO N T E N T S
FOREWORD Page 06 INTRODUCTION Page 10 THE PROCESS Page 18 PRODUCTION AND CONSUMPTION Page 50 CHALLENGES AND PERSPECTIVES Page 64 STYLE DESCRIPTION Page 70 DYES AND THE LIKE Page 93 THE DESIGNERS Page 94 FOOTNOTES Page 96
FOR EWO RD METTE STRØMGAARD DALBY HEAD OF DEVELOPMENT, KOLDING SCHOOL OF DESIGN
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Kolding School of Design has a long tradition of working with sustainable fashion and the development of sustainable materials dating back to the time when it had not yet become “comme il faut” to speak about CSR, FSC, Code of Conduct, etc. The school’s endeavour concerning sustainability is based on our efforts to educate the designers of tomorrow to assimilate sustainability as a mindset, just as industry will require them to bring a sustainable approach to their designs. Kolding School of Design profoundly believes that a sustainable strategy can – and must – be part of efforts to solve global problems relating to lack of resources, poor working conditions, and pollution. For that reason, we welcome the focus on sustainability and CSR that we have witnessed in recent years: We appreciate the fact that the number of players influence the degree of impact. And since the world is very much controlled by economic interests, the degree of impact depends on the ability of companies to produce sustainable products that generate positive bottom line figures. In this game we are merely a small design school with great ambitions. However, our level of ambition and our desire to positively influence industry were what made us establish The Laboratory for Design, Innovation and Sustainability in 2008. The Laboratory provides a space for our professional designers and teachers to experiment and develop the field of sustainability. The venture has already resulted in a series of publications dealing with sustainability, summing up the school’s longrunning work and taking the topic one step further. Hence, being nominated for this year’s annual ethics award at DANSK FASHION AWARD gives us great pride because it means that our efforts in the area of sustainability have not gone unnoticed. The moral of the story is that first and foremost, you must stay focused on what you believe in and train yourself to become an expert in your field. Once you have created this platform, you have the chance to convince others of the importance of what you are doing. The present publication represents our continued efforts to develop the field of sustainability, and certainly, we hope that it will inspire the business community as well as contemporary and future designers.
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© Noam Griegst
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CHAPTER 1
I N TR ODUC T I O N
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KOLDING SCHOOL OF DESIGN AND SUSTAINABILITY
SUSTAINABLE ACTIVITIES AND INVESTIGATIONS
The fashion and textile industry is one of the most polluting industries on the Planet. Therefore, it is crucial that we start to change the way we think about consumption as well as our consumption habits. Sustainable fashion is a defining issue for Kolding School of Design. We believe that design represents part of the solution to the massive environmental and resource challenges currently facing us. Design and design thinking can be used to create new communication and production methods that can help change our approach to production and consumption. Design can generate new materials, new combinations of materials, and new products. At Kolding School of Design we educate fashion and textile designers who possess outlook and insight; designers that dare and do make a difference in the (fashion) world. In her book Sustainable Fashion and Textiles – Design Journeys, British Designer and Researcher Kate Fletcher makes the incisive point: “Business as usual. Or more to the point, fashion as usual is not an option”. Sustainability is no longer merely an ideology. It is a necessity. For many years, this great idea has been inherent at Kolding School of Design. Apart from integrating sustainability in the teaching, the school set up The Laboratory for Design, Innovation and Sustainability in 2008. The Laboratory represents an innovative space for conducting experiments. Here, education, industry and cultural institutions gather to create innovative ideas using design as their tool. The Laboratory helps ensure that the ideas and values of design are disseminated to and become embedded in the business community that awaits our designers.
The Laboratory explores issues relating to sustainability. In the field of fashion we zoom in on ethical and sustainable fashion. The Laboratory is a partner in the Fashion Zone; an ”experience zone” set up by the Danish Ministry of Economic and Business Affairs with the aim of creating economic and responsible growth within the fashion industry.
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Since the start-up in 2008, the Laboratory has organised a number of activities relating to sustainable fashion: International seminars, after hours seminars, educational programmes, exhibitions, and master classes for students, institutions and companies. The book LAB 2008-2010 depicts the many and various sustainability activities organised by the Laboratory. The book can be downloaded on the Kolding School of Design website www.designskolenkolding.dk where you will also find the additional Laboratory publications on sustainable fashion. These are Sustainability in the Design Process1 dealing with methodology and material skills in the teaching of fashion and textiles and Sustainable Fashion – Issues to be Addressed focusing on the problems, potentials, and perspectives of sustainable fashion and the role of the designer in this context.
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“Sustainability is a wide-ranging concept. In Shaping Sustainable Fashion – Changing the Way We Make and Use Clothes, Alison Gwilt and Timo Rissanen state that presently, there are around 70 different definitions of sustainability.”
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“There are no absolutes or clear-cut solutions when working with sustainable fashion. But there are angles. The issue is thus for designers and companies to dare venture into the complexity and choose one or a number of angles they believe will promote sustainability in their design.”
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LIVING LIGHTLY – A SUSTAINABLE COLLECTION
MULTIPLE ANGLES OF APPROACH – MAKE YOUR CHOICE!
Kolding School of Design’s approach to working with sustainable fashion is comprehensive and versatile, and significant knowledge has been produced during the time the school has dealt with the subject. Now, it is time to gather the threads, take stock and round off. We mark this by presenting a sustainable collection which embodies the knowledge about sustainable fashion which we have been able to generate and accumulate through years of research, teaching and collaboration. The collection is called Living Lightly and is in other words Kolding School of Design’s suggestion for sustainable fashion anno 2011.
Sustainability is a wide-ranging concept. In Shaping Sustainable Fashion – Changing the Way We Make and Use Clothes, Alison Gwilt and Timo Rissanen state that presently, there are around 70 different definitions of sustainability. Hence, the subject can be approached from various angles. Whether the issue is materials, production or consumption there are aspects to consider and questions to contemplate. For instance, is eco-cotton better that synthetic polyester? Do the factory workers have sustainable working conditions? Which kind of dyeing method is to be preferred? How can the consumers contribute to making their use of clothes more sustainable – and how do we convince them to act accordingly?
Living Lightly is the end-result of an artistic development project carried out by Fashion Designers Mia Kappelgaard and Louise Stubkjær Sørensen as well as Technical Designer Rikke Stetter during a period of 12 weeks in spring and summer of 2011. The project was carried out under the auspices of the Laboratory for Design, Innovation and Sustainability, in interaction with the Fashion Zone. Please go to page 94 to learn about the designers.
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The many links that make up fashion and textile production combined with the countless definitions of the term sustainability makes it hard to navigate the field. However, sustainability should not be a limiting factor but an obvious and painless choice. In Sustainable Fashion and Textiles – Design Journeys, Kate Fletcher writes that designers and companies need to focus on the possibilities of diversity. There are no absolutes or clear-cut solutions when working with sustainable fashion. But there are angles. The issue is thus for designers and companies to dare venture into the complexity and choose one or a number of angles they believe will promote sustainability in their design. Each small step to endorse sustainability makes a difference – and therefore, the Living Lightly motto is ”The possibility that we might flourish”; Dr. John Ehrenfeld’s definition of sustainability as described in his book Sustainability by Design – A Subversive Strategy for Transforming Our Consumer Culture, from 2008.
