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US clothing brand Pangaia has released a puffer coat, whose filling is made with flowers in a bid to offer a cruelty-free alternative to duck or goose down.

The stuffing, called Flower Down, was created over 10 years of research and development and combines wildflowers with an aerogel and a biopolymer to create a durable thermal insulation material.

This is contained in a quilted shell made from recycled polyester, which is rendered in classic black, white or navy.

"We use a type of wildflower that is easy to find and has a particular fibrous quality," explained Dr. Amanda Parkes, Pangaia's chief innovation officer.

"The flowers we use are grown, but not exactly farmed, as the process also involves ecosystem recovery and preservation," she continued.

"These regenerative agricultural practices help to preserve groundwater as they doesn't require external irrigation, and through habitat restoration they also help to conserve a species of local butterflies."

Once shredded, the flowers are combined with the biopolymer, which is made from vegetable waste, as well as with a patented aerogel system - a sort of porous solid foam.

"This helps the microstructure of the flower-down jacket to be water repellant and to increase thermal insulation. The aerogel we use is non-toxic and ultra-light," Parkes told Dezeen.

Crucially, unlike the fossil fuel-based substitutes such as polyester and rayon which manufacturers commonly default to in vegan winter jackets, according to the company, Pangaia's version is also biodegradable.

"All three elements within its composition will decompose without the need for a specific after process or pre-treament," claimed Parkes. "Specific enzymes or bacteria can be added to speed up the process but it's not necessary."

Pangaia is a direct-to-consumer material science company, which has previously created a collection of basics including T-shirts, sweatpants and hoodies made with seaweed fibre and botanical dyes derived from food waste.

Spiber creates first commercially available jacket from emulated spider silk for The North Face

"The future of creating a sustainable industry involves using existing natural materials, like agricultural waste, that are augmented by scientific and technology processes," said Parkes.

"We want to bring an entirely new material library into commercial reality."

Elsewhere, manufacturers have focused on making the exterior shell of outerwear biodegradable rather than its filling, as in the synthetic spider silk jacket created by Spiber for The North Face Japan.

London-based start-up Vollebak, meanwhile, has created a jacket that uses graphene to store and conduct the wearer's body heat.

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Pangaia's puffer jackets are filled with wildflowers rather than down

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US clothing brand Pangaia has released a puffer coat, whose filling is made with flowers in a bid to offer a cruelty-free alternative to duck or goose down. The stuffing, called Flower Down, was created over 10 years of research and development and combines wildflowers with an aerogel and a biopolymer to create a durable thermal insulation material.

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https://www.dezeen.com/author/angel-trinidad/

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https://www.dezeen.com/2019/07/18/zara-sustainable-fabrics-cotton-polyester-2025/

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https://www.dezeen.com/author/natashah-hitti/

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https://www.dezeen.com/2011/11/11/hanayui-by-takaya/

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Surrey, England - A producer of copper-infused textiles is pointing to research from 2014 in its claim that anti-microbial copper formulations are effective against coronavirus.

Copper Clothing Ltd., which incorporates copper formulations into bedding, clothing, gloves, masks and other items, funded the study showing the effectiveness of copper fabric on bovine coronavirus. The test was conducted by the Laboratory of Dr. Brill + Partner GmbH Institute of Hygiene and Microbiology. The viricidal activity of the treated material was evaluated by comparing the viricidal activity of non-treated material based on the inactivation of the virus during a 10-minute drying period.

The study found that copper-infused fabric can effectively fight the virus and destroy it. Fabric used in bedding has reached more than a 6.7 log reduction against MRSA, which translates to 99.9999% effective. The test was against the human surrogate of coronavirus and was not tested specifically against the COVID-19 strain.

Home Textiles Today is the market-leading brand covering the home and textiles markets, offering a comprehensive package of print and online products. Home Textiles Today provides industry news, product trends and introductions, exclusive industry research, consumer data, store operations solutions, trade show news and much more.

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Copper-infused fabric touted as effective against coronavirus | Home Textiles Today

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Surrey, England - A producer of copper-infused textiles is pointing to research from 2014 in its claim that anti-microbial copper formulations are effective against coronavirus. Copper Clothing Ltd., which incorporates copper formulations into bedding, clothing, gloves, masks and other items, funded the study showing the effectiveness of copper fabric on bovine coronavirus.

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Underwear, vegetables and carrier bags could all be used in the fight against coronavirus, suggests artist Max Siedentopf.

Siedentopf, a German-Namibian designer based in London, has created a series of provocative images showing everyday items being used as protective face masks.

Global demand for surgical face masks is growing, as people try to protect themselves against the virus. However doctors don't advise using them for protection as research shows they have limited use in preventing the spread of viruses.

Siedentopf's project, titled How-To Survive A Deadly Global Virus, suggests a variety of objects that could be used as alternatives to face masks.

"Since the virus is currently spreading globally, the series offers handy solutions how you can use simple everyday objects to protect yourself," he said.

The series consists of 12 photographic portraits, each featuring a different mask.

Pants and a bra both feature, along with a sneaker that is tied around the face with shoelaces. There's also an image showing a man with a sanitary towel stuck to his face.

Plastic objects used as masks include a large plastic water bottle worn around the head and a milk bottle that covers just the mouth and nose, while more biodegradable options include a lettuce leaf.

There's even an image showing a women wearing a tent over her head.

Siedentopf was inspired to create the series after seeing images of people wearing home-made masks going viral on social media.

"People shared photos of alternative solutions to the conventional air mask, using objects such as orange peels, bras or water bottles," he said.

Max Siedentopf apologises for offence caused by images of coronavirus masks made of everyday items

Siedentopf has courted controversy before. In 2018, he installed binoculars on a viewing balcony at Tate Modern in London in protest against residents of the neighbouring Roger Stirk Harbour + Partner's Neo Bankside development, who had taken the art gallery to court over privacy issues.

The outbreak of coronavirus originated in Wuhan, China, on 31 December. Efforts to contain the virus failed and it has now spread worldwide, with cases reported in Europe, North America and the Middle East.

Approximately 1,700 people have died after contracting the deadly virus and it is being treated as a global emergency by the World Health Organization.

Design shows in China were postponed due to the outbreak and a new hospital has been built in Wuhan to treat patients.

Siedentopf's proposals do not provide effective protection against coronavirus. Wearing a mask for too long could even put a wearer at further risk, as it only traps virus particles, rather than deactivating them. Masks are considered more useful to people who are already sick, as they prevent germs from spreading.

Instead, the World Health Organization recommends washing hands regularly, discarding tissues after each use and maintaining distance from other people. The WHO has published advice on basic protective measures against coronavirus on its website.

Update: Following criticism of this project Siedentopf apologised for any offence the series caused.

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Max Siedentopf suggests alternative masks to protect against coronavirus

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Underwear, vegetables and carrier bags could all be used in the fight against coronavirus, suggests artist Max Siedentopf. Siedentopf, a German-Namibian designer based in London, has created a series of provocative images showing everyday items being used as protective face masks. Global demand for surgical face masks is growing, as people try to protect themselves against the virus.

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Milan 2015: there was something in the air in Milan this year. Furniture brands were launching fragrances while numerous independent designers were experimenting with scents (+ slideshow).

From the botanical gardens in Brera to the industrial warehouses of Lambrate, designers presenting across the city were showcasing projects relating to smell. This reflected a wider trend that has been emerging for the past year, which has seen both large brands and new graduates make the move into the world of perfume.

One example from Milan was The Garden of Wonders, organised by creative thinktank Be Open, which featured eight designers' interpretations of defunct perfume brands housed within identical gold-coloured capsules. The exhibition took place in the serene botanical gardens in Brera and included contributions from Nendo, the Campana brothers, Tord Boontje, Jaime Hayón and Front.

"Perfumes [at the exhibition] create spaces, experiences and even epochs, while design demonstrates how much it can contribute to our perception and interpretation of perfumes," Be Open founder Yelena Baturina told Dezeen.

Over at the Triennale di Milano museum, design collective Outofstock presented a series of dip-dyed scent diffusers formed from an extruded ceramic material usually used for filtering exhaust fumes in cars, motorcycles and trucks.

