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Aufgaben: Projektleiter*in festlegen, 1. Brainstorming machen, Zeitplan/ Projektphasen anlegen, Protokollant*in der internen Termine festlegen, wer startet Literatur-Recherche? Generelle Aufgaben in der Gruppe: Projektmanagement, Dokumentation der Entwicklung, Prototypen-Entwicklung, Design, Zielgruppe etc. Materialien-Test oder auch Equivalent zu Originalmaterial suchen, Eigenschaften bestimmen,  etc.

Kreislauffähigkeit

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Sportoberteil Qmilk /Tencel für Neurodermitis
Recyclingfähigkeit

Block struktur vorne und hinten tencel und seitlich Qmilk für seitlihche Parts

Baukastensystem für Schnittentwicklung

https://www.unimedizin-mainz.de/fileadmin/kliniken/haut/Dokumente/Triggerfaktoren.pdf

https://internet-apotheke-freiburg.de/shop/5099w.html

https://www.tencel.com/active

https://www.qmilkfiber.eu/kontakt

Womit kann gefärbt werden?

Nähte aus Tencel und Q-Milk um Hautkontakt zu schonen  ?

Absorbtionswerte von beiden Fasern

Wo schwitzt der Mensch am meiste ?

Wo passiert neurodermitis
Studien ?
Ist Tencel/ Qmilk für Neurodermitis ?

Google Umfrage Neurodermitis und Sport
Kontakt mit Dermatologin

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Prototyp in 3D entwickeln ?
Clo, browswear, Vidya ?
Materialprüfung etc. machen

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"The quality of not having toxic or injurious effects on biological systems".[9]

als Prinzip aus dem medizinischen Kontext auch im Kontext mit Bekleidung? Bezug zu C2C

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Biocompatibility is related to the behavior of biomaterials in various contexts. The term refers to the ability of a material to perform with an appropriate host response in a specific situation. The ambiguity of the term reflects the ongoing development of insights into how biomaterials interact with the human body and eventually how those interactions determine the clinical success of a medical device (such as pacemaker, hip replacement or stent). Modern medical devices and prostheses are often made of more than one material so it might not always be sufficient to talk about the biocompatibility of a specific material.

Since the immune response and repair functions in the body are so complicated it is not adequate to describe the biocompatibility of a single material in relation to a single cell type or tissue. Sometimes one hears of biocompatibility testing that is a large battery of in vitro test that is used in accordance with ISO 10993 (or other similar standards) to determine if a certain material (or rather biomedical product) is biocompatible. These tests do not determine the biocompatibility of a material, but they constitute an important step towards the animal testing and finally clinical trials that will determine the biocompatibility of the material in a given application, and thus medical devices such as implants or drug delivery devices.

The word biocompatibility seems to have been mentioned for the first time in peer-review journals and meetings in 1970 by RJ Hegyeli (Amer Chem Soc Annual Meeting abstract) and CA Homsy. It took almost two decades before it began to be commonly used in scientific literature (see the graph below).

Recently Williams (again) has been trying to reevaluate the current knowledge status regarding what factors determine clinical success. Doing so notes that an implant may not always have to be positively bioactive but it must not do any harm (either locally or systemically).

1. "The quality of not having toxic or injurious effects on biological systems".

2. "The ability of a material to perform with an appropriate host response in a specific application", Williams' definition.

3. "Comparison of the tissue response produced through the close association of the implanted candidate material to its implant site within the host animal to that tissue response recognised and established as suitable with control materials" - ASTM

4. "Refers to the ability of a biomaterial to perform its desired function with respect to a medical therapy, without eliciting any undesirable local or systemic effects in the recipient or beneficiary of that therapy, but generating the most appropriate beneficial cellular or tissue response in that specific situation, and optimising the clinically relevant performance of that therapy".

5. "Biocompatibility is the capability of a prosthesis implanted in the body to exist in harmony with tissue without causing deleterious changes".

1. The Dorland Medical definition not recommended according to Williams Dictionary since it only defines biocompatibility as the absence of host response and does not include any desired or positive interactions between the host tissue and the biomaterials.

2. This is also called the "Williams definition" or "William's definition". It was defined in the European Society for Biomaterials Consensus Conference I and can more easily be found in 'The Williams Dictionary of Biomaterials'.

3. The ASTM is not recommended according to Williams Dictionary since it only refers to local tissue responses, in animal models.

4. The fourth is an expansion or rather more precise version of the first definition noting both that low toxicity and the one should be aware of the different demands between various medical applications of the same material.

All these definitions deal with materials and not with devices. This is a drawback since many medical devices are made of more than one material. Much of the pre-clinical testing of the materials is not conducted on the devices but rather the material itself. But at some stage the testing will have to include the device since the shape, geometry and surface treatment etc. of the device will also affect its biocompatibility.

'Biocompatible'

In the literature, one quite often stumbles upon the adjective form, 'biocompatible'. However, according to Williams' definition, this does not make any sense because biocompatibility is contextual, i.e. much more than just the material itself will determine the clinical outcome of the medical device of which the biomaterial is a part. This also points to one of the weaknesses with the current definition because a medical device usually is made of more than one material.

Metallic glasses based on magnesium with zinc and calcium addition are tested as the potential biocompatible metallic biomaterials for biodegradable medical implants

Biocompatibility (or tissue compatibility) describes the ability of a material to perform with an appropriate host response when applied as intended. A biocompatible material may not be completely "inert"; in fact, the appropriateness of the host response is decisive.

Suggested sub-definitions

The scope of the first definition is so wide that D Williams tried to find suitable subgroups of applications in order to be able to make more narrow definitions. In the MDT article from 2003 the chosen supgroups and their definitions were:

Biocompatibility of long-term implanted devices

The biocompatibility of a long-term implantable medical device refers to the ability of the device to perform its intended function, with the desired degree of incorporation in the host, without eliciting any undesirable local or systemic effects in that host.

Biocompatibility of short-term implantable devices

The biocompatibility of a medical device that is intentionally placed within the cardiovascular system for transient diagnostic or therapeutic purposes refers to the ability of the device to carry out its intended function within flowing blood, with minimal interaction between device and blood that adversely affects device performance, and without inducing uncontrolled activation of cellular or plasma protein cascades.

Biocompatibility of tissue-engineering products

The biocompatibility of a scaffold or matrix for a tissue-engineering products refers to the ability to perform as a substrate that will support the appropriate cellular activity, including the facilitation of molecular and mechanical signalling systems, in order to optimise tissue regeneration, without eliciting any undesirable effects in those cells, or inducing any undesirable local or systemic responses in the eventual host.

In these definitions the notion of biocompatibility is related to devices rather than to materials as compared to top three definitions. There was a consensus conference on biomaterial definitions in Sorrento September 15-16, 2005.

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Biocompatibility is related to the behavior of biomaterials in various contexts. The term refers to the ability of a material to perform with an appropriate host response in a specific situation.

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"Now, MIT engineers have spun polyethylene into fibers and yarns designed to wick away moisture. They wove the yarns into silky, lightweight fabrics that absorb and evaporate water more quickly than common textiles such as cotton, nylon, and polyester [...] Counter to most assumptions, they estimate that polyethylene fabrics may have a smaller environmental impact over their life cycle than cotton and nylon textiles."

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MIT News | Massachusetts Institute of Technology

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In considering materials that could become the fabrics of the future, scientists have largely dismissed one widely available option: polyethylene.

The stuff of plastic wrap and grocery bags, polyethylene is thin and lightweight, and could keep you cooler than most textiles because it lets heat through rather than trapping it in. But polyethylene would also lock in water and sweat, as it's unable to draw away and evaporate moisture. This antiwicking property has been a major deterrent to polyethylene's adoption as a wearable textile.

Now, MIT engineers have spun polyethylene into fibers and yarns designed to wick away moisture. They wove the yarns into silky, lightweight fabrics that absorb and evaporate water more quickly than common textiles such as cotton, nylon, and polyester.

They have also calculated the ecological footprint that polyethylene would have if it were produced and used as a textile. Counter to most assumptions, they estimate that polyethylene fabrics may have a smaller environmental impact over their life cycle than cotton and nylon textiles.

The researchers hope that fabrics made from polyethylene could provide an incentive to recycle plastic bags and other polyethylene products into wearable textiles, adding to the material's sustainability.

"Once someone throws a plastic bag in the ocean, that's a problem. But those bags could easily be recycled, and if you can make polyethylene into a sneaker or a hoodie, it would make economic sense to pick up these bags and recycle them," says Svetlana Boriskina, a research scientist in MIT's Department of Mechanical Engineering.

Boriskina and her colleagues have published their findings today in Nature Sustainability.
Water wick
A molecule of polyethylene has a backbone of carbon atoms, each with a hydrogen atom attached. The simple structure, repeated many times over, forms a Teflon-like architecture that resists sticking to water and other molecules.

"Everyone we talked to said polyethylene might keep you cool, but it wouldn't absorb water and sweat because it rejects water, and because of this, it wouldn't work as a textile," Boriskina says.

Nevertheless, she and her colleagues tried to make weavable fibers from polyethylene. They started with polyethylene in its raw powder form and used standard textile manufacturing equipment to melt and extrude polyethylene into thin fibers, similar to turning out strands of spaghetti. Surprisingly, they found that this extrusion process slightly oxidized the material, changing the fiber's surface energy so that polyethylene became weakly hydrophilic, and able to attract water molecules to its surface.

The team used a second standard extruder to bunch multiple polyethylene fibers together to make a weavable yarn. They found that, within a strand of yarn, the spaces between fibers formed capillaries through which water molecules could be passively absorbed once attracted to a fiber's surface.

To optimize this new wicking ability, the researchers modeled the properties of the fibers and found that fibers of a certain diameter, aligned in specific directions throughout yarn, improved the fibers' wicking ability.

Based on their modeling, the researchers made polyethylene yarn with more optimized fiber arrangements and dimensions, then used an industrial loom to weave the yarn into fabrics. They then tested the wicking ability of polyethylene fabric over cotton, nylon, and polyester by dipping strips of the fabrics in water and measuring the time it took for the liquid to wick, or climb up each strip. They also placed each fabric on a scale over a single water droplet and measured its weight over time as the water was wicked through the fabric and evaporated.

In every test, polyethylene fabrics wicked away and evaporated the water faster than other common textiles. The researchers did observe that polyethylene lost some of its water-attracting ability with repeated wetting, but by simply applying some friction, or exposing it to ultraviolet light, they induced the material to become hydrophilic again.

"You can refresh the material by rubbing it against itself, and that way it maintains its wicking ability," Boriskina says. "It can continuously and passively pump away moisture."
Eco cycle
The team also found a way to incorporate color into the polyethylene fabrics, which has been a challenge, again due to the material's resistance to binding with other molecules, including traditional inks and dyes. The researchers added colored particles into the powdered polyethylene before extruding the material into fiber form. In this way, particles were encapsulated within the fibers, successfully imparting color to them.

"We don't need to go through the traditional process of dyeing textiles by dunking them in solutions of harsh chemicals," Boriskina says. "We can color polyethylene fibers in a completely dry fashion, and at the end of their life cycle, we could melt down, centrifuge, and recover the particles to use again."

The team's dry-coloring process contributes to the relatively small ecological footprint that polyethylene would have if it were used to make textiles, the researchers say. The team calculated this footprint by using a life cycle assessment tool commonly used by the textile industry. Taking into account polyethylene's physical properties and the processes required to make and color the fabrics, the researchers found it would require less energy to produce polyethylene textiles, compared to polyester and cotton.

"Polyethylene has a lower melting temperature so you don't have to heat it up as much as other synthetic polymer materials to make yarn, for example," Boriskina explains. "Synthesis of raw polyethylene also releases less greenhouse gas and waste heat than synthesis of more conventional textile materials such as polyester or nylon. Cotton also takes a lot of land, fertilizer, and water to grow, and is treated with harsh chemicals, which all comes with a huge ecological footprint."

In its use phase, polyethylene fabric could also have a smaller environmental impact, she says, as it would require less energy to wash and dry the material compared with cotton and other textiles.

"It doesn't get dirty because nothing sticks to it," Boriskina says. "You could wash polyethyelene on the cold cycle for 10 minutes, versus washing cotton on the hot cycle for an hour."

"Though a surprising finding, I think the design of experiments and the data are quite convincing," says Shirley Meng, a materials scientist at the University of California at San Diego, who was not involved in the research. "Based on the data presented in the paper, the particular PE fabric reported here depicts superior properties than those of cotton. The main point is that recycled PE can be used to make textile, a product with significant value. This is the missing piece of PE recycling and circular economy."

The team is exploring ways to incorporate polyethylene fabrics into lightweight, passively cooling athletic apparel, military attire, and even next-generation spacesuits, as polyethylene shields against the harmful X-ray radiation of space.

The international team included researchers from MIT, Polytechnic University of Turin in Italy, U.S. Army Combat Capabilities Development Command Soldier Center, Dana Farber Cancer Institute, INRIM Istituto Nazionale di Ricerca Metrologica in Italy, Defense Agency for Technology and Quality in South Korea, and Monterrey Institute of Technology and Higher Education in Mexico.

This research was supported, in part, by the U.S. Army Research Office, the

Advanced Functional Fabrics of America (AFFOA) Institute, MIT International Science and Technology Initiatives (MISTI), the MIT Deshpande Center, and the MIT-Tecnológico de Monterrey Nanotechnology Program.

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Could we recycle plastic bags into fabrics of the future?

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In considering materials that could become the fabrics of the future, scientists have largely dismissed one widely available option: polyethylene. The stuff of plastic wrap and grocery bags, polyethylene is thin and lightweight, and could keep you cooler than most textiles because it lets heat through rather than trapping it in.

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Das Münchner Biotech-Unternehmen AMSilk wurde 2008 als Spin-off der Technischen Universität (TU) München gegründet. Seit der Gründung vor gut zwölf Jahren ist aus dem Startup ein Unternehmen mit mehr als 30 Mitarbeitern und zahlreichen Kunden auf der ganzen Welt geworden.
2017 als eines der 50 innovativsten Unternehmen weltweit ausgezeichnet, kann AMSilk als erstes und einziges Unternehmen überhaupt biotechnologisch hergestellte Spinnenseide in großem Maßstab produzieren. Das AM im Namen von AMSilk steht dabei für „Advanced Materials" und „Silk" bezieht sich auf die biotechnologisch hergestellte Spinnenseide. Diese Seiden-Biopolymere dienen für verschiedenste Anwendungen, unter anderem in der Luftfahrt-Industrie und in den Bereichen Medizin, Lifestyle und Kosmetik.

AMSilk: Wenn aus Bakterien Seide wird

Aber woher kam die innovative Idee, mit dem das Startup gegründet wurde? Dazu erklärt uns das Unternehmen: Im Gegensatz zur traditionellen Seide, die von Seidenraupen in großen Mengen produziert wird, stellen Spinnen nur kleine Mengen ihrer robusten Fäden her. Weder der Wissenschaft noch der chemischen Industrie war es vor der AMSilk-Gründung gelungen, Spinnenseide in einem für die industrielle Produktion notwendigen und größeren Maßstab herzustellen.

Um dieses Problem zu lösen, ging der Erfinder der Technologie, Thomas Scheibel - der damals an der TU München Professor war - einen anderen, höchst innovativen Weg: Sein patentiertes Verfahren beruht auf dem Einsatz gentechnisch veränderter E.coli-Bakterien. Die Bakterien wurden quasi umprogrammiert, sodass sie Spinnenseidenproteine produzieren. In einem speziellen Verfahren - an dessen Perfektionierung laut CEO Jens Klein über Jahre hinweg gearbeitet wurde - werden diese Eiweißmoleküle nun unter anderem zur Beschichtung von Medizinprodukten verwendet oder zu besonderen Fasern versponnen.

Technologie als Game-Changer

Wir wollten vom Geschäftsführer Jens Klein wissen, wie der Weg der Firma war - von der ungewöhnlichen Idee aus der Forschung heraus bis hin zum Erfolgsunternehmen, das AMSilk heute ist.

Unser Interviewpartner, AMSilk-CEO Jens Klein

Munich Startup: Herr Klein, wie kompliziert war es, Ihre revolutionäre Idee am Markt zu etablieren?
Jens Klein, AMSilk: Ein sehr begehrtes, aber völlig neuartiges Material in großen Mengen zu akzeptablen Preisen zu produzieren und am Markt zu etablieren, ist alles andere als trivial. Wir mussten viele Schritte entwickeln und optimieren, um große und vielfältige Märkte bedienen zu können. Unser interdisziplinäres Team hat hier Großartiges geleistet und inzwischen eine echte Innovation am Markt etabliert. Doch das ist ja nur der Anfang. Wir entwickeln viele weitere interessante Produkte - insbesondere im Bereich Faser, die schon bald in den Geschäften verfügbar sein werden.
Munich Startup: 2017 wurde AMSilk von der Technology Review zu einer der innovativsten Firmen weltweit gewählt. Wie fühlt sich eine solche Auszeichnung an? Munich Startup: Als das Unternehmen 2008 gegründet wurde, gab es weniger Startup-Unterstützung als heute. Was waren für AMSilk in diesem Kontext die größten Herausforderungen?
„Potenzial, etablierte Produkte überflüssig zu machen"

Jens Klein: Dass wir als eines der 50 innovativsten Unternehmen weltweit ausgezeichnet wurden, verdeutlicht das enorme Potenzial der Seidentechnologie. Denn ein völlig neuartiges Produkt wie unsere biotechnologisch hergestellte Seide ist eben nicht nur eine innovative Idee, sondern hat das Potenzial, etablierte Produkte überflüssig zu machen und zu ersetzen - und langfristig ganze Industrien zu verändern. Unser Produkt ist ein echter Game-Changer.
Munich Startup: Herr Klein, Sie kamen 2014 mit an Bord. Wieso zu diesem Zeitpunkt? Können Sie schildern, welche Veränderungen es dadurch in der Firma gab?
Jens Klein: Auch 2008 gab es bereits Startup-Unterstützung, die wir auch umfangreich genutzt haben. Heute sind diese Rahmenbedingungen sicherlich besser, aber im Wesentlichen geht es darum, fehlende Expertise von außen ins Unternehmen zu holen. Dies funktioniert über Startup-Programme oder auch durch relevante Branchenexperten. Natürlich ist eine ausreichende Finanzierung mit Fokus auf unternehmerisches Handeln immer essenziell. Hier hatten wir das Glück, von Anfang an die richtigen Investoren mit an Bord zu haben. (Anm.d. Red.: Die Idee überzeugte neben dem Münchner MIG Fonds auch den Investor AT Newtec, hinter dem die Hexal-Gründer Andreas und Thomas Strüngmann stehen.)

„Fehlende Expertise von außen ins Unternehmen holen"

Jens Klein: AMSilk hat eine hochinnovative Technologie, die in der Lage ist, beim Umbruch etablierter Industrien hin zu einem ressourcenschonenden Wirtschaften eine wichtige Rolle zu spielen. Die Technologie allein hilft allerdings wenig, wenn man nicht auch Produkte mit Erfolg am Markt etablieren kann.
Munich Startup: Was ist nach Ihrer Meinung der ausschlaggebende Faktor für eine erfolgreiche und auch nachhaltige Unternehmensentwicklung? Munich Startup: Sehen Sie sich noch als Startup?
Das genau war eine meiner zentralen Aufgaben, als ich im Jahr 2014 zur AMSilk kam: Fokussierung auf marktfähige Produkte in den Bereichen Kosmetik, Textil und Medizintechnik. Und das ist ganz sicher auch für andere Startups in ähnlicher Situation essenziell. Gerade junge Unternehmen in Deutschland erfinden immer wieder neue und auch herausragende Technologien. Doch leider scheitert sehr häufig die Umsetzung solcher Ideen in marktfähige Produkte.

Die Gründe dafür sind vielfältig: oft fehlt Venture Capital, oft aber auch die notwendige Fokussierung auf marktfähige Produkte - und nicht selten fehlt gerade in diesem Bereich auch die personelle Expertise. AMSilk hat gezeigt, dass wir mit unserer hochinnovativen Technologie auch gute Umsätze und gute Margen erzielen können. Vor einem halben Jahr haben wir uns von einer unserer Sparten, der Kosmetik, getrennt und sie an den Schweizer Konzern Givaudan verkauft. Auch das war ein richtiger und notwendiger Schritt für weiteres und nachhaltiges Wachstum.

