- Email: [email protected]
From waste to fashion – a fashion upcycling contest
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Available online atonline www.sciencedirect.com Available at www.sciencedirect.com Procedia CIRP 00 (2019) 000–000 Procedia CIRP 00 (2019) 000–000
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29th CIRP Design 2019 (CIRP Design 2019) 29th CIRP Design 2019 (CIRP Design 2019)
From waste to fashion – a fashion upcycling contest From 28th waste fashion – a fashion upcycling contest CIRPtoDesign Conference, May 2018, Nantes, France António Dinis Marquesaa, Beatriz Moreiraaa, Joana Cunhaaa, Sofia Moreiraaa António Dinis Marques , Beatriz , Joanaand Cunha , Sofia Moreira methodology to analyze theMoreira functional physical architecture
A new 2C2T – Centro de Ciência e Tecnologia Têxtil, University of Minho, Campus de Azurém, 4800-058 Guimarães, Portugal of – Centro de Ciência e Tecnologia Têxtil, University of Minho, Campus de Azurém, 4800-058 Guimarães, Portugal existing 2C2T products for an assembly oriented product family identification a a
* Corresponding author. Tel.: +351918204280; fax: +351253510293. E-mail address: [email protected] * Corresponding author. Tel.: +351918204280; fax: +351253510293. E-mail address: [email protected]
Paul Stief *, Jean-Yves Dantan, Alain Etienne, Ali Siadat
Abstract École Nationale Supérieure d’Arts et Métiers, Arts et Métiers ParisTech, LCFC EA 4495, 4 Rue Augustin Fresnel, Metz 57078, France Abstract Fashion industry has a huge environmental impact, with increasing consequences all around the world. It is clear that the fashion consumers and *Fashion Corresponding author. +33 3 87 37 status 54 30; impact, E-mail address: [email protected] industry has aTel.: huge environmental with increasing all around the world. It is clear thateconomy the fashion and stakeholders need to evaluate present quo, according principlesconsequences of sustainability and circular economy. Circular canconsumers be a guideline stakeholders need to evaluate presentproduct status quo, according principles sustainability and circular Circular can be a guideline for the fashion industry, promoting development focused onofsustainable products (e.g., economy. green products andeconomy cleaner technologies) and for the fashion industry, promoting product development focused on sustainable products (e.g., green products and cleaner technologies) and recyclability (e.g., upcycling and reuse of fibers from disposal clothes). recyclability (e.g., upcycling and reuse of stocks fibers from disposalused clothes). Textile wastes, including clothing (retail or personal items) and fabrics (knitting, woven or non -woven industrial products) from Abstract Textile including clothing (retailimage stocksachieving or personal items) and fabrics or non -woven differentwastes, sources, need to loose negative newused consumers’ value and to(knitting, become woven “raw materials” to closeindustrial the loop.products) from different sources, to loose image achievingofnew valuedesigners and to become “raw materials” closeChallenges the loop. and contests This paper aims toneed present and negative discuss the participation twoconsumers’ young fashion in Upcycling Project bytoTAP. papercoming aims tofrom present and sectors discuss the towards participation of two young designers in Upcycling Project TAP.development, Challenges and contests InThis today’s business environment, the trend product variety and customization is unbroken. Duetoby tochange this theconcepts, need of like this, several and differentmore organizations, arefashion important and highlight the urgency old ideas and like this, coming from organizations, are important highlight urgencyToto design changeand oldoptimize ideas andproduction concepts, increasing creativity andseveral beauty,sectors even ifand the different fashion industry not ready forproducts it yet.andand agile and reconfigurable production systems emerged to copeis with various productthefamilies. increasing creativity and beauty, even if the fashion industryproduct is notseat ready for as itmethods yet. Using old textiles from plane seats and metal accessories from belts raw materials, the designers developed a conceptual long systems as well as to choose the optimal product matches, analysis are needed. Indeed, most of the known methods aimcoat to Using old textilesordesign from plane seats andon metal accessories seat belts as families, raw materials, the may designers a of conceptual longstages coat according fashion principles and they to get from the 3rd place among height final participants. Thedeveloped description the different analyze a product one product family themanaged physical level. Different product however, differ largely in terms of the number and according fashionmaterials design principles and they get the and 3rdand place among final participants. description of for the different stages (initialofdrawing, selection, modelling, cutting,to sewing finishing) will be presented, as well asThe fashions’ process design (ecodesign nature components. This fact impedes an managed efficient comparison choice ofheight appropriate product family combinations the production (initial drawing, materials selection, modelling, cutting, sewing and finishing) will be presented, as well as fashions’ process design (ecodesign and upcycling) focused in sustainable approaches and circularity. A main outcome of this contest was the media exposure obtained by the system. A new methodology is proposed to analyze existing products in view of their functional and physical architecture. The aim is to cluster and upcycling) focusedthe in television sustainable approaches and circularity. mainconscious outcome fashion of this consumer contest was the information media exposure obtained by the designers, including (RTP1) andfamilies several websites. AAmore needs and knowledge about these products in newinassembly oriented product for the optimization of existing assembly lines and the creation of future reconfigurable designers, in the (RTP1) andfashion severalbrands. websites. A more conscious fashion consumer needs information and knowledge about these topicsincluding to demand thistelevision conscience from the assembly systems. Basedthis onconscience Datum Flow Chain, the physical structure of the products is analyzed. Functional subassemblies are identified, and these topics to demand from the fashion brands. a functional analysis is performed. Moreover, a hybrid functional and physical architecture graph (HyFPAG) is the output which depicts the © 2019 The Authors. Published by Elsevier B.V. design support to both, production system planners and product designers. An illustrative similarity between product families by providing © 2019 2019 The The Authors. Published by Elsevier Elsevier B.V. © Authors. Published by B.V. Peer-review of the committee of Design Conference 2019 example of a under nail-clipper is used to the proposed methodology. industrial case study on two product families of steering columns of Peer-review under responsibility responsibility ofexplain the scientific scientific committee of the the CIRP CIRPAn Design Conference 2019. Peer-review under responsibility of the scientific committee of the CIRP Design Conference 2019 thyssenkrupp Presta France is then carried out to give a first industrial evaluation of the proposed approach. upcycling; fashion design; circular economy ©Keywords: 2017 Thesustainability; Authors. Published by Elsevier B.V. Keywords: sustainability; upcycling; fashion design; circular economy Peer-review under responsibility of the scientific committee of the 28th CIRP Design Conference 2018. Keywords: Assembly; Design method; Family identification
