Stella ge

Fabricating a future Written and Designed by Stella Ge

Dedication This book is dedicated Jonathan and Hannah Cranch and the entire Fabmo community. Without them, I quite literally would not have been able to produce this documentary. The dedication and camaraderie I had the opportunity to experience there was life-changing. Fabmo inspires me, and for that I am truly thankful.

Acknowledgements I would like to acknowledge Freestyle Academy: for the gifts of tools and education necessary to produce this project, and especially Ms. Parkinson, Mr. Florendo, and Mr. Greco, for fueling the entire journey; Fabmo and all its fabulous people, for the constant encouragement and enthusiasm and for the wonderful personalities I had the chance to meet; and my peers, for helping me grow throughout this experience.

Table of 9 .. .. .. .. .. .. .. .. .. .. .. .. .. n o ti c u d o Intr 0 1 .. .. .. .. .. .. .. .. .. .. .. .. e n O r Chapte 4 1 .. .. .. .. .. .. .. .. .. .. .. .. o w T Chapter

Contents Chapter Three.................... .....20 Conclusion..........................

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Works Cited........................ ....29

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s a young, inexperienced first semester junior, I was overwhelmed by the task of producing a full-blown documentary on a local untold story. I scrolled through countless Yelp pages attempting to find a location with an exuberant personality and meaningful cause before finally stumbling upon Fabmo. I quickly realized that it was exactly what I was looking for all along: my documentary soulmate!

Fabmo is a business that gathers fabrics that would otherwise be dumped in the landfill and holds donation-based events where local craftspeople can sift and select samples that catch their eye. I thought the cause was noble, but it was the creative element of the company that really peaked my interest. The idea of taking waste and incorporating it into beautiful and useful art was inspiring.

The initiative as a whole got me thinking: Fabmo changes where fabrics end up, but where do they come from? I began to consider the relationship between textiles and the environment, and upon researching realized how abusive that relationship really was.

Did you know textile production kills through toxic water pollution? I had absolutely no clue; that ignorance motivated me to share the tragic story in this documentary.

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Though hearing of the damaging effects of the textile industry was initially disheartening, I came to realize that there is hope. Not only are there companies like Fabmo that are alleviating the environmental impact of fabrics, but there are people like William McDonough that advocate redesigning the products completely to achieve growth instead of deterioration of natural resources.

The deeper I dove into this project, the more passionate I grew about the subject. The components of this project, including photographing the location, designing a website, and writing a research paper, all allowed me to explore Fabmo and share my discoveries. I found that the tasks challenged me creatively and encouraged me to think outside of the box, an experience in which I immersed myself and learned so much.

From the joy-filled visits to Fabmo to the constant discoveries of startling statistics, this documentary greatly increased my appreciation and awareness of the world of textiles, and the people I met along the journey truly touched my heart. I am incredibly proud of the book that I have assembled, and I hope that you enjoy reading it as much as I enjoyed creating it!

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Introduction

s you lean back in your chair and close your eyes, the world seems to be at peace. The birds outside are chirping and the sky is a beautiful shade of blue. It becomes easy to relax and forget about everything else. You forget that your shoes, resting comfortably on your feet, were manufactured in airless factories overcrowded with underpaid workers forced to wear masks due to the toxic fumes. You forget that your favorite hoodie, so soft and warm, was bathed in chemicals whose runoff into local rivers poisoned wildlife and nearby communities. In fact, everything you are wearing underwent an environmentally costly production cycle and will end up in the dump, replaced by newer versions of the same item. And what’s worse, so much of the fabric produced with these deleterious processes are headed straight for the landfill, their lives abruptly cut short.

Companies like Fabmo are rising to extend the life of textiles and reduce waste by rescuing fabrics that would otherwise end up in the landfill and putting them to creative reuse. The result: profound effects on people and the environment as a whole. Fabmo’s creative fabric recycling program has become especially relevant as textile production continues to harm the environment in its excessive water, chemical, and energy use; the industry is headed down a path of destruction.