„Zusammenhalt und Fokussierung auf das Wesentliche"
Munich Startup: Welchen Rat können Sie anderen Gründern mit auf den Weg geben?
Jens Klein: Der entscheidende Faktor für eine erfolgreiche und nachhaltige Unternehmensentwicklung liegt in den Mitarbeitern. Zusammenhalt und die notwendige Fokussierung auf das Wesentliche - Wertgenerierung für das Unternehmen und seine Gesellschafter - sind dabei besonders wichtig.
Munich Startup: Das ist ein wunderbares Fazit. Vielen Dank für das Gespräch.
Jens Klein: Nach vielen Jahren der Entwicklung befindet sich die AMSilk aktuell in der Kommerzialisierungsphase. Wir beliefern unsere Kunden mittlerweile im Tonnenmaßstab und viele Endprodukte sind bereits am Markt erhältlich. Operativ sehen wir uns daher eher als aktives Unternehmen im Markt, aber bei einigen anderen Aspekten sind wir sicherlich noch ein Startup.

Insbesondere die hohe Flexibilität, der hohe persönliche Einsatz jedes Mitarbeiters - auch über das eigene Aufgabengebiet hinaus - sowie der innovative Ansatz sprechen dafür.

Die Welt aktiv um neue Ideen bereichern

Jens Klein: Durchhalten, auch in schweren Zeiten. Denn die Chance, aktiv dazu beizutragen, neue Ideen und neue Produkte am Markt zu platzieren, die wiederum neue Eigenschaften haben und idealerweise unseren Planeten nicht weiter belasten, bietet sich doch nicht häufig im Leben. Oder?

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AMSilk: Biotech-Spinnenseide als Game-Changer - Munich Startup

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Das Münchner Biotech-Unternehmen AMSilk wurde 2008 als Spin-off der Technischen Universität (TU) München gegründet. Seit der Gründung vor gut zwölf Jahren ist aus dem Startup ein Unternehmen mit mehr als 30 Mitarbeitern und zahlreichen Kunden auf der ganzen Welt geworden.

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World's first textile to meet highest Cradle to Cradle Certified™ level

C&A's Platinum certified denim fabric paves the way for sustainable product innovations

Developed in partnership with Rajby Textiles Ltd. and the Circular Economy advisor Eco Intelligent Growth (EIG)

Introduced at the world's leading Cradle to Cradle event, the C2C Congress 2020 in Berlin

Dusseldorf / Berlin, 31 January 2020 - In keeping with C&A's pioneering spirit and commitment to driving innovation in circular fashion and sustainability, the fashion retailer is proud to announce another world's first with ' Beluga Denim' - the first fabric ever to be awarded Cradle to Cradle Certified™ Platinum. Beluga Denim is currently the only fabric certified at this level worldwide by the Cradle to Cradle Products Innovation Institute. The fabric will be introduced at the world's leading Cradle to Cradle event today, the C2C Congress 2020 in Berlin.

To create the world's most sustainable denim fabric, C&A partnered with long-term supplier Rajby Textiles Ltd. and the Circular Economy advisor Eco Intelligent Growth (EIG). EIG collaborated with MBDC on the material health assessment component of the multi-faceted certification.

The material properties and production process were carefully developed and rigorously tested to meet the highest-level requirements for all five Cradle to Cradle Certified™ categories: material health, material reutilization, renewable energy and carbon management, water stewardship and social fairness.

The research to identify the most suitable materials and chemicals, to enable the product to be effectively recycled, was the result of a collaborative effort between Rajby, its supplier Archroma, EIG and C&A.

Rajby's Beluga Denim for C&A is manufactured with 100 percent rapidly renewable resources and is fully recyclable. The new fabric is optimised for material health, from Global Organic Textile Standard (GOTS) certified organic cotton fibre to the process chemicals. Additionally, the process water is kept in a closed loop devised specially for this project and the final manufacturing stage is 100% carbon neutral.

This latest achievement represents another important step in C&A's journey towards circular fashion. A journey that began in 2017 when C&A became the first fashion retailer worldwide to launch Cradle to Cradle Certified™ Gold T-shirts. In 2018, the brand launched another global innovation with the first Cradle to Cradle Certified™ Gold jeans.

" We owe this new success to the initial inspiration of William McDonough as well as to the strong spirit of collaboration with our supply chain partner Rajby Textiles Ltd., whose knowledge and determination were instrumental in achieving this breakthrough," said Jeffrey Hogue, C&A's Chief Sustainability Officer, at the C2C Congress 2020 in Berlin. " C&A is proud to be the first fashion brand to achieve the highest certification level within the Cradle to Cradle Certified™ Product Programme, but as with our other circular innovations, we aim to share our knowledge open source to create a pathway towards circularity for the industry. "

About C&A
With nearly 1,900 stores in 21 countries worldwide and around 51,000 employees, C&A is a leading fashion retail business. C&A welcomes and provides millions of visitors each day with good quality fashion at affordable prices for their entire family. C&A is an enterprise of COFRA Holding AG with a presence in Europe, Brazil, Mexico and China. For more information, see www.c-a.com.

www.twitter.com/ca_europe
www.linkedin.com/company/c&a/
www.instagram.com/ca
www.facebook.com/ca

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31 january 2020 – in keeping with c&a’s pioneering spirit and commitment to driving innovation in circular fashion and sustainability

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the fashion retailer is proud to announce another world’s first with ‘beluga denim’ – the first fabric ever to be awarded cradle to cradle certified™ platinum. beluga denim is currently the only fabric certified at this level worldwide by the cradle to cradle products innovation institute. the fabric will be introduced at the world’s leading cradle to cradle event today

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C&A launches world's most sustainable denim: Cradle to Cradle Certified™ at Platinum level

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Dusseldorf / Berlin, 31 January 2020 - In keeping with C&A's pioneering spirit and commitment to driving innovation in circular fashion and sustainability, the fashion retailer is proud to announce another world's first with 'Beluga Denim' - the first fabric ever to be awarded Cradle to Cradle Certified™ Platinum.

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This product is C2C CertifiedCM since

2020

Product information on C2C product Innovation institute

Beluga is a range of Rajby Textile's denim fabrics manufactured using a process and components, including fiber and chemicals, that are designed to be safe for people and the planet.

To meet the active cycling requirement, Rajby has committed to use the Beluga denim fabric exclusively in apparel products sold by retailers with take back programs in place and estimated expected cycling rates for such products. Rajby collaborated with C&A, which led the research and quantification for this initial certification through its "We Take it Back" Program and will track active cycling rates through this program.

Fabrics range from 4oz to 13oz, with 2x1, 3x1, 4x1 or Bull Denim construction.
This product is synchronized with the Cradle to Cradle Products Innovation Institute.

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2020 Beluga is a range of Rajby Textile's denim fabrics manufactured using a process and components, including fiber and chemicals, that are designed to be safe for people and the planet. To meet the active cycling requirement, Rajby has committed to use the Beluga denim fabric exclusively in apparel products sold by retailers with take back programs in place and estimated expected cycling rates for such products.

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"‘Skin II’, in collaboration with microbiologist Dr. Callewaert, explores the benefits of encapsulating probiotic bacteria into the fibres of clothing. These are activated when they come into contact with the moisture on our skin, therefore the probiotics are strategically placed in key areas where you would normally sweat. The encapsulated bacteria are associated with reduced body odour, encouraging cell renewal, and improving the skin’s immune system. This project not only replaces the need for chemical fabric finishes, but also reduces the need to wash your clothes as frequently. Skin II aims to use what is natural on our bodies to advance the performance of clothing."

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FINALIST

Rosie Broadhead

Rosie Broadhead is an apparel designer specialising in biomaterials in the fashion industry. A graduate from Central Saint Martins' MA 'Material Futures' course, she has a background designing for luxury brands such as Aitor Throup and Cherevichkiotvicki, and R&D at cyclewear brand Rapha. She is interested in the interaction between skin and clothing, and how science and technology will influence the future of fashion. By looking at what is natural on our bodies, Rosie looks at how we can create sustainable yet functional clothing.

'Skin II', in collaboration with microbiologist Dr. Callewaert, explores the benefits of encapsulating probiotic bacteria into the fibres of clothing. I created a probiotic bodysuit where I encapsulated bacteria within the textiles to improve the skin microbiome. These bacteria are activated when they come into contact with the moisture on our skin, allowing them to dominate other less beneficial bacteria. For optimal results, the probiotics are strategically placed in key areas where you would normally sweat, under the arms, and down the back. The encapsulated bacteria are associated with reduced body odour, encouraging cell renewal, and improving the skin's immune system. This project not only replaces the need for chemical fabric finishes but also reduces the need to wash your clothes as frequently. In order to sustainability in fashion, I wanted to recognise good health and wellbeing, industry innovation and responsible consumption and production. 'Skin II' aims to use what is natural on our bodies to advance the performance of clothing.

I became interested in the interaction between clothing and skin through working in performance sportswear. My discovery into bacteria and skin started through my interest in how the body functions. I started to look at cosmetics, and technical fabrics and how these products co-interact with skin. I was concerned about the chemicals used in certain fabric finishes that can be toxic to the skin and body. Primarily, I wanted to create clothing that was healthy for our skin with minimal impact on the environment. I began looking at how our body functions naturally, which led me on the skin microbiome, and the importance of healthy bacteria on our bodies. I realised how you could potentially manipulate your skin microbiome through what you put on your skin directly and wanted to relate this to textiles. I began to develop probiotic clothing, by incorporating healthy bacteria into textile. The bacteria is activated with moisture and will start to colonise on the skin. This change in the skin microbiome is associated with reducing your body, encouraging cell renewal and improving the skin's immune system. This replaces the need for anti-bacterial chemicals on your clothes and reduces the need to washing clothes so regularly.

Skin II, is a probiotic clothing concept that is encapsulated with healthy bacteria to improve your skin microbiome. I made a body suit to be worn next to the skin. There bacteria are activated with sweat so I designed the garment so the bacteria were positioned in areas that were most likely to come into contact with the moisture on your skin, such as the chest, underarm, back. I also chose natural yarns when developing the fabric of the final probiotic pieces, as it's more likely to promote healthy bacteria growth. I work closely with microbiologist Dr Chris Callewaert based at Ghent University. We developed several methods to microencapsulate the bacteria within the textiles. Throughout the project, we conducted lab testing, and wear testing trials to clarify the best method and process. Through lab testing, we were able to test the exact bacteria count present on the textile. I have washed the garment at 30 degrees and the bacteria has stood up well to those temperatures. Once the bacteria is encapsulated I cut out, and sew the garment together. The probiotic garment is displayed on a lightbox to see where the bacteria is encapsulated within the piece.

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Skin II | YouFab Global Creative Awards 2019

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FINALIST Rosie Broadhead Rosie Broadhead is an apparel designer specialising in biomaterials in the fashion industry. A graduate from Central Saint Martins' MA 'Material Futures' course, she has a background designing for luxury brands such as Aitor Throup and Cherevichkiotvicki, and R&D at cyclewear brand Rapha.

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Design to Fade

the first sports collection dyed by bacteria

After more than 3 years of research with Kukka's biodesign project Living Colour, we teamed up with PUMA Innovation to lead the way to a zero-waste future and a new aesthetic.

By designing and dyeing products with pigmented bacteria we reinvent the way we make sportswear and minimise the negative effects on the environment.

The bacteria are responsible for a portion of the design and manufacturing, which involves no toxic chemicals. We use natural occurring bacteria that feed off nutrients and ferment these into pigments. The bacteria are cultivated on the textile itself, while dyeing it at the same time.

This live dyeing process leaves visible growth patterns on the fabric that are unique to each dye batch. To dye fabrics in an even colour the pigment is extracted from the bacteria and used as a dye.

The collection consists of six garments, based on PUMA's iconic archive styles - like the T7 jacket, the retro running shorts and the windbreaker jacket - socks and shoes. We deconstructed the patterns and started designing new looks.

For this collection we were also inspired by the Red-backed Salamander. The bacteria we use protect this salamander from a deadly fungus. We used the fluid shapes of the salamander combined with gender neutral silhouettes.

Made from a variety of moisture wicking synthetics and natural fibres like silk and hemp, the collection shows the many dyeing possibilities.

Same as in nature, the colour of the textiles change with the seasons of the garment or shoe, enhancing the uniqueness of each garment and the activity of the wearer.

"If we take examples out of nature
and learn to see its value,
we can organise our manufacturing process
as a well functioning ecosystem."

Design to Fade is part of PUMA's yearly biodesign exhibition at Milan Design Week, in which the company is presenting new ways to reduce the environmental impact of fashion and sportswear. Though none of these projects have yet reached a commercial stage, they are an important step towards making PUMA more sustainable in the future.

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Design to Fade the first sports collection dyed by bacteria After more than 3 years of research with Kukka's biodesign project Living Colour , we teamed up with PUMA Innovation to lead the way to a zero-waste future and a new aesthetic.

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At present we live in a time when the resources of our planet are being transformed into products at a speed far exceeding the natural rate of self-renewal of the biosphere. Consequences of excessive production and consumption can be seen in the impact on our global climate. Forest fires, species extinction and a rapid increase in temperature are only a small part of the effects of this irresponsible use of our resources.

A large part of global emissions are caused by the clothing industry. Sneakers are also among the clothing products that are often discarded after a short lifespan. The complicated construction and the use of different materials (rubber, textile, various plastics, etc.) make it almost impossib- le and unprofitable to disassemble and recycle a pair of trainers after use.

Because this is a very wasteful use of resources, it is up to designers to look at alternatives. This includes the use of „unconventional" resources such as waste material.

However, sustainable design includes not only the raw materials but also the manufacturing process, which has a major impact on the ecological footprint of the product. The idea was to develop such a comprehensive sustainable design in the field of footwear. It was important to use natural, renewable raw materials, to enable individual ad- aptation to the user and local production with the lowest possible energy consumption.

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At present we live in a time when the resources of our planet are being transformed into products at a speed far exceeding the natural rate of self-renewal of the biosphere. Consequences of excessive production and consumption can be seen in the impact on our global climate.

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Pailleten/Algen/One x One Charlotte McCurdy/Philip Lim

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co2 positiv

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Keenly aware of the negative effects of conventional of textiles, Lim has been a champion for a number of years of natural fibers and materials with low environmental impact.

Together, they embarked upon a journey to employ carbon neutral materials to reimagine a new conscious luxury.

"We were inspired by shades of green and how photosynthesis happens, how light reflects and refracts. We imagined this whole ecosystem of marine life, from fishing nets, as the fabric which the sequins would go on, to pearls and crystals inspired by oysters, deconstructing and reconstructing this ecosystem." - Phillip Lim

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Keenly aware of the negative effects of conventional of textiles, Lim has been a champion for a number of years of natural fibers and materials with low environmental impact. Together, they embarked upon a journey to employ carbon neutral materials to reimagine a new conscious luxury.

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PPRMINT™ is a durable odor control finish and broad-spectrum antimicrobial treatment that enables our products to stay fresher for longer.

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There is a common misconception that all clothes need to be washed after every wear; this has led to a culture of over-washing, which has a negative impact on fabrics and the environment.

Laundry is water and energy-intensive, and releases chemicals into waterways, both from the treated garment and the washing detergents.

PPRMINT™ is a durable odor control finish and broad-spectrum antimicrobial treatment that enables our products to stay fresher for longer.

Treating our products with natural, plant-based peppermint oil neutralizes and prevents the growth of odor-causing bacteria. Due to its antibacterial properties, you can wear clothing treated with PPRMINT™ many times before they need washing.

We use the Mentha piperita plant for this; it's grown worldwide, with the leading peppermint cultivation found in America's Pacific Northwest. The peppermint essential oil is extracted by steaming and without the need for any solvents or other chemicals.

Many clothing companies use harmful treatments involving silver and other metals to control odor trapped in clothing. While these treatments may reduce the need for excessive washing, they leach the metals and other chemicals used our waterways that can be toxic for wildlife, humans and the planet. Research* has shown that antibacterial treatments using silver pose a threat to our seas and lakes.

The antibacterial effect lasts as many as 50 washes, without impacting the material's texture, color or other physical properties. This saves you water, energy and time while protecting the planet in the process.

We have been piloting this treatment on a few styles, starting with our Seaweed Fiber T-shirts (as T-shirts are the most "high wash" pieces in our offering). Our plan for 2021 is to gradually add this treatment to the rest of our range.

*A research report by The Swedish Water & Wastewater Association claims that antibacterial treatments using silver pose a threat to our seas and lakes.

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PPRMINT™ Oil Treatment Treatments PPRMINT™ Oil Treatment Treatments The average household uses over 100,000 gallons of water per year, and one of the main reasons for this is washing our clothes.

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FLWRDWN™ is a fully biodegradable material, created with natural​ wild flowers, a biopolymer and infused with aerogel for performance and durability. Our ​proprietary ​technology​ ​has taken our scientists​ ​10 years​ ​of in-​lab​ research and development. It is the ​warm​, ​breathable​, ​hypoallergenic​ and ​cruelty-free​ alternative to goose and duck down - kind to your skin, as well as your planet.

FLWRDWN™ is a registered PANGAIA patent.

Looking for answers?

Visit our Flower Down FAQs page here

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FLWRDWN™ is a fully biodegradable material, created with natural​ wild flowers, a biopolymer and infused with aerogel for performance and durability. Our ​proprietary ​technology​ ​has taken our scientists​ ​10 years​ ​of in-​lab​ research and development. It is the ​warm​, ​breathable​, ​hypoallergenic​ and ​cruelty-f

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Eucalyptus Pulp/Seaweed Powder based

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Did you know it requires around 3,000 liters of water to make one cotton shirt? Manufacturing clothing uses a lot of resources, from cultivating the cotton to processing the textiles-it's an energy-intensive process. Meanwhile around one quarter of the chemical substances manufactured in the world are used to make textiles. Traces of these chemicals can end up in our waterways, from lakes and oceans to the water that comes out of our faucets.

These are inefficient uses of precious resources like water and energy. That's why we wanted to be part of a natural solution and change the way clothing is made.

Meet C-FIBER™: Our latest innovation that turns nature into fabric using eucalyptus pulp from the Earth and seaweed powder from the ocean. This creates soft and silky styles you can wear that support the ecosystems we use to make it, and gives back to the planet what we take.

Seaweed is a naturally regenerative resource . It grows abundantly under the sea, meaning no fresh water use is needed during the growth stage. We harvest ours every four years from Iceland, allowing for full regeneration in between.

Our trademark technology C-FIBER™ combines eucalyptus pulp and seaweed powder to create problem-solving science you can wear. The resulting fabric is water-saving, carbon neutral and 100% biodegradable.

Our trademark technology C-FIBER™ combines eucalyptus pulp and seaweed powder to create problem-solving science you can wear. The resulting fabric is water-saving, carbon neutral and 100% biodegradable.

What is a 'regenerative resource'? One that can naturally regrow to its full size after part of it has been removed.

The eucalyptus pulp is turned into lyocell (a biobased man-made fiber), made through a closed-loop production system-a process that recycles water and reuses up to 99% of the solvents used. This creates very little waste and results in a fiber that biodegrades in water, landfills and composting environments. As eucalyptus also grows quickly without irrigation, pesticides, and can be grown on extremely dry land, this material embodies complete circularity , beginning and ending in nature.

Did you know materials made from one ingredient can harm the diversity in our ecosystems?

This is because high demand for one 'ingredient' promotes the practices of monocropping, encouraging monoculture plantations.

To protect the balance of nature, we're creating materials that give back to the environment as much as they take. Our C-FIBER™ is made from abundant plants that use ocean water and rainfall instead of scarce fresh water resources (groundwater, aquifers, etc.), and reuses elements from the production process to create closed-loop systems.

It's water and energy efficient
Seaweed grows abundantly in its natural saltwater ocean habitat. Eucalyptus grows quickly without irrigation, pesticides and can be grown on extremely dry land. Both ingredients use renewable energy in their production processes and neither raw material needs additional fresh water to grow.

The fabric is 100% biodegradable and carbon neutral
That means when you're done with it, it biodegrades in soil, landfill or water and returns back into the Earth. A perfect example of biological circularity.

It's just as comfortable as your favorite t-shirt, but better for the planet
C-FIBER™ Pure (silky, smooth feel), C-FIBER™ Fusion (soft, fuzzy feel) and styles with C-FIBER™ (soft cotton feel).

C-FIBER™

The eucalyptus pulp is turned into lyocell (a biobased man-made fiber), made through a closed-loop production system-a process that recycles water and reuses up to 99% of the solvents used. This creates very little waste and results in a fiber that biodegrades in water, landfills and composting environments. As eucalyptus also grows quickly without irrigation, pesticides, and can be grown on extremely dry land, this material embodies complete circularity , beginning and ending in nature.

More Innovative Materials

Watch this space

This is just the start. We're working on more material innovations, impact initiatives and expanding our product range. Check back for our latest updates.

