Commentarty Heleen Overbeek

EXP RED BEST AFTER USE

NB: I, Heleen Overbeek, certify that this is an original piece of work. I have acknowledged all sources and citations. No section of this essay has been plagiarised. This piece of work was written in accordance with the UAL Code of Practice on Research Ethics.

Unless referenced, all images, graphics, artworks, sketches, and works-in-progress included in this document are the production of Heleen Overbeek.

EXP

EXP RED

RED BEST AFTER USE

Disposable paper footwear for fast fashion consumers Heleen Overbeek 2018

CONTENT •

Introduction 12

•

Research 14

•

Methodology 28

•

References 30

•

Development 44

•

Rationalisation & Specification 148

•

Costing 193

•

Summation 194

•

Appendix 204

•

Bibliography 250

•

RED

Introduction

The project EXP RED proposes a paper-based material innovation for footwear enabling designers to produce disposable products which allow their users to continue to over-consume in an environmentally friendly and sustainable manner. To be able to produce footwear with this material, a different way of production is needed, which is why the research also proposed an alternative production method for footwear Most fashion products are negatively affecting the ecological system because the products are difficult to deconstruct, their materials aren’t recyclable and the harvesting of the raw materials causes strain on the environment through water, air and soil pollution (Kering, 2017). These post-consumer issues were the basis of the material research of this project.

The initial project concept was to develop eco-friendly, disposable footwear for fast fashion. To make these products, the material needs to be recyclable or biodegradable. Through a practice-based methodology, I developed an innovation by combining paper pulp recipes suitable to be used as material for footwear production (certified by SATRA, 2017). This material can be recycled and reused to become new footwear. Further, the ingredients in the pulp mix are sourced in an eco-friendly manner and the products made out of the material do not

12

need to be deconstructed when they are recycled, this is due to the material being suitable for all functioning parts of the shoe.

The idea to encourage the behavioural pattern of the throwaway society was conceptualised after defining the two most polluting elements of the fashion industry: raw material production and post-consumer waste (Porcelijn, 2017). By creating a collection which ensures that overconsumption is environmentally friendly, EXP RED shows its relevance by not disapproving consumer behaviour but by speculating on the way we can alter products and manufacturing to benefit both humanity and the planet.

The final outcome of the research is a collection of paper shoes and a DIY Shoe Kit. The footwear collection aims to showcase the possibilities of the material innovation to the industry and is a redirective design solution to the negative environmental impacts of overconsumption. The DIY Shoe Kit proposes a speculative way of sustainable shoemaking and makes the viewer a participant in the production process through construction. This creates a social and educational aspect to the collection past shopping and wearing which aims to alter the user interaction with the product.

Research

The impact of the fashion industry on our eco-system is threatening to permanently damage the functioning of our planet. Fashion is the second most polluting industry globally and accounts for 10% of global carbon emissions (Conca, 2015). To be able to understand and address this problem, I set out to research what is needed in order to design environmental friendly footwear that users can dispose of sustainably.

The research focusses on the raw material production and post-consumer waste, which are the most harmful elements of the industry (Kering, 2017; Porcelijn, 2017).

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The typical composition of a shoe, Weib 1999

Materials

Materials

At the start of this research, I was introduced

Having come to appreciate the importance of

to the Environmental Profit & Loss (EP&L)

composite materials in reducing the

studies commissioned by Kering, which

environmental impact, I went about

evaluates the environmental impact of their

investigating what would be the best

products. This report shows that 72% of

material for producing disposable footwear

Kerings’ environmental footprint is caused

that is environmentally sustainable. The main

within the raw material stage of the supply

waste problem of footwear is that shoes are

chain (Kering, 2017). The sourcing of raw

hard to deconstruct when they are disposed

materials to create textiles or leather is a strain

of. The majority of footwear, an estimate of

on the planet. Furthermore, Nike’s chief sus-

142,756 tonnes in the UK alone, ends up in

tainability officer Hannah Jones has stated

landfills where they take up to 50 years to decompose (Fashion Revolution, 2017; Coates

“60% of Nike’s entire environmental footprint

et al., 2007). This implies a issue of product-re-

is linked to material use. Leather, in particular,

sponsibility for designers and a discrepancy

has disproportionate environmental conse-

about the post-consumer life of a product.

quences. While it is only Nike's tenth most-of-

It also begs the question, if people tend to

ten-used material, it has the second-highest

throw away their shoes, why don’t we design

negative environmental impact.”

for disposability?

- Business of Fashion, 2017

15

16

The production of paper fibres is The criteria for the raw material were:

increasingly done in certified and environmentally friendly manners. There are

•

many paper pulp producers worldwide making certified and traceable cellulose fibres

Worldwide accessibility to reduce transport

to an eco-friendly standard, such as Södra in

impacts

Sweden. This makes the material accessible

•

Recyclability and biodegradability to ensure a zero waste product

•

Generate an affordable price to ensure the economic feasibility of the product

to be produced locally and therefore limiting the carbon footprint of transport of a final product. Paper can be recycled to high-quality standards 5 to 7 times over (Holmes, 2017) after which it does also still biodegrade. Globally we recycle 58% of the paper we produce, with

•

recycling systems in place almost everywhere

Ensure the material suitability for intensive

process that is familiar to the general public,

wear on the feet

•

(RISI, 2012). Lastly, the paper recycling is a which means that it is a tangible process for consumers to understand and makes the concept of disposable shoes more transparent for the user. Based on these material facts, I

After reviewing different materials against

choose to further investigate and develop a

these criteria, paper was the best suited to

suitable paper material for footwear through a

these requirements.

practice-based approach.

