Left(L)overs. A RESEMANTIZATION OF WASTE IN THE FASHION SYSTEM
MASTER’S DEGREE
Design for the Fashion System DEPARTMENT OF DESIGN ACADEMIC YEAR 2020/2021
Supervisor: Prof.ssa Federica Vacca Thesis student: Eleonora Barosi Matriculation no. 927464
Left(L)overs.
Introduction
“The result is this: that the more Leonia expels stuff the more it accumulates; the scales of its past are welded together in a carriage that cannot be removed; renewing itself every day the city retains all of itself in the only ultimate form: that of yesterday’s rubbish heaped upon the rubbish of the day before yesterday and of all its days and years and lusters...”
Italo Calvino, "The invisible cities", 1972
Left(L)overs.
Abstract The model of linear economy within the fashion industry has manifested a general tendency towards overproduction and consumerism that feed the "logic of waste". The latter has taken the form of human, cultural and environmental exploitation that has required a change in operating models. In 2017, the Montreal Declaration1 emphasized that the figure of the designer plays a central role, not only in the product creation process, but also in educating consumers on the values of social, cultural, environmental and economic sustainability. Social sustainability in the fashion industry has among its focuses the recovery of the manual dimension alongside the industrial one, as well as the training of human capital through the learning of techniques aimed at the ennobling of production processes. Cultural sustainability concerns at the same time the preservation and activation of craft practices, on the one hand through the enhancement of local manufacturing excellence, and on the other thanks to the affirmation of small and medium forms of autonomous entrepreneurship that give rise to phenomena of "personal capitalism". In this sense, the analysis of some "pilot projects" arisen within the contemporary scene, in which emerges a design-oriented approach that has as its objective the regeneration of craft-based practices and their cultural meanings. These projects are based on trans-disciplinary and trans-cultural approaches, in a perspective of sustainable cosmopolitan localism. Environmental sustainability, finally, concerns the projects of territorial mending and philanthropy promoted by some companies of the fashion system. Among the design tools able to trace virtuous and far-sighted trajectories, the practice of 'take-care' emerges, aimed at reconfiguring the relationship between individuals and objects. The premature wear, more semiotic than physical of garments, requires a rethinking of the entire production system: take-care is therefore a design philosophy able to revitalize a garment destined for disposal. What are commonly defined as "defects" can become added values. To this end, the designer uses certain traditional techniques that preserve the material and immaterial value of the garment. This thesis investigates some typologies of intervention related to the practice of thread, applying this model to three specific cases: wear, stain and "remodel". From this investigation, comes the delineation of the Take-care service. The artisanal practices of thread all express a philosophy of care entrusted to the slowness of the intimate manual gesture2, remaining alien to the changing logic of fashion. Thanks to this regenerating power, the design gesture of mending can only enhance the wefts of the past from which today we can recover the waste, the pieces of thread, the fragmented memories.3 Today, mending acquires for society the polysemic value of a collective and individual therapy through that incessant practice of hybridization and reiteration of cultural and material heritage.4
NOTE 1 Unesco. “The declaration of Montreal” Ottobre 2017. Web. 2 Giordano M., “Trame d’artista: il tessuto nell’arte contemporanea.” Postmediabooks, 2012. Stampa 3 Ducrot I., “La matassa primordiale” Nottetempo, 2008. Stampa 4 Vacca F., “Design sul filo della tradizione” Pitagora Editrice, 2013. Stampa
LINEAR ECONOMY
Cradle-to-Grave
social, cultural, economic & environmental exploitment
Overproduction, Overconsume LEFTOVERS
Mass of waste Call to action
mind-set CARE
Mending of meanings
Framework
philosophy of thought SUSTAINABLE MODEL
asset/ SOCIAL, CULTURAL, ENVIRONMENTAL, ECONOMIC
through the pillars of sustainability
Preservation & Education &, recontextualization, Sharing economy
POST-PRODUCTION
Philanthropy
Action space fashion system/ clothing & supply
The companies Material-set CARE
Partecipatory asset take-care education DIY
The phenomenon of adoption CRAFT MEDIUM
The role of the designer: hacktivist & craftivist take-care approaches through the practice of creative mending
LEFT(L)OVERS
Cook-book Model areas of intervention
marking the biography on the garment CIRCULAR ECONOMY
Cradle-to-Cradle
Leftovers. LEFTOVERS: THE WASTE
SEMANTICS OF THE WORD “DISCARD
THE LOGIC OF WASTE
IMPACTS
DISCARD
1
MATERIAL WASTE: pre-consume, post-consume
SOCIAL, CULTURAL & ENVIRONMENTAL WASTE
URGENCY TO CARE
CASE STUDY: DENIM
DISCARD2
adj. [der. of discard2], region. – LOW VALUE, POOR QUALITY: discarded goods. s. m. [der. of discard2], region. THE DISCARDING, REJECTING, DISCARDING SOMETHING AFTER A CHOICE: stuff, discarded merchandise, which has been discarded as cheaper.
> RE-FORMULATION PARADIGMS QUALITATIVE SUBJECTIVE EVALUATION
>> RE-CONFIGURATION WITHIN THE SYSTEM ON MODEL: >>> “FROM CRADLE TO CRADLE”
The thesis investigates the concept of waste, discard and surplus in the fashion industry in order to resemantize and reconfigure it within the system. The thesis initially focuses on the issue of waste, and then translates it into the fashion system, formulating the impacts it necessarily produces but also enshrining a positive alternative future scenario. In pre-industrial societies there was a concept similar to that of waste that corresponded to the concept of shard, of remainder. Resources, objects and clothes were used and transformed by the passage of time, which caused wear and tear until the items were discarded. Thus things aged and died in imitation of a natural cycle. Today the concept of waste, scrap or leftover, has inevitably evolved and has become a constant presence, falling into a very precise category. Already from the definition it is clear that everything that is considered waste is determined as such, starting from a subjective qualitative assessment (see graph below). Precisely because of this intrinsic characteristic, today its paradigms can be reformulated.
Leftovers. LEFTOVERS: THE WASTE
LOGIC OF WASTE IN THE FASHION INDUSTRY
CALL TO ACTION:
THE LOGIC OF WASTE
IMPACTS
MATERIAL WASTE: pre-consume, post-consume
SOCIAL, CULTURAL & ENVIRONMENTAL WASTE
ECCESS OF PRODUCTION THE FASHION INDUSTRY PRODUCES EVERY YEAR
100 BILLION
URGENCY TO CARE
OF GARMENTS.
