Whilst the environmental impacts of commercial production and consumption have increasingly been the subject of debate in recent years, textile and fashion designers have been considering their responsibilities as creators of sustainable products and systems and have been struggling to find a way to fully comprehend the challenges and to know how to go about tackling them. This team wanted to propose design as the agent for change - working right at the heart of the problem. Basing themselves ir organisations and companies of all scales, the research team worked ona process of progressive problem solving with others to propose a new course of action to help their community improve its work practices. Figure 2: The new ‘T’ for textile design is an ‘I’ - extending the shape by building in sustainability expertise and deeper knowledge of oneself and others in her Transitionary Textiles: Design for Social Equity work. She produced new insights around design strategy, models and tools for transformation through workshop facilitation and consultancy approaches; engaging with industry stakeholders to enhance the teams’ skillset and capacity for ideas getting used and embedded within the stakeholder group. This led to the ‘I’ shaped designer, extending the Brown (2006) model from a ‘T’ into a reflective, extended shape for 21° Century practice (figure 2). In stage 4 of the project the team updated textiltoolbox.com website and shared the design tools that had been developed and tested throughout the project. 61 redesign concepts are included on the site, demonstrating the sustainability improvement in Figure 3: Visualisation of the P3 deliverables and the interactions with other projects Figure 4: The revised TEN strategies, v2 (Earley & Politowicz, 2012) Figure 6: Clara Vuletich (left), PhD researcher for Project 3, June 2012 Table 3: The PhD Project Timeline Table 4: Planning, stage 1, project 3 PLAN: Identifying the Questions with Stakeholders e Landscape: Internal Review of The TEN Cards; website brief and blog briefs; web platform texts, images and films 2.5.1 plan: identifying the research questions Table 5: Acting, stage 2, project 3 ACT: Delivering the Workshops e Development of case study material, educational programmes; delivery of pilot programme, UAL; generate teaching materials/tools for the workshops Fig 8: The Textile Toolbox exhibition at FIT in New York (June 2015) Table 7: Reflecting, stage 4, project 3 REFLECT: Evaluating, Revisiting & Communicating Figure 10: Think, Make, Share - methods from Goldsworthy’s PhD thesis (2013) Figure 11: Project 3’s Methods Framework, Vuletich 2015 Table 9: The project 3 methods mapped into the framework Figure 12: https://languagelearningonline.wordpress.com Figure 13a: The worksheet tools used to capture ideas in both the planning and delivery stages of the project Figure13b: Rebecca Earley (right) with the New Development Team, H&M, Stockholm, May 2012 Table 10: Textile Toolbox analysis of gaps and hotspots of the sustainable Swedish landscape Brown (2013) outlines how working with pre or post-consumer waste would include more labour costs and eliminate material costs. Setting up connections between manufacturers and designers directly would cut out the middleman and increase the upcycling initiatives. The lack of designers in Sweden working with pre consumer waste is determined at the outset as manufacture by Swedish brands is mainly outsourced. The reduction of chemical impacts is achieved through the collaboration between manufacturers and companies leading the way in innovation of materials and dyes. Reduction of chemical impacts succeeds when the chemical industry considers holistic approaches (MacLennan, 2014), and when collaborations of designers with industry stakeholders such as scientists lead to initiatives that reduce energy and water use (Rigby, 2013). Sweden’s recycling model, where most textiles are being incinerated at the end of life (Palm et al., 2013) is shifting towards research in closed loop chemical recycling and local manufacture of regenerated cellulose fibres. Figure 16: Hand 7 plays strategies 1 and 8 Figure 14: Hand 5 plays strategies 3, 4. and 5 Figure 15. Strategies 2, 8 anc 9: Upcycling (2) and repair is often connected to repair services and fashion libraries (8, 9) Figure 15: Hand 6 plays strategies 2, 8 and 9 Figure 18: Hand 8 plays strategies 3 and 4 Figure 17. Strategies 2 and 9: Upcycling in industry is often connected to systems and services. Upcycling products is mostly achieved in connection with stores or business models for long life. Material approaches for upcycling are mostly connected to new technologies or craft. Figure 17: Hand 3 plays strategies 2 and 9 Figure 19: Hand 9 plays strategies 5 and 8 Figure 20: Hand 10 plays strategies 8 and 9 Figure 21: Workshop session, Chelsea College of Arts (2011) CCW ‘Reading & Practice Group’ (2011 - 2012) (Figure 