Last Updated : 03.02.2021

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C-FIBER™ Biobased Fibers C-FIBER™ Biobased Fibers Our trademark technology C-FIBER™ combines eucalyptus pulp and seaweed powder to create problem-solving science you can wear. The resulting fabric is water-saving, carbon neutral and 100% biodegradable. The Problem Did you know it requires around 3,000 liters of water t

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Wildblumen/Biopolymer

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Material science company Pangaia developed a vegan and plastic free down alternative made of wildflowers and a biopolymer, called FLWRDWN.
To keep warm, duck or goose down is a popular material to stay warm, whether it is stuffing for your puffer jacket or a sleeping bag. However, down is often produced under cruel circumstances. Additionally, it is flammable and not very hygienic. Of course, there are alternatives to down, but these are often synthetic and made of polyester fibres.

After 10 years of development, Pangaia developed vegan technology that can turn wildflowers in a down alternative. The flowers are mixed with a biopolymer and infused with aerogel for performance and durability.

The wildflowers are sourced from areas that contribute to habitat restoration, while helping to conserve a species of local butterflies. This kind of regenerative agriculture results in a reduction of greenhouse gas production (12 tons of CO2 per hectare of plant material). The method also helps to preserve groundwater, as it doesn't require irrigation.

The resulting material is warm, breathable and hypoallergenic, while offering a cruelty free alternative to goose and duck down. At end of life, FLWRDWN is fully biodegradable.
Photos: Marili Andre / Pangaia

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Plastic free vegan down alternative made of flowers - MaterialDistrict

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Material science company Pangaia developed a vegan and plastic free down alternative made of wildflowers and a biopolymer, called FLWRDWN. To keep warm, duck or goose down is a popular material to stay warm, whether it is stuffing for your puffer jacket or a sleeping bag. However, down is often produced under cruel circumstances.

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"LAB_MADE" illustrates the potential of grown pigments. These samples have been dyed with pigments obtained from bacteria. Bacteria can be grown instead of produced and their rapid production rate makes them an interesting resource to work with.

As a result of a cross-disciplinary research supported by Textiellab Amsterdam, UMC, and WaagSociety, designer Karlijne Opmeer developed a microbial colour library produced by bacteria in a closed system with little water and energy; a sustainable alternative to todays dyeing industry. A living colour palette is created which serves as a starting point that can potentially write the future of the dyeing industry.

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"LAB_MADE" illustrates the potential of grown pigments. These samples have been dyed with pigments obtained from bacteria. Bacteria can be grown instead of produced and their rapid production rate makes them an interesting resource to work with.

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Living Colour is a biodesign research project exploring the possibilities of natural and sustainable textile dyeing with pigment producing bacteria.

Kukka wants to bring beauty to the world. Not only aesthetically but also socially and responsibly. Our work field, the fashion and textile industry, is one of the most polluting and exploiting industries worldwide. Kukka wants to contribute to a new system, one that treats the planet and its inhabitants with respect and care.

Kukka's vision for a sustaining future is one that is circular, renewable and biobased.

Bacterial dyes can be an alternative to toxic textile dyes. The pigments some bacteria produce are biodegradable and friendly to humans, animals and the environment. Together with scientists we investigate optimum growth conditions for bacterial pigments, ways to scale the dyeing process and the possibilities of growing bacteria in patterns by subjecting them to sound frequencies for example.

The bacteria dye process uses no toxic chemicals, little water, low temperatures and could add beneficial characteristics like an anti-bacterial function to fabrics.

Growing bacteria as a dye factory could lead to a more sustainable way to colour the world.

Cymatics

In the cymatics research we explored the possibilities of growing bacteria in patterns by exposing them to sound frequencies. The resonance of sound frequencies is known to create geometric patterns in matter. This principle is called Cymatics. In solid matter these beautiful patterns are named Chladni figures and Faraday waves in liquids.

Together with sound engineer Eduard van Dommelen we set up a self-built sound installation in the biomedical lab of the Rotterdam University of Applied Sciences and executed several experiments with different frequencies, bacteria and textiles. The results showed textiles dyed in a uniform all-over way with higher saturation than textiles that weren't dyed using sound.

Publication

The cymatics research is published in an open source book made by Laura, available at Issuu. For more background info, also read the blog post.

Materials

What's very remarkable about bacterial dyes is that the dye fixes to almost any fibre, even synthetic fibres. We dyed (organic) cotton, linen, wool, (ahimsa peace) silk, Tencel, viscose, polyester, elastane, polyamide, Pyratex Health fabric and even mycelium by NEFFA and plant root textile by Diana Scherer.

A Circular Outfit

Louise Fresco, chairman of the board of Wageningen University & Research, wore a circular outfit at the opening of the 100th academic year in September 2018. Five Dutch designers developed her ensemble. With Living Colour Ilfa dyed and designed a silk scarf from ahimsa peace silk to complete the outfit. During the centennial festivities we also presented a dyed pocket square to Dutch Prime Minister Mark Rutte. See the outfit and read more on the .

Press

Living Colour is published in international media like Viewpoint Colour, Domus, Stylus, American Scientist, Fast Company, Munique Magazine, Ecotextile, Sourcing Journal, Tactile Trends and Fibre2Fashion. Check out the section for more press publications.

Exhibitions

We have exhibited our textiles, research and process at various exhibitions and trade shows including Dutch Design Week, Material Revolution L.A., London Design Festival, Earth Matters at TextileMuseum Tilburg, Munich Fabric Start, State of Fashion Arnhem, Raw Assembly Sydney, Neuni x Design Shanghai, ColourNext at India Design ID Delhi, Future Fabrics Expo London and Neonyt Berlin.

Talks

Laura gave several inspirational talks about Living Colour, biodesign and sustaibility at Neonyt Berlin , Avantex Paris, TEDxRotterdam, BlueCity, VentureCafé, Colour Materialized Symposium, Natural Dyeing Symposium and Rotterdam University of Applied Sciences.

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Living Colour: dyeing textiles with pigment producing bacteria

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Living Colour is a biodesign research project exploring the possibilities of natural and sustainable textile dyeing with pigment producing bacteria. Kukka wants to bring beauty to the world. Not only aesthetically but also socially and responsibly. Our work field, the fashion and textile industry, is one of the most polluting and exploiting industries worldwide.

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A small piece of fabric fit for a petri dish and dyed by S. coelicolor.

People have used other organisms to dye clothing since prehistory. Archaeologists traced indigo derived from plants to a 6,000-year-old piece of fabric recovered on the coast of Peru. Aztec and Maya peoples extracted a crimson dye from insects on cactus and others in the Mediterranean made royal purple from snails. As I found these stories of natural dyes from all kinds of plants and animals, I found fewer examples of ancient dyes from creatures of the microbial world. There is a long record of making dyes from lichen and mushrooms, but not from the most biodiverse domain of life, the Bacteria. This is not too surprising, since we only began culturing isolated bacterial species a few hundred years ago. And the lack of history in this case is a good thing: it means that the history of using bacteria for dyeing clothing is being made right now.
A blue crinkle in the fabric where fewer colonies grew. Magenta blends into blue as actinorhodin diffuses into areas with fewer colonies. The polyketide antibiotic actinorhodin is one of the keys to the S. coelicolor dying process. Source. An example of bacterially dyed clothing. Image credit: Natsai Audrey Chieza in collaboration with Gingko BioWorks. Image Courtesy of Atacac.
Today, innovative designers like Natsai Audrey Chieza are using actinobacteria to naturally dye textiles. Actinobacteria like Streptomyces species are familiar to microbiologists as organisms that live in the soil with complex lifecycles and robust secondary metabolisms. The multitude of molecules produced by actinobacteria includes many antibiotics and other bioactive compounds, some of which double as pigments. I have worked quite a bit with Streptomyces and knew about the pigments they make. I did not, however, know that they're being used to dye fabric. So when Natsai invited me to collaborate and photograph her recent project as a designer-in-residence at Ginkgo Bioworks, I instantly agreed.
All photographs in this post by Scott Chimileski Get an email whenever there's a new content here on Microbial Sciences and never miss a post!
To photograph the process in detail, we used smaller sections of various fabrics fit for Petri plates. Natsai soaked the fabric pieces in a dilute liquid culture of Streptomyces coelicolor and placed them on the surface of an agar growth medium. After a few days of incubation, colonies formed throughout the plate, both on top of the fabric and in the space between the fabric and the medium. As the colonies grew the millions of cells produced so much pigment that the color became visible to the naked eye, and to my timelapse camera. Eventually the colonies developed fuzzy aerial mycelia and in the end the fabric became like a tie-dye t-shirt, with shades of red, pink, purple and blue.

Looking at the photographs, I wonder now at the biology behind the beautiful patterns. We could certainly get hard answers by chemically mapping the fabrics using advanced mass spectrometry to see which pigment molecules are where and when. In lieu of those experiments, I can speculate. The first key to the patterns is that colonies grow at different rates throughout the plate, and in some locations they do not develop at all. This is due to the texture and placement of the fabric. The bacteria on and nearest to the medium have direct access to water and nutrients and grow best. Meanwhile fewer colonies develop on crinkles of fabric raised above the media, because there the bacteria rely only on what can diffuse up into the fabric and on what nutrients were initially soaked into the fabric. The next key is the pigments themselves. Streptomyces coelicolor produces pink to red prodiginine molecules (like prodigiosin) and the water-soluble molecule actinorhodin. Actinorhodin is exported into the extracellular environment and its color depends on pH; it is blue in typical laboratory cultures. Therefore, the deep magenta of the flat sections of fabric is likely a combination of the red prodiginines which stay with the colonies and blue actinorhodin that is both in the colonies and diffuses out. And the blue color is seen in areas that lack enough cells to detect red from intracellular prodiginines while still close enough to large colonies that actinorhodin diffuses out. The colonies may also be changing the pH of their surroundings as they metabolize nutrients, creating a mosaic of microenvironments and different shades of actinorhodin in more acidic areas. No two pieces of fabric will be the same. Like the subtle flavors of a wine produced by the microbial fermentation of grapes, we don't fully understand how the exact end product arises, and there is added beauty in that mystery.

While this bacterial dyeing process is novel and intriguing, perhaps you are curious if it has any practical purpose. After sourcing dyes from nature for millennia, the synthetic dye industry emerged in the 19th century to meet the demands of mass markets. But synthetic dyes can be toxic and they pollute the environment. So, natural dyes are coming back. However, plants that produce pigments like those used by ancient peoples require a lot of land and water and harvesting animals at scale is inefficient and detrimental to the native ecosystem. Streptomyces coelicolor on the other hand is harmless and easy to grow. One can even imagine it could be genetically tuned for maximal pigment production and scaled up with a small footprint and little impact on the environment. Someday everything from blue jeans to red scarfs may be dyed by bioengineered microbes.

A timelapse showing several days of S. coelicolor growth on fabric in 5 seconds.

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A small piece of fabric fit for a petri dish and dyed by S. coelicolor. People have used other organisms to dye clothing since prehistory. Archaeologists traced indigo derived from plants to a 6,000-year-old piece of fabric recovered on the coast of Peru.

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Garne aus Hundehaaren/Alpaka/Merino/Lyocell (Wolle laut Artikel von deutschen Tierhaltern, die sonst entsorgt werden würde)

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Was bitte ist Chiengora?

Würdest du einen Pullover aus Chiengora, also Hundewolle, tragen? Aus einem Garn, das sich vorher an dem treuen Vierbeiner deiner Nachbarin befand, zum Beispiel?

Falls eure erste Reaktion auf die Frage ein "Ih-bah, niemals!" war, glaube ich, dass dieser Artikel spannend für euch sein könnte. Falls euer erster Impuls "Aber die armen Tiere!" war, ebenfalls.

Chiengora ist ein Garn, das aus der ausgekämmten Unterwolle von langhaarigen Hunden gewonnen wird. Das ist der Flausch, der das Tier im Winter schön warm hält und beim Auskämmen als Fusselball auf dem Boden liegt. Sie hält bis zu 80% wärmer als Wolle und hat klimaregulierende Eigenschaften.

Chiengora ist eine Wortverschmelzung aus dem französischen chien für 'Hund' und Angora und kann unter anderem aus der Unterwolle von Huskys, Smojeden, Collies, Shelties und Australian Shepherds gewonnen werden - aber natürlich auch aus langhaarigen Mischlingen, wobei modus intarsia den Begriff zu vermeiden versucht und lieber von Melange spricht, wie mir Gründerin Ann Cathrin Schönrock in einer Videokonferenz erklärt. In dem alternativen Begriff schwingt eine ganz andere Anerkennung für das Tier und den Rohstoff, den es liefert, mit.

modus intarsia

modus intarsia ist das Start-up, das Chiengora im großen Stil in Deutschland bekannt machen und vor allem darauf aufmerksam machen möchte, dass hier eine wertvolle und ästhetische Ressource jedes Jahr tonnenweise ungenutzt weggeworfen wird: "Allein in Deutschland werden jährlich über 80 Tonnen, in Europa jährlich über 500 Tonnen, von dem Stoff weggeworfen. Das wollen wir ändern!", sagt Ann Cathrin, die irgendwann die ausgekämmte Unterwolle des Hundes ihrer Mutter zur Spinnerei sandte, um ein Garn daraus spinnen zu lassen. Ihr Motto: "Es hat noch nie jemand probiert, deswegen klappt es bestimmt." (Astrid Lindgren)

Ein Garn mit Geschichte

Die Technik, aus Hundehaaren Garn zu gewinnen ist, schon sehr alt: "Die ältesten Funde gibt es an der amerikanischen Westküste bei indigenen Gemeinschaften, die einen Wollhund gezüchtet und das Garn mit der Ziegenwolle gemischt versponnen haben. Irgendwann wurde es lukrativer und praktischer, nur noch die Bergziegen zu halten - dann ist die Produktion der Hundewolle zurückgegangen. Außerdem gibt es einige sibirische Völker, die Samojeden-Vöker beispielsweise, die den Stoff ebenfalls verwendet haben, weil er schlicht vorhanden war", erklärt Franziska Uhl, Mitgründerin von modus intarsia.

Was die beiden Frauen nun machen, ist, den wertvollen Rohstoff, der in seiner Qualität mit Luxus-Fasern wie Mohair, Angora und Kaschmir zu vergleichen ist, vor der Mülltonne zu bewahren, indem sie ihn als hochwertiges Garn dem textilen Markt zugänglich machen. Dazu haben sie ein neues System der Rohstoff-Gewinnung etabliert, das es so vorher noch nicht gab (s. unten) und in langwieriger Forschungsarbeit ein eigenes Spinnverfahren, exakt auf Chiengora zugeschnitten, entwickelt.
Warum hat man eigentlich irgendwann keine Textilien mehr aus Chiengora hergestellt?
Franziska meint: "Das wurde ab einem bestimmten Zeitpunkt nicht weitergeführt, weil der Hund ein sehr teures und aufwändiges Nutztier wäre, wenn man ihn zu diesem Zweck halten würde. Das würde sich nicht lohnen - daher ist die Hundewolle von der industrialisierten Gesellschaft nicht weiter verfolgt worden." Ann Cathrin ergänzt: "Man kann Hunde nicht in Herden halten wie man es mit anderen Woll-Lieferanten, wie Ziegen oder Schafen, machen kann. Das ist nicht lukrativ."

Chiengora kann also nur als Neben- oder Abfallprodukt weiterverwendet werden - alles andere würde sich schlicht nicht lohnen. Also muss man auch keine Angst vor Hundefarmen und Massentierhaltung von Australian Shepherds haben? "Wenn man damit schnell Geld machen könnte", sagt Ann Cathrin, "hätte das schon lange jemand gemacht. Wir machen das aus dem Bedürfnis heraus, diese Ressource zu retten und ein Umdenken in der Textilindustrie anzustoßen."

Woher kommt Chiengora?

Diese Ressource stammt vor allem aus Privathaushalten: Alle, die langhaarige Hunde pflegen ( hier ist eine Übersicht, welche Rassen sich beispielsweise gut für Chiengora eignen), können die ausgekämmte Unterwolle bei modus intarsia einsenden. Das kann als Spende passieren - aber ihr könnt dafür auch entlohnt werden: Bis zu 45€ bezahlen Ann Cathrin und Franziska pro Kilo hochwertiger Wolle. "Das ist viel Geld und internationaler Durchschnitt für das, was unter anderem für Kaschmir gezahlt wird."

Aber die Entschädigung gibt doch Anreize, sich jetzt ganz viele Tiere zuzulegen, um die Wolle "ernten" zu können, oder?

"Es würde sich niemals, niemals lohnen, sich dafür ein Tier anzuschaffen", betont Ann Cathrin. "Das ist uns extrem wichtig: Wir wollen auf keinen Fall, dass mehr Hunde gehalten werden, von Massentierhaltung ganz zu schweigen. Für diesen Zweck lohnt sich das vorne und hinten nicht. Das ist der Grund, weshalb das bisher nicht gemacht wird. So haben wir die Gewissheit, dass sich daraus keine Industrie entwickelt, die Tierleid produziert." Der Betrag sei lediglich als kleine Entschädigung zu verstehen, nicht als Gehalt. Allein das Hundefutter, eine Voraussetzung für gut gepflegtes Fell, kann diese Entschädigungssumme bereits übersteigen.

Und es geht wieder um Wertschätzung: "Unsere Berater*innen sagen uns andauernd, dass wir blöd sind, für einen Rohstoff, den wir umsonst haben könnten, zu bezahlen. Doch uns ist wichtig, die Wertschätzung für den Rohstoff von Anfang an weiterzugeben." Alternativ gibt es auch die Möglichkeit, 50% zu spenden und 50% des Wertes ausgezahlt zu bekommen. Gespendet wird an Tierschutzorganisationen, zum Beispiel SOS Dogs Romania, aber auch Sea Shepherd oder den Tierschutzbund. So seien schon jetzt mehrere tausend Euro an Spenden zusammengekommen, erzählen die beiden.

Wichtig sei zunächst, das Handstrickgarn von dem industriellen Garn zu unterscheiden: Aktuell bietet modus intarsia im Crowdfunding und auf der eigenen Website Handstrickgarn an, das mit anderen tierischen Fasern, wie Alpaka oder Merino, gemischt ist. Die industrielle Faser, um die es langfristig geht, werde nur mit Lyocell vermischt und sei daher komplett tierleidfrei.
Einige Garne sind Mischgarne - zum Teil mit Alpaka oder Merino. Wie passt das mit dem Argument, kein Tierleid verursachen zu wollen, zusammen?
Franziska sagt: "Für unsere Alpaka-Wolle arbeiten wir mit 2 Alpaka-Höfen in Deutschland zusammen. Diese Wolle wird normalerweise ebenfalls weggeworfen. Gestern habe ich mit der Frau telefoniert, die uns für die Crowdfunding-Kampagne mit Alpaka-Wolle beliefert. Sie hat die Wolle die ganze Zeit auf dem Dachboden gelagert. Ich habe ihr im Prinzip die Wolle von den letzten 3 Jahren abgekauft - sie hält die Alpakas und die Tiere müssen ohnehin geschoren werden. Natürlich ist es aus veganer Perspektive fraglich, warum jemand Alpakas im Hof stehen haben muss. Dennoch ist die Wolle nun einmal in Deutschland vorhanden und wir kaufen sie den Leuten ab und nutzen sie. Die Merinowolle beziehen wir ebenfalls von deutschen Schäfer*innen. Deutsche Schurwolle wird aktuell fast immer verbrannt, weil sie normalerweise für die Textilherstellung zu grob ist. Deutsches Merino ist 5 Mal so grob wie das Merino, das man aus Neuseeland oder Australien bekommt und wird daher nicht oft in der Textilbranche verwendet."
Woher kommen nun die tierischen Fasern?
Ann Cathrin ergänzt: "Die Merinoschafe, von denen wir die Wolle verwenden, werden nicht für die Wollproduktion gehalten - sondern für die Landschaftspflege. Dafür, Rasen abzugrasen. Für die Landschaftspflege ist die Wolle ein Nebenprodukt, das nicht gebraucht und darum vernichtet wird."

Wo und wie wird produziert?

Das oberste Prinzip von modus intarsia ist die niedrige Öko-Bilanz. Das beutetet, dass Produktionswege so kurz wie möglich gehalten werden: Derzeit findet fast die gesamte Verarbeitung der Faser - vom Sammeln bis zum Spinnen - in Deutschland statt.

Das System funktioniert so:

Die Wolle kommt (per direkter Sendung oder über Sammelstellen) in den Lagern von modus intarsia an.

Dort wird sie tabellarisch erfasst und nach Qualität und Farbe (Handstrickgarn) sowie Faserlänge (Industriegarn) sortiert.

