Timo Rissanen showed me an interesting post that invited the readers to let the writer “Fume About Zero Waste” – see here.
It’s always a slightly painful experience to see your own work be shredded in this way, but a number of the arguments are totally valid and I agree with them whole heartedly – such as why destroy a perfectly functional second-hand garment to make an ugly hybrid. But that is just a matter of personal taste and everyone sees things differently.
I just want to answer a few of the criticisms
You think you invented this? Its been around for centuries!
I didn’t invent Zero Waste Fashion (not even sure where the name came from, its relatively new though). I’ve never claimed to do so. Timo Rissanen has never claimed it either. We both know the full and rich history of making clothes without making waste for the thousands of years that humans have done it – it is after all as old as throwing an animal hide over your shoulder to keep the rain off.
The biggest driver for me is that I strongly believe that the process isn’t refined enough for contemporary consumers yet because people historically didn’t push it forward as a design process. Historically the garments made without waste were made primarily as utilitarian garments. Embellishment may have been used to lift them above this (as is seen with Kimono and many other examples) but the fabric form itself was kept relatively simple. This may well be the best way to use Zero Waste – but we won’t know unless someone tries out the alternatives, and that’s what I’m doing. Additionally zero waste outcomes will only get better the more people do it – we have had 150 years of western style garment design and pattern cutting heading toward what we see and accept as normal these days. Zero Waste was largely forgotten about by western fashion for the last 200 years or so – with a few notable exceptions, Clare McCardell, Zandra Rhodes, Bernard Rudolfski etc. Zero Waste design has not until recently evolved in the same way current western garment design has, teaching people how to get started and showing some of what is possible is going to enable some evolution.
You could use the left-overs for other stuff
Yep that’s true – and I encourage people and companies to do so – Alabama Chanin is an excellent example of this in action, and for this reason Timo Rissanen and myself included Natalie Chanin in Yield: Making Fashion Without Making Waste.
As for me – I use a technique I call “embedding” (it’s just a name I give it to make it easier to talk about – I didn’t invent the process) to give the designer more control of more aspects of the design outcome from the start of the process rather than relying entirely on trial and error to come to the end result – this technique ends with one pattern, cutting multiple garments. The same process could easily be used to make a garment and a bag instead of two garments, or any combination of parts of garments/objects in order to make infinite variations and possibilities of fabric combinations and form.
The problem with using the left over pieces from traditional pattern cutting is that these pieces are randomly shaped, so might not work that well for what they are intended, they are often too small. That being the case with some trial and error it is entirely doable and a great way to use up scraps. Zero Waste pattern cutting designs the positive and negative space to make all pieces usable.
Its only high fashion/exclusive
The outcomes of zero waste fashion are entirely determined by the designer. In much of my work I am trying out a technique or approach to see if it offers anything new or solves a particular issue that I’ve encountered or that someone else has bought to my attention. Zero waste doesn’t need to make ‘high-fashion’ or ‘exclusive’ garments, indeed we already know how to make basic garments using zero waste – after all patterns for these have been around for centuries. Many people are working on variations of these (David Telfer, Julia Lumsden to name a couple), including myself, and I make and wear many versions in my every day life.
I’m trying to raise the profile of this technique, while simultaneously drawing people’s attention to the waste currently created through the standard fashion production process and we all know fashion loves a bit of a spectacle. A criticism I’d make of my work its that it isn’t spectacular enough for this. I think Iris Van Herpen‘s work does a great job of showing us whats possible for the future of the fashion industry through 3D printing. Is it accessible for the average clothing consumer? No. Does it look amazing and inspiring and make people talk about 3D printing? Yes.
It’s not wearable
The work I do is attempting to find new forms through an old technique. I’m not trying to reinvent the wheel, I’m trying to satisfy some contemporary fashion consumers with an old process. You manipulate the process to the consumer – so if you don’t like what I come up with, you probably aren’t my target market.
Also while some of my work targets consumers, as a researcher some of it is effectively a test – I’m challenging myself to come up with a different way of doing things within the confines of Zero Waste Patterncutting. So aesthetic is not always the driving force. What you are looking at are probably best described as early 3D sketches – a work in progress.
WTF “Hyperbolic Tessellation”
The “Hyperbolic Tessellation” which was so strongly derided by a number of people in the post was an attempt to make garments that were modifiable – it is entirely experimental – so experimental in fact that it has only ever been pinned onto a half scale mannequin (never sewn up even) and put on the back burner until a number of aspects can be resolved. I stand by the general premise of it however, and will be working on it further in the near future. It is a work in progress. The name derives from the formula used to help generate it.
You use more fabric than is necessary
The garments I design use either less fabric or about the same as a standard garment design of that type. For example I designed a mens two piece suit which uses 140cm wide by 270cm long piece of cloth. Normally this might take at least 300cm of cloth depending on the design. This is true for the vast majority of my designs. Julia Lumsden made 18 mens shirts that use less fabric that a traditionally cut mens shirt for her Master of Design project, and they are all mens shirts which fit into a contemporary work or social environment.
You think it will save the world
Zero waste pattern cutting will not save the world. I’ve never said it would. It is merely one very small tool that can be used when it is necessary and appropriate and it DOES minimise material waste and/or use. Which has to be a good thing. I think we have forgotten that cloth is a finished product by the time we cut into it. Vast amounts of energy, resources and time have gone into its design and production. To thoughtlessly cut and throw it away seems idiotic to me. I do not believe every garment should be made this way – there are different solutions for every problem and a designer should have many solutions to the variety of problems which come up in any given design. Zero Waste is just another tool.
See here for a few more thoughts on related things