3D weaving tackles fashion waste
CategoriesSustainable News

3D weaving tackles fashion waste

3D weaving tackles fashion waste

Spotted: The fashion industry has been getting a lot of criticism lately for its unsustainable practices. And for good reason – 87 per cent of the fibres and materials used to make clothing will end up in either incinerators or landfills. Luckily, many companies are now working to solve this problem, including startup Unspun.

Unspun has developed a unique solution to make textile production more sustainable. The company has developed automated, 3D weaving micro-factories, called Vega, that can weave a pair of trousers in 10 minutes. The factories allow brands to make products locally, reducing the need for manufacturing in large quantities – a major cause of waste.

Unspun highlights that the textile industry’s slow adoption of new technologies has hindered progress in addressing fashion’s impact on climate change. The company hopes to change this by decentralising fashion production and reducing greenhouse gas emissions from shipping and waste.

Unspun recently announced it has raised $14 million (around €17.6 million) in a series A funding round led by Lowercarbon, which will be used to support the development of Vega micro-factories. The company is also developing techniques to ‘unspin’ garments back into yarns, so that they can be re-woven into new products. The ultimate goal is to help brands achieve a local, circular supply chain for woven products.

In addition to Unspun, Springwise has spotted a number of other innovations in the archive that are helping create a more sustainable fashion industry. These include the development of regenerative fibres and carbon-negative textiles.

Written By: Lisa Magloff

Reference

Shellmets
CategoriesSustainable News

Ten sustainable biomaterial fashion designs from Dezeen’s Pinterest

Shellmets

Over the past year, searches for sustainable fashion have grown in popularity on Pinterest. We round up 10 projects from our sustainable fashion board which feature items made from more environmentally friendly materials.

The fashion industry generates an estimated 92 million tonnes of textile waste every year. With the aim of reducing their textile footprint, many designers are now using eco-friendly biomaterials and processes.

Designers such as Valdís Steinarsdóttir and Phillip Lim have used gelatin and plant matter in their work, amongst other materials.

Scroll down to see 10 sustainable fashion designs and browse our popular sustainable fashion board to see more.


Shellmets

Shellmet by TBWA/Hakuhodo

Tokyo advertising agency TBWA/Hakuhodo and plastics manufacturer Koushi Chemical Industry CO collaborated to design the Shellmet.

The helmet, which was made from discarded scallop shells and recycled plastic, was developed to be used as protective headgear for fishermen in Japan. The Shellmet can also be used as a cycling helmet or a hard hat.

Find out more about the Shellmet ›


Charlotte Mccurdy algae dress

Bioplastic sequins dress by Phillip Lim and Charlotte McCurdy

Algae bioplastic fronds cover this petroleum-free dress created by fashion designer Phillip Lim and industrial designer Charlotte McCurdy.

The dress has a biodegradable base made of plant fibres, making it free of crude-oil by-products such as synthetic fibres, dyes and plastic sequins.

Find out more about the bioplastic sequin dress ›


Sonnet155

Sonnet166 by Lobke Beckfeld and Johanna Hehemeyer-Cürten 

Sonnet155 is a bag that was made from fruit skins left over from juice production and short cellulose fibres. The product dissolves in water and can be used to fertilise plants.

The bag has a lifespan similar to a disposable paper bag and was designed to break down naturally before it can be composted or recycled.

Find out more about Sonnet166 ›


A female model wearing a beige trouser suit

The Soil Project by Yuhan Bai

The Soil Project is a clothing collection made with a soil-based leather alternative and vintage garments dyed with soil.

After conducting research into the fashion industry’s reliance on cotton, Royal College of Art fashion student Yuhan Bai devised the concept.

Find out more about The Soil Project ›


Shape.Repeat by Valdís Steinarsdóttir

Jelly clothing by Valdís Steinarsdóttir

Designer Valdís Steinarsdóttir designed a collection of vest tops made from gelatin or agar. The tops are created by being cast in a mould and then left to solidify.

The garments require no seams or stitches and can be melted to create new clothes if they are damaged or no longer needed.

Find out more about Jelly clothing ›


Radiant Matter BioSequin jumpsuit

Jumpsuit made with iridescent BioSequins by Stella McCartney

Earlier this year, fashion brand Stella McCartney revealed a sleeveless bodysuit, which was embellished with bi0plastic sequins that are made from tree cellulose.