1. 1. disassembling theand recyclability (e.g.,manufactured upcycling andand/or reuse 1. Introduction of the product and range characteristics disassembling and the recyclability (e.g., upcycling and [1]. reuse 1. Introduction of fibers from disposal clothes) other approaches assembled in this system. In thisamong context, the main challenge in 1. Due Introduction of fibers from disposal clothes) among other approaches [1]. For a long the main approach at waste’s to the fast development in the domain of modelling andtime, analysis is now not only to copesustainability with single a long time, the main approach at waste’s sustainability Fashion industries wasFor focused in theproduct three “R’s”: Reduce, Reuse; Recycle, in communication and an(textile, ongoingclothing, trend ofaccessories, digitization home and products, a limited range or existing product families, Fashion industries (textile, clothing, accessories, home was focused in the three “R’s”: Reduce, Reuse; Recycle, in textiles and footwear) have a enterprises huge environmental impact, with but order minimize damages. the beginning this digitalization, manufacturing are facing important alsoto to be able to analyze and toAtcompare products toofdefine textiles and footwear) have a huge environmental impact, with order to minimize damages. At the beginning of this increasing consequences all around the world. Ita iscontinuing clear that new millennium, WilliamItMcDonough andthat Michael challenges in today’s market environments: product families. can be observed classicalBraungart existing increasing consequences allofaround the world. It is times clear that product millennium, William McDonough fashion consumers and stakeholders need to evaluate present proposed a new “R”: Re-thinking or and (Re)Designing [2]. This tendency towards reduction product development and families are regrouped in function ofMichael clients orBraungart features. fashion consumers and stakeholders need to evaluate present However, proposed aisnew “R”: (Re)Designing This status quo, according to principles of sustainability circular new “R” assembly based onRe-thinking the behavioural reorganization the shortened product lifecycles. In addition, there is anand increasing oriented productorfamilies are hardly[2]. tooffind. status quo, according to principles of sustainability and circular new “R” is based on the behavioural reorganization of the economyofregarding “our common society, onfamily Ecodesign design processes linked demand customization, being at future”. the sameCircular time in economy a global On thefocused product level,and products differ mainly in with two economy regarding “our common future”. Circular economy society, focused on Ecodesign and design processes linked with can be a guideline for the fashion industry, promoting sustainability and with a new conscious consumer to competition with competitors all over the world. Thisproduct trend, main characteristics: (i) the number of components andaware (ii) the can be isa guideline for fashion industry, promoting sustainability and with amechanical, new[3]. conscious consumer aware to development focused on sustainable products green type fashion environmental impact which inducing thethe development from macro(e.g., toproduct micro of components (e.g. electrical, electronical). development ontechnologies), sustainable (e.g., green fashion impact [3]. products results andfocused cleaner the to designing for Thereenvironmental aremethodologies several examples of this “new conscience” by the markets, in diminished lot sizesproducts due augmenting Classical considering mainly single products products and cleaner technologies), the designing for There are several examples this “new conscience” bythe the companies many existing activitiesof and businesses. Sustainable product varieties (high-volume to low-volume production) [1]. or solitary, in already product families analyze companies in many activities and businesses. Sustainable To cope with this augmenting variety as well as to be able to product structure on a physical level (components level) which 2212-8271 possible © 2019 The optimization Authors. Publishedpotentials by Elsevier B.V. identify in the existing causes difficulties regarding an efficient definition and 2212-8271 2019responsibility The it Authors. Published Elsevier B.V.of the Peer-review©under of the scientific committee CIRP Design Conference 2019 of different product families. Addressing this production system, is important tobyhave a precise knowledge comparison Peer-review under responsibility of the scientific committee of the CIRP Design Conference 2019
2212-8271©©2017 2019The The Authors. Published by Elsevier 2212-8271 Authors. Published by Elsevier B.V. B.V. Peer-review under responsibility of scientific the scientific committee theCIRP CIRP Design Conference 2019. Peer-review under responsibility of the committee of the of 28th Design Conference 2018. 10.1016/j.procir.2019.04.217
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business models can create positive impacts and/or reduce negative impacts for the environment and society [4], being the people, of all ages and skills - in the center of the process [1,4]. The textiles and fibrous materials are incorporated in many products applied in different industries, with environmental impact [5] during the textile process but also at the end of product life cycle. Similar impacts are facing other fashion industries as footwear and leather industries [6]. The Portuguese Airline Company TAP launched in 2018 a contest focused in Upcycling with their textiles wastes from old aircrafts. Fashion changes and trends can came from different directions and be sourced from different places and entities [7]. Designers take inspiration from many sources and will put imagination and creativity working to develop their prototypes and fashion concepts. This case study shows the design process followed by two young fashion designers awarded in this contest. 2. Design Process To participate in the contest Upcycling Project by TAP, was necessary a design process starting with problem identification and closing with a conceptual design product to submit following the fashion design methods proposed by McKelvey, & Munslow [8]. The contest’s rules and conditions had three mandatory topics: design inspired in crew coats; a maximum fabric length of five meters; incorporation of a metallic belt in the final product. All the material applied in the fashion products was from “wastes” used in commercial aircrafts from TAP. The fashion design with this used materials can be an interesting approach to environmental sustainability [3]. The pyramid model presented by Hawley has the “conversion to new products” of wastes (textile and clothing) as important tool of textile recycling [9]. After a careful conditions analysis, was defined the inspiration board by a concept brainstorming. The “Get Away” project is a satiric approach to the fashion world, more precisely to the fashion victims. It intends to express how the consumer lives and breathes “fashion”, arrested in a world of perennial change, where belonging to this tribe is critical to be happy. This world closes their victims in a scheme where the appearance and the consumerism are the basis of their attitudes and actions. The moodboard assumes two sides: a dark side, oppressive, that imprisons, symbolized by the net and the dark hand; a coloured side, where the fashion consumer gets away the trends and expresses itself freely (see Fig.1).
