Possible Ways of Minimizing Fabric Waste: a Case Study of Kad

Home , Neckline, Textile recycling, Upcycling

POSSIBLE WAYS OF MINIMIZING FABRIC WASTE: A CASE STUDY OF KAD

MANUFACTURING LIMITED, GHANA

Thesis written by

Gloria Makifui Mifetu

Co-Advisor of Thesis:

Professor Linda Ohrn-McDaniel, MFA.

Kim Hahn, PHD

TABLE OF CONTENTS Page LIST OF FIGURES ...... iii LIST OF TABLES ...... iv ACKNOWLEDGEMENTS ...... v

CHAPTER I……………………………………………………………….………………… …1 Introduction ...... 1 Significant of the study...... 3 Definition of terms ...... 3 limitations ...... 5

CHAPTER II……………………………………………………………………….……………6 LITERATURE REVIEW…………………………………………………………………………6 Fabric Waste / Textile Waste...... 6 The Impact of Fabric Waste ...... 8 Fabric Upcycling And Textile Recycling ...... 9 Pattern Making ...... 10 Traditional Pattern Making ...... 11 Waste Reduction Pattern Making ...... 11 Zero-Waste Pattern Making ...... 14 Technology in Pattern Making ...... 15 Benefits of Reusing and Recycling Fabric Waste ...... 17 Different Approaches to Reduce Fabric Waste ...... 19 Research Gap- What Has Been Done or Not Done in The Past...... 20 Research Questions………………………………………………………………………..……..22

CHAPTER III…………………………………………………………………………………..23 METHOD…………………………………………… …………………………………………23 Overview ...... 23 Research Design ...... 23 Phase One of The Study- Practiced Based Research Process...... 25 Proposed Practiced Based Research Project Plan ...... 26

CHAPTER IV...... 28 RESULTS...... 28 Introduction ...... 28 Phase One...... 28

The Production Process ...... 29 Pattern Making and Marker Making Process...... 30 Waste Reduction Process ...... 31 Zero-Waste Pattern Making ...... 32 Fabric Scraps and Waste Disposal...... 33 Uses of Fabric Scraps And Its Benefits ...... 33 Challenges of Fabric Scraps ...... 34 Phase Two: The Design Process ...... 35 Fabric Scrap Utilization ...... 36 The Tunic Dress ...... 37 The blazer ...... 43 The shirt dress ...... 48 The trouser ...... 53 The accessories ...... 56

CHAPTER V...... 60 DISCUSSION ...... 60 Implications ...... 63 Limitations ...... 64 Recommendations for Future Research ...... 65 Conclusions ...... 65

APPENDICIES……………………………………………………………………..…………..68 ApendixA…………………………………………………………………………..………….…70 Appendix B…………………………………………………………………………………...….72

REFERENCES……………………………………………………………………….………….74

LIST OF FIGURES

Page 1.Fabric Scraps from KAD Manufacturing Limited...... 36 2. Cutting out the Scraps ...... 37 3. Joining the Fabric Scraps with Serger...... 38 4. Front and Bache of the Dress Unstitched ...... 39 5. Front and Back of The Dress, Finishes Dress...... 40 6. Sleeve and Side View of The Dress ...... 41 7. Step by Step of the Neckline Design ...... 42

iii

8. The Finished Neckline...... 42 9. The Arrangement of the Strips ...... 44 10.The Wrong Side of the Garment ...... 45 11.The Front View ...... 46 12.The Back View...... 47 13.The Sleeve…………………………………………………………………………………….48 14.The KAD Design…………………………………………………………….……………….49 15.The KAD Pattern……………………………………………………………………………..49 16.The Zero Waste Pattern……………………………………..…………………….………….50 17.The Process of The Sleeve…………………………………………………………………..51 18.The Front and Back Details ………………………………………………………….……...51 19.The Different Between the Original Dress and the Zero-Waste Dress...…………………...52 20.The Trouser Pattern…………………………………………………………………………..55 21.The Trouser Design……………………………………………………………………...……56 22.The Accessories……………………………………………………………………………...57 23.The Handbag…………………………………………………………………………………58 24.The Hat…………………………………………………………………………………….....59 25.The Fascinator ……………………………………………………………………………….59

LIST OF TABLES Page 1. Types of Pattern Making ...... 11 2. Pros and Cons of Various Patten Making ...... 13 3. Characteristics of the Participants……………………………………………………………..28 4. Uses of Fabric Scraps to the Company………………………………………………………..33 5. The Different Between the Original Dress and the Zero-Waste Dress ………………………52

ACKNOWLEDGEMENT

I cannot express enough thanks to my committee for their continued support and encouragement:

Dr. Kim Hahn, Thesis Supervisor, Prof. Linda Ohrn-McDaniel, M.F.A., Thesis Supervisor, and

Prof. Grace Keenan M.F.A., Committee Member. I offer my appreciation for the learning opportunity provided by my committee.

I would love to thank Dr. Catherine Leslie for her inspiration and support.

I would also like to express my special thanks and gratitude to my family, who supported me throughout this project.

POSSIBLE WAYS OF MINIMIZING FABRIC WASTE: A CASE STUDY OF KAD

MANUFACTURING LIMITED, GHANA

CHAPTER I

INTRODUCTION

This study explored how fabric waste can be eradicated in KAD Manufacturing Limited through pattern making and using fabric waste in designing garments. The fashion industry wastes a huge percentage of textiles in the process of fabric production and clothing production. Currently,

5 % of solid waste is post-consumer textile waste, and most of this textile waste that goes to the landfill has cost problems to the environment. This waste can include fabric scraps from cutting, leftover fabrics from the rolls, sampling yardage, damaged fabrics, clothing samples, unsold garments, and second-hand clothing waste (Redress Design Award, n.d.). Fabric can also be wasted during the production process, trimming section, or during the printing and embroidery section (Bamisaye & Adeitan, 2018).

However, the fabric scrap can also be determined by the design or the style of the product.

These leftover fabrics can be used for new developments and innovations for financial purposes.

According to Reverse Resources (2016), some companies are already using leftover fabric for other products. Aside from the financial benefits, using leftover fabrics can substantially minimize the environmental footprint of the fashion industry. According to Schipani (2019), the clothing industry’s side effect on the environment goes beyond emissions. Fabric waste in the garment manufacturing industry is one of the biggest problems for manufacturing companies. Many of these scraps are dumped into a landfill, which generates many issues for the environment. The fashion industry stands as one of the leading industries globally, and it produces more waste than

1 any other manufacturing industry. However, there is hope that this situation can be overcome through recycling and reusing fabric waste from the fashion industry.

This research seeks to throw more light on the issue of fabric waste in the fashion industry by focusing on the practices of KAD Manufacturing Limited, a garment manufacturing company in Ghana, West Africa. Most fabric waste from the KAD Manufacturing Limited is always dumped in the landfill, and some are stored in sacks to keep for future use if the need arises. However, these wastes keep accumulating and occupy spaces. Again the fabric wastes the company sends to the landfill may result in environmental pollutions such as soil contamination and water pollution.

This research aims to study various ways to reuse and recycle fabric waste that is generated during garment production. This research proposes possible ways to use any fabric waste generated during production through cutting and possibly to generate income for the company. Many clothing manufacturing companies face the challenge of waste management because of various associated issues. One of the challenges is how to develop a new product for manufacturing using fabric waste. This study looks to find effective ways of using the fabric waste generated from garment production. The amount of fabric waste is not consistent; it is dependent on each product. With that in mind, scraps from multiple construction processes were gathered in order to have enough scraps for innovative designs. Furthermore, many manufacturers of the ready-to-wear industry discard most of their fabric waste. Discarding the waste does not affect their business’s standard cost (Jahan,2017) because everyone assumes it is part of the standard cost of production. However, this textile waste can be used to develop new textile products that could generate income for the industry.

Therefore, the study aims to investigate and analyze the possible ways of reducing fabric waste in KAD Manufacturing Limited through pattern making and fabric recycling. Sustainability

2 in the fashion business is developing, not yet established, and many researchers have acknowledged the importance of investigating how it can be achieved. This study would help the industry generate income from fabric waste and reduce land pollution in the future. There are many possible ways to reduce and recycle fabric waste in the garment factory, and the researcher would investigate the issue and suggest possible ways to solve it based on the experience from KAD

Manufacturing Limited.

SIGNIFICANCE OF THE STUDY

This study’s findings will be beneficial to KAD Manufacturing Limited since it will help the company reduce/eliminate fabric waste in the factory. Since money is what drives businesses to make a change and become successful, the study aims to generate a product that can bring more financial benefits to the company by providing new products that can be sold. Besides, the study will inspire many designers and pattern makers to think innovatively when designing and developing patterns. Other garment manufacturers may adopt the methods suggested based on the outcome of the study and put these lessons into practice to prevent fabric waste and generate income.

DEFINITION OF TERMS

• Fabric recycling: Fabric/textile recycling is the process of recovering fiber, yarn, or fabric

and reprocessing the textile material into useful products.

• Fabric scraps: Fabric scraps are leftover pieces of fabric that are too small to be used in

another project by itself.

• Fabric waste: Textile waste is a material that is deemed unusable for its original purpose

by the owner. Textile waste can include fashion and textile industry waste created during

fiber, textile, and clothing production.