Biomaterials firm Radiant Matter created the sequins called BioSequins as a substitute for the petroleum-based plastic options which are commonly used.

Find out more about iridescent BioSequins jumpsuit ›


Fluff Stuff includes clothing stuffed with plant filling

Fluff Stuff by Aalto University students

Students at Aalto University created Fluff Stuff, a textile filling created from plants cultivated on re-wetted peatlands in Finland.

The students designed a collection of soft homeware and clothing, which include cushions, duvets, jackets, bags and a hooded hat which were filled with typha latifolia, a plant known as broadleaf cattail.

Find out more about Fluff Stuff ›


Decomposable garments by Helena Elston

Fungal Integrated by Helena Elston

Fungal Integrated is an upcycled clothing collection made from mycelium and London-sourced textile waste.

Pieces, which include a seamless dress, a navy trouser suit, chunky heeled boots and a jacket, were all made by designer Helena Elston from a combination of local waste products such as discarded textiles, coffee sacks and fungi.

Find out more about Fungal Integrated ›


TômTex and Peter Do shrimp and mushroom food waste garments

Shrimp and mushroom food waste garments by TômTex and Peter Do

Fashion designer Peter Do joined forces with biobased material developer TômTex to create garments for Do’s Spring Summer 2023 collection at New York Fashion Week.

The pair created glossy wide-leg trousers and rounded-neck tank tops in two colours, which were constructed from TômTex’s non-woven biofabric. The 100-per-cent biodegradable material was made from shrimp and mushroom food waste to have the look and feel of leather.

Find out more about the collection ›


Olanyi Studio Cellulose Shoes

Kajola by Olaniyi Studio

Kajola is a series of shoes made from biomaterials by architect Yussef Agbo-Ola of environmental design practice Olaniyi Studio.

Agbo-Ola created nine experimental shoes made out of natural materials including clay, volcanic dust and cocoa. The shoes were created as artwork and curl up like plants when they decay.

Find out more about Kajola ›


Follow Dezeen on Pinterest

Pinterest is one of Dezeen’s fastest-growing social media networks with over 1.4 million followers and more than ten million monthly views. Follow our Pinterest to see the latest architecture, interiors and design projects – there are more than four hundred boards to browser and pin from.

Currently, our most popular boards are retail interiors and installations.

Reference

Four works from Loewe Foundation Craft Prize exhibition 2023
CategoriesInterior Design

“I sometimes feel like I fell into doing fashion” says Jonathan Anderson

Four works from Loewe Foundation Craft Prize exhibition 2023

Loewe creative director Jonathan Anderson set up the brand’s annual craft prize to decode the “chintz” and “pastiche” associations of the discipline, he tells Dezeen in this interview.

Luxury fashion house Loewe recently announced the sixth winner of its annual craft prize at NYCxDesign, which celebrates applied arts and innovation in modern craftsmanship.

A spiky egg sculpture by Japanese ceramicist Eriko Inazaki was selected for the 2023 award from more than 2,700 entries.

“It became chintz”

Anderson established The Loewe Foundation Craft Prize in 2016 in an effort to honour the brand’s 19th-century origins as a leather-making craft collective.

Speaking to Dezeen at the awards ceremony for the prize at The Noguchi Museum in Brooklyn, he explained he also wanted to redefine contemporary understandings of artisanal production.

“I think from the ’80s onwards, [craft] had become this thing which was linked to mid-century, it was pastiche,” said Anderson.

“In Britain, for example, there was a lot of money put into crafts and the Arts Council to boost this idea of making, and then it became maybe chintz at some point.”

Four works from Loewe Foundation Craft Prize exhibition 2023
The winning sculpture by Eriko Inazaki (front) was displayed among an exhibition of shortlisted projects at NYCxDesign. Photo courtesy of Loewe

“The reason why I set the prize up was to try to sort of decode that,” he told Dezeen. “It was like it wasn’t marketed right. The work was there, but the platform was not there.”

Young creatives are now becoming interested in craft once again, he suggested.

“I think younger people are starting to realise that, as much as it’s interesting being a contemporary artist, it can be just as interesting to be a rug maker or to make ceramics or to work with wood,” said Anderson.

“It’s a less sort of diminished form of the arts.”

