Issue 04 - New Beginnings | RawAssembly's Responsible & Sustainable Textile Sourcing Magazine

T H E R E SP O N S IBL E & S U S TA I NA BL E

Nº 04

PUBLISHED AFTER BREAKFAST • SEPTEMBER 2021

T EXTIL E

SOURCI N G

M AG A ZINE

Daniel Harris THE WOOL ISSUE Meet the change maker behind London's micromill

NEW BEGINNINGS .RAWASSEMBLY.

CONTEN .RAWASSEMBLY.

UPFRONT 04-08

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04 06 08

We t a l k e d w i t h H a s na i n L i l a ni , s us t ainable t ext ile r e s e a rc he r a nd Co -Fo und e r o f R e c yc le W o o l, o ne o f t he l a rge s t re c yc l i ng c o mp a ni e s f o r p o st -c ons um er s weat er w a s t e , b a s e d i n Ka ra c hi , P a k i s t a n.

MOND A Y MORNING M EETI NG - ED I TO R S NO TE CON TRIBUTORS CON SCIOUS FA S HIO N C A M P A I GN

HISTORICAL ARCHIVES 12-16 12 13 17

H I STORY OF WOOL STEPPING BACK IN TI M E WOOL PROPE RTIES

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DAN IEL HA RRI S - P I O N E E R I N G A N E W E R A O F B RIT ISH WEA VI NG Dan iel Ha r r is s ha r es detai l s ab o u t h o w Th e Lo n d o n Cl o t h C omp an y found its fe e t w i th i n th e UK te xti l e i n d u str y, and where things could b e h e ad i n g fo r th e m n e xt.

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WELCOME TO ZQ R X The New Ze a la nd Me r in o C o m p an y

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SEV ERAL SHAD E S O F GR EY

Trav el t o the high count r y i n th e W ai r ar ap a, i n th e l ow e r p a rt o f A otear oa Ne w Zea la n d ' s N o r th I sl an d , an d y o u m i ght c o me ac ross a Ne w Zea la nd sh e e p stati o n th at i s h o m e t o a ra re b reed of gr e y s hee p dati n g al l th e w ay b ack to th e Vik i ngs .

45

B REMWORTH

Plastic is O ut - If you h av e n ' t al r e ad y h e ar d , B r e m w o rt h ha s said g oodbye to s ynthe ti c car p e t p r o d u cti o n i n fav o ur o f N Z wool.

52 54 60

SDG 15 LIFE OF LA ND RESPONSIBLE & CIR C UL A R S TO R I ES T H E E D IT

MATERIAL STORIES 62-130 64

WRAPPED IN NA TUR E

Wool p roduce r s Tom an d So p h i e Ho l t b e l i e v e g o o d a ni ma l welf are pr a ctices for a ll an i m al s sh o u l d b e th e m o st i mp o rt a nt asp ect of a ny fa r m i n g o p e r ati o n . W e take a l o o k a t t he i r o p erat io n a nd their incre d i b l e co n n e cti o n to n atu r e .

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H O W EXIS TING WO O L I TEM S A R E R EC Y C L ED

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T H E AL C H E M IS T OF W AS T E

S U D W OL L E G R OU P

In a w o rl d o f s p e e d , e f f i c i e nc y a nd res ult s , t he las t year a nd a ha l f ha ve ma d e us a l l s l o w d o wn t o t ak e a m om en a nd re e va l ua t e w ha t ' s i mp o rt a nt t o us per s onally as wel a s p ro f e s s i o na l l y. S ud w o l l e G ro up pr es ent s t heir B iella Y a rn A W2 2 / 2 3 c o l l e c t i o n - ' T o A c t , T o F eel, To Shar e' f or f l a t b e d k ni t t i ng ya rns .

87

T H E C IRC U L AR K N IT D U O

Fro m t he i r o f f i c e i n J i a x i ng, Chi na , Diyang Mer ino t alk ed w i t h us a b o ut t he i r e x t e ns i ve e x p e rienc e wor k ing in t he me ri no w o o l b us i ne s s & t he i r d e e p connec t ion t o A us t ra l i a .

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X IN AO

Z he j i a ng X IN A O T e x t i l e s Inc , s i nc e it was es t ablis hed i n 1 9 9 1 , ha s gro w n t o b e c o me o ne o f t he wor ld' s lar g e s t a nd l e a d i ng ma nuf a c t ure rs o f wor s t ed s pun Mer ino Wo o l a nd M e ri no Wo o l b l e nd ma c h ine k nit t ing yar ns X i na o p re s e nt s i x o f t he i r k e y A W2 2 / 2 3 ar t ic les f or f lat b e d k ni t t i ng.

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T H E C IR C U L AR E C ON OM Y

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T H E L IT T L E BL AC K BOOK OF RE SPO NSI B LE M AT E R IAL S / IN T E RIOR S

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C E RT IF IC AT ION S

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R W S & RE C YC L E D W OOL YARN S, KNI T T I NG , WE A V IN G & H OS IE R Y

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- W OOL & C AS H M E R E F L AT -BE D KNI T T I NG YA R N

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IT AL IAN S P IN N IN G M IL L S - RE C YCLE D WO O L

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H AN D -P IC K E D | P L AN T -BAS E D WO O L A LT E R NA

T IV E S

R e c o gni z i ng ho w f a r w e ha ve s t ra y ed f r o m o ur nat u ra l o ri gi ns , w e s e e k w a ys t o re ro o t our s elves wit hin o ur na t ura l e c o s ys t e ms b y re d e s i gni ng pr oduc t s t hat c o m e f ro m na t ure a nd c a n re t urn t o i t a f t er us e. F or des ig n e rs s e e k i ng a ni ma l -f re e re s p o ns i b l e s o lut io ns , we loo k a t w ha t w o o l a l t e rna t i ve s a re o ut t her e t oday.

NTS PACKAGING 128-127

e r

r t ll a r

d e

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A CIRCULAR LIF E

B et t e r P a cka ging Co ' s fo u n d e r s B e cs & K ate b e l i e ve t ha t 'waste is a de s ign fl aw ' , so al l th e i r p ackag i n g i s d e s i gne d to b e us e d mor e tha n o n ce . B PC o . Se t a ch al l e n g e f o r t he mselv es to des ign a r e u sab l e co u r i e r satch e l th at is d ura b l e b u t not ove r - e nginee r e d , su stai n ab l e ( i n m ate r i al s , p ro d uction a nd e nd-of- life) , se cu r e ( tam p e r - p r o o f) an d o f c o urs e , reu sable .

128

WOOLA

C reating a pa cka gin g so l u ti o n th at w i l l p o si ti v e l y s ha k e thin gs up in the indu str y can o n l y h ap p e n b y tak i ng a n i nvest i ga tive a ppr oa ch . Th e te am at W o o l a star ted w i t h a d eep dive into the w h o l e v al u e ch ai n to se e w h e r e a nd ho w we c an m a ke a n im p act – th e p l asti c p r o b l e m , th e w o o l i nd u str y, the wa s te m an ag e m e n t sy ste m s th at n e e d t o b e i mp rov ed or r epla ced.

REIMAGINING MATERIALS 130-149

d o s.

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N e x t -ge ne ra t i o n d e s i gne rs f ro m t he U ni t e d K ing dom and A us t ra l i a t a l k a b o ut t he us e o f w o o l i n t he i r wo r k , r ef lec t up o n t he c urre nt s t a t e o f t he i nd us t ry, w ho ' s inf luenc ing t he m, a nd w ha t t he y ho p e t he i nd us t ry w i l l l o ok lik e in t he f ut ure .

153-162 154 158 160

U N S W | AU S T R AL IA

M AE G AN M IL L S OL IV IA P AG L IAS S O E L IZ ABE T H G U N T E R

163-194

N OT T IN G H AM T RE N T U N IV E RS IT Y | U K

164 170 176 182 188

S U Z AN N E AG E R H AN N AH H U G H E S L U K A L E W IS T AM S IN H AC K E T T E M M A P R IC E

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REFERENCES

A LIGHT TOUC H

Text ile de s igner s a n d m ake r s ar e i n cr e asi n g l y a w a re o f their r e s pons ibility to u n d e r p i n th e i r p r acti ce an d c re a t i ve ou t p uts with va lue- l e d i n te g r i ty . Th e d e ci si o n s w e ma k e d u ring the de s ign pr o ce ss, su ch as fi b r e ch o i ce a nd ma nuf ac tur ing pr oce s s e s, d e te r m i n e u p to 80% o f th e e nvi ro nmen ta l im pa ct. Emma Pe te r s l o o k s at sm al l - scal e s us t a i nab le des igner - m a ker p r acti ce s an d h o w th e y ar e p a rt o f a muc h la r ger s ys tem fo r so u r ci n g e th i cal an d sus t a i na b l e f ib res s uch a s wool.

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NEXT GENERATION 150-194

LUXURY HEIS T

A lic ia R owbotha m is a m u l ti d i sci p l i n ar y te xti l e d es i gne r i n residence a t Cockpi t Ar ts, Lo n d o n ' s l e ad i n g co n t e mp o ra ry craf t s tudios . W e tou ch e d b ase w i th Al i ci a to se e ho w s he is t ur ning high-end p r o d u cti o n w aste i n to n e w l ux uri o us p iece s fr om her s tu d i o i n Lo n d o n .

142 143 144

CE LIA PYM BEATRICE WAAND ER S SNE TA K

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r e k Photography: Kasia Fiszer | London Cloth Company

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THE MONDAY MORNING MEETING Ed ito r ’s me ssa g e

One per cent. That is roughly the share wool textiles hold in the global market today. Yet wool is the most regenerative and sustainable Qbre known to us. So why does wool make up such a small percentage of the textile market, and how could we increase this globally?.

Onaninternationalscale,woolproductionisasmalltrade.SincetheinceptionofartiQcialQbresinthe180s,thecontribu woolhassteadilydecreasedandfallenbyabouthalfoverthepastyears, 20 aswoolproductionhasdeclinedandtheproduct ofartiQcialQbreshasnearlydoubled(WTO,2019)

nthiseditionofourmagazine,wefocusonwoolasourQbreofchoice,lookingatgrowers,spinningmills,manufacturersand anewgenerationofmicro-millsallhero-ingwoolforitsresponsible,sustainableandincrediblenatural Qbrepropert ditiontotheseinnovativeandsustainablesolutions,weexplorevariouschallengingquestionsthatunderpinth as a sustainable solution.

Thecriticalquestionthisyearhasbeen,howdowebringmanufacturingbackonshore?FromtheQrstAustralianGovernm TextileWasteRoundTableinMay;tovariousindustryworkshops,designers,brands,manufacturers,andindustry professi als,theycontinuetoaskhowwecanmakethishappen?Weknowwecan'tsimplyRickaswitchandbringthisbackovernight, and we may never be able to get it back at a commercial scale. So rather than ask how we can, should we ask; what do we alreadyhavethatcanberestoredandre-engaged,allowingustocreateauniquenetworkofmicro-millsservicingthene the country and beyond.

fwethinkaboutit,Microhasbecomesomethingofabuzzword:wehavehadmicrobreweries,microcars,microRatsandeven microfurniture,whichhavebeenhugelysuccessfulandallowedmorecreativity,creationofbespokeproductsandbreat newlifeintoindustriesthatglobalgiantshavetraditionallyrun.SoinresponsetoAustralia'sdesiretobringmanu onshore, is the answer in what we have already? How can existing and newly established businesses come together to create a networkofmicro-millsthatservicedierentpartsofthesupplychainallowingcollaborationovercompetition?

TwoofthemainissuesinAustraliaarethelackofinfrastructuretospinQbresintoyarnsandourability toattract ers. Whilst our international borders remain closed, and the younger generation shows little interest in garment production, manufacturershavetocompeteforstaincluding , skilledmachinists.Sohowdoweinspirethenextgeneration tothink entlyabouttextileandclothingproduction,andwhatdowewanttobeknownforintheglobalmarket?

DowewantAustraliatobeknownformassgarmentproduction?orforcreatingon-demand,high-qualityandbespokeproducts thatsingresponsibleproductionandconsumption?Wehavetheopportunitytodesignwhatthefuturewilllookliket howthetextileandfashionindustriescanbepartofatrulycircularandresponsiblefuture.

To start this change, we look at who's doing what in our region and overseas and how traditional machinery plays a crucial role inreignitinganeweraoftextileproduction.

WetakeinspirationfromourfeaturestoryonayoungcraftsmanDanielHarriswhohasopenedtheQrstnew-textilemillin donformorethanyears.

10 Danielishelpingchangethenarrativearoundtextilemanufacturingbybringinganext-generatio approachtoaverytraditionallyrunindustry.Combiningpassionandexpertise,Danielisproducingfabricsforcriticalp thefashionandQlmindustriesandembracingtheuseofwoolwhereeverhepossiblycan.

Woolproductionisourpast,ourpresentandourfuture.

As always, hope you are inspired, informed and enabled by what you read.

Thea Speechley

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.R AWA S S E MBLY.

Cover Story

Issue 04 | New Beginnings OntheCover-DanielHarris,founder|LondonClothCompany

ThiseditiontakesinspirationfromourfeaturestoryonayoungcraftsmanDanielHar has opened the Qrst new textile mill in London for more than 10 years. Daniel is helping changethenarrativearoundtextilemanufacturingbybringinganext-generationappr averytraditionallyrunindustry.Combiningpassionandexpertise,Danielisproducin for critical players in the fashion and Qlm industries and embracing the use of wool ever he possibly can.

Photographed by Kasia Fiszer

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Contributors Cont ribu ti n g Wr i ter s

Pi on e e ring a ne w Era o f B r i t i sh We a v i n g

Fron t Cover Im a ge :

b y B et h Ranso n & RawAs s e m b l y

P h o t o g r a p h e d b y K a s i a F i s ze r .

Be th Ranso n is a susta in ab l e k ni tte d te xti l e d e s i gner a n d c on su lt an t lo ca ted in the Uni te d Ki ng d o m . A l o ngs i d e h e r d e sign w or k, Beth also c o ntri b ute s w ri tte n arti c l e s t o i nd u st ry p ublicatio ns such as Fas hi o n R e vo l uti o n, C r e a t i v e K n i t t ing industry, Inside Te xti l e and l e c ture rs at No t t i n gh a m T re n t Univer sity.

K a s i a s p e c i a l i s e s i n i n t e r i o r s a n d l i f e s t y- l e p h o s i a g r e w u p i n a h o u s e h o l d p a s s i o n a t e a b o u t int erior des i g n , s o i t w a s o n l y n a t u r a l f o r h e r t o b u i l- d a c a i c a t e d t o c r e a t i v e e x p r e s s i o n . K a s i a s t u d i e d e dit oria l a nd a d v e r t i s i n g p h o t o g r a p h y a t t h e U n i v e r s i -t y o f G shire, UK, and now works successfully for a broad ra c l i e n t s . H e r i m a g e s r e g u l a r l y a p p e a r i n p u b l i c a t ions such a s Living etc, Homes and Antiques, Period Living, 25 Beau Homes and others. Her editorial style and love f light gives her images a fresh and unique aesthe

P a ge 18

S ev e ral Sha d e s o f gre y

Daniel Harris | London Cloth Company

b y Jacin t a Fitzger ald, Mak e .Go o d J a c i n t a i s a s u s t a i n a b i l i t y s t r a t e g i s t w- i t h a f o c u s o n f a s h i o n a n d t e x t i l e s . B u i l d i n g o n m o r e t h a n 1 5 y e -a r s o f e x p e r i e n ce in t he clo thing and te xti l e s i nd us try, i n 2 0 1 5 , J a c i n t a f o u n d e d M a k e . G o o d , a c o n s u l t a n c y t h a t w o r k s- w i t h i n n o v a tiv e app arel secto r busine s s e s to p ut s us tai nab l e p r a c t i ce s at t heir co re. Alo ngside he r c o ns ul ti ng w o rk , J ac i nt a c u rrently leads Programme Direction for Mindful Fashion New Ze aland , a n industry o rg ani s ati o n o n a m i s s i o n to c rea t e a t h r i v i n g a n d f u l l - c i r c l e f u t u r e f o r t h e N Z -c l o t h i n g a n d t e x tiles industry. Jacinta is passionate about transforming f a s h i o n t o b e c i r c u l a r a n d h a r n e s s i t s p o t- e n t i a l t o b e p o s i tive for people and the planet.

P a ge 38

A Lig ht To uc h b y Em m a Peterso n E m m a Pe ter s is a n Assoc i ate L e c ture r and P hD c and i d a t e a t U N S W , r e s e a r c h i n g n e w c i r c u l a r p a t h w a y s f- o r p o s t - c o n sumer textile waste for the Australian bed linen industry. e m m a.pet ers@ unsw.edu.au h t tp ://w w w.emma peter s .c o m .au h t tp s://w ww.instagr am.c o m /e m m a_p e te rs _te xti l e s / P a ge 82 N e x t Ge n eration UN SW - Aus tra l i a b y Em m a Peters P a ge 153

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Conscious Fashion and Lifestyle Network Given its global reach, the fashion and lifestyle industries are uniquely positioned to collaborate and engage on the Sustainable Development Goals (SDGs), in particular on confronting the climate crisis, achieving gender equality throughout the value chain, and ensuring a resilient postpandemic recovery.

The Conscious Fashion and Lifestyle Network is an online platform for industry stakeholders, NGOs, and Governments to showcase actions, report progress, and share solutions accelerating the sector’s contribution to deliver the Sustainable Development Goals. The collaborative community aims to inspire innovative ideas, connect industry leaders, and enable new partnerships to enact sustainable change.

The network is managed by the Division for Sustainable Development Goals - United Nations Department of Economic and Social Affairs, the United Nations Office for Partnerships, and the Fashion mpact Fund. Registered commitments are published publicly and form the basis of periodic evaluation of how the fashion and lifestyle sectors are driving change and implementation of the SDGs in the Decade of Action.

J O I N TO D A Y h ttp s:/ / su s t a i na b l e d e v e l o p m e nt . un. o rg/partne rshi ps/ F a s hi o nN e t wo r k

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About Conscious Fashion Campaign The Conscious Fashion Campaign, in collaboration with the

United Nations Office for Partnerships and PVBL C Foundat

a m p l i f i e s t h e v i s i b i l i t y o f w o m e n s o c i a l e n t -r e p r e n e u forming fashion for people and planet by showcasing t work in global billboard and digital campaigns. With women receiving only 25%* of news features globally, the Conscio

F a s h i o n C a m p a i g n a i m s t o i n c r e a s e t h e v i s i b i l- i t y o f f a s h cused women social entrepreneurs to scale their impact in support of the Sustainable Development Goals.

As the first edition, Conscious Fashion Campaign: New will spotlight women social entrepreneurs transfo

fashion industry in a collective billboard campaign dur York Fashion Week 2022. The campaign will showcase and cel-

ebrate the women that are shaping the new era of fashio

p e o p l e a n d p l a n e t t o a m p l i f y t h e v i s i b i l i t y -o f t h o s e a

ing the critical issues of our time. The Advisory Commit

media representatives and conscious fashion advoca select ten participants.

www.consciousfashioncampaign.com

Rawassembly is proud to partner with the Conscious Fashion Campaign in collaboration with the United Nations Of

Partnerships to facilitate the sharing of knowledge both our partnering companies and our industry audience to

find ways to accelerate the systematic change needed the industry. n the Decade of Action towards the Sustainable Develo Goals, our industry needs to collaborate more towards solutions and systemic change that we can all be part of. Our

of change needs to accelerate, and RawAssembly believes partnerships and sharing knowledge are the keys to this. .

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Annual Subscriber Exclusive offers From September 14, RawAssembly Magazine subscribers will get access to our exclusive rewards program.

Our current and new annual subscribers will get the chance to win a beautiful,responsiblygrownandproducedproductwitheachedition.

For issue 04 we have teamed up with Ethical Outback Wool & Coonong Station whoproducesomeofAustralia'smostethical,responsibleandregenerativemerinowoolQbresandQnishedproducts CertiQedRWSandthe1stCertiQedHumanewoolproduceroutsideoftheUSAandQrstinAustraliatobe HumaneRaisedandHandledCertiQedbytheHFAC EthicalOutbackWooltransformstheirmerinointoluxuriousproducts thatareAustralianMade,10%natural,freefromnastydyes,acidsandchemicalsand aresimplybeautifultowear!

Follow us on Instagram @Raw.Assembly & @ethicaloutbackwool toQndouthowyouoroneofyourfriendscouldwinabeautifulEthicalOutbackWrap featuredbelow

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T HE R ESPO NSI B L E & SU STA I NA B L E TEXTILE

SO U RC I N G

M AG A Z INE

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X4 DIGITAL EDITIONS + x1 FREE ISSUE & A CHANCE TO WIN A LUXURY MERINO WOOL WRAP ALL FOR $160AUD NEW SUBSCRIBERS HAVE THE CHANCE TO WIN

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Humans have been washing, weaving, and wearing wool since

10,000 BCE.

more than 1,000 sheep breeds in the world. Breeds like the Merino or Rambouillet produce Qne woolsused mainly for apparel. Breeds like Romney or Scottish Blackface produce used There are

thicker wools

generallyforinteriorssuch

as interior textiles, décor

and carpets.

Merino sheep originated in Spain. In

1789 King Charles IVofSpaingavesix

Merinosheepasagifttothe Dutch government. These sheepfoundtheir way to and then were sold to British army o]cer , politician, and entrepreneur John Macarthur, who took them to

South Africa,

Australia.

Today Australia

produces 80%oftheMerino wool used in luxury fashion and suiting around the world.

Wool currently accountsfor 1.%oftheworldsglobalQbre market. As of 2018 around 1.1 billion sheep produced just over 2 million kilogramsof

raw wool forhomeand clothing textiles.

Argentina, New Zealand, South Africa, the United States and Uruguay are also leading producersoftheQnewool used in apparel.

Wool’s inherent properties lend itself to perfect a Qt in

perfor-

mance, active and sportswear.

Wool goesfarbeyond fashion. It can also be used to produce carpets, other interior textiles such as bedding, upholstery and in-

sulation, and protectivegarmentswornbyQreQghtersandsoldiers .[2]

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RA Historical Archives

STEPPING BACK IN TIME

Awonderfulguidefromthepastforanybodywishingtolearn how to knit, from basic stitches, washing wool and following knitting patterns.

DIGITAL ACCESS HERE

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RA Historical Archives

T

hese Photographic information record sheets show machinery supplied by Sole Agents Austral Elevator Co. 140 Hindley St AdelaidetoAtkinsBros(Hinckley)Ltd.UK.

TheAtkinsBrothersHosieryFactoryinHinckleywastheoldestsurvivingindependentframeworkknittingQrmintheworld theAtkinsBrothersQrmcanbetracedbacktowhen 172, RobertAtkinsthe (1702-68), sonofayeomanfarmerfromNewbold-on-Av on in Warwickshire, returned to Bond Street in Hinckley to make stockings, having served his apprenticeship in London. At this time, knittingwasacottageindustrywithsuppliesofwoolreadilyavailableinthelocality.

Thefamilyhomewasoriginallylocatedonthesite,closetotheGreatMeetingchapel(UnitarianChapel)thatwasbuiltinThe 172. werecloselylinkedwiththechapel,whichwastheirplaceofworship.TheoriginalGoddardbuildingwasdesignedwithanarc that gives access to the chapel via Baines Lane.

3rdAugust1875TheHinckleyUrbanDistrictCouncilapprovedtheplansfortheAtkinsBrothersnewfactoryinLowerBondStreet

TheoriginalL-shapedblockwasbuiltinadjacent 187 totheAtkinsfamilyhomealongLowerBondStreetwithorangebrickwitha dressingsandaWelshslateroof.Thearchitects - wereGod dard and Paget of Leicester, and the contractors for the work was John and William Harrold of Hinckley; the Qnal cost came to £4,837.

Betweenand 187 the 1960, factorygrewinsizeandscale and in 1929, Atkins was converted to a private limited company, then In 1950, Atkins became a public company.

The1960ssawasigniQcantchangeinfashionwiththe - al mosttotaleliminationoffully-fashionedstockings,which causedredundancies.Still,theQrmprosperedagainwith theintroductionoftights.

23rd May 1972 HRH Princess Margaret opened a new addition to the Atkins Bros factory, a warehouse and ozce extension.

1990 Atkins was still engaged in essentially the same business and was reputedly the oldest surviving independent knittingQrmintheworld.AsigniQcantfeatureoftheQrm wasthecontinuityofthefamilymanagement.

Tom 194 Atkins,whowastheQnalmemberoftheAtkins familyintheQrm,retired.

14thSeptember195nthecompany's273rdyear,theAtkinsboardofdirectorsacceptedatakeoverbyCoatsViyellaPLC. 20Thecompanyceasedmanufacturing. http://www.hinckleypastpresent.org/atkins.html

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WOOL PROPERTIES

Asbothconsumersandtheindustrybecomemoreawareofthedetrimentaleectsthefashionindustryhasontheheal of our planet, we see more brands looking to create transparency in their supply chains and know-how, by whom and where their raw materials are grown and produced. In addition, as the industry starts to understand that we must keep thematerialswehavetodayinplayforaslongaspossible,weseeanincreasedawarenessaroundregenerativesyste startingwithregenerativefarming.Bymakingsureourmaterialscomefromregenerativeandrenewablesourcesand becapturedagainforfutureuseiskeytoprotectingbothpeopleandourplanetforfuturegenerationstocome.

Regenerativeagricultureisaholisticfarmingapproachthatfocusesonprotectingbiodiversityandsoilhealt entire farming ecosystem. t allows us to protect our soil systems, improves water cycles, supports bio-sequestra supports native plants and wildlife, increases resilience to climate Ructuation and helps us green lands tha overgrazed in the past.

WOOL PROPERTIES Wool , isanaturalQbre;itisper 10 centrenewable,sustainableandbiodegradable.ThebeneQtsofwoolarethatSheep produceanewReeceeachyear,makingitanincrediblyeco-friendlyQbresource. ,WooloershigherUVprotectionthanotherQbres.WoolisnotquicktocatchQreandthereforeQreretardant.Whenit does,itburnsslowlyanddiesoncetheRamesourceisremoved. , Unlike synthetic Qbre, pure wool only takes a few years to decompose, depending on the dyes and Qnishes used in its productionandcandoubleasfertiliserattheend-of-life.

• Wool is naturally breathable and adjusts to the wearer's body temperature. While it keeps you warm in winter and cools in the summer, you never sweat because it absorbs the skin's moisture.

Woolcanabsorbupto3%ofitsweightinmoisture,thenreleasesduringtheday.

• Elastic. Wool has memory, meaning no matter how much you wear or wash it, it will always return to its original shape.

• wool is hypo-allergenic. Wool doesn't smell. Unlike synthetics, which can smell badly when they are dirty with sweat, wool doesn't.Woolcanbewornmanytimesbeforeitneedstobewashed.

Wool , isanincrediblytoughQbrethatcantakealotofwearandtear.tslong-lastingandwoolsweaterstendtobecare forandpasseddownfromgenerationtogeneration.Fromaninteriorsperspective,Woolcarpetsareincrediblydurab and long-lasting. Wool has a natural protective layer that repels stains, dust and static. It is also a natural insulator, which is a great way to save on energy.

Non-Mulesed Merino Natural and renewable • moisture-wicking • UV Protection Fire retardant • Biodegradable • Breathable.

Durable.

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DANIEL H ARRIS F o un der , Lond o n Cl o t h Co m p a n y

Daniel shares details about how The London Cloth Company found its feet within the UK textile industry, and where things could be heading for them next.

Written by Beth Ranson in collaboration with RA Photography:KasiaFiszer-https:/www.kasiaQszer.com/ Based at Trinity Buoy Wharf, Daniel Harris' London Cloth Company is a one-of-a-kind micro-mill. With a range of machinery restored by Danielhimselfdatingbackasfarasthe1870s,thisisamillthatvalues thepreservationofcraftandskillandthecreativity - offabricdevelop ment. twasin201thatDanielboughthisQrstrusty,brokenloomand - be gan the restoration process. With a background in pattern cutting, he embarked on this journey with an appreciation of woven fabrics but no technical understanding of woven structures- nor any experience inweaving.mmersedinhisQrstmachinerestoration,Daniel - sudden ly realised just how much the process would entail and how much additional equipment was needed- not quite so easy! Daniel bought twofurtherlooms,twopernwindersandawarpingmill,the - Qrstpur chases in London Cloth Company's machine collection.

Self-taught and driven by the intrigue of problem-solving with these looms,Danielnowworksonavarietyofprojects,fromQlmandtvto museum heritage projects and educational programmes. Woven textilesconsultancyisanevolvingareaofthebusinesstoo.

Preserving the history of woven textiles whilst evolving with new technology is a tricky balancing act. Whilst the speed and ezciency ofmodern-dayweavingmachinesisundeniableforDaniel,thevalue still held within these centuries-old machines is something he feels cannot be underestimated.

When describing his abilities to solve the mechanical issues with older, run-down machines, Daniel explained, "I don't know why but looms just make total sense to me". With foot-peddled Hattersleys and double-width industrial power looms amongst their collection, LondonClothCompany'svarietyofmachinesgivethemtheabilityto weaveawholerangeoffabrics.

Aspiring to one day create a weaving' theme park' of his own, Daniel shares details about how The London Cloth Company found its feet within the UK textile industry and where things could be heading for them next.

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PI ONEERING A NEW ERA OF BRITISH WEAVING Photography: Kasia Fiszer | London Cloth Company

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Q. Daniel, before starting London Cloth Company, I read that your background was in pattern cutting for the film, TV, and theatre industries. Can you tell me about your background, where you studied and how you started your journey in the textile industry?

"I did a degree in Costume Interpretation at Wimbledon College of Art, which was essentially a degree in sewing. I then relocated to Australia for two years, working in the theatre and drag show industries. I then returned to England and completed a postgraduate degree in pattern cutting, which led me to set up a small sample unit making clothes for fashion, film and television. I did that for eight years before the evolution of The London Cloth company began."

Q. What then led you to start the London Cloth Company?

"I had this idea about weaving my own fabric and making my clothes. At the time, I had a lovely studio full of sewing machines, and slowly more and more looms pushed the sewing machines out. Later I replaced that studio with the mill. I love making, and I love anything process orientated. I also wanted to preserve the looms for the future.

Through the preservation of these machines, educational aspects then became important to me too. We have school groups visit as part of their curriculum focusing on the Industrial Revolution. It's really nice as we get such inquisitive questions from these children who visit. There is nowhere like this in the South of England, where people can come and see such a range of historic and functioning machinery. Admittedly this sounds strange, but I cannot emphasise enough how little I planned everything that has come about. So many ever-evolving elements came together to make the mill what it is today, and it will continue to grow in this way too."