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FOR INSPIRATION AND IMPLEMENTATION Living Lightly was developed in order to show one way of managing the creation of a sustainable collection. It serves as a suggestion, an approach, which we hope will help demystify sustainable fashion and make the field more transparent and accessible to designers, companies and consumers. Living Lightly serves as “hands-on” inspiration. Several of the ideas can be realised instantly, and the collection is intended to be applied. Thus, we hope that designers and companies alike will be inspired by Living Lightly. This publication describes the development process from concept to the complete collection. We also zoom in on methods that are still in embryo but which, in the near future, can help to promote a sustainable approach. We have consciously chosen to use different methods for creating diversity in the clothing, thereby creating a collection that is marketable and visually appealing.
PRODUCTION AND CONSUMPTION Living Lightly introduces two approaches to sustainable fashion: • The Production approach is about creating a simple design, both in relation to choice of materials and processing: Simple and innovative materials, few routines, minimal treatment of textiles, minimum wastage, and a fashion-forward look. In this part of the collection we include Cradle-to-Cradle2 thinking and recycled materials.
• The Consumption approach focuses on the use and consumption of garments. In this approach, we focus on elements such as durability, traditional techniques and materials, good craftsmanship, classic styles and storytelling; elements that bring qualities to the clothes which make the consumer want to hold on to them – preferably forever. We also use materials which rarely or never need washing. In relation to both approaches we have worked to develop alternative closing mechanisms in garments. Metal buttons, plastic buckles, zippers, and similar are all elements that can complicate the composting and recycling of clothes. We have therefore worked to create a number of styles which through their design and trim eliminate closing mechanisms thus making them more sustainable. Living Lightly is a sustainable fashion collection. It represents the result of several years of study of the concept of sustainability at Kolding School of Design. However, Living Lightly is not merely a sustainable collection. We hope that it also comes across as a collection that emphasises design’s capability to act as a catalyst for change – in this case greater incorporation of sustainability in the fashion industry. Sustainability per se is not saleable. But good design is. It is in this perspective that we send off Living Lightly. We hope that you will find the result useful and enjoyable.
References: Ehrenfeld, John R.: Sustainability by Design - A Subversive Strategy for Transforming Our Consum-
er Culture, Yale University Press, 2008. Fletcher, Kate: Sustainable Fashion and Textiles – Design Journeys, Earthscan, 2008. Gwilt, Alison and Rissanen, Timo (ed.): Shaping Sustainable Fashion – Changing the Way We Make
and Use Clothes, Earthscan, 2011.
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CHAPTER 2
TH E P R O C E SS
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CREATING LIVING LIGHTLY The following is a visual account of the creation of Living Lightly. The process has been an in-depth exploration of the concept of sustainability by the three designers Mia Kappelgaard, Louise Stubkjær Sørensen and Rikke Stetter. They have investigated and challenged teaching and research projects from Kolding School of Design, sparred with specialists such as British expert on sustainable fashion, Designer and Researcher Kate Fletcher as well as Kolding School of Design Associate Professors Vibeke Riisberg and Joy Boutrup. The designers have examined the selection, the possibilities, and the development in the field of sustainable fashion and textiles as well as experimented with materials, shapes and colours. It has been a comprehensive but short process. Living Lightly was created during three months of spring and summer 2011. Living Lightly proves that sustainable fashion is possible. It is all about making a qualified choice. Sustainable fashion does not come with a key. Hence, the Living Lightly motto is ”The possibility that we might flourish”. Only by making a qualified choice based on available knowledge do we have the option of making a difference.
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WORKSHOP WITH KATE FLETCHER The research phase of Living Lightly was kick-started with a workshop facilitated by Designer, Researcher and Author Kate Fletcher. The objective of the workshop was to exactly define the concept of the collection. The workshop turned out to be intense and inventive filled with questions, answers and discussions giving the designers the opportunity to talk about materials, methods and future perspectives with one of the leading experts in the field of sustainability. Kate Fletcher Kate Fletcher has worked with sustainable fashion since the early 1990’s. She has a degree in fashion design, a PhD in sustainable fashion and is Reader in Sustainable Fashion at London College of Fashion. Through her business, Slow Fashion, she does consultancy work for large chains of shops, designers and ngos. She is an internationally renowned guest speaker and one of the leading researchers within sustainable fashion. Kate Fletcher is also the author of the much acclaimed book Sustainable Fashion and Textiles – Design
Journeys.
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“Less is more. The less you do to the clothes, the better.” Kate Fletcher
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COLOUR
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COLOUR Experimenting with and creating colour shades
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COLOUR Experimenting with and creating colour shades
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COLOUR Final colour formulas
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DYE ING TH E WOOL
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DYEING TH E W O O L
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AWAKENING POLYEST ER
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AWAKE NING POLYESTER Creating a handcrafted look and adding tactility to a two-dimensional material
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F UL L ING Experimenting with the process of fulling and reserving selected areas of knitted wool
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VALKNING
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FUR COLLAGE Sampling different types of vintage fur and working with traditional furrier techniques
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TOIL E
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CREATING THE FINAL DETAILS and finalising the garments
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CREATING THE FINAL DETAILS and finalising the garments
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COMPOSING THE LOOK
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COMPOSING THE LOOK
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“Keep clothes in use. Make sure they are being worn and do not just sit in the closet. Garments are only durable if they are being worn.” Kate Fletcher
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CHAPTER 3
PRO DUCTI ON AN D C O N S U M P T I O N
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PRODUCTION AND CONSUMPTION Living Lightly presents two approaches to sustainable fashion. They have as their theme production and consumption of clothes, respectively. The approaches have been determined based on questions of where and how design can make a difference: How can design support sustainable production methods? And how can design be used to make consumers aware of their role in a sustainable fashion industry?
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P RO D U CT I O N
The Production approach takes its starting point in Cradle-to-Cradle thinking. Cradle-to-Cradle is about designing products which can either enter into new products, a so-called “technical cycle”, or which nature can degrade in a “biological cycle” without releasing contaminants. Thus, Cradle-to-Cradle is not about reducing industrial production or lessening the size of our footprint. It is about producing with care and with a view to recycle or compost. The objective of the Production approach is to design with simple materials using simple methods of processing. Polyester3 serves as the primary material, and we have worked to minimise the number of times the material needs to be handled and processed, just as we have focused on minimising the amount of waste material. Overall, we have applied the concept of mono-material, meaning that all elements of the individual styles (textile, thread, lining, trim, etc.) consist of polyester. This enables and simplifies the recycling process, because the styles do not have to be taken apart. Polyester is one of the most utilised textile fibres in the world. In 2010, polyester had a market share of more than 40% of the world’s total 52 million tonnes textile consumption.4 Combined with its positive potential in terms of recycling, this makes it a material worth investigating. In general, the production of polyester and other synthetic, industrially produced fibres requires less – or zero – water consumption compared to the production of natural fibres such as cotton, wool and silk. Large consumption of water puts a strain on the environment. By reducing water consumption, you support the creation of products that are significantly more sustainable.
