VILNIAUS DAILĖS AKADEMIJA AUKŠTŲJŲ STUDIJŲ FAKULTETAS KOSTIUMO DIZAINAS (KDZMN17VI) Transformations of Design Processes
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VILNIAUS DAILĖS AKADEMIJA AUKŠTŲJŲ STUDIJŲ FAKULTETAS KOSTIUMO DIZAINAS (KDZMN17VI) Margaryta Zubrii Transformations of design processes and their implementation in a sustainable fashion context Magistro baigiamasis darbas Tiriamojo rašto konsultantė - Doc.dr. Rasa Janulevičiūtė Baigiamojo darbo vadovė - Prof.dr. Jolanta Vazalinskienė Vilnius 2019 Baigiamojo darbo autentiškumo deklaracija Margaryta Zubrii (baigiamojo darbo autoriaus vardas, pavardė) Dizaino procesų transformacijos ir jų taikymas tvarios mados kontekste # (baigiamojo darbo pavadinimas lietuvi" kalba) Transformations of design processes and their implementation in a sustainable fashion context # (baigiamojo darbo pavadinimas angl" kalba) Patvirtinu, kad magistro baigiamasis darbas parašytas savarankiškai, nepažeidžiant kitiems asmenims priklausančių autorių teisių, visas baigiamasis magistro darbas ar jo dalis nebuvo panaudotas kitose aukštosiose mokyklose. (baigiamojo darbo autoriaus para$as) Key words: sustainability, transformation, modular design. Annotation: Current examples of sustainable fashion cannot completely fulfill the needs of a modern consumer. The actual study is aimed to develop and present an alternative approach to this topic. This research covers four already existing transformative design methods: upcycling, zero waste techniques, use of smart materials, and modular design, which open opportunities for further progress in this field. In particular, this study explores the modular design method as a very potential for sustainable fashion and presents its abilities to become a platform for a combination of various sustainable approaches. This research is oriented on my colleagues and professionals of the field, who pay attention to environmental issues and are aware of sustainable fashion practices. Anotacija: Dabartiniai tvarios mados pavyzdžiai nėra visapusiškai pajėgūs patenkinti šiuolaikinio vartotojo poreikius. Tyrimas skirtas vystyti ir pristatyti alternatyvų požiūrį šia tema. Šis tiriamasis darbas apima keturis jau egzistuojančius transformatyvaus dizaino metodus: perdirbimą (angl. Upcycling), nulinių atliekų (angl. Zero waste), išmanių medžiagų naudojimą ir modulinio dizaino metodus, kurie atveria tolimesnės pažangos galimybes šioje srityje. Taip pat šiame tyrime nagrinėjamas modulinis dizainas kaip potencialus tvarios mados kūrimo metodas, pristatomos galimybės kaip modulinio dizaino metodas gali tapti įvairių tvarių sprendimų derinimo tarpusavyje pagrindu. Šis tyrimas yra skirtas mano kolegoms, šios srities profesionalams, kurie atkreipia dėmesį į aplinkosaugos problemas ir yra susipažinę su tvaria mada. CONTENTS INTRODUCTION……………………………………………………………………………….…1-4 1. SUSTAINABILITY IN FASHION INDUSTRY………………….…………………………..5 1.1 What is sustainable fashion? The appearance of the movement and its representation in the European context .………………………………………….………………………….5-7 1.2 Sustainability in the textile industry………………………………………………….7-8 2. TRANSFORMATION OF DESIGN PROCESSES..........................................9 2.1 Postmodern consumer society and circumstances for transformation of the fashion industry…………………………………………………………………………………….9-10 2.2 Transformative design methods:...................................................................10 2.2.1 Upcycling as a method for transformation............................................10-14 2.2.2 Zero waste pattern making................................................................14-16 2.2.3 Smart materials, E-textiles, and futuristic design…………………………….16-18 2.2.4 Modular design and pattern making………………………………………..18-20 2.3 Comparison of presented methods.............................................................20-21 3. TRANSFORMATION AND SUSTAINABILITY..........................................22 3.1 Why modular design?...............................................................................22 3.2 The final creative project research and development..............................................22-24 3.3 Project /tɹɑːnzˈfɔːm/ photoshoot ……………………………………………………….25 4. FURTHER DEVELOPMENT POSSIBILITIES.............................................26 CONCLUSIONS ILLUSTRATIONS BIBLIOGRAPHY AND OTHER SOURCES 5. APPENDIXES 5.1 International survey on sustainable fashion 5.2 Group exhibitions MAda’18, Lakmusas 5.3 Young fashion designers event Apkalbos 2018, International competition OFF Fashion 5.4 Semiotic analysis SUMMARY Summary in English Summary in Lithuanian ACKNOWLEDGMENTS «Every design decision is future decisive» - Tony Fry, design theorist and philosopher INTRODUCTION Study problems: First studies related to sustainability in design were published in the late 1960s and 1970s, but then