“I am probably a shopaholic”

Before being appointed by Loewe in 2014, Anderson founded his eponymous label, JW Anderson.

Although differentiated by what Anderson describes as an “angst” at JW Anderson and a “heightened perfection” at Loewe, the two brands share an emphasis on art, design, craft and interiors.

His collections at Loewe often incorporate elements of applied arts – bringing in collaborators and craftspeople, such as metal artist Elie Hirsch who created solid copper and pewter jackets for its Autumn Winter 2023 collection.

Loewe also presented a collection of decorated wooden chairs during Milan design week that were created by global artisans.

“Art for me is always going to be a language no matter what brand I’m in,” he said. “Because I think this is a way for me to kind of explain to the consumer, what I love, or things that I’m fascinated with.”

Photo of a Loewe store by Jonathan Anderson
Anderson works with the internal architectural team to design stores. Photo by Adrià Cañameras

The Northern Irish designer’s love of craft and art extends to the conception of store interiors for both of his brands.

JW Anderson recently unveiled its first flagship store in Milan during Milan design week, designed by Anderson in collaboration with 6a Architects.

“I sometimes feel like I fell into doing fashion but ultimately the interior part is what I love the most,” he said.

“The thing I love about interiors is, it is a singular kind of environment. Whereas fashion is like a transient period that goes in different environments. I quite like with interiors the control that you can have within space.”

He described his love of shopping for items to appear in stores.

“I think I am probably a shopaholic,” he said. “I could be at an auction or be in a gallery and I’ll be like, ‘oh, that’s perfect for Korea or that’s perfect for…’.”

“I think it just adds this element and a pleasingness for a consumer to go in and to a store and to see an original Rennie Mackintosh chair.”

Anderson feels that for Loewe, the design of stores is sometimes more important than fashion shows.

“I think stores can be more than just like these commercial vehicles,” he said. “I think, for me, the store is just as important as doing a show. It’s sort of even more important because they have to last longer.”

“I’m in a very lucky position at Loewe where I decide everything,” he added. “I have an internal architectural team, but I decide every artwork, I decide every door handle, every fixture.”

However, that does not tempt Anderson to cross over from fashion into interiors permanently.

“I enjoy it because it’s probably more like a hobby,” he said. “It’s something that distracts me from what I do as a day job, but I do it because of the stage of Loewe or JW Anderson.

“But I would never see it as something where I would be like, ‘oh, I’m going to be an interior designer’,” he continued. “There are other people out there that are actually really good at it. I think I’m good at it to an extent, but I change my mind too quickly. I would like it for like a day and then I would want to redo it again.”

The portrait is by Scott Trindle.

Reference

Cleaning up fashion with carbon-negative textiles
CategoriesSustainable News

Cleaning up fashion with carbon-negative textiles

Cleaning up fashion with carbon-negative textiles

Spotted: Every year, the fashion industry is responsible for 10 per cent of global carbon emissions, which is more than the maritime and aviation sectors combined. Because of this, more and more textile brands are looking for innovative ways to cut back on their carbon footprints. Enter Rubi Laboratories, which makes textiles using captured carbon dioxide. 

The US-based startup creates textiles through its patent-pending, cell-free biocatalytic process. First, the company captures CO2 from the waste streams of manufacturing processes using its proprietary enzyme system. The gas is then converted into cellulose pulp, which is used to create viscose-based yarn or fibres to be used in textiles. 

Viscose, also known as Rayon, is normally made from wood pulp, but Rubi Labs’ solution means no trees need to be cut down to produce the popular material. Using its innovative technology, the startup can create fabrics made 100 per cent from carbon emissions, with almost no water or land needed. The process also produces zero waste and, at the end of their usable life, the textiles will naturally biodegrade.

Earlier this year, the biotech startup secured an additional $8.7 million (around €8 million) in seed funding, bringing its total funds to $13.5 million (around €12.5 million). The extra funding has allowed Rubi Labs to enter its next stage of testing, including projects with Ganni, Reformation, and Urban Outfitters.

The textile industry is booming with sustainable alternative options, and Springwise has spotted fully recyclable 3D-printed footwear, plant-based plastic-free alt leather, and baby shoes that will dissolve in water.