INFO
Learn more about the Cradle-to-Cradle principles in the book Cradle to Cradle. Remaking the Way We Make
Things by Michael Braungart and William McDonough (North Point Press, 2002) and on www.mbdc.com.
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“We support the possibility that in the near future, collecting and regenerating polyester in Denmark or Northern Europe will become a reality in order for the recycling process to take place locally.”
Still, polyester is produced from oil. Polyester is produced from the alcohol ethylene glycol and terephthal acid. Both substances are derived from oil; a nonrenewable source of energy. This makes recycling and use of recycled polyester important and a future necessity due to the prospect of the oil reserves running out. RECYCLED AND RECYCLABLE POLYESTER Having the Cradle-to-Cradle mindset in the back of our minds, we decided to include recycled (and recyclable) polyester in the Living Lightly collection; more specifically ECO CIRCLE® polyester from Japanese Teijin. ECO CIRCLE® represents different types of polyester as well as a recycling concept, which works as a closed loop return system: After end-use, the polyester clothes are returned to Teijin, and the polyester is recycled into new polyester. The details concerning the Teijin recycling methods are not accessible, but the basic principle is to break down the polyester into the two main components: ethylene glycol and terephthal acid. Next, colour substances and other contaminants are removed from the two components, and they are recombined to polyester of similar quality to new polyester.5 The Teijin method
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reduces energy consumption by 84% and CO2 emissions by 77% compared to the production of new, oil-based polyester. Currently, the ECO CIRCLE® concept includes only Teijin polyester and all of the collection sites are in Japan – but in principle, any type of polyester can be used. We support the possibility that in the near future, collecting and regenerating polyester in Denmark or Northern Europe will become a reality in order for the recycling process to take place locally. This requires more Danish and European companies to use ECO CIRCLE® polyester and demand locally situated collection and regeneration facilities. Shipping polyester back to Teijin in Japan, emitting CO2 in the process, will then no longer be necessary. Teijin just introduced a new type of ECO CIRCLE® polyester in which a larger part of the fibre is produced from biosynthetic material. In the new textile fibre, the ECO CIRCLE® PlantFiber, the alcohol is derived from biomass such as sugar canes. The alcohol makes up approximately 30% of polyester. With this amount of biosynthetic alcohol, ECO CIRCLE® PlantFiber will reduce consumption of oil and hence, the emission of greenhouse gasses. Teijin expects to commence the production of ECO CIRCLE® PlantFiber in April 2012.6
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QUALITIES AND CHALLENGES OF POLYESTER Polyester is a versatile material. It has thermoplastic qualities, which means that it can be shaped using heat. It is wear-resistant and dimensionally stable making it last long. Polyester is easy to wash (it can be washed at low temperatures) and dries quickly because it does not absorb much moisture. The minimal moisture absorption prevents the material from shrinking and creasing, eliminating the need for ironing. In other words, treatment of polyester clothes is relatively eco-friendly. The downside of polyester is that it is easily susceptible to dirt, grease and odour and especially the latter can be difficult to remove. One of our design moves in the Production approach has therefore been to create openings around the areas of the body with more perspiration, for instance around the armpits. Overall, we have strived to create shapes which allow for body perspiration by avoiding skin-tight cuts. Please refer to the Style Description page 70 to learn about the specific design moves and techniques used for the styles of the Production approach.
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Learn more about the qualities of polyester and how to shape, dye and print it in the article ECO CIRCLE
Polyester Project – Fashion and Textile Design Project with Recycled and Recyclable Polyester in Sustainable
Fashion – Issues to be Addressed. Please download the book on Kolding School of Design homepage
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C O NS U M P T I O N
The Consumption approach centres on the consumption of garments and how design can be used to prolong the service life and utilisation period of these. The styles created under the headline Consumption illustrate design moves which may contribute to making the individual styles “worthy of preservation”, meaning that the consumer will want to hold on to them and, equally important, making the clothes wear-resistant and in fact, suitable for keeping. Research shows that the service life of clothes, that is the period of time the user is using the clothes, has the most adverse impact on the environment, washing and tumbling being the worst contributors by far.7 This has caused us to use the Consumption approach to create styles that require minimum treatment and promote an emotional attachment, for instance by being changeable and becoming more beautiful with patina from wear. The Consumption approach focuses on classic materials and techniques. Keywords are good craftsmanship, tradition, quality and storytelling. Looks and shapes are inspired by classic silhouettes, couture and tailoring in the hope of increasing the preservation value of the clothes. The materials are natural comprising primarily wool, silk and fur. Also, we introduce an alternative textile in relation to garments consisting of horse hair and cotton. We apply this material in a (very wear-resistant) jacket. RECYCLE AND REDESIGN As in the case of the Production approach, using the same types of materials or fibres – in this case protein fibres – supports recycling and enables the composting of several of the garments. Styles consisting of one type of fibre are easy to separate, recycle and redesign, partly because they can be dyed to fit the wants and needs of the users. Kate Fletcher is in fact an advocate for redesign because redesign intensifies the use of resources and involves the user in her/his wardrobe and the reflection of identity that it represents.8 P 5 8 LIVIN G LI GHTLY
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“Styles consisting of one type of fibre are easy to separate, recycle and redesign, partly because they can be dyed to fit the wants and needs of the users.”
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Several of the styles have closings that consist of separate parts such as leather belts. During recycling or disposal these can easily be removed or replaced improving the chances of minimal environmental impact. In order to further reduce the need for washing, we have incorporated so-called dress shields; small, removable cotton pads similar in appearance to shoulder pads. The dress shields are placed by the armpits to protect the clothes from sweat patches and odour. This means you will only have to wash the dress shields and not the entire garment thereby saving water and energy. LOW MAINTENANCE MATERIALS Another material we have included in the collection which requires hardly any treatment, is fur, more specifically recycled fur and fur remnants. Fur has been known and used for centuries, especially in the Nordic countries due to our cold climate. Often, fur garments are handed down from generation to generation. This means, that oftentimes there are memories attached to the fur, which helps promote an emotional attachment to the garment making the user want to hold on to it for a longer period of time. As stated, fur requires minimum treatment when being used. It does not have to be washed, and it only rarely has to be cleaned. Fur contains a natural amount of fat, which makes it dirt-repellent and not easily susceptible to odour. For the most part, fur will only need a bit of airing. Some people consider fur to be a controversial material. However, we see it as an interesting choice of material in relation to sustainability, particularly due to its durability and minimal need of treatment. We take an interest in the fact that if processed cor-
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rectly, fur will last for generations while having very little impact on the environment during the time it is used. In addition, fur presents obvious potential to be redesigned and recycled – partly because the acquisition price is high, and partly because, contrary to woven and knitted materials, fur can be cut and redesigned without leaving visible cuts and seams. However, fur is also associated with difficult issues: In Denmark, in particular, animal welfare among furbearing animals such as fox and mink has been the subject of some controversy. The trade association of fur farmers has been criticised and investigated and different media have reported stories of highly unacceptable conditions on Danish fur farms. The critique has caused the trade and relevant authorities both to work to eliminate any problems. In order to protect animal rights, as of 2016, fox breeding for the purpose of producing fur will be prohibited under Danish law for breeders who have fox breed as their subsidiary occupation. As of 2023, the law will also apply to breeders who have fox breeding as their main occupation. The Danish Centre for Animal Welfare under The Danish Veterinary and Food Administration has just released a status report on animal welfare in Denmark, including animal welfare at the country’s 1,500 fur farms inspected by the Administration in 2010. The conclusions of the report are generally positive: During the inspections there were found no signs of gross animal cruelty as defined in the Danish Animal Welfare Act.9 Danish mink breeders produce some of the finest mink coats in the world and the demand, especially from China, is considerable. If you wish to use fur in your design, we recommend that you use Danish fur, because of the superior quality and high level of animal welfare, rather than fur produced in countries like Lithuania, Poland and China where animal welfare supervision is poor or nonexistent.10
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“In order to further reduce the need for washing, we have incorporated socalled dress shields; small, removable cotton pads similar in appearance to shoulder pads. The dress shields are placed by the armpits to protect the clothes from sweat patches and odour. This means you will only have to wash the dress shields and not the entire garment thereby saving water and energy.”