Q. You talk about how you acquired your first rusty loom from an old barn in rural Wales on your website. Did you have any idea at that point how to restore a loom and get it functioning?

"I started the London Cloth Company with just one loom and no loom repairing experience. I had no weaving experience, and I did not understand woven structures until I embarked on this first project. At first, I remember asking myself, 'how hard can this really be?'. Well – quite hard, it turns out! I very quickly realised that I couldn't do this with just one loom -I needed an awful lot more equipment, tools and machines. So what started as just one loom is now twenty-four looms and about sixty tonnes of machinery.

At first, I remember asking myself, 'how hard can this really be?'. Well – quite hard, it turns out!

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In the early days, what really helped me when taking on restoration projects for these looms, was the realisation that the same rules that apply to a small loom also apply to looms that are five metres wide and weigh three times more. Then these same rules apply to looms that run five times faster. This meant that my problem solving developed a logical pattern. I could build on my experience and understanding from each project and apply it to new projects. I could then be more ambitious with the looms I took on for restoration as my confidence grew."

Q. Where do the looms in your collection originate, and what is it about them that draws you to them?

"Our collection of looms date from at the earliest 1870, to our most recent from the 1990s. Maintaining the breadth and versatility of our collection is essential so that we can adapt to the many different projects we work on. Older looms are very un-picky about what they do- they'll do anything if you get it right (though they are slower, of course). For example, we have one of our looms that only weaves our production for linen napkins, and it does this brilliantly. Why would we change to a modern machine if this loom works so well? With these older machines able to weave so reliably, we can confidently use them for these less 'exciting' production orders, which are not necessarily time imperative. They do what they do so well that we have a real appreciation for what these older looms can produce, and where possible, we utilise this within our business."

Q. How do you acquire your machinery?

"There are a few different ways that this can happen.

There are occasions where mills that are closing down contact us directly, and we buy from them. However, how it often works is I carry out research to find a loom that requires repair, and during the process of dismantling it, I will then work out what processes are required. I will sometimes contact sellers or mills directly if I am hunting down a particular machine. I am certainly finding that as our mill has become better known over time, more and more opportunities for intriguing purchases are being sent my way."

Q. How do you source replacements for the damaged or missing parts of your oldest looms and machinery during the restoration process?

"When I purchase the looms and machinery, they are inevitably in need of restoration- it is the extent of the task which is more unknown. It's only once I begin physically dismantling the machines that I can truly understand the work and time commitment necessary to restore them to working order. When taking machines apart, I usually discover all manner of parts are missing or damaged. Due to the age of these machines, it can be a real challenge to source replacement parts. The time invested in sourcing these 'niche' parts can take longer than the act of physically repairing the machine itself.

Past, Present & Future

L O N D O N CALLING

“I had this idea about weaving my own fabric and making my own clothes. At the time I had a lovely studio full of sewing machines and slowly more and more looms pushed the sewing machines out." w w w . raw a ssembly. com

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"What started off as just one loom is now twenty-four looms and about sixty tonnes of machinery. "

Photography: Kasia Fiszer | London Cloth Company

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Past, Present & Future

I have found a couple of ways to overcome this problem.

One option is finding an identical loom to dismantle. I purchase a second loom and use this as a ‘donor’ loom to facilitate repairs on the first loom. There is a downside to this method: I’m then left with a skeleton of a loom standing next to the loom I have just repaired. It seems a shame to leave the donor loom in disrepair in the name of repairing the other. But this solution is often the best way to proceed. I will do my best to make use of the remainders of the donor loom in other projects.

The second time-efficient option for occasions where missing or damaged parts are far too time-consuming to hunt down is laser cutting. We can make multiples and spares using this method. Similarly, 3D printing is an option for us now. We can send the donor parts away and have them three-dimensionally scanned. We can either have new parts 3D printed in a chosen material in the original size or 3D printed in polystyrene or wax in increased size before casting the newly sized part in steel. This gives us a lot of flexibility and the opportunity to tailor-make our replacement parts.

You might assume that these extra processes would be time-consuming, but they are far less time consuming than having to search for unusual parts that might not be quite right or might be damaged themselves. It is incredible how much these modern methods can transform and add value to the repairs process for older machines.”

Q. What can the financial implications of the repair process be?

“On average, during the repair and restoration process, we spend around five times the original cost of the machine. Restorations are a serious financial commitment, but we are willing to invest in this because we preserve the loom for the future. It will repay us over the many years it produces woven fabric for us.

It is rare that anyone would restore these machines to the level of detail that we do, but what drives us is the knowledge that these looms could continue to produce fabric for another hundred years because of our work. Other than the fact that these looms are very slow by modern standards, there is nothing wrong with them mechanically. Speed is not necessarily a good thing nowadays anyway. Fast Fashion relies on speed, whilst craft and skill rely on slow processes. So investing in the preservation of these slow making processes is essential to us.

One of the ways we offset the financial commitment is through utilising the simplicity of certain methods and making these core avenues of our business. For example, when we produced rope dyed natural indigo, we produced 200 different types. This was relatively simple but made up a large proportion of our reliable income. Customers would place orders ranging from three hundred to eight hundred meters which made it very cost-effective.

This kind of income channel goes towards facilitating our repair costs through reinvesting.”

Q. How long did it take you to acquire all of the machinery needed, restore them and to start producing commercial grade fabrics?

“It took roughly a year for us to be up and running with commercial-grade fabrics. Restoration times vary based on the complexity and how much time I can dedicate to the project based on what other projects the mill is juggling at any one time. Some of the looms we acquire will sit untouched for six months until I find time to focus on them. But they may be relatively simple to fix up once I get started. Once fixed, they often run beautifully without requiring further attention or time investment too. It can be a much longer process for other looms, where 3D printing and laser cutting may be required, as mentioned earlier.

Though the 3D printing and laser cutting themselves are quick, we incur transit and delivery times. None of the repairs that I carry out are high-level engineering, though.

Basic understanding of woodwork and metal work got me through my early learning, and I have built on my experience since then.”

Q. Could you tell us about the raw materials that you use and where you source them from?

“Our core raw materials are cotton, linen and wool, blended in a variety of ways. That said, when anything ‘weird’ and exciting comes along, we will explore other fibres. For example, if a customer had a project with optical fibre or medical-grade fibres, metals or conductive yarns, we would relish the opportunity to work with those. For example, we recently worked on a research project for MIT developing an electromagnetic fabric for use in space suits which was fantastic.

We previously sourced from Pakistan for our cotton, but unfortunately, traceability was not something we could ensure from this source, so we moved to a company in Spain. The great thing about the new company was the parity between their sustainability initiatives and laws and the UK laws and standards. Unfortunately, this company have just recently closed down. We are now considering our dilemma of whether to cease production of cotton fabrics at the mill (which would be a terrible shame) or whether to explore sourcing options in Italy and Turkey.

As our indigo cotton fabrics make up fifty per cent of production at the mill, the idea of removing cotton entirely from our repertoire is daunting, so we have a lot to think about.

In terms of wool, it is the most common-sense fibre for us. From the beginning, wool has formed an essential part of our identity as a textile mill. When we started, we were focusing on only buying undyed British wool. We did some crazy projects like our ‘London Wool Project’, which involved visiting farms in London and combining the fleeces of their sheep. We loved the story behind this and the value it brought to the yarn and fabric. We had a strong focus on achieving full traceability in terms of tracing farms, fields, breeds and fleece types. On a small scale, this was achievable, but as the business grew, it became unattainable. At the time, focusing on transparency and telling the story of the fleece was a relatively new, unusual idea within the UK textile industry. It is far more common nowadays. .

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Past, Present & Future

Photography: Kasia Fiszer | London Cloth Company

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.RAWASSEMBLY. But at that time, setting ourselves challenges such as ensuring different farms were blended separately and separating fleece shades to achieve pure colours set us apart. Inevitably these hoops we created for ourselves to jump through became almost impossible once the demand for production grew. For example, finding enough brown sheep from one UK farm to weave 10 meters of fabric is one thing, but finding enough fleece from one farm from the same breed of sheep to weave 100 meters is a whole different scale of operation.

We still work with a lot of wool, and we source in the UK where possible.

Hemp is another fibre we are excited about. We would love to build this into our collections somehow. It would be amazing to develop and produce indigo-dyed hemp here in the UK. Interestingly, ten years ago, this was something we were keen to develop, but sourcing UK grown hemp was very difficult back then. We struggled to find suppliers and set up any consistent supply chain, so we shelved the idea. We have now reignited the idea, as we discovered a company called ‘East Yorkshire Hemp’. The logistics are still to be ironed out, but we want to start spinning their hemp and maybe blending it – we are not sure yet as this only started to take shape a few weeks ago.

If we can do it, the minimum that we can order is a 350K bag, which sounds like a lot, but for sample orders, this is workable. A possible scenario could be replacing our cotton offering with hemp. We have a lot of thinking to do around this.

Q. Who are your customers today, and what kind of projects are you working on?

"We often work on projects for the film and tv industry. We're always pleased when these projects come about because production teams may bring a pattern on a piece of paper, but they don't necessarily understand woven structures. These opportunities then become very creative because we use our knowledge of woven structures to realise their imagined design. These are some of our most enjoyable projects because we don't need to talk to the team about fabric structure and explain the technicalities. Instead, they say, 'can you turn our image into a fabric, please?' and we get straight on with it- problem-solving as we go. That said, though the process is enjoyable, it is often very intense with tight deadlines. For example, last Christmas, we produced the main fabric for the Netflix film 'Jingle Jangle: A Christmas Journey' with Forest Whitaker. It was fantastic but intense! We were given two weeks to produce the fabric, within which time we had to source the yarn, weave the material, finish the fabric and allow for shipping and transit times between each of these stages. These projects push us, but we are always so excited when we recognise our fabrics on screen. It is always such a proud moment when this happens.

We also work with museums such as The National Wool Museum in Wales. We have been working with Anne from the NWM (the mastermind behind it all) for three years. For weavers and textile enthusiasts, this is the most fantastic museum. The Welsh wool industry is very interesting too, and there are still around six mills in Wales. So as part of this collaboration with the museum, we trained three guys on the looms, and we fixed up all the looms in the museum. It's been such a positive ongoing project.

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Past, Present & Future

Photography: Kasia Fiszer | London Cloth Company

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The lack of funding for museums is something I feel strongly about, so the opportunity to contribute to the preservation of this museum was something that meant a lot to me. After we restored their collection of looms, the museum started running demonstrations making products using their looms. They have only just got to the end of weaving their first woven fabric, which they have made into blankets sold in their gift shop. This has generated new avenues of income for the museum whilst contributing to the visitor experience at the museum too."

Q. How do you manage these time scales for tv and film work?

Do you find yarn sourcing challenging for these projects?

"We keep cream greige yarn in stock and then dye it accordingly to what we're doing. Once the design is authorised, yarn can be ready on a Monday morning, and if, for example, the client needed a sixty-meter piece, we would prepare everything needed, get it on the loom on Tuesday, and then it would only take a day and a bit to weave the fabric. Maybe by Thursday, it's getting sent away to be washed and finished. This is how we're able to work on such short lead times. Over time we have also built strong relationships with our UK yarn suppliers, so they are often able to assist us with lead times too."

Q. Is there any part of the supply chain missing from Britain that you would love to see return?

"This isn't missing from Britain, but there is a bottleneck in the UK which is in the finishing processes for woven fabrics. Around five companies left in the UK do finishing (it could be a few more), but those are the big, better-known ones. The problem is that everyone is sending their fabric to these few companies, resulting in delays and backlogs.

It is frustrating when a fabric is woven within the timescale of the critical path but then becomes delayed at the 'final hurdle' in the finishing process.

I was working with Disney recently, and because the fabric was for a weathered costume, they wanted it straight off the loom and therefore unwashed and unfinished. This saved both of us so much time and cost because we avoided that potential finishing bottleneck. Working in this way also meant that Disney could break the fabric down and weather it easily and much quicker to make the costume. Of course, most fabrics do require finishing, though, so a growth in this area of the UK industry would undoubtedly be beneficial for the majority of projects."

Q. There has been a strong revival of weaving in Britain over the last few years, especially with the conversation focussed on re-shoring. What exciting developments have you seen happening in weaving and textile production that have you excited for the future of British textiles?

"At the moment, it is healthier than it's been for a long time, but at the same time, I still find mills closing. I carried out some research mid last year, and I thought there were two hundred mills left in the UK before I began. I discovered that the reality is far fewer than this. Inevitably the UK mills producing wovens for suiting will have struggled during the pandemic due to the drastic drop in demand for workwear.

I am intrigued to see what the longer-term impact of this will be for UK mills.

What is interesting now for the UK and the wider industry is the evolution of looms. Buying and operating a brand new state of the art loom in 2021 does not require knowledge of woven structures or processes.

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Past, Present & Future

I am noticing companies investing huge sums of money in new machines and setting up mills, but they're not weavers and are not 'textiles people'. For example, a brand new Dornier machine is connected to the Internet, and it can be reset and adjusted from Germany- these machines are incredible. So really, the UK weaving industry is growing but in a totally different way than it has before. That said, it is very positive in Northern England where it is dominant, but for the South of England, it is still virtually non-existent."

One of the critical conversations happening not only in the UK but also in Australia and New Zealand today is:

Q. How do you think we can encourage younger generations to be inspired to start, own and run their textile mills in the future and help preserve today's technical know-how and blend it with modern techniques?

Q. Do you see the next generation wanting to step into this side of the business, or do you envision a different type of mill in the future?

"There are numerous weaving jobs advertised currently, but as a weaver, you will be offered entry-level roles. If we put ourselves in the shoes of a recent BA textiles graduate who has specialised in weave for three years on a creative course, they're perhaps entering into an £11.00 an hour role working in a shift pattern. These mills are not in central city locations and would involve relocating. It is not uncommon for individuals working in the weaving industry to keep the same job for many years without ever interacting with the final product, making it hard to engage fully with a process they only partly understand. This is not necessarily appealing for younger generations who have spent three years studying the creative side of weaving, perhaps more than the technical/ production side. In saying this, I do not mean to criticise these younger generations and new graduates at all. Still, the reality of the situation is that expectations of job satisfaction for these young people are far higher than for previous generations. These roles in mills aren't appealing enough to them.

What I think needs to happen (and this is what we've always done with all the people we have ever trained here at our mill) is for weavers to experience all areas of the mill first-hand before committing to a role.

Mills need to move people around in more of an apprenticeship programme manner, where they come in and experience all aspects from warping to drawing to beaming up, for example. In this way, mills can build a connection between their employees in every area and the finished product.

Perhaps the solution is for graduates and new generations to work initially in a range of other jobs. Once they have this rounded experience, they can return to the idea of working at a mill that offers more to them than just one role. There will be a huge skills deficit in the UK at some point in the future if things don't change. Another problem is that fabric today is a cheap commodity that is very difficult to make money on. Wages are, therefore, not necessarily going to meet the expectations of younger generations. We cannot solve the problem if the structure of the mill does not change.

Photography: Kasia Fiszer | London Cloth Company

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Photography: Kasia Fiszer | London Cloth Company

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Past, Present & Future

Q. What is the next step for the London Cloth Company?

"Just before lockdown, we planned to buy a shipping container and take a loom powered by solar panels on the roof around the country as an educational tool. That still might happen, but not for some time now. Because our machines run on such a small amount of power, we would have a carbon-neutral production loop because it would be a 140-year-old machine weaving a recycled yarn with solar power."

"We have the entire history of mechanised weaving running from the latter half of the Industrial Revolution up to the present."

Ultimately, we would love to buy a mill space rather than having to rent. Once we have a building, it will ideally run itself. People could buy from the mill shop, and we would continue with wholesale too. We would carry on our consultation work as well, and we hope this side of the business continues to grow. Even if we bought a place on the periphery of London, just owning a building within which people could come and see weaving in action would be brilliant. There is nothing like it currently in the South of England, and people do genuinely become enthused and overwhelmed when they witness these machines weaving fabric. We have the entire history of mechanised weaving running from the latter half of the Industrial Revolution up to the present. It would be great to get something super modern in there one day as well. We named our proposal 'Operation Loom Land", imagine a theme park for weavers!?".

www.londoncloth.com

Photography: Kasia Fiszer | London Cloth Company

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Welcome to ZQ

RX

ince 207, The New Zealand Merino Company (NZM) have been working with their committed wool Growers to supply the world's most ethically sourced wool under the ZQ brand. ZQ is a third party audited standard that requires Growers to thoroughly understand key animal health, environmental and social issues and adhere to a best-practice approach to farm management. ZQ is already the leading ethical wool standard in the world, but they know their Growers are doing work that goes above and beyond what is already a high bar.

It's no secret that immediate action is required to deal with the big challenges we are facing globally, whether it be climate change, loss ofbiodiversityorsocialissuessuchasinequality.n20,amidst lock downs and a global pandemic, the NZM team of 'Actionists' put their heads together to Qgure out how they could return to better and cre ate a system that drives meaningful action towards a better, kinder, morepositivefuturefortheplanet.

NZMarehighlyawareoftheincreasingconsumerdemandforethical ly-produced wool and wool, which is bettering the environment and improving personal and community well-being. With this in mind, they wanted to develop a solution that would both celebrate Growers and meetthisgrowingconsumerdemand.Theytooktheideaofconsump tionandwantedtoseeifconsumptioncouldbethesolutioninsteadof the cause. With this in mind, NZM developed ZQRX

NZM are highly aware of the increasing consumer demand for not only ethically- produced wool, but also for wool which is bettering the environment and improving personal and community well-being.

Through ZQRXNZM , isdrivingashifttowardsaregenerativemindsetat ameaningfulscalealongsideGrowersandBrandPartners.Thereisno one-dimensional solution to regeneration, which is why the Regenerative ndex (RX) measures and incentivises improvements through 15 key performance indicators (KP's). The KP's take a holistic approach to the farm system to improve outcomes rather than focusing on set practices. The 15 KPI's are split into three key categories: environment, animals, and people. mages:CourtesyofNZM:Kate&JackCocks,MtNic.ZQ

The New Zealand Merino Company

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ZQRX goes beyond sustainability and instead focuses on meaningful actions that will contribute to improvement across the whole farm system. The Regenerative ndex holistically examines the qualities of ZQ-CertiQed properties, highlighting and measuring practices that go above and beyond the ZQ system.

RX

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RX mages:CourtesyofNZM:GrantBarbara,GlenbourneZQ

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RX mages:CourtesyofNZM:GrantBarbara,GlenbourneZQ

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RX

Merino Fleece

Regenerative agriculture has the potential to be part of a solution to the world's most pressing environmental and societal challenges, focusing on improving soil health, creating more resilient farming systems and increasing biodiversity to work with, not against, nature. For NZM, regenerative agricultureismuchmorethanaset-offarm ing practices; it is a change in mindset that questions the status quo and strives for continual improvement.

"

Regenerative agriculture has the potential to

be part of a solution to the world's most pressing environmental and societal challenges, focusing on improving soil health, creating more resilient farming systems and increasing biodiversity to work with, not against, nature.

mages:CourtesyofNZM

"

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ZQRX is a collaborative action platform; it challenges brands and Growers to give more than they take. Brands work direct with ZQRX Growers, helping to incentivise and drive the change required on the ground.

RX NZM undertook a soft launch of the platform ZQ in partnership with Allbirds, Smart woolandicebreakerinFebruary201.Theircommitmenttotheplatformandabilityto set aside competitive nature emphasises the immediate challenges we are facing with climate change. At the time of launch, there were 167 farms committed, representing overtwomillionacresofregenerativefarming.

RX Onthe9thJulyNZM 201, heldahardlaunchofZQ , bringing together over 700 brand partners, growers, and industry leaders at the NZM Heroes Journey Growers confer ence in Christchurch. It was a truly inspiring day and an amazing opportunity to connect withawidecross-sectionofNZMstakeholders.Overmonths, 5 thebrandscommittedto ZQRX had grown to 21 brand partners worldwide, and there were over 250 New Zealand growerssigneduptotheplatform.NZMexpectsthistocontinuegrowingas - morecon sumers are exploring and demanding ethical and regenerative options.

At its core, ZQRX is a way to celebrate and support Growers. Although they are an important part of assessing performance within farming systems, audits fail to recognise all the ways Growers go above and beyond. ZQRX does this, as well as providing a clear pathway and resources to take this even further. As science and technology evolves, NZM can support Growers to do better in the areas that are important to them, the markets and brands they supply, and the regulatory environments around them.

Collectivelywecanstriveforabetterfutureandgivemorethanwetake.

Follow NZM @nzmerinoco and @discoverzq

https://www.nzmerino.co.nz/zqrx

mages:CourtesyofNZM: BOTTOM: Kate Cocks, Mt Nic. ZQRX TOP Northburn Station

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Several Shades of grey Written by Jacinta FitzGerald, Make.Good TraveltothehighcountryintheWairarapa,inthelowerpartofAotearoaNewZealand'sNorthsland, andyoumightcomeacrossaNewZealandsheepstationthatishometoararebreedofgreysheep dating all the way back to the Vikings.

Thirtyyearsago,CherylandBarryEldridgewerelookingatwaystodiversifythefarmingactivitieson Stansborough,theirNewZealandsheepstation.Theylookedatvariouswaystomakethefarmmore productive, including planting trees, raising alpaca,andeco-tourismontheirblockofjustunderacres 30 ofmediumtosteephillcountry.They had no idea the results would eventually be seen on cinema screens around the world.

Image: Stansborough Station

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Past, Present & Future

S

Image: Stansborough Station

tansborough Station | New Zealand

CherylhadreadaboutararebreedofgreysheepdatingbacktotheVikings,whichshethoughtwouldbegoodfor the land. Originally the Vikings had used this breed to make their sails as the Qbre was strong but Qne. She teste theideaofmakingtextilesinNewZealandusingnaturalgreybaseswithlocaldesigners,andthepositivefeedba encouragedhertoforgeahead.WhiletheuniqueQbrecreatedbytheirRockhascostumedmanyofthe - mainchar actersappearinginTheLordoftheRingsandTheHobbit,Cherylsaysthatthisisonlyasmallpartoftheirbusiness.

Overtheyears,CherylhaskeptherRockclosed,whichmakesthemuniqueintheworld.Thismeanstheyhavenot been cross-bred and are pure Stansborough grey. Cheryl's rare breed are born jet black, but within about 3-4 four months,theychangeintoseveralshadesofgrey.TheRockisshorntwiceperyearinawaythatworksfortheanimal to make sure they have the protection they need. The Qbre is then graded and hand-sorted on-site into multiple shadesandsentawaytobescouredinNewZealandusingabiodegradableprocess.Oncescoured,theQbreissent to a New Zealand spinner to be spun to the company's requirements.

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Traceability is paramount. Stansborough has total control and can trace everything from the farm through to the export. The company can do-this be cause it oversees every stage and has built great relationships with specialist suppliers and other farmers. Cheryl proudly tells me the entire supply chain occurs in New Zealand - far from a common occurrence in the local textile in dustry.

The majority of Stansborough textiles are natural shades of grey; however, it can overdye to give the yarn a natural Reck eect. The commercial-over-dye ingprocessmeetsStansborough'splanet-friendlycriteriaandensuresdyesare colourfast.Nochemicalsareallowedtobeused,includingbleachorhercosett, andonlywarmwashesandvinegarareusedforQnishingandhotsteam - press ing. Care must be taken when blending with other Qbres such as merino, and sothecompanyundertakesR&DwitheachQbrethat'sintroducedtomakesure Qbrepropertiesaremaximised,resultinginalong-lastingqualityproduct.

"Since Covid, people are starting to appreciate quality products a lot more. Consumers and industry both have changed; they want a New Zealand product now and understand the need to pay more. People really care about where things come from."

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Past, Present & Future

The Stansborough story is not all about grey sheep; it's about New Zealand.

Its process and the story it has woven together is what makes Stansborough unique. It's a passionate team who really care, who are passionate about the land, the farm and sustainability. While producing textiles en New Zealand brings with it higher processing costs, Cheryl says consumers appeartohavecomeofage."SinceCovid,peoplearestartingtoapprecia quality products a lot more. Consumers and industry have changed; they want a New Zealand product now and understand the need to pay more.

Peoplecareaboutwherethingscomefrom."

Cheryl shows her shearers the end product, which gives them an understanding of the whole process, and says they are so pleased to see t QbregoingintoaNewZealandmadeproduct."Withourcompany,youare not just supporting us. t's right back from the farmers, the shearer scourers, the spinners, everyone who's involved, right down to our packagingteam.Youtakeoneofthemaway,makingitsomuchhardertooperate inNewZealand.Theyareallpartofwhoweare.Contrarytopopularbelie the skills are here in New Zealand to do all these things."

The Stansborough team specialise in textile design, weaving on its traditionalloomsandhand-Qnishing.tdetermineswhatisbestforitsyarn knowshowtogetthebestfromitslooms.Nothingismass-produced.

- Stan boroughproducesmanytextilesforcommercialinteriors,corporateg and small runs of designer pieces. All its textiles comprise at leas Stansborough grey yarn. The company can also use lambswool and alpaca fromitsfarmorotherQbresfromNewZealandfarmersaslongastheyare fullytraceable.

Stansborough Qbre is more like hair than wool, has a long staple and very lustrous properties. It's more like mohair, and due to the lustre, it spins upmuchQnerthanyouwouldexpect-about2-3micronQnerthanwoolof the same micron. Its lambswool is about 22 micron, and its ewes wool is about 28-29 micron; however, it spins up more like a 26 micron. As a result, the Qbre has a dierent scale formation and Qnishes dierently.

- Stan ough makes both a worsted as well as a woollen yarn.

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“People are losing sight of the basics, so we are at risk of losing a lot of knowledge.

Understanding the whole process of starting with the wool and turning it into the end product is what’s needed.”

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Past, Present & Future

One of Stansboroughs innovations is its Shibori blankets which are made with a unique weaving pro cess using New Zealand wools, an eect Stansborough developed through using a creative approach toproductdevelopment,andintrinsicallyunderstandingthequalitiesandpossibilitiesoftheQbres.

OneareaCherylispassionateaboutiseducation,especiallyofdesignerswhoshebelieves wouldben eQt from an understanding of the properties and constraints of using particular Qbres. Cheryl says “People are losing sight of the basics, so we are at risk of losing a lot of knowledge. Understanding the whole process of starting with the wool and turning it into the end product is what’s needed.”

Cheryl advocates for new designers to spend time in the woolshed, understand why it's so important tosortthewoolproperly,understandthepropertiesoftheQbreandwhatitsbestenduseis.Spending timeinweavingmillsandunderstandingthisprocess,aswellasgettinganunderstandingofthewarp and the weft, worsted and woollen yarns and the eects of dierent Qnishing will all add enormous valuetodesigndecisionmakingandarecriticaltounderstandingifwewanttodesignlong-lastingQtfor-purposetextileproductsthatmoveustowardsalowcarbonfuture.

Cheryl is passionate about creating textiles in New Zealand. Her ultimate dream is to create all the textilesthefashionindustryneedsusingallthewoolvarietiesavailableinNewZealand."Peoplewant things they can keep, and customers want something that will last a long time; the planet deserves that, that's why I do this."

https://stansborough.co.nz/

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“People want things they can keep,

customers want something that will last a long time, the planet deserves that, that’s why I do this.

"

Cheryl Eldridge

Cheryl and Barry Eldridge's Pure Stansborough greys | New Zealand

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Past, Present & Future

New Zealand Grown & Made BREMWORTH STARTED FROM HUMBLE YET INGENIOUS BEGINNINGS. If you haven't already heard, Bremworth has said goodbye to synthetic carpet production in favor of NZ wool.

PLASTIC IS OUT

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Bremworth has stopped the manufacture of synthetic carpet because it's essentially plastic

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Bremworth

Past, Present & Future

Bremworth are on a mission to deliver a range of home experiences built with people, the planet and growth in mind.

Their vision is to become a global leader in designing and creating desirable, safe, sustainable and high-performing natural interior solutions.

Bremworth'sfoundersTonyTimpsonandGrantBielwerepracticalpioneerswhorecognisedtheversatilityandresi NewZealandwool.TheybelievedthismiracleQbrewassomethingthatmustbeshared,notjustwithNewZealandersbu of the world. This drove them to invent their very own tufting system, unpicking Grant's favourite red jumper for th neededtocreatetheirveryQrstsquareofcarpetperfection.

Thatpieceofcarpetperfectionwouldmakealastingdierence,enrichinghomesandlivesforgenerationstocome.

However,overtheyears,Bremworth,likeotherlocalcarpetmanufacturers,haveseentheriseofcheapsyntheticimpo and, like fast fashion, carpet companies have had to try and compete with this high substitute competition by addi and nylons to their own collections in a race to the bottom.

Thisnotonlyhasaknock-oneectforthewoolgrowersinNewZealandandAustraliabuttheimpactsarealsofeltthrou wholelocalsupplychain.Fromthepriceofrawmaterialstojobcreationinthefarmingandcarpetmanufacturingsect toimpactsonourhealthandenvironment.Theseproductslivewithusinourhomes,andwhenweareQnished,theywillc toliveoninourlandQllsunless theyareproducedofnaturalQbressuchaswoolandcanreturntothelandwherethe

One suggestion to help support the sector in New Zealand was a petition calling on the New Zealand government to mandate the useofNewZealandwoolproductsinpublic-fundedbuildingsandKiwibuildhomes,whichissomethingthatcouldbemanda Australia,inviewofsupportingtheagriculturalandmanufacturingsectorswhilstensuringthesafetyandquali such as carpets, with a lower impact on people and the planet.

According to Bremworth, "The average Kiwi home that is carpeted in synthetics is similar to having 22,000 plastic bags on the Roor by weight*. Today, the long-term dangers posed by plastics are becoming clear. t's a global problem, and there's growin awarenessthatplasticcomesinmanyforms.nourhomes,thisincludestextiles,clothing,furniture,curtainsandca is needed."

"We had to make a Stand."

