Sustainability Issue: Vol 1

RECYCLING

DESIGNING FOR REUSE

MATERIAL INNOVATION

EDITOR’S NOTE

Hello there, Welcome to our sustainabilityfocused magazine, where we strive to create a warm and inviting space for exploring the fascinating intersection of conscious retail design. Our aim is to spark engaging conversations on how we can embark on the journey towards practicing better retail together.

At our core, we have a strong mission to shed light on functional, circular, and future-thinking practices within the retail industry. We firmly believe in the immense potential for positive change that lies within this sector. Our goal is to inspire and empower professionals and enthusiasts alike to adopt durable and purposeful practices that not only benefit us but also our planet.

Within the pages of our magazine, you will find captivating stories of trail-blazing retail brands that have successfully embraced what we define as ‘sustainability’, leading

the way for others to follow. We will explore topics such as material innovation, repairing and renewing surplus products, and the conscious consumer. Our aim is to delve into ways in which we can all integrate wiser choices into our store layouts, supply chains, and consumer experiences, ultimately creating a more regenerative and responsible retail landscape.

I extend an open invitation to brands that are eager to initiate conversations about exploring new ways to infuse sustainability into their retail experience and thinking. Let’s embark on this journey together, exploring fresh ideas, challenging conventional norms, and paving the way for a greener and more positive future.

Isil Kusoglu Business Development Director isil.kusoglu@seen-studios.com

1. The quality of being able to continue over a period of time.

2. The quality of causing little or no damage to the environment and therefore able to continue for a long time.

SUSTAIN- ABILITY

noun [ u ] / səˌsteɪ.nəˈbɪl.ə.ti /

If you’d like to discuss any topics covered in this issue, feel free to get in touch for a chat: contactldn@seen-studios.com

With special thanks to: Christopher Raeburn and Johnny Ridley of RÆBURN, Olivia Aspinall of Do Not Go Gentle, and Jessica Kruger of Luxtra.

CIRCULARITY

Editorial Team:

Director: Isil Kusoglu

Creative Editor & Copy: Luisa Pisaturo

Design: Jack White

Video: Jacob Germany

Research: Eve Karanikki

noun [ u ] /ˌsɜː.kjəˈlær.ə.ti/

1. The fact of constantly returning to the same point or situation.

RENEWABLE

1. Renewable forms of energy can be produced as quickly as they are used.

adjective /rɪˈnjuː.ə.bəl/

RESOURCES

Meaning, change is inevitable to sustain our planet earth.

Amid the burgeoning ‘sustainability’ movement, recycling has long reigned as the go-to solution. However, it’s time to rethink our approach. Contrary to popular belief, recycling may not always be the most environmentally friendly option when considering the carbon footprint it generates. It’s high time we explore alternative solutions that deserve equal attention.

At Seen Studios, we are dedicated to embracing a circular approach in our design, material sourcing,

and production processes. Our primary focus is on minimising the carbon footprint through a holistic perspective that emphasises maintenance, reuse, refurbishment, and ultimately, regeneration and reduction. When it comes to material selection, we prioritize organic solutions by exploring a wide range of biomaterial options. While we do incorporate recycled materials, we view them as a last resort due to their significant carbon footprint. Our commitment lies in adopting sustainable practices that prioritise long-term environmental impact.

AS HUMANS WE ARE CONSUMING 1.75 TIMES THE EARTH’S NATURAL

EVERY SINGLE YEAR.

-The Global Footprint Network

BY 2030, 62% OF THE UK POPULATION WILL BE ECOACTIVES.

WITH THIS IN MIND, BRANDS WILL HAVE TO TAKE A MORE CONSCIOUS APPROACH IN ORDER TO CONNECT WITH CONTEMPORARY CONSUMERS.

29% 30% 40%

ECO ACTIVES

Shoppers who are highly concerned about the environment and are taking many actions to reduce their impact. They feel an intrinsic responsibility to be more sustainable, follow the topic actively and have a greater awareness.

ECO DISMISSERS

Shoppers who have little or no interest in the environment and are taking no active steps to reduce their impact. They lack awareness of environmental concerns and do not believe they can make a difference.

ECO CONSIDERERS

Shoppers who are worried about the environment and are taking some actions to reduce their impact, but not as many at the Eco Actives. Their biggest barriers are convenience and price.

Source: Kantar, Who Cares Who Does

CASE STUDY: BALLY

HOW LOCAL CULTURE AND MATERIAL INNOVATION CAN REIMAGINE THE RETAIL EXPERIENCE

SINCE BALLY’S FOUNDING IN 1851, THEY OPENLY PRIDE THEMSELVES IN BEING TRAILBLAZERS IN SUSTAINABILITY AND SUPPORTERS OF INNOVATIVE CREATIVES THROUGH THE BALLY FOUNDATION AND CRAFTING FUTURES.

Following Swiss-luxury brand Bally’s launch of their Haus concept store in Milan we were briefed to bring a local narrative to their concept for their latest opening in London’s Regent Street. We approached the challenge in a simple yet timeless way; for a luxury consumer who values brand heritage, honouring Bally Haus’ Swiss pillars of art, architecture and craftsmanship. The launch saw us design a range of furniture and mid-floor fixtures, telling the story of London’s geological foundations and future innovations. A prevalent design theme centers around London clay, from the bricks which

built the city, the stability which allowed tunnelling for the London Underground and the formation of the banks of the River Thames, the seam of clay beneath London has been essential to the city’s development, and therefore our conceptual design.