Wool represents another traditional material, which we
have included in the Consumption approach. Wool displays a number of qualities, which makes it suitable for designing long-lasting garments. First and foremost, wool is wear-resistant and if treated correctly, wool can last a long time.11 Wool shapes well and can be fixed by using damp heat. Fulling can be used to make the material dense, more wear-resistant and – in case of more solid fulling – wind and water resistant. Wool is insulating and partly self-purifying, and due to its natural lanoline content, it is dirt-repellent. Airing wool is an excellent alternative to washing it; airing it releases smells and reduces wear making the garment last longer. BALANCED SUSTAINABILITY FROM SCOTLAND Among other types of wool we have used organic and sustainable wool from Scottish farm Ardalanish. Ardalanish has a holistic approach to sustainability encompassed in the word balance – balance with nature, animals and the environment. Ardalanish produces high-quality non-dyed, organic wool from
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sheep that are native to the Hebridean landscape in the north western part of Scotland.12 Rather than overworking the land and forcing crops, Ardalanish enters a cycle of balance with it. Ardalanish’s objectives and methods spring from a belief in and desire to understand the land and its needs and allowing ecological relationships to develop with animals that are already co-evolved with the environment: “We believe the balance achieved with these methods produces a quality and an ethical standard which reflects the conditions that nature bestowed in this unique Hebridean landscape,” Ardalanish explains.13 The Ardalanish business model constitutes an excellent example of sustainability in terms of product development which is ethical, organic and local as well as in terms of yield.
Please refer to the Style Description page 70 to learn about the specific design moves and techniques used for the styles of the Consumption approach.
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References Allwood, Julian M.; Laursen, Søren E.; Rodríguez, Cecilia de Malvido and Bocken, Nancy M. P.:
Well Dressed? – The present and future sustainability of clothing and textiles in the United Kingdom, University of Cambridge, 2006. Boutrup, Joy: ECO CIRCLE polyester project – Fashion and textile design project with recycled
and recyclable polyester in Sustainable Fashion – Issues to be addressed, Kolding School of Design, 2010. Danish Centre for Animal Welfare: Dyrevelfærd i Danmark 2010 (only available in Danish), Danish Veterinary and Food Administration, 2011. Møller, Steen H.; Hansen, Steffen W. and Malmkvist, Jens: Velfærd hos mink (only available in Danish), Department of Animal Health and Bioscience, Aarhus University, 2011. www.ardalanish.com www.localwisdom.info www.mbdc.com www.teijin.co.jp/english/news/2010/ebd101210.html
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CHAPTER 4
CHALLEN G ES AN D P E RS P E C T I V ES
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“A product which nobody wants to buy cannot be sustainable. Any production, however ecological, consumes resources, which are wasted if the product is taken directly from production to disposal. The end consumer, cultural aspects, price, etc. must be taken into account, as well as sustainability, functionality and the product fulfilment of consumer needs and wants.” Vibeke Riisberg,
Sustainable Fashion – Issues to be addressed, Kolding School of Design, 2010.
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The field of sustainable fashion and textile has seen substantial development within the last few years, and today there is a variety of materials and methods for the designer to choose from when creating sustainable clothing. It is a matter of researching, reflecting and demanding such materials – especially demanding and questioning are essential. In our work with Living Lightly we have experienced this first hand: Suppliers were sometimes unable to tell us which fibres were used in the materials. There were also cases where we were given one set of data about the material and subsequent tests presented different conclusions. It is difficult to ascertain whether the manufacturer gave the suppliers faulty information or whether the suppliers failed to acquaint themselves with their products. But the essence is that it is an issue which both the industry and consumers may face when trying to retrieve information that could help them make an educated choice. And that is problematic. In order to ensure a sustainable development in our industry it is important that we all take a responsibility and strive to find the best material and the best methods – and question them. The designer should stand up for his or her competencies and have the courage to venture into the complex field of sustainability. Both the designers and the producers need to make an educated choice and continually test and demand sustainable materials and production methods and not only rely on information from the suppliers.
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In Living Lightly we present two approaches to sustainable fashion design both of which incorporate synthetic and natural textile fibres. It has been our intention to create a versatile collection and demonstrate that it is possible to design sustainably using both types of material. Our angles of approach also focus on “clean” design – design in mono material or the same type of fibre – which maximises the possibility of appropriate disposal in the form of recycling or composting. In both cases the consumer has the primary responsibility for ensuring the most appropriate disposal, irrespective of the fact that 80% of the environmental impact of a product is decided in the design phase. The designer is the one who, during the development of the product, chooses the materials, the life of the product, resource allocation during production and use of the product, as well as disposal options.14 In Shaping Sustainable Fashion – Changing the Way We Make and Use Clothes Alison Gwilt and Timo Rissanen stress that “… even the most progressive technologically based solution can be undermined by consumer behaviour.” Designers and manufacturers can – and ought to – play an important role in guiding and shaping the development of production of sustainable clothing. It is much harder, though, to influence self-determining fashion consumers and ensure that they treat and dispose of the clothing in accordance with the intentions of the designer and the potential of the garment.
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Hence educating consumers in how they can contribute to sustainable consumption of clothing is a vitally important task. The majority of consumers are unaware that the service life of the clothes has the greatest impact on the environment and that they have a responsibility, but also a real possibility of making a difference now, today. There are in fact several options: • wash less, at lower temperatures and with environmentally friendly and correctly measured detergent15 • air out garments made of wool or fur rather than washing or dry cleaning them • avoid using a tumbler and air dry clothes instead • buy fewer and more durable clothes • repair and/or redesign the garment – by yourself or with help from professionals • return the clothing item for recycling – either through central collection places which recycle them (such as the Teijin’s ECO CIRCLE® concept) or by donating the clothes to recycling organisations, which donate or resell them.
cept of recycling of polyester within the industry, so that polyester can be collected and recycled all over the world.16 Recycling of polyester is a realistic – and necessary – option in particular when considering the world’s dwindling oil reserves and polyester being one of the most widely used textile fibres globally.