Bremworthdecidedtheyneededtolookatwhattheyweregoodat[and]whatthey'vedoneforthelastplus 60 yearsisma Zealand woollen carpets better than anyone else.

nBremworth 20 announcedthattheywerechangingforgood.Withtheirfocustoreducetheirenvironmentalimpactandmo to carpets and rugs made with New Zealand wool. With their heritage built on constant exploration and knowing that wool carpet isthebestQbrefordesign,innovationandperformanceonourRoors,theteamatBremworthknewtheirQrststepint was to exit synthetic carpet production for good. So in watching their latest video (click below to watch), the Bre sharedwiththeworldthelastrollofsyntheticcarpetcomingotheirproductionline.Bystoppingtheproduction carpets,theyaresigniQcantlyreducingtheircontributiontotheglobalplasticproblemby - twoandahalfthousan by weight of synthetic plastic Qbre every year. The Bremworth team is also systematically working through their sup lookforwaystobemoresustainableandezcientineverystepoftheirbusiness.Appreciatingthatit'snotgoingtobe is the right thing to do. Today the carpet industry is worth US $39 Billion*; Bremworth knows their industry needs to change and want to help lead that charge.

WATCH THEIR VIDEO HERE

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“

The average Kiwi home that is carpeted in synthetics is similar to having 22,000 plastic bags on the floor by weight*. Today, the longterm dangers posed by plastics are becoming clear. It’s a global problem and there’s growing awareness that plastic comes in many forms.

In our homes this includes textiles, clothing, furniture, curtains and carpet. Change is needed.

”

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Past, Present & Future

From their office in New Zealand, Greg Smith, Bremworth CEO & his team talk with us about their mission to deliver a range of home experiences built with people, the planet and growth in mind.

Q. Tell us about the beneQts of wool when it comes to 5ooring

Firstly, wool is 100% natural, renewable and biodegradable – making a genuine dierence to the future of our planet. t's natur stain,soilandQre-resistantweoerlifetimewarranties th We believe that by embracing nature, we can make a genuine - dif likesyntheticQbre,theuniquewickingpropertiesofwoolcan ferencetothewellbeingofpeopleandtheplanetwithout - odours comproand help control moisture. Wool is also a high-performi mising the design and performance attributes our customers care alternative toplasticcarpetQbresourcarpetshavebeent about. For the last 60+ years, we've been on a journey of explo - testedforgenerations. ration. We have built up signiQcant knowledge about the potential andperformanceofmanydierentQbresfromdiversesourcesYou forcanalsofeelthedierenceinwoolwitheverystepyoutake use in Rooring. Wool carpet was, and remains, the optimum -oer ingforcustomers.NotonlyisitthebestQbrefordesign,innovation Q.Whataboutthedierencesbetweenwoolcarpetand andperformanceontheRoor,it'salsonatural, 10% biodegradable hard5ooring? and renewable.

Q. Why are you moving to all-wool?

naddition,itiswhatwedobest!

Q. What has led Bremworth to make this step change to its brand?

Wool carpet naturally improves a room's warmth and acoustics, helping your home stay quieter and cosier. Wool carpets have also been proven to save between 8 and 13% in heating and cooling your home, which is really important today.

Q. What would you say dierentiates Bremworth from

It is clear to us that change is needed in our industry which is why 5ooringbrands? we're going all-in with wool. We believe we need to be a part ofother an environmentally conscious solution. So Bremworth has stopped the people. We've been New Zealand made crafting excellence productionofcarpetsmadefromsyntheticQbres,whichare - Our essen since 1959. tially plastic.

Today concern is rising about microplastics in our homes, in our Our team of New Zealand artisans are dedicated to craftin food chain and in the environment. Studies suggest we'- rehighest ingest quality Rooring with uncompromising ingenuity, pass andcreativity.60+yearsofexperiencehavetaughtusthatnoth ing a credit card worth of microplastics each week, and therefore comesclosetoNewZealandwoolcraftedbyourexpertsfordesig change is needed. andperformanceontheRoor.

The Bremworth dierence brings quality materials togethe Q. You say you're headed down the sustainability route; carefulcraftsmanshipanduniquedesign.

how natural are your products?

Q.Howmanystadoesthecompanycurrentlyemploy?

Onaverage,currently,of 87% ourwoollencarpetsaresourcedfrom natural materials (by weight, based on a 42oz carpet). Whilst this Wecurrentlyemployjustoversta 40 acrossAustralasia,witht is a great starting point, we want to do better than that, so we're majoritylocatedatourmanufacturingplantsinNapier,Whang seeking new ways to reduce, recycle and eventually remove plastic and Auckland. fromourproducts,ourbusinessandourdailyliveswherepossible.

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https://bremworth.com.au/

JUST BECAUSE THE PRODUCTION SITE IS FAR AWAY THAT DOESN’T MEAN I’M LESS CONCERNED.

STeP by OEKO-TEX® certifies environmentally friendly production processes and socially responsible working conditions in production plants along the entire textile chain.

TESTEX tests and certifies – worldwide with Swiss reliability.

Find more information at www.testex.com | melbourne@testex.com | auckland@testex.com

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Goal 15 Targets We are all part of the global ecosystem. Goal 15 is about making sure that w e s t o p a l l t h i n g s t h a t t h r e a t e n o u r g l o b a l h o m e . T h i-s i n c l u d e s d e f o r e s t a t i o n , l a n d d e g r a d a t i o n , a n d l o s s o f a n i m a l a n d p l a n t s- p e c i e s . N a t u r e c o n tr ibutes so muc h to p e o p l e ' s l i ve s w hi c h i s w h y i t i s s o i m p o r t a n t t o p r otect it.

15 .3 END D E S ERTI FI C A TI O N A ND R ES TO R E DE G RAD E D L AN D By 2030, combat desertification, restore degraded land and soil, including land affected by desertification, drought and floods, and strive to achieve a land degr adati o n- ne utral w o rl d .

15 .4 ENSURE CO NS ER V A TI O N O F M O UNTA I N E C OS YS T E M S By 2030, ensure the conservation of mountain ecosystems, including their biodiversity, in order to enhance their capacity to provide benefits that are essential for sustainable development.

15 .5 PROTE CT B I O D I V ER S I TY A ND NA TUR A L HABIT AT S T a k e u r g e n t a n d s i gnificant action to reduce the degradation of natural habitats, halt the loss o f b i o d i v e r s i t y a n d , b y 2 0 2 0 , p r o t e c t a n d p r e v e n t t h e e x t i-n c t i o n o f t h r e a t ened species.

15 .6 PROMOTE A C C ES S TO GENETI C R ES O U RC E S AN D F AIR S H AR IN G OF THE BENE FITS Promote fair and equitable sharing of the benefits ar - ising from the utili z a t i o n o f g e n e t i c r e s o u r c e s a n d p r o m o t e a p p r o p r i a t e- a c c e s s t o s u c h r e s o ur ces, a s internati o nal l y agre e d .

15 .7 ELIMINATE P O A C H I NG A ND TR A FFI C KI N G OF P R OT E C T E D S P E C IE S Take urgent action to end poaching and trafficking of protected species o f f l o r a a n d f a u n a a n d a d d r e s s b o t h d e m a n d a n d s u p p l -y o f i l l e g a l w i l d life products.

15 .A INCRE A S E F I NA NC I A L R ES O UR C ES TO C ON S E RV E AN D S U S T AIN ABL Y USE E COS YS TE M A ND B I O D I V ER S I TY Mobilize and significantly increase financial resources from all sources to co nser ve a nd s us tai nab l y us e b i o d i ve rs i ty a n d e c o s y s t e m s .

15 .B FINA NCE A ND I NC ENTI V I ZE S US TA I NA B L E F ORE S T M AN AG E M E N T Mobilize significant resources from all sources and at all levels to finance sustainable forest management and provide adequat - e incentives to de veloping countries to advance such management, inclu - ding for conserva tion and reforestation.

15 .C COMBA T G L O B A L P O A C H I NG A ND TR A F F IC K IN G Enhance global support for efforts to combat poaching and trafficking of p r o t e c t e d s p e c i e s , i n c l u d i n g b y i n c r e a s i n g t h e c a p a c i- t y o f l o c a l c o m m u n i ties to pursue s us tai nab l e l i ve l i ho o d o p p o rt u n i t i e s .

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RA Historical Archives

Fact & Figures , Around 1.6 billion people depend on forests for their l i v e l i h o o d . T h i s i n c l u d e s 70 m i l l i o n i n d i g e n o u s p e o p l e . , Forests are home to more than 80% of all animals and plants.

• 2. 6 b i l l i o n p e o p l e d e p e n d d i r e c t l y o n a g r i c u l t u r e , b u t 52 per cent of the land used for agriculture is affected soil degradation. , Of the 8,300 animal breeds known, 8% are extent and 22 per cent are at risk of extinction.

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R E SP ON SI BLE & CI RCU L AR STO R I E S

WOOLLEN C OM P O SI T E MAT E R I AL S | STRUC T U R AL WOOL & T E X T I LE S Could ou r interior te x tile s , furn i ture , ac oustic wa ll pa ne lling throu gh to ou r sp or t s k i t s b e made ou t o f waste wo o l in th e fu tu re?

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01 S o l i d Wool| United Kingdom

02 Cas amania| Italy Remembe rne Chair

0 3 W o o l i g h t Su r fb oa r d| New Zealand

0 4 W o o l a i d s | N ew Zealand

Justin and Hannah Floyd started Solid Wool T h e r a c e t o w a r d s t h e f u t u r e a n d t hBead re rs o inr Seu r f b o a r d s i n v e n t e d a n eB w awnodo- a li d s a r e m a d e f r o m w o o l , n o t P l a s t i t o f i n d n e w w a y s o f w o r k i n g w i t h w o o ltotkeep h a t the past alive coexist in Remem cloth sourced from New Zealand sheep was going to waste. b e r m e . A c o l l e c t i o n ( c h a i r , b i s t r ocombined t t a b l ewith , bio-resin, taking a new in58,000,000,000 plastic bandages are cast The duo wanted to create ways in which and coffee table) that gives new n lo iv f ea t tiov e d i r e c t i o n i n t h e q u e s- t f ointo r f uour l l ecosystems y sus annually, and as Plasl o w - v a l u e B r i t i s h w o o l c o u l d b e t r aclothes n s f o r mwhich ed are unconscious memory tainable surfboards. tic does not biodegrade, it just gets smallinto strong, visually tactile materials that capsules. Rememberme is made by jeans er; something needed to change. c o u l d b e u s e d i n f u r n i t u r e p r o d u c t iand o n . cotton t-shirts A f t e r y e a r s o f t e s t i n g a n d r e f i -n i n gT, hbe y cm o al s s i n c i n e r a t i o n o f w o u n d -c a r e p r o laborating with NZ Merino and Firewire ucts contributes to th e industry producSolidwool is a unique, composite material ur rn f bio a r d s , t h e y c a m e u p w i t h a - s u sit na g i 2 . 8 % no f a l l h a r m f u l a i r p a r t i c l e m a t t e h t t p s : / / w w w . c a s a m a n i a . i t / e n / d e s -i g n - Sf u made from wool and bio-resin a b l e c l o t h t h a t r e p l a c e s t r a- d i tglobally. i o n a l The f i bhealthcare re sector is responsiture/rememberme-chair/ g l a s s , p r o v i d i n g s t r e n g t h a n d -f l e xb clheaf r oa r c4 . 4 % o f t h e w o r l d s g r e e n h o u s e g a s Inspired by the 1950s Eames plastic chair, teristics that we feel rival the s emissions, t a t u s qwhich u o . led Woolaid to create the originally manufactured in fibreglass, they worlds first wool-based band-aid. created their Hembury Chair made from The result is a natural-looking board that Solidwool. p e r f o r m s a t l e a s t a s w e l l a s t r a d https://www.woolaid.com itional PU o r E p o x y b o a r d s , i s b e t t e r f o r t h- e e n v i r o n ment and supports the New Zealand wool https://www.solidwool.com/ industry too, not baaaad, huh!

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R E SP O N SI BLE STO R I E S F U R N I T U R E TO FA SH I ON

Wo o l b as e d te x tile s & f u rni tu re re storati on

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0 5 M e l a n i e Port er| U n i t e d Ki ngdom

06 Curio P ractice | A us tralia

0 7 Ma d e- to- or d er k n i tw ea r | I ta l y

0 8 C a r d i g a n g | Mel b ou r n e Au s tr a l i a

Ferne was a rather sad looking Victorian The SHREDDED SALAD blanket in Curio's P r a d a o f f e r s a n e w e x c l u s i v e p e-r s oTnwaol b ie z as t f r i e n d s t a u g h t t h e m s e l v e s h o armchair upholstered in blush velvet when f i r s t s t r u c t u r e w a s c r e a t e d t o lt as it o ntsheer t v iecsetf o r w o m e n a n d m e n s k n ito t wknit ear on . YouTube during last year's lock the owner rescued it and handed it over to of time. Made with x4 ends of the finest downs, and now they teac h others. During the Melanie Porter team. Working with the M e r i n o W o o l y a r n ( 2 1 . 5 m i c r o s ) , t h i s b- l a n Custom-made worsted wool sweaters — Melbourne and Sydney 2020/21 lockdowns, client, the team developed a colour palette ket is a heavy 2kgs and feels lus - h aincluding ccord crew-necks, V-necks, cardigans many people have taught themselves new to suit the existing decoration in her living ing to the brand. and polo shirts — come in various colours skills, which is precisely what Cat Bloxsom r o o m a n d t r a n s f o r m e d t h e c h a i r w i tMhahdieg hf l r yo m A u s t r a l i a n M e r i n o W o o l and a n are d decorated with the customer’s iniand Morgan Collins did. After sitting o textured knitted upholstery. Resulting in the knitted in Victoria tials embroidered by hand. Duplicate stitch park benches knitting and sending one anFerne chair. embroidery is used: an ancient technique other yarn samples, they realised they had https://curiopractice.com.au/ done directly on the garment, precisely recreated something that others would also producing the weave and using the same love. Within months they launched Cardiwww.melanieporter.co.uk yarn but contrasting colours. gang, a DIY knit kit company tailored toEmbroiderers with extensive experience wards beginner knitters. accurately do the embroidery to make the garments unique and luxurious. www.cardigang.com.au https://www.prada.com/au

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R E SP ONSI BLE STOR I E S F U R N I T U R E D E SIG N

CHANGING THE SYSTEM HereatRawAssembly,weprideourselvesonbeingtheQrstplastic-freetextilesourcing magazine, exhibition and industry events company; so when we come across companiestransformingplasticsintofunctionalobjectsandkeepingthemoutofclothingwe love to celebrate them. Especially when they are also disrupting the traditional retail model as they go. taliancompanySupernovachallengestopcreativestotransformwasteandunwanted materialsintorecyclabledesignobjectsandfurniture,givingcustomersthefreedomto buy,swaporreturnthem.Becauselifechanges,andsodoproducts.

Customers can signupto buythenew'Afterlife' collectionof recycled plastic benches and crates designed by 'Odd Matter', a design studio driven by a curiosity for all the strangeandwonderful,madeupofElsWoldhekandGeorgiManassiev.

Supernovas challenged Odd Matter to develop a collection that empowers dynamic living,withdesignsthatgivewasteanafterlifeandensuretherecyclability oftheprod uctsattheendoftheirlifecycle.Withtheuniqueprocessthatbringstogetherdierent typesofcutting-edgemanufacturingtechniques,Afterlifeismadefromrecycledplastic wastestreamssuchasPEandPET-namelythosefoundinbottles,packaging,- squeez ie bottles, toys, gas and water pipes. Customers can buy items from the collection in monthlyinstalmentsofGBPThey 15. cankeeptheir'streamed'productsforaslongas theywish,evenforathreefewmonthsonlyforacostofGBPor 45, forever(payments stopwhenthepriceofthewholeproducthasbeenreached).

All of their products are 10% recyclable so a customer can change their minds again and again. In addition, with the SUPERNOVAS Buy Back Scheme, they will give their customerso 25% theirnextpurchaseforthemtouseonanothercolourway,style,or productfromtheircatalogue.,allowingforRexibleliving.

https://supernovas.world/collections/

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10 WBGS | Bris bane A us tralia

1 1 AC E H U B | P L ANET AR K Au s tr a l i a

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Italian company Supernova challenges top creatives T h e W o r l d s b i g g e s t G a r a g e S a l e ( W B G SPlanet ) is Ark has partnered with the online Cultivated is Cult Design's in-house prototransformwasteandunwantedmaterials - into o nrecy a m i s s i o n t o a c t i v a t e d o r m a n t g moa or dk s ef o trp l a c e G u m t r e e a s p a r t o -f o u r g roanmg ot h a t p r o v i d e s b u y b a c k , r- e f u r b i s h clable design objects and furniture, giving customers g o o d a s a w a y t o m a k e p u r p o s e f u l p rionf gi t e f f o r t s t o f a c i l i t a t e t h e t r amnesnit t, iaonnd t ro e cay c l i n g s e r v i c e s f o r a u t h e n thefreedomtobuy,swaporreturnthem.Becauselife that creates a positive impact on people circular economy in Australia. designer furniture. changes, and so do products. and the planet.

There has never been a better time to redeTogether, Planet Ark and Gumtree hope to Each year in Australia, the equivalent sign our relationship with material goods. support a thriving national circular econo800,000 three-seat sofas, 1.65 million https://supernovas.world/collections/ G i v e n o u r f i n i t e l e v e l o f n a t u r a l mry e , esdouucract ee s A u s t r a l i a n s o n t h e b e ndeifniitnsg itta b l e s o r 3 . 4 m i l l i o n c o f f e e t a b l e and increasing global population, our curb r i n g s a n d d r i v e t h e a d o p t i o n- o f s isuthrown s t a i naway. Cult believes in the qualrent take–make–dispose lin ear production able consumer practices. The mutual partity and longevity of exceptional design a model is not sustainable. nership combines Planet Ark’s sustainabilbelieves that one of the best strategi ity expertise with Gumtree’s position as sustainable living is making and buying The circular economy aims to restore the A u s t r a l i a s f a v o u r i t e o n l i n e m a things r k e t that p l a clast. e , They believe in creating a way we use and reuse goods by findi pr no g v i d i n g t h e p e r f e c t p l a t f o r m t ose ud su tcaaitnea b l e c i r c u l a r e c o n o m y f o r f u r n i t v a l u e t h r o u g h o u t t h e l i f e c y c l-e s oA fua st p rroadl i a n s o n t h e e n v i r o n m e- n t a l a n d f i uct. By extending the length a product is n a n c i a l b e n e f i t s o f t r a d i n g w i-t h iwww.cultdesign.com.au n the cir u s e d , i t p r e v e n t s t h e o v e r - g e n e rcular atio economy. n of waste. It simultaneously creates new business opportunities, jobs, and revenue https://acehub.org.au/ streams while minimising the environmental impact of mining, resource extraction, refining, and manufacturing. .RA.

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https://worldsbiggestgaragesale.com.au/

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RIGHT: Ethical Outback Wool

by Coonong Station R.W.S 100% Wool Wrap HumaneCertiQed 100% Australian Owned and Grown https://ethicaloutbackwool.com.au/collections

LEFT: Sheep Inc. - 100% Wool Hoodie Madefromultra-soft,ultra-durableEternityX-C Merinowoolsourcedfromregenerativefarms.Kni solar-poweredWholegarment®technology.

ABOVE: Ethical Outback Wool

by Coonong Station

ncludescontrastcolour(removable)NFCtagwit provenance. And your own sheep. 100% biodegradable. Z Carbon Footprint.

100% R.W.S Wool Tops HumaneCertiQed 100% Australian Owned and Grown

EDIT

https://ethicaloutbackwool.com.au/collections/ wool-tops-rovings

The

https://au.sheepinc.com/

A collection of products designed and made to last LEFT: The Astoria rug is intriguingandbeautifullycraft ed,oeringacontrastof soft,naturalyarns.

LEFT: Woola - plastic bubble wrap alternative packaging using waste wool

https://bremworth.co.nz/

https://www.woola.io/

ABOVE Thesedryerballsaremadefrom10% organicmerinowool(NewZeala

Organic Wool Dryer Balls are a reusable healthy,naturalandchemical-free tive to dryer sheets * It is still best to air-dry where possible

https:/www.naturalgoodlife.co LEFT: The Pebble rug's smooth, softandsophisticated appearance is inspired

by Aotearoa's timeless riverbeds.

Bremworth Rugs https://bremworth.co.nz/

RIGHT: Woola envelope is madeoftwoeasilyseparable layers. The inner layer is made ofsheepwool,whichprotects fragileitemsandprovides - wa ter repellency, and resistance to temperature extremes. The toplayerismadeofrecycled paper. https://www.woola.io/

LEFT: The Galet rug is a gorgeous chunky loop design. The random loop pile combined with the unique yarn structure creates texturalinterestonyourRoor andunbelievablesoftness underfoot.

Bremworth Rugs https://bremworth.co.nz/

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ABOVE: SWOP Reusable Mailing Satchels

by Better Packaging Co. https://www.au.betterpackaging.com/products/swop?

Wrapped in Nature Coonong Station - Ethically Sustainably Merino Wool – 19.5 micron Certified Humane and RWS Certified

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Only Certified Humane Australian Wool www.coonongstation.com.au

Ask Your Textile supplier for Humane Certified Coonong Station Wool

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MATERIAL STORIES FROM LUXURIOUS MERINO WOOL GROWN IN AUSTRALIA TO VAST AMOUNTS OF WASTE WOOL READY TO BE RECYCLED IN PAKISTAN, OUR RESPONSIBLE MATERIAL GUIDES FEATURE SOME OF THE LEADING RWS MERINO WOOL, RECYCLED WOOL AND CASHMERE SPINNING MILLS FROM EUROPE TO ASIA. TEXTILE FOCUS POINTS: REGENERATIVE AND HOLISTICALLY GROWN MERINO WOOL. WOOL WASTE, RECYCLED WOOL

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Responsible Materials

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WRAPPED IN NATURE Wool producers Tom and Sophie Holt believe good animal welfare practices for all animals should be the most important aspect of any farming operation.

C

oonong Station, in southern NSW, is owned in not only working at Coonong but looking after the and operated by Tom and Sophie Holt with land and animals they live with. their son Thomas. The Holt family have owned Coonong Station since 1971. Coonong Station consistsofacres 71,0 ofprotectednativegrasslands.

Coonong Station Extra Qne Merino Wool

Fibres

The incredible team at Coonong are committed to ethical and sustainable livestock and wool production uti- The team at Coonong pride themselves in producing lising environmentally sustainable land management beautiful, high quality wool , which is the end result of practices. In recent months they have been shortlisted years of hard work and dedication. The Station pro in the AllRex Woolgrower of the year award and run duces around 60 bales of non-mulesed 19.5 micron around30,Dohnesheepacross29,0hectaresof merinowoolannually,fortheethicalsustainabletextile the land in southern NSW manufacturingsector.

CertiQed RWS and the 1st CertiQed Humane wool - pro duceroutsideoftheUSAandQrstinAustralia - tobeHu maneRaisedandHandledCertiQedbytheHFAC,which is amazing. The team have worked incredibly hard to achieve this and were excited to add this additional certiQcation to their RWS and wildlife accreditations.

Their yarns are used in both circular knitting nextCoonong respect and value their native vegetation and to-skin premium products as well as Rat bed knitted wildlifeintheirecosystem,andarecommitted - to sweaters man andcanbefoundinsomeoftheleading - fash age livestock production in a way that does not damage ion brands around the world. In addition to this they or impeach on native habitats. At Coonong, their team have their own range of products, some of which are isanextensionoftheirfamily.

100% Australian owned, grown and made, include no dyes, acids or chemicals and are completely natural.

Theyhavebuiltacommunityofcommitted,passionate Their range also includes and others luxurious prodindividuals who not only work there, but live there. They ucts that have been spun and knitted by their RWS have an incredible team of both local and Argentinian certiQed partner, Xinao, who we have featured in this fulltimestawho , worksidebysidewithseasonaledition. sta from around the world. With them, they bring experi ence and knowledge from their family farms and local Discover their Ethical Outback products Here & see areas and combine it with the Holts family knowledge someoftheiproductsinTheEditonpage X of the Australian country. Their teams are all invested

"Our target wool market is the medium micron ethical sustainable textile manufacturing sector."

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"We are committed to manage livestock production in a way that does not damage or impeach on native habitats,"

Image: EthicalOutbackWool-10%MerinoWoolScarf

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T

om, Sophie and their team strive to raise their animals and manage their land in line with the highest industry standards. Their family,

their sta, and their global partners across the supply chainunderstandtheimportanceofcareand- transpar ency, and they are proud to align themselves with these accreditation programmes.

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Raw Materials

What is RWS & What are the The Five Freedoms

The Five Freedoms

Coonong Station is committed to providing all livestock native and introduced with the Five Freedoms: Freedom The Responsible Wool Standard is a voluntary standard that addressesthewelfareofsheepandthelandtheygrazeon. fromhungerandthirst;Freedomfromdiscomfort;Freedom from pain, injury or disease; Freedom to express normal behaviour; andFreedomfromfearanddistress.Theseare The goals of the Responsible Wool Standard are to provide the the foundations of their philosophies for managing l industry with a tool to recognise the best practices of farmers; stock and all native animals. Throughout Coonong large ensuring that wool comes from farms that have a progressive signs remind sta of the Qve freedoms and the Coonong approachtomanagingtheirland,practiceholisticrespect forani Station Policy and Producer Manual is given to sta t mal welfare of the sheep and respect the Five Freedoms - of ani provides guidance on lameness scores, pain relief gui malwelfare. lines,wildliferescueandanimalwelfarepractices.

As an independent, voluntary standard, companies can choose to becomecertiQedtotheRWS.Onfarms,the

1.FreedomfromHungerandThirst

certiQcation ensures that sheep are treated with respect to their Five Provisions and also ensures best practices in

2.FreedomfromDiscomfort

themanagementandprotectionoftheland.Thestandard isglob allyapplicabletoallbreedsofsheep,andmulesing

3.FreedomfromPain,njuryorDisease

is strictly prohibited.

4. Freedom to Express Normal Behaviour

The Six Key Points of RWS

5.FreedomfromFearandDistress

Protecting Animal Welfare

Read more about RWS here A holistic approach to animal welfare based around the Five

Provisions.

Preserving Land Health ProgressivemethodsoflandmanagementarepracticedonRWS farms,protectingsoilhealth,biodiversityandnativespecies.

Protecting Social Welfare Socialwelfare,workingconditions,andhealthandsafety ofwork ers is addressed.

Credible Certification Aprofessional,third-partycertiQcationbodyauditseachstagein the supply chain Chain of Custody CertiQcation ensures that the identity of the RWS - wool is main tainedatalltimes:fromthefarmtotheQnalproduct.

- Onlyprod uctswith10%certiQedwoolmaycarrytheRWSlogo.

Stakeholder Engagement TheRWSwasdevelopedwiththeinputoffarmers,animalwelfare experts, land conservation experts, brands and retailers from all partsoftheglobe.

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Images: Coonong Station Native Grasslands

Regenerative Agriculture

Images: Coonong Station | Maggie Lahore-BusinessManagerandChiefFinancialOzcer

Native Wildlife Sanctuary

Coonong is a proud native wildlife sanctuary. Located Regenerative Agriculture onin the Sheeparegrazedonnativegrasslandsalltheirlife a ProtectedNativeGrasslandsoftheHayPlainsin south-east Australia, they enjoy a diverse and healthy symbiotic relationship with the environment allowing native wildlife population that they protect throu provisionofhighanimalwelfareandregenerative agri numerous native wildlife conservation and - rehabilita cultural practices. Below-average stocking rates, pasture tion programs. monitoring and resting paddocks are utilised, allowing

native grass seed cycles to regenerate protecting the Their preference is to work with Native Wildlife, stock valuableseedbanksandprovidingfortheneedsofthe ing paddocks so as not to harm the natural habitat and natural migration patterns of native wildlife. Valuable encourage rehabilitation and regeneration of nativ ecosystemriparianareasarefencedotoallowingfor populations. permanent wildlife shelters and breeding grounds for

species such as the white breasted sea eagle and the Accredited WIRES carers, they provide rescue, care and plain wanderers. rehabilitationfacilitiesforinjured ThefamilyareworkingwiththeBiodiversityConservation wildlife.TheNativeWildlifeprotectedandrehabilitate Trust to place the area in perpetual trust. on Coonong include:

"We practice below-average stocking rates, pasture monitoring and protection of the valuable seed bank by destocking paddocks and allowing seed cycles to regenerate,"

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• • • • • • •

KangarooEasternGreyandRed(Protected) Koalas Emu(Protected) Diamond Python PlainsWanderer(CriticallyEndangered) Swamp/Black Wallaby Nativelizards,frogs&birds.

Raw Materials

Images: CoonongStation,UranaNSW|EthicalOutbackScarf Photography: Jessie LaFrankie Model: Maria Styling: Stephanie Gaspodini Hair & Make-up: Amy Kenney

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WWW.COONONGS

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STATION.COM.AU

Frontlefttoright:Thomas,SophieandTomHolt and the Coonong team

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How existing wool items are recycled Wool is one of the worlds most sort after and suitable Qbres for reuse. There are numerouswaystoreuseit,fromhandingitdownfromonegenerationtoanother, clothes swaps, charity shops, and increasing global demand for vintage woollen garments.Thelongeragarmentorproductisused,themorevalueisgainedfrom the raw materials that went into making the original product. The same applies to recyclingwoolitems.WhenthesamewoolQbresarerecycledandusedagain,the environmentalimpactfromthoseQbresarelessenedfurther[3] There are three main pathways in wool recycling: THE CLOSED-LOOP SYSTEM A mechanical process that returns garments to a raw Qbre state by shredding them, then spinning the Qbres back into yarn to produce new garments or inte riordesignfabrics.

THE OPEN-LOOP SYSTEM the wool from a previous product becomes the basis for a new, usually industrial productsuchasinsulation,furniturestuzngormattresspadding.

RE-ENGINEERING / UP-CYCLING Designers, brands and companies recycle worn or unsold items into new products, likemakingabeautifulwintercoatfromvintagewoollenblanketsorbagsfromold overwashed sweaters.

WoolisoneofourmostvaluableQbres,andthegreatthingaboutitisthatverylittle goes to waste, including pre-consumer waste.

Recycling reduces waste Discarded clothing ending up in landQll sites is a major global problem, and here, wooloersapositivealternative.Bychoosinglong-lasting,readilyrecyclablewoollen garmentsoverotheroptions,wecanreducethenumberoftextilesthatgotowaste.

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magesCourtesyofRecycleWool

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The Alchemist of Waste

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ool is one of the most versatile, natural and environmentally sustainable fibres that exists today. Durable, renewable and biodegradable, wool is one of the most recyclable natural fibres in existence, with the practice of recycling wool dating back hundreds of years. One of the main regions for wool recycling is Prato, Italy, where generations of wool spinners have been turning unwanted woollen garments, blankets and uniforms back into beautiful new yarns.

