Farm to Fabric

The Urgent Shift to Farm to Fabric: A Course in Sustainable Textile Production (TT476)

WHY FARM TO FABRIC?

The fashion industry is at a crossroads. Many of its current practices are unsustainable and/or unethical due to a disregard for the environment. Consumers are looking for a change from fast fashion to quality materials, timeless designs, and ethical production. Farm to Fabric isn't a trend; it's a necessity. The Farm to Fabric is like a heartfelt letter from nature, asking us to slow down and appreciate the journey of our clothes, from the field to the fabric. It's about understanding the stories of the people who nurture these natural materials, and the land that generously provides them.

Imagine a farmer, emotionally attached to his land, working tirelessly to grow the fiber that will one day become your favorite clothing. Or consider the designer, who carefully crafts each piece with a deep respect for the materials and the people who produced them. Farm to Fabric is a call to action, urging us to be more thoughtful and intentional in our choices. It's about creating an emotional connection with our clothes, cherishing each step of their journey, and understanding the impact of our decisions on the environment and the people involved. It's about coming together to create a more sustainable and compassionate fashion industry, where everyone and everything flourishes.

CREDITS FARM TO FABRIC ISSUE 001

by Fashion Institute of Technology

Printed in New York, 2024 ©All rights reserved

Project by Lorenza Wong

Designed by Laureen Wong

Galatians 1:5

Cover Photo by Frances van Hasselt

“In Conversation”, a woven tapestry of raw kid Mohair and Abaca

Printed by Ryan Printing Inc.

COURSE

DESCRIPTION

TT476 delves into the world of natural fibers, from plants and animals, through a hands-on approach.

Focus Fibers

Learn about these forgotten fibers—Mohair, Abaca, Piña, and Jacob Wool, emphasizing their sustainable applications.

The Farm to Fabric Journey

Uncover the entire process, from fiber to finished textile.

Building

a Sustainable Brand

Develop a brand identity and marketing strategy for your sustainable fashion or homeware business.

Industry Connections

Network with farmers, spinners, artisans, and industry professionals.

BECOME A CATALYST FOR CHANGE

This course fosters a deep appreciation for the people and processes behind the clothes we wear. Upon completion, you will have the knowledge and skills to build a successful brand based on sustainable and ethical principles.

Sun dried Mohair yarns

Abaca seedling

Photo courtesy of Island Harvest

Watch video

Aerial shot of Abaca at Island Harvest.

Photo courtesy of Abdullah Magdalita.

Raw kid Mohair

Photo courtesy of Frances van Hasselt.

THE FARM TO FABRIC MODEL

Plant Fiber Supply Chain

Animal Fiber Supply Chain

Angora Goat and Abaca

Jacob Wool Sheep and Piña

Fiber and Yarn

Natural Dyeing

Weaving and Knitting

CRAFTING A BETTER FUTURE

VI Cere Studio

Lolita Collective

Greige Galleries

House of Home

Oasis

WEAVING

South

THE FARM TO FABRIC COURSE A Tapestry Woven with Love, Learning, and Connection

COLLABORATIVE VOICES

ACKNOWLEDGMENTS

SPONSORS

FACULTY

CLASS OF 2024

CLASS ACTIVITIES IN THEIR OWN WORDS

THE FARM TO FABRIC MODEL

We need a shift in thinking away from the efficiencies of centralized manufacturing to the resilience of decentralized, regional production where local impacts can be measured against planetary boundaries. Farm to Fabric is a model that revives a

local resource and embraces a circular culture of respect that values all aspects of the production cycle, from the natural resources to the skilled artisans who transform it into beautiful materials.

PLANT FIBER SUPPLY CHAIN

Model courtesy of Sally Li and Anna Le

Farm to fabric to fashion is not just about the idea of a common circular culture. It is first and foremost about an awareness of life in its compelling essence, giving rights to materials, as much as to animals, plants, and humans.

Photo courtesy of Frances van Hasselt

ABACA

JACOB WOOL SHEEP

Photo courtesy of Cecilia Tkaczyk

Raw kid Mohair

Photo courtesy of Frances van Hasselt

Abaca Piña

Jacob Wool

Hand spun and mill spun Jacob Wool

Hand spun Mohair yarn

Photo courtesy of Frances van Hasselt

NATURAL DYEING

NATURAL DYED MOHAIR & ABACA

Photo courtesy of Whitney Crutchfield

FRENCH AND AFRICAN MARIGOLD

HOPI SUNFLOWER

TANGO COSMOS

BLACK KNIGHT SCABIOSA

Photo courtesy of Whitney Crutchfield

Photo courtesy of Whitney Crutchfield

FIT Natural Dye Garden on the rooftop.

Photo courtesy of Whitney Crutchfield

Photo courtesy of Whitney Crutchfield

Photo courtesy of Frances van Hasselt

Nicholas Sanchez

Austin Che

Emily Hubbard

Melanie Cottone

Selin Ersayin

VI

Anna Le

Sally Li

Crafting a Better Future

THE FUTURE OF FASHION IS HANDMADE.

Six brands that champion slow fashion, hand-made processes, and intentional design. Prepare to learn about the beauty and value of handcrafted goods, and how they contribute to a more responsible fashion future.

LEARN MORE

Photo courtesy of Frances van Hasselt

Lolita Collective

“Lolita Collective” pioneers a new era of sustainability, where every product we create leaves a positive impact on both people and the planet. We are committed to redefining industry standards by ble

d M i s s i o n

At the heart of our brand lies a dedication to transparency and accountability. We strive to build trust with our customers by openly sharing our processes, from sourcing raw materials to the final product's journey into their hands. Through education and engagement, we empower our community to make informed choices that align with their values and contribute to a greener future.

Lolita Collective

I love whimsical interesting textiles Open knits, playful textures and overall luxurious hand. I had never crocheted before starting this project and I found a lot of joy in learning a new skill My favorite piece would be the woven textile Weaving on the four harness loom put me into a meditative space and the use of all our fibers blended into one brought the world of fibers together

My most challenging moment was the hand knit project. Knitting by hand with the thin slinky mohair/silk yarns was a task. It took me about a week in total to finally feel done, although I feel I could of made it bigger!

70% Mohair 30% silk

Hand Knit White and pink

Crocheted Top Jacobs wool

B r a n d I d e n t i t y

When I first started to create this brand vision I thought of my childhood, I did Girl Scouts, and that led me to have a very strong connection with the outdoors. Also being from California I was raised in the sunshine. I fell in love with riding horses and harvesting my food. I wanted to take this rustic aesthetic that I fell in love with as a child and integrate it into our brand identity.

Lolita Collective

For our marketing strategy, we would have most of our it be through influencer gifting. We would create a list of influencers and gift them all a piece of our latest collection in exchange for content, which we could then use on our social media. This would generate traffic to our website because these influencers have cult followings and people love to listen to what they say and take inspiration and style advice from what they wear.

While creating my garment using mohair and vintage Levi’s, I drew inspiration from one of my favorite brands, Marni. I designed a unique pair of jeans by weaving patches of 100% mohair in diverse colors, textures, weaving patterns, and styles to fill and embellish the distressed denim. The pairing of two imperfect materials— mohair and distressed denim creates the perfect balance within this garment.

P e y t o n C l a r k

LolitaCollective

During my four years studying Textile Development, I found inspiration in the harmonious blend of contrasting textures and materials. This fascination seamlessly transitioned into my career as a stylist, where I've been able to integrate my knowledge of textiles, which wouldn’t be possible without FIT.

C r o c h e t e d B a g

My bag was made of mohair using a single and double fresheted stitch. The yarns were thicker to work with than I was used too due to the irregularities in mohair yarn. Through this process I learned how to work with this fiber, and how greatly it works in a bag like this. As far as the handle goes, I used my hands in order to crochet the long strap. The off-white look of this fiber was perfectly on theme with our project.