OBSESSION TO CONSUME 200 190
EACH PERSON PURCHASES EACH YEAR
USE
180 170 160
E
SAL
150 140
D WORL
14 CLOTHES
GDP
A WOMAN WEARS EVERY GARMENT IN HER WARDROBE
130 120 110
CASE STUDY: DENIM
100
2000
2005
2010
2015
approx. 7 TIMES
Chart 01.
(MAKE.GOOD., 2017)
The growth of apparel sales and the decline of apparel wear time
(repurposed from: Ellen Macarthur Foundation., a New Textiles Economy. 2017)
(MAKE.GOOD., 2017)
Leftovers. LEFTOVERS: THE WASTE
LOGIC OF WASTE IN THE FASHION INDUSTRY
CALL TO ACTION:
THE LOGIC OF WASTE
IMPACTS
MATERIAL WASTE: pre-consume, post-consume
SOCIAL, CULTURAL & ENVIRONMENTAL WASTE
ECCESS OF PRODUCTION
OBSESSION TO CONSUME
THE FASHION INDUSTRY PRODUCES EVERY YEAR
EACH PERSON PURCHASES EACH YEAR
100 BILLION
URGENCY TO CARE
EARLY DISPOSAL
OF GARMENTS.
CASE STUDY: DENIM
(MAKE.GOOD., 2017)
THE LOGIC OF WASTE CULMINATES IN THE BEHAVIORAL TENDENCY OF SERIAL ACCUMULATION AND EARLY DISPOSAL OF GARMENTS.
14 CLOTHES A WOMAN WEARS EVERY GARMENT IN HER WARDROBE
approx. 7 TIMES
(MAKE.GOOD., 2017)
Leftovers. LEFTOVERS: THE WASTE
IMPACT: MATERIAL WASTE IN THE FASHION INDUSTRY
THE LOGIC OF WASTE
IMPACTS
MATERIAL WASTE pre-consume, post-consume
SOCIAL, CULTURAL & ENVIRONMENTAL WASTE
URGENCY TO CARE
PRECONSUMER WASTE 15% OF FABRIC BECOMES WASTE DURING DESIGN AND MANUFACTURING.
POSTCONSUMER WASTE OF FABRICS PRODUCED ANNUALLY:
75%
ENDS UP IN LANDFILL
12%
DONATION/ DOWNCYCLING
1%
CASE STUDY: DENIM
REGENERATED IN NEW FIBERS
(De Castro, 2021)
(Environmental Audit Committee, 2019)
Leftovers. LEFTOVERS: THE WASTE
L’IMPATTO: LO SCARTO SOCIALE, CULTURALE E AMBIENTALE NELL’INDUSTRIA DELLA MODA
THE LOGIC OF WASTE
IMPACTS
MATERIAL WASTE pre-consume, post-consume
SOCIAL, CULTURAL & ENVIRONMENTAL WASTE
URGENCY TO CARE
PRECONSUMER WASTE 15% OF FABRIC BECOMES WASTE DURING DESIGN AND MANUFACTURING.
POSTCONSUMER WASTE OF FABRICS PRODUCED ANNUALLY:
75%
ENDS UP IN LANDFILL
12%
DONATION/ DOWNCYCLING
1%
CASE STUDY: DENIM
REGENERATED IN NEW FIBERS
(De Castro, 2021)
(Environmental Audit Committee, 2019)
SOCIAL WASTE 1129 victims THE RANA PLAZA DISASTER IN APRIL 2013, IN BANGLADESH, WAS THE DEADLIEST FACTORY ACCIDENT. THE BUILDING COLLAPSE CLAIMED 1129 LIVES AND OVER 2,500 INJURIES.
(Fashion Revolution, 2013)
CULTURAL WASTE
ENVIRONMENTAL
THE GARMENT INDUSTRY HAS SACRIFICED THE CULTURAL CONTENT OF A PRODUCT. THE OBSESSION OF MODERNITY IS ANACHRONISM.
THE GARMENT SECTOR CONSTITUTES APPROX.
What’s the side effect? THE PROGRAMMED OBSOLESCENCE OF GOODS.
WASTE
12% of landfills EVERY SECOND, THE EQUIVALENT OF ONE TRUCKLOAD OF GARBAGE IS BURNED OR TAKEN TO LANDFILL. (Environmental Audit Committee, 2019)
INDUSTRY OVERPRODUCTION
LEFTOVERS: THE WASTE
OBSESSED CONSUME
THE LOGIC OF WASTE
EXPLOITMENT
IMPACTS
SOCIAL, CULTURAL, ECONOMIC, ENVIRONMENTAL
MASS OF WASTE (MATERIAL AND MEANINGS WASTE): PRE-CONSUME CONSUMER POST-CONSUME
SOCIAL, CULTURAL, ECONOMIC AND ENVIRONMENTAL DISASTER (RANA PLAZA)
MATERIAL WASTE pre-consume, post-consume
SOCIAL, CULTURAL & ENVIRONMENTAL WASTE
URGENCY TO CARE
CASE STUDY: DENIM
MATERIAL AND MEANINGS OBSOLESCENCE
DISAFFECTION AND MALCURANCE
MONTREAL DECLARATION 2017 DESIGN IS FUNDAMENTAL TO THE VALUE-DRIVEN PROCESS OF SUSTAINABILITY
CALL TO ACTION:
URGENCY TO CARE
DENIM LONGEVITY FABRIC FOR AUTONOMY; COUNTERACTS THE OBSOLESCENCE OF FASHION AND DISPOSABLE CULTURE.
WASTE
pre-consumer & post-consumer
SPACE:
environmental impact
THE FORCED PASSAGE OF TIME harmful treatments
TIME:
social impact
DENIM
TAKE-CARE LEFTOVERS: THE WASTE
THE LOGIC OF WASTE
IMPACTS
MATERIAL WASTE pre-consume, post-consume
SOCIAL, CULTURAL & ENVIRONMENTAL WASTE
URGENCY TO CARE
CASE STUDY: DENIM
CANDIANI DENIM
Eco-sustainable patents on materials
*FLAVIA LA ROCCA x CANDIANI DENIM
EILEEN FISHER RE-NEW
*GANNI X LEVI’S Canapa denim
Linear economy LEFTOVERS CONTRACTION: sustainable trajectories
mind-set CARE
PILLARS OF SUSTAINABILITY
SUSTAINABLE MODEL FASHION AND DESIGN SYSTEM
POST-PRODUCTION
Economic capital: circular economy
Material-set CARE Human capital: training new generations
CRAFT MEDIUM Cultural capital: education for new generation
LEFT(L)OVERS
Environmental capital: philanthropy & back-reshoring
circular economy
Left(L)overs.
