Fashion has always been about ‘the new’. With the introduction of new trends each season, fashion pro-claims that we are ‘up to date’. Last season’s trends are now passé and we can therefore get rid of the clothes. In this way fashion, more than any other disci-pline, permanently feeds our desire for consumption.

Since the democrati-sation of the 1960s we no longer have a single indis-putable fashion trend, but numerous simultaneous trends. In the meantime we have seen the gradual growth of an ingenious system that we call Fast Fashion. Trends from the catwalk and the street are immediately absorbed and are on sale within six weeks at bargain prices in the high-street stores. The system was encour-aged by the relaxing of trade barriers in the 1960s, enabling companies to shift production to coun-tries with cheap labour, thus massively reducing their production costs. The arrival of the dig ital age has also helped. Since the 1990s it

has been possible to share information about sales, new trends and patterns all over the world. Companies such as H&M and Zara (which combine production and retail) have exploited these conditions to become world players within a relatively brief period of time. Their stock is constantly refre-shed with new collections and their prices are comparable to those of a piece of cheese or a cinema ticket. And they have a similar shelf life.

Of all clothing produced today, 30 per cent is sold at the recommended retail price, another 30 per cent disappears in the sales and 40 per cent remains unsold or doesn’t even reach the shops. The overproduction of today’s Fast Fashion system produces an enormous mountain of waste. The ques-tion is: how did we get into this mess and what can we do about it?

What is the value and significance of clothing in our culture? Do we really want something new every six months? Or do we want clothes that last longer and, if so, how do we ensure that they remain attractive? Might the ideas of Slow Fashion provide a solution? Or can new technologies make the fashion system more sustainable? And lastly: how do new values and new production methods lead to new (and more sustainable) business models?

In this publication we examine the unethical and unsus-tainable workings of the current fashion system and explore several alternatives that are being put into practice by design-ers in the Netherlands and further afield.

01

FASHION DATAOn the failing fashion system

and alternative solutions

Some projects transcend their own ambition. They become greater than was anticipated and, unexpectedly (and sometimes undesirably) raise all sorts of new options, possibilities and potential. The Temporary Fash-ion Museum is one such project. In con fronting two contradictory time machines with each other, namely fashion and the museum, the project soon turned out to be an extremely versatile container for a series of divergent issues. Call it luck, call it success: the Temporary Fashion Museum has developed in to a phe-nomenon of substance, in which fashion is celebrated as well as criti-cized, and in which the museum turned out not only to relate to the past, but also to be about the future.

One of the ambitions was to con-tribute to the language of fashion, a discipline that is almost exclusively seen as one endless image machine. And now this humble publication adds to the mix, the result of one of the projects: Fashion Data. A brilliant exhibi tion inspired by the work of curator Claudia Banz at the Museum für Kunst und Gewerbe in Hamburg, and transformed by a team lead by José Teunissen and Conny Groenewegen into one of the best visited exhibitions of the Temporary Fashion Museum.

Once again, this was unexpected. After all, who wants to expose them-selves to the darker side of a disci-pline? To our surprise Fashion Data has proved how much the critical voice can resonate, and how valuable it was to spread the word through this publication.

Guus Beumer

FASHION’S LOSS OF VALUES AND THE NEED TO CONSTRUCT NEW ONES

While in the nineteenth century fashion was still the preserve of a small elite, the infrastructure of the modern city and fashion as a public expression of identity were well under construction. Fashion was no longer simply something for the court with a queen and aristocratic ladies as ambassadors. Paris already had couturiers producing collections under their own names and there was already small-scale industrial pro-duction, principally of men’s clothing. Fashion was now within reach of the middle classes through the first department stores and the new phenomenon of ‘shopping’. Previously most items had been made to order, but now city dwellers could gawp at exotic and luxury goods and spend money on things they didn’t really need (Lipovetsky 2007: 29). Fashionable women’s clothing still cost a fortune because its many layers, trimmings and decorations had to be made entirely by hand.

The production process changed in the first decades of the twentieth century when, under the influence of Paul Poiret and Coco Chanel, womenswear became much simpler and more practical. It was only then that the ready-to-wear industry really took off and fashion found its way to a much broader public. Nonetheless, for a large part of the population ready-to-wear fashion remained too expensive until well into the 1970s. Until this time many (Dutch) families enlisted the services of a seamstress to make their clothes. Family members played an active role in this process, personally selecting fabrics, patterns and trimmings to create their own designs based upon images in fashion magazines or patterns from dressmaking magazines such as Knip and Marion. The ability to sew, knit and repair clothes remained an important virtue for women: homemade clothes saved money, allowing families to remain fashionable on a small budget (Teunissen 2011: 157-177).

