Image: “Flaws” Created and Photographed by Holly Lam, 2016
LIVING GARMENTS SUSTAINING THE LIFETIME OF COSTUMES
TABLE OF CONTENTS 6
Acknowledgements
9
Abstract
10
Introduction
12
Chapter 1
Life of a Garment
18
Early Stages
24
Chapter 2
Natural Vs. Synthetic
27 Wool 30 Cotton 34 Dyes 36 Boning 38
Feathers & Fur
42 Chapter 3 Future Materials 43
Self Growing Grass Roots
44
Vegea Leather
46
Bolt Threads
48
Chapter 4
Reusability
49 Recycling 52
Suzanne Jongmans
54
Hiring, Sourcing & Alterations
56
Zero Waste Cutting
59 Chapter 5
Sustainable Design Strategies
60
Slow Design
62
A Behavioural Change
63
Reinventing a Sustainable Costume Store
64 Conclusion 66 References 69 Bibliography 70
Online Resources
72
Video Resources
Acknowledgements I would like to take this opportunity to thank my tutor, Mr. Dermot Hayes for his patient guidance and tutelage which he has provided me throughout my research. Also to Mr. Peter Brooks for his great encouragement & constructive feedback. Lastly, I must express my upmost gratitude to my friends and family, especially to my parents, whom I am forever grateful to them as they gave me tremendous amount of inspiration and emotional support. This dissertation stands as a testament to your wise counselling and unconditional love.
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Image: “Chekhov in Hell� Costume designed and made by Holly Lam, 2018
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Image: Beautiful Decay Photographed by Holly Lam, 2015
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Abstract
LIVING GARMENTS: Sustaining the Lifetime of Costumes by Holly Lam, BA:PDP A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Arts degree in Performance Design and Practice at Central Saint Martins, University of Arts London. Central Saint Martins, 2019
The goal of my dissertation is to further my practice and understanding on sustaining lifetime costumes. I chose to focus my study on certain types of materials and processes used in garments in order to critically evaluate and identify the issues in the sustainable and ethical aspects of my costumes in order to develop a more environmental friendly practice. The elements in which I focused on are the life of a garment, natural vs. synthetic fibres, future materials, reusability and sustainable design strategies. Armed with an improved understanding and clearer vision of my future practice, I hope to apply my learnings to my costume designs and personal life.
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Introduction Sustainability has always been a personal goal in lifestyle. When I was young, I was taught by my parents to reuse household materials such as yoghurt pots, egg cartons and cereal boxes as a medium in crafts sessions. My mother always emphasised on reducing waste and prolonging the life of materials whilst reducing the cost of living. Influenced by these teachings, when looking for textiles to use in my costume designs, I would be inspired to look at existing materials in the household. These materials would often consist of old articles of clothing such as unwanted shirts, socks and ties. My practice encompasses all aspects of making and designing costumes, from envisioning a design on a piece of paper to the process of fabricating a costume. The fabrication process of my early work reflected the lack of awareness in being sustainable as there was a noticeable amount of leftover material. It was not until I had attended an exhibition at the 'Victoria and Albert’ Museum, “Fashioned From Nature” that I saw it was truly possible to design with ethically sourced materials and sustainable materials and processes in garments. I simply couldn’t continue working in the same way, knowing my practice was unsustainable.
Image: “Beautiful Flaws” series Created and Photographed by Holly Lam, 2016
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LIFE OF A GARMENT There is a beginning and end to all things on this planet, garments like costumes are of no exception.
Studying the environmental and social impacts in the life cycle of a fashion garment by engaging with relevant sustainable strategies will aid my designs in reducing and eliminating the issues without creating additional negative effects elsewhere in the garments life-cycle.
What makes a textile sustainable? There are four main factors: Raw material extraction, textile production, added chemistry and End-of-life. For example, the extraction of raw material, addresses the water and land used to grow natural fibres such as wool and cotton and the impact of extracting fossil fuels for synthetic fibres such as polyester or nylon.
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Image above: infographic by Alice Payne an Australian researcher mapping out the lifecycle of a fashion garment
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Considerations during production include the
This school of thought is a holistic, industrial, social
water and energy used for manufacturing, the
and economic framework that seeks to create
impact of production waste and the
methods that are not just efficient but are also
social responsibility towards the workers and the essentially free of waste. This theory is not just communities that surround the facilities of the
limited to manufacturing and industrial design,
production.
it can also be applied to other areas of making such as costume design.
Possible impact of added chemistries such as
The system also reinforces the values of material
dyes, finishes and coatings can affect the health
health, reutilisation, renewable energy,
of textile workers as well as the wearers of the
water stewardship and social fairness.
garments. Most importantly, the end-of-life scenario
From learning about the C2C system, I saw the
includes the tactile biodegradability and
importance and need of putting this crucial
reclamation infrastructure which is required to
element into my practice and by doing so, it will
transform new raw material, which can strongly
allow me to analyse the level of sustainability in
affect its sustainability.
each materials and processes - whether they meet the standards of the C2C values in an approach to
The Cradle-to-Cradle Philosophy The theory of ‘Cradle-to-Cradle’ also known as C2C is a biomimetic approach to design products and systems involves using synthetic methods to mimic biochemical processes. The term C2C was coined by Dr.Michael Braungart & William McDonough in 1992. In 2002 they had published an article, “Cradle to Cradle: Remaking the Way We Make Things” which encapsulates their voyage of discovery in the periods of use and evolutions of various biological and technical materials. The C2C method involves a process where products are developed for closed looped systems in which every output is both safe and beneficial, being able to naturally biodegrade, returning to the soil or fully transformed into high quality materials through recycling.