How do we escape this path? Choosing the greener side at forks in the road may delay the disaster waiting at the end, but carving an entirely new path is the only way to move beyond minimizing harm and into maximizing growth. With fabrics, a new path means a fresh approach to designing the textiles themselves - remodeling the production process, refining the materials, and reconsidering their life cycle. Only then will we be able to reinvent the future of textiles.

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Chapter 1: Sew Deceitful

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very Earth Day, Fabmo opens an exhibit introducing its cause and sharing the diverse range of fabric it receives and redistributes. The exhibit highlights the rescue of these fabrics, emphasizing where they would have gone and what they are now being used for instead. According to Fabmo founder and director Jonathan Cranch, when asked to be featured at the event, the fabric manufacturers surprisingly declined, explaining that “the implication might be taken that the manufacture of materials is also green, and that is not true”. What most people do not realize when they consider their lucky jeans or cozy blanket is that the process of making these products strikes a huge blow to the environment both in production and consumption.

That plain cotton T-shirt you’re wearing? It took 2,700 liters of water to produce. The manufacturing of textiles consumes an immense amount of water, taking away from its thirsty neighbors and rendering the water non potable after processing. (“The Future

of Textiles - Advantage Environment”)

Now where does that water flow? Right into rivers and streams that serve as sources for local communities, polluting

them with some 8,000 synthetic chemicals proven to cause serious health issues. Seventeen to twenty percent of industrial water pollution results from textile dyeing and treatment. (Ravasio)

“That plain cotton T-shirt you’re wearing? It took 2,700 liters of water to produce.”11

water pollution is a ruthless killer, claiming countless victims, the environment being one of them.

The reason for the toxicity of the water runoff lies in the hundreds chemicals involved in production. While we are aware of how these chemicals damage local communities, we may wonder how they affect us as consumers. In a Greenpeace study conducted in China, the world’s textile mill, twelve internationally successful brands, Burberry and H&M among those on the list, were found to contain some hazardous chemical.

Nonylphenol ethoxylates (NPEs), substances that break down in the environment and act as persistent and bioaccumulative hormone disruptors, were found in 61% of material samples (Crawford). These substances endanger fabric consumers and are a constant threat to their health.

If the substances we know go into textiles are frightening,

ed rs e v ll e w y tt re p re a o h “Even people w e d si in s t’ a h w t u o re u g fi in textiles can’t of them.”

Pierre Terras, Greenpeace Mexico representative, traveled to Rio Santiago’s El Salto de Juanacatlán waterfall to examine toxic pollution due to its proximity to a textile production plant. Approaching the falls, he could already detect a pungent odor and

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soon suffered from “a pounding headache, nausea, and throat irritation”. As he navigated the local town, he was told stories of children who have died from cancer and realized that there was “hardly anyone older than 60 in this industrial city”. Without a doubt,

then what about the substances we are not informed of? Sue Serrone, a regular volunteer at Fabmo, notes that “usually the tags don’t have full disclosure” and are therefore misleading, and “even people who are pretty well-versed in textiles can’t figure out what’s inside of them”. How are we, as consumers, supposed to accept these unknowns while aware of their deleterious effects on our earth and our own bodies?

And with all the water being used and toxic chemicals added, it would be reassuring to know that the products created live long lives, but unfortunately that is not remotely true. Coined “fast fashion”, fabrics are used then tossed in a never-ending cycle of consumption. The average person tosses 68 pounds of textiles per year, accumulating to represent 4% of all municipal solid waste (Claudio). Clothing is designed to be replaced as a mechanism of economic growth, but at what cost does this profit come?

In considering all these det-

rimental effects, we must recognize that the economic incentives for industries to operate this way do not justify the environmental damage and human health risk.

Now that we are well aware that the tex-

tile industry poses a huge threat to the wellbeing of our planet and its inhabitants, how do we go about fixing the problem?

Chapter 2: Stitching Creativity

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abrics, fabrics, everywhere!

