T.C for T. L - Research on sustainability

URBAN | EXPLORER t.c

for

t.l

report | A/W15 | london

theodora cucu | thbide7a813 | augus 2014 london | guidence: lene pedersen | teko dk | A/W15 collection | report | design DNA

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CONTENT 5.abstract

thesis executive summary

7.t.lipop

company | production | stockists

8.problem formulation

issue | methodology | delimitation

10.project

design DNA | theory | reseach | collection & design development | prototype

44.conclusion

questions answered

45.reflections

personal overview

46.appendice

references

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A B ST R AC T Through basic design methods ( divergence, critical thinking, articulation and convergence) , this paper discusses new approaches to sustainable manufacturing that encourage the company’s development of independent and innovative approaches, increasing confidence in designer’s abilities of making healthy creative decisions.

The amount of textile waste that is generated seasonaly is increasing rapidly due to its serve as a growing brand.

There is a lack of unified and well-functioning systems for collection, recycling and reuse.

The energy created by burning textile residue is about 16 MJ/kg (Sharifi & Swithebank, 2008). However, it has been shown that for every kilogram of virgin cotton displaced by second hand clothing, approximately 234 MJ is saved (Woolridge, Ward, Phillips, Collins, & Gandy, 2006). Thus, there is an increasing need for technical and social innovations within this sector.

This provides a foundation for filtering information that will ultimately develop a final collection, analyzing through critical thinking the impact and development in the company. The new research is drawn from information gathered from industry professionals and educators currently involved with Fashion Degree Courses, as well as books, online research and exhibitions .

This implies the need for a more critical review of the way

conventional design processes and how their alternatives are taught to future designs. This research looks at ways of establishing creative approaches providing a list and most relevant methods that can be used as another method of manufacturing in the company analyzed: zero waste, cradle to cradle, smart tailoring, jigsaw, a-poc.

Additionally, a new concept relevant to T Lipop will be proposed, for example new design/s created with minimal waste or/and from the waste discussed as prototype.

Based on these results, it will be possible to suggest minimum limits for these properties, which will be useful in the selection of materials for production. By combining these methods, will be given information on both the social and technical aspects of clothes. Creativity will be shown through inspirational/mood boards, target group boards, colorcards.

As a designer, there are several options of how to approach the problem of reducing environmental impac, but the theme is complex and an improvement in one area has potential for impairing another.

The aims are to demonstrate that sustainable manufacturing practice is an opportunity for innovative fashion design, and to make feasible suggestions for modifying existing practices into T.Lipop.

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T. L I P OP Tom Lipop stands for a creative force in the fashion industry, specializing in progressive, technical menswear tailoring, modernizing tradition and producing innovative, masculine lines with a subtle self assurance and considered perplexity.

T.L’s also stands out through seamless blend of progressive techniques, luxurious fabrics, minimalistic but yet complex design.

Ready to wear label, was selected one of Selfridge’s Bright Young Things with Dazed & Confused marking it the hottest new talent in menswear, women’s wear and accessories, to create their own window display and showcase their work to millions.

Currently presenting at London Collections – MEN and showcased internationally as part of the LONDON show ROOMS in Paris, White Showrooms, Milan and Showrooms New York. Each collection highlights the forward thinking nature of a brand that appreciates classic silhouettes, fine detailing and rich cloths with enthralling new cuts and innovations for the modern day man. See more at: http://tlipop.com Collaborations with River Island and Bespoke: http://plus90atelier.com/ Production Tom Lipop, besides being the creative director of the brand, he is in charge with pattern making. The mass production is sent to factories together with a prototype, fabrics, trimmings- unless the factory can provide the specific ones.