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Post-consumer waste

Post-consumer waste

The second polluting factor of the footwear

Designers are able to influence their products,

industry is post-consumer waste, about 80%

but it is very difficult to change user

of used products end up in landfill. The

behaviour. When you attempt to design a

increased waste pollution is a direct result

product that aims to either edit behaviour or

of overconsumption. Since 2000, the global

create awareness for its user, every user will

fashion production has doubled in its size,

most likely respond differently to the designed

increasing its overall impact dramatically

object (Van Gool, Van Wijngaarden 2005).

(Wicker, 2016; Remy et al, 2016).

Behavioural science teaches that human brains are naturally wired to stick to rhythm,

Analysing the behaviour of a general fast

familiarity and the easy choice when it comes

fashion consumer, we see that “ fast fashion

to consuming, or to decision making in

products are particularly attractive to con-

general (Fagan, 2016). Therefore, to propose

sumers who prioritise constant change in their

an alternative product or production model,

fashion consumption behaviour and subscribe

we have to take the existing (fast fashion)

to a culture of impulse buying� (Mintel, 2007).

system and consumer pattern into account to

To counteract this behaviour, the general

design something sustainable that works with

design solution is to decrease the need for

the system, instead of against it.

more products. Designers have come up with multifunctional, trans-seasonal, trans-functional, modular and changeable fashion products (Fletcher, 2008).

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Post-consumer waste To engage users is to inform them. Birtwistle and Moore (2007) have found that there is a connection between lack of knowledge about the negative effects of fashion and the disposal of fashion items. To promote transparency and knowledge about footwear production, one of the final outcomes of this research is a DIY Shoe Kit. The kit takes you through the production of a pair of shoes, from making the material through to hand stitching the components together (see appendix).

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Business

Post-consumer waste

According to the State of Fashion 2018 this

This project aims to fit within a commercial

year sustainability is going to evolve further

retail environment. When the material would

“to an integral part of the planning system

be developed further and the scale of produc-

where circular economy principles are

tion would be enhanced, this project would be

embedded throughout the value chain”

suitable for a fast fashion market. I will

(Business of Fashion, 2018). Large companies

expand on this further in the costing section

are actively engaging in initiatives to

of this commentary.

control their waste streams and post-consumer goods. Brands like H&M and

The intended user of EXP:RED are

Zara actively engage in resourcing goods

millennials; consumers aged 13-34, gender

from consumers after use, also Nike

neutral and “hipster”. Studies conducted by

introduced a recycling programme “NikeGO

Galore showed that 74% of respondents

Places” (formerly “Reuse-A-Shoe”) back in

would rather spend money on a great

2007. Nike reported that since its start in 1993

experience than on luxury goods (Sherman

the programme has recycled more than 16

and Young, 2017). This is why this kit would be

million pairs of worn-out Nikes (SMART, 2007).

best introduced to the marketplace through

Nike and H&M are currently industry leaders

millennials, to ensure the effectiveness of the

when it comes to sustainability

product. The footwear collection has a slightly

(Ellen MacArthur Foundation, 2017).

larger age range, 13-55 years, since the wearing of the shoes does not differ in experience compared to other pairs of shoes.

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From top downwarts: Botanic Shoes by Lyocell; Flyleather TM by Nike; the Virgin Sneaker

by OAT Shoes; Material samples of ZOA TM by Modern Meadow

Context The footwear collection and the DIY Shoe kit

Two examples of material based speculative

serve as a proposal for an

projects are ZOATM by Modern Meadow and

“eco-positive business model” (Porcelijn, 2017)

Fly LeatherTM by Nike. Both companies

in suggesting a sustainable way of

presented new materials innovations on

shoemaking and a production process where

traditional leather this year.

the viewer is a participant through construction. This speculative design context

The historical context of this research is linked

aims to critique the neglect of the industry for

to the material development. Paper was

product-responsibility and showcases

invented by the Chinese around 105 A.D. and

disposability as an economic, intrinsic part of

was kept a secret for many years

fashions’ business model.

(American Forest & Paper Association, 2014).

Since then paper production has been

A similar speculative project within an

developed constantly. To give a small

industry context has recently been published

example, initially, paper was made from

by Lezing, one of the leading fibre innovators

pulped cotton. Some kind of chemical was

worldwide. They’ve made the Botanic Shoes

required to break down the raw material. The

from their material TENCEL® to showcases

ammonia from urine works well, so for centu-

the possibilities for this material not only for

ries, the paper mills of Europe were powered

upper materials but also for soling.

by human waste (Hardford, 2017). This project is an innovation built on generations of

OAT Shoes is the brand that produced the

knowledge that I’ve attempted to learn from

world’s first biodegradable sneakers which

and incorporate into this research.

bloom. The sneakers are meant to be worn, loved and when the shoes wear out buried so

This project shows its relevance throughout

they can biodegrade. The thong of the

the disruptive concept as well as its

footwear contains seeds, so once a user

suitability for industry application. I am a

participates in this action a reciprocation in

designer developing product concepts which

the form of flowers will occur.

provide solutions for systemic issues within fashion. This is why the purpose of this research isn’t solely to create functioning paper footwear or a new manufacturing system, the purpose is also to stimulate debate.

