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Creating a collection using AI tools like mid-journey, DALL E, and Gaughan is becoming the new reality of how designs are getting visualized and helping create unlimited original ideas within a shorter deadline.

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https://www.aeg.co.uk/archive/the-next-black/

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What is The Next Black?

The Next Black is a documentary that brings together designers, innovators and leaders from around the globe for an open discussion on the concept of clothing. It probes beyond what we are wearing to explore how we produce clothes, how we interact with them and how we care for them. Each person we interviewed has a fresh perspective on the future of the clothing industry - and all of them are using their passions to fuel change.

Why The Next Black?

The Next Black aims to deepen our understanding of what people will be wearing and washing - today and tomorrow. We've taken a look at how evolving textiles and technologies are affecting the creation of clothing, as well as how growing concerns about sustainability are transforming the way we do laundry.

Studio XO is shaping the future of clothing by creating clothes that change shape, cut and colour according to the wearer's preference.

Innovation is in our DNA. We strive to stay one step ahead, which is why we are working to care for the clothing of the future today.

Sustainability: preserving what we have

To improve sustainable consumption and production, we need to understand the entire lifecycle of an item of clothing. The Next Black explores the environmental impact of the production process, from growing the materials to dyeing, washing and transporting them. It also explores how many garments we buy.

Rethinking relationships

Achieving sustainability means looking beyond our own desires. Rick Ridgeway feels that the best thing we can do for our planet is to buy only what we need. He encourages consumers to purchase based on need rather than desire and to reduce what we buy, repair what we can, reuse and recycle.

Technology: the future of clothing

Technology is on the verge of transforming what we wear. From sportswear that monitors the body, to fashion that inhabits the space where science, art and human physicality collide. Around the world, innovators are working to make technology an integral part of the clothing we wear.

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The Next Black: A film about the future of clothing

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The Next Black is a documentary that brings together designers, innovators and leaders from around the globe for an open discussion on the concept of clothing. It probes beyond what we are wearing to explore how we produce clothes, how we interact with them and how we care for them.

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https://www.paiwandstudio.com/

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"Paiwand Lagana" is a local common phrase used in India which means to patch or repair. It is inspired by the same ideology and is an ode to the bygone culture.

Launched in November 2018 as a unique upcycling textile studio by Ashita Singhal, Paiwand sees beauty in bits and fragments, unwanted things in life, and believes in adding value by repurposing those forgotten pieces.

We upcycle textile waste and turn it into fabrics for apparel and home furnishing. We collaborate with design houses and artisans to repurpose textile waste into meaningful textiles using various handcrafted techniques like handloom weaving, patchwork, knitting, embroidery, and felting.

Ashita Singhal is a weaver, designer, and social entrepreneur. She believes in working with limited resources and local materials. Via her design studio Paiwand, she challenges the conventional norms of textile design while focusing on the importance of craft and the need for sustainability

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"Paiwand Lagana" is a local common phrase used in India which means to patch or repair. It is inspired by the same ideology and is an ode to the bygone culture. Launched in November 2018 as a unique upcycling textile studio by Ashita Singhal, Paiwand sees beauty in bits and fragments, unwanted things in life, and believes in adding value by repurposing those forgotten pieces.

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https://11-11.us/pages/about-us

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Craftsmanship lies at the heart of 11.11 / eleven eleven. Renowned for its use of indigenous cotton and 100% natural dyes, the label uses heritage techniques such as hand spinning, hand loom weaving, hand painting, miniature tie-dyeing, and quilting. The label maintains its unique handmade vision by departing from mainstream manufacturing, producing small batch slow-made clothing in collaboration with groups of artisans located all across India. Each season the brand dissolves distinctions between geographic and gender boundaries - the looks are safe for the skin and transitions seamlessly between cultures from day to evening wear. Expect to see relaxed silhouettes with a sartorial touch that echo the brand's 'seed to stitch' philosophy.