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also have a close-loop framework. Longevity of a garment is a key factor in having a sustainable practice in costume design, as costumes that are discarded shortly after they are used are wasteful. The first consideration is the durability of the material and to the degree in which the fabric itself resists deterioration.
Image: ‘Beautiful Flaws’ series. Photographed by Holly Lam, 2014
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Left image: Photograph by DFW Style Daily Costume by Ishioka, Eiko. “Verakai’ Cirque du Soleil. Using a combination of moleskin Lycra, along with fire resistant materials. Ishioka transforms the body of the performer for extreme acrobatic movements
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HIGH PERFORMANCE
Furthermore, the addition of chemical finishes
FABRICS are a possible choice for costumes
sustainability in fabrics at the end-of-life.
can negatively affect the pathway of
as they can improve the longevity of the garment.
Fabrics which are natural such as wool and
As many costume designers in the industry have
cotton are not able to bio-degrade safely if they
been using high performance fabrics such as Lycra,
are also laden with chemicals.
which is known for its durability due to its flexible and breathable properties is most commonly used
From these findings, the benefits in using high
for dancers and other performances involving in
performance fabrics for costumes can be seen
extreme movements. I wanted to know if what was
as it could prolong the lifespan. On the contrary,
already being used was really sustainable.
the chemicals in the material has a high risk of danger to both health and the environment give
Chemicals are embedded within the material’s yarn
a clear indiction that it is not as sustainable as on
and coatings are applied after the process. “Easy
first impressions.
care” fabrics for example, have a stain resist finish that includes (4) ’perfluorinated compounds’(known
So can sustainability and performance still
as PFCs), which are also used in non-stick cookware
coexist side by side in these textiles?
. Fabrics used for extreme circumstances, such as
While the health implications are becoming
sportswear and hospital wear, often have
more evident, it is definitely worth considering
antimicrobial finishes in the textiles. Flame retard-
what kind of performance is needed for fabrics
ant textiles tend to rely on flame retardants that are
and what level of risk is deemed acceptable for
halogenated which are added to the fibre.
the continued use of harmful additives.
On the contrary, the health risks can be higher for
LYCRA, SPANDEX & ELASTANE
workers in textile finishing plants as well as
Lycra, spandex and elastane are synthetic fibres
communities surrounding the plants. Probable links
known for their elasticity.
in recent studies on high performance fabrics have
The elasticity and strength of the fabric allows
been found between PFC exposure and kidney
it to stretch up to five times its length making a
cancer among other health concerns.
favourable choice of textile to use in skin tight garments such as the costumes seen in ‘Cirque du Soleil’. However, like polyester, the process of making spandex uses raw materials, toxic chemicals, a lot of energy and is non-biodegradeable. Moreover, spandex does not have a long life, which means there is definite guarantee that replacements are needed.
Image : “Scrapyard” series photography by Holly Lam, 2014
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Early Stages
Through the process, I encountered many difficulties working with new materials whilst trying to be more environmentally friendly. Reusing the plastic bottles in my costume was very effective as it accentuated the movements of the performer with its reflective nature and was very durable and light, however, the edges were quite sharp and would easily get caught onto parts of the costume. In this particular project, I was introduced to the concept of using source off-cut fabrics from local fabric stores and also reusing fabric scraps from the bin. Electro-luminescent lights was also used for the first time in this costume, the lights are non-toxic, cold to touch, resistant to water and is very durable making it sustainable and energy efficient. If given another chance to develop the “Ariel” costume further, other alternative methods of using the plastic of the bottles allowing more movement would be more suitable as it was quite restrictive at times.
Image (left): Lam, Holly. ‘Ariel’ costume. 2016 Electro-luminescent lights used in the costume are a more sustainable alternative to using normal LED lights
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Image: Lam, Holly. ‘Ariel’ costume. 2016 The costume shown above, was designed and made with reused plastic bottles, newspaper for the mask, off-cut fabrics and energy efficient Electro-luminescent lights.
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PVC Polyvinyl Chloride also known as PVC, is made from petroleum, one of our scarce natural resources. The use of PVC have appeared quite frequently in my costumes, it was until my recent shocking discovery about the truth behind this material. My interest in using PVC in my costumes started during the process of making, when I found it was both durable and flexible. Unfortunately through research, I discovered PVC was not biodegradable, it was also made from vinyl chloride known to cause cancer. Moreover, it releases toxic dioxins to the environment and hazardous by-products are also made throughout the life-cycle of PVC.
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Image : Eat Me costume by Holly Lam, 2016
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Image : Eat Me costume by Holly Lam, 2016 using spray paint to colour the PVC sheets cut from a table cover.
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However, I also found out that it was strong, resistant to oil, chemicals, sunlight, weathering and flame resistant. As it does not degenerate, the items made from PVC will retain their shape for decades. The hardwearing property of this material also means that if used in costume, the durability of it is also ensured, knowing that it can last for years, it has the ability to prolong the life of a garment. I felt conflicted about using the PVC in my costume, continued use of this material in the existing costumes was due to the availability of the material and low cost. That aside, due to health concerns the search for a safer alternative was most needed.
Image : “Scrapyard� series photography by Holly Lam, 2014
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2
NATURAL VS. SYNTHETIC
(Centre image: Hybrid Costume design and made by Holly Lam 2017.) PVC was used in this costume for the trousers, together with the use of boning, it exaggerated the movement and exotic appearance of performer.
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(Left image: Hybrid Costume design and made by Holly Lam 2017.) Discarded shoulder pads was reused in this costume to represent scales of the creature.
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“I think if we are going to change our mind-sets and the way we consume, we need to remind ourselves what we really value about nature” -Edwina Ehrman, Curator of “Fashioned from Nature” Exhibition. V&A Museum. 2018.
By studying the harmful effects of the various types of materials and process used in the past it will provide a clearer understanding on how my practice could become more sustainable by avoiding the use of certain processes and materials.