• Garment Production: Garment production is a coordinated activity consisting of

progressive processes such as laying, marking, cutting, stitching, checking, finishing,

pressing, and packing. This is a process of transforming raw materials into finished

products.

• KAD Manufacturing Limited: A garment manufacturing company in Ghana.

• Landfill: A landfill site is a site for the disposal of waste materials.

• Marker: A marker is a puzzle-like guide of a pattern in its various sizes printed on a long

sheet of bond paper, used to reduce fabric waste in the cutting process

• Manufacturing: Manufacturing is the production of manufactured goods for use or sale

using labor and machines, tools, chemical or biological processing or formulation and is

the essence of secondary industry

• Pattern making: Pattern making is a blueprint for the garment, based on which the fabric is

cut. It is the technical drawing or drafting of a garment.

• Zero waste pattern making: The fashion design that wastes no fabric by integrating pattern

cutting into the design process.

• Ready to wear: Ready-to-wear is the term for factory-made clothing, sold in finished

condition in standardized sizes, as distinct from made-to-measure or bespoke clothing

tailored to a particular person’s frame.

• Recycling: Recycling is the process of transforming any waste materials into new materials

and objects.

• Sustainability: Sustainability means a process or state can be maintained at a certain level

for as long as it is wanted.

LIMITATIONS

This research is limited to KAD Manufacturing, and the interviews were conducted with people who are involved directly and indirectly in the garment production process. Additionally, there are many ways fabric can be wasted in the garment industry, but this study explores pattern making and recycling of fabric scraps as a result of cutting during production. Nevertheless, the research is limited to only one company to get specific results. Other companies might have manufacturing processes different from KAD Manufacturing Limited.

CHAPTER II

LITERATURE REVIEW

FABRIC WASTE/TEXTILE WASTE

Textile waste is a piece of fabric that is considered not useful for its original purpose by the owner. This waste can include fabric scraps from cutting, leftover fabrics from the rolls, sampling yardage, damaged fabrics, clothing samples, unsold garments, and second-hand clothing waste (Redress Design Award, n.d.). According to Gardetti and Torres (2013), the fundamental source of fabric waste is post-consumer waste and pre-consumer waste; they also confirm that pre- consumer waste includes unsold with retailers and damaged stock. Agrawal et al. (2013) prove that pre-consumer wastes are by-products from the textile, fiber, or fabric industry, which are generated during production. While post-consumer fabric waste are clothes or textiles, the owner is no longer interested in using and can be discarded due to being worn-out, out of fashion, or damaged.

When we say leftover fabrics, it refers to the fabric remaining at the end of the roll after the marker is made and garments are cut out. In contrast, fabric scraps are smaller fabric pieces found in between the pattern pieces. Once a garment has been cut, they are naturally created as the negative space between the pattern pieces. In this study, the researcher focuses on fabric scraps left after cutting as these remnants most often are sent to the landfill. According to Reverse

Resources (2016), unless products are designed for zero-waste production, you cannot avoid cutting scraps and defects; more significant production brings along larger quantities of leftovers per product. Thus, waste occurs in a more significant production, meaning both big in quantity and product size. However, the fabric scrap can be determined by the design or the style of the product.

These leftover fabrics can be used for new developments and innovations for financial purposes.

End-of-roll fabric or fabric leftover specifically is a significant problem for many companies, as many brands order more fabric than required to restock or avoid fabric shortage in the event of more products being purchased than projected (Gardetti & Torres, 2013).

According to Common Objective (2018), textile waste is a huge problem and an unavoidable situation in the fashion industry. It happens all along the supply chain, throughout consumer use, and right up to the end-of-use disposal. Fabric waste starts right from textile production through garment production to customers, and these wastes are produced in different forms. Tojo et al. (2012) suggested three primary criteria to reduce the amounts of textiles, and those are (i) reduce consumption of new textiles, (ii) prolong the lifespan of existing textile products, and (iii) reuse and recycle textiles that are not needed for its original use. In the news of

Reverse Resources (2016), a study was conducted, with over 40 managers interviewed in garment factories in Europe and Asia and, some common patterns were detected. According to Reverse

Resources’ scenario, the world would create 40 billion square meters of leftover textiles per year, probably covering a massive part of the landfill (Reverse Resources, 2016).

According to Edge Fashion Intelligence (n.d.), clothing production doubled between 2000 and 2014, and only about 60% are being purchased by consumers. Probably, little of it might be upcycled, and 40% of these might end up in the landfill. The higher assumption is that both the pre-consumer and the post-consumer fabric waste might go to the landfill when it happens in that manner. Cuc and Vidovic (2014) made it clear that the United Kingdom generates approximately

1.5 - 2 million tons per year of clothing waste. Of this, 63% enter the household waste stream going to landfill, 16% is recovered, and 21% unaccounted for in what is assumed the “national wardrobe” which is the second hand clothing business .

This indicates that much of the pre-consumer fabric waste happens in the cutting room.

Harmony (2020) also testify that textile waste occupies nearly 5% of the landfill space in the U.S.

Nevertheless, only about 3.8 billion pounds of post-consumer textile waste is being recycled each year, which accounts for approximately 15% of the post-consumer waste, leaving 85% of it in the landfill.

THE IMPACT OF FABRIC WASTE

In the garment production industry, textile waste may occur in many stages through the production processes. Bamisaye and Adeitan (2018) confirmed that fabric could be wasted in each production process stage. First, in the fabric store where fabrics for production are stored and sent out for production. Second, in the cutting room, which may be due to marker utilization and cutting waste remnants. Third, the production floor, where the machine operator may find the piece defected and disposed of it or through sewing processes, the machinist may damage some of the garments. Fourth, in the printing or the embroidery room, the ink used for the printing may stain the garment, and it might be less useful if there may not be any amendment. Also, during embroidery, there could be defects on the garment if care is not taken or the machine is not well set. Last but not least is in the finishing room, where garments are trimmed, pressed, and packed for shipping; damages could occur during this stage as well. Some of these damages end up being recycled and upcycled but most end up in the landfill.

Furthermore, Schipani (2019) stated that the clothing industry’s effects on the environment go beyond emanations. Most of the time, post-consumer waste, which is normally used clothes, may be taken to charity organization clothes banks for recycling, thus donating it to the less privileged, or putting in a rubbish bin heading directly to the landfill (Gardetti & Torres 2013).

Furthermore, clothing or textile products that are not in use by the owner are simply thrown into

8 the landfill, which results in the fashion industry wasting more energy, water, and resources in new productions. One of the adverse effects of textile waste starts right from the production processes and then has many other consequences throughout the product's life span (Bank and Vogue LTD,

2019). Another critical impact textile waste has on the environment when dumped in the landfill is it contributes to greenhouse gas emissions by leaching toxins and chemicals into the soil and the ground water, which is dangerous to human life. The particles of textile products that cannot decay end up destroying natural microorganisms/ habitats (Cuc & Vidovic, 2014).

FABRIC UPCYCLING AND TEXTILE RECYCLING

Recycling is an important way of managing waste in the modern era; it is the way of processing waste materials into new or environmentally friendly manufactured goods (Agrawal et al., 2013). They further stated that 99% of textiles are recyclable.

According to Sinha (2016), although the zero-waste method works with flat pattern making, the upcycle technique uses discarded clothing, textiles, and flat fabric. Sandin and Petters

(2018) define textile recycling as reprocessing of pre- or post-consumer textile waste for use in new textile or non-textile products; they also define upcycling or textile reuse as various means for extending the practical service life of textile products by transferring them to new owners with or without prior modification (e.g., mending). However, clothing and home textiles can also be down-cycled into a rag, low-grade blanket, and upholstery (Schmidt et al. 2016). This being said, if the product from the fabric waste is of higher value or has higher quality than the original product, then it is upcycling (Sandin &Petters, 2018). Upcycled clothing is designed to be unique, and they are most at times in a single size with higher prices compared to the high street fashion

(Sinha et al., 2016). Upcycling is considered more beneficial than recycling as the process of upcycling uses less energy and is not dependent on virgin resources for its outcome (Gardetti &

Torress, 2013). This is because, in upcycling, old garments are transferred to a new user or re- fashion for a new purpose. In a nutshell, new fabrics or resources are not used for producing new fiber, yarns, fabric, or garments to be used.

Gardetti and Torress (2013) professed that apart from the upcycling of fabric waste, other recycling types require much energy procedures to break down recycling products. They also attest that recycled goods have low-quality opinions from consumers due to some companies using recycled fabrics to produce lower grade products known as downcycles. Therefore, it would be necessary to consider the quality of upcycling and recycling products using fabric remnants.

PATTERN MAKING

The pattern of a garment is a piece of paper with lines or drawings made by following the garment style and instruction of a body measurement or size chat. The pattern is the guide from which all garment parts are being traced onto the fabric before cutting and sewing (“clothing industry,” 2020). In contrast, pattern making is the act of manipulating and shaping flat pieces of fabric to conform to one or more human body curves (Bhati, 2011). However, the researcher explores some specific types of pattern making based on how fabric waste can be managed in the fashion industry. These are traditional ways of pattern making, waste reduction pattern making, and zero waste pattern making.

Table 1. Various types of pattern making.

