RawAssembly | The Responsible & Sustainable Textile & Fashion Sourcing Magazine

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TEXTILE

.RAWASSEMBLY.

M AG A Z I NE

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DECEMBER 2020 04-05. EDITOR'S LETTER 06. THE CONSCIOUS FASHION CAMPAIGN 07. DISCOVER THE SDG'S TO POWER THE DECADE OF ACTION 08. OUR GUIDING FRAMEWORK 12. FIBRE GROWERS

16. Coonang Station, NSW 24. Glenwood Merino, NSW 32. Wool products & producers 34. Australian Super Cotton, Qld 40. Cotton products & producers

42. TEXTILE MILLS & PRODUCERS

43. The New Denim project 54. MTK 59. Geelong Dyeing

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62. BIOFABRICATED 62. LABVA 68. Biofabricated Materials

72. CONTENT & CO-EDITOR LETTER

Introduction to biomaterials derived from algae

74. VANESSA BARRAGAO 80. ALGAE PRODUCTS, PRODUCERS & TEXTILE ARTISTS 84. BIODIVERSITY DOCUMENTARIES TO WATCH 86. RAWASSEMBLY DIGITAL SOURCING

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74 Vanessa Barragao The RawAssembly Magazine is a must-read media inspiration for everyone interested in responsible, sustainable, and innovative solutions for the fashion & textile industries. The magazine represents an enhanced global resource for sustainable and regenerative fibre growers, yarn and fabric mills, responsible & ethical manufacturers, brands, creative professionals and consumers who want to improve and increase their knowledge about sustainability and connect with other sustainable creators.

Founded in London & Australia, The RawAssembly Magazine has launched to fill the void for informed, creative and avant-garde eco-friendly readers from industry through to consumers. Today, we hope the magazine will grow to build a network of sustainably minded writers , innovators and creative insiders around the world that want to leave their sustainable mark on a time of unprecedented change and action.

TH E R ES P ON S IBL E & S U S T AIN ABL E TEX TI L E S OU R C IN G M AG AZ IN E Founder & Editor Content & Co-Editor Editor

THEA SPEECHLEY K IRR AL Y AN T C L IF F BE N G E OR G E

Australia • London • Hong Kong 3

EDITO R ' S L E T T E R

Fashion needs to focus on sourcing its raw materials from regenerative and restorative production systems.

At the heart of rawassembly is the principles of regeneration.

The fashion industry and its supply chains continue to source raw materials without understanding how, where and by whom they are being produced and the impact these practices have on our planet. The fashion industry's supply chains are linked directly to degradation of soil, deforestation & biodiversity loss and at rawassembly we believe there is little excuse to continue producing in this way. we encourage and help designers and brands to move towards a circular economy, an economy that is regenerative by design.

By realigning ourselves with what occurs in nature, we can design a next-generation textile production model that recognizes its connections to the biosphere.

A future where we look ahead to make sure future generations have the resources they need and that we design out waste by utilising everything that exists today. a future without the need for fossil fuels and a future where we stay within our planetary boundaries.

A future without greed and one of value it comes down to People and the planet

T hea Speechley Fo u n d er, R AWA SSEMBLY

MA GA ZI N E NAME ( MASTER PAGE)

PA R TN E R S HI P S RA WASSE MBLY & C O N S C IO U S F ASH ION CAMP AIGN

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awassembly is a responsible and sustainable textile sourcing event and digital platform.

Founded in 2018, our event was created based on the need for change within the fashion industry , with one of the key drivers being sharing knowledge around regenerative and circular systems, innovations, ethical supply chains and new economics.

It is important for RawAssembly to combine forces with the CONSCIOUS FASHION CAMPAIGN to facilitate that sharing of knowledge and helping both our partnering companies and our industry audience to find ways to accelerate the systematic change needed within the industry.

In the Decade of Action towards the Sustainable Development Goals our industry needs to collaborate more towards solutions and systemic change that we can all be part of. Our pace of change needs to accelerate and RawAssembly believes that partnerships and sharing knowledge are the keys to this.

www.discoverthesdgs.com

WWW.RAWASSEMBLY.COM INSTAGRAM: RAW.ASSEMBLY LINKED-IN: RAWASSEMBLY FACEBOOK: RAWASSEMBLY

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he Conscious Fashion Campaign, in collaboration with the United Nations Office for Partnerships, is an awareness-driven initiative that engages leading global fashion industry events to accelerate collective action in support of the Sustainable Development Goals. The campaign facilitates high-impact partnerships that advocate sustainable solutions and innovations for the fashion sector to address the world’s most pressing social, economic and environmental issues.

The Conscious Fashion Campaign actively supports the Decade of Action by bridging together United Nations agencies and fashion industry stakeholders to enable the Sustainable Development Goals to scale. The Conscious Fashion Campaign partners collectively represent over $4.7 billion revenue, 800 events in 40 countries, 136,000 exhibiting businesses, 11.9 million industry attendees and 14,700 employees.

KERRY BANNIGAN FOUNDER OF THE CONSCIOUS FASHION CAMPAIGN

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DISCOVER THE SDGS TO POWER THE DECADE OF ACTION Convened by the Conscious Fashion Campaign in collaboration with the United Nations Office for Partnerships Virtual learning experience: 1 to 30 December 2020 Discover the SDGs - To Power the Decade of Action, convened by the Conscious Fashion Campaign in collaboration with the United Nations Office for Partnerships, delivers a virtual learning experience December 1 - 30, 2020.

The Sustainable Development Goals (SDGs) are a universal call to action to end poverty, protect the planet and improve the lives and prospects of everyone, everywhere. Adopted by United Nations Member States in 2015, the Sustainable Development Goals are the blueprint to achieve a better and more sustainable future for all.

The Decade of Action, launched by the UN Secretary-General at the beginning of 2020, right before the pandemic crisis, calls for all national and local governments, civil society organizations and the private sector to accelerate sustainable solutions to the world’s major challenges from poverty and gender to climate change, inequality and closing the finance gap.

As this year marks a critical period to advance a shared vision, Discover the SDGs - To Power the Decade of Action delivers a virtual experience to advance knowledge and strengthen engagement from the global fashion industry to deliver the Sustainable Development Goals. Discover the SDGs will provide informational tools and on-demand content on the Sustainable Development Goals and the interconnected framework highlighting the intersection of the SDGs and the fashion sector; underlining the importance of enhanced collaboration to achieve the SDGs as a critical step towards a better COVID-19 recovery.

Ranked as one of the world’s most polluting industries, the fashion, apparel, and textile sector has a significant impact on the SDGs. With the pervasiveness of the COVID-19 pandemic, the industry has seen unparalleled disruption to its operations and supply chains. Now is the time to ensure that this disruption can serve as the catalyst for a new sustainable era for all stakeholders involved.

Discover the SDGs is powered by Arch and Hook, Artistic Milliners and Lenzing; and supported by Interwoven, ITL Group and Orta.

WHAT TO EXPECT: Speaker auditorium: Watch on-demand remarks, panels and fireside discussions from United Nations key representatives and advocates, leading fashion industry figures and sustainability experts.

Exhibition hall: Browse interactive digital booths to learn about each of the Sustainable Development Goals with useful facts, figures, infographics, videos and artwork.

Business insight: Learn how to implement practical actions to shift business models towards a more sustainable economy to address the world’s most pressing social, economic and environmental issues.

Digital briefcase: Save and download documents, reports and information about the Sustainable Development Goals from United Nations agencies, initiatives, and industry leaders.

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Ultimately it's about defining how we care and act.

RawAssembly works closely with our partners to select fibres, fabrics, packaging, and other alternative materials based on the following criteria and view these as both reassurances to our visitors and also a framework for educating all.

Our Guiding Framework

The United Nations has defined the following ten years as the Decade of Action, which calls upon organizations and industries to accelerate specific action towards achieving the Sustainable Development Goals. For RawAssembly to pre-select and filter sustainable producers that we feel are players in this process of shared development and action, the following criteria have been developed to select our producers.

RawAssembly focuses on both quantitative and qualitative evidence for commitment in these areas and will take both into account when approving our partner producers.

Quantitive evidence comes in the form of certifications and standards that a partner holds for organizational, manufacturing processes, or specific products or finishes. Qualitative evidence relates to additional commitments, projects, advocacy, and research that our partners are involved with, which defines their commitment towards action and RawAssembly feels should be promoted.

14 Water Consistent with the Targets set out under SDGs 6 & 14, RawAssembly works with partners who have systems and policies that improve water quality through reducing pollution, eliminating dumping and minimizing the release of hazardous chemicals and materials into fresh waterways and oceans. They increase water-use efficiency and ensure sustainable withdrawals to address water scarcity, reducing the proportion of untreated wastewater and increasing the recycling and safe reuse of water. ​

13 Climate Consistent with the Targets set out under SDGs 7 & 13, RawAssembly works with partners who are actively seeking to substantially increase their use of renewable energy sources, reduce their emissions and actively implement climate change mitigation into their organizational policies and strategies. These commitments are more specifically defined in the United Nations Fashion Industry Charter for Climate Change. RawAssembly seeks to work closely with partners who use this charter to support their decarbonizing journey. RawAssembly works with partners who value and invest in transparency and traceability in their supply chains, which is reflected in their policies, reporting, and a commitment to developing traceability technology.

15 Animal Welfare Consistent with the Targets set out under SDG 15 and drawing on the 5 Freedoms defined by the Responsible Wool Standard, RawAssembly works with partners who ensure animals are free from hunger & thirst, discomfort, fear & distress, pain & injury and are free to move and behave normally. In addition to a zero-tolerance for the use of products from poached or trafficked species of flora and fauna, RawAssembly only works with non mulesed wool growers and is a fur and leather-free organization.

Regenerative Agriculture & Biodiversity Consistent with the Targets set out under SDG 15, RawAssembly works with partners whose sources, manufacturing processes and policies ensure conservation and restoration of terrestrial and marine ecosystems. They promote and/or implement the sustainable management of forests, restore degraded forests and support global efforts towards increasing afforestation and reforestation.

In particular, RawAssembly seeks to work with agricultural partners (growers) who engage in regenerative agricultural practices that combat desertification, restore degraded land and soils, ultimately aiming to achieve a land degradation-neutral world.

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Traceability Consistent with the Targets set out under SDG 12 and the Responsible Industry guide, authored by the United Nations Environment Programme, the responsible economy of the future requires innovative solutions aimed at “decoupling” production patterns from the exploitation of people and the environment. RawAssembly works with partners who value and invest in transparency and traceability in their supply chains, which is reflected in their policies, reporting, and a commitment to developing traceability technology.

12 Waste Consistent with the Targets set out under SDG 12, RawAsssembly works with partners who in addition to reducing overall waste generation, seek to have sound management of chemicals and all waste throughout their life-cycles, in accordance with international frameworks, and significantly reduce their release to air, water and soil in order to minimize their adverse impacts on human health and the environment.

RawAssembly promotes circular models and the principles of ‘cradleto-cradle’, with a particular focus on the identification of exemplary recycling programs and waste streams that can be regenerated into new materials or as feedstock for new material development.

8 People Consistent with the Targets set out under SDG 8 and global standards addressing the effects of chemicals on human health. RawAssembly works with partners who have taken measures to eradicate forced labour, human trafficking, modern slavery and the elimination of the worst forms of child labour. These partners protect the labour rights of their workers and promote safe working environments, including migrant workers and those with disabilities. In addition, these organizations protect their customers through a zero-tolerance for fibres and finishes that are carcinogenic or toxic. .

Our Guiding Framework

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.CONNECT RESPONSIBLY. CONNECT WITH RESPONSIBLE, SUSTAINABLE & INNOVATIVE FIBRE, FABRIC & APPAREL MANUFACTURERS FROM AROUND THE GLOBE BRINGING B AL ANCE TO FASHION

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FIBRE GROWERS

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"WE ARE COMMIT TED TO PROVIDING ALL LIVESTOCK WITH THE FIV E FREEDOMS :"

T I M & S O P H I E H O LT - C O O N O N G S TAT I O N. AU P HO T O C RE D IT: COONONG S TA TI O N

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MA GA ZINE NAME (MASTER PAG E )

WOOL PROPERTIES As b o th co n su me r s a nd t he i nd us t r y b e c o me mo re aware o f the de tri me ntal e f f e c ts the f ashon in d u str y h as o n th e he a l t h o f o ur p l a ne t , we se e mo re brands l o o ki ng to c re ate transpare nc y i n th eir su p p ly ch ain s an d k no w ho w, b y who m a nd whe re the i r raw mate ri al s are gro wn and pro duc ed. As th e i n d u str y star t s t o und e r s t a nd t ha t we must ke e p the mate ri al s we have to day i n pl ay f o r as lon g as po ssi b le, w e a r e s e e i ng a n i nc r e a s e d a w are ne ss aro und re ge ne rati ve syste ms starti ng wi th regen er ativ e f ar mi n g . B y m a k i ng s ur e o ur m a t e ri al s c o me f ro m re ge ne rati ve and re ne wabl e so urces an d can b e cap tu r e d a g a i n f o r f ut ur e us e i s k e y to pro te c ti ng bo th pe o pl e and o ur pl ane t f o r f utu re gen er atio n s to co me .