The communities at the foundation of our value chain are custodians of living traditions and are essential to this moment in time. Many of the rurally located Artisans we collaborate with already work from home - their spinning wheel, loom and kitchen activities happen in the same space - equipment might extend to the porch or a roof terrace. Family members often work as a team in charge of different operations. Many grow their own food and co-exist with animals. These craft communities located in remote areas have some of the smallest carbon foot prints on the planet. This self-sufficient model has never felt more inspiring or relevant as a model for living.

The moment we put on clothing there is a shift from being an individual to an interconnected member of society - cloth connects our bodies & minds to a team of makers that brings each garment to life. The materiality connects us to the environment & where we stand in relationship to it. The ingredients engaged in our natural dyes are indigenous- safe for skin & the planet - after the dyeing process is complete the nitrogen rich water & organic matter are used for fertilizing local crops. The process' promotes team work / cooperation between Men & Women from various traditions of Faith.

Making clothes has the potential to incentivize social cohesion and shift impact from being exploitative and culturally degenerative to being regenerative with a focus on reclaiming culture and recovery.

11.11 / eleven eleven is the pret label of the parent company CellDSGN Pvt. Ltd. whose design vision and marketing initiatives are spearheaded by : Mia Morikawa, Graphic Design graduate from Central Saint Martin's University of the Arts, London & Shani Himanshu, Master's in Fashion Design from Domus Academy, Milan.

Contact for more details:

Press related queries: press@11-11.in

Sale related queries: info@11-11.in

+91 - 9711863974

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Craftsmanship lies at the heart of 11.11 / eleven eleven. Renowned for its use of indigenous cotton and 100% natural dyes, the label uses heritage techniques such as hand spinning, hand loom weaving, hand painting, miniature tie-dyeing, and quilting. The label maintains its unique handmade vision by departing from main

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https://www.injiri.co.in/

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Injiri - Handwoven Clothing & Home Textiles

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Rooted in hand-loom and committed to Indian crafts every piece tells the story of it's process. Injiri offers clothing and dresses for contemporary women.

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We need connection between each object and concept.
Please put your object in the comment area. Cheers!
And for the caption… um…

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this is a rough mockup for the display area.

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communicate with viewers, can be use as social campaign idea:

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communicate with viewers, can be use as social campaign idea:

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❶ "Slow" fashion is more trendy!
❷ Organize closet regularly
❸ Find clothes-changing friends, second-hand platforms, or rent clothes
❹ remake fashion

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Mainstream brands which encourage sustainability

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Mainstream brands which encourage sustainability

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- Zara
- Afends
- Plant Faced Clothing
- Ninety Percent
- Mudjeans
- Lucy and Yak
- Toms
- Pantagonia
- Levi's
- Adidas

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Low impact natural and organic materials: Natural materials such as hemp, linen, cotton, silk, wool, leather, and cellulose fibers are generally preferable over virgin, petroleum-derived synthetics like polyester, acrylic, and nylon.

This is because natural fibers are biodegradable and can compost cleanly back into the soil, unlike synthetic fibers that will not biodegrade and instead sit in landfills, continually leaching toxic chemicals and fumes.

That said, some natural materials are more sustainable than others, with hemp, linen, and organic cotton generally being among the most environmentally friendly.

Some wools and plant fibers can even be grown in ways that are regenerative, meaning able to regenerate healthy soils and sequester carbon.

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What is Sustainable Fashion and Materials

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What is Sustainable Fashion and Materials

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The word sustainable is defined as "Capable of being sustained." Therefore, a sustainable fashion industry is one that must operate in ways that can continue working for years and decades to come.

In contrast to traditional fashion houses that only have a few seasonal collections per year, fast fashion brands may churn out as many as one new collection per week in efforts to drive continuous, mindless consumption.

With all of the above said, fashion can be made more sustainable in numerous ways-from using organic materials, using biodegradable dyes, to engineering patterns that create zero waste.