TYPES OF PATTERN MAKING

• Traditional pattern making

• Waste reduction pattern making

• Zero-waste pattern making

Traditional Pattern Making

The clothing industry (2020) also defines pattern making as a highly-skilled technique that calls for technical ability, sensitivity for design interpretation, and practical understanding of garment construction. The pattern is the basis for a garment to be sewn; therefore, pattern making is imperative in the garment industry. Puri (2013) confirmed that pattern making is one of the core parts of the clothing manufacturing industry. Pattern making is the most vital in the development processes as a perfect fit, which adds to the success of any design. Patterns are made repeatedly until approved by the client after many samples are made for their confirmation, which prolongs the time of sample making and adds to the cost. Singh (2017), however, says pattern making entails the process of designing and creating templates that can be used for garments and any kind of crafts to be cut and sewn. Patterns are made of pieces of paper in different shapes, which form parts of the garment. While pattern making is essential, making a perfect design and style is also imperative for managing fabric and reducing unnecessary fabric waste during cutting before sewing (Bhati, 2011). Traditional pattern making is the primary way of obtaining patterns; as mentioned above, this method can waste a lot of fabric during the cutting process.

Waste Reduction Pattern Making

Waste reduction pattern making is based on the idea of manipulating the pattern until the most waste is eliminated in the process while keeping the style and fit as consistent with the design as possible. This works best when working alongside with the marker. This method is established on the researcher’s investigation through pattern making. In general, pattern making is essential for all fashion industries to enable them to make a variety of garments and still keep the design/style for future use (Maidasani, 2018). The process of pattern making is now also possible using digital tools, which plays a significant role in the fashion industry. However, there are still

11 many companies where patterns are still made manually (Puri, 2013). Puri (2013) continues that technology made it easy and flexible for many industries, including the fashion industry. By introducing a computer-aided design that simplifies the pattern-making process, corrections can be done as many times as required. CAD allows virtual prototyping and fitting for testing the garment.

Zero-Waste Pattern Making

Zero-waste pattern making is the process of reducing total fabric waste during pattern making, marker making, and cutting. These are patterns usually made to produce no waste or any leftover fabric after cutting. Every bit of space on the marker must be used for the economic benefits of the designer. However, most of the designs made from zero-waste patterns do not have a tailored look like the traditional garments do; instead, zero-waste designs often have many other design/style lines and features that make these designs very unique in their own ways. Rissanen and McQuillan (2016) define zero waste pattern making as the fashion design that wastes no fabric by integrating pattern cutting into the design process. They also stated that zero waste fashion design and pattern making have existed in many cultures for a long time. This indicates that fashion/fast fashion has changed many things over time, and the older designs might have gone out of style. Rissanen (2013) has proposed that to eradicate fabric waste, it needs to become a concern earlier in the designing and pattern-making process. Waste eradication through zero waste pattern making can be achieved through integrating pattern making into the fashion design process.

(Fletcher & Tham, 2015).

Using the traditional pattern-making method in the fashion industry seems very hard in cutting down waste, which costs the company to waste fabric and money at the same time. In contrast, the waste could easily be eliminated using the zero waste design and pattern making

12 during the process (Kazi et al., 2018). Likewise, Rissanen (2013) confirmed that zero-waste design is a viable, comprehensive method used by pattern makers and designers to make efficient and attractive clothes without wasting fabric.

Zero-waste pattern making poses many vital advantages to the designer and the producer.

Zero waste fashion design or pattern making is economical and resourceful; the producer has the advantage of using every bit of the fabric in the garment construction. However, this does not mean that less fabrics are used during pattern making process or cutting. Extra material might be used due to the elimination of darts, cutting square shapes, but all being part of the design and nothing will be left wasted (Rissanen, 2013). Sinha et al. (2016) agreed with McQuillan (2011) that in the process of zero waste pattern making, fabrics are cut in regular shapes from selvage to selvage, and the garment’s design is mostly achieved through the sewing process. Moreover, Rissanen

(2008) stated in Sinha et al. (2016) that some experts of this approach have designed and developed patterns to be cut for different styles on one fabric together to create two or three garments at the same time, leaving no waste fabric from the cut and sew operation. This indicates that in the process of maker making, other smaller designs can be incorporated into the marker, especially if it is a single design to make use of parts of the fabric that might be wasteful.

As stated earlier, fabric waste poses lots of disadvantages to the environment and the industry, therefore according to Kazi et al. (2018), zero-waste pattern-making promotes environmental protection, economic and social well-being. It also reduces land, air, and water contamination in our various communities where clothing manufacturing companies are located.

The zero-waste methods prolong a garment’s lifespan as individual shapes may be removed and replaced for redesigning as they wear out (Sinha et al., 2016).

Table 2. This table shows the pros and cons of the various pattern making.

TRADITIONAL PATTERN MAKING

PROS CONS

o It is easy to make, following clear o Fabric waste may cost pollution

guidelines

o It looks classic and well-fitting o More time and energy are needed for

the reuse process.

o Less fabric uses in garment construction o More fabric is wasted during garment

compared to zero waste. construction

o Fabric waste might be reused

WASTE REDUCTION PATTERN MAKING

PROS CONS

o Less fabric waste is created o It involves more advanced pattern

making knowledge

o It is eco friendly o It still generates some waste during the

process

o Fabric waste can be used for new designs

ZERO WASTE PATTERN MAKING

PROS CONS

o Ecofriendly o More fabric is used in designing

o Economical o Difficult to construct

o No fabric is wasted o More time and energy needed in

pattern making

o This method forces designers to think

creatively and innovatively.

TECHNOLOGY IN PATTERN MAKING

Technology is currently playing a significant role in the fashion industry (Demiri, 2019).

Aside from traditional pattern making, which uses paper, manipulating everything manually, technology helps make pattern making easy and efficient in managing fabric (Hodokel, 2020). He also stated that technology is making it easier to produce accurate designs that boost the production process. Tons of fabric are being wasted during the early design and pattern development phase, making the production process span worldwide before reaching the consumer (Demiri, 2019).

Demiri (2019) continues to confirm that 15 % of fabric scraps end up in the landfill just from the cutting room. However, through technological innovations, there are some ways to shape the fashion industry sustainably. Besides, Opong (2013) believes that CAD software helps speed up the development processes and productivity of a design and helps in product quality throughout the manufacturing processes. These software programs help in many aspects of the design process, pattern making, and grading. There is much software, but these are the most common in the industry: Lectra, Gerber Accumark, Optitex, and Clo3D (Hodokel, 2020).

In pattern making or product development, patterns need to be corrected many times to achieve a perfect fit and design, which eventually adds up to cost and time before the final sample is achieved. When done manually, this process is much longer, while CAD programs can speed up

15 the pattern developments and allow for many corrections quickly. Additionally, the options of virtual prototyping to drape/fit the garment with a virtual model eliminates some need for sampling

(Singh, 2017). Ondagan and Endogan (2006) agreed that the significant purpose of CAD is for fabric waste reduction. They cite an example of a different model on patterns placed on 120cm fabric using CAD and manual systems. They found out that CAD marker distribution was more efficient than the manual processes. Again, research in the past revealed that CAD pattern making and marker making are more efficient than the manual. These technologies help the product developer, the pattern maker, and the sample maker. The sample maker saves time, energy, and money, as the physical fabric and papers will no longer be wasted while doing the sample over and over again whenever patterns are altered. Therefore, technology in fashion contributes to fabric waste elimination in different ways in the fashion industry.

BENEFITS OF REUSING AND RECYCLING FABRIC WASTE

In general, reusing and recycling fabric waste poses many advantages to the garment industry.

It is known that fabric waste in the landfill poses many disadvantages to both humans and the environment. According to Cua and Vidovic (2014), fabric recycling creates jobs for people. It uses less amount of energy to recycle than to produce new textiles. Recycling can also be financially rewarding as the people turning in the waste products may earn money.

Moreover, it helps in water conservation and energy serving. Watson et al. (2017) stated that textile recycling or reusing is seen as an imperative way to assist in the sustainable transition for the fashion industry. Agrawal et al. (2013) made some excellent points on how recycling and reusing benefit humans and society (p.4).

• The recycling system uses 20 percent less energy and reduces carbon dioxide emissions.

• Reducing environmental load through the efficient use of resources and energy and the

recycling of used products.

• Individuals are doing more than promoting the health of the environment through

recycling.

• Recycling includes petroleum savings, greenhouse gases reduced, energy conserved.

• Reduces the need for landfill space. Textiles present particular problems. In landfills as

synthetic (man-made fibers) products will not decompose.

• Aids the balance of payments as we import fewer materials for our needs.

• Fabric recycling results in less pollution and energy savings, as fibers do not have to be

transported from”.

The fashion industry should take the obligation to reduce its burden on raw material in the face of the rising population worldwide. Many companies are now incorporating fabric recycling into their designs and production by repurposing used clothes into new garments and designs, for example, by quilting (Agrawal et al.,2013). Companies like the Missouri Star Quilt and Bear Creek

Quilting Company are both family-owned companies and are delighted in quilting in different ways and styles. Mers (2020) argued that it is very imperative for the fashion industry to recycle fabric waste (used clothes or fabric scraps). He also stated that people shop for fast fashion so often, leading to the overflowing of the landfills, which is one of the main reasons why fabric scraps needed to be reused or recycled (Mers, 2020). The importance of recycling textiles (2019) also proves that the fabric scraps or textiles in the landfill contribute mainly to greenhouse gas emissions; therefore, it is imperative to enforce recycling to improve the industry and a better environment (Mers, 2020).