R ege n e r ativ e agri c ul t ur e i s a ho l i s t i c f a r m i ng appro ac h that f o c use s o n pro te c ti ng bi o di ve rsity an d soil h e alth acr o ss t he e nt i r e f a r m i ng e c o s y ste m. i t al l o ws us to pro te c t o ur so i l syste ms, i mproves wate r cycles, su p p o r t s b i o - s e q ue s t r a t i o n, suppo rts nati ve pl ants and wi l dl i f e , i nc re ase s re si l ien ce to climate flu ctu atio n a nd he l p s us g r e e ni ng l ands that have be e n o ve rgraz e d i n the past.

WO O L P R O PE RT IE S •

Wo o l i s a n atur a l f i b e r , i t i s 1 0 0 p e r c e nt re ne wabl e , sustai nabl e and bi o de gradabl e . T he ben efits o f w o o l ar e t ha t S he e p a r e a b l e t o pro duc e a ne w f l e e c e e ac h ye ar, maki ng i t an i nc re dibly eco- fr ien d ly f ib e r s o ur c e .

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Wo o l o ffer s h i g he r U V p r o t e c t i o n t ha n o the r f i be rs. Wo o l i s no t qui c k to c atc h f i re and th erefore fir e r etar d an t . W he n i t d o e s , i t b ur ns s l o wl y and di e s o nc e the f l ame so urc e i s re mo ve d.

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U n l ik e syn th e t i c f i b e r , p ur e wo o l o nl y take s a f e w ye ars to de c o mpo se , de pe ndi ng o n the dy es an d fin i sh es u s e d i n i t s p r o d uc t i o n a nd c an do ubl e as f e rti l i se r at the e nd-o f -l i f e .

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Wo o l i s n atu r a l l y b r e a t ha b l e a nd a d j usts to the we are r' s bo dy te mpe rature . Whi l e i t ke e ps y ou w ar m i n w i n t e r a nd c o o l i n t he s um m e r, yo u ne ve r swe at be c ause i t abso rbs the ski n' s moistu re.

Wo o l can ab s o r b up t o 3 3 % o f i t s we i g ht i n mo i sture , whi c h i s the n re l e ase s duri ng the da y .

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Elasti c. Wo o l ha s m e m o r y , m e a ni ng no matte r ho w muc h yo u we ar o r wash i t, i t wi l l al way s retu rn b ack to i ts o ri g i na l s ha p e .

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w o o l i s h yp o -a l l e r g e ni c . W o o l d o e s n' t sme l l . unl i ke synthe ti c s, whi c h c an sme l l badl y when th ey ar e d ir ty w ith s we a t , wo o l d o e s n' t . y o u c an we ar wo o l many ti me s be f o re yo u ne e d to was h it.

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Wo o l i s an inc r e d i b l y t o ug h f i b e r t ha t c an take a l o t o f we ar and te ar. Its l o ng l asti ng and w ool sw eate r s ten d t o b e c a r e d f o r a nd p a s se d do wn f ro m ge ne rati o n to ge ne rati o n. Fro m a i n teriors p er sp ecti v e , W o o l c a r p e t s a r e i nc r e d i bl y durabl e and l o ng l asti ng. Wo o l has a natural protectiv e l ay er w h ich r e p e l s s t a i ns , d us t a nd stati c . It i s al so a Natural i nsul ato r, whi c h i s a gre a t w ay to sav e o n e n e r g y .

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No n-Mul e se d Me ri no N a t ur a l a nd r e ne wa bl e • mo i sture wi c ki ng • UV Pro te c ti o n F i r e r e t a r d a nt • B i o de gradabl e • B re athabl e .

D urabl e .

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P H OT O CR E DI T : CO O NO N

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CH STEN & LI

COONONG STATION, URANA, NSW AUSTRALIA PREMIUM 20.6 MICRON MERINO WOOL

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oonong station is owned and operated by Tom and Sophie Holt with their son Thomas and has been in the Holt family since 1971.

Situated in the Australian Riverina, Coonong Pty Ltd own and operate a total of 71,000 acres in Southern NSW consisting of the main property of Coonong Station, Urana NSW, then additional properties of Coolbaroo Station, Jerilderie Walteela, Urana and Glencairn, Jerilderie.

The incredible team at Coonong are committed to ethical and sustainable livestock and wool production utilising environmentally sustainable land management practices. Certified RWS and just recently on the 12th November 2020, Coonong also became the first wool producer outside of the USA to be Humane Raised and Handled Certified by the HFAC, which is amazing. The team have worked incredibly hard to achieve this and were excited to add this additional certification to their RWS and wildlife accreditations.

Coonong respect and value their native vegetation and wildlife in their ecosystem, and are committed to manage livestock production in a way that does not damage or impeach on native habitats.

At Coonong, their team is an extension of their family.

They have built a community of committed, passionate individuals who not only work there, but live there.

They have an incredible team of both local and Argentinian full time staff, who work side by side with seasonal staff from around the world. With them, they bring experience and knowledge from their family farms and local areas and combine it with the Holts family knowledge of the Australian country. Their teams are all invested in not only working at Coonong but looking after the land and animals they live with.

Coonong Station Extra fine Merino Wool Fibres The team at Coonong pride themselves in producing beautiful, high quality wool , which is the end result of years of hard work and dedication. They produce a 20.5 micron merino wool that is processed and spun into premium yarns at some of the leading global yarn mills, that can be discovered within our Rawassembly directories. Their yarns are used in both circular knitting next-to-skin premium products as well as flat bed knitted sweaters and can be found in some of the leading fashion brands around the world. In addition to this they have their own range of products, some of which are 100% Australian owned, grown and made, include no dyes, acids or chemicals and are completely natural. Their range also includes and others luxurious products that have been spun and knitted by their incredible RWS certified partner, Xinao.

- Discover their Ethical Outback products here

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MEET THE GROWERS "COONONG S TATION RECOGNISES AND VALUES THE SENTIENCE OF ALL ANIMALS"

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Tom, Sophie and their team strive to raise their animals and manage their land in line with the highest industry standards. Their family, their staff, and their global partners across the supply chain understand the importance of care and transparency, and they are proud to align themselves with these accreditation programmes.

What is RWS and What are the The Five Freedoms The Responsible Wool Standard is a voluntary standard that addresses the welfare of sheep and the land they graze on.

The goals of the Responsible Wool Standard are to provide the industry with a tool to recognise the best practices of farmers; ensuring that wool comes from farms that have a progressive approach to managing their land, practice holistic respect for animal welfare of the sheep and respect the Five Freedoms of animal welfare.

As an independent, voluntary standard, companies can choose to become certified to the RWS. On farms, the certification ensures that sheep are treated with respect to their Five Provisions and also ensures best practices in the management and protection of the land. The standard is globally applicable to all breeds of sheep, and mulesing is strictly prohibited.

The Five Freedoms The Coonong team respect, value and preserve their native vegetation and wildlife. The relationship between their environment, the native wildlife, and their own operations is vital. It is a goal of theirs to work with this environment sustainability, and to ensure all management and production runs with this in mind. They work closely to the RWS;

The Six Key Points of RWS • Protecting Animal Welfare A holistic approach to animal welfare based around the Five Provisions.

• Preserving Land Health Progressive methods of land management are practiced on RWS farms, protecting soil health, biodiversity and native species.

• Protecting Social Welfare Social welfare, working conditions, and health and safety of workers is addressed.

• Credible Certification A professional, third-party certification body audits each stage in the supply chain • Chain of Custody Certification ensures that the identity of the RWS wool is maintained at all times: from the farm to the final product. Only products with 100% certified wool may carry the RWS logo.

• Stakeholder Engagement The RWS was developed with the input of farmers, animal welfare experts, land conservation experts, brands and retailers from all parts of the globe.

Read more about RWS here

Learn more about Coonang Station the RawAssembly Digital Sourcing platform.

Stay up to date with their latest news, supply chain partners, behind the scenes footage and onsite videos.

1. Freedom from Hunger and Thirst 2. Freedom from Discomfort 3. Freedom from Pain, Injury or Disease 4. Freedom to Express Normal Behaviour 5. Freedom from Fear and Distress

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Native Wildlife Sanctuary

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oonong is a proud native wildlife sanctuary. Located on the Protected Native Grasslands of the Hay Plains in south-east Australia, they enjoy a diverse and healthy native wildlife population that they protect through numerous native wildlife conservation and rehabilitation programs.

Their preference is to work with Native Wildlife, stocking paddocks so as not to harm the natural habitat and encourage rehabilitation and regeneration of native populations.

Accredited WIRES carers, they provide rescue, care and rehabilitation facilities for injured wildlife. The Native Wildlife protected and rehabilitated on Coonong include: • • • • • •

E N V I RO N M E N TA L COMMITMENT

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IRES (NSW Wildlife Information, Rescue and Education Service Inc.) is Australia's largest wildlife rescue organisation. WIRES has been rescuing and caring for wildlife for over 30 years and WIRES mission is to actively rehabilitate and preserve Australian wildlife and inspire others to do the same.

WIRES began in 1985 in response to a glaring need for a native wildlife rescue service. At the time, no organisation, government or conservation group could take specific responsibility for native animal rescue and care. WIRES quickly established a coordinated network of wildlife carers and rescuers and officially launched as an organisation in March 1986.

Today they have over 3,000 volunteers in 28 branches.

They receive around 170,000 calls to their 1300 line annually, including thousands of interstate calls where they provide rescue advice.

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https://www.wires.org.au/

Kangaroo – Eastern Grey and Red (Protected) Emu (Protected) Diamond Python Plains Wanderer (Critically Endangered) Swamp/Black Wallaby Native lizards, frogs & birds.

"WE PROVIDE RESCUE, CARE AND REHABILITATION FACILITIES FOR INJURED WILDLIFE. "

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CH STEN & LI

GLENWOOD STATION, WELLINGTON, NSW AUSTRALIA PREMIUM 18.5 MICRON MERINO WOOL

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orm and Pip are fifth generation wool growers, the fourth generation Smiths on Glenwood and took over the management in the mid 1990's. Norm and Pip Smith live on Glenwood with their five children – Chloe, Amber, Maggie, William and Daisy.

Glenwood was originally a part of a large acreage and at one stage it comprised over 9000 acres.

Glenwood produce an incredibly high quality non-mulesedmerino wool fibre using both holistic and regenerative agricultural practices. Their fibres are spun by some of the leading spinning mills in the world such as Diyang merino and Xinao.

Located in Wellington, in NSW, Australia, Glenwood has been looked after by its current custodians, the smith family since 1898.

Since 1996 the stud has used SRS® genetics with outstanding results. The breeding technologies developed by ex-CSIRO researcher, Dr Jim Watts, have accelerated genetic improvement, improved animal welfare and improved overall enterprise profitability exponentially.

Being very passionate about the Australian industry, they see huge potential for their fibre into the future. They are committed to promoting SRS® Merino right across the supply chain for its superior processing qualities.

for the landscape, livestock, business and the people. This has led to productivity gains and a clear path for a ‘sustainable’ future in all senses of the word.

The Smiths first looked into holistic farm management in 1998 and felt that not only did it fit well with their resource base and its predominately native pastures and superphosphate and sub clover history, but it also fit in well with their own values and their desire to lessen inputs while maintaining outputs. In changing to a holistic approach, they subdivided some paddocks and added watering points. At present, the 4000 wethers graze in one mob over 30, 130-150ha paddocks. The aim is to average 40-50ha paddocks for the wethers. The stud ewes and lambs graze in two separate cells, divided into 25 and 30 paddocks with 30ha and 10ha average size paddocks.

The results have been impressive, with greater diversity of desirable perennials using time controlled grazing – enabling short graze periods and long rest periods.

They monitor Glenwood’s progress bi-annually and annually using indicators such as the level of ground cover and type of ground cover, perennially, evidence of organisms and type of perennials. They are also managing the livestock to minimise chemical use as well as aiming to lower the worm burden by better grazing techniques and eliminating the need to jet for fly strike through genetics and management.

