Johanna og Sigtýr
Our skin was built on our research into s u s t a i n a b i l i t y, t i m e a n d i d e n t i t y. We g a v e i t t h e n a m e E r f ð & E f n i w h i c h t r a n s l a t e s t o Inheritance & Material. The two halves of our name reflect the two halves of the skin we designed, which ultimately became an inheritable brooch and a variety of wearable materials which are held together by it. Half is hard structure and half is soft structure and together they’re as much a puzzle and a finished garment. It is meant to evolve and always be r e f l e c t i v e o f t h e w e a r e r ’s i d e n t i t y.
The starting point of this idea was in our desire to locate an intersection between fashion design and architecture. We s k e t c h e d o u t f a c a d e s , p a t t e r n s a n d l o o k e d at joinery in each field. Then let this lead us to researching wearable tents or shelters, and the outward use of fabric in building structures.
Common elements of the two fields, which we became most interested in were: Te n t i n g Patchwork & Upcycling We b e c a m e i n s p i r e d t o t h i n k o f d i ff e r e n t w a y s in which these concepts could be applied in a potential skin, while considering how to encourage sustainability over time. How could we influence not only design but the consumer culture around design?
Embracing the organic quality of the material instead of forcing it to conform. Inspiration taken from K a t h r y n L a r s e n ’s seaweed thatch research. Seagrass can be made into housing material that is rot resistant, fire resistant and non toxic. Can we make seaweed a wearable material and use the natural properties of it for our benefit without having to add something to it. B e n e f i t s : Wa t e r resistant, organic, biodegradable.
Seaweed 80% of total seaweed production is for direct human consumption. Iceland produces about 2% of the total world production of seaweed a y e a r. Seaweed can grow up to 3 meters per day and absorbs Co2 and mitigates ocean a c i d i t y. Seaweed makes a great fertilizer for plants and grass. If left whole it takes about six months for seaweed to compost.
When we first looked at Identity we boiled it down to a few points: Generational identity through wearable and inheritable pieces. National identity and how jewels or adornments of national costumes are interlinked with textiles. Social identity and how trends and fashions change. Can we reimagine the concept of clothing? How it ages? How trends age? How we decorate ourselves? How we could make it clearer what we hold on to and what we let go.
Looking at sustainability we decided that we wanted to focus on what was made to last forever, separated from the environment, and what was made to go back to the earth. Our project needed to either break down completely a n d r e j o i n t h e e n v i r o n m e n t o r n o t b r e a k d o w n a t a l l . We figured that if we managed to separate creative elements, we could propose a way to continue to create and consume while simplifying the current reusing or recycling process. Our first task showed us how buildings, products, clothing, many of them would be more sustainable if we could split them back into their original components when we’re done with them so we leaned on that idea. Focusing specifically on fashion design, we imagined eliminating the use of glue, zippers, mixed fabrics, any parts that were hard to separate, and experimented with simple robe- and wraparound patterns instead or more tailored ones.
Synthetic spider silk Strong and powerful
Econyl Fun and friendly
Pinatex Humble
SeaCell Professional
Ti m e g a v e u s a b r i d g e b e t w e e n s u s t a i n a b i l i t y a n d i d e n t i t y. Because we chose to emphasise the importance of sustainability by bringing attention to the our personal connection backwards and forwards in time, using a skin which would be passed down generations and encourage e n v i r o n m e n t a l l y c o n s c i o u s b e h a v i o r.
We l o o k e d a t c u l t u r a l i d e n t i t y a n d how it manifests in clothing. Clothing and jewelry play an important part in visually representing a culture a n d o n e ’s s t a t u s w i t h i n a c u l t u r e . The examples of this we drew the most inspiration from were the nordic national costumes both from Iceland and the Faroe Islands. Both these costumes connect jewelry and f a b r i c i n o r d e r t o s h o w o ff c u l t u r a l heritage. Some elements of these costumes we hoped to incorporate in our skin while we decided to let g o o f o t h e r s . We w a n t e d t o h o l d onto the interlinking of inheritable jewels and replaceable fabrics but we wanted to encourage the wearer to not only use the skin for special occasions. Rather to exchange the material if need be, while continuing to wear the Inheritance as a way of showing their identity and connecting to the past on a day to day basis.
Synthetic spider silk Strong and powerful Fusion of spider silk genes and microbes. Is said to be five times stronger than steel but also very lightweight and more flexible than nylon and entirely biodegradeable.
Econyl Fun and friendly Recycled fabric that uses synthetic waste such as industrial plastic, waste fabric and fishing nets from the ocean. Regenerates them into a new nylon yarn that is the same quality as nylon.
Pinatex Humble Ve g a n l e a t h e r alternative made from pineapple leaf fibre. Cruelty free replacement for l e a t h e r, n a t u r a l , sustainable and it helps the farming community that grow the fruit.
SeaCell Professional Made from brown algae which is found in the Icelandic fjords. The algae is mixed with cellulose and spun into a yarn. Breathable and light fabric that feels soft and supple against the skin.