Sustainable Fashion Textiles Design

In the late 1990s New Zealand fashion gained some international recognition for its dark edginess and intellectual connection due to its colonial past (Molloy, 2004). In the years since, this momentum seems to have dissipated as local fashion companies have followed a global trend towards inexpensive off shore manufacturing. The transfer of the making of garments to overseas workers appears to have resulted in a local fashion scene where many garments look the same in style, colour, cut and fit. The excitement of the past, where the majority of fashion designers established their own individuality through the cut and shape of the garments that they produced, may have been inadvertently lost. Consequently a sustainable New Zealand fashion and manufacturing industry, with design integrity, seems further out of reach. The first question posed by this research project is, ‘can the design and manufacture of a fashion garment, bearing in mind certain economic and practical restrictions at its inception, result in the development of a distinctive ‘look’ or ‘handwriting’?’ Second, through development of a collection of prototypes, can potential garments be created to be sustainably manufactured in New Zealand?

Background Spandex production accounts for 0.9% of the world natural and manufactured fiber production. It is used in sweaters, tops, trousers, formal suits, jackets, sleeveless dresses, vests and knickers, shaped garments, hosiery, swimwear, sportswear, and bodies. While the increase in Spandex production and markets is significant, little scientific research has been published. This research goal is to explore the potential of using filling yarns containing Spandex to produce 3-D effects. The 3D effects are developed through woven fabric design with varying tightness. Variation in tightness cause differential shrinkage upon removing the fabric from the loom and/or washing while in relaxed state. Loose weave structure causes more shrinkage as compared to tight weaves. The differential shrinkage causes parts of the design to be raised in the direction perpendicular to the fabric plane.

Many of the existing tools for design in a sustainable fashion context are too complex, overly conceptual, require experts to apply, have a high cost, were created for large corporations, or fall short in holistically supporting sustainable fashion design entrepreneurial practices. Micro-sized enterprises represent a significant portion of the fashion industry and can meaningfully contribute to the transition to a more sustainable apparel and textile industry. This paper addresses this gap through the development of an original design tool, the reDesign canvas, to support design entrepreneurs in developing sustainable fashion enterprises. Informed by design thinking and systems thinking, the canvas was developed based on an in-depth review of the academic literature and the collection of qualitative data. Qualitative data were gathered through both participatory action research (PAR) and interviews with 38 sustainable fashion design entrepreneurs and experts in sustainable fashion. Both the PAR and the interviews were used to test and refine the reDesign canvas in order to ensure it meets the needs of sustainable design entrepreneurs operating micro-sized companies. The final version of the canvas is based on 12 building blocks that a design entrepreneur would encounter in building a sustainable fashion brand. The reDesign canvas can help advance both the theory and practice of sustainable fashion design.

A research project on the importance and validity of Adorno's/Horkheimer's "Kulturindustrie" for today's fashion industry. The manipulative forces of media, described by Adorno and Horkheimer in the 1940s, have switched to consumer goods. Media (Kulturindustrie) + consumer goods (Warenästhetik) establish a narrow grid in order to manipulate consumer behavior, transporting consciously created variable cultural meaning bordering fascist methods (according to Eco's Urfascism). Key words: Kulturindustrie, Warenästhetik, Culture, Consumption, Advertising, Fashion, Urfascism, Illusionsindustrie (Haug), sustainable fashion, aesthetics. References: Georg Simmel: Fashion (Philosophy of fashion), Roland Barthes: The language of fashion, Grant McCracken: Culture and consumption, Wolfgang Fritz Haug: Kritik der Warenästhetik, Umberto Eco: Urfascism, Roger Behrens: Krise und Illusion.

This year, Public Seminar -an independent project of The New School Publishing Initiative, has a seminar on "Fashion, Emotion and Self", chaired by Otto von Busch and Lisa Rubin.

Public Seminar is produced by New School faculty, students and staff, and supported by colleagues and collaborators around the globe dedicated to the intellectual and cultural work of democracy, and is open to a range of perspectives.

For this seminar, I also have an essay that speaks briefly about my studies. This essay that I wrote unpacks our personal relations with clothes where trauma and personal attachments affect our choices, practices of upcycling, mnemonics, and memories of used garments.

Although the apparel industry is considered to be among the most polluting industries there is hope with the availability of a large number of sustainable product design strategies for fashion apparel. The present paper reviews the frameworks and models related to sustainable product design of fashion apparel. Further it develops a comprehensive checklist of sustainable product design strategies for fashion apparel, and examines their applicability among Swedish and Indian apparel brands. The article presents background information on fashion apparel industry and its environmental impact and a review of frameworks and models covering sustainable design for fashion apparel. Based on the review, a checklist has been developed by the present researcher. The checklist is used to conduct an exploratory analysis of a few Swedish and Indian fashion apparel brands on sustainability product design strategies and practices. Secondary data on the apparel brands was used to examine their sustainable product design strategies. It was found that the Swedish apparel brands selected for the study use several sustainable product design strategies as compared to the Indian brands.

