T H E R E SP O N S IBL E & S U S TA I NA BL E
Nº 04
PUBLISHED AFTER BREAKFAST • SEPTEMBER 2021
T EXTIL E
SOURCI N G
M AG A ZINE
Daniel Harris THE WOOL ISSUE Meet the change maker behind London's micromill
NEW BEGINNINGS .RAWASSEMBLY.
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THE MONDAY MORNING MEETING Ed ito r ’s me ssa g e
One per cent. That is roughly the share wool textiles hold in the global market today. Yet wool is the most regenerative and sustainable Qbre known to us. So why does wool make up such a small percentage of the textile market, and how could we increase this globally?.
Onaninternationalscale,woolproductionisasmalltrade.SincetheinceptionofartiQcialQbresinthe180s,thecontribu woolhassteadilydecreasedandfallenbyabouthalfoverthepastyears, 20 aswoolproductionhasdeclinedandtheproduct ofartiQcialQbreshasnearlydoubled(WTO,2019)
nthiseditionofourmagazine,wefocusonwoolasourQbreofchoice,lookingatgrowers,spinningmills,manufacturersand anewgenerationofmicro-millsallhero-ingwoolforitsresponsible,sustainableandincrediblenatural Qbrepropert ditiontotheseinnovativeandsustainablesolutions,weexplorevariouschallengingquestionsthatunderpinth as a sustainable solution.
Thecriticalquestionthisyearhasbeen,howdowebringmanufacturingbackonshore?FromtheQrstAustralianGovernm TextileWasteRoundTableinMay;tovariousindustryworkshops,designers,brands,manufacturers,andindustry professi als,theycontinuetoaskhowwecanmakethishappen?Weknowwecan'tsimplyRickaswitchandbringthisbackovernight, and we may never be able to get it back at a commercial scale. So rather than ask how we can, should we ask; what do we alreadyhavethatcanberestoredandre-engaged,allowingustocreateauniquenetworkofmicro-millsservicingthene the country and beyond.
fwethinkaboutit,Microhasbecomesomethingofabuzzword:wehavehadmicrobreweries,microcars,microRatsandeven microfurniture,whichhavebeenhugelysuccessfulandallowedmorecreativity,creationofbespokeproductsandbreat newlifeintoindustriesthatglobalgiantshavetraditionallyrun.SoinresponsetoAustralia'sdesiretobringmanu onshore, is the answer in what we have already? How can existing and newly established businesses come together to create a networkofmicro-millsthatservicedierentpartsofthesupplychainallowingcollaborationovercompetition?
TwoofthemainissuesinAustraliaarethelackofinfrastructuretospinQbresintoyarnsandourability toattract ers. Whilst our international borders remain closed, and the younger generation shows little interest in garment production, manufacturershavetocompeteforstaincluding , skilledmachinists.Sohowdoweinspirethenextgeneration tothink entlyabouttextileandclothingproduction,andwhatdowewanttobeknownforintheglobalmarket?
DowewantAustraliatobeknownformassgarmentproduction?orforcreatingon-demand,high-qualityandbespokeproducts thatsingresponsibleproductionandconsumption?Wehavetheopportunitytodesignwhatthefuturewilllookliket howthetextileandfashionindustriescanbepartofatrulycircularandresponsiblefuture. To start this change, we look at who's doing what in our region and overseas and how traditional machinery plays a crucial role inreignitinganeweraoftextileproduction.
WetakeinspirationfromourfeaturestoryonayoungcraftsmanDanielHarriswhohasopenedtheQrstnew-textilemillin donformorethanyears. 10 Danielishelpingchangethenarrativearoundtextilemanufacturingbybringinganext-generatio approachtoaverytraditionallyrunindustry.Combiningpassionandexpertise,Danielisproducingfabricsforcriticalp thefashionandQlmindustriesandembracingtheuseofwoolwhereeverhepossiblycan. Woolproductionisourpast,ourpresentandourfuture. As always, hope you are inspired, informed and enabled by what you read. Thea Speechley
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Cover Story
Issue 04 | New Beginnings OntheCover-DanielHarris,founder|LondonClothCompany
ThiseditiontakesinspirationfromourfeaturestoryonayoungcraftsmanDanielHar has opened the Qrst new textile mill in London for more than 10 years. Daniel is helping changethenarrativearoundtextilemanufacturingbybringinganext-generationappr averytraditionallyrunindustry.Combiningpassionandexpertise,Danielisproducin for critical players in the fashion and Qlm industries and embracing the use of wool ever he possibly can. Photographed by Kasia Fiszer
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Annual Subscriber Exclusive offers From September 14, RawAssembly Magazine subscribers will get access to our exclusive rewards program. Our current and new annual subscribers will get the chance to win a beautiful,responsiblygrownandproducedproductwitheachedition.