G R E I G E G A L L E R I E S

Welcome to Greige Galleries in Chelsea, frequented by stylish New York socialites. Today, Kioko arrives at the gallery wearing a handwoven shawl in natural blue, kept closed by a handmade flower brooch. On her side she carries a knitted bag in blossom pink, with an artisanal bonnet tucked away

Kioko Is an professional dancer, training at Alvin Ailey American Dance Theater. Her wardrobe is inspired by the natural hues of The Karoo in South Africa, where she was born. When she isn’t dancing she likes to enjoy time with friends and bicycle around the city As she arrives at the gallery she is excited to see a new collection featuring textile works from students at the Fashion Institute of Technology, all of which are made from mohair or wool!

Watch video

When conceptualizing creating, I initially have the desire to make garments, as it communicates my creativity and has high potential for monetary return. However, upon realizing that for our capstone we would be given access to small quantities of unique natural fibers including mohair and abaca, I felt the time required to weave or knit enough textile for a full garment was challenging Thus, I decided create a miniature garment

This restriction of possibilities ultimately led to greater control over the entire process, allowing me to highlight the beauty of the naturally dyed blue mohair hair I decided to use. Ultimately I found power in minimalism, which I believe is the purpose of textiles, to be felt without being seen

Beyond creating a garment, it was important for me to create a character. In today’s digital world, there are more products available than we can keep up with. People don't just buy clothes, people buy into stories. This decision not only embraced minimalism, but also embraced the ideas of my teammates

This is what led us to create Kioko, a fashionable New York woman who is spending the day at Greige Galleries. If someone was inspired to create a textile piece, it would serve as an artwork in the gallery; if someone was inspired to create a garment or accessory, it would serve as part of Kioko’s wardrobe This process empowered myself and my teammates to display our unique creativity through an animated individual.

Pattern

Sewn Shawl

Woven Fabric

Tariq Karam

3D Sample

Growing up on Roosevelt Island between Manhattan and Queens exposed me to much of what makes New York City unique - people of different religions, ethnicities and economic classes all living together.

When spring approaches Roosevelt Island becomes crowded with people to see the cherry blossom trees. My knit bag captures the beauty of the light pink cherry blossoms and how everyone living in New York City is woven together with people from different backgrounds reflecting the beauty of New York City. As I get older I appreciate living in a melting pot of culture and creativity.

Grace Alber

100% Mohair

g , g recreate

The focus of our group was to create a character, our own perception of a city girl in “Greige Galleries”. Together, with these wired-flowers I make, I hope you take a step inside our combined notion of reality.

ritney Zamora

A river is a stream of water that flows from its source to the sea. That thanks to the rains, she can grow and give us freshwater in times of emergency. As much as it helps, it can also destroy in its path, but it's us who are in her home When you feel the cold water of the river on your body, you feel like a new person, and your hopes grow, and in some how you are connected to the nature.

From a very young age, I had love “agua dulce”, but I began to appreciate it more when I had to leave my island. I named the tapestry “Río,” where small and large waterfalls are with her, the hot sun dries you while you appreciate the water, the mountains are the protector of the freshwater, the clouds are what protect your eyes from the sun, and those memories about the river will always be in me

Coralys

Del Mar

Bosques Ortiz

Materials: Monhair, Jacobs wool, Cotton threads, Frame loom

" I n w e a v i n g t h e i n t r i c a t e f a b r i c

o f m y l a t e s t p i e c e , I i n t e r l a c e

n o t j u s t t h r e a d s b u t m y

p r o f o u n d c o n n e c t i o n w i t h N e w

Y o r k C i t y , a n c h o r e d b y m y f i r s t

m e m o r y o f s t a n d i n g i n a w e

b e n e a t h t h e c e l e s t i a l c e i l i n g o f

G r a n d C e n t r a l T e r m i n a l . L i v i n g

h e r e i s a c o n t i n u o u s j o u r n e y o f

g r o w t h a n d r e s i l i e n c e ; i t

c h a l l e n g e s y o u t o e m e r g e f r o m

y o u r c o c o o n a n d a s s e r t y o u r

s p a c e i n i t s v a s t t a p e s t r y

G r a n d C e n t r a l , a c r o s s r o a d s o f

s t o r i e s a n d d r e a m s ,

e n c a p s u l a t e s t h e c i t y ’ s s p i r i t

v a s t y e t i n v i t i n g , f o r m i d a b l e y e t

f a m i l i a r . A p l a c e t h a t

c h a l l e n g e s y o u t o e m e r g e f r o m

y o u r c o c o o n a n d a s s e r t y o u r

s p a c e i n i t s v a s t t a p e s t r y .

A l t h o u g h t h e c i t y m a y s e e m c o l d

a n d u n f o r g i v i n g a t f i r s t , i t i s

a l s o h o m e t o c o u n t l e s s w a r m

s o u l s w h o i l l u m i n a t e i t s s t r e e t s .

T h i s a r t w o r k i s m y h o m a g e t o

O N D I S P L A Y A T G R E I G E G A L L E R I E S

t h e c i t y t h a t d e m a n d s y o u b e

b r a v e , t o e n g a g e , a n d

u l t i m a t e l y , t o b e l o n g . "

NEW YORK

House of Home

Introducing "House of Home": where sustainability meets community Our mission is simple yet profound to reconnect people with the environment and skilled artisans through responsible and sustainable practices We weave and knit the essence of our home into our fabrics, fostering a community that reminds us of our shared roots and the importance of preserving the earth the home for all of us Welcome to a brand that not only cares about fashion but also about the planet and its people Welcome to House of Home!

I n S o u t h K o r e a , m y b i r t h p l a c e

a n d h o m e , w e h a v e a t r a d i t i o n a l

p a t c h w o r k c a l l e d “ J o g a k b o ” I t ’ s

c r e a t e d b y p i e c i n g d i f f e r e n t

s c r a p s o f f a b r i c t o g e t h e r , t o f o r m

c o l o r f u l a n d g e o m e t r i c d e s i g n s .

I t h o u g h t t h e i n t r i c a t e p a t t e r n s

a n d v i b r a n t c o l o r s o f J o g a k b o

c o u l d t r a n s l a t e w o n d e r f u l l y i n t o

t h e t e x t u r e a n d d e s i g n o f k n i t t e d

f a b r i c B e c a u s e k n i t t i n g i t s e l f

o f t e n s y m b o l i z e s h a r m o n y a n d

i n t e r c o n n e c t e d n e s s , a s i n d i v i d u a l

s t i t c h e s c o m e t o g e t h e r t o f o r m a

c o h e s i v e a n d u n i f i e d w h o l e

I n s p i r e d b y t h e s p i r i t o f J o g a k b o ,

I tried on a journey to translate this tradition into a new medium Traditionally, Jogakbo is hand sewn using woven fabrics, each piece carefully layered to create the patterns

However, I was drawn to the idea of pushing the boundaries of this traditional craft and exploring its possibilities in a different form