Many of the existing tools for design in a sustainable fashion context are too complex, overly conceptual, require experts to apply, have a high cost, were created for large corporations, or fall short in holistically supporting sustainable fashion design entrepreneurial practices. Micro-sized enterprises represent a significant portion of the fashion industry and can meaningfully contribute to the transition to a more sustainable apparel and textile industry. This paper addresses this gap through the development of an original design tool, the reDesign canvas, to support design entrepreneurs in developing sustainable fashion enterprises. Informed by design thinking and systems thinking, the canvas was developed based on an in-depth review of the academic literature and the collection of qualitative data. Qualitative data were gathered through both participatory action research (PAR) and interviews with 38 sustainable fashion design entrepreneurs and experts in sustainable fashion. Both the PAR and the interviews were used to test and refine the reDesign canvas in order to ensure it meets the needs of sustainable design entrepreneurs operating micro-sized companies. The final version of the canvas is based on 12 building blocks that a design entrepreneur would encounter in building a sustainable fashion brand. The reDesign canvas can help advance both the theory and practice of sustainable fashion design.

Sanayileşme, teknoloji ve hızlı moda kavramı ile birlikte artan tekstil üretim sürecinde ve tüketim sonrasında pek çok atık ortaya çıkmaktadır. Sürdürülebilirlik kapsamında bu atıkların imha edilmesi ile ilgili çalışmalar yapılmaktadır. Bazı çalışmalar; tüketici öncesinde yani üretimde oluşan atığın azaltılması yönündedir. Bir giysi oluşturmada günümüzde en fazla kullanılan teknik; dikiş ile kumaş parçalarının birleştirilmesidir. En büyük tekstil atığı da bu üretim bandında oluşmaktadır. Güncel pastal serim programlarında bile bu atık ortalama %15 civarındadır ve dünya tekstil endüstrisinde tekstil atıklarının sadece %15’i geri dönüştürülebilmekte, kalan %85’lik kısmı çöplüklere gönderilmektedir. Giysilerin sadece pastal aşamasında değil, parçaların birleştirilmesi esnasında, prototipte, dikiş sonrası giysinin temizlenerek tüketiciye sunulmaya hazır hale getirilmesinde pek çok lif, iplik ve kumaş parçası atık haline gelmektedir. Sürdürülebilirlik kapsamında ‘daha az hammadde atığı’ ile giysi üretmek mümkündür. Bu kapsamda çalışmada; daha az atık kavramına uygun şekilde tasarlanıp üretilen giysi örnekleri verilmiştir. Tüp dokuma tekniği, yuvarlak örme, keçeleştirme gibi teknikler ile kullanılan liflerin özelliklerine bağlı uygulanan bitim işlemleri ile giysilerde farklı formların daha az atık ile oluşturulabildiği görülmüştür. Bu üretim yöntemlerinin yaygınlaşması ile sürdürülebilir tasarım kavramının benimsenmesi hedeflenmektedir. / During the textile production that increased with the industrialization, technology, and concept of fast fashion and after the consumption plenty of wastes are emerging. Within the scope of sustainability, studies are carried out for the destruction of these wastes. Some studies aim at reducing waste in pre-consumer in other words in production stages. At the present time, the most commonly used technique in creating a garment is stitching. The largest textile waste is also come to exist in this production line. This waste is an average of 15% in current garment spreading programmes and only 15% of textile waste can recycle in the world textile industry, 85% sent to the dumps. Many fibers, yarns, and fabric pieces are becoming waste not only during the garment spreading process but also during the assembly of parts, in the prototype, after sewing of garments in making them ready to be presented the consumer. It is possible to produce garments with ‘less raw material waste’. In this study, the garment samples that designed and produced in accordance with the concept of less waste have given. It has been seen that different forms in the garments can be formed with less waste by using different techniques such as tubular weaving, circular knitting, and felting. With the expansion of these production methods, it is aimed to adopt sustainable design concept.

The co-relation between what design is and how design thinking can help achieve the exact definition of a product that is in the mind of a consumer. After numerous reading within the constraints of limited data and information at hand , I have tried to develop an understanding of the processes it takes to develop a refined product that has saleability. Design is not just about the product looks like and feels like but it is about the function of it. The research methods in order to carry out this study have merely been through extensive reading of different journals, book extracts and articles.

Fashion is widely considered the second most destructive industry to the environment , with a global supply chain employing 58 million people worldwide. During the period of 2000–14, clothing production increased by 50 per cent, as fast-fashion evolved and the luxury sector ascended. Recently, a number of high-profile fashion designers are taking the decision to consciously depart from the constraints of the seasonal fashion calendar, enabling them to reconnect with the creative process, focusing on quality and customer experience. 'With fashion there is too much fear, not enough time, and not enough love' (Elbaz 2017). While sustainable fashion has often been considered a consumer-led movement, which brands have been pressured to act upon, it is important that businesses demonstrate social responsibility through a collaborative approach incorporating design, innovation, technology and communication to successfully create desirable sustainable products