Fig. 1. Moodboard.
2.1. Experimental Design Process Get Away concept was designed for Fall/Winter 18/19 and the main target was Experiencers according to the VALS (Values and Life Styles) classification. They are fashionforward, searching by conceptual items, out of fashion mainstream as it is upcycling concepts. Starting from several sketches, framed by the fabric supplied by TAP (only five meters) and the insertion of the metallic belt, with a common design language and having the crew coat as linkage (see Fig.2).
Fig. 2. Sketches.
The chosen product to apply to the contest was a three-piece set, with an asymmetric coat, with a voluminous collar and sleeves, trouser-shorts above knee length and a rectangular handbag which can be attached to the coat. With this set, the contest rules were followed and the designer’s idea was carried out. To select the raw material (fabric and lining) and other trims (threads, zips, etc) was the next step. The decision fell in a blue jacquard fabric with “light blue reliefs”. Whereas fabrics used are surplus from previous collections, lining and zips came as the best option according to sustainability principles
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(see Fig.3). In addition to these materials, it was necessary to buy woven and nonwoven interlinings to increase the volume of the fashion product.
Fig. 3. The chosen fabric
The digitization of the sketches was the next step. Technical draws and technical sheets were incorporated in the final development and contest proposal. These illustrations gave a general overview of the set, fitting the sewing and colour contrast, keeping a common visual language (see Fig. 4).
Fig. 5. Pattern making.
After these modifications, an unbleached cotton fabric having a similar thickness of the final fabric, combined with the interlining, was cut. Then the materials were sewn together to make a “draft” set. With this strategy was possible avoiding serious mistakes that could compromise the whole project. Furthermore, it was possible to define the production process and operations (sewing and pressing mainly) necessary and also set up the sewing machines and other components (threads, needles, machine apparatus, etc) to produce the prototypes without any defaults. Few corrections were done during this step and the prototypes produced were approved (see Fig. 6).
Fig. 4. (a) Illustration of the coat and handbag; (b) Illustration of the shorts.
It was possible in this phase to change some details in a few elements, without modifying the final solution. Pattern making of the different elements was the next step. This phase took a long time to be completed due to the intensity of manual work and the careful set of tasks. While the patterns are in a working process, the defaults or measurement errors cannot be detected, appearing only in the final product. Many times, too late (see Fig. 5).
Fig. 6. (a) Prototype of the coat in raw fabric; (b) Prototype of the shorts.
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Prototyping was not required to prepare the handbag since the patterns are very linear. The cutting plan in paper was a preliminary step before the final cutting of the fabric. To be more accurate with part’s dimensions, the designers did some shots with a digital camera saving some fabric wastes. This strategy allowed sufficient savings to develop extra tags to complete the set. These three tags (bigger than common fashion labels) had the designers signature manually embroidered. After finishing the patterns, with all the adjustments and corrections, the designers cut the contest blue fabric to obtain the outer part of the coat, the shorts, and the handbag. After, they cut all the other parts (lining and interlining). Finally, they assembled the interlining with the blue fabric (see Fig. 7).
according to the sketches joining them as final products. The seat belt had an important role as a closing element of the coat and to hold the handbag in the final prototype. During the manual coat production, several ironing operations were carried out to prevent the shrinkage of some parts that could change the final aesthetic and compromise the contest performance. Get Away prototype applies for TAP contest as a classic item (a coat) with an irreverent and modern twist, using the upcycling concept to escape the fast and vicious fashion cycle (see Fig. 9).
Fig. 9. (a) Get Away Suit; (b) Closed seat belt; (c) Lining detail; (d) Handbag; (e) Shorts detail. Fig. 7. (a) Cut of the lining; (b) Cut of the main fabric and padding.
The assembling operations of the different pieces were combined with the fusing operation and the overlock of the edges. This operations allowed a better linkage between all the materials. Some handcraft embroidery was applied as design details and prepared with embroidery guides (see Fig. 8).