21) At UAL, a year cohort of approximately 38 MA Textile Design students worked in partnership as research teams, to test the efficacy of a course designed to increase sustainable design thinking. The TEN strategies were offered as weekly topics for research and discussion in a ‘Reading and Practice Group’ (table 11). Each team selected and researched a ‘lead’ TED strategy, most relevant to their personal projects, with the aim of transforming their practice using sustainability as a spur to design innovation. A visual presentation of their findings was made to the whole cohort. Eact event was led by an expert in the field, able to critique the group presentation and to conduct studio tutorials in relation to individual project development. Students were encouraged to consider in their project as many of the ten strategies as possible. The results were encouraging in the scope and ambition for the innovation in sustainability and the collaboration established by groups in their working methods. Students benefitted from the research culture at the college and, undoubtedly, from the TED group of PhD students and researchers able to discuss informally their research questions, methodologies, references and influences. results were encouraging in the scope and ambition for the innovation in sustainability Table 12: CCW ‘Reading & Practice Group’ (2011 - 2012) Figure 22: Elective introduction meeting, design outcome, student design presentation Figure 23: Konstfack studio, Black Hack workshop at Konstfack Figure 25: Clockwise from top left: Figure 24: Hand 11 Figure 26: Left, TED Coding for H&M talks: Hand 18 with lead strategies 1-5 followed by 6-10 Right, Hand 17 with strategies 3-5, 1-2, and then 6-10, for the SFA workshops (2011-2014) 4.1.3.1Sustainable Design Inspiration (SDI) Programme at H&M Figure 27: Inspiration, leading to learning & development, ultimately resultinc in transformation of the organisational infrastructure Figure 28: H&M workshop model - Adapted from Idenk’s Decision Making Diamond (Earley, 2013) Over an 18-month period of visual presentations, written proposals and discussions, the concept of the T-shaped inspiration programme emerged: a one- hour inspirational lecture to be presented by Earley six times to reach as many of the BO staff as possible; and a ‘deep-dive’ workshop format consisting of three four-hour sessions that would take 30 New Development team staff through a detailed product redesign programme. This became known as the ‘Sustainable Design Inspiration’ (SDI) programme. were told to come back later when they - the White Room team - weren't so busy. At the end of each lecture — one hour given six times over a three-month period - many of the audience came up to Earley and the team, asking more about certain case studies (figure 33). This varied with each occasion, but in general designers from different divisions asked for information tailored specifically for them. How could we help them as print designers? Were there guidelines for designing prints in a more sustainable way? The slides were held with the White Room research team and those with questions were directed there to find out more. Figure 31: The ‘Thinking Together’ worksheets, ready for Professor Becky Earley’s ‘Sustainable Design Inspiration’ H&M Lecture sessions, March - June 2013 Figure 30: The TEN strategies overlaid Figure 32: A ‘Thinking Together’ moment in the lecture, June 2013 Figure 33: Energised exchanges after the lecture, June 2013 Table 14: H&M barriers and creative solutions Figure 34: Hand 17 with strategies 3-5, 1-2, and then 6-10, for the SFA workshops (2011-2014) This ‘coding’ presented the information in a prioritised way which was more appropriate to this audience. Namely, that materials, processes and technology were the most actionable changes that could be made, followed by reducing waste and recycling products; and then the more social and service strategies, which were often where participants linked ideas with others from their company; sometimes a CSR representative was present, or someone from marketing or even HR. Most workshops took place in Stockholm with the exception of the NICE/SFA event in Copenhagen, September 2011. Table 15: Improved Higg Index scores — results of the SFA workshops (*May 2013 Workshop; * *November 2014 workshop) edesign 24: The Family Jeans: A Pair of Denim Jeans tc ast a Lifetime The redesigned pair of jeans includes ideas for simplifying the design and reinforcing the construction and material selection for a long wear and durable jeans (figure 36). These ‘perfect jeans to last a life time’ were developed as a ‘classic pair of 5 pocket Jeans with perfect fit and great quality’. More sustainable materials were used in this redesign and it integrates ideas for patches and low wash to create a durable ‘bond with your garment’. This long life concept fits with the garment typology of