LINEAR ECONOMY provoked:
Overproduction Overconsume Logic of waste
Rana plaza Friday for future Covid-19
CONTRACTION: sustainable trajectories
Distortion of value in the fashion system with loss of meaning
Sustainability
PILLARS OF SUSTAINABILITY
TAKE-CARE issue declined through the pillars of sustainability
FASHION AND DESIGN SYSTEM Economic capital: circular economy
Human capital: training new generations
Cultural capital: education for new generation Environmental capital: philanthropy & back-reshoring
ECONOMIC sustainability
SOCIAL sustainability
CULTURAL sustainability
ENVIRONMENTAL
*Downcycling *Rental/swap *Upcycling *Cradle-to-cradle
Education & Learning
Preservation & Actualization of craftsmanship
Production Reshoring & Philanthropy
new OPERATING MODELS
DESIGN context
sustainability
FASHION context
New ri DESIGNER
Left(L)overs.
FRAMEWORK
Sustainability TAKE-CARE issue declined through the pillars of sustainability CONTRACTION: sustainable trajectories
PILLARS OF SUSTAINABILITY
FASHION AND DESIGN SYSTEM
ECONOMIC CAPITAL: circular economy STRATEGIES FOR EXTENDING THE LIFE CYCLE OF GARMENTS
Economic capital: circular economy
Cultural capital: education for new generation Environmental capital: philanthropy & back-reshoring
NEW OPERATING MODELS *Downcycling *Rental/swap *Upcycling *Cradle-to-cradle
Karl Blossfeldt. Fiore. 1930
Human capital: training new generations
DO YOU CALL IT DISCARD? DO YOU CALL IT WASTE? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL WASTE? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL DISCARD? DO YOU CALL WASTE? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT WASTE? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL WASTE? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL DISCARD?CALL IT? DO YOU CALL WASTE? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD? DO YOU CALL IT DISCARD?
?
VALUE DECLINATION
MODELS
Use Value
DOWNCYCLING
Dinstribution Value
RENTAL/SWAP
Production Value
UPCYCLING
Creation Value
CRADLE-TO-CRADLE
Left(L)overs.
FRAMEWORK
Sustainability TAKE-CARE issue declined through the pillars of sustainability
PILLARS OF SUSTAINABILITY
FASHION AND DESIGN SYSTEM Economic capital: circular economy
Human capital: training new generations
Cultural capital: education for new generation Environmental capital: philanthropy & back-reshoring
HUMAN CAPITAL: education & learning
Pino Grasso, Portrait
CONTRACTION: sustainable trajectories
“Lunenville embroidery is not simple; to be able to embroider through this technique and see the fabric being transformed through the manipulation of one’s hands is an experience that fascinates everyone who comes to this craft.” The case of tradition: ‘bottega’ education for manufacturing excellence
EDUCATION OF ‘INTELLIGENT HANDS’: STRUCTURED MANUAL WORK WITH A DEEP INTELLECTUAL APPROACH (IMPLICIT-EXPLICIT) AND WITHIN A PHILOSOPHY OF THOUGHT LINKED TO THE DICTATES OF SUSTAINABLE DEVELOPMENT.
Pino Grasso accademy Interview Raffaella Grasso
The corporate case: corporate educational project
Case study Ecole de l’Amour Gucci (2018)
The collaborative case: company-university-artisan cooperative
Case study Officina Borbonese & Parsons school (2021)
The multi-disciplinar case: MOOC (Blended learning)
Case study Kering & London College of Fashion (2018)
The open-source case: digital sustainability (Online learning)
Case study Fashion Open Studio (2020)
Left(L)overs.
FRAMEWORK
Sostenibilità TAKE-CARE tema declinato attraverso i pilastri della sostenibilità CONTRACTION: sustainable trajectories
PILLARS OF SUSTAINABILITY
FASHION AND DESIGN SYSTEM Economic capital: circular economy
Human capital: training new generations
CULTURAL CAPITAL: preservation & actualization DESIGN CULTURE ACTS ON THE ONE HAND AS A PRESERVER AND ON THE OTHER HAND AS AN ACTIVATOR OF MATERIAL CULTURE
The precursor case
Case study DOMO:XII biennial of Sardinian handicraft
The Living Handicraft Archive case (applicative archive)
Case study Paraffection
Il caso del traduttore culturale locale (heritage brand)
Case study Pretziada: Revive local craft practice
(SPECIFIC-UNIVERSAL). Personal capitalism
Cultural capital: education for new generation Environmental capital: philanthropy & back-reshoring
Small-medium and autonomous forms of entrepreneurship. Knowledge and creativity are a unicum enhanced by digital technologies.
Left(L)overs.
FRAMEWORK
Sostenibilità TAKE-CARE tema declinato attraverso i pilastri della sostenibilità CONTRACCOLPO: traiettorie sostenibili
I PILASTRI DELLA SOSTENIBILITÀ
SISTEMA MODA E DESIGN
Il capitale economico: economia circolare Il capitale umano: formazione nuove generazioni Il capitale culturale: formazione nuove generazioni Il capitale ambientale: filantropia & back-reshoring
ENVIRONMENTAL CAPITAL: recovery & safeguard
PLANNING THE CREATION, RECOVERY, PROTECTION OF TERRITORIAL HERITAGE WHERE TRADITIONS OF LOCAL SAVOIR FAIRE ARE PRESERVED IN ORDER TO TRIGGER OR RENEW POLES OF PRODUCTIVE EXCELLENCE THAT CAPTURE HUMAN CAPITAL, WORK AND PROFIT FROM A SUSTAINABLE PERSPECTIVE.
The phylanthropic case. Olistic approach
The production’s reshoring case
Case study Borgo di Solomeo
Case study Balenciaga invests in the Tuscan territory
Take care TAKE CARE: action space
PRODUCTION VALUE: Upcycling
Case study: Otto von Busch
CASE STUDY: THE PRACTICE VALUE
Otto von Busch
Recyclopedia
THE NEW ROLE OF THE DESIGNER
POST-PRODUCTION
Material-set CARE
} Action space
Among designers, a pioneer figure of the take-care culture in fashion design is Otto Von Busch. With Recyclopedia Von Busch outlines an action space for the implementation of sustainability INCENTRATED on the practice of upcycling. Today, upcycling turns out to be a practice of extreme contemporaneity because it emphasizes the processes of postproduction but also consumption and post-consumption, and therefore directly impacts on the duration of the life cycles of garments. Unlike Downcycling, it does not involve further chemical or mechanical processes. So upcycling becomes especially beloved by those fashion designers who aim to maximize efficiency as in the era of pandemic
Take-care design model
Otto von Busch DESIGN
DIY explorations/ fashion practices regenerative Pratiche approaches rigenerative
Open-source library
2.
partecipatory asset
Framework Interpretive model of the research explored by Otto Von Busch
1.