The industry in Prato is not dominated by large, vertically integrated mills, but instead more than 200 companies operate in the region, each focussing on one specific part of the textile recycling process. This method of operation to manufacture recycled yarns and fabrics creates a truly unique relationship between a variety of small suppliers, each reliant on the other for success, something rarely seen anywhere else in the world other than countries like Japan in their creation of kimonos.

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With both industry and consumers becoming more concerned about the impact that the fashion sector is having on our planet and the need for the industry to take action for real change, we have to look at what additional facilities are needed, not only onshore in our own manufacturing hubs, but also in other locations where the majority of larger-scale production takes place.

In view of us recycling and remanufacturing higher volumes of both pre and post-consumer product, the industry needs to look at where else sorting, recycling and remanufacturing facilities should be located to maximize this potential opportunity.

The pandemic has highlighted how fragile our global supply chains are and how easily disrupted they can become. Costs today to ship goods around the world are at an all-time high, being 3-fold what they were pre-pandemic and 70-80% higher when it comes to air freight. If we can recycle and remanufacture nearby, we can further reduce the impact on our planet and our balance sheets.

When it comes to wool, recent research shows that woollen products have the potential for several' lifetimes, lasting 20-30 years and in most cases much longer, before they become threadbare and need to be recycled.[1]

One man doing precisely this is sustainable textile researcher Hasnain Lilani, Co-Founder of Recycle Wool, one of the largest recycling companies for post-consumer sweater waste, based in Karachi, Pakistan.

Wool is also highly valued and sought after by both second-hand sellers and textile recyclers. Yet, today, wool accounts for only 1.3% of the global fibre supply, with 0.02% of that being recycled again, as the balance is either in wardrobes, still being worn, has ended up in charity shops or sent to landfill.

With 15 years of experience working in the textile industry and 11 of those spent in denim research and handcraft textiles in Pakistan and Europe, Hasnain is on a mission to prevent any further sweater textile waste from heading to landfill.

For the last few years, Hasnain has searched, sorted and received thousands of kilos of wool clothing from

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all over the world into his warehouse in Pakistan. The products include items recovered from local factories, charitable organizations, untouched post-consumer garments and some of the worlds most recognized brands. Since 2016, Recycle Wool has become the biggest importer and recycler of post-consumer sweaters and other wool garment waste from around the world. In 2021 alone, Recycle Wool imported 5000 tons of used sweaters and currently has an inventory of 40,000 kilos of coats, jackets and pants. These items

are imported into Pakistan using their extensive used textile supply chain spanning Canada, the USA, France, Italy, Sweden, Japan and China.

Keen to not let these valuable products go to waste, Hasnain and his team start by separating unworn and good condition post-consumer garments from those that can no longer be repaired. Garments, which tend to be sweaters that are in perfect condition, are photographed by his business partners in Germany,

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THIS PAGE: LabelsremovedfromthegarmentsRecycleWoolrecievesintheirwarehouse.

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who then make these available on their 'Wear Planet Forever' platform for resale.

Those that are past repair are meticulously sorted into different composition categories then into colour categories prior to being baled up for shredding.

With more garments today being made up of complex blends due to the increase in fast fashion brands over the past 15 years, luxurious pure merino wool and cashmere sweaters are found in lesser quantities in recycling facilities than before. Moreover, with brands opting to buy more synthetic blended merino to achieve better margins and price-points, this has adversely affected the demand for pure wool and has incentivized customers to buy lesser quality products deemed disposable in today's society.

This is clearly reflected in Hasnain's sorted products. For example, only 10% of his bales are 100% pure merino wool, with 80% wool blends being the majority, followed by 50% wool blends making up the balance.

However, fast fashion has not only impacted the quality of the products Recycle Wool has been buying. From irreversible environmental damage to the displacement and well-being of its population, the impact on the people and environments of manufacturing countries such as Pakistan has been immense.

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Excessive use of water and the illegal discharge of waste into local water systems, which local people rely on for drinking water, food and hygiene, affect the health and livelihoods of people living close to manufacturing facilities.

Local government standards have pushed factories to improve their water management systems; however, these are still not strict enough, allowing factories to continue polluting local waterways.

Garment workers in the region also suffer from incredibly low wages and challenging factory conditions, trapping them in a cycle of poverty and personal stress.

Garment workers are paid to produce more garments than the world needs, which at the same time pollutes the very environment that they rely on for their livelihood. Further impacting these issues, Pakistan also deals with vast quantities of post-consumer garment waste diverted back from western societies to Pakistan when it is no longer valued.

To try and alleviate the waste issues in both Pakistan and the rest of the world, companies like Recycle Wool are at the forefront of buying wool garment waste and giving it a second life through recycling it into new yarns. Recycle wool is a family-run business and places workers safety, well-being, and wage security at the forefront of everything they do as a socially responsible company.

Despite Pakistan being one of the largest importers (receivers) of global garment wool waste, it lacks investment for innovation to enable the country to transition to a circular economy and process this waste onshore. Both chemical and biological recycling facilities are lacking in the country, so currently, the waste is sorted, baled and shipped to other locations worldwide to process it further. When the majority of this product was produced in Pakistan and returns there after use, it makes sense to process the waste in Pakistan, enabling it to stay onshore and be manufactured into new garments. This helps create new jobs for a new global economy and helps reduce the footprint of these already exhaustive products.

Today Recycle Wool have just moved into a new 80,000 sqm. warehouse, where they will soon welcome four new mechanical shredding machines, enabling them to start processing some of their warehouse stock on site. They are currently able to process 500-800 tons per month, and by 2025 they plan to increase this to 100k ton per month.

To meet the scale needed to achieve their 2025 goals, they seek long-term industry partnerships and investment.

THIS PAGE: MountainsofwoollentextilewasteatRecycleWool'sPakistanwarehousefacility.

Recycle Wool | Pakistan

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Wool Mountain Pakistan Research Lab

Another critical driver of Recycle Wool is research. In June 2021, Designer and Wool researcher Cynthia Hathaway, founder of WASA (Wool Alliance for Social Agency), and social entrepreneur Gwendolyn Floyd, came together to establish Wool Mountain Pakistan Research Lab or WMP-RL, the first of its kind at the base of one of the largest post-consumer wool garment waste mountains at Recycle Wool.

The partnership will investigate wool waste streams starting at the farm through to the mountains of post-consumer wool garment waste to research applications for both raw and processed wool for agriculture and building applications. Focussing on two key areas of research, raw wool and post-consumer wool coat waste, the team are helping to deconstruct and find solutions to all elements included in the production of a wool coat.

Coats and jackets made with wool are some of the most overlooked items of post-consumer garment waste. Although it is difficult to get accurate data, according to Hasnain, approximately 80% of wool coats and jackets produced are not recycled, with the other 20% being recycled in an open looped system. In 2021 Recycle Wool's waste inventory consisted of 24,000 kilos of wool coats and jackets, which are complicated to recycle using current recycling technology. Wool coats and jackets are often made with a variety of blends of wool, polyester and cotton. Glues are used to attach interlinings, and padding is added for shaping and structure. Additional items such as zippers, buttons, linings, and buckles must be separated from the main textile prior to recycling. In most recycling facilities across the world, this is still done by hand. However, technology is starting to emerge that allows automated mechanical arms to assist with the separation process, but not with the removal of glues, especially when it comes to woollen items.

At present, in terms of processing blended garments, International research has mainly been focussed on cotton and polyesters; however, at WMP-RL they plan to research wool appropriate processes such as enzyme separation that preserves the wool fibres in a blend. At present, the cotton and polyester processes dissolve or burn wool to extract the polyester or cotton fibres. WMP-RL are the first research lab to focus on the bio-processing of wool.

With these enormous inventories of wool in Pakistan, the opportunity to process this waste locally has vast economic potential for the region, its communities and the wool sector as a whole. In addition, Pakistan could produce a higher percentage of recycled products that require no dyeing or chemical inputs and helps keep valuable waste out of landfills.

As a sustainable material and regenerative resource, wool waste in raw, pre or post-industrial phases is often incinerated, sent to landfill or ends up being downcycled into low-grade fill.

Although garment incineration is soon to be banned by EU legislation, without improving global recycling solutions, garment waste will continue to be a problem - especially at the rate of increasing production instead of slowing down. There are currently plans for seven recycling textile hubs in the EU by 2030; however, they are not commercially scaled-up today[2]. Companies who have experience in recycling, such as Recycle Wool, are already recycling textile waste on an enormous scale and supplying clients throughout North America, Europe and Asia. Whilst waiting for these additional facilities to come on-line in Europe, Hasnain believes that we need to turn our attention to existing companies in developing nations who provide recycling expertise and knowledge, support local livelihoods, and develop high quality products from global textile waste.

Recycle Wool and WMP-RL highlight that we can't turn our backs on companies and nations that have dealt with our waste for decades from an ethical perspective. Instead, long-term partnerships that benefit all parties from local communities through the textile value chain are needed. Combining knowledge, technology, and developing holistic thinking with the wool recycling industries most experienced, yet still marginalized experts and communities is an economic and moral imperative.

Creating value along the wool chain is urgently needed and needs International effort from creatives, academic researchers and industry alike. Bringing research to the hubs where the waste is most apparent is an important shift to contextualizing research and understanding.

WMP-RL focuses upon diversification in recycling wool waste.

Presently, recycling garment waste is a double-edged sword, especially when more textiles are being produced to make garments, which will likely be thrown out. Fashion trends accelerate this system of short-term use, and landfills around the world are at their breaking point. Thus diversification is critical.

Recycling wool into various applications showcases it as a suitable material to meet a variety of targets

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Woollen Textile resources arriving into Recycle Wool's Pakistan warehousefromallaroundtheworld.

These textiles will have their labels and accessories removed, sorted into compositions and then into coloursreadyforresaleor-shred dingforQbre-to-Qbrerecycling.

for sustainable resources and product development, processing and use.

WMP-RL primary goal is to recycle 100% wool waste.

Some will be reintroduced into the fashion supply chain, alongside innovative, environmental and cost-saving applications for the building and agricultural industries.

Since 2020, WMP-RL has been raising money for a wool recycling infrastructure consisting of a processing facility, recycling technology, and a research lab. They are developing a multidisciplinary and international collective of research partners in design, bio-engineering, social and cultural entrepreneurship for this funding. To be part of this exciting and first of its kind wool research and development lab, the team invites investment from potential industry partners.

With a steady supply of raw materials and a capacity of converting 10 tons per day from garment to fibre, they hope to help brands worldwide utilize these valuable fibres again in their product lines. @recyclewool www.wearpf.com

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Südwolle Group To Act. To Feel. To Share.

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üdwolleGroupisafamily-ownedcompany,whichhasbeenproducingyarnssince 1966. Located in Schwaig, Nuremberg, Germany, they pride themselves on being not just a spinner but a strong partner to their client's businesses.

Südwolle Group creates high-quality yarns produced from worsted wool and other natural andeco-friendlyresourcesforawiderangeofend-uses.Dedicatedtoproducingrobustand long-lastingproducts,theyoerawiderangeofstocksupporteditemsallowingforprompt andezcientdeliveryfrom1warehousesin8countries.

Südwolle Group also works closely with The New Zealand Merino Company - they purchase, RX forexample,theirZQ certiQedMerinoandsourcerawmaterialsfromtheirown - RWScerti Qedsheepstation,MountHesseinAustralia.Fibresarethensentonwardsto - theiryarn-spin ningfacilitieslocatedinEurope,ChinaandVietnam.

Withintheirspecialistportfolio,SüdwolleGroupproducesyarnsforweaving - (Südwolle)Rat , bedknitting(BiellaYarn)circular , knitting(YarninMotion)andhosiery(Richter)This . product rangeenablesdesignerstoQndsolutionscraftedtoQtacirculareconomyapproach.

For customers wanting to create something unique, they are able to work hand in hand with brands to develop individualised product solutions. Fusing the highest ecological and ethical standards with the latest in spinning technology and innovation.

The sky is the limit.

When it comes to safe, responsible, traceable and transparent supply chains, Südwolle Groupisleadingthechargeinthewoolsector.Theirproductsarebluesign®certiQed,which guarantees the use of safer chemicals and correct handling as well as providing protection tobothpeopleandtheenvironment.Thebluesign®systemcoverstheentire - chemicalsup plychainthroughoutfashionbrands.

BycontrollingtheirMerinosupplychain,theycanprovidefulltraceabilityfortheirproducts.

Südwolle Group aims to help create what's new in the world of textiles, by pushing the boundariesofinnovation,technologyandtraceability.

www.suedwollegroup.com

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To Act. To Feel. To Share.

Autumn/ Winter 22/23

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Biella Yarn Collection Autumn/Winter 22/23 To Act. To Feel. To Share. is the motto for this years Biella Yarn Autumn/ Winter 22/23 collection for flatbed knitting yarns. naworldofspeed,ezciencyandresults,thelastyearandahalfhasmadeusallslowdown totakeamomentandreevaluatewhat'simportanttouspersonallyaswellasprofessionally. t has seen us exchange more extravagant fashion items for cosy sweaters and loungewear whilstwewaitfortheworldtore-open.Wewillsoonbeabletomeetupwithfriendsandfamily again, some countries sooner than others, but all resulting in excitement, travel and sharing our experiences and adventures.

In the world that we live in today, our garments need to support us when we move and when we stop and relax.

Südwolle Group's new collection reRects precisely this. A versatile, functional and luxurious rangeofyarnsforournewlivesandbeyond.Thecollectionhighlightsclassicyarnslike: ,VictoriaNm2/30&Nm2/48(10%MerinowoolExtraQne,19.5mic,anti-shrinkage) ,BrisbaneNm2/60(1%MerinowoolSuperQne,17.5mic,anti-shrinkage)

Sustainability and traceability play an important role in our daily lives, and the Biella Yarn collection.SüdwolleGroupoersyarncreatedfromRWScertiQedwoolwithstockservice availa bleforselectedcolours.(VictoriaRWSNm2/30&Nm2/480%(1MerinowoolExtraQneRWS, 19.5mic,anti-shrinkage) Their new Biella Yarn autumn/winter collection also features a selection of yarns made from pure Merino wool and Merino wool blended with silk and cashmere. ® They also present yarns made using their Omega Twist® (OTW ) Technology – a new spinning technology patented by Südwolle Group. The garments created with OTW® yarns have a cleanandsmoothsurface,aredurable,yetkeepMerinowool'ssoftnessandnaturalhandfeel.

TheseyarnsareavailableforbothRatbedandcircularknitting.

Biella Yarn is available with reliable, high-quality production in both Europe and Asia, helping their customers adapt to rapidly changing market demands by having on-demand availability in close proximity to their production.

Get to know Südwolle Group by clicking HERE

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Sweater made using OTW® Technology Yarn Spinner/ Mill: Südwolle Group

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Sustainable and traceable yarns.

Soft and comfortable garments.

For your daily life.

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Article: Espresso Composition: Un-dyed 100% Merino Wool Yarn Spinner/ Mill: Biella Yarn by Südwolle Group

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TOP-QUALITY TESTING, ANALYSIS AND CERTIFICATION – WORLDWIDE WITH SWISS RELIABILITY, SINCE 1846.

TESTEX stands for top-quality testing, analysis and certification – worldwide with Swiss reliability. We certify as an accredited, independent testing laboratory recognised worldwide.

Find more information at www.testex.com | melbourne@testex.com, auckland@testex.com

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THE

CIRCULAR KNIT DUO D

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From their office in Jiaxing, China Diyang Merino talk with us about their extensive experience working in the merino wool business, & their deep connection to Australia

Diyang Merino Textiles was established in 2008. Can you tell us about your journey within the textiles industry and what led you to establish Diyang Merino?

ly-stage processing, i.e. top-making & spinning in product development and setting up full supply chains. We also liaise closely both textile chemical & machinery companies. We have also partneredwithacutsew & garmentmanufacturingfactoryinCambodia Since the Pandemic, both sportswear and children's wear markets to service some of our customers who want an alternative s arebetterthanfashion;thinkthiswillcontinueinthe base future toChina. aswe BeforeCovid,waslivingpart-timeinSydney seeperformanceandsustainabilitybecomingevenmore and commuting to China. Spending time in Sydney enabled me to important. meet and establish with Australian woolgrowers, which helped us Together with my business partner Michael Yang, we co-founded tosetuptraceablesupplychainsforsomeofourcustomers.

Diyang Merino Textile Company in 208. Before this, we had seen a signiQcant growth potential for Merino wool sports and What outdoor is Diyang's Scale today? circular knit products emerging, which was the inspiration to set up the business. Both of us already had extensive backgrounds Currently, in we produce about 1.5 million garments in 100% Merino the wool industry. I used to be involved in trading greasy wool, and WoolorMerinoRichblendsandusearoundkilos 450, ofMerino Michael,basedinShanghai,wasthetechnicalknitwearmanager Wool per for year. n addition, customers can buy circular knitted fa the Woolmark Company. ricsorgarmentsfromus,includingpackagingandlabelling.Weli tothinkwearea"one-stop-shop"forthetypeofproductswemake.

Our MOQ s is 60 metres per colour when it comes to fabric pur WhereinChinaareyoubased,andwasthereaspeciQcreasonchasesand60piecesperstyleandcolourintermsofgarments. you set up in that location?

Can you tell us about the types of products you produce today Ourproductionfacilitywhichincludes,circularknitting, - and dyeing, whatQn range of gauges are you knitting on? ishingandgarmentmaking,isinthecityofJiaxinginZhejiang prov ince and is about 25 minutes from Shanghai by high-speed train.

OurexperienceandfocusareonperformanceMerinoapparelsuch Jiaxingtraditionallyisfamousforproducingsilk.Withinaas one the hour Sports/Outdoor, Adventure Wear, Fitness wear and ActivedriveofJiaxing,wehavewoolprocessingcompaniesinvolvedin wear rawsectors of the market. More recently, we have been-develo wool scouring, combing & top making, machine washable process- ing and making garments for the Athleisure and smart casual ing,andspinning,sowehaveareadysupplyofwoolinputproducts tors.MostoftheproductswemakeareforBaselayersormidlaye on "our doorstep". knitted on knitting machines in the 20 to 28 gg range.

Whatservicesdoyouoeryourclients,andareallofthis- han Is there a particular product you are especially excited about dled in-house, or do you work closely with other partners? within your range this season, and why?

We work closely with many partners, from those involved - in We ear developed many seamless merino products this year and

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fabricsandgarmentswithasanitisedQnish.

Have you seen any new technology emerging that you are excited about in the circular knitting sector?

These relationships have then been strengthened by the time i have spent in Australia and by working in close partnership with the growers.

Q. Can you tell us about some of the merino farms that your I think seamless is where there is continued growing interest. How- Qbrescomefromandhowtheyareleadingthewayinregener ever, the modern seamless machines are designed for high-speed ative and holistic farming? production using yarns with high tensile strength, so they are "not kind" to Merino yarns which are delicate. However, our partner We work closely with a Merino wool-growing property called spinners are oering newly developed knitting yarns specially - Nanimade located in Skipton, located near Ballarat in Victoria, Aussigned for seamless knitting production, so this helps us tralia. be more Interestingly, but more by luck than decision, Skipton means ezcient.

"SheepTown"inoldEnglish.SkipistheoldEnglishwordforsheep and Ton for Town. We set up this partnership a few years ago and enables us to supply one of our customers SWX, part of the large NorwegianUlfanggroup,withfullytraceablegarments.

RAW MATERIALS:

WhywoolandwhynotothernaturalorsyntheticQbres?

Q. Can you talk through the Worsted system you use and why that helps you produce the high-quality products you create today?

Merino wool is Natural, Biodegradable and Renewable: There is no argument that wool is entirely natural and is not man-made. Wool The worsted system produces smoother yarns and ultimately grows on sheep naturally as a form of protection against - the ele smoother fabrics, which are used to make such clothing items as mentsofnaturesuchasthesun,rain,snow,thewind,andhail. classical suits, underwear and base layers, sportswear, socks, uniforms,andsweatersthathaveasmoothappearance.

• Biodegradable

When wool is disposed of and is buried in the ground, in - com Worsted products generally have a smooth surface appearance. parison to other Qbres, depending upon soil conditions, it quickly This is because the Reece from the main body (back and sides) is breaks down or biodegrades. Wool is rich in Nitrogen, a beneQcial nutrient i.e., comprising around 16 % by weight, which is released used to produce these products. This portion of wool is longer in terms of its Qbre length in comparison to wool known as pieces or intothesoilafterdecomposing. locks,whichisshornfromtheunder-bodyofthesheepandaround thelegsandrear,tendingtohaveashorterQbrelength.

• Renewable Wool is a renewable resource. To produce wool, sheep need grass mmediatelyafter shearing,thelongReecewoolisseparated from and water, and the wool will grow. Most sheep are shorn of their wool annually, and the wool naturally grows back, then it is shorn the shorter wool. Although blending may take place, the longer Reece wools are processed through the worsted system, - where thefollowingyearagainandsoon. as the short wools are used to produce woollen-spun products throughthewoollensystem.Theuseoflongerwoolsintheworsted • Performance In addition, Merino wool has a greater ability to absorb odour, so systemenablessmoothyarnsandfabricstobemade,whichisthe ideal systemforourproducts. in comparison to other Qbres, it needs less machine washing, thus reducingtheamountofenergy,water,e^uent,anddetergentused Q. One of your top products is your 'Ultimate Merino' range. overall, reducing the environmental impact.

Can you tell us about this, its quality, traceability, and certiQcations and how this helps your clients have visibility from MerinowoolalsooersgoodprotectionagainstharmfulUV,which farmto Qnishedproduct? isparticularlyimportantforourproducts,withmostofthem being wornoutsideforoutdooractivities.

Ultimate Merinomeans Qnemerino, andit is responsible;wehave erent - fulltrace Merino wool is also inherently Rame resistant, thus odi ering a customerrequirementslikeRWS,none-chlorine, ability,GreenpeaceDetox,Oeko-Tex,andanimalwelfarestatuswe safe solution, which has drawn attention from Baby and Kidswear use these systems in our Ultimate merino range. brands,whichisasteadilygrowingareaforus.

Q. Can you tell us about your close connection to Australia and why it's been important for Diyang to source your raw materials from the region from day one?

Australia is not only the world's largest producer of Merino wool, about85%,butisalsothebestintermsofquality,whichisacredit totheexperience,pride,care,andpassionofAustralian - woolgrow ers. We mainly use Merino wool in the 15.5-to-18.5-micron range, andwhenitcomestotheQnerend,Australiaistheonlyoption.

Q. How did you set up your supply chain for your raw materials andQndtherightpartners?

We work closely with some wool brokers; we supply them with our customers' requirements, and they connect us to growers who can match these requirements, and we can set up supply chain stories, suchas'fromfarmtofashion.

Article: M6002B Composition: 100% Merino Wool Fleece/ Brushed Back Weight: 360 gsm Width: 170cm

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Diyang Merino Autumn/ Winter 22/23

Article: M3015 Composition: 100% Merino Wool Interlock Weight: 270gsm Width: 140cm

Article: Composition: Weight: Width:

M1002 100% Merino Wool Single Jersey 190gsm 155cm

Article: T1003S Composition: 70% Tencel, 30% Merino Wool Single Jersey Weight: 170gsm Width: 165cm

Article: M3001 Composition: 100% Merino Wool Interlock Weight: 240gsm Width: 155cm

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Article: Composition: Weight: Width:

Article: Composition: Weight: Width:

M6002B 100% Merino Wool Fleece/ Brushed back 360gsm 170cm

M1015 100% Merino Wool 150gsm 140cm

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Diyang Merino Autumn/ Winter 22/23

Article: M3015 Composition: 100% Merino Wool Single Jersey Weight: 270gsm Width: 140cm

Article: M1014 Composition: 100% Merino Wool Single Jersey Weight: 150gsm Width: 155cm

Article: T5003S Composition: 70% Tencel 30% Merino Wool Ponte Roma Weight: 230gsm Width: 180cm

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Weight: Width: Article: M5007 Composition: 100% Merino Wool Mesh Weight: 180gsm Width: 145cm

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M5002 100% Merino Wool Honeycomb mesh knit 260gsm 150cm

https://www.merinoultimate.com/

TODAY Q. It's been a very challenging year and a half for all with supply chain disruptions; how has your business been aected, and have you had to adapt in anyway to cater for this?

Textile manufacturing is a very traditional business, - and the busi ness model is not easy to change. However, we have found that more and more interesting online brands are developing, and we like to support and help this kind of entrepreneurship because of their innovative business model.

Q. What else would you like to see change?

More and more DNVB brands (Digitally native vertical brands brandsbornontheinternet)canbepartofanewwaveinthe market. They will also change the current supply chain model, which is very much needed.

Q. What do you think the fashion and technical sportswear landscape will look like post-pandemic?

Since the Pandemic, both sportswear and children's wear markets are better than fashion; think this will continue in the future as weseeperformanceandsustainabilitybecomingevenmore - impor tant.

Q. What’s next for Diyang Merino?

Diyang is extending its business into the Rat-bed merino knitting sector this year and continuing to strengthen our circular knitting category.Wearelookingforwardtosharingournewrangessoon.

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Zhejiang XINAO Textiles Inc

ZhejiangXNAOTextilesnc,sinceitwasestablishedinhas 19, growntobecomeoneoftheworld'slargestand leading manufacturers of worsted spun Merino Wool and Merino Wool blend machine knitting yarns. Located in Chongfu, Zhejiang Province, one of China's major textile hubs, Xinao wholly owns their scouring and wool top-makingplant,enablingthemtocontrolthewoolsupplychainfrom"FarmtoYarn".

Leading the way in terms of research, development and innovation in the industry, Xinao supplies high-quality pure,blendedandperformanceyarnstoleadingglobalfashion,sportswearandoutdoorsbrands.

Overthelastfewyears,Xinaohasseenthemarketschange,andwithmorecompaniestodaylaunchingproducts online,Xinaohasadapteditsbusinesstoworkwiththisneweraofinternetbrands.Brandsrequireorderstob Rexible and colours to be delivered within much shorter timeframes than before, so the company makes sure theyholdstockofpopularcoloursandhaveundyedstockonhandforfastturnarounds.Xinao'ssystemrunson precision, allowing them to work with traditional supply chain models and the rapidly increasing e-commerce markets.

Today,XinaoproduceavastarrayofyarnsforRatbedandcircularknitting,sockmanufacturing,and footwearuppers.

In 2014 XINAO was listed on the Shanghai stock exchange as a publicly listed company. n2019XNAOalsoacquiredownershipoftwowoollenspinningfactories,specialisingintheproductionof Cashmere and Cashmere blend machine knitting yarns.

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Xinao'sspinningfacilitiesin Chongfu,ZhejiangProvince,China

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Introducing XINAO RECYCLED CASHMERE COLLECTION XNAO oer several woollen spun machine knitting yarns for Ratbed knitting, which contain recycled CashmereQbre.

TheseyarnsareGRS(GlobalRecycledStandard)inaccordancewiththe Textile Exchange.

REGENERATION

Contains 60% new Cashmere and 40% recycled Cashmere.

Available in an Nm 2/26’s yarn count.

REBORN

Contains70%UltraQneMerinowool(17.5µ)and30%recycledCashmere.

Available in an Nm 2/26’s yarn count.

REBOOT

Contains 50% new Cashmere and 50% recycled Cashmere Available in Nm 1/15’s and Nm 2/15’s yarn counts.

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Article: REBORN Yarn Count: 2/16nm Composition: 30% Cashmere 70% Recycled Cashmere Gauge: 12gg Ref: XA19003 Spinner: Xinao

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Luxury Recycled Cashmere Blends

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Article: REBOOT Yarn Count: 15nm/2 Composition: 50% Cashmere 50% Recycled Cashmere Gauge: 12gg Ref: XA21008 Spinner: Xinao

Article: REGENERATION Yarn Count: 26nm/2 Composition: 60% Cashmere 40% Recycled Cashmere Gauge: 12gg Ref: XA20064 Spinner: Xinao

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Introducing XINAO AW22/23 - MERINO WOOL COLLECTION nrecentyearsXNAO'smainfocushasbeenonthedevelopmentofyarnsthathavea "Sustainable"element,examplesofwhichinclude.

ECO & ERA TheECOandERArangeofyarnsforRat-bedknittingismadefrom10%MerinoExtraQneWool(19.5µ).

The wool used to make the ECO and ERA yarns before spinning has been specially treated with a new shrink-prooQng (Machine Washable) process, which does not involve the use of Chlorine-or other halo gens in the process. As a result, no Absorbable Organic Halogen (AOX) compounds are formed- or dis posedofinthee^uentfromtheprocess,thusoeringamoreenvironmentallysolution.

VISLANA

The Ecocosy quality yarns are made from an intimate blend of Qbres comprising 50% ExtraQne Merino wool (19.5 µ) and 50% of Qne denier (2D) Viscose (EcoCosy ). Like wool, the EcoCosy viscose is biode gradable and is produced from a renewable source. Ecocosy yarns are available in three counts; Nm 2/8's, Nm 2/36's and Nm 2/48's. Knitted products made from Ecocosy yarns are smooth and soft and exhibitenhancedwearperformance.

EcoCosy is the registered trademark of Sateri (China) Fibre Co. Ltd. Knitted products made from the Ecocosyrangeofyarnsshouldbelabelledas"HandWashwithCare".

RWS 19.5

XNAOwasoneoftheQrstwoolmanufacturingcompaniestobecomecertiQedRWS(ResponsibleWool Standard). Over recent years, it has formed partnerships with RWS accredited wool growers, enabling themtodaytooerRWSyarnsinarangeofcountsbothforFlat-bedandCircularknitting.

VIRGIN The Virgin quality yarns are made from 10% Pure ExtraQne Merino Wool (19.5 µ) and are available in Nm2/30'sandNm2/48'syarncounts.Duringmanufacturing,nochemicalprocessingordyestuswere applied;hencetheVirginqualityyarnremainundyed,andknittedproductsmadefromthemshouldbe labelled as "Hand Wash with Care".

WASTENOT

The 'Wastenot' quality yarns are made from 10% ExtraQne Merino Wool (19.5 µ) factory waste from Qbre carefully collected during the manufacturing processes before spinning. This approach reduces waste by using wool Qbres which otherwise may have found their way into landQll. Wastenot quality yarns are available in Nm 2/30's and Nm 2/48's yarn counts, and knitted products made from them should be labelled as "Hand Wash With Care".