A Scent bottle by Arik Levy for Issey Miyake

Students from forward-thinking design schools including Design Academy Eindhoven and Lund University were among those showing more experimental concepts and contraptions relating to smell.

Eindhoven graduate Mickaël Wiesengrün worked with Norwegian scent designer Sissel Tolaas to create a giant apparatus that mixed scents associated with a specific location's past to recreate how it might have smelt. First shown at the institution's graduate show last year, the installation was brought to the academy's Eat Shit exhibition in the Ventura Lambrate design district and Wiesengrün created a bespoke scent for the building where it took place.

"I started at Design Academy, where the whole of the building is an old factory so there the smells were sweat, grease and metal," Wiesengrün told Dezeen. "This place (Eat Shit) used to be a warehouse for wine and hardware and orangeade components so the smells here are a wet basement, oranges and alcohol."

Across the road from Eat Shit, Britt Jönsson of Lund University presented a collection of handcrafted natural perfumes made by steam-distilling locally grown flowers and plants in a micro-laboratory. Her goal was to highlight the amount of toxins we put on our skin through synthetic fragrances and beauty products.

"Perfume is a product that used to be very expensive and exclusive and that today has become a blend of chemicals," Jönsson said. "I asked myself how did we get from the handcrafted perfume to the poison and mass-produced scents that are everywhere."

A host of other students and graduates from Eindhoven, the Royal College of Art and École Boulle presented fragrance-themed projects at their school exhibitions over the past year.

Royal College of Art alumni Sasa Stucin and Nicholas Gardner designed an oval mirror that emits a scented vapour cloud, partly obscuring the reflection as it perfumes the air.

Eindhoven's Alexandra Stück infused a range of textiles with different remedial herbal scents to make the wearer feel calm, focused or even aroused.

École Boulle student Charline Ronzon-Jaricot created a device that releases a bespoke scent during a moment users would like to remember, as well as a "scent vase" that enables people to detect the different notes of a perfume usually only identifiable to experts.

"Perfume is an art and its creators - perfumiers - are artists," she told Dezeen. "But the image we have of perfumes today is stuck in the luxury and fashion context. We never take the time to contemplate a perfume for its own beauty. Too much importance is given to the packaging and the brand image but not enough to the smell."

Along with the established names including Moooi and Kartell that are launching scented products, emerging designers are also dabbling in the world of perfumery.

For example, Kentaro Yamada has created a fragrance suitable for Neanderthals. Contained within a porcelain bottle shaped to looked like a primitive stone tool, Yamada's eau de toilette contains notes intended to trigger memories of our prehistoric roots locked in our DNA.

"The world of scent is exciting for designers because scent is invisible, but the story that scent can tell is very vivid," Yamada told Dezeen.

Luca Nichetto worked with tailors AW Bauer & Co and Ben Gorham, founder of Swedish perfume house Byredo, to create both a Murano-glass bottle and a bespoke scent called Ombra delle 5 that debuted during Stockholm Design Week in February.

Fashion houses and department stores have been in on it too. Dior has produced a funnel-shaped glass fragrance tester to replace the normal slips of card, while Selfridges gave over an large area of its London store to a "laboratory" that helped shoppers find a scent to match their personality.

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Designers sense opportunities in "vivid" world of scent

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Milan 2015: there was something in the air in Milan this year. Furniture brands were launching fragrances while numerous independent designers were experimenting with scents (+ slideshow). From the botanical gardens in Brera to the industrial warehouses of Lambrate, designers presenting across the city were showcasing projects relating to smell.

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Dutch Design Week 2014: these textiles by Design Academy Eindhoven graduate Alexandra Stück are infused with different remedial herbal scents to make the wearer feel calm, focused or horny.

Combining Alexandra Stück's aromatic liquids with water and handwoven linen fixes the therapeutic scents into the linen for up to six months, to be released by body warmth, touch or movement whenever the fabric is used.

Révélateur installation by Mickaël Wiesengrün recreates "smells of the past"

Inspired by the alternative therapies developed by 19th century German monk Sebastian Kneipp, Stück worked with five scents that are claimed to have certain health benefits: germanium and valerian root to provide comfort and strength after psychological trauma, lemon balm to balance the cardiac cycle, peppermint to promote concentration and focus, pine for blood pressure and rosemary to restore libido and sexual function.

"The scent molecules reach your olfactory organ and create a certain instruction in the brain, like, decrease stress, increase concentration, lower blood pressure, balance the cardiac cycle, depending on each plant and its remedies," Stück told Dezeen.

Taking the essential oils from each plant, she developed a liquid "scent dye" that can be hand-washed into natural linen and fixed for up to six months by ironing the fabric.

"The textiles were designed with an open weave that allows the scent to diffuse to your nose," said the designer. "The textiles are organic linens so they're not coated or chemically processed. I rubbed them to make them shiny and have a nice finish, but I didn't use any chemicals, so they still have the ability to open up in warm water - something linen does naturally. Both the scents and the fabric originate from plants so they work together."

Keen to find a contemporary application for these ancient remedies, Stück designed the textiles to be used as scarves, handkerchiefs, bed linen, towels and other interior products.

"The ingredients are 100 per cent natural," she said. "Artificial scents used by the detergent industry cause allergies and create hypersensitivities on our skin."

Stück also developed a linen Body Sports Patch, which releases the fragrance of German pine forests in response to body heat to connect users exercising in cities and gyms with nature.

"You can wear it when you're running in an urban environment, but seeking nature, when you want to be in your bubble and add another layer to your sporting experience," said Stück.

The Herbal Kneipp Textiles project was presented during Dutch Design Week, as part of the Design Academy Eindhoven Graduation Show, where Stück has recently completed a bachelors degree in the Man and Wellbeing department.

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Alexandra Stück's textiles use scent to promote wellbeing

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Dutch Design Week 2014: these textiles by Design Academy Eindhoven graduate Alexandra Stück are infused with different remedial herbal scents to make the wearer feel calm, focused or horny. Combining Alexandra Stück's aromatic liquids with water and handwoven linen fixes the therapeutic scents into the linen for up to six months, to be released by body warmth, touch or movement whenever the fabric is used.

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Dezeen promotion: flooring manufacturer Forbo has launched a new range that is designed to improve the environmental and wellbeing performance of offices.

The Flotex Colour range combines the warmth, comfort and acoustic properties of textile flooring with the practical and hygienic considerations of a synthetic material.

The flocked flooring range has ultra-low volatile organic compounds (VOC) emissions and zero phthalates, and also holds the Allergy UK Seal of Approval.

"When designing a workspace, there are many considerations to ensure the environment positively impacts on employee productivity, satisfaction, health and well-being," said Forbo.

"Forbo Flooring Systems is therefore investing time to understand how different environments can affect end users, in order to develop products that can create better interiors."

The overall colour scheme of the collection takes its cues from smart cities, with each of the flooring designs combining the pared-back hues of buildings with bright pops of colour "inspired by city lights".

Designed to fit with any office interior, the Flotex Colour collection is available in five different designs: Metro, Penang, Calgary, Savannah and Canyon, which was added to the collection in 2019.

Vibrant prints and muted tones appear throughout Forbo's range of flocked flooring

As its name suggests, the latest addition to the collection, Canyon, is "inspired by natural earth and rock" and has a heavily grained floor designed to have a distinctive texture.

Each of the flooring designs is available in planks, sheets or tiles, to allow for more flexibility and design freedom, and to work with raised access floors in offices.

In total the collection is available in 96 different shades. An additional 16 shades have been added to the Metro design with six added to Penang and four each to Calgary and Canyon.

Forbo manufactures the Flotex Colour range in a factory in the English town of Ripley, Derbyshire, one of 15 manufacturing sites worldwide.

Other designs by the brand include a range that references the artworks of Dutch artist Vincent Van Gogh, the Flotex Vision collection.

To find out more about the Flotex Colour collection, visit Forbo's website.

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Forbo's flocked flooring range designed to enhance employees well-being

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Dezeen promotion: flooring manufacturer Forbo has launched a new range that is designed to improve the environmental and wellbeing performance of offices. The Flotex Colour range combines the warmth, comfort and acoustic properties of textile flooring with the practical and hygienic considerations of a synthetic material.