Anschließend wird der Rohstoff in die Wäscherei gegeben. Dort wird die Wolle - im Gegensatz zur Wäsche der normalen Schafwolle, die sehr umweltschädlich und wasserintensiv ist - nur einmal eingeweicht und mit ökologischem Waschmittel durchgespült. Weil die Halter*innen die Hunde ohnehin gut pflegen, reicht das aus, um den Geruch aus dem Rohstoff herauszuwaschen. Anschließend wird die Wolle luftgetrocknet. Das alles passiert in einem kleinen Betrieb in Sachsen. "Ökologischer geht es kaum", meint Franziska. Nach der Wäsche ist die Wolle auch von potenziellen Allergenen befreit, sodass auch Menschen, die eine Hundehaar- oder -speichel-Allergie haben, Textilien aus Chiengora tragen können. (Genauso, wie jemand, die*der gegen Ziegen allergisch ist, Kaschmir tragen kann. Das ist allerdings noch nicht wissenschaftlich, sondern bisher erst in Praxistests bestätigt.)

Wenn sie gewaschen ist, kommt die Wolle entweder in die Handstrick- oder Industrie-Spinnerei. Für das Handstrick-Garn arbeiten die beiden Gründerinnen mit kleinen und regionalen Naturfasermühlen zusammen. Für jede Garn-Qualität gibt es eine separate Spinnerei, in der die Wolle verarbeitet wird - insgesamt sind es 4 Betriebe.

Einzig für das Industriegarn muss modus intarsia auf eine Spinnerei in Norditalien ausweichen - "weil die Kompetenz in Deutschland schlicht nicht mehr vorhanden ist." Von der Streckenlänge her ist Norditalien allerdings noch nah genug, um möglichst kurze Lieferwege garantieren zu können.

Es sei sehr schwierig gewesen, Spinnereien zu finden, die sich auf das Experiment Chiengora einlassen wollten, erzählen Ann Cathrin und Franziska: "Die Suche war wirklich lang und wir haben wahrscheinlich mit jeder Spinnerei, die es in Deutschland noch gibt, telefoniert (und das sind nicht mehr viele). Wir haben fast nur Absagen bekommen, bevor wir die Menschen von uns überzeugen konnten."

Und es gibt noch ein weiteres Problem: "Für diese Spinnereien werden wir im nächsten Jahr als Unternehmen zu groß werden - aber für die großen Betriebe immer noch zu klein sein. Den Mittelstand, der früher die deutsche Textilindustrie geprägt hat, ist in den letzten Jahren komplett weggebrochen. Da stehen wir vor einem großen Dilemma: Der nächste Spinner, der unsere Qualität produzieren könnte, wäre in Tschechien oder Ungarn. Eigentlich würden wir aber gerne in Deutschland bleiben mit der Produktion. Es ist sehr, sehr anstrengend, das alles regional in Deutschland zu halten."

Die Priorität auf Fairness und kurze Lieferketten schlägt sich auch im Preis der Produkte nieder: "Wir zahlen einen fairen Preis für die Hundewolle und faire Löhne in Deutschland. Die einzige Möglichkeit, die Kosten zu senken, wäre, ins Ausland zu gehen - das ist für uns aber keine Option."

Was ist mit den CO2-Emissionen?

Das Zielt von modus intarsia ist es, konventionelle tierische Materialien, die oft mit viel Tierleid verbunden sind und durch lange Transportwege eine sehr hohe CO2-Bilanz aufweisen, in großem Maßstab durch Chiengora zu ersetzen. Dadurch, dass die Hundewolle ein Rohstoff ist, der ohnehin anfällt und bisher weggeworfen wird, ergibt sich eine Start-CO2-Bilanz von 0. "Das unterscheidet unser Chiengora massiv von Stoffen wie Baumwolle oder Schafwolle", erklärt Franziska. "Dazu kommt, dass unser Versand nur innerhalb Deutschlands und nicht aus China, Neuseeland oder Südafrika stattfindet."

Lediglich die Logistik hinter dem Sammeln und Verarbeiten der Wolle verursacht also Emissionen - aber auch dort haben Franziska und Ann Cathrin ein strenges Auge auf mögliche Reduktion:

Privatpersonen können die Wolle direkt an modus intarsia, aber auch an eine der (näherliegenden) Sammelstellen schicken. Die bündeln die Ressource und leiten sie, nachdem genügend Material zusammengekommen ist, an Franzi und Anni weiter.

Aktuell arbeiten die beiden an einem Verpackungssystem, das die Verpackungsvolumina reduzieren und den anfallenden Müll praktisch auf 0 reduzieren soll - am Ende wird das System vermutlich ähnlich funktionieren wie das zirkuläre RePack-System: "Wir werden eine 100% recycelbare Hülle nutzen, die die Faser komprimiert und die immer wieder verwendet werden kann."

Parallel berechnet die TU Berlin für das junge Unternehmen die firmeninterne Ökobilanz, sodass bald Zahlen und konkrete Vorschläge für eine mögliche Reduktion vorliegen.

Es gebe natürlich viele Anfragen aus dem Ausland, erzählen die beiden: Die Ressource sei nun einmal da und der Bedarf, sie angemessen genutzt zu sehen, groß. Mittlerweile bietet modus intarsia daher auch Menschen aus den Nachbarländern an, die Wolle nach Deutschland zu senden. Größere Distanzen sollen dann aber möglichst nicht zurückgelegt werden, meint Ann Cathrin: "Wir würden niemals Wolle aus Amerika annehmen, sondern eher dasselbe System, das wir gerade hier etablieren, noch einmal vor Ort aufsetzen, damit die Lieferwege kurz bleiben können. Die Ressourcen, die Kompetenz und die Spinnereien sind dort ebenfalls vorhanden - wir müssen die Ware nicht um die halbe Welt schiffen, nur, um unseren Profit zu maximieren."

Das Ziel: eine Revolution in der Textilindustrie

Franziska und Ann Cathrin sind kürzlich auf Startnext mit ihrem Crowdfunding online gegangen - dort gibt es unter anderem Strickpakete mit Chiengora als Dankeschöns zu erwerben. In knappen verbleibenden 18 Tagen muss insgesamt eine Summe von 18.000€ gesammelt werden. Logischerweise wird das gebraucht, um das Projekt erfolgreich zu finanzieren - und damit die beiden Gründerinnen vielleicht auch irgendwann dem Traum näherkommen, sich selbst ein Gehalt auszahlen zu können (bisher ist das nämlich noch nicht der Fall).

Primär geht es aber um etwas anderes: Die beiden wollen nichts weniger als die Diversifizierung des Garn-Marktes. "Wir wollen Ressourcen verwerten, die übersehen werden und dem textilen Markt als Garn zugänglich machen. Auf dem Weg dorthin fangen wir mit der Ressource Chiengora an." Das bedeutet, dass das Handstrick-Garn nur eine Zwischenstation ist - eine Möglichkeit der Finanzierung. Eigentlich geht es um das Industriegarn und darum, im großen Stil etwas in der Textilindustrie zu verändern. "Wir haben tatsächlich auch bereits erste Anfragen von Labels bekommen, die mit Chiengora arbeiten möchten", erzählt Franziska. "Das wäre ein Traum von uns: dass man unser Material verwendet und damit Alpaka oder Kaschmir ersetzen kann."

Wenn Chiengora als Ressource angenommen wird, sind auch andere bisher brachliegende Felder denkbar, zum Beispiel Katzenwolle oder auch ein Garn aus der Unterwolle von bestimmten Pferde-Rassen. "Am Ende des Tages geht es darum, wo wir die Ressourcen vor der Haustür haben, die wir nehmen können, um damit Dinge zu substituieren, die derzeit von weither importiert werden. Das wollen wir so regional wie möglich machen." Das geht aber nur mit entsprechender Vorbereitung: Bis Chiengora soweit war, als hochqualitatives Industriegarn verarbeitet werden zu können, waren 2 Jahre intensive Forschung nötig - und diese Forschungsarbeit, sagen die beiden Gründerinnen, sei "wahnsinnig teuer und zeitintensiv".

Alles stehe und falle allerdings mit der Kund*innen-Akzeptanz, betonen die beiden: Das Crowdfunding ist ein Test, ob die Menschen bereit sind für Chiengora als Garnalternative. "Mit dem Beweis können wir dann zu den Mode-Labels und größeren Spinnereien gehen und sagen: Das wird getragen und es lohnt sich, dieses Garn zu produzieren", erklärt Ann Cathrin.

Das sei vor allem vor dem Hintergrund wichtig, dass modus intarsia als Unternehmen unbedingt auf Investor*innen verzichten möchte - und die klopfen natürlich bereits an die Tür. Das würden sie nicht tun, wenn das, was modus intarsia mit Chiengora plant und bereits umsetzt, nicht wahnsinnig zukunftsfähig wäre.

"Diese Investor*innen wollen uns total viel Geld geben und dafür Prozente haben - das typische Investor*innen-Ding. Und wollen uns anschließend zur Gewinnmaximierung drängen. Darauf wollen wir aber nicht eingehen - und deswegen ist es umso wichtiger, dass das Crowdfunding erfolgreich ist. Das bedeutet vor allem, dass wir mehr Credibility vor Banken haben und als Unternehmen ernst genommen werden und viel mehr Möglichkeiten haben - und nicht das blöde Spiel der Gewinnmaximierung mitspielen müssen. Letztendlich stehen wir sonst vor der Entscheidung, entweder eine*n Investor*in reinzunehmen oder aufzugeben. Wir hoffen, dass uns diese Frage gar nicht erst gestellt werden muss."

Das hoffe ich auch sehr - nicht nur, weil ich Ann Cathrin und Franziska persönlich den Erfolg mit ihrer Idee unbedingt wünsche - sondern auch, weil Chiengora im industriellen Maßstab produziert, wirklich eine tierleidfreie und nachhaltige Alternative sein kann. Und sie braucht jetzt das nötige Startkapital - also unterstützt gerne das Crowdfunding, sofern ihr könnt, damit modus intarsia auch ohne externes Investor*innen-Kapital nichts weniger als eine Revolution in der Textilindustrie anzetteln kann.
P.S.: Franziska und Ann Cathrin suchen derzeit übrigens nach Mitarbeiter*innen, die Lust und Leidenschaft für Chiengora und Textilrevolution mitbringen! Bewerben könnt ihr euch als Praktikant*innen oder auch Expert*in für Netzwerklogistik und strategischen Ausbau des Unternehmens unter hello@modusintarsia.com. ©Alle Bilder in diesem Artikel: modus intarsia

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Was ist Chiengora? modus intarsia zeigt: viel mehr als Hundewolle | Mehr als Grünzeug

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Würdest du einen Pullover aus Chiengora, also Hundewolle, tragen? Aus einem Garn, das sich vorher an dem treuen Vierbeiner deiner Nachbarin befand, zum Beispiel? Falls eure erste Reaktion auf die Frage ein "Ih-bah, niemals!" war, glaube ich, dass dieser Artikel spannend für euch sein könnte. Falls euer erster Impuls "Aber die armen Tiere!"

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The "bio-leather" is a new take on nanocellulose produced by SCOBY (symbiotic culture of bacteria and yeast), the process used to brew kombucha. Two different processes have been used to create the material; both growing directly from scratch using a base of tea and sugar, including sugar from waste streams, and also working with SCOBY by-product from local Om Champagne Tea kombucha brewery in a circular waste-to-resource process. The dyeing has also been done with natural dyes and treated with an innovative new process based on Dr. Schiros' groundbreaking research, achieved in scientific partnership with Prof. Helen Lu and Romare Antrobus of Columbia University Biomedical Engineering.

The entire process is based on the lowest carbon and toxicity footprints possible. Detailed LCA (life cycle assessment) performed by Dr. Schiros and her students at FIT show that the waste-to-resource biofabrication process has a 100-1,000 times lower human toxicity impact than chrome-tanned leather, with an 88-97% lower carbon footprint than PU synthetic leather alternatives.

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The "bio-leather" is a new take on nanocellulose produced by SCOBY (symbiotic culture of bacteria and yeast), the process used to brew kombucha. Two different processes have been used to create the material; both growing directly from scratch using a base of tea and sugar, including sugar from waste streams, and also working with SCOBY by-product from local Om Champagne Tea kombucha brewery in a circular waste-to-resource process.

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CO2 positive Fasern/Alge/ Post Carbon Lab

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CO2 positive Fasern/Alge/ Post Carbon Lab

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© Post Carbon Labs Post Carbon Lab applies a layer of algae to clothing, allowing the fabric to breath like plants and clean the air.

Die Auswirkungen von Fast Fashion auf die Umwelt sind in den letzten Jahren zunehmend in die Kritik geraten, denn lange Lieferketten, Materialien auf Erdölbasis und schlechte Arbeitsbedingungen stehen der Nachhaltigkeit der Industrie im Weg. Nun hat ein britisches Designlabor einen innovativen Ansatz entwickelt, um die Auswirkungen von Kleidung auf die Umwelt zu reduzieren - und zwar auf sehr direkte Weise.

Das Post Carbon Lab (PCL) hat eine Methode entwickelt, Kleidung mit Algen zu beschichten, mit denen Kleidung wie ein lebender, atmender Organismus funktionieren und den CO2- Fußabdruck des Trägers buchstäblich mit jedem Schritt reduzieren kann. Das Projekt mit dem Titel "Post Carbon Fashion" ist Teil des "Regenerative Sustainability Activism"-Ansatzes des Labs, der viele Probleme der Bekleidungsindustrie ins Visier nimmt.

Dian-Jen Lin, Mitbegründerin des Post Carbon Lab, sagte gegenüber RESET: "Ökologisch gesehen ist Mode allein für 10 Prozent der Kohlenstoffemissionen der Menschheit und 20 Prozent der globalen Wasserverschmutzung verantwortlich. Aus sozialer Sicht steht sie für moderne Sklaverei, kulturelle Aneignung und systematische Ausbeutung von Randgruppen. Wirklich, es ist eine viel zu problematische Industrie, um ohne große Regulierungen zu arbeiten."

Während der Produktion wird die Kleidung mit einer Schicht aus Algen überzogen, die auf der Oberfläche des Stoffes wachsen und leben. Einmal gewachsen, gehen die Organismen dann ihrem normalen Lebenszyklus nach, nehmen Kohlendioxid auf und produzieren Sauerstoff. Dian-Jen Lin fährt fort: „Es ist einfach die Photosynthese, wie wir sie kennen: Sie nimmt Kohlendioxid auf und wandelt den Kohlenstoff in Glukose oder andere Produkte um und gibt als Abfallprodukt Sauerstoff ab. Im Idealfall kann der Benutzer, wenn er das Kohlendioxid als Abfallprodukt ausatmet, eine symbiotische Beziehung mit den behandelten Textilprodukten eingehen, ähnlich wie bei einer heimischen Luftpflanze."

Laut Post Carbon Lab kann ein einziges T-Shirt - etwa ein Quadratmeter Stoff - so viel Sauerstoff produzieren wie ein junger Baum, abhängig natürlich von lokalen Umweltfaktoren. Ein Vorteil der Algen ist, dass sie viel schneller heranreifen können als ein Baum. Die Algenschicht kann auch als allgemeine Beschichtung oder als Druck aufgetragen werden, was bedeutet, dass sie vielseitig genug ist, um auf einer Reihe von Kleidungsstücken und anderen Stoffartikeln wie Rucksäcken, Kissen, Regenschirmen, Schuhen, Vorhängen und möglicherweise sogar Vordächern von Gebäuden verwendet zu werden.

Allerdings sind die Post Carbon Fashion Kleidungsstücke nicht gerade die Art von Kleidung, die man tagelang auf einem Stapel liegen lassen kann. Wie jedes Lebewesen benötigt die Alge Pflege und Aufmerksamkeit, einschließlich täglicher Bewässerung und Handwäsche in einem pH-neutralen Waschmittel. Die Kleidung kann auch nicht an einem dunklen Ort, wie zum Beispiel einem Kleiderschrank, aufbewahrt werden, sondern braucht Sonnenlicht und saubere Luft. Mit diesen Anforderungen ist es unwahrscheinlich, dass die Algen auf der Kleidung von den großen Fast Fashion-Herstellern verwendet werden, die niedrige Kosten und Bequemlichkeit für ihre Kunden bevorzugen. Aber auch das ist Teil des Plans.

Post Carbon Lab möchte mit kleinen und mittleren Unternehmen in verschiedenen Kooperationen zusammenarbeiten, die ihre „lebende Kleidung" der Öffentlichkeit zugänglicher machen können. Allerdings wollen sie auch vermeiden, den CO2-Fußabdruck des Produktionsprozesses zu vergrößern, und konzentrieren sich zunächst hauptsächlich auf lokale Märkte. Außerdem zeigt die Alge, wie jede andere Pflanze auch, an, wenn sie leidet, und ändert ihre Farbe, wenn sie dringend etwas Pflege braucht. Laut den Forschungen von Post Carbon Lab könnte ihre Kleidung mit einer photosynthetischen Schicht über Jahre hinweg tragbar sein.

Kürzlich hat sich Post Carbon Lab mit dem französischen Autohersteller DS Automobiles und dem lokalen Bekleidungslabel EgonLab zusammengetan, um eine Reihe von Kleidungsstücken zu produzieren, die das Konzept unterstützen - neben der Werbung für ein DS-Elektroauto. Die "Capsule Collection" wurde auf der Pariser Modewoche vorgestellt und umfasste eine Bomberjacke, einen Trenchcoat und zwei T-Shirts. Die Produktion der Kollektion dauerte etwa 7 bis 10 Wochen, wobei das Wachstum und die Reifung der Algen ein Großteil dieser Zeit benötigt. Während dieser Zeit hat die Kleidung laut Post Carbon Lab 1,45 Kilogramm Kohlenstoff absorbiert - eine Menge, für die eine Eiche etwa ein halbes Jahr bräuchte, um sie zu binden.

Insgesamt befindet sich das Konzept noch in der Prototypenphase, und das Team experimentiert noch mit dem Hochfahren der Produktion. Laut Dian-Jen Lin ist es jedoch durchaus möglich, dass solche lebenden photosynthetischen Schichten irgendwann in größerem Maßstab eingesetzt werden könnten: „Wir sind noch in der Pilotphase, um weitere Möglichkeiten zu erforschen. Es gibt zahlreiche Herausforderungen, denen wir uns stellen müssen, um eine größere Produktion zu ermöglichen. Das Interesse aus verschiedenen Branchen des Textilsektors ist jedoch überwältigend. Wir gehen davon aus, dass wir das Anwendungsspektrum durch Pilotprojekte mit mehreren Industriepartnern erweitern können, um das Potenzial dieser Technologie vollständig zu verstehen."
Dieser Artikel ist eine Übersetzung von Sarah-Indra Jungblut und erschien im Original zuerst auf unserer englischsprachigen Seite.

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Post Carbon Lab: Algen-beschichtetes Gewebe saugt CO2 aus der Luft | Grüner Alltag

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© Post Carbon Labs Post Carbon Lab applies a layer of algae to clothing, allowing the fabric to breath like plants and clean the air. Die Auswirkungen von Fast Fashion auf die Umwelt sind in den letzten Jahren zunehmend in die Kritik geraten, denn lange Lieferketten, Materialien auf Erdölbasis und schlechte Arbeitsbedingungen stehen der Nachhaltigkeit der Industrie im Weg.

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For her project Dian-Jen explores carbon reduction and her project poses the question: what if a t-shirt could make more oxygen than a tree? She tells us a little more about her project for Stella McCartney as part of the Kering Award for Sustainable Fashion 2017.

By identifying the gap within the mitigation hierarchy from Stella McCartney and the carbon reduction challenge faced by Kering, I propose a different approach to understanding sustainability: Regenerative Sustainability Activism.

Instead of taking a passive reductionism or down/re/upcycling approach, Regenerative Sustainability Activism advocates proactive engagement from an industrial entry point. Essentially, it is about making sustainability as easy and accessible as daily conveniences like putting on clothes and commuting.

One great example is to design garments that have photosynthetic or pollution-filtering properties. This will allow the fashion industry to have an output for carbon negativity rather than reducing or offsetting the carbon footprint. With this concept in mind, I embarked on the research of developing the Post-Carbon Material. While "post-carbon" refers to "post-carbon-emission", since photosynthesis absorbs carbon dioxide and generates oxygen, it becomes the obvious starting point. I aim to create a series of Post-Carbon Material samples. My research is unprecedented; therefore, I am still at a preliminary stage, gathering my own raw data through experiments. Until now, the entanglement between fibres and photosynthetic microorganisms on a microscopic scale is proven. By maintaining a suitable living condition, the material itself becomes an incubator for healthy colonies to perform photosynthesis. I am able to find several feasible matches between different species and textile samples and the firstly projected oxygen generation results have been optimistic: 1 Post-Carbon T-shirt can produce up to 104% of the oxygen generated by a tree in 24 hours.