For issue 04 we have teamed up with Ethical Outback Wool & Coonong Station whoproducesomeofAustralia'smostethical,responsibleandregenerativemerinowoolQbresandQnishedproducts CertiQedRWSandthe1stCertiQedHumanewoolproduceroutsideoftheUSAandQrstinAustraliatobe HumaneRaisedandHandledCertiQedbytheHFAC EthicalOutbackWooltransformstheirmerinointoluxuriousproducts thatareAustralianMade,10%natural,freefromnastydyes,acidsandchemicalsand aresimplybeautifultowear!
Follow us on Instagram @Raw.Assembly & @ethicaloutbackwool toQndouthowyouoroneofyourfriendscouldwinabeautifulEthicalOutbackWrap featuredbelow
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T HE R ESPO NSI B L E & SU STA I NA B L E TEXTILE
SO U RC I N G
M AG A Z INE
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DANIEL H ARRIS F o un der , Lond o n Cl o t h Co m p a n y
Daniel shares details about how The London Cloth Company found its feet within the UK textile industry, and where things could be heading for them next. Written by Beth Ranson in collaboration with RA Photography:KasiaFiszer-https:/www.kasiaQszer.com/ Based at Trinity Buoy Wharf, Daniel Harris' London Cloth Company is a one-of-a-kind micro-mill. With a range of machinery restored by Danielhimselfdatingbackasfarasthe1870s,thisisamillthatvalues thepreservationofcraftandskillandthecreativity - offabricdevelop ment. twasin201thatDanielboughthisQrstrusty,brokenloomand - be gan the restoration process. With a background in pattern cutting, he embarked on this journey with an appreciation of woven fabrics but no technical understanding of woven structures- nor any experience inweaving.mmersedinhisQrstmachinerestoration,Daniel - sudden ly realised just how much the process would entail and how much additional equipment was needed- not quite so easy! Daniel bought twofurtherlooms,twopernwindersandawarpingmill,the - Qrstpur chases in London Cloth Company's machine collection. Self-taught and driven by the intrigue of problem-solving with these looms,Danielnowworksonavarietyofprojects,fromQlmandtvto museum heritage projects and educational programmes. Woven textilesconsultancyisanevolvingareaofthebusinesstoo. Preserving the history of woven textiles whilst evolving with new technology is a tricky balancing act. Whilst the speed and ezciency ofmodern-dayweavingmachinesisundeniableforDaniel,thevalue still held within these centuries-old machines is something he feels cannot be underestimated. When describing his abilities to solve the mechanical issues with older, run-down machines, Daniel explained, "I don't know why but looms just make total sense to me". With foot-peddled Hattersleys and double-width industrial power looms amongst their collection, LondonClothCompany'svarietyofmachinesgivethemtheabilityto weaveawholerangeoffabrics. Aspiring to one day create a weaving' theme park' of his own, Daniel shares details about how The London Cloth Company found its feet within the UK textile industry and where things could be heading for them next.
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PI ONEERING A NEW ERA OF BRITISH WEAVING Photography: Kasia Fiszer | London Cloth Company
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Past, Present & Future
Photography: Kasia Fiszer | London Cloth Company
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RX mages:CourtesyofNZM:GrantBarbara,GlenbourneZQ
mages:CourtesyofNZM:ZQ
RX mages:CourtesyofNZM:GrantBarbara,GlenbourneZQ
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Merino Fleece
Regenerative agriculture has the potential to be part of a solution to the world's most pressing environmental and societal challenges, focusing on improving soil health, creating more resilient farming systems and increasing biodiversity to work with, not against, nature. For NZM, regenerative agricultureismuchmorethanaset-offarm ing practices; it is a change in mindset that questions the status quo and strives for continual improvement.