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An 'aroma compound' also known as aroma or fragrance is a chemical compound that has a pleasant smell or odor. Any chemical compound has smell or odor when two conditions are met:

1. The compound needs to be volatile so that it can be transported to the olfactory system in the upper part of the nose,

2. The compound needs to be sufficiently high in concentration so that it can interact with the olfactory receptors present in the upper part of the nose which in turn transmit the stimuli to the olfactory centre in the brain where it is perceived as a pleasant or unpleasant odor.

Aroma compounds (giving pleasant smell) are present in food, spices, fragrance oils and essential oils. The term 'aromatherapy' was coined in the late 1920s6 by French cosmetic chemist R.M. Gattefosse. Dr .G. Bauchbauer, a modern aromatherapist of renown, proposed a definition for aromatherapy - "therapeutic uses of fragrances which at least mere volatilize to cure and to mitigate or cure diseases, infection and indisposition by means of inhalation alone." The term aromachology was coined in 1982 to denote the science that is dedicated to the study of the interrelationship between psychology and fragrance technology to elicit a variety of specific feelings and emotions - such as relaxation, happiness and well-being. Now, the question arises, why do we need to integrate this knowledge on aromatherapy and aromachology with textiles? And, why do we need Aroma Textiles?

Aroma finish is a process by which textile material is treated with the pleasant odour producing essential oils and aromatic compounds so that the wearer gets beneficial effects. Various essential oils like lavender, rosemary, and jasmine were used in this finish.

Home textiles such as bed linens, pillow covers, bed sheets do not remain fresh due to everyday use. Also, among apparels, intimate garments and sportswear- sports t-shirts, socks and sports shoes are constantly exposed to human sweat which contains a lot of micro-organisms that give off bad odour. Hence, by some technological means, if textile materials used for the above purposes are made aroma textiles, it adds a lot of value to the product. Also, aroma compounds infuse a feeling of well-being and freshness in the wearer.

Aroma fabrics fabrics have several uses fields of medicine and alternative healing.

A few highlights of the fabric are:

1. Aroma fabrics can be used to control ailments like cold.

2. Aroma fabrics are used in hospitals and spas to provide a smoothing effect.

The following table gives a list of those aroma chemicals:

Effects of Aromatherapy:
Lavender is the most used and most versatile of all the essential oils. It is very useful oil, especially when symptoms are due to a nervous problem. The effects of lemon, camomile, rose, cardamom, clove, and jasmine fragrance oils on human have been confirmed by many research works. The sedative effects for the pharmaceutical and emotional effects of essential oils are listed in Tables 1 and 2 respectively.
Table 1: The pharmaceutical effects of essential oils:

Table 2: The sedative effects/or emotion of essential oils:

Microcapsules and Aromatherapy Textiles:
Microencapsulation can be defined as a micro packaging technique wherein an active core material is encapsulated in a polymer shell of limited permeability. The objective of this technology is either to protect the active core material from the external environment till required or to affect the controlled release of the active-core to achieve desired delay until the right stimulus is encountered. The rate of release of the active core material from the capsule depends largely on:

1. The conditions of preparation of the capsule polymer

2. The wall characteristics of the polymer such as:
3. Outside environment

As the crystallinity and cross-link density increases the release rate reduces substantially. If the outside environment is the same as the core material the release rate increases. The core ingredient may be released by:
The resultant release rate can be expressed as a first order rate process

-dc ⁄dt = kc where k is the diffusion constant and c is the concentration gradient.

The fragrance compound and the essential oil are volatile substances. The most difficult task in preparing the aromatherapy textile is how to prolong its lifetime of odours. Micro-encapsulation is an effective technique to solve this. Microcapsules are minute containers that are normally spherical if they enclose a liquid or gas, and roughly of the shape of the enclosed particle if they contain a solid. It can be considered as a special form of packaging, in that particulate matter can be individually coated for protection against environment and release the volatile substance from the enclosed capsule as required. This property has enabled microcapsules to serve many useful functions and find applications in different fields of technology. For example, the storage life of a volatile compound can be increased markedly by micro-encapsuling.

The key to aromatherapic textile is how to make microcapsules of fragrance compounds and essential oils without omitting any ingredient in order to ensure its pharmaceutical effects. In addition, using a low-temperature polymer binder to attach a perfumed microcapsule to thesurface of the textile is also an important part of preparing an aromatherapic textile. At the same time, durability in laundering and a soft handle should be carefully considered.

Although there are many effective approaches to micro-encapsulation for decreasing fragrance-release, cyclodextrins are the best regarding safety to the human body, because β-cyclodextrin has no skin irritation, no skin sensibilisation and no mutagenic effect.

Cyclodextrins are non-reducing cyclically linked oligosaccharides produced by certain micro-organisms of cultivated starch, which are capable of forming inclusion compounds with molecules that fit into their cone-shaped hydrophobic cavity. As a result of the inclusion, the physico-chemical properties of the compounds are changed, e. g. the vapour pressure of volatile substance is reduced, and stabilities against light or air are enhanced. On the other hand, the harmful and/or unpleasant odour in the surrounding may be eliminated. Furthermore, cyclodextrins clamped on cellulose do not affect the cellulose's properties, and cyclodextrins keep their ability to form inclusion complexes with other suitable molecules. Thus, cyclodextrins are the first choice in preparing aromatherapy textiles.

The detailed analysis described above allowed us to select the following procedure. The fragrance with β-cyclodextrin inclusions were formed by mixture solution containing alcohol and distilled water (1:3). The solution was emulsified with a high-speed mixer at a speedof about 10,000 rpm for 5 minutes. The emulsified system was transferred into a flask. The fragrance alcohol solution was added into the emulsified solutions over 30 minutes, and stirred at a temperature of 40 oC for 2 hours. Then the fragrance inclusions were fixed onto cotton with a low-temperature binder by the conventional pad-thermofixed method at 80 oC for 3 minutes.

The uses of aromatherapy textile are diverse. Interior textiles such as sheets, quilt-covers, curtains, carpets and bed-gowns are suitable for the attachment of lavender, camomile, citrus or cinnamon microcapsules, which are good for hypnogenesis and eliminating fatigue. Patients suffering high blood pressure feel sedation when they use a pillow made of fabric treated with lavender, basil, lemon or fennel microcapsules. The tired office clerk wearing clothing with a scent of lemon, rose, or jasmine oil may find his work efficiency improved. Meanwhile, it is convenient for dermatosis sufferers to be cured with the aid of underwear containing killing gem fabric. Perfumed toys make it easier for children to get closer to nature. Generally speaking, varied perfume fabrics create good opportunities for customers to make the 'cocooning' environment they prefer to live in.

Many different manufacturing approaches have been adopted for microencapsulation. The most commonly used microencapsulation processes, including

1. Complex Coacervation,

2. Polymer-Polymer Incompatibility,

3. Interfacial Polymerisation and In Situ Polymerisation,

4. Spray Drying,

5. Centrifugal Extrusion,

6. Air Suspension Coating,

7. Pan Coating, and

8. Emulsion Hardening Process

Market Potential of Aroma Textiles:
Fashion retailer's interest in fragrance infused fabrics dates back to the 1960s when Kanebo, a Japanese consumer products company, manufactured women's scented tights. In fact, hosiery and intimate apparel have been the more widely explored product categories to apply scent infused fabric technology. More recently, international companies such as Woolmark™ have formed joint ventures with the International Fragrances and Flavors association to delve into R&D initiatives with mills around the world. Woolmark™ calls its use of microencapsulation as Sensory Perception Technology™ fabrics. Woolmark™ is applying this technology to hosiery, lingerie, underwear, socks, outdoor clothing, carpeting and other interior textiles. In 2005, the Invista Company, owner of fiber brands such as LYCRA®, TACTEL® and SUPPLEX®, launched the LYCRA® Body Care Collection. The Body Care Collection includes moisturizing and fragrance features in the yarns to enhance the wearer's sense of well being in the intimate apparel category. The micro-beads which are built into the fibers release their contents when the elastane content fabrics are stretched during wear. The Olga clothing brand launched a collection utilizing LYCRA® Body Care Collection in April 2005. The Nike clothing brand has\ also explored encapsulation methods to a limited extent. Associates have estimated that fragrance infused fabric technology, such as the one seen in the Nike Precoo
System running shirt, is less than 5% of their total buy.