Collective indifference, selective ignorance. No matter how hard the scientists and academics have been trying to convey the environmental crises we are facing now, there are still so many problems now even though various ecological awareness campaigns have been fighting since the 70s. More than 40 years have passed, yet to this day, we are still struggling to coexist with our environment.

To a certain extent, I think there is a collective indifference on issues that do not pose a direct threat to one's comfort. The lack of contingency and the misuse of media make the public numb to the actual lurking monster, and thus, the selective ignorance.

For the same reason, I believe that sustainability needs to be perceived differently as well as the way that information has been delivered to the public, which is essentially why I find my project necessary and timely as not only an alternative interpretation to "sustainability" but also an easily accessible intervention to positively engage with the environment.

Sustainability challenges are the ultimatum from both the environment and the consumers. If ignored, not only the current pollution will increase and result in even more serious climate change but brands can risk losing their conscious customers. I see these challenges as a critical point (of success or failure) for the fashion industry to finally take on its social and environmental responsibilities and shift its role into a medium for initiating change.

There are many aspects of the fashion industry that are still very "old-fashioned". The labour intensity, the source opacity, the sales-driven mentality and the constant drive for something new are definitely not helping the Planet move towards a more sustainable future. However, fashion has an omnipresent influence. By channeling sustainability issues through fashion, the message can be spread further than ever. Thus, fashion has the power to make everyone acknowledge the need to change and take action upon that.

To this point, sustainability conscious designers, scientists, activists and entrepreneurs have been working towards better supply, manufacturing and business model alternatives. Even though we have only reformed little bits and pieces throughout the life cycle of fashion, these elements will hopefully be joined altogether one day to create new systems and lead the public towards a more sustainable lifestyle.

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Kering Award Winner - Dian-Jen Lin | CSF

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For her project Dian-Jen explores carbon reduction and her project poses the question: what if a t-shirt could make more oxygen than a tree? She tells us a little more about her project for Stella McCartney as part of the Kering Award for Sustainable Fashion 2017. So, tell us about your project?

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Tote Hosen doch nicht tot

Die Jeanshose ist 180 Jahre alt. Erfunden hat sie Levi Strauss 1847. In den 1950ern wurde die Jeans zum Markenzeichen von Aufbegehren und Anderssein - mit Nachhaltigkeit hatte das nichts zu tun. Das Projekt New Blue will das ändern: Es recycelt alte Jeansstoffe und setzt neue ökologische Impulse - tote Hosen werden hier lebendig. Wir haben Tim van der Loo und Sandra Nicoline Nielsen besucht und gefragt: Wie stellt man die Jeans nachhaltig her?

Text Boris Messing und Jens Thomas

Krossener Straße Ecke Gryphiusstraße. Ein Hund pinkelt an ein Fahrrad, sein Herrchen steht in Joggern da und schaut gelangweilt zu - so kennt man Friedrichshain, immer für einen Witz zu haben. Wir sind verabredet mit Tim van der Loo und Sandra Nicoline Nielsen, die nichts geringeres wollen als die Modeindustrie in ein neues, kreislauffähiges Zeitalter zu führen. Tim begrüßt uns freundlich, wir quetschen uns mit Masken bestückt in die kleine Küche, der Kaffee kocht, los geht's.

Der Ort: Eine Art Coworking-Space in Friedrichshain, wo sich Modemacher und Textilvisionäre sammeln und arbeiten. Im vorderen Bereich rattern die Nähmaschinen und es wird an Schnittmustern gearbeitet. Im hinteren Bereich sitzt das neue Blau: das Label New Blue. New Blue ist eines von unzähligen Unternehmen und Projekten, die sich Nachhaltigkeit auf die Fahne geschrieben haben. Sie sind aber nahezu die einzigen, die sich auf Textilien spezialisieren und neue Jeans aus recycelten Jeansstoffen herstellen. Das Problem: Konventionelle Jeans werden in der Regel unter hohem Chemikalieneinsatz hergestellt. Der beliebte Used-Look wird durch Sandstrahlen erzeugt - wobei der austretende Staub bei ungeschütztem Arbeiten zur tödlichen Silikose („Staublunge") führen kann oder mittels aggressiver und gesundheitsgefährdender Chemikalien vorangetrieben wird. Und selbst bei Bio-Jeans-Produktionen wird in hohem Maße Wasser verbraucht, auch wenn giftige Chemikalien durch umwelt- und gesundheitsschonendere Substanzen ersetzt werden. Problem, Problem, wie löst man das?

Tim van der Loo und Sandra Nicoline Nielsen fangen an zu erzählen: Ihr Ziel sei es, aus Altem Neues zu formen, das spare nicht nur Ressourcen. Man wolle auch ein neues Konsumbewusstsein prägen, denn das bisherige Prinzip der Modeindustrie sei schnell erzählt, es funktioniert so: "Take-Make-Waste". Baumwolle wird geerntet und in Rekordtempo zu einem Produkt verarbeitet. Im Anschluss wird die Ware billig verkauft und nach Benutzung verbrannt oder auf der Müllhalde entsorgt. Das alles, sagt Tim, sei ein linearer Prozess, die Qualität der Produkte sei meist gering und die Klamotten würden vom Kunden rasch durch neue ersetzt oder weggeworfen. Bewusst geworden sei ihm das Problem, als er vor zwei Jahren für den Textilhafen der Berliner Stadtmission arbeitete, einer Non-Profit Organisation, die Kleider für Obdachlose sammelt. Vierzig Tonnen Kleidung seien dort pro Monat angekommen, erzählt er, aber nur 15 Prozent davon waren benutzbar, der Rest hatte Flecken oder war zu alt und wurde weggeschmissen. So kam ihm die Idee des Recycling-Konzepts von New Blue. Er fragte sich, wie kann man die alten Jeansstoffe nutzen, um neue Textilien daraus zu machen? Und vor allem für die tradierte Jeans gab es keine Verfahren. Nach seiner Graduation 2019 an der Kunsthochschule Weißensee in Berlin bekam er ein Stipendium von der Designfarm Berlin, um die Entwicklung von New Blue zu verwirklichen. Die 33-jährige Dänin Sandra Nicoline Nielsen, die er einige Jahre zuvor bei einem Festival zur Kreislaufwirtschaft kennengelernt hatte, schloss sich ihm an. Im letzten Jahr wurden sie für ihre Arbeit mit dem Bundespreis Ecodesign ausgezeichnet.

New Blue ist der Versuch, ein neues Konsumbewusstsein zu prägen - gegen das Take-Make-Waste-Prinzip der Modeindustrie, gegen die Wegwerfmentalität der Konsumenten

Wie stellt man die Jeans nachhaltig her? Wir wechseln den Raum und gehen dazu direkt in die Produktionsstätte. Tim zeigt uns die Schnittmuster, die durch seine Recycling-Methode entstanden sind: Er holt die zerlegten Teile aus einem Sack, aus dem er Neues formt; Neues aus zerrissenen Hosenresten, was man gewöhnlich wegschmeißen würde. New Blue verbindet zwei Technologien: Die sogenannte Vliesbildung und digitale gestützter Stickerei. Die Technik der Vliesbildung hat Tim zusammen mit dem Sächsischen Textilforschungsinstitut entwickelt; die alten, fleckigen oder anderweitig nicht verwendbaren Jeansstoffe werden dabei in ihre faserigen Bestandteile zerrissen und getrennt, anschließend wird aus den Fasern durch Kardieren und Vlieslegen ein Vlies gebildet. Durch die zweite Technik, eine digital gestützte industrielle Stickerei, wird das Vlies in einem letzten Schritt zu einem stabilen Stoff verfestigt, aus dem sich dann Schnittmuster für Hosen machen lassen - tote Hosen werden hier wieder lebendig.

Dabei gleichen die Hosen keinen gewöhnlichen Jeans, sie sind dicker, flauschiger, eher was für kalte Tage und warme Gedanken. Das Besondere am Verfahren: Für diese Recycling-Methode werden weder Chemikalien verwendet noch wird Wasser wie bei der herkömmlichen Jeansproduktion verbraucht. Tim schildert, dass man so dem "Take-Make-Waste"-Prinzip entgegenwirken wolle. Sandra ergänzt und veranschaulicht den Prozess in Zahlen. Der ökologische Fußabdruck - sie zitiert dazu den weitbeachteten Bericht „A New Textiles Economy" der Ellen MacArthur Foundation - sei bei der Fashion-Industrie eine Katastrophe: Der CO2-Ausstoß lag im Jahr 2015 mit 1,2 Milliarden Tonnen so hoch wie der internationale Flug- und Schiffverkehr zusammen. Der Bericht kommt zu dem Schluss, dass ein Wert von 500 Milliarden Dollar jährlich durch die Wegwerfmentalität und den Mangel an Recycling von Kleidung im Müll landen würden - bei einer Wertschöpfung von insgesamt 1,3 Billionen Dollar ist das eine gewaltige Summe. Nur ein Prozent der Kleidung wird weltweit recycelt. Die Chemikalien zur Herstellung von Kleidung wie beispielsweise Färbe- und Bleichmittel und Mikroplastikpartikel, die durchs Waschen in die Gewässer gelangen, sind ein ernstzunehmendes Umweltproblem. Umweltorganisationen und Fashion-Playern ist das bewusst, ändern tut sich dagegen wenig.

Der CO2-Ausstoß der Modeindustrie ist mit 1,2 Milliarden Tonnen so hoch wie der internationale Flug- und Schiffverkehr zusammen. Kleidung im Wert von 500 Milliarden Dollar wird jährlich weggeworfen - bei einer Wertschöpfung von 1,3 Billionen Dollar insgesamt eine gewaltige Summe

New Blue arbeitet darum tagtäglich an Veränderungen. Die Methode, sagt Tim, ließe sich theoretisch beständig wiederholen. Das Produkt müsse auch nicht unbedingt aus Jeansstoff sein, die Technik könne beispielsweise auch auf Polyester oder Wolle angewendet werden. Wichtig sei ihm auch die Ästhetik. Jede Hose bekomme hier „eine Geschichte", die sich, so die Idee, endlos fortsetzt. „Das System der Kreislaufwirtschaft wird die Welt verändern", ist Sandra überzeugt. Sie ist studierte Techno-Anthropologistin und hat selbst im Bereich des Müllmanagements gearbeitet. Noch befindet sich das Hosen-Duo in der Protophase. Der Weg zu einem Produkt, das sich auch Monsieur Tout le Monde leisten kann, ist noch weit, zumal es den beiden Schöpfern wichtig ist, lokal zu produzieren und faire Löhne zu garantieren.

Aber kann man von den Hosen leben? Tim zeigt uns eine Jacke, die genauso wenig nach Jeans aussieht wie die Hose. An der Wand hängt der Prototyp eines Jeans-Hausschuhes. "Das könnte ein weiteres Produkt für die Zukunft sein", sagt Sandra. Wie es weitergeht, wisse man noch nicht. Derzeit kommt das Duo über das Stipendium von Re-Fream über die Runden, um die Entwicklung von New Blue voranzutreiben, danach käme der nächste Schritt. Ob sich das Produkt jedoch im Anschluss kommerziell vermarkten lässt, hinge letztlich auch von möglichen Partnern ab, mit denen man zusammenarbeiten will, sagt Sandra. Man könne sich auch vorstellen, direkt für die Marke Levis zu produzieren. Die Gegenfrage wäre allerdings, inwiefern die Hose einfach von der Konkurrenz hergestellt wird. Schließlich macht der Bericht der Ellen MacArthur Foundation deutlich, dass mittlerweile auch die großen Modelabels und Produzenten das Thema Nachhaltigkeit auf dem Radar haben - Ketten wie H&M oder C&A haben gegenwärtig einen Biobaumwolle-Anteil von zehn Prozent, wenngleich das Thema Arbeitsbedingungen nach wie vor problematisch in der Modeindustrie bleibt.

Alles in allem zeigt unser Besuch: Die Jeanshose lebt. Sie ist jetzt 180 Jahre alt. Erfunden hat sie Levi Strauss 1847. Jetzt wird sie neu erfunden. Zuerst von den Arbeitern, Farmern und Cowboys in Amerika getragen verbreitete sich die Jeans nach dem Zweiten Weltkrieg auf der ganzen Welt. Vor allem in den 1950ern wurde sie zum Markenzeichen von Aufbegehren und Anderssein - ökologisch war die Hose aber nie. Schauspieler wie Marlon Brando machten sie populär, die Jeans wurde zum Statement gegen Konvention und überkommene Moralvorstellungen - jetzt bekommt die Jeans womöglich einen neuen Spin: Sie wird nachhaltig umfunktioniert und entworfen. Sie könnte künftig gar ein Statement gegen überbordende Wegwerfmentalität sein. So fangen schöne Geschichten immer an und so ändert sich die Welt - und damit endet auch unser Gespräch. Wir verabschieden uns mit Faustschlag aus 1,50 Abstand, rücken die Maske noch mal gerade und werfen einen letzten Blick auf die Schnittmuster. Draußen ist es bitterkalt. Kein Hund in Sicht.

Rubrik: Zu Besuch bei...

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Die Jeanshose ist 180 Jahre alt. Erfunden hat sie Levi Strauss 1847. In den 1950ern wurde die Jeans zum Markenzeichen von Aufbegehren und Anderssein - mit Nachhaltigkeit hatte das nichts zu tun. Das Projekt New Blue will das ändern: Es recycelt alte Jeansstoffe und setzt neue ökologische Impulse - tote Hosen werden hier lebendig.

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New Blue is awarded with the German federal award ecodesign 2020 in the category young talent! I am very delighted to receive this trophy and recognition! I hope to show and express more of New Blue in this year. Thank you to all that helped me realize and support this project. Without you it was not possible!

"NEW BLUE aims to create a new material identity from old jeans. The project researches recycling processes and continuous material flows at material and product level. Simple, manually recycled denim fleece is transformed by industrial embroidery into a cut piece that fits perfectly for a new pair of jeans".

To begin the process, discarded jeans - serving as a raw material - are cut into small fibres and then bonded to form a fleece. During the course of the project, two distinct routes have been explored, each with their own unique qualities: an industrially produced recycled jeans fibre non-woven fabric, and a self-produced, "crafted" non-woven fabric. The industrially produced non-woven shows a homogenous, uniform surface, whereas the crafted fleece appears irregular, rough and textured, giving room for individual expression.

The New Blue concept offers a novel way to form defined areas on a fabric roll. Digitally-aided industrial embroidery is applied to the fleece not only to create a stable fabric but also to generate the cut-patterns needed for the final piece of clothing, thus rationalising the entire production process from fibres to garment.

The embroidered areas of the non-woven cloth remain intact when exposed to water, whereas the non-embroidered parts of the fleece disintegrate. These loose denim fibres can be reused as raw material, while the embroidered parts remain stable and can be sewn together without further cutting, establishing a circular and zero waste production method.

The New Blue project stems from a desire to rethink the notion of recycled materials and create a truly circular product lifecycle.

With the rise of fast fashion, denim has transitioned from a hardwearing, durable workwear fabric into a staple of the contemporary wardrobe and we are left with vast streams of waste without the infrastructure to absorb them.

A worn-out pair of jeans is treated as a waste product, from which the useful materials can be extracted and then repurposed as, for example, building insulation. This project seeks to change this methodology by instead finding a way of reincarnating the jeans as a renewed version of themselves.

New Blue promotes a different material cycle, which manifests itself in the novel production sequences as well as its final outcome. The traditional end product is now envisaged as one stage within a continuous, circular succession of decomposing and recomposing.

By adopting this approach, the aesthetic of the jeans - from the texture of the reborn denim, and the design of the overstitching to the cut of the pattern - can also evolve with time, responding to trends and ensuring the reincarnated product is always relevant and personal.

Process: Washing the embroidered fleece

Together with DesignFarmBerlin we created a video for the (digital) Dutch Design Week 2020:

This project was initiated at weißensee academy of art Berlin at the Textile and Surface design department as M.A. graduation project under supervision of Prof. Dr. Zane Berzina, Prof. Dr. Lucy Norris and Dipl.-Des. (academic assistant) Christian Frank Müller.

This project received funding from DesignFarmBerlin (Europäischer Sozialfonds) in 2020 and the DAAD Abschluss Förderung in 2019.

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Tim van der Loo is a material and product designer - based in Berlin, born in the Netherlands - using post consumer resources to develop new surfaces and structures. Even though his main concern is sustainability, he cares about bringing a contemporary aesthetic to recycled materials.

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Workshops/Online Veranstaltungen zu neuen und nachhaltigen Materialien

https://padlet.com/lisaweissmann/7teikhdqcrd3lnyn

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soziale Gerechtigkeit
reckoning - recovery - reparations (OR Foundation/Dead White Man's Clothes)

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- Leggins
- Hosen mit und ohne Strech
-"hardshell Hosen"

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Softshell
Hardshell
WIndbreaker
Fleece

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Klar sind nachwachsende Rohstoffe eine tolle Sache. Leider gibt es auch ein paar Fallstricke, die wir versuchen, zu vermeiden.

Uns ist wichtig, dass landwirtschaftlich angebaute Rohstoffe wie Mais nicht in Konkurrenz zur Nahrungsmittelgewinnung stehen. Das zu gewährleisten, ist schwierig: Wir entscheiden momentan danach, wo das Anbaugebiet liegt und wie die Situation der Menschen dort ist.

Aufgrund der großen öffentlichen Aufmerksamkeit im Hinblick auf das Thema Gentechnik und der für uns aktuellen Relevanz in Bezug auf die Produktion von biobasierten Kunststoffen haben wir uns bei VAUDE intensiv und differenziert mit diesem Thema auseinandergesetzt.

Gentechnisch veränderte Pflanzen, die bereits in vielen Regionen der Welt in teilweise erheblichem Maße angebaut werden, haben teils unberechenbare Auswirkungen auf ihre umgebende Umwelt, Ökosysteme und die Biodiversität. Auch wenn viele der möglichen Risiken in bisherigen Studien kaum oder nur gering belegt sind, wurde zum Beispiel der Einsatz bestimmter Pestizide durch die Verwendung pestizidresistenter Pflanzen stark erhöht. Aufgrund der unberechenbaren und teils schwer zu kontrollierenden Auswirkungen dieser Organismen auf ihre Umwelt lehnen wir den Einsatz dieser Art von Gentechnik bei VAUDE ab, und verwenden in unseren Produkten keinerlei Materialien die von genetisch veränderten Pflanzen- oder Tieren generiert wurden oder aus ihnen stammen.

Gentechnisch veränderte Mikroorganismen in geschlossenen Fermentationsprozessen hingegen ermöglichen die Produktion von biobasierten Kunststoffen mit einer höheren Effizienz und einem größeren Ertrag. Dadurch wird die Ökobilanz der biobasierten Kunststoffproduktion verbessert. Sie leisten hier also wichtige Arbeit, um die Verwendung begrenzter fossiler Ressourcen zu vermeiden, und nachwachsende Rohstoffe als Rohmaterialien zu verwenden.

Wenn die Mikroorganismen ausschließlich für die Verwendung in geschlossenen Systemen generiert wurden und außerhalb dieser Systeme nicht überlebensfähig sind, ist der Einsatz dieser Mikroorganismen mit keiner Gefahr für Mensch und Umwelt verbunden. Unter den oben genannten Gesichtspunkten, erscheint der Einsatz dieser Mikroorganismen einen sinnvollen Beitrag zur Entwicklung von biobasierten Kunststoffen zu leisten und die Ökobilanz derselben zu verbessern.

Eine Ausnahme hiervon haben wir im VAUDE CSR-Team heiß diskutiert:
Für zwei Schuh-Modelle, die ab der Sommerkollektion 2018 erhältlich sind, verarbeiten wir ein biobasiertes TPU als Fersen- und Zehenkappe. Dieses innovative Material besteht aus bis zu 50 % nachwachsenden Rohstoffen, das sich durch eine hohe Abriebfestigkeit und geringes Gewicht auszeichnet. Derzeit ist dieses Material aber nur mit Bestandteilen aus gentechnisch verändertem Anbau erhältlich.

Wir müssen hier abwägen, was uns wichtiger ist: Die Einsparung fossiler Ressourcen und klimaschädlicher Emissionen und die Förderung von Materialinnovationen aus nachwachsenden Rohstoffen, oder der absolute Ausschluss von Gentechnik...

In diesem speziellen Fall haben wir uns für eine Ausnahme von unseren Green Shape Ausschlusskriterien entschieden.

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Klar sind nachwachsende Rohstoffe eine tolle Sache. Leider gibt es auch ein paar Fallstricke, die wir versuchen, zu vermeiden. Uns ist wichtig, dass landwirtschaftlich angebaute Rohstoffe wie Mais nicht in Konkurrenz zur Nahrungsmittelgewinnung stehen. Das zu gewährleisten, ist schwierig: Wir entscheiden momentan danach, wo das Anbaugebiet liegt und wie die Situation der Menschen dort ist.