WOOL Wool is a resilient, tough and fire resistant textile, it also holds coloured dyes easily without the use of chemicals. It is also a sustainable and renewable source that can be obtained by annual sheep shearing, it is biodegradable which is much less damaging to the environment than oil-based synthetics. Today, the wool from free-grazing sheep are treated ethically, many small organic farmers are able to produce clean and healthy wool as a result of having a less stressful environment for the animals. However, the biggest issue with wool is the amount of methane emissions caused from large herds of sheep are raised on a commercial scale, increasing the level of greenhouse gases.
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image above: Soil to Soil illustration by Andre Plotsky
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‘FibreShed’ is a company that has envisioned a new process for wool milling, each community manages the resources to create lasting systems of production, making the effort to take full responsibility for a garment’s lifecycle. From online research, the ‘Soil to Soil’ illustration depicted above shares the similar principles to the “Cradle to Cradle” system where the company turns the garments into recycled nutrients in a compost which can then be used to apply to farmland providing nutrients to the sheep making the system a never-ending cycle. By doing so, it may diminish the pressure on highly polluted areas of the planet, as China produces 52% of the worlds textiles (6).
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COTTON Cotton is also one of the biggest contributors to water pollution, as 20,000 litres (7) of water is needed to produce one kilogram of cotton which is the equivalent to a single t-shirt and a pair of jeans. The shocking amount of water used just for cotton alone has made me rethink the use of cotton in costume design as water is a crucial element to the survival of the planet. Following an article on the debate, “Conventional cotton uses approximately 16 percent of the world’s insecticides and 7 percent of pesticides” (2) The strong chemical which are released have adverse effects on the environment, which pollutes and distorts the ecosystem. Furthermore, some chemicals have caused serious illness on the famers health and surrounding communities. Organic cotton, on the other hand, has the use of natural and synthetic pesticides in moderate quantities. The farming of organic cotton is less likely to contribute to global warming, as some studies indicates the cultivation of organic cotton reduces the possible negative impact cotton farming can have on local water quality.
Image: “Water” series Glass Sculpture exhibited at the Victoria and Albert Museum Photographed by Holly Lam. 2013
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(Image above: Satellite images of the Aral Sea (Photography by NASA Earth Observatory), which crosses the borders of Kazakhstan and Uzbekistan, in 2000, left, and again in 2014. Also known as the Great salt lake, which has dried up for the first time in 600 years. This was partly due to the cotton industry using excessive amounts of water.
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For one of my earliest costumes, I had used conventional cotton wool for the mask despite the fact it was less sustainable than organic cotton, as I did know about this controversy at the time. The polyester fabric that was also used in this costume made the costume less sustainable due to the fact it derived from finite sources. The use of this was fundamentally due to restrictions on time and budget. Nonetheless, the reusability in this costume was evident from the use of old blankets, and synthetic stuffing from used pillows cushions, making it only partially sustainable.
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Image by BCFC via Shutterstock: ‘Cotton ball in full bloom’.
Image: “Blind Date” Costume designed by Holly Lam 2015
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Image above: photograph by Kaminski. Kim./Alamy 2015.
DYES
The dye powder depicted in this photograph shows the vibrancy that is only obtainable as a synthetic product, Natural powders do not have this level of saturation in colour.
My lack of experience with using dyes for costumes left me wondering whether natural dyes are more organic, safer to use and better for the environment than the synthetic dyes which are readily available in stores today. I wanted to find out that the type of dye I was using wasn’t harmful to the planet. Since the discovery of aniline dye was made by William Perkins in 1856 (3), the very first synthetic dye which was from coal tar was to be manufactured in a large scale. Knowing that synthetic dyes were made from coal, which was a finite source, I begun to question if nature dyes were truly better than using synthetics. There are many downsides to natural dyes although it is renewable, they are less permanent, difficult to apply and can appear inconsistent than what synthetic dyes can deliver. Most require the use of mordants, some of which are highly toxic.
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Unfortunately, the sustainability of the natural dye also comes with a high price, as mentioned in an article, “one pound of cotton may be dyed with just five grams of synthetic dye, whereas 230 grams of natural dye are needed to dye the same amount of material�(1). The amount of dye needed to be used can be very costly as mentioned previously, therefore, using synthetic dyes may be more appealing choice when used for costumes.
Synthetic and natural dyes both have great
During the course of experimenting with dyes in
qualities of their own.
a costume, I used synthetic dye, ‘DYLON’ which
However, I learnt that it is vital to consider at the
was a type of permanent eco-friendly
beginning of the project to think about what is
Fibre-reactive dye as it is more vibrant, safer to
the most efficient method of getting the colour I
use and more cost effective than using natural
want in the quantity needed.
dyes. It is also permanent, meeting the requirement of ensuring that the colour in the
From the study of the dangers of Natural dye,
costume will be more durable and easily
I have decided to use the synthetic dyes most
maintained due to the less demanding
often for costumes.
requirements of washing, as opposed to using natural dyes.
Image above: Nature of time costume by Holly Lam 2017. Applying fabric dye using hand painted method onto a dress sourced from a charity shop
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THE EXPLOITATION OF NATURE
Above image: X-ray of stays. Photography by Nick Veasey, 2016 Stays, linen, silk and baleen (whalebone), Britain, 1780s. Museum no. T.56-1956. Given by Mrs E. Randall. © Victoria and Albert Museum, London
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Boning Prior the study into the historical context of boning, my knowledge of the material was limited. It was only when I was searching for a light rigid material to use in a hoop skirt of a costume, that I became interested in the medium itself and the ethical issues surround it. Boning has been used in garments since the early 16th century, particularly in clothing used as fashionable articles and accessories such as corsets, parasols, fans and hoop skirts. It was sourced from Baleen whales which are also hunted for their valuable oil and blubber that was used for lighting, machinery and textile preparation such as leather. The high demand for whale products resulted in over-hunting which led to the decline in whale population in the seas nearest to Northern Europe. The whales were also subjected to a protracted and cruel death. In modern times there are many synthetic alternatives to boning such as steel and plastic. From my recent experience with synthetic boning, The use of synthetic boning is definitely a more ethical choice although it is made from plastic which may not be as sustainable. I found the material to be thin, rigid and flexible and had the same properties as real baleen boning, which reinforced my decision to use synthetic boning in costumes as a better option.