Conculation:
Aromatherapy is increasingly popular as one of many approaches to healing with natural substances which are favoured by the public, and make it possible for the individual to attempt self-therapy at home. As close friends of humans, textiles can make aromatherapy easy wherever they are needed. Micro-encapsulation can effectively control the release rate of the fragrance compounds and essential oils as required, which ensures the storage life of volatile substances. We may choose various products such as fibres, fabrics, non-fabrics and garments to enjoy the pharmaceutical and emotional effects of aromatherapic textiles. We believe that aromatherapy and aromatherapic textiles are the first choice for people who want to keep healthy in their daily life, and these textiles will become a fashion in the near future.

Thus, we come to know that aroma textiles will have a great demand in the market. The available techniques with the incorporation of more technical inputs can lead to the production of durable, wash-fast aroma textiles!!

References:

1. "Microencapsulation in Textile Finishing: Scope and Challenges" by Kushal Sen and K.A.Thomas, Department of Textile Technology, IIT Delhi.

2. Aromatherapy: the search for 'stress solutions'. Global Cosmetic Industry. 2000,167(7):66..

3. "Aromachology and Its Applications in the Textile Field" by C.X.Wang, Sh.L.Chen, College of Textile and Garments, Southern Yangtze University.

4. "Hand-book of Technical Textiles" by A.Richard Horrocks,S.Anand.

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Aroma Textile | Application of Aromatherapy on Textiles

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An 'aroma compound' also known as aroma or fragrance is a chemical compound that has a pleasant smell or odor. Any chemical compound has smell or odor when two conditions are met: 1. The compound needs to be volatile so that it can be transported to the olfactory system in the upper part of the nose, 2.

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Shop with over 150 Scottish Independent Brands all from the comfort of your own home.

​

'Walk around' and browse the individual stalls of over 150 independent Scottish brands across 10 categories, fill your basket, and then get it posted to your door for free.

Each stall will have a personal voice message from the seller telling shoppers a bit about themselves and their brand - really bringing the marketplace to life and giving visitors a genuine 'meet the maker' experience.

Simply click into your chosen stalls and get shopping. All purchases will be added to a collective shopping basket and shoppers will purchase with one simple and convenient transaction - letting Super Market Virtual do all the hard work for you.

Your purchases will then be posted to you for free!

Disclaimer:

Event listings: these listings are uploaded by makers, places, organisations and the Craft Scotland team. Please note that due to the Coronavirus (COVID-19), some listings may have changed, been postponed or cancelled. Always check the organiser's website. Craft Scotland is not responsible for incorrect details.

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Online | Super Market Virtual Christmas - Craft Scotland

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Shop with over 150 Scottish Independent Brands all from the comfort of your own home. ​ 'Walk around' and browse the individual stalls of over 150 independent Scottish brands across 10 categories, fill your basket, and then get it posted to your door for free.

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mitr., which is short for Make It Rawr, is a group of young designers based in Thailand that are exploring modern design. They recently debuted Momento, a collection that is about designing an object around a person or event, and the memory that's left behind. Momento is purposefully misspelled, and seeks to ask, "How can we push the boundary of ordinary product to the new design approach?" As a result, each designer dived deep into their own memories and experiences to inspire a product. Though the product starts with no clear typology or definition, it eventually forms as the maker translates the questions and intuitions of possibilities into a physical object.

PUMP, by Napat Pongpanatnukul, was inspired by the idea of inflating bike tires, but turning it into a way to adjust coffee table. It has the same major design elements of a bike pump, but is elevated with marble-like material to make it a design element for the home.

FURL, by Lalitpat Limroongruang, explores the juxtaposition of rolling and pulling. As a result, Furl is a two part product - a bench for indoor seating that can be unrolled to 3 meters, and a small furl attached to the wall that serves as an armrest.

FRAME, by Ath Supornchai, is inspired by the cozy corners found in a cafe. Frame repurposes the idea of having a temporary private space in a public area, where one can enjoy their coffee while people watching.

ON THE TABLE, by Nuttiya Ratchtrachenchai, combines the functionality of traditional Thai flatware together. The set has three individual pieces that interact with each other to become both decoration, and organizational tools for many spaces.

AKAT AMNUAI, designed by Sarita Kongsungnoen, was inspired by the reflection of lights shining on the water of a swimming pool. As a result, Sarita used a light, cotton fabric to create a glimmering piece of woven decor that blends and twists.

KNOB, by Phonpisit Pongpitaya, is a simple set of wall hooks for hanging. However, it is also meant to enhance the touch sensation, so it comes in different materials and sizes to create a tactile experience.

After surviving a quarter life crisis, Nanette went from working in healthcare canadian meds to pursuing her loves of design, food and writing. During the day she works in social media marketing, by night she writes for Design Milk. You can find more of her work at nanettewong.com.

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Blue #2 Polymer Clay Earrings

The Blue #2 Earrings are made with polymer clay and nickel-free titanium earring backs. Every piece of Hello Zephyr jewelry is made by hand, especially for you. No two pieces are identical-variati...

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Featured Columns

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mitr. Debuts Momento: A Collaboration with 6 Designers

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mitr., which is short for Make It Rawr, is a group of young designers based in Thailand that are exploring modern design. They recently debuted Momento, a collection that is about designing an object around a person or event, and the memory that's left behind.

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Zero-waste design strives to create clothing patterns that leave not so much as a scrap of fabric on the cutting room floor.

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From Recycled Paper to Functional Furniture - Design Milk

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Dear Human has come up with a way to turn recycled paper into functional furniture, lighting, and tiles in a creative exploration called Paperscapes.

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About
ZWDO Collective

Zero Waste Design Online (ZWDO) is an international collective that aims to develop online educational resources in the field of zero waste systems thinking through fashion. We seek to transform the industry through open dialogue around garment construction, pattern cutting, design methods, and innovative use of technology.

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Zero Waste Design Online (ZWDO) is an international collective that aims to develop online educational resources in the field of zero waste systems thinking through fashion. We seek to transform the industry through open dialogue around garment construction, pattern cutting, design methods, and innovative use of technology.

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source: https://eluxemagazine.com/fashion/zero-waste-designers/

When looking for ideas for the laser cutter, I came across Qi Wang, who incorporated laser cutting and etching into her designs, but also laser cut excess material left overs into strips of fabric, which she then wove into new garments or incorporated into pieces. As I was introduced to weaving and laser cutting in the same week, I definitely wanted to make use of this idea and translate it into my own project.

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Qi Wang - Zero Waste Weaving/Laser Cutting

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source: https://eluxemagazine.com/fashion/zero-waste-designers/ When looking for ideas for the laser cutter, I came across Qi Wang, who incorporated laser cutting and etching into her designs, but also laser cut excess material left overs into strips of fabric, which she then wove into new garments or incorporated into pieces.

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This post contains some affiliate links, which means if you make a purchase, EcoCult receives a small percentage of the sale price. Some brands may have paid a small fee to be featured. We only recommend brands that we truly believe in. Support our editorial work by supporting them!

I t's time to collectively move beyond 'sustainability'.

It isn't enough to sustain or even limit our depletion of natural resources. We are balancing on a tipping point, and need to get our carbon emissions to zero soon and start 'giving back' as well. That's where regenerative fashion comes in.

Agriculture is a major contributor to global warming, accounting for approximately 20 percent of global emissions. And farming is a large part of fashion. It's easy to forget, but a lot of the materials we wear start their lives on farms - cotton and hemp fibers are plucked off plants, and wool and leather come from sheep and cows respectively.

But, regenerative agriculture can play an important role in tackling the climate crisis.

It comes down to soil. Soil is one of the most important natural resources we have. When it is rich and fertile, it provides nutrients to the plants and animals we rely on for food. Additionally, soil is an important store of carbon dioxide, which plants pull from the atmosphere as they grow. The UN's Food and Agriculture Organization (FAO) estimated that soils could sequester more than 10% of manmade CO2 emissions, and the International Resource Panel recently put out a report that outlines how land restoration and rehabilitation can benefit all the Sustainable Development Goals (SDGs).

However, intensive agricultural techniques have contributed to the degradation of soil. Depleted soil is less productive and stores less carbon than nutrient-rich soil full of organic matter, which makes it all the more alarming that 33% of the Earth's soils are already degraded and over 90% could become degraded by 2050, according to the UN's Food and Agriculture Organization (FAO).

