Justin Cases and Sienna Galtry use waste yarn and pom-pom making to explore colour theories in First Year Textile Design Studio Structure

Pom-pom making in action with Phoebe Chen and Bianca Stewart (right)

The Australian Bureau of Statistics released an information paper in 2013 detailing the types of waste generated by Australians and how it is dealt with i.e. recovered domestically, exported or disposed of in Australian landfill sites. The report classified textiles and leathers as being ‘inseparable / unknown waste’ and therefore too difficult and costly to recover. As a result 501,000 tonnes…of leather and textiles were sent to landfill between 2009 and 2010.

The issue of textile waste is a global one. In the 2017 edition of How to be a Fashion Revolutionary a suite of alarming statistics were shared. “Last year, the world bought 73 million tons of textiles, yet only 20% are recycled each year…around 350,000 tonnes of used clothes go to landfill in the UK every year”.

The Textile Industry is working on a range of measures across design, manufacturing, science and technology to eliminate waste – in the meantime we (the designers and users of textiles) need to be considerate of our material choices – questioning the origin and processing of fibres / fabrics as well as methods for end of life.  Check out the Lateline interview with Clara Vuletich and Clare Press for some innovative ideas.

We are keen to make good use of our waste yarn, so if you have any ideas / projects send them through to emma.lynas@rmit.edu.au, after all, “Waste is only waste if you waste it” (Will.i.am)

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From the website:

“…On 24 April 2013, 1133 people were killed and over 2500 were injured when the Rana Plaza factory complex collapsed in Dhaka, Bangladesh. Social and environmental catastrophes in our fashion supply chains continue. Fashion Revolution says enough is enough…This annual appointment on the anniversary of the disaster will help to raise awareness of the true cost of fashion, show the world that change is possible, and celebrate all those involved in creating a more sustainable future for fashion.

This year, the campaign asked us to consider the very curly question:  “Who Made My Clothes?”

Using the hashtags #fashrev #whomademyclothes? the social media campaign involved encouraging people to turn their clothing inside out, exposing the labels, then taking a selfie and using the hashtags + adding the brand/s they wear.

Given our program is well known for our strong emphasis on sustainability, it really was a no-brainer for us to do something that did more than merely scratch the surface. So our first and second year students collaborated on a little project we called Wearing our hearts on our sleeve.

“Wear your heart on your sleeve” asks questions specific to the origins, people and processes used to make the clothes you wear.

Students worked in groups to examine one person’s entire outfit as a case study. The wearer (or shall we call them ‘ willing’ volunteer?) looked at all the labels attached to their clothes, and wrote on a post-it note all the information they could glean.

Their team then took half an hour to ask as many questions about the information on the label as possible:

• What is the fibre content? Are there any other materials present? E.g. polyester thread, clasps, decorative techniques, trims etc. Are these things listed on the label? What more is there to know?
• Who is making the garment? Who made the other elements?  Where? How many processes were involved to achieve the end garment? What more is there to know?

We then conducted a photoshoot in our Brunswick studios – and as you can see, the students really got into the spirit of things!

Following on from our own shenanigans, the School of Fashion & Textiles hosted a private screening of Traceable –  a documentary set against the backdrop of the fast-fashion industry and our increasing disconnect of where and how clothing is made.

Wrapping up the day’s events, an ‘in conversation’ with Melinda Tually, Fashion Revolution Regional Co-ordinator Australia & NZ , and Wendy Savage Manager of Supply Chain Social Responsibility & Traceability at Patagonia explored the challenges faced by the fashion industry to ensure that every element of the supply chain is indeed, ethical and sustainable . Wendy’s case study presentation of Patagonia’s journey provided an honest, insightful and inspiring closure.

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Textile Designer Edith Barrett – all images courtesy the designer

Previously featured on the blog whilst still a student for her Pinkey Square collaborations and other extra curricular activities, Edith has certainly carved out a niche for herself in the couple of years since she officially joined the Australian textile and fashion industry.  Joining the team at Longina Phillips in Sydney soon after graduating in 2013, Edith has managed to balance her individual creative practice with the demands of working in one of the industry’s most prolific and high profile studios.

Edith very kindly took time out from an increasingly busy schedule to share her story with us:

Fossick by Edith Barrett

Textile designer, Illustrator and fossicker. Stirred by all things botanical and Australian. Sydney based, with one toe in Hobart and the other in Melbourne.

What is your current role? 

I am currently a Textile Designer at Sydney print design studio, Longina Phillips. I have also been working on some personal design projects outside of work also including a new range of silk headscarves, Fossick. A project that developed from collecting and sketching in the Blue Mountains and Sydney surrounds to create little wearable head museums!