UK: Layers London London (arriving aw14.15) http://www.layerslondon.com BBS Clothing - London (arriving aw14.15) http://bbsclothing.com The Unconventional - Norwich http://www.theunconventional. co.uk EUROPE: La Ferramenta - Bologna (arriving aw14.15) http:// www.laferramenta.org Back Door IT - Bologna (arriving aw14.15) http://www.back-door. it US: Anastasia - Los Angeles (arriving aw14.15) http://www.anastasiaboutique.com Assembly NY - New York http://assemblynewyork.com MIDDLE EAST: Mahani - Dubai http://mahanifashion.com Anma Group - Saudi Arabia http://anmagroup.com/test/life ASIA: Isetan - Tokyo (arriving aw14.15) http://www.isetan.co.jp Artage - South Korea (arriving aw14.15) http://artagekorea.com Odenn - Online - China http://www.odenn.com See more at: http://tlipop.com/Stockists.aspx#sthash.KTKqz21J.dpuf There are 2 collections produced per year, sizes from xs to xl.

The production is outsourced in Turkey.

There are no signature stores; the company is presented by stockists all over the world:

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Analyzing the company’s infrastructure from creation to production, has surfaced some issues to contend with.

Partnering exclusivity and high integrity creates a challenge in keeping a balanced profit. There are plenty of solutions to the problem; investing in technology to save time but keep the value while the production is increased, improving time management and so on. Trying to solve the companies’ issue through an updated design will be a major challenge, especially when they are bound by their strong eye for detail and quality. Therefore the challenge is in identifying the key problems and proposing appropriate solutions. One of the major changes I would like to implement into the brand is sustainability in order to increase brand value while establishing a more conscious vision and mission.

How can T.Lipop keep the brand integrity and signature throughout seasons?

Seen as a reinvention of classics, the brand is adding value through replacing prints with embroideries for example. Their trademark stands for a non-trend-following fashion company.

The following sub questions have been chosen in order to arrive at a resolution: 1. What is T. Lipop’s Design DNA?(getting at the core) 2. How can T.Lipop reduce the environmental impact by an improved design?

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3. What should be the style influence in the upcoming A/W 2015/16 Collection (based on bestsellers, key items or innovative /newness/improved design?)

PROBL E M | FOR MUL AT ION

METHODOLOGY As techniques, basic designing methods will be used as a conceptual framework: Divergence: exploring the possibilities by applying critical thinking and implement sustainability as a core value into the brand, creating new design solutions.

Critical thinking: a filter threatening fashion industry. Helping customer’s choices, critical thinking must be used by the brand itself in order to survive. The method will be used to reflect, solve and help with the conclusive decision about the current brand’s situation.

Criticism and skepticism are mindsets influencing customer’s purchases nowadays as well not just the producers. In order to apply critical thinking, the customer’s perception of the brand must be analyzed and brands image, through a Design DNA Analysis.

Nevertheless, the customer needs to trust the brand. Sustainable brands are well trusted by aiming to be conscious and caring about the planet, therefore about the people. Customer feels involved in a world preserving environment whilst making the purchase, which brings extra value to the brand.

Articulation: creating the relationship between process and the whole concept throughout a lineup of 15-20 looks. The process will take a keen accent on pattern making, innovation and expansion, therefore increasing collaborative nature by combining style creation with other disciplines: pattern cutting, accessories design, textile development and tailoring.

The final collection will be standing by inspirational boards, wide textile research and possibilities, process portfolio, sales book, and possible prototyping as a convergence method.

DELIMITATION The scope of the report is to develop a clear brand strategy for T.LIPOP clothing ranges, combining innovative design aesthetics with sustainable demand. The goal of using the design methods is to gain unique essential changes resulting in a new experience for user and producer.

Skepticism method, as a part of the critical thinking will be used to discover the extent to which sustainability can be implemented as a start and what are its risks. Therefore, the focus will be on supplying

department – fabric choices and collaborations – image of the brand and manufacturing department- pattern making. There will also be given sustainable options that cover the entire manufacturing process, based on critical thinking research, that will argument why the choices given are relevant to the brand’s new concept.

The intent is also to introduce you to the company’s value chain, inspiration, target group and key insights, which will delimitate the freedom of my creativity, in order to reach the possibilities of manufacturing, resulting in a realistic ready to wear collection.