Celebrating local innovation in circular materials, we honored the past and the future of design in the city by reimagining the potential of local waste plastic, collaborating with Londonbased materialist James Shaw. VM detailing integrated Shaw’s materiality, hand extruded from recycled high-density polyethylene and polypropylene. The colour palette across the brick, rammed earth effect and recycled HDPE/PP was inspired by London born, J.W Turner’s paintings of the Swiss Alps. This, alongside abundant natural light which fills the store, commemorates nature intertwining with the man made and the Swiss/British relationship.

Continuing this celebration of innovation, the entrance table is designed to be easily resurfaced, encouraging future collaborations with other sustainable materialist artists and makers. Seen to work as an ever-changing element, this design feature provides the ability to continuously reinvent the artistic aspect of the store.

LONG BEFORE ‘SUSTAINABILITY’ WAS COINED A TERM, BALLY HAVE STOOD BEHIND THEIR SWISS ROOTS, WITH RESPECT FOR THE ENVIRONMENT AND SOCIAL RESPONSIBILITY. THEREFORE, IT WAS INCREDIBLY IMPORTANT TO BOTH US AND BALLY THAT WE INCORPORATED CIRCULAR PRACTISE IN THE RETAIL DESIGN, PROVIDING A SPACE FOR CREATIVES TO SHOWCASE THEIR FUTURE-THINKING MATERIALISM.

The store was also designed to house the Bally Art Haus Exhibition series, acting as a cultural hub to explore local talent and innovation in materialism. Described by Nicolas Girotto, CEO of Bally, Bally Haus London “hopes to fulfill new post-pandemic needs with multi-functional space that engages local artists to give second life to repurposed materialsoffering new ways of seeing old things- while providing an experiential environment that embraces the excitement of discovery.”

Achieving this goal, in October of 2021, the store exhibited London-based artist Zuza Mengham’s sculptural pieces, which explore the connection between traditional crafts and new methods of making, reflecting a symbiosis to Bally’s longstanding commitment to craftsmanship and design innovation.

Click here to watch more.

CASE STUDY:

NIKE X AGR

FOR THEIR COLLABORATION WITH NIKE, LONDON BASED

KNITWEAR BRAND

AGR PRODUCED A ONE-OFF EXCLUSIVE COLLECTION - ALL USING NIKE & AGR DEAD-STOCK AND EX-CAMPAIGN ASSETS, AS PART OF NIKE’S MOVE TO ZERO INITIATIVE.

AGR is an independent and circular brand, with Creative Director: Alicia Robinson, describing their creative process as having; “always worked in a very sustainable and circular way… using up all old materials and putting things back together.”

Therefore, the concept for the space and activation, much in line with the capsule collection and Nike’s Move to Zero values, was ‘Second Life Luxury’. Ensuring that the physical build and retail event followed the same circular steps as the product, we designed and delivered the space to embody the origin of the AGR products.

Nike is no stranger to spotting young and fresh design talent and working with them through localised activations. AGR was chosen to be a part of their latest collaboration due to their circular design values that mirror Nike’s Move to Zero initiative, an ongoing journey towards zero carbon and zero waste. The capsule collection featured items made from vintage Nike banners and deadstock merchandise which were re-purposed with leftover fabrics from AGR’s studio.

WE COLLABORATED WITH THE BRANDS TO NOT ONLY DESIGN AND MANAGE THE RETAIL CONCEPT AND EXCLUSIVE MEMBER’S EVENT, BUT TO ALSO DIRECT THE CAPTURE OF ALL STILL AND MOVING ASSETS IN AN OFFSITE

PHOTOSHOOT. ALL CONTENT CREATED WAS THEN DISPLAYED AS PART OF THE EVENT AND INSTALLATION IN THE CUBE WITHIN NIKETOWN LONDON.

Naturally, our strategy mimicked the design and production process of the capsule collection, leading us to transform The Cube into a physical embodiment of the collaboration. Assets, fixtures, and furniture props were repurposed and elevated to a new level of luxury. Garment rails were overlayed with leftover yarn, providing pops of colour throughout. A Nike Swoosh, bespoke ottomans and packaging were also upholstered in Nike and AGR campaign deadstock by South London based, friend of Alicia, Upholstery by Nads.

Our up-cycling didn’t end at the physical design but gave the digital aspects of the space a new life. Assets taken from the shoot we directed for the brand were then collaged amongst Nike ex-campaign graphics. With the AGR logo applied, a new graphic language was created to wrap around pillars and walls throughout the space.

An exclusive launch offered friends of the brand and Nike members the first chance to purchase the collection and an insight into sustainability initiatives in fashion with a panel discussion between Alicia and Isabelle Landicho of The Earth Issue, an eco-focused creative activist agency. Being an instore only collection showcased in the client’s hometown, one thing that was incredibly important for Alicia, Creative Director of AGR was her desire to include as many of her local creative connections as possible during the campaign process. From the DJ at the launch event to the hair and make-up team on the campaign shoot, local creatives and friends of the brand were involved, reducing travel emissions, and contributing further to the sustainable values of the overall brand experience.