denim jeans explored in project 2 of the MISTRA Future Fashion consortium. These ‘perfect jeans to last a life time’ were developed as a ‘classic pair of 5 pocket Redesign 19: The Polyester Dress: A Mono-material Dress for Upcycling The recycled polyester dress (figure 37) uses the latest recycling technology for mono material polyester in the final garment checklist. During its life cycle, possibilities for upcycling into other garments or an H&M service to repurpose it brings it back to a closed loop. This short life concept links to the Seamsdress (Goldsworthy 2014) and Fast ReFashion (Earley 2013) models of the Textile Toolbox exhibition. Figure 39: SFA May 2013 - Redesign concept 7 Redesign 2: The Sailor Shirt: Subscription Services for Short Life Shirts Figure 42 - The lead strategy is 9, Design to Dematerialise and Develop Systems and Services. With ideas for leasing and postal services, the subscription to this fashion company reduces impacts and generates a loyal customer base. It proposes a 3-D knitted T-shirt replacement service, utilising local regeneration systems. Experimentation with new technologies for garment production (strategy 5) and for reduced chemical, water and energy use (strategies 3 & 4), is connected to minimising waste (1&8) and customisation (9). Figure 43: SFA June 2012 - Redesign concept 4 This long life concept links to other outdoor redesign concepts and to the MFF garment typology of a jacket for sports wear. Figure 44: SFA June 2012 - Redesign concept 6 Redesign 6: The Long Life Jacket: Biomimicry Outdoor Wear Figure 44 - This redesign concept responds to concepts for modularity through multifunctional features that extend the garment'’s life cycle. The lead strategy is 6, Models from Nature and it connects biomimicry strategies for colour change with activism that raises awareness of the environment (10). Working with zero waste pattern design (1) and modular features (2), the outdoor purpose of the garment includes reflections on material selection (3, 4) in connection to new technologies (5) Figure 45: Left, hand 21 considers lead strategies 2, 3 and 4 at H&M and right, hand 22 connects strategies 9 and 10 with 6, 7 and 8 at SFA Figure 47: Hand 23 plays strategy 2 in large companies and strategy 10 in SME’s Figure 48: The Textile Toolbox online exhibition, www.textiletoolbox.com Figure 49: TED team and CBS researchers at The EcoChic Awards, Hong Kong Fashion Week, 2013. TED in China Figure 50: Above, Hand 32 shows Seamsdress lead card strategy 2, followed by strategies 1, 3, 4, 5, 6 and 9. Below, Seamsdress and Laser Line Lead strategy 2, Kate Goldsworthy. Based on Dr. Kate Goldsworthy’s research in Design for Cyclability (2) it is part of her body of work into laser line production models. Figure 51: Hand 26 shows DeNAture’s lead card strategy 2, followed by strategies 1, 3, 5, 6, 8, 9 and 10. This exhibit was the outcome of Miriam Ribul’s funding award from COST (European Cooperation in Science and Technology) for her proposal towards the development of a science-design collaboration with MFF researcher Dr Hanna de la Motte. The research was hosted at Chalmers University of Technology and SP Technical Research Institute of Sweden. The COST-funded research titled ‘Design Possibilities in Regenerated Cellulose Fibres’ explored chemical recycling in a closed loop context. The lead strategy for the exhibition of the design outcomes was 2, Design for Cyclability (figure 51). Figure 52: DeNAture and Design Possibilities in Regenerated Cellulose Materials Figure 53: Hand 24 shows ASAP’s lead card strategy 5 followed by strategies 1, 2, 3, 4 and 10. The model for ASAP was initiated by Kay Politowicz and the development of a collaborative project with Dr Hjalmar Granberg at Innventia. Exploring the potential for paper-non-woven materials as a connection of design to a technical industry, the project also included research from Kate Goldsworthy, and design consultancy from Sandy MacLennan and David Telfer. The lead strategy for the exhibition of the design outcome was 5, Design that Explores Clean/ Better Technologies (figure 53). Figure 54: A.S.A.P Paper Cloth and A.S.A.P paper samples Figure 54 - A wearable, non-woven material developed with Innventia (P6) with both convincing aesthetics and performance is at the core of a revolutionary approach to fashion sustainability. This system dramatica lly fast-tracks a garments’ life cycle from production to end-of-life though desirable fashion products that acknowledge the consumer’s needs for inexpensive fast fashion through disposable garments with recoverable materials. It eliminates the ‘consumer washing’ phase and therefore removes its large carbon footprint. Through t he collaboration of designers and scientists, the mass production of various blends of wood fibres and PLA fibres from an existing industry, can be separately recovered to break new ground