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BELOW: Article: Yarn Count: Composition: Gauge: Spinner:

ECO 2/30Nm 10% ExtraQne Merino Wool x1 end on 14gg/12gg x2 ends on 9gg Xinao

ABOVE: Article: Yarn Count: Composition: Gauge:

ERA 2/30Nm 10% ExtraQne MerinoWool x1 end on 14gg/12gg x2 ends on 9gg w w w . raw a ssembly. com Spinner: Xinao

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Luxurious Extrafine Pure Merino & Recycled Merino Wool Blends

Article: VISLANA Yarn Count: 2/36Nm Composition: 50%ExtraQneMerinoWool 50% Viscose Gauge: x1 end on 14gg Spinner: Xinao

Article: Yarn Count: Composition: Gauge:

Article: Yarn Count: Composition: Gauge:

Article: WASTENOT Yarn Count: 2/30Nm Composition: 10%RecycledExtraQne MerinoWool(Pre-consumer) Gauge: x1 end on 14gg/12gg x2 ends on 9gg Spinner: Xinao

VIRGIN 2/48Nm 10% ExtraQne MerinoWool x1 end on 16gg x2 ends on 12gg Spinner: Xinao

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RWS-19.5 2/30Nm 10% ExtraQne MerinoWool x1 end on 14/12gg x2 ends on 9gg Spinner: Xinao

Sustainability XINAO PATHWAY TO SUSTAINABILITY Just over a decade ago, XINAO drew up and embarked on a "Mill Sustainability Plan" which is continuing and will continue because XINAO believes "there is no starting point and no endpoint", and it is "the only wayforwoolprocessingtohaveafuture".

CEW One area that XNAO has concentrated on is CEW (Chemicals, Energy and Water), with the main focus been on reducing the amount of water to produce yarn. By focusing on reducing water, consumption bringsaboutmanybeneQts,whichinclude. ,Reductionintheamountofcleanwater , Reduction inthevolumeofliquide^uentdischarged. ,Reductionintheamountofenergyneededtoheatwater. ,Reductioninthetotalvolumeofprocessingchemicals.

Since Xinao embarked on this, they have reduced the freshwater consumption needed by more than half.naddition,theyhaveinvestedinwaterrecyclingsystemsthattodayenablethemtousemorethan 50% recycled water.

REDUCING THE RELIANCE ON FOSSIL FUELS. Since 2014 XINAO have invested and continue to invest in solar panels, and today they generate 6,000,000 Kwhofelectricityeachyearfromsolar.

GOING FORWARD To assist XINAO in its sustainability pathway, XINAO is involved with several organisations such as the Higgndex,CBD(CleanbyDesign)andtheLCMP(WWF-LowCarbonManufacturingProgram).

http://www.zjxinao.cn/

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The Circular Economy Woolisaperfectandsimpleexampleofthecirculareconomyinaction,bothintermsof - itsrawma terialproductionanditsusewithinthefashionandtextileindustries.

Thebestbitaboutwoolisthatsheepturngrassintowool!! ngeneral,woolisharvestedonceayear,andafteritssheared,itgrowsback,makingitanaturaland renewableQbresource.

To create products Qt for the circular economy, they need to be designed circular from the start.

Luckily natural Qbres are inherently biodegradable, making it easy for anyone to design safe and future-proofed products today. The secret is never to blend naturals and synthetics because they can be neither recycled nor decomposed. Instead, we need to see the resources we use as borrowed fromnature,andit'sourresponsibilitytomakesuretheycanbegivenback.Thebasicideaofcircular designisthatnothingshouldgotowaste.Millionsofyearsofevolutionhavealready designedanen tiresystemofmaterialsthatcanbreakdownandbecomebuildingblocksforsomethingelsetogrow.

How wool reduced Climate Impact Theusephaseisoneofthemainstagesofaproductlifecycle.Thisiswhenaconsumerowns,wears/ uses,washesandcaresforagarment.

ResearchshowsthathowweuseagarmentdiersdependingonitsQbrecontent.Therefore, toun derstandthetrueenvironmentalimpactofagarment,theusephasemustbeconsidered.

Thereareseveralreasonswhyusing,wearing,andcaringforwoolisverydierentfromotherQbres andcanmakearealdierencetowardreducingenvironmental impact.

[3]

Caring for Woolen clothing According to the nternational Wool Textile Organisation, a study of global apparel consumer use phase data, researchers analysed the number of times clothes are worn before they are washed.

WoolwasfoundtobewornmoretimesbeforewashingthanotherQbres,whichweverymuchagree with. Due to wools natural odour-resistance properties, a wool garment can be simply aired or hung in a bathroom whilst you shower, where the steam will release any wrinkles and allow it to regain its shape between wears. This saves on both energy and water usage.

Washing Wool WooliswashedatlowertemperaturesthanotherQbres(althoughallclothingshouldbewashedcold oronthelowesttemperaturesettingtosaveonenergyusage).

Consumershavefearedbuyingwoollenorcashmereproductsduetobeingconcernedabouthowto washandcareforthem.Atsomepointinourlives,manyofushavemistakinglyputawoolsweater in the wash on a higher setting, resulting in a felted garment that is more suitable for a child's toy to wear. Many brands place dry cleaning only labels onto woollen garments to prevent this from happening, but the secret we use is to put one sweater in a pillowcase, tie a knot, and place it in your washingmachineonawoolwash.Thishelpsreducefurtherfrictionandkeepsyoursweaters inex cellentcondition.GarmentsshouldbelaidRattoairdry.

Wool garments often last longer than other Qbres due to the garment quality and lower washing frequency.

Wool does not contribute to Microplastic pollution.

This could possibly be the most important reason of all. All textiles shed Qbres, but natural Qbres biodegrade in soil and water (Saltwater and freshwater) and do not contribute to - microplastic con tamination.[3]

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The Little Black Book

of Responsible materials | Interiors KVADR AT

FORMARLY KINNASAND

KinnasandsMonotypescollectionfeaturestextilesmadefrompur wool, hemp and lyocell - allowing each of them to be continually recycled. Each product has been designed to reduce the impact by choiceofQbres,dyesandwaterusage.naddition,thecompanycan tracetheoriginsofeachfabric.Theirwoolissourcedfrom mules ing-free,RWScertiQedfarmers,forexample.

TheirplansincludemovingawayfromblendsofnaturalandmanmadeQbrestoworkwithrenewablesourcesinstead.

Kinnasand has also reduced their product lines by half and con tinue to experiment and look for second life usage for - discontin ued samples, including donating them to schools.

Instagram: Website: https://www.kvadrat.dk/en/kinnasand/collections/ monotypes

CLOUDWOOL

100% British Wool, Breathable, insulating, lightweight and biodegradable Doppelhauss Cloudwool is a by-product of sustainable - and ethi cal sheep farming in Europe. Shepherds in Europe typically make alossfromsellingtheirwoolandrelyontheEUsubsidytosurvive It’s sometimes barely worth paying the money to have the wool collectedandprocessed,soasaresult,itsoftenburiedorburned!

DopplehausbelievethisamazingnaturalQbredeserves - tobecher ished,andfarmersdeserveafairrewardfortheirhardwork.Thats whytheyhavecreatedCloudwoolacost-ezcientwayofmaking apurewoolfabricthatprovidesaddedvalueforthelocalfarmer whose wool would have been wasted and for the global fashion industryindireneedofaordable,sustainabletextiles.

Instagram: @doppelhausltd Website: https://doppelhaus.co.uk/

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Responsible Materials

‘PURE’

DE LE CUONA

De Le Cuona fabric house launches Pure - the ultimate - colle tion of interior textiles for those pursuing wellness an to invest in a healthy lifestyle. Pure is a 10% organic linen col lection designed without compromising the beauty and the handleofthefabrics.

DeLeCuonaisapioneerofsustainableluxuryininteriortext knowing the origins of all the raw materials used, -from sou ing the Qnest natural Qbres for fabrics right through to d ingstylishrecycledpackaging.Sustainabilityisacorepart brand identity.

ThefounderofDeLeCuonawasshockedtolearnthatonlyone percentoflinenproducedisorganic.

Instagram: @doppelhausltd Website: https://doppelhaus.co.uk/

LEAF RECYCLED TheLeafcollectionoersrecycledwoolusingsalvagedyarns fromthefashionindustryfortheeco-friendly - andfor ward-thinking. The collection is made with reconstituted wool fromthePratoDistrict,taly,andhasalimitedimpactonthe environment.TheLeafcollectionincludesthreesemi-plainsin acontemporarycolourpalettefeaturingfreshpastelshadesof Mint,LemonandceBlue.AbeautifullysoftQnishgivesatactile touch to a robust quality. https:/www.kirkbydesign.com/collections/plains/leaf-recycled

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[Org-c]+[Lin-n]

DE LE CUONA Interior Design Fabrics

De Le Cuona fabric house launches Pure - the ultimate collection of interior textiles for those pursu wellnessandlookingtoinvestinahealthylifestyle.Pureisaorganic 10% linencollection designedwith outcompromisingthebeautyandthehandleofthefabrics.

De Le Cuona is a pioneer of sustainable luxury in interior textiles, knowing the origins - of all the raw ma terialsused,fromsourcingtheQnestnaturalQbresforfabricsrightthroughtodesigningstylishrecyc packaging.Sustainabilityisacorepartofthebrandidentity.

SAMPLE RECYCLING SCHEME Their new sample recycling scheme is a small solution to a broader problem. A WRAP study into the compositionandre-usepotentialofbulkyhouseholdtextilesfoundthataroundtonnes) (310, 9% consists oftextilesofallbulkywasteintheUK. In an attempt to cut down our textile waste and promote a circular economy, whereby resources are kept in use for as long as possible and the maximum value is extracted from them, De Le Cuona clients are encouragedtorecycletheirunusedandunwantedsamples,bydroppingthemoatoneoftheirLondon locations – 44 Pimlico Road or Design Centre Chelsea Harbour showroom, posting them back to their UK warehouse, or returning them to your local representative.

AslandQllscontributealargeamounttogreenhousegasesandglobalwarming,recyclingisasmallstepin the right direction, helping us to reduce pollution. We encourage everyone to do their part in preserving theearthforfuturegenerations.

CHARITY FINE CELL WORK CHARITY

FineCellWorkisacharityandsocialenterprisethatmakesbeautifulhandmadeproducts inBritishp ons, many in collaboration with the country’s leading contemporary designers. De Le Cuona proudly supportsFineCellWork,providingthousandsofmetresofitsbeautifullinenforhigh-qualitycushionshand stitched and embroidered by the prisoners, bringing hope and purpose back into their lives.

Themetres 2,50 ofbeautifulfabricdonatedtoFineCellWorkbydeleCuonaprovidesbackingandbase cloth for almost 4,0 cushions. n 2018, Fine Cell Work worked with over 60 stitchers in prison across the UK, providing a purposefulactivity that they carry out in their cells. This generous donation of fabr providedayearsworthofworkforourstitchers.Teachingprisonershigh-qualityneedleworkbooststhei self-worth,instilsself-discipline,fostershopeandencouragesthemtoleadindependent,crime-freeliv

Currently working in 32 British prisons and engaging with over 500 prisoners each year, Fine Cell Work addresses key issues aecting prisoners oending behaviours: establishing and reinforcing work skill building relationships, and mental resilience.

Prisoners are taught by experienced volunteers and sta to work in their cells and in prison workshop Havingtheopportunitytoworkindependentlyhelpsthemtoregaincontroloftheirlivesandallowsth tomaintaindignity.naddition,prisonersgainasenseofconnectiontotheworldoutsideprisonbyselli their work. t also helps them establish a work ethic and send money to their families or save for thei release.

FineCellWorkhasthelargestworkforceofhand-stitchersinEurope290atanyonetimeandcounting.

Lastyear4,870productsweremadeinprisonsacrosstheUK.Prisonersspendanaverageof24hoursa weekcraftingQnelyembroideredcushions,patchworkquilts,arangeofcontemporarybagsandgiftware in their cells.

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[Woo-l]+[Ct-n]+[Lux-y]

MTK Australia Luxury Circular Knitted Apparel & Interiors Fabrics

MTKisaMelbournebasedmillthathasbeenservicingthelocalandinternationalfashionindustryforthe pastyears, 78 withanassortmentofclientsfromCuethroughtoChanel, Balenciaga, AgnesB,LouisVuitton, Beca and Bridge, Veronika Maine, Saba, and Vince among many others.

Producingsomeofthemostluxuriousandsustainablecircularknittingfabricsranging - fromgauge 82 nex t-to-skinRWSknits,throughtobeautifulgauge 21 closed-loop,biodegradableandnaturally - derivedmate rialssuchasTencel &Tencel Luxe Q. Can you introduce MTK, where you are located and what you specialise in?

MTKAustraliaisanichemanufacturingbusinessinMelbourneAustralia.Thebusinessisyears 90 oldand overitslifetimehasevolvedfromaknittingmillproducingcutandsewfabricsforits - owngarmentcol lectiontoaspecialtyknittingmillproducingLuxuryhighendnoveltyandbasicknits - formanyoftheico nic major labels locally and internationally Q. What gauges are available at MTK and what types of materials are designers and brands able to produce with you?

We work with a large variety of counts and Qbres and with major sustainable yarn manufacturers like Lenzing and Enka , Organic cottons, RWS wools , and FSC Viscose.

Gaugesarefrom12to28gaugecircularknittingmachines.

Q. Australia Is a global leader in R.W.S merino wool, and produces some of the finest microns available today. Can you tell us about the RWS merino that you use and its origins and what type of circular knitted fabrics you produce for the domestic and international brands that you work with?

WeworkwithFoxLillie & whoareafamilyownedandoperatedwooltradingandexportbusiness.Founded inthey 1948 haveoveryears 70 experienceintheQnestmerinowoolandhaveestablishedthemselvesas oneofthelargesttraceable,sustainableandethicalfarmgroups,calledGenesys,whichiscertiQedunder theResponsibleWoolStandard(RWS)We . areabletotraceourmerinofromthefarmthroughtospinning andbacktousforknitting,allowingustoknowthatoursupplychainisethicalandweare usingnon-mu lesedmerinoforallofourclients.

OverthelastfewyearswehaveproducedwoolproductsforbothLanvinandChanel,amongst - othersran ging from next to skin knitwear to Ponte fabrics. ts such a great Qbre to work with for all product types fromactivewearthroughtohighendluxury.

Q. MTK has worked closely with the Kering Group for some years now in the creation of luxury and sustainable materials for brands such as Balenciaga. How do you feel the luxury sector can help drive change in the fashion sector, especially in influencing the fast fashion brands in becoming more sustainable? thinktheyareleadingbyexamplehaveformanyyearsnowbeenmovingtoamoresustainablemodel.

TheKeringgroupwillnolongerworkwithsupplierswhodonotembracesustainabilityandallfabricsmust havealevelofsustainableelements.Theyaredoingalltheycantoeducatetheirconsumersandthereby therestoftheindustrywhomonitorwhattheyaredonginthisspace.

Q. With global demand increasing for traceable and sustainable materials can you let us know which raw materials (fibres) are in high demand at MTK and what type of fabrics are you producing from these and for who (if and where you can share)?

WoolhasalwaysbeenapassionofmineandsowewillonlyuseRWSsourcedReeceOur . clientsdemand this. The reason we use RWS wool is because to have RWS status there has to be an Holistic approach to the production. This encompasses Landcare as well as world class animal husbandry practices. The landcare and animal husbandry are critically important to me and my clients who include Arnsdorf, A.BCH, Viktoria and Woods, Bec and Bridge, Gravel and Gold in L.A. and in the past Lanvin and Chanel. Ribbed fabricsaremostlywhatweareproducinginthisspaceatthemomenthoweverthischangesconstantly

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Q. 2020 reignited the on-shore manufacturing resurgence in countries all across the world due to the pandemic and also on-going trade tensions. How have you seen this unfold in Australia and what do you think the industry here could look like post the pandemic?

I think it is driving a return to local production but that is happening mainly in a small way in some of the larger organisations who a doing small capsules within their businesses. We at this point have nothadanyextrabusinessduetothismainlyduetothe-cost ducing our high end product with expensive yarns in Australia. We are currently talking to some of these labels but as yet i translated into any orders. Thankfully we have always had fromthelocallabelsabove.

Q. Do you see a difference between the Australian market and the rest of the world in terms of action, long term sustainability planning and industry transformation? (Are there any examples you can share?)

Mostofthelocalsmentionedaboveareandhavebeenembra this trend for a while now however whilst t is not good to ralise many of the larger companies are of the opinion that clientsdontcarethatmuchandwillnotpaytheextra- forsu ble local product.

Q. Are there any particular changes happening in the fashion industry, which excite you and have the potential to future proof the industry and drive systematic change?

am hopeful the smaller independent labels will continue sustainabilityforwardandinsodoingbringthemiddlemark them. That they will encourage some of the larger labels to f theleadofthesesmalllabelsandsomeofthebiginternati Keringtodomoreintermsofeducation.Educatingtheirclien fastfashionisnolongeranoption.Thatasoneofthebiggest p tersweneedtochangeourapproachtotextilesandfashion.We longercontinuetocreatelandQll. Instagram: https://www.instagram.com/mtkaustralia/ ** Originally published in Issue 01 RA Magazine*

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[Woo-l]+[Reg-Ag]+[Fib-re]

GLENWOOD MERINO Fibre Grower - Merino Wool Station NormandPipareQfth-generationwoolgrowers,thefourthgenerationSmithsonGlenwoodandtook over the management inthe mid-90s.

1 Norm and PipSmith live on Glenwoodwiththeir Qve children Chloe, Amber, Maggie, William and Daisy.

Glenwoodwasoriginallyapartoflargeacreage,andatonestage,itcomprisedover90acres.

Glenwood produces an incredibly high-quality non-mulesed RWS certiQed merino wool Qbre using bothholisticandregenerativeagriculturalpractices.TheirQbresarespunbysomeoftheleadingspinning mills globally, such as Diyang merino and Xinao.

LocatedinWellington,inNSW,Australia,Glenwoodhasbeenlookedafterbyitscurrentcustodians,the smithfamily,sinceSince 189. the 196 studhasusedSRS®geneticswithoutstandingresults.The-breed ing technologies developed by the ex-CSIRO researcher, Dr Jim Watts, have accelerated genetic improvement,improvedanimalwelfareandimprovedoverallenterpriseproQtabilityexponentially.

Being very passionate about the Australian industry, they see massive potential for their Qbre into the future. They are committed to promoting SRS® Merino right across the supply chain for its superior processing qualities.

CARE OF OUR LAND At Glenwood Merino, they are very passionate about improving the land for future generations.

GlenwoodisnotjustaproQtcentre,andtheyaimtoachieveabalancedoutcomeforthe - landscape,live stock,businessandthepeople.Thishasledtoproductivitygainsandaclearpathforasustainablefuture inallsensesoftheword.

The Smiths Qrst looked into holistic farm management in 198.They felt that not only did it Qt well with their resource base and its predominately native pastures and superphosphate and sub clover his-

tory,butitalsoQtinwellwiththeirownvaluesandtheirdesiretolesseninputswhilemaintainingoutput In changing to a holistic approach, they subdivided some paddocks and added watering points. At present, the 4000 wethers graze in one mob over 30, 130-150ha paddocks. The aim is to average 40-50ha paddocksforthewethers.Thestudewesandlambsgrazeintwoseparatecells,dividedinto - 25and30pad docks with 30ha and 10ha average size paddocks.

The results have been impressive, with a greater diversity of desirable perennials using time-con trolled grazing – enabling short graze periods and long rest periods. They monitor Glenwood’s progress bi-annuallyandannuallyusingindicatorssuchasthelevelofgroundcoverandtypeofground cover,per ennially,evidenceoforganismsandtypeofperennials.Theyarealsomanagingthelivestocktominimise chemical use and aim to lower the worm burden by better grazing techniques and eliminating the need tojetforRystrikesthroughgeneticsandmanagement.

Their view is that the global customer is evolving at an increasing rate, and issues like chemical residues and ethical production will be pressures that we have to live with and adapt to. Being proactive in this respectwillpresentopportunitiesforGlenwoodandtheirclientsmovingforward,whichtheyarealready seeing. For example, they ceased mulesing in 2005 and have consistently achieved a premium, whether cents 01-5 ormore,speciQcnon-mulesedwoolordersandhavehadaccesstomarketsandcustomersthey wouldn’t have otherwise had by staying in the auction system.

https://glenwoodmerinos.com.au/

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[Pla-nt]+[Ind-g]+[Nat-l]

FAMEED KHALIQUE Interior Design Fabrics Fammed Khalique's celebrated collection of innovative materials, drawn from around the globe, oers designers an unmatched resource to wow clients on commercial, residential, hospitality, marine and aviation projects.

Withover30collectionsandalibraryof10'sofinnovativeandjawdroppinglybeautifulsamples span ningfabrics,wallcoverings,Rooring,embroideries,semi-preciousstones,tiles,mosaics,glass anddecora tiveQnishes,thecollectionisextensive.

They pride themselves on providing the ultimate resource of craft, technique and ideas. Everything the oercanbecustomized,beitcolour,designortechnique.Theyloveachallenge,collaboratingwithclients torealizetheircreativevision,oeringnewdesignsolutionsandmakingtheimpossible intermsofimag ination, budget or lead time possible.

Their 'Natural fabric' collection range is made from raw materials derived from a perennial vine indige noustonorthernLaos.Growingnaturallyinabundance,thevinerequiresnoagriculturalinputs,farmin orpesticides.Thecompanyworkswithalocalfoundationtohelppreservethelandthevinegrowsonand supportthepeoplethatharvestit.Thefabricsarehandwoveninnearbyvillagesprovidingemploymentt thelocalcommunity.Thematerialsareallleftintheirnaturalstateandhavenodyesadded.Asaresu thedepthofcolour,contrastandvariationisfoundnaturallywithinthevine.

FabricsstartfromGBP360permetre.

https://khaliquelondon.com/

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Certifications Raw Materials & Products

THE FO R E S T S TE W AR D S HI P CO U N CI L ® ( F S C )

F S C i s a n i n t e r n a t i o n a li n toonr- pg r ao n fi­ s a t i o n f o r w o o d c e r t i f i c a t i o n .

FSC has a global forest certification system to provide a guarantee that fores from responsibly managed sources. The system has two key components: Forest Managem certification shows that forest managers or owners manage their forests respons https://au.fsc.org/en-au/for-business/fsc-certification THE PROG R AM F O R THE E N D O R S E ME NT O F F O R ES T C ER T IF IC A T IO N S C H EM ES ™ ( P EF C )

PEFC is an international non-profit organisation t fioorn w. o o d c e r t i f i c a ­ The Programme for the Endorsement of Forest Certification is an international, governmental organisation that promotes sustainable forest management thr third party certification. t is considered the certification system of choice for https://www.pefc.org/ THE CAN O P Y P LAN E T S O CI E TY

Cano py i s a C a n a d i a n n o n - p r o f i t o r g a n i s a t i o n t h a t f o c u s e s o n c o n s e r v i n g a n d p r o t e c e n d agn­ ered forests.

The CanopyStyle Audit Guidelines describe how auditors will verify that producer and whether and when they can be recognised as being at low risk of sourcing from a endangered forests or controversial sources. https://canopyplanet.org/solutions/fsc/credible-certification-just-one-part-of-th

SUSTAINABLE RAINFOREST ALLIANCE CERTIFIED -

T h e R a i n f o r e s t A l l i a n c e c e r t i f i c a t i o n s e a l m e a n s t h a t t h e p r o d u c t ( o r a -s p e c i f i e d duced by farmers, foresters, and/or companies working together to create a world whe nature th ri ve i n harm o ny.

PRO DUCT CE R TI F I CATI O N S CRA DLE TO CR AD LE CE R TI F I E D ™

Product Standard guides designers and manufacturers through a continual impro that looks at a product through five quality categories material health, mate renewable energy and carbon management, water stewardship, and social fairness.

Using the end-use product (waste) for the source of a new product: a circular economy. A can be designed for continuous recovery and re-utilisation. https://www.c2ccertified.org/ EU Ec ola b el -

Established in 1992 and recognised across Europe and worldwide, the EU Ecolabel is a env ir o nme ntal e xc e l l e nc e that i s aw a r d e d t o p r o d u c t s a n d s e r v i c e s m e e t i n g h i g h e n v i r o n ment a l standards throughout their life-cycle: from raw material extraction to producti dispo sal . https:// e c .e uro p a. e u/e nvi ro nm e nt/e c o l a b e l /

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Certifications Raw Materials & Products

T H E G L OB AL O R G AN I C T E X T I LE S T ANDAR D - G OT S

GL O BA L O R G AN I C TE XTI LE S TAN D AR D ( G O T S ) , i s t h e g l o b a l l e a d i n g t e x t i l e p r o c e s s i n g s t a n d organic fibres, including ecological and social criteria, supported by independent whole textile supply chain. This means that GOTS organic cotton is grown free from pe chemicals, with fair labour practices. The cotton standard also helps promote or ar o und th e w o rl d

h ttp s:/ / w ww. g l o b a l - s t a nd a r d . o r g /

O RGA N IC B L E N D E D S T AN D AR D - OCS

OCS - OR G ANI C B LE ND E D ST ANDAR D c o v e r s t h e p r o c e s s i n g , m a n u f a c t u r i n g , p a c k a g i n g , l a b e l trading and distribution of a product that contains at least 5 percent certifie It can be us e d as a b us i ne s s - to - b us i n e s s t o o l t o g i v e c o m p a n i e s t h e m e a n s t o e n s u r e t h a t t h ey a re selling quality and getting what they pay for.

G L O B A L O R G AN I C L AT E X S T AN D AR D - G OL S

Contr ol Uni on Certi f i ca ti ons h a s p i o n e e r e d t h e f i r s t g l o b a l s t a n d a r d f o r o r g a n i c l a t e x : t Organic Latex Standard (GOLS). t is highly regarded, especially in the sleep products outlines requirements for latex products made from organic raw materials, as wel from non-organic origins.

The standard addresses criteria for natural rubber from certified organic plant EU) that is processed at manufacturing units. To achieve GOLS certification, a produc more than 95% of certified organic raw material. The GOLS standard features permissib h a r m f u l s u b s t a n c e s , e m i s s i o n t e s t r e q u i r e m e n t s a n d p o l y m e r a n d f i l l e r -p e r c e n t a tations as well as processing units up to the final retailer are certified accor By using transaction certificates at every sale of a product in the supply chain, tr plantation to the final retailer is ensured.

It is best to s e e k b o th GO TS & GO L S l a b e l s w h e n b u y i n g a N a t u r a l -l a t e x m a t t r e s s e s , t h i s e n s u r es t ha t no chemical fertilisers have been used in the area of growth for at least four years a FSC managed forest amongst other factors.

O EKO - T E X®

STAN DAR D 100 by O E K O - T E X ® i s o n e o f t h e w o r l d s b e s t - k n o w n l a b e l s f o r t e x t i l e s t e s t e d f substances. t stands for customer confidence and high product safety.

The Oeko-Tex Standard 100, introduced in 1992, is a global uniform testing and certificati for textile raw materials, intermediate products and end-products at all stages o products are certified according to Oeko-Tex Standard 100 only if all components meet criteria w i tho ut e xc e p ti o n.

D i s c o v e r o t h e r O e k o - T e x c e r t ibfeil ocw ations https:/ /www . o e k o - te x.c o m /e n/o ur- s tan d a r d s / s t a n d a r d -100-b y -o e k o -t e x

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T H E R E S P O N S I B L E D O WN S T A NDAR D - R DS

Responsible Materials

The Responsible Down Standard (RDS) aims to ensure that down and feathers come fr ha ve no t b e e n s ub j e c te d to any unne c e s s ary harm . R D S i s an i nde p e n d e n t , v o l u n t a r y , g l o b a l l y recognized certification that acknowledges and rewards companies for ethica the humane treatment of ducks and geese. To qualify for a RDS certification, far suppliers must respect the Five Freedoms of the geese and ducks that supply th ethical practices, every stage in the supply chain is audited by a third-party pr

T RA C E AB LE D O WN S T AN D ARD - T DS

NSF can certify all elements of the down supply chain to the new Advanced Globa S t a n d a r d ( G l o b a l T D S ) . T h e s t a n d a r d e n s u r e s t h a t d o w n i n g a r m e n t s a n d o t h- e r h o m e r c i a l p r o d u c t s c o m e s f r o m a r e s p o n s i b l e s o u r c e t h a t r e s p e c t s a n i m a l w e- l f a r e ently traced. Down is a byproduct of the food industry. n this down supply chain, bi fed for foie gras production or even live plucked to get more than one harvest o bird .

The Global TDS involves a chain of custody component that verifies traceabilit throughout the entire supply chain. Full transparency is required in order to supply chain including parent farms, hatcheries, breeding and intermediar - y rai houses, collectors, down processors, down wholesalers, transport vessel - s and ries. NSF will facilitate the supply chain mapping process prior to certificatio https://d2evkimvhatqav.cloudfront.net/documents/su_traceble_down_q_a.pdf

e c o -I NSTI TUT-L abel

A reliable quality label for products fulfilling strictest requirements on following the latest state of research and science.

Pr o d uc ts b e ari ng the l ab e l are : , Reliably low in emissions (outgassing) and hazarduous substances. , Can be used without restriction in construction and renovation projects a and w o rk i ng s p ac e s .

• Favo re d b y re s p o ns i b l e arc hi te c t s a n d p r o j e c t p l a n n e r s i n n a t i o n a l a n d i n t e r n a t i o n a l c o nst ruct ion pr o j e c ts . , The first choice for health-conscious consumers when making their purchasing d

CERTIPUR-US -

Made without ozone depletersWhich havebeenbannedsinceUnfortunately, .20 insomepartsoftheworld,CFCsare stillusedtomanufacturefoam.TheCertiPUR-USlabelprohibitstheuseofanyCFCs,orotherozonedepleters manufacturingprocess.

Made without PBDEs, TDCPP or TCEP (“Tris”) Rameretardants-whichhavebeenbannedsince205.

Madewithoutmercury,leadandotherheavymetals-Thoughnotcommoncomponentsoffoamchemistry,heavymeta infood(mercuryinQsh)andinthehome(leadpaintinchildrenstoys)havemadetheentireheavymetalfamilyan concern. CertiPUR-US laboratory testing subjects material extracted to molecular analysis capable of d amounts of heavy metal content. CertiPUR-US veriQes that registered foams are made without mercury, lea heavy metals.

Made without formaldehyde - Like heavy metals, formaldehyde has never been used as a raw material in foam.