It is their view that the global customer is evolving at an increasing rate and issues like chemical residues and ethical Care of our land production will be pressures that we have to live with and At Glenwood Merino, they are very passionate about adapt to. Being proactive in this respect will present opportuimproving the land for future generations. Glenwood is not just nities for Glenwood and their clients moving forward, which a profit centre and they aim to achieve a balanced outcome they are already seeing. They ceased mulesing in 2005 and have consistently achieved a premium, whether it be 5-10 cents or more, specific non-mulesed wool orders and have had access to markets and customers they wouldn’t have 24 otherwise had by staying in the auction system.

GLE NWOOD MERINO "PART OF OUR HOLISTIC GOAL IS TO LE AVE GLENWOOD IN A BET TER CONDITION THAN WHEN WE TOOK OVER"

Glenwood are creating a point of difference based on processing performance, telling their story and showing their sustainable approach to production and by giving the customer the clean, green fibre they are increasingly looking for.

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T H E S MITH F AMI LY HAS B EEN B R E E D I N G ME RINOS AT GL E NWOO D S I NCE 1 898

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SRS BREEDING NON MULESED WOOL

Since 1996 Glenwood Merino has implemented the SRS® Breeding System developed by ex-CSIRO researcher Dr Jim Watts.

Since implementing the SRS® Breeding System, Glenwood Merino has aimed to eliminate all wrinkles on its sheep, thus reducing susceptibility to flystrike and negating the need to mules. Today's ewes are plain bodied with a loose, thin and soft skin that indicates a high density of secondary follicles, compared to a traditional Merino. Glenwood is a testament to highlighting that mulesing in Australia in particular is not necessary with the right breed of sheep for the country. Glenwood like many others have not mulesed since 2005 and has not looked back in terms of management and productivity.

The adult ewes are not treated with chemicals for flystrike as there is a scientific correlation with wrinkle, large primaries and suint to sheep been more susceptible to flystrike.

P RE M I U M M E RI N O Glenwood Merinos' fibre is bold and deeply crimping, soft handling, highly aligned and lustrous. This revolutionary Merino fibre processes better than traditional wools and has many unique qualities that make it highly sought after amongst processors. These include better elasticity, drape, better dye affinity and less noil.

The Glenwood flock averages 18.5 micron on a rolling average and cuts on average about 6.5 kg in 12 months.

Glenwood merino also have their own range of products that are sold under the LoveMerino brand name.

LoveMerino was established in 2015 and was 120 years in the making. Produced using Glenwood's high quality merino, LoveMerino is committed to bringing the “love” back to Australian Merino by developing an ethical, sustainable and collectable fashion brand. The brand is known for; Using the world’s best Merino to craft Australian made, premium quality, luxurious garments; Regenerating the land as custodians for future generations; Adhering to strict animal welfare standards; Exhibiting integrity and ethics in every aspect of their business; Providing full traceability from “fabric to flock”; whilst supporting and promoting local and regional Australia; and Showcasing young, up-and-coming Australian designers.

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From an industry perspective today, the mulesing debate is over. As Glenwood have shown there is no need for mulesing to continue and designers and brands around the world agree.

"WE PROVIDE RESCUE, CARE AND REHABILITATION FACILITIES FOR INJURED WILDLIFE. "

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WWW.GLENWOODMERINOS.COM.AU

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WOOL PRODUCTS A N E W E RA OF R ECYCLED WOOL. HASNA IN L IL A NI

Hasnain Lilani has made it his mission to save wool garments from heading to landfill and re-spin these into new high quality yarns, to be used again.

On a weekly basis Hasnain sees thousands of kilos of wool products from all around the world enter his warehouse in Pakistan. These garments have been discarded by their owners and are no longer needed, however some are still in perfect condition.

CLO UD W OO L ®

Y O L A NDA L E AS K A ND MA RT IN BRA MBL E Y 100% British Wool, Breathable, insulating, light weight and biodegradable Doppelhaus's Cloudwool is a by-product of sustainable and ethical sheep farming in Europe. Shepherds in Europe typically make a loss from the sale of their wool, and rely on the EU subsidy to survive.

It’s sometimes barely worth paying the money to have the wool collected and processed, so as a result it’s often buried or burned!

Wool is one of the most recyclable fibres that we have in our fibre portfolio, its renewable, long lasting and biodegradable depending on the dyes and finishes applied. With a global movement firmly in place for us to use materials that already exist, Hasnain is one man on a mission to make sure our wool garments remain at their highest value and are used over and over again.

Dopplehaus believe this amazing natural fibre deserves to be cherished, and farmers deserve a fair reward for their hard work. That’s why they have created Cloudwool – a cost-efficient way of making a pure wool fabric, that provides added value for the local farmers whose wool would have been wasted, and for a global fashion industry in dire need of affordable, sustainable textiles.

Instagram: @recyclewool

Instagram: @doppelhausltd Website: https://doppelhaus.co.uk/

F OR EST W O O L TA MA RA O RJO L A

Forest Wool turns currently unused Pine needles into a fiber, producing useful by-products essential oil and natural dye. Easy to grow, off-seasonal, ecological material, locally harvested and manufactured.

Pine trees are the world’s main source of timber. Every year 600 million pine trees are cut down in the EU only. But there is more to the tree than just wood: pine needles account for 20 to 30 percent of its mass.

Tamara Orjola researched the potential use of the billions of needles that go unused and found them to be a great alternative for all kinds of fibers.

With standard manufacturing techniques – crushing, soaking, steaming, carding, binding and pressing – they can be transformed into textiles, composites and paper, extracting essential oil and dye in the process. Tamara created an elegant series of stools and carpets made of nothing but pine needles, which shows that this ecological material has a high-quality look and feel.

Instagram: @forest_wool Website: http://tamaraorjola.com/

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S & PRODUCERS SU ED W OLLE

XINAO

ME RINO WO O L

MERINO WOOL

Sudwolle is regarded as a global leader for worsted spun yarn for weaving, circular and flat bed knitting in pure wool and wool blends. With their long history and vast experience Sudwolle have their own merino farm in Australia called mount Hesse. Their merinos are ZQ Accredited, which is an equivalent to the RWS certification and therefore are mulesed free. They have production facilities in Germany, Italy, Poland, Romania, Bulgaria and China.

Their collections include Sudwolle for weaving, Biella yarn for flat knitting, YIM for high-tech circular knitting yarns, Richter for hosiery and Stohr for technical yarns. They offer a comprehensive stok service on pure wool and blended yarns.

Sustainability is a driving factory with the group with their yarns being bluesign, RWS and Oeko-Tex approved.

MOU NT H ESSE PRO DUCE A PR EMI U M 1 8.5 MICRO N MERINO W O O L

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Instagram: @suedwollegroup Website: www.suedwollegroup.com/ Mount Hesse: www.mounthesse.com/ en/the-farm/about-us/

The Xinao textile business started in 1991. Its main business is the research and development, production and sales of wool worsted yarns and intermediate wool tops, producing yarns for some of the leading global fashion brands.

They manufacture in china and have recently opened Xinao textiles Europe, the Italian subsidiary of Xinao textiles, enabling them to produce on-shore for European designers and brands.

Xinao's wool fibres come from Australia where they have their own farm as well as working closely with wool stations such as Glenwood Merino and Coonong who we have featured within this editorial.

The secret to their success lies in their totally integrated production chain: from its farm in Australia, to combing, treatment, dyeing and spinning. They are meticulous about the selection of their raw materials, which has allowed them to become a leader in fine and extra-fine merino yarns Instagram: @Xinao_europe Website: www.zjxinao.cn

D I YA NG MER I NO ME RINO W O O L

Founded in 2008, since its beginning Diyang Merino Textile Ltd have specialised in the production of circular knitted fabrics and garments made from 100% Australian Merino wool or Australian Merino wool in blends with other fibres to add enhanced functionality.

Today Diyang Merino Textile Ltd has become one of the world’s leaders in the manufacture of Merino wool and Merino wool blend circular knit fabrics and garments (Merino Ultimate Range) for the sports/outdoor, active Leisure, uniforms and fashion sectors of the market.

In addition, Diyang Merino Textile Ltd has developed a range of specialist fabrics, technologies & materials (Merino Technical Range) to provide specific functionality to the garments made from them.

In addition to just supplying fabrics and materials, Diyang Merino Textile Ltd has a garment making division who can offer a complete package to customers which include, fabric production, garment making, testing, labelling & packaging.

Website: www.merinoultimate.com/

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AUSTRALIAN SUPER COT TON, ST GEORGE, AUSTRALIA PREMIUM LONG STAPLE COT TON

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ogan Pastoral Co has been growing upland cotton at St George, Queensland, since 1973, one of Australia’s most highly regarded cotton producing areas. Graeme Rogan and his wife Robyn moved their young family (aged 4-9 at the time) to 'Benelong' in 1973. Initially driving sheep and cattle for up to 3 months a year on horseback, the move to growing cotton came with the development of the St George irrigation project.

Graeme included the children in the family business very early on. Glenn who had only just left school when he was included into the partnership. That partnership continues today, with Glenn taking over the bulk of the management of the farm and helping its expansion by purchasing neighbouring properties to make it what it is today. The additionalland has helped Australian Super Cotton to enable smarter use of water, increased crop rotation and ultimately optimising the land they manage and care for.

One of the key strengths Australian super cotton has, is that its family owned and run. They not only work together to continuously improve their systems, their efficiency and their yield, but to make sure everything they do works for their communities and the changing environment around them. Corporate growers come and go, working in short term reporting cycles, whereas the Rogan family, work with their future generations in mind - they plan in decades rather than short cycles, like many other cotton and wool growing families in Australia.

Glenn and his family are always looking to produce the best Australian supercotton that exists in the market today by continuous improvement.

Their Fibre For the past 7 years, they have been a dedicated grower of Australian Long Staple (ALS) premium cotton varieties. They 34

have been a key grower in the Australian cotton industry's "Premium Cotton Initiative" which started in 2007.

AUSTRALIAN SUPER COTTON is a long staple (fibre) length, which means you can create a stronger garment or textile product out of less yarn. Fewer fibres in turn mean softness and a more luxurious feel. The raw premium cotton feels very soft and silky, with a bit of a shine to it, similar to wool.

Producing premium cotton is much more than selecting the right varieties. Much of the characteristics are to do with the hot dry area of Australia it is grown, but more importantly the management decisions made during the life cycle of the crop.

Farming Practices St George in South West Queensland is the ideal place to grow specialty cotton. With water allocations most years from the Balonne River, at the intersection of two major transport routes, and access to two ginning plants within less than 50km’s, ‘Benelong’ is situated in a winning spot.

Glenn voluntarily uses Best Management Practices (myBMP) whilst growing his cotton. One very appealing feature of this leading industry initiative is that it enables full traceability - from end product right back to which paddock the cotton was grown in by individual farmers. It also ensures that cotton is produced on farms with the best farming techniques, technology and in an environmentally sustainable way.

Glenn's daughter Rebecca also plays a fundamental roll in the business as their product development manager. After graduating from the university of Queensland, Rebecca went on to be a grower representative on the CRDC committees which reviews research and funding for the cotton industry.

She is also a qualified auditor and today looks after the compliance and the intricate record keeping side of their business.

AUSTRALIAN SUPER COTTON is premium cotton - so premium that it’s in a class of its own.

AUSTRALIAN SUPER COT TON "IN GOING TO UNIVERSITY MY DESIRE WAS PRIMARILY TO GIVE ME THE BACKGROUND OF SCIENCE AND THE KNOWLEDGE WE NEEDED TO BE BET TER FARMERS. "

WWW.AUSTSUPERCOTTON.COM.AU GLENN ROGAN, AUST RALIAN SUPER COT T ON

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FULL CIRCLE FIBRES & AUSTRALIAN SUPER COT TON "IT'S LIKE THE "EVERYTHING IN MODERATION" IDE A WE OFTEN USE FOR DESCRIBING A HE ALTHY DIET NEEDS TO GET TRACTION WHEN LOOKING AT NATURAL AND NATURAL BASED FIBRES, THERE ARE WAYS TO DO ALL OF THEM WELL, AND IN EQUILIBRIUM, BUT WHEN WE GET GREEDY THE WHEELS FALL OFF."

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MERI EL CHAMBERLI N,REBECCA LINDERT & GLENN ROGA N

WATCH & LIS TE

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IN CONVERSATION WITH MERIEL CHAMBERLIN FOUNDER, FULL CIRCLE FIBRES | AUSTRALIA

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eautiful, Ethical, Traceable – it’s all any of us want to say about our products right?