Written By: Anam Alam

Reference

Reception area at the PatBo New York showroom
CategoriesInterior Design

BoND creates New York “embassy” for fashion brand PatBo

Reception area at the PatBo New York showroom

Architecture studio BoND has designed the New York headquarters for Brazilian fashion brand PatBo, which features pink scaffolding and rugs based on drawings by Roberto Burle Marx.

The office and showroom for PatBo occupies a 7,000-square-foot (650-square-metre) loft, which spans the entire seventh floor of a historic building on Fifth Avenue.

Reception area at the PatBo New York showroom
The PatBo showroom is located in a light-filled loft in New York’s Flatiron District

As the brand’s global headquarters, this space serves multiple purposes: showcasing the brand’s apparel; providing office space for staff; hosting buyers and events.

“Our biggest challenge was to divide the space according to the showroom’s new program while keeping its loft-like openness,” said BoND co-founder Noam Dvir.

Pink scaffolding used as clothes trails
To divide the open space, BoND used pink-painted scaffolding that doubles as clothing rails

To create partitions that double as displays, the designers chose scaffolding elements on which clothing can be hung and shelving can be installed.

“They are so readily available, so New York in their character, and very easy to adapt to different conditions,” said Daniel Rauchwerger, BoND’s other co-founder. “Moreover, they’re inexpensive and have a younger, fresher feel that works so well with the spirit of a PatBo studio.”

The showroom also serves as an office space
The showroom also serves as an office space for the PatBo team

Scaffolding has been used in a variety of retail environments for its versatility and ease of installation, including a bright yellow Calvin Klein store transformed by Raf Simons and Sterling Ruby, and a boutique for Wardrobe NYC designed by Jordana Maisie.

Painted pale pink in the PatBo showroom, the industrial scaffolding takes on a more feminine appearance, which sets the tone for the rest of the showroom.

Pleated pendant lights hang above a long table
Feminine touches like pleated pendant lights align with the brand’s aesthetic

Curved couches, pleated pendant lamps and tambour panelling all add to the soft aesthetic and further align with PatBo’s brand expression.

Circular fitting rooms surrounded by curtains allow clients to try on the colourful clothing in the main showrooom.

Tambour panelling is installed in private offices
Private offices feature tambour panelling and a mix of furniture

A second showroom area for hosting buyer appointments and casting calls includes minimal clothing racks with brass rails and oak frames.

This space is closed off from the reception, but still visible through large glass panels that allow light from the exterior windows to pass through.

The loft space overlooks Fifth Avenue
The historic building overlooks Fifth Avenue

Private offices along the far side of the loft also feature glass doors for the same purpose, and add to the feeling of openness and transparency throughout the showroom.

“It’s not meant to be too precious or delicate, but rather a place where a group of creative professionals can feel encouraged to move things around and make it their own,” said Dvir.

Atop the wooden floors are rugs based on the drawings of Brazilian modernist and landscape architect Roberto Burle Marx, designed in collaboration with São Paulo-based Punto e Filo.

Colourful furniture and potted plants also contribute to the Brazilian vibe in the space, and complement PatBo’s vibrant garments.

Wooden chairs on top of a rug inspired by Roberto Burle Marx
Rugs throughout the space are based on the drawings of Brazilian modernist Roberto Burle Marx

At the back of the showroom is a bar area, featuring a pink stone counter with rounded corners, and a sink placed within a curved niche that has mirrored sides.

“This is a space that combines elements of office, retail, and hospitality,” said Rauchwerger. “With that, it is able to serve as a real embassy for PatBo as a brand.”

A bar area with pink stone counters
A bar area with pink stone counters is used for hosting events

Rauchwerger and Dvir, both former journalists, founded BoND in 2019 after working as architects at OMA, WeWork and more.

Their studio’s previous projects have included the renovation of a dark Chelsea apartment into a light-filled home.

The photography is by Blaine Davis.


Project credits:

Project team: Daniel Rauchwerger, Noam Dvir, Liza Tedeschi

Reference

Creative Collaboration: When Architecture Meets High Fashion
CategoriesArchitecture

Creative Collaboration: When Architecture Meets High Fashion

Creative Collaboration: When Architecture Meets High Fashion

The winners of this year’s A+Product Awards have been announced. Stay tuned for the year’s edition of the A+Product Awards ebook in the coming months.

