textiles Archives

Barbican’s Unravel exhibition explores the subversive power of textiles

Curator Lotte Johnson discusses the transformative power of textiles in this video produced by Dezeen for the Barbican’s latest exhibition.

Titled Unravel: The Power and Politics of Textiles in Art, the exhibition examines how textiles have been employed to explore themes spanning power, oppression, gender and belonging.

It features over 100 works that make use of textile, fibre and thread from over 50 artists from across the globe, spanning from the 1960s to the present day.

The exhibition explores how artists have used textiles to express their lived experience

The exhibition is designed to challenge the perception of textiles being solely domestic or craft practices and instead features textile works that relate a story of resistance and rebellion as well as pieces that present narratives of emancipation and joy.

Johnson explained that textiles offer a meaningful medium to express personal and political issues due to their tactile nature and intimate connection to daily life.

“Textiles are one of the most under-examined mediums in art history and in fact history itself,” Johnson said. “They are an intrinsic part of our everyday lives. When we’re born, we’re shrouded in a piece of fabric. Everyday we wrap ourselves in textiles,” she continued.

“They’re really this very intimate, tactile part of our lives and therefore perhaps the most intrinsic, meaningful way to express ourselves.”

Judy Chicago Birth Project — Feminist artist Judy Chicago’s Birth Project depicts birth as a mystical and confrontational process

The exhibition is structured into six thematic sections. The first, called Subversive Stitch, presents works that challenge binary conceptions of gender and sexuality.

The section includes feminist artist Judy Chicago’s Birth Project, which vividly depicts the glory, pain and mysticism of giving birth, as well as a piece from South African artist Nicholas Hlobo, which, despite initially appearing as a painting, is made using ribbon and leather stitched into a canvas.

Another section of the exhibition is titled Bearing Witness, which brings together artists who employ textiles to confront and protest political injustices and systems of violent oppression.

Teresea Margolles tapestry — Artist Teresa Margolles creates collective tapestries that trigger conversations on police brutality

Included in this section are tapestries by Mexican artist Teresa Margolles that commemorate the lives of individuals including Eric Garner and Jadeth Rosano López.

Garner was an African-American man killed in 2014 by NYPD police officer Daniel Pantaleo, who put Garner into a chokehold during arrest. López was a seventeen-year old-girl assassinated in Panama City.

Margolles used fabric that had been placed in contact with the victims’ deceased bodies and collaborated with embroiderers from their respective local communities to create the tapestries.

The Wound and Repair sections includes work from American artist and activist Harmony Hammond’s Bandaged Grid series, in which layered fabric is used to evoke imagery reminiscent of an injured body.

Tau Lewis tapestry — Tau Lewis’ fabric assemblages offer new narratives of black histories

While violence and brutality are key themes examined in the exhibition, it also showcases how textiles can be used to create narratives of hope. The final, most expansive section of the exhibition is titled Ancestral Threads, which encompasses works created to inspire a sense of optimism and reconnect with ancestral practices.

“This section not only explores artists processing exploitative and violent colonial and imperialist histories, but also celebrates the artists who are re-summoning and relearning ancient knowledge systems to imagine a different kind of future,” Johnson explained.

Canadian multimedia artist Tau Lewis’s work titled The Coral Reef Preservation Society is a patchwork assemblage of recycled fabrics and seashells including fragments of textured denim.

The work pays homage to the enslaved women and children thrown overboard in the Middle Passage, the historical transportation route used during the Atlantic slave trade. These women and children have been reimagined as underwater sea creatures to transform the narrative into one of regeneration.

Vicuña revives the art of the quipu in her installation Quipu Austral

A large installation by Chilean artist Cecilia Vicuña titled Quipu Austral is situated towards the end of the exhibition. The installation takes the form of billowing ribbons hanging from the ceiling.

Vicuña references quipu, a form of recording used by a number cultures in Andean South America. Quipu was a ancient writing system which used knotted textile cords to communicate information.

Other sections in the exhibition include Fabric of Everyday, which explores the daily uses of textiles, as well as Borderlands, which examines how textiles have been used to challenge ideas around belonging.

These sections feature works such as Shelia Hicks’ colourful woven bundles and Margarita Cabrera’s soft sculpture cacti crafted from reclaimed US border patrol uniforms.

Mexican-American artist Margarita Cabrera uses reclaimed border patrol uniforms in her work

“We hope that people might come out of this exhibition feeling invigorated and moved by the stories of resilience and rebellion embedded in the work but also hope and emancipation,” Johnson said.