T.Lipop’s upcoming A/W 15/16 collection will be an improved concept, with a strong focus on relevance and a noticeable personal touch, aiming to blend with the brand’s prior inspirations in order to keep their signature strong and collections harmonious.

The first step into answering the problem statement is to get a full understanding of the brand’s identity, integrity and signature. Therefore the Design DNA Analysis method will be used briefly, taking in consideration every detail and stage throughout the process.

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B R A N D|A R C H I T E C T U R E

T.Lipop Design DNA Analysis is based on the following collections: A/W 13/14, S/S 14, A/W 14/15, S/S 15.

The brand’s analysis will not only help me blend with its design but also understand the target group. Having the analysis as an overview, there will be set the basis of a creative new idea for the upcoming collection A/W 15/16.

Moreover is the first step to finding the next theme of the upcoming collection through analyzing the other collection’s themes and finding the in between links.

Analyzing briefly the overview of T.L collections, there are obvious details that makes the brand’s style unique and recognizable: print overload, thematically used embroideries, rich textures in fabrics, “T.L ink customized fabrics, all black, slim silhouettes, a stand out piece(velvet, expensive trimmings, golden zippers, faux leather coat), rich fabrics(cashmere/wool 100%), handcrafting ( pulled out threads), classic silhouettes, once piece styles, one cool urban look, mysterious look, hats and shoes serving as a focus on accessories.

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Product Progressive technical menswear tailoring with a less is more aesthetic.

Values Progressive: Pushing the boundaries of traditional tailoring Technical: Manipulating the construction of fabrics and patterns Utility: Exploring the form and function of design.

Less is more: Removing elements to maximum effect British: Modernizing the traditional English gent.

Accessories: focus on hats, shoes and scarves.

User

Emotional How does Tom Lipop make men feel?

Real Strong Understated Masculine Proper

Culture Personality:

neutrals pastels

Subtle Self assured Fun loving Composed

Colors White, black, brown, gray, tape, navy, pale pink, yellow, gold, Pastels: nude scales, grayscales, icecream, blue scales.

Fabrics: organic cottons and jerseys, cashmere, suede, silk, leather, wool, linen, velvet, viscose.

Symbolic: The brand does use visible logo on garments as woven/ink logo on fabrics.

Here attach color graphics!!!!

Each collection varies between 16-24 looks.

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textures darks

Organization T. L I P O P | (T. L I P - O P) noun origin - 2011. 1. a creative force, specializing in progressive, technical men’s tailoring with a ‘less is more aesthetic. ‘Modernizing tradition’ and producing innovative, masculine lines with a subtle self assurance and considered perplexity. T.L’s ‘M. T’ Methods depicts the house effortlessly - ‘Modern Tradition’. Tom Lipop and business partner Eser Aydemir launched the T.L brand as a ready to wear label to wide critical acclaim in 2011 and following the success of their SS12 collection as part of the Ones to Watch on London Fashion Weeks first MENS Day, T.L was selected as one of Selfridges’s Bright Young Things, with Dazed & Confused marking it as an opportunity for “the hottest new talents in menswear, women’s wear and accessories, to create their own window display and showcase their work to millions.” Currently presenting at London Collections – MEN and showcased internationally as part of the LONDON show ROOMS in Paris, White Showrooms, Milan and Showrooms New York. Cut above all else is everything at the T.L House. Each collection highlights the forward thinking nature of a brand that appreciates classic silhouettes, fine detailing and rich cloths with enthralling new cuts and innovations for the modern day man.

What is T.LIPOP not OTT (over the top) Fey Flimsy Feminine Surface Tasteless In your face

T.Lipop previous collection plans : A/W13 trousers ~16, coats ~8, tops~12, jackets ~6 A/W14 trousers ~16, coats ~5, tops~8, jackets ~8 S/S14 trousers ~13, tops~9, jackets ~15 S/S15 trousers ~9, tops~10, jackets ~15

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A W |1 3

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S S |1 4

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A W |1 4

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S S |1 5

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T A R G E T For men who: Appreciate form and function Love detail Need to be sharp Want to be visible

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Divergence

Divergence - noun the process or state of diverging.