Boundaries are intended to be pushed in the realm of design, and the incomparable creative synergy between fashion and architecture has proven to be an irresistible force. Over the years, this fusion of disciplines has given rise to many breathtaking collaborations that challenge the status quo as designers and architects join forces to create spaces that are as inspiring as they are functional.

Delving into the art of this creative alchemy, this article explores some of the most iconic partnerships in the world of design, each of which has birthed a masterpiece that is both an ode to their respective fields and a testament to the power of collaboration.


REM Koolhaus, OMA x Prada

Prada Los Angeles Epicenter by Rem Koolhaas and Ole Scheeren, Los Angeles, CA Photograph provided by OMA

While some collaborations are one-offs, undoubtedly adding to their allure, others become long-term relationships. Many deeper partnerships between fashion designers and architects are born of a mutually explored aesthetic or shared understanding of values and goals. In the case of Prada and OMA, their ongoing saga is indeed one for the ages.

Rem Koolhaas, the Pritzker Prize-winning architect and founder of the multi-disciplinary firm the Office for Metropolitan Architecture (OMA), has long been known for his innovation and daring vision. When he joined forces with Miuccia Prada, the matriarch of the eponymous Italian fashion house, the result was a series of architectural marvels, such as Seoul’s Transformer project and the Prada Epicenter in New York.

Prada Los Angeles Epicenter, by Rem Koolhaas and Ole Scheeren, Los Angeles, CA Photograph by OMA

This collaboration extended beyond bricks and mortar, as OMA and the AMO think tank began to redefine the very nature of the catwalk at Prada’s shows. The convergence of Koolhaas’s avant-garde design sensibilities and Prada’s penchant for bold self-expression has given rise to spaces and experiences that are as breathtaking as they are groundbreaking.


Lina Ghotmeh x Hermès

Like the early days of Prada and Koolhaas, the collaboration between French luxury goods manufacturer Hermès and Franco-Lebanese architect Lina Ghotmeh appears to be the beginning of a harmonious and hopefully long-established relationship. Having worked together previously to create stunning window displays for the brand, Ghotmeh has now been appointed for Hermès’ latest and largest architectural project to date.

Precise Acts – Hermès Workshops, France by Lina Ghotmeh Architecture. Render courtesy of Lina Ghotmeh Architecture.

Exemplifying the poetic marriage of craftsmanship and design that exists between the two design companies, Ghotmeh’s studio, Lina Ghotmeh Architecture, was chosen to design the new Hermès Leather Workshops, resulting in what looks to be a stunning space that seamlessly blends with the surrounding landscape while respecting the surrounding environment.

The all-brick construction, punctuated by large bay windows, bathes the space in natural light and evokes the precision and craftsmanship that have become synonymous with the Hermès brand. This poetic merging of form, function and broader ecological impact demonstrates the overlapping priorities across both industries.


Samuel Ross, SR_A x Acqua di Parma

Many collaborations between fashion designers and architects are grounded in retail design. Samuel Ross, founder of the streetwear label A-Cold-Wall* and design studio SR_A, has harnessed alternative skills to create new designs for the instantly recognizable Acqua di Parma bottles. While not technically an architect, Samuel is a creative polymath whose portfolio of work is deeply rooted in the semiotics and aesthetics of architecture.

His collaboration with the century-old Italian perfume house resulted in a reimagining of their iconic Colonia bottle. Drawing inspiration from the architecture of Milan and London, Ross’s designs featured a scaffolding-like window frame, a nod to the two cities’ post-WWII architectural dialogue. The result is a captivating reinterpretation that has bridged history and modernity in a way that celebrates both equally.


Marco Costanzi Architects x Fendi

Fendi HQ by Marco Costanzi Architects, Rome, Italy Photograph by Andrea Jemolo

While retail design is often the catalyst for cross-discipline collaboration in recent years, there has been a marked increase in fashion brands entering the realm of hospitality design — notably Fendi. The Italian luxury fashion house found an architectural soulmate in Marco Costanzi Architects when they embarked on a journey to reimagine their flagship store in Rome.

Fendi HQ by Marco Costanzi Architects, Rome, Italy Photograph by Andrea Jemolo

Located in the historic Palazzo della Civiltà Italiana, the store’s interior design is an ode to Fendi’s rich heritage while showcasing the forward-thinking ethos of Marco Costanzi Architects. The result is a sumptuous blend of materials, textures, and colors that pay tribute to both the brand’s history and the building’s architectural significance.