Images above: X-ray of calash. Photography by Nick Veasey, 2017 Calash, silk, canvas and cane, 1775–1800, Britain. Museum no. T.1045-1913. Given by Messrs Harrods Ltd. Š Victoria and Albert Museum, London
(left) Above image: Winter costume designed and made by Holly Lam, 2017, making of the hoop skirt using synthetic boning.
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“There is no kind way to rip the skin off animals’ backs. Anyone who wears any fur shares the blame for the torture and gruesome deaths of millions of animals each year” -Natalie Imbruglia, 2008
Centre image: Fur coat designed by Givenchy, Autumn Collection 2018
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FEATHERS & FUR The use of fur in garments has been prevalent since the humble beginnings of mankind. Without fur, it made it very difficult for humans to
By contrast, fake fur and other synthetics proposed
survive the harsh conditions during the Stone Age
as alternatives to fur are usually produced from non
which made it a crucial material for survival. By the
renewable sources such as petroleum.
1800s, fur was no longer a necessity for survival, instead, it became a fashion statement, used in
Every part of the production of petroleum based
articles of clothing such as stoles, boas, muff hats
synthetics are associated with pollution, from the
that were often trimmed with animal parts.
extraction of the material, right up to the disposal of the unwanted garments.
The most commonly farmed fur-bearers are Mink
Unlike real fur, the synthetic alternative does not
and fox. They are carnivores and are fed on the
bio-degrade, as tiny articles of plastic can leach
left-overs of the food industry, for example the
into the water every time the synthetic
parts of chickens, fish and cows amongst other
garments are washed, polluting the water sources.
food animals that we don’t usually eat. This results almost 50 percent of the total biomass that might otherwise end up in landfills.
Although the completion of the life cycle assessment can be seen in the way that animal
The animals raised for their fur recycle these
fur trade can be sustainable, the biggest issue is
“bio-wastes� from the food production system
the ethical side of the fur trade, as fur is no longer
and ultimately into biodegradable clothing
needed for warmth or beauty, should we still
material, while the carcasses, soiled straw bedding
continue to use this medium at the expense of
and
countless animals being unnecessarily slaughtered
manure are used as bio-fuels and organic
in barbaric ways for the sake of aesthetics?
fertilisers completing the nutrient cycle. Fur apparel is incredibly long lasting, as it can be worn for thirty or more years, or taken apart and completely restyled. After many decades of use, the fur will naturally biodegrade and returned to soil.
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“I think that the fashion industry can get away with a lot and it is getting away with murder. Fur is the most unnecessary thing in the world. Those animals are not eaten, if they try to pretend that the fur industry products are by-products they are not. Those animals are bred to be turned into coats.� – Stella McCartney, 2016, Broadly
Unfortunately, the fashion industry has a huge impact on the fur trade as animals raised in captivity are cruelly treated and killed in horrific conditions unimaginable in order to create the accessories and clothing that most of us wear. Many fashion designers are still currently working with fur such as Calvin Klein, Tommy Hilfiger and Vivienne Westwood. Since the fur industry is influenced by the meat industry, bringing about change will depend on our change of diet. Scientists are now able to bioengineer a steak without ever having to kill a cow may exist in the near future. The new technology in the food industry is able to replicate everything from hamburgers to silk and leather without the use of animals. This positive development has the potential to prevent damaging effects of the meat and fur industry, giving us the opportunity to have a more sustainable and ethical lifestyle.
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Recent advancements in 3D printing technology shows the possible future of fur and feathers as there have been experimental replication of fur that could be customised to suit all purposes. Potential designers can have the freedom to determine the length, thickness and structure of each hair fibre. This artificial product has the potential of becoming so realistic, that a consumer may not be able to differentiate between real fur and the artificial product, making it seem more as the ultimate solution to the future of fur industry.
Image above: photo of a hair-like structure made by Autodesk’s Ember 3D Stereo lithography 3D printer, Photograph by Miller, Ethan
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3
FUTURE MATERIALS New Alternatives In recent years, scientists, engineers and designers have been able to come up with many groundbreaking solutions that have the great potential to revolutionise the perception of sustainable garments.
SELF-GROWING FABRICS: GRASS ROOTS
This concept could potentially be applied to
Diana Scherer is a visual artist based in
costumes as her work has an organic quality with
Amsterdam, her current work ‘Root bound # 2’,
its incredibly intricate structures that cannot be
a dress which was grown from plant roots shows
easily replicated by machines.
the advanced development of innovative
It can also mimic the intended designs of the
material research into new sustainable textile
artist in various forms of templates and
materials.
manipulation.
Right image: Scherer, Diana. ‘Root bound #1’. 2018
Scherer’s bio-fabricated work shows promising signs that fabrics could be organically produced
However, the current prototypes of grass roots
with less impact on the environment and the
are not yet able to be worn due to its delicate
possibility of growing garments.
properties making the chances of the material being used for costume seem impractical as it would easily be prone to damage from movement during performances.
