This book in Proctor Library
Wednesday, 12 May 2021
Lenzing
Website
https://www.lenzing.com/sustainability/sustainability-management/circular-economy
Economy with a future
The resources of our planet are limited. For this reason, we are committed to establishing the circular economy as a sustainable, future-oriented concept in the industry and to protect the Earth in this way.
Sustainable and efficient use and processing of all raw materials is required to protect the environment. We have countered the wastefulness of business as usual with circular economy models. For example, we have shown how our environmentally responsible technology turns discarded garments into new sources of raw material for high-quality fibers.
What is circular economy?
The circular economy is oriented to nature as its role model. In essence, the concept of the circular economy aims to keep raw materials in a closed loop. In this way, resources are maximally used, the need for new ones is reduced, waste is avoided and the life cycle of products is increased. In short, the waste of today becomes the raw material of tomorrow - the same as in nature.
In this way, the circular economy differs from the current economic system i.e. the linear system, in which products are manufactured, used and disposed of.
Recycling textile waste
To address the enormous textile waste challenges of industry and society, Lenzing has developed a unique upcycling technology branded REFIBRA™. This technology utilizes pre-consumer cotton scraps and post-consumer garments from the textile value chain as raw materials.
Link below lists several companies involved in textile recycling and sustainability.
https://www.lead-innovation.com/english-blog/sustainable-solutions-in-the-textile-industry
Hand Block Printing
While printing designs onto fabric most likely originated in China about 4,500 years ago, it was on the Indian subcontinent where hand-blocked fabric reached its highest visual expression. Indians possessed unparalleled expertise in the secrets of natural plant dyes, particularly with mordants (metallic salts that both create color and allow it to adhere to fabric). A kind of mud resist-printing, called dabu, which allows areas of a design to be reserved from dye, also flourished here. A series of combinations of mordant and resist stamping and dyeing enabled Indian printers to create uniquely complex designs, coveted from Southeast Asia and palaces of Mughal emperors to the far-flung capitals of Western Europe.
Above text from New York Times article. Read full article, link below:
Watch the process in the videos below:
Needlework Specimen Book, Anne Trotter, 1840
Summary
Unbound book of folded paper leaves containing a range of sewing and knitting samples, produced by Anne Trotter in 1840 at the Female Free School in Collon, County Louth in Ireland. Anne dated the book February 20 September 1840 on the inside cover which would make her 19 years old when she made the sample book.
Anne was a 'bounty' migrant from a large family and would have travelled with modest belongings. Finding room for the specimen book demonstrates its importance to her, as a connection to home, her childhood and her learned skills. The book has been handed down to the women in the family over the generations, showing its continued value as a precious family heirloom, until the book was donated to the Museum by Anne Trotter's great, great, great granddaughter.
Anne (also listed in public records as Ann) was born in Collon on 7 June 1820, daughter of Annie Davison (born in 1784 in Lisball, County Cavan, Ireland) and Joseph Trotter (born 1780 in County Cavan). She was the sixth of eight children (her youngest sister Rebecca died four days after birth) and the family were Protestants. She migrated to Australia on the barque the 'Dale Par'k, departing from Cork on 30 February 1844 and leaving London for Port Phillip on 21 July 1844 having arrived first in Gravesend on the 21 March. Anne was accompanied by her older brother Joseph (born 1809) and his wife Mary, and Anne's younger sister Eliza (born 1826). Anne is listed as being 23 years old, a domestic and travelled as a 'bounty' migrant. The family were travelling to meet their parents who were already living in Geelong. Records suggest that another brother also came to Victoria and one of her older sisters Maria migrated to Canada.
Anne married George Thomas Windsor and had two children - John Thomas, born in 1850 in Duneed near Geelong (who married Bridget Francis Nugent), and Elizabeth Jane, born in 1854 in Duneed (who married William Fleming). The family remained in the Victorian region west of Geelong around Mt Duneed, Colac and Camperdown. Her parents died in Colac in 1866 (Annie) and 1867 (Joseph). Her husband George died in 1893 in Barwon Victoria and Anne on 22 January 1910 in Victoria. She is buried at Mt Moriac west of Geelong.
Physical Description
Unbound book of folded paper leaves containing a range of sewing and knitting samples. Many pages and fabric pieces are discoloured and/or torn.
Significance
Statement of Historical Significance:
This beautiful object is a fine example of the sample books young girls produced in many countries to learn a variety of needlework techniques. It crosses themes of migration, gender, childhood, domesticity, handcrafts, and education.
Source:
Desserto
Adrián López Velarde and Marte Cázarez have developed a method of transforming cacti into a vegan leather that looks so realistic, you'd never guess it was made from this desert plant. They called their cactus vegan leather Desserto and it is made from cacti grown on their plantation in the Mexican state of the Zacatecas. The cactus is known for its rugged, thick skin, which makes it the perfect texture to simulate animal leather.
Image and text source My Modern Met. Read and see more. Link below.