in cyclability, including the molecular recycling of thermop strategies for economic growth with sustaina astics. The aim is to connect compelling ble business models for short life garments. Raw materials are developed to of fer alternative, renewable qualities as a complement to the resilience and durability of an existing, classic, wardrobe. Figure 55: Hand 29 shows SWEAVER’s lead card strategy 1, followed b strategies 6, 7 and 9. Lead strategy 1, Josefin Landalv. The brief was to respond to consumer research of local Swedish consumption habits. Figure 56: SWEAVER hand woven sample collection Figure 57: Hand 31 shows Fast ReFashion’s lead card strategy 9, followed by strategies 1, 2, 8 and 10. Lead strategy 9, Becky Earley. The exhibit was the outcome of a peer-reviewed workshop at EAD in Gothenburg (2013) for MISTRA Future Fashion and part of the Top 100 body of work (1999 - ongoing). This item was created early on in the curation process, and formed a model for how a designer with a specialism (print design, upcycling polyester) could have a lead card, but consciously extend their practice by ‘playing’ other cards (figure 57). Figure 58: Fast ReFashion and Black Hack Chat workshop and overprint making process Figure 58 - This designer’s approach is to transform the industry through designing fashion services, rather than new products. The work facilitates consumers to create a monomaterial-refashioned garment for themselves, using readily available tools and resources like irons and paper. The service offers consumers support through events, demonstration films and downloadable instruction kits. This enables participation in the design process, and a new understanding of textiles processes that could lead to transformed user behavior. Consumers engage with materials and products towards closed-loop thinking and action. Figure 59: Hand 28 shows Smorgasboard’s lead card strategy 9, followed by strategies 5, 6, 8 and 10. Figure 60: Smérgdas Board garments, Smérgds Board pattern, and toolbox design process Figure 61: Hand 33 shows Inner/ Outer Jacket’s lead card is strategy 10 followed by strategies 1, 2, 6 and 7. Figure 62: Inner/ Outer Jacket and fabric bricolage process Figure 62 - In this model, the designer becomes a social entrepreneur that imbues meaning into textiles and fashion. Inspired by historical garments in a specific cultura context, through the process of hand making the garment becomes a symbol for ‘psychic protection’. The design process connects inner and outer change through thoughtful making that enables psychic protection for the wearer as well as for the maker. Representing how a ‘sustainability mindset’ is needed for change, garments are made for emotional durability and connection. The designer's role is to create garments that allow for cyclability through a patchwork approach where the stitches and layers contribute to both the symbolic and the material aspects of sustainable textile/fashion design. The journey to becoming ‘whole selves’ is accompanied by material needs and constructs. Figure 63: Hand 25 shows Shanghai Shirt’s lead card strategy 10, followed by strategies 1, 2, 3, 4, 6 and 7. This exhibit developed from the first part of Becky Earley’s research in Shanghai for ‘The TEN in China’, a project that was built on the proposal of PhD researcher Kirsti Reitan Andersen to explore the supply chain of garment production in a local geographical context. Through the collaboration with Project 1 of the MFF consortium based at Copenhagen Business School, this design approach was linked to the research of business models and the designer as intermediary change maker. The lead strategy for the exhibition of the design outcome was 10, Design Activism (figure 63). Figure 64: Shanghai Shirt process and Shanghai Shirt details Figure 64 - By stitching second hand garments together, home made garments reflect upon the need for us to consider the disconnect that exists between the people in the supply chain. Through the exploration of upcycling polyester shirts and exhaust transfer printing, the designer can turn simple, inexpensive shirts into something of much higher value, and potentially imbue it with greater meaning, significance and emotional durability for the owner. By using overprinting techniques, the garment is embedded with symbolism and messages for young consumers, fusing visual research from the geographical contexts of where the garment is produced and worn. Garments are reconstructed so that the evidence of the original piece is still visible. Painstaking work by hand through hand stitching, reminds us to always consider the people who make our clothes. Fig 65a: Harvey’s Chopstick Headdress, made after the field research in Hong Kong, for Redressing Activism (2014) Figure 65b: Hand 27 shows Redressing Activism’s lead card is strategy 10, followed by strategy 1, 2 and 6. This exhibit was the outcome