- Formal dehyde has been labelled as a cause of poor indoor air quality. The absence of formaldehyde in foam is veriQed PUR-US-certiQedfoambyasmallchamberemissiontest.

Made without phthalatesregulatedbytheConsumerProductSafetyCommission Phthalates (pronounced 'thal-ātes() is mainly used as a softening agent in the manufacture of some consumer TheConsumerProductSafetymprovementAct(209)eliminatedtheuseofeightspeciQcphthalatesforuseinchil toyandchildcareitems.CertiPUR-USgoesastepfurtherbyrequiringdetailedlaboratoryanalysisoffoamext prohibitingtheuseofphthalatesregulatedbytheConsumerProductSafetyCommissioninallCertiPUR-USce

Low VOC (Volatile Organic Compound) emissionsforindoorairquality(lessthan0.5partspermillion) VolatileOrganicCompounds(VOCs)areamajorcomponentofairpollution.VOCemissionsfromhouseholdprodu alsoaconcernforindoorairquality.

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R e s p o n s ib l e Wo o l St a n d a r d ( RWS ) The Respo ns i b l e W o o l S tand ard i s a vol u n t a r y s t a n d a r d t h a t a ddresses the welfare of sheep and the land they graze on.

The goals of the Responsible Wool Standard are to provide the industry with a tool to recognize the best practices of farmers; ensuring that wool comes from farms that have a progressive a p p r o a c h t o m a n a g i n g t h e i r l a n d , p r a c t i c e h o l i s-t i c r e s p e c t f o r a n i mal welfare of the sheep and respect the Five Freedoms of animal welfare.

W W W .T E X T I LE E X C HA N G E . O R G / S T A N D A RD S /

The Respo ns i b l e W o o l S tand ard i s a vol u n t a r y s t a n d a r d t h a t a ddresses the welfare of sheep and the land they graze on.

The goals of the Responsible Wool Standard are to provide the industry with a tool to recognize the best practices of farmers; ensuring that wool comes from farms that have a progressive a p p r o a c h t o m a n a g i n g t h e i r l a n d , p r a c t i c e h o l i s-t i c r e s p e c t f o r a n i mal welfare of the sheep and respect the Five Freedoms of animal welfare.

THE STANDARD FOCUSES ON: ,Recognizethebestpracticesoffarmers; , Ensure that wool comes from farms with a progressive approach to managingtheirlandandfromsheepthathavebeentreatedresponsibly; • Create an industry benchmark that will drive improvements in animal careandlandmanagement,andsocialwelfarewhereneeded;and , Provide a robust chain of custody system from farm to the Qnal - prod uct so that consumers are conQdent that the wool in the products they choose is truly RWS The RWS may be applied globally and applies to the wool supply chain only.

Access the RWS Documents here Learn more about RWS here, plus access Textile Exchanges other Standards in their Resources section, such as Responsible Leather, Mohair, and Down.

https://textileexchange.org/

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Responsible Materials

G l ob a l R e cyc l e St a n d a r d ( G RS ) The Global Recycled Standard (GRS) is an international, voluntary, full product standard that sets requirements for third-party certification of Recycled Content, chain of custody, social and environmental practices, and chemical restrictions. The goal of the GRS is to increase the use of recycled materials in products and reduce/ e l i m i nate th e h a r m c a u s e d b y i t s p r o d u c t i o n .

W W W .TE XT IL EEX C H A NG E. O R G / D O C U M ENT S / THE OBJECTIVES OF GRS ARE:

,AlignmentofdeQnitionsacrossmultipleapplications.

• Track and trace Recycled input materials. , Provide customers (both brands and consumers) with a tool to makeinformeddecisions. ,Reducetheharmfulimpactofproductiononpeopleandthe environment. ,ProvideassurancethatmaterialsintheQnalproductareactually Recycled and processed more sustainably. , Drive innovation in addressing quality issues in the - use of Recy cled materials.

HOW IT STARTED:

TheGlobalRecycleStandard(GRS)wasoriginallydeveloped - byCon trolUnionCertiQcations(CU)inand 208, ownershipwaspassedto Textile Exchange on January 1, 201. The previous version of the standard, GRS 3.0, was released in 2014.

Access the GRS Documents here Learn more about GRS here, plus access Textile Exchanges other Standards in their Resources section, such as Responsible Leather, Mohair, and Down.

https://textileexchange.org/

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RWS & Recycled Wool Yarns Knitting, weaving and hosiery SUD WO L L E GR O U P Sudwolle Group is a Wool yarn specialist. Established in 196, their head office is located in Germany with production facilities in Europe, China and Vietnam. Raw Materials originate from AustraliaandareR.W.Scertified.Theyofferarangeof10%wool,woolblends,recycledandfully traceableyarnsforflatbedknitting,circularknitting,weavingandhosiery. h t t ps:/ /www.suedw o l l e gro up . c o m

TOY O SHI M A & C O L TD .

CRCLEWOOL offers 10% recycled woollen yarn for weaving and knitting. They collect both used and unsold woollen garments and turn them onto new yarns. Established over 100 years ago, they are experts in recycled woollen products. h t t ps:/ /www.to yo s hi m a. c o . j p

NOVET EX Establishedin1976andpartoftheNovelGroup,NovetexTextilesLimitedisrecognisedasoneof the leaders and pioneers in the textile industry.

Withtheirexpertiseinsustainablefibreandyarndevelopment,Novetexexcelsincreatingexciting fashionandnovelyarnswithstrongeco-credentials.Theyaimtobecomecarbonneutral.Novetex offers a wide range of sustainable yarns, including qualities with recycled, traceable, and organic materials. In addition, they strive to constantly improve their operating supply chain, reduce waste in the production process, and support the most responsibly sourced raw materials. h t t ps:/ /www.no vet e x.c o m /aw 2 2 2 3 /

XINA O, Zhejiang XNAO Textiles nc, since it was established in 19, has grown to become one of the world'slargestandleadingmanufacturersofworstedspunMerinoWoolandMerinoWoolblend machineknittingyarns.LocatedinChongfu,ZhejiangProvince,oneofChina'smajortextilehubs, Xinao wholly owns their scouring and wool top-making plant, enabling them to control the wool supplychainfrom"FarmtoYarn".

h ttp :/ / w w w .zj x i na o . c n/ p r o d uc t . p hp UPW UPW specializes in luxurious natural fibres which are durable, biodegradable, with low environmental impact. We offer traceable cashmere and yak, non-mulesed wool, organic cotton, andsustainablebotanicfibres,includinglinenandhemp.

Their minimum order quantity is 1kg. h t t ps:/ /www.upwhk .c o m /s us tai nab i l i ty

I ma ge: LE NZ I NG

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RWS Wool & Cashmere Knitting Yarns D IY A N G ,

Founded in 208, Diyang Merino Textile Ltd has specialised in the production of circular knitted fabricsandgarmentsmadefromAustralian 10% MerinowoolorAustralianMerinowoolinblends withotherfibrestoaddenhancedfunctionality. https://www.merinoultimate.com/

IN D O R A M A H o lding L td.

The first-ever business of ndorama Ventures began in 194 with the incorporation of ndorama HoldingsLtd.ThefirstworstedwoolyarnproducerinThailand.

Witha niche segment of the market and a strategy of low-cost and high-qualityproductionusin best-in-class machinery and the latest technology, they have been recognised through to today as one of the leading producers of premium worsted yarns. One of their key strengths is in sustainableyarnsforboththewovenandknittingindustries. http s : //w w w . i nd o r a m a v e n t u r e s . c o m / e n / o u r -p r o d u c t s / w o o l

CASHM ER E Y A R N S To d d & D u n c a n - L uxu r y

100% Natural coloured, dyed & Repurposed Cashmere Todd & Duncan have been producing yarns since 1867. Their yarn is produced in their Loch Leven mill in Scotland, using methods that are true to the ways of the past. Generations of Scot cashmere experts have shared their knowledge through the generations. Todd & Duncan are knownfortheirpremiumqualityyarnsandthemostexquisitecolourscardsinthemarket.

Theirluxuryyarnsarebestsuitedforhigh-end,designerbrands. http s : //w w w . to d d-d u n c a n . c o . u k /

UPW - A f f o r d a b l e C a s h m e r e . http://www.upwhk.com.cn/stockstore/category/cahmere-pure/cashmere-pure/ FW /2 0 2 0

Novetex - A f f o r d a b l e C a s h m e r e . http s : //w w w . no ve t e x . c o m / a w 2223/

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Italian Mills | Recycled Wool FILPUCCI The Tu sca n spinner has l o ng b e e n a m aj o r p l aye r i n t h e It a l i a n t e x t i l e i n d u s t r y . It i s o n e of the world s leading manufacturers of high-end creative knitwear yarns.

Filpucci Group represents a pioneer manufacturing reality in the high-end low impact fantasy yarn industry. Together with GRS (Global Recycled Standard), GOTS (Global Organic Textile Standard) obtained in Spring Summer 2019 and the well-established circular economy brand Re.VersoTM, the company has achieved further certifications for viscose and wool since Autumn-Winter 2020, such as FSC (Forest Stewardship Forest) RWS (Responsible Wool Standard).

For Spring Summer 2021 Filpucci proposes 38 sustainable yarns for Filpucci Collection.

R e.Ver So™ i s a n e w c i r c u l a r e c o n o m y b r a n d o f a m a n u f a c t u r i n g s y s t e m f o r w o o l , b a b y camel and cashmere. t has been developed by qualified talian partners and it represents a really advanced, integrated, fully transparent and traceable supply chain. Re.VerSo gathers, selects and processes exclusive pre-consumer offcuts and trimming recovered from already dyed wool and cashmere materials. Re.VerSo represents an innovative, refined, smart-oriented and pioneering manufacture process characterised by values th at are aligned to any c o nte m p o rary c o ns um e r’s n e e d s . https://filpucci.feeltheyarn.it/en/product-category/new-collection/collection-fal wint e r-2 2 - 2 3 / LAN IFICIO DELL’O LI VO

Founded in 1947 and based in Prato taly, Lanificico is a leading talian manufacturers of fancy yarns for the knitwear and hand-knitting industries. Over the years the company has developed a unique know-how in the combed spinning of noble fibres and has a long s t an d ing track reco r d i n p ro d uc i ng s us tai nab l e hi gh -q u a l i t y p r o d u c t s a n d p r o c e s s e s t h a t respect the environment and the well-being of their workers, consumers and animals a like .

Lanificio dell Olivio is a global company with two thirds of its sales coming from Europe, the United States and the Far East. They work with some of the worlds most prestigious brands today and due to their exclusive network of suppliers, they procure their raw materials from sources that ensure the highest quality level and compliance with i n t e rnat io na l standa rd s . https://lanificiodellolivo.com/

COMIST RA SRL Pioneered by Alfredo Tesi in 1920, and then fully realised by his son Rolando who in 1951 founded Comistra.

The fourth generation italian business has been transforming waste into a resource by making recycled materials from textile by-products or used clothes since day one.

They oper ate a wa ter - b as e d c arb o ni z ati o n and s i e v i n g p l a n t , t h e o n l y o n e t h a t i s s t i l l fully operational in the world today. All of their products are produced without the use of dyeing as they utilise the existing colours within each piece that is recycled. Their products fit perfectly into the philosophy of the circular economy ht t ps://it.co mistra.co m/

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F I LATI O ME G A S . R . L

Fo und e d i n 1 9 6 2, F i l a t i Om e g a h a s b e e n p r o d u c i n g y a r n s s i n c e 1990. T h e y produce around 10,000 tons of yarn per year, in both virgin and recycled composit W i th c o nti nual i n v e s t m e n t i n n e w m a c h i n e r y a n d i m p r o v e d p r o d u c t i o n p rocesses, Fi l ati O m e g a w o r k i n -l i n e w i t h t h e s t r i c t e s t i n t e r n a t i o n a l s t a n d a r d s . https://www.filatiomega.com/ MAN TE CO S P A

M ante c o S PA h a v e b e e n w o r k i n g w i t h r e c y c l e d w o o l y a r n s s i n c e 1943. I nit ia lly producing new textiles from old military garments, they have ev b us i ne s s o ve r t h e y e a r s a n d a d o p t e d n e w i n n o v a t i v e t e c h n o l o g y t h a t a llows the m to s up p l y s m a r t a n d c r e a t i v e t e x t i l e s o l u t i o n s t o t o d a y ’ s g e n e r a t i ons. http ://w w w .m a n t e c o . c o m LAN E R O S S I HONE T EX T IL E

Lanerossi produces a collection of blankets, throws, scarves, an 100% Wool, Cashmere and Recycled Wool. Products can be customised to fi c l i e nts o w n ne e d s . w w w . l ane ro s s i . i t

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HAND-PICKED

Plant-Based Wool Alternatives Recognizing how far we have strayed from our natural origins, we seek ways to reroot ourselves within our natural eco-systems by redesigning products that come from nature and can return to it after use.

Flocus™ Faborg A sustainable vegan wool alternative -that creates a POSITIVE impact to the world.

Calotropis plant grows wildly at deserted lands with no water, no care, no pesticides. The Qbre extraction is labour-intensive and mostly done by hand - in turn, it empowers and helps the rural economy in dry parts ofthecountrywherelivelihoodisunsecured.

Instagram: @faborg_vegan_wool Website: https:/www.faborg.in/

Woocoa Woocoa, is an innovative wool-like material created by a group of university students in Colombia and the winner of the 2018 AnimalfreeWoolPrize.Woocoaisacoconutandhemp WoolQbretreatedwithenzymesfromthe-oys ter mushroom.

Woocoa is not commercially available today; however, its an interesting development for thefuture.

MadebyNatureforNature.

FLOCUS is proud to introduce its naturally versatile Qb fortextiles,whichmaybespunintothethinnestyarncount andblendedtocreateawiderangeoffabricsandinsulatio materials. Products containing FLOCUS are naturally com fortable, lightweight, hypoallergenic, and soft to the tou and,withoutanyadditivesfeatures ahostofamazing prop erties such as moisture management, temperature regulation, insect repellence, and much more.

Instagram: @Rocusozcial Website: https:/www.Rocus.pro/

Forest Fibres Designer Tamara Orjola has taken a holistic approachtotransformfallenpineneedlesinto awaste-freewoolalternativefibre.

Still, in its development stage, Tamara hopes to further develop her concept through commercialisation with the support of an advisory network within the fashion and textile industry, as well as seeking like-minded investors to take Forest Wool to the next level. investors to take Forest Wool to the next level.

Instagram: @tamaraorjola Website: http://www.tamaraorjola.com

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BET T ERPA CKAG I NGC O .

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Image: A.BCH | SWOP by Better Packaging Co.

A Circular Life

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ereallnowprettyusedtohandingoverakeepcuptoourfavouritebaristaeverymorning,takingour fabricbagstothesupermarket,emptycontainerstothewholefoodsstore-Sowhywhenweshop onlinecanwenotoptforareusablemailingsatchel?Quitesimplybecauseitsnotthatsimple.tsn possibletoBYOmailingsatchelbecause,bydeQnition,thesenderandrecipientareindierentpla andgettingareusablemailerreturnedbacktobasecancostalotofmoney.ThatdoesntmeantheBetterPacka Co. has given up on the idea and, determined to start somewhere, have recently launched their reusable SWOP Packs theSustainableWayofPosting.

BPCo.mightbeinfamousfortheirRealDirtBags,buttheircommitmenttosustainablepackagingextendsfarbeyon justhomecompostablemailers.Thecompanysfounders,RebeccaPercaskyandKateBezar,wereinspiredtodevelopa moresustainablecouriersatchelafterwitnessingQrst-handtheextraordinarygrowthofonlineshoppingan thehugeamountofpackagingwastegeneratedbyeachofthoseordersbeingindividuallywrappedinsingle-usevir plastic packaging.

‘Waste is a design flaw’

Becs and Kate believe that waste is a design Raw, so (tamperall proof) and of course, reusable. n addition, the their packaging is designed to be used more than once. bag had to be sealable multiple times and able to be reTheir largest courier satchels have two seals, and all sizes furbishedinbetweenuses. have printed cut here to reuse graphics. Adding - some thing this simple to the bag sows an idea in the mind BPCo. ofwanted to incorporate as high a percentage of re the recipient that, 'Oh yeah, could use this again.( From newable materials as possible and went to great lengths day dot, they have also wanted to develop a courier satch- to do so. The main body of SWOP is made entirely from el that could be used many times, but were determined to renewable and compostable materials. These materials doitproperly,responsibly-Better. arealsorelativelylightweight,whichisimportant forpack agingasaddingtotheoverallweightofaparcelwilloften They see a national pool of reusable satchels-as the add to ulti cost and require more fuel to transport. A special mate goal. Becs says, 'magine thousands of them circu - plant-based coating ensures labels stick well to the outer lating amongst couriers and households. Couriers deliver- surface so that the bag seals securely with its - courier la ing parcels in the satchels would pick up empty, used ones bel. However, another version of SWOP also has a Velcro atthesametime.(Untilthen,reusablesatchelsmake strip the to seal it for customers wanting extra security. This mostsenseforthesescenarios: is not yet renewable, but the company is working on alternatives.

• Internal/intra-company deliveries • Rental or subscription service models Despite it taking years, literally, to design a product that ,Brandswithahighrateofonlinereturns ticked these boxes, BPCo. feels the timing for SWOP is , Brands with an o^ine presence wanting to increase right. instorefoottrazc(whenacustomerreturnspackaging) They believe uptake would likely have been slow if they Even in these situations, not all satchels will make it back launched immediately as a new company with such a revtobase,andapercentagewillbelostfromthesystem. olutionary product. Kate explains. 'We now have a - cus Creating a satchel to last many more times than the antic- tomer base of tens of thousands of sustainably-minded ipated average usage rate would be a case of over- companies engi who trust us and our products. They believe in neeringandawasteofresources. our vision, share our values and are on the journey with us.fwedlaunchedSWOPstraightothebat,theuptake would’ve been limited, but now, we’ve got the opportunity The challenge togiveitthemomentumandscaleitdeserves.( BPCo. set for themselves was to design a reusable cou rier satchel to be durable but not over-engineered, sustainable (in materials, production and end-of-life), secure

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BetterPackagingCo.founders:RebeccaPercaskyandKateBezar

BPCo. sees the ultimate goal for SWOP as becoming - re to change too. ts going to have to become cool to - re ceptaclesforevenmorerecycling-Forexample,they ceive a parcel that looks like it’s been around the block areindiscussionswithalargefashionbrandinthe more USA thanafewtimes!The ( goodnewsis,challengesare who is going to encourage their customers to use this what this pair and their company thrive on. packaging to send back old clothes to be then redistributedforasecondlife.tcouldjustaseasilybetoothpaste OnebrandthatwasupforthechallengeisMelbourne tubes or other tricky-to-recycle things that get sent back circularfashionlabelA.BCH.BPCoscompostablemail inemptySWOPs,makinguseofthatreturnleg. satchels are their default for shipping e-commerce or ders to customers. They have introduced SWOP as an Challengesremain.AsBecssays,'Thiskindofmodel option for customers to select at checkout-for an addi willneedthesupportofourpostalservicesandtional courier cost. When their customer returns the SWOP Pack companiestobecomeeconomicallyviableand whenit toA.BCH,theyreceiveavoucherfortheirnextpurchase. comes to individual consumers, their attitudes will have

“

This kind of model will need the support of our postal services and courier companies to become economically viable … and when it comes to individual consumers, their attitudes will have to change too.

It’s going to have to become ‘cool’ to receive a parcel that looks like it’s been around the block more than a few times!

fyoudliketolearnmoreaboutSWOP, visit betterpackaging.com-individualsamplesofSWOP are available too.

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”

Image: A.BCH | SWOP by Better Packaging Co.

SWOPisnowavailablefor customers to select upon check out when purchasing A.BCH products online.

Image: Courtney Holm, A.BCH | SWOP by Better Packaging Co.

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[Woo-l]+[Pack-g]+[Wast-e]

WOOLA Packaging made from Waste Wool Woola is in the packaging business to play its part in making the e-commerce industry lighter on the planet – one parcel at a time.

Usingwastetoreplaceaproductthatisharmfultotheplanetdoesnotmakeusasustainablecompany.

No matter how planet-friendly any product is at its core, it still uses natural resources and needs to b produced, packaged, transported, taken care of at the end of life it obviously has an environmental footprint.

To create sustainable packaging embedded in every aspect of the business, we need to understand the bigpictureandanalyseeachpieceofthebiggerpictureseparately.

Woola uses waste wool to replace plastic bubble wrap.

Creating a packaging solution that will positively shake things up in the industry can only happen by taking an investigative approach. So the team at Woola started with a deep dive into the whole value chain to see where and how they could make an impact – the plastic problem, the wool industry, the waste management systems that need to be improved or replaced.

They believe a tangible change starts with focusing on Qxing smaller areas that contribute to the bigger problem, one at a time.

Local wool collection

Woola is setting up a fair industrial-scale leftover wool supply chain in collaboration with local farme andshearers.ThisdoesntcurrentlyexistinEstoniaatanyscale.which , isthemainreasonwhyof 90% the precious material is either buried or burnt.

Setting up a circular system Woola believes the most sustainable packaging solution is one that’s circular by design. By circular, they meanasystemthatensurestheresourcestakenfromnaturewillbeusedagainandagain,asmanytimes as possible.

Thereiscurrentlynoaccessiblecircularsystemforwool,sotheyarecreatingtheirown.Goingonestepat a time, they are launching a pilot program in Estonia. From late spring 2021, people will be able to return their used wool envelopes to them via local return stations to keep the precious material in the loop. n addition, they are working on scaling the concept internationally and paving the way to fully circular Woola products.

Understanding the end-of-life of our products Woola appreciates that all materials they use in Woola products are biodegradable and compostable, butthatisnotenough.Sotheyarediggingdeeperandrunningteststogetdetailedcompostabilityfacts, speciQcallyabouttheirproducts.

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Setting up their factory to meet the highest social and environmental standards.

TheyrecentlyopenedafactoryinPaldiski,Estonia, - topro duce Woola products and create a workplace outside the capital that oers a meaningful job and fair compensa tion, including stock options.

They do their best to minimise the environmental foot print of our production, following the best practices and constantly looking for ways to improve. Their production runs 50% on the area’s autonomous renewable energy grid operated by the PAKRI Science and Industrial Park.

Lighteningthetransportationfootprint When shipping orders, we’re currently using DPD’s carbon-neutral delivery service. They are now looking for a solution that enables shipping orders without single-use cardboard boxes. fyoucanhelpthemsolveit,getintouch.

https://www.woola.io/sustainability

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REIMAGINING MATERIALS Textile designers and makers are increasingly aware of their - responsibili ty to underpin their practice and creative outputs with value-led integrity.

Thedecisionswemakeduringthedesignprocess,suchasQbrechoiceand manufacturingprocesses,determineupto80%oftheoutcomesenviron mental impact [4] Wespeakwithdesignerscreatingbespoketextilesfromaroundtheworld and look at RE their material choices.

Dtake ESIGa N ERS I MAGI NI NG P RO DU C TS OF TH E PAS T F OR

TH E FU TU RE. EFFORTLESSLY BLENDING VINTAGE TEXTILES, WITH MASTERFUL NEW CUTS. F O CU S PO I NT S : U P C Y C L I N G V I N T A G E B L ANKET S & QUIL T S

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A Light Touch: Small-scale sourcing of ethical and sustainable wool for designer-makers

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Image Credit: Hannah Morgan

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Textile designers and makers are increasingly As a sustainable and ethical designer-maker, have Qrm - stand awareoftheirresponsibilitytounderpin - their ardsfor prac thewool useinmywork.Theseincludeanimalwelfare, tice and creative outputs with value-led integrity. single-source provenance, local sourcing, the preservation The decisions we make during the design process, land, including regenerative agriculture methods, and social welsuch as Qbre choice and manufacturing process - fare protection. A particular issue for small enterprises in es,determinesupto80%oftheoutcomesenvironmentalimpact accessinglocalandcertiQedReecesuppliersinsmallerquant (European Commission 20 cited in Dan and Østergaard 201). while also ensuring supply chain transparency.

Examining the design decisions made during the development of textiles is often challenging but always worthwhile.

CertiQcations We tend suchasTextileExchange'sResponsible- WoolStan to gravitate towards processes that we are familiar - with, ardsaccessi (RWS) and Organic Content Standard (OCS), the Global - Or ble, and which brings us personal enjoyment. However, a deeper ganic Textile Standard (GOTS) , the Savory nstitute's Ecological understanding of how material choices impact our natural Outcome and VeriQcation (EVO), the nternational Wool Textile Wool cultural ecologies is required. Most recently, have focused (WTO) Test my CertiQcate, and the NewMerino® Traceability and attention on wool to understand its impact and implications so Transaction CertiQcate System assist in connecting with that my practice is embedded in sustainable and ethical design. growersthatadheretoanimalwelfareandsustainablestand However,certiQcationrequiresaninvestmentoftimeandmone I have a personal history with wool, going back to childhood mem- that not all farmers can achieve due to scale. Those that do h ories of exploring shearing sheds on Wiradjuri land and catching certiQcation are most often selling in large bulk that excee thewaftsoflanolin-Qlledair.Theseassociationsalign - with needs Austral ofsmallerenterprisessuchasdesigner-makers. ia'siconicprideinourmerinoheritage,ofadventureand - uninhib iteddiscoverythatareingrainedintheQbresmeaning.continue Additionally, in Australia, much of the processing -and manu to delight in a playful and satisfying collaborative relationship facturing isof o-shore. This creates higher emissions and makes working with wool. The Qbre is a generously warm and accom - transparent traceability more challenging. Alice Payne and Tiziamodatingmaterial,sometimeswithamindofitsown.Woolfeels na Ferrero-Regis (2019) report that this has led some Australian both ancient, grounded in agriculture and history, and abundant woolgrowers to strive for 'glocalism', where auctions-and whole in its future potential. The remarkable characteristics saling of the areQbre side-steppedtoensuretraceabilityfromthefarmt – renewability, biodegradability, anti-bacterial properties, odour o-shore manufacturing and producers. This is good news for resistance, UV protection, insulation, moisture-wicking, elasticity, larger enterprises when on-shoring is unlikely to return to AusRexibility, Rame resistance, dyeability and the incredible tralia texture intheshorttermduehigherratesofpayandashortage aordsaninQnitenumberofapplicationsacrossavariety - local ofin processing expertise. However, the minimum order quantidustries and innovative developments continue to be discovered. ties remain inaccessible to small enterprises.

TheconstructiontechniqueQndmostsatisfyingtoexploreisthe tanglingactoffelt-making-theabilitytotakearawQbre andcre ate fabric with hot soapy water and a little elbow grease is em poweringanddeeplysatisfying. am in continuous dialogue to interrogate the impact - of my tex tile practice, like many other designer-makers. We aim to make better decisions within a smaller practice to ensure our creative work brings no harm to others or the earth. A quote by the Chicago-basedQbreartistJoanLivingstonehasprovidedanentrypoint inunderstandingourtextilepractices'far-reachingeects.

Here, we can begin to understand the complex interrelationships of textile materials within systems beyond our creative satisfac tion. Livingstone's four ways of understanding textiles remind us that Qbres reference rich cultural traditions and - have a long-last ing impact on our earth and those involved in producing the materials.Asaresult,ourcreativeoutputsrelatetoasystemfarmore signiQcantthanwesometimesrealise.

‘Textiles find their meaning in relationship to interaction - in their making, in their use, in their cultural references and material implications’ (Livingstone20).

Image: Coonong Station, NSW

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A Light Touch

Australian designer-makers do have some good options in the pursuit of sourcing ethical and sustainable wool. Ethical Outback Wool, grown on Coonong Station on Wiradjuri / Riverina land, has RWS certiQcationthatensuresthewelfareofthesheepandthelandthey graze upon. They are the Qrst woolgrowers outside of the USA to be Humane CertiQed, and they have Authentico accreditation conQrm ing a transparent supply chain from farm gate to wool tops. Ethical Outback Wool sells small quantities of undyed Australian 19 micron merino lambswool combed wool tops, processed at a small-scale wool-processing mill in Baccus Marsh, Victoria, which is suitable for high-valueproductionofspun,knitted,wovenandfeltedtextile prod ucts.

Anotheroptionfordesigner-makersistherecoveryofwool - fromsec ond-hand products and industry waste. The use of recovered Qbres involvestheunravellinganddeconstructionofwoollenproductsand avoidstheneedforfurtherfarmingandprocessingfromvirginReece.

Thechallengeinthisscenarioisthelabourofsortingandrecovering woolQbres,thepossibilityofblendedQbreswithingarments,access to shredding and carding machinery, and the issue of Qbre integrity aftershreddingQbresintoshorterstaples.UniversitiessuchasUNSW areinvestinginequipmentfortheirdesignschoolstoallowforsmallscalesamplingandresearchinthetechnicalcyclesofQbrerecovery.

Thiswillallowforthenextgenerationofdesigner-makerstoconsider viablewaystoengagewithrecoveredQbres.

Image Credit: Hannah Morgan

We can look towards business models that support the sourcing of local, ethical and sustainable Reece, such as the Fibreshed model, originating in California, that connects makers with Qbres, botanic dyes and labour that exist within a speciQc local radius. A network between designers, Qbre processors, and Qbre farmers allows for collaboration and education, where genuine and sustainable change can arise.

Smallsustainabledesigner-makerpracticesarepartofamuchlarger system for sourcing ethical and sustainable Qbres such as wool. t is the responsibility of designers to research and interrogate their practices, develop close relationships with the producers of our Q bres, and Qnd ways to engage with recovered Qbres. The eort we give to this integral facet of our creative practices will be rewarded in knowing that we contribute to better environmental and ethical approaches to making.

TopologyofMemoryisphysically embeddedwithmypersonalmemoriesof childhoodsummersspentonmyfamily's Wiradjuri / Riverina property. Patterning and textures convey an abstract narrative, each stitch a re-membering.

TopologyofMemory,2014-5.

160 x 253 cm.

Australian merino wool, silk, stainless steel & silk thread.

Techniques:Nunofelting,naturaldye, digitalprint,stitch,nunofelting.