Sadin and Peters (2018) address the environmental benefits of textile reuse and recycling; according to them, textile reuse is a means to prolong the textile product’s lifespan by transferring it to a new user, whereby textile recycling is by reprocessing of pre/post textile products. However, it is believed that whether the fabric waste is reused or recycled, it helps to decrease environmental impacts by reducing the use of primary resources, for example, raw cotton from the farm (Walter et al.,2019). Recycling and reusing fabric and fabric scraps helps reduce the manufacturing of new clothes and other soft goods. Clothing comes with many other resources and accessories attached to it for many reasons, which are manufactured differently; thus, recycling/upcycling used clothes will help reduce pressure in manufacturing and raw material.

However, recycling/reusing fabric scraps in the garment factory reduce the amount of fabric waste that goes to the landfill, which causes the greenhouse effect in the environment. Mers

(2020) confirmed that, generally, reusing/recycling fabric waste reduces greenhouse gases, most fabrics that go to the landfill lack oxygen and cannot be broken down by organic material. Walter et al. (2019) discuss that it is a good thing to introduce examples and illustrations of acceptable practices in the industry; considering the advantages of fabric recycling and reuse is essential. They continue that, in some countries such as Brazil, Finland, Sweden, and Denmark, there are important businesses and developments that demonstrate how fabric can be reuse/recycle for economic, social purposes, encouraging customers, merchants, and workers while adding value to the society, such as H&M collecting old clothes for recycling and reuse. Besides, Christy Dawn’s partnership with ThredUP to collect used clothing from people’s homes for upcycling, to keep them from the landfill by preventing pollution. They do this by transferring clothes from mother to daughter, sister to sister, or friend to friend. Sometimes clothes are swapped at Christy Dawn for desirable

18 ones. (Christy Dawn, n.d.). Furthermore, recycling creates jobs for families in the waste disposal industry and also keeps our environment clean.

DIFFERENT APPROACHES TO REDUCE FABRIC WASTE

There are many approaches to reducing fabric waste in the garment industry and also preventing used clothing from reaching the landfill. This can be done and achieved across the board in large-scale garment factories, small-scale garment factories, retailers, and individuals at home. Walter et al. (2019) stated that post-consumer and pre-consumer fabrics could be used as feedstock for the fiber production period for stuffing items such as flocking, insulation, and non- woven. They continue that textiles are recycled mechanically in processes that cut and shred fabrics into fibers for a re-spun into a yarn, then transform the yarn into a non-woven fabric.

Bartlett et al. (2013) confirms that both post-consumer and pre-consumer textiles can be recycled mechanically to tiny fiber that can be used for yarn and fabric production for several purposes. In contrast, shorter fibers may result in weak quality textiles, and it is good to combine the recycled fibers with the new ones to achieve the desired quality. Walter et al. (2019) continue that retail brands such as H&M incorporate a small amount of recycled fiber into some of their garments, which requires the demand for recycled fibers. However, as these fibers are post-industrial waste, it is likely to be unavailable in a large quantity for production.

RESEARCH GAP- WHAT HAS BEEN DONE OR NOT DONE IN THE PAST

It is clear that recycling and reusing textile waste focuses on upcycling and recycling used clothes. Some companies have taken the lead to recycle and reuse textile waste to improve the fashion industry's sustainability. According to Walter et al. (2019), some companies aim to utilize pre-consumer textile waste, such as H&M, mostly focusing on cotton yarns and fabric wastes.

H&M, with a partnership with ICO, takes used clothes from people who bring them to their drop-

19 off box. The company has three different ways for these clothes; these are recycled, reuse, and re- wear. The good ones are marketed for sale as second-hand clothes. Some are turned into new products as a new collection or cleaning cloths, and some are shredded into textile fibers and used as insulation materials and other things Sustainable (Beeler, 2017). According to Walter et al.

(2019), H&M started using recycled materials in 2009 and launched its first collection in 2010.

H&M is the second-largest global company using waste in their designs—Waston et al. (2017) in

Walter et al. (2019).

Turning old clothes into new garments is one of H&M’s goals. Leonas (2017) mentions that the goal for some companies is to divert waste from the landfill unsettles the current production processes and waste management actions, both at an industry and at a personal level, that result in the reduction of waste. Some other companies that are practicing these sustainable waste management actions are Patagonia, Nike, Levi, and Evrnu, etc. Patagonia recycles fiber into products, and their recycling program has used polyester wool and cotton. The company reclaimed polyester from plastic bottles and blend it with recycled wool for its wool products to have good quality products. The materials are sorted according to color before shredding into new yarns. In addition, Patagonia uses post-industrial cotton scraps collected and reprocessed into yarns and use for knitwear (Leonas,2017).

In Nike’s sustainable program, post-consumer waste shoes are reprocessed and reused for new products. Nike introduced the reuse of a shoe program in 1990. They use discarded bottles from Japan and Taiwan in their fiber production process. These fibers are then spun, knitted, and used for Nike jerseys. Currently, Nike contributes to environmental sustainability (Leonas, 2017).

Evrnu, on the other hand, processes post-consumer cotton textile waste for quality bio- based fiber (Enrvu 2015a). The company collects old cotton textile waste, removes the dyes from

20 it , pulp it , and break it down into fiber. The molecular fibers are then recombined into new fibers.

These fibers are finer than silk and stronger than cotton Leonas, (2017). Last but not least is Levi,

Strauss, and Co. who have several programs that include fiber recycling. Levi Strauss and Co. recycle waste plastic bottles and black food trays into the fiber. Products from Levi Strauss and

Co. have a minimum of 20% of post-consumer waste in them. All these companies work for the sustainability of the environment, and while some focuses on waste products like turning plastic bottles into garments, others focus on used clothes for upcycling, clothes from people who are no longer in need of them.

However, there is a gap in the research, looking at the potentials for financial gain from the use of fabric waste in the clothing manufacturing companies and to prevent fabric waste from reaching the landfill, which was the purpose of this case study. Palmsköld (2015), Walter et al.

(2019), Amaral et al. (2018), Sadin and Peters (2018), and many other articles talk about reusing and recycling old or used clothes, but only a few research discusses how the fabric scraps are used to achieve waste elimination goals.

Therefore, in this study, the objective is to investigate how fabric waste can be eliminated in KAD

Manufacturing Limited. Also, the study aims to propose possible ways fabric waste can be eradicated from the factory for economic gain and how beneficial this would be for the nation in terms of environmental pollution. The following research questions are proposed to achieve this study’s goal.

RESEARCH QUESTIONS

• What are the production processes, and how does fabric waste occur through the process

of production?

• What are the possible ways of reducing fabric waste through pattern making, cutting, and

recycling that can be suggested to an apparel manufacturing company?

• What are the ways to recycle and reuse textile remnants from cut patterns into marketable

products?

CHAPTER III

RESEARCH METHODS

OVERVIEW

The method employed for this research is presented in this chapter. The chapter explains the research design in stages. Thus phase one and phase two as the practical aspect of the study.

The main rationale of this chapter is to offer a clear description of the processes of the research.

RESEARCH DESIGN

This study is practice-based research and has entailed qualitative research methods as part of phase one of the study and phase two as a practical aspect of finding a solution to the company’s problem as part of a practice-based research process. The qualitative method involved in the study help to illuminate the behavior and opinion of the targeted audience with regards to a specific topic. According to Creswell (2014), qualitative research is a method for exploring and understanding individuals' or groups’ meaning to a social or human problem. This was done by interviewing the participants for their opinions and knowledge on how to reduce fabric waste in the garment production process (Bryman 2012). To achieve the first stage of the data collection, unstructured interview methods were adopted, which involved a few interview questions and progressed as a normal conversation. The interviews were conducted through phone calls with the manufacturing company where the research was held.

There are three kinds of research interviews: structured interview, semi-structured interview, and unstructured interview (Cresswell 2014). For this research, an unstructured interview was adopted; this is the kind of interview that is non-directive. An unstructured interview does not rely on a set of standardizing questions but allows freedom when gathering necessary

23 information from the participants in line with the researcher’s objective or purpose (Cresswell

2014).

The second phase of this research study involved the practice-based research that the researcher has undertaken. This process was conducted in two categories: pattern-making and craft-making, using fabric scraps in making wearable and sellable garments. During the pattern- making process, the researcher explored ways to cut down fabric waste through zero waste pattern- making, minimal waste pattern making, and fabric scrap reuse. The aim was to reduce fabric waste through the pattern-making process before garment production. The patterns were made through an Optitex software program, which was more efficient than using the traditional manual pattern- making method for both the pattern-making and the marker-making processes. Two patterns were made in Optitex program, which was a trouser and a shirt dress. A handbag was also made out of a zero-waste pattern making to pair with the zero waste dress. The second category of the research was to use the fabric remnants from post garment production after cutting to create new innovations of craftworks and garments. In the process of using fabric scraps, two garments were made from fabric remnants, which were shipped from KAD Manufacturing Limited. The fabric scraps were used not only for the garment designs but also for accessories such as a fascinator and a hat. Through the learning from the experience of making a garment solely from scraps, there was much time spent on development; through the experience of this research, and a formula has been outlined to simplify the process and speed up production in terms of mass production.