The styles in Living Lightly enable all these options. Regarding the styles in the approach Consumption the materials and the methods are ready and obtainable. With high quality, natural and low-maintenance materials the primary task is to communicate to the consumer how the garment should be treated and how it can be redesigned in order to expand its life. As to the styles in the approach Production the main undertaking is to promote and consolidate the con-
Living Lightly represents ”The possibility that we might flourish”.17 It is a starting point, an approach and a recommendation of how we might make sustainable fashion flourish. It has been an eye-opening journey and we hope that the collection and this publication will assist in demystifying the field of sustainable design and inspire more companies and designers to venture into sustainable fashion design.
We have the expertise, the materials and the technical capabilities for sustainable design. There are no clear-cut solutions and answers when working with sustainable fashion. But there are approaches and perspectives. It is a matter of choosing the one which is most appropriate for the business and the brand. With Living Lightly we have opted for two approaches and given our suggestion to how sustainable fashion can manifest itself in 2011 – and pointed to where we believe the field is headed going forward. We have also pointed out the need to intensify the communication to the consumers, so that they will be informed about their responsibility and most importantly be encouraged and assisted in treating and disposing of their garments in the best possible manner.
References Danish Ethical Trading Initiative: Good Environmental Practices – A practical handbook for
suppliers and subsuppliers, 2011. Fletcher, Kate: Sustainable Fashion and Textiles – Design Journeys, Earthscan, 2008. Gwilt, Alison and Rissanen, Timo (ed.): Shaping Sustainable Fashion – Changing the Way We
Make and Use Clothes, Earthscan, 2011.
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STYLE DESC RI P T I O N
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1. TEN-TIMES TRENCH COAT DESCRIPTION The Ten-Times Trench Coat only retains the most iconic details, front flap, cape and belt; the rest has been eliminated in order to reduce the working procedure involved in the style. Due to the shape and the size of the coat people of different sizes and body shapes can use it. Hence the coat can be manufactured in just one or two sizes, which minimises the risk of remainders. Certain types of polyester can appear two-dimensional and lifeless. We have been working on refining the fabric and reducing its man-made appearance by hand painting it. This has given the material a more eroded, natural look – a look which in a production stage can be easily converted to print. The belt of the trench coat is a second hand belt. It is a separate element which is loosely attached to the jacket and can be easily detached after use, which facilitates recycling of the polyester material. The trench coat is made of water-repellent, non-woven polyester. The coat is designed as a light overall jacket. It weighs very little and can fit into a handbag for a rainy day. In terms of shape we have added openings in the armpits and the back so that the body can get rid of transpiration more easily. This means that the coat does not absorb body odour which would require washing.
MATERIALS COAT / TOP 100% polyester / MILIFE® / JX Nippon ANCI SAS LINING 100% polyester / MILIFE® / JX Nippon ANCI SAS BELT AND BUCKLE Reused belt / metal THREAD 100% polyester TRIM / BUTTON 100% polyester PRINT Gum Arabic, Potato Dextrin, Yellow Dextrin and Bafixan (disperse dyes)
Due to the relatively simple production, choice of material and price, we see this coat as a garment which would be used only a few times, at parties, holidays etc. Usually such products are designed with practicality in mind. We have tried to make our coat fashionable as well, which should make it more marketable. DISPOSAL The coat itself is made from pure polyester and can be included in a recycling process for polyester. The belt and the buckle can be used in other contexts/products, or they can be taken apart and recycled in accordance with the characteristics of the specific material. PERSPECTIVES The fabric, which the jacket is made of, is manufactured in Japan. Hence transportation and CO2 emissions have to be included in the life cycle assessment of the product. Finding a local manufacturer would reduce the energy consumption. It is our hope that collection and regeneration of polyester will become a reality in Denmark or in Northern Europe in the not too distant future.
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2. ONE SEAM DRESS DESCRIPTION The One Seam Dress is draped and has – as the name indicates – only one seam. This means a drastic reduction in the working procedures. The dress is open around the back and the armpits so that the body can breathe. This reduces the need for washing, since the material absorbs considerably less bodily odour. The dress can be tied up and arranged in different ways, enabling the user to leave her own stamp on the dress. DISPOSAL The dress is made from pure polyester and can be included in a polyester recycling process. PERSPECTIVES The dress is made of 100% polyester which enables regeneration of the polyester. It is our hope that collection and regeneration of polyester will become a reality in Denmark or in Northern Europe in the not too distant future.
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MATERIALS DRESS 100% polyester / Whaleys LTD THREAD 100% polyester TRIM/BUTTON 100% polyester PRINT Bafixan (disperse dyes) / Manutex F (sodium alginate)
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3. TWO-FACED TROUSERS DESCRIPTION The design of the trousers is based on a classical pair of trousers, but the choice of material – and the composition – gives them a new look. The white fabric in the middle of the trousers is a hollow polyester fibre of the ECO CIRCLE® Cortico variety designed to absorb and transport transpiration away from the body. The see-through fabric is a polyester organza. Due to the choice of material and the design of the trousers this style is not meant to last for several seasons. It is a style typical of its time, designed to last for the period in which it is relevant. DISPOSAL The trousers are made of pure polyester and can be included in a polyester recycling process. Teijin’s ECO CIRCLE® polyester is used in this style, hence the trousers can be returned to Teijin after use.
MATERIALS WHITE FABRIC 100% polyester / ECO CIRCLE® Cortico / Teijin SEE-THROUGH FABRIC 100% polyester organza / Japan THREAD 100% polyester TRIM / BUTTON 100% polyester
PERSPECTIVES The polyester that the trousers are made from is manufactured in Japan. Hence transportation and CO2 emissions have to be included in the life cycle assessment of the product. Both types of polyester are recyclable. We hope that collection and regeneration of polyester will become a reality in Denmark or in Northern Europe in the not too distant future.
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4. SEE-THROUGH CARDIGAN DESCRIPTION The design of the cardigan is based on a classical cardigan. The knitting makes the polyester perforated and breathable. The cardigan is designed so it does not fit tightly to the body. The leather belt lends greater exclusivity and weight to the polyester segment. The belt strap is made from a recycled belt, which can be removed from the cardigan, used with another product, or it can be taken apart and recycled after use. DISPOSAL The cardigan is made from pure polyester and is appropriate for inclusion in a regeneration process for polyester. The belt and the buckle can be used in other contexts, or they can be taken apart and recycled in accordance with the characteristics of the specific material. PERSPECTIVES In the Living Lightly project we have been unable to work in fully fashion, a technique where the various parts are knitted to shape. Applying fully fashion to this style could have avoided much of the considerable waste which occurs when fabrics sold by the meter are first woven or knitted and then cut out in the relevant parts. The cardigan is recyclable as it is made of 100% polyester. We hope that collection and regeneration of polyester will soon become a reality in Denmark or in Northern Europe.
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MATERIALS KNIT (SEE-THROUGH) 100% polyester / Colorific / Tønnesen A/S KNIT (BROWN) 100% polyester / Permocore 120 / American Efird THREAD 100% polyester BELT AND BUCKLE 100% reused leather belt / Metal
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5. KNITTED DRESS DESCRIPTION This garment is one of the more fashionable styles in the collection. It is designed to last one or two seasons. The style is created to require few working procedures, and the design makes trim and closing mechanisms redundant. The plasticity of the knitted fabric has been used to pull it into shape.