Click here to watch more.

CASE STUDY: CONVERSE RENEW

SPARKING PROGRESS WITH THE FIRST STEP ON CONVERSE’S RENEW JOURNEY

Converse’s continued innovation to renew the most iconic sneaker, The Chuck 70, challenged us to re-evaluate the way we approached our traditional retail design processes and material selection. We designed and produced the launch event and retail doors for the Chuck 70 Renew Canvas which are crafted from 100% recycled polyester, produced using plastic bottles.

Launching the collection in Coal Drop’s Yard in King’s Cross, our first step on this progressive journey with the brand was designing

the campaign to serve as an educational and inspirational environment, enlightening visitors with ways to give discarded plastics a second life.

This meant designing for disassembly and with multifunctionality for future retail displays in mind, reflecting the values of Renew Canvas. From reclaimed timber yards and chip foam made from scrap multipurpose foams to repurposed lightweight polyurethane foam dust rescued from traditional waste streams of CNC fabrication workshops,

we made sure every detail contributed to a renewed way of designing for retail.

Working with Hubbub, a non-profit organisation which sets to inspire greener living, we demonstrated how the results of ‘Plastic Fishing’ projects in London’s rivers and canals can be repurposed into new artwork. Alongside this, the launch saw work exploring the sustainable future of materials by students from the neighbouring Central St. Martins showcased and artist and rapper, Lava La Rue, host a series of repurposing workshops, giving pre-loved garments from Shelter a second life.

THE VERY FIRST STEP OF THE CONVERSE RENEW JOURNEY, BY RETHINKING THE PROCESS OF DESIGN, STARTING WITH MATERIALITY, LOGISTICS AND THE LONG-TERM

FUTURE OF EACH ELEMENT, WE BELIEVE THIS PROJECT CREATED A STANDARD TO WHICH WE CONTINUE TO USE AS A BENCHMARK IN OUR WORK.

CASE STUDY:

SUPPORTING NIKE ‘MOVE TO ZERO’ WITH THEIR WASTE AND CARBON FOOTPRINT

NIKE MOVE TO ZERO

WITH SUSTAINABILITY AT

ITS CORE, NIKE’S MOVE TO ZERO CAMPAIGN MANIFESTO PROMISES TO DELIVER PRODUCTS MADE FROM RECYCLED TRASH, TO REDUCE WASTE AND LOWER NIKE’S GLOBAL CARBON FOOTPRINT.

To carry the reduced waste manifesto through to the displays in store, we researched the latest in innovative, recycled materials. Combining Plasticiet, Smile Plastics, recycled rubber, and cardboard, we created stacked ‘trash’ plinths that celebrated the sustainable narrative of the product.

The displays were designed with reuse in mind, allowing the campaign to reach London, Manchester, Berlin, and Paris stores with limited repeat build needed. Strapping was used instead of permanent fixings in order to easily dismantle to recycle or re-use and the displays were supported by evolving digital content.

THIS COLLABORATION WITH NIKE SAW US LAUNCH THE AIR VAPORMAX FLYKNIT TRAINER AT JD STORES ACROSS EUROPE.

CASE STUDY:

A UNIQUE SEEDING KIT, UTILISING BIODEGRADABLE MATERIALS

CONVERSE MYCELIUM SEEDING KIT

This collaboration with our longstanding brand partner, Converse, saw us design and produce a bespoke seeding kit with entirely sustainable properties. To be used as a welcome gift and staff education piece for All Star representatives in JD Sports, each kit held a pair of Converse Chuck 70’s, a custom Converse pin badge and an informative lanyard with information on both the Chucks and in store VM guidelines.

The outer box was designed and produced from GF Smith Extract; a card stock

made from recycled takeaway coffee cups using CupCyclingTM technology for a zero-waste process. The internal packing, which purpose lied within holding the contents of the kit, was made from mycelium, a completely organic and biodegradable material which originates from the root-like structure of a fungus. Mycelium’s unique composition means that when fully dried and cured, its surface properties vary, whether that be in colour or finish, contributing to its durable and unique nature.

PHYSICALLY REPRESENTATIVE OF CONVERSE’S MISSION AND VALUES, THE FINISHED SEEDING KIT WAS MADE OF BOTH RECYCLED AND RECYCLABLE MATERIALS.

CONSCIOUS PIONEERS:

CHRISTOPHER RAEBURN OF RÆBURN

TALKING

ECO-CONSCIOUS DESIGN AND THE CHANGING NARRATIVE OF SUSTAINABILITY IN FASHION

CHRIS RAEBURN

We sat down with Christopher Raeburn, founder of RÆBURN, the London-label which has been transforming surplus military stock into fashionable pieces for years, way before ‘up-cycling’ was even deemed a trend. A pioneer in the conversation of eco-conscious design, Christopher has seen the narrative around sustainability and fashion transform around him, making him the perfect person to ask: what’s next for the industry and how can brands incorporate future-focused values into their retail spaces?