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Rohstoffkreisläufe spielen innerhalb des Cradle to Cradle Konzepts eine zentrale Rolle: Wir unterscheiden zwischen dem biologischen und dem technischen Kreislauf (s. unten). Für welchen Kreislauf sollte ein Produkt hergestellt werden? Wir unterscheiden zwischen Verbrauchs- und Gebrauchsgüter: Verbrauchsgüter sind einer Abnutzung ausgesetzt und sollten daher für biologische Kreisläufe gestaltet sein. Ein biologisch abbaubarer Kunststoff als Ausgangsmaterial für z. B. die Schuhsohle stellt keinerlei Problem für die Umwelt dar. Gebrauchsgüter sind keiner Abnutzung ausgesetzt und können kontinuierlich in technischen Kreisläufen zirkulieren, sodass eine Rückführung gelingt.

Biosphäre
In der BIOSPHÄRE zirkulieren Materialien im kontinuierlichen biologischen Kreislauf. Jeglicher Abrieb oder Verlust muss zu 100% biologisch abbaubar sein - nur so dient er der Biosphäre als Nahrung: von synthetischen Textilien über Verpackungen und Kosmetik bis zu Auto- und Fahrradreifen. Kompostieren ist gut - Abfall als Nährstoff zu betrachten noch besser. Wenn Seife nicht nur unsere Haut reinigt, sondern auch unser Wasser sauber hält, ist Cradle to Cradle Realität.

Technosphäre
In der TECHNOSPHÄRE zirkulieren Materialien in kontinuierlichen technischen Kreisläufen. Rohstoffe für die Technosphäre stehen begrenzt auf der Erde zur Verfügung. Deshalb müssen sie in gleichbleibend hoher Qualität erhalten werden. Auch nachwachsende Rohstoffe können in der Technosphäre zirkulieren, bevor sie wieder Nährstoff werden. Alles kann so hergestellt werden, dass die eingesetzten Materialien mit geringem Aufwand voneinander getrennt werden können. Design für Demontage, nie wieder Rohstoffmangel - dank Cradle to Cradle.

Melde dich hier für die monatlichen C2C NGO-News an.

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Rohstoffkreisläufe spielen innerhalb des Cradle to Cradle Konzepts eine zentrale Rolle: Wir unterscheiden zwischen dem biologischen und dem technischen Kreislauf (s. unten). Für welchen Kreislauf sollte ein Produkt hergestellt werden? Wir unterscheiden zwischen Verbrauchs- und Gebrauchsgüter: Verbrauchsgüter sind einer Abnutzung ausgesetzt und sollten daher für biologische Kreisläufe gestaltet sein.

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Ohne giftige Chemikalien in die Natur?
Das geht auch angezogen...
Gerade bei der Herstellung von Outdoorbekleidung kommen viele gefährliche Chemikalien zum Einsatz.
Nicht so bei ROTAUF. Seit 2016 sind wir als eine von nur drei Outdoormarken weltweit Teil des Greenpeace DETOX Commitments. Damit haben wir uns verpflichtet, komplett auf giftige und umweltschädliche Chemikalien zu verzichten. Hier erfährst du mehr über unsere Anstrengungen.

Unsere DETOX Strategie

Wo immer möglich, verzichten wir komplett auf dein Einsatz von Chemikalien.

Sind Chemikalien notwendig, setzen wir ausschliesslich ungefährliche Alternativen ein.

Kommt ein Produkt nicht ohne gefährliche Chemikalien aus, bringen wir es nicht auf den Markt.

Punkt.

Lieferantenauswahl

Wir arbeiten ausschliesslich mit gleichgesinnten Partnern zusammen, welche die DETOX Anforderungen erfüllen können - wenn immer möglich aus der Schweiz.

Restricted Substance List

Unsere Manufacturing Restricted Substances List (MRSL) listet Chemikalien auf, deren Einsatz im Produktionsprozess komplett verboten oder stark beschränkt ist.

Material- und Abwassertests

Mit umfangreichen Material- und Abwassertests stellen wir sicher, dass unsere Vorgaben aus der MRSL konsequent eingehalten werden.

DETOX_Monster

Jetzt Bekleidung ohne giftige Chemikalien kaufen

Imprägnieren ohne PFC

PFCs werden in der Outdoorindustrie hauptsächlich für wasserabweisende Imprägnierungen eingesetzt. Und dies trotz ihrer gefährlichen Eigenschaften für Mensch und Natur. Denn sie bieten der Industrie einer verlockende Kombination aus einfacher Anwendung, guter Performance und tiefen Kosten.

Für uns sieht eine optimale Kombination anders aus: Maximale Umweltverträglichkeit gepaart mit guter Funktionalität. Deshalb verwenden wir ausschliesslich PFC-freie Imprägnierungen für unsere Produkte. Diese müssen für jeden Stoff in einem langwierigen Prozess genau abgestimmt werden, um eine optimale wasserabweisende Wirkung zu erzielen. Eine Herausforderung, welcher wir uns gemeinsam mit unseren Partnern gerne stellen! Für unsere Tour Series hat sich zum Beispiel in aufwändigen Tests von unserem Materiallieferanten Sympatex das Bionic Finish® Eco als beste umweltfreundliche Lösung durchgesetzt.

Mehr Informationen über PFCs findest du in unserem Blog.

Mehr über Sympatex®

Mehr über Bionic Finish® Eco

PFC-freie Produkte entdecken

Bad News!

Toxikologen äussern die Befürchtung, dass die Exposition gegenüber PFCs die Wahrscheinlichkeit einer Person erhöhen kann, einen schweren Verlauf von Covid-19 zu entwickeln. PFCs stehen auch im Verdacht, die Wirksamkeit eines Impfstoffs gegen das neuartige Coronavirus zu vermindern.

Chlorfreie Ausrüstung

Schonmal auf die Idee gekommen ein Schaf in Plastik einzupacken wenn's regnet? Tönt nach einer Schnapsidee? Ist es auch. Aber genau das wird standardmässig mit Merinowolle gemacht, um sie Maschinenwaschbar zu machen.

Beim so genannten Chlor-Hercossett-Verfahren werden zuerst die Wollschuppen mit Hilfe von Chlor abgelöst und die "nackten" Wollfasern danach mit Kunstharzen ummantelt. Die daraus resultierende Super-Wash-Wolle wird so zum Schaf im Wolfspelz. Der natürliche Wollcharakter und die vielen Vorteile der Wolle gehen dabei teilweise verloren. Das eingesetzte Chlor hinterlässt im Stoff und auch im Abwasser für Mensch und Umwelt giftige AOX-Verbindungen.

Wir rüsten unsere Merinowolle deshalb mit dem schonenden und umweltfreundlichen EXP Verfahren aus. Dieses von den strengsten Umweltstandards anerkannte Verfahren kommt ohne die Plastikummantelung der Faser aus und verzichtet komplett auf den Einsatz von Chlor. So gelangen keine Schadstoffe in die Umwelt und die positiven Eigenschaften der Wolle bleiben erhalten.

Mehr Informationen über die Ausrüstung von Wolle findest du in unserem Blog.

Mehr über das EXP Verfahren

Unsere Bio-Merino Kollektion entdecken

Die Textilindustrie gilt als eine der dreckigsten Industrien weltweit.

Das hängt stark mit ihrem unstillbaren Appetit auf Chemikalien zusammen. Pro Kilogramm Kleidung wird während dem Herstellungsprozess im Schnitt rund ein Kilogramm Chemikalien verwendet. Ungefähr 6500 verschiedene Chemikalien kommen bei der Textilveredelung zum Einsatz; viele davon sind umwelt- und gesundheitsgefährdend. Diese Stoffe sind zum Teil schwer abbaubar und können von den Kläranlagen nur bedingt aus dem Abwasser entfernt werden. Gemäss Angaben der Weltbank entstehen 17 bis 20 Prozent des industriellen Abwassers weltweit bei der Textilveredelung. Bei gewissen Rohstoffen, wie zum Beispiel Baumwolle, kommt hinzu, dass bereits im Anbau viele Chemikalien in Form von Pflanzenschutzmitteln und Dünger eingesetzt werden. 25% der weltweit eingesetzten Insektizide und 10% der Pestizide entfallen alleine auf den Baumwollanbau.

Wir machen's ohne. ROTAUF verzichtet auf schädliche Chemikalien.

Ist der Einsatz von Chemikalien nicht unbedingt nötig, lassen wir diese komplett weg. So verzichten wir zum Beispiel auf geruchshemmende Ausrüstungen und kaufen ausschliesslich Biobaumwolle ein, welche ohne den Einsatz von Insektiziden oder Pestiziden angebaut wurde. Geht es nicht komplett ohne Chemie, setzen wir gezielt umweltfreundliche Alternativen ein. Alle unsere Produkte werden zum Beispiel ausschliesslich mit PFC-freien Imprägnierungen ausgerüstet. Wo immer möglich führen wir die Veredelungsprozesse zudem in der Schweiz und unter den hier geltenden hohen Umweltvorschriften durch. Für unsere Patgific-Serie importieren wir beispielsweise rohe Bio-Baumwoll-Garne, welche dann hier in der Schweiz gefärbt und weiterverarbeitet werden.

Geruchsneutralität ohne Silberionen

Textilien werden in der Outdoorindustrie oft mit Chemikalien behandelt, welche negative Gerüche verhindern sollen. Häufig werden dafür (Nano-)Silberionen eingesetzt. Diese verhindern die Vermehrung von Bakterien, welche die Ursache für die üblen Gerüche sind.

Wenig überraschend sind die Silberionen aber auch schädlich für andere Lebewesen. Silber ist nach Quecksilber das giftigste Schwermetall für tierische und pflanzliche Wasserorganismen. Zusätzlich gibt es Hinweise darauf, dass der grossflächige Einsatz von Silber zur Bildung von Antibiotikaresistenzen beiträgt. Für uns sind deshalb sämtliche Anti-Smell Treatments ein absolutes No-Go.

Stattdessen setzen wir bei unserer Unterwäsche auf die natürlichen antibakteriellen Eigenschaften von Merinowolle. Die Oberflächenstruktur von Wollfasern erschwert es Bakterien, sich festzusetzen. Das ist sehr effektiv und dauerhaft - ganz ohne den Einsatz von schädlichen Chemikalien.

Weiterführende Informationen zu den Risiken von Nanosilber vom Ökoinstitut e.V.

Unsere Merino-Unterwäsche Kollektion entdecken

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Ohne giftige Chemikalien in die Natur? Das geht auch angezogen... Gerade bei der Herstellung von Outdoorbekleidung kommen viele gefährliche Chemikalien zum Einsatz.Nicht so bei ROTAUF. Seit 2016 sind wir als eine von nur drei Outdoormarken weltweit Teil des Greenpeace DETOX Commitments. Damit haben wir uns verpflichtet, komplett auf giftige und umweltschädliche Chemikalien zu verzichten.

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Zero waste living is a quickly-growing trend as the awareness of our global waste and plastic pollution crises rise - and it's only natural that after implementing some of the common low waste swaps in your life, you'll begin to look for zero waste fashion, too.

What is Zero Waste Fashion?

Similar to other zero waste use cases, zero waste fashion is all about reusing, creating a circular system, and producing no trash.

What's different from zero waste fashion compared to other zero waste products is that the zero waste aspect of clothing/accessories is more about the production stage whereas most low waste items are about the use stage.

Zero waste fashion is about utilizing existing materials to their full capacity and not producing textile or other material waste. In contrast, while some zero waste products are made from eco-friendly materials, they are more focused on helping the consumer or user of their products refuse single-use products in the future.

Since fashion is always reusable (unless it's a fast-fashion dress that's worn once to a party and tossed out...), zero waste fashion is more about how the fashion items are produced or sourced.

There is pre-consumer zero waste fashion, where brands use recycled materials and/or cut their patterns in a way that results in no textile waste.

And then there is post-consumer zero waste fashion which is about using clothing and accessories that already exist through buying secondhand.

There are plenty of resources for secondhand fashion ( like this one with 7 online thrift stores!) so this article will focus mostly on pre-consumer zero waste.

How Does a Brand Achieve Zero Waste Production?

There are two main approaches to achieve zero waste in the garment creation process.

Zero Waste Design: Designers can use special pattern-cutting processes to reduce or eliminate textile waste.

Zero Waste Production: This is when designers reuse excess fabric in other pieces. It's common for brands to use the remaining fabric leftover from garment production for smaller accessories like headbands or bags.

Beyond creating no new waste, fashion brands can also help reduce existing waste by using existing materials like leftover deadstock that has been discarded by big garment factories, upcycled post-consumer materials such as rubber tires headed to the landfill, or other recycled materials for their collections.

Another aspect important for circular fashion brands to consider is their packaging. Some ways to use sustainable and/or waste-free packaging are recycled paper boxes, recycled or compostable polybag mailers, and cloth bags made from upcycled fabric.

A not-quite-so-tangible waste to consider is the energy used to produce the fashion brand's products. A truly zero waste brand will also use renewable energy throughout its supply chain.

Zero Waste Fashion Brands

Below is a list of low waste and zero waste fashion brands paving the way for a more circular fashion industry. Not all of them follow every practice listed above, but they are certainly making major headways that go above and beyond the rest of the fashion world.
Note that this guide includes partners and affiliate links. As always, I only include brands that meet strict standards for ethics, sustainability, and aesthetics!
tonlé is a leader in zero waste fashion, being one of the first and only sustainable fashion brands to implement a fully circular system. The brand begins by sourcing deadstock (leftover fabric) from large garment factories in Cambodia.

The next step is making use of that discarded material. First, designers and makers create pieces with the larger cuts of the remnant fabric. The smaller scraps are cut and sewn into yarn which is then woven or knit into new pieces. Any remaining waste is crafted into handmade paper!

tonlé also uses solar energy for their workshop and uses completely recycled and recyclable packaging. And to close the final stage, tonlé is working on a take-back program for their customers as well.
Explore tonlé
Swedish Stockings creates their high-quality pantyhose from nylon waste which is in stark contrast to the conventional stocking and hosiery industry which uses virgin synthetic yarn to create cheap pairs of tights that often tear within just a few wears.

The sustainable fashion brand produces their upcycled hose in a zero waste factory that conserves and reuses water, minimizes emissions, and reduces and recycles waste. Swedish Stockings also has a take-back pantyhose recycling program that ensures there isn't even waste at the end of the lifecycle of their products.
Explore Swedish Stockings
Ecoalf is an innovative eco-fashion label producing garments and accessories from 100% recycled materials. The brand uses recycled plastic, nylon, cotton, wool, and tires (for their rubber flip flops) as well as 100% recycled paper packaging. The company is also working to reduce their emissions - they report that they save 13% on emissions overall by manufacturing local-to-them in Spain.
Explore Ecoalf
Zero Waste Daniel is an innovator in the circular fashion space. In fact, he is introducing his zero waste production process to larger brands like Eileen Fisher and Miakoda. (If you're a designer, you can actually work with Daniel to make your production zero waste as well.)

To create their zero waste clothing, Daniel uses his signature "ReRoll technique which applies "the art of sewing to the scraps that abound due to the fashion industry's wasteful practices." In addition to creating no fabric waste, the brand uses recycled and recyclable materials in their shipping, packaging, and office materials.
Explore Zero Waste Daniel
Study New York is a xx using zero waste cutting techniques in their production process as much as possible and they make their patterns to ensure the most efficient possible use of their fabric.

Despite their efforts, some of Study New York's designs leave behind some fabric waste - which is why they've partnered with other New York City businesses to repurpose their scrap fabric. And then any scraps still left are recycled.
Explore Study New York
Other Approaches to Zero Waste Fashion:

While not originally designed with zero waste practices, Patagonia's collection of used products is a great way to support a more circular fashion industry by giving a second life to used clothing and gear. And many of the items they sell on Worn Wear are in near-new quality. I bought a jacket through Worn Wear last year, and if I hadn't known where I got it from, I honestly would've mistaken it for brand new.
Explore Worn Wear
7. For Days (Closed-Loop Model)

For Days is helping build more circular systems in the fashion industry with their closed-loop approach. The brand creates 100% recyclable products, designing their pieces with the end in mind from the very beginning. Though their tees are made from virgin fibers, the brand allows you to swap and return your items so that they can recycle them. The brand also has a "Reincarcinated" collection with used tees.

While I don't love the idea that this model continues to promote the habit of constantly getting new clothes instead of loving what we have, I think that For Days is providing an important sustainable alternative for those accustomed to fast fashion.
Explore For Days
Save and Pin this post for later:
You May Also Want to Check Out: The Benefits of Organic Cotton + 21 Organic Cotton Fashion Brands 32 Affordable Ethical and Sustainable fashion Brands Where to Shop Secondhand Online

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7 Zero Waste Fashion Brands (+ What is Zero Waste Fashion Anyway?)

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Zero waste living is a quickly-growing trend as the awareness of our global waste and plastic pollution crises rise - and it's only natural that after implementing some of the common low waste swaps in your life, you'll begin to look for zero waste fashion, too.

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https://www.tencel.com/
Tencel active wear:
https://www.tencel.com/active
Refibra:
Baumwollreste als Beimischung für neue Tencel Fasern
https://www.tencel.com/refibra

Vergleich Baumwolle/Tencel
https://www.deviri.ch/baumwolle-vs-tencel-wieso-bio-baumwolle-nicht-die-loesung-ist/
Umweltschonender weil Spinnfärbung

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- Reduzierung von Prototypen
- Globale kommunikation
- Schneller
- Weniger Transportemissionen
https://www.taas.nyc/blog/3d-technology-benefits-for-more-sustainable-process-in-the-fashion
https://www.vntana.com/the-benefits-of-3d-fashion/

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Sustainable clothing manufacturing takes into account present needs while also being conscious not to negatively affect future generations'. Basically this means that sustainable manufacturers create their products in a way that protects local communities, and minimizes their environmental impacts while conserving natural resources and energy.

These manufacturers would also operate ethically creating safe and fair paying employment in the communities they operate in.

By the way, if you stumbled upon this page because you are a fashion startup - check out my totally FREE 7-Day Conscious Startup Crash Course. This week long course delivered to your inbox gives you the tools you need to supercharge your startup journey.
Learn More: FREE 7-Day Conscious Startup Crash Course
What This Post Will Cover

What Is Sustainable Clothing Manufacturing?

The 3 Ps

We often look at the three P's when discussing sustainable clothing manufacturing. They are people, planet, and profit. This is also known as the triple bottom line.

People

How are the people that work for this organization impacted? Do they have good lives? Are they paid fairly? Are they given the opportunity for social mobility?

Planet

This asks, how is the environment affected by this business? Does the company pollute, and dump waste? Or, do they actively engaging in creating closed-loop systems, and not only minimizing their impact on the planet but reversing it through programs like regenerative farming?

Profit

At the end of the day, the company needs to be making money. If they are losing money implementing sustainable and ethical practices they will go out of business, and people will ultimately lose jobs. What is the balance between the bottom line and investment in the future?

17 Sustainability Goals

photo of water and pollution

The United Nations has listed 17 sustainability goals for businesses in the future. They go way deeper than just the 3 Ps. They are definitely worth checking out to get you thinking about what is important in sustainable manufacturing.

If you are are a brand just starting out, I recommend picking one of the goals and really focusing on that. Go deep, learn all you can, and then when you feel like you really know that one, and have incorporated all those values into your brand, only then can you move onto the next.

In general, I always recommend brands to do one thing really, really well, instead of everything just ok.

The 17 Goals Are -

1. No poverty

2. Zero hunger

3. Good health and well-bing

4. Quality education

5. Gender equality

6. Clean water and sanitation

7. Affordable and clean energy

8. Decent work and economic growth

9. Industry, innovation, and infrastructure

10. Reduced inequalities

11. Sustainable cities and communities

12. Responsible consumption and production

13. Climate action

14. Life below water (oceans)

15. Life on land

16. Peace, justice, and strong institutions

17. Partnerships for the goals

What I Focus On

For the past three years, I have had two focuses. One for my company virtue + vice. And, one for me personally. My company focus has been on decent work and economic growth. While my personal goal has been responsible consumption and production.

Decent Work And Economic Growth

My goal for virtue + vice is to positively impact the communities we work in. Many brands think that just by coming into a community and making their products they are helping. Well, they kind of are, an influx of cash is always welcome. But, they need to be thinking bigger. How do we help this community become self-sufficient so they no longer need and rely on us?

Here is an example. With recent events in the world, brands are taking to social media to raise funds to help bring money to the artisans their brand gave orders to in the past.