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Image Above: Scherer, Diana. ‘Root bound #2’. 2018 ( Dress for the Exhibition ‘Fashioned from Nature’, Victoria & Albert Museum)
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Image above: Tiziano Guardini. Grape Leather Dress, Vegea. 2017
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VEGEA: ANIMAL-FREE LEATHER Another sustainable alternative to PVC and real leather is ‘Vegea’ which is made from grapes. The company uses waste from the wine making industry, grapes stalks, skins and seeds that are left over. The material is dried to avoid biodegradation making them usable even after three years. Due to this procedure this raw material is readily available for leather production with no need to wait for the annual grape harvest. The production of grape leather alternative also avoids harmful chemicals and has no
Close-up mage above: Tiziano Guardini. Grape Leather Dress, Vegea. 2017
substance of animal origin. This new bio-based alternative could potentially reduce the skinning of pelts on a range of animals and reptiles.
The use of this material would be a cruelty-free alternative to animal and other oil synthetic leathers that are currently being used. Guardini’s grape dress introduces the new fabric to the fashion industry proving Vegea is both wearable and durable whilst maintaining the realism of leather in the texture and form. It offers a vivid range of colours which would be very effective in achieving more vibrant designs.
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THE FUTURE OF SILK: BOLT THREADS “On a personal and professional level, partnering with Bolt Threads is so exciting, because it feels like everything is finally coming together and the dots are being connected between fashion, sustainability and tech innovation.� – Stella McCartney, 2017
Stella McCartney is a fashion designer in
The technology allows Bolt threads replicate the
partnership with an innovative textile company,
process, creating the silk with remarkable
Bolt Threads.
properties including durability, softness,
She is best known for avoiding the use of fur,
strength and elasticity similar to spider silk.
leather and exotic skins in her designs, using
Not only is this practice revolutionising the
cotton and low impact dyes, whilst embracing
textile industry, it also creates a closed loop
new techniques and materials as they emerge.
process in manufacturing using green chemistry methods. Bolt threads produces less
For decades, the method of boiling the
pollution, creating long term sustainability as
silkworms alive in their cocoons was the only
well as being vegan-friendly, as it is made from
way to gain silk threads. In recent years, a more
yeast, sugar and DNA.
ethical process had emerged as the silk worms are allowed to hatch from their cocoons before
McCartney is one of my most admired
the silk is harvested. This was the only
practitioners, as her ethical values align with the
sustainable silk process known until now.
life-cycle assessment principles which is evident in her work of the application of new technology in garments.
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Image above : Back side of the Stella McCartney x Bolt Threads dress. Photo by Lisa Wassmann 2018
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4
REUSABILITY
Image above: Emma Watson wears a dress designed by Calvin Klein made from recycled plastic bottles
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“The most sustainable product is the one that is not made but is recycled from what already exists� -Peter Kallen, design director of NAU, a design led company that produces sportswear and outdoor lifestyle clothing made from ethically sourced materials.
RECYCLING Plastic is one of the world’s biggest pollutants, the image shown on the left, depicts the marrying of ethics to aesthetics. The dress worn by the actress, Emma Watson, was made from 3 fabrics woven from yarns made from recycled plastic bottle, designed with the intention of future use as the trousers can be worn separately and the train of the dress can be reused in another event. This dress highlights the remarkable advancements in eco fashion, as every part of this garment, was designed with sustainability in mind, even the zipper was made from recycled materials and inner bustier made from organic cotton.
(right) image: photo of an old deconstructed synthetic shower loofah, I experimented with this material, with the intention on reusing this in my costume, however, I did not end up using this as it was not required in the performances.
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“The recycling of textiles into up-cycle garments is what makes us sustainable. We create style that outlasts seasons while still managing to retain the original ethos of individuality off the peg” -Annika Sanders and Kerry Seager, founders of Junky Styling
Numerous amounts of plastic waste end up in the landfills and ocean, affecting the eco-system and Image Above: “Plastic surgery” Created by Hannah Ni Chathasaigh, Nora Ni Chathasaigh and Meadhbh Ni Dhomhnaill. Using over 150 milk cartons to create intricate bodice and train.
marine life, as seen in the the image above, even the turtle’s shell has been deformed as the plastic has restricted its growth. This disturbing sight gave me more motivation in including the environment in my design process so animals won’t have to unnecessarily suffer on our part. Another way of keeping textiles out of landfills is to further mileage out of a material that is already in existence by reusing them in a variety of ways. These methods include ‘Upcycling’ when discarded items have their values increased through the process of alteration and customisation, ‘Re-deploying’ involves the deconstruction and alteration of garments which are sold back into the system and lastly, Down-cycling which involves a clothing being reduced to its raw material creating a closed-loop production system.
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Image above: Turtle deformed in a six pack plastic ring by Missouri Department of Conservation, 2015
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Centre Image: Jongmans, Suzanne. Kindred Spirits - ‘Sensibility’. 2017
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“Most people throw away foam rubber, but like a child I see the diamond in a stone� -Suzanne Jongmans, 2017
Suzanne Jongmans The interdisciplinary Dutch artist and photographer, Suzanne jongmans crafts renaissance style portraits turning packaging material into elaborate renaissance costumes that examine contemporary consumption. Using styrofoam and plastic sheets to fashion bonnets, thick bubble wrap sculpted as high collars and polystyrene embellished dresses. Her primary objective is to bring new life to old materials as there is an implicit environmental message in her costumes The packaging materials such as foam rubber maybe not be suitable to be used for costumes in performances due to the question of durability. On the other hand, elements such as bubble wrap and old blankets are quite a flexible and effective material and can be reused in costumes.
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HIRING, SOURCING & ALTERATIONS
In the images shown, I have altered a top that was hired from the university costume store which was also donated by the National Theatre. The top and skirt of this dress was both hired and served as a base for
The use of existing garments is the most
alteration in my costume which saved a lot
effective way of creating a
of time and material in creating a historical
sustainable costume whilst increasing the
costume.
value of and prolonging the life of the garment.