Above the store sits the Fendi Private Suites. Each suite is a celebration of the classic Fendi aesthetic – rich, neutral colors, crisp lines and hardwood floors. Walls are paneled in grey, polished wood and inset with Karl Lagerfeld’s black and white photos of Rome’s fountains, an ideal backdrop that brings out the subtle playfulness of custom Fendi Casa furniture. The building, store and suites are a haven for design and architecture enthusiasts.


Issey Miyake x David Chipperfield x Toshiko Mori x Frank Gehry and more

Reality Lab. Issey Miyake by TOKUJIN YOSHIOKA DESIGN, Tokyo, Japan Photograph by Masaya Yoshimura

Of the many fashion designers who have impacted architecture and interior design, the late Issey Miyake was the pinnacle. He was often referred to as a center of contemporary design culture and found a way to combine space and showcase into one unified experience by using his showrooms to further present his design thinking to the world. The iconic mastermind worked with a broad cross-section of architects to create unique, captivating environments. Over the years, their showrooms became a textbook example of retail design becoming an extension of a fashion brand’s vision and identity.

Issey Miyake Marunouchi by TOKUJIN YOSHIOKA DESIGN, Tokyo, Japan Photograph by Masaya Yoshimura

From as early as 1976 and his collaboration with a young Shiro Kuramata on the From First building in Aoyama, Japan, Miyake worked with many notable architects, providing younger or less experienced architects a global platform on which to showcase their talents.

David Chipperfield and Kenneth Armstrong designed his London showroom in 1985 with the architects using natural materials to evoke the spirit of Japanese architecture. Miyake then worked with Toshiko Mori on his first freestanding showroom at 77th Street and Madison Avenue in New York. Mori also designed a New York location for Pleats Please in 1998; another New York showroom for Miyake on 79th Street was finished in 2005.

Issey Miyake London by TOKUJIN YOSHIOKA DESIGN, London, UK Photograph by Masaya Yoshimura

Later, Miyake would enlist the skills of people like Ronan and Erwan Bouroullec, Ito Masaru Design Project and, of course, long-time friends Frank Gehry and Gordon Kipping. Together, they brought the iconic Issey Miyake Tribeca store to life. The store’s interior is a harmonious blend of Kipping’s urban sensibilities and Miyake’s signature folds, creating a space that is both a tribute to New York City’s architectural heritage and a glimpse into the future of design. With its dynamic, origami-inspired aesthetic, the store serves as a reminder of the potential unleashed when fashion and architecture intertwine.

With each collaboration, the importance of creative exploration and pushing boundaries is evident. By merging their respective disciplines, designers and architects can break new ground, challenge conventions, and redefine our understanding of design and style. The results of these partnerships are spaces that are not only functional but equally inspiring and transformative, demonstrating the limitless possibilities that arise from interdisciplinary collaboration.

The winners of this year’s A+Product Awards have been announced. Stay tuned for the year’s edition of the A+Product Awards ebook in the coming months.



Reference

Traceability data for the fashion industry
CategoriesSustainable News

Traceability data for the fashion industry

Traceability data for the fashion industry

Spotted: Most organisations have realised the importance of sustainability for their brand image. However, it is very difficult to guarantee supply chain transparency and product traceability over the large networks of suppliers that most big businesses rely on. To make things easier, Swedish company TrusTrace has developed a platform for product traceability and supply chain transparency within the fashion, food, and retail industries.

The TrusTrace platform uses artificial intelligence (AI) and blockchain to integrate retailer, manufacturer, and supplier systems, as well as third parties such as certification agencies, lifecycle datasets, and other sustainability solution providers. The system allows users to track and trace materials and ESG and compliance data for thousands of suppliers and products. Unlike some similar systems, TrusTrace is built specifically for the scale of ultra-large and complex textile supply chains, providing the fashion industry with much-needed transparency.

The software-as-a-service platform allows organisations to track transactions and scope certificates in a standardised and scalable way, while gathering the evidence needed to meet compliance requirements, and see the status of goods as they move through the supply chain.