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Methodology

Post-consumer waste

Post-consumer waste

The research for EXP:RED is founded on a

Through an analysis of footwear models

practice-based research methodology. The

available by fast fashion retailers such as

material based research was informed by

Zara, Monkey, Urban Outfitters, Primark,

primary research regarding paper pulp

H&M, Missguided and Asos at Spring 2017, I

production, natural adhesives and domestic

sketched an overview of 30 styles of footwear

cooking techniques. Through the principles

as a market representation for a visual

of learning-through-making, I developed

questionnaire. Participants were women

the material innovation which informed all

between the age of 15 and 30 years of age,

the designs of the footwear collection which

which is the demographic group which

showcased the capabilities of the material.

heavily targeted by mainstream fashion

The material based research became more

brands (McNeill and Moore, 2015).

informed through the research and

Participants were asked to rank their top 5 of

development stage, because the material

shoes which they would actually buy.

development presented errors and flaws

The outcome of this research informed the

which needed to be resolved such as drying

typologies I used in earlier mockups in the

time, shape consistency and surface finishing.

manufacturing stage. For the final collection,

This material has been tested and certified

the high heeled shoe (#1) and the low ankle

for footwear use by the SATRA Technology

boot (#6) informed the silhouette of the final

Centre (see appendix). Alongside the material

designs.

innovation, I familiarised myself with the making methods of casting on a domestic and industrial scale.

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Post-consumer waste Along with the focus on material development, I investigated the critical design message regarding overconsumption in fast fashion through mockups with visual references. The mockups referenced to stereotypical footwear, wording or disposables such as egg-boxes or crumpled paper. After critical reflection, I concluded that the use of these visuals in the shoes was not conveying the message, it was in fact creating more distraction from the messaging. Instead of giving the footwear a literal aesthetic of a disposable, the message was instead embedded into the DIY shoe kit throughout its graphic design, this was less in the consumer’s face and conveyed to the intended audience a message they better understood.

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References

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Fashion Revolution , 2017

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32

33

34

Illustration by Circular Flanders

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Instagram post by Helen Kirkum Studio, 2017

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Silver by Helen Kirkum Studio, 2016

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Appropriation Design by Chanel (water bottles), Moschino (earrings and bag) and Anya Hindmarsch (boots)

Development

Development

Recipe

Post-consumer waste

To develop the individual designs, I started

Fine paper powder gives the best

developing a material so I would be able to

consistency material. Jess Lertvilai, the LCF

assess the qualities of the material for

material librarian, advised me to investigate

footwear purposes. This way I let the material

the paper pulp producer Södra. After

inform the final designs. I started the research

explaining my project to them, they were

by investigating all different ways of

generous enough to send me 6 kilos of Södra

manipulating paper fibres. Pulping

BLACK, which is long fibre pulp from mainly

paper was an ideal starting point. The pulp

juvenile spruce (see appendix). All pulp

industry already exists on larger scales for

produced by Södra is certified FSC and PEFC.

paper production and it is a cheap way of producing.

I coincidentally stumbled upon Van Houtum B.V. a paper tissue manufacturer that

The first tests were conducted based

produces according to the cradle to cradle

on several different papier-mâché recipes

principle (Braungart and McDonough, 2001).

retrieved from Wikihow. This taught me that

I inquired about paper powder, after which

cellulose-based adhesives are most efficient

they did informed me that they weekly collect

in binding paper and adding cornflour to the

500 kg of paper fibres through their extrac-

mix ensures quality and consistency of the

tion systems. They send me a sample bag of

material. The pulp mix needed another

the material and ensured that I could inquire

binding agent to ensure flexibility and shock

more at any time.

resilience.

46

Post-consumer waste These materials lent themselves to develop

binding agents, I tried to make a flexible

different recipes with different material

paperbound. I found that purely using latex,

qualities, for example, a rigid material and a

without any other adhesive was the most

flexible one.

effective. This resulted in a flexible material suitable for uppers, midsoles and insoles. The

For the rigid material I used the pulp from

additional ingredients in this mix are mordant,

Sรถdra, because cellulose from long fibres

a colouring agent, vinegar, Neri and a

ensure a strong material bound. I conduct-

waterproofing agent.

ed tests to experiment with surface quality, drying time and consistency of the material.

Through this I found the right balance between Sรถdra Black and a mix of cornstarch paste, Neri, cornflour, salt, vinegar and a waterproofing agent. This mix resulted in a strong material which seemed to be suitable for heels, shanks and outsoles.