‘King Protea and All His Friends’ – a design from the Fossick collection by Edith Barrett – image courtesy the designer

Tell me a little bit about your background – how did you come to textiles and where has it led you? 

I have had an interest in the natural world, collecting and drawing specimens from when I was a little tacker. Excited by the new life and purpose illustrations have when transferred to fabric I studied Textile Design at RMIT in Melbourne, majoring in screen printed textiles. I travelled to Estonia for a study exchange where I completed hands-on field studies  at the EKA Art Academy. Secluded in an unfamiliar and exciting new world, I had more time and greater freedom to explore my own style there. Post- graduation I moved to Sydney to work at Longina Phillips and relished weekend opportunities to scout the abundance of new flora for me around Sydney.

What does a typical working day involve?

Part one, a bike ride to work, painting/drawing/designing textile prints at Longina, a ride home. Part two, a night of drawing and pottering on personal projects at home with jazz in my ears and mint slice in easy reach!

Edith at work – image courtesy the designer

Are there particular artists or designers you admire? What is it about them that you admire?

A huge point of inspiration for me is the intrepid paintings and etchings commissioned by explorers and naturalists way back in the day. I have always been drawn to cabinets of curiosities and the more scientific side of botanical illustrations – The life work and dedication of Margeret Flockton, Marianne North and the vast collections of Albertus Seba. I also admire people that are still alive! The work of Sydney artist Caitlin Shearer, banksia veteran Celia Rosser and Russian designer Lesia Paramonova.

How do you stay inspired?

I am constantly inspired, its more having the time to get all my bits and pieces out of my head and into something real. Physical place is what inspires me the most, and a change in scene or a landscape full of new treats to draw always gets my pen twitching!

What are you looking forward to?

There are lots of exciting collaborations on the way. I am teaming up with an talented bunch of textile designers mostly RMIT graduates also, for an exhibition called Sans Souci – An abstract and humorous reimagining of classic travel souvenirs & iconic Australian products. I am also looking forward to a project with emerging label Collie Park Design, Club of Odd Volumes and to finalizing the installation some Australiana wallpapers I have designed. And then…more explorations prints, scarves, and hopefully, some time to work on building The Bush Museum.

For more information on Edith’s adventures, and to purchase from her collections, check out her website: www.edithrewa.com or find her on Instagram

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Emma Woods Botanical Portfolio

Emma Woods Printed and Patch-worked Wrap

Emma Shanahan Botanical Drawings & Swatches

Claire Blaby Botanical Portfolio Pieces and Knitted Scarf

Amy Coates Woven Bag

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Kate Fletcher talks to BA textile design students and BD fashion students during L’Oreal Melbourne Fashion Week.

Royal Botanic Gardens Cranbourne, image credit: Esther Paleologos

 

Cassie Byrnes – Home in Brunswick Victoria, Home in Mackay Queensland

Cassie Byrnes concept book

Lauren Tausend – journal work

Lauren Tausend – project outcomes

Studio – drawing and painting

The project was a great success which many wearable items coming out of the workshop areas.  A few examples can be seen below:

Claire Norris – weave swatches and neckpiece inspired by formative years living in the Philippines.

Aybike Uysal – Time spent in the local park

Rebekah Archer – Close up of weave swatch.  Final outcomes – a collection of woven neckpieces

Ruby Talbot-Dunn – Print swatches inspired by a colourful home in Freemantle, Western Australia, final outcome – printed shawl.

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To get the ball rolling, alumni & students are invited to apply for the RMIT Makers Market – with an info session next week here at the Brunswick campus. Information kindly provided by Lynda Roberts of RMIT LinkArts & Culture: 

 

Image: Big Design Market 2012 - Kayzar Bhathawalla

Image: Big Design Market 2012 - Kayzar Bhathawalla

Image: Commune Festival 2012 Weaving – Monica Ramirez

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Image: Emma in Portugal (all images copyright Emma Lynas 2012)

The city of Covilhã (where the conference was held) is positioned at the foot of the Serra Da Estrela mountain range, surrounded by medieval towns and farmland, it is a truly picturesque part of the world with a long history of wool production and textile manufacturing. 

Image: Castel Novo (all images copyright Emma Lynas 2012)

Image: Covilha WOOL Urban Art Festival (all images copyright Emma Lynas 2012)

Image: Lisbon (all images copyright Emma Lynas 2012)

Image: Old and New (all images copyright Emma Lynas 2012

Image: Tile work (all images copyright Emma Lynas 2012)

Beautiful azulejos tile work (left and right).  In the centre you can see an example of patterned floor tiles, the Portuguese are not afraid of pattern, figurative or geometric.

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$25 contact patricia.brien@rmit.edu.au

See the full schedule of workshops here:

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Linda Jackson with Waratah and Opal Silk floats

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