A

I

n

y j o u r n e y , a l l v i b r a n t c o l o r s a n d s t i t c h e s i n t h e f a b r i c r e m i n d s m e o f t h e v a l u e o f t e a m w o r k , a n d t h e i m p o r t a n c e e m b r a c i n g d i f f e r e n c e s , a n d h o w d i v e r s i t y e n r i c h e s o u r

c o m m u n i t y T h r o u g h m y c r e a t i o n , I h o p e p e o p l e w i l l f e e l t h e s p i r i t o f h a r m o n y i n

t h e i r l i v e s a n d i n s p i r a t i o n f o r c r e a t i v i t y

ABA-SHUI

I was raised in the vibrant city of New York, where life unfolded with complexity Through this urban backdrop, I discovered that true beauty does not demand vast spaces but rather a profound appreciation for every transient moment In cherishing each fleeting detail, a profound sense of beauty emerges My spirit billows a little easier in the tapestry of life every time I open my inner sanctum to let creativity flow beyond in a space of liberation Immersing in the stillness of the moment, we can listen to the language of textiles or of the soul Being part of a lineage that spans generations, I find inspiration in the hands that meticulously crafted before me and shaped these exquisite unspoken textile dialects embodying the essence of plants that grew in the sun and reached for the sky, blew in the breeze held up strong by strands now retted out, combed, beat, and rinsed Taken apart and then put back together In this intricate dance of deconstruction and reconstruction, I am captivated by the luminous fibers that glisten in the light, reflecting the toil and artistry embedded within As I gaze upon this creation, I am inspired by the prospect of cultivating a diverse and distinctive material world, where our endeavors serve as a mirror to our innermost selves, shaping a narrative of beauty and resilience

EMILY ANN HUBBARD

OUR THEME FOR THIS PROJECT IS “HOME” “WHAT HOME LOOKS LIKE TO US”: FOR ME HOME IS TEXAS

THROUGH THIS WE EACH EXPLORE WHAT UNDERLYING INFLUENCES WE HAD UNCONSCIOUSLY INGRAINED BASED ON OUR HOME LIVES, THE CULTURE IN WHICH WE GREW UP IN AND WHAT WE HAVE CHOSEN TO BRING WITH US TO THIS DAY FOR ME I THINK OF THINGS HANDMADE, WOVENS ANTIQUES, NATURAL LANDSCAPES TEXAS SUNSET WILDFLOWER SEASON SWIMMING HOLES, UTILITARIAN PURPOSE, COMFORT

MY HOPE WAS TO SUCCESSFULLY EMBODY AND COMMUNICATE THESE FEELINGS INTO TANGIBLE PIECES OF ART AND CONTINUE TO LEARN WHAT IT TAKES TO WORK HARD; AND THEN SUCCEED FROM THE FRUITS OF MY LABOR

I

I WANTED TO REALLY EMPHASIZE THE INFLUENCE NATURE HAS HAD ON ME; AS A CHILD & AN ADULT I REPURPOSE A WOODEN FRAME & A LOG FROM MY GARDEN BEDS TO USE AS A STRUCTURE TO HOLD MY WOVEN DESIGNS.

SUSPENDED FROM THE LOG IS A TAPESTRY OR WALL HANGING INFLUENCED BY TRADITIONAL WOVEN RUGS ; THE OTHER IS MY INTERPRETATION OF A TEXAS SUNSET IN WHICH THE SUN SETS UPON THE POND & THE GRASS / HAY BENEATH IS REPRESENTED BY ABACA

&

Left to Right: TX Sunset (12 x 10 in) Wetland (18 x 4 in) Handwoven ; found materials mohair jacobs wool & abaca

Mimicry

The wildlife in California is rich. A diverse land, the state offers everything from soaring mountains to gorgeous beaches. My knit swatches hope to recapture that variation found in nature.

No two things are completely h f i

Each swatch is hand knitted & carded. Carding helps recapture some of the texture of the mohair & jacob’s wool.

Ethan (Huy) Tran

Jacob’s Wool & Mohair

Braden Ward

Born and raised on Long Island NY, changing seasons has always been a part of life. Not having the Luxury of owning clothes for only one season, I've stockpiled many different types of knitwear in my life crafted from many different types of fibers. The textile development program opened my eyes to all different types of materials and fabric constructions and has led me on a path to express my enthusiasm for knitwear in the culmination of my time here at FIT

Throughout my journey as a TDM student, I found myself entranced by knits. Ever since our knit product development course I continuously find myself looking at and examining every piece of knitwear I come across, from my friends hoodies, to clothing racks at my local clothing store. coupled with my interest in natural fibers and material science, I couldn't think of a better opportunity to exercise what I've learned in creating this garment. The mohair yarns used to create this garment offer both aesthetic and function, offering tremendous luster and dyeability while also being lightweight, and insulative

N i c k S a n c h e z

A l t h o u g h I w a s b o r n i n t h e N e w Y o r k , m y f a m i l y ’ s

h e r i t a g e h a s s e r v e d a s a c o n s t a n t s o u r c e o f

a d m i r a t i o n a n d i n s p i r a t i o n D e e p i n t h e j u n g l e s o f

t h e A n d e s m o u n t a i n s l i e s t h e s m a l l f a r m i n g t o w n

o f J e r i c o . I c h o s e t w o s o u r c e s o f i n s p i r a t i o n f r o m

J e r i c o f o r m y c r e a t i o n s

1 - I t w a s t h e e x t r e m e c l i m a t e , w h i c h c a n c h a n g e

i n j u s t a f e w m i n u t e s f r o m w a r m a n d s u n n y t o

c o l d a n d r a i n y w h i c h l e d t h e t o w n p e o p l e t o

a d o p t t h e g a r m e n t w h i c h I ’ v e c h o s e n t o u s e a s

i n s p i r a t i o n f o r m y c r e a t i o n s . T h e R u a n a i s a

s i m p l e g a r m e n t c o n s i s t i n g o f a s i n g l e p i e c e o f

f a b r i c w i t h a h o l e i n t h e m i d d l e f o r t h e h e a d t o

g o t h r o u g h , s i m i l a r t o t h e A m e r i c a n d e f i n i t i o n o f

a p o n c h o T h i s g a r m e n t i s a b l e t o b e i m m e n s e l y

p r a c t i c a l , d e s p i t e i t s s i m p l i c i t y , t h a n k s t o t h e

m a g i c o f t h e w o o l f i b e r T h a n k s t o w o o l , t h e

R u a n a c a n s h e l t e r t h e p e o p l e o f J e r i c o f r o m c o l d ,

T h e k n i t t e d s w a t c h i s h a n d k n i t t e d

u s i n g u n d y e d h a n d s p u n y a r n s f r o m

J a c o b ’ s s h e e p f l e e c e f r o m C e C e ’ s

W o o l C e c e ’ s W o o l ’ s l o c a t i o n i n

u p s t a t e N e w Y o r k i n c o r p o r a t e s m y

h e m w a r m i n t h e r a i n , a n d k e e p a l a y e r o f

c o o l a i r u n d e r t h e m i n t h e h e a t

r i c o i s a v e r y i s o l a t e d c i t y b e c a u s e i t i s

r o u n d e d b y e x t r e m e s l o p e s c o v e r e d i n

i n f o r e s t T h i s i s o l a t i o n h a s m u l t i p l e

u s s i o n s o n t h e c h a r a c t e r o f t h e t o w n , o n e

c h b e i n g a s t r o n g i n d e p e n d e n t s p i r i t . T h e

o f t h e t o w n p r e f e r t o r e l y o n t h e m s e l v e s

c o n n e c t i o n w i t h o t h e r p a r t s o f t h e c o u n t r y

t e n u o u s t h a n k s t o c o n s i s t e n t l a n d s l i d e s

i l o u s r o a d s I t i s t h i s t e n u o u s c o n n e c t i o n

h e i n d e p e n d e n t s p i r i t o f t h e t o w n s p e o p l e

h a s l e a d t o l a r g e o f a m o u n t o f a r t i s a n a l

g o o d s b e i n g m a d e a n d s o l d l o c a l l y

a t i o n s a r e s w a t c h e s s h o w i n g e x a m p l e s o f

u a n a c o u l d b e m a d e b y u s i n g o b j e c t s o n l y

i s a n a l t o w n s p e o p l e o f J e r i c o w o u l d h a v e

a c c e s s t o

T h e w o v e n s w a t c h i s a l s o m a d e o f

u n d y e d , h a n d s p u n C e C e ’ s W o o l

y a r n I t i s w o v e n u s i n g a p l a i n

w e a v e o n a h a n d m a d e c a r d b o a r d

N e c o

l o o a s

h e d o a r d

Brand’s Story

Inspired by the resilient goats thriving in the arid landscape. Drawn to the nomadic lifestyle and the farmers' dedication, they founded Oasis – a brand fusing the rugged elegance of the desert with the luxurious softness of mohair. Oasis is not just a textile brand; it's a commitment to sustainability, a celebration of cultural heritage, and a tribute to the enduring beauty of Africa We weave the spirit of the desert into every thread, connecting people worldwide to a story of discovery, collaboration, and timeless elegance.