For the flexible material, I utilised the two types of paper powders. By combining the most successful pulp recipe with flexible

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Material testing To verify the capabilities of the two materials I contacted the SATRA Technology Centre, a testing company for any footwear related material, product or component. SATRA advised me to conduct the SATRA TM 31: 2003 (2014) Martindale abrasion test for the flexible material and the SATRA TM 174: 2016 Abrasion resistance test for the rigid material.

Both tests determine the wear resistance of a material.

The final assessment of SATRA was that the flexible material is most suitable for footwear use. When this material would be used in the future, they advise continuing with wear testing complete shoes to assess the functionality for upper or soling applications. (see appendix)

Post-consumer waste

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Moulds To make the final collection, I needed to develop moulds. For the project to function globally, I wanted to 3D print the moulds with recycled PLA filament. After extensive testing, the results were lacking surface precision.

I needed to use a different material because I wouldn’t have enough time to sand and refine 26 individual moulds before the project deadline.

The manufacturer Re-Filament advised me to look into resin. To source the 3D printing locally, I investigated local manufacturers by using the online 3D printing service platform 3DHubs. The rapid prototyping lab E8 Make was not only in London but within my neighbourhood, a bike ride away. This ensured the reduction of emissions which transport would have caused. The majority of moulds were printed were in resin and a few in Ninjaflex, as advised by E8 Make.

Post-consumer waste

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#1

#2

#3

#4

#5

#6

#DIY

Rationalisation

Post-consumer waste After developing the materials I was able to

collection in that the designs focus on the

make informed design decisions which would

flexible material. The flexible material is

highlight the materials’ qualities. The rigid

shown in different colours and purposes,

material functions to a good quality and dries

where the rigid material is used more minimal

properly when the wall thickness is 7 mm.

and only in white to not distract. The colours

It needs to dry in an open-air mould over a

scheme is based on the colour results of the

course of 5-8 days, depending on the mould.

material tests. Components have often been

The material is most suitable for heels and it

cast in several colours to review colour

functions well when reinforced with a

combinations which informed the final colour

material, such as Thermofloc.

choices.

The final material qualities of the flexible material are a significant tear strength, a good wear resistance (SATRA, 2017) and easy production. The material dries within 1 day, in an open-air mould. It is suitable for both uppers and soles, which is why all the uppers in different designs are made of this material. Furthermore, all models have a flexible midsole to combine the uppers and outsoles to ensure a strong construction.

The results from SATRA have informed the

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& Specification

Post-consumer waste These materials lent themselves to develop

binding agents, I tried to make a flexible

different recipes with different material

paperbound. I found that purely using latex,

qualities, for example, a rigid material and a

without any other adhesive was the most

flexible one.

effective. This resulted in a flexible material suitable for uppers, midsoles and insoles. The

For the rigid material I used the pulp from

additional ingredients in this mix are mordant,

Sรถdra, because cellulose from long fibres

a colouring agent, vinegar, Neri and a

ensure a strong material bound. I conduct-

waterproofing agent.

ed tests to experiment with surface quality, drying time and consistency of the material.

Through this I found the right balance between Sรถdra Black and a mix of cornstarch paste, Neri, cornflour, salt, vinegar and a waterproofing agent. This mix resulted in a strong material which seemed to be suitable for heels, shanks and outsoles.

For the flexible material, I utilised the two types of paper powders. By combining the most successful pulp recipe with flexible

149

#1

- All components are made from the flexible material.

- The upper shows the shape strength of the material.

- The outsoles have indents to ensure maximum bendable soles, which shows their potential for athletic footwear.

- The outsoles are made with the Thermofloc, showing the textures and colours of the newspaper its based on.

#2

- The logo is implemented in outsoles after tests with wording in earlier development - Rigid material toe cap to structural quality of product to outerwear companies - The shape of upper is based on an earlier material test

#3

- The design is informed by the semi-functioning shoe from term 2 - The thickness of the top line have informed all other uppers in the lineup - In term 2, the upper was functioning but the outsole broke when it was used, which is why the sole is made of a combination of the rigid and the flexible material. This also informed the sole of #4.

- Initially, this style was informed by the ‘outdated’ model which was based on Clarks.

#4

- A variation on the traditional ballerina. I used this stereotypical footwear style, because of its worldwide existence amongst cultures.

- The low heel and front part of the sole are made from the rigid material. These parts are reinforced with a flexible midsole, which was inspired by earlier test for functioning flexible soles. This sole construction is also used for a higher version in #5.

- The upper has a thickness along its top line to ensure that the user doesn’t lose their shoes whilst walking, it effectively functions as a replacement for top line tape.

#5

- The upper is based on the upper of the first functional paper shoe I made. The shape held its form well on the foot, which was my first indication that the upper would function.

- The outsole has a plateau thickness which resembles mainstream footwear sneakers. The sole construction is the same as #4, in a higher edition.

#6

- To showcase the strength of the rigid material, I choose to include a high heeled shoe. The silhouette of the shoe was the number 1 choice 71 participants of the visual questionnaire (107 respondents in total).

- The construction of the sole and heel are based on the drying principles of the rigid material. To be able to make a 7 mm wall thickness in the heel, the heel has to be chunky, otherwise, the air isn’t allowed in which increases the drying time expediently. The heel is hollow and is reinforced with Thermofloc to stabilise it.