اثارت فكرة الحصول على مانیكان مطابق لشكل وقیاسات الجسم فكر الكثیر من الباحثین بإجراء
العدید من الطرق والأسالیب بھدف الوصول لشكل وقیاسات المانیكان للجسم، ویھدف ھذا البحث إلى
دراسة تجریبیة بین طریقتین من طرق إعداد المانیكان قسمت إلى مجموعتین الأولى المجموعة
الضابطة استخدمت الطریقة التقلیدیة المتبعة في تدریس بالكلیة واعتمد ت على أخذ القیاسات والنظر
للمرآة اثنا الحشو والتبطین. والثانیة المجموعة التجریبیة تعد قالب لشكل جسمھا من الأمام والخلف
للجزء العلوي كل على حدّا، تسترشد بھا الطالبة اثنا عملیة الحشو وتبطین، لیصل المانیكان إلى حجم
وشكل جسمھا. وتظھر أھمیة البحث في مدى تحقیقھ لحجم وشكل الجسم أثناء عملیة الحشو والتبطین
المانیكان لكلا من المجموعة التجریبیة والمجموعة الضابطة. وقد وأسفرت أھم النتائج إلى وجود
فروق دالة إحصائیا عند مستوى دلالھ 0,01 لصالح المجموعة التجریبیة لمطابقة المانیكان بعد عملیة الحشو
والتبطین مع جسم العینة (للأمام – الخلف) وكذلك وجود فروق دالة إحصائیا عند مستوى دلالھ 0,01 لصالح
المجموعة التجریبیة لمطابقة المانیكان بعد عملیة الحشو والتبطین مع جسم العینة (الشكل). وجاء من أھم
التوصیات: اجراء المزید من الدراسات في تبسط طریقة إعداد المانیكان، وتقلل من وقت التعلم.

Luxury is a quality that is difficult to define as the historical concept of luxury appears to be both dynamic and culturally specific. The everyday definition explains a ‘luxury’ in relation to a necessity: a luxury (product or service) is defined as something that consumers want rather than need. However, the growth of global markets has seen a boom in what are now referred to as ‘luxury brands’. This branding of products as luxury has resulted in a change in the way consumers understand luxury goods and services. In their attempts to characterize a luxury brand, Fionda & Moore in their article “The anatomy of a Luxury Brand” summarize a range of critical conditions that are in addition to product branding “... including product and design attributes of quality, craftsmanship and innovative, creative and unique products” (Fionda & Moore, 2009). For the purposes of discussing fashion design however, quality and craftsmanship are inseparable while creativity and innovation exist under different conditions.
The terms ‘creative’ and ‘innovative’ are often used inter-changeably and are connected with most descriptions of the design process, defining ‘design’ and ‘fashion’ in many cases. Christian Marxt and Fredrik Hacklin identify this condition in their paper “Design, product development, innovation: all the same in the end?”(Marxt & Hacklin, 2005) and suggest that design communities should be aware that the distinction between these terms, whilst once quite definitive, is becoming narrow to a point where they will mean the same thing. In relation to theory building in the discipline this could pose significant problems. Brett Richards (2003) identifies innovation as different from creativity in that innovation aims to transform and implement rather than simply explore and invent. Considering this distinction, in particular relation to luxury branding, may affect the way in which design can contribute to a change in the way luxury fashion goods might be perceived in a polarised fashion market, namely suggesting that ‘luxury’ is what consumers need rather than the ‘pile it high, sell it cheap’ fashion that the current market dynamic would indicate they want.
This paper attempts to explore the role of innovation as a key contributing factor in luxury concepts, in particular the relationship between innovation and creativity, the conditions which enable innovation, the role of craftsmanship in innovation and design innovation in relation to luxury fashion products. An argument is presented that technological innovation can be demonstrated as a common factor in the development of luxury fashion product and that the connection between designer and maker will play an important role in the development of luxury fashion goods for a sustainable fashion industry.

Sustainability within the fashion industry is a matter of growing concern with the emergence and surge of the fast fashion system. The research literature is aimed at defining the current fashion scenario, understanding the roles of stakeholders involved and presenting significant existing models of sustainable design. This chapter proposes the need for a practical strategy towards a sustainable future by setting short-term and long-term goals. Education as a solution that penetrates into the layers of institutes, collaborative design, and brands is discussed along with the notion of developing better consumer relationships through emotional and conceptual strategies for value addition. This chapter touches upon recognizing topology as an exploitable concept for innovative sustainable design. Re-evaluation of the design process is explored through the development of a hybrid cutting technique called Planar Flux, inspired by the Mobius strip, that urges one to view patterns axially while reducing fabric consumption, cutting and construction simultaneously. The success of the technique is assessed using parameters of collaboration, development of zero-waste pattern and positing its application in a fast fashion business setup. The aims are to corroborate the benefits of such a system, its influence on the consumer and contribution to all aspects of sustainability.

Most fashion brands and textile/fashion designers have maintained a limited set of sustainability strategies that are focused at the product/processes level, while missing the opportunities for transformative actions that can 'disrupt' the existing fashion system. This paper will explore a recently completed project as part of the author's PhD research (funded by MISTRA Future Fashion research project 2011) that explored how a designer can use design skills throughout a supply chain to identify opportunities to improve both environmental and social impacts for a company.