We now want to say ‘regenerative,’ too, we must work in a way that we could do it forever. This is the entire reason Full Circle Fibres began. After 20 years as a Textile Technologist in global and local supply I wanted to work with products where I knew the whole story, locally grown and made. We know where it’s from, where it’s processed and that by being a natural fibre we know where it can safely end its life too. Right now, when we consider fibre shedding in use, as well as safe disposal, natural based fibres are the only option we could describe as forever possible.

It is truly a blessing to work with Glenn Rogan and Rebecca Lindert at AUSTRALIAN SUPER COTTON, not only is it a pleasure to bring their fantastic fibre to life, our families have got to know each other too, our whole family loves getting out to the farm, it’s a partnership. Our passion and knowledge together has forged this single origin supply chain, making it available to makers and designers alike, we’ve done the homework for them, we know the whole chain.

Genuine best practice, care and continuous improvement we can implement throughout the system, moves us to a world where we can be in balance with our resource use.

Replenishment isn’t just about accounting inputs and outputs, it’s about slowing it down, and valuing the people and place at every stage. For a high quality item, the lifetime as well as the stewardship, is a key factor as we work to regenerate our planetary ecosystems. Farming at AUSTRALIAN SUPER COTTON is a labour of love, constantly striving to improve the fibre quality and consistency while reducing their impact on the land.

We could write a book about the detail of what happens on farms and in our supply chains, the precision of moisture probes throughout the paddocks, the laser levelling to ensure even and just enough irrigation, the deeper sectioned water storage for massive evaporation reduction, the organic fertiliser applied in variable precision dosing systems, the refuge crops for insects to breed away from the cotton, the fibre is carbon positive at farm gate, with solar panels replacing fossil fuels on the farm, or the satellite linked monitoring that alerts about soil moisture to ensure continuous perfect fibre growth isn’t impacted and the quality remains top notch.

Checking through all the quality data referring back from the bale to the field position, what went well and should be repeated next year, or what could be improved? Or the automated systems at the spinning mill removing any contamination by superfine air-jets, or that by changing spinning methods we added 50% to the cloth lifespan, or the right first time rates at our dye-house keeping water use to a minimum.

But really, at the end of the day unless it ends up in a well designed and thought out product, put together with skill and care, it’s just another supply chain in the churn of our global industry. Dear designers, it’s over to you, as when a customer loves the fit, finish, colour and style, they will cherish an item forever & launder it with care. Then our collective story of regenerative and sustainable practice comes to life!

We are ready to collaborate at many levels, from forensically verifiable bale supply, or yarn through to cloth by the roll.

www.fullcirclefibres.com

TRACE ABILTY & TRANSPARENCY

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COT TON PRODUCTS ORG ANI C C OT T ON

ORGANIC COT TON COLOURS Organic Cotton Colours is a vertical manufacturer that has its own cotton-growing project in Brazil involving more than 450 growers and their families in order to control the entire production process and the total purity of the cotton. Their goal is to generate a real social impact, ensuring that all the families involved can subsist on their produce and make profits from their cotton.

Organic Cotton Colours sell fibres and fabrics as well as manufacturing your finished products for you using their materials.

They also produce our RawAssembly team t-shirts that everyone loves.

Learn more about them within our sourcing directory.

ORGAN I C C OT T O N CHARLE BERLIN

Charle Berlin have developed the world's first proven ecologically sound elastics made from Organic cotton and natural rubber.

Many Geddert joined forces with an Austrian ribbon manufacturer, to develop her biodegradable elastics.

After a good yet intensive six-month period, Geddert was able to produce her first organic cotton + natural rubber 18mm-wide elastic ribbon.

What was initially designed to solely meet her own brands label requirements at the time, soon turned out to be a solution that could bridge a gap in the market. A number of different designers and haberdashery shops became aware of the sustainably produced ribbon and ordered their first 100m lengths.

Brands all over the world today source their trims from Mandy.

Instagram: @organiccottonco Website: www.organiccottoncolours. com/en/

Instagram: @charle.berlin Website: www.premium-haberdashery. de/CHARLE-Berlin_1

R EC Y C L ED C OT T ON RECOVER

The Ferre family have been producing up-cycled cotton yarns since 1947.

They use textile waste as a raw material resource and turn it into new premium recycled fibres, diverting it from landfill and incineration.

They are not dependent on virgin materials, they don't use water or chemicals and by doing so they are able to reduce their CO2 emissions and energy use.

“The Ferre family has been innovating for generations to perfect the Recover process. We are proud to offer the highest-quality and lowest-impact fiber available in today’s market”.

A Circular System Their range of Recover yarns allows for a closed-loop and truly sustainable fashion industry. Textiles made from Recover Fiber can flow through the recycling process for many life-cycles. Their yarns are long-lasting and high-quality.

Learn more about Recover here Website: www.recovertex.com/ Instagram: @recoveryarns

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SMALL PART OF OUR DIGITAL SOURCING PLATFORM. WITH OVER 75 SUSTAINABLE INTERNATIONAL SUPPLIERS FEATURED AT ANY ONE TIME. WE HELP HIGHLIGHT WHATS AVAILABLE TODAY THROUGH TO WHATS ON THE HORIZON FOR TOMORROW. OUR GUIDES HELP YOU TO SOURCE RESPONSIBLY AND SUSTAINABLY

BY DISCOVERING NEW LONG TERM PARTNERS FROM FIBRE GROWERS THROUGH TO FABRIC MILLS AND GARMENT MANUFACTURERS

MAT ERIAL GUIDE S

OUR FABRICS GUIDES ARE JUST A

SUBSCRIBE TO RAWASSEMBLY HERE AND DISCOVER OUR MATERIAL AND SOURCING GUIDES

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TEXTILE PRODUCERS

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"QUOTE TO ADD:"

P H OT O C R E D IT : T H E N E W D E N IM PR O J E CT

N A M E - C O MP ANY . X P HO T O C RE D IT: THE NE W D ENI M P R O J EC T

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TH E NE W DE N I M PR OJ E C T INTERVIEW WITH ARIANNE & JOANNA ENGELBERG

Textiles do not refer to pieces of cloth — textiles are the framework of our second skin. They involve an artistic process, a transformation of fibres, evidence of the creative mind. Fabrics tell us stories, breathing history, telling us what is happening and where we’re going.

Textiles make culture.

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an you introduce who and what The New Denim Project is.

The New Denim Project: a sustainable textile laboratory, design studio and manufacturing workshop within Iris Textiles, a third-generation textile mill, operating since 1956 in Guatemala.

Can you take us through your closed loop industrial manufacturing process and how The New Denim Project (TNDP) is guided by circularity and regeneration?

Under our textile-to-textile up-cycling system, we’ve managed to establish a fully closed-loop textile mill, which is among the first of its kind worldwide. Circular economies are crucial in the fight against the fundamental causes of environmental destruction. More than a mechanical process, it is a visionary journey to lead us in changing our practices, where all discarded materials are designed to become resources for others to use. At our core, we intend to work using sustainable design principles that are embedded in the very genetics of our manufacturing processes, our materials, and in the context of all of our movements..

What have been some of the key challenges faced since establishing TNDP and how has the business evolved?

Around five years ago, my sister Arianne and I joined my father in rebuilding the business.Together, we decided to refresh the vision and values behind the 60 year old company that our grandfather founded. We knew that if we were to remain competitive and relevant for another 60-plus years, we would need to rethink the business entirely and break with the linear patterns that have been guiding textiles for too long. We were determined to conceptualise the rebirth of our grandfather’s work. To redesign the way we source and dispose raw materials, adapting and improving the current mechanical processes that bring those materials to life; polishing and elevating sustainable textile production, product design, and development.

Can you tell us how you manage the by-product waste of your own process in your factory?

As we envisioned our circular manufacturing process, we also envisioned our supply chain relationships becoming less linear. We have created a more open and fully transparent connection between all contributors, opening new communication channels within the supply circle—farm, mills, studios, brands, clients, shops, students, agents, and so on. It’s a new approach that permits the sharing of ideas, values, and understanding, so we can work as one.

In order to up-cycle our own waste, we collaborate with our coffee partners, Finca San Jeronimo Miramar (FSJM), a paradise and eco-diverse farm in Suchitepequez, Guatemala. The farm is a private nature reserve and a well-known research laboratory developing natural methods of growing coffee. FSJM collect the leftover cottonseed from our spinning process and, once composted, use it as natural fertiliser for their coffee and other crops.

Together we work under a shared

system, generating a circular economy where all discarded materials are eternally metabolised.

What has been one of the most memorable collaborations TNDP has been a part of?

Our phenomenal clients and contributors so far in this journey have included Barneys NY (Japan), J.Crew, West Elm, Wool and The Gang, Whole Foods, Madewell, Tomorrowland (Japan) and Halo Creative Design by Timothy Oulton; independent designers such as Mara Hoffman, Industry of All Nations, Kordal Studio, Caroline Z. Hurley, Study NY, House of Land, Luna del Pinal, Meema, and Olga Reiche; as well as coffee geniuses Finca San Jeronimo Miramar and Nossa Familia.

And of course, our partners in production and distribution: Takihyo, Algodones Mayas, and so many more brilliant talents who have worked hard pushing innovation forward as well as raising awareness of the potential for

positive impact inherent in textiles.

Can you share any current collaborations TNDP are working on and what we can expect to see in the future from TNDP? We recently launched a collection with NY-based ALEX MILL. An impeccable handwoven and upcycled collection by the surreal LUNA DEL PINAL. A home linens collection with MEEMA available on Amazon. And so many more! Visit our instagram to see our most recent collabs in real time!

You can expect to see much more of our Coffee Loves Denim collaborations with green coffee changemakers and geniuses! you can expect to see much more of our coffee love standing collaborations with green coffee changemakers and geniuses.

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What do you believe would further encourage and support the progression of a biological and circular global fashion industry?

If we want humanity to move forward, we must build ideas that contribute to a collective economy. We must encourage up-cycling in our businesses, our homes, and daily life activity.

The world cannot continue absorbing our waste. I truly think it all comes down to the authenticity of their intention to drive change. Albert Camus said it best in eight words: ‘In order to be, never try to seem.’

We cannot selectively numb components of our operations and expect to create tangible positive impact. The desire to drive positive change must be ingrained in our DNA of everything we do: the way we design, how we live, why we work.

Businesses must invest in understanding intellectually and emotionally how a collaborative system works. Understand that this connection comes as a result of authenticity, which then results in credibility. To earn this credibility, one must be committed to changing the story that we keep believing and sharing: that happiness and wealth come from having as much economic growth as possible, and that therefore we must produce more, so we ourselves can have more. Unlimited growth will not lead to sustainable development. It doesn’t matter how many green collections we design, they will have no real impact if we do not truly change their narrative. We must slow down. Once we understand this, investment in design and new systems will come naturally.

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We would love to hear how you are addressing the Sustainable Development Goals and implementing them into your business.

We are mostly focusing on SDG no. 12: Responsible consumption and production as well as no. 17: Partnerships for the goals Worldwide, the fashion industry generates US$1.7 trillion, and global production is set to rise by 63% by 2030. About 1.24 billion pairs of jeans are sold annually, with 15% of the fabric used to make that amount of denim wasted during the cut and sew stage. This means we waste enough fabric to make around 150 million more pairs of jeans, which is crazy.

It is more than apparent that the textile industry has not innovated its core structure.

It is a monumental industry, in desperate need of innovation.

So the question for us was: why not explore this opportunity?

As creatives and industrialists, we must have a 360-degree vision and perspective of what is happening around us. We have created a system that puts out massive amounts of material, and creates vast amount of pollution, poverty and waste. Therefore we must create a parallel system that can recover and reprocess all material, create a thriving work environment (socially and environmentally) that will push for positive change, and ultimately replace the prior establishment.

In this new era of design, real innovation seeks to replicate nature’s model of efficiency. It’s obvious to me that if we want to seek sustainable solutions to the world’s same old problems, we must study natural organisms. Specifically, their capacity to adapt to life on Earth, and their patient and powerful ability to survive over extensive periods of time using

-THE NEW DENIM PROJECT

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life’s raw energy and tactics. Just as all of life is interrelated— and just as every living thing on Earth contributes to the trajectory of every other living thing—players in the fashion industry must stop working in isolation. A sustainable future requires co-creation from different fields and mindsets. All elements in a shared economy belong together, and must strive for the preservation of the entire ecosystem. Our system is all about the search for this symmetry, and a celebration of balance.

How do you think we could help increase awareness around the SDG’s in your region and across the world?