- To replace a traditional shank, half of the outsole is made out of the rigid material and functions as a cap on top of the hollow heel. The counter part of the sole is flexible, showcasing the reinforced strength of the two materials combined.

- The shape of the upper is defined by the needed instep into the shoe with a thickened top line to ensure the material doesn’t tear through the force of a foot.

#DIY

The graphic design of the DIY Shoe Kit was developed

by Studio Warschau. Beforehand we agreed on the colour scheme, based on the material colour research, the size of the box, an initial idea for the booklet and which of the shoes it would be made for (#3). The shape of the box was defined by the idea to introduce the viewer

into a story, which is referenced through the opening of the box like a book. The user experience is essential in the design of the box, we wanted to communicate to the user that having and using the box is a true enjoyment and that it would be something which you would wish for.

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Costing

Post-consumer waste The original costing for the collection was

plastic(AZO Materials, 2012). If one would

considerably lower than the final costing. The

produce the moulds in an industry context in

intended final costing was set out be £631.03,

the future, the recycled PET filament might

where the actual final costing of the total

actually still be a suitable option.

project was £3,207.55. The significant increase in cost was caused by the addition of the DIY

The final costing of producing 1 DIY Shoe Kit is

Shoe Kit and the decision to print the moulds

£725.00. The majority of this prize is made up

in resin instate of recycled PET filament. The

of the cost of the moulds and the cost of the

cost per gram for the PLA is £0.05 where the

graphic design for the box and its

cost of resin per gram is £0.55, which

components. If the box would be produced on

increased the cost of the moulds by

a larger scale, for example, a 1000 boxes, the

approximately 11 times.

final prize would come down to an estameted £37.04. In researching a suitable retail prize

The recycled PET filament was my first choice

the target prize was set at £49.99. This

for material, because the plastic can be

prognoses indicates that the DIY Shoe Kit

easily entered into general recycling systems

ussuitable for market purposes an a larger

by users and the carbon footprint of the

scale.

recycled PET is approximately 73% lower than that of virgin plastic(Axion, 2017). Resin can be

See appendix for detailed overview costing.

also recycled, but it is much a more complicated and specialised recycling process since the material is classified as a Group 7

193

Summation

Post-consumer waste At the start of this MA, I set out to design

delivering a critique on the industry, the final

disposable footwear for fast fashion

outcome is a speculative design message. This

costumers so they can maintain their current

change was informed by my intensive studio

consumption pattern whilst decreasing their

explorations, collaborations with

individual environmental footprint.

industry partners and the development of a

Recognising that deconstructing consumerism

more realistic reflection on the possible

is not the ideal solution to changing consumer

outcomes within the timeframe. The eventual

behaviour, I felt the need to design a footwear

aim of the project is to educate and inform

collection which exemplifies that there are

users on the manufacturing process of

different ways to look at a problem and its

footwear and to speculate on the use of an

possible solutions. I intended to use my past

alternative material for footwear production.

studies on consumer behaviour, paper fabrication and bespoke footwear production

Starting the paper development, one of my

to find a way to produce functioning paper

main challenges was to fully commit and

shoes. The aim was to critique the current

focus on the research and development of this

footwear industry in its neglect of its

material to be able to give it the best chance

product-responsibilities. The final products of

at success. In the first months of development,

this research ended up have a more nuanced

I worked both on material development as

and effective messaging. Instead of simply

well as design development.

194

Post-consumer waste When it became evident that the material

a test simply is not working. In previous

ultimately would inform the designs, I

projects, I would have allowed additional time

committed the research solely to material

to see if there was any possibility to

development. In this process, I could not

implement those tests anyway. Although

foresee wether the final outcome of this

my approach to practical research is very in

material research would actually be useable

depth and broad, it can also lack focus

or functional, which was sometimes

because I tend to easily get lost in the process

unsettling. Normally, when I conduct design

of making ever more interesting tests and

research I feel comfortable to let loose and

mockups. This project has taught me how to

find where the process of making will

‘kill my darlings’, both within my material and

eventually bring me, whether it will be a

in my design research.

success or a failure. This method allowed me to continue researching and developing the material, even when the tests were quite literally falling apart.

The material development process taught me how to assess if something is worth investigating further or when to decide that

195

For example, to convey the critical design

industry context, early on I started reaching

message, I mocked up several designs which

out to industry partners who might be able to

were informed by stereotypical footwear or

advise or help me. By taking this step early, I

wording. Through critical analyse and

gained a better understanding of how to

tutorials, I learned that sometimes messaging

position myself as a valuable asset to industry

doesn’t need to be so literal, it can be subtly

partners, even though I’m a marginal business

conveyed through material use or graphic

partner. They also taught me to ask anything,

design.

however minor or silly it might seem. By sharing the story of the project, companies

The course taught me why it is evident to

shared their products with me either for free

know and understand your context and the

or at discounted cost. My communications

aim of your projects, ultimately to be able to

skills improved, as a result of it, and I’m

be successful and relevant to the industry.

confident that I’ve gained some contacts

This insight might at first have been deeply

which might last me for the length of my

frustrating, however, it ended up being a

career.

liberation as it made me understand what I was trying to communicate.