Visible Mending
Born from the Japanese art of sashiko, visible mending enables crafters to eschew fast fashion and make mistakes beautiful.
Miho Takeuchi, a traditional sashiko instructor and designer born in Japan and based in the United States, tells me via email that sashiko, which developed in poor communities in Japan’s Edo period, “was born from the necessity of mending and patching garments, beddings and household items. In ancient days, clothing and bedding were made from homespun fabrics woven from native fibrous plants such as wisteria and hemp and necessity demanded that this clothing be recycled for as long as possible.” It was only later, she tells me, that the technique evolved to include the elaborate surface-level designs and intricate patterns popular with visible menders today.
Jessica Marquez, https://www.instagram.com/miniaturerhino/
Marquez makes sure to emphasize this history in her teaching as well. “I talk a lot about sashiko as a Japanese technique, and I talk about how it was developed,” she explains. “It’s a resourceful technique; it’s birthed out of necessity and thrift, and we have everything.” Whereas mending was once the province of those who could not afford new clothes, today’s visible mending is the province, primarily, of those who can afford the time and attention it takes to make one’s clothes into a statement.
More To See
Search
#visiblemending
and
#sashiko
on Instagram.
Fab Brick
While she was a student in architecture, Clarisse Merlet, founder of FabBRICK, notices how much construction is a polluting and energy-intensive industry, so she decides to find a way to built differently , especially with the use of raw material wastes such as plastic bottles, cardboard or plastic cups.
Then, Clarisse figured out that textile industry was poorly considered regarding recycling this material which has relevant properties in the area of construction knowing that cotton is considered as a powerful thermal and acoustic insulator. Then she had the idea of re-using discarded clothes by making it an innovative raw material. Based on the characteristics of the recovered textiles, she designs an ecological building material both thermal and acoustic insulator. Based on the characteristics of the recovered textiles, she designs an ecological building material both thermal and acoustic insulator.
Go to website to see the many images of Fab Brick in action. Link below.
Smart Wool
Image Source:
And, now, old socks don’t need to get thrown away anymore.
Nope. They sure don't. We’re partnering with Material Return™ circularity platform to collect and deconstruct hard-to-recycle socks and turn them into new goods like dog beds—helping us reach our big sustainability and circularity goals.
Above info from Smart Wool, a company partnering with Material Return to recycle socks. Go to website for more information. Link below.
https://www.smartwool.com/what-matters.html#/smartwool/the-second-cut-project
Tuesday, 11 May 2021
Surface Design Pattern
Designers use drawings from their sketchbooks
as well as observations from life to create patterns.
Designer: Camilla Meijer
"With my illustrations, I want to be able to capture the magic that is found in nature's flowing lines and its natural dance."
Source Link: https://www.creativebloq.com/graphic-design/how-create-surface-patterns-10-expert-tips-10134913
Designer's Website: https://www.camillameijer.com/collections/bo
Designer: Charlotte Pritchard
Blue Pool is an abstract watercolour study of pebbles underwater. Designed with soft watercolour brush strokes in a hand painted repeat, the colours reflect the light and depth of the sea bed. Abstract in its design, the calming blues provide a wonderful colour pop to a neutral or coastal colour palette. Blue Pool was created as part of a colour study exploration and is available in a variety of alternative colour schemes.
Designer: Patricia Shea
A retro pattern of wildflowers in a crown design reminiscent of Victorian quilts - the balck ground is an elegant and modern twist - as always all originally hand painted in watercolours. Source Link: https://www.contrado.co.uk/stores/patricia-shea-designs/beautiful-and-varied-fabric-designs/victorian-wildflowers-fabric-10333
Designer: Charlotte Pritchard
A blend of watercolour and digital fine line detail creates Laced. A surface print inspired by the huge leaves and tropical plants found in the vast arboretum in Kew Royal Botanic Gardens in London. Through combining different motifs and hand-drawn elements, laced became a detailed layered print, full of intricacy and colour. The surface repeat is a detailed exploration of the botanical magic that inspired the print and collection. Dark teals through too soft blues to create an impressive coverage.
Monday, 10 May 2021
Leilani Morales, Student Work
Applique
Natural Dyed Fabric, Yarn and Embroidery Stitches on Felt
Each piece 18" x 14"
Dyes used: indigo, madder, avocado, turmeric and spirulina.
Laura Mackie, Student Work
Premature Grief
Paintings made with Butterfly Pea Flower in recycle frames.
Largest frame measures 12" x 6"
The artwork, Premature Grief, is a meditation on my own fear of dementia in my life. Whether developing it myself, or being faced with it in my mother or partner, the diagnosis of Alzheimer’s in several women in my extended family has suddenly given weight to this threat. Presented as a series of images within five picture frames, illustrations reflecting the illness itself is punctuated with text describing my own fears concerning it. Imitating watercolor painting with Butterfly Pea Flower dye, the content of this work will eventually fade to white, due to the fugitive quality of the dye. In this, the work itself demonstrates the loss felt through dementia.
Above samples from turmeric, butterfly pea flower and hibiscus.
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