CLICK

Isil: Thank you for having us at your beautiful studio in Hackney. Obviously, we’re big fans of you, but for the people that might not know you that well, can you please tell us about yourself and how you started your brand: RÆBURN?

Christopher Raeburn: Well, first up, my name’s Christopher Raeburn and in 2009, after spending a bit of time here in London kind of freelancing for other designers, I started my own company with actually quite a simple concept, where I took one military parachute, and I deconstructed it and remade it into eight garments. This idea of

not made in England but remade in England was really the kind of concept behind my brand. We’ve been really fortunate now to have grown over the last 14 years to be a pathfinder really within responsible design.

We don’t talk about sustainability; we talk about our responsibility. It’s been an amazing journey.

Isil: Well, I was going to ask you, what’s the difference between sustainability and responsibility? Because I don’t see you talk about sustainability all that much?

Christopher Raeburn: The dictionary definition is to endure at the same pace, right?

To sustain. When we just think about the environment and the damage that we’ve done for the world in terms of us as humans, that’s not enough if we now just sustain, right? We at the very least need to regenerate. We need to think about things in a much more progressive way.

Isil: You have this brand signature... Reduce...

Christopher Raeburn: Close... no....

Starts with R. Yeah. No, no, no. I’ll give you a clue.

Isil: Reduce. Remade.

Christopher Raeburn: So, we start with the first one. We start with Remade.

Remade, yeah. Okay, the reason that, you know, hopefully I politely corrected you is that the way that we always talk about RÆBURN, we call it the three R’s and we start with Remade, because actually it’s the driving philosophy for the whole company.

We take things that already exist, and that might be silk maps or parachutes, life rafts or Eurostar seat covers, all this incredible stuff that already exists. We deconstruct it right here at the RÆBURN Lab in Hackney and then we remake it into completely new wearable pieces. Now, if we only did that, our business would be tiny. The first five years, that is all we did, and it was a terrible business model. We then introduced two further parts of the collection. One we call Reduced and one Recycled. And really with the Reduced products it’s all about natural materials. So organic cotton, merino wool. It’s products that in theory, you know, you’re making things at mono-fibre that can go back to the earth, right? Then finally, Recycled items, so, predominantly recycled nylon and polyesters that we use for outerwear and accessories. We always like to explain Remade to begin with, the driving philosophy and aesthetic, which then filters into those other tiers.

Isil: How do you balance being responsible and being commercial at the same time? Because most brands are curious about that, they sometimes think that they must choose one or the other.

Christopher Raeburn: When I first started the company back in 2009, 2010, if you wanted to buy recycled materials, invariably it would be 30 to 50% more

expensive than a virgin cloth. Now, you often have parity in pricing and sometimes the recycled materials are more affordable than the virgin materials, right? We’re getting to the point where sometimes there’s no reason not to make the right choice because even if you are just looking at things purely on the financials, the innovation and the technology is caught up to the point that, again, the material’s there, allowing you to do things in the right way.

Isil: You have this amazing studio here and you also opened your first standalone store in 2021 in Carnaby, Soho. How do you see the retail experience within that store impacting your brand and product story?

Christopher Raeburn: When I took on this space here in Hackney… we’re in a building with real history. This is the old Burberry textile building, so, for me, it was really important to be somewhere in a building that had a bit of soul to it. The big windows here are all about transparency as a business because our business isn’t normal and so much of what we do is about craft, creativity, and community.

Then the vast majority of what you see is old either military kind of furniture or things that we found and reused, so again it’s all part of the same philosophy. When we started to think about our own, standalone retail in Marshall Street, Carnaby, we focused a lot on elements that we have here in the RÆBURN Lab as well.

“ WE AT THE VERY LEAST NEED TO REGENERATE. WE NEED TO THINK ABOUT THINGS IN A MUCH MORE PROGRESSIVE WAY.”

So, everything’s flexible. You can move all the rails. Most things are on wheels. We’ve got screens. You can change everything out. I’d like to think it’s then, you know, an agile space that if you go back say two weeks in a row, it will look different. And I think that’s really important for retail today, you know?

How do you keep people engaged? How do you, you know, constantly make sure you’re able to tell and then retell the story, right?

Isil: You’ve worked with a lot of big retail brands globally over

the years. How do you see those brands changing, what is different or what is their perception of all this?

Christopher Raeburn: Over the last 14 years, we’ve probably worked with about 20, really significant global brands, and that’s everyone from Victoria Knox, where I worked as the artistic director for a number of years to more recently Timberland as Global Creative Director, which we have now an ongoing partnership. We’ve then also run up with Moncler, Umbro and even the Victoria and Albert Museum. We’ve been fortunate that they all came to us because of the way that we work and the clarity of our message and the communication. It’s been really encouraging and empowering for us to work with truly global brands because then all of a sudden, you’ve got this opportunity to really make a difference on a global scale. And I’d like to think we’ve seen, you know, elements of the RÆBURN philosophy, back to the three Rs and things, deployed in some pretty big brands that now have started to really change the way that they think and importantly operate. Right? Because that’s where it gets really exciting.

Isil: Yeah, so, established brands, where do you think they should start from?