Dedicated to preserving Moroccan artistry and crafting luxurious, unique garments that embody the spirit of North Africa and various other cultures, we prioritize sustainability as a zero-waste brand Our commitment is to offer consumers high-quality clothing that not only enhances their style but also supports the flourishing of the Earth.

Brand’s Mission

Meet the Designers

Aviana Williamson

Karla Garcia Nyema Wiggins

Mehmet Yelbay

Mehmet Ali Koyuncu

Jonathan K-M Bowman

The Collection

“Embracing the essence of our brand, the "Desert Dream" collection is a must-have for your upcoming vacation or city escapade. Featuring a fusion of fabrics including Jacob Wool, Angora Mohair, Abaca, and more, this collection offers both comfort and cultural charm. Our vision was to blend the concept of home, heritage and comfort, presenting you with fresh and coveted pieces to enrich your wardrobe. Desert Dream invites you into our Oasis, where style meets tradition.”

Desert Dream

Fall 2024

Embracing and celebrating the rich cultural heritage of Morocco through traditional design elements, patterns, and motifs inspired by Moroccan architecture and art.

Created by: Nyema Wiggins

Aviana Williamson

Karla Garcia

YORK OR NOWHERE

Created by students, Aubrey Bethon and Samantha Galanti in collaboration with Frances van Hasselt, weaver Mariana Konthea, and artisans in the Karoo. The students were inspired by the concept of the fast-paced, hustle of the city streets interacting with the natural world. Frances and her team of artisans brought the student’s vision to life, weaving the beauty, love, feelings, ideas, hopes, and dreams of all those that walk these busy city streets.

SOUTH AFRICA

Weaver Mariana Konthea

When people hear of animal fiber clothing there are often two primary reactions: “That's bad! Animal-based clothing products are a form of animal cruelty!” or “That's great! Animal-based clothing products are sustainable!” The common misconception of animal-based clothing products being harmful to animals has well-meaning intentions, but if we were able to bring these righteous advocates into our Text ile Project Development class on February 15, 2024, they might leave with a new perspective on mohair and wool, and view it as appreciation, rather than abuse.

As we entered the lab on that day, the tables were filled with all varieties of naturally colored balls of yarn, which we immediately took to be the hair of sheep, accompanied by a woman with a distinct eagerness and excitement about her. Afte r a few minutes of touching and smelling the balls of yarn, the woman moved to the front of the classroom and shared a bit about herself and her work. Her name was Frances. Frances made sure to quickly educate us that the balls of yarn were not wool, but rather were mohair from the angora goat. Angora is a unique breed of goat that inhabits the arid landscape of the Karoo Desert in South Africa, east of Cape Town and near the Atlantic Ocean We learned that 80% of the world’s supply of mohair comes from South Africa, and the work of Frances and her peers is focused on cultivating the fiber and leading its journey toward fabric.

The journey of mohair begins with shearing of the angora goat, a timely process that could be viewed as an intimate experience with the animal, something any animal advoc ate would appreciate if seen Additionally, the shearing of the goat is beneficial to the goat’s health Without shearing, the hair of the goat could become matted, which could negatively affect its health in a variety of ways. I see this intimate interaction between humans and goats as an act of honor, where time spent shaving the animal is executed with care and gratitude by experts highly trained in their craft.

Following our discussion with Frances, I was offered the opportunity to work with Frances and her artisan team to create a handcrafted textile of mohair, depicting a story of my own inspiration. I was excited to begin, and in reflecting on ideas, bedtime stories of my childhood came to mind My father, born in West Africa, shared stories with my sister and I from his youth of animals held in high spiritual regard. I felt an immediate connection between my father’s stories and those of the angora goats, cherished and honored with the same level of respect. With this spark of inspiration, I began my search for a textile object which represented dreams, while also paying homage to the beauty of Karoo, the home of the beloved angora goats.

Enter the dreamcatcher; a simple object, and one with both personal value and ancestral significance. The dreamcatcher is a spiritual symbol in both Africa and the Americas, an object whose function is to filter bad dreams, leaving room for the good ones; providing space and opportunity to achieve our dreams on earth. This idea of realizing dreams spoke to me. While many view New York as a city of dreams, I’ve often found the city in conflict with my dreams. Although New York is filled with creative inspiration, the beauty of nature is largely absent, and instead is clouded with smog and smoke With this feeling in mind, incorporating a sense of nature became significant to the piece. Thus, in working with Frances and her team, the dreamcatcher manifested itself as a memento to dreams, and paying homage to the Karoo, an arid landscape where endless land leaves great room for dreams.

Katriena Kammies, an Artisan weaver and oldest in the group at 73, is a master of her craft and took the lead in creating my dreamcatcher Yarns were selected in an array of natural colors from the angora goats. Each goat has exceptionally colored hair, some beige, some black, some brown, some gray, and all unique. The 60cm by 150cm tapestry captures the nat ural palette of the Karoo by utilizing the inherent color of goat hair to illustrate a hilly landscape near the bottom of the tapestry. As the viewer's eye travels vertically up the tapestry, the landscape begins to morph into amorphous paths of natural colors that circle around a 20cm by 20cm circle in the center. The circle is the dreamcatcher, formed by weft yarns intricately looped back on themselves with each pass of the shuttle. The visible warp yarns create a dreamcatcher like structure, while maintaining a minimalist essence, which highlights the journey of fiber to fabric.

Designed by Tariq Karam

Woven by Katriena Kammies

A collaboration between Carlo Reporen Eliserio and their women artisans at Raquel Piña Cloth Products with Austin Che, Anna Le, and Shai Dubitzky-Mazor

Austin Che

It is a great honor to be chosen to weave with artisans in the Philippines; and to be allowed to brainstorm potential ideas while learning more about the design process of fiber utilization, pattern, and color.

Anna Le

In the process of drafting our ideas and design motif, we contemplate the theme and the identity of our brand. Our design was inspired by an image of a vessel which is a jar-like object. We played around with shapes and geometric placement without overthinking how our motif should visually represent something. We wanted it to be more abstract. After creating some shapes and playing around with the orientation, we incorporated the Renggue design in the fabric using a half-drop configuration to create dimension. The complete motif looks contemporary, yet with an exclusive rustic look of the Piña and Abaca fiber, creating a pattern that represents our brand identity with the storytelling aimed for this project.

Shai Dubitzky-Mazor

Collaborating with Carlos to develop a concept into a finalized and functional product was a practical and enriching learning experience, one I was honored to be a part of. Witnessing the intricate fabric weaving techniques in the Philippines, especially using such a unique and fine material as Piña, was truly inspiring, and I'm delighted to have contributed to it.