Zero or low waste design: A lot of waste in the fashion industry comes from cutting out patterns, so some sustainable fashion brands are designing patterns that result in zero wasted material instead. In addition, brands may strive to minimize the amount of water and energy use from the manufacturing process; reduce waste by eliminating excessive plastic packaging when transporting from the manufacturer, to the warehouse, and to the customer; and/or ship in bulk and using recycled or biodegradable shipping materials.

Second hand or durable clothes: Instead of opting for fast fashion that is cheap and meant to be thrown away quickly, you can be a more sustainable fashion consumer by also responsibly caring for your clothes to prolong their lives or buying secondhand, which keeps clothes out of landfills for longer.

Sustainable fashion focuses on clothing that's designed, manufactured, distributed, and used in ways that are environmentally friendly.

The Rana Plaza tragedy sparking global awareness: Today, the slow and sustainable fashion movement is on the rise in large spurred by the biggest garment industry disaster the world has ever seen-the collapse of the Rana Plaza factory in Bangladesh.

This globally known tragedy resulted in over 1,100 deaths, showing many in the western world just how costly their cheap clothing really is.

As it turns out-there are just many social and environmental costs from fast fashion that are hidden behind the glossy facades of clean and pristine fashion stores.

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fast fashion which shows the dark sides of fashion.
-materials
shift into sustainability

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Let the viewer think whether "sustainable fashion" can really last, with its own doubts: Is sustainability the same as environmental protection? Does environmental protection mean not consuming or producing energy? Is this possible? Does this have anything to do with me?

What we want to talk about is sustainable development. Advocate more sustainability in conventional social development, and replace unsustainable principles with sustainable ones.

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For example, Scarlett Yang uses the laboratory data of seaweed to generate 3D "skin" clothing, which changes colour, shape and texture according to the surrounding climate change. Virtual fashion has a scientific basis in her hands; another example is artists like BUJ Studio, At the same time, architectural designers construct the outline of clothing more from architectural thinking, and also use the behaviour of animals in nature as a starting point.
And threeASFOUR is based on the theme of sound visualization. They use physics, optics...any combinable means in the expression of fashion, in virtual and reality, as well as people and society, to find connections in nature.

- Need space to do installation art, giving people an immersive feeling.

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Arrange the exhibition logic - "past, present, future"

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Let people further think and re-examine sustainable fashion. In the past, everyone stayed with the concept, thinking that sustainable fashion cannot be touched and can only be viewed from a distance. Let the concept come to reality, scatter to focus, let everyone think about what they can do, and substitute personal behaviour and feelings.
Netflix - Worn Stories inspired me for the display order

1） Start with old-fashioned or movie-like scenes, there are old clothes with stories on display. Actors, fashion critics, and designers (clothes that leave memories in different career stages) are the externalization of the wearer's emotions in a certain period, the witness of their own experience, or an important highlight moment of a certain designer.
Here, old clothes are carefully displayed in fashion exhibition specifications, while the explanatory boards on the side no longer focus on objective information such as "material, silhouette, season, design inspiration", but tell vivid stories in a subjective tone, such as the clothing has The reasons why consumers bought, and how they used to wear these clothes.
The display of old clothes is not only based on aesthetic considerations but also to arouse the viewer's thinking: Do I have similar clothes in my closet? How is the past associated with me reflected in the clothes?
And go a step further—when I value old clothes enough, is it necessary to buy new clothes?
- Make all exhibits "visual, touchable, consumable, and traceable".

Can look at Loewe collaboration with Paula Ulargui Escalona work.
It takes 20 days to cultivate plants on coats and sneakers. The cost is high, but it has visual freshness. The gradual growth of plants also easy to form an emotional connection with consumers. This is one of the cases worth learning from.