Christopher Raeburn: For me, the first thing to do is look upstream. You know, what are you making and how are you making it? And as an industry, unfortunately one of the worst things that is being done and a lot of big brands are doing is mixing natural materials and synthetics. You’re making a fantastic garment, you’re wearing that garment, but at the end of its life, you can’t break that garment back down to a fibre level. You can’t extrude those materials in any kind of scale. I would say to big brands, the first thing you should be doing is looking upstream and thinking, can I be making things that are, again, in pillars, so natural materials that in theory can go back to the earth? Synthetics that are recycled and then recyclable. Or do I need to be making anything? Does it already exist? Can I challenge things in different ways? Right. Yeah. At Raeburn, you know, the journey begins when you purchase something from RÆBURN, right? It’s not where it ends for us as a brand.

It’s actually: “Thank you, your journey’s starting now and we are going do everything that we can to make sure you not only enjoy that journey, but it’s going to last for the longest possible time.” We’ll offer you free repairs for life on any RÆBURN garment, we’ll work with you in whatever way to make sure that thing is continuing to be worn.

I think there’s no reason why big brands, small brands, all of us, you know, things are changing, so how can we learn from each other to improve things basically?

Isil: Well, I think I’ve got one last question left. Which is for the upcoming designers, for the upcoming brands that want to make a difference, what is your advice?

Christopher Raeburn: How can we challenge what we’ve been doing and how can we simplify an incredibly overcomplicated fashion industry? What can you do from the very beginning to make sure whatever you are designing, step one, do you even need to make it? How can you make sure that the thing you are making is going to be done in the best way for both planet and people? This is important and ultimately leads to the most reduced impact. The more companies, big and small working together, we’ll then really have this opportunity to change things. We need to work better, we need to work smarter and we need to work more transparently.

“SO, EVERYTHING’S FLEXIBLE. YOU CAN MOVE ALL THE RAILS. MOST THINGS ARE ON WHEELS. WE’VE GOT SCREENS. YOU CAN CHANGE EVERYTHING OUT. I’D LIKE TO THINK IT’S THEN, YOU KNOW, AN AGILE SPACE THAT IF YOU GO BACK SAY TWO WEEKS IN A ROW, IT WILL LOOK DIFFERENT. AND I THINK THAT’S REALLY IMPORTANT FOR RETAIL TODAY, YOU KNOW?”

CONSCIOUS PIONEERS:

SITTING DOWN WITH FOUNDER OF THE HANDBAG BRAND THAT PRIORITISES ANIMALS, PEOPLE, AND THE PLANET.

JESSICA KRUGER OF LUXTRA (NOW SHAKER)

LUXTRA (NOW SHAKER)

LUXTRA, NOW REBRANDED AS SHAKER, IS THE PLANT-BASED HANDBAG BRAND, FOUNDED IN 2018

BY JESSICA KRUGER.

FRUSTRATED WITH A UNEMPATHETIC FASHION INDUSTRY, JESSICA SET OUT TO REWRITE THE NARRATIVE TOWARDS

HUMAN, ANIMAL, AND ENVIRONMENTAL SUFFERING, SHINING A SPOTLIGHT ON PLANTBASED MATERIALS. SITTING DOWN WITH JESSICA, WE DISCUSSED THE BRANDS MISSION TO PROMOTE RESPONSIBLE PRODUCTION AND CONSUMPTION.

Isil: Hi Jessica, welcome! So, to introduce you, you are a serial entrepreneur, and you started the brand Luxtra. Can you tell us about that journey, how you started Luxtra and where it is now?

Jess: The whole reason I started working on Luxtra, was because I really care about animal welfare, and I think we could do more in the world to live cruelty-free lifestyles.

So, I wanted to create a brand which both has beautiful products and looks to take animals out of the equation.

Isil: And you’ve coined this as conscious luxury?

Jess: Yes, conscious because we really care, we put a lot of time and effort into checking that all the things we do are kinder to people, planet, and animals. So, it’s not just animal welfare I care about, I care about doing business in the right way and conscious luxury involves creating beautiful products with fine craftsmanship, for example all our products are made in Italy, and ensuring we are doing this in a way that really takes care of all the externalities as well, rather than just focusing on the bottom line.

“AS WE SEE MORE AND MORE INVESTMENT IN THESE THINGS (SUSTAINABLE & CONSCIOUS FASHION) THE MONETARY PRICE OF BEING SUSTAINABLE DECREASES AS WELL, WHICH IS A HUGE PART OF THE CONVERSATION.”

Isil: You’re also a part of B-Corp, I think it’s been how many years?

Jess: Yes, we were certified in 2020, Chloe, one of my team members is doing our recertification as we speak. The recertification forces you, even know being sustainable is constantly in our heads, B-Corp means you must remain sustainable. This involves putting everything down as a policy, proving how we are measuring things within our business.

Isil: And is that something you benefit from, being a part of B-Corp? Aside from obviously being a conscious business, how about the side that is building both community and profit?

Jess: I think so. I always like to think we’re walking the walk and talking the talk, in terms of doing business as ethically and as kindly as possible. Because there is so much hype and greenwashing in the industry, amongst all kinds of brands, it’s a way of proving to the consumer that we are doing a lot of the things that we should be doing and that they can trust us.