The “hand” embroidered in the prototype´s handbag signs the needed perennial pull of the fashion’s victim to the new real world, more conscious and active to the environmental impact of their attitudes. Other details, mainly manual embroidery as is the “net”, signs the individual imprisoned. The seat belt has two meanings: can be a safety object to car drivers and aircraft passengers, but can be also the opening of the prototype as well as the individual fashion consumer to the external world. The unusual position of this closing option means the difficulties found to emancipate themselves. This closing position (zip) allows the usage of the handbag with or without the coat. 2.2.
Project Outcomes
The enormous media exposure of the Upcycling Project by TAP contest started with the public session in Modtissimo fair. This fair is an exhibition of fabrics and accessories, Portuguese garment makers, textiles for tomorrow and Portuguese tanneries. The previous edition (September 2018) had around 6 thousand visitors during two days in Alfândega building in Porto (see Fig. 10). Fig. 8. Embroidery guides.
The sewing operations were defined in the technical sheet and carefully followed during these tasks. To avoid sewing mistakes and corrections is a quality required to achieve an excellent fashion product. Besides the contest blue fabric, the assembling operations took the other elements (metallic seat belt, zips, tags, etc)
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Fig. 10. Contest presentation in Modtissimo, Porto.
This public presentation of all the designers to jury and visitors of their prototypes was recorded and launch in all the platforms from Feira Modtissimo. Upcycling Project by TAP had its own page inside the Feira Modtissimo site. Furthermore, the Portuguese aircraft company TAP had an article on the contest in UP Magazine distributed in all TAP flights around the world. Other outcomes in social media and television (RTP1) were very important to show the importance of this issue in the future megatrends to fashion industry. Daily news in the RTP on Sunday showed the results of the contest and RPTNotícias presented also some interviews with the three winners. Newspapers (Jornal T and PortugalTêxtil) and online social media highlighted this partnership and cooperation between an air company and a textile fair. It is very important to show these cases to a big audience and fashion consumers (see Fig. 11) in the media and mainstream players. In academic conferences, it is quite common to discuss topics such as the upcycling and circular economy in fashion industry, but the audience is mainly researchers and experts. As stated by Ragossnig and Schneider, the circular economy package clearly puts an emphasis on closing the loop on the material side, including wastes from different sources [10]. And next generations of fashion consumers, millennials and Z, are searching for “meaning”, authenticity and conscience in their preferred fashion brands [11,12]. “Green” is the colour of next generations and the textile and clothing companies are preparing the new collections with organic or recycled materials as an important option. An increasing option, indeed, as it was showed in the last Modtissimo, February 2019.
Fig. 11. Articles and online videos about the contest.
3. Conclusions The fashion design process is based in creativity and designer’s mental freedom, from conceptual development till garment sewing. An approach with guidelines and previous conditions linked with upcycling and sustainability was a challenge to the designers. To use old fabrics from the aircraft seats and metallic seat belts changed the design process to prepare the final prototype. These textile wastes become raw material in this contest, allowing the development of conceptual fashion products. To solve this “dilemma” of transforming wastes in fashion products with a high value added, the creative design processes are critical. Young designers need to be aware of the circular economy in fashion industry and upcycling is one way to close the loop and reduce the environmental impact of the fashion industry. Other options are possible and desirable, addressing new strategies and approaches to all the T&C stakeholders and academic communities. This approach can be disseminate to other “wastes” producers in different industries or activities. When companies and organizations from different fields and businesses decide to join resources, ideas and goodwill, to stimulate the creativity of young professionals, the results can be fantastic, as they were in this contest. Acknowledgements The authors gratefully acknowledge the Project UID/CTM/00264/2019 of 2C2T – Centro de Ciência e Tecnologia Têxtil, funded by National Founds through FCT/MCTES.
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References [1] Stahel WR. Circular Economy. Nature 2016; 531: 435-438. [2] McDonough W, Braungart M. Cradle to cradle: Remaking the way we make things. New York: North Point Press; 2002. [3] Vezzoli C, Manzini E. Design for Environmental Sustainability. London: Springer-Verlag; 2008. [4] Pal R. Sustainable Design and Business Models in Textile and Fashion Industry. In: Muthu SS, (ed.). Sustainability in the Textile Industry. Singapore: Springer Nature; 2017. P. 109-138. [5] Slater K. Environmental impact of textiles: production, processes and protection. Cambridge: Woodhead Publishing, Textile Institute and CRC Press; 2003. [6] Marques A, Ferreira F, Guedes G. Leather wastes in the the Portuguese footwear industry: new framework according design principles and circular economy. Procedia Engineering, Elsevier 2017;200:303-8. [7] Brannon EL. Fashion Forecasting. 2nd ed. New York: Fairchild Publications, Inc; 2006. [8] M cKelvey, K. & Munslow, J. Fashion design: process, innovation & practice. Blackwell Publishing; 2003. [9] Hawley JM. Textile recycling: a system perspective. In: Wang Y, ed. Recycling in Textiles. Cambridge: Woodhead Publishing, Textile Institute and CRC Press; 2006. p. 7-24. [10] Ragossnig AM, Schneider DR. Circular economy, recycling and end-ofwaste. Waste Management & Research 2019; 37: 109-111. [11] Bernardes, JP, Ferreira F, Marques AD, Nogueira M. Millennials: is “green” your colour? IOP Conference Series: Materials Science and Engineering 2019; 459, doi:10.1088/1757-899X/459/1/012090. [12] Carvalhal A. Moda com propósito: manifesto pela grande virada. São Paulo: Editora Paralela; 2016.
