idĂŠ
isaia mouratidis
FAST FASHION FAST FASHION FAST FASHION FAST FASHION FAST FASHION FAST FASHION FAST FASHION FAST FASHION FAST FASHION FAST FASHION FAST FASHION
Contents
1. title page 4. dress sneak peak 6. introduction 8. online/instore shopping 10. begginning of life-cycle 12. end of life-cycle 16. information from class readings 18. personal experience 22. manifesto 24. the design 28. the prototype 34. the outfit 36. the dress 40. materials 42. yiayia’s seamstress tips 44. instructions 48. conclusion 50. bibliography
dress
My name is Isa, and for the past 20 years the one hobby I have not shaken off is design. Whether this is art, architecture or fashion I have always loved it. As a granddaughter of two seamstresses and a tailor, I have come to the conclusion that it is in my DNA. Last summer, while cleaning out my wardrobe I came across some old bed sheets that had a likeable pattern, but no longer fit my bed spread. A goal that I had was to take them to one of my grandmother’s houses to make a piece of clothing together as a fun activity. After doing research on the possibilities of IKEA hacking, I was convinced that this was my chance to take action on this new found hobby. In this project I am going to use the design tactics of IKEA hacking to tackle this problem and learn the skills of a seamstress. Something else I realised while cleaning my wardrobe was the several amount of bags I filled with clothes I did not ‘want’ anymore. This was quite disturbing as I mentally calculated the amount of money I wasted, and the lack of sustainability considered for the clothing. Therefore I would argue that the deterioration of sentimentality towards clothing due to fast fashion is vital to design practice.
Five bags I have filled with clothes waiting to be donated
Figure 1. Factories are filled with excessive amounts of clothes of the same style due to bulk orders. Figure 2. The larger a store becomes, the more important profit becomes.
online/instore shopping
Due to the competitive nature of business, the production of clothing is fast and in bulk. An extreme example of the turn around for designs in the fashion industry is Zara making their sketches to reality within fourteen days with the help of 300 designers. A tactic to a greater commission for the company is to purchase more clothes from manufactures for less money, and from there, increase the price of the product for consumers. Although the price is dramatically increased from the production cost, it is still cheap enough for consumers buy another product if a problem arrises with the initial one.
Figure 3. Honest reviews from YouTubers allow the audience to debate whether they spend money themselves on the clothes in a deeper sense.
Figure 4. Videos like these emphasise consumerism at it’s peak, of buying something unnecessary.
Figure 5. Generations Y and Z like to think they are sustainable and fashionable by buying old clothes
Figures 2-6
beginning of life-cycle Fast fashion is a term that defines this production cycle as it has the meaning of mass produced clothing sold at a cheap price influenced by the latest trends. Particularly for fashion obsessed people, purchasing most clothes is not a need, it is for the sake of styling and fashion. It does not help that the mindset of the consumer is they do not need to go to great lengths to take care of the clothes. The fact that many people want to save money and buy cheaper clothing and stay up to date with styles encourages the cycle of production. This is evident in YouTube video hauls online where the YouTuber buys a massive amount of clothing and gives their opinions on online brands.
Figure 6. A common site is donations being treated by rubbish because in the end they are things people do not want anymore
end of life-cycle
A way that people justify their excessive amount of purchases is helping others is by donating their clothes. Only around one-fifth of donations are sold in charity stores, while around 55-60% of the left overs are sent to recycling factories, especially in America there is still around 13.1 million tons of textiles (what is left of clothes) that find their way to landfill. The mentality of good samaritan action of donating clothes only encourages the consumer to buy more as they do not realise the reality of the life-cycle of their clothes. This adds to the existing problem of waste in general while exhibiting the result of lack sentimentality towards one’s own clothing.
Figure 7
Figure 7. A subject from Ron Wakkary and Leah Maestri’s research displayed an example of Flexible materials
information from class readings
Old clothes can be classified as a Flexible material, they have the ability to be manipulated into many forms. Another example of a Flexible material is a climbing rope that after its first life-cycle was created into a rug (Figure 7.). In this way the rope is reborn. This is reflected in many other materials. A way that this was related to my design process is when making the prototype of my dress, the material I used was from old bedsheets. I was able to take the threads apart and make it a dress with the help of my grandma, therefore altering it’s function from bedsheets to clothing.
personal experience A back story to my family is: Both my grandmothers were raised in the same village in the north of Greece, they finished primary school and were sent to seamstress classes at the age of 15. When spending time with my mother’s side of the family, with my aunties and grandma, we always find ourselves talking about their 21st birthday dresses or bridesmaid dresses that they loved, and that were made by my grandma. Because of this, I was inspired to take this opportunity to learn, and work with her to make a dress with sentimental value.