of the second part of ‘The TEN in China’ research in Hong Kong. As in the first part of the research, the designers’ role was to immerse within a ocal geographical context. The lead designers were Becky Earley and PhD researchers Emmeline Child and Bridget Harvey. The designers developed the work in response to ocal activist organisations. Here the work was co-designed with local designers using upcycling strategies and with the exploration of cultural references. The lead strategy for the exhibition of the design outcomes was 10, Design Activism (figure 65b). Figure 66: Redressing Activism and the Redress Forum 2014 Designer Challenge, Miele in Hong Kong Figure 66 - The design of garments can propose waste reduction through demonstrating strategies for upcycling. This is achieved to highlight the global relationship between waste, the actions of the designer, the industry and food production. Inspiration for upcycling can be found in the activist organisations and culture, as well as the colours, food and architecture of a geographical context. Activist upcycling strategies can include co-creation workshops where the designer facilitates industry designers in an educational project to encourage them to use recycled materials to their practices. One technique can use traditional local foodstuff with domestic tools to create an upcycled monomaterial designer garment. Figure 67: Hand 30 shows Library Jumper’s lead carc strategy 8, followed by strategies 2, 6 and 10. Lead strategy 8, Bridget Harvey (Figure 67). Building on the PhD candidate’s reseai into repair strategies, the brief was to explore design for new business models in Sweden including fashion libraries. Lead strategy 8, Bridget Harvey (Figure 67). Building on the PhD candidate's research Figure 69: A.S.A.P. Paper Cloth samples and Fast ReFashion ‘Fractal Shirt’ product over time. By exploring this polarisation of ‘speeds and needs’ we aimed t gain insights into creating an effective circular materials economy, which acknowledges the complex nature of our current and emerging fashion system. Figure 70: Left, regenerated cellulose fibres from cotton and denim, and right, coded regenerated cellulose (Ribul 2014) The DeNAture work (figure 70) pursued new creative textile ideas through a design residency within a scientific organisation. Using observation, conversation and hands on testing, the designer was able to make a proposal about an existing problem. This proved to be inspiring for the scientist, and the designer was able to use the idea to develop an artistic piece. The freedom to think differently about a problem, from the perspective of another field, can be valuable when seeking to address ‘wicked’ problems. Figure 71: Waddilove’s System Innovation Cards Cards are often used to make key themes more visible and provide structure to otherwise random brainstorming. Waddilove’s ‘System Innovation’ approach (figure 71) was designed to also deliver solutions through layered game play which graduall reveals the interrelatedness of problems and solutions. Opportunity niches play a significant role as the seeds for change in any organisation (Geels 2004) but these seeds need nurturing by collaborative teams before they can become fully-fledged projects. Gamification has a vital role to play in encouraging sustainable systemic solutions from a variety of stakeholders. Figure 72: THE TEN cards in Chinese & Swedish INS VWYIRSNESts LHIQGUIS SI) One key element to the development of the workshops was mapping and designing workshop tools for the research in large companies, with small and medium enterprises and with emerging designers. The team developed and refined the workshop tools through an itera support of a graphic designer, t tools were refined and changes tailored the tools to the aims of tive process. While some tools were created with the he team developed most worksheets internally, as the promptly adopted during the research process. We each individual workshop, and included consideration about audience participation. T the workshop, and acted as doc collection, review and subseque he tools supported the design thinking process during umentation of the workshop outcomes for data nt analysis. Figure 73: TED Redesign Audit Sheet for H&M Figure 75: The Textile Toolbox Toolkit contents and THE TED RED BOX informal discussion of the case studies in the team. We discovered the time-poor Well designed and produced physical toolboxes can make designers feel provided for and supported — meaning sustainable design inspiration and innovation may be more appealing and attractive Figure 77: The TED RED BOX strategy divider / folder, and NOW, NEAR and FAR Stamps according to participants’ perception of the time needed to implement the idea that was presented. As an outcome, a ‘Now Wall’ was developed with examples that workshop participants selected for inspiration. Feedback from designers