They are spread all over the huge tabletop, an eclectic assortment of colors and textures, creating a whirlwind of possibilities. There are various rolls of bulk fabrics, from silk to velvet to satin leaned up against one another waiting for a lucky customer to take them home. A unique and enthusiastic collection of people flip through these selections, smiling and laughing.

Even before their hands craft the fabrics into anything, I can already taste the creative energy and excitement pulsing through their veins. Welcome to Fabmo.

Though now tucked away in its cozy home of Mountain View, Fabmo actually started in the home of Jonathan and Hannah Cranch. It started with the regular visits to the Design Center, and then the realization that there were so many samples of discontinued fabrics with one-way tickets to the landfill.

Jonathan describes that “Hannah said she could do better than that - she started build16 ing relationships with the

showrooms and collected small amounts at first” which they displayed in their home and offered them to others. Soon enough, there were dozens of people coming to these selection events and Jonathan and Hannah saw that there was a real need for the service they were providing in exchange for a minimal donation. They expanded and began attracting a larger crowd, adding almost 5000 names to their email list.

Fabmo can even be seen as the initiator of a movement; as volunteer and long-time customer Sheralee Beebe remarks, “people come through here all the time and they go ‘oh, I’m from

the East coast or up North and I want to follow this model.’” She believes that “Fabmo is starting to change the world, in a bigger way” because it is so much more than just a textile recycling business rescuing fabrics from the landfill. It is a tight-knit community, a family of curators that enjoy taking what would otherwise go to waste and transform it into something beautiful.

The environment encourages artists of all media to incorporate

fabric into their work, whether it is fashion design, painting, collaging, or even quilting. The “What will you create?” sign tacked onto the bulletin board embodies the innovative spirit of Fabmo, and is the question that its members seek to answer. Sue collages with fabric pieces and incorporates them into her acrylic paintings. Diane stitched together a leather vest with 100% Fabmo materials.

Sheralee creates exquisite highfashion garments.

And what’s more, many of Fabmo’s members support various noble causes with their work.

Jonathan has seen “people that sell things for the benefit of oncology programs for kids, stuff has gone to the battered women’s shelters, homeless shelters, all the standard”, but there are even more unexpected causes. I had the opportunity of meeting

a lady who donates her profits to an ape rescue foundation in Cameroon, and Diane shared that she had been inspired by someone who made quilts for the blind.

What holds the entire business and all its passionate creators together are the volunteers, “the people who come week

seamstress. But after joining the movement, she became so passionate about fabric and making clothing that she enrolled in fashion design school and is pursuing design as a secondary career.

Fabmo really does change lives and trickles down into the lives of more and more people, spreading its environmental and inventive influence.

Fabmo inspires creativity on the tail-end of the textile industry. after week and work behind the While it is making a significant scenes to make it all happen,” difference in the community’s as Jonathan puts it. They are the perception of fabrics and encourleaders of a community that has aging valuable reuse, if we regrown close both artistically and ally want to change the face of personally. From my experience the industry we must tackle the just being immersed in the envi- issue from the other side. Fabmo ronment, I immediately picked up proves that as consumers we on the camaraderie and the sup- can contribute to the reduction of port bouncing around the room. waste, but what can manufacturThis community is the kind that ers do? changes lives. Before hearing about Fabmo, Sheralee would never have considered herself a

“The “What will you create?” sign tacked onto the bulletin board embodies the innovative spirit of Fabmo.”

Chapter 3: Weaving the Future

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o how do we go about tackling these massive problems? The “biological consciousness trickles down to customers, textile industry is a major contributor to a host of enwho sport eco-friendly labels with pride.” vironmental issues. Facing its tiles. They were extremely site fabrics otherwise wasted these issues head-on is indeed daunting, but we must keep our and incorporate them into artistic successful, cutting down on 80% of its material left to pereyes locked on the ultimate goal. ventures . By building commuish in landfills and greenhouse Imagine a world where industrial nities dedicated to the shift in innovation means environmental perspective regarding the use of gas emissions were lowered by innovation, where building more textiles, ordinary people can help 44%. But the even more impressive part? After fourteen years of change the world too. factories and consuming energy implementing this process, the

On the other hand, manudoesn’t harm the environment.