Education. Community.

Sustainability is the most sophisticated manifestation of design. It is the architecture of life and of all thriving species and systems on earth. Sustainability utilises bio-inspiration, and strives for a biomimetic future. It contemplates the entirety of design—from the most microscopic component of an item to its final material and aesthetic; its lifecycle, level of utility, and its social, financial and environmental impact.

Sustainable design, by its very nature, adds to the earth, rather than taking from it.

Any industry that is neither sustainable nor ethical should not be part of our ecosystem, our communities, our planet.

Perhaps if we called all ‘non-sustainable and non-ethical’ industries ‘fast, irresponsible, polluting, greedy and poorly designed labels’ we would understand the beast we have built.

It is obvious that we reached a point where sustainable and ethical businesses have to be labelled as such because all the mainstream, conventional options are not.

Language is one of our most powerful tools as human beings, so we must turn these labels around and change the narrative.

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The story of the good guys as outcasts and that harmful systems and products will always be the norm of manmade design must not be the narrative any longer.

We can start by voting with our wallet. Every buy is a vote for the kind of world we are envisioning and working towards.

Support clean, good, conscious, authentic institutions and brands.

What does a regenerative future look like to The New Denim Project?

The challenges of today and of the future are endless—materials, waste, consumption, education, design and, again, the age-old narrative that we must sacrifice our ecosystem to live pleasurably.

But, just as we have all these challenges, we see a tremendous opportunity to explore and manifest solutions.

We must not forget that throughout history, civilisations who have failed often abused the system that sustained them.

Those who have thrived have withstood great challenges, withstood earthshaking change with creative collaboration and resilience. Humanity has sustainable design encoded genetically in our bodies, and that earthshaking change can ultimately be for the better.

New generations excite me. I believe through time we have developed a deeper understanding and appreciation for empathy, consciousness, and creativity. These three basic attributes have the power to, in time, change our course, and perhaps guide us to the most innovative and giving phase we have ever seen. We definitely hope we live to see it.

Subscribe to RawAssembly to see Arianne's and Joanna's full video, created exclusively for RawAssembly - View it HERE

DISCOVER THE NEW DENIM PROJECT'S UPCYCLED & CIRCULAR MATERIALS Discover TNDP's circular, upcycled materials in our sourcing directory.

UPCYCLED / SUSTAINABLE / CHEMICAL-FREE / CIRCULAR / NATURAL FIBRES Specialty open-end yarns and woven fabrics.

Raw material derived from upcycled cotton and post-industrial textile waste.

WWW.RAWASSEMBLY.COM

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-THE NEW DENIM PROJECT

BY IRIS TEXTILES

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“A SUSTAINABLE FUTURE RE DIFFERENT FIELDS AND MIN SHARED ECONOMY BELONG TOG THE PRESERVATION OF THE SYSTEM IS ALL ABOUT THE S A CELEBRATION -THE NEW DE

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EQUIRES CO-CRE ATION FROM NDSETS. ALL EL EMENTS IN A GETHER, AND MUST STRIVE FO R E ENTIR E ECOSYSTEM. OUR E ARCH FOR THIS SYMMETRY. N OF BAL ANCE.” NIM PROJECT

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MTK AUSTRALIA INTERVIEW WITH STEPHEN MORRIS-MOODY

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CK T O W ATCH &L IST

AUSTRALIAN FABRIC MANUFACTURING AT ITS BEST

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TK is a Melbourne based mill that has been servicing the local and international fashion industry for the past 87 years, with an assortment of clients from Cue through to Chanel, Balenciaga, Agnes B, Louis Vuitton, Beca and Bridge, Veronika Maine, Saba, and Vince among many others.

Producing some of the most luxurious and sustainable circular knitting fabrics ranging from 28 gauge next-to-skin RWS knits, through to beautiful 12 gauge closed-loop, biodegradable and naturally derived materials such as Tencel™ & Tencel™ Luxe

Can you introduce MTK, where you are located and what you specialise in?

MTK Australia is a niche manufacturing business in Melbourne Australia. The business is 90 years old and over it’s life time has evolved from a knitting mill producing cut and sew fabrics for it’s own garment collection to a specialty knitting mill producing Luxury high end novelty and basic knits for many of the iconic major labels locally and internationally What gauges are available at MTK and what types of materials are designers and brands able to produce with you?

We work with a large variety of counts and fibres and with major sustainable yarn manufacturers like Lenzing and Enka , Organic cottons, RWS wools , FSC Viscose and currently looking at and trialing non virgin man made fibres. Gauges are from 12 to 28 gauge circular knitting machines.

Australia Is a global leader in R.W.S merino wool, and produces some of the finest microns available today. Can you tell us about the RWS merino that you use and its origins and what type of circular knitted fabrics you produce for the domestic and international brands that you work with?

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We work with Fox & Lillie who are a family owned and operated wool trading and export business. Founded in 1948 they have over 70 years experience in the finest merino wool and have established themselves as one of the largest traceable, sustainable and ethical farm groups, called Genesys, which is certified under the Responsible Wool Standard (RWS).

We are able to trace our merino from the farm through to spinning and back to us for knitting, allowing us to know that our supply chain is ethical and we are using non-mulesed merino for all of our clients.

Over the last few years we have produced wool products for both Lanvin and Chanel, amongst others ranging from next to skin knitwear to Ponte fabrics. Its such a great fibre to work with for all product types from activewear through to high end luxury.

MTK has worked closely with the Kering Group for some years now in the creation of luxury and sustainable materials for brands such as Balenciaga. How do you feel the luxury sector can help drive change in the fashion sector, especially in influencing the fast fashion brands in becoming more sustainable?

I think they are leading by example have for many years now been moving to a more sustainable model. The Kering group will no longer work with suppliers who do not embrace sustainability and all fabrics must have a level of sustainable elements. They are doing all they can to educate their consumers and thereby the rest of the industry who monitor what they are dong in this space.

With global demand increasing for traceable and sustainable materials can you let us know which raw materials (fibres) are in high demand at MTK and what type of fabrics are you producing from these and for who (if and where you can share)?

Wool has always been a passion of mine and so we will only use RWS sourced fleece . Our clients demand this.

The reason we use RWS wool is because to have RWS status there has to be an Holistic approach to the production. This encompasses Landcare as well as world class animal husbandry practices. The landcare and animal husbandry are critically important to me and my clients who include Arnsdorf, A.BCH, Viktoria and Woods, Bec and Bridge, Gravel and Gold in L.A. and in the past Lanvin and Chanel. Ribbed fabrics are mostly what we are producing in this space at the moment however this changes constantly

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This year has reignited the on-shore manufacturing resurgence in countries all across the world due to the pandemic and also on-going trade tensions. How have you seen this unfold in Australia and what do you think the industry here could look like post the pandemic?

I think it is driving a return to local production but that is happening mainly in a small way in some of the larger organisations who are doing small capsules within their businesses. We at this point have not had any extra business due to this mainly due to the cost of producing our high end product with expensive yarns in Australia. We are currently talking to some of these labels but as yet it has not translated into any orders.

Thankfully we have always had loyalty from the local labels above.

Do you see a difference between the Australian market and the rest of the world in terms of action, long term sustainability planning and industry transformation? (Are there any examples you can share?)

Most of the locals mentioned above are and have been embracing this trend for a while now however whilst It is not good to generalise many of the larger companies are of the opinion that their clients don’t care that much and will not pay the extra for sustainable local product.

Are there any particular changes happening in the fashion industry, which excite you and have the potential to future proof the industry and drive systematic change?

I am hopeful the smaller independent labels will continue to drive sustainability forward and in so doing bring the middle market with them. That they will encourage some of the larger labels to follow the lead of these small labels and some of the big internationals like Kering to do more in terms of education. Educating their clients that fast fashion is no longer an option. That as one of the biggest polluters we need to change our approach to textiles and fashion. We can longer continue to create landfill.

STEPHEN MORRIS-MOODY

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OWNER OF MTK KNITTING MELBOURNE AUSTRALIA

SUBSCRIB E TO RAWASSEMBLY HERE W W W . RAW ASS EMBLY .COM

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“YOUR LOCAL AUSTRALIAN TEXTILE DYE AND FINISHING HOUSE”

GEELONG DYEING

INSTAGRAM: @GEELONGDYEING WWW.GEELONGDYEING.COM.AU 58

Pride & Integrity in Workmanship.

G

eelong dyeing pride themselves on the integrity of workmanship.

In the hands of technicians with 80+ combined years of passionate industry expertise. Partner with them for confidence in colour ideation and textile solutions.

Geelong Dyeing pride themselves on being socially and staying informed by participating and collaborating in industry innovations.

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R&D IDEATION - LABDYE - PROTOTYPE - PRODUCTION LOOSE STOCK YARN TO WOVEN FABRICS SUSTAINABLE CHEMICAL FINISHING NATURAL DYEING, PRE MORDANTING & WORKSHOPS

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Local Australian Textile Dye & Finishing

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ustralian owned and operated bespoke textile dye & finishing house. Geelong Dyeing have been operating in Geelong, Victoria servicing the textile industry both domestically and internationally for over 40 years.

They are dedicated to maintaining and continuous improvement of sustainable and ethical practices.

W ATCH

&L

IST ERE EN H

Committed to only using low impact dyestuffs they also have onsite water catchment, recycling and treatment processing.

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Geelong Dyeing can dye yarn and sliver for machine knitters as well as hand knitters.

They can also process fibre/yarn for tufted carpets and non-woven manufacturer's.

Their Facilities can cater for the processing of woven fabrics and non-woven fabrics, package dyeing yarns, loose stock and tops.

Their capabilities are spread across varied industry sectors, fibre arts, apparel, fashion, furnishings through to ballistics fibre and industrial rope installations.

Their clients range from independent individuals to commercial operations, fashion designers, corporate business, uniforms, interior designers, architects, upholstery and soft furnishing wholesalers through to fibre artists in craft, tapestry and felting, weaving, hand knitters and machine knitters.

GEELONG DYEING

GE ELONG DYE IN G

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BIOFAB RI CATED

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"IT'S A FUTURE IN WHICH WE FIND OURSELVES BEING A PART OF THE ECOSYSTEMS INSTE AD OF EXPLOITING THEM. UNDERSTANDING NATURE'S PROCESSES AND CO-CRE ATING WITH IT." M A RÍA JO S É BE S O A I N N . C O - F O U N D E R L AB V A P HO T O C RE D IT: RA MÓN V Á S Q UEZ @R . V A S Q UEZL EM U S

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INTERVIEW WITH MARIA JOSÉ BESOAIN CO- F O U N D E R L A BVA

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ABVA is an independent, self managed and open source bio-materials laboratory based in the city of Valdiva, Los Ríos region in Chile . We interviewed María José, co-founder, biomaterial researcher and architect to share with you the work they are doing and their journey of curiosity, research, innovation, education and product creation in the area of biofabrication.

Can you let us know how the lab was started and who else is involved The lab started three years ago with Alejandro (architect), Valentina (Designer) and María José (architect), the three of us have a design background. We came to live here at Valdivia, at the south of Chile where we met and started sharing our love for fermentation processes and collecting wild edible fungi. Valdivia is the fungi and also beer capital of Chile, so there is a lot of waste coming out of the breweries and we decided to create something out of it.

Our lab is a kitchen where we started to understand the biological processes that could transform agroindustrial by-products into new materials with the help of fungi and different microorganisms. All of this was very intuitive and also very guided by our curiosity, but with the help of different people in other labs we started to understand what was going on behind this amazing transformation. We started to understand our natural and anthropic abundances present here at our territory and to develop methodologies to approach this biodiversity and to teach others how to immerse in biofabrication practices. We realised then that we needed to expand our team incorporating people with scientific backgrounds, and so Gabriela (biochemist) and Esteban (marine biologist) became part of the project.

Your team have a wide range of experiences and skills from architects, marine biologists, biochemists through to designers. How do all of these skills come together in the work that you do?

Our work is founded in transdisciplinarity, we are a team with no background whatsoever in material design, so this has been a beautiful journey and learning experience because no one is really the expert and so every question is equally important, and we really question everything. We all try to answer

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these questions using our backgrounds but also venturing into other disciplines and the ethnobotanical knowledge present in our territories through the teachings from our ancestral communities. We think probably the biggest challenge of mixing our skills is that we have had to adapt our language, create new concepts that could convey all of the questions that are guiding our processes.

What would you say is the main goal behind the work LABVA do today?