One of the methods used to answer sub question number two: 2. How can T.Lipop reduce the environmental impact by an improved design?

Critical thinking (the objective analysis and evaluation of an issue in order to form a judgment) - will be applied after a brief research among sustainable manufacturing methods in the fashion industry, in order to make a relevant choice to implement into the brand’s concept.

Bernard Rudofsky was the first one to formulate the critique regarding contemporary design and fashion making in the context of historical methods. He criticized the waste in the Western way of cutting the fabric, as a comparison to the efficiency of the international ways.

Another recent author Naomi Tarrant gives explanations on how pre-industrial societies threats fabrics as very precious and as a rich resource. Researchers show that the developments in cutting in Europe were influenced by the weaving technology. Considering the immensity of the fashion industry 20

nowadays, technology should be used either to find solutions for a better designing or for time management, in order to prevent the waste no matter the quality of the fabric.

Industry leaders convened in 2013 in Istanbul at the Textile Exchange’s 2013 Textile Sustainability Conference to share solutions in order to enhance the integrity of products and producers in fashion.

“The industry is addressing fast fashion and moving toward a closed loop where end of use does not mean the end of life,” said Tricia Carey, vice chairperson of Textile Exchange and senior merchandising manager for Lenzing [German], a leading manufacturer of sustainable fiber. “But the biggest challenge is educating the consumer to decide about their purchases not by price, but by the environmental impact.”

Among different sustainable manufacturing possibilities, there has been provided a list to follow, with Tips for integrating sustainability into TL brand.

As a real example, brands like Stella McCartney, Patagonia, Loomstate, Eileen Fisher and NAU are proactively lessening environmental impact. Whilst they stand beyond middle market, they are a proof that sustainability is doable, form creation to production.

In order to succeed in following sustainability or get close to, “it’s best for brands to start in the design and development phase” .(Debora Annino- president of Common Project/ Creative director @ Matther McConaughney’s new brand JKL. Design: Fishing for raw fabrics would be a first step, as well as trimmings and packaging with lowest environmental impact. The impact is to be calculated through water /energy/ pollution input or usage and GHG emission during the manufacturing process. Furthermore, there must be an interest for renewable vs. non-renewable resources and land requirement of usage for fibers.

helpful. They include ISO 14000/14001, which assesses environmental and social compliance throughout the manufacturing process; WRAP certification, which looks at social/human compliance; GOTS certification, which takes into account the global organic textile standard; Oeko-Tex Standard 100; SCS Global recycled content certification; and bluesign certification.

Transportation: Taking in consideration that T. Lipop is outsourcing production in Turkey, transportation is a significant contributor of GHG emissions, so the environmental impact is added to overall cost of apparel. The brand should consider the best and closest possible transportation routes, consolidation of shipments.

Annino also suggested that human toxicity (carcinogens and allergens) are eco-toxicity to aquatic life : “Coatings on textiles and garments that create performance enhancement, tactile or aesthetic appeal can also increase the toxicity of garments,”.

Manufacturing: The manufacturing process must be carefully planned from creation, to fabric, to garment including handling and waste, discharge, pollutants and energy usage.

Supply chain partners that have credible certifications of relevant social and environmental compliances like third – party, can be 21

Helpful online apps and tools

One evaluation can be made through textiles impact by subscribing to EcoMetrics, which stands for an online tool created by EDUs (environmental damage units) of textiles, that suggests a number of manufacturers and brands that became more sustainable over time.

Made-By is also one of the Europeans nonprofit committee that improved social and environmental conditions towards the fashion industry by creating benchmarks to evaluate textile sustainability into classes, from least environmental impact to biggest.