PHASE ONE OF THE STUDY FOR PRACTICE BASED RESEARCH PROCESS

This research is designed to conduct a case study of KAD Manufacturing Limited. The researcher uses the interview to gather information from some employees in the company because of the role they play in the production process. The researcher chose these populations because

24 they are closely related to production processes from fabric sourcing, pattern making, cutting, and garment production.

KAD Manufacturing Limited, a garment manufacturing company in Ghana, was selected for the study due to the researcher’s direct connection with the company. The researcher was a former employee of KAD Manufacturing Limited and therefore had direct insights into a variety of departments impacted by the study. Based on the researcher's experience in the pattern-making department, cutting department, production floor, and trimming department, she had seen first- hand how the fabric is wasted during and after garment production. The total staff population of the company is approximately 300. Within the company, there are five departments directly involved in the production. They are pattern making, cutting, sewing, trimming/finishing, and graphics departments. KAD Manufacturing Limited is well known for producing security uniforms, school uniforms, hospital scrubs, and fashion dresses for all genders and ages. The company uses mass-production techniques in manufacturing its apparel products. Currently, the company has no measures of fabric waste and how to eliminate fabric waste during or after production. In every production, approximately 10% to 15% of the fabric is wasted due to the garment’s design and pattern shapes. Most of these fabric wastes go to the landfill, and only the

African print design pieces are packed in sacks and stored in the company till the need arises.

To answer the first research question, “What are the production processes and how fabric waste occurs through the process of production?”, the researcher explored if the company takes any measures to eliminate fabric waste in the company and study the perceptions of the stakeholders in the company from all departments regarding wasting fabric and how it affects them. Six employees from the company participated in the study,

For this study's purpose, the researcher had phone interviews with the employees of the manufacturing company individually to gather interview content regarding the issue existing in the company to get more accurate and detailed information from the insiders’ point of view. The interviews took place on different days based on the availability of the employees. Another focus of the interviews looked to find out if the selected manufacturing company uses fabric scraps for anything useful/ profitable.

Before the study commences, the researcher had received IRB approval from the Kent State

University Institutional Review Board. The researcher scheduled an appointment with the respondents depending on their availability to ensure that they are not working or busy on the production floor while participating in an interview. Scheduling an interview time that is flexible with respondents’ work schedule allowed the respondents to have ample time in answering the questions and giving more detail while not being in haste while preventing an accident or fabric damage on the production floor. The responses from the interview were recorded and played back when analyzing information. All information collected during the interview has been kept confidential.

PROPOSED PRACTICED BASED RESEARCH PROJECT PLAN

All information gathered during the interview was analyzed, and all suggestions from the participants were taken into consideration during the design process before pattern making. Based on the interview and after the interview analysis, the researcher devised a way of utilizing fabric waste in making a sustainable garment and accessories to answer the second and third research questions: What are the possible ways of reducing fabric waste through pattern making, cutting, and recycling that can be suggested to an apparel manufacturing company? What are the ways to recycle and reuse textile remnants from cut patterns?

The researcher considered minimizing fabric waste through pattern making, zero waste pattern making using fabric waste for innovative designs and crafts. The researcher’s design process started as soon as the interview phase was completed. The design processes depend on the interview outcome; thus, based on the company’s design technique, pattern making, and how fabric remnants are used. The researcher began with the designs that the company has not yet explored which was using fabric scraps from a complete garment. In the past, KAD Manufacturing

Limited used fabric scraps for applique, toys, hair bands, and pouches; these items are being advertised on the company’s website, and sometimes those items are displayed when buyers from other countries visit the company.

CHAPTER IV

RESULTS

INTRODUCTION

This part of the study is organized in two phases. Phase one discuss the findings of the qualitative research. This discussion includes how research participants organize their production process, how fabric wastes are generated, and how they are managed at the KAD Manufacturing

Limited. Phase two discuss how the researcher used insight from the interview to develop creative designs using fabric scraps. Also the researcher discuss how she relied on the concept of the zero- waste pattern-making method as well as the Optitex software to develop two other designs.

PHASE ONE

During the first phase of the study, interviews were conducted with six employees at KAD

Manufacturing Limited to get their perspectives on the challenge of fabric waste in the manufacturing process. The researcher developed interview questions to understand how fabric waste is utilized for economic gain in the company, the production process, and how fabric waste occurs through the process of production. All the respondents understood the production process based on how they operated in their various departments. Five respondents gave in-depth details about the production process, but one did not fully understand the production process. All respondents gave information on how the fabric is being wasted in the company and how the company disposes and uses fabric scraps, which is listed in table 4.

Table 3. characteristics of the participants

RESPONDENTS Age Gender Ethnicity

R1 27 Male Ghanaians -Akan

R2 30 Female Ghanaians-Akan

R3 51 Female Ghanaians- Akan

R4 33 Female Ghanaians-Ewe

R5 28 Female Ghanaians- Akan

R6 42 Female Ghanaians- Ga

The production processes

One of the respondents (R3) stated that “Before production begins in KAD Manufacturing, the order comes through the front desk.” “The production management looks through the order sheet and requests fabric from the store. The store is managed by the logistics assistant. Sewing materials are purchased based on the quantity and the details of the production order. However, in some instances, sewing materials are sourced inhouse-storage”.

According to another interviewee (R5), “the quantity of items and materials that are purchased depending on the fabric and trims consumption of any order. Therefore, the consumption is calculated once the patterns have been completed. However, some sewing materials are bought in excess in case of any inconveniences”. The researcher further asked if this was a good idea to buy fabric in excess and whether this practice could lead to the generation of fabric wastes. In response to this question, it was explained that the production process is consistently monitored to ensure that fabric is not wasted since this causes financial loss to the company. Bundles of fabrics could be taken to the cutting room, and after cutting is finished, cutters report to the in-house storekeeper about how much fabric has been used and how much is left. Respondent 5 was asked if taking excess fabric to the cutting room was not a risk for the company, but it seems they have some trust for the workers who take fabrics from the store to the

29 cutting room. Respondent 5 states, “our concern is that we don’t want any cutting done, and there may be a waste of a big chunk of fabric, or there may be a shortage of fabric during cutting. This is because we are worried that if fabrics are cut inaccurately, there may be waste or leftover fabrics on the roll, which might not be useful again. However, the cutters return any remaining fabric left after cutting except the fabric scraps”. Pattern makers provide every pattern piece needed for cutting, and the cutting starts as soon as patterns, samples, and fabrics are ready. Cut items are taken to the production floor, and these are distributed to the production line for sewing. The sewn items are sent to the trimming section for finishing packaging and documentation before the item leaves the company to its destination.”

Pattern making and marker making process

Pattern making starts as soon as the order and design are confirmed. Patterns are made with the specification given by the clients and according to the design. All the respondents confirmed, the company uses the manual pattern-making method. However, they are hoping to start using digital pattern making soon. Three out of 6 respondents believe that digital/CAD pattern making would help the company in many ways. Four out of 6 respondents confirmed that multiple samples are made to make sure the patterns are correct. This is done by checking the fit of the sample and accuracy to the expectations of the client. Two respondents confirmed that the samples are first sent to the clients for confirmation before the pattern makers can proceed with grading.

Five respondents attest that patterns are graded manually, just like the pattern-making process. This type of grading consumes a lot of time and energy, and resources. After the pattern grading, the pattern is given out to the cutters for cutting. Before cutting, the cutters make the marker manually directly on the fabric before cutting, which does not allow manipulation before

30 the final marker. Compared to CAD marker making, the manual approach of drawing the marker directly on the fabric does not give any chance of adjusting the pattern placement during marker making. As a result, there are more possibilities to create waste using the manual method.

As a way to reduce waste in the marker-making process, 2 out of 6 respondents said the company had developed a specific approach to make a more efficient marker with less waste. The two respondents confirmed that the patterns are mixed up when making a marker by pairing a smaller size and a bigger size on the same marker. For example, Extra size Small (XS) and Large (L) will be paired during marker, and size Medium (M) and small (S) will be paired for another marker.

Pairing the pattern sizes or mixing them up during maker-making improves the efficiency of the marker. According to them, this approach makes them save fabric compared to making a marker with the same sizes of patterns.

Waste reduction process

When asked if the company considers waste reduction during pattern making, respondents indicated that the company does not consider waste reduction when it comes to pattern making.

However, according to respondents, the company emphasizes eliminating fabric waste during marker making and sample making. According to R3. “yes, we take waste reduction into consideration during maker making, but with the pattern making, we don’t consider that, because the pattern making is mostly about how to get the design in the best way to get a perfect garment.”

Again, two other respondents confirmed waste reduction is considered during marker making and laying of the fabric before cutting, and the rest of the respondents said they consider waste reduction that is why they make samples before grading and cutting.

Zero-waste pattern making

The research participants were asked if they had heard about zero waste pattern making and again what they think about the zero-waste pattern as a follow-up to the first question. All the participants were unaware of zero-waste pattern making as an approach, and they wondered how that could be possible. In each of the interviews, the researcher explained to the participants what a zero-waste pattern was and how the pattern is made. In addition, the researcher continued with the benefits of zero waste pattern making. Two out of 6 respondents think zero waste pattern making would be fascinating to include in the production process, and a new fashion line could be introduced to their styles. They believed that it would be beneficial to them since it is zero-waste.

