Circularity in Motion: Digital Publication by UAL_Lemie

Circularity in Motion The Rebirth of Discarded Fabric

Preface The project ‘Circularity in Motion’ started with myself coming back to Japan due to the covid pandemic and realising how behind Japan was with climate action. The fact dawned on me when I was having a conversation with a friend and he asked me “Is the climate crisis real?” Not only was their a lack in information on sustainability and the climate crisis available to the Japanese public due to the language barrier, but it also meant that there was lack in interest in the field from the public. Design is a powerful tool, it has the ability to pique one’s interest and make the audience think about the subject matter that is being discussed, in this case, sustainability. This publication has been created as a light read for the audience that do not have knowledge on sustainability. By reading through the publication I hope the reader would have a deeper understanding of the circularity of resource specifically in the fashion industry and the change in sentiment towards sustainability over time through their involvement in this project. This publication shows the journey of fabric scraps turning into an artwork. The journey is just one of the many possibilities for the circularity of resource, alternative from the traditional linear cycle of resource of take, make, and waste.

Table of Content 1

Fashion Industry and the Climate Crisis

Circularity in Motion

Summary

Fashion Industry and the Climate Crisis

Issues of the Fashion Industry The fashion industry is a major contributor to the climate crisis. The rise of fast fashion from the end of the 20th century has continued to this day with its linear system of take, make, and waste.

Every stage of creating the clothes that we wear are built on top of the ruining of our environment. Ergo it is crucial that humanity works on changing when it still can.

The production and manufacturing phase has negative impact on the planet including water pollution, including poison and microfibres which damages aquatic life and millions of people. The contaminated water spreads into the sea and spreading across the globe. Water consumption of the fashion industry, from the production of cotton(20,000 litres of water are needed to produce one kilogram of cotton), and for dyeing and finishing process. Clothing waste due to fast fashion that go directly to landfill or is incinerated even though 72% of the clothes are made from synthetic fibres which are said to take up to two hundred years to decompose. Poor health conditions imposed on the workers through usage of chemicals for dyeing, bleaching, and wet processing. Farmers that grow cotton are exposed to diseases and premature deaths due to the chemicals. Not to mention the chemicals also lead to freshwater and ocean water pollution and soil degradation. Soil degradation is caused from overgrazing of pastures for cashmere goats and sheep for their wool. Deforestation caused by wood-based fibres such as rayon. Greenhouse gases emission from the fashion industry during production, manufacturing, and transportation are estimated to account for 10% of the global carbon emissions. Synthetic fibre are made from fossil fuel. Many of our clothes are produced in China, Bangladesh, or India, these countries often use coal energy which produces more carbon than other energy. 2

CGTN (2021)

Future Vision 8% of the human made products are recycled, meaning the 92% are being discarded. In which case one would have to ask, what is the transition the fashion industry has to make in order for a circular economy to become a reality. The ideal future would be the complete circularity of resource, meaning there would be no waste. The material thought of as waste, will circulate into another item to be used continuously, forever. In order to do so, it is important to design in a way where every element is recyclable at every stage and not ending in landfill or incinerated. For those who do not see the urgency of climate action should realise and remember how human society is built up and maintained with the premise of a safely operating planet.

Circularity in Motion

Concept: Linear to Circular

Circularity in Motion (2021)

Humanity’s lifestyle of mass consumption has driven the planet to a corner. The results being the climate crisis, which looms over both the environment and human existence. There is no later, but only a must to “act now” for a transition to a circular system. ‘Circularity in Motion’ is an installation purposely utilising fabric waste in order to showcase the ability of design. Creating value to items that were labeled unneeded and discarded materials. The circular shape of the installation depicts the ability to close the loop and keep resources in eternal usage. The layered element displays the varying levels in process, sectors and society interlinked by the complex and unseen thread suspending the installation.

Top: Rolls of leftover fabric scraps to discard from the brand’s factory (2021) Bottom: Discarded uniforms collected over the weekend at the brand’s office (2021)

Fashion Factory ‘Circularity in Motion’ was created in collaboration with a fashion brand from Japan. The brand had difficulties dealing with their leftover fabric. The photographs at the top are rolls of leftover fabric that were stored for four years in the factory, the image was taken when I visited their manufacturing factory. The photograph to the left are used clothes which were collected in a few days at the brand’s office in Ginza, Tokyo. The brand throws away 1 ton of fabric per month, solely from the manufacturing process, therefore rather than discarding the items, the fabric scraps were decided to be upcycled into fabric boards.