The Connection Between Farms and Fibers

The word regenerative has its roots in regenerative agriculture, where farming techniques are chosen and used for the way that they restore and replenish the natural environment. Regenerative growing has the power to make soil richer, increase biodiversity, and capture more carbon dioxide from the atmosphere compared to conventional and organic farming practices.

Like organic farming, regenerative agriculture eschews chemicals, making farms safer and healthier for the people working on them. However, regenerative techniques go well beyond organic standards in that they focus on the positive outputs of the farming, and not just positive inputs.

Techniques like growing a diverse range of crops close together reduce the need for pesticides (chemical or otherwise) because certain plants that naturally repel pests can be included in the mix. Similarly, plants that attract pollinators will attract bees and butterflies to the whole area. And, because different plants contribute different nutrients to the soil, the diverse planting makes the earth richer, and all the plants growing in it stronger. In conventional farming, soil is dug up and organic matter mixed in to make for healthier soil, which releases carbon. However, regenerative growing leads to richer soil that is a more effective store of carbon because it doesn't need to be tilled.

Regenerative practices can be applied to things other than plants too, as long as they are positively affecting the soil. For example, regenerative cattle grazing is where farmers and ranchers manage their cattle so that they more closely mimic the natural movements of herds and graze just the right amount to promote healthy cycles of plant regrowth.

Buying products made of materials from farms that are using regenerative practices is a way of supporting farmers that are 'giving back' to the environment. And it can help mitigate some of the effects of the climate crisis.

What to Look for in Brands Embracing Regenerative Practices

At the moment, the term 'regenerative' refers broadly to the kinds of practices described above instead of adherence to a strict set of standards - though a seal of approval is coming soon. I expect that within a few years, certifications for regenerative materials will be as common as organic certifications are today, but in the meantime, here are things to look for if you're trying to buy regenerative.

Natural fibers and dyes: First things first, because we're talking about materials that have their origins on a farm, we're talking about natural materials. That means fibers and dyes that are made from plants or that come from animals. If a material is synthetic it might be recyclable or 'circular' , but it won't be regenerative.

Supply chain transparency: Because regenerative practices happen at the farm-level and not at the factory or fiber processors, brands embracing regenerative practices will need to have visibility into their supply chain all the way back to the farm. This usually means direct relationships with the farmers producing the fiber.

Organic certification: Because regenerative farming techniques go beyond organic techniques, brands using regenerative materials are likely to be using materials that are certified organic. Though not every farm using regenerative or organic techniques will be officially certified due to certification costs, many of them will be, making organic certification another thing to look for if you're hoping to buy regenerative.

Regenerative Organic Certified (ROC) certification: Though official regenerative certifications aren't widespread yet, there is one in the works. Regenerative Organic Certified was established in 2017 by an alliance of farming and business leaders including representatives from Patagonia and Dr. Bronner's. The ROC Framework includes requirements for 'Soil Health and Land Management', 'Animal Welfare', and 'Farmer & Worker Fairness' and official certification will begin later this year.

Fibershed's Climate Beneficial™ verification: Nonprofit has developed a Climate Beneficial™ verification that applies to wool from animals grazing on managed landscapes where Carbon Farming practices (that align with the regenerative practices described above) are being used. It's worth noting that this verification is currently limited to fibers harvested in Northern California, and to goods processed and manufactured within the US.

Partnerships with the Savory Institute: The Savory Institute is a nonprofit that aims to regenerate the world's grasslands by properly managing livestock. The nonprofit is supporting companies like Kering, Eileen Fisher, and Timberland in souring animal fibers like wool and leather from farms using regenerative techniques. Those collections are not yet available. We'll update this post when they are.

Now that you know what to look for, here are our top picks when it comes to brands embracing regenerative practices.

Regenerative Clothing

Harvest & Mill uses USA-grown organic cotton for its t-shirts, socks, and joggers. All designs come in an undyed, unbleached natural finish fabric, and colored versions are created using low-impact dyes.

Italia A Collection sells clothing made from natural fibers like linen, organic cotton, and bamboo. The brand also has a collection of pieces made with Rambouillet wool from Lani's Lana in Modoc County, California - one of the first producers of Climate Beneficial™ wool.

Christy Dawn has partnered with Oshadi Collective, a community of farmers and craftspeople in southern India using regenerative growing techniques to produce cotton. The first harvest of cotton from that partnership will be transformed into dresses in the coming months. In the meantime, you can buy dresses made from deadstock fabric.

California Cloth Foundry uses its 'CA Cleaner Cotton™' which is grown in California's San Joaquin Valley using sustainable farming techniques for its range of comfy sweats, shorts, shirts and dresses. The pieces are dyed or treated using natural methods and blended with other sustainable fibers including regeneratively-grown hemp, Climate Beneficial™ wool, and Lenzing Modal™.

British brand Solai's eye-catching pieces are made from a blend of linen and GOTS-certified organic cotton and colored using azo-free dyes. The brand has partnered with Oshadi Collective, a community of cotton farmers in Erode, Tamil Nadu that use regenerative techniques.

Story MFG's organic clothing is dyed with leaves, bark, roots, heartwood and fruit in a replanted forest where all waste is used to fertilise the gardens. The dyes used have regenerative qualities as well, for example, the brand's natural indigo sourcing comes from an effort to fix nitrogen levels in over-tilled and farmed soil.

Trace Collective's clothes are fully traceable from 'ground-to-garment' and made solely from regenerative materials including organic cotton and linen. They work with hemp farms in Romania, linen growers in Italy and France, yarn plants in Tunisia and Poland and mills across Europe. Most of their clothes are then produced at a social workshop in Spain that helps women at risk enter the workforce.

Regenerative Bedding & Textiles

Alterra Pure sells sheets, pillowcases, and duvet covers made from organic, fair trade cotton from farms using regenerative techniques. The brand sources from cotton farm co-ops in the Odisha region of India. End products are GOTS-certified and produced in a LEED-certified factory.

Bristol Cloth is a regeneratively farmed wool from Fernhill Farm in the UK, dyed with organic plant dyes by Botanical Inks and woven by the Bristol Weaving Mill. The majority of the production is set within a 15 mile radius of Bristol. As well as knitting yarns, finished fringed blanket scarves are available to purchase.

Coyuchi is committed to using sustainably grown, organic and natural fibers for its bed linens, blankets, and towels. For organic cotton they have partnered with smallholder farming communities like Chetna in India, and for wool and down they prioritize regenerative agricultural partners, including ones that provide Climate Beneficial™ wool.

Regenerative Bags

Farrier Leather works directly with farmers, nonprofits and organizations that facilitate the respiration of soils and grasslands. Its small leather good hides are sourced from grass-fed farms within the United States and vegetable tanned in Haiti, and any organic cottons used in its products are certified by the Global Organic Textile Standard (GOTS). A percentage of every purchase also supports the Savory Institute.

Qwstion's bags are made of Bananatex® , the world's first technical fabric made from a type of banana fibre known as Abacá. Abacá is self-sufficient, requiring no pesticides or extra water, and cultivated within a natural ecosystem of mixed agriculture and forestry. So, the plant has contributed to reforestation in areas of the Philippines once eroded by palm plantations. It's also available for other brands to buy!

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How Regenerative Fashion Goes Beyond Organic - EcoCult

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This post contains some affiliate links, which means if you make a purchase, EcoCult receives a small percentage of the sale price. Some brands may have paid a small fee to be featured. We only recommend brands that we truly believe in. Support our editorial work by supporting them!

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London College of Fashion graduate Chloe Baines has designed a collection of clothing and jewellery from the upcycled tents and metal pegs left after music festivals.

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Petit Pli makes expandable and reusable face mask from recycled plastic bottles

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Petit Pli makes expandable and reusable face mask from recycled plastic bottles

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Petit Pli makes expandable and reusable face mask from recycled plastic bottles

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Beta(MSK) by Petit Pli is a washable face mask for the coronavirus pandemic made from recycled plastic bottles with pleats that adjust around the wearer.

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Wellness textiles bound to me more than just the next trend, with technology on its way to revolutionise the clothing industry. According to the IOSR Journal of Polymer and Textile Engineering, 80% of textiles are to become more technica l in the future.