in the H&M workshops was that projects could be time coded with ‘Never’, when they deemed an example would encounter too many barriers to be implemented in industry. workshop participants selected for inspiration. Feedback from designers in the H&M Figure 78: TED’s The TEN and HIGG Score Sheet Figure 79: The Now Wall reconstructed after the workshop by the coffee machine Figure 80: Barriers and Opportunities poster Figure 81: H&M Barriers and Opportunities poster eS During the research the team developed new approaches for designers training designers; the team surveyed the value of this relationship and the potential of this emerging field of research. What do textile designers and researchers have to offer the corporate world of the fast fashion company, in terms of inspiration to incorporate sustainable design decisions into their every day work? If design decisions may accoun’ for up to 80-90% of environmental impacts (Graedel et al, 1995), then it is crucial that the massive producers of global fast fashion ensure that their internal teams are fully engaged with sustainable design. Figure 83: Black Hack Chat film; and Black Hack Chat Skype mentoring between London and Gothenburg Figure 84: Stills from the project 3 intro animation and The TEN animations (2014) Figure 85: Rebecca Earley’s ‘Cool School Tools’ workshop, The Well Gallery, London, 2015 Figure 86: Rebecca Earley’s ‘Cool School Tools’ toolbox, The Well Gallery, London, 2015 garments, then primary school children used the toolbox to radically upcycle t-shirts from the lost property department, mark-making through play with a range of toys. Figure 87: Design for Change denim bags Figure 88: Left: Tim Brown’s ‘T’ shaped designer (2006); becomes the reflective and self-aware ‘I’ shaped designer (centre, Earley et al, 2015); and then becomes the heart shaped ‘social’ designer (Vuletich, 2015) Holisitic Fashion Design There are a ranae of future-focused models that propose what systemic sustainabl Ine meart-snapea vesigher (Figure oo) This model extends Brown's ‘T-shaped designer’ to represent the attributes and skills c the future ‘social’ fashion textile designer. In a sustainable textiles context, the ‘T’ becomes an ‘lI’ as the designer gains knowledge and skills represented by The TEN strategies. In a Design for Social Equity context, the ‘I’ becomes ‘heart-shaped’ as the designer practices ‘beyond the swatch’ as a facilitator and steward. In this context, the designer requires a range of skills for working with values - their own and all stakeholders in the fashion system. Figure 89: Inner/Outer jacket (left), hand-stitched fabric samples (right) Designing to Change Material Systems; Social Models; and Self/Mindsets The final model was co-developed with TED researchers Earley and Goldsworthy to represent the three levels of change required in the fashion industry - Materials; Models and Mindsets. The researchers had collaborated on several research tasks, each with a specialised expertise - Goldsworthy (material systems); Earley (social models); and Vuletich (mindsets and the self). The model represents a design approach that is holistic and requires collaboration of all stakeholders in the fashion system. Designers will require new skills and methods in a Design for Social Equity context that engage with deeper levels of mindset change Figure 90: Green Question Cards (Earley & Vuletich, 2013) Figure 91: Drawing by participant in response to Green Cards, 2013 Figure 92: Left, Textile Talk Kit in use, workshop with garment workers, China, 2014. Right, Sutra Stitching Workshop, London, 2013 The kit consists of needle; thread; scissors; pin cushion; fabric; samples for demonstration; photo of designer's family/friends/life; camera; notebook; pen; favourite objects/paraphernalia. oe Se gee ee This is a toolkit for fashion textile designers for use in production countries with diverse cultural contexts. In order to communicate and understand stakeholder views (production workers; supplier management; local communities etc) the designer will need the skills of a cross-cultural facilitator - empathy and understanding cultural values. The designer will also bring their traditional craft-based textile tools such as needle/thread for hand-stitching. A simple craft process can be a useful way to open up dialogue and build trust; and provides confidence for the designer in new contexts. needle/thread for hand-stitching. A simple craft process can be a useful way to open Figure 93: Hand 1 combines lead strategy 5 with strategies 3 and 4 Through a series of workshops with SMEs at the Sustainable Fashion Academy (SFA and design teams at H&M, we found that the use of new technologies was of the greatest interest to industry participants (5), specifically to reduce chemicals and energy in the production of new materials (3,4), which will also achieve a new aesthetic in textile and product