Coding action spaces
Up-cycle
4.
Craftivism
Re-configuration
3.
Hackerism
Hacktivism TAKE CARE POST-PRODUZIONE POST-CONSUMO
* The prefix ‘post’ does not signal any negation or overshoot; it refers to an area of activity
Take care
The role of the designer TAKE CARE: action space
PRODUCTION VALUE: Upcycling
Case study: Otto von Busch
Recyclopedia
THE NEW ROLE OF THE DESIGNER
ACTIVIST
HACKTIVIST
CRAFTIVIST
FASHION CAN BE RE-ENGINEERED AND SHARED AS A FORM OF SOCIAL ACTIVISM.
FASHION CAN BE HACKED AND ACTIVATED; BECOMING A COLLECTIVE EXPERIENCE OF EMPOWERMENT.
FASHION CAN BE A PRACTICE OF CRAFTSMANSHIP THAT TRANSLATES CONTENT FROM TRADITION INTO APPROACHES OF CARE.
Orsola De Castro System requalification is an active and revolutionary journey that starts with education.
Gentucca Bini The use of the stylistic codes of well-known brands feed re-engineered creations.
Denise Bonapace Traditional knitting techniques are used with a design-oriented approach, to regenerate the content of the garments.
?
Alberto Burri, Sacco B. Sacco, tela, plastica, olio, vinavil su tela, 100 x 86 cm. 1953
PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE?PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE?PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? Artisanal collection, A/I 2015, Maison Martin Margiela PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ PERCHÈ RAMMENDARE?PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? RAMMENDARE PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE? PERCHÈ RAMMENDARE?
Mending
Designer: LEFTOVERS
EDUCATION TO TAKE CARE
DESIGNS FOR LONGEVITY TAKING INTO ACCOUNT THE EMOTIONAL FACTOR BECAUSE ATTACHMENT TO THE PRODUCT IS ESSENTIAL
TO ACTIVATE CARE PROCESSES CARE REQUIRES ACTION THIS ACTION CAN BE MENDING
Instagram account Celia Pym
CRAFT MEDIUM: MENDING
METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER EDUCAZIONE ALLA CURA METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF CRAFT MEDIUM: A LEFTOVER METAMORPHOSIS OF IL RAMMENDO A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS
IL Rammendo
“Mending is a state of mind. (...) It is challenging to integrate something so slow and individualistic as mending within a structure as gigantic and fast as the global fashion industry - it won’t be easy to capture excess and surplus before it is disposed of, and then reintroduce it as something of value into the system that rejected it. (...) But above all I see beautiful, unique products saved from de-struction and reclaimed to live.” Orsola De Castro, 2021.
WHY Mending? Because it is a craft-based approach that is both accessible and scalable but above all multi-disciplinary. The implementation of this practice belonging to the imaginary of the ‘old crafts’, becomes a critical review of tradition and an activity in which the craft technique, taken from a domestic imaginary and a conservative role, thinking of “the invisible mending” takes an active and connective function.
Left(L)overs. “A SUSTAINABLE PROJECT”: A TAKE CARE SERVICE FOR THE FASHION SYSTEM
DESIGN
DIY EXPLORATIONS/ fashion practices
CRAFTIVISM
regenerative approaches
HACKTIVISM
Open-source library 1.
Coding action spaces
Emotional geographies
2.
Overcoming the logic of waste
partecipatory asset
Framework Take care design model: Left(L)overs
TAKE CARE
Up-cycle
4.
Craftivism
Re-configuration
RESEMANTIZATION
3.
Hackerism
Renewal of experience Material memories Recovery of waste Textile manipulations Stratifications Life markings Mending Remodelling
Hacktivism TAKE CARE POST-PRODUCTION POST-CONSUME
ACTIVISM
* The prefix ‘post’ doesn’t signal any negation or overshoot; it refers to a zone of activity
Moodboard
WE WE WE WE WE
ARE ARE ARE ARE ARE
NOT NOT NOT NOT NOT
THE THE THE THE THE
DEAD DEAD DEAD DEAD DEAD
WHITE WHITE WHITE WHITE WHITE
MAN’S MAN’S MAN’S MAN’S MAN’S
CLOTHES. CLOTHES. CLOTHES. CLOTHES. CLOTHES.
Left(L)overs. “A SUSTAINABLE PROJECT”: A TAKE CARE SERVICE FOR THE FASHION SYSTEM
Moodboard
Concept
*Biographies *Traces *Affection *Continuity *Material culture *Memories *Waste *Durability
*Material memories *Recovery of scraps *Textile manipulations *Life markings *Creative Mending *Longevity
The methodology taken to outline the service, consists in an expansion of the boundaries of craft practice, taking into account the potential of the emotional durability of the garment.
The use of mending and re-generative embroidery is the tool to implement the process of care on the garments, incorporating manual and machine techniques that can also recover the scraps of previous processes.
Target
Lifestyle
the possible profile of the user of the service, certainly corresponds to the profile of a LOHAS (LIFESTYLES OF HEALTH AND SUSTAINABILITY) consumer, therefore attentive to the footprint that their activity generates in the context, aware of the value of the purchase and for this reason also interested in consuming less and better.
profilo *Consumatore LOHAS *Attento all’impatto delle sue scelte d’acquisto *Legato ai valori della sostenibilità *Legato alla cultura materiale *Rispettoso del tempo e della memoria *Alla ricerca di autenticità e di bellezza disadorna
stile di vita *Acquisto responsabile *Consumo etico e sostenibile *Consuetudini e affetti *Luoghi disadorni e culturali *Storie passate e culti antichi *Lettura *Viaggio *Zeitgeist *Tradizione-innovazione
TAKE CARE CRAFTIVISM
HACKTIVISM Emotional geographies Renewal of experience Material memories Recovery of waste Textile manipulations Stratifications Life markings Mending Remodelling
Left(L)overs. THE TAKE CARE SERVICE ARCHITECTURE OF DIGITAL PLATFORMS: WEBSITE
ACTIVISM
1. Home page The home page of the website attempts to catch the user’s attention by inviting them to participate in viewing left(L)overs and co-participate in its model.