One also believes it would save money or rather bring income to the company. R3 said, “No, I do not know anything about zero waste pattern making; however, I don’t think if that will be possible because it is the style we want.” After the researcher explained to R3 how zero waste pattern is made for different kinds of designs, she attested that “there may be a market for that if that will be a new style and brand. Although I don’t see how we can achieve that in Ghana”. All the respondents wondered if zero waste pattern making is an achievable idea to cut and sew a garment without wasting anything. The respondents asked about cutting the shapes such as the neckline and the armhole and what those unusual shapes of pieces would be used for. Aside from their doubt about how to achieve it, they firmly believed it would be beneficial.

Fabric scraps and waste disposal

All the respondents agreed that it is inevitable to waste fabric in the cutting room. They still believe that they control the wastage but still get waste at the end on every cutting. It would be difficult not to get fabrics remnants at the end of the cutting process, two respondents said.

Nevertheless, when asked what the company does with the remnants, they all confirmed that the remnants are used by the company. Four (4) out of 6 respondents said it is not all the fabric scraps they use in the company; some of the fabric scraps go to the landfill, where they have no idea how leftover fabric or remnants are disposed of. Two respondents added that a recycling company and a Non Governmental Organization (NGO) do come to collect the scraps for reuse, but one has no idea what the fabric could be recycled into while the other respondent said the NGO uses the fabric scraps for bedspreads and table mats, and that is the contribution of the company to the NGO for their charity work.

Uses of fabric waste and its benefits

Respondents confirmed that a lot of fabric is wasted in many ways throughout the production process. On the other hand, they believed that not all the fabric scraps go to the landfill; they use some, donate some, and give some to the recycling company. Five respondents confirmed that using fabric waste brings income to the company, or in some other ways, saves money on certain items before production. In contrast, one of the respondents does not know what the benefits of using fabric scraps could be for the company.

The table below shows what KAD Manufacturing Limited uses fabric scraps for and what fabric scraps are used for when donated to a Non-Governmental Organization. These are the lists of items mentioned when asked. “tell me about the benefits of fabric scraps to the company.”

Table 4. uses of fabric scraps to the company.

Respondents Craftworks Garment designs

R1 Nose masks Shirts (patchwork)

R2 Tablemats Skirts designs(patchworks)

R3 Pouches

Toys

Nose masks

Bedspreads

R4 Quilting Skirts

Applique

R5 Fabric swatches

Toys

R6 Cushion Face masks

Challenges of fabric waste

The company stores the scraps in the company facility for the purpose of using them in the future in case it would be needed for anything. Some of the scraps are used for design. For example, patchwork on a T-shirt, dresses, toys, and face mask invented during the pandemic.

Three respondents confirmed that some of the fabric scraps are donated to a non-profit organization. Two out of 6 respondents attested that the NGO uses the scraps for quilting and other craftworks to generate money for the needy. Keeping the fabric scraps without knowing what it might be useful for poses challenges to the company. According to R3, the fabric scraps are packed in sacks and store in the storeroom or any convenient space, which poses many challenges to the company. The major challenge the company faces for keeping the scraps is the spaces occupied with sacks of scraps. Those spaces could be used for fabric storage, but due to the circumstances, sometimes fabrics have to be on cutting room floor until it is cut for production.

PHASE TWO: THE DESIGN PROCESSES

This is the second phase of the study, and it is the design process. This is the practical aspect where the researcher based the information gathered through the interviews and devise a new way of minimizing fabric waste and using the scraps for craftworks. The researcher used three different approaches in the process, the utilization of fabric scraps, zero-waste pattern making, and minimal waste pattern making. This phase started with the garment designs to make sure the researcher obtained achievable designs before proceeding to the next level. Two garments were made out of scraps with two accessories. One garment was made as a zero-waste pattern likewise a handbag (craft work) was also made with zero-waste. These two were made differently on different patterns. In addition, a trouser was made with minimal waste pattern making. The dress and the trouser patterns were made through Optitex software program, and the fabric scraps were sent from Kad Manufacturing Limited. The researcher received a box of fabric scraps from KAD

Manufacturing Limited to see how they could be used in the design process. All the already designs suggested by the respondents and the researcher above were not involved in the new design. One of the garment designs, which is the zero-waste pattern, was a design from KAD. This garment was not a zero-pattern for the company, by the researcher chose the design to make it a zero-waste.

The utilization of the fabric waste differs from what the respondents suggested. The fabric scraps were used to make complete garments.

Fabric scrap utilization

This practical aspect of the research demonstrates how to use fabric scraps to create interesting designs. There are many of the fabric scraps, but few were chosen to combine for each

35 design. The purpose is to make good use of the scraps for designs. The design process aims to combine two different fabric scraps to look like a piece of fabric.

Fig.1 The fabric scraps from KAD Manufacturing Limited

The researcher sorted out all fabric scraps initially since there are many different scraps in the package. Each scrap has some quantity that could be used for a design. However, using only scraps in one material might not be enough for a design; the researcher combined two of them for the design because two materials make it more flexible in the amount of fabric and in the design thinking.

The tunic dress

The fabric scraps are in different sizes and shapes, making it challenging to get the exact measurement you want out of all of them. For the first design, The scraps were cut into 3 inch wide strips, varying in length. These strips were then joined together to make longer strips.

Fig. 2 cutting out the scraps

The blue and pink

The pink and blue scraps matched perfectly and have some colors like pink and black in common. The pink and the blue were also cut into 3 inch wide strips with different lengths based on each scrap size. These were joined for longer strips and rejoined together diagonally to form a design-line for the center front, center back, and sleeves.

Fig.3 Joining the fabric scraps with a serger

Side, back, and front

The dress’s side was created to make an illusion of being cut like pieces of fabric instead of scraps. The scraps were well arranged to create the diagonal illusion. Due to the similarity between the two fabrics, the center back and the center front look like the fabric pieces were cut on the bias. The pink and blue scraps also were arranged simultaneously for the (A) shape illusion.

There are center back and center front seamlines that help created the A-line shape.

The Challenges of this Design Approach

Joining the pieces together was one of the biggest challenges because the seam lines must match well. Some of the seamline have to be eased to match, and some were altered to fit in as needed. If the seams are not matching, the dress would look unprofessional and not appealing to the buyer. Even though it’s a waste fabric, its designs must attract sustainable buyers to the designer.

Fig. 4 front and back of the dress unstitched.

Front and Back

Both the front and the back have mixed fabrics (blue and pink) at the center. The front is shaped differently from the back. The upper part of the front is smaller, and the hem is the widest.

The back has the same width at both the upper part and the lower part of the dress. These two are made differently to see what effect it has on the dress since this was the first design from the fabric scraps. The result was impressive; the front gives an hour-glass shape while the back gives fullness to the body.

Fig.7 front and back of the finished dress

Sleeve

Each sleeve was cut in two pieces, joined together to have the same effect the dress has at the back and front. The challenges of joining the two pieces together were the same as joining the front the back.

Fig.6 sleeve and side view of the dress

Neckline

The shape of the center front inspires the designer to shape the neckline. This is to bring some connection between the neckline and the dress. The shape of the neckline is fabric pieces folded triangularly, trimmed to have the same shape and size, and stitched into the neck seam. The wearer may not need to wear any necklace again since the neckline of the dress has formed a decoration around the neck.

Fig.7 steps by step of the neckline design

Fig.8 the finishes neckline

This dress is not a slim-form fitting design, and it allows for free movements and has no restriction. This dress looks very simple and drapes well on the body

The blazer

The blazer is the second exploration of the fabric scraps. This is a simple blazer with continuous stripes that meet at a seam line, the blue scraps remaining after the first design were very small. In order to still be able to use the scraps, they had to be cut into smaller pieces for the blazer. The researcher cut the remaining scraps into 1½ strips and match them with yellow fabric.

The two fabrics have black in common, and the blue fabric has marbles of pink in it. The strips varied in length and were therefore joined together to form long strips. Making the longer strips helped to use the fabric scrap efficiently.

The arrangement of the strips

All parts of the garment were arranged diagonally and met at a point on the seam line to form A-shape or V-shape. The final arrangement of the strips was made with careful consideration in order to make sure to keep the shape of the final garment. The strips were cut lengthwise grain and crosswise grain depending on the size, length, and direction of the scraps. However, all the strip arrangement was diagonal, resulting in a little bit of stretch in the garment like it was cut on the bias.

Fig.9 The arrangement of the strips.

The wrong side of the blazer?

On the inside of the dress, each of the strips was joined with the serger. The researcher choose to use the serger to join all pieces together because the fabric pieces were small, and the serger would help stitch ¼ of an inch and as well leave a non-fraying finished edge. The width of the fabric strips is 1 ½ inch wide, and using the serger would enhance the strength of the stitch and

43 keep the finished width of the fabric at 1”. After serging the fabric pieces together, the seams were pressed towards the side to prevent bulkiness when sewing.

Fig.10 The wrong side of the garment. The blue and the yellow image shows how the inside of the fabric looks like, and the black and white illustration shows how the fabric was serged.

The front

The front of the blazer has two side-fronts and two center-fronts. The strips were arranged diagonally ascending from the right side seam to the center front. It continues to ascend from the center front to the left princess dart or the panel line. The strips then descends from the front princess dart to the side seam, which creates an asymmetric design with a chevroning effect on the

44 garment’s left side. The center front has an opening with a single hood and eye, prong closure, and this is because it is an open front blazer.