this kind of research was developing in fields of architecture and product design. For a long time, fashion did not take an active part in this movement. For many of us, the core idea of fashion itself seems to be completely unsustainable. Facing the problem of pollution and other issues created by the industry first works on sustainable fashion were published only after the year 2000. In these less than twenty years a lot of noticeable changes have happened to fashion as an industry. Not only small fair-trade companies launched, but also international corporations started to pay more attention to the modernization of their production and supply chains1. However, sustainability in fashion design is a relatively new field of artistic research. Still, fashion, counting all its stages, is the second polluting industry in the world2. There is a variety of opinions on the complexity of this topic. Ones argue that environmental problems are caused by the common use of synthetic materials. Made of oil, they are perceived as more harmful than natural ones. But many studies present, that the biggest environmental impact is made by pesticides, used for cotton production worldwide. The next serious issue is fast fashion, which challenged the whole life circle of fashion. New relatively cheap garments are transported to the shops each month. Earlier we had two seasons per year, and now there are eight. So, for many people, it is appropriate to throw away their clothing after several wearings just because it is not trendy anymore or has no value for them. Large companies argue that recycling can help to solve this problem. Unfortunately, yet recycling is a quite difficult process, which still needs to be developed enough to be able to deal with the amount of textile waste produced by consumers and manufacturers every single year. A huge percentage of such debris cannot be recycled at all. Most of the existing design methods do not apply sustainability to the actual design process, and a few existing ones that do so, cannot completely fulfill the needs of the consumer of the fashion product. So, not only the industry, its facilities, and methods, but also the relationships between the owner and a garment, designer, and customer should be reviewed and transformed. 1 BLACK, Sandy, The Sustainable Fashion Handbook, London: Thames & Hudson; 1 edition, 2013, p.10; !2 MORGAN, Andrew, The True Cost, documentary film, 2015, Link: https://truecostmovie.com; !1 The relevance of the study: In developed countries, authorities already started to pay attention to the complexity of these issues. In the UK and Scandinavian countries launched academic courses and even whole institutions oriented on sustainable strategies in production and design. For example, in the UK in 2008 was implemented the Sustainable Clothing Action Plan3 with an aim to reduce the carbon footprint of the textile industry and to minimize the environmental impact caused by it. The same year has been established the Centre for Sustainable Fashion as part of the Research Centre of the University of Arts London which explores design for sustainability in artistic and business practices of fashion4. A few similar initiatives were launched in Scandinavian countries: NICE (Nordic Initiative Clean and Ethical) with five countries involved, the Mistra Future Fashion and the Foundation for Strategic Environmental Research in Sweden. In the US in 2011 the Sustainable Apparel Coalition5 was created. All these programs serve us a representation of high international interest in the development and implementation of new sustainable methods for the fashion industry. Research motives and its novelty: Fashion as an active representer of all changes happening in society became one of the most powerful communication tools used to draw attention to ecological and ethical problems of our time. During the primary research on the theme of sustainable fashion, I found out that despite the wide range of methods and strategies for sustainable design, they are quite poorly implemented and left underestimated in fashion. By "sustainable fashion" many people have in mind that the product was made of second-hand garments, other words were upcycled. Also, often the meaning of the term is narrowed into "eco-fashion". To eco-fashion belong products that are usually fully or partially handmade, sawn from organic textiles, printed with natural dyes in a way that is less harmful to nature. And upcycling, and eco-fashion methods are interesting but have their advantages and disadvantages. Eco-fashion has a quite limited color palette and range of materials to work with, that makes it harder for a designer to create something really new or different in this field. Many customers do not want to invest in a garment which is less wear-resistant and evaluate higher multifunctionality of a piece