2. Manifesto The intent is made explicit through the manifesto. Left(L)overs can represent in its own small way a call to action for a more long-lived sustainable fashion through hacktivism, that is the hacking and activation of fashion codes, and craftivism, that is the artisanal practice that translates traditional contents into curation approaches. The system is directed not only to end consumers but also to those companies that would like to recover production waste, stock and garments from old collections, to regenerate their content.
3. Emotional questionnaire Inspired by “The love check” by Orsola De castro an emotional questionnaire was redesigned presenting what are 8 key questions that a person must ask themselves to understand if they are actually emotionally connected to that item of clothing. The moment the person answers positively to at least 5 of these questions then it is probably worth starting this redesign journey.
4. Craft-based approaches Following the navigation, the user has the opportunity to understand which are the types of intervention used for the customization service; such as needling patchwork, beading, textile manipulation and so on.
5. Collection This is the page for how Left(L)overs’ redesigned garments are presented and are connected to an emotional sheet and a technical sheet.
6. Emotional card The emotional card is filled out hypothetically by the person who wanted to salvage the garment, so it is presented with the image of the jacket originally, alongside a sort of biography of the garment and the completed emotional questionnaire.
7. Technical card Next to the emotional sheet there is the technical card, which shows the processes and workmanship applied to the post-treated garment.
Left(L)overs.
_HOME PAGE
Left(L)overs.
TAKE CARE SERVICE: WEBSITE
Manifesto
Personalization
About
Emotional questionnaire Craft-based approaches
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Take care services
For a resemantization of your leftovers.
Collection
E-shop
AND DO YOU CALL IT WASTE? DO YOU CALL IT WASTE? AND DO YOU CALL IT WASTE? DO YOU CALL IT WASTE? AND DO YOU CALL IT WASTE? DO YOU CALL IT WASTE? AND DO YOU Fill in CALL IT WASTE? DO YOU CALL IT WASTE? AND DO YOUThe CALLLeft(L)overs. IT WASTE? DO YOU CALL IT WASTE? AND DO YOU CALL IT WASTE? DO YOU CALL IT WASTE? AND DO YOU CALL IT WASTE? DO YOU CALL IT WASTE? AND DO YOU CALL IT WASTE? DO YOU CALL IT WASTE? DO YOU CALL IT WASTE?
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the questionnaire
Left(L)overs.
_HOME PAGE _MANIFESTO _ABOUT
Manifesto
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TAKE CARE SERVICE: WEBSITE
Personalization
Manifesto Left(L)overs stems from the desire to give a second chance to Leftovers - not only as production/processing waste or stockpiled material, but also as wardrobe scraps, understood as clothes left to oblivion, destined to be forgotten or, on the contrary, to act as relics. Left(L)overs is a call to action! For the need of a sustainable fashion, which aims to implement a re-iteration of the post-produced and post-consumed, following a take-care philosophy. Mending and other craft-based practices are simply its Medium. Do you want to give new life to your clothes? Are you a fashion business and tired of your waste? Would you like to reuse your production and/or processing waste but you don’t know how? Are you a private organization and do your clothes have a special value?
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Left(L)overs offers a take-care service of creative recovery of your garments and your waste.
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METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS OF A LEFTOVER METAMORPHOSIS
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Left(L)overs.
_HOME PAGE _PERSONALIZATION _QUESTIONNAIRE
Manifesto
Left(L)overs.
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Personalization
Left (L)overs world
Italy Customer service My account Wishlist
1
What would you like to re-wear?
E-shop
1 2
Cosa What stai wouldindossando you like to adesso? re-wear?
Do you remember where you purchased it?
Do you know who made your garment?
Do you know where it was made?
Did you check the label for this information before you purchased it?
3 4
Lo ami abbastanza da
5 6
Do you love it enough to ripararlo o farlo riparare wantsetosirepair it? rompe?
7
2
Do you know who made your garment?
3
Did you check the label for this information before you purchased it?
Do you have any project in mind for its end of life?
Do you want to give new life to your clothes?
8
Are you a company that deals with fashion and you are tired of your waste? Would you like to reuse your production and / or manufacturing waste but you don’t know how? Are you a private and do your clothes have a special value? Left(L)overs offers a take-care service of creative recovery of your garments and your scraps. The emotional questionnaire is a simplified method of analysis to understand the level of connection that co-exists between an individual and his or her clothing. The questionnaire is aimed at clients as companies and/or individuals who wish to reclaim, regenerate and reconfigure their collections, and/or individual garments, and/or production waste. The test of affection allows Left(L)overs to identify, among the types of intervention that it proposes, which one could best approach the treatment requested and imagined by the client.
top
Do you remember where you purchased it?
specify:
6
YES
Do you know where it was made?
NO
7
YES
4
Do you love it enough to want to repair it?
I INHERITED IT YES NO YES NO
8
YES
YES NO
NO
Have you ever checked the label on the inside?
Press
5
bottom
Have you ever checked the label inside?
Enter the
Collection
Emotional questionnaire*
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TAKE CARE SERVICE: WEBSITE
Do you have a project in mind for its end of life?
NO
MAYBE NO NO, BUT I WOULD LIKE IT DISCOVER SERVICE
Left (L)overs
**Questionnaire inspired by “The Love Check” featured in Orsola De Castro’s book “Loved clothes last”, 2021
Left(L)overs.
_HOME PAGE _PERSONALIZATION _Craft-based approaches
Manifesto
Left(L)overs.
Personalization
TAKE CARE SERVICE: WEBSITE
Collection
E-shop
Press
Emotional questionnaire Craft-based approaches
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Press release Download PDF (140kb)
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Needlework discover intervention
Patchwork Regenerative embroidery
typologies
For a resemantization of your waste.
Textile manipulation
Pyping
Mending
Left(L)overs.
_HOME PAGE _COLLECTION _ “Between rags and love” 2021
Manifesto
TAKE CARE SERVICE: WEBSITE
Personalization
Left(L)overs.