Particularly, wellbeing-promoting textiles are under the spotlight, led by the growing desire in health-conscious consumers for new ways to take self-care up a step.

At present, wellness textiles are being created following two processes. Either by impregnating healthful compounds into the fibre through micro-encapsulation, adding the wellbeing ingredient before the extrusion into a thread, or by impregnating it into coatings that transfer to the skin through body movement and warmth. Potential benefits are several, ranging from anti-ageing to fitness-enhancing and comfort-cooling.

Among the most innovative, Smartfiber AG's SeaCell Lyocell, a smart fibre created from seaweed. The textile has antioxidant, skin-protecting properties deriving from the abundance of mineral salts, vitamins and iodine agents contained in seaweed.

Cooling comfort is essential for performance textiles and thermoregulating fabrics are also gaining ground. Unexpected materials such asare being woven into the fabric to lower and maintain cool temperatures and keep garments dry. These properties are particularly appealing for the Asian market, where high temperatures and humidity can create challenges.

Amongst other unusual natural components, activated coconut carbon and volcanic sand embedded in eco-polyester are being used to regulate the skin's microclimate.

Metal and metallic components are also being engineered into fabric, responding to a variety of health-monitoring and well-being purposes. Already available on the market, fibres enhanced with positively charged silver ions offer protection from radiation alongside with antibacterial, anti-inflammatory and thermoregulating benefits.

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Wellness Textiles on the Rise - Technofashion World

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Wellness textiles bound to me more than just the next trend, with technology on its way to revolutionise the clothing industry. According to the IOSR Journal of Polymer and Textile Engineering, 80% of textiles are to become more technical in the future. Particularly, wellbeing-promoting textiles are under the spotlight, led by the growing desire in health-conscious consumers...

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We give our clothing and ourselves a new lease of life and respect when we repair.

There is an increased interest in darning and mending techniques as we start to take more responsibility for our possessions. We are starting to see repair as a form of decoration inspired by Japanese mending techniques like Boro and Kintsugi.

Brands like Flippa K, Mud Jeans, Patagonia and Eileen Fisher offer advice and incentives for mending and bringing back worn clothing.

Images: Liv Mathilde Méchin | Catherine Bertola | Rich Stapleton for Flippa K | Mud Jeans

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There is an increased interest in darning and mending techniques as we start to take more responsibility for our possessions. We are starting to see repair as a form of decoration inspired by Japanese mending techniques like Boro and Kintsugi.

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The New Raw is a Rotterdam-based research and design studio who've launched the Print Your City initiative starting with the first Zero Waste Lab in Thessaloniki, Greece.The lab is outfitted with a 3D printing robotic arm and recycling facilities that were implemented by Coca-Cola. The setup allows people to bring in their plastic waste and become a part of the recycling process. They can even design custom street furniture!

The New Raw is taking plastic household waste and using it to create 3D printed furniture for outdoors, specifically public spaces in Thessaloniki. The original prototypes were printed last summer and they not only offer public seating, they double as planters to add even more greenery.

Just last month, Hanth Park became the first public space hosting furniture from the Print Your City initiative.

Visitors to the Zero Waste Lab are given opportunities to help design the furniture by choosing the shape, color, and any additional functions, like dog water bowls and bike parking. They even get to select which public space they want their piece to go in. Once the design is decided upon, the Print Your City website tells how much plastic is going to need to be recycled to complete the piece.

Photos by Stefanos Tsakiris.

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Print Your City Initiative Turns Plastic Waste into 3D Printed Street Furniture

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The New Raw is a Rotterdam-based research and design studio who've launched the Print Your City initiative starting with the first Zero Waste Lab in Thessaloniki, Greece.The lab is outfitted with a 3D printing robotic arm and recycling facilities that were implemented by Coca-Cola.

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Paper company Neenah continues to highlight creativity, and the role paper plays in it, with their latest CLASSIC® Papers promotion, Rethink Everything. For it they asked five creatives a question that would normally be easy to answer, but in this strange time might be anything but: How are you pivoting to meet the changing world head-on? The answers and resulting artistic projects have been pulled together into an inventive editorial designed by Design Army that explores paper in a new and creative light.

"From the colorfully multi-dimensional cover to the oversized coffee table layout, Rethink Everything is designed to push people out of their comfort zones and think further about using paper. We want people to touch it, flip through it over and over again, learn from these inspiring stories and as a result, experiment with new ideas. This piece is meant to reignite the creative flame within," said Pum Lefebure, Co-Founder and Chief Creative Officer, Design Army.

Call it gutsy: Mira and Valerii Tsybukovska of Mio Gallery created a business out of handcrafted paper flowers. The two show big brands how to rethink interior design and maximize budgets without compromising opulence with their lasting installations and displays. This beautiful sustainable solution to fresh flowers is both practical and inspiring.

For Rethink Everything, Mio Gallery created branches filled with orchids, dahlias and hydrangeas from CLASSIC Papers in Avon Brilliant White, Earthstone, Classic Cream, Red Pepper and Haviland Blue.

A lack of environmental design education and fashion industry waste led to designer and entrepreneur Zero Waste Daniel making the first 100% zero waste clothing. Continuously redefining the meaning of sustainable design, he inspired change by creating one-of-a-kind, stylish, wearable, affordable unisex apparel. He continually inspires change and makes headlines by growing the mission of ending waste culture and redefining the meaning of "sustainable design" as a call to action for all who wish to participate.

For Rethink Everything, Neenah sent Zero Waste Daniel scrap papers and challenged him to get creative. He chose to sew them into a work of art that depicts his personal dream for world harmony.

Neenah challenged full-service Studio On Fire and creative firm Design Army to partner up and put their specialties to the test by creating a piece of packaging for Rethink Everything.

Inspiration struck when Design Army noted Studio On Fire's structural, triangular-shaped engineering. Using CLASSIC papers and working virtually, they came up with a maximalist design that uses minimal colors, custom typography, textures, fine lines, and different levels of foil and embossing that echoes the geometric structure on the box's surface.

Lucy Grymes Designs creates home furnishings while simultaneously empowering women. Working with N Street Village in Washington DC, she employs a group of women currently experiencing homelessness. Together they create a way forward while improving lives and fulfilling Lucy's vision for uplifting through design.

For Rethink Everything, Lucy hand made three of her brand's signature vase wraps in CLASSIC Linen and Natural White Pearl, with gold foil stamps on the exterior folds.

Hazel Sebastian Glass aims to break down access barriers by creating affordable reproductions of her work, as well as to change the misconception around paper artistry. She creates detailed paper strata pieces by layering precision cut paper swatches on top of one another in stunning color palettes and designs.

For Rethink Everything, Hazel used a palette of grays, blues and whites in CLASSIC Crest Eggshell and Smooth Plus CLASSIC Stipple to create a piece full of dimension.

To learn more about Neenah Paper, visit neenahpaper.com.

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Neenah Paper Asks Creatives to Rethink Everything

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Paper company Neenah continues to highlight creativity, and the role paper plays in it, with their latest CLASSIC® Papers promotion, Rethink Everything. For it they asked five creatives a question that would normally be easy to answer, but in this strange time might be anything but: How are you pivoting to meet the changing world head-on?

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Sustainability in fashion comes under many varying forms, as there are numerous ways to integrate this within a business. An interesting discussion is that of scalability: should sustainable fashion be scaled up, or should there be an increase in small scale and artisanal fashion brands that practice sustainably - is there a best practise or approach?

Scaling sustainable fashion can be very effective, particularly if it is done using a closed loop model: the more...

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Sustainability in fashion comes under many varying forms, as there are numerous ways to integrate this within a business. An interesting discussion is that of scalability: should sustainable fashion be scaled up, or should there be an increase in small scale and artisanal fashion brands that practice sustainably - is there a best practise or approach?