Many of the existing tools for design in a sustainable fashion context are too complex, overly conceptual, require experts to apply, have a high cost, were created for large corporations, or fall short in holistically supporting sustainable fashion design entrepreneurial practices. Micro-sized enterprises represent a significant portion of the fashion industry and can meaningfully contribute to the transition to a more sustainable apparel and textile industry. This paper addresses this gap through the development of an original design tool, the reDesign canvas, to support design entrepreneurs in developing sustainable fashion enterprises. Informed by design thinking and systems thinking, the canvas was developed based on an in-depth review of the academic literature and the collection of qualitative data. Qualitative data were gathered through both participatory action research (PAR) and interviews with 38 sustainable fashion design entrepreneurs and experts in sustainable fashion. ...

We are aware of fashion's unsustainable practices that put our environment, it's habitats and inhabitants at risk through overconsumption and exploitation. However, how can we solve these issues and create a shift in the system.
This rough draft hints at a plausible solution.
The published chapter is available here https://www.amazon.com/Models-Sustainable-Framework-Luxury-Fashion/dp/9811082847

Günümüzde sanayileşme ve teknolojinin gelişmesi ile birlikte tekstil sektöründe hammaddenin hızlı tüketilmesi ve seri üretim sonucunda fazla atık ortaya çıkmış ve atığın yok edilmesi ekosistem için giderek büyüyen bir tehdit haline gelmiştir. Ekonomik, çevresel ve sosyal perspektifteki Sürdürülebilir Kalkınma Modeli’nde tekstil atıkları ekolojik açıdan tüketici öncesi ve sonrası olmak üzere incelenmektedir. Özellikle hızlı moda kavramı ile birlikte, tekstillerin kullanım ömrünü tamamlamadan ‘atık’ olarak nitelendirilmesi sonucu ekonomik ve çevresel bir tahrip söz konusu olmuştur. Tüketici öncesi üretimde; geri dönüştürülemeyen hammadde kullanımları, zararlı kimyasal kullanımları, tüketici sonrasında ise geri dönüşümün yetersiz kalması gibi pek çok sebep buna örnek olarak gösterilebilir. Bu nedenler ile Sürdürülebilir Kalkınma Modeli doğrultusunda, 6R prensibi ile tekstil sektöründe de atığın azaltılması amaçlanmaktadır. Bu çalışmada; üretim sürecinde, tüketim süreci ve tüketim sonrasında ortaya çıkan tekstil atıklarının azaltılması, dönüştürülmesi, yok edilmesi konusunda benimsenmesi gereken yaklaşımlar ve gerçekleştirilen çalışmalardan bahsedilmiştir. Tasarımcının ve üreticinin sürdürülebilir bir ürün ortaya koymasında ve ekonomik olarak sürdürülebilirliğini sağlamasında günümüz sorunlarının üzerinde düşünmesi ve uygulaması neredeyse zorunlu hale gelmiştir. Bu doğrultuda sadece tasarımcı ve üreticinin değil tüketicinin de çevreci yaklaşımları benimsemesi önemlidir. Bu çalışmada; ekolojik bir yaklaşımın sonucu olarak geliştirilen ve ürün tasarımında benimsenen ve gittikçe de yenileri eklenen altı kavram/prensibin (reduce, recycle, reuse, rethink, repair, refuse, replace, recover, reject, rot, upcycle) tekstil tasarımında uygulanabilirliği araştırılmış ve bu doğrultuda gelecek nesiller için bir farkındalık oluşturulması hedeflenmiştir. / Nowadays, excess waste has emerged with industrialization and technological development as a result of the rapid consumption of raw materials and mass production in the textile sector. The destruction of these wastes has become a growing threat to the ecosystem. Textile wastes are examined ecologically as pre-consumer and postconsumer in the Sustainable Development Model in economic, environmental and social perspectives. In particular, with the concept of fast fashion, textiles are considered to be ‘waste’ before completing their lifespan, resulting in economic and environmental destruction. Non-recyclable usage of raw materials, usage of harmful chemicals before the consumer in other words in production, and insufficient recycling after consumer are some examples of this destruction. For these reasons, 6R principles aim to reduce waste also in the textile sector in line with the Sustainable Development Model. In this study, the approaches which are adopted and the studies carried out about reducing, recycling and refusing of textile wastes that emerged the production process, consumption process are mentioned. It has become almost imperative to thinking and practicing problems of today to provide a sustainable product and ensure its economic sustainability by designers and manufacturers. In this respect, not only the designers' and the manufacturers' but also the consumers' adoption for environmentalist approaches are significant. In this study, the application of six principles which is added to new ones in time (reduce, recycle, reuse, rethink, repair, refuse, replace, recover, reject, rot, upcycle) developed as a result of an ecological approach and adopted in product design was investigated in textile design and, in this direction, aimed to create awareness for future generations.