The project brought out my personal strength to find and see parallels between seemingly

In order to be able to fit this research in an

196

unconnected elements, such as spotting

that the kitchen techniques for smoking

one would not have been there without the

food would efficiently help me with the

other.

dehydration of the paper material. In keeping an open mind and a problem-solving attitude,

In reimagining a new footwear material there

I was able to push the material innovation so

are many facets to be considered. The

that it became a functioning, qualitative

material needs to have a certain thickness,

material.

strength, tear resilience, stretch resilience and so on. To test the material as extensively as

The other ingredient that helped in achieving

possible, I spent the majority of the second

this project was my ‘work makes work’ ethic.

term on the material research and less time

In learning this work philosophy from my old

on manufacturing research. Although the

architecture mentors, I find that keeping up a

manufacturing worked out for the final

constant work spirit with a large quantity of

collection, I was not able to produce a

output generates the most creative ideas. In

functioning shoe until July 2017, which meant

multitasking between material development,

that there was little room for error in the

industry networking, primary research and

manufacturing of the final products. When I

design experimentation, I both delivered solid

did manufacture the final pieces, small

next steps in the process and also literally just

production mistakes such as shrinkage and

crumples of paper, but I’m confident that the

faulty moulds affected my planning.

197

sumer waste In an alternate world, where I would restart

planning. Unfortunately, due to this and

the project, I would try improve on my focus

several setbacks in the manufacturing of the

and time management by asking help of my

final collection, I eventually wasn’t able to

peers and the university to keep better

finish the collection on time running a week

project management. I’ve learned that I find

short on my planning.

it difficult to assess and calculate the actual time needed for experimental research. Also, I

With the next step in my mind, I plan to start

am an optimist and opportunist, which in this

working for as a footwear designer for a

case means that I will try as hard as I can to

company where practice-based design is the

make it happen even if it’s unrealistic timing.

focus and where sustainable agendas are

Although this might be a personal quality,

part of the business. This course has helped

professionally it is something which I want to

me grow as a designer, in understanding that

be able to manage better, because it is in-

footwear is my favourite design medium, but

efficient for any party involved. The MA has

I also feel comfortable working outside my

taught me to sooner analyse and realise when

own specialism within other design areas, for

planning needs to be altered. That said, I’ve

example, material design. My main objective

also learned that managing an

is to design solutions for environmental design

innovation project comes with uncertainty

flaws in the footwear industry. This is why I

and some instability when it comes to

would like to gain more knowledge and

198

ost-con experience about the running of a larger scale footwear company such as Nike, United Nude or Stella McCartney. Eventually, in the long term, I would like to move forward with a personal interdisciplinary design studio focussed on solution based design.

199

HERE TODAY

GONE TOMORROW

EXP

RED

Appendix

SATRA Results

204

205

Appendix

Appendix Technical Data Sheet

black Z

Initial tensile strength Wet strength Easy refined

Part of the premium stronger fibre range, Södra black Z is a northern bleached softwood kraft pulp bleached using a TCF process. It’s the ideal choice where high initial tensile strength and wet strength are important. And it has the added advantage that easy refining means potentially lower energy consumption. Available certified to both PEFC™ or FSC®.

PEFC/05-35-48 Promoting Sustainable Forest Management www.pefc.org

GENERAL PROPERTIES Dirt, ISO 5350-2:2006 Brightness, ISO 2470-1:2009

88.0 (≥87.5) %

2.0 (≤5.0) mm2/kg Aceton-soluble extractives, ISO 14453:2014

0.03 %

Ash, ISO 1762:2015

0.25 %

pH, ISO 29681:2009

Fibre length, ISO 16065-2:2014

Fibre width

Coarseness

2.05 mm

30 µm

0.135 mg/m

4.8

209

Appendix

Costing Moulds

Ingredrients

Upper

Recycled PLA

£14,60

Midsole

Resin (Master mould)

£61,05

Outsole

Ninjaflex

£81,00

Heel

Ninjaflex

£97,00

Insole

Resin (Master mould)

£28,20

Upper

Paper Powder Latex

Midsole

Insole

210

£0,00 £1,78

Colorant / Ink

£0,40

Mordant

£0,19

Vinegar

£0,02

Waterproofing

£1,52

Neri

£4,92

Paper Powder

£3,00

Latex

£0,00

Colorant / Ink

£0,89

Mordant

£0,29

Vinegar

£0,09

Waterproofing

£0,01

Neri

£0,76

Paper Powder

£2,46

Latex

£0,00

Colorant / Ink

£0,67

Mordant

£0,15

Vinegar

£0,07

Waterproofing

£0,01

Neri

£0,57

Heel

£0,00

Paper Powder

£0,12

Cornstarch paste

Outsole

Cornflour

£0,08

Salt

£0,01

Vinegar

£0,02

Waterproofing

£0,01

Neri

£0,50

Paper Powder

£0,00 £1,12

Latex Colorant / Ink

£0,37

Mordant

£0,12

Vinegar

£0,02

Waterproofing

£0,95

Neri

£3,07

Assembly

Needles

£0,90

Waxed Paper Thread

£0,50

Cornstarch paste

£0,17

Shoebox

White Paper

£4,85

Acid Free Packaging Paper

£0,05 Total #3

£314,35

211

Appendix

Costing #1 Moulds

Resin

Midsole

Resin (Master mould)