To question our material culture and try to create a new culture in which everyone has something to do about it as hands on experience. Teaching how to approach our territories in search of material answers and being able to create multiple answers instead of one that works for everything -the petrochemical approach- and empowering people to search for these answers locally in order to create a biomaterial palette that is diverse and unique for each territory, answering local questions instead of global ones that’s our main goal.

Your team are very passionate in helping to disseminate knowledge through conferences, workshops and on such platforms as RawAssembly, how receptive do you feel different industries have been towards bio-materials and where do you see the most potential today and for tomorrow?

The dissemination of innovation and new biotechnologies allows users to question deeply the processes behind the creation and degradation of our built world. This empowers users to demand changes in the industry. Here in Chile, industries are not so receptive to these changes so they try to create hybrid answers such as some percent bio-based products, which even though they use less fossil resources are not recyclable. We see potential in growing biomaterials, such as fungi, algae or bacteria, or incorporating these in the processes of manufacture, but that also means to question the neoliberal model and globalisation in order not to create the same problems again and that, for some industries, is a threat.

For others, a challenge.

@SOMOSL ABVA WWW.L ABVA.ORG

PH O T O CRED IT: LABV A

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PH O TO CRE D IT: P: R A M Ă“ N V Ă S Q UEZ @R . V A S Q UE Z L E M U S

Recently you have won an award from Beyond plastic, can you share with us what you created and how that/ those biomaterials could help to change the landscape of plastics in the future.

We won in the category Best Initiative in Education / Journalism / Campaigning. LABVA aims to bring science closer to the community, focusing especially on new materials or open biomaterials and creating a culture around this new materialities.

What would happen if we made our own artisanal bioplastics? Would you dispose of them as easily as plastic just because they are bio? Does our planet resist the generation of single use plastic alternatives without questioning or modifying our consumption habits? Those are some of the many questions that guide our investigations. We firmly believe that environmental issues can be solved by modifying our culture, in which disposable is not an option, and materialities can flow and take different shapes. Therefore, by teaching how to grow, harvest and make materials these become emotionally binding, associating territory, ecosystems and it‘s communities. Waste is a design flaw and it is our duty to make emotional materials so getting rid of them becomes impossible.

Where do you start in terms of your raw materials?

We recognise the potential of our territory associating ethnobotanical ancestral knowledge to biofabrication processes. Recognising our natural and anthropic abundance and start experimenting with its possibilities.

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Can you tell us about your Maqui Biotextile that has been developed from the bacteria present in the fermentation of Maqui?

The Aristotelia chilensis (Maqui) tree is native to this region and it is also extremely abundant because it's a pioneer species, this means that it's the first to colonise degraded soils, setting the perfect conditions for other native plants to grow. It is also a food source for birds that depend on this tree to survive their migratory routes. The Maqui also plays a key role in the Mapuche tradition and cosmovision; it is used as food, medicine and for natural dyes. Creating a material 100% derived from this tree microbiota is both a discovery and also valorisation of all the scales involved in its creation.

This native biomaterial materialises the collaboration in its ecosystem by colonising and feeding others beings, the collaboration between communities through openly sharing their ancestral knowledge of its conscious and sustainable collection, and the collaboration of its symbiotic microbiota, since its the bacteria and yeast present in its leaves and fruits that do this microscopic weaving. Each scale works in tight collaboration setting an example of how materials should promote values in order to change our material culture. Our part is ensuring that it grows, feeding this culture and creating the perfect environment for it to thrive. This results in a biomaterial that is deeply rooted to its territory; a biomaterial that is conceived, makes sense and can only be grown in the south of Chile.

And the potential of cellulose biotextiles in general that can be generated by bacteria through a bio fabrication process with micro-organisms and why this method offers the potential for future low environmental impact materials that are biodegradable, renewable and therefore sustainable We can use different sources of microbiota that are present in each territory, and using a small amount of water and a sugar source (that can be also a byproduct from another industry) we can grow biomass without land use as we can grow it vertically. The byproducts generated by the growth of bacterial cellulose are useful for other processes too. So there is an inherent circularity of these fermented materials.

What do you think the future of materials will look like?

It will be diverse, heterogeneous, native and emotional, in constant mutation and adaptation, and they will nurture our territories in its degradation.

What does a regenerative future look like to LABVA? It's a future in which we find ourselves being a part of the ecosystems instead of exploiting them. Understanding nature processes and co-creating with it.

What unique material attributes can be achieved?

We are always questioning how industry works through the lens of our ethics. We also intend to test the extent to which our investigation contributes to our field and to the society. So we believe that it is time to develop a micro-factory according to our values, testing a different scale and to take advantage of the questions that arise from this process.

&W ERE CH H

You have mentioned that you are now in the early stages of building a micro factory of biomaterials. What will this look like and how will this help LABVA in the work you do?

LISTEN

AT

This material is so versatile that it can range from a paper, to a cardboard or to a textile depending on the time of growth, additives in the medium, its harvest, drying, treatments and coatings.

D I SC O VER L A BVA ' S I NSPI R I NG W OR K I N OUR BI O- MAT ER I A L S SO UR C I NG TA BL E SEC T I O N O N OUR D I G I TA L PL AT F O R M - HER E

"IT WILL BE DIVERSE, HETEROGENEOUS, NATIVE AND EMOTIONAL, IN CONSTANT MUTATION AND ADAPTATION, AND THEY WILL NURTURE OUR TERRITORIES IN ITS DEGRADATION" MA R�A JO S É BE S O A I N N . C O - F O U N D E R L A BVA 67

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BIOFABRICATED BOLT T HRE ADS

MYCO W OR K S

MUSHR OO M PA C K A G I NG

Bolt Threads is a material solutions company. Taking nature as their inspiration they invent and scale advanced, credible materials that put us on a path towards a more sustainable future. Mylo is Bolt Threads revolutionary material that merges deep science with high design. Made from mycelium, the network of thread-like cells that make up mushrooms.

MycoWorks have created one of the world’s first non-plastic, non-animal bio-materials that performs like leather, and with a growing list of elite brand collaborations on the horizon, the Reishi team is helping to launch a new era in fashion. After nearly a decade in development, the company launched ReiShi, earlier this year. Mycoworks “fine mycelium,” is a groundbreaking, fungus-grown material that looks, feels, and even smells like leather.

CUSTOM MYCELIUM-MADE PACKAGING The designers at Mushroom® Packaging work alongside you to design custom moulded mycelium packaging for you product.

M YCEL IU M - L E AT H E R AL T E R N AT I V E

Instagram: @boltthreads Website: www.boltthreads.com

M Y C E L IU M - L E AT HE R A L T E RNAT IV E

New York fashion week in February 2020, was the first time the team had presented Reishi in its entirety: their name, their website, their concept, content and creative point of view. The launch was a huge success with some of the leading luxury brands falling in love with it there and then.

Instagram: @madewithreishi Website: www.madewithreishi.com/

MY C E L IU M - PA C KA GING A L T E RN ATIVE

Mushroom® Packaging is simply made with 2 ingredients: hemp hurds and mycelium. Their product is a living material and is grown to shape. The material is grown in a tray for 4 days, then removed to grow for 2 more days, and dried for 1 day.

A high-performing packaging solution, cost competitive, thermally insulating, and water resistant.

Add to the soil to compost in 30 days at home.

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Awarded Cradle to Cradle Gold Certification.

USDA Bio-based Preferred Class A Fire Retardant Biodegradable Product Institute Certified International Living Future Institute, Declared Red-List Free VOC Free Aldehyde Free

Instagram: @mushroompackaging www.mushroompackaging.com

D | L AB GROWN

KELP, CARBON, CLIMATE & CLOTHING

BIOLOGY IS THE FUTURE OF FASHION A L G IK N IT

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MA GA ZINE NAME (MASTER PAG E )

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ike the earth itself, the fashion and textile industry must move in parallel motions to our planets climatic and ecological systems.

It is time to reshape our lives through regenerative and intentional design that takes inspiration from nature, for a future that allows humans and all living species to thrive within our biospherical limits.

In the words of this generation’s necessary leader, Greta Thunberg;

“Instead of looking for hope, look for action. Then, and only then, hope will come.”

The time is right for a systems transition, so together let’s take that next step and bridge the gap between intention and action. Championing responsibility as we enter the United Nations declared Decade on Ecosystem Restoration. A moment in time which will end in line with the UN Sustainable Development Goals in 2030. A decade we are all aware is critical in determining if we collectively will limit global warming to meet the central aims of The Paris Agreement.

Over the following pages we highlight individuals and collectives exploring our symbiotic relationship to nature through a range of disciplines. From textile artist Vanessa Barragão advocating for our unspoken coral reefs, to biomaterial innovators, designers and research laboratories exploring a variety of algae species and how they can be used in the fashion and textile industry as restorative resources. #generationrestoration

KIRRALY ANTCLIFF

CONTENT & CO-EDITOR,

R AWAS S EM B LY WWW.RAWASSEMBLY.COM INSTAGRAM: RAW.ASSEMBLY LINKED-IN: RAWASSEMBLY FACEBOOK: RAWASSEMBLY

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MA GA ZI N E NAME ( MASTER PAGE)

ALGAE PROPERTIES Algae in b o t h i t s m a c r o a nd m i c r o f o r ms pl ay an i nte gral ro l e i n bal anc i ng o ur pl an et’ s e co sy s t e m a nd t o d a y t he s e l i v i n g o rgani sms pro vi de f undame ntal bui l di ng b l o ck s i n th e d e v e l o p m e nt o f v a r i o us bi o mate ri al s. As we l o o k to a f uture o f e c o syste m r esto r at i o n, d e c o up l i ng f r o m t he f o ssi l f ue l i ndustry i s a ke y pi e c e o f the puz z l e w ith algae p o s s e s s i ng a l t e r na t i v e s o l uti o ns. Fro m bi o f ue l de ri ve d f ro m ke l p and seaw ee d to ne w a l g a e - b a s e d b i o m a t eri al s that c an re pl ac e the i r pl asti c e qui val e nts, al l w h i lst cap t ur i ng c a r b o n f r o m t he a tmo sphe re i n the pro c e ss.

Acco r d i n g to t he C l i m a t e F o und a t i o n, ‘ Ke l p f o re sts are o ne o f Earth’ s mo st vi brant b i o mes an d d y na m i c c a r b o n s i nk s , d r awi ng do wn mo re C O2 f ro m the atmo sphe re by ar e a th an land - b a s e d r a i nf o r e s t s d o . ’ Whe n i t c o me s to mari ne pe rmac ul ture , f armin g se aw e e d a nd k e l p - a l s o c a l l e d mac ro -al gae - i s c o nsi de re d o ne o f many gre at n atu r e - b ase d c l i m a t e a c t i o n s o l ut i o ns that c an pl ay a ro l e i n pro te c ti ng c o ral re e f s f r o m f u tu r e m a s s b l e a c hi ng e v e nt s , r e duc i ng the l e ve l s o f o c e an ac i di f i c ati o n and r e sto r in g life t o und e r wa t e r ha b i t a t s .

Algae, k e lp a nd t he i r ne w- f o und v a l ue are at thi s mo me nt be gi nni ng to di srupt the f ash io n an d t e x t i l e i nd us t r y . I nc r e a s i ngl y, i nno vato rs and game c hange rs f ro m c ro ss- d isci p lin ary b a c k g r o und s a r e r e c o g n i si ng the vast be ne f i ts o f al gae , as ne w mate r i als an d mi c r o b i o l o g i c a l p r o c e s s e s a re de ve l o pe d thro ugh bi o te c hno l o gy f ro m thi s r ap i d ly r e n e wa b l e o r g a ni s m .

Will w e b e we a r i ng c l o t he s i n t he f ut u re wi th a l i vi ng al gae surf ac e c o ati ng that c an p h o to syn th e s i s e l i k e p l a nt s , f i l t e r i ng ai r o f po l l uti o n? Or wi l l we be wal ki ng i n wate rp r o o f f o o tw e a r f e a t ur i ng a k ni t o ut e r made o f ke l p-base d thre ad?

Wh ate v e r th e f ut ur e d o e s ho l d , i t d e pe nds o n us. We must c o nti nue to suppo rt i nte r d isci p lin a r y c o l l e c t i v e a c t i o n i n a c ce l e rati ng re se arc h to f urthe r unc o ve r the po te n ti al o f al g a e , k e l p a nd s e a we e d i n o ur ac ti o n to wards c l i mate c hange . In thi s f e atu r e w e h ighl i g ht e m e r g i ng i nno v a t i o n s and de si gne rs e xpl o ri ng al gae i n i ts vari o us co mp o si tio n s a nd ho w i t c a n b e ne f i t the f ashi o n and te xti l e i ndustry, as we l l as the h eal th o f o ur p l a ne t .