Denim is one of the most polluting industries on the fashion market. Nowadays we try to invent more environmentally friendly manufacturing technologies than the traditional are. Despite the ecological facts, it still keeps to be a rapidly growing part of the fashion market. Behind the giant denim industry big problem are enormous quantities of second hand trash, unsalable stock and denim waste, which has to be processed again anyway. On the other hand: repurposing of denim waste into fashionable items is only in some cases part of the sustainability process. 
There are many opportunities offered to enthusiasts of denim today; advanced and organic denim, less polluting fabric dyeing and washing processes, zero water technologies, oxygen and ozone washes, recycling processes, Eco-denim projects, and so on. Most of them aren’t environmentally friendly at all, even they are called so…
This report focuses onto the latest denim finishing technologies, comparing their impact on environment regarding to the classic ones. It introduces some designer brands that are regarding these new technologies and advanced opportunities of its recycling. Also, it reflects to possibilities of introducing them in the domestic market.

This paper presents a study on the comfort properties of socks manufactured by different types of yarns like cotton, viscose, bamboo, wool, acrylic and their blends. The air permeability, thermal conductivity, thermal resistance of plain socks and plated socks with polyester and lycra threads were investigated. It was found that the higher air permeability was shown in case of single yarn socks, lower air permeability for plated socks with polyester yarn and the lowest for plated with lycra threads. Polyester or lycra threads change the structure of plated knit socks as the constructions of such socks were thicker and tighter. It was determined that a higher thermal conductivity coefficient was occurred for single yarns, lower-for plated with polyester thread, lowest for plated with lycra thread. It was also determined that a higher thermal resistance was shown for plated socks with lycra thread, lower for plated with polyester and the lowest for single yarn socks.

In recent years, the circular economy of alternative consumption models for secondhand goods has become a subject of prominence. However, very little research has been carried out to obtain an in-depth understanding of the negative or positive consumer attitudes, motivations, and values behind secondhand clothing consumption. Therefore, the aim of this study is to investigate the perceived risks and barriers to utilizing secondhand clothing and to identify the enabling and disabling factors that influence its consumption. Two empirical semiqualitative studies were carried out among secondhand clothing consumers (n=134) and non-secondhand clothing consumers (n=138) in the UK to investigate their attitudes, values, and perceptions of risk regarding secondhand clothing consumption. The study incorporated a qualitative means-end value model with a quantitative research technique to construct hierarchical value maps. The results show that consumer perceptions of secondhand fashion products and services differ significantly. The five main values identified among secondhand clothing consumers were: economic, self-expressive, hedonic, environmental, and social contribution values. Non-secondhand clothing consumers exhibited concerns about used clothing consumption due to perceived poor product quality and cleanliness, limitations in the degree of possible self-enhancement and expressibility of self-identity, and a perceived social image of the clothes as low-class and having low social acceptance. The study's findings concerning secondhand clothing consumption values held by the market and consumers' perceived risk dimensions can assist retailers and marketers to create a more tailored retailing and promotional strategy.

When you see a mushroom, the underground fibers responsible for its growth are unlikely to be the first thing that comes to mind. Mycelium, fungi’s fibrous “roots,” remain largely unnoticed unless their “fruit” emerges as a mushroom. However, networks of mycelium exist beneath the ground. They range in scale from the microscopic to an area of 9 square kilometers, just over 5.5 miles, which is the current size of a 2000-year-old mycelium network growing in the state of Oregon. And many mycelium networks do not generate mushrooms, leaving us with even fewer clues to their ubiquity beneath our feet. Launched in 2015, Mycotech Lab, or MYCL, is an Indonesian bio-based material startup. Their location in an archipelago of 17,000 islands situated on the equator provides a hot and humid tropical climate, though temperatures are tempered a little by altitude in the city of Bandung in West Java, where the company is based. In short, it is a climate where things grow—and grow rapidly.

In recent years, the circular economy of alternative consumption models for secondhand goods has become a subject of prominence. However, very little research has been carried out to obtain an in-depth understanding of the negative or positive consumer attitudes, motivations, and values behind secondhand clothing consumption. Therefore, the aim of this study is to investigate the perceived risks and barriers to utilizing secondhand clothing and to identify the enabling and disabling factors that influence its consumption. Two empirical semiqualitative studies were carried out among secondhand clothing consumers (n=134) and non-secondhand clothing consumers (n=138) in the UK to investigate their attitudes, values, and perceptions of risk regarding secondhand clothing consumption. The study incorporated a qualitative means-end value model with a quantitative research technique to construct hierarchical value maps. The results show that consumer perceptions of secondhand fashion produc...