£61,05

Outsole

Ninjaflex

£95,00

Insole

Resin (Master mould)

£28,20

Ingredrients Upper

Midsole

212

£220,00

Upper

Paper Powder

£0,00

Latex

£1,78

Colorant / Ink

£0,59

Mordant

£0,19

Vinegar

£0,02

Waterproofing

£1,52

Neri

£4,92

Paper Powder

£0,00

Latex

£0,89

Colorant / Ink

£0,29

Mordant

£0,09

Vinegar

£0,01

Waterproofing

£0,76

Neri

£2,46

Insole

Outsole

Paper Powder

£0,00

Latex

£0,67

Colorant / Ink

£0,22

Mordant

£0,07

Vinegar

£0,01

Waterproofing

£0,57

Neri

£1,84

Paper Powder

£0,04

Latex

£1,34

Colorant / Ink

£0,44

Mordant

£0,14

Vinegar

£0,02 £1,14

Waterproofing Neri

£3,69

Assembly

Needles

£0,90

Waxed Paper Thread

£0,50

Cornstarch paste

£0,17

Shoebox

White Paper

£4,85

Acid Free Packaging Paper

£0,05 Total #1

£434,43

213

Appendix

Costing #2 Moulds

Upper

Resin

£126,50

Toecap

Resin

£28,00

Midsole

Resin

£100,00

Outsole

Resin

£138,00

Insole

Resin (Master mould)

Ingredrients Upper

Paper Powder

£0,00

Latex

£1,34

Colorant / Ink

£0,44

Mordant

£0,14

Vinegar

£0,02

Waterproofing Toecap

214

£1,14

Neri

£3,69

Paper Powder

£0,00

Cornstarch paste

Midsole

£36,75

£0,12

Cornflour

£0,08

Salt

£0,01

Vinegar

£0,02

Waterproofing

£0,01

Neri

£0,50

Paper Powder

£0,02

Latex

£0,89

Colorant / Ink

£0,29

Mordant

£0,09

Vinegar

£0,01

Waterproofing

£0,76

Neri

£2,46

Insole

Outsole

Paper Powder

£0,00

Latex

£0,67

Colorant / Ink

£0,22

Mordant

£0,07

Vinegar

£0,01

Waterproofing

£0,57

Neri

£1,84

Paper Powder

£0,04

Latex

£1,34

Colorant / Ink

£0,30

Mordant

£0,14

Vinegar

£0,02 £1,14

Waterproofing Neri

£3,69

Assembly

Needles

£0,90

Waxed Paper Thread

£0,50

Cornstarch paste

£0,17

Shoebox

White Paper

£4,85

Acid Free Packaging Paper

£0,05 Total #2

£457,80

215

Appendix

Costing #3 Moulds

Upper

Recycled PLA

£14,60

Midsole

Resin (Master mould)

£61,05

Outsole

Ninjaflex

£81,00

Heel

Ninjaflex

£97,00

Insole

Resin (Master mould)

£28,20

Ingredrients Upper

Paper Powder Latex

Midsole

Insole

216

£0,00 £1,78

Colorant / Ink

£0,40

Mordant

£0,19

Vinegar

£0,02

Waterproofing

£1,52

Neri

£4,92

Paper Powder

£3,00

Latex

£0,00

Colorant / Ink

£0,89

Mordant

£0,29

Vinegar

£0,09

Waterproofing

£0,01

Neri

£0,76

Paper Powder

£2,46

Latex

£0,00

Colorant / Ink

£0,67

Mordant

£0,15

Vinegar

£0,07

Waterproofing

£0,01

Neri

£0,57

Heel

£0,00

Paper Powder

£0,12

Cornstarch paste

Outsole

Cornflour

£0,08

Salt

£0,01

Vinegar

£0,02

Waterproofing

£0,01

Neri

£0,50

Paper Powder

£0,00 £1,12

Latex Colorant / Ink

£0,37

Mordant

£0,12

Vinegar

£0,02

Waterproofing

£0,95

Neri

£3,07

Assembly

Needles

£0,90

Waxed Paper Thread

£0,50

Cornstarch paste

£0,17

Shoebox

White Paper

£4,85

Acid Free Packaging Paper

£0,05 Total #3

£314,35

217

Appendix

Costing #4 Moulds

Upper

Resin

£107,00

Midsole

Resin

£58,30

Heel

Resin

£18,80

Front Sole

Resin

£14,00

Insole

Resin (Master mould)