N a t ur a l • Re ne wabl e • B i o de gradabl e

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"C O R AL REE FS AR E M Y MAIN ME S S AGE I HO PE T O CO M M U N ICATE, T HEY AR E S U FFE RIN G FR O M PO L L UT IO N AND BE IN G DE ST O R YED B EC AU S E T HE W ATE R IS GET T ING WAR ME R F R O M CLIMATE C HANG E"

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VANES S A BARRAGAO STUDIO

I MAG E CRED IT: VANE S S A B A R R A GA O S TUD I O

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H

ere on our Blue Planet where more than 70% of our Earth’s surface is covered by oceans, an incredible world is hidden below the waves providing a home to diverse lifeforms and magnificent coral reefs. Ecosystems that are crucial to the health of our oceans, and intrinsic to life on earth itself.

Early in October this year, a team of Australian scientists discovered a 500-meter-tall detached coral reef off the northern Great Barrier Reef, taller than the Empire State Building and the first to be discovered in over 120 years. A discovery that emphasises there is still so much mystery in our oceans. However, what we do know is our actions are causing changes in the global climate and this is harming our oceans physical state. (read our full post here) Now more than ever is the time to be attentive to natures warnings and as science meets art, creativity is inspiring awareness around how we can live lightly on earth.

Working with natural fibres and upcycling factory waste, contemporary textile artist Vanessa Barragão knits together her lifetime fascination of coral reefs with her love of traditional textiles to raise awareness of environmental issues from human actions.RawAssembly spoke to Vanessa from her textile art and design studio situated in her hometown Albufeira on the southern Algarve coastline of Portugal. Learning more about her handmade processes and the role of art in communicating our ecological interconnectivity.

Vanessa described, “I have always been inspired by the ocean and coral reefs. When I was young my family would travel to the Caribbean and year by year we saw how the coral reefs were being destroyed. I was motivated by this, and in university my collections were always influenced by these environmental issues.”

PH O TO C R ED I T: V A NES S A B A R R AG AO

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P H OT O C RE D IT : V AN E S S A BAR R A G A O

Following an undergraduate and master degree in Fashion Design in the Portuguese capital city of Lisbon, Vanessa moved to Porto and gained first hand industry experience as a textile designer in an artisanal rugs factory.

“When I was working in the factory I began to realise how much waste the factory produces, but it is high-quality waste yarns and for use in my artworks is completely okay.”

Currently, Vanessa has several partner factories in Portugal that she visits to collect the textile materials they don’t want, and would otherwise be discarded. Working mostly with wool, as well as incorporating cotton, linen and Tencel™ into her tapestry art. Vanessa shares, “Right now, I am also experimenting with palm tree leaves. Now I am back in Albufeira I want to start using materials from here, to source local and it is my grandfather who makes the dried woven palm I apply to my work.”

Moving home to the coast in early 2020 to set up her own studio has allowed Vanessa to be closer to her family. An influential part of Vanessa’s work and the running of her studio.

Learning traditional textile techniques from her grandmothers from a young age, Vanessa recognises the importance of preserving these handmade processes for future generations, as well as learning from our ancestors.

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PH O TO CRE D IT: VA NES S A B A R R A GA O

www.vanessabarragao.com/

Instagram: @Vanessabarragao_work 78

“My grandmothers love to help me, and it is positive for them as well as it motivates them. Feeling a sense of purpose is important as you get older.”

Techniques found in Vanessa’s work include latch hook, crochet, felt, weaving, macramé and embroidery, used together to represent a covering of corals and their diverse forms.

With a strong passion for the process - creating slowly but with intention - Vanessa’s work opposes the very nature of today’s fashion and textile industry’s increasingly fast pace and intensive resource consumption. Choosing to upcycle already existing local materials as a way to decouple from the industry’s unsustainable practices.

Encouraging awareness with the aim of provoking conversation and action, Vanessa highlights “coral reefs are my main message I hope to communicate, they are suffering from pollution and being destroyed because the water is getting warmer from climate change.”

Across languages, cultures and disciplines art provides a means for communication as artists are able to visually express what scientists try to explain with complex data. As our climate continues to change from human made influences, mass coral bleaching events from unusually warm sea temperatures and ocean acidification impacting the growth in organisms that build and maintain coral reefs are issues increasingly being witnessed and documented. Our coral reefs are under threat, transforming from vibrant colourful underwater worlds to pale reefs bare of life, and Vanessa’s work illustrates this.

artists advocating for our oceans through their art practices.

In connecting her work and its message with an even greater audience, a large-scale artwork by Vanessa is now permanently on display in terminal two of London’s Heathrow airport. Botanical Tapestry portrays our world map, highlighting threatened plant species and as always through the recognition of coral reefs. Botanical Tapestry was a commissioned artwork created to commemorate the partnership between Heathrow Airport and Kew Gardens and was the largest piece Vanessa has woven, taking 520 hours to weave, using 8kg of jute and cotton and 42kg of recycled wool.

“I want people to think. To recognise we are just a part of this big world, there are other environments and animals and we have to respect everything. I hope my work can be visible to more people so they can reflect about these problems, and change their actions.”

Vanessa’s art shows us that we as humans are not independent from nature. It is time for us to stop trying to hold dominance and instead listen, learn and act with respect.

Written by Kirraly Antcliff RawAssembly

Made of recycled wool and cotton Vanessa created The Bleached Coral Series, a powerful collection of tapestries portraying a bleached coral reef affected by global warming and pollution through muted colourless tones. “This artwork emerges as a message for awakening of consciousness and awareness, so that those who admire it, can understand and reflect about our actions in order to change to improve our planet health.”

In contrast to the Bleached Coral Series, Vanessa subsequently created the Living Coral series, rich in colour as a sign of hope. If we change our actions we can regenerate healthy oceans and support marine life.

Vanessa’s work is recognised and appreciated globally, having been included in adidas x Parley pop-up studio experience in Miami for the 2020 Superbowl which brought together the work of local and international

WWW.VANESSABARRAGAO.COM

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Answers from Algae

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POST CARBON L AB

ransdisciplinary design research studio Post Carbon Lab is on a mission to provide sustainable and regenerative processes for textiles with a vision of transforming existing textiles into carbon capture surfaces through the development of a Photosynthesis Coating.

The London based bio-design start-up’s innovative coating is a layer of living algae on the fabric of garments that absorbs carbon dioxide and emits oxygen, turning the carbon into sugar – providing pollution filtering properties. Post Carbon Lab have also developed bacterial pigment dyeing using microbiological processes. Post Carbon Lab are among a collective of pioneers leading a shift in mindset as they reimagine the fashion and textile industry whilst working in harmony with nature’s biorhythm to actively and positively contribute to the environment. As well as collaborating with designers, industry and a diverse range of disciplines, Post Carbon Lab see themselves as service providers. Through piloting a service and involving citizens in their Post Carbon Community, individuals can have their own textiles transformed into carbon capturing surfaces. This makes for increasing awareness within the wider community on issues relating to the fashion industry, whilst gaining valuable feedback and data to continue their trailblazing work.

Instagram: @postcarbonlab Website: www.postcarbonlab.com/

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ALGIKNIT

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iomaterials company Algiknit unites science and design into textile production using one of the most renewable organisms on earth - kelp. Non-toxic, durable and compostable, Algiknit produces textile fibres from alginate a substance extracted from kelp, which is combined with other renewable biopolymers. The extrusion process turns the biopolymer mixture into kelp-based thread that can be knitted or 3D printed to minimise waste. The final knit material can be dyed with natural pigments in a closed loop cycle. The dye process uses less water than conventional dyeing and the whole production process has a very low carbon footprint. Kelp is a macroalgae grown globally in cold waters and doesn’t require any fertiliser, pesticides or fresh water inputs as well as being an efficient carbon capturer. Algiknit aims to address the fashion and textile industry’s issue of waste whilst feeding into a circular economy by imitating nature’s own biological systems. Algiknit hopes to provide a renewable solution alternative to the industry’s use of fossil-fuel based textiles, such as polyester.

Website: www.algiknit.com Instagram: @algiknit

JASMINE LININGTON Emerging textile artist and maker Jasmine Linington continues to explore seaweed and its diverse material possibilities within the fashion and textile industry. A 2019 Master of Fine Arts graduate from the Edinburgh College of Art, Jasmine developed a graduate textile collection from fibre, to dyes and embellishments made entirely from foraged kelp and wood derived fibres. For the collection’s base material, Jasmine used SeaCell a fibre produced from embedding dried, crushed seaweed from SmartFibre AG Technology in Lenzing’s closed-loop lyocell facility using nanotechnology. SeaCell fibre is biodegradable, carbon neutral and produces a soft, silky fabric. Colouration was achieved through natural pigments derived from seaweed obtaining warm pink, green and gold shades. Turning the textiles into a high-end luxury collection, beads were developed by repurposing the seaweed dye by-product, and kelp sequins with a leather-like feel offer an alternative to their plastic counterparts. Conducting her research with seaweed collected sustainably and legally with license for small-scale harvesting from the Scottish shores, Jasmine is a New Generation textile artist highlighting the vast possibilities achievable from kelp - a nature based renewable resource.

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Website: www.jasminelinington.com Instagram: @jasminelinington_textiles

Read our full interview with Jasmine Here 81

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ALGAE D F AS H I ON E D F R O M NATU R E

S E AC E LL™ LT

D ER IVED FR O M S E AW E E D SeaCell LT is produced exclusively from sustainable raw materials – wood and seaweed – using methods that save both energy and resources. Developed

by SmartFibre AG, and produced in Lenzing’s closed-loop lyocell facility, the fibre is carbon neutral and completely biodegradable. Harvesting of the seaweed is a gentle, selective and, most importantly, sustainable process.

It removes only the part of the seaweed that is able to regenerate.

The dried seaweed is crushed, finely ground and incorporated into a cellulose fibre. The fibre can be used to make materials suitable for a wide range of applications, from sport and fashion clothing, underwear and loungewear to home textiles, and combines easily with any other fibre. It adds a smooth, silky feel to any fabric, together with the comfort and care elements required from a generation with an active, health-conscious lifestyle.

Instagram – @smartfiberag Website - https://www.smartfiber.de

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PY R AT ES

S E A C E L L BL E ND FA BRIC S PYRATES is a R&D company and textile supplier of quality driven PYRATEX® fabrics, including SeaCell blend fabrics. PYRATEX® are high-end, knit fabrics which are made in Europe from either vegetal, upcycled or biodegradable fibres.

The PYRATEX® fabrics made with SeaCell, blend the innovative fibre with GOTS certified organic cotton and Standard 100 Oeko-Tex certified Tencel™ fibres produced in Austria, Great Britain and the US: Tencel™ fibres are renewable, wood-based fibres, based on various tree species, including eucalyptus, spruce, birch and beech. The seaweed in SeaCell comes from the Northern Atlantic, with antioxidant properties, certified

by European laboratories.

Instagram – @pyratessmartfabrics Website - www.pyratessmartfabrics. com/

PA NG A I A

S E AW E E D & O RGA NIC C OT T ON F AB RICS PANGAIA is a direct-to-consumer materials science company bringing breakthrough textile innovations and patents into the world through everyday lifestyle products. By introducing these innovations, the Pangaia team design materials, products and experiences for everyday and everyone.

Pangaia's Seaweed Fiber t-shirt is created using saltwater seaweed and GOTS certified organic cotton. They work closely with Pyrates in the creation of these products.

This fiber is derived from saltwater seaweed which grows abundantly in a natural ocean habitat. This avoids traditional farming aggressors such as the use of pesticides, excessive water and land. The fiber created is lightweight, absorbs moisture faster than cotton and retains some active algae nutrients. At the end of the garment's life, it biodegrades seamlessly.

Instagram: @thepangaia Website: www.thepangaia.com

DERIVED

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2040 W ha t i f we e m b r a c e d t he be st c l i mate so l uti o ns avai l abl e to day?

I n a hy b r i d f e a t ur e d o c um e ntary award-wi nni ng di re c to r D amo n Game au ad d r e s s e s t hi s q ue s t i o n a s he trave l s the wo rl d spe aki ng to i nno vato rs an d c ha ng e m a k e r s i n t he a re as o f e c o no mi c s, te c hno l o gy, c i vi l so c i e ty, a g r i c ul t ur e , e d uc a t i o n a nd sustai nabi l i ty. D rawi ng o n the i r e xpe rti se , D a m o n s o ug ht t o i d e nt i f y the be st so l uti o ns, avai l abl e to us no w, that wo ul d he l p i m p r o v e t he he al th o f o ur pl ane t and the so c i e ti e s that o p e r a t e wi t hi n i t . F r o m m a r i ne pe rmac ul ture to de c e ntral i se d re ne wabl e e ne r g y p r o j e c t s , D a m o n d i s c o ve re d that pe o pl e al l o ve r the wo rl d are t a k i ng m a tte rs i nto the i r o wn hands.