MATERIALS DRESS 100 % polyester / Colorific / Tønnesen A/S
DISPOSAL The dress is knitted from pure polyester and is appropriate for inclusion in the recycling process for polyester. PERSPECTIVES In the Living Lightly project we have been unable to work in fully fashion, a technique where the various parts are knitted to shape. Applying fully fashion to this style could have avoided much of the considerable waste which occurs when fabrics sold by the meter are first woven or knitted and then cut out in the relevant parts. Transportation and resource consumption related to the delivery of the material, as well as transport in relation to recycling e.g. at Teijin in Japan, have to be included in the life cycle assessment of the product. Finding a local manufacturer or an alternate mode of transport would reduce CO2 emissions. Also, identifying local collection and regeneration facilities in Denmark or in Northern Europe would make reuse of polyester less cumbersome and resource intensive. It is our hope that collection and regeneration of polyester will become a global reality in the not too distant future making the concept easier to “sell” and implement.
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6. FUR JACKET DESCRIPTION This jacket is made of recycled fur and fur remnants. Fur as a material for clothing has a strong tradition in Scandinavia, first and foremost due to its durability and minimal upkeep such as washing and cleaning. Fur is dirt repellent and absorbs very little odour. Typically airing is sufficient. The jacket closes with a belt as a separate entity, which can be removed from the jacket at disposal. The belt strap is made from reused leather and the buckle is made of metal, which can be removed from the strap when the belt has served its function. The jacket lends itself well to be redesigned, since the fur will cover up the cuts and seams which would normally be visible in a woven material. DISPOSAL Fur as a material is a prime candidate for redesign and recycling – both because it is expensive and because it rarely gets worn out. The jacket is made of pure protein fibres, which means that in principle it can be composted. However, fur has gone through a tanning process, and depending on the tanning methods the fur may include chrome, which is hazardous for the environment.18 Therefore it is important to know how the fur has been treated and whether it contains traces of chemicals in order to be able to guide consumers as to the best way of disposing of fur garments.
MATERIALS JACKET 100% recycled fur and fur remnants LINING (body) 100% silk taffeta / China LINING (sleeves) 100% silk / silk twill / Whaleys LTD INTERLINING 100% resilient hair / Freudenberg INTERLINING 100% wool felt THREAD 100% silk
PERSPECTIVES In Denmark fur is the focal point of many discussions, primarily about animal welfare. Denmark is the world’s largest producer of mink pelts – considered the best quality on the market. The reason is the general high standards of animal welfare on the Danish mink farms, which has been mentioned earlier in this publication. Here we described that researchers from the University of Aarhus have established that the Danish rules regarding mink breeding provide an adequate framework for good animal welfare.19 We recommend the use of Danish fur, since Danish fur represents a high level of animal welfare, unlike fur from e.g. China where animal welfare is much more questionable.
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7. WOOL JACKET DESCRIPTION The jacket is inspired by an iconic jacket in shape and details. Our objective was to create a contemporary, yet timeless jacket meant for long-time use. It is manufactured according to traditional tailoring techniques which can be applied in modern production. The high-quality craftsmanship will undoubtedly give the consumer the experience that this is a piece of clothing worth keeping. The jacket is made of wool, a fabric that is partly self-cleaning. In the user phase this means that the jacket rarely requires washing; in many cases it only needs to be aired out. In order to further protect the jacket against sweat, odour and discolouration, hence reducing the need for washing, we have provided the jacket with dress shields made of cotton which can be removed and washed separately. The wool is woven from organic, sustainable yarns from Ardalanish in Scotland. As described earlier in this publi- cation, Ardalanish is known for its holistic approach to sustainability with the keyword being balance.20
MATERIALS JACKET 100% organic wool / Shetland Cream Twill / Ardalanish LINING 100% silk / silk twill / Whaleys LTD INTERLINING 100% fusible knitted viscose / Freudenberg SHOULDER PADS 100% wool felt DRESS SHIELD 100% cotton THREAD 100% polyester
DISPOSAL The jacket is made of different material and fibres. Not all of the fibres can be composted after use. However, we decided to create the jacket with a mix of materials with the purpose of making a jacket with long durability. PERSPECTIVES The jacket is made with modern tailoring techniques. It is fully interlined with a fusible lightweight fabric made of knitted viscose – a fabric which supports the shape of the jacket and gives it long durability. It is, however, possible to manufacture the jacket using traditional tailoring techniques and interlining it with silk organza and horse hair to create a biodegradable piece of garment. This approach will, however, result in an expensive garment piece, not suitable for production. Ardalanish wool is not dyed from the grower’s part. When we dyed it the look and structure of the wool changed (dispite of decatising) and it became more “alive” and difficult to stitch up. We therefore chose to create a new, undyed jacket.
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8. HORSE JACKET DESCRIPTION This jacket has a classic design. It is made of a very durable material, which gives it a long life. This material is primarily used for furniture and is thus not a typical garment material. We fell for the sturdy quality that will make it resist wear and tear for many years, and the fact that it is made partly from a unique material – horse hair. The outer jacket does not need washing. The lining is polyester, which can be unbuttoned and washed (at a low temperature). The different parts of the jacket can be taken apart so that the polyester lining can be recycled and the outer jacket composted. The closing mechanism is made of leather from a recycled belt. A new metal buckle has been added. The belt can be removed from the jacket at disposal or it can be used in other contexts, or with other garments due to its long durability. DISPOSAL The material of the outer jacket is horse hair and cotton, i.e. organic materials, which make the jacket compostable. The polyester lining can be unbuttoned and, thus enter into a polyester recycling process.
MATERIALS OUTER JACKET 68% horsehair / 32% cotton / John Boyd Textiles Limited LINING 100% polyester / ECO CIRCLE® Cortico / Teijin THREAD (JACKET) 100% cotton THREAD (LINING) 100% polyester BELT AND BUCKLE 100% recycled leather/ metal
PERSPECTIVES The iconic shape and the durable material make the jacket a garment worth keeping. The material is a distinctive constellation of cotton and horsehair. The latter in particular is interesting, since it fulfils the demand for clothing that is sustainable, has a long life and is compostable. Horsehair demands no special resources. It is a by-product of a primarily hobby-based “industry”: Equestrianism.
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9. FULLED WOOLEN DRESS DESCRIPTION The wool used in this dress has been woven from organic yarns. We have inserted dress shields in the silk lining of the dress in order to protect the garment from sweat, odour and discolouration. The dress shield is a lined piece of cotton which can be detached from the dress and washed separately. Dress shields were used by our grandparents’ generation. From a sustainable perspective it would be interesting to reintroduce dress shields, since they contribute to the extended life of the garment and reduces the need for washing.
MATERIALS
Since the dress is made of wool it is partly self-cleaning and dirt repellent. Hence in the user phase the dress needs infrequent washing, and in most cases it can be freshened up by airing.