My grandma (in the centre of the picture) at one of her seamstress classes. (1960)
My grandpa (on the left side) at one of his tailoring lessons. (1950’s)
My grandma made all her own and her daughter’s dresses for their god sister’s wedding. (1980’s)
The black velvet dress pictured on the very right of figure . (2019)
Five bags I have filled with clothes waiting to be donated
My youngest aunty’s 21st dress. (1994)
manifesto When creating a manifesto to start the design process, I had just visited my mother’s office and had the bland design stuck in my head. Even though I decided to make a dress, the following points still apply:
Custom made allows the consumer to have a closer connection as there is only one of kind, they can not just go out and buy another one if a problem arises.
This can refer to materials used, if they are durable or if they can be recycled, also the quality of the product, so the life time and after life of the product is considered.
A product that has multiple uses allows the consumer to use it more often and save money.
To be adjustable allows people of all shapes and sizes to use the product.
the design
Part of the process of designing the dress was to choose a theme. When deciding the theme of the dress, the aim for it was to be simple so others would want to try making it themselves. The idea of functional design was appealing as it could be a factor that sets the dress apart from others. A beach theme was decided as at the beach, people wear their bathers under their clothes, and bringing the fewest items as possible helps with transportation. Therefore the idea of using the dress as a matt to sit on the sand was born. . The dress is long to increase the surface area to sit on. Choosing the Ikea bag as the material was strategic as it is made of plastic so it would not absorb water. Therefore, when wearing the dress after drying off with a towel, water would still not seep through and the sand would wipe off easily, making a clean car trip. The zip that goes all the way down the back allows the dress to flatten out completely. Therefore, it addresses the points of the manifesto being one of a kind, sustainable due to its alteration of function and multifunctional characteristic and many sizes of patterns would be available.
Choosing the Ikea bag as the material was strategic as it is made of plastic. The dress is short as the material is not breathable, however it would be a surface that does not absorb water or sand.
Figure 8. This FRAKTA trolley bag is necessary for the zip and the buckles.
Figure 9. This FRAKTA bag is necessary for the extra material and handle
Therefore, when wearing the dress after drying off with a towel, water would still not seep through and the sand would wipe off easily, making a clean car trip. The zip that goes all the way down the back allows the dress to flatten out completely.
the prototype
Over four days I visited my grandma in Dandenong and we worked on the prototype. During this process she taught me the basic steps of making a dress including; making the pattern, how to translate the pattern to material, how to use a sewing machine, and how to make pleats for a fitted structure.
materials 1 IKEA FRANTA trolley bag
Pins
Scissors
1 IKEA FRANTA shopping bag
Sewing needle/ Sewing machine
Pattern
Navy blue thread
Seam ripper/ Scapel
Ruler/ Measuring tape
Black marker
Yiayia’s seamstress tips - Take your time - To sew materials exactly inline with each other, mark the material in a contrasting colour and pin them together along the marks - Make sure the material is as flat as possible when pinning and sewing to ensure no gathering or other mistakes occur - Lightly hand sewing is great to do before using the sewing machine incase you wto change something as it is easier to take apart
instructions
step 1. Using the seam ripper/ scalpel, take apart the thread of the shopping bag inclding the handles.
step 2. Again using the seam ripper/scalpel, take apart the thread of the trolley bag including the handles, however, leave the zipper intact with the material that is connected to it.
step 5. Attach a piece of trolley material to each side of the zipper material with pins, leaving a 2cm gap.
step 6. Follow step 3 and 4 using the ‘back’ pattern.
step 3. Fold over the largest piece of material from the shopping bag with the matte side facing the outside. Insert pins into the bold line on the ‘front’ pattern while attaching the material as flat as possible.
step 4. Cut around the pattern. Mark the pins on the material with a black marker.
step 7. Take the pins out of the front pieces. fold the matte side in half so the marker for the pleats match up on each side, pin the fold.
step 8. Sew along the marker lines. when all pleats completed on both front pieces, remove pins.
step 9. Repeat step 8 on the back pieces.
step 13. Sew the hem of the dress including the slits.
step 10. Pin the front and back pieces together. sew along the black marker lines on the longest sides of the material.
step 11. Overlap the handles 5mm along the chest area of the dress while folding at each corner. Also overlap the zipper to act as a zip stopper
step 12. Sew one strap to each corner of the breasted area.