M a r i ne p e r m a c ul t ur e i s t h e o c e an f armi ng o f ke l p and se awe e ds and i n t he d o c um e nt a r y 2 0 4 0 , Damo n j o i ns C l i mate Fo undati o n f o unde r D r B r i a n v o n H e r z e n t o l e a r n mo re abo ut usi ng mari ne pe rmac ul ture to r e s t o r e m a r i ne ha b i t a t s a s w e l l as se que ste r C O2 f ro m o ur atmo sphe re .

It t ur ns o ut t ha t k e l p a nd se awe e d are nature ’ s c l i mate warri o rs and cu l t i v a t i ng t he m a t s c a l e c oul d c o unte rac t o c e an ac i di f i c ati o n, c l i mate c ha ng e and l o ss o f bi o di ve rsi ty.

S e a we e d a nd k e l p c a n a l s o be a so urc e o f bi o f ue l , f e e d f o r c attl e and co u l d p r o v i d e f o o d s e c ur i t y f o r mi l l i o ns. Our o c e ans have abso rbe d o ve r 9 0% o f t he he a t f r o m g l o b al warmi ng to date . T hi s has c re ate d a l aye r o f wa r m wa t e r ne a r t he s urf ac e whi c h ac ts as a barri e r to upwe l l i ng w h i c h i s t he m o v e m e nt o f nu tri e nt ri c h wate r f ro m the de e p o c e an to the su rf a c e . P l a nk t o n r e l y o n upwe l l i ng f o r nutri e nts and, i n turn, many f i sh r el y o n p l a nk t o n a s a f o o d s o urc e . As a re sul t, we have se e n the c o l l apse o f 1 3 o ut o f 17 maj o r f i she ri e s.

T he o c e a n ha s a l s o b e e n a bso rbi ng muc h o f the c arbo n di o xi de that we ha v e b e e n p um p i ng i nto o ur atmo sphe re and thi s i s c ausi ng the ac i d i f i c a t i o n o f o ur o c e a ns . It’ s ti me f o r us to gi ve o ur o c e ans a muc hne e d e d l e g up ! M a r i ne pe rmac ul ture re qui re s no f re sh wate r, no d e f o r e s t a t i o n, a nd no f e r t i l i se r. It si mpl y se ts up the c o ndi ti o ns that are ne e d e d f o r t he s e na t ur a l pro c e sse s to take o ve r that wi l l he l p re sto re b a l anc e to o ur o c e ans. ‘ 2 0 4 0 ’ i s a s t o r y o f ho p e that l o o ks at the ve ry re al po ssi bi l i ty that h u m a ni t y c o ul d r e v e r s e g l obal warmi ng and i mpro ve the l i ve s o f e ve ry l i v i ng t hi ng i n t he p r o c e s s . It i s a po si ti ve vi si o n o f what ‘ c o ul d be ’ , i ns t e a d o f t he d y s t o pi an f uture we are so o f te n pre se nte d.

H T T P S : // WHAT S Y OUR 2040.COM

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DOCUMENTARIES TO WATCH

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n the 75th anniversary of the United Nations and the 5th anniversary of the adoption of the Sustainable Development Goals – in the midst of a pandemic radically transforming our economies and societies – this 30-minute film tells the story of the world as it is, as it was, and as it could be. Directed by renowned filmmaker Richard Curtis and produced by the documentary film company 72 Films, “Nations United” presents the facts, data, and opportunities we have as a human family to reimagine and reshape the future. The film will be broadcast on numerous television channels, radio stations, and streaming services around the world.

Nations United – Urgent Solutions for Urgent Times” sets out what must be done to tackle the world’s biggest issues, from COVID-19 to poverty, inequality, gender discrimination, climate change, justice and human rights. The broadcast will also mark the UN’s 75th anniversary, as well as the 5th anniversary of the Sustainable Development Goals.

Watch Here

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LIFE ON OUR PL ANET avid attenborough recounts his life, and the evolutionary history of life on Earth, to grieve the loss of wild places and offer a vision for the future.

In his 93 years, David Attenborough has visited every continent on the globe, exploring the wild places of our planet and documenting the living world in all its variety and wonder. Now, for the first time he reflects upon both the defining moments of his lifetime as a naturalist and the devastating changes he has seen.

Produced by WWF and award-winning wildlife film-makers Silverback Films, David Attenborough: A Life On Our Planet is a first-hand account of humanity’s impact on nature and a message of hope for future generations.

Starring: David Attenborough Watch Here Website: www.ourplanet.com

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THE FUTURE IS CIRCUL AR WHAT BIODIVERSITY RE ALLY ME ANS

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iodiversity affects just about every aspect of human life, from job security and basic health to saving the planet for future generations.

More than half of the world’s gross domestic product (GDP) is dependent on nature. Three-quarters of all food crop types – including fruits and vegetables and some of the most important cash crops, like coffee and almonds – require animal pollination. About half of the global population relies mainly on natural medicines and most of the drugs used to treat cancer are either natural or modelled after nature. So there is a direct and relationship between biodiversity and some very basic aspects of survival.

There is also an important long-term, preventive aspect – which we are experiencing very acutely today.

Where native biodiversity is high, for example, the infection rate for some zoonotic diseases is lower. So protecting natural habitats and wildlife is also a way to help protect ourselves. Biodiversity is the basis for healthy ecosystems as well, and healthy ecosystems capture and store greenhouse gases and mitigate climate change, whereas damaged ecosystems release carbons and add to it.

Read the full article here

KISS THE GROUND

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cience experts and celebrity activists unpack the ways in which the earth's soil may be the key to combating climate change and preserving the planet.

Narrated and featuring Woody Harrelson, Kiss the Ground is an inspiring and groundbreaking film that reveals the first viable solution to our climate crisis.

Kiss the Ground reveals that, by regenerating the world’s soils, we can completely and rapidly stabilise Earth’s climate, restore lost ecosystems and create abundant food supplies. Using compelling graphics and visuals, along with striking NASA and NOAA footage, the film artfully illustrates how, by drawing down atmospheric carbon, soil is the missing piece of the climate puzzle.

This movie is positioned to catalyse a movement to accomplish the impossible – to solve humanity’s greatest challenge, to balance the climate and secure our species future.

Watch it on Netflix Website: www.kissthegroundmovie.com Instagram:@2040film 87

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SU BSC R IBE NOW

WW W. R A W AS S E M BLY .C O M

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S IGN UP TO O UR WEEKL Y NEWSL ETTER W W W . RA WASSEMBL Y .C OM F O LLO W U S ON INSTAG R AM @RAW.ASSEMBL Y

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DISCOVER OUR SOURCING DIRECTORY

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awAssembly is an innovative sourcing event and digital platform for the fashion & textile industries, dedicated to transforming the way in which raw materials are sourced, processed and consumed.

As an organisation, RawAssembly exists to inspire, educate and network industry players, enabling them to source responsibly, engage with principles of the circular economy and transition to regenerative agricultural practices.

The RawAssembly digital sourcing platform provides subscribers with continual opportunities to source from a global network of sustainable textile producers and garment manufacturers. The platform curates knowledge as well as product in ways that shape the ethical and creative values of its industry partners and subscribers, an industry solution and creative experience.

RawAssembly is driven by a ned for action and change, our hope is that the inspiration, education and networks we offer will enable you to affect change in your professional space or community.

As we head into the ‘Decade of Action’ towards the United Nations Sustainable Development Goals, now is such an important time to make responsible sourcing choices and work towards positive change.

DY E & F I N I S H E S D I RE C TO RY n innovation revolution to transform dyestuff is emerging in a way that colour and consideration for people and our planet can co-exist. Observing and learning from naturally occurring pigments in nature through a scientific lens has given rise to new dye technologies that protect and preserve our waterways, communities, and life on earth by offering solutions to replace harmful synthetic chemicals.

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Explore our features on textile colouration highlighting the importance of preserving ancient dyeing practices and learn about pioneering colour innovations and material scientists of the 21st century reshaping our human relationship to natural dyes.

From bio-design research projects such as Living Colour, Colorifix and Pili who are all exploring the possibilities of bacteria that produce pigments to cleantech company Algalife creating textile dyes from algae that are good for both environment and wearer as they release vitamins and antioxidants to be absorbed by your skin.

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BEHIND THE SCENES INTERVIEWS

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Rawassembly's behind the scenes interviews and features highlight the journeys that are being taken by todays innovators, designers, textile artists and other inspirational people we meet or discover along our our path. Based on stories about sustainable fashion, regenerative design, natural beauty and the creation of a healthy planet, these interviews fuse the best innovators, progressive, luxury brands and independent designers.

Our features are a must-read for everyone interested in sustainablity and action. The Interviews represents an enhanced global resource for sustainable growers, mills, manufacturers, brands, creative professionals and consumers who want to improve and increase their knowledge about sustainability and connect with other sustainable creators.

M AT E R I A L INSIGHTS & GUIDES The RawAssembly digital sourcing platform provides subscribers with continual opportunities to source from a global network of sustainable textile producers and garment manufacturers. The platform curates knowledge as well as product in ways that shape the ethical and creative values of its industry partners and subscribers, an industry solution and creative experience.

Our material guides take a deeper dive into our responsible producers and who’s really moving the needle.

Our material insight guides focus in on alternative materials from multiple producers and helps you locate responsibly produced solutions.

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DISCOVER OUR

At o u r last ev e nt T he p a r t ne r s hi p we ha d wi th L e nz i ng re f l e c te d the e tho s o f the e ve nt as a place w h e r e cr eati vi t y , i nd us t r y , r e s e a r c h a nd c o mme rc e c ame to c o l l abo rate i n ways that po si t ively im p acte d v alue a nd s up p l y c ha i ns . A g re at e xampl e o f thi s, and so me thi ng bo th RawAsse mbly an d Le n zi n g w e r e b o t h p r o ud o f , wa s t ha t R awAsse mbl y Me l bo urne saw the o f f i c i al l aunc h o f Len zin gs’ ECO VER O ™ f ib r e i nt o t he A us t r a l i a n m a rke t.

EX H IB T O R S X Since 2018 RawAssembly has been curating the leading responsible sourcing events for the Asia Pacific region, showcasing responsibly produced sustainable fibres, fabrics and materials from the leading innovative, regenerative and future thinking producers.

Last year saw us present 85+ companies from over 20 countries with over 3000 individually selected sustainable materials, packaging solutions and new fibre-2-fibre circular solutions.

In addition to delivering the leading sustainable textile sourcing events in the Asia-Pacific region, RawAssembly hosts a variety of specialist showcase experiences for sustainable textiles and material innovations to businesses and universities.

F ABR I C & INNO V AT IO N S HO W C AS E X RawAssembly‘s showcase section allows sustainable textile mills from all over the world to have their fabric ranges presented without being there in person. This creates opportunity to meet new clients and have a wider global reach.

For Melbourne we welcomed a few companies from both the Fashion for Good and Plug & Play accelerator program, allowing our visitors to discover products from disruptive ‘global change award’ recipients. Resortecs showcased their heat dissolving thread, which can help brands to dissemble and re-engineer clothing at the end-of-life stages.

Dimplora showcased their biodegradable water- proof, fluorine free membrane for the outdoors industry, which replaces hazardous fluorine laminates that have been used up to now.

PureWaste showcased their range of fabrics and finished products that are produced using only materials that would otherwise go to waste.

S PE A KE RS - L IV E & DIGITA L L INKS X Kicking off our Melbourne event, a panel discussion facilitated by Clare Press, Vogue’s sustainability Editor and founder of the Wardrobe Crisis podcast, focused on ‘Searching & Sourcing for Change, perspectives on the challenges, opportunities and frontiers of future materials’ Facilitated by Press, the panel set the stage for not only the tone of RawAssembly Melbourne, but reinforced the range of sentiments that exist in the current industry regarding sustainability.

On stage, Press was joined by Kit Willow, founder of KitX and Harold Weghorst, VP of Global Branding at Lenzing Group.

T HE SUSTA I NA BL E D EVEL OPMENT G O A L S The United Nations has defined the following ten years as the Decade of Action, which calls upon organisations and industries to accelerate specific action towards achieving the Sustainable Development Goals.

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-KITX FABRIC: TENCELâ„¢ BY LENZING 93

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