Webpages (Portuguese media):
https://www.portugaltextil.com/modtissimo-prepara-crescimento/ https://jornal-t.pt/noticia/upcycling-a-tap-tambem-fanez-moda-circular/ https://jornal-t.pt/noticia/tatiana-ribeiro-e-a-vencedora-do-concursoupcycling-by-tap/ https://pt.fashionnetwork.com/news/Sustentabilidade-em-destaque-noproximo-Modtissimo,1016601.html https://jornal-t.pt/noticia/tap-e-modtissimo-desafiam-jovens-criadores/
ScienceDirect ScienceDirect
Available online atonline www.sciencedirect.com Available at www.sciencedirect.com Procedia CIRP 00 (2019) 000–000 Procedia CIRP 00 (2019) 000–000
ScienceDirect ScienceDirect
www.elsevier.com/locate/procedia www.elsevier.com/locate/procedia
ProcediaProcedia CIRP 00CIRP (2017) 84000–000 (2019) 1063–1068 www.elsevier.com/locate/procedia
29th CIRP Design 2019 (CIRP Design 2019) 29th CIRP Design 2019 (CIRP Design 2019)
From waste to fashion – a fashion upcycling contest From 28th waste fashion – a fashion upcycling contest CIRPtoDesign Conference, May 2018, Nantes, France António Dinis Marquesaa, Beatriz Moreiraaa, Joana Cunhaaa, Sofia Moreiraaa António Dinis Marques , Beatriz , Joanaand Cunha , Sofia Moreira methodology to analyze theMoreira functional physical architecture
A new 2C2T – Centro de Ciência e Tecnologia Têxtil, University of Minho, Campus de Azurém, 4800-058 Guimarães, Portugal of – Centro de Ciência e Tecnologia Têxtil, University of Minho, Campus de Azurém, 4800-058 Guimarães, Portugal existing 2C2T products for an assembly oriented product family identification a a
* Corresponding author. Tel.: +351918204280; fax: +351253510293. E-mail address: [email protected] * Corresponding author. Tel.: +351918204280; fax: +351253510293. E-mail address: [email protected]
Paul Stief *, Jean-Yves Dantan, Alain Etienne, Ali Siadat
Abstract École Nationale Supérieure d’Arts et Métiers, Arts et Métiers ParisTech, LCFC EA 4495, 4 Rue Augustin Fresnel, Metz 57078, France Abstract Fashion industry has a huge environmental impact, with increasing consequences all around the world. It is clear that the fashion consumers and *Fashion Corresponding author. +33 3 87 37 status 54 30; impact, E-mail address: [email protected] industry has aTel.: huge environmental with increasing all around the world. It is clear thateconomy the fashion and stakeholders need to evaluate present quo, according principlesconsequences of sustainability and circular economy. Circular canconsumers be a guideline stakeholders need to evaluate presentproduct status quo, according principles sustainability and circular Circular can be a guideline for the fashion industry, promoting development focused onofsustainable products (e.g., economy. green products andeconomy cleaner technologies) and for the fashion industry, promoting product development focused on sustainable products (e.g., green products and cleaner technologies) and recyclability (e.g., upcycling and reuse of fibers from disposal clothes). recyclability (e.g., upcycling and reuse of stocks fibers from disposalused clothes). Textile wastes, including clothing (retail or personal items) and fabrics (knitting, woven or non -woven industrial products) from Abstract Textile including clothing (retailimage stocksachieving or personal items) and fabrics or non -woven differentwastes, sources, need to loose negative newused consumers’ value and to(knitting, become woven “raw materials” to closeindustrial the loop.products) from different sources, to loose image achievingofnew valuedesigners and to become “raw materials” closeChallenges the loop. and contests This paper aims toneed present and negative discuss the participation twoconsumers’ young fashion in Upcycling Project bytoTAP. papercoming aims tofrom present and sectors discuss the towards participation of two young designers in Upcycling Project TAP.development, Challenges and contests InThis today’s business environment, the trend product variety and customization is unbroken. Duetoby tochange this theconcepts, need of like this, several and differentmore organizations, arefashion important and highlight the urgency old ideas and like this, coming from organizations, are important highlight urgencyToto design changeand oldoptimize ideas andproduction concepts, increasing creativity andseveral beauty,sectors even ifand the different fashion industry not ready forproducts it yet.andand agile and reconfigurable production systems emerged to copeis with various productthefamilies. increasing creativity and beauty, even if the fashion industryproduct is notseat ready for as itmethods yet. Using old textiles from plane seats and metal accessories from belts raw materials, the designers developed a conceptual long systems as well as to choose the optimal product matches, analysis are needed. Indeed, most of the known methods aimcoat to Using old textilesordesign from plane seats andon metal accessories seat belts as families, raw materials, the may designers a of conceptual longstages coat according fashion principles and they to get from the 3rd place among height final participants. Thedeveloped description the different analyze a product one product family themanaged physical level. Different product however, differ largely in terms of the number and according fashionmaterials design principles and they get the and 3rdand place among final participants. description of for the different stages (initialofdrawing, selection, modelling, cutting,to sewing finishing) will be presented, as well asThe fashions’ process design (ecodesign nature components. This fact impedes an managed efficient comparison choice ofheight appropriate product family combinations the production (initial drawing, materials selection, modelling, cutting, sewing and finishing) will be presented, as well as fashions’ process design (ecodesign and upcycling) focused in sustainable approaches and circularity. A main outcome of this contest was the media exposure obtained by the system. A new methodology is proposed to analyze existing products in view of their functional and physical architecture. The aim is to cluster and upcycling) focusedthe in television sustainable approaches and circularity. mainconscious outcome fashion of this consumer contest was the information