A fenntarthatóság minden kreatív iparágba, így a textiltiliparba is integrálódott eszme. Az ökotudatos szem-léletmód kialakítása mára a korszerű textil-és divatterve-zés oktatás alaptételévé vált. Környezettudatos divatmár-kák és "zöld kollekciók" naponta születnek; az elemzők becslése szerint a textil és ruházat környezettudatos gyár-tásának trendje, a klímaváltozás egyre nyilvánvalóbb je-leivel összefüggésben fog egyre erősödni majd. Ezzel együtt pedig az önérzetes és környezettudatos Y és Alfa generáció textil-és öltözéktervezés iránt fogékony tagjai-nak érdeklődése is egyre inkább a célirányosan felépített, ökotematikus képzések és tréningek felé irányul majd. Noha kiváltképp a közelmúltban kialakult járványhelyzet óta köztudott, hogy e tréningekben nagy oktatási potenciál rejlik, nem egyszerű kidolgozni, ebben a szerteágazó ösz-szefüggésekkel és gazdag irodalommal bíró témában, naprakész oktatóanyagot. Ez a cikk egy ilyen e-tréning te-matikáit mutatja be, amelyet prezentáció formájában mu-tattunk be az ENTeR projekt (CE 1136) keretében, az Eu-rópai Uniótól az Interreg Közép-Európa Program keretében kapott támogatás révén.

The art of Kantanagar Temple in Bangladesh ancient history is the most powerful combination of architecture & sculptures which were created from 1704 to 1752 A.D. [1]. The doors, windows, pillars, ceilings, and walls were adorned with the terracotta design. Kantanagar Temple is a unique example of the temple architecture in the sub-continent because of the finer details of reprieves. It was originally constructed under Maharaja Prannath & his adopted son Ramnath renowned Jamindars of Dinajpur, Bangladesh [2]. In this research, we try to find out our cultural significance through technology which will help us promote our cultural heritage & its history. I make an overview of the state-of-the-art by Illustrator Graphics Suite CS6 in the modification process of selected motifs and in the color experiences, clothing design, and simulation. Through a wide range of drawing tools & special effects that have been developed. This paper investigates a new direction in the design through using Terracotta plaques which represent Geometric motifs, mythological scenes from the Ramayana & the Mahabharata, social scenes & favorite’s pastime & the author created a fashion collection inspired from the design which can be used to ready -to-wear market.

Many of the existing tools for design in a sustainable fashion context are too complex, overly conceptual, require experts to apply, have a high cost, were created for large corporations, or fall short in holistically supporting sustainable fashion design entrepreneurial practices. Micro-sized enterprises represent a significant portion of the fashion industry and can meaningfully contribute to the transition to a more sustainable apparel and textile industry. This paper addresses this gap through the development of an original design tool, the reDesign canvas, to support design entrepreneurs in developing sustainable fashion enterprises. Informed by design thinking and systems thinking, the canvas was developed based on an in-depth review of the academic literature and the collection of qualitative data. Qualitative data were gathered through both participatory action research (PAR) and interviews with 38 sustainable fashion design entrepreneurs and experts in sustainable fashion. Both the PAR and the interviews were used to test and refine the reDesign canvas in order to ensure it meets the needs of sustainable design entrepreneurs operating micro-sized companies. The final version of the canvas is based on 12 building blocks that a design entrepreneur would encounter in building a sustainable fashion brand. The reDesign canvas can help advance both the theory and practice of sustainable fashion design.

La industria de la moda se basa en una época pasada en la que el tiempo era lineal y el lugar específico. Esta falta de relevancia da como resultado una producción global de vestimenta que es cada vez más ineficiente y destructiva. Las prácticas nocivas de la industria de fabricación de moda no son permisibles en una época que tiene la capacidad de conocimiento y las innovaciones tecnológicas para evitar el daño ambiental y las desigualdades humanas. Las prácticas de fabricación perjudiciales realizadas en los países en desarrollo contribuyen a que la industria siga bajo un escrutinio continuo, pero la intensificación de las expectativas de una entrega rápida está en la raíz de estas prácticas dañinas. Existe un reconocimiento tácito entre los expertos de la industria de la moda, donde los ejemplos históricos de fabricación y comercio en los Estados Unidos no satisfacen las demandas de una sociedad acostumbrada al acceso instantáneo, el cambio constante y los precios bajos. Estos mo...

The fashion industry is currently undergoing a radical change towards an overall sustainable paradigm shift. This paper investigates how the fashion collection, as a particular design framework, might be reconfigured as a strategic driver for garment longevity furthering sustainable fashion design. The study builds on a case study of a company offering a subscription service for baby clothing, exploring in detail whether and how the collection is used as a strategic design tool. In the analysis and discussion, feedback from users, manufacturers and the garments themselves plays a crucial role in the development of the collection. To some degree this differs from the development of a linear fashion collection. The paper concludes by suggesting a framework for using the collection as a strategic design tool designing garments for a product service system while adopting a circular economy thinking.

From Bapta to Brocades, India has always been known for its glorious past in textiles. Since the Indus valley era, Indians have been trading in textiles. There is a great variety of cultures of diverse landscapes, which range from the foothills of Kullu to the tropical skies of South India; each and every region of India contributes in creating a myriad of textile traditions. As time went by, the idea of clothing changed gradually. The contemporary Indian textiles not only reflect the splendid past but also cater to the requirements of the modern era.