“Yes we throw 1 ton worth of fabric scraps

per month because we don’t have any use for it.” - Fashion brand’s factory worker

Fashion brand’s factory in Japan. Factory worker pulling out rolls of fabric, due to be discarded (2021)

Fabric Board 930 x 930mm x 5.5tmm sized fabric board were created from 91.5% waste clothing, 8% binder, 0.5% wax. With one ton worth of fabric, 250 boards can be made. Sending over unwanted fabric from the brand, The company that creates the fabric board, were able to make seven boards, all from fabric scraps produced during the pattern cutting stage.

“I’ve never thought of making an artwork out of these fabric boards. I am looking forward to the outcome” “Also, the fabric board is quite hard to handle, if you find anything whilst making the artwork I would like to know.” - Fabric board inventor (2021)

The fabric board was a brand new invention where not much was known about the material. As a result, the artwork did not solely become a collaborative project with myself and the fashion brand, but also the inventor of the material as well. The inventor of the fabric board looked forward to the different possibilities the boards had apart from utilising for interior display, flooring material, and hangers changing its form depending on who handles them.

Left: Shredded fabric scraps ready to be solidified Middle: Close-up of fabric board (2021) Right: 90cm x 90cm fabric board (2021)

Making Prototype I created miniature prototypes of the installation to visualise what the final outcome would appear to be. The form was inspired by the closed loop of circularity of resource, in this case relating to fabric.

“I love the form of the prototype” “The inspiration from the circular system becomes very apparent through this form” I wanted to create a form that was warm, welcoming, and reminding of the closed loop of resource. This form depicts all these elements.

Left: Sketch outline for real size prototype Bottom: Real size prototype

Left: Sketch of installation Middle: Miniature prototypes Bottom: Mockup using photoshop

Cutting fabric board at wood workshop (2021)

Wood Workshop In order to get the fabric boards into the desired shape, I went to a wood workshop. There were many issues that arose when cutting the fabric board.

“The fabric board is stuck together even after I cut it with a jigsaw because of friction” “There are bulks forming from where I cut”

Top: Sketching guideline to cut with jigsaw Middle: Cutting the board Bottom: Shredded fabric board from cutting with jigsaw cutter

There were many difficulties with handling the fabric board. Due to the board being made out of collected scraps of fabric, the percentage of each material was not stabilized throughout all the boards. Some boards created bulks of melted fabric after being cut, some boards stuck together even after being cut due to friction.

Top: Brand’s office (2021) Middle: Drilling a hole into the artwork Bottom: Cleaning the board to have a clean surface

Beading and threading the pieces together

Brand’s Ginza Office Rather than introducing the work only when it is complete, I incorporated an interactive element where I worked on creating the installation at the brand’s office. By assembling each piece at the office, it gave an opportunity for the employees to watch me work on the installation while they were working and ask about the project.

“What are you making?” “I cannot believe this board is made out of our company’s fabric that we collected last month!” “Could you tell me more about the concept?” “Can you tell me more on how this is related to the climate crisis?” - Brand’s employees (2021)

The employees were keen on knowing more about the pieces in the changes that were happening over time. They were surprised of how the boards were made out of their companie’s fabric waste which piqued the interest towards the material. The exhibit of the installation was going to take place at the office, meaning when outside guests visit, they would have to know about the installation in case they are asked about it. Though not an ideal form of taking interest, the exhibit did create an opportunity for the employees to deepen their understanding on sustainability and the circularity of resource.

Suspending installation at Brand’s office (2021)

Final Outcome

Suspending After beading and threading the pieces together, the artwork was suspended at the fashion brand’s office. The exhibit was located in between meeting rooms which had glass walls, meaning whilst the employees are having a meeting, they will constantly have the installation at the corner of their eyes.

“I’m starting to understand that installations don’t only have one angle to look at but is a 360 degrees experience. The installation has a different face depending on where I sit when I’m in the meeting room” “It’s a great reminder how the installation is located in a place that can be seen from anywhere in the office rather than being in the corner of the room” - Brand’s employees (2021)

The installation became a great reminder for the employees to remember about the project that they were part of and be proud that they were able to contribute on climate action through their fabric scraps and used clothes.

Summary

The process of ‘Circularity in Motion’ has generally been positive. The people who were involved were excited to see what the final form would be. Even if they were not interested in the artwork, by talking about the piece, it gave room to introduce more on circularity of materials in the fahsion industry and sustainability relating to design. Circularity in Motion became an entry point for those who are interested in the topic. Sustainable art may be common in the UK, but the concept is still fresh in Japan. Hence, it is important that Japaneses citizens are exposed to different types of sustainable art in order to widen their knowledge in the possibilities for transitioning into a circular economy.

Circularity in Motion (2021)