The collaborative approach to making clothing has proved personally that making an activity of tailoring creates an emotional attachment to clothes. Through the process of making the prototype with my grandmother, I was able to learn her skills and history of being a seamstress and have a newfound appreciation for the craft. I will keep these prototypes not only as a memory, but as a great expression of admiration for my background. While buying new clothes will not change anytime soon due to the convenience of online purchasing, it is one simple step to realise the havoc fast fashion has and will continue to create. This is not the last time I will be making clothing with my family, and I hope to continue to spread the same joy I have felt during this process to others.
bibliography Luz, C. (2007). Waste couture: Environmental impact of the clothing industry. Environmental Health Perspectives, 115(9) Retrieved from https://search-proquest-com.ezproxy.lib.rmit.edu.au/ docview/14823932?accountid=13552 Thomas, Sue. Sustainability, action and fashion: new comrades and vehicles for change [online]. Journal of the Home Economics Institute of Australia, Vol. 18, No. 2, 2011: 8-16. Availability: <https://searchinformit-com Kirsi Niinimäki & Cosette Armstrong (2013) From pleasure in use to preservation of meaningful memories: a closer look at the sustainability of clothing via longevity and attachment, International Journal of Fashion Design, Technology and Education, 6:3, 190-199, DOI: 10.1080/17543266.2013.825737 Wakkary, R. and Maestri, L. (2011) Understanding Repair as a Creative Process of Design. Central CitySurrey, B.C.: School of Interactive Arts and Technology Simon Fraser University. Figure 1. Hanbury, M. (2018, November 4). A worker adjusts a coat inside Zara’s factory. [Digital image]. Retrieved from https://www.businessinsider.com.au/zara-design-process-beats-trends-2018-11?r=US&IR=T Figure 2. Nazir, S. (2019, January 22). How does Zara survive despite minimal advertising? [Digital image]. Retrieved from https://www.retailgazette.co.uk/blog/2019/01/how-does-zara-survive-despite-minimal-advertising/ Figure 3. Canham, E. (2019, February). SHEIN TRY ON HAUL 2019 IS IT WORTH THE MONEY? AFFORDABLE CLOTHING HAUL [Digital image]. Retrieved from https://www.youtube.com/results?search_query=clothes haul Figure 4. Sani, H. (2019, March). Spending money on clothes I don’t need (huge try-on clothing haul) [Digital image]. Retrieved from https://www. youtube.com/results?search_query=clothes haul Figure 5. Bestdressed. (2018, August). A sPiCy summer thrift haul [Digital image]. Retrieved from https://www.youtube.com/results?search_query=best dressed thrift haul Figure 6. Powell, S. (2019, January 8). Pre-loved paraphernalia piles up around the charity donation bins at the Woolworths car park in Burnie. [Digital image]. Retrieved from https://www.theadvocate.com.au/ story/5840633/dumping-or-donating-burnie-charity-bins-overflowing-after-christmas-holidays/
Figure 7. Wakkary, R. (2011, November). Figure 2.P22â&#x20AC;&#x2122;s climbing rope transformed into a doormat. [Digital image]. Retrieved from : https:// www.researchgate.net/publication/221629544 Figure 8. IKEA. (n.d.).Frakta Trunk for trolley, blue. [Digital image]. Retrieved March 25, 2019, from: https://www.ikea.com/au/en/catalog/products/40361189/ Figure 9. IKEA. (n.d.).Frakta Carrier bag, large, blue.. [Digital image]. Retrieved March 25, 2019, from: https://www.ikea.com/au/en/catalog/products/40361189/ Unlabelled (Figure no.) photos are all original photos taken myself