Sustainable Apparel Coalition is also an industry- wide organization of more than 100 footwear brands, retailers, nonprofits and NGOs working to reduce the environmental and social impact worldwide. They focus on Higg Index – which measures performances and product impacts.

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Another example is Nike- member of the Sustainable Apparel Coalition, who has launched an app called MAKING, helping designers channel their creations towards sustainable apparel.

Most of the conscious production brands use Bluesign certification, which stands for a rough auditing system that guarantees the that products carrying the certification label are made exclusively of a combination of components and processes that are harmless to human beings and the environment.

On the other hand, there are plenty of certifications proving the sustainability policy, but when it comes to suppliers, “managing the multi-tiered supply chain is difficult to keep track of.”(Annino).

The easiest way is to self-audit using own internal and value chain system to evaluate factories, although, among other risks, this can threaten the labor safety. “More than 1,500 workers have died in less than eight months due to three horrendous factory tragedies, two fires and a collapse, respectively: Ali Enterprises in Pakistan, Tazreen Garments in Bangladesh and Rana Plaza in Bangladesh.

In each case, said Judy Gearhart, executive director of International Labor Rights Forum, the factories had been audited by the brands, and in the case of Ali Enterprises, were even certified.”

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Creative ideas for sustainable manufacturing methods 1. Smart Tailoring DPOL or Direct Panel on Loom technology , also called Smart Tailoring was invented by designer Siddhartha Upadhyaya in order to reduce textile waste. This concept increases efficiency by 15% and reduces lead time by 50% while manufacturing high –end garments.

A computer is attached to a loom with data (color, pattern size, etc) , the loom cranks out the exact pieces ready to sew. Weaving fabric while pattern cutting, saves energy to 70-80%.

2. Jigsaw Puzzle Stands for another version of ‘Cut and Sew” considering the construction and sewing. Basically the pattern pieces interlock on a length of fabric like jigsaw puzzle pieces. Therefore there is no waste and the need for a marker is eliminated while the garment pieces fit together in one way. It has been a commune used method during Industrial Revolution in Europe.

Puzzle, an approach demonstrated by Issey Miyake, Yeohele Teng and Zandra Rhodes, Ecktert and Stacey call knitwear design “ a complex interaction between aesthetic and technical design” while Seitamaa-Hakkarainen and Hakkarianen state that weaving design incorporates visual(compositional-wise) and technical(construction-wise) designing.

The ‘Jigsaw Puzzle ‘requires simultaneous consideration of technical and aesthetic elements during the design process and the designer’s method must be a continuous research.

3. Cradle to Cradle (McDonough and Braungart 2002): The process is focusing on reusing the fabric waste: In McDonough and Braungart’s philosophy, waste equals food; the ‘waste’ is either reused or composted 4. A-POC (A Piece Of Cloth, Issey Miyake and Dai Fujiwara): A-POC is a knitted or a woven tube of fabric, with the two sides of the tube connected in areas to create cavities within the tube. Following these joined areas, the consumer cuts the garments of his/her choice. In knits sewing is eliminated completely – a yarn enters a machine and a tube containing several different garments comes out. Some woven A-POC garments require minimal sewing (Kries and von Vegesack)

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Evidence of the increase in design customization within fashion products exists, although the aim is to offer cus-

tom fit in a mass-produced garment, extending the idea of custom look.

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Critical Thinking “Critical thinking is self-guided, self-disciplined thinking which attempts to reason at the highest level of quality in a fair-minded way. People who think critically consistently attempt to live rationally, reasonably, empathically. They use the intellectual tools that critical thinking offers – concepts and principles that enable them to analyze, assess, and improve thinking. They work diligently to develop the intellectual virtues of intellectual integrity, intellectual humility, intellectual civility, intellectual empathy, intellectual sense of justice and confidence in reason.”

One example of how skepticism is used successfully into an industry can be found at Disney Animation. They use “three mindset rooms” similar to “the thinking hats”.

Room one: where the key is unrestrained thinking, throwing in ideas without limits.