Photo credit: Hannah Morgan

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LUXURY HEIST British textile designer Alicia Rowbotham www.aliciarowbotham.com Instagram: aliciarowbothamstudio

Alicia Rowbotham is a multidisciplinary textile designer and artist based in London.

within a space, whether that is creating a softness through a custom silk artwork or adding meticulous detail with a bespoke woven fabric. Hand-weaving A graduate of Central Saint Martins in 2019, Alicia allowsforfullcontrol,threadbythreadandpickby started her bespoke textile design studio in the pick. year 2020. Alicia’s textile collections and artworks combine the unique techniques of established Alicia’s aesthetic shows a distinct luxurious intritraditional craft methods such as hand-weaving, cacy, heavily inRuenced by Qne atelier couture, passementerie and braiding in contemporary de- intended for unique interior decoration. Her work sign for artisan textiles, unique artworks - explores and be contemporary craft techniques and the spoke handcrafted accessories for contemporary cathartic nature of creating something- from noth interiors, as seen in Collect 201, Crafts magazine, ing using predominately reclaimed materials in all and Forbes. ofherfabrics,objectsandartworks.

Alicia specialises in textile weaving within her prac- We touched base with Alicia to learn more about tice and is currently a designer in residence at Cock- her work and how reclaimed materials have shaped pitArts,Londonsleadingcontemporarycraft - studi her textile practice today. os, sponsored by the Clothworkers Company, One of the Great Twelve Livery Companies of the City ofLondon.

Alicia loves the idea of textiles evoking a feeling

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magecourtesyofAliciaRowbotham

magecourtesyofAliciaRowbotham

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Q&A

wander through the gigantic shuddering warehouse spaces of the mills, physically pulsating with production. Walking through a textile mill is a sensory experience from start to Q. Can you tell us about your Central Saint Martins grad- Qnish;eerilyreminiscentofcenturiespast,fromthesmellsof uate collection, Waste Not, Want Not collection and the wool, cotton and silk being treated with hot steaming water UK mills you collaborated with? andchemicalsthatburnyoureyes,tothesonicboomofthe industriallooms,weavingmetresuponmetresoffabric with MyQnalcollectionatCentralSaintMartin'sstemmed froma inminutes tobesentouttofashionhousesworldwide.

How desire to create something from nothing, to create 'luxury' ever, not the impressive scale at which these factories man andqualitywearablepiecesfrommaterialsdeemeduseless ufacturematerialsamazedme,buttheincredibleamountof and undesirable by the industry. The luxury fashion - and ac producedasaby-productofthis.

Waste cessories industries are deQned by lavish excess, - and Fromen here, I began to develop a relationship with several joyed the idea of reQning a dierent form of excess: Excess mills that would supply me directly with waste materials that Qbres and waste yarns directly from the source that was would thenhandweaveintoaccessoriesformyQnal - collec feedingthefashionindustry,thetextilemills. tion. n return, the mills could claim some form of recycling being present in their process. As a result, I continue to be Diving deeper into the history of the textile industry in the supplied entirelybyUKmillsforallthematerials useinmy UK, discovered a long line of mill workers in my ancestry. works.

Learning this ignited further my fascination with the textile industry and my role within it.

Q. Can you tell us about your designer-in-residence at Cockpits Arts and how that came about? took a trip up to Bradford, Yorkshire, where most of the UK'stextilemillsresideandhavedoneforhundredsofI years. am currently a designer in residence at Cockpit Arts, LonI was kindly welcomed by the mill workers and invited to don's leading contemporary craft studios, sponsored by the

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'I love the idea of textiles evoking a feeling within a space, whether that is creating a softness through a custom silk artwork or adding meticulous detail with a bespoke woven fabric.

Hand weaving allows for full control, thread by thread and pick by pick.'

Clothworkers Company, One of the 'Great Twelve - Liv ors and textiles. Of course, am always interested in eryCompaniesoftheCityofLondonandtheWorship - seeing what people get up to with waste materials, fulWeaverscompany. amsponsoredforthreeyearsbut currently, I am increasingly inspired by excellence in my studio, oering funding and business support withincontemporarycraft.BeingaresidentatCockpit throughout my time here, which I am incredibly grate- hasallowedmetointeractwithdesigners-ineverydif ful for at this time of transition in the industry. ferent was Qeld of creativity. A few favourites would have referred to the residency by my tutor at Central to be Saint Nico Conti, ceramics and Clunie Fretton, carver. martin's,andafterayearofworkingintheindustry af tergraduating,feltitwastimetoapplyforaspace Q. What of has been some of your most notable commy own to start my textile practice. I won the award in mercial projects to date that you have worked on September 2020 and will continue my residency here and can share with us? forafurthertwoyears. recently worked on the refurbishment project of the Q. Your current work shows a distinct intricacy Berkeley hotel, Knightsbridge. An entirely bespoke heavilyin5uencedbyQneateliercouture.Canyou project, including building a new penthouse suite inshare with us how you continue to integrate luxu- spired by a maker's house concept, involves makers rious reclaimed materials into your textile pieces and master craftspeople creating unique elements of today and how your work is helping to redeQne the space. This project spanned over a year, where I what luxury means? was involved in several textile elements throughout the space. The project is still ongoing due to COVID Studying at Central Saint Martin's opened my eyes to delays. the meaning of high-end luxury craftsmanship - with in fashion, textiles, and industrial design. think nFebruary, the wasalsocommissionedforCollect201 feelingofQneateliercouturewillalwaysseepthrough with the crafts council amongst some genuinely fan elements of my work, inRuenced immensely by my tasticartists.Thatwasarealprivilegetobeapartof. time at Central Saint martin's, surrounded by so much talentandhistorywithinthefashionindustry. willal ways want to push the boundaries of what is-consid ered luxurious, but I think natural materials are some of the most luxurious we have on earth; silk, wool, abaca, bamboo Qbre etc. t is important to remember that sometimes the most luxurious item should derive fromthemostsustainableandnaturalsource.

Q. What are the beneQts and also the constraints of working with salvaged materials? And how have they pushed your creativity further? really enjoy the way work. never tire of using - sal vaged materials, the categories of which can - be end less. I think constraints and limitations are very important in design as this can allow you to stretch all avenues of potential within those limitations. n to day's world, we all have too much choice; therefore, think limitation nurtures creativity.

Q. When it comes to utilising what many deem as waste materials, who is currently inspiring you in theUKandhowhavetheyin5uencedyourworkor personal life? often Qnd inspiration from multidisciplinary artists and designers working outside of my world of -interi Alicia Rowbotham

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Q. What type of projects or collaborations would you like to be working on in the next 2-3 years?

Q. The last two years have seen the fashion industry go through a dramatic change in terms of ethics, sustainability, transparency, and accountability. Have you seen this happening in the textile and interiors sector also?

Andhowhaveyoure5ectedonthisduringtheseunprec edented times?

I look to be continuing my collaborative projects with interior design studios to create unique, intricately designed spaces with textiles and objects that serve a purpose and evoke a feelingofconsideredandresponsibledesign. hopetousewastematerialstocreatesigniQcant - scale have instal noticed a dramatic change in terms of sustainability lation works and community-driven artworks to encourage within the textile and interior projects that I work on. I see others to see beyond using virgin materials and be creative that consumers, especially moving within certain groups in when it comes to sourcing. the luxury interiors industry, have more of a desire to know where and how products are made and support local suppliQ. As a young creative professional that understands - ers Q anddesigners.ReRectingupontheserecentunprecedent bre through to Qnished product. What role do you feel edtimes,feelencouragedthatamworkingtosupportlocal wool will play in the future of fashion and textiles? And industry by showing UK mills how to distribute their Waste why is wool such an essential material for you in your eectively to be used elsewhere and supporting traditional practice? craftindustriessuchasweavingandclothworkingintheUK. Wool has been an unrivalled high-performance Qbre-for mil lennia. Its durable characteristics and ability to retain warmth Q. If you could give your former student self one piece of whilstabsorbingmoistureandincreasingairRowmake advice, itone what would it be? of the most used natural Qbres for producing clothing and interior products. However, the most valuable characteristic fcouldgivemyformerstudentselfonepieceofadvice - dur would be that wool is entirely biodegradable and relatively ing my time studying at CSM, it would be to eliminate any easy to recycle into new long Qbres. This makes wool one form of of comparison to peers or what is happening already the most important Qbres moving forward into a more - in con the industry. nstead, stay focused on your message, and sidered and sustainable world within my practice and the that rest ofwillcome.Comparisononlyleadstodoubtinyourself many other designers. and your abilities. I think that it is important to recognise that in such a saturated creative landscape, it can be very easy to compare yourselftoothers.Still,youonlygenuinelydiscover what you want to do when you begin being true to your design ethos.

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CELIA PYM London Based Artist Celia Pym http://celiapym.com/ Celia Pym is an artist living and working in London. She has been exploring damage and repair in textiles since 2007. Working with garments that belong to individuals as well as items in museum archives, she has extensive experience with the spectrum andstoriesofdamage,fromsmallmothholestolargeraccidentswithQre. Herinter ests concern the evidence of damage and how repair draws attention to the places where garments and cloth wear down and grow thin. n clothing, this is often to do withuseandhowthebodymoves.Sheexploresthedizcultiesofmendingother peo plesclothes,thematerialsusedformending,andmakingdamagevisible.Pymstools are scissors, yarn and a sharp needle.

“Darning is small acts of care and paying attention. The damage, in a way, does the work for me” she explains. “I respond to it. The mending is slow work to hold the damage in place.”

Her work has been exhibited internationally, most recently in On Happiness: TranquilityandJoy,WellcomeCollection,London(201)Siblings,TradingMuseum,CDG,Paris (20),SewingBoxfortheFuture,V&ADundeeMaterial (20-1), Matters,Textilmu seum,StGallen(20),DontFeedtheMonster!GalleriF15,Moss,Norway(2019)and Kind Things, Curators Cube, Tokyo (2019). n 2017 she was shortlisted for the Wom ansHourCraftPrizeandtheinauguralLoeweCraftPrize.naddition,Pymisavisiting lecturerinMixedMediaTextilesattheRoyalCollegeofArt,London.

Bread Bag, paper bag, wool and string, 2020

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Mended Potatoe Bag, paper bag and wool 19 x 28 x 9cm, 2020

Responsible Materials

BEATRICE WAANDERS GOODWOOL / ROTWOL http:/thesoftworld.com/

Beatrice Waanders is an international renowned textiles artist. She received her education at the Willem de Kooning Academy of Art and Architecture in Rotterdam, The Netherlands.

- She gradu ated in 1997 in Interior‑architecture and Material Design.

Beatrice worked for years as an nterior-architect at the Dutch Ministry of Foreign Aairs. There shedesignedanddecoratedtheresidencesandembassiesoftheambassadorsfromalloverthe world. In 2008 Beatrice made a career change as a textile artist specialized in wool and natural Qbres.Shefollowedclassesattextileinstitutes,includingtheDutchTextileMuseum.

HerartwaspresentedseveraltimesatDutchDesignWeek,yearlyatMaisonObjet & Paris(Scènes d'intérieur), Design Week Tokyo, Salone di Mobile Milano, Rotterdam Art Week (OBJECT), Big Art Amsterdam, PAN Amsterdam, Art Basel Miami and in galleries and shops worldwide.

SheworkedforseveralprestigiousbrandslikeLVMH,Givenchy,anddesignerslikeJohnGalliano for Maison Margiela Artisinale collection, with John Galliano for singer Rihanna for W-Magazine and with Dutch artist Joep van Lieshout.

GOODWOOL / ROTWOL The Netherlands has many sheep but doesn't have a wool market anymore. All wool is imported, and Dutch wool is destroyed. The Netherlands are not unique in this scenario; most countries havelosttheirownwoolindustryinthepastfewyearsandnowdependonthebiginternational wool industry for supply. Beatrice Waanderers presents GOODWOOL, a research project that looksatthevalueandpotentialoflocalwool.Asking,'Whatisgoodwool?'Whichwool - isconsid ered worthless and why? What if we reviewed our local wool industry and started to add value again?

The artwork ROTWOL is made out of wool from the sheep Rock of Beatrice's hometown Rotter dam.TheRotterdamsheepRockcultivatesthecity'sgreenspotslikeparksandsoundwallsalong the highway as an ecological way to restore natural biodiversity. They produce about 2000 kilos of wool per year, but there's no market. Beatrice aims to add value back to this wool again by puttingitintopreciousartwork.Beatriceisuniqueinevenusingthecolouredstampsoftheram aspartofthedesign.

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SNE TAK Rhode Island based artist SNE TAK examines the potential of knitted textiles through integrative applications using technical knowledge and creative colour and material choices.

Words by: Sne Tak

What is an incarnation of the natural ability of knitted textiles?

SneTakisaninter-disciplinarydesignerwithafocusoninnovativeknit and sustainable materials. Her work examines the potential of knitted textiles through integrative applications using technical knowledge and creativecolourandmaterialchoices.WithaBFAfromtheRhodesland School of Design and professional experience in the fashion industry, Snehasproposeddesigncatalystsforfootwear,electronic - devices,ac cessories,andfuturetransportationproject.

Whatisanincarnationofthenaturalabilityofknittedtextiles?

Today the sleekest item in glossy material, on the one hand, is desirable,whilethereisacravingforskin-friendlysoftmaterials.

Thedichot omyofdesirestemsfromthedisparitybetweenthespeedofcreation andtherateofabsorption.Technologyisevolvingatafastrate,which has far exceeded the pace of evolution, and were not evolving as fast as our creation.

Tactiletraitsandahistoryoffamiliaritywithtextiles - arepotenttosup port both ends of the dichotomy. However, the repetition of design applications of textiles only as covering or softening agents creates a realm of the preconception that the textile itself is incomplete and in suzcient without hard components. What is an incarnation of natu ral strength and ability of knitted textiles? This project focuses on the essence of knitted textiles and subsequent three-dimensional forms derived from these qualities to attain self-reliance. The objective is to challenge preconceived notions of textiles and elevate their role from passive to active.

IMAGES: SNE TAK

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Self-reliant and multifaceted

SOFT VESSEL

Please click anywhere in the photo to view the presentation. https://indd.adobe.com/view/63f3dff5-43fc-4dea-9ffc-2a3c71da1d7f

www.snetak.com

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IMAGES: SNE T

TAK

hello@snetak.com

https://www.instagram.com/sne.tak/

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NEXT GENERATION Next-generation designers from the United Kingdom and Australia talk about the use of wool in their work, reflect upon the current state of the industry, who's influencing them, and what they hope the industry will look like in the future.

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NEXT GENERATION DESIGN

AUSTRALIA & UK

FIBRES TEXTILES KNITWEAR

S U Z Y

A G A R

EMMA PRICE

LUKA LEWIS

Maegan Mills OLIVIA PAGLIASSO

AUSTRALIAN DESIGN

UK DESIGN

TEXTILES FASHION DESIGN KNITWEAR

EMBROIDERY

ELIZABETHgunter

TEXTILE DESIGN CLASS OF 2022

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NEXT GENERATION DESIGN 2021 152

RWS WOOL RECYCLE FACTORY WASTE SURPLUS

HANNAH HUGES

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FASHION KNITWEAR KNITTED TEXTILES NEXT GEN DESIGN

ALICIA ROWBOTHAM

NOTTINGHAM TRENT UNIVERSITY 2021

T A M S I N HACKETT

Faculty of Arts, Design and Architecture, UNSW

ACCESSORIES EMBROIDERY

Next Generation Designer Reflections | SYDNEY : AUSTRALIA | UNSW CLASS OF 2021

Image credit: Coonong Wool Station

Thefollowingthreedesigners,whoarecurrentlyintheirQnalyearattheUniversityofNew-SouthWalesin ney,oerthefollowingreRectionsontheiruseofwoolandsustainablethinkingintheirMajorCapstone fortheirgraduatingportfolios.

WithintheBachelorofDesigndegreeattheFacultyofArts,DesignandArchitecture,UNSW,studentscansele thestudiospecialisationofTextiles.Thetextilecourseshaveastrongfocusoncircularandsustain to ensure our graduates have the knowledge, attitudes, strategies, techniques, and practices to create change intheirchosendesignprofessions.

The conceptual framework underpinning the three textile studios is RE-Making Meaningful Materials framework deQnes the unique focus of UNSW Textiles - the sustainable construction and reconstructi Qbres and materials to ensure circularity. Attention is given to creative and innovative approach materialsofvaluewithmultiplepotentiallifecycles.

https://www.unsw.edu.au/arts-design-architecture

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‘Post-consumer waste, stitch, patchwork, & wet felting ’ Maegan Mills 3rd Year, Bachelor of Design, UNSW Art, Design & Architecture

Q&A Q. Why did you select wool as a material to engage with?

M A E GA NM I L L S

donated to charity. The textiles makers practice of this project When it comes to designing and being interested in textiles, I involves shredding and breaking down textiles waste; this waste have been constantly challenged to reRect and question thebereclaimedinthewetfeltedworkshopswherewaste willthen wasteful and destructive nature of the industry. This ispersistent activelyreclaimedintofeltblankets. journey towards understanding the myriad of issues concerning fast fashion led me to pivot my practice towards one-that oper Using wool aims to create connections between the individual, ates through sustainable and conscious creation. Whilst study- textiles, and their community by slowing down the overproduced ingaBachelorofDesignatUNSWADA,'vebeenintroducedand world. The workshops act as an opportunity to slow down, learn, fell in love with the slowed-down approach to artisanal practices make, and hope to instinct a renewed value and appreciation to such as wet-felting. As a result, telling and narrating aboth story thewith planet and people. The 'Public Threads' project is an anfelting,weaving,andprintinghasbecomemypassion. tidote to our demanding and overproduced lives, which doesn't Through these core motivations, my design practice functions cost the Earth. throughamulti-disciplinarymindsetoftextilesandgraphics,with a key interest in materiality and the maker's touch – this instilled Q. During the time you have been a student at university, interest led me the explore the tactile possibilities wool in my theof textiles industry has seen a dramatic change in terms of major project. ethics, sustainability, transparency, and accountability. How haveyoure5ectedonthisasatextilesdesignstudentduring The system I have proposed as 'Public Threads', explores a these unprecedented times? unique approach to materials and making; and aims to cultivate a re-imagined perspective towards textiles waste.

OverthethreeyearsofstudyingatADAUNSW,havenoticedthe dramaticshiftinthediscussionandmyunderstanding - ofthetex Theuseofwoolwithinthisprojectprovidesmypracticetiles withthe industry'sdamagingeectsonourenvironmentandsociety. perfect vessel for experimentation. By making and using - Before sus studying at ADA UNSW was unaware, and honestly a lit tainable yarn from ecological wool, 'Public Threads' combines tle ignorant, of the textiles industry's myriad of issues, such as post-consumer textiles waste with the slow maker's practice of waste, overconsumption, environmental and societal concerns. wetfelting-withacoremotivationtointegrateeducation - However, and in beginning my studies at ADA UNSW, I have nosince novationintothecommunity.Thefeltingprocessisseen - ticed asanar a strong emphasis on the idea of becoming the 'future de tisanal practice that employs a slowed-down perspective and em- signers', and terms like ethics, sustainability, transparency, and phasisesthehandinmaking.naddition,itaimstofosteraccountability asense have been the core building blocks of what have ofconnectionbetweenhumanityandthenaturalenvironment. learnt while at uni. These discussions around sustainability and the wasteful position of our society today have shifted my views Q. What sustainable issues did you consider/ research? towardsdesignsolelyforaesthetics.Now understandthevalue of employing a design practice that is slow, authentic, - and circu Fashion waste is a growing problem in Australia. Research shows lar. This constant journey towards understanding the myriad of that in 1 year, the average Australian Woman buys 27kg of new issues concerning the textiles industry has led me to pivot my clothing,wearsonly3%ofherwardrobeandthenthrowsawaypractice towards one which operates through sustainable and 23kg of clothing (NSW Textiles Data Report, 201). This amount conscious principles. of waste created from this industry isn't only aecting - our land Qllsandplanet,butitiscausingunnecessarystrain - onQ. charity or Who is currently inspiring you in Australian textiles manuganisations such as Salvos and Lifeline. These organisations aretextile design, and how have they in5uenced your facturing/ currently being faced with an ampliQed amount of waste.work?

This research resulted in the project provocation: How can we divert the amount of waste ending up in our charity shops and - land Some Australian designers I consider as great inspirations are Qll and actively shift consumers' wasteful mindset towards one Tammy Kanat, Edith Rewa and Togetherness by Eloise Panetta, that values waste and our planet? This provocation established Esther Sandler. As an emerging designer, Qnd inspiration from the tailor-made and unique approach conceptualised as 'Public many dierent sources, but am constantly driven and inspired Threads'. bythesedesigners.Fromtheuseofnaturalmaterials,-organicde signs, colour, and core ethics on sustainability, all four designers Q. What unique properties/ narrative does wool bring to your celebratethebeautyofthenaturalworldwithanethicalconcern work? andstronglyinRuencemymulti-disciplinarypractice.

'PublicThreads'isadesign-ledinitiativetotransformthewasteful natureofthefashionindustryandreclaimwaste.PublicThreads is a community workshop at the core, which reclaims and recycles textiles waste into felted blankets. The concept is a closed-loop program dedicated to reclaiming textiles waste that can't be

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Q. In what ways are traditional textiles methods important to you, and what value do you see for the wider industry in the renaissance of these techniques?

Personally, I am passionate about the makers practice and the grounding sense the practice brings. I appreciate the slow-paced nature of the practice, anditscompletereversaloftheoverproduced,fastpaced production of the textiles industry. Focusing on traditional textiles methods are seen as a more ethical solution to design, as this slow process allowsfortheentirelifecycleoftheitemto-beconsid er.Thehands-onnatureofthepracticeencourages makers to connect with their textiles, and overall, I believe it provides a renewed appreciation to textiles and the environment. n terms of the wider industry, considering a slow, authentic, and ethical practicewouldonlybeneQtoursocietyand- environ ment.

Image: Maegan Mills - UNSW

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Q. What would be three key characteristics of the future textiles industry that you hope to work in?

My design practice is driven by authenticity, transparency, originality, and creativity as an emerging designer. So, in the future,wouldlovetoworkinastudiothatmirrors - theseval ues. I hope to work in a sustainable, collaborative, and innovative studio, as these are three characteristics that also drive mypractice.Myinterestandpassionformateriality,printand slow maker practice have led me to desire to work in a handdrawn print studio.

@studio.bymae

Image: Maegan Mills - UNSW

Image: Maegan Mills - UNSW

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O L I V I APA GLI A S S O Olivia Pagliasso - UNSW | 3rd Year student

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‘A design solution of expanding and retracting knitted textiles for women that responds to their weight fluctuations especially during menstruation.’

Olivia Pagliasso 3rd Year, Bachelor of Design, UNSW Art, Design & Architecture

Q. In your Major Capstone project at ADA UNSW, how did sustainable thinking about wool come into your work?

Q. What unique properties/narratives does wool bring to your work?

Besides being sustainable and easy to work with, the tactilityofwoolisamajorfactorinwhy chosetoworkwith thisQbre.amaveryhands-onperson,andhand-making is at the core of my practice. feel am always drawn to texture in the textiles I work with. Wool particularly has a grounding and comforting texture that everyone can Sustainability is a focus in my practice, and wanted relate it to to. love how wool can be used in dierent ways, playanimportantroleinthesystemandmateriality fromof knitting the tofelting,andthemakingprocessisalways project. I knew I wanted to approach my project through such a tactile and physical experience that communicates a sustainability lens in my ethical considerations and the personalised design narrative of the unique textile. research, and therefore decided wanted to source Working my with wool is sustainable, versatile and tactile. materials locally and sustainably. I sourced second-hand wool from machine knitting suppliers, gathering aQ. range What sustainable issues did you consider and reof cones in dierent colours and weights. Most of search the as part of your Major Capstone project? wool was from Bendigo Woollen Mill and Wangaratta WoollenMillandstillhadtheoriginallabelsonMy them! generationisincrediblyconsciousofourresponsibility as designers of the environmental, social and economic impact we have on the world. I have always endeavoured Q. Why did you select wool as a material to engage to have sustainable practice, even beyond using natural with? materials. Especially since the climate crisis and COVID-19 doing university online, many of my projects have been Beforebeganmachineknitting,amentorrecommended sourcing scrap or recycled materials that I had access to in that woollen yarn was best when learning to use a domes- my bedroom and repurposing them into a new end-use. tic knitting machine. Ever since I have stuck by that advice We have learnt a lot about the circular economy model and chose only to use wool or wool blend yarns. andthecatastrophicimpactoftheglobaltextilesindustry.

The one time I ventured out and used acrylic, I regretted We have been encouraged to develop systems to support it immediately! n nearly every row, stitches would ourslip designs and recognise our responsibility to achieve or get stuck with the build-up of Ruy Qbres, and spent a circular instead of a linear design model. My project more time manually hooking stitches instead of machine 'Maglia' proposes made to order customised garments knitting. However, when using wool, Qnd that woollen thatfollowaslowfashioncycle,creatinggarments on-de yarn retains its shape and tension after being spun mandand with minimal waste and no excess stock. Following issuchadelighttoknitwith,comparedwithother this Qbres, model also extends the lifecycle of the garment, as whichcanshedQbresandloseitstension. the owner holds an emotional connection to the personal Wool is a sustainable Qbre with many great properties pieceandhasanincentivetocareforitfortheirlifetime. such as being antibacterial and antimicrobial; it retains its shapeafterextendedwear,it'sbreathableinsummerand warm in winter. n addition, it's a durable Qbre and@oliviamay.designs can be dyed in any colour. love that because wool is from a living animal; its properties are fantastic for wearable http://www.oliviamaydesigns.com garmentsnature'sperfectsolution.

Also, as gathered my wool second-hand, the design of every garment is unique based on the yarn available, which pairs into my proposed business model of unique custom garments for clients. The limited amount of yarn on each cone of wool challenged me during the design process and encouraged my creativity and problem-solving.

For my graduating major project, I proposed an emerging brand, 'Maglia', which means knit in Italian, to create custom-made and measured machine knitted garments that use tension to expand and retract with the wearer's body.

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‘The Nuno process is based on creating connections with others, resulting in a transitional object that is embedded with memories of a place, through texture, colour, and print.'

Elizabeth Gunter 3rd Year, Bachelor of Design, UNSW Art, Design & Architecture

Australia has an increasingly large ageing population. The Royal Commission into Aged Care Quality and safety revealed t many people feel emotionally disconnected and isolated in aged care facilities (Australian Government, 201). This researc resulted in the project provocation how can we use textile and graphic design to create connections that improve the emotional wellbeing of elderly people moving into aged care in Australia? This provocation underpinned the concept of Nuno. Nuno pro videselderlypeoplewiththeopportunitytobringtheirhomeintoagedcarethroughtextilesandcreateconnectionsw other residents, and the wider community.

The Nuno blanket can be dyed with Rora from ones' garden or feature a screen print inspired by their surrounding landscap orfavouriteplace.NunoprovidespeoplewiththeopportunitytoparticipateinaNunofeltingworkshoplocatedwithint care facility, ensuring each person's needs are considered with the right care and support. The location also allows the tocreateconnectionswithotherresidentsbeforetheymovein.TheNunoprocessisbasedonmakingconnectionswithot resultinginatransitionalobjectembeddedwithmemoriesofaplacethroughtexture,colour,andprint.

Q. In your Major Capstone project at ADA UNSW, how did sustainable thinking about wool come into your work?

Q. What unique properties or narratives does wool bring to your work?

Woolhasmanyexcellentpropertiesforanelderlydemograph - Wool allowed me to embed peoples personal memories of a ic it is soft on the skin, light, durable, oil-resistant, - place breath into a blanket. This was achieved through combining natable, antibacterial, and stain-resistant. These properties were ural dyeing, felting, and screen printing. The felting workshop essentialtohaveinablanketforelderlypeople. allowsfornewmemoriestobecreatedthroughthefelting pro cess. The process enables the elderly person and their family I initially selected wool because I love the hand-making pro- tomakepartoftheblanket.Theworkshopwouldbebasedin cessoffelting,creatingacloth,andthenaddingsilk - or the embel agedcarefacility,thisallowsthemtovisitthefacilitybefore lishment. love the experimentation side of felting, - the they tech move. They can meet the nurses and engage with each niqueallowsforcontinuousiteration.Onesamplecanother become aiming to improve the transition. twentydierentideas.

During the time you have been a student at University, the texn terms of sustainability, wool is renewable, biodegradable, tile industry has seen a dramatic change in terms of ethics, and 10% natural. However, one of the issues with felting sustainability, is transparency, and accountability. How have you water usage, so trialling ways to limit water use was important reRected on this as a textile design student during these un during sampling. precedented times?

Nuno felting with silk, allowed for the use of a natural Before dyeing startedstudyingatUniversity,wasn'tasconcernedor process,aswellascreatingabaseforsurfacepattern.aware of the environmental damage and impact of the textile industry. During my time studying at UNSW Art and Design, Q. How did you go about sourcing wool for your project? there has been a strong emphasis on ethics and sustainability.

Thesediscussionshaveembeddedtheimportanceofcreating found out through University about Wendy at VirginiaaFarm practice that focuses not only on fast fashion and trends.

Wool Works. I chatted to her about where she sources her now understand the signiQcance of considering the entire life woolfrom,theMerinoisethicallysourcedfromNewZealand. cycleofaproduct,frommanufacturing,use,andendoflife.As could Qnd more information on Ashford, the New Zealand a student designer reRecting on the textile industry, it makes Company than could Qnd on the Australian Reece supplier. me want to create a slow, human-centred, authentic practice So researched Ashford's sustainability and their - aims that toaims re tofosterasenseofcommunityandconnection. duce energy, water and waste. Local sourcing was essential but harder to achieve.

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Q. Who is currently inspiring you in Australian textile manufacturing/textile design, and how havetheyin5uencedyourwork?

EL I ZA BE T HGU NT ER

At the moment, I am inspired by Maya Muse Textiles and Ink and Spindle. I am passionate about repeat pattern design and screen printing, and these studios have inspired my love for natural materials, nature-inspired prints, and their position on sustainability and ethics. In addition, both of these studios have a strong focus and - consid eration of their material selections, production processes,andtheimportanceofbeingtranspar ent.

Q. In what ways are traditional textile methods important to you, and what value do you see for the broader industry in the renaissance of these techniques?

I think traditional textile making methods add authenticity, tactility, and richness to design. I am passionate about screen printing and felting, and I think these two techniques allow me to add meaning and character to my work. I love being able to head into the studio, mix inks and pull the ink through the screen by hand, always being surprised and excited for the outcome. n addition, I think traditional techniques add value, as they initiate a sense of community as the designer/ maker can create a deeper connection with their audience and their work.

'I would love to work in a studio that is sustainable, collaborative, and innovative. '

@elizabethjade.design https://elizabethjadedesign.com/

Elizabeth Gunter - UNSW | 3rd Year student Nuno 2021 Eco dyed silk, nuno felt, and stitch.