Fig.11 The front view

The back

The strips’ arrangement at the back is similar to the front, just that the back has three patterns, one center back and two side seams, while the front has four pattern pieces. The stripes ascend from the right-side seam and descend from the left princess dart at the back. The descendent continues through the center back, and the right princess dart to the right side-seam. The A-shape design at both front and back is at the left and descends to the right side seam. All the panel lines or the princess darts meet at the shoulder of the garment.

Fig.12 The back view

The sleeve

The sleeve is made with the same chevroning effect as the left side of the garment. It has a center seam line, and all the strips are matched to make it look seamless, just like the princess seams and the garment’s side seams. The sleeve is a bishop sleeve, so it has the bottom part of the sleeve flared, and then a cuff was attached to it. The wrist of the sleeve, which was flared, was pleated before fixing a cuff with a snaps closure. At the bottom of the sleeve, only the yellow strips were used at the center, which creates a beautiful pattern matching with the yellow cuff.

Using the yellow only at the wrist of the sleeve was not the initial plan, but due to the shortage of the blue fabric scrap, the researcher had to improvise and make a design decision.

Fig.13 The sleeve.

The Shirt Dress

The dress showcased in figure 14 is a design from KAD Manufacturing Limited. To eliminate the output of waste in the process, the researcher chose this design as a starting point with the intention of making a more sustainable pattern by converting the pattern to a zero-waste pattern. This design was selected because it has limited shaping and therefore makes it easier to keep the style the garment already has. The zero-waste pattern-making approach worked well with this design due to the simplicity of the design.

Fig.14 The KAD design

The pattern in figure 15 is a KAD Manufacturing Limited’s pattern which was adapted to a zero-waste pattern in figure 16. These patterns were made in an Optitex software program. In the process of making the zero-waste pattern, some of the shapes in the pattern were removed to prevent fabric waste from the waist of the garment and the sleeve. The armhole of this dress was used for the chest pocket.

Marker length=100/44’’

Marker used =83 /44’’

17’’ left.

Fig.15.The KAD pattern

Marker length=100/44’’

Marker used =75/44’’

25’’ left (8’’ less)

Fig.16 The zero-waste pattern

The slanted pieces from the front and back shoulder of the dress were inserted into the sleeve, also. To make sure the shoulder cup of the dress fit well into the armhole, a strip of two inches of fabric was cut across the grain of the fabric, then cut diagonally in addition to the shoulder piece. These pieces were sewn and attached to the sleeve cap of the sleeve.

The sleeve was cut into four pieces to be able to intersect them so that all the curved shapes are covered with another curved shape. However, the sleeve was not tapered from the shoulder to the wrist but was left straight, and two pleats were made at the wrist of the sleeve before a cuff was attached to it. The marker of both patterns shows how efficient the zero-waste pattern was; thus, the original pattern uses and wastes more fabric than the zero-waste pattern.

Fig.17 the process of the sleeve.

Some parts of the garment were piped with yellow trim, thus the cuff of the sleeve, the placket, the pocket, and the collar. This is to highlight the style lines and add decorative elements.

This type of detail is also found in the original garment from KAD. The placket of the dress was cut just like the original pattern but the collar was cut differently. The collar of the dress was cut originally curved, but in the zero waste pattern, it was cut straight to prevent wastage of fabric.

The fabric pieces from the neckline were used for the belt loop.

The difference between the two markers is 8” less in length used, making it possible for the company not only to lower the amount of waste they produce but also save money on the amount of fabric they need to develop each design. The goal for the researcher was to develop a zero-waste pattern, replicating the zero waste for an existing design. Although zero waste was not achieved for this design, the amount of waste was greatly reduced.

Fig.18 the front and back details

Table 5. The differences between KAD design and the zero waste Dress

Original KAD design Zero-waste pattern design

The pocket is square and small The pocket is bigger and has a rounded shape.

The sleeve is a basic sleeve There is an insertion of another piece into the

shoulder cup for a better fit.

There is no pleat at the wrist of the sleeve. The wrist has pleats before the cuff.

The yoke has no tuck at the back. The yoke of the dress had a tuck at the center

The waist is a bit shaped The dress is straight without any shape.

The design does not have a pocket piping The dress has pocket piping

There is no placket piping There is a placket piping

Fig.19 the difference between the KAD design and the zero-waste design.

The Trouser

The researcher drafted the basic trouser pattern with the model’s measurement and adapted it to the design required. The pattern was drafted and adapted in an Optitex program. The basic classic trouser pattern has waistband patterns and side pocket patterns.

Pattern adaptation- The waistline darts was closed from the back pattern and the front pattern during the adaptation and reopened it at the bottom of the trouser. Opening the new dart at the hem of the trouser towards the waist makes the trouser looks like a palazzo trouser pattern.

After that, the front and back dart was cut out to create a design on the front trouser.

The adapted trouser pattern has one side pockets, waistband, and fly front patterns, the pockets and the fly front patterns were fitted into the back and front crotch of the pattern, and the waistband is in-between the space left between the two patterns. This is to make sure every bit of the fabric is being used for the design and nothing go waste. Almost all the spaces of the marker were used, but there are some spaces left empty or may be wasted. Nevertheless, some of those pieces were used as part of the hat.

Fig.20 The trouser pattern.

Fig21 the trouser design.

The Accessories

Two of the accessories were made from fabric scraps, and only one was made by utilizing a zero-waste pattern approach. This is to indicate that sometimes fabric scraps are small and would be difficult to use for a complete garment. Therefore it might be a better idea to focus on accessories using these scraps. Many individuals might not have any idea of utilizing it than to eliminate it, making it end at the landfill.

Fig.22 The accessories

Handbag

The bag was made to go with the zero-waste dress, and the bag too is a zero-waste bag.

Each fabric is ¼ of a yard, making it a ½ of a yard. Some of the tiny piece left from the dress was used in the decoration of the bag and the padding at the bottom.

Fig.23 The handbag.

The hat and the fascinator

The hat is made as a minimal waste hat, just like the trouser. The circular crown was cut from the center of the hat, and parts of the brim were used to create padding it. The band and the trimming on the brim are some of the fabric scraps used in making the blazer. The yellow was chosen for the hat because it would make it stands out.

The fascinator is made from some of the scraps used in making the tunic dress. This was made to match the tunic dress and also to make proper use of the fabric scraps. Horsehair was used in between the fabric to shape the fascinator to the required shape.

Fig.24 the hat

Fig.25 Fascinator

CHAPTER IV

DISCUSSION

This study explores ways to eliminate fabric waste from KAD Manufacturing Limited in

Ghana by using zero waste pattern-making methods and using fabric scraps to make sustainable and marketable garments. Based on the research questions, we will discuss:

1. What are the production processes, and how fabric waste occurs through the process of

production?

2. What are the possible ways of reducing fabric waste through pattern making, cutting,

and recycling that can be suggested to an apparel manufacturing company?

3. What are the ways to recycle and reuse textile remnants from cut patterns into

marketable products?

To understand the perception of KAD Manufacturing Limited workers, an interview was conducted, the respondents gave in-depth details about the production processes in KAD

Manufacturing Limited, therefore to answer research question one (1), based on the information gotten from KAD Manufacturing Limited, their clothing production process goes through all stages for a successful production. The company makes sure designs and patterns are right. The production process in KAD Manufacturing Limited goes through pattern making, cutting, sewing, finishing, and packaging. In the pattern-making stage, waste reduction is not always considered because the company focuses on the design, but they try to eliminating wastage of fabric during marker making. However, fabric waste still occurs in the process. Waste is again generated when fabrics are cut inappropriately or burnt in the finishing section. With this background information, it could be deduced that the amount of fabric wastes generated during a typical garment production

60 process at KAD could be attributed to two major factors. First, garment production is based on the concept of garment design to suit the client and not necessarily on the concept of waste elimination.

Second, even though pattern making is one of the key stages where KAD Manufacturing Limited could become efficient in reducing the amount of waste generated, the use of manual pattern making instead of computer-aided design software results in a larger generation of wasted material.

In the sewing aspect, fabrics are wasted if the garment on the production floor gets stained or torn beyond repair. Some of these fabrics are stored in the company’s facilities for use if the need arises or send to the landfill.

Based on KAD Manufacturing Limited's production process, it would be beneficial if fabric waste reduction is taken into consideration in the initial stage of production, thus during pattern making and marker making process. Through this consideration, the company might have prevented wasting much fabric throughout their production process.

For research question two (2), There are many ways to reduce fabric waste through pattern making, considering zero waste pattern making or minimal waste pattern making, which the researcher used in this study's practical aspect. Fabric waste can be reduced through digital pattern making, allowing you to manipulate the pattern several times without wasting any resources. CAD pattern making allows the user to save fabric and work more efficiently by comparing different markers during the process prior to choosing the most efficient maker. Despite the industry’s best efforts, some designs cannot escape waste during the cutting section, and this waste ends up in the landfill most of the time or stored in the company facilities occupying space. This research proposes that this waste can be used as raw materials to generate money through creative works and sustainable garment production. The company uses some of the scraps and also donates some to other organizations as charity work for their craftworks. However, the company still has waste

61 packed in the company. Therefore, the possible way to reducing fabric waste through pattern making is by adopting zero-waste patterns into their production process. Waste elimination can be achieved with zero-waste pattern making by integrating pattern making into the fashion design process. Again, zero-waste pattern making needs to become a concern earlier in the designing and pattern making process. Garments that are produced using the zero-waste pattern making approach often do not get the usual classic shapes of conventional dresses and could therefore appeal to only a limited section of users. Opportunities to inform consumers of the bigger environmental benefits that could result from zero waste garments might generate the needed interest, acceptance, and market for such garments. In addition, using fabric waste created during cutting for sustainable designs could generate income for the company.