media exposure obtained by the designers, including (RTP1) andfamilies several websites. AAmore needs and knowledge about these products in newinassembly oriented product for the optimization of existing assembly lines and the creation of future reconfigurable designers, in the (RTP1) andfashion severalbrands. websites. A more conscious fashion consumer needs information and knowledge about these topicsincluding to demand thistelevision conscience from the assembly systems. Basedthis onconscience Datum Flow Chain, the physical structure of the products is analyzed. Functional subassemblies are identified, and these topics to demand from the fashion brands. a functional analysis is performed. Moreover, a hybrid functional and physical architecture graph (HyFPAG) is the output which depicts the © 2019 The Authors. Published by Elsevier B.V. design support to both, production system planners and product designers. An illustrative similarity between product families by providing © 2019 2019 The The Authors. Published by Elsevier Elsevier B.V. © Authors. Published by B.V. Peer-review of the committee of Design Conference 2019 example of a under nail-clipper is used to the proposed methodology. industrial case study on two product families of steering columns of Peer-review under responsibility responsibility ofexplain the scientific scientific committee of the the CIRP CIRPAn Design Conference 2019. Peer-review under responsibility of the scientific committee of the CIRP Design Conference 2019 thyssenkrupp Presta France is then carried out to give a first industrial evaluation of the proposed approach. upcycling; fashion design; circular economy ©Keywords: 2017 Thesustainability; Authors. Published by Elsevier B.V. Keywords: sustainability; upcycling; fashion design; circular economy Peer-review under responsibility of the scientific committee of the 28th CIRP Design Conference 2018. Keywords: Assembly; Design method; Family identification
1. 1. disassembling theand recyclability (e.g.,manufactured upcycling andand/or reuse 1. Introduction of the product and range characteristics disassembling and the recyclability (e.g., upcycling and [1]. reuse 1. Introduction of fibers from disposal clothes) other approaches assembled in this system. In thisamong context, the main challenge in 1. Due Introduction of fibers from disposal clothes) among other approaches [1]. For a long the main approach at waste’s to the fast development in the domain of modelling andtime, analysis is now not only to copesustainability with single a long time, the main approach at waste’s sustainability Fashion industries wasFor focused in theproduct three “R’s”: Reduce, Reuse; Recycle, in communication and an(textile, ongoingclothing, trend ofaccessories, digitization home and products, a limited range or existing product families, Fashion industries (textile, clothing, accessories, home was focused in the three “R’s”: Reduce, Reuse; Recycle, in textiles and footwear) have a enterprises huge environmental impact, with but order minimize damages. the beginning this digitalization, manufacturing are facing important alsoto to be able to analyze and toAtcompare products toofdefine textiles and footwear) have a huge environmental impact, with order to minimize damages. At the beginning of this increasing consequences all around the world. Ita iscontinuing clear that new millennium, WilliamItMcDonough andthat Michael challenges in today’s market environments: product families. can be observed classicalBraungart existing increasing consequences allofaround the world. It is times clear that product millennium, William McDonough fashion consumers and stakeholders need to evaluate present proposed a new “R”: Re-thinking or and (Re)Designing [2]. This tendency towards reduction product development and families are regrouped in function ofMichael clients orBraungart features. fashion consumers and stakeholders need to evaluate present However, proposed aisnew “R”: (Re)Designing This status quo, according to principles of sustainability circular new “R” assembly based onRe-thinking the behavioural reorganization the shortened product lifecycles. In addition, there is anand increasing oriented productorfamilies are hardly[2]. tooffind. status quo, according to principles of sustainability and circular new “R” is based on the behavioural reorganization of the economyofregarding “our common society, onfamily Ecodesign design processes linked demand customization, being at future”. the sameCircular time in economy a global On thefocused product level,and products differ mainly in with two economy regarding “our common future”. Circular economy society, focused on Ecodesign and design processes linked with can be a guideline for the fashion industry, promoting sustainability and with a new conscious consumer to competition with competitors all over the world. Thisproduct trend, main characteristics: (i) the number of components andaware (ii) the can be isa guideline for fashion industry, promoting sustainability and with amechanical, new[3]. conscious consumer aware to development focused on sustainable products green type fashion environmental impact which inducing thethe development from macro(e.g., toproduct micro of components (e.g. electrical, electronical). development ontechnologies), sustainable (e.g., green fashion impact [3]. products results andfocused cleaner the to designing for Thereenvironmental aremethodologies several examples of this “new conscience” by the markets, in diminished lot sizesproducts due augmenting Classical considering mainly single products products and cleaner technologies), the designing for There are several examples this “new conscience” bythe the companies many existing activitiesof and businesses. Sustainable product varieties (high-volume to low-volume production) [1]. or solitary, in already product families analyze companies in many activities and businesses. Sustainable To cope with this augmenting variety as well as to be able to product structure on a physical level (components level) which 2212-8271 possible © 2019 The optimization Authors. Publishedpotentials by Elsevier B.V. identify in the existing causes difficulties regarding an efficient definition and 2212-8271 2019responsibility The it Authors. Published Elsevier B.V.of the Peer-review©under of the scientific committee CIRP Design Conference 2019 of different product families. Addressing this production system, is important tobyhave a precise knowledge comparison Peer-review under responsibility of the scientific committee of the CIRP Design Conference 2019