Room two: where the crazy ideas from room one are aggregated and organized, resulting in a storyboard, sketching and characters.

Room three: also called as the “sweat box” , is the room where the entire creative team will critically review the ideas without restraint.

“Every creative person and team needs a Room Three” says Scott Belsky founder and CEO of Behance.

The use of critical space and articulation in idea generation, can be vital to a creative enterprise explains Disney. In their book The Illusion of Life, Ollie Johnson and Frank Thomas, two of chief animators, wrote that “there were actually three different Walts: the dreamer, the realist and the spoiler. “ The best practice in a limitless creative world is to value the skeptic’s role during idea generation. Skepticism doses the freedom and grounds the judgment.

There is no need of the three rooms, but there is security which is needed during a creative process. However, ideas must be able to be killed liberally, in order to pursue others.

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Another example is Apple.

On a rare interview for BusinessWeek, on Apple’s system for innovation, Steve Jobs explained that, in fact, there is no system at Apple, and that spontaneity plays a key role for innovation.

“We’re always thinking of new markets we could enter, but it’s only by saying no, that you can concentrate on the things that are really important. “ It is natural that while during creative idea generation, spontaneous limitless ideas it’s an impediment. Therefore the wise creative person should understand that idea generation is “a wild animal that requires a stolid trainer to tame excitement with healthy dose of skepticism”.

Filtering the information provided, there can be chosen little from the manufacturing methods at this moment into T.L brand, taking in consideration the pattern cutter and creative designer is the same person, is in fact, a strength that will make the use of the methods possible.

After being familiar with the brand’s concept and signature- one piece garments, rich fabrics, perfect fitting, the sustainable concept serves as an opposition and reducing the environmental impact will be a strong challenge. Therefore, after applying critical thinking, it has been chosen to implement a new concept into the manufacturing department- using to some extent at least one of the methods per collection that can be embraced and customized in their name.

The choice in terms of sustainable manufacturing methods for the upcoming A/W 2015 Collection is cradle to cradle. As a reminder, the method aims to a 0 waste pattern cutting. Therefore it has been chosen to use the negative space/waste of all one piece patterns and create new styles.

The influence in the next season will focus strongly on their signature ( by keeping the one piece suits/bestsellers- in order to limit the profit downfall risk while implementing the start of a new concept) while taking a step towards environmental consciousness as innovation.

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Collection Development

Style influence for upcoming A/W 2015.

The ideas for the upcoming collection are based on the design DNA’s core values and company’s philosophy and concept.

In order to enforce the brand’s signature and keep the concept to its fullest, the collection’s overview will be bestsellers/ key items and signature one piece suits which will be redesigned and updated. On the other hand, to implement the sustainability, new designs will be created from the waste as prior stated.

Design Inspiration Potential names: Urban spirituality, Junction, the urban explorer Key words Contradiction Urban Conscious Waste reduction Organic Raw

Rich creation Structure Clean cuts Earth Innovation City tribe Exploration Survive the social standards while blending with the city tribe This collection explores the intersection line of street wear and tailoring /high fashion.

Inspired by earth elements and nature combined with industrial design tidy cuts, blending high sensibilities, consolidating the idea of a contemporary urban look combined with the clear conscious lifestyle of a sustainable user.

The collection plays with proportions, shapes and cuts, mixing and matching different culture touches, focusing on onepiece styles and broken patterns pieces.

Forms are influenced by outdoor struc-

tures, combined with functionality and good fitting by multi-pieced patterns to reduce the waste, whilst keeping one piece trademark as well.

Each and every garment is highly influenced by modern design allowing men to be edgy and creative while maintaining traditional silhouettes that they are familiar with. This collection is also aiming to be in harmony with previous collections, by keeping a high possibility of mixing garments throughout T.L design history.

The collection can be described as a contradiction that brings together a storytelling by various cultures, a contemporary multiethnic world, global expansion of visual culture, due to the blend of traditional earthy look and classical English tailoring, organic fabrics, raw finishes, portraits of Indian tribes embroideries/ inspiration and innovative manufacturing techniques, clean lines, urban inspiration.