Collection
E-shop
Go to the e-shop
Sewing pt. 12 sewing machine hand stitching ‘mosca’ stitching
"Between rags and love’ 2021 Technical card
NEW COLLECTION It’s 2021 when Left(L)overs decides to launch a capsule collection dedicated to the Jacket. “Between rags and love” represents the reinterpretation of the iconic garment of the Jacket: three jackets belonging to the emotional and personal wardrobe are extrapolated to be re-designed, regenerated and reconfigured through different techniques. The collection presents an exploration of intervention typologies on the basis of distinct “design urgencies” that sublimate each other while giving visibility to spaces of action such as re-modeling, wear and tear and staining. The result gives life to a collection of unique pieces coming from a personal biography and perceived as a testament of love.
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LOOK 3_ ACADEMY JACKET
/Worn and stained Cod. prod_LFTlvrs03
Scroll to view collection items
Press 3/3
Left(L)overs.
_HOME PAGE _COLLECTION _ EMOTIONAL CARD
Manifesto
Left(L)overs.
TAKE CARE SERVICE: WEBSITE
Personalization
AND YOU CALL IT LEFTOVER? AND YOU CALL IT LEFTOVER? AND YOU CALL IT LEFTOVER? AND YOU CALL IT LEFTOVER? IDENTIKIT OF AN ITEM_ AND YOU CALL IT LEFTOVER?CALL IT LEFTOVER?
Collection
E-shop
Press
Emotional card N.1
1 2
What would you like to re-wear?
Blazer
Do you know who made your garment?
NO
RESULT_
5/8 INTERVENTION TYPOLOGIES
3
Did you check the label for this information before you purchased it?
Have you ever checked the label inside?
YES
Do you remember where you purchased it?
YES
6
Do you know where it was made it?
NO
7
Do you love it enough to want to repair it?
YES
Do you have any project in mind for its end of life?
NO, BUT I WOULD LIKE
4 5
Italy Customer service My account Wishlist
BIOGRAPHY OF AN ITEM_ PROVENANCE ..Recovery from an affection wardrobe PERIOD .......Nineties DIMENSIONS....Lenght 78 cm ....Chest 38 cm ....Sleeves 60 cm
NAME ...........Jenny Delle Spelonche
NO
8
-External layer creased >lining at sight -Rever stained
-Front side unstitched
Left(L)overs.
_HOME PAGE _COLLECTION _ TECHNICAL CARD
Manifesto
Personalization
Left(L)overs.
TAKE CARE SERVICE: WEBSITE
Collection
E-shop
Press
Technical card Go to the e-shop NEW COLLECTION It’s 2021 when Left(L)overs decides to launch a capsule collection dedicated to the Jacket. “Between rags and love” represents the reinterpretation of the iconic garment of the Jacket: three jackets belonging to the emotional and personal wardrobe are extrapolated to be re-designed, regenerated and reconfigured through different techniques. The collection presents an exploration of intervention typologies on the basis of distinct “design urgencies” that sublimate each other while giving visibility to spaces of action such as re-modeling, wear and tear and staining. The result gives life to a collection of unique pieces coming from a personal biography and perceived as a testament of love.
Back to the collection Italy Customer service My account Wishlist
Intervention typology no.1: Visible mending Sewing typology
Seam pt. 12 sewing machine Hand stitching ‘Mosca’ stitching
Hand embroidery on round loom >Hand embroidery/application for patch on left back sleeve. >Irregular embroidery with cotton and silk thread >Embroidery with recycled trimmings
Re-generative mending >Creative mending around the hole
Intervention typology no.2: Patchwork Overlapping and union of fabrics/yarns >Red Needlework Thread Embroidery Needlepunching with hand punch and 100% wool thread + embroidery on machine-made trimmings
LOOK 3_ ACADEMY JACKET
Worn & stained Cod. prod_LFTlvrs03
Capsule collection *Dad’s jacket originally looked like this
DESIGN URGENCY
Change of fit APPROACH
Re-modelling I TELL YOU A STORY... Dad’s Jacket didn’t show many signs of use. He bought it in 2003, in an outlet store in Milan. He wore it daily to work. It gave him a very distinct look. It was gray, wool inside and cupro outside. It didn’t have an important rever but had padded shoulders. It was a man’s jacket. A little anonymous almost. Welt pocket and straight cut. It’s the kind of jacket you don’t want to stand out. Dad is a cardiologist. Red is his color. Like the color of pulsating veins. When he gave it to me, I was happy. It felt a little stiff on me. I would have liked to smooth it out, to make it mine too. But I liked that slightly austere look. I thought about screwing it in. I wanted all the remodeling to be visible. Like grain. And then I wanted to use red. I’d never have used that pocket handkerchief, so it came to life and became a kind of visible heart.
1.
LOOK 1
DAILY JACKET
RE-MODELLING
Technical notes: Methodological Process 1
Methodological Process 2
Methodological Process 3
Visible pinces: -front both sides -back both sides
Needlepoint thread embroidery: -bottom front both sides -right revers
Embroidery net of rip of two pieces of fabric
Mending + machine embroidery
Change of fit
LOOK 1
Needle punch darning with hand punch and 100% wool thread Ornamental decoration: wool fibers enter the fabric
Reinforced embroidery by sewing machine
Union of two fabrics bacause of crease
Left(L)overs
Left(L)overs.
Lef t (L) o v e r s
Capsule collection *Grandpa Corrado’s Jacket originally looked like this DESIGN URGENCY
Personalization APPROACH
Textile manipulation I TELL YOU A STORY... Grandpa Corrado’s jacket showed no signs of use. He wore it for the first time in 1992 at Mom and Dad’s wedding. It was a man’s jacket: formal, structured and elegant. The revers, in satin, remained intact. I never saw him wearing it, except when he wanted to give it to me as a gift, because he had put it on. I know he loved it, mostly because of the memory it harkened back to. The day he gave it to me, I remember him telling me that he had “made a few sacrifices” to buy it. At that time, Grandma Ilvana was making my mother’s wedding dress. That dress was simple; no lace and no extravagance. Yet, my grandmother’s flair was all about the waist. A sugar paper colored bustier of pure silk, cinched at the waist and draped. I wanted to unite these two images: the apparent stiffness of my grandfather and the softness of my mother. My grandfather’s “severe” and monumental jacket was covered by chiffon manipulations that reminded me so much of my mother’s shaped bustier.
2.
LOOK 2
CEREMONY JACKET
SCRAPS MANIPULATION Technical notes:
Methodological Process 1
Methodological Process 2
Methodological Process 3
Scrap chiffon ruffle: sleeve bottoms and shoulders
Embroidery waste wool needlepoint threads: -bottom left front -sleeves stitching both sides
Pleating of waste chiffon: front sides
Linear machine stitched chiffon: pt.5 seams and hand ruffled
Needle punch darning and 100% wool thread on chiffon silk and polyester waste + patchwork with organza waste
Ornamental decoration: scrap manipulation
Ornamental decoration: wool threads enter chiffon fabric.