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Regenerative agriculture has the potential to
be part of a solution to the world's most pressing environmental and societal challenges, focusing on improving soil health, creating more resilient farming systems and increasing biodiversity to work with, not against, nature.
mages:CourtesyofNZM
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Goal 15 Targets We are all part of the global ecosystem. Goal 15 is about making sure that w e s t o p a l l t h i n g s t h a t t h r e a t e n o u r g l o b a l h o m e . T h i-s i n c l u d e s d e f o r e s t a t i o n , l a n d d e g r a d a t i o n , a n d l o s s o f a n i m a l a n d p l a n t s- p e c i e s . N a t u r e c o n tr ibutes so muc h to p e o p l e ' s l i ve s w hi c h i s w h y i t i s s o i m p o r t a n t t o p r otect it.
15 .3 END D E S ERTI FI C A TI O N A ND R ES TO R E DE G RAD E D L AN D By 2030, combat desertification, restore degraded land and soil, including land affected by desertification, drought and floods, and strive to achieve a land degr adati o n- ne utral w o rl d . 15 .4 ENSURE CO NS ER V A TI O N O F M O UNTA I N E C OS YS T E M S By 2030, ensure the conservation of mountain ecosystems, including their biodiversity, in order to enhance their capacity to provide benefits that are essential for sustainable development. 15 .5 PROTE CT B I O D I V ER S I TY A ND NA TUR A L HABIT AT S T a k e u r g e n t a n d s i gnificant action to reduce the degradation of natural habitats, halt the loss o f b i o d i v e r s i t y a n d , b y 2 0 2 0 , p r o t e c t a n d p r e v e n t t h e e x t i-n c t i o n o f t h r e a t ened species. 15 .6 PROMOTE A C C ES S TO GENETI C R ES O U RC E S AN D F AIR S H AR IN G OF THE BENE FITS Promote fair and equitable sharing of the benefits ar - ising from the utili z a t i o n o f g e n e t i c r e s o u r c e s a n d p r o m o t e a p p r o p r i a t e- a c c e s s t o s u c h r e s o ur ces, a s internati o nal l y agre e d . 15 .7 ELIMINATE P O A C H I NG A ND TR A FFI C KI N G OF P R OT E C T E D S P E C IE S Take urgent action to end poaching and trafficking of protected species o f f l o r a a n d f a u n a a n d a d d r e s s b o t h d e m a n d a n d s u p p l -y o f i l l e g a l w i l d life products. 15 .A INCRE A S E F I NA NC I A L R ES O UR C ES TO C ON S E RV E AN D S U S T AIN ABL Y USE E COS YS TE M A ND B I O D I V ER S I TY Mobilize and significantly increase financial resources from all sources to co nser ve a nd s us tai nab l y us e b i o d i ve rs i ty a n d e c o s y s t e m s . 15 .B FINA NCE A ND I NC ENTI V I ZE S US TA I NA B L E F ORE S T M AN AG E M E N T Mobilize significant resources from all sources and at all levels to finance sustainable forest management and provide adequat - e incentives to de veloping countries to advance such management, inclu - ding for conserva tion and reforestation. 15 .C COMBA T G L O B A L P O A C H I NG A ND TR A F F IC K IN G Enhance global support for efforts to combat poaching and trafficking of p r o t e c t e d s p e c i e s , i n c l u d i n g b y i n c r e a s i n g t h e c a p a c i- t y o f l o c a l c o m m u n i ties to pursue s us tai nab l e l i ve l i ho o d o p p o rt u n i t i e s .
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RA Historical Archives
Fact & Figures , Around 1.6 billion people depend on forests for their l i v e l i h o o d . T h i s i n c l u d e s 70 m i l l i o n i n d i g e n o u s p e o p l e . , Forests are home to more than 80% of all animals and plants.
• 2. 6 b i l l i o n p e o p l e d e p e n d d i r e c t l y o n a g r i c u l t u r e , b u t 52 per cent of the land used for agriculture is affected soil degradation. , Of the 8,300 animal breeds known, 8% are extent and 22 per cent are at risk of extinction.