development. (Figure 93) The difference in scale of company became most apparent when ideas around cyclability were explored. The fact that goods needed to come back via the consumer provided opportunities in the smaller company for innovation involving activism. This was seen as a USP (unique selling point) for such companies which gave them an advantage over the larger companies because of the flexibility of their operations. Designers in large companies reflect on (2) Cyclability strategies while SME’s also include (10) Activism as a core principle. Figure 94: Hand 2 aligns strategies 2 and 5 The idea of using a ‘lead card’ from the pack of TEN evolved from a parallel TED projec’ with VF Corporation during 2011-12. For the VF Corp innovation summit exhibition, the team took one card at a time and created a new prototype. Working from the insight gained, here the team selected one card as the lead card (based on their expertise, experience and interests) and then played subsequent cards into the design brief to build a hand of cards that was unique to them. This prompted the designers to push their ideas into new territories, and to undertake research questions not previously considered. Working with lead cards and hands, the researchers and stakeholders were able to ‘see things differently’ (interview with Johan Ward, H&M, 2013). The lead card reflected the action each design researcher chose to pursue. More cards are added in when the design considers a systemic approach, complementing a holistic vision for future fashion. Figure 95: Materials, Models, Mindsets (Earley, Goldsworthy, Vuetich 2015) Significantly for the TED designers and the stakeholders they worked with, the demands and challenges of the circular economy suggested new opportunities for education and training. The well-known idea of the ‘T’ shaped designer (Brown, 2006) became an ‘lI’ as the team began to understand through action research and practice that gaining a greater knowledge of sustainability needed to be accompanied by a greater sense of the ‘self’. Designers need support in understanding what they can de in design terms to move towards systemic change and a circular economy. Figure 96: The central sections of the Material, Models and Mindsets Venn diagram (Earley, Goldsworthy, Vuletich, 2015) We need to be able to work with designers in companies from both the ‘top down’ anc the ‘bottom up’, supporting the use of the tools in different contexts. We also need to ‘move sideways’, bringing the user into the process, and the process to the user. This requires radical new visions for design, but also new business models. This sideways movement will demand that businesses initially work together in the ‘race to the top.’ Design education will need to reinvent itself as designers move away from products towards people and circular services. Designers of fashion and textile design need a wide frame of reference, which the educational curriculum has to reflect, and which exposes them to ideas and activities of other disciplines including sciences, sociology and fine arts. Multi-disciplinary collaborations with all kinds of experts will be invaluable for our future designers. Figure 97: TED Elective with Konstfack students (2013) Figure 98: Question Flagging technique, adapted from Idenk Figure 99: Otto von Busch, Zine Production 2013 Figure 100: Ida Petterson “| think that the elective for me was very much a starting point for how you can write more personally around your work, describe it in a more poetic way, looking at it from a different angle. The manifesto also gave me time and tools to really think about what the most important aspects of it are. Writing sometimes feels hard but the elective enabled me to think about how to make it into 1.” something usefu Ilda Pattarcenn “The Ground is Not Level: Modern Patchwork” Textile interpretation of kinetic painting, using textile waste, meticulously collected and stored as a discipline. Offcuts progressively used in increasingly smaller constructions. Figure 102: | Want My Work to Speak Clear, Ida Petterson Figure 101: Ground is not Level, by Ida Petterson | collect the scraps from the cutting and am building a pile of them. | haven't come up with a great idea how to let them lead the way to make new patterns yet. So | am continuing my ordinary patchwork method but with a more aware mind from now on. Figure 103: Sketches from the Treehugger Capsule Collection Figure 104: Lisa Axelsson at her desk and her manifesto Figure 104: www.matildadominique.com “My experience from last years elective course was very positive! Teds Ten was an inspiring, tangible tool to work with and | felt that the course opened up for unconventional ways of discussing what sustainability in the textile field can look like. Also, the tutorials and group sessions really helped me to push myself further with my work and the lecturers were very