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Consumers aged 20 to 45 discard as many as 5.2 million pieces of clothing every year, which is equivalent to 9.9 pieces of clothing being discarded every minute. The average person owns 75 pieces of clothing, but 15 of them are barely worn. Excessive waste has caused a serious burden on the environment. It is roughly estimated that the global textile waste can reach 25 billion pounds a year. [(Data source: Council for Textile Recycling) Although there are channels for recycling and donating old clothes, the finished clothes that can be recycled and reused are still inferior to the amount of garbage produced.

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The fashion industry is currently the second largest polluter in the world, second only to the petrochemical industry.

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The fashion industry is currently the second largest polluter in the world, second only to the petrochemical industry.

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According to the forecast of the United Nations, if the global population reaches 8.5 billion by 2030, the consumption of fashion industry will increase from 62 million tons to 102 million tons. And pollution emissions, it may quickly overtake the petrochemical industry and occupy the first place in the pollution list.

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99.8%
of discarded plastic products are discharged into the ocean, most of which are microplastics.

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65 million tons
The total amount of plastic consumed by textile products in 2016 is equivalent to 20 cashmere jackets for every person on the planet.

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The plastic fabric of human society/ plastic pollution

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The plastic fabric of human society/ plastic pollution

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Studies estimate that only about 60% of the plastics entering the marine environment are visible to the naked eye. Most of the rest are decomposed into plastic particles and sink to the seabed. This invisible underwater microfiber mainly comes from synthetic fibres (such as polyester and man-made Clothing made of silk and nylon). If marine organisms ingest such substances, their lives will be threatened. In 2016, 65 million tons of plastics were produced for textile fibres, accounting for nearly 20 per cent of total plastic production in the same year. Not only that, but the total amount of sewage and carbon emissions caused by the production of plastics related to the fashion industry is also very considerable.
The article "A New Textiles Economy: Redesigning Fashion's Future", (A New Textiles Economy: Redesigning Fashion's Future) published by the Ellen MacArthur Foundation in 2017, explained how the fast fashion industry has changed over the past few decades. China has boosted the demand for ready-made clothing containing plastic components through the "rapid introduction of new products, continuous enrichment of fashion collections, and low prices".
Fast fashion requires significant production of primary plastics to sustain growth; the report estimates that in 2015 63 per cent of raw materials for clothing were primary plastics, with less than 3 per cent recycled. Plus, over half of fast fashion clothing is obsolete within a year. Various plastic additives such as antioxidants, dyes or flame retardants are added to the primary microfibres during garment manufacturing. Fabric dyeing and treatment processes account for 20 per cent of the world's wastewater, and growing demand for fast fashion could lead to more hazardous chemicals being discharged into the ocean.

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Can the fast fashion industry achieve a truly sustainable transformation? part 2

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Can the fast fashion industry achieve a truly sustainable transformation? part 2

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The Royal Society for the Arts (RSA) released a survey report on the use of plastic raw materials for fast fashion brands, "Fast Fashion's Plastic Problem (Fast Fashion's Plastic Problem)". RSA surveyed four of the UK's best-known fast fashion brands: Asos, Boohoo, Missguided and PrettyLittleThing. The results of the report show that although fast fashion brands have advertised that they care about the environment, there are still very few clothes that are actually made of recycled plastics sold on their platforms, and more than half of the clothes are still made of fossil-derived polymers. Clothing items made from man-made fibers such as polyester, acrylic, elastane and nylon are difficult to interpret through natural means once discarded. In addition, the production of these garments not only consumes a lot of energy, but also causes irreparable environmental damage. Since it takes thousands of years to degrade, these clothes will continue to affect the soil ecology after being discarded.

According to the "2023 Future Consumers" report released by WGSN, ecological anxiety is an issue of increasing concern to millennials and Generation Z. They are not only more ecologically aware, but also willing to pay a certain premium for sustainable fashion items.