The arrival of fashion boutiques in the 1960s and 1970s brought greater variety in styles and price levels. But it was not until the 1980s, with the launch of the first true chain stores such as Esprit, Gap, Banana Republic and Mac&Maggie (in the Netherlands) that a larger proportion of the population began to buy ready-to-wear fashion. The 1990s witnessed the rapid advance of H&M and Zara, which have managed to seduce teenage consumers with designs copied quickly from the catwalk and sold at unprecedentedly low prices.

This period saw the demise of dressmaking and the disappearance from the high street of fabric shops and hab-erdashers. Consumers consequently lost appreciation for the craft techniques required in the making of clothing. Handi-crafts have been scrapped from school curriculums and at home the knowledge transfer of skills such as sewing and knitting from mother to daughter has been broken. The result is that today’s average consumer has barely any appreciation of fabric quality or insight into the techniques employed in making garments. Tactile qualities, the right fit: for generations these were decisive but are now no longer criteria. Appear-ance is all that matters. Does it look sufficiently similar to the billboard image or the catwalk photos? Fashion has become a quick snack, purchased primarily by teenagers and thrown away after a few wears. The price is no obstacle: in 2012 we spent only a tiny percentage of our annual income on clothing (see ILLUSTRATION 01).

This has been made possible by the sharp drop in the cost price of garments. Through low-cost country sourcing, the price of a T-shirt, for example, has plummeted to fifty cents. Under what conditions such a product is assembled and where the cotton comes from remains unclear: the involvement of numerous agents and middlemen renders the provenance almost unknowable. The cost price is a mere fraction — 10 to 20 per cent — of the retail price. Substantial margins go to agents, transportation (see ILLUSTRATION 02) and, above all, the marketing of the brand. With the right photography and targeted campaign a company can project the desired dream image onto a product that has no inherent qualities of its own.

02

Michiel Scheffer attributes this loss of quality to the fact that, since the 1990s, the fashion sector — like the banks — has been enthralled by short-term profits. The drive to maximize profits has accelerated the fashion cycle, pushed production to countries with cheap labour, worsened working conditions in the fashion industry and destroyed innovation (Scheffer 2013: 86). Whereas textile producers such as DuPont were once an innovative force, the fashion market is now dominated by Fast Fashion chains and brands such as Nike. A conse-quence of this is that material costs have fallen while costs for marketing and advertising have risen astronomically. According to Michiel Scheffer ‘Branding is merely a cover-up for the technical incapacity to develop and introduce more fundamental product innovation’. (2013: 91). The global fash-ion chains have increasingly become part of the financial sys-tem. As companies listed on the stock market, they employ high profit margins and quick discounts so that capital is quickly freed up for the next cycle. The result is that we have lost all personal knowledge about the process of making clothes and this new business logic means that consumers no longer have a personal investment in the products. While the garment is praised on the billboards as an exclusive dream of luxury, it costs almost nothing in the shops (see ILLUSTRA-TION 05). This is the paradox of contemporary fashion.

The most important consequence of a fashion company’s drive for maximum profits is that it loses long-term vision. Investment and innovation are ruled out and the rapid turnover rate of the Fast Fashion system puts massive pressure on dwindling resources. In 2014 the worldwide production of cotton and polyester was 65 million kilotons and is expected to rise to 110 million kilotons by 2020 (Scheffer 2013: 97). Cotton and polyester production (which together constitute 85 per cent of fibres used in the clothing industry) have a massive impact on the environment: one requires extensive areas of agricultural land and the other is made from petro-leum. Cotton production also places massive strain on our water reserves: 2.5 per cent of all the world’s water is used to grow cotton. The shrinking of the Aral Sea is just one example of how cotton production has negatively affected the infrastructure of groundwater and surface water. But the water usage does not stop with the harvesting of cotton. Enormous quantities of water are also required for the man-ufacturing process: a simple cotton T-shirt uses as much as 2500 litres (see ILLUSTRATION 03). And that’s not all: 17.5 per cent of all the