In response to research question three (3), which is ‘What are the ways to recycle and reuse textile remnants from cut patterns?’, the researcher examines many ways to use fabric scraps for creative and sustainable garments. Based on the interviews conducted, the researcher has clear information on how the company uses its fabric scraps. Based on the information gathered, in the interviews, the researcher device a new way to utilized scraps which the company has not yet practiced. KAD Manufacturing Limited confirms that they use waste fabric when the need arises: to make toys, placemats, pouches, and patchworks. However, given that the bulk of the scraps are not intentionally used as raw materials for new production, huge piles of fabric waste were reportedly occupying spaces in the company’s premises.

In demonstrating that waste fabric could creatively be used as raw materials to produce new garments, the researcher sourced fabric scraps from KAD Manufacturing Limited to create two new garments, a tunic dress and a blazer. Also, the fabric waste was used to make two accessories,

62 a hat, and a fascinator. In producing garments from fabric scraps, the following lessons were learned:

a) Designs: the fashion designer must have in mind a design for the suite of garments/products

that will be created from fabric scraps. Having an idea of the design will help in the

selection of scraps that could provide some creative designs in the final product.

b) Arrangement of seams: garments created from scrap fabrics will have a lot of seam lines

due to the number of pieces joined together. Given the sheer number of scraps involved,

care must be taken to ensure that measurements are accurate and the stitches are straight to

prevent puckering. Arrangement of the seams is also important so as to make the final

product/garment appear professional and not simply as a patchwork of fabric pieces. One

way of achieving this professional look of garments created from scraps is for the designer

to arrange the seams in a way that creates illusions from cut fabrics.

Lining: garments produced from scraps must be lined. This will make the apparel drape well, hide the seams that were created, and make the garment comfortable to wear.

IMPLICATIONS

This study investigated how fabric waste can be eradicated in KAD Manufacturing Limited through pattern making and using fabric waste in designing garments. In the review, it was stated that textile waste occupies nearly 5% of the landfill in the USA. This might be happening in other countries where clothing manufacturing and retailing is a business. Therefore, the researcher chose to address this problem in Ghana-Accra. The clothing industry’s effect on the environment goes beyond imagination; thus, recycling is an essential way of managing waste and a way of processing the waste into environmentally friendly manufactured goods.

This is what the researcher did by using fabric scraps to redesign sustainable garments.

Again, using a zero-waste pattern to eradicate fabric waste is another method the researcher uses, which was effective. The zero-waste pattern-making method was chosen because it poses vital advantages to the fashion industry. The researcher also used CAD programs, thus an Optitex software program, to achieve the best outcome because CAD programs are playing a significant role in the fashion industry by making it easier to produce accurate designs within a short period.

Unlike using the manual pattern-making method, which makes the process longer.

By using fabric waste for usable material, such as garments production, poses many advantages to the industry; for example, this can prevent fabric scraps from ending in the landfill, provide jobs for people the scraps can be financially rewarding by turning them into products for human consumption. Again, using fabric waste for designs is an important way to assisting the fashion industry to sustainability.

LIMITATIONS

This study's result cannot be generalized for all manufacturing companies in Ghana since other clothing manufacturing companies may have their own way of dealing with their fabric scraps. Different studies could be done about how KAD Manufacturing Limited can incorporate zero-waste pattern-making into their production based on the intervention. Thus by exploring patterns that KAD was already using and made them into a zero-waste pattern, this should have been a study on its own before exploring how to use the scraps, which will also be another study.

With this, the researcher would have enough time to work and explore a particular project.

Although there is an impressive result on the study's practical aspect, there is evidence that the zero-waste pattern and the minimal waste pattern could have been better if the concentration is only on pattern making. For that matter, many KAD designs could have been changed into a

64 zero-waste pattern which the company could easily adopt. However, the company may adopt one of the methods proposed and leave the other.

Another limitation is joining the scraps; because the scraps were being joined with a serger in joining them directly, some of the measurements of the strips got distorted, which bring about adjusting them before the seams could match. The scraps could have been joined with a lock-stitch before. This may consume a lot of time, but that could be a better way of working with speed after the scraps were joined.

RECOMMENDATIONS FOR FUTURE RESEARCH

Based on the finding of this study, there are some recommendations for future research.

The first recommendation is to follow up on this study to see how KAD manufacturing are implementing the techniques and approaches learned from this study, more indept research could focus on implementing zero-waste and limited waste studies of multiple styles that the company is producing as well as looking at the Designers acceptance of the changes to the designs once the patterns are manipulated for the lowered waste approach. Additionally, further studies could focus on the positive and negative impact fabric scraps have on Ghanaian society and the environment.

Again, there is an opportunity to investigate other companies in Ghana and their approach to the use of fabric scraps.

CONCLUSION

The fashion industry produces more waste than any other manufacturing sector globally.

Wastes in the form of fabric scraps, pre-and-post-consumer wastes, and dyes, among others, currently contribute to various forms of environmental pollution. To overcome the threats that fabric wastes pose to the environment, recycling and upcycling programs are being promoted in recent times. While recycling and upcycling programs are increasingly becoming popular, they are

65 inadequate to deal with all the different categories of waste generated by the fashion industry in general, particularly during the process of garment production. Indeed, there is a lack of literature on how fabric scraps could be reused to reduce the fabric industry’s environmental footprints.

This study seeks to eliminate fabric waste from the garment manufacturing process. The study was designed to address the following questions: a) how do fabric wastes occur through the process of production? b) what are the possible ways of reducing fabric waste through pattern making, cutting, and recycling, and what practical lessons are there for apparel manufacturing companies? And c) what are the possible ways of recycling and reusing textile remnants from cut patterns? To demonstrate that fabric scraps generated in the process of garment manufacturing could become resources for creating new products, thereby reducing fabric scraps’ contributions to environmental pollution.

To address these research questions, the study was designed in two phases. The first phase involved a case study of KAD Manufacturing Company Limited, a garment-producing company based in Accra, Ghana. Using a purposive sampling technique, six key staff were interviewed to get insight into the company’s garment production process, how the concept of waste reduction was perceived and how fabric waste was handled. While marker making is one of the stages where

KAD Manufacturing Limited considered fabric waste reduction, a significant amount of waste was still being generated. Among other things, this could be because pattern markers were done manually instead of the use of computer-aided design designs/software. Indeed, digital pattern making through CAD allows one to manipulate patterns several times and compare different markers during the process prior to choosing the most efficient maker.

While fabric scraps were used minimally at KAD Manufacturing for making pouches, trims, purses, and even face masks in recent times, the greater proportion of the waste generated

66 was not being used as raw materials for new productions. The problem of limited reuse of fabric is not unique to KAD, and it is a common challenge in fashion manufacturing.

Given that this is practice-based research, the second part of the study design was based on the findings from the qualitative interviews with the staff of KAD Manufacturing Limited. Having understood how fabric waste was generated and what the waste was being used for, the researcher decided to focus on two approaches. First, a zero-waste pattern-making approach was used to adapt one of the patterns of an original garment produced by KAD into a zero-waste pattern. The researcher used this approach to demonstrate that some of the designs produced by KAD manufacturing could be adapted into zero-waste designs. The second part of the practical section of the research was intended to promote maximum use of fabric scraps as raw material for new designs. To achieve this objective, the researcher decided to design garments that utilized the fabrics scraps from KAD manufacturing into marketable products. Besides a dress, a blazer, and accessories were developed from the scraps. In the design and development process of the garments, the researcher found the importance of careful planning of seamlines to give a professional aesthetic to the piece and eliminate the feel of patchwork.

A major challenge while working with fabric scraps as the only source while developing a design was to ensure consistency in construction as well as finding efficient ways for mass production. In order for a marketable garment to be able to be developed this way, a clear and efficient way of developing the pieces needs to be developed, and skilled sewers need to be trained in the process. Consistency in each design will vary based on the use of fabric and the placements of prints. These challenges have to be accepted by the designer at the start of production.

Given that fashion trends and markets are largely driven by consumer demands, I propose that there need to be conversations between the designer and patternmaker in the sample process

67 to see how a design can still work and have less waste than the traditional design to patternmaking approach.

APPENDICIES

Appendice A

IRB Approval For Interview

Appendice B

Interview Questions

RESEARCH QUESTIONS FOR INTERVIEW

• What position do you hold in KAD manufacturing? • Tell me about the production process in KAD manufacturing • I understand pattern making in KAD was manually in the past years; how is the pattern making process now? • During cutting for mass production, how is the pattern made? • Do you take waste reduction into consideration during pattern making? • Do you know or have any idea about zero waste pattern making? a. What do you think zero pattern making is? b. Would you like to use that in your production process? c. What do you will be the benefits of zero-waste pattern making? • During cutting for production, I understand there will be waste or fabric scraps. Do you use them again, or you dispose it? a. What do you use them for? b. How do you dispose them? • During the fabric scrap disposal, do you have any idea of how this scrap are being dispose and where? • Tell me about the benefits of the fabric scrap to the company. • Tell me the challenges the company faces with the fabric in the factory.

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