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R E SP ON SI BLE & CI RCU L AR STO R I E S
WOOLLEN C OM P O SI T E MAT E R I AL S | STRUC T U R AL WOOL & T E X T I LE S Could ou r interior te x tile s , furn i ture , ac oustic wa ll pa ne lling throu gh to ou r sp or t s k i t s b e made ou t o f waste wo o l in th e fu tu re?
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01 S o l i d Wool| United Kingdom
02 Cas amania| Italy Remembe rne Chair
0 3 W o o l i g h t Su r fb oa r d| New Zealand
0 4 W o o l a i d s | N ew Zealand
Justin and Hannah Floyd started Solid Wool T h e r a c e t o w a r d s t h e f u t u r e a n d t hBead re rs o inr Seu r f b o a r d s i n v e n t e d a n eB w awnodo- a li d s a r e m a d e f r o m w o o l , n o t P l a s t i t o f i n d n e w w a y s o f w o r k i n g w i t h w o o ltotkeep h a t the past alive coexist in Remem cloth sourced from New Zealand sheep was going to waste. b e r m e . A c o l l e c t i o n ( c h a i r , b i s t r ocombined t t a b l ewith , bio-resin, taking a new in58,000,000,000 plastic bandages are cast The duo wanted to create ways in which and coffee table) that gives new n lo iv f ea t tiov e d i r e c t i o n i n t h e q u e s- t f ointo r f uour l l ecosystems y sus annually, and as Plasl o w - v a l u e B r i t i s h w o o l c o u l d b e t r aclothes n s f o r mwhich ed are unconscious memory tainable surfboards. tic does not biodegrade, it just gets smallinto strong, visually tactile materials that capsules. Rememberme is made by jeans er; something needed to change. c o u l d b e u s e d i n f u r n i t u r e p r o d u c t iand o n . cotton t-shirts A f t e r y e a r s o f t e s t i n g a n d r e f i -n i n gT, hbe y cm o al s s i n c i n e r a t i o n o f w o u n d -c a r e p r o laborating with NZ Merino and Firewire ucts contributes to th e industry producSolidwool is a unique, composite material ur rn f bio a r d s , t h e y c a m e u p w i t h a - s u sit na g i 2 . 8 % no f a l l h a r m f u l a i r p a r t i c l e m a t t e h t t p s : / / w w w . c a s a m a n i a . i t / e n / d e s -i g n - Sf u made from wool and bio-resin a b l e c l o t h t h a t r e p l a c e s t r a- d i tglobally. i o n a l The f i bhealthcare re sector is responsiture/rememberme-chair/ g l a s s , p r o v i d i n g s t r e n g t h a n d -f l e xb clheaf r oa r c4 . 4 % o f t h e w o r l d s g r e e n h o u s e g a s Inspired by the 1950s Eames plastic chair, teristics that we feel rival the s emissions, t a t u s qwhich u o . led Woolaid to create the originally manufactured in fibreglass, they worlds first wool-based band-aid. created their Hembury Chair made from The result is a natural-looking board that Solidwool. p e r f o r m s a t l e a s t a s w e l l a s t r a d https://www.woolaid.com itional PU o r E p o x y b o a r d s , i s b e t t e r f o r t h- e e n v i r o n ment and supports the New Zealand wool https://www.solidwool.com/ industry too, not baaaad, huh!
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How existing wool items are recycled Wool is one of the worlds most sort after and suitable Qbres for reuse. There are numerouswaystoreuseit,fromhandingitdownfromonegenerationtoanother, clothes swaps, charity shops, and increasing global demand for vintage woollen garments.Thelongeragarmentorproductisused,themorevalueisgainedfrom the raw materials that went into making the original product. The same applies to recyclingwoolitems.WhenthesamewoolQbresarerecycledandusedagain,the environmentalimpactfromthoseQbresarelessenedfurther[3] There are three main pathways in wool recycling: THE CLOSED-LOOP SYSTEM A mechanical process that returns garments to a raw Qbre state by shredding them, then spinning the Qbres back into yarn to produce new garments or inte riordesignfabrics.
THE OPEN-LOOP SYSTEM the wool from a previous product becomes the basis for a new, usually industrial productsuchasinsulation,furniturestuzngormattresspadding.