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SilaiWali is a social enterprise from New Delhi who use up-cycled waste fabric from clothing manufacturers to create hand-crafted dolls made by Afghan women refugees in India. The women sew and embroider by hand, bringing craftsmanship and inspiration from their homeland to create beautiful dolls. SilaiWali's video A S

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Designers that up cycled and their inspiration 

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Designers that up cycled and their inspiration 

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"Seasonless" fashion-Gucci, hired dresses- h&m

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"Seasonless" fashion-Gucci, hired dresses- h&m

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‘We went way too far’, says Gucci as pandemic forces fashion industry

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The inventory crisis that now faces the garment trade adds to a litany of well-known sustainability issues. Some brands are leading calls for a radical new approach. Angeli Mehta reports

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Stools Made of Discarded Fans and Scrap Wire - Design Milk

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Using post-consumer waste materials, KaCaMa Design Lab creates clever designs and the latest is Stool ZERO, a stool made from discarded fans and scrap wire.

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British designer Zoe Murphy champions the notion of 'loving what belongs to you' by printing onto recycled furniture and textiles using imagery inspired by the faded glory of her seaside hometown of Margate, Kent, on the south coast of England. Zoe graduated from Loughborough University in 2008 with a first-class honors degree in printed textiles. Having always been fascinated by the potential of re-use and rejuvenation of unwanted items, she works closely with the idea of encouraging others to consume with more care.
Tell me a little bit about your childhood, education and background in terms of how you first became interested in creativity, design and sustainability.
I was born and raised in Margate. Both of my parents were school teachers and so we always had a lot of educational textbooks around the house and I seemed to be preoccupied with spending summers learning things from the books and then re-drawing the pictures and text from them into sketchbooks of my own. I was reproducing these little graphic interpretations when I picked up a book all about the environment and the ozone layer. I was so shocked to read about pollution, that I wrote to the Queen about it. (This is not a joke, my parents didn't know I had done it until I received a reply from a lady-in-waiting at the palace!) I resolved, there and then, to do more to spread the message that I'd read. It seemed really important to me, and my tiny developing mind decided that I could get more people to pay attention if I could translate the information out of that dusty textbook using my own unique skills and talents. I went on to study textile design and screen printing at university, but always retained a strong sense of duty and have therefore always strived to create things that spread awareness about the environment and waste.
How would you describe your furniture?
I screen-print my own hand-drawn designs and patterns onto second-hand wooden furniture and create cheerful, graphic and very colorful furniture pieces such as chests of drawers, tables and sideboards. The storage and surfaces that I create with objects others have discarded have a very mid-century look to them before I apply a lot of pattern and decoration. This is a conscious choice for me as the interiors from that period have very simple and straight or smooth forms and so they support my details and statement print work in a way that doesn't make a piece feel too busy in the end. My designs have their roots in the time I spent studying to be a textile designer and growing up in Margate. For that reason, I always seem to have a lot of suns, flowers, sunrays, happy shapes and optimistic imagery. It matters to me to make something positive out of the waste I'm using and I know that can be engineered on every level, so even the colors I choose will have a warm and bright feel to them. First and foremost, I want people to feel good when they look at my work, and perhaps only after that discover that it is reused.
What inspired this project?
I like to investigate new design ideas every few months and they are always born from an interest or compulsion that I'm exploring at the time. My latest collection of work has been inspired by one of my design heroes Vera Neumann who was a silk scarf designer in the 1950s. She began life as a painter so when the war finished and parachute silk was an abundant material she began painting her work onto silk instead. Vera would still sign all of her designs, even when they were silk scarves instead of paintings, and is known for popularizing the idea of a 'signature' scarf. I was so inspired and impressed by an artist using her creativity in such a practical way but also retaining the value of her artistic identity at the same time, for me it felt an important blend of the two disciplines - art and design. Particularly at a time when a lot of creatives are feeling pressed to make-do and the world is in a state of flux and uncertainty, it's encouraging to think that even after a great war or shortage of materials it's possible to pivot and emerge with tenacity and flair. The sets that I'm making for the collection all come from one huge oak table that had a split from age and was heading to the tip. It's fruited a batch of screen-printed coffee tables and matching candlesticks that celebrate the idea of looking again even in the most difficult of eras.
What waste (and other) materials are you using, how did you select those particular materials and how do you source them?
I work exclusively with unwanted and badly damaged wooden furniture, often solid woods but mostly pieces that have been veneered. Although these will have been cheaper to produce in their time and are sometimes more stable than solid wooden pieces, they are nearly always chipped, ripped, stained or broken because of how fragile veneers and the light wood furniture frames are over time. I try to get pieces that are badly damaged, that are about to be thrown away, or that need a lot of repairs. If it's stylistically out of date too that is a bonus, because of the way that I work I can bring furniture into different centuries and make things look a lot more contemporary. I'm mostly given or find unwanted furniture, it's still surprising how much people leave on roadsides and throw away - my most recent collection was made from a table that was about to be thrown into a chipper at a recycling centre.
When did you first become interested in using waste as raw material and what motivated this decision?
I was campaigning and caring for climate change from a young age, and wrote my university dissertation on consumption patterns and how to steer them in a market to make for more sustainable activity. In 2008, when I was challenged with creating my degree show (to showcase my print work) I knew I wanted the entire collection to be reused and made from waste. That's when I started screen printing onto wood and furniture and even wedding dress silk for soft furnishings - eventually my entire show was made from waste.
What processes do the materials have to undergo to become the finished product?
I start by carefully removing and dismantling a piece that I've chosen to use, stripping the existing lacquer, unscrewing all of the components and restoring anything I hope to use again. I will remodel most of my furniture pieces by adding new legs, handles and sometimes splitting the piece into different sized units to get the maximum use out of the material. It feels very important to me that all of the forms look like they have come from the same place even if they start out looking very different. Unwanted furniture as a waste material has a better chance if I am able to pull it in to a recognized aesthetic that people trust and value and that I've worked hard to brand. So I strip back a unit to its most simple form and then prime it for printing. Once I have designed something I'm happy with, the silk screens are used to apply layers and layers of print work onto only certain parts of a piece. This means being able to choose parts that are very badly damaged to cover with the pattern and leaving the rest of the remaining wood to be celebrated. When the print is applied, all parts are revarnished and then reassembled with any new wooden components added (these are made by a woodturner local to me). The final touches are to line or fabric the inside of any storage units to make sure that every part of a piece feels exciting and special to discover. And then, much like Vera, I sign my creation!
What happens to your products at the end of their life - can they go back into the circular economy?
Because I know that every time wood is stripped or painted it takes a little more of the material away and reduces its possibilities for the next time it might be recycled, it's always my aim to decorate and print onto as little of a piece as possible while still moving it on enough to be found refreshing for a consumer. Everything is screwed together, printed with water-based paints, and lacquered with a durable varnish, so that it will last for as long as possible and then finally will have enough original material for it to be reused again. It takes an incredible amount of time and care to reuse waste and I'm of the opinion that the application of craftsmanship can elevate any material. I use my researched and designed print work to add value and rescue a material that isn't considered useful. I aim to deliver an emotional connection and delight to the people who buy my work, so that they will care for it properly and keep it for longer than the average piece of furniture.
How did you feel the first time you saw the transformation from waste material to product/prototype?
It would have been at a very very small age. My favorite thing to do as a little girl was to make dresses for my Barbies and furniture for my doll house. None of them were made from things I had bought because the thought didn't even occur to me - why would I use new things when there was so much already available? I clearly remember making a set of living room chairs for my doll house, padded and upholstered, from toilet rolls. The buzz I got from taking something that really was the lowliest material and fit for the bin and turning it into something so useful and domestic, was unmatched. Giving things a second chance at being valuable made me feel valuable, and that feeling hasn't ever gone away.
How have people reacted to this project?
The response to my work from others has always been an emotional one. I imagine it comes from the narrative created when you see pictures and drawings on things that often are just a color or a surface. I make work to express how I feel and what I care about, so it can still be a surprise for me how much people emotionally invest in the things that I make. It nearly always makes people smile or exclaim something, and the extra benefit is when they find out that it's made from something that was ready to be thrown away. The polarity of that is always special and memorable for people and is likely a reason that all waste reuse has an impact beyond that which a new material on its own can generate. The legacy of a product makes it all the more interesting, as waste has lots of lives before it. I pour a lot of myself into every piece I make and thank the way that I market myself and my work for that. I talk and share a lot with the people who buy from me and I know that when they look at something I have made, see the creative as much as the creation. It's another aspect that helps the waste I chose to reuse, as I'm determined to package myself up with the product as a way of giving the best chance of striking a light in a customer.
How do you feel opinions towards waste as a raw material are changing?
What I think is really helpful is how much awareness has grown around the issues of climate change. The primary objective is to create with better and non-toxic materials and to use up what exists already so that more doesn't need to be produced. It's still novel and notable to recycle instead of using raw materials in product design and I'm looking forward to a day when it's just considered standard to look for a reusable option first before using something new. As a designer it can be more fussy and time consuming to use waste rather than buying in big predictable sheets of material, but educators and informed creatives are drawing attention to the fact that ongoing consumption is a zero-sum game. If we are going to move forward in a way that isn't destructive for ourselves or the planet, we're going to have to make creative accommodations, and that's definitely something that is talked about more than it used to be.
What do you think the future holds for waste as a raw material?
As material scarcity starts to increase - either through increased demand from populations or reduction in the amount of raw materials still available - I have no doubt that we will all get more creative with our production cycles through necessity alone. It seems likely that some dramatic environmental activity will also remind consumers of what the status quo is doing to our resources as well, and so it's likely that there will be a shift in concern that will start to hopefully move us over to using waste in production more. It will be great to see technology and connectivity play a bigger part in reallocating materials, and all the while our systems and apps develop there's a big opportunity to use that connectivity to deliver information about resources and what is available. Imagine a time before eBay, and think how much was thrown away because we couldn't find someone who wanted that exact item. It's beautiful! I would love to see increased connection providing more circular solutions like this.