In this world, the textile industry facturers yield greater power and company has saved $433 million, proving that being environmenand the environment are riding a influence in the future direction tally conscious pays off, literally. tandem bicycle, pedaling in per- of the industry. Little tweaks in products and processes seem like (Gardiner) fectly synchronized rhythm and a realistic temporary method of Not only do good environmental traveling farther and faster than practices help save the earth, but ever before. The question is now reducing their enormous carbon consumers find reassurance in footprint. Contrary to popular how we get those two on the belief, making these adjustments knowing that the manufacturer of bike. their carpet or jacket took meacan actually save companies

For consumers, our possible courses of action are rather money while benefitting the envi- sures to alleviate ever-growing environmental stress. When ronment as well. It’s a win-win! limited. Though we are not ditextile companies play their part Take, for example, Inrectly involved in the processing in preventing a couple chemicals terface, a commercial carpet of materials, we can certainly from polluting a community’s determine where they manufacturer. The company has drinking water or scaling down been actively trying to reduce end up. In Fabmo’s its waste by increasing the reus- the excessive volumes of water case, creative used in the dying process, ability of minds take exquithe biological con-

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sciousness trickles down to consumers, who sport ecofriendly labels with pride.

Conservation can be a competitive advantage that gives the business a boost among all the others leaving behind Bigfoot-sized environmental footprints. (Marquardt) Even watching the fashion trends of Mountain View High School, I have noticed an increasing number of people showing off their Patagonia down jackets and chunky sweaters. Following the company’s switch from traditional to organic cotton and its consistent efforts to influence other companies to follow its lead, Patagonia’s customer base has expanded and it is now reaping the success of these environmental-

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minded decisions (Marquardt).

The students at my school wear Patagonia because it is “hip with the kids”, but it is important to note that the climbing success of the brand is largely thanks to its ecological reputation.

While the changes that textile and clothing manufacturers are continually improving the conditions of the industry-inflicted damage, we must think more radically in order to achieve radical growth. How wonderful would it be to equate industrial progress with environmental progress? Ultimately, our goal should be to establish a sense of synergy between textile production and the ecosystems it interacts with, and the only way to do so is to tackle the design problems that lie at the root of the whole operation; we must remake the way we make things.

William McDonough is an avid advocate this transformation in the way we think about textiles and industry as a whole. In his book discussing this revolution,

Cradle to Cradle, he expresses that “nature doesn’t have a design problem. We do.” This suggests the innovators of the human race must rethink the design backbone of the manufacture of textiles to achieve environmental change. Throughout the novel, he emphasizes the importance of working with natural resources and incorporating them into the work we produce.

It may seem far-fetched and abstract, but that is precisely the reason why it could lead to such unimaginable success. Through integration and cooperation, industry and environment can become one indestructible force that drastically improves life both on an individual level and on a global scale and revolutionizes how we make things. Rather on focusing on buffering damage, we transition into a mindset of advancement and growth, weaving a brighter future for textiles.

“Rather than focusing on buffering damage, we transition into a mindset of advancement and growth�

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Conclusion

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ost people don’t realize that the textile industry can wipe out the entire senior population of an industrial city. They don’t see the enormous landfills piled miles high with non biodegradable fabrics left to perish in their own obsolescence.

They aren’t aware that the clothes on their backs, the carpets on their wooden floors, the pillows resting on couches, all represent

scenes that culminate in the newest apocalyptic movie. The environmental footprint of the production of these common materials is largely unacknowledged despite its relevancy and significance as a detractor from the well being of our planet.