But, stop. Before you open your wallet, think about this. Why are the brands ok? Why do we need to donate to the artisans? What inequality is going on here that the owners of these brands aren't begging for themselves but for their developing country suppliers?

My guess is these brands have been taking huge profits while "empowering" (read taking advantage of dirt-cheap labor) these groups. That is why they seem to be ok, but the artisans can not survive without them.

How do we change that system so these marginalized communities become more resilient and are not reliant on a single brand giving them business?

That is the type of work I do while in India with virtue + vice.

I touch on this idea in my article for Vox.

Working with groups in India for the past three years I have made it my goal to make communities stronger, not dependent. There is a difference.

Responsible Consumption And Production

Then my personal goal is to consume less. Listen, I am a busy person. I don't have time to make my own almond milk. And I refuse to feel guilty about buying a bottle of water in India so I don't get sick drinking local water (I have gotten sick more times than I can count). But, I think there are practical ways that I can incorporate reducing my consumption. One of those ways is not buying new clothes. For the past year, I have only bought second hand. Or, I made my own clothes in India with artisans.

What sustainability goals are important to you? What will you focus on?

Why Is Sustainable Manufacturing Important?

This should be obvious by now. Sustainable manufacturing is important because it is securing our futures.

Aside from the bigger picture, sustainable and ethical clothing manufacturing can also help a companies bottom line.

How?

Think about this....

Re-Using Waste

By using fabrics like deadstock or making dyes out of used iron or vegetables, an eco friendly clothing line can significantly reduce their costs. A lot of times deadstock fabric is a rip-off and is actually just available inventory fabric (a fabric that was already produced, waiting in a warehouse to be sold, not actually waste). But, if you can use real deadstock, which is actual waste, it is possible to buy those fabrics for a fraction of what they would normally be sold for to a brand.

Same with natural dyes. In India we make black dye using old iron scrap metal. It's basically free to make. We also use onion peels to make yellow, and other food waste to make different pigments. All of this is free.

When you are making with waste the cost of your raw goods should go down.

Free Energy

The initial cost for setting up solar panels can be cost-prohibitive to some factories that are struggling just. to survive in today s competitive market. But, if. they can get over the initial hurdle of purchasing and installing solar panels, they will see long term savings on electricity. Once the panels are set up, a factory can basically run for free.

And, as an added bonus they become immune to power cuts. In some areas of India where I have traveled and stayed, government electricity only works 10% of the time. It's really hard to get work done in an environment like that. If a factory is making its own, then, problem solved.

For large scale factories, an additional struggle to overcome is having the space to set up the panels. Generally, a roof does not have space for enough panels to keep the entire factory going, so additional land must be sued to harvest sunlight.

More Efficient Systems

Miranda Watson on the back of a bike in Bagru. When there isn't a second passanger on the bike, it i used to transport fabrics

If you are making small and local you get the added benefit of less shipping and transportation. Back in my fast fashion days we used to have fabrics made in China and then ship them to the Philippines for cut + sew. We did this because the Philippines has a very limited textile industry, but better duties and tariffs. So to get what we needed we had to do it this way.

But, it created a lot of logistical problems. If the fabrics were late by just one day we would sometimes miss our vessel, and not be able to get on another one for sometimes up to two weeks later. This two-week delay would cause chaos in the factory in the Philippines who had been planning on receiving the fabric by a certain date.

When you work close to where you are making, not only to you all but eliminate your use of fossil fuels during the transportation process, but you also save time and headaches like the ones I faced in fast fashion.

How To Find Sustainable Suppliers

Google

There is always good old fashion googling, and the rabbit hole that leads you down. Google might even be how you ended up on my website. The problem with google though is that it's based on this thing called SEO. Search Engine Optimization. This means if you don't invest a lot of time, and often money into getting your company to rank for search terms, people may never find you.

There are so many great ethical clothing manufacturers out there that no one knows about because they are hard to find online.

Trade Shows

Tradeshows are a great way to meet suppliers. A trade show is an exhibition where suppliers buy a booth, bring some of their products, and get ready to meet potential customers like you. Tradeshows are one of the best places for people from all over the fashion industry to meet and connect. There are trade shows for basically everything.

Here are a few of the more popular sustainable and ethical fashion trade shows where you can meet suppliers that align with your brand values.

The Pure tradeshow is broken up into two parts. The first is dedicated to connecting sustainable brands with buyers. And the second is meant to connect those brands with manufacturers. Basically it's a one-stop-shop for everyone.

ReMode is brought to you by the same people who put on MAGIC, COTERIE, PROJECT, FN PLATFORM, and CHILDREN'S CLUB. It is a separate show dedicated to all things sustainable and ethical in the fashion world. I have never been to this show but, have heard from friends it was "underwhelming".

A show dedicated to artisan and craft supplies from Columbia.

NY Now is basically the American version of Pure London. If you are interested in meeting suppliers stop by their Artisan Resource center. This show has changed to the years.

Pro-tip:

Sign up in advance. If you sign up ahead of time to attend the show it's free. If you don't sign up until the week of the show they charge sometimes hundreds of dollars just to enter.

In their words "The best of the Peruvian exportable offer in the textile, footwear and jewelry sector.
B2B Matchmaking, scheduled business rounds with buyers from the five continents"

"Now in its 9th edition, The Sustainable Angle's Future Fabrics Expo is the largest dedicated showcase of sustainable materials for the fashion and textile industry in Europe. The expo features more than 5000 commercially-available fabrics and materials from over 150 suppliers who are offering innovative solutions with a low environmental footprint."

Also home of the sustainable textiles summit. This event draws in serious industry players like Saitex, Nike, Sustainable Apparel Coalition, and more.

This is where you need to be for all the newest high tech, super performing, textiles of the future.

Not totally dedicated to sustainability. But, this show I have been wanting to get a chance to go to for a while. I am always traveling to I miss it. One of these days I hope to make it and check it out. I have heard nothing but good things from friends of mine that have attended.

What To Look For When Choosing A Sustainable Clothing Manufacturer

Minimums

Also knowns as MOQ's (minimum quantity orders).

The most important thing when choosing a manufacture for most small brands starting out is minimums. Whether you are making your own custom designs or are buying private label clothing company. This is one of the first questions you should ask.

"What are your minimums?"

Why? You could meet the most perfect factory. One that makes great products, aligns with your values, offers a great price, etc. But, if their minimum is 1000 pieces per style, and you are only making 20, none of that matters. Because it's not the right fit.

So, before you get too excited about a supplier, always ask what their minimums are first. This helps both you and them not waste any time.

Pro-tip:

Another term for small minimums is small-batch manufacturing.

Their Focus

Remember how I mentioned above the 17 sustainability goals? Which of those goals are most important to them? What do they specialize in? Does that align with your clothing brand? Some factories I work with are very dedicated to their people and helping local communities. And, some are extremely dedicated to reusing and recycling water resources. Others are dedicated to 100% organic and regenerative growing practices. Everyone has that one thing they are super passionate about. Make sure their values are in range with yours.

What Fabrics To Source With A Sustainable Clothing Manufacturer

I have tons of fiber and fabric break downs as part of my Textile 101 course. But, here is a quick run down of fabrics you might want to consider using for your line.

Sustainable And Eco-Friendly Fabrics

Natural

organic fabrics, like organic cotton

regenerative cotton

hemp

certified wool

linen

silk

peace silk (no silkworms are killed during harvesting)

lotus (not the viscose kind! The real natural kind straight from the plant)

Semi-Synthetic, Also Known As Regenerated (remember, regenerative and regenerated fibers are different)

viscose

rayon - this includes all different types of rayon like bamboo fabric, eucalyptus fiber, orange fiber, banana fibers, etc

soy cashmere and soy silk

modal

tencel

food waste plastics like pinatex, appletex, milk silk, and corn rubber

Synthetic

Recycled Paper

Sustainable materials go beyond fabrics. As many factories are attempting to go zero waste they have started to collect their cotton scraps and turn them into paper hang tags.

I know other partners that offer recycled paper options, and even handmade options with flowers hand pressed into the cardstock.

Eco-Trim

Trims like zippers and buttons and laces should be sustainable too. Do they come from deadstock? Are they made from recycled metals? Can you trace where the metals came from?

Biodegradable Plastic

Ask your suppliers to package your goods in biodegradable shipping materials to help cut down on business to business landfill waste.

Are Factory Standards Important?

I am going to get controversial here. In my opinion no. Factory standards are pay to play. If a factory has the money, they can afford to pay the high costs associated with the certification. Also, these days there are so many certifications its impossible to keep up with all of them.

At this point is a joke in the industry that creating your own certification system is a quick way to generate cash for your company.

Spilling The Tea

Because many of these fast fashion certifications are pay to play, that means suppliers who don't necessarily meet certification standards sometimes are able to slip through the cracks by offering a little extra dough. Many of these factories also set up smaller factories that they use for passing certification and then they will actually make the goods in other non-certified factories that they own.

I know. The world of manufacturing is crazy. Even ethical manufacturing.

Look For Real Transparency

For that reason, I recommend trying to use small manufacturers that you can go to and visit and build a relationship with. All my factories are open.

That means I can show up at any time unannounced and they will let me in to see what is going on. I don't have to schedule in advance with them (ie give them time to prepare for me and make everything look nice).

For me this type of transparency is 100% necessary for doing business. And, I really get to see what the working conditions are like on day to day basis.

A Better Use Of Funds

In my opinion, there are better uses of the money spent to certify factories. Like giving it directly to the workers, instead of on a stamp of approval and pat on the back. Think about that.

If you want to learn more about how businesses can operate sustainably and ethically without certifications, check out Think Coffee. They are doing a great job of this.

What Standards Should You Look Out For?

But, I get it some brands want that certification. They need that stamp of approval. They want to be able to check all the boxes of what a sustainable product should be. If that is you, here is a list of a few of the main certification to check out.

Better Cotton Initiative

BlueSign

Cradle to Cradle (this is my favorite out of all of them)

Fair Trade

Global Organic Textile Standard (GOTS) - this one is infamous for falsified records and lack of supply chain transparency

Oeko-Tex

USDA Certified Organic

World Fair Trade Organization (WFTO)

Responsible Wool Standard

Sustainable Clothing Manufacturing Myths

Sustainable Fabrics Are Uncomfortable

Not at all! Silk, one fo the most luxurious fabrics in the world, is a sustainable fabric. Some of the modal (rayon made in a circular zero waste production system) fabric qualities I am able to supply are so high quality a few of my customers who are industry professionals can't tell the different between them and silk!

It's Too Expensive

Not at all.

I am often able to help my new clients bring down their garment manufacturing prices. Doing this is not easy. It requires an entire overhaul of their supply chain. But, in the end, it's worth it for the planet and their bottom line.

Finding Partners Is Difficult

Nope.

Not at all. Email me at hello@virtue-vice.com, even if we don't end up working together, I can point you in the right direction of some great supply partners.

Fair Trade Is Low Quality

I get this one a lot. Tor some reason many people believe that fair trade clothing is not of high quality. I don't know where this misconception comes from. All fair trade means is that people were paid a fair wages.

Fairtrade brands are passionate about social impact and slow fashion. If you are interested in learning more about fair trade fashion and getting your clothing line fair trade certified, check out the New York City Fair Trade Coalition. I am a business member and have gotten some amazing resources over the years from them.

Plan A Visit

The best way to tell if a sustainable clothing manufacturer is right for you is to go and visit. And, then once you start working tougher, try to visit regularly.

But I get it. Many emerging fashion brands don't have the time or finances for constant travel to supply chain partners. Being able to travel the way I do is a privilege that I now have thanks to years of hard work. If you can can't work travel into your busy start-up schedule, hire an agent, like virtue + vice to be your eyes and ears on the ground. Being a watchdog for our brands is one of the many services we provide.

Did you find this blog post helpful? Do you have any questions? Contact us or comment below, we are here to help!

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Find Ethical + Sustainable Clothing Manufacturing

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Sustainable clothing manufacturing takes into account present needs while also being conscious not to negatively affect future generations'. Basically this means that sustainable manufacturers create their products in a way that protects local communities, and minimizes their environmental impacts while conserving natural resources and energy.

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Unsere Philosophie

radikal swiss made:

Zusammen mit über 20 Handwerksbetrieben produzieren wir die nachhaltigste Bekleidung fürs Draussensein lokal hier in der Schweiz.

radikal minimal:

Aufs Wesentliche reduziert, ohne Schnickschnack. Kleinstmögliche Belastung unseres Planeten sowie der Tiere und Menschen in unserer Lieferkette. Zum fairen und transparenten Preis ohne Umweg direkt von uns zu dir. Das ist ROTAUF - no Bullshit!

"Getting dressed is a thing every person on the planet does - and we aren't only doing it on the planet, we're doing it to the planet."

KATE SEKULES

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Unsere Philosophie radikal swiss made: Zusammen mit über 20 Handwerksbetrieben produzieren wir die nachhaltigste Bekleidung fürs Draussensein lokal hier in der Schweiz. radikal minimal: Aufs Wesentliche reduziert, ohne Schnickschnack. Kleinstmögliche Belastung unseres Planeten sowie der Tiere und Menschen in unserer Lieferkette. Zum fairen und transparenten Preis ohne Umweg direkt von uns zu dir.

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Conventional sweaters can be produced by sewing together the various parts, knitted separately, such as the front body, back body and sleeves. A new method of knitting is made possible by using the state-of-the-art computerised flat knitting machines, where an entire garment can be created in one piece, straight off the machine, without the need for linking or sewing. Such type of knitwear are generally referred to as 'complete garments' or 'seamless knitwear'.

With the technology of 'Seamless' Knitwear machines becoming ever more sophisticated and versatile in product designs, Niki Tait takes a look at some of the innovations in the market.

Niki Tait, C.Text FTI, FCFI heads Apparel Solutions, (www.apparelsolutions.co.uk) which provides independent assistance to the Apparel Industry in the areas of manufacturing methods, industrial engineering, information technology, quick response, etc. Tel/Fax +44 (0) 1237 423163 E-mail: nikitait@ apparelsolutions.co.uk

By producing an entire garment in one complete piece, there is much potential in time and cost savings, under this production technique. There are no labour-intensive cutting, sewing or linking processes.

Besides, there is no material waste as the scrap material that is thrown away after cutting out each pattern in conventional production is eliminated.

Being computerised, the technology can be applied to a small-lot production, with greater variety, or even single item production for creating one-off made-to-measure knitwear.

Many experts in the knitting industry agree that complete garment knitting will become the mainstream method of knitting during the 21st Century.

Since each garment is produced in its entirety based on digitally programmed data, item-to-item and batch-to-batch quality, even for repeat orders, it would remain consistently high throughout. Other benefits include improved stretch and mobility with the elimination of bulky, uncomfortable and unsightly seams. Drape is enhanced, as there are not many seams to alter the flow. The seams even cannot be broken down. Hence the quality is improved. Seamless one-piece construction also means that the entire garment has the structural integrity of a single piece of fabric allowing stress to be distributed evenly.

In essence, complete products are knitted in tubular form - one wide tube for the body and two narrower tubes for the sleeves. These tubes then need to be automatically connected together at the neck, shoulders and under the arms, by the knitting machine. This results in a commercially viable sweater equalling or even surpassing conventional knitwears, especially in terms of product variety, quality and fashion potential.

Shima Seiki, considered the 'Pioneer' of this technology, was the first to launch its patented WHOLEGARMENT technology in 1995. This technology enables three-dimensional shaping of garments, which conform better to the body shape

Shima Seiki, the pioneer of this technology, has spent over twenty years researching and developing this machinery and expertise, trade marking its system WHOLEGARMENT, which it first launched to the industry at ITMA 1995. WHOLEGARMENT has resulted in the application and ownership of approximately 150 patents worldwide.

The company claims that these patents and the mechatronics technology, besides the computer programming know-how and knitting techniques which they embody, distinguish WHOLEGARMENT from other forms of complete garment knitting industries. Shima Seiki's dedicated technologies include the four-needle bed configuration, twin-needle arrangement, slide needle, contra sinker, transfer jack, loop presser, stitch presser, pull down device and digital stitch control.

With the pull down device, for example, a computer-controlled takedown system pulls the fabric down while knitting, with precise control over incremental tension across the entire garment, on both the front and back. This permits three-dimensional shaping of WHOLEGARMENT items by allowing, for example, shoulder lines for set-in sleeves to be positioned over the shoulder towards the back, resulting in a more dimensionally accurate garment which conforms better to body shape.

The SlideNeedle is an entirely new needle design. It aims to replace the 150-year-old design of the traditional latch needle enabling unprecedented stitch designs. A flexible two-piece slider mechanism splits and extends beyond the needle hook for increased potential, especially in complex transfers. Using the slider mechanism for transfer effectively eliminates the transfer clip, allowing the needle to be mounted in the centre of the needle groove thereby achieving a perfectly symmetrical loop formation for knitting the highest possible quality fabrics.

The new Contra Sinker actively offsets, and consequently reduces, the total amount of movement of the SlideNeedle with a counter-movement. The shallower angle of approach distributes yarn tension more evenly, reducing scuffing and thereby preventing yarn breaks. Thus, together, the SlideNeedle and Contra Sinker are said to achieve better quality whilst using a wider variety of yarns, as well as significant improvements in productivity.

The SlideNeedle is capable of a 12-way technique, which effectively doubles the number of knitting techniques over the traditional six techniques of knit, tuck, miss, transfer, receive and racking. The six new techniques enabled by the SlideNeedle are lateral transfer, split stitch lateral transfer, split stitch front and back, second stitch, inlay and holding which enable more flexibility for knitted-in pockets, collars, buttonholes and other trimmings than ever before. Details such as darts and pleats can also be knitted in, as Shima Seiki claims, WHOLEGARMENT is the only method which allows a complete, three-dimensionally shaped and fitted garment to be worn straight off the machine.

Practical results from the new SlideNeedle design are increased stitch variation, a wider range of possible gauges and 'gaugeless' knitting, whereby a variety of gauges can be knit on a single machine into a single garment. This opens up further possibilities for a wider range of knitwear including cooler, more lightweight items helping to shed seasonal perceptions toward the traditional knitwear period, and enabling knitwear to be worn throughout the year.

Patterning techniques such as Milano rib, inlay, and pleated, flared skirts expand knitwear's capability to encroach on the area of woven fabrics. Shima Seiki speculates that so far it has only touched upon less than 1% of the SlideNeedle's full potential, there being many unexplored possibilities. It further explains, with the conventional needle using every combination of the six-way technique, there are 6 x 6 or 36 different possibilities. The twelve-way technique, made available by the slide needle, allows 12 x 12 or 144 different possibilities enabling new stitch types, new patterns, new effects.

Unlike the conventionally knitted sweaters, the seamless process allows patterns and designs to remain uninterrupted across the entire garment - from front to back, over the shoulder and down the sleeves. Everything from hats, scarves, shoulder warmers, cardigans, vests, jackets, coats, jumpsuits, dresses, skirts, leg warmers, tights and socks can be knitted in their entirety. Current trends for fashion wear are for increasingly finer gauges, thus narrowing the traditional divide between fully-fashioned and circular knitwear.

Wholegarment technology is also expanding into the automotive and aeronautic industries, particularly in terms of seamless seat covers, and into the medical industry where elastomeric yarns can be used, enabling shaped support garments to be produced. Shima Seiki offers six different models of WHOLEGARMENT knitting machines.

The closest competitor to Shima Seiki WHOLEGARMENT knitting is Stoll Knit and Wear. Launched in 1997, the company also feels that the potential of its 'knit and wear' technology is just being guessed at! There is a complete change in mindset from just considering traditional but seam-free products to utilising the machines' full potential. Stoll puts its main strength to its flexibility in using different types of yarns, of varied thickness, its ability to knit different parts of the garment at different lengths, with different number of rows of knitting, besides its design software. There is a database of many different designs and styles on the internet, which customers can download and adapt to their own needs. Stoll offers five different knit and wear machines.

M1 Plus® software from Stoll is a material planning and control solution, which offers functions such as knit and loop simulation to allow the user to check for potential problems ahead of time. Using "M1 Plus®", one can make the front, back and sleeves together in one piece of garment. It also offers pattern making, grading and marker making for flat knit fabric. The M1 Plus® highlights simplified pattern design with Design Mode for easy drawing, new and enhanced drawing functions. Only one drawing layer simplifies the editing, especially for Fully Fashion individual knitting-technique. The software further defines color arrangements for knitting sequences manually and easy pattern data management and maintenance. It interfaces with Eneas Design Software Shaper.