Ashley Choi & Melanie Cottone

PiñaWeaving: Philippines

This special fabric has arrived from the Philippines after 3 months of emails, viber messages, and video calls with Carlo R Eliserio, piña master weaver/textile artist, & are the first treasures of our collaboration together My heart bursts with love for what we do We are so grateful to their team, from the farmers to the ladies who hand-knotted and hand-dyed these fibers of nobility. You can still find many local artisans living close to nature much like their predecessors, with their beautiful bamboo looms and objects handcrafted for daily use. Encapsulated in my SUKSUK (geometric patterns) design is the Chinese infinity knot, a symbol nourished by the experience of longevity and the sense of a divine channel in every connection Thank you for the opportunity to create together - Ashley Choi

“Temple of Light”

Graph Layout

Designed by: Ashley Choi & Melanie Cottone

Piña Dyeing: Philippines

Piña fiber had first caught my interest a few years ago when I started reasearching alternatives to silk. The light flowing texture and delicate hand of the fabric was stimulating. I felt so excited to embark on this project with piña master & textile weaver Carlo R. Eliserio. Through our design

“Temple of Light” Ashley Choi and myself collaborated to come up with a geometric pattern that both inspired us from personal experiences and creativity. We chose rich colors from an assortment of natural dyes to compliment the idea of “light.” This idea not only comes from the lantern design but also from the nature of the piña fiber itself. - Melanie Cottone

Ashley Choi & Melanie Cottone

Top: Annatto natural dye

Bottom: Talisay natural dye

A collaboration with Carlo Reporen Eliserio and their women artisans at Raquel Cloth Piña Products with Ashley Choi and Melanie Cottone

Weaving Our Community

A COLLABORATIVE FARM-TO-FABRIC TAPESTRY

Through the students' written journal reflections, an artisan-woven creation by Jen Cavite, celebrates the connections, cultures, and backgrounds using all four fibers: Mohair, Abaca, Jacob Wool, and Piña to foster unity and showcase individual stories were woven in the Philippines in collaboration with Anna Lagon of the Bayo Foundation.

Photo courtesy of Bayo

THE FARM TO FABRIC COURSE

A Tapestry Woven with Love, Learning, and Connection

The Farm to Fabric course isn’t just about techniques; it’s an immersive journey that reveals the heart and soul woven into every thread. This unique Capstone program goes beyond the classroom, taking you on a path that transcends geographic boundaries and connects you to the people, traditions, and land that nourish the creation of natural fibers.

My vision began with a dream: to understand not just the methods of spinning, weaving, dyeing, and knitting, but the deeper stories woven into each step. This led me beyond textbooks and into the fields of Marinduque, Philippines, where I walked alongside farmers, feeling the soil and learning age-old techniques as they did. The shared stories and wisdom of these dedicated women filled me with respect for their labor and instilled in me a profound connection to the love woven into every strand of Abaca and Piña.

But the journey didn’t stop there. To truly appreciate the value of these precious fibers, I sought guidance from renowned Filipino experts like Anna India Legaspi, Patis Tesoro, House of Piña - Let and Ding Dela Cruz, and Raquel Piña Cloth Products - Raquel and Carlo Eliserio. They generously opened their doors and shared their knowledge, allowing me to witness firsthand the diverse techniques that bring these plant fibers to life.

The Island Harvest and Fashion Farmer community in the Philippines became essential to this learning process. I envisioned the course not just as a way to teach, but as a bridge to share knowledge and empower local communities. By allowing these skilled farmers to be taught by the masters, I ensured the traditions would be passed on and continue flourishing.

Inspiration struck again during a transformative experience: attending the “Desert Mindscape” event, walking the vast veld (open grassland) of the Karoo, South Africa. Here, amidst the rolling plains, I found a connection to the land and the journey of Mohair fibers. Frances van Hasselt’s invitation to walk and experience the land and her dedication to regenerative agriculture in Mohair production wasn’t just a gracious gesture, it was a spark that ignited our shared passion. This deep connection solidified my desire to collaborate with Frances to incorporate the beauty and sustainability of Mohair into this course.

The Farm to Fabric course took the journey of global textiles a step further by featuring a local Jacob Wool sheep farm from upstate New York alongside the Abaca/Piña and Mohair fibers. This addition deepens the course’s connection to establishing a community that showcases the beauty of diverse fibers worldwide.

Together, we’ve meticulously woven a program that delves into the essence of both plant and animal fibers. But we go beyond mere techniques. We invite the students to learn with respect, understanding not just the “how” but the “why” behind each step. They will explore the rich cultural significance intertwined with every fiber, and gain a deeper appreciation for the countless individuals involved in their journey – from the farmers who nurture the land and harvest the raw materials to the artisans who transform them with time-honored skills, to the communities that sustain these traditions.

This is more than a course; it’s an invitation to connect. Learn traditional methods of fiber separation and knotting, spinning, dyeing, weaving, and knitting while gaining a profound sense of responsibility for the materials one will handle. See beyond the fabric and understand the interconnected web of people, practices, and environments that bring each thread to life.

Collaborative Voices

Weaving together different voices is key to understanding the complexities of Farm to Fabric.

Photo courtesy of Frances van Hasselt

BRINGING FASHION BACK TO THE FARM

by Jonathan Vatner

When Lorenza Wong took on responsibility for the Textile Development and Marketing capstone course, she rewrote it from scratch.

Before this year, students had learned about luxury Italian fabrics, working with mills to spin Silk and Cotton fibers. “As much as I love Italian fabrics, I just feel like it had been done,” says Wong, adjunct assistant professor. Students told her they wanted to learn about sustainable textiles—and she realized they needed to start to understand farming. She wrote a brand new course that focused on craftsmanship, working with artisans, and forging a sustainable livelihood.

Wong herself owns a farm in the Philippines that produces Abaca, the raw material for a sturdy high-end plant fiber. In 2023, she traveled to South Africa’s Karoo, a semiarid region that produces 60% of the world’s Mohair, a luxury fiber harvested from Angora goats. She felt a deep connection to the process and product, and she wanted to bring that knowledge to her students.

To contrast the production of animal and plant fibers, she included Abaca as the second focus of the course. A third fiber in the capstone curriculum, Piña, is extracted from the Red Spanish pineapple, also grown in the Philippines. She included a fourth, Jacob Wool, grown in New York State, to give students a glimpse into local production.

Frances van Hasselt, whose family owns the Angora goat farm that Wong visited, and whose sustainable brand,

Frances van Hasselt, produces luxury Mohair rugs, apparel, and other textiles, came to New York for two weeks in February to help teach the Mohair section of the course.

“At a time of heightened technology, there’s been this pullback to handmade artisanal pieces that are connected to people and the earth,” van Hasselt says. “There’s a comfort and soul that these pieces have—it’s something that mechanized and mass-produced objects can never give us.”

In the course, TT476, eighth-semester students learn about the farms that produce these four fibers, and they explore the fibers in a hands-on, intensive way. They learn about spinning, dyeing and finishing, and weaving and knitting, and they conclude by making a sample textile of their own. Journal reflections throughout the semester allow them to discover their personal and professional mission.

“Until you feel the fibers and see behind the scenes, you don’t really get connected to them,” Wong says. “I want them to understand they can do this. It may not work for every model, but it can work, and they can take it to the next level.”

“We’re doing this course because we feel like there’s so much broken in the fashion and textile world, yet we keep educating in exactly the same way,” van Hasselt adds. “We need to fix that.”

Photo courtesy of Frances van Hasselt

In Conversation, is a tapestry from a conversation that started almost two years ago with Lorenza Wong; Fashion Farmer and textile educator.

When embarking on this Farm to Fabric journey, we thought to weave a physical piece demonstrating this practice.

In this work, we wove Abaca, from Wong’s family farm in the Philippines and raw, kid Mohair from our farm in the Karoo. ‘In Conversation’ unpicks the relationship between natural fibers, both animal and plant and why they are so symbiotic in nature and final fabrics. The animal digests the plant and in return, the plant is fertilized by the animal. The relationship between the two relies on natural elements and thoughtful human management. We wanted to deconstruct a label and make people think about what fabric composition means in reality.

The next time you see a Mohair-Abaca, Cashmere-Linen, Wool-Cotton, or Alpaca-Hemp tag take note that these threads stem from an environment that nurtures animals and plant life, preserves the soil and supports a large community of actors that hold these fabrics together.