“I hope that the show might inspire people to pick up a needle and thread themselves and use it to express their own lived experience.”

The show is a partnership between the Barbican and the Stedelijk Museum in Amsterdam and was co-curated by Barbican curators Johnson, Wells Fray-Smith and Diego Chocano, in collaboration with Amanda Pinatih from the Stedelijk.

Unravel: The Power and Politics of Textiles in Art is at the Barbican Centre until 26 May 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

Partnership content

This video was produced by Dezeen for the Barbican Centre as part of a partnership. Find out more about Dezeen’s partnership content here.

Reference

Sustainable News

FranklinTill lists nine principles for a shift to regenerative materials

By Zarkon Group,20/03/2024

Design research agency FranklinTill has compiled a list of principles to help designers, makers and brands avoid greenwashing when sourcing textiles.

By making it easier to identify textiles that have a greater positive impact on people and planet, FranklinTill hopes to enable a shift towards regenerative materials.

“We can only move towards a regenerative approach to textiles by understanding the full lifecycle of our materials,” said co-founder FranklinTill Caroline Till.

“As designers, makers, brands and manufacturers, we need to think of materials not as static and linear, but as dynamic, evolving systems, to holistically consider the full impact to the wider ecosystem they are a part of.”

Regenerative exhibition by FranklinTill — FranklinTill has curated an exhibition setting out its nine principles

The defining characteristic of regenerative materials, according to Till, is that they restore and nourish the ecosystems they are part of.

“Sustainability, by its very definition, is all about maintaining the status quo, while regeneration seeks to actively heal and put back better,” she said.

FranklinTill first unveiled its nine principles of regenerative design in an exhibition at the Heimtextil trade fair in Frankfurt in January, with a second show planned for the Techtextil fair in April.

In an online exclusive, we are also unveiling them here. Read on to see all nine, with captions written by FranklinTill and examples of material innovation in practice:

Agave textile production in Mexico — Designer Fernando Laposse works with local communities in Mexico to process sisal, a fibrous material made from agave leaves, which he turns into hairy furniture

Enriching Communities

“To go beyond sustainability and become regenerative, we must focus on both the social and the environmental impact of production.”

“This means spotlighting how materials are made and by whom, looking to improve livelihoods with better pay, working conditions and future prospects.”

Bulrush plants used for BioPuff material — British manufacturer Ponda produces BioPuff, an insulating fibre filler material, using bulrush plants grown on natural wetlands

Replenishing the Land

“Focused on high yields with an over-reliance on pesticides and water, modern industrial farming damages land.”

“Regenerative farming works holistically to reverse this, rebuilding organic soil matter and sequestering carbon in soil, wetlands and trees, retaining water and reducing the use of artificial pesticides and fertilisers.”

Yak khullu wool is made by nomad families on the Tibetan Plateau — Lifestyle brand Norlha creates apparel and homewares from yak khullu wool, which is handcrafted by nomad families on the Tibetan Plateau

Preserving Heritage

“Many indigenous practices are regenerative by nature, working with the land and local communities.”

“By acknowledging and celebrating the value of cultural heritage and craftsmanship and learning from its ecological wisdom, we can protect valuable skills and knowledge from being lost to technology and globalisation.”

Textiles made from sunflowers — British textile brand Climafibre produces fabrics from sunflowers, a species that can be grown with minimal intervention, fertilisers or watering

Restoring Biodiversity

“Regenerative practices must take a multispecies approach to encouraging biodiversity.”

“Acknowledging the threat of extinction, addressing the causes of loss, and reviving habitats for diverse plants and wildlife aids ecological restoration.”

Charlotte Werth has developed a printing process that uses bacteria to create pigments — Designer Charlotte Werth has developed a fabric printing process that uses bacteria to create pigments

Biological Fabrication

“The convergence of science and design offers huge potential for new materials, from living microbial systems to synthesising nature’s regenerative powers.”

“Growing and extracting next-generation materials using innovative, highly productive processes can create plentiful resources from minimal input.”

Keel Labs produces a textile industry yarn from kelp — US-based Keel Labs produces Kelsun, a seaweed-based yarn, using an abundant polymer found in kelp

Naturally Abundant

“Highly productive, resilient raw materials that grow with little human intervention offer naturally high yields, strengthen soils and capture carbon.”

“These abundant, versatile crops could help move the focus away from traditional natural material fibres that require high levels of water, pesticides or fertilisers.”

Desso carpet tiles by Tarkett use post-consumer waste — Circularity is built into all of the design and manufacturing processes for Tarkett’s Desso carpet tiles

Reclaiming Material

“Extracting raw materials, making products, then discarding them and their byproducts is contributing to the global waste problem.”