My understanding in the reusability of a
Costume hiring is a great way of saving the
garment became more evident in my recent
cost of production and materials, companies
costumes as I managed to source parts of
such as the National Theatre allow people
the costumes I designed, using off-cut
to reuse the costumes that were made
fabrics from local fabric stores, existing
originally for different plays showcased.
garments from charity shops to alter the form of the garment.
Image above: Olga costume designed and made by Holly Lam 2018 The first image on the left shows the costume I had hired to use as a base from the costume store, the second image on the right depicts the altered version of the dress.
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Image above: “Chekhov in Hell� Costume designed and made by Holly Lam, 2018
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ZERO WASTE CUTTING My earliest projects reflected a lot of inexperience in the use of materials as I did not know much about the various types of sewing techniques such as pattern cutting and alterations which would have saved a lot of material. An estimated 400 billion square metres of fabric were produced globally in the textile industry in 2015 (7). Which meant that only about 15% of this fabric would end up on the cutting room floor where garments are produced. Not only is it a waste of natural resources but also the amount of human labour that was invested in the realisation of the textiles. Zero Waste cutting is a technique in which pattern-making is pushed to the limits where the waste is essentially reduced to zero. There are many different ways and methods for designing with zero-waste, such as draping and knitting. The challenge of pattern cutting with zero waste is to design the garment pieces to fit together like a jigsaw puzzle so that nothing is wasted. Image above (left) : Zero waste Pattern cutting designed by Holly McQuillan, 2017
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Image (below right): my second attempt in pattern-cutting, in which I experimented with incorporating 3d forms in a garment, using recycled paper first so that I won’t waste fabrics.
Holly McQuillan, the author of ‘Zero Waste Fashion Design’, uses her research to demonstrate how one piece of fabric should not be limited to one garment, on the contrary, in order to design with zero waste she encourages to combine multiple garments in one bolt of fabric as illustrated in the image featured. The combination of garments in one pattern could it more complex through this technique, however this allows more design possibilities. Adopting the zero-waste techniques in my practice is a great way to decrease environmental footprint as well as challenging my creative skills and innovative thinking.
(Left Image: McQuillan Holly, Twinset, 2010, Textile design by Genevieve Packer)
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Image above: “Nature of Time� Costume designed and made by Holly Lam, 2018
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SUSTAINABLE DESIGN STRATEGIES 59
“Slow design is the mind-set that decelerates the increased velocity of design, production and consumption” -Professor Van Dyk Lewis, Cornell University. 2008
SLOW DESIGN
is a new concept within sustainable design which encourages the slowing down of metabolism in people and resources whilst creating positive behavioural change. In order to tackle the rise in “fast fashion’ and the large mass of garment and textiles that end up in the landfill in UK, designers can employ this strategy to encourage people to care and cherish their clothing and other products, including designing materials which can adapt and change with age allowing customisation of the wearer. The origin of this concept came from the Slow Food movement in Italy, as Slow Food promotes eating well and cooking food with well-sourced, quality ingredients against the mass produced, tasteless food. Slow Food questions the values of the fast-paced, globalised world we live in. Image above: “Clothes that grow” designed by Petit Pli, 2018 credits to Dyson.
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The Slow design system that emerged
The image featured on the left is a great
from this cultural shift, encourages
example of Slow design, as the garment is
designers to make a more conscientious
designed to expand as the wearer grows
choice of materials and process, whilst
providing flexibility and durability.
evaluating which design strategies could
The design of this garment encourages a
encourage a long-life relationship
longer lifetime of wear as it can be worn for
between the object and its owner.
many years as the body of the wearer changes.
‘Emotionally Durable Design’, a term that
The aspect of slow design in this product has
was coined by a product designer,
an end-of-life stage as the design is made to
Jonathan Chapman, regards the long life
last a very long time but not forever, despite
for a textile product, there are many
this, the fabric is made from one type of
complex motivations of why that
material which can be easily recycled.
consume and discard material goods, and it is often more than just obtaining what
By applying this method into costume design,
you need. It can be viewed as an endless
the lifetime of the garment is guaranteed to
voyage to an
last longer, however this may not be the only
idealised and desired self. Chapman also
solution to close the loop of the Cradle to
refers to the strategy for increasing the
Cradle system.
durability and ‘empathy’ of the relationship between the object and user.
Close up Image above: “Clothes that grow” designed by Petit Pli, 2018 credits to Dyson.
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“ meeting the needs of the present without compromising the ability of future generations to meet their own needs” - ‘Our Common Future” by Brundtland Commission 1987
A BEHAVIOURAL CHANGE
My plan of action is to create new policies in
Majority of the environmental impact occurs
costume design by making boundaries in
during the first and last stages of the life cycle
design for ethical reasons, as sustainability
of a garment : extraction, processing,
should be the top priority over aesthetics.
recovering and the disposal of materials and
Some of which are the decision to have less
transportation. If we truly care for the
design, from
planet, as designers we should acknowledge
designing only one garment per performer or
the fundamental issues with our design for
no costume changes at all to having performers
choice which drives the creation of garments.
wear their own garments which would limit the
NEW POLICIES
amount of resource used in production. The design process can also be made more sustainable by creating digital prototypes of
It is simply not enough, preventing negative
costumes to save materials, the garments
environmental and social impact by using
themselves can be altered to be worn in
sustainable materials and creating “new” fully
different ways for alternative uses.
realised costumes, an artistic compromise must be made. Currently, the only guarantee
Further changes can also be made by less
that costumes will surely be reused is through
consumerism and eating less meat or even
the costume store, where they can be hired
committing to eating no meat at all, as the
for use. Some solutions in the costume stores
meat industry has proven to be a troubling
that can ensure a prolonged life of a garment
issue to the environment.
are maintenance and alterations.