From South African Mohair to Abaca & Piña from the Philippines, bringing these forgotten, ancient, sustainable, animal and plant fibers from the farm into the classroom was a privilege. Thank you to Professor Lorenza Wong for putting together such an important course focusing

...an important course focusing on community, connection, sustainability and truly understanding who and what gives a supply chain value.

Frances

van Hasselt Designer and Entrepreneur Frances van Hasselt

on community, connection, sustainability and truly understanding who and what gives a supply chain ‘value’. We hope that the textile designers of tomorrow see their role as finding creative solutions for an industry needing mending and bettering and not simply creating more fabrics with no understanding of their composition & process. Responsible material production starts in the field; starting with rain and the importance of healthy soil, happy animals, nurturing seedlings, and the relationship between the custodians of the land and natural elements.

In this course, bringing the farm to the city with the hope that designers, owners, sustainability teams, and makers start prioritizing visiting the farms and communities they source from. Only then will you feel the energy of the land, know the people, the climate, the character of animals, the texture and hues of plant life, the quality of water, listen to the stories, and share food. There is a slow urgency to start making pieces informed by our raw materials, their qualities determined naturally instead of asking nature to adjust to fit the needs

of fashion. Success at the land level drives the success of the rest of the supply chain, not the other way around.

Thank you to FIT for recognizing the need for this course. To all the wonderful students, we cannot wait to see how you merge these fibers into shapes and forms that resonate with you. Thank you to all the artisans and various teams in the Philippines and South Africa for sponsoring the most phenomenal materials. I am extremely proud and grateful to the South African Mohair Industry for prioritizing textile education and ensuring Mohair is taught to a new generation of makers.

Frances van Hasselt

Katriena Kammies, weaver of “In Connection”

As we redesign the intricate tapestry of sustainable development within the textile industry, I was honored to share with the class a few of the profound insights we’ve gleaned from our Farm to Fabric journey so far. Island Harvest Farm, which my husband Lenlie and I started in 2016, has one mission- to elevate communities on our island of Marinduque, Philippines through our Three for the Win Model – an amalgamation of agriculture, appropriate technology, and community tourism. It’s a copy-paste model, designed to be simple and doable for farmer families in the community to duplicate. A model that required Island Harvest farm to be the proof of concept. The journey so far has been a transformative experience, one that underscores the interconnectedness between diverse stakeholders.

Sharing our story in the Farm to Fabric course was therefore not just an opportunity but a responsibility. The origin story of Abaca fiber and its endless possibilities in the hands of creatives was crucial for farmers like us. I firmly believe that true transformation stems from a deeper connection and connectedness – a symbiotic relationship between the source of fiber and the creative minds and hands that give these lasting form, shape and function.

During my short talk, I highlighted the farmer families that have dared to dream and do their way out of poverty by cultivating cacao, Abaca and companion crops and processing these in our community-based nano processing site. In so doing, we are taking them beyond the farmgate where they traditionally sell produce to traders all the way to the marketplace where they realize higher gains. I also

Going slow and fast, pushing and pulling are essentials in realizing our collective vision of a sustainable and interconnected future.

Donna Lecaroz Co-Founder Farmer Island Harvest

touched on our regenerative farming practices which, at its core, prioritizes soil health and biodiversity. This approach ensures sustainability not just environmentally but also vocationally as it provides appropriate livelihood and entrepreneurial opportunities in tandem for every farmer family member involved. The value of traceability, where a consumer has the ability to determine fiber source and extraction processes was also shared.

Furthermore, the spotlight on Abaca as a plant exemplifies sustainability at its core. It’s a heritage textile fiber in our country for centuries and is now experiencing a rebirth. Its climate change resilience and minimal water requirements highlight its potential as a modern sustainable textile resource. The impact of such practices on our community cannot be overstated, fostering economic resilience and environmental stewardship.

Interacting with the students yielded invaluable insights. Witnessing their enthusiasm and receptiveness reaffirmed my belief in the transformative power of education. Their response instills hope in us farmers, fueling our commitment to driving positive change within our communities.

While we prioritize slowing down to ensure effective technology transfer, the urgency of accelerating adoption and modernization at the farm level is a push that needs to be matched by the pull of the fashion world for greater social impact. Going slow and fast, pushing and pulling are essentials in realizing our collective vision of a sustainable and interconnected future.

Michelle Gabriel Educator GCNYC

Fashion education is hugely important for driving change across the fashion system.

The orientation of the Farm to Fabric course and the topics covered over the term illustrate what fashion education can and should be. Education is one of the most important tools we have for driving change across our world and logic follows that fashion education is hugely important for driving change across the fashion system. Participating in and supporting this unique course because of its earnest approach to bringing sustainability, social impact, and systems change to fashion students was important to me. Fashion higher education unfortunately does not yet embed sustainability and it remains the responsibility of individual instructors to push that envelope and iterate on what fashion sustainability education can be. In this reality, educators must mutually support, cross-pollinate approaches, and collaborate on new forms of education which this Farm to Fabric embodies.

I’m not sure how uniquely significant the topic of seasonality was in and of itself; however, I believe the approach was notable. Seasonality, on its face, is wholly oriented to the destructive status quo of the fashion industry. But seasonality is also a useful vehicle to discuss the issues of the status quo and the need for sustainability and social impact as frameworks for driving change. Seasonality is a reality all fashion participants must contend with and a signifier of things that must change about the fashion industry if a sustainable fashion industry is ever possible. Seasonality allows the conversation to go deeper - to the definition of fashion itself which requires change of styles over time at ever-increasing speeds.

This course illustrated that fashion students of all types and disciplines are deeply interested and hungry for sustainability programming so they might gain valuable skills and insights for approaching the known issues of the sector. The absence of this programming is almost a form of gaslighting, asking students to disregard what their senses witness and their gut feels to orient to a system that tells them endless growth, relentless overproduction, and destruction of the planet and people are worth the cost of entry to participate in the exclusive realm of fashion.

But students see through the illusion; we see this in their magnetic engagement when sustainability does make it into the curriculum, often nested in other subjects. I was deeply impressed by the knowledge, inquisitiveness, and insightfulness of the students in the Farm to Fabric course on all manner of sustainability topics, including the deeper, more theoretical concepts.

The topic I presented, "Demystifying Standards, Policies, Traceability and Transparency in the Textile and Fashion Supply Chain," is crucial in an era where the fashion supply chain is increasingly complex and fragmented. As this landscape evolves rapidly, those entering the fashion or textile industry need to be well-versed in these changes. Sustainability cannot be seen merely as an add-on for those with personal interests but as an integral part of the creative passion that drives future designers. Understanding the entire journey from farm to fashion helps in making informed choices that align with one's values whilst de-risking business operations and reputation. From the smallest enterprises to the largest corporations, everyone within a company must understand the intricacies of its supply chains. The expectation is now for all team members to develop a deep understanding of this shifting landscape. This knowledge is not just theoretical but is a practical necessity as standards, policies, and traceability are aspects every designer will inevitably face in their careers and are expected to consider during the design phase of any new collection.

The importance of integrating these topics into educational frameworks cannot be overstated. In the past 5-8 years, the relevance of sustainability and ethical practices within the design space has grown exponentially. New designers are expected to step into their roles, whether in entrepreneurial ventures or established brands, with a clear understanding of the climate urgency and the significant role the fashion and textile industries are expected to play in addressing these issues through changing traditional practices.

Sustainability cannot be seen merely as an add-on for those with personal interests but as an integral part of the creative passion that drives future designers.

Lindsay Humphreys Managing Director Rethink Lab

Interacting with the students at the Fashion Institute of Technology was a profoundly enriching experience. The students displayed a high level of engagement and curiosity, which was evident from the insightful questions they posed. It was encouraging to see that some students already had a foundational understanding of the topics discussed, while others were being introduced to these concepts for the first time. This diversity in knowledge levels created a dynamic environment that fostered learning and discussion.