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Prototype

The prototype serves as one example of the zero waste manufacturing, as the implementation of the new concept.

It has been chosen one pattern of the one pieced garment (denim jacket) planned to be used for upcoming collection AW15; traced and used the negative space ready to create new styles. The pieces have been put together in a broken pattern, in order to construct another possible garment for this season.

The main challenge has been finding the perfect placementof the pattern on the fabric, in order to get the most of the negative space, whilst taking in consideration the grain line. A reason not to make a regular template of the fitting on fabric is the difference of width that most of fabrics come in, especially the organic ones. That is to be decided while pattern cutting.

Therefore, due to a signed confidentiality agreement, the prototype will be shown during the oral presentation of the thesis.

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Conclusion

design dna divergence convergence prototype collection rtw

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It has been concluded that the way T.Lipop can keep their brand integrity and their strong signature over the seasons is to evolve as a conscious sustainable brand.

Sustainability has turned out to play an important role into strengthening the brand’s integrity. Implementing the concept to a smaller extent in the beginning gives the designer time to experiment and experience the impact of change.

For a fast growing brand, with a strong design signature, the change needs to be subtle and effective, especially in terms of profit and positive feedback. The improved design stands for implementing a reduced environmental impact into manufacturing department, through a higher extent in zero waste and sustainable fabrics use.

The style influence for upcoming collection serves as an improved concept, by keeping the bestsellers and designer’s favorites, with the strong touch of the personal sustainable consciousness.

Reflections

The outcome of the 3 months work experience at T.L gave a personal change of fashion perspective.

Making a collection development in style of a similar design aesthetics would not have been a challenge without implementing a new concept.

It has been more than pleasing the keen interest taken into a real implementation of the personal idea into production. Being part of a hard working team has led to a change in lifestyle, time management and future aspirations.

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Appendice Critical thinking “Making Ideas Happen” Scott Belesky http://www.criticalthinking.org/pages/defining-critical-thinking/766 Sustainability http://www.greenbiz.com/blog/2013/11/20/innovators-sustainable-apparel-patagonia-stella-mccartney

Sustainability and the waste management hierarchy - www.cfd.rmit. edu.au/content/download/189/1390/file/Sustainability%20and%20 the%20Waste%20Hierarchy.pdf” Japanese costume” Madeleine Vionnet.

“A-POC” making Issey Miyake & Dai Fujiwara.Berlin, Vitra Design Museum.Liddell, J. (1989).

”A lifelong love affair with textiles” (exhibition) Anonymous "Three dimensional seamless garment " Oxford, W. and N. P. Powell (2005) “Journal of Textile and Apparel, Technology and Management” "Garment technology for fashion designers”. Oxford, BlackwellScience.de Marly, D. (1980) “Making kimono and Japanese clothes” London, C. and M. Stacey (2003)

“Cradle to cradle” “Remaking the way we make things” British fashion design London &New York, Routledge.Moore Issey Miyake: Making things. Zurich, Scalo.Scanlon, J. (2004) Seamless Wired Magazine http://wiredvig.wired.com/wired/archive/12.04/miyake.html?pg=1&topic=&topic_set= http://tlipop.com/

http://www.academia.edu/3762020/From_15_to_0_Investigating_ the_creation_of_fashion_without_the_creation_of_fabric_waste Design Research

http://jakandjil.com/ http://www.trendtablet.com/

http://jdr.tudelft.nl/articles/issue2003.01/Art2.htmlaccessed 03/09/2005Feyerabend Textiles Briefing Paper http://www.mrs-hampshire.org.uk/Workshop%204/Textiles.pdf

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http://www.wgsn.com/ http://pejgruppen.com/

Theodora Cucu

theodoracucu@yahoo.com 158490@yahoo.com

+4571805493 +447459493555

Herning , Dk

THANK YOU

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