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REINVENTING A SUSTAINABLE COSTUME STORE Possible cooperation with other costume stores can change how we traditionally consume fabrics and acquire materials, we should also use technology and social media to the best advantage as online stores are becoming increasingly popular compared to physical stores that require more transportation. The Future Fabrics Virtual Expo is an online exhibition showcasing new sustainable fabrics set up to extend the lifespan of the physical platform of the expo itself making it available to those either abroad or simply cannot visit physically - granting access to sustainable innovative fabrics.
(image above: Screenshot of the Future fabrics virtual expo website, 2018) (8)
In the future, I also hope to be able to create an online platform, that would allow textile designers to trade and donate their designs, offset fabrics and other miscellaneous materials with each other. The goal of this costume store is to give the existing garments a new life and purpose. Repairs, alterations and zero-waste pattern cutting will also be encourage to be used on these reclaimed garments. Contacting suppliers and other fashion garment factories to buy their leftover textiles would also reduce the waste from the textile industry. All existing donated costumes and discarded garments all over the world can also be stored together as an international costume store making them more accessible to people worldwide.
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Image above: “Nature of Time� Costume designed and made by Holly Lam, 2018
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CONCLUSION My investigation into sustaining the lifetime of costumes has led to many personal revelations about my own practice as a costume designer. Some of which, has made me more passionate about developing a more sustainable practice as I saw some of the materials I have been using had a harmful impact on the animals and environment. Research on natural and synthetic fur has also altered my perception of meat industry and has definitely made me rethink my life choices as a meat-eater and a consumer. Unethical methods used in the past and present times have reinforced the importance of sustainability in our lives and the role we partake. As a costume designer, I greatly aspire to become more conscientious of the environment like Stella McCartney with her new innovative approaches and Holly McQuillan with her zero-waste methodology. It would greatly benefit my practice, by incorporating the principles of these designers in order to have a less damaging impact on the planet. Despite the many sustainable approaches I’ve analysed from research, the only way to truly be sustainable as a designer is to let my designs be driven by sustainability not the other way round. The application of the life-cycle of a garment system and the Cradle-to Cradle theory has also been a tremendous aid in my critical evaluation of existing techniques, materials and practices that I have come across during the research. It has taught me to view garments from a whole new perspective and has given me the motivation to find a new solutions that will have an circulating system. My future goal is create a sustainable online costume store in which I am able to apply the principles of the reusability of materials, Slow Design system and Zero-Waste cutting into my designs as I conclude from the research that they are the most beneficial and effective for my practice.
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REFERENCES (1) KeyColour. (2019). Advantages and Disadvantages of Natural Dyes | KeyColour. [online] Available at: http://www.keycolour.net/blog/advantages-disadvantag es-natural-dyes/[Accessed 22 Jan. 2019]. (2) Hendriksz, V. (2019). 13 brands sign sustainable cotton pledge - but is organic cotton really better?. [online] Fashionunited.uk. Available at: https://fashionunited.uk/news/fashion/13-brands-signsustainable-cotton-pledge-but-is-organic-cotton-really-beter /2017060724755 [Accessed 22 Jan. 2019]. (3) Co., D. (2019). Synthetic vs. Natural Dyes. [online] Dharma Trading Co. (sitegen). Available at: https://www.dharmatrading.com/home/synthetic-vsnatural-dyes.html [Accessed 22 Jan. 2019]. (4) The Guardian. (2019). Sustainability and performance in textiles: can you have it all?. [online] Available at: https://www.theguardian.com/sustainable-business/ sustainability-performance-textiles-wool-environment [Accessed 22 Jan. 2019]. (5) Polimekanos, h. (2019). Dr. Alison Gwilt: Synergies Research & Writing Textile Toolbox. [online] Textiletoolbox.com. Available at: http://www.textiletoolbox.com/research-writing/synergies/ [Accessed 22 Jan. 2019]. (6) Fibershed.com. (2019). About – Fibershed. [online] Available at: https://www.fibershed.com/about/ [Accessed 22 Jan. 2019]. (7) Designforlongevity.com. (2019). [online] Available at: https://designforlongevity.com/articles/every-little-counts [Accessed 22 Jan. 2019]. (8) Futurefabricsvirtualexpo.com. (2019). About Future Fabrics Expo | Future Fabrics. (online) Available at: https://www.futurefabricsvirtualexpo.com/about/ [Accessed 22 Jan. 2019].
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Image: “Flaws” Created and Photographed by Holly Lam, 2016
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Image: “Beautiful Decay” series, Photographed by Holly Lam, 2016
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BIBLIOGRAPHY BOOKS Gwilt, A. and Rissanen, T. (2012). Shaping Sustainable Fashion. Hoboken: Taylor and Francis. Gwilt, A. (2014). A practical guide to sustainable fashion. Martin, R. (2016). No patterns needed. London: Laurence King. Rissanen, T. and McQuillan, H. (2015). Zero waste fashion design. Bhamra, T. and Lofthouse, V. (2014). Design for Sustainability. Russ, T. (2017). Sustainability and Design Ethics. CRC Press. Walker, S. (2012). Sustainable by Design. Hoboken: Earthscan. Khalili, N. (2015). Practical sustainability. [Place of publication not identified]: Palgrave Macmillan. Jones, E., Pribble, J., Brunner, P. and White, M. (n.d.). A practical guide to greener theatre.