RE-ENGINEERING / UP-CYCLING Designers, brands and companies recycle worn or unsold items into new products, likemakingabeautifulwintercoatfromvintagewoollenblanketsorbagsfromold overwashed sweaters. WoolisoneofourmostvaluableQbres,andthegreatthingaboutitisthatverylittle goes to waste, including pre-consumer waste. Recycling reduces waste Discarded clothing ending up in landQll sites is a major global problem, and here, wooloersapositivealternative.Bychoosinglong-lasting,readilyrecyclablewoollen garmentsoverotheroptions,wecanreducethenumberoftextilesthatgotowaste.
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Responsible Materials
magesCourtesyofRecycleWool
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Certifications Raw Materials & Products
THE FO R E S T S TE W AR D S HI P CO U N CI L ® ( F S C )
F S C i s a n i n t e r n a t i o n a li n toonr- pg r ao n fi s a t i o n f o r w o o d c e r t i f i c a t i o n . FSC has a global forest certification system to provide a guarantee that fores from responsibly managed sources. The system has two key components: Forest Managem certification shows that forest managers or owners manage their forests respons https://au.fsc.org/en-au/for-business/fsc-certification THE PROG R AM F O R THE E N D O R S E ME NT O F F O R ES T C ER T IF IC A T IO N S C H EM ES ™ ( P EF C )
PEFC is an international non-profit organisation t fioorn w. o o d c e r t i f i c a The Programme for the Endorsement of Forest Certification is an international, governmental organisation that promotes sustainable forest management thr third party certification. t is considered the certification system of choice for https://www.pefc.org/ THE CAN O P Y P LAN E T S O CI E TY
Cano py i s a C a n a d i a n n o n - p r o f i t o r g a n i s a t i o n t h a t f o c u s e s o n c o n s e r v i n g a n d p r o t e c e n d agn ered forests.
The CanopyStyle Audit Guidelines describe how auditors will verify that producer and whether and when they can be recognised as being at low risk of sourcing from a endangered forests or controversial sources. https://canopyplanet.org/solutions/fsc/credible-certification-just-one-part-of-th
SUSTAINABLE RAINFOREST ALLIANCE CERTIFIED -
T h e R a i n f o r e s t A l l i a n c e c e r t i f i c a t i o n s e a l m e a n s t h a t t h e p r o d u c t ( o r a -s p e c i f i e d duced by farmers, foresters, and/or companies working together to create a world whe nature th ri ve i n harm o ny. PRO DUCT CE R TI F I CATI O N S CRA DLE TO CR AD LE CE R TI F I E D ™
Product Standard guides designers and manufacturers through a continual impro that looks at a product through five quality categories material health, mate renewable energy and carbon management, water stewardship, and social fairness. Using the end-use product (waste) for the source of a new product: a circular economy. A can be designed for continuous recovery and re-utilisation. https://www.c2ccertified.org/ EU Ec ola b el -
Established in 1992 and recognised across Europe and worldwide, the EU Ecolabel is a env ir o nme ntal e xc e l l e nc e that i s aw a r d e d t o p r o d u c t s a n d s e r v i c e s m e e t i n g h i g h e n v i r o n ment a l standards throughout their life-cycle: from raw material extraction to producti dispo sal . https:// e c .e uro p a. e u/e nvi ro nm e nt/e c o l a b e l /
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Responsible Materials
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BetterPackagingCo.founders:RebeccaPercaskyandKateBezar
BPCo. sees the ultimate goal for SWOP as becoming - re to change too. ts going to have to become cool to - re ceptaclesforevenmorerecycling-Forexample,they ceive a parcel that looks like it’s been around the block areindiscussionswithalargefashionbrandinthe more USA thanafewtimes!The ( goodnewsis,challengesare who is going to encourage their customers to use this what this pair and their company thrive on. packaging to send back old clothes to be then redistributedforasecondlife.tcouldjustaseasilybetoothpaste OnebrandthatwasupforthechallengeisMelbourne tubes or other tricky-to-recycle things that get sent back circularfashionlabelA.BCH.BPCoscompostablemail inemptySWOPs,makinguseofthatreturnleg. satchels are their default for shipping e-commerce or ders to customers. They have introduced SWOP as an Challengesremain.AsBecssays,'Thiskindofmodel option for customers to select at checkout-for an addi willneedthesupportofourpostalservicesandtional courier cost. When their customer returns the SWOP Pack companiestobecomeeconomicallyviableand whenit toA.BCH,theyreceiveavoucherfortheirnextpurchase. comes to individual consumers, their attitudes will have
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This kind of model will need the support of our postal services and courier companies to become economically viable … and when it comes to individual consumers, their attitudes will have to change too. It’s going to have to become ‘cool’ to receive a parcel that looks like it’s been around the block more than a few times!
fyoudliketolearnmoreaboutSWOP, visit betterpackaging.com-individualsamplesofSWOP are available too.