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Can the fast fashion industry achieve a truly sustainable transformation? part 1

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Can the fast fashion industry achieve a truly sustainable transformation? part 1

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With the improvement of consumers' awareness of responsible consumption, they have gradually realized the huge impact of the "fast fashion" clothing production mode on the ecological environment. The fast fashion brands that were once highly sought after have now become the target of public criticism.
However, even though people are aware of the horrors of the business model of fast fashion brands, they don't understand what "fast fashion" really means. Because of this, even though reducing the purchase of fast fashion products has become a "politically correct" consumption topic, consumers are easily unable to distinguish who is the real fast fashion brand because of unclear concepts, which also leads to In addition, the consumption model has not been updated in time, so that some "disguised" fast fashion brands continue to be paid by consumers.

In August last year, the Sixth Assessment Report (AR6) Working Group Report "Climate Change 2021: the Physical Science Basis" issued by the IPCC Intergovernmental Panel on Climate Change pointed out that, The rate of global warming is accelerating and limiting warming to anywhere near 1.5°C or even 2°C will be unattainable unless greenhouse gas emissions are reduced immediately, rapidly and on a large scale. Scientists have been monitoring changes in various regions of the world and the entire climate system. Many of the changes observed are unprecedented in thousands or even hundreds of thousands of years. Irreversible within a thousand years.

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1. Business model
2. Fast fashion supply chain
3. The growth data of the clothing market in recent years
4. Consumer demand for trendy clothing.
5. Representatives of fast fashion brands
6. The market share of high-end clothing is low

In order to meet the needs of consumers, fast fashion provides affordable prices and a variety of clothing in the latest trends. But in the end, it is to make consumers buy more items, which leads to the problem of overconsumption.

Summary: The reasons why fast fashion can develop are briefly summarized in 3 points
1. Consumer needs. They put pressure on apparel companies to keep adding fashion labels, causing companies to produce more designs.
2. The economic situation. Customers want to buy more and cheaper clothes, and companies make profits through low-cost, fast mass production.
3. Social media influencers (e.g. fashion bloggers, celebrities, designers), who are constantly looking for novelties and influence the aesthetic and consumption habits of their followers.

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Fast fashion is a term that means: to bring the designs of the current season's fashion week to the store at the cheapest production cost, so that customers can quickly catch the latest international fashion trends. Some fast fashion brands have as many as 18 new collections per year.
One important difference between fast fashion retailers and non-fast fashion brands: the rapid pace of manufacturing.
The basis of the business model of fast fashion is to reduce the [time cycle from production to customer consumption] so that consumers can keep up with fashion trends in the fastest time.
By optimizing the supply chain, fast fashion brands can quickly and cost-effectively design and manufacture clothing that follows fashion trends and attract mainstream consumers at lower prices. Because of the low-cost garments that are mass-produced, the quality is relatively poor.
Spain's Zara is almost synonymous with fast fashion. Other big names in fast fashion include H&M in Sweden, Uniqlo in Japan, GAP and Forever 21 in the US, and Topshop in the UK.

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Before the Industrial Revolution, clothing was made to measure, often over weeks or even months.
After the Industrial Revolution, the textile and manufacturing industries developed rapidly. In the history of the slave trade, cotton was grown in large quantities in the southern United States and exported to England.
The chronically unequal terms of trade between developed and developing countries have allowed clothing to be made more cheaply in lower-cost regions such as Asia. Production is shifting from China to lower-cost centres, including Vietnam and Bangladesh.
The concept of fast fashion is based on the clothing manufacturing model known as "rapid response" in the United States in the 1980s.
→ In the 1990s, the United States as large department store chains began to compete in the market by developing low-cost, fashion-forward clothing.
→ In 2000, the price of European clothing fell by 26.2%. When the price drops, the demand rises, and the bad habit of clothing consumption emerges, fast fashion clothing begins to develop rapidly.
→ In 2006, people bought 30% more clothes than in 2002. This has intensified competition among fashion brands such as H&M, Zara, Topshop and Gap, which have launched more clothing lines to meet consumer demand for trendy clothing, increased assortment and limited edition clothing.
Today, the world consumes 80 billion pieces of clothing annually, an increase of nearly 400% over 30 years ago.