The situation is largely dismissed due to the uncertainty regarding its resolution; what can be done about it? On a personal level, there is intervention at the very end of the chain, dealing with the aftermath of the textile’s production. By employing creative solutions and building networks of people passionate both about saving these fabrics and their beautiful

potential, the waste side of the equation can be greatly reduced among other positive outcomes.

On an industrial level, the manufacturers wield considerable influence on how their products are made and their life spans.

Temporary solutions yield temporary benefits, but eventually the entire system and mindset surrounding textiles must be redesigned to achieve real progress and growth.

In part the effects on the natural world are due to the current thought regarding the goals of the industry; manufacturers are primarily driven by financial incentives to use those cheap materials and damaging process to get the job done as efficiently as possible, forgetting about the environmental implications of their actions.

In reflecting on his journey with Fabmo and its expansion, Jonathan Cranch states, “it’s easy to get stuck in metrics, stuck in numbers” while “the fact is that there are a number of lives that have been changed.”

The same is the case with 25

“I would turn my back and close my eyes and listen,” Jonathan smiles, “and I would hear six or seven conversations. Can’t hear exactly what the conversations are about, but [it’s] people sharing their ideas with each other, solving each other’s sewing problems, and things like that.”

fabric producers; the key to unlocking textile’s potential to grow and prosper is to move away from the purely economic perspective and into one centering around making the world a better place.

“I would turn my back and close my eyes and listen,” Jonathan smiles, “and I would hear six or seven conversations. Can’t hear exactly what the conversations are about, but [it’s] people sharing their ideas with each other, solving each other’s sewing problems, and things like that.” He calls this “happy chatter”, being surrounded by friendly and harmonious conversation. Wouldn’t it be nice if you could hear “happy chatter” in a textile factory?

Works Cited Beebe, Sheralee. Personal interview. 27 Feb. 2014.

Claudio, Luz. “Waste Couture: The Environmental Impact of the Clothing Industry.” National Center for

Biotechnology Information. U.S. National Library of Medicine, 26 Feb. 2006. Web. 19 Mar. 2014.

Cranch, Jonathan. Personal interview. 7 Feb. 2014.

Crawford, Tommy. ““Toxic Pollution Killed Our River, and Now It Is Killing Us”.” Greenpeace, n.d. Web.

20 Mar. 2014.

Gardiner, Beth. “Upcycling Evolves From Recycling.” The New York Times. The New York Times, 03

Nov. 2010. Web. 20 Mar. 2014.

“Greenpeace Study Finds Toxic Residues in Kids Wear Sold by Burberry, Adidas, Etc.” Greenpeace East

Asia. Greenpeace, 14 Jan. 2014. Web. 20 Mar. 2014.

Marquardt, Sandra. “Sustainable Apparel Is the Only Option, Say Textile Industry Leaders.” Apparel Mag

azine, 8 Nov. 2010. Web. 20 Mar. 2014.

McDonough, William, and Michael Braungart. Cradle to Cradle: Remaking the Way We Make Things.

New York: North Point, 2002. Print.

Ravasio, Pamela. “How Can We Stop Water from Becoming a Fashion Victim?” The Guardian. Guardian

News and Media, 07 Mar. 2012. Web. 20 Mar. 2014.

Serrone, Sue. Personal interview. 27 Feb. 2014.

“The Future of Textiles — Advantage Environment.” Advantage Environment RSS. N.p., Oct. 2013. Web.

20 Mar. 2014.

Fabricating a Future

Stella Ge is a sassy young junior at Mountain View High School who is very passionate about the arts. She attends Freestyle Academy, where she is honing her skills and expressing herself through multimedia arts.

You can also find her, paintbrush in hand, letting her creative juices flow onto the canvas, breaking it down in the dance studio, and Instagramming high-quality food shots. She believes that laughter is the best medicine and is involved in a complicated love triangle with Ben & Jerry. In the future, she plans to combine her creative spirit with technology skills to enter a career where her work sprinkles joy in the lives of others.

Fabricating a future Written and Designed by Stella Ge

Stella Ge