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Image: A.BCH | SWOP by Better Packaging Co.
SWOPisnowavailablefor customers to select upon check out when purchasing A.BCH products online.
Image: Courtney Holm, A.BCH | SWOP by Better Packaging Co.
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REIMAGINING MATERIALS Textile designers and makers are increasingly aware of their - responsibili ty to underpin their practice and creative outputs with value-led integrity. Thedecisionswemakeduringthedesignprocess,suchasQbrechoiceand manufacturingprocesses,determineupto80%oftheoutcomesenviron mental impact [4] Wespeakwithdesignerscreatingbespoketextilesfromaroundtheworld and look at RE their material choices. Dtake ESIGa N ERS I MAGI NI NG P RO DU C TS OF TH E PAS T F OR
TH E FU TU RE. EFFORTLESSLY BLENDING VINTAGE TEXTILES, WITH MASTERFUL NEW CUTS. F O CU S PO I NT S : U P C Y C L I N G V I N T A G E B L ANKET S & QUIL T S
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Responsible Materials
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LUXURY HEIST British textile designer Alicia Rowbotham www.aliciarowbotham.com Instagram: aliciarowbothamstudio
Alicia Rowbotham is a multidisciplinary textile designer and artist based in London.
within a space, whether that is creating a softness through a custom silk artwork or adding meticulous detail with a bespoke woven fabric. Hand-weaving A graduate of Central Saint Martins in 2019, Alicia allowsforfullcontrol,threadbythreadandpickby started her bespoke textile design studio in the pick. year 2020. Alicia’s textile collections and artworks combine the unique techniques of established Alicia’s aesthetic shows a distinct luxurious intritraditional craft methods such as hand-weaving, cacy, heavily inRuenced by Qne atelier couture, passementerie and braiding in contemporary de- intended for unique interior decoration. Her work sign for artisan textiles, unique artworks - explores and be contemporary craft techniques and the spoke handcrafted accessories for contemporary cathartic nature of creating something- from noth interiors, as seen in Collect 201, Crafts magazine, ing using predominately reclaimed materials in all and Forbes. ofherfabrics,objectsandartworks. Alicia specialises in textile weaving within her prac- We touched base with Alicia to learn more about tice and is currently a designer in residence at Cock- her work and how reclaimed materials have shaped pitArts,Londonsleadingcontemporarycraft - studi her textile practice today. os, sponsored by the Clothworkers Company, One of the Great Twelve Livery Companies of the City ofLondon. Alicia loves the idea of textiles evoking a feeling
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magecourtesyofAliciaRowbotham
magecourtesyofAliciaRowbotham
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NEXT GENERATION DESIGN
AUSTRALIA & UK
FIBRES TEXTILES KNITWEAR
S U Z Y
A G A R
EMMA PRICE
LUKA LEWIS
Maegan Mills OLIVIA PAGLIASSO
AUSTRALIAN DESIGN
UK DESIGN
TEXTILES FASHION DESIGN KNITWEAR
EMBROIDERY
ELIZABETHgunter
TEXTILE DESIGN CLASS OF 2022
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RWS WOOL RECYCLE FACTORY WASTE SURPLUS
HANNAH HUGES
U N S W
FASHION KNITWEAR KNITTED TEXTILES NEXT GEN DESIGN
ALICIA ROWBOTHAM
NOTTINGHAM TRENT UNIVERSITY 2021
T A M S I N HACKETT
Faculty of Arts, Design and Architecture, UNSW
ACCESSORIES EMBROIDERY
Next Generation Designer Reflections | SYDNEY : AUSTRALIA | UNSW CLASS OF 2021
Image credit: Coonong Wool Station
Thefollowingthreedesigners,whoarecurrentlyintheirQnalyearattheUniversityofNew-SouthWalesin ney,oerthefollowingreRectionsontheiruseofwoolandsustainablethinkingintheirMajorCapstone fortheirgraduatingportfolios.