THREAD 100% silk
DRESS 100% biodynamic organic wool 22/ Südwolle / The Yarn Purchasing Association LINING 100% silk / silk twill / Whaleys LTD
TRIM / BUTTONS 100% bone
DISPOSAL The dress can be composted after use. PERSPECTIVES The dress is made of fulled wool. Fulling is a treatment given to both knitted and woven woollen garments which gives it more body and firmness and hence makes it more durable. Extra dense felting can make the woollen material wind- and waterproof. Fulling is an old technique well-known in all of Scandinavia. We know that wool was fulled already in the Bronze Age (around 1000 BC). The technique can be compared to washing since water and soap is used. The difference is that in a regular wash you want to avoid exposing the woollen garment to too high temperatures and too much tumbling and stirring as it shrinks and mats.21 In the fulling process that is exactly the effect you want – you want the woollen fibres to be matted together.
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10. SILK BLOUSE DESCRIPTION In the design of this silk blouse we have focused primarily on the scope of the material. Rather than appliquĂŠing additional material, colour and trim to the blouse we have tried to bring out the effects and the design by working with the material itself. One of the procedures involves removal of the natural glue substance of the silk organza on selected parts of the blouse. Silk organza contains a natural glue substance, a protein called sericine, from the silk larva, which makes the material stiff, transparent, and gives it weight. We have removed the glue at the lower edge of the silk blouse by boiling the selected part in soda (sodium carbonate). This process has made the boiled silk soft and less transparent, which gives the blouse an attractive appearance and structure. We hope that this will incite the consumer to keep and use the garment for a long time.
MATERIALS BLOUSE 100% silk / silk organza / Dakattun Aps THREAD 100% silk DRESS SHIELDS 100% cotton BUTTON 100% bone
In addition, we have inserted dress shields in the silk blouse in order to protect the delicate silk against discolouration, odour and sweat. Sweat salts break down the silk and make it brittle. Sweat may also permanently discolour the silk. Dress shields are therefore particularly useful in silk garments, since they extend the life of the garment; they also help retain the attractive appearance of the silk for a longer period of time and reduce the need for washing. DISPOSAL The blouse is made of silk, with a button of bone and dress shields made of cotton which make the blouse suitable for composting. PERSPECTIVES The silk blouse is light in colour. It can therefore be dyed and hence attain a new life for the consumer. The silk comes from China where most silk is produced. Hence transportation and CO2 emissions have to be included in the life cycle assessment of the product.
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TECHNIQUE Removing the natural glue from silk organza
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DYES A N D TH E LI K E
BAFIXAN: A disperse dye without metal or chlorine. Bafixan is biodegradable (albeit over a long period).
MANUTEX F: A thickening agent made of sea algae, a sodium alginate. Manutex F is used to increase the viscosity of the dye or to size a material so that thin colours do not spread, e.g. during silk screen painting. It is used in Living Lightly in an aqueous solution to mix with the dyes Bafixan (for synthetic fibres) and Remazol (for natural fibres) respectively.
GUM ARABIC: A natural rubber product extracted from acacia trees. Gum Arabic is used as a thickening agent in print colours and reserves, but its primary use is in the food industry, where it is used as a stabilizer. In Living Lightly Gum Arabic is used in an aqueous solution as a reserve which is applied in order to prevent a material from receiving the full amount of dye in certain defined places.
POTATO DEXTRIN: Dextrin is a common name for polysaccharides, i.e. a molecule consisting of several glucose molecules made from potato starch. Potato Dextrin is used as a reserve with a crackling effect. It is mixed with water and is applied to a material in order to prevent it from receiving the full amount of dye in certain defined places, and only in the crackles which occur by applying a thin layer of Dextrin.
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YELLOW DEXTRIN: Yellow Dextrin is, like Potato Dextrin, made from starch. It is used as a resist. Yellow Dextrin enables the creation of clearly defined areas of colour that abut diffuse and fluid areas. It is also possible to create a crackling effect, just like with Potato Dextrin. REMAZOL: Remazol is a low-reactive dye, which means that it enters into a chemical reaction with the fibres. This makes the material reasonably lightfast and wash fast. The dyes can be used for all natural materials (i.e. cellulose and protein fibres) including silk, cotton, flax, viscose and wool. Remazol dyes are sold as powdered dyes, which, when stored properly (in a dry, dark and cool container with tightfitting lid), have virtually unlimited shelf life. The powdered dye is mixed with various additives depending on the material to be dyed. Remazol dyes are reactive dyes of the vinyl sulphon variety and are some of the least toxic dyes we know today. In Living Lightly we have only used metal free dyes. In the range some of the dyes contain cobber or chromium which, in spite of enhancing the fastnesses have a detrimental influence on the environment. These are the dyes we have avoided.
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T HE DES I GN ER S MIA KAPPE LG AARD Fashion Designer at Living Lightly. Mia Kappelgaard graduated from Kolding School of Design in 2009 and holds an MA in Fashion Design. She continued straight to a position as Designer and Studio Manager with progressive design bureau Femmes Regionales, working in the fields of art direction, fashion shows, and campaigns. Mia Kappelgaard has previously worked as an international trend scout for Levi’s Strauss. During her training at Kolding School of Design she also worked as an assistant at the French fashion house Gaspard Yurkievich and with designer Bente Elmer in Paris. Mia Kappelgaard has also acted as a guest teacher at Kolding School of Design. She now works as a designer at Danish fashion brand Samsøe & Samsøe.
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RIKKE ST E T T E R
LOUISE STUBKJÆR SØ RE NSEN
Technical Designer at Living Lightly.
Fashion Designer at Living Lightly.
Rikke Stetter is deeply rooted in the craft of old tailoring techniques and advanced pattern making. Her background enables her to interpret various expressions and designs and bring them to life.
Louise Stubkjær Sørensen graduated as Fashion Designer from Kolding School of Design in 2001. Subsequently, Louise Stubkjær Sørensen worked as a design assistant for Danish fashion brand Naja Lauf.
Presently, Rikke Stetter works as a teacher at Kolding School of Design and as a technical consultant for various fashion brands. For several years, Rikke Stetter worked as Chief Pattern Maker with Danish high street fashion brand Noir, displaying her love for sculptural tailoring and careful detailing. Noir is based on CSR principles and has won several ethical fashion awards. Rikke Stetter has 20 years of professional experience, which includes many years as a costume maker for a number of Danish theatres, including The Royal Danish Theatre.
In 2006, Louise Stubkjær Sørensen started her own fashion brand eluise. eluise was quickly noted for its unique design, which led to prestigious nominations such as Max Factor New Talent Award and Ginen. Louise Stubkjær Sørensen closed down eluise in 2011. Prior to that, eluise clothes were sold in exclusive stores in Denmark, France, Germany and the USA.
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F OOTNOTE S
1 | The publication is only available in Danish.