dedicated and inspiring. “ Matilda Dominique. “Talking Threads”: Sample weaves are seen as a dialogue between materials, animated to comment on their identity, experience and condition. Communication is THROUGH the work and FROM the work. Materials are informative and communicative. “Talking Threads” is an exploration of methods that can enable an awareness to be created about the provenance of materials and start up discussions around issues concerning textile production. By giving the materials their own voice I'm hoping to add emotional value to the fabric, which in turn enables the user/viewer to experience the material in more than a visual way. Figure 105: Talking Threads sample by Matilda Dominique Figure 106: Talking Threads sample by Matilda Dominique Figure 107: Garment Redesign Sheet for SFA workshops TED provided the PowerPoint presentation materials for the TED’s The TEN, and cards for each table to use as prompts. Cards were available in both English and Swedish. TED provided the printed A2 worksheet for the workshop, which formed the basis of the written record for the workshop (fig x). TED also provided green question cards. TED conducted an after action review at the end of the workshop. Table 18: Results from the After Action Review Sheets What word comes to mind when they recall the day? Most people were inspired by the fun workshops, but one person had doubts about some messages. “Remake, redesign. But how can we as fashion company learn (teach) our customer? That is not our core business...” Are sustainable design decisions being used in everyday work scenarios? What strategies do the respondents prioritise now? “Thanks a ton for forwarding the materials. It was one very interesting seminar. Good work pulling off such a great job.” Shamik Neogi, Production Manager, Tierra Products AB SFA workshop participant, November 2014 Table 19: The H&M programme design and research methods utilised Structure Outcomes The outcomes of the workshops are presented throughout parts 4.1.3 to 4.2.1 of this report. Table 20: What strategies do H&M designers want to prioritise? Pre-survey results (2013) Reducing chemical impacts was seen as vital, followed by energy, water and new technology. A few, not many, recognised cyclability and reducing waste as vital, which was odd given that when asked the next question, many answered to the contrary. 5. Please describe what aspect of sustainable design you are most curious about. Some scored low (3,4,5) noting that time was the main issue, some scored high (8,10) and reported a significant change in the way they approached their everyday work. This time the score had risen from 63% to 70% for ‘yes’. This time energy and water came first - possibly because of the workshop discussions around the impacts from laundry and consumer use. Reducing chemical impacts came next, and then technology Cyclability and reducing waste scored lowest again. Figure 110: Exhibition pop up from top left, moving clock wise: Chelsea College of Arts, Fashion Textile Centre Bords, Zero Waste Scotland, and Shanghai Shirt Il in New York, at FIT, June 2015. Additional outcomes also sought to broaden the audience for the research. These included the following book chapters: ‘Holistic Fashion Design’ (Earley & Vuletich, 2015) in ‘Fashion Design for the Curious: Why Study Fashion Design’, by Kishor Vaidya, Curious Academic Publishing: Canberra (ISBN: 978-1-925128-55- 0) for secondary school children; and for primary school teachers - Earley, R., Harvey, B. (2015) ‘Elastic Learning Tools’, in ‘Cultures of Resilience’, Hato Press: London. Table 21: Web platform new design research briefs, prototype design: exhibition visitors and global audience: Table 23: Web exhibition Table 22: Workshops Table 24: Academic publishing journal Articles & conference presentations: Project Partners Project Team project credits and report review proces: Textile Toolbox Contributors, Associate Researchers Textile Toolbox Contributors, TED Institutional Support Project Support Team Review Process Review of project work to date by a group of multidisciplinary science design and industry researchers Review of project work to date by three design research and enterprise experts. Review of project work to date by three Swedish design experts. TED’s Campfires Event, London, 18 July 2013 Review of online exhibition plans by four world-leading Zero Waste design researchers. 1:1 feedback sessions, commissioned from subject specialists. Report Review Process, 2015 - 2016 Curators tours given by Professor Becky Earley and Dr Kate Goldsworthy to external visitors that represented a range of stakeholders for the research: a design SME, academic research at UAL and a scientist/entrepreneur; faculty staff at KEA in Copenhagen; and industry participants at events in Glasgow, ExCel London and Boras, Sweden. Curator’s Exhibition Tours, London and Copenhagen, 2014-2015