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In the way of curation, we can better. sort out the definition, development, practical cases and more interactions with the public, so that more people who care about this issue can participate.

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When sustainability is implemented in consumers' cognition and life, is sustainability a false proposition?
Is it another extreme of consumerism?

The realisation of sustainable fashion does not rely on a single point of effort, but needs to establish a benign closed loop of the whole life cycle from raw materials, creative design, printing and dyeing finishing, garment production, marketing and retail, logistics and warehousing, to consumers.

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- Fast fashion
- Sustainable fashion and material
- Sustainable development on production and consumption: economy, environment, society (pollution)
- Future trends of fashion
-  Future of fashion and sustainability
- Designers working with sustainable fashion

Think about primary and secondary research.

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I found that "sustainable labelling", "sustainable communication content" and "sustainable product advertising" are the three key ways for fashion brands to carry out sustainable narratives, among with Generation Z consumers pay special attention to new media and digitally driven content. In terms of communication, millennials are more trusting and concerned about the sustainable labels of products, while older consumers are more inclined to have inherent cognition and trust in the brand's own image.

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Narrow down our theme from fashion to sustainability/ fashion

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Narrow down our theme from fashion to sustainability/ fashion

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The theme of our exhibition is "sustainability", which has frequently appeared in the fashion industry for a long time, but seems to have a vague concept and a certain distance from the public.

Comment what you want this area called:
- Rebirth
- Regreen
- How to keep fashion from destroying the planet
- Explore fashion: sustainability

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Fashion accessories/ watches
https://www.beckettsimonon.com/blogs/resources/why-do-people-still-wear-wristwatches

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Draft Project Presentations
Each group will present their draft proposal to tutors in advance of final presentations the following week.

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Content and Interpretation
Each group will work with course tutors to progress ideas and develop their project concept and approaches to interpretation.

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Curatorial Research - Concept Development
Each group will work with course tutors to research and discuss initial ideas and develop their project concept. The session will also include a presentation on the principles of collection management and care.

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We need to analysis, discussion or a deeper understanding of our chosen theme: fashion

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We need to analysis, discussion or a deeper understanding of our chosen theme: fashion

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As we have a limited budget, each of us picks 1-2 object(s) with full captions for each object and details of any supporting materials. Will be best if you could figure out roughly how much the object you pick will be. (To remind, we can only choose objects from DMU) And I recommend we finish this before 26 Nov then we can split our group into two to either work the shortlist with complete detail /or 3D modelling and the curated area. We better have an online meeting on the 27 to discuss the display ideas.

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How will you respond to the exhibition, Designer Maker User?

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How will you respond to the exhibition, Designer Maker User?

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Once we have our theme, then we need to think about the following:

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Once we have our theme, then we need to think about the following:

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▪Title

▪Concept rationale

▪Object list (with images)

▪Detailed interpretation, including an introduction and captions for each object on display and any supporting material.

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How will your approach expand the existing exhibition interpretation? 

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How will your approach expand the existing exhibition interpretation? 

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My idea is to attract more young people. How to better play its educational function among young people, attract young audiences to visit the museum, and become an out-of-school classroom for young people is worth thinking about.

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Feel free to pop your ideas in the comment area.

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1. Why do you want to interpret something?

2. Who should be involved in the interpretive process?

3. What are you interpreting?

4. Who you are interpreting for?

5. What messages do you want to communicate?

6. What are your specific objectives?

8. What media will you use?

9. How will your interpretation be implemented?

10. How will it be evaluated?

11. How will it be maintained?

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I have an interpretation plan example from my friend who focuses on a different field, but we can still see it as a template.

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I have an interpretation plan example from my friend who focuses on a different field, but we can still see it as a template.