9 | The report on Danish animal welfare Dyrevelfærd
i Danmark 2010 (only available in Danish) can be
2 | Cradle-to-Cradle is about designing products that can 1) either enter into new products in a “technical cycle”,
downloaded here: www.fodevarestyrelsen.dk/fdir/
or 2) which nature can degrade in a “biological cycle”
pub/2011001/rapport.pdf (homepage of The Veteri-
without releasing contaminants. Learn about Cradle-to-
nary and Food Administration under the Danish Ministry
Cradle at www.mbdc.com. 3 | Living Lightly applies PET polyester, also referred to as
of Food, Agriculture and Fisheries). 10 | Researchers from Aarhus University assess that the
polyethylene terephthalate. In this publication we refer to this type of polyester as simply polyester. 4 | Boutrup, Joy: ECO CIRCLE Polyester Project – Fashion
Danish rules regarding fur animal keeping create an
excellent foundation for positive animal welfare. This is the conclusion of the report Velfærd hos mink
and Textile Design Project with Recycled and Recycla-
(only available in Danish), which investigates the welfare
ble Polyester in Sustainable Fashion – Issues to be Ad-
of mink. The report is published by the Department of
dressed, Kolding School of Design, 2010.
Animal Biology and Health, Aarhus University and can
5 | Boutrup, Joy: ECO CIRCLE Polyester Project – Fashion
and Textile Design Project with Recycled and Recyclable Polyester in Sustainable Fashion – Issues to be Addressed, Kolding School of Design, 2010.
be downloaded here: http://web.agrsci.dk/djfpublikation/ir_104_55716_internet.pdf 11 | Detergents containing enzymes will for instance destroy the natural fibres of the wool. It is therefore essen-
6 | www.teijin.co.jp/english/news/2010/ebd101210.html
tial to use a special detergent for wool and wash it either
7 | Allwood, Julian M.; Laursen, Søren E.; Rodríguez, Cecilia
by hand or use the wool programme on the washing
de Malvido and Bocken, Nancy M. P.: Well Dressed?
– The present and future sustainability of clothing and textiles in the United Kingdom, University of Cambridge, 2006. 8 | www.localwisdom.info. The Local Wisdom Project is a fashion project led by Kate Fletcher which celebrates
machine. 12 | Ardalanish wool is not dyed. It comes in black, grey, dark brown, cream and light brown shades depending on the natural colour of the sheep. 13 | www.ardalanish.com 14 | Danish Ethical Trading Initiative: Good Environmental
a user’s “craft”. The project aims to gather examples of
Practices: A Practical Handbook for Suppliers and Sub-
garments that are used in ways that save resources and
suppliers, 2011. Can be downloaded at www.dieh.dk
are satisfactory for the user.
(Homepage of the Danish Ethical Trading Initiative).
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15 | In Denmark consumers should use detergent marked
19 | The Animal Ethics Council under the auspices of the
with the Danish environmental label the Swan or the EU
Danish Ministry of Justice has pointed out that in certain
label the Flower.
areas the welfare of furred animals surpasses that of
16 | Recycled polyester is becoming increasingly common
domestic production animals, since furred animals are not castrated or subjected to forced reproduction.
and is therefore no longer an unusual material in the fashion and textile industry. The majority of the recycled
In addition, destruction takes place on the farm, which
polyester stems from plastic bottles. However, and in
means that the animals do not have to be transported
most cases the clothing product is the end of the reuse
to slaughterhouses like domestic animals such as pigs
phase. It is thus an incomplete Cradle-to-Cradle pro-
and cattle: The Animal Ethics Council: Udtalelse om pels-
cess, unlike Teijin’s ECO CIRCLE® polyester, which tries
dyrproduktion, The Danish Ministry of Justice, 2003.
to establish a complete recycling process incorporating
The statement (only available in Danish) can be down-
the consumers. This aspect is vital in ensuring a sustain-
loaded here: www.justitsministeriet.dk/fileadmin/
able development in the fashion industry.
downloads/Dyrevaernsraad/Udtalelser_og_tilhoer-
17 | Dr. John Ehrenfeld’s definition of sustainability as de-
ende_pressemeddelelser/Udtalelse_om_pelsdyr-
scribed in his book Sustainability by Design – A subver-
sive Strategy for Transforming Our Consumer Culture from 2008. 18 | The vast majority of hides are tanned using chrome in so-called tanning vats. Chrome is a toxic heavy metal with an adverse effect on the environment. In some systems the chrome tanning takes place in closed circuits, where the chrome is recycled rather than ending
produktion__januar_2003_.pdf
In its statement, the Animal Ethics Council also emphasises that fur farming is more environmentally friendly than breeding and keeping domestic animals for the food industry.
20 | For more information about Ardalanish and its approach to sustainability, visit www.ardalanish.com 21 | Hence the importance of washing woollen garments
up as toxic waste water. The final product – the garment
with a special detergent, either by hand or in the wash-
– does, however, contain chrome, which is a hindrance
ing machine using the wool programme. Regular de-
for composting. A much more environmentally friendly,
tergent, which contains enzymes, ruins the wool, and
but costlier and more time consuming, alternative is
regular washing programmes with spin cycles mat the
vegetable tanning or tanning using synthetic, organic
wool and make it dense – i.e. it shrinks.
tannic acids. These methods of tanning leave no toxic
22 | The wool is KbT certified by The Institute for Marketecol-
substances in the garment, which means that it can be
ogy (IMO), www.imo.ch. KbT stands for Kontrollierte,
composted, provided it consists of pure protein fibres.
biologische Tierhaltung – in English Controlled biological husbandry.
DK:Lab
L I V I N G L I G H T LY P 97
SU STAI NAB L E FAS HI ON AT KO L D I N G S C HOO L OF D ES I GN IN THE LABORATORY FOR DESIGN, INNOVATION AND SUSTAINABILITY
SEMINARS: “Sustainable Fashion – From Why to How” (2008) “Sustainable Fashion – Creating the Agenda for Sustainable Fashion Education in the Nordic Region” (2009) “Sustainable Shoes – State of the Art” (2010)
COURSES AND MASTER CLASSES: Course with Eurotex Apparal – “Production and CSR” (2008) Course – “100 % Polyester” (2009, 2010, 2011) Course with ECCO – “Sustainable Shoes” (2009) Master Class with Gary Harvey and Lesley Hoffmann – “Sustainable Fashion” (2009) Master Class with Jane Savage / Nike – “Sustainable Shoes” (2010)
PUBLICATIONS: “Sustainability in the Design Process – Methods and Materials in Fashion and Textile Teaching” (2010) (Only available in Danish). “Sustainable Fashion – Issues to be addressed” (2010) All of the activities are described in the book “DK:Lab 2008-2010” (Only available in Danish). Please download the book on www.designskolenkolding.dk
P 9 8 LIVIN G LI GHTLY
DK:Lab
LIVING LIGHTLY - SUSTAINABLE FASHION Living Lightly - Sustainable Fashion explains and depicts the creation of a sustainable fashion collection by The Laboratory of Design, Innovation and Sustainability at Kolding School of Design. The publication presents and considers two separate approaches to sustainable fashion design defined by the headlines Production and Consumption. Living Lightly - Sustainable Fashion is the result of many years of research, teaching, and collaboration on the topic of sustainability at Kolding School of Design. It serves as a suggestion, an approach, which can be instrumental in demystifying sustainable fashion and making the field more transparent and accessible to designers, companies, and consumers.
Designskolen Kolding Aagade 10 6000 Kolding Danmark www.designskolenkolding.dk