LOOK 2
Machine pleated chiffon through linear seams
Ornamental decoration: incredibly reduces waste
Left(L)overs
Left(L)overs.
Lef t (L) o v e r s
Capsule collection *Grandma Ilvana’s Jacket originally looked like this
DESIGN URGENCY
Worn and stained APPROACH
Re-generative embroidery I TELL YOU A STORY... Grandma Ilvana’s jacket has been disrupted by the passage of time. She bought it at the market about thirty years ago. It wasn’t a very fancy jacket, it was a rather common one; for this reason, perhaps, my grandmother let time take its course, marking the marks on its fabric and wearing it daily. She gave it to my aunt one day; my aunt three years later gave it back to her again. She didn’t like it anymore. My cousin, who studies at Cambridge and is in musical school, asked to borrow it for an audition. She was supposed to play Jenny of the Caverns, a harlot in Bertold Brecht’s Threepenny Opera. And so, after the audition, I went to my grandmother’s house and found her there: creased, frayed, stained, worn, extremely aged. My cousin had transformed it for good. I adopted her; I took her home and put her on a mannequin. I didn’t want to distort her, I wanted to remember her as she was, for the history she had lived. I wanted her to be reborn in an explosive way. I wanted it to be reborn in an explosive way. Color, threads, fabrics, trimmings, scraps of previous work; I would have used anything to bring it back to life, to bring back that feeling of wild music and various humanity.
3.
LOOK 3
ACADEMY JACKET
WORN & STAINED Technical notes:
Methodological process 1
Methodological process 2
Methodological process 3
Net tear embroidery of two pieces of fabric -Right sleeve - Front left shoulder
Patchwork embroidery on application patch with threads and scrap trimmings.
Embroidery on application patch -Patch behind left sleeve
Hand needle punch embroidery with 100% wool yarn + embroidery trimmings on machine
Re-generative darning by hand, mixed technique with cotton and silk threads
Inserted patchwork through hand ‘mosca’ stitch embroidery Functional and ornamental insert due to of creasing. Re-design on mannequin
LOOK 3
Ornamental decoration: wool threads enter the fabric + trimmings become part of the fabric.
Functional and ornamental contrasts worn (holes) and covers stains.
Left(L)overs
Left(L)overs.
Lef t (L) o v e r s
TAKE CARE HACKTIVISM CRAFTIVISM
Left(L)overs.
Emotional geographies Renewal of experience Material memories Recovery of waste Textile manipulations Stratifications Life markings Mending Remodelling
THE SYSTEM TAKE CARE SERVICE: ARCHITECTURE OF DIGITAL PLATFORMS: INSTAGRAM *THE INSTAGRAM ROLE
Affective objects Processes work in progress
ACTIVISM
Call to action Mending Recovery Material culture
Affective objects Inspirations Hands on approaches work in progress Take-care culture Call to action Design urgency
1. Post
2. Feed
3. Contents
Left(L)overs, defining itself as a service provider is put into system; The service uses the Instagram page as a communication tool. The latter does not so much have a promotional function of the service as it communicates the processes, methodologies and offers insights for change of point of view. So it’s an inspirational page related to the call to action theme. So the goal to be sustainable in all respects is to involve other designers and change their way of seeing fashion in order to give a positive legitimacy to the fashion process in contemporary times.
Left(L)overs.
Conclusions The overload generated by the linear model within the fashion system has spread paradoxical logics and used inestimable human, cultural, environmental and economic exploitation as its main driver. Understanding the urgency to a change of operating model, this thesis represents an imperative call to care approaches that embody a philosophy of thought founded on the pillars of sustainable growth. The study questioned the logic of waste typical of the consumer society, arguing how the value of waste in the Fashion System deserves to be reconsidered, resemantized and reconfigured into virtuous models and positive narratives. The phenomena of overproduction, compulsive consumerism, physical and semiotic obsolescence of the fashion product, disaffection and carelessness, all culminate in irresponsible behavior of serial accumulation and early disposal. The latter need to be contrasted unanimously by a culture of care and a re-modeling of development trajectories. Valuable contribution in this process of resetting values goes to the design, which has a central role in the education of individuals to the values of sustainability. This thesis has explored case studies that constitute a fundamental counterbalance to the restoration of priorities linked to material culture in the fashion system. Thanks to Otto Von Busch’s DIY explorations on the theme of upcycling, with the “Recyclopedia” project he outlined the activist, ‘hacktivist’ and ‘craftivist’ profile. This thesis, reports contemporary case studies that complete the picture of sustainable approaches to material culture. As a result of the author’s analysis, it can therefore be argued that fashion can be understood as a process of re-engineering and sharing in the form of activism. This process can take place by distinct design approaches and considered the Mediums of take care culture; the paper noted mending as the most accessible, scalable and multi-disciplinary medium. In addition, the following thesis drew on the lessons of Otto Von Busch and Orsola De Castro, inserting itself in that niche of path aimed at the reconfiguration of clothes and waste. With the project Left(L)overs, the thesis concludes with the architecture of a take care service for fashion. This service works on post-produced and post-consumed clothing in order to raise awareness and activate the take care culture. The intimate and personal geography gives way to a decoded model that translates the individual value on a collective and universally valid level. Today, in fact, mending acquires for society the polysemic value of a therapy. A sustainable gesture of care. Finally Left(L) overs, not only can offer a service to customers who wish to regenerate their garments according to specific needs, but can also offer a service based on a choice by the designer of pre-loved clothes from vintage shops, second-hand, personal wardrobes, the wardrobes of friends and relatives and so on. Consequently then, the final consumer will be the one who ‘adopts the garment’.
Left(L)overs.