£36,75

Ingredrients Upper

Paper Powder

£0,00

Latex

£1,34

Colorant / Ink

£0,44

Mordant

£0,14

Vinegar

£0,02

Waterproofing Midsole

Neri

£3,69

Paper Powder

£0,04

Latex

£1,34

Colorant / Ink

£0,30

Mordant

£0,14

Vinegar

£0,02

Waterproofing Insole

218

£1,14

£1,14

Neri

£3,69

Paper Powder

£0,00

Latex

£0,67

Colorant / Ink

£0,15

Mordant

£0,07

Vinegar

£0,01

Waterproofing

£0,57

Neri

£1,84

Front sole

£0,00

Paper Powder

£0,12

Cornstarch paste

Heel

Cornflour

£0,08

Salt

£0,01

Vinegar

£0,02

Waterproofing

£0,01

Neri

£0,50

Paper Powder

£0,00 £0,12

Cornstarch paste Cornflour

£0,08

Salt

£0,01

Vinegar

£0,02

Waterproofing

£0,01

Neri

£0,50

Assembly

Needles

£0,90

Waxed Paper Thread

£0,50

Cornstarch paste

£0,17

Shoebox

White Paper

£4,85

Acid Free Packaging Paper

£0,05 Total #4

£259,55

219

Appendix

Costing #5 Moulds

Upper

Resin

£96,52

Midsole

Resin

£60,50

Heel

Resin

£18,70

Front Sole

Resin

£14,20

Insole

Resin (Master mould)

£28,20

Ingredrients Upper

Paper Powder

£0,00

Latex

£1,34

Colorant / Ink

£0,44

Mordant

£0,14

Vinegar

£0,02

Waterproofing Midsole

Insole

220

£1,14

Neri

£3,69

Paper Powder

£0,00

Latex

£1,56

Colorant / Ink

£0,35

Mordant

£0,16

Vinegar

£0,02

Waterproofing

£1,33

Neri

£4,30

Paper Powder

£0,00

Latex

£0,67

Colorant / Ink

£0,22

Mordant

£0,07

Vinegar

£0,01

Waterproofing

£0,57

Neri

£1,84

Heel

£0,00

Paper Powder

£0,12

Cornstarch paste

Outsole

Cornflour

£0,08

Salt

£0,01

Vinegar

£0,02

Waterproofing

£0,01

Neri

£0,50

Paper Powder

£0,00 £0,12

Cornstarch paste Cornflour

£0,08

Salt

£0,01

Vinegar

£0,02

Waterproofing

£0,01

Neri

£0,50

Assembly

Needles

£0,90

Waxed Paper Thread

£0,50

Cornstarch paste

£0,17

Shoebox

White Paper

£4,85

Acid Free Packaging Paper

£0,05 Total #5

£243,94

221

Appendix

Costing #6 Moulds

Upper

Resin

£190,30

Midsole

Resin

£48,80

Outsole

Resin

£57,60

Heel

Resin

£39,40

Insole

Resin

£76,90

Ingredrients Upper

Midsole

Insole

222

Paper Powder

£0,00

Latex

£1,78

Colorant / Ink

£0,59

Mordant

£0,19

Vinegar

£0,02

Waterproofing

£1,52

Neri

£4,92

Paper Powder

£0,00

Cornstarch paste

£0,24

Cornflour

£0,16

Salt

£0,02

Vinegar

£0,04

Waterproofing

£0,02

Neri

£1,00

Paper Powder

£0,00

Latex

£0,67

Colorant / Ink

£0,22

Mordant

£0,07

Vinegar

£0,01

Waterproofing

£0,57

Neri

£1,84

Outsole

£0,00

Paper Powder

£1,12

Latex

Heel

Colorant / Ink

£0,37

Mordant

£0,12

Vinegar

£0,02

Waterproofing

£0,95

Neri

£3,07

Paper Powder

£0,00

Cornstarch paste

£0,24

Cornflour

£0,16

Salt

£0,02

Vinegar

£0,04

Waterproofing

£0,02

Neri

£1,00

Assembly

Needles

£0,90

Waxed Paper Thread

£0,50

Cornstarch paste

£0,17

Shoebox

White Paper

£4,85

Acid Free Packaging Paper

£0,05 Total #6

£440,48

223

Appendix

Costing #DIY 1 Box

Printing

£10,00

Mountboard

£10,85

Booklet

£8,80

Graphic Design

£320,00

Jars

£4,80

Enveloppes

£4,25

Ingredients (average)

£21,30

Moulds (average)

£330,00

Assembly

£5,00

Stickers

£10,00 Total 1 Box

1000 Boxes

Printing

£0,10

Mountboard

£0,70

Booklet

£1,20

Graphic Design

£0,32

Jars

£4,80

Enveloppes

£4,25

Ingredients (average)

£10,00

Moulds (average)

£15,00

Assembly

£0,50

Stickers

£0,17 Total 1000 Boxes

224

£725,00

£37,04

Total Costing Collection o #1

£434,43

#2

£457,80

#3

£314,35

#4

£259,55

#5

£243,94

#6

£440,48

DIY Shoe Kit

1 Complete set

£725,00

SATRA

Material testing

General

Tools

£106,40

Transport / Delivery

£138,50

Collection

£87,10

Total Cost

£3.207,55

225

Appendix

Instruction Booklet

Appendix

Appendix

Appendix

Appendix

Appendix

Appendix

Appendix

Appendix

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By Heleen Overbeek