“By putting useful waste streams back into production, we can better utilise existing resources and avoid waste altogether.”

Haelixa is bringing transparency to material supply chains by applying distinct DNA codes to raw materials, using a customised spraying system

Radical Transparency

“By using science and technology to create tools and processes that capture and record data along supply chains, we can understand the social and environmental impact of the materials we consume.”

“Encrypting materials helps brands track their footprints and life cycles, and communicate this information to customers in a meaningful, trustworthy and accessible way.”

Sanne Visser works with human hair — Dutch designer Sanne Visser uses traditional rope-making techniques to turn human hair into handspun yarns

Cultivating Localism

“By supporting the local sourcing, production and consumption of materials, we can avoid globalised transportation and reduce carbon footprints.”

“Focusing on availability, seasonality and resourcefulness means embracing non-standardisation, often improving local environments as well as extracting from them.”

Reference

Sustainable News

Human Material Loop sets out to commercialise textiles made from hair

By Zarkon Group,28/11/2023

Dutch company Human Material Loop is using an unusual waste source to make a zero-carbon wool alternative that requires no land or water use: human hair.

Human Material Loop works with participating hairdressers to collect hair cuttings, which it processes into yarns and textiles and sometimes turns into garments.

Founder and CEO Zsofia Kollar was initially interested in human hair from what she describes as a “cultural and sociological” perspective before she began exploring its material properties.

Sweater made from hair — Human Material Loop turns human hair into yarn and textile for products. Photo courtesy of Schwarzkopf Professional

“Delving into scientific studies about hair revealed not only its unique characteristics but also the stark reality of excessive waste generated,” Kollar told Dezeen. “This realisation became a catalyst for a clear mission: finding sustainable ways to utilise hair waste.”

Elsewhere, human hair mats are being used to mop up oil spills and to create biodegradable stools, but Kollar honed in on the textile industry as the best target for her aspirations.

“Not only is the textile sector one of the largest markets in our economy, but it also ranks among the most environmentally taxing industries,” said Kollar.

Photo of five fabrics made of human hair folded and stacked on top of each other. They each feature small geometric patterns in shades of black, white and dark blue — The company wants to tackle the environmental impacts of the textile industry. Photo by Medina Resic

“Throughout history, we’ve utilised a variety of animal fibres in textiles, yet our own hair, composed of the same keratin protein as wool, often goes overlooked,” she continued. “Why not treat human hair as we would any other valuable textile fibre?”

According to Kollar, the use of human hair eliminates one of the major sources of greenhouse gas emissions in the textile industry: the cultivation of raw materials like cotton plants or farming of sheep for wool.

Waste hair does not degrade any soil, require any pesticide, pollute any water or produce any greenhouse gas emissions, she points out.

Photo of a pair of hands scrunching up a thick piece of black and white textured fabric — The textiles have many desirable attributes, says the company. Photo by Medina Resic

At the same time, hair has properties that make it highly desirable. It’s flexible, it has high tensile strength, it functions as a thermal insulator and it doesn’t irritate the skin.

Human Material Loop has focused on developing the technology to process hair so it can be integrated into standard machinery for yarn and textile production.

The company has made the waste hair into a staple fibre yarn – a type of yarn made by twisting short lengths of fibres together – and has several textiles in development.

It has also made a few complete garments, most recently a red sweater-like dress created in collaboration with the company Henkel, owner of the Schwartzkopf haircare brand.

Photo of a woman's torso wearing a deep red knit sweater — Human Material Loop’s collaborations have yielded products such as this knit dress, made with the company Henkel. Photo courtesy of Schwarzkopf Professional

The dress is intended for display at hairdressing events, as part of an initiative to foster discussion about alternative salon waste-management ideas.

Seeing completed products like these, Kollar said, helps to ease the discomfort or disgust that many people feel around using products derived from humans.

“Surprisingly, the material looks utterly ordinary, akin to any other textile,” she said. “A fascinating transformation occurs when individuals touch and feel the fabric. Their initial scepticism dissolves, giving way to a subconscious acceptance of the material.”

Photo of a piece of black and white thick woven fabric lying flat on a surface — People’s discomfort around the use of human hair is said to fade when they see the fabric

“The rejection usually stems from those who’ve merely heard about it without ever laying eyes on the garments themselves,” she continued. “It’s a testament to the power of firsthand experience in reshaping perceptions”

Kollar says Human Material Loop will also be targeting the architecture and interiors products market, for which she believes hair’s moisture resistance, antibacterial properties, and acoustic and thermal attributes will make it an attractive proposition.

The company has a commercial pilot scheduled for 2024 and also aims to create a comprehensive fabric library for brands and designers.

Photo of a pale woven textile made of hair by Human Material Loop — The company plans to make a build a full fabric library

Kollar had been making experimental textiles like a golden, scented tapestry woven from blonde hair for many years before setting out to commercialise the venture with Human Material Loop in 2021.

She is not the only designer to have attempted to utilise wasted hair cuttings. In recent years, Ellie Birkhead incorporated the material into region-specific bricks and hair was used to measure urban pollution in Bangkok.

Reference

Sustainable News

Turning pineapple waste into natural textiles

By Zarkon Group,05/10/2023

It wasn’t that long ago that pineapples were seen as a luxury – but now they can be found on supermarket shelves all year round, fuelling a 400 per cent increase in global pineapple production since 1960. The downside of this phenomenal growth is 25 million tonnes of pineapple waste a year from the plant’s discarded leaves. Most of them are either burned or left to rot, generating high volumes of methane emissions, perhaps the most dangerous of the greenhouse gases.

Fast fashion has gone through a similar period of rapid growth in the last fifty years, with a similar impact on the environment. The sector is responsible for an estimated 10 per cent of greenhouse gas emissions and uses around 93 billion cubic metres of water per year – or four per cent of all freshwater extraction globally. This is set to double by 2030.

Ananas Anam has come up with a solution to both of these problems. Through repurposing the agricultural waste that comes from pineapple production it has created a series of natural textiles, Piñatex and Piñayarn, using the fibres from the discarded leaves. The leaves are collected in bundles before the long fibres are extracted using semi-automatic machines. The fibres are washed, dried naturally by the sun (or in a drying oven during rainy season) and then combined with a corn-based polylactic acid to create a non-woven mesh that forms the basis of the textiles.

As the name suggests, Piñayarn is a compostable and biodegradable yarn, while Piñatex offers a viable alternative to leather, doing away with the tanning process needed for animal skins that usually uses around 250 polluting chemicals. By not burning the leaves, there is also a CO2 emissions saving – the equivalent of 6 kilogrammes of CO2 for each 1 kilogramme of yarn produced.

Not only does this solution offer a circular approach to textile production, but it’s also good for the farmers who produce the pineapples – Ananas Anam supports rural farming communities in Bangladesh like Eco-Fresh Agro, fostering strong partnerships through their transparent supply chain, and demonstrating that by reusing resources, we can do so much more than just follow fashion.

Video and article credit: RE:TV

Reference

Sustainable News

Cleaning up fashion with carbon-negative textiles

By Zarkon Group,24/05/2023

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

Sustainable News

Turning unused textiles into recycled yarn

By Zarkon Group,18/04/2023

Spotted: The United Nations Economic Commission for Europe (UNECE) says that a lack of ‘system enablers’ is the main challenge in scaling up supply chain transparency in the garment and footwear industries. The lack of those enablers presents a significant market opportunity in this area, as recent research found that 78 per cent of consumers would pay more for products that are produced locally or made from sustainable material. French company Weturn is improving this visibility for full circularity in textile production and use.

Weturn provides a complete recycling service that makes it possible for brands to offer consumers clear traceability of garments. Weturn tracks a company’s entire inventory, from finished products to production scraps, and builds a recycling process around future fabric needs. Weturn’s team picks up and transports unsold products and then recycles and spins them into new yarns that are used to create recycled raw material (RRM) fabrics.

It takes two to three months after pick-up of waste materials for a company to receive its recycled fabrics. Weturn’s service includes a full traceability report, and the company works with production partners in Spain, Italy, France, and Portugal to keep transport and other emissions to a minimum. The RRM fabrics are Global Recycled Standard certified, and part of every traceability report includes life cycle assessments covering water consumption, pollution, CO2 and other waste emissions.

While the complexity of the fashion industry can make it challenging to implement sustainable changes quickly, it also creates opportunity for exciting innovations. Springwise has spotted improvements in the industry’s sustainability in a number of different ways, including a cellulose powder that removes textile dyes from water, and 3D printed footwear that is 100 per cent recyclable.

Written By: Keely Khoury

Reference

textiles

Barbican’s Unravel exhibition explores the subversive power of textiles

FranklinTill lists nine principles for a shift to regenerative materials

Human Material Loop sets out to commercialise textiles made from hair

Turning pineapple waste into natural textiles

Cleaning up fashion with carbon-negative textiles

Turning unused textiles into recycled yarn

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