Preparing students for the realistic demands of the fashion industry involves not only equipping them with design skills but also instilling a deep understanding of the broader environmental and ethical implications of their work.

Contributing to the Farm to Fabric course was an opportunity to impact the next generation of fashion industry professionals, ensuring they are ready to take on the challenges of a rapidly changing global landscape. The positive reception and the keen interest of the students affirmed the significance of these topics and the need for continued emphasis in educational settings. Engaging with these bright minds has been an inspiring reminder of the potential that thoughtful education holds in shaping a more sustainable and accountable fashion industry.

Natural dyes have been used to color textiles for millenia, and there are rich and varied histories of these practices from all over the world.

Whitney Crutchfield Professor Fashion Institute of Technology

It was an honor to have a small role in the Farm to Fabric Capstone course. The focus of this course gives our Textile Development and Marketing students a much broader understanding of the fibers that are available to them as future textile experts in the field, and it encourages a low-impact holistic approach to creating thoughtful textiles. How we utilize color in textile products is a pivotal part of this approach, and I was happy to introduce the students to some natural dyeing processes using dyestuffs grown in FIT’s rooftop Natural Dye Garden.

Natural dyes have been used to color textiles for millenia, and there are rich and varied histories of these practices from all over the world. Both the beauty and challenge of natural dyes are in their variables - geography, soil type, climate, water use, species variation, sunlight exposure, harvesting practices, dyeing methods, mordants and modifiers. Each of these can impact how a natural dye materializes on a fiber substrate.

WHITNEY CRUTCHFIELD

During our natural dyeing session, we used products of our own tiny “farm” to practice immersion dyeing on multiple fibers and forms. Abaca fiber, Mohair roving, Mohair/Silk yarn, and Wool yarn were all tested with Hopi Sunflower seeds, French and African Marigolds, Black Knight Scabiosas, and Tango Cosmos. Students learned how the weight of fiber relates to the weight of dyestuff and prepared the dye vats and mordant solutions. They observed how different fiber types can impact the appearance of natural colors. They gained a better understanding of the time and documentation required for successful and repeatable results. In experimenting with just this tiny sliver of natural dyeing possibilities, students' minds were opened to the potential of natural coloration on textiles in commercial production and the challenges they may encounter. This hands-on experience with slow, lower-impact color offers a new perspective of textile production within the Farm to Fabric framework.

Sharing my research and contributing to the course enabled me to highlight the sustainable potential of Abaca fibers in the textile industry through nonwoven technologies.

The textile and fashion industries are striving to find sustainable fiber alternatives, often focusing on developing new materials. However, many eco-friendly natural fibers have been overlooked. Abaca is one example; this traditional fiber has been used in the Philippines for centuries and is known for its strength, durability, and environmentally friendly production process. Participating in the Farm to Fabric course was an enriching experience for me, as it allowed me to work with Abaca fibers for the first time. I was amazed by its versatility in creating a variety of nonwoven products, from soft, sheer fabrics to thick, rigid materials. Sharing my research and contributing to the course enabled me to highlight the sustainable potential of Abaca fibers in the textile industry through nonwoven technologies. By demonstrating the process of converting Abaca fibers into various nonwoven fabrics, I aimed to inspire students to use their knowledge to bring this forgotten fiber, a great gift from nature, back into focus. The interaction with the students was one of the most rewarding aspects of the presentation. Their curiosity and thoughtful questions, showcasing their passion for sustainable textiles, provided me with fresh perspectives and insights into the potential applications of Abaca nonwoven fabrics. Taking this course helps the students to see the people and process behind the natural fiber production and fabric manufacturing, which is essential for creating truly sustainable products. I am proud of our TDM students and confident they will contribute to a greener textile industry by applying the knowledge they have gained.

Preeti Arya, PhD Professor Fashion Institute of Technology

Huipo Gao, PhD Professor Fashion Institute of Technology

A great learning experience for me that I will always cherish.

When Professor Wong brought Abaca fibers to me, I jumped with astonishment and joy. She expressed her interest in my participation in her capstone class. It was an honor for me to be a small part of a massive project she had undertaken. It was a new experience to chemically process the fibers as they were loaded with lignin. I had to use a rolling pin to get rid of the mild woody material. I then tried different recipes to soften and eventually bleach the fibers. Abaca fibers were very different from flax and hemp and needed further chemical processing. Fortunately, I was

successful in partly cottonize the fibers, some of which were used to create nonwovens.

The cottonized Abaca fibers were blended with wool and hand-spun into yarns. To see so many people work together as a team for the senior graduating students, made my heart fill with gratitude towards Professor Wong’s efforts. I enjoyed presenting the topic and the process in front of the students and answering their questions. The presentation and information were well received by all. A great learning experience for me that I will always cherish.

ANNA LAGON

Anna Lagon Co-CEO, Chief Creative Officer Bayo

The Atelier becomes the playground for crafters, makers, designers, and consumers with the right mindset to be responsible for the way designs are created.

When I received the invitation to be one of the speakers, I saw an opportunity to engage students who will be future leaders in the fashion industry. I always look for opportunities to reach out to the young generation so that my advocacies in sustainable fashion would have a an place to flourish. The significance of how my generation can correct the mistakes of the past will dictate what the future holds based on what we do today. The youth are the best partners in this initiative.

The Farm to Fabric capstone course provided another important platform for a meaningful experience - one that aligns my values and the ethos of our slow fashion brand - the Bayo Atelier. The process was not only creative but also challenging. It was essential to ensure that the valuable fibers and yarns I received - the Mohair, Jacob Wool, Abaca, and Pineapple Cotton, collectively became the mediums to interpret the diverse insights, cultures, and personal stories shared by the students.

I discussed the business model of the Bayo Atelier being the bridge that connects the works of the artisan communities to the customers. The Atelier becomes the playground for crafters, makers, designers, and consumers with the right mindset to be responsible for the way designs are created. It all starts with the right materials. Regenerative or natural, significantly from the soil by the farmers, and transformed into fibers then into yarns. Bayo practices the Farm to Fiber using a similar concept we call, “Soil to Garment”, ensuring that each stakeholder is well taken care of. It is a significant topic to share because it will give the idea of how to apply the concept, as it has already been a practice of the Bayo Atelier.

The overall interaction began with the journals provided a good foundation to build on an inspiring narrative that guided the creation of a tangible product. A form of art that can be used in communicating the Farm to Fiber concept. The appreciation from the students was authentically felt during the discussion. I hope the experience resonated well so that they will continue to amplify the values of having a sustainable model in their future careers.

Another notable insight was how we were able to weave together the interconnection of cultures and the importance of preserving and appreciating them. Sustainable farming and the tradition of handweaving have been a practice for generations before us. They influenced who we are and help improve who we can become by simply embracing our uniqueness which inspire us.

Fostering global collaborations can start somewhere and I am confident that it is a wonderful beginning that will lead to something bigger. The project of incorporating journals from students about their cultures and personal insights on sustainability into our textiles is a clear illustration of the interconnectedness of our world. It is essential to show that while we may come from different backgrounds, our actions and values can unite us in significant ways, particularly in the pursuit of sustainability. This can cultivate a sense of global community among the students, encouraging them to think beyond borders in their sustainable fashion narratives.

Thanks so much again for the opportunity.

TO OUR SPECIAL GUEST SPEAKERS

We are grateful for your time and willingness to share your expertise and passion with the Farm to Fabric course. Your knowledge and insights were invaluable to the students and your contribution were essential to the success of the class.

Thank you for making this learning experience possible.