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Elizabeth Gunter - UNSW | 3rd Year student

Elizabeth Gunter - UNSW | 3rd Year student

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Next Generation Designer Reflections | NOTTINGHAM : UNITED KINGDOM | NOTTINGHAM TRENT UNIVERSITY CLASS OF 2021

The following Qve designers, who have recently graduated from Nottingham Trent University, United Kingd oer the following reRections on the industry's current state, who are inRuencing them and what they ho industrywilllooklikeinthefuture.

The BA (Hons) Fashion Knitwear Design and Knitted Textiles course is a highly respected degree course and t bestofitskindinoeringfullcreativecontroloverthedesignandcreationoffabrics,garmentsandpro fashionorinteriors.Studentsdeveloptheircreativepotentialbydevelopingtechnicalanddesign innovativedigitalknitprocessesinhighdemandinthefashionandtextileindustry.

TheBA(Hons)FashionandTextilesatNTUisinternationallyrecognisedforthequalityofitscreative,indus graduates.ThistextiledesigncourseisuniqueintheUK,allowingstudentstoexplorethedierentarea designbeforespecialisinginthecreativeareasoftextileprint,embroidery,weaveandknit,aseachstu develops.

Young,ambitiousdesignersareintroducedtoallaspectsoftextiledesign,investigatingfundamental colour, form, scale, pattern and composition. NTU's expert academic and technical sta support, students l traditionalanddigitaltechniqueswithaccesstoNTU'sindustry-standardfacilities.

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Q&A

Q. The time you have been a student at university, the fashion industry has seen a dramatic change in ethics, sustainability, transparency, uzy Ager is a recent Textile Design [BA Hons] and accountability. How have you re5ected on this as a textile design student during these ungraduatefromNottinghamTrentUniversity, where she specialised in embroidery. Inspired by the precedented times?

S UZA NN EA G ER

textures and forms of the natural world, Suzy likes to take an illustrative approach to stitch. Combining Change to more sustainable models within the textile em industry is long overdue. My degree was pivotal techniquessuchasfreemachinestitchand - hand in raising broidery, telling stories through beautiful and often my awareness of the many issues faced luxurious materials are key drivers within her design and starting to Qnd out about some of the exciting innovations artists and designers are creating and practice.

Excited by materials and techniques, Suzy has a par- promoting. While developing my Qnal project, tried to incorporate several sustainable elements, using ticularfascinationfornaturaldyeing,ecoprinting and natural or recycled materials, including exploring the continual implementation of improved - sustaina more sustainable alternatives, designing to create a bility in her practice. personal connection and natural dye processes.

Q. Who is currently inspiring you in textile or embroidery design, and how have they in5uenced your work?

Karen Nicol is a key inRuence for me. love her illus trative approach, alongside the way she uses alternative and repurposed materials. Her embroidery is always exciting and dynamic. Karen’s work has inspired me to work at scale and try and incorporate non-traditional materials. also love the work of Alexander McQueen with the often dark, fantastical storytelling coupled with exquisite craftmanship; his approach helpedshapethefoundationsofmyconcept.

Q. During your time as a student, In what ways have your sustainable practices developed?

have a much greater awareness of how design can bemoresustainable.amconstantlythinkingofways to improve my sustainability credentials without compromising the design and quality. Natural dyeing and eco printing with plants is a practical skill that I have improvedon,fromafewpastysmudgesonfabricto getting some lovely strong prints. .

Q. What aspect of the wider embroidery industry would you like to see change and why?

would like to see more value placed on the art of embroidery, a society willing to appreciate and invest in craftmanship, moving away from the throw-away culture.wouldalsoliketoseegreateruse- ofsustain able materials being developed, for example, - biode gradable sequins becoming the norm so they can be theautomaticchoiceforindividuals.

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Q. What would be three key characteristics of the future textile and fashion industry you hope to work in?

Q. In what ways will your generation rede

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perceived?

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S UZA NN EA G E R Image credit: Suzanne Ager

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HA N NA HHUG HES

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annah Hughes is a woven textiles specialist who has a passion for sustainability and slow fashion as well as a keen interest in menswear design. A recent Textile Design [BA Hons] graduate from Nottingham Trent University, Hannah's collection 'Scandalous Heritage' explores the importance of learning from traditional making, believing that looking back is key to finding a sustainable future, for textiles, looking forward.

Inspired by Nottingham’s own, Lord Byron and his heritage, the bespoke menswear collection is a playful, audacious, and unique take on classic woven patterns and structures such as tartan and herringbone. They push boundaries but have a personal touch to re-connect the consumer to their clothes.

With a fascination of processes, moving forward she hopes to work within woven textile production to develop her knowledge and understanding of the processes and explore how these traditional methods have withstood the test of time and what we can learn from them moving forward.

Q&A Q. The time you have been a student at university, the fashion industry has seen a dramatic change in terms of ethics, sustainability, transparency, and accountability. How have you re5ected on this as a textile design student during these unprecedented times?

Over my three years of study, discovered how- im portant it is to challenge the norm and have sustainabilityvaluesatthecoreofwhatdowithinmytext practise; a change in thinking is required, not just a change in production. My theory portfolio on the im pacts of COVD-19 on the fashion industry and con sumersallowedmetoreRectonhowmuchourvalue systemandsourceofidentityeectsourlivesand worldaroundus.learnthowthefashionindustryh a considerable inRuence on both of those variab and therefore has an equally immense responsibi to lead by example, making changes towards a more sustainable future, which includes caring for pe andtheplanet.tisthisviewwhichhopetotake fo ward as I enter the industry. w w w . raw a ssembly. com

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Q. Who is currently inspiring you in UK manufacturing, and howhavetheyin5uencedyourwork?

I’m inspired by past and present designers such as Anni Albers and Ozwald Boateng that use culture, tradition, and context within their work to make a statement and connect consumers to their culture and identity. Works like these inspired me to explore re-connecting consumers to themselves, others and the world around them through their clothes, creating something that has meaning and encourages consumers to re-discover who they are and what they value, to make a more connected and ethical consumer, as well as product.

Q. In what ways are traditional textile methods important to you, and what value do you see for the wider industry in the renaissance of these techniques?

Specialisinginwoventextileshashighlighted,fo howimportantitistolearnfromandworkwith tr tional processes, going back to our heritage, reminding ourselves of why we do what we do, how weve come to be who we are. Theres humanity found in traditional processes, the time and labour involved ultimately reconnects us to ourselves, each other and the planet. This could induce change within the industry, helping to prevent the disconnect between production and product that has led to unethical, unsustainable and opaque working practices we see in the industry today.

Q. What would be three key characteristics of the future textile industry that you hope to work in?

The textile industry holds so much potential as a driver for change. hope to be part of the sustain ble movement within the industry, encouraging slow fashionwithmoreconsideredconsumption.Workin with traditional textile processes that sit alongside thismindsetandbeingpartofafuturetextilein that encourages more measured production driven bycommunity,notproQt.

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"There's humanity found in traditional processes, the time and labour involved ultimately reconnects us to ourselves, each other and the planet. This could induce change within the industry, helping to prevent the disconnect between production and product that has led to unethical, unstainable and working practices that lack transparency we see in the industry today."

Hannah Hughes

@hhughes_design

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Image credit: Luka Lewis

L U KALE W I S An avid design solutionist and creative hands-on maker, Luka Lewis is a knitwear designer whose work challenges how statement garments can transcend trends and be designed with longevity and ergonomics in mind.

With experience from working in technical product development-and contrib utingtocreativecommercialbriefs,Lewishasharnessedadesignmethodology that is both pragmatic and distinct in its ability to repurpose traditional Japanese aesthetics into contemporary fashion. Through paying homage to her Japanese heritage and its female makers, conRating Japanese craft ideologies with fashion, her designs aim to employ the crucial philosophy Mingei, which commemorates an object's beauty in its transience, rooted in the knowledge that its use will be passed on.

Her studies in Fashion Knitwear Design at Nottingham Trent University and its creativefreedomencouragedLewistospecialiseinadaptableclothing andun orthodoxconstruction.ThetechnicalRexibilitythatyarncarriesiswhatinspires Lewis as a knitwear designer. With a strong background in silhouette and construction, successfully blending all such facets of textiles (pattern, colour and texture) with fashion through the interplay of stitch is a fascinating prospect to her; stitch both inform the shaping of a silhouette holds much potential for tactile information. All of which motivates Luka to delve exponentially further into knitwear design.

Lewis's graduation collection pays homage to her Japanese heritage - a culture ofmeticulouscraftsmanshipthathasshapedherinsightsasagrowingknitwear designer. Lewi's designs aim to celebrate the joys of continuous wear and the rituals of dressing in the same garments habitually and criticise the increasing desiretoobtainnewtrends.nspiredbyJapaneseTatamiRooring-whichpieces together depending on the user's needs- the pieces Lewis has designed are held together with trims that can be laced together depending on the desired Qt. This allows full autonomy for the wearer to decide on how they style the product. The intricate lacing reRects the Japanese crafts' tendency to favour time and meticulous eort over a rushed process. Her fabrics reRect the inky qualities of Japanese traditional ink paintings: the lines of which captures the Japanese' longstanding appreciation for treasuring slowness and their dedica tion to engaging in ritualistic processes.

Q&A

During the time of which you have been a student at university, the fashion industry has seen a dramatic change stock yarn, donated by a knitwear manufacturer, and leftover in terms of ethics, sustainability, transparency, and acleatherwastefromalocalNottinghamtailor. countability. How have you re5ected on this as a textile design student during these unprecedented times?

WhendesigningmyQnalyearcollection,foundthatchalleng -

es lay in my want to keep creating new iterations of the same The biggest lesson learnt from these trying times - islikeness. that de Understandably,thatisthenatureofdesigners!

Ho signers are as responsible as wearers when it comes to preever, working within the conQnes of a pandemic meant had venting excess waste. In recent lockdowns, I noticed many toforciblytakeastepbackfrommyusualdesignmethodsand brands exploiting the need for new by promoting more fast focusmyeortsoncraftingfewerpieces.Thismademethink fashion, and since the pandemic, fast fashion sales andmore trend creatively about the restyling of the select pieces wa turn-overs have exponentially increased. So I wanted to solve going to make. With their modular design, my transformative how statement pieces, typically a result of trends, can have allow full autonomy for the wearer to decide how garments a fruitful and long-lasting wear time. To prevent fabrics from they style the product, thus hopefully steering the garmen becoming wasted, my collection was created with 100% dead awayfromtheirtypicalfateoflandQll.

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"I think many young designers like myself want to belong to an industry which benefits the very communities it relies upon for production."

Q. Who is currently inspiring you in knitwear design, andhowhavetheyin5uencedyourwork?

Q. What would be three key characteristics of the future textile and fashion industry you hope to work in?

Aknitwearbrandthatkeepsblowingmeaway(andhas - be believe " thatattheforefrontofthesustainabilityinfashi come a Qrm favourite nstagram follow) has to be London conversation should be designers who focus on the wear based, Kepler. Their knitwear designs are impeccable in con- er's needs- if a garment becomes useless/ uninteresting to juringthefeelingofintimacy:fromtheirchoicesofultraitswearer, Qne itwillendupaswaste.Therefore,itisparamount gauge yarns to shaping their knits so that garments sit at thatthenextgenerationofdesignersdesignwith thewear unusual placements on the body. found this sensual - er's aplong-term needs in mind." proach to knitwear inspired, and it encouraged me to reconsiderhowthewearer willfeelwhendressedinmydesigns.

As a young designer, I worry that consumers get more Furthermore, Issey Miyake's ability to reinterpret traditional wrapped up in visual trends than their personal and tactile Japanese clothing and create thoughtful garments connection in their tofashion.'mnostrangertosocialmedia; how constructioninRuencedmydesignpractice.Researching ever,his can't help but think that the over-saturation of vira archival work made it clear that to fully embody Japanese fashion images has meant we've become desensitised to craftswithinmycollection,hadtoconsidereachgarment' the concept s of fashion being a tangible experience- which construction - how the wearer would interact with it and is so important to how we choose to dress! hope that the howthegarmentcanenactasacraftedobjectonthe fashion body industry'sfuturewillfocusasmuchonwell-curated, resulting in my laced-together, modular designs. tactile experiences as it does on stylish visuals.

Anothercharacteristicofthefashionindustrythatwantt see more of is collaborative designs and collective vision I've noticed that artist and designer collaborations with brandsarebecomingwidelysoughtafter-thinkMoncler Ge nius and MCQ. I'm excited to see how these design methods I was raised with Japanese philosophies and teachings, so will progress, yet whilst we see collaborative design being the cultural values of Mingei sit at the heart ofpromoted my designon a marketable level, I hope to see communipractice. It resonates with my mother's, grandmother's, and ty within the fashion industry being taken more seriously. great-grandmother's craft (i.e. their love of knitting!

For ) oninstance, my the #PayUp movement needs to be circulated Japanese side of the family. As highlighted by my family'to s the point that every household is aware and can make practice, knitwear is special in its ability to reshape narra- better choices. Many young designers like myself want to tives continuously. Just last year, my great-grandmother belong to an industry that beneQts the very communities it unwound my mother's childhood jumper and repurposed reliesuponforproduction. it, four decades later, as a vest for my grandmother. This allegory for Japanese ideology and assiduous craft-thinking quicklybecameamajorinRuenceformycollectiondevelop ment: in my grandmother's words, "two generations have passed through that yarn, and it is still creating memories."

I understood that the knitwear I was going to design had to be created with the intention of re-wear and repurpose in mind. I saw my designs as an opportunity to celebrate the joys of continuous wear and consolidate the slow fashion movementandcraftmentalityintheknitwearlandscape.

Q. In what ways are traditional textile methods important to you, and what is their connection to the evolving slow fashion movement?

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"I believe that at the forefront of the sustainability in fashion conversation should be designers who focus on the wearer's needs- if a garment becomes useless/ uninteresting to its wearer, it will end up as waste. Therefore, it is paramount that the next generation of designers design with the wearer's long-term needs in mind."

Luka Lewis

@no.rest.for.the.knitted

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amsin Hackett is a Nottingham Trent University 2021 graduate with a BA (hons) Fashion Knitwear Design and Knitted textiles

Having just graduated from the Fashion Knitwear Design & Knitted Textiles course at NTU – with a year spent in industry in Hong Kong, Tamsin is excited to be beginning a career within the knitwear industry. Valueing quality, purposefulness, and attention to detail most highly within knitwear design – having explored ideas of traditional craftsmanship within the context of Hong Kong’s vanishing craft environments in her graduate collection.

Graduation Collection Synopsis Tamsin's collection explores contrasts between Hong Kong's neglected traditional craft industry environments and gentrified establishments emerging in their place. This is paired with a focus on traditional, high-quality craftsmanship values to create durable, meaningful pieces. Hackett focuses on clean, fluid silhouettes – exploring texture and movement. Various structures were experimented with, ranging from handcrafted knit and crochet to delicate draped fabrics and delicately bleached lace. Garment layers reveal varying states of neglect - base layers hint at decay, whilst refined pieces sit above. Silks, bright orange and lilac shades contrast against chalkier, pastel merino yarns. Texture is key, focusing on pleating reminiscent of traditionally crafted shutters but distorted, textured and faded. Sustainability was a key focus throughout the process; virtual sampling reduced yarn waste, all garments utilise all-natural fibres, and all pieces were knit all to shape.

Q&A

T A M S I NHA CK ET T

Tamsin has loved slow craft for a long time – both hand knit and crochet, and was excited to develop a crochet pattern kit for KPC yarns for one of her collection pieces. She is equally interested in virtual sampling and CAD as a means of reducing waste in the industry – having received a commendation in the Shima Seiki Student Awards 2021. The key to creating a truly sustainable future in the industry will involve a combination of quality craftsmanship and materials, and digital innovation – this is something she is eager to be a part of.

furtherconsiderationoftransparencyandethics - withinknit wearproduction.Whilstfollowedtheprocessofpieceswas helping design through to sampling, I was very aware that I had no idea of the conditions or circumstances of- the facto riestowhichproductionwasoutsourced.Thisreinforcedmy desire to work for a smaller brand that would ideally have local production or know who was involved in the production and where.

Q. Who is currently inspiring you in knitwear design and howhavetheyin5uencedyourwork?

I love minimalistic contemporary brands like RUS and Sonia Carrasco – both create high-quality pieces made to last – valuing timelessness and slow fashion. They focus more on single colour pieces with all-over textures, incorporating versatile layering pieces. These inspired the cleaner, simplistic lines within my graduate collection and some textural details. alsolookedtofun,bolderbrandssuchasYanYanKnitsand Eenk as inspiration for exciting fastenings and Qnishing de tails – they have some really cool and unusual silhouettes.

Q. In what ways does responsible, and sustainable thinkQ. The time you have been a student at university, the ingin5uenceyourrawmaterialchoices. fashion industry has seen a dramatic change in ethics, sustainability, transparency, and accountability. How consider the choice of Qbre to be the Qrst and most crucial haveyoure5ectedonthisasafashionknitwearstudent step in creating zero-waste and responsible pieces, as fur during these unprecedented times? ther sustainable eorts in terms of fully fashioning, utilising virtual sampling and reducing waste are almost pointless if Atthestartofmydegree,hadbarelyevenconsideredideas the garment is made from a Qbre that does not ensure last around sustainability and transparency within the knitwear ingquality;isnotbiodegradableorrenewable.nthecaseof industry. On a personal level, was still buying fast fashion my Qnal collection, was lucky enough to receive sponsor andhadlittleconsiderationforthewayinwhichmygarments ships from KPC and Consinee and so had access to a range were made. Perhaps it isn't something that you consider of high-quality wool utilising luxury, high-quality Qbres to so much until you're actually creating things that are going focusoncreatingpiecesthatwilllast. out into the world and preparing for a career in an industry where there is a massive responsibility to be considerate and selectiveofwhatyou'redesigning.This,teamedwith - veryre Q. During your time as a student, how have your sustaincent developments around sustainability, has made me think able practices developed, and how have your yarn spona lot more about how I'm creating pieces, what they're made sors own sustainable practices developed your thinking fromandwhattheirpurposewillbe.'veconsideredmytime further? atuniastimetolearnthebestpracticesandprepareforthis; particularlyoverthelastyearorsoasmyknowledgeofQbres As I've developed my skills, I've discovered more ways to andprocesseshasdeveloped,'vemadesuretobeinformed reduce waste learning how to fully fashion pieces - and in about what, how and why I am creating something. troducing methods such as unwinding sample yarn into my In addition to considering what I'm creating on a more perstandard practice. Learning about dierent types of Qbres sonal level, my placement year in the industry provoked

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came a bit later how they look and feel, which season/purpose Q. What would be three key characteristics of the future textile they'rebestsuitedto,andhowtheycanaectquality. developed and fashion industry you hope to work in? this consideration of Qbre during my placement year perhaps because we were not necessarily working with the highest quality A, keywayinwhich'mexcitedtoworkinthefutureistofocusthe all the time, so I began to distinguish between yarns better. Also, designprocessonqualityandpurposefulnesstoputtime - intocre during my time in the industry, used CAD a lot to sample fabrics, ating one piece that will last rather than rushing multiple garments. colourways and garments virTying in with this, working on a tually, which introduced this smaller scale and not overpromethodofreducingwasteinto ducing, is essential. my standard practice. , Being a part of, or at least As a yarn brand, KPC is sustainknowing,everyaspectofagar able from its processes and ment's journey is also essential Qbres used to its application – ideally keeping production lofor handcrafted pieces. This cal or at the very least keeping sponsorship encouraged me the entire process transparent to incorporate some slower and building good relationfashion pieces into my collec ships with suppliers and gartion – utilising hand-knit and ment workers. crochet to create zero-waste garments. KPC's commitment • I'd also like to work in a way to high-quality and luxury - Q that commits to a garment's bres naturally pushed me to entire lifecycle from its - con work in a way that honoured ception through to mending, the yarn's quality and continandQnallytorecyclingor-reus ued this value for attention ingcomponentsattheendofa to detail. This was equally garment's lifecycle taking full true for working with the - lux responsibility for what you are ury cashmere/merino blends putting onto the planet. from Consinee worked carefully to ensure that their Q. In what ways will your luxury Qbres were showcased generation redeQne how in high-quality Qnished fabrics the fashion industry is perand garments. ceived?

Q. As a young Professional that understands Qbre through to Qnished gar ment. What role do you feel wool will play in the future of fashion and textiles?

Students are now taught a lot more (and hopefully this- in creases more so to become the most fundamental part of fashion degrees) about the impact caused by the fashion industry and ways to reduce I think wool will become inthis impact. f younger design creasingly important, as deers integrate sustainable pracsigners recognise that Qbre tices into their work from the choice is a crucial part of sustainable design, alongside very considera beginning, eventually, the industry will be full of people wh tionofagarment'slifecycleandideasaroundbiodegradability value design and sustainability and responsibility. Ideally, it would berecyclability. However, it is still considered a "luxury", so hopefully, come the norm to work in this way, and there would be no desire the use of wool can become more of a norm across all levels to ofcontinue wasteful and unethical practices. Working sustai knitwear and other sectors. People seem to be choosing more and would no longer be the minority or be limited to certain types o more to select pieces that are made to last - this will - hopefully brand/product in and would redeQne the fashion industry's negativ crease further and increase the use of wool, reducing the perceptions. role of syntheticfastfashionknitwear.

"

I'd like to work in a way that commits to a garment's entire lifecycle – from its conception through to mending, and finally to recycling or reusing components at the end of a garment's lifecycle – taking full responsibility for what you are putting onto the planet.

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If younger designers integrate sustainable practices into their work from the very beginning, eventually, the industry will be full of people who value design sustainability and responsibility. Ideally, it would become the norm to work in this way, and there would be no desire to continue wasteful and unethical practices. As a result, working sustainably would no longer be the minority or be limited to certain types of brand/product. It would, in turn, redefine the negative perceptions of the fashion industry.

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@tamsinhackett

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mma Price is a Nottingham Trent University 2021 graduate with a First Class BA Honours in Fashion Knitwear Design and Knitted Textiles.

Yeoman yarns and Topline sponsored Emma's yarns.

Emma has interned for both Julian Macdonald and Paul Smith and is interested in pursuing a career in menswear design.

Q. In what ways does responsible and sustainable thinkingin5uenceyour raw materialchoices.

Graduation Collection Synopsis

EM M APRI CE

Gone fishing is a collection inspired by texture and tactility, focusing on statement silhouettes through layering materials and complex knit structures. Emma explored inspiration through primary images of surface textures found along the Devon coastline, to which she developed mark-making to create her high-quality garments. Sustainability was a critical factor in fashioning pattern pieces and using second-hand yarns for the tufted elements.

the traditional photographs and practicality of the life jacket mixed with the buoys.

Another inspiration was Yunfeng, who in 2015 created a statement garment to raise awareness of the overconsump tion of plastic and the throwaway culture that leads to the build-upofplasticintheocean.

Byshowingapowerfulpiecelikethistoalargegroup - ofpeo ple,Yunfenghelpeddriveawarenessandchange.

Burberry's 201 spring collection also played a part in - inRu encing my collection by focusing on bright contrasting col ours and harmonising accent colours with intricate textures.

Further to this inspiration came from the idea of freedom beyond the mask and the tranquillity of the ocean - and na ture during the lockdown. I then added my designs onto traditional silhouettes such as the dungaree and life jacket and pushedtheextremesofknitwearwithinmycapedesign.

When starting the design process, it is important to think aboutthematerialchoiceandthepropertiesreRectedinthe collection and materials made. In my collection, I used a lot A creative mind inspired by texture and intricate details has ofunwantedandrecycledyarnratherthanbuyingnewyarn. allowed me to graduate at Nottingham Trent University with This allowed me to repurpose yarns that already existed and First Class Honours. Gone Fishing the collection was lucky avoidtheneedtomanufacturenewyarns,reducing-theenvi enough to be sponsored by Topline and Yeoman yarns, alronment's impact. For yarns that were not the right thickness, lowingthecollectiontohaveaprofessionalandquality Qnish. they were wound on the lilliput machine allowing everything tobeutilised.Cottonwastheprimarymaterialchoiceformy collection; this was sourced locally and oered biodegrada ble and renewable properties, whilst also a sustainable alternative to synthetic yarns. The cotton was also sometimes blendedwithviscose,aregeneratedQbre,toallow - theprop Q. The time you have been a student at university, the ertiestomixandimprovethematerial'sperformance. fashion industry has seen a dramatic change in ethics, sustainability, transparency, and accountability. How Q. During your time as a student In what ways have your haveyoure5ectedonthisasafashionknitwearstudent sustainable practice developed? during these unprecedented times?

Q&A

While studying at NTU, sustainability has always been the As a young designer focusing on manufacturing materials main factor when designing a collection; in fashion, today, throughtogarmentconstruction,alotofadaptation isneed sustainability is a massive factor in how the brand is per ed to make a collection more ethical and sustainable. Due ceived. to COVD-19, the levels of creativity and sustainability were greatly increased due to being unable to access a broader When initiating my design process, focused research into range of materials. This resulted in working with materials Qbres and their properties was crucial for understanding that needed to be recycled to create fun and playful designs which natural Qbres would work well for the collection and to be later interpreted in a unique way. As a designer, you are givegreatresultsfromnaturaldyingusingavocados andtur in charge of the sustainable decisions within the collection. meric.

To enhance the level of sustainability, designed - the collec tion to be Tran-seasonal; I accomplished this by allowing the Also, designing statement pieces that would help tell a story collectiontobeworntogetherasanoutQtorseparatelyand and raise awareness and drive change became critical to my making the collection timeless and more wearable throughprocess. out the year as it can be layered with dierent outQts. This workedwellasduringCOVD-19,fashionwasuncertain,with When considering the manufacturing stage of these pieces, people not knowing what was in fashion, so statement piec the Qnished panels are calculated from small test swatches es worked well. In addition, the garments have been made allowing for zero-waste design - the great advantage of fully to a high standard to increase the collection's longevity and, fashionknittedproducts. therefore,makeitmoredurable.

Q. Who is currently inspiring you in knitwear design and howhavetheyin5uencedyourwork? drew inspiration for my Qnal collection from textures, shapes and colours found in historical imagery and within my photography. I analysed the imagery to understand how the forms, textures and colours could be replicated and re designed into intricate knitwear. An example of this in the collectionisthebeadedlifejacketing,takinginspirationfrom

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Q. As a Young Professional that understands Qbre through to Qnished garment. What role do you feel wool will play in the future of fashion and texti Wool is a natural Qbre with many properties that can be seen as futuristic and can be developed further for future use in both fashion and our homes. For example, we can utilise its natural UV protection, antibacterial properties, odour resistance, and stain resistance. In addition, it is renewable and grown in abundance.

This Qbre is soft and has a tremendous insulating factor thatworkswellforseasonalclothing,iseasytocarefor,and is very durable. Due to the impacts of global warming and moreconsumersbecomingawareoftheeectfastfashion andtheover-useofsyntheticman-madematerials - arehav ing on our planet, wool will become more popular. With internationalresearchanddevelopmentofwoolQbreswithin advanced materials, wool will become even more ezcient and desirable in years to come.

Q. What would be three key characteristics of the future textile and fashion industry you hope to work in?

GONE FISHING

would , liketoworkforasustainableandforward-thinking brand; this can be through decision-making that beneQts both the collection and the environment.

• A industry that designs with innovation and creativity to produce catwalk collections that raise awareness through clothing, warning people of fast fashion and the impacts the industry has on people and the planet.

, An industry that promotes the use of recycled materials andtherepurposingofoldclothes.

Innovative. Creativity. Repurpose.

Q. n what ways will your generation redeQne how the fashion industry is perceived?

While working alongside my peers at NTU, it was evident thatweweredesigningwithcareforsustainability andmo tivationtocreatechangeinthefashionindustry,andthat just NTU. They encourage all young designers to be driven andpushtheboundariesoffashions'future.

Clothingisanecessity,soifcatwalkshowsandsocialmedia can be used to promote sustainable design to the younger generation to follow, we can create change. Social media and inRuencers drive the generation to control what is in fashion, but could this be used to reach a larger platform and promote new technologies in the industry to become more popular to minimise the throwaway culture we have become accustomed to?

Due to COVID -19, our generation has a bigger awareness and action for a sustainable future, leading to - designs be ing more comfort led and practical, linking to the idea of sportswearbecomingusedforfashionnotjustactive cloth ing. Designing clothes with multiple-use & purposes in mind.

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Due to COVID -19, our generation has a bigger awareness and action for a sustainable future, leading to designs being more comfort led and practical, linking to the idea of sportswear becoming used for fashion not just active clothing. Designing clothes with multiple-use & purposes in mind.

Emma Price

@ em_knit

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REFERENCES History of wool - Page 12 [1] IWTO - International Wool Textile Organization

How existing wool items are recycled - Page 72 [3] - IWTO - International Wool Textile Organization

The Alchemist of Waste - Recycle Wool - Page 74 [1] IWTO - International Wool Textile Organization

Globalperspectivesonsustainablefashion(London New York, NY: London NewYork,NY:BloomsburyVisualArts),180-.

Reimagining Materials - Page 130 [4] (European Commission 20 cited in Dan and Østergaard 201).

Professional organisations of interest:

,ASBC(AssociationofSupplierstotheBritishClothingndust ,BradfordTextileSociety • British Fashion Council Colleges Committee [2] - Dalena White, Secretary-General IWTO, International Wool ,TheSocietyofDyersandColourists Textile Organization, speaking at International' Virtu-Wool' Re• The Textile Society searchConference,May27,01 • UK Fashion & Textile Association. ,WorshipfulCompanyofFrameworkKnitters • IWTO - International Wool Textile Organization A Light Touch | by Emma Peters - Page 82 ,TheCampaignforWool • Textile Exchange - RWS & GRS Dan, M. Cristina and Østergaard, Thomas (201), 'Circular Fash • The New Zealand Merino Company ion:TheNewRolesofDesignersinOrganisationsTransitioning•to AWI a Circular Economy', The Design Journal, 1-21.

• Geelong Wool Museum Wool Mountain Pakistan | Research Lab - Page 78

Livingstone,JoanJoan (20), Livingstone,edsJamesYood,James Elkins, and Gerry Craig (Winchester, England: Winchester, - Eng land:TelosArtPub.).

Payne,AliceandFerrero-Regis,Tiziana(2019),'SustainableFash ion in Australia: Raw Fiber, Fast Fashion, and New Localism', in AlisonGwilt,AlicePayne,andEveliseAnicetRüthschilling(eds.),

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