TrusTrace co-founder and CEO Shameek Ghosh explains: “We have developed our Material Intelligence Frameworks for certified and non-certified materials, which accelerates a brand’s journey to achieve high levels of material compliance. Our goal is to make sure traceability data is accessible in real-time along the value chain as raw materials become finished products.”

Improving sustainability and traceability in the textile industry is the goal of several innovations Springwise has spotted. These include a platform that helps fashion brands have better control over their sustainability data, and a closed-loop production system for cotton goods.

Written By: Lisa Magloff

Reference

Reflecting pool and floating staircase in multi-brand store in Shanghai designed by Dongqi Design
CategoriesInterior Design

Reflecting pool centres XC273 fashion boutique in former Shanghai factory

Reflecting pool and floating staircase in multi-brand store in Shanghai designed by Dongqi Design

Chinese studio Dongqi Design has turned a disused factory in Shanghai into a multi-brand fashion and lifestyle store, adding glossy marble and metal surfaces to offset its exposed concrete shell.

Set across three floors, the XC273 retail space houses designer showrooms and pop-ups alongside a small cafe, as well as providing spaces for temporary exhibitions and events.

Reflecting pool and floating staircase in multi-brand store in Shanghai designed by Dongqi Design
Dongqi Design has turned a former factory into a fashion boutique

Formerly a state-owned towel factory, the building had already been changed several times before the latest round of renovations.

Dongqi Design strived to preserve and emphasise these different layers of history, which are contrasted against shiny new finishes to create a kind of “nostalgic futurism”.

“All the differences of the space were kept as part of the building’s history so that people walking in could feel that the boundaries between the past and the present are blurred, as if they had walked into a timeless space,” the studio explained.

Cafe with glossy floors in XC273 store
The XC273 store houses a cafe alongside designer showrooms and pop-ups

The building is organised around three voids, which now form the basis of the store’s circulation routes.

The largest of these voids consists of a double-height space at the core of the building, where Dongqi Design added a small reflecting pool surrounded by a collonade.

Fashion retail space with glossy floors in multi-brand store in Shanghai designed by Dongqi Design
Glossy surfaces are contrasted against the building’s raw concrete shell

The collonade’s raw concrete columns are left exposed where they face the pond, while their other three sides are wrapped with either marble, wood or metal.

This approach is replicated across the store’s display fixtures to create a sense of spatial continuity. It can also be seen on the first floor, where new paving was added to enhance the existing geometric flooring.

A sound tunnel that provides visitors with an experimental music experience was placed near the cafe on the ground floor.

The second floor is accessed via a metal staircase, which is suspended above the reflecting pool and winds its way up through a small hole in the ceiling.

Reflecting pool in XC273 store
A reflecting pool was installed at the core of the building

“The key element connecting all the spaces is the stairs,” the studio explained.

“The stairs are designed in their purest metallic form, further enhanced by the details of the balustrade where the fence becomes a simple element sliding into the structural beam at the bottom while having a profile on the top to allow visitors to grab the handrail comfortably.”

First floor of multi-brand store in Shanghai designed by Dongqi Design with geometric flooring
Concrete paving was added to complement the geometric flooring on the first floor

On the second floor, Dongqi Design selected a bright white finish to emphasise the old wooden structure of the building’s pitched roof. A series of square windows let light into the space and offer views out across the city and toward the sky.

To balance out the otherwise all-white interior, the VIP room is finished in a darker palette. During spring and summer, these darker shades also contrast with the colour of the trees outside.

White-painted second floor of multi-brand store in Shanghai designed by Dongqi Design
Dongqi Design gave the second floor a bright white finish

XC273 has been shortlisted in the large retail interior category of this year’s Dezeen Awards.

Other projects in the running include a second-hand bookshop in Shanghai that uses supermarket-style crates to display its wares and a reusable sales showroom with fabric walls.

The photography is by Raitt Liu.

Reference

Fashion and the UN SDGs
CategoriesSustainable News

Fashion and the UN SDGs

Fashion and the UN SDGs

The clothes we wear have an enormous impact on the planet. The entire fashion supply chain is estimated to contribute 8 to 10 per cent of global greenhouse gas emissions, and fashion is the second most water-intensive industry on earth, consuming roughly 79 billion cubic metres of water per year. Fashion also faces social problems such as modern slavery, due to its long supply chains over which brands do not have full control.