WithintheBachelorofDesigndegreeattheFacultyofArts,DesignandArchitecture,UNSW,studentscansele thestudiospecialisationofTextiles.Thetextilecourseshaveastrongfocusoncircularandsustain to ensure our graduates have the knowledge, attitudes, strategies, techniques, and practices to create change intheirchosendesignprofessions.
The conceptual framework underpinning the three textile studios is RE-Making Meaningful Materials framework deQnes the unique focus of UNSW Textiles - the sustainable construction and reconstructi Qbres and materials to ensure circularity. Attention is given to creative and innovative approach materialsofvaluewithmultiplepotentiallifecycles.
https://www.unsw.edu.au/arts-design-architecture
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HA N NA HHUG HES
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annah Hughes is a woven textiles specialist who has a passion for sustainability and slow fashion as well as a keen interest in menswear design. A recent Textile Design [BA Hons] graduate from Nottingham Trent University, Hannah's collection 'Scandalous Heritage' explores the importance of learning from traditional making, believing that looking back is key to finding a sustainable future, for textiles, looking forward. Inspired by Nottingham’s own, Lord Byron and his heritage, the bespoke menswear collection is a playful, audacious, and unique take on classic woven patterns and structures such as tartan and herringbone. They push boundaries but have a personal touch to re-connect the consumer to their clothes. With a fascination of processes, moving forward she hopes to work within woven textile production to develop her knowledge and understanding of the processes and explore how these traditional methods have withstood the test of time and what we can learn from them moving forward.
Q&A Q. The time you have been a student at university, the fashion industry has seen a dramatic change in terms of ethics, sustainability, transparency, and accountability. How have you re5ected on this as a textile design student during these unprecedented times?
Over my three years of study, discovered how- im portant it is to challenge the norm and have sustainabilityvaluesatthecoreofwhatdowithinmytext practise; a change in thinking is required, not just a change in production. My theory portfolio on the im pacts of COVD-19 on the fashion industry and con sumersallowedmetoreRectonhowmuchourvalue systemandsourceofidentityeectsourlivesand worldaroundus.learnthowthefashionindustryh a considerable inRuence on both of those variab and therefore has an equally immense responsibi to lead by example, making changes towards a more sustainable future, which includes caring for pe andtheplanet.tisthisviewwhichhopetotake fo ward as I enter the industry. w w w . raw a ssembly. com
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Q. Who is currently inspiring you in UK manufacturing, and howhavetheyin5uencedyourwork?
I’m inspired by past and present designers such as Anni Albers and Ozwald Boateng that use culture, tradition, and context within their work to make a statement and connect consumers to their culture and identity. Works like these inspired me to explore re-connecting consumers to themselves, others and the world around them through their clothes, creating something that has meaning and encourages consumers to re-discover who they are and what they value, to make a more connected and ethical consumer, as well as product. Q. In what ways are traditional textile methods important to you, and what value do you see for the wider industry in the renaissance of these techniques?
Specialisinginwoventextileshashighlighted,fo howimportantitistolearnfromandworkwith tr tional processes, going back to our heritage, reminding ourselves of why we do what we do, how weve come to be who we are. Theres humanity found in traditional processes, the time and labour involved ultimately reconnects us to ourselves, each other and the planet. This could induce change within the industry, helping to prevent the disconnect between production and product that has led to unethical, unsustainable and opaque working practices we see in the industry today. Q. What would be three key characteristics of the future textile industry that you hope to work in?
The textile industry holds so much potential as a driver for change. hope to be part of the sustain ble movement within the industry, encouraging slow fashionwithmoreconsideredconsumption.Workin with traditional textile processes that sit alongside thismindsetandbeingpartofafuturetextilein that encourages more measured production driven bycommunity,notproQt.
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"There's humanity found in traditional processes, the time and labour involved ultimately reconnects us to ourselves, each other and the planet. This could induce change within the industry, helping to prevent the disconnect between production and product that has led to unethical, unstainable and working practices that lack transparency we see in the industry today." Hannah Hughes
@hhughes_design
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