Isil: It’s interesting, how do you balance out that profit side to the conscious side?

Jess: It’s a mentality, I think the world is moving forwards. Profit used to be on the highest pedestal and everything else sat on a pedestal below, whereas

now each factor is hopefully more even, or becoming more even, in the grand scope of things. So, it’s making sure that people understand the long-term value of acting conscious as well, rather than focusing on these immediate quarterly results.

Isil: So, how do you continue to engage with the brand community and educate them? You’re obviously not a traditional brand, you’re doing things differently and that needs a bit of explaining.

Jess: Yep, so we talk a lot, and we write a lot and we put a lot of information out there and I believe that ultimately makes us more interesting as well. It makes people want to engage with us more, instead of just constantly being like here’s another bag and here’s another bag, pushing product over values.

Isil: What role do you see sustainable fashion, or conscious fashion playing in the future?

Jess: I think it’s the way of the future, I can only see that it’ll go forwards. I can’t see us going backwards if you like. We’ve spoken about all these issues such as very poor working conditions, poor wages, especially with Covid people weren’t being paid because brand’s pulled orders. Transparency is key, all these issues are getting pushed out into the open, we’re talking about them, what I’m trying to say is that we’re not going backwards.

As we see more and more investment in these things (sustainable & conscious fashion) the monetary price of being sustainable decreases as well, which is a huge part of the conversation. It’s being normalised with the consumer as well meaning the more it comes onto people’s radars, the more these issues are being discussed… it’s only going to improve.

“I THINK THE WORLD IS MOVING FORWARDS. PROFIT USED TO BE ON THE HIGHEST PEDESTAL AND EVERYTHING ELSE SAT ON A PEDESTAL BELOW, WHEREAS NOW EACH FACTOR IS HOPEFULLY MORE EVEN, OR BECOMING MORE EVEN, IN THE GRAND SCOPE OF THINGS.”

Isil: My last question would be about you and being a female founder of a brand. This obviously comes with its difficulties but how was that journey, and do you have any advice to those who want to make an impact or want to start their own brands?

Jess: I spend a lot of time networking now because you never know who and what conversation will trigger something interesting. I always come away with new ideas, no matter who I speak too, even those who seem a bit more untouchable and come across a bit harder to speak too. There’s

a lot of rejection as well though, which is hard, but I think I’m lucky because I really care about what we do, we have beautiful product and I get the prototypes back from Italy and I’m just wowed at how gorgeous it is, you know, it’s plastic free, it’s beautiful… I can’t wait to put this out there. That makes it easy for me to get excited and get back out there every day.

“IT’S MAKING SURE THAT PEOPLE UNDERSTAND THE LONG-TERM VALUE OF ACTING CONSCIOUS AS WELL, RATHER THAN FOCUSING ON THESE IMMEDIATE QUARTERLY RESULTS.” Luxtra

DESIGNING WITH LOW IMPACT IN MIND

CIRCULARITY

When it comes to making conscious choices, contributing to a circular economy is at the forefront of expected practise. Put simply, a circular economy is based on the idea of reusing and regenerating materials, returning all product to the point of its source. Minimising waste and maximising sustainability.

Amongst many more, here are four key ways to benchmark the design process when it comes to contributing to a circular economy, written in collaboration with Olivia Aspinall of Do Not Go Gentle.

noun [ u ] /ˌsɜː.kjəˈlær.ə.ti/

1. The fact of constantly returning to the same point or situation.

Longevity translates to a long duration of life and designing with longevity in minds looks to extend the useful durability of a product. This means something can hold a purpose for a maximum amount of time, avoiding the need to be replaced. Considering this within retail design, there must always be a plan for the end of life of product.

The rise of experiential retail has led to an increase in temporary retail structures such as pop-up shops. When knowing ahead of time that the foundations of a retail space are only to be used for a short amount of time it is crucial that temporality is considered at the design stage. Whether this be designing with biomaterials that can compost or designing with disassembly and repurposing in mind, always ensure the design blueprints consider contributing back to a circular economy.

As mentioned previously, designing for disassembly is a way to work around the temporary life span of product and materials. Designing for disassembly means to design with the goal to take a product apart for repurpose. Factors to consider include ensuring the product can be easily taken apart without damage and how properties of the product can be packaged for storage or future transportation.

Every big design idea should begin with a plan for re-using, re-purposing, and repairing. All product and material used should aim to fall into one of the three R’s minimising the overall waste of a project.

This was created in collaboration with Olivia Aspinall of Do Not Go Gentle, a sustainability consultancy for creative studios, designers, architects, and brands.

1. DESIGN FOR LONGEVITY

2. DESIGN FOR TEMPORALITY

3. DESIGN FOR DISASSEMBLY

4. PLAN FOR REUSE, RE-PURPOSE, AND REPAIR

A BREAKDOWN ON BIO MATERIALS

From materials made with labgrown fungi to paper made from seaweed, material innovation within the realm of biomaterials has ten folded to keep up with the growing concerns for our planet. Biomaterial is a word that is often heard in the discussion between produce and sustainability, but it can still be confusing to understand the true meaning of the word and why biomaterials are, in general, kinder to both people and planet.