2212-8271©©2017 2019The The Authors. Published by Elsevier 2212-8271 Authors. Published by Elsevier B.V. B.V. Peer-review under responsibility of scientific the scientific committee theCIRP CIRP Design Conference 2019. Peer-review under responsibility of the committee of the of 28th Design Conference 2018. 10.1016/j.procir.2019.04.217
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business models can create positive impacts and/or reduce negative impacts for the environment and society [4], being the people, of all ages and skills - in the center of the process [1,4]. The textiles and fibrous materials are incorporated in many products applied in different industries, with environmental impact [5] during the textile process but also at the end of product life cycle. Similar impacts are facing other fashion industries as footwear and leather industries [6]. The Portuguese Airline Company TAP launched in 2018 a contest focused in Upcycling with their textiles wastes from old aircrafts. Fashion changes and trends can came from different directions and be sourced from different places and entities [7]. Designers take inspiration from many sources and will put imagination and creativity working to develop their prototypes and fashion concepts. This case study shows the design process followed by two young fashion designers awarded in this contest. 2. Design Process To participate in the contest Upcycling Project by TAP, was necessary a design process starting with problem identification and closing with a conceptual design product to submit following the fashion design methods proposed by McKelvey, & Munslow [8]. The contest’s rules and conditions had three mandatory topics: design inspired in crew coats; a maximum fabric length of five meters; incorporation of a metallic belt in the final product. All the material applied in the fashion products was from “wastes” used in commercial aircrafts from TAP. The fashion design with this used materials can be an interesting approach to environmental sustainability [3]. The pyramid model presented by Hawley has the “conversion to new products” of wastes (textile and clothing) as important tool of textile recycling [9]. After a careful conditions analysis, was defined the inspiration board by a concept brainstorming. The “Get Away” project is a satiric approach to the fashion world, more precisely to the fashion victims. It intends to express how the consumer lives and breathes “fashion”, arrested in a world of perennial change, where belonging to this tribe is critical to be happy. This world closes their victims in a scheme where the appearance and the consumerism are the basis of their attitudes and actions. The moodboard assumes two sides: a dark side, oppressive, that imprisons, symbolized by the net and the dark hand; a coloured side, where the fashion consumer gets away the trends and expresses itself freely (see Fig.1).
Fig. 1. Moodboard.
2.1. Experimental Design Process Get Away concept was designed for Fall/Winter 18/19 and the main target was Experiencers according to the VALS (Values and Life Styles) classification. They are fashionforward, searching by conceptual items, out of fashion mainstream as it is upcycling concepts. Starting from several sketches, framed by the fabric supplied by TAP (only five meters) and the insertion of the metallic belt, with a common design language and having the crew coat as linkage (see Fig.2).
Fig. 2. Sketches.
The chosen product to apply to the contest was a three-piece set, with an asymmetric coat, with a voluminous collar and sleeves, trouser-shorts above knee length and a rectangular handbag which can be attached to the coat. With this set, the contest rules were followed and the designer’s idea was carried out. To select the raw material (fabric and lining) and other trims (threads, zips, etc) was the next step. The decision fell in a blue jacquard fabric with “light blue reliefs”. Whereas fabrics used are surplus from previous collections, lining and zips came as the best option according to sustainability principles
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(see Fig.3). In addition to these materials, it was necessary to buy woven and nonwoven interlinings to increase the volume of the fashion product.
Fig. 3. The chosen fabric
The digitization of the sketches was the next step. Technical draws and technical sheets were incorporated in the final development and contest proposal. These illustrations gave a general overview of the set, fitting the sewing and colour contrast, keeping a common visual language (see Fig. 4).
Fig. 5. Pattern making.
After these modifications, an unbleached cotton fabric having a similar thickness of the final fabric, combined with the interlining, was cut. Then the materials were sewn together to make a “draft” set. With this strategy was possible avoiding serious mistakes that could compromise the whole project. Furthermore, it was possible to define the production process and operations (sewing and pressing mainly) necessary and also set up the sewing machines and other components (threads, needles, machine apparatus, etc) to produce the prototypes without any defaults. Few corrections were done during this step and the prototypes produced were approved (see Fig. 6).
Fig. 4. (a) Illustration of the coat and handbag; (b) Illustration of the shorts.
It was possible in this phase to change some details in a few elements, without modifying the final solution. Pattern making of the different elements was the next step. This phase took a long time to be completed due to the intensity of manual work and the careful set of tasks. While the patterns are in a working process, the defaults or measurement errors cannot be detected, appearing only in the final product. Many times, too late (see Fig. 5).
Fig. 6. (a) Prototype of the coat in raw fabric; (b) Prototype of the shorts.