Santoni has become the market leader in seamless knitwear production, reducing traditional production costs by up to 40%

What circular knitwear specialist Santoni calls 'seamless technology' does not exactly mean 100% seamless as it does with flat knitting technology, however it does reduce the need for up to 90% of seams, claim the company. Developed from technology used to make socks, by producing a tube of the appropriate diameter circular-knitting machines eliminate the need to produce and then sew together pieces of cloth, thus making the side certainly seam obsolete.

From 1999, Santoni began focusing solely on seamless machine production. It developed machines which offered more flexibility in designing patterns, producing three dimensional products, single and double jersey, levering a true mosaic knitting process, besides producing true fish net sport and fashion garments in single jersey, with zero waste. As a result Santoni has become the market leader in circular seamless knitwear production. This technology can directly produce nearly finished products, and reduce traditional production costs up to 40%. Claimed benefits include a better, comfortable and wider range of various body sizes apparels at an affordable cost.

The performance features that are linked to the combination of fibres include smooth, streamlined and sleek engineered zones of support, compression, ventilation, or shaping; ability to transition from one yarn type to another without seaming; design flexibility, styling comfort and durability with attractive appearance. In terms of production, circular seamless knitwear has also claimed to reduce labour costs, requiring fewer machines and a smaller work space, lower energy costs, reduction in yarn and fabric use per garment.

Mainly used till now in the sportswear, swimwear, underwear and medical fields, Santoni's research has shown that seamless apparel construction can focus on supporting muscles and areas where they need it the most. An engineered fit, micro massaging features, and performance innovation, result with a blending of various technical fibres and yarns. Underwear produced on seamless machines blends comfort, fit and versatility. According to Santoni, 'These yield high performance, seam-free, easy care, silky smooth garments that feel similar to one's second skin and are designed to be worn under today's fluid, lightweight apparel'. Studies have shown that once a consumer has purchased and worn a seamless garment, there is a high rate of his purchasing it again.

Santoni offers nine different single jersey machines and two double jersey models. Although the trend has been for finer and finer gauges, its latest offerings are designed to compete with the flat bed knitting industry, which enables to offer seamless fine gauge fashion jumpers, knitted up to three times quicker than the fully fashioned machines can produce.

Merz Maschinenfabrik GmbH is a company, 60% of which is owned by large diameter circular machine company Mayer & Cie, which has been manufacturing circular knitting machines to produce medical stockings. Four years ago it developed this expertise to produce a body size seamless machine, the MBS Merz Body Single, which was presented for the first time at the ITMA 2003, which works using a mono-magnetic needle selection system. The latest version, the new MBS 11, is an eight feed single jersey circular knitting machine, which is available in diameters ranging from 13 to 17 inches and in gauges from 16 to 32G.

Each feed has nine yarn fingers, four of which are with float position. With three-way technique the machine is suitable for the seamless production of underwear, swimwear, sports fashion, medical compression garments, etc. whilst the particular needle construction is designed for working with both special synthetic and cotton yarns. Besides plain garments it is possible to knit plated patterns, crocket look, and micromesh and support structures.

The integrated transfer appliance allows the knitting of double and elastic welts. Machines can be equipped with the hosiery method of pneumatic garment ejection, or electronic takedown of garment panels.

Charlotte is an eight feed single-cylinder seamless body wear circular knitting machine designed by the Uniplet Group, a Monarch company, for the production of underwear, swimwear, sportswear, outwear and medical wear with possibility of single or double transferred welt and separation of each single garment. Depending on yarn types, the structure of the knitted fabric and the diameter of cylinder, maximum-running speeds of between 85 to 140 RPM of the needle cylinder can be achieved. It has a gauge cylinder of 24E to 28E, cylinder diameter of 12 to 20 inches, a yarn finger count of 56 made up of eight feeds with seven fingers each and individual mono-magnetic needle-by-needle selection with three-way technique in all eight feeds or four-way technique in four feeds.

Plain knits, all kind of tuck, float, terry, miss-knit, cut-out patterns, logo motive and its combination can be produced with the possibility of knit-in or lay-in bare or covered elastomerics. The machine can knit yarns from 17/1 dtex to 200/1 dtex. The Uniplet Group is a Czech company, which was established, in 1949 producing sock and ladies hosiery machines. The Charlotte was launched in 2007. According to Uniplet, its key features are its ease of use, its simple and stable needle selection and the simplicity of its electronic controls.

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Seamless Knitwear: New technology ensures one-piece construction with minimal wastage - Apparel Resources

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Conventional sweaters can be produced by sewing together the various parts, knitted separately, such as the front body, back body and sleeves. A new method of knitting is made possible by using the state-of-the-art computerised flat knitting machines, where an entire garment can be created in one piece, straight off the machine, without the need ...

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-> weniger Wasser, Pestizide, Dünger

-> mehr Ertrag pro Fläche

Flachs, Hanf, Jute, Ramie, Nesseln, Bambus, Kenaf, Sisal

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insbesondere auf die Transparenz appellieren, da die Behandlung durch Wasch-, Bleich- und Färbemittel die Bioabbaubarkeit verfälschen können

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THE SOLUTION Within the project, 2 sessions of prototyping were finished. The first one resulted in 4 versions of the same seamless short jacket made of different materials and colors.

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3D fabrication / printing

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Julia Körner | Salzburg | Julia Koerner - JK

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Julia Koerner, Architect, Founder and Managing Director of JK Design GmbH. Austrian company specialise in 3D printing Product Design & Fashion. Faculty at UCLA

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zero waste fashion

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BOSS Voices - Carmen Hijosa

„Konzentriere dich auf das, was du gut kannst, und lass andere das erledigen, was du nicht kannst"

Innerhalb von nur fünf Jahren wurde Carmen Hijosa von einer Doktorandin zur Gründerin und Chief Creative and Innovation Officer von Ananas Anam - dem Unternehmen, das das Piñatex®-Gewebe entwickelt hat, aus dem unsere verantwortungsvollen Sneakers gefertigt werden.

Vor fünf Jahren waren Sie noch Doktorandin, heute sind Sie die preisgekrönte Chefin einer nachhaltigen Firma. Wie haben Sie es in so kurzer Zeit so weit gebracht?

Der Doktortitel war sozusagen nur die Spitze des Eisbergs. Der Abschluss war der letzte Teil einer Reise, die insgesamt zehn Jahre gedauert hat - so schnell ging das also gar nicht.

Hatten Sie manchmal das Gefühl, dass Sie als Frau härter arbeiten mussten, um an Ihr Ziel zu gelangen?

Absolut! Das ist heute immer noch so. Aber je mehr Erfahrung und Wissen man hat, und je stärker man wird, umso leichter wird es, für sich einzustehen und sich nichts bieten zu lassen.

Ist Führen für Sie als Gründerin und Chief Creative and Innovation Officer etwas ganz Natürliches oder mussten Sie in diese Rolle erst hineinwachsen?

Meine Eltern sind beide selbstständig und ihre Eltern waren es auch schon. Meine Herkunft, meine rebellische Art und die Eigenschaft, ein Nein niemals zu akzeptieren, machen mich zu einer Macherin, nicht zur Mitläuferin. Wenn man klare, starke Ideen vor Augen hat, die außerdem noch zukunftsweisend sind, erreicht man schnell eine Führungsposition.

Warum sollten sich die Menschen Gedanken über ihren ökologischen Fußabdruck machen?

Ganz einfach: Wir haben nur diesen einen Planeten.

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BOSS Voices - Carmen Hijosa „Konzentriere dich auf das, was du gut kannst, und lass andere das erledigen, was du nicht kannst" Innerhalb von nur fünf Jahren wurde Carmen Hijosa von einer Doktorandin zur Gründerin und Chief Creative and Innovation Officer von Ananas Anam - dem Unternehmen, das das Piñatex®-Gewebe entwickelt hat, aus dem unsere verantwortungsvollen Sneakers gefertigt werden.

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Suzanne Lee: Why "biofabrication" is the next industrial revolution

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What if we could "grow" clothes from microbes, furniture from living organisms and buildings with exteriors like tree bark? TED Fellow Suzanne Lee shares exciting developments from the field of biofabrication and shows how it could help us replace major sources of waste, like plastic and cement, with sustainable and eco-friendly alternatives.

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Refuse – Reduce – Reuse – Repair – Recycle

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Refuse – Reduce – Reuse – Repair – Recycle

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Warum benötigen wir neue bzw. innovative Materialien?

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Warum benötigen wir neue bzw. innovative Materialien?

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-> Einfluss von Textilien auf das Ökosystem Erde „ökologischer Fußabdruck“ / Ökobilanz (LCA)

-> endlichen Ausgangsmaterialien (wie z.B. Erdöl) entgegenzuwirken

-> Eigenschaften von textilen Produkten verbessern

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-> re-, down- und upcycling

-> closed- und open-loop-recycling;
CLR vs. OLR

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Aus Eukalyptusfasern - Velourslederoptik

Aus Apfelfasern - Glattlederoptik

Umweltfreundlich

Unsere Kollektion aus veganen Gürteln und Taschen wird aus Apfelfasern, Eukalyptusfasern und anderen umweltfreundlichen Materialien hergestellt.

Nachhaltige

Innovation und Nachhaltigkeit auf allen Ebenen - von der Auswahl der Rohstoffe bis hin zu den Arbeitsbedingungen der Menschen, die unsere Produkte tagtäglich anfertigen

Modern

Klassische vegane Mode und hohe Qualität: Wir zeigen, dass in jeder Hinsicht verantwortungsvoll hergestellte Accessoires modern und schön aussehen können.

Neue Herrenkollektion

Noani X Eukalyptus-Collection

Unsere Yogatücher

Noani x ISLE OF MIND - Collection

Was uns einzigartig macht

Noani Fashion

Du bist auf der Suche nach veganen Accessoires ohne tierische Bestandteile? Dann bist du hier genau richtig. Entdecke fashionable Gürtel und Taschen ohne Leder & Co. - fair und ökologisch hergestellt.

Vegane Accessoires ohne Leder

Weiterlesen

Folge uns auf instagram
@noanibelt

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Aus Eukalyptusfasern - Velourslederoptik Aus Apfelfasern - Glattlederoptik Umweltfreundlich Unsere Kollektion aus veganen Gürteln und Taschen wird aus Apfelfasern, Eukalyptusfasern und anderen umweltfreundlichen Materialien hergestellt. Nachhaltige Innovation und Nachhaltigkeit auf allen Ebenen - von der Auswahl der Rohstoffe bis hin zu den Arbeitsbedingungen der Menschen, die unsere Produkte tagtäglich anfertigen Modern Klassische vegane Mode und hohe Qualität: Wir zeigen, dass in jeder Hinsicht verantwortungsvoll hergestellte Accessoires modern und schön aussehen können.

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VEGEA: innovative biomaterials for fashion & design

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VEGEA is an Italian company that produces and commercializes technical coated fabrics and biomaterials for fashion, furniture, packaging and automotive

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MycoTEX® is a ground breaking seamless manufacturing method allowing for custom-made clothes made from compostable mushroom roots

Fashion brands struggle to keep up with the growing consumer demand for sustainability. Consumers are becoming more critical about what they wear. They want clothes that fit them perfectly, are made out of natural materials, and are manufactured using methods that are clean, transparent, and produce zero waste. A difficult task for brands, especially considering they need to deal with a complex, 200-year-old supply chain.

MycoTEX offers an award winning, all-in-one solution for brands. We use a seamless production technology to create custom-fit products out of sustainable, vegan textiles made from mycelium (mushroom roots). This ground breaking manufacturing method solves several major issues in the fashion, interior and automotive industry:
- Reduces the cost, waste, and labour-intensity of cut & sew operations
- Replaces plastics and leathers with compostable materials
- Improves the comfort and fit of fashion products

Our "made by MycoTEX®" signature production method makes products instantly recognizable. It makes it easier for brands to create innovative, custom-fit products that let consumers live a sustainable lifestyle while following the latest trends.

We are looking for brands who want to work with our revolutionary production process

We are looking for launching customers, who want to work with our revolutionary production process that allows for creating seamless products made of bio materials. These brands look beyond sustainable materials and want sustainable production as well in order to become truly sustainable. We offer selected brands the unique opportunity to be the first to work with this new technology and create the designs for the future.
Please reach out to us to discuss this great opportunity!

In 2021 we will be launching our improved, sustainable and flexible material officially.

MycoTEX is supported by:
Global Ghange Awards (H&M Foundation), Fashion For Good, WEARsustain, Utrecht University, KET4CP, NWO, STW, KIEM and Biobase4SME

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Fashion brands struggle to keep up with the growing consumer demand for sustainability. Consumers are becoming more critical about what they wear. They want clothes that fit them perfectly, are made out of natural materials, and are manufactured using methods that are clean, transparent, and produce zero waste.

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Growing Our Team

We are committed to building a diverse team and an inclusive environment where all employees belong. Welcome to a new era of materials crafted from nature and refined for performance. Join our journey to Grow the Future of Materials.

Learn More

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MycoWorks creates a platform for the highest quality materials using Fine Mycelium™. Fine Mycelium™ is an option for leather, crafted from nature and refined for luxury fashion and beyond.

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(kritisch Formaldehyd vernetzt)

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Soybean Protein Fiber is an advanced textile fiber. It is made from the Soybean cake after oiling by new bioengineering technology. Firstly, the spherical protein is distilled from the soybean cake and refined. Secondly, under the functioning of auxiliary agent and biological enzyme, the space structure of spherical protein changes, and then protein spinning liquid is confected by adding high polymers, and then thirdly, after the liquid is cooked, the 0.9~3.0dtex fiber is produced by wet spinning, and stabilized by acetalizing, and finally cut into short staples after curling and thermoforming.

Soybean Protein Fiber has not only the superiorities of the natural fibers but also the physical properties of synthetic ones. Soybean protein fiber meets the people's demand of comfortable and beautiful wearing and also conforms to the trend of easy care. It is the potential material for middle and high class clothing in textile industry.

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Soybean Protein Fiber is an advanced textile fiber. It is made from the Soybean cake after oiling by new bioengineering technology. Firstly, the spherical protein is distilled from the soybean cake and refined.

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Starting with a thorough market analysis including research studies, customer meetings and an established selection process we focus on clearly defined business applications and projects.

AMSilk develops and produces fiber relevant to market need and application. Therefore, our spider silk protein is individually designed by our bioengineers. We follow two major routes:

High-performance and Premium skin feel

*More than 200.000 bioengineer man hours and know-how have been invested into our products.

AMSilk has been producing bulk material on a large industrial scale since 2014 . Focus has always been on reliable technology and constant results.

*Production of biopolymers runs with bio reactors of more than 50.000 liter capacity.

In 2011 our first proof of concept filament was developed. In 2013, we presented our first Biosteel ® filament. In 2014, we implemented our pilot plant. Since 2015, we have produced customer- and project-driven fibers with established proven parameters.

Our technology is based on German engineering and is supported by leading European Technology Specialists, Textile Engineers and Institutes. To assure best results and safe processes, our Quality Management System is approved by ISO 9001.

*Evolution has worked for 300.000.000 (300 Million) years to develop, optimize and fine tune the spidersilk fiber technology - spiders are an evolutionary success story.

The unique performance of fiber offers a wide range of capabilities. The most natural and intelligent ingredient for high-performance applications like:

Apparel: High Performance Active Sports Apparel which outperforms natural fiber based products

Footwear: Ultimate Active Sports Footwear which enhances speed and endurance

Automotive: Premium interior application with outstanding features

Home + Interior: New generation of furniture design

Technical Textiles: Wide range of unique capabilities applied with Workwear

Medical Textiles: Improved everyday comfort, recovery and well-being

fibers are 100% nature based biopolymers. Our intelligent fiber is superior due to its combination of strength and elasticity - and at the same time ultralight. This all comes with high skin sensation behavior, controlled moisture management and 100% biodegradablity.

*a spider web made of pencil thick spider silk fibers can catch a fully loaded Jumbo Jet Boeing 747 with a weight of 380 Tons.

Siegfried Winkelbeiner, CEO Schoeller Textil AG:

Learn more about new products and applications. Leave your email and we'll get in touch.

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Starting with a thorough market analysis including research studies, customer meetings and an established selection process we focus on clearly defined business applications and projects. AMSilk develops and produces fiber relevant to market need and application. Therefore, our spider silk protein is individually designed by our bioengineers.

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(Stella McCartney)

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We study silk proteins spun by spiders to determine what gives them their incredible properties.

We develop proteins inspired by these natural silks by using bioengineering to put genes into yeast.

We produce the protein in large quantities through fermentation, using yeast, sugar, and water.

We isolate and purify the silk protein, then spin it into fibers, similar to those like rayon and acrylic.

We knit these fibers into fabrics and garments.

We use cookies to enhance site navigation and analyze site usage. By clicking "Accept," you agree to the storing of cookies on your device. To find out more, see our Privacy Policy.

These cookies help make a website usable by enabling basic functions like page navigation. The website cannot function properly without these cookies.

These cookies help website owners to understand how each user interacts with websites by collecting and reporting information anonymously.

These cookies are used to track users across websites. The intention is to display ads that are relevant and engaging for each user.

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Harnessing proteins found in nature to create fibers and fabrics with both practical and revolutionary uses, starting with spider silk.

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Die QMILK Folie hat durch das Kasein exellente Barriereeigenschaften
und ist damit besonders für Anwendungen im Lebensmittelbereich
geeignet. Aber sie kann auch vor aggressiven Medien schützen und Papier imprägnieren. Auch die Schweißbarkeit der QMILK Folie ist gut.

QMILK erfüllt die Anforderung als heimkompostierbarer Biokunststoff nach DIN 13432 und ist innerhalb eines, je nach
Rezeptur einstellbaren Zeitraumes, ohne Einschränkungen biologisch abbaubar. QMILK Produkte können nachweislich
und unbedenklich zusammen mit den Küchenabfällen direkt im Gartenkomposter entsorgt werden. Dies bedeutet, dass Bioabbau und Zersetzung ohne Temperaturzufuhr erfolgt und somit keine Industriekompostierung notwendig ist.

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Die QMILK Folie hat durch das Kasein exellente Barriereeigenschaften und ist damit besonders für Anwendungen im Lebensmittelbereich geeignet. Aber sie kann auch vor aggressiven Medien schützen und Papier imprägnieren. Auch die Schweißbarkeit der QMILK Folie ist gut. QMILK erfüllt die Anforderung als heimkompostierbarer Biokunststoff nach DIN 13432 und ist innerhalb eines, je nach Rezeptur einstellbaren Zeitraumes, ohne Einschränkungen biologisch abbaubar.

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https://www.dezeen.com/2019/10/24/spiber-moon-parka-spider-silkthe-north-face-japan/

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Enter now and get more information about: EVO®. Fulgar is an international leader on the manmade fibre market, distributing covered elastomers for the technical and textile sectors.

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Outdoor-Spezialisten Schöffel sind permanent auf der Suche nach Materialien und Fertigungsverfahren, die in ihrer Produktion eine möglichst geringe Auswirkung auf unsere Umwelt haben. Gleichzeitig müssen die eingesetzten Stoffe aber auch die hohen Ansprüche einer zuverlässigen Premium-Bekleidung erfüllen. Denn wer am Berg unterwegs ist, legt bei seiner Kleidung Wert auf funktionelle Eigenschaften und optimalen Tragekomfort. Dies gilt gleichermaßen für Jacken, First- und Midlayer sowie Hosen und Shorts. Bei vielen dieser Kleidungsstücke verwendet Schöffel das innovative S.Café®-Material, welches sich als technischer Faserverbund aus recyceltem Kaffeesatz und Polyester zusammensetzt.

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Funktionsbekleidung mit recyceltem Kaffeesatz von Schöffel

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Outdoor-Spezialisten Schöffel sind permanent auf der Suche nach Materialien und Fertigungsverfahren, die in ihrer Produktion eine möglichst geringe Auswirkung auf unsere Umwelt haben. Gleichzeitig müssen die eingesetzten Stoffe aber auch die hohen Ansprüche einer zuverlässigen Premium-Bekleidung erfüllen. Denn wer am Berg unterwegs ist, legt bei seiner Kleidung Wert auf funktionelle Eigenschaften und optimalen Tragekomfort.

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(kritisch hinterfragen, PES + Kaffeeextrakt)

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Using repurposed coffee grounds making a print layer that has four principle functions: quick-drying touch, odor control, reduces condensation rate, and a tremendously sustainable product.

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Designed by Akacia System | 旭亞系統設計(股)公司 | www.akacia.com.tw

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Using repurposed coffee grounds making a print layer that has four principle functions: quick-drying touch, odor control, reduces condensation rate, and a tremendously sustainable product.

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(kritisch hinterfragen, Regeneratfaser + Algenpulver)

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Keel Labs is a platform for innovation, broadening our vision for the potential of the ocean to accelerate our planet's development towards a more sustainable future.