Frances van Hasselt

Gay van Hasselt

Jordi van Hasselt

Donna Lecaroz

Carlo Eliserio

Prasan Kumar

Christina Lee

TEXTILE LABORATORY TECHNICIANS

Nwabisa Myema

Cecilia Tkaczyk

Leandi Mulder

Sass Brown, PhD

Whitney Crutchfield

Michelle Gabriel

Patis Tesoro

Gonzalo Pertile

Peter Gorse

Preeti Arya, PhD

Huipo Gao, PhD

Lindsay Humphreys

Anna Lagon

Beto Bina

Thank you to the expertise of the lab technicians who were instrumental in helping the students work with the knitting machines and weaving looms which was vital in the students' amazing creations. Your dedication and time is greatly appreciated.

Kathryn Malik JoAnn Longo Cesar Saavedra Rafael Arriaga

Marian Grealish-Forino

SPONSORS

We are sincerely grateful to our sponsors for their generous support in providing the incredible materials used in this course. Many of these materials, like the raw kid Mohair from van Hasselt Farm and the meticulously prepared fibers from Frances VH Studio, were specially prepared for students to explore the world of forgotten fibers.

Without these resources, the amazing creations produced by the students wouldn't have been possible. Thank you for allowing us to learn about these unique materials and, hopefully, give them a renewed voice.

A special thank you goes to Frances van Hasselt, who not only shared my vision for this course but has also been my greatest supporter and collaborator throughout. Her expertise and passion were instrumental in making this class such a success.

I am deeply grateful for her unwavering support and for going above and beyond to make this learning experience possible.

Here's a special thank you to each of our sponsors for their contributions:

Van Hasselt Farm for the highest quality raw kid and adult Mohair fibers.

Frances VH Studio for the Mohair fibers, the hand-spun yarns, and deadstock blended fabrics from SOFA.

Samil Mohair for the various Mohair tops and blend yarns in many colors.

South Africa Mohair Board for the various Mohair blend yarns.

Cece Wool for the Jacob Wool fibers and use of textile equipment.

Fashion Farmer and Island Harvest for the raw Abaca fibers.

Patis Tesoro for lending us vintage Piña and Abaca textiles.

Hinterveld Mohair for supplying the Mohair boucle fabrics specially woven for the class.

Hiraya Foundation for dyed Abaca fibers and T’nalak textiles.

TEXTILE DEVELOPMENT AND MARKETING

Faculty

Fred Benanti

Preeti Arya, PhD

Whitney Crutchfield

Jaclyn Lindsey-Noble

Margaret Bishop

Huipo Gao, PhD

Patrice George

Sean Cormier

Imran Islam, PhD

ADMINISTRATIVE ASSISTANTS

Julie Panchu

Stefanie Seitinger

Melanie Santoriello

Shashi Sirsi

Patricia Brown

Ajoy Sarkar, PhD

Lorenza Wong

Michelle Grant

Ellen Saville

Joel Zucker

TEXTILE DEVELOPMENT AND MARKETING

Class of 2024

Shai Dubitzky-Mazor

Selin Ersayin

Ece Bayram

Anthony Etri-Maughan

Aubrey Bethon

Brooke Funnell

Coralys Bosques Ortiz

Samantha Galanti

Jonathan Bowman Austin Che Ashley Choi Peyton Clark Melanie Cottone

Grace Alber Alyssa Arbogast

Mehmet Ali Koyuncu

Burak Yilmaz

Anna Le

Britney Zamora

Sally Li

Aviana Williamson

Gabriella Naples Nicholas Sanchez

Karla Garcia

Ethan Tran

Alexis Hardcastle

Braden Ward

Emily Hubbard

Colette Ward

Tariq Karam Nyema Wiggins

Lily Kim

Mehmet Yelbay

visit from Preeti discussing Abaca research.

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Frances and Lorenza alongside display of garments of each fiber.

8

Natural dyeing day with Whitney.

9

Gorgeous Mohair fibers and yarns.

I aspire to champion policies that enable the protection of our earth’s limited resources and protect the hands that work to grow and harvest our most vital needs.

SAMANTHA GALANTI

I’m very proud of my progress - everything is coming out well.

ALEXIS HARDCASTLE

I now understand why community is so important and emphasized during class. Artisanal craftsmanship is labor intensive and four hands are always better than two.

SALLY LI

Fiber traceability enables me to connect with the stories behind the fibers - the people, communities, and landscapes that nurture them.

JONATHAN BOWMAN

I found solace in learning new skills.

ECE BAYRAM

The creative process of the final project inspires and excites me in many ways. Looking inward, what my community is about as an individual and as a part of the world is exactly the midpoint between feeling small in front of the world and feeling its center.

SHAI DUBITZKY-MAZOR

There is a lot to do for this project which overwhelms me. But once I start I know it will be finished on time.

I close my eyes and keep this newfound consciousness with me, realizing that for the welfare of the planet and future generations, our relationship with nature is not just a pleasure but also a shared duty.

NYEMA WIGGINS

No matter how small we are, we all serve a purpose and maintain harmony with everything else.

I’m not sure what kind of role I’ll have within textiles when I graduate, but I do know that I want to help create a fashion industry that sustains people and the planet. This capstone has tested that desire, but my feelings toward sustainability have only grown stronger because of it.

AUBREY BETHON

It’s

strange to think that I’m holding what was on an animal’s back. I feel a connection with another living creature.

AUSTIN CHE

I took notes of a lot of information in this presentation to use later in life.

MEHMET ALI KOYUNCU

Farm-to-fabric is a learning challenge for me, yet seeing the beauty of the imperfection in the product development process helps me value the products I can hold in my hand and the people behind each harvest of the fibers.

ANNA LE

Every day, I think about our fibers: Abaca, Jacob Wool, Mohair, and Piña, and not only how to create effective storytelling efforts - but to truly celebrate the handiwork and intention of what we are producing.

COLETTE WARD

AVIANA WILLIAMSON

It was a course where I received many positive information about different fibers and heard from people who knew every detail of their business.

MEHMET YELBAY

The discussion by the speaker was notably enriching and provided valuable insights into the global dynamics of the traditional textile industry.

BURAK YILMAZ

Live our lives with care and awareness of things that can harm the earth.

KARLA GARCIA

We prefer to spend our time off our phones and knit!

GRACE ALBER

I’m so excited to see how our pieces turn out for this project.

ALYSSA ARBOGAST

Our capstone collection is more than fiber content, design, and product development. It is to tell a story of the beauty of textiles.

CORALYS BOSQUES ORTIZ

When I imagine the pride of wearing a garment so resplendent displayed across my body, I think of the hands of the makers, who create things with intention and story.

ASHLEY CHOI

I am inspired by the different materials we have been instructed to use.

PEYTON CLARK

We have to celebrate life.

MELANIE COTTONE

It’s fun to be back in the knitting lab—it brings me peace.

ANTHONY ETRI-MAUGHAN

I hope to successfully embody and communicate these feelings into a tangible work of art while continuously learning what it takes to work hard, and then succeed from the fruits of my labor.

EMILY HUBBARD

It is important to make items whose ultimate use, in this case, is in a textile form, to develop a holistic creative process and find meaning in simplicity.

TARIQ KARAM

Before I started, I was confused and overwhelmed, but once I sat down, organized my thoughts, and started creating something, everything quickly fell into place.

LILY KIM

We are still exploring materials and trying new development methods, making the most out of the creative process this project offers.

BROOKE FUNNELL

It hit me how we are the future of the industry.

GABRIELLA NAPLES

Despite the challenges of traveling to the farm, the story and the fiber impressively transported me. This is the feeling we should strive to create for the consumer.

NICHOLAS SANCHEZ

I often question how much of myself is due to my environment.

ETHAN TRAN

Journaling for this class has inspired me to journal more in my personal life.

BRADEN WARD

I hope I can display the joy I’ve had in working together through this project.

BRITNEY ZAMORA

Photo courtesy of Frances van Hasselt