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Prototyping was not required to prepare the handbag since the patterns are very linear. The cutting plan in paper was a preliminary step before the final cutting of the fabric. To be more accurate with part’s dimensions, the designers did some shots with a digital camera saving some fabric wastes. This strategy allowed sufficient savings to develop extra tags to complete the set. These three tags (bigger than common fashion labels) had the designers signature manually embroidered. After finishing the patterns, with all the adjustments and corrections, the designers cut the contest blue fabric to obtain the outer part of the coat, the shorts, and the handbag. After, they cut all the other parts (lining and interlining). Finally, they assembled the interlining with the blue fabric (see Fig. 7).
according to the sketches joining them as final products. The seat belt had an important role as a closing element of the coat and to hold the handbag in the final prototype. During the manual coat production, several ironing operations were carried out to prevent the shrinkage of some parts that could change the final aesthetic and compromise the contest performance. Get Away prototype applies for TAP contest as a classic item (a coat) with an irreverent and modern twist, using the upcycling concept to escape the fast and vicious fashion cycle (see Fig. 9).
Fig. 9. (a) Get Away Suit; (b) Closed seat belt; (c) Lining detail; (d) Handbag; (e) Shorts detail. Fig. 7. (a) Cut of the lining; (b) Cut of the main fabric and padding.
The assembling operations of the different pieces were combined with the fusing operation and the overlock of the edges. This operations allowed a better linkage between all the materials. Some handcraft embroidery was applied as design details and prepared with embroidery guides (see Fig. 8).
The “hand” embroidered in the prototype´s handbag signs the needed perennial pull of the fashion’s victim to the new real world, more conscious and active to the environmental impact of their attitudes. Other details, mainly manual embroidery as is the “net”, signs the individual imprisoned. The seat belt has two meanings: can be a safety object to car drivers and aircraft passengers, but can be also the opening of the prototype as well as the individual fashion consumer to the external world. The unusual position of this closing option means the difficulties found to emancipate themselves. This closing position (zip) allows the usage of the handbag with or without the coat. 2.2.
Project Outcomes
The enormous media exposure of the Upcycling Project by TAP contest started with the public session in Modtissimo fair. This fair is an exhibition of fabrics and accessories, Portuguese garment makers, textiles for tomorrow and Portuguese tanneries. The previous edition (September 2018) had around 6 thousand visitors during two days in Alfândega building in Porto (see Fig. 10). Fig. 8. Embroidery guides.
The sewing operations were defined in the technical sheet and carefully followed during these tasks. To avoid sewing mistakes and corrections is a quality required to achieve an excellent fashion product. Besides the contest blue fabric, the assembling operations took the other elements (metallic seat belt, zips, tags, etc)
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Fig. 10. Contest presentation in Modtissimo, Porto.
This public presentation of all the designers to jury and visitors of their prototypes was recorded and launch in all the platforms from Feira Modtissimo. Upcycling Project by TAP had its own page inside the Feira Modtissimo site. Furthermore, the Portuguese aircraft company TAP had an article on the contest in UP Magazine distributed in all TAP flights around the world. Other outcomes in social media and television (RTP1) were very important to show the importance of this issue in the future megatrends to fashion industry. Daily news in the RTP on Sunday showed the results of the contest and RPTNotícias presented also some interviews with the three winners. Newspapers (Jornal T and PortugalTêxtil) and online social media highlighted this partnership and cooperation between an air company and a textile fair. It is very important to show these cases to a big audience and fashion consumers (see Fig. 11) in the media and mainstream players. In academic conferences, it is quite common to discuss topics such as the upcycling and circular economy in fashion industry, but the audience is mainly researchers and experts. As stated by Ragossnig and Schneider, the circular economy package clearly puts an emphasis on closing the loop on the material side, including wastes from different sources [10]. And next generations of fashion consumers, millennials and Z, are searching for “meaning”, authenticity and conscience in their preferred fashion brands [11,12]. “Green” is the colour of next generations and the textile and clothing companies are preparing the new collections with organic or recycled materials as an important option. An increasing option, indeed, as it was showed in the last Modtissimo, February 2019.
Fig. 11. Articles and online videos about the contest.
3. Conclusions The fashion design process is based in creativity and designer’s mental freedom, from conceptual development till garment sewing. An approach with guidelines and previous conditions linked with upcycling and sustainability was a challenge to the designers. To use old fabrics from the aircraft seats and metallic seat belts changed the design process to prepare the final prototype. These textile wastes become raw material in this contest, allowing the development of conceptual fashion products. To solve this “dilemma” of transforming wastes in fashion products with a high value added, the creative design processes are critical. Young designers need to be aware of the circular economy in fashion industry and upcycling is one way to close the loop and reduce the environmental impact of the fashion industry. Other options are possible and desirable, addressing new strategies and approaches to all the T&C stakeholders and academic communities. This approach can be disseminate to other “wastes” producers in different industries or activities. When companies and organizations from different fields and businesses decide to join resources, ideas and goodwill, to stimulate the creativity of young professionals, the results can be fantastic, as they were in this contest. Acknowledgements The authors gratefully acknowledge the Project UID/CTM/00264/2019 of 2C2T – Centro de Ciência e Tecnologia Têxtil, funded by National Founds through FCT/MCTES.
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Webpages (Portuguese media):
https://www.portugaltextil.com/modtissimo-prepara-crescimento/ https://jornal-t.pt/noticia/upcycling-a-tap-tambem-fanez-moda-circular/ https://jornal-t.pt/noticia/tatiana-ribeiro-e-a-vencedora-do-concursoupcycling-by-tap/ https://pt.fashionnetwork.com/news/Sustentabilidade-em-destaque-noproximo-Modtissimo,1016601.html https://jornal-t.pt/noticia/tap-e-modtissimo-desafiam-jovens-criadores/