These challenges have caused some to question whether fashion can ever be sustainable. But every individual person can make a difference through their choices, and consumers are increasingly acting as a driver of change. According to one survey, 57 per cent of consumers have made significant changes to their lifestyles to lessen their environmental impact. And innovators are finding ingenious solutions that meet their changing demands.

Springwise has spotted fashion innovations that not only improve the sustainability of fashion in a narrow sense, but contribute to the achievement of the United Nations Sustainable Development Goals (SDGs) more broadly. Fashion, like many industries, needs to change (and fast) if these goals are to be met. But innovators are inspiring hope that the necessary changes are not only possible but beneficial.

SDG 12: Responsible consumption and production

One of the most important SDGs for the fashion industry is SDG 12, which calls for the decoupling of economic growth from increasing resource consumption. Fashion uses 98 million tonnes of non-renewable resources each year, and only 12 per cent of the material used in clothing is currently recycled. There is therefore a clear need to move towards more circular practices in the industry, which will require the input of both consumers and manufacturers. Innovators are facilitating this process.

On the manufacturer’s side, Italian luxury fabric company Manteco is transforming pre-consumer scraps, post-consumer garments and, industrial waste into soft, durable and sustainably coloured yarns and fabrics. Meanwhile, B2B matchmaking platform Uptrade pairs those wishing to buy fabric with textile manufacturers and fashion labels that have excess fabric in their inventories. On the consumer side, fashion brand Samsøe Samsøe is stitching ‘Resell Tags’ into its garments. These contain a QR code that, when scanned, automatically generates a resale advert for Facebook and Instagram marketplaces.

SDG 14: Life below water

You may not immediately draw a link between your favourite coat and the sea’s riches, but several innovators are exploring how fashion can be used as a tool to promote marine biodiversity. Meanwhile, others are working to minimise the impact of fashion waste on life beneath the waves.

Florida-based startup Inversa is making an alternative leather out of lionfish – an invasive species that threatens the health of Florida’s coral reefs. Elsewhere, Canada’s Lezé the Label is making comfortable officewear from another threat to marine eco-systems: discarded fishing nets. Ocean plastic is yet another problem with one study calculating that there are 24 trillion microplastic particles in the world’s seas. It is therefore important that fashion brands avoid plastic where they can, and German startup LOVR has developed a completely plastic-free alternative to animal leather. 

SDG 10: Reduced inequality

Efforts to increase the positive impact of fashion are not limited to the materials and processes used to make clothing and accessories. Fashion can also be an effective tool for tackling social issues. 

SDG 10 promotes social, economic, and political inclusion regardless of factors such as race and ethnicity, and several fashion innovators are working towards this goal. UK-based Yard + Parish is promoting black-owned luxury fashion brands through curated offerings of fashion, beauty, wellness, and homeware products. And, in the US, e-commerce platform Black Owned Everything is both a marketplace and media culture hub that empowers a diverse community of creators.

SDG 5: Gender equality

The power of fashion to promote social change also extends to gender equality. SDG 5 stresses the need to eliminate all forms of violence against women and girls. To this end, Danish startup Shift has developed connected jewellery that doubles as a personal safety device. 

Economic empowerment of women is another focus of SDG 5. Social enterprise Alsama Studio employs female refugee artisans to embroider old clothes, turning them into exciting new looks. The income the women earn through their studio work is often the only funds available to their families. And in Malaysia, accessory brand Earth Heir works closely with refugees and local artisans to help develop their businesses. Women make up the majority of the artisans worldwide, as well as 60-70 per cent of people living in poverty.

SDG 17: Partnerships for the goals

Partnerships between the public and private sector, large and small businesses, and academic institutions, NGOs, and corporations are crucial for delivering on all of the SDGs, as is highlighted in SDG 17. And the fashion industry provides some excellent examples of partnership in action.

Ice cream brand Magnum is is at the start of a new long-term partnership focused on circularity with the Leeds Institute of Textiles and Colour. The partnership’s goal is to use cocoa waste products as a reliable, circular source of material for the fashion industry. Another project brings together 12 partners including research institutes, agricultural associations, SMEs, and large enterprises to turn food waste into bioplastic for cosmetics. And, in New Zealand, a group of like-minded organisation is exploring ways to pool resources in order to provide local cotton recycling technologies.

Words: Matthew Hempstead

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