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ONLINE RESOURCE
Colossal. (2019). Recycled Packing Materials Sculpted Into Elaborate Renaissance Costumes by Suzanne Jongmans. [online] Available at: https://www.thisiscolossal.com/2018/11/renaissance-costumes-by-suzanne-jongmans/ [Accessed 22 Jan. 2019].http://www.climatecentral.org/news/drought-drains-aralsea-18123 InsideClimate News. (2019). Images of a Changing Planet. [online] Available at: https://insideclimatenews.org/news/20091231/images-changing-planet [Accessed 22 Jan. 2019]. Futurefabricsvirtualexpo.com. (2019). Future Fabrics Virtual Expo. [online] Available at: https://www.futurefabricsvirtualexpo.com [Accessed 22 Jan. 2019]. Animalcrueltyexposurefund.org. (2019). Animals Used for Clothing | Animal Cruelty Exposure Fund. [online] Available at: https://www.animalcrueltyexposurefund.org/animals-used-for-clothing/ [Accessed 22 Jan. 2019].https://www.environmentalscience.org/sustainability Hitti, N. and Ravenscroft, T. (2019). Sustainable and eco-friendly design | Dezeen. [online] Dezeen. Available at: https://www.dezeen.com/tag/sustainable-design/ [Accessed 22 Jan. 2019]. https://www.dezeen.com/2018/10/12/why-materials-matter-innovation-seetal-solanki-matter/ Thelocationguide.com. (2019). Towards a green film future: Sustainability and the global production industry » The Location Guide. [online] Available at: http://www.thelocationguide.com/2017/12/towards-a-green-film-future-sustainability-and-the-global-production-industry/ [Accessed 22 Jan. 2019]. Creative Carbon Scotland. (2019). Guidance on Sustainability in the Film & Screen Industry | Creative Carbon Scotland. [online] Available at: https://www.creativecarbonscotland.com/resource/making-screen-sustainable/ [Accessed 22 Jan. 2019]. Artpulsemagazine.com. (2019). ARTPULSE MAGAZINE » Features » Sustainable Art Practices / Producing Art in the 21st Century. [online] Available at: http://artpulsemagazine.com/sustainable-art-practices-producing-art-in-the-21st-century [Accessed 22 Jan. 2019].
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Chhabra, E. (2019). Natural dyes v synthetic: which is more sustainable?. [online] the Guardian. Available at: https://www.theguardian.com/sustainable-business/sustainable-fashion-blog/2015/mar/31/natural-dyes-v-synthetic-which-is-more-sustainable [Accessed 22 Jan. 2019]. User, S. (2019). Last Chance for Animals - Fur Trade Facts. [online] Lcanimal.org. Available at: https://lcanimal.org/index.php/campaigns/fur/fur-trade-facts [Accessed 22 Jan. 2019]. Castello Monterinaldi. (2019). Wear the vineyard is now possible. [online] Available at: https://www.monterinaldi.it/wear-the-vineyard-is-now-possible/ [Accessed 22 Jan. 2019]. Tekstilsayfasi.blogspot.com. (2019). The Life Cycle of Clothing. [online] Available at: https://tekstilsayfasi.blogspot.com/2013/08/the-life-cycle-of-clothing.html [Accessed 22 Jan. 2019].
Cirquedusoleil.com. (2019). [online] Available at: https://www.cirquedusoleil.com/en/~/ media/press/PDF/cds/The_Costume_Workshop.pdf [Accessed 22 Jan. 2019].
Trusted Clothes. (2019). Sustainable Fabrics - The Ugly - Trusted Clothes. [online] Available at: https://www.trustedclothes.com/blog/2016/04/21/ethical-fabrics-to-cosider-the-ugly-draft/ [Accessed 22 Jan. 2019]. Messinger, L. (2019). How your clothes are poisoning our oceans and food supply. [online] the Guardian. Available at: https://www.theguardian.com/environment/2016/ jun/20/microfibers-plastic-pollution-oceans-patagonia-synthetic-clothes-microbeads [Accessed 22 Jan. 2019]. Esquire. (2019). Real Fur is Bad for Animals. Fake Fur is Bad for the Earth. What the Hell Do We Do Now?. [online] Available at: https://www.esquire.com/style/mens-fashion/a22565653/faux-fur-real-fur/ [Accessed 22 Jan. 2019].
The UpCycle Project. (2019). The UpCycle Project. [online] Available at: https://www.theupcycleproject.org [Accessed 22 Jan. 2019]. Petitpli.com. (2019). Petit Pli - Clothes that grow.. [online] Available at: http://petitpli.com [Accessed 22 Jan. 2019].
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YouTube. (2019). The future of fashion: Diana Scherer. [online]
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YouTube. (2019). BBC News interviewing Stella McCartney at V&A Fashioned from Nature
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Kalra, A. (2019). 3 creative ways to fix fashion's waste problem. [online] Ted.com.
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waste_problem?language=en
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[Accessed 22 Jan. 2019].
Image: “Chekhov in Hell� Costume designed and made by Holly Lam, 2018
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Richly illustrated with diagrams, costumes designed by Holly Lam and inspiring work of researchers, engineers and designers from around the world.
LIVING GARMENTS: Sustaining the Lifetime of Costumes
is a much needed in-depth study of a sustainable practice in costume design. Holly Lam explores the environmental and social impacts associated with the life-cycle of garments, evaluating ways in which costume designers can address these issues during the process of design. From the studying of the life of a garment to using natural and synthetic fibres, to zero-waste pattern cutting and up-cycling techniques, the range of sustainable strategies learnt will lessen the impact of textile industry on the environment. FEATURED TOPICS Life of a Garment Natural vs. Synthetic Future Materials Reusability Design for Durability Zero waste Cutting Hiring, Sourcing & Alterations Material recycling Upcycling Design Strategies Close loop systems Construction techniques Behavioural Change in Design Reinventing a Costume Store Cover image Š Holly Lam
Š Holly Lam, 2019. All Rights Reserved