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Zoe Murphy Turns Unloved Furniture, Wood and Textiles into Vibrant Home Accessories

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British designer Zoe Murphy champions the notion of 'loving what belongs to you' by printing onto recycled furniture and textiles using imagery inspired by the faded glory of her seaside hometown of Margate, Kent, on the south coast of England. Zoe graduated from Loughborough University in 2008 with a first-class honors degree in printed textiles.

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Choosing to invest in furniture for your home is just that, an investment. There's time and money that goes into curating and creating a space that you look forward to coming home to. What may not be at the forefront of your decision-making is that when you're buying furniture, you're not only investing in your own home, you're investing in the studios that design these beautiful pieces. You're investing in the people who make your pieces by hand, in turn so that they can make livable wages. You're investing in the future of the craftsmanship, ensuring that it doesn't get replaced by mass-produced, machine-made processes. You're also investing in the future of the planet by choosing quality products that don't need to be replaced often only to end up in our landfills.

These are all important values for Michaele Simmering and Johannes Pauwen who founded Kalon Studios, a brand based in Los Angeles known for its pared-back, timeless designs made from traditional + modern craftsmanship and natural materials. We wanted to know more about their studio's sustainability and manufacturing practices so we caught up with Michaele to learn more about why she believes slow design matters.
What was the impetus for you to create Kalon Studios?
I was pregnant and in grad school. Johann and I had been talking about doing something on our own for years and it felt like a now or never moment.
Where did you get the name for the studio?
Kalon is an ancient concept of ideal beauty. When an object is Kalon, it's beautiful because there is an inherent goodness that radiates from each detail. Like everything we do, we were extremely thoughtful about the name.
How would you describe your furniture line? What makes each piece so special?
Pared-back. Functional. Timeless. Or at least we hope so. We're extremely interested in tools as objects of beauty. The daily objects that surround us change the way we relate to a space. They can elevate us. We focus on that ability. We don't want our work to be overly precious. We want the designs to be pieces that people can truly live with. Pieces that people will love for years. Choosing natural materials is a part of that. There is an inherent warmth to the materials and an ability to age with grace.
The value you place on age-old woodworking skills and craftsmanship is quite apparent in your timeless designs. What made you want to return to this slower, simpler way of furniture design? In other words, what do you think makes this type of craftsmanship so exceptional?
Our pieces are built using a mix of cutting-edge technologies and time-tested methods. So we aren't married to old ways of doing things, it's more of an approach where there is a pride in craft. We don't want to compromise the quality of our designs to make them more convenient to produce. The number one issue the woodworking industry faces is access to craftspeople with the skill to build a finished piece. A true craftsman works like an artist. They understand the idiosyncrasies of the material. They understand that the craft is in the details. We recently did a string of interviews with our craftspeople and every last one of them mentioned that the most satisfying part of what they do is seeing the finished piece come together with an understanding of how the execution of smallest detail is critical to the finished piece. There is a deep pride in the work and an appreciation of detail that we share.
Why is sustainability and local manufacturing such an important element in the craftsmanship of your designs?
We live in a crazy time. It has a very end of days feeling to it. I honestly don't see how any thoughtful person can be detached from sustainability. For me, sustainability is a core criteria for good design. We don't want our work to deplete resources. Whatever our individual beliefs, we humans share a common destiny and what each of us does impacts all of us. We strive to have our impact be as positive and mutually sustainable as possible.
There has been an on-going movement where people are becoming more aware/ considerate of the items they buy, what they're made from, and how they're being made. For those who don't consider these factors (or sometimes waver in making the investment in well-designed objects), what would you say to them to convince them otherwise?
We're not really coming at our work with convincing people in mind. We do the sustainable work for ourselves because we want to feel proud of what we're making. We are building our ideal pieces. Sustainability alone can't be what sells the work. For our work to succeed, it has to appeal to different kinds of people and for different reasons.

Look, I understand that making political or ideological choices about how we spend our money is a luxury. It's not something all of us can afford to do. So let's split your question into two parts.

On the ethical, sustainable side of it, I think it's helpful for all of us to remember that the objects we live with were made by people, meaning real human hands somewhere in the world. Particular choices were made throughout the production process. We can ask if the materials were responsibly sourced? Were the processes fair for the people who made them? Were they harmful? Are the materials and finishes healthy for us to live with? Were ethics part of the conversation or were profit margins the bottom line? And we can ask ourselves if any of this matters to us. Do we care if someone or some place was harmed in the process? And we can ask ourselves if we have the luxury of making these questions. We are each responsible for determining that for ourselves. People have become extremely savvy about what they're looking for with food and beauty products. They want more transparency. They aren't willing to put just anything in or on their body. They understand the disastrous effects of mono-cropping and fast fashion on the environment and humans. All of this understanding can be applied to hard goods. We can treat a sofa the same way we treat an egg. We can ask the same kind of questions about where the piece came from and what's inside it.

The quality side is simpler to address. Let's call what we're doing at Kalon 'slow design'. A slow designed good doesn't just take all of the above into consideration, it also considers where the product goes after production, how it will age, how it will be lived with. These objects are designed to age gracefully, to wear in, not out. By default this means a higher-quality object. One that can last a life-time. This is not a piece that will break down or look terrible after a year of use. The piece likely costs more than the alternatives but you're likely to be replacing it multiple times if you choose the lesser made piece.
Since founding Kalon Studios back in 2007, are there any milestones or moments that particularly stand out to you in those past eleven years?
So many. We started as a bunch of art school kids making stuff in a driveway. Kalon was a dream we were chasing. The first several years were a total blur, working 20 hour days with babies on our laps, falling asleep on our computers, running around the country doing our best to sweet talk shops into taking a chance on our work. We couldn't keep up with the orders. We couldn't keep up with the company. We were so busy we completely missed the moment when Kalon became an actual company.
What advice would you give to your younger self or someone who wants to follow a similar path?
Love what you do. Do what you love. If you don't, the struggles will be insurmountable. Also, perseverance above all else. You get kicked in the teeth 10 times a day and it doesn't get easier.
What's next for you and Kalon Studios?
Look for smaller pieces and outdoor. We have so much we're always working on but those are the pieces I'm the most excited about right now.
Let's do some rapid fire questions. One book you'll always recommend?
Bluets by Maggie Nelson
Favorite moment of your day?
When I get into a bath by myself.
One thing that's currently inspiring you?
The new batch of freshmen women in congress.
One word to describe your state of mind for 2019?
Optimistic.
To learn more about Kalon Studios and their "design for a sustainable culture," visit kalonstudios.com.

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Kalon Studios on Why Slow Design Matters

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Choosing to invest in furniture for your home is just that, an investment. There's time and money that goes into curating and creating a space that you look forward to coming home to. What may not be at the forefront of your decision-making is that when you're buying furniture, you're not only investing in your own home, you're investing in the studios that design these beautiful pieces.