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Sustainable Skin

Nowadays in the aspect of fashion, especially in the fashion industry sustainability is very important question. As designers we have to question ourselves how is it possible to make something relevant and practical, but still creating the new with the sense of sustainability and be responsible for the environment and for the ethics of fashion such as working conditions. Environmental issues can be found in any industry but the second biggest industry which harms the environment is fashion. Fashion can cause a huge damage on our planet. ‘Vibrant colours, prints and fabric finishes are appealing features of fashion garments, but many of these are achieved with toxic chemicals. Textile dyeing is the second largest polluter of clean water globally, after agriculture.’ PATSY Perry, Independent (2018) Available at: (Accessed: 16. 04. 2018) I would love to mention some different examples when I am talking about environmental pollution, such as the chemicals which had been use during the textile dyeing project. ‘Water pollution, toxic chemical use and textile waste: fast fashion comes at a huge cost to the environment.’ PATSY Perry, Independent (2018) Available at: (Accessed: 16. 04. 2018) Designers are one of the main rotating point of sustainability in the industry of fashion. ‘the fashion designer is responsible for leading the development of a collection and will need to liaise with a wide range of people during the process., (Alison Gwilt, 2014, p. 24) With fashion design especially sustainable fashion design we have to think about how to improve the garments environmental and ethical questions. We all have to think about the life cycle of the garment. From the first step the idea (the design together with the selected materials which can be textiles) until the last step when the garments life ends. The life cycle of a garment can be divided by five different stages: ‘design, production, distribution, use and end-oflife.’ (Alison Gwitt, 2014, p. 32) At the very first step the design process can introduce different stages, such as the research (trend and market) and the development. In this step designer deciding about what kind of material are they use. What are these materials made from? And how are they going to use. The second stage is the production: during the production the designers and different specialist will develop all together the samples which can introduce different techniques for the final garments. We have to think about as well from the following questions: ‘Who makes your supplies and garments? Where are the garments assembled? What resources are needed for production? What happens to the textile waste….? ‘(Alison Gwitt, 2014, p. 37) In the third stage the distribution belongs the transportation of materials for the making process. When the garments are ready then we have to think about the transportation of the final garment. This can be the retailers or directly the consumers home if they decide to shop on-line. To this step belongs the labelling and packaging. But to decide about what kind of packaging are we going to use can be considered as well in the second stage when the production happens. What kind of material are we going to use for the packaging? In the use of the garments a very important question how the garment will be cleaned. The cleaning process can be washed in washing machine, to be cleaned with different techniques at the dry cleaners. During the dry cleaning process sometimes they have to use different chemicals, which can be harmful on the environment. The last stage is the end-of-life of a garments. Where we all (designers, retailers, consumers) can decide about what are we going to do with the fashion garment. It can be disposed, re-used, recycled. The inspiration for this collection is based on the marionettes and on the theatre, on the play and on the manipulation. Marionettes in different plays are the acting characters. with all the strings attached they are being respond to the manipulation of the moving hands.

A marionette is a small puppet which can be controlled on different ways. Can be controlled from above with different strings or from below with wooden sticks. The control is depending on if the marionette is made to be 2D or 3D. 2D can be made out of paper, 3D can be made out of different materials, such as wood, fabric and metal, both of them can be dressed up. ‘In the 19th century, English marionette (string puppet) troupes were world-famous and popular with adults and children alike.’ Victoria and Albert Museum, (2016), Marionettes. Available at: http://www. (Accessed: 03.04.2018) When I am thinking about manipulation on marionettes I am trying to find the connection how fashion or the designers by themselves can manipulate people, their consumer, the market through their design ideas. The consumer’s choices, based on the design and the way how the brand thinking, and very important as well how they respond to the environmental issues and on sustainability. I started to develop my ideas around the theatre, the act, the play, mostly the performance, the marionettes, the childhood, the dolls, through the stretch features of the skin. During my research I looked at different images for example a range of performance artists (STELARC & WoD) whom been suspended in the air through strings and hooks attached to their skin. With their body and different materials creating a performance. Different marionettes from, different times and background (countries). The concept was very wide but narrowed it down, all goes back to one important point to be stretched and playful. With this collection I wanted to invite my consumers into a play. Let them decide what they would like to do with the ‘object’. I am calling some of the garments as objects. My collection is based on the concept of being 2D as an art piece, but if the consumer decides, they will be able to wear the art as 3D on their body. During the manipulation process I experimented how to fill the pattern pieces with wadding. To create the 3D effect even if it laid down (2D) on a surface without closing all the seams and create a 3D garment. When the garments are suspended in the frame it is not really giving the shape of the garment. You have to use your fantasy and it can give a different meaning to you as an ‘image’ been framed. For the textile manipulation I tried the filling with different material as well which was silk organza. I filled a small textile ‘pouch’ with the material then closed the seams and then pierce the surface and pulling the organza through the small holes as you could see on a vintage used toy, how to create from the used “old” look something new. As considering sustainability with the use of stretch fabric been a bit difficult to find the middle way how to be sustainable and stretch in the same way. Some of the garments from the collection are sustainable even they made of mixed materials such as elastic, man- made fibres, because they can be cleaned without washed in the washing machine, just with the use of sponge and soapy water. For the other pieces I found natural materials which been made with natural fibres, such as wool, cotton and silk. The collection is based on different shapes of grey, silver (bit futuristic) and on the different shades of red as we can see in the theatre as the main colour of the curtains and sometimes as well on the seats. During the making of this collection I tried to adapt the different steps of sustainable fashion design: During the design process I was thinking about the materials what I am going to use (natural and manmade). In the production process I had been making samples on the half scale size, with this technique I reduced the amount of material which I had been using for the sample pieces. For my final piece (the garment with the hood) I found a pattern cutting technique, where I was cutting only stripes of fabric, with this technique I will be able to use the full amount of fabric as I am not cutting shapes so I will not waste any fabric (zero waste technique). In the third step the use distribution of the garment, I planned to reduce the packaging of the garment, which means we do not have to use any plastic cover to store the garment or carrier bags, we can keep them in textile garment bags. So when the consumer will purchase the garment they will not need any carrier bags. They would be able to carry the garments in the garment bag. In the use of the garments a very important question how the garment will be cleaned. Most of the pieces from the collection can be washed in washing machine or cleaned with a sponge and water. In the last step, the end-of-life of a garments, I am planning to reuse the garments for new collections, with the meaning to create something new from the old. Sustainability is a very important question to me which I will consider during my future through my design to manipulate the consumers for a better world.

B o t o x Spring /summer 2019


STELARC- Suspensions


Christian Boltanski

The Flat Drawings

Technical File


The Bibliography Stelarc, Suspensions (1980-2016), last visited: 15.06.2018 Beaumont, Cyril W. (1956) Puppets and puppetry, London ; Studio Publications, 1958. Sinclair, Anita. The puppetry handbook (2000) Richmond,Victoria Coad, Luman. Marionette sourcebook : theory & technique.(1993) North Vancouver : Charlemagne Christian Boltanski, Monument Odessa - 1988, last visited: 15.06.2018 last visited: 15.06.2018 last visited: 15.06.2018 last visited: 15.06.2018 Rissanen, Timo (2015) Zero waste fashion design, London ; Fairchild Books, an imprint of Bloomsbury Publishing, Plc,