Bio, short for biology is a broader term referring to something which has been made fully or with the help of biology. A biomaterial, therefore, can be best defined as substance which is designed to work side by side with components of a living system, resolving back into biology. Within this there a variety of different types of biomaterials in which we have outlined on the following pages.

BIO BASED

BIO ASSEMBLED

Bio-based materials are made from biomass, meaning they are made of living organisms such as plants and animals. More commonly we could identify materials such as wood and leather as bio-based materials, however with recent innovation modern materials such as those made from cellulose fibres can also be identified as biobased.

BIO FABRICATED

Bio-Assembled materials are materials that have been grown directly by a living thing. For example, a bacteria or fungi self assembles, meaning that the material grows itself.

BIO SYNTHETIC

Bio-fabricated materials are materials that make use of living organisms such as bacteria, algae, and mycelium as aids in their fabrication. We can see example of this within new bio dyes that utilise the DNA of organism to grow pigments.

Bio-synthetic materials are materials which are both partly made by humans and partly made by biology. Although some parts of the material belong to nature, bio-synthetic materials would not naturally occur in nature and therefore need intervention and processing to develop.

BIODEGRADEABLE COMPOSTABLE

Compostable materials are made from organic matter and are designed to break down into nontoxic components such as water and biomass, enhancing soil and given the right conditions, not harming the environment. Unfortunately, a lot of packaging labelled compostable requires commercial composting facilities, of which there are still only a few within the UK.

Biodegradable materials, if made by organic matter, are capable of being broken down by bacteria or fungi, without the use of harsh chemicals. Decaying naturally, there is little to no lasting damage caused by the product of these materials. There is no time limit when it comes to something being classified as being biodegradable, with some materials taking between days, weeks, or centuries to decompose. A material that breaks down quicker is preferred, so it’s important to try to understand the time frames surrounding the breakdown of biodegradable materials.

This was created in collaboration with Olivia Aspinall of Do Not Go Gentle, a sustainability consultancy for creative studios, designers, architects, and brands.

KEEPING UP WITH THE GROWING DISCUSSIONS SURROUNDING SUSTAINABILITY, IT IS ALSO KEY TO KNOW THE DIFFERENCE BETWEEN COMPOSTABLE AND BIODEGRADABLE AS IN SOME CASES THIS TERMINOLOGY CAN BE IN BOTH PARTS CONFUSING AND MISLEADING. WHEN CONSIDERING THESE TWO MATERIAL PROPERTIES IN BOTH DESIGN AND DAY TO DAY LIFE, IT IS KEY TO LOOK OUT FOR WORDS SUCH ‘HOME COMPOSTABLE’ AND ALSO TO CONSIDER TIME FRAMES SURROUNDING BIODEGRADABILITY.

MATERIAL INNOVATION

THROUGH OUR OWN RESEARCH AND COLLABORATIVE WORKING HERE AT SEEN STUDIOS, WE’VE COME ACROSS CUTTING EDGE MATERIAL STUDIOS AND MATERIALISTS WHO

ARE USING THE WORLD OF SCIENCE TO

TRANSFORM HOW WE DESIGN AND PRODUCE IN A WAY THAT IS BOTH FUTURE-THINKING AND RESPECTFUL FOR THE PLANET.

CAROLINE HYDE-BROWN – MATERIALIST

Caroline is a UK-based materialist who has created a hand-made paper like biomaterial made of a Neolithic orphan crop waste residue called Grass Pea. Recognising that Grass Pea thrives in extreme weather conditions that are commonplace in communities within the Sundarbans in Asia, Caroline developed a paper making recipe using the residual waste of the plant, harvested rainwater and heat from the sun. Helping some of the poorest communities in the world, Caroline’s material has been used to make a prototype shoe, a lampshade, and bowls.

FORESSO MATERIAL STUDIO

Image Source: Caroline HydeBrown

DURAT – MATERIAL & MATERIAL STUDIO

Founded in Finland in 1990, Durat’s aim is to reuse waste plastic as a high-quality raw material for design surfaces and products. On a mission to reduce the amount of plastic ending up in landfills, Durat is manufactured by crushing recycled post-industrial waste plastic into granulates. Reusable, 100% recyclable and made of up to 30% recycled materials, Durat has implemented the principles of a circular economy since it’s finding.

Image Source: Durat

THE GOOD PLASTIC COMPANY –PRODUCTION FACILITY

Birmingham-based material manufacturer Foresso uses timber waste from the furniture industry to produce a terrazzolike sheet material. Created out of frustration against the culture of disposable interiors and the waste produced by typical manufacturing processes, the composite material combines wood waste, plaster waste, resin, and pigment to create a surface which is both beautiful and hard-wearing. The waste, sourced from local sawmills, visually flows through to the finished material with its distinctive textured detail.

Image Source: Foresso

Polygood, made by The Good Plastic Company, is a surface material made from 100% recycled and 100% recyclable plastic. Produced from a wide range of post-consumer and post-industrial plastic waste sources such as single-use cutlery and electronics, The Good Plastic company was founded in 2018 with a mission to contribute to solving the problems caused by the 400 million tonnes of plastic waste that are generated annually. Filling the gap between the recycling industry and design, Polygood is a unique but aesthetically striking material with notable sustainable advantages.

Image Source: The Good Plastic Company

LULU HARRISON - MATERIALIST

Lulu Harrison is a materialist who creates unique batch recipes, replacing the highly processed materials that are often used in glassmaking. By combining crafts, design, and science, her work actively seeks to redefine the meaning of ‘luxury’, through working with waste materials from the bottom of the river Thames and local communities.

Image Source: Lulu Harrison, photographed by Ben Turner

NICOLE CHRYSIKOU - MATERIALIST

Nicole is a materialist and founder of the project BacTerra, which proposes alternative ceramics that are self-fired and biologically glazed, using the power of biotechnology. Using ceramic waste and bacteria as the recipe for her designs, BacTerra utilises bio fabrication to create a ceramic that is self-fired and then biologically glazed through the process of biomineralisation.

As a result, not only does this project utilise waste, but it also incorporates living organisms into traditional crafting techniques.

Image Source: Nicole Chrysikou

OTTAN STUDIO - MATERIAL STUDIO

Ottan Studio is committed to paving the way for a better future for both the design and production industry and the planet. Ottan focus on producing highquality surfaces that can replace conventional materials such as wood and stone. Utilising regional waste materials in local industries, Ottan use natural resources such as hazelnut shells, eggshells and expired rice to create alternatives for glass, wood, acoustic cladding, tiles and more.

Image Source: Ottan Studio

PAPER FACTOR – MATERIAL & MATERIAL STUDIO

Paper Factor is a strong, durable, and light micro-paper compound made from the innovative evolution of papier-mâché, tested, and developed in collaboration with Italian Universities and Institutes. Keeping its artisanal excellence, all products are hand-made and finished with techniques that are usually employed on wood, metal, plastic, and stone. Of high ecological value, Paper Factor is a leader in the material futures field.

Image Source: Paper Factor

PLASTICIET - MATERIAL STUDIO

Born as a solution which aims to solve the problems created by mass produced, single use plastics, Plasticiet is a material studio paving the way for change when it comes to how we view plastic. Crafted with reuse and repurpose in mind, Plasticiet captures large volumes of plastic, which is otherwise designed for landfill or incineration, and transforms it into a high-end material for physical spaces. Using only raw ingredients that are easy to recycle and have consistent waste streams means all Plasticiet materials can be turned into new again and again.

Image Source:

Material: Rhinestone by Plasticiet (bespoke version)

Client: Ace & Tate

Contractor: Teamwork Interiors

Photographer: Lennart

Wiedemuth

SALOME MAAREK – MATERIALIST

Salome Maarek, Jerusalembased designer, transforms stones to glass, celebrating both sustainability and nature’s beauty. Using local stones from different regions of Israel, Salome analyses, processes, and creates natural coloured glass with as little environmental impact as possible, ensuring the embodied energy used within the process is kept to an absolute minimum. Salome’s glass is now available for use for both jewellery pieces and industrial production.

Image source: Salome Maarek

SMILE PLASTICS - MATERIAL STUDIO

Material design and manufacturing house, Smile Plastics transforms plastic waste into unique materials. Used by brands like Ganni and FaceGym within their retail spaces. Offering an alternative which contributes to a better way of living, Smile Plastics creates their decorative panels from 100% recycled and 100% recyclable materials, changing the perception of incorporating waste in luxury design.

Image Source: Smile Plastics

THE CONSCIOUS CHECKLIST:

1.THINK BEYOND THE PRICE POINT

As the desire for sustainable living grows traditional barriers which once stood in front of the consumer and daily conscious habits will diminish, such as price tags. Brands will almost be expected to think beyond the price and profit point, instead prioritising additional consumer concerns.

3. REPAIR BEFORE YOU REPLACE.

Longevity is a growing concern amongst conscious consumers, especially when sustainable product often comes at a higher cost. With refill supermarkets popping up and instore repair stations becoming a staple in flagship stores, brands must begin to understand that the consumer journey should begin at the point of sale, not end.

2. SHARE INFORMATION. CLEARLY.

Transparency is soon to become key. Clear information on all aspects of your brand is crucial to gain consumer trust and ultimately encourage them to engage within your brand stories. Whether this be surrounding product source, carbon footprint, or employee welfare, for value driven consumers it is a necessity to understand the innerworkings of a brand before their mind is made.

4. ALWAYS THINK FORWARDS.

Innovation is key. In a world of fast-growing technology and game-changing discoveries it’s necessary for brands to be looking across cultural landscapes for inspiration and navigation. A brands commitment to sustainability must involve innovation, capturing a consumer’s eye in an oversaturated space.

5. OWN RESPONSIBILITY & DO THE HEAVY LIFTING.

Consumers are expecting much more than just product from brands, especially the likes of Generation Z and Generation Alpha. An investment in conscious decision making, such as proof of a brands contribution to a greener future, will never go undervalued as consumers look to divert their spendings towards those who are genuinely taking responsibility and contributing to positive change.

If you’d like to delve deeper into any of the topics we’ve shared in this magazine, please don’t hesitate to reach out. Just get in touch at contactldn@seen-studios.com and we’ll be more than happy to have a discussion with you.

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