BIBLIOGRAPHY Books
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De Castro Orsola. "Loved clothes last". Londra, Penguin Random House UK. 2021. Stampa
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La Cecla, Franco, Vitone Luca. "Non è cosa; vita affettiva degli oggetti". Milano, Elèuthera. 2013. Stampa McDonough, William, and Michael Braungart. “Dalla culla alla culla. Come conciliare tutela dell’ambiente, equità sociale e sviluppo". Vol. 2. Blu Edizioni, 2003. Stampa Micelli Stefano. "Futuro artigiano: L’innovazione nella mani degli italiani". Venezia: Marsilio Editori 2011. Stampa
BIBLIOGRAPHY Scientific papers
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Simmel George. "La moda". Roma, editori riuniti, 1985. Stampa
Busch Otto Von. "FASHION-able: Hacktivism and Engaged Fashion Design". School of Design and Crafts; Högskolan för design och konsthantverk, 2008. ISBN: 978-91-977757-2-4
Bolton, Andrew. "Manus x Machina. Fashion in the age of technology". Metropolitan Museum of Art, New York. Stati Uniti: Yale University Press, 2016. Stampa
Colombo, Paolo e Emanuela, Mora, e Alberto Cavalli. "Artefici di Bellezza. Mestieri d’arte nella moda italiana". Marsilio Editore, 2013. Stampa Cravera, Gianluca. "Le Mani Intelligenti del Made in Italy: Idee, proposte e responsabilità per le manifatture del sistema moda Italiano". FrancoAngeli, 2020. Stampa
Vacca Federica. "Sul filo della tradizione". Italia: Pitagora Editrice Bologna 2013. Stampa.
Business of Fashion and McKinsey & Company. "The state of fashion 2020: coronavirus update". April 2020. Web. https://www.mckinsey. com/~/media/mckinsey/industries/the-state-offashion-2020-coronavirus-update-final.pdf
Cassia, Fabio. “‘Manufacturing is coming home’: does reshoring improve perceived product quality?”. The TQM Journal, 2020. Web. https://www.emerald.com/ insight/content/doi/10.1108/TQM Celaschi, Flavio; Di Luchio, Loredana e Imbesi, Lorenzo. “Design e phigital production: progettare nell’era dell’industria 4.0”. MDJournal, Design and New craft 4m, 2017. Web. http://mdj.materialdesign.it/index.php/mdj/issue/view/7 Clifford, Ruth. “Balancing local tradition and global influences: Design and business education for traditional artisans in Kachchh, India”. Nottingham Trent University, 2018. Corradini, S., Tartaglione, C. "Il Fine Vita dei Prodotti nel Sistema Moda". Piano Formativo AV/81/ A12 “GREENIES - 2013. Web. https://www. ares20.it/pdf/innovazione_sostenibilitaFine_Vita_ Prodotti_Moda_2013.pdf. Cristallo, Vincenzo; Lucibello, Sabrina e Martino, Carlo. “New Craft Design, simmetrie, osmosi, dissonanze”. MDJournal, Design and New craft 7 (2019): 6-15. Web. https://flore.unifi.it/retrieve/handle/2158/1174512/434750/ MDJournal%2007.pdf Crossland-Marr, Lauren. “Consuming Local, Thinking Global: Building a Halal Industry in a World of Made in Italy”. Washington University in St. Louis, 2020.
BIBLIOGRAPHY Web
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Business of Fashion. “The cultural appropriation paradox.” 2018. Web. https://www.businessoffashion.com/opinions/news-analysis/op-ed-the-cultural-appropriation-paradox
BBC News. “Burberry burns bags, clothes and perfume worth millions”. 2018. Web. https://www.bbc.com/ news/business-44885983
Business of Fashion and McKinsey & Company. “The state of fashion 2020: coronavirus update”. April 2020. Web. https://www.mckinsey. com/industries/retail/our-insights/state-of-fashion
BBC News. “Coronavirus: two million Bangladesh jobs ‘at risk’ as clothes orders dry up”. April 2020. Web. https://www.bbc.com/news/world-asia-52417822
BVA DOXA. "La Second hand economy in italia". Osservatorio 2018 Second Hand Economy. 2020. Web. https://www.bva-doxa.com/la-second-handeconomy-in-italia/
Bottega Veneta. Scuola dei maestri pellettieri Web. https://www.bottegaveneta.com/sm/unisex/ scuola-dei-maestri-pellettieri-di-bottega-veneta_ grd29601
Camera Nazionale della Moda Italiana. Camera Moda Sostenibilità. Web. https://www. cameramoda.it/it/sostenibilita
Brioni. Scuola alta sartoria. Web. https://www.brioni. com/it/scuola-alta-sartoria_section Brunello Cuccinelli. La Scuola di Arti e Mestieri di Solomeo. Web. https://www.brunellocucinelli.com/ it/solomeo-school.html Business insider. “Levi’s punta sulla canapa, che presto si mischierà al cotone. Una scelta “green” che farà risparmiare miliardi di litri di acqua” 2019. Web. https://it.businessinsider.com/levis-punta-sulla-canapa-che-presto-si-mischiera-al-cotone-una-scelta-green-che-fara-risparmiare-miliardi-di-litri-di-acqua/?r=US&IR=T Business Insider. “Diesel is selling ‘virus-fighting’ denim, but experts say it’s just a marketing ploy.” 2020. Web. https://www.businessinsider.com/diesel-selling-virus-fighting-denim-experts-say-its-a-gimmick-2020-7?IR=T
Canapando. “Levi’s, i brand dei “jeans” si converte alla Canapa”. 2020. Web. https://www.canapando.net/ levis-i-brand-dei-jeans-si-converte-alla-canapa/ Candiani Denim. Website. Web. https://www.candianidenim.it/ Central Saint Martin. Website. Web arts.ac.uk Collater.al. “SA.P.C.Ai, la contaminazione ibrida tra sacai e A.P.C” 2021. Web. https://www.collater.al/ sacai-apc-collezione-style/ Common Objective. "The Creativity Of Upcycling: Design Solution For The Planet." 2019. Web. https:// www.commonobj ective.co/article/the-creativity-ofupcycling-design-solution-for-the-planet
BIBLIOGRAPHY Web
Dizionario Treccani. Filantropia Web. https://www.treccani.it/vocabolario/ filantropia Domestika. Videotutorial. Web. https://www.domestika.org/it
Eileen Fisher. “Eileen Fisher Renew” Website. Web.https://www.eileenfisherrenew.com/ Eileen Fisher. “Repair and care.” 2020. Web. https://www.eileenfisher.com/repair-and-care/repair-and-care-overview/
FAI. La convenzione di Faro sul patrimonio culturale. Novembre 2019.Web. https://www.fondoambiente.it/news/ convezione-di-faro-patrimonio-culturale
Eurofound. Eu. Reshoring, 2018. Web. https:// reshoring.eurofound.europa.eu
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Left(L)overs.
Left(L)overs. A RESEMANTIZATION OF WASTE IN THE FASHION SYSTEM
Thanks. Eleonora Barosi