The fashion industry is based on a bygone era in which time is linear and place is specific. This lack of relevancy results in global apparel production that is increasingly inefficient and destructive. The harmful practices of fashion manufacturing industry are no longer permissible in an age that has the knowledge capacity and technological innovations to avoid environmental damage and human inequalities. The deleterious manufacturing practices performed in developing countries contribute to the industry being under continued scrutiny, yet intensifying expectations for fast-paced delivery are at the root of these harmful practices.  There is a tacit acknowledgement among fashion industry pundits that historical examples of manufacturing and commerce in the United States do not meet the demands of a society accustomed to instant access, constant change, and low prices. These slower and more traditional models of manufacturing and commerce will increasingly impede profitability in the contemporary marketplace as environmental and social issues continue.

Thus, the fashion industry is in a state flux. Simultaneously, it must decrease destructive practices within the life cycle of clothing while remaining financially sustainable. This binary relationship elicits key questions that can help direct the industry toward a better future. What are the possibilities of domestic apparel manufacturing that utilizes innovative production methods, communication technology, and service systems that, in turn, encourage holistic, sustainable practices? What are the possibilities for and needs of designers who want to take full advantage of an evolving relationship between consumers and designers? In this study, particular attention is paid to new systems of production and distribution that will change the role of fashion designers for the future.

One of the major and urgent concerns that face the world today is 'Sustainability'. Issues pertaining to sustainability such as sustainable growth and development, sustainable business practices, have taken the centre stage in our society and have become prominent topics. Sustainability, right from the fibres to fashion and almost in the entire textile value chain has been at the forefront of endeavours to create a more ethical and environmentally advanced society. Considered as one of the most polluting and ecologically hazardous industry in the world, Textile industry is is also contributing to sustainability issues. Various production processes and chemicals associated with these are a cause of concern as they not only lead to eco problems but these also become a part and parcel of the finished products. The finished goods, often fashionable items such as apparel and accessories are loaded with chemicals and end up in landfills. To add to this, fast fashion has increased the speed with which these products are disposed off. Fashion happens to be one of the most unsustainable and least regulated industries of the world. Further the liberalization of trade in the past few decades led to unimaginable and dramatic changes in the functioning of the fashion industry in general and sourcing and business strategies in particular. This has given birth to some highly unsustainable business models such as fast fashion. These challenges can be addressed by using traditional textiles and processes. Traditional textiles and handicrafts are made using natural material and handcrafted techniques and if used in their original and traditional form can be a boon for sustainability. This paper is based on systematic literature review and authors' own insights and reflections about sustainability in textile and fashion industry.

Este estudo analisa a cadeia produtiva têxtil-vestuário do Rio Grande do Sul à luz da abordagem da Economia Criativa. O universo da moda, sua dinâmica e evolução recente são analisados e a importância e o potencial do setor de confecção para a economia são apontados, assim como as tendências do mercado internacional. Os conceitos de sustentabilidade, trabalho justo e inserção local são destacados como caminhos importantes neste novo cenário.

Bangladesh, a country of approximately twenty crores people where the economy is rapidly growing because of the ready-made garments sector since few decades. There are more than 5000 garment factories in Bangladesh which helps us to earn a big amount of foreign currency. On the other hand, it also increases the disposal behavior of consumers. Especially the young consumers dispose a lot. This study aims to investigate the reason why young consumers dispose of their clothing frequently. A huge number of textiles are being produced every year, purchased & disposed of in landfill sites, which is extremely affecting our environment. This research has identified the reason for increasing purchase behavior & the propensity to keep clothing for a shorter time. Qualitative method is adopted to identify the main themes relating to clothing consumption & disposition. This study also identifies consumers ignorant of how this behavior affects our environment.

The fashion industry is currently undergoing a radical change towards an overall sustainable paradigm shift. This paper investigates how the fashion collection, as a particular design framework, might be reconfigured as a strategic driver for garment longevity furthering sustainable fashion design. The study builds on a case study of a company offering a subscription service for baby clothing, exploring in detail whether and how the collection is used as a strategic design tool. In the analysis and discussion, feedback from users, manufacturers and the garments themselves plays a crucial role in the development of the collection. To some degree this differs from the development of a linear fashion collection. The paper concludes by suggesting a framework for using the collection as a strategic design tool designing garments for a product service system while adopting a circular economy thinking.

This paper seeks to present and explore the history and presence the eco-friendly concepts and sustainable design trends in fashion design. It attempts to answer is the eco-design just-another-trend, or it is a real kind of awareness? Can it cause visible changes in the conventional consumer serving behaviour of the fastest growing fashion market? Eco fashion is a part of the rising design philosophy and trend of sustainability. The goal of many movements is to create new system and mechanism for the growing fashion industry. However to act sustainable is an easy process that requires a lot of work. Acting for human rights of the workers behind the clothes and labels, and to keep one eye on the increasing pollution made by the global fashion industry became outstanding topics of all fashion forums. Platforms of organized movements line up the most dominant players of the fashion world. Sustainability calls to action responsible professionals. Number of green trade fairs, ethical movements and eco-friendly concepts grow rapidly and they became part of the contemporary fashion scene. Global industry is paying over more attention to them than a decade ago. Can all these particular or group initiatives, designer and brand concepts, concept-labels, shows, networks, movements and manifests result in a visible change? Is their offer something what consumers can’t refuse, whatever that will have a visible impact, a perfect or entirely satisfactory concept for the future?

The art of Kantanagar Temple in Bangladesh ancient history is the most powerful combination of architecture & sculptures which were created from 1704 to 1752 A.D. [1]. The doors, windows, pillars, ceilings, and walls were adorned with the terracotta design. Kantanagar Temple is a unique example of the temple architecture in the sub-continent because of the finer details of reprieves.

This paper reports on a research project aimed at exploring how designers can activate and sustain entrepreneurial ventures within regional textile communities in the Philippines and the UK. The mindset of consumers, who believe that textiles and fashion should be cheap, has made it difficult to successfully enable regional textile communities. With this in mind, two case studies were undertaken through semi-structured interviews with stakeholders involved in creative enterprises within regional textile communities in the Philippines and the UK. Findings from the research demonstrate how design-driven approaches to entrepreneurship can lead to reaching an untapped market and securing consumer demand for products and services that are better for people and the planet. The original contribution of the paper lies in the development of a business model meta-canvas, informed by an original conceptual framework that, once successfully adopted, could activate and sustain enterprises in regional textile communities.

Background Spandex production accounts for 0.9% of the world natural and manufactured fiber production. It is used in sweaters, tops, trousers, formal suits, jackets, sleeveless dresses, vests and knickers, shaped garments, hosiery, swimwear, sportswear, and bodies. While the increase in Spandex production and markets is significant, little scientific research has been published. This research goal is to explore the potential of using filling yarns containing Spandex to produce 3-D effects. The 3D effects are developed through woven fabric design with varying tightness. Variation in tightness cause differential shrinkage upon removing the fabric from the loom and/or washing while in relaxed state. Loose weave structure causes more shrinkage as compared to tight weaves. The differential shrinkage causes parts of the design to be raised in the direction perpendicular to the fabric plane.

Denim is no more " work wear " in the present era. More than a need, it is a fashion commodity for every age group, specifically for youth. Garments with multiple permutations and combinations of denim fabric variables like fibers, yarns, and Lycra % and weaving techniques are available with differing garment design statements, but the comfort aspect is slightly ignored. To cater for the masses living in hot and humid areas, a denim fabric is being projected with varying garment constructional parameters. Regenerated cellulose-based fibers/yarns are considered as ecofriendly, cool, soft, fairly strong, and durable among other man-made and natural fiber-based yarns. The present study is an attempt to develop comfortable denim clothing using regenerated cellulose fiber derivatives, maintaining its traditional rustic look for tropical regions. Fabric performance evaluation methods were used to ascertain the performance of the newly developed clothing.

A key concern in the field of contemporary fashion/textiles design is the emergence of ‘fast fashion’: best explained as "buy it Friday, wear it Saturday and throw it away on Sunday" (O'Loughlin, 2007). In this contemporary retail atmosphere of “pile it high: sell it cheap” and “quick to market”, even designer goods have achieved a throwaway status. This modern culture of consumerism is the antithesis of sustainability and is proving a dilemma surrounding sustainable practice for designers and producers in the disciplines (de Blas, 2010). Design researchers including those in textiles/fashion have begun to explore what is a key question in the 21st century in order to create a vision and reason for their disciplines: Can products be designed to have added value to the consumer and hence contribute to a more sustainable industry? Fashion Textiles Design has much to answer for in contributing to the problems of unsustainable practices on a global scale in design, production and waste. However, designers within this field also have great potential to contribute to practical ‘real world’ solutions. This paper provides an overview of some of the design and technological developments from the fashion/textiles industry, endorsing a model where designers and technicians use their transferrable skills for wellbeing rather than desire. Smart materials in the form of responsive and adaptive fibres and fabrics combined with electro active devices, and ICT are increasingly shaping many aspects of society particularly in the leisure industry and interactive consumer products are ever more visible in healthcare. Combinations of biocompatible delivery devices with bio sensing elements can create analyse, sense and actuate early warning and monitoring systems which can be linked to data logging and patient records via intelligent networks. Patient sympathetic, ‘smart’ fashion/textiles applications based on interdisciplinary expertise utilising textiles design and technology is emerging. An analysis of a series of case studies demonstrates the potential of fashion textiles design practitioners to exploit the concept of value adding through technological garment and textiles applications and enhancement for health and wellbeing and in doing so contribute to a more sustainable future fashion/textiles design industry.

Material selection in design is complex. In terms of sustainability principles, materials can’t simply be labelled as “good” or “bad”, but some students have trouble making sense of highly technical, contradictory, and confusing
information. So how then do we engage and learn with students to question, think critically, and better understand the ecological, social, political, and economic implications of current production-consumption-throwaway practices? In this chapter, we present a framework of key elements and strategies drawn from the educational research literature that can support teaching and learning in Design
and Technologies education. Specifically, we show how case studies could be used effectively to spark interest, inspire authentic open-ended questions, and provoke meaningful classroom talk about controversial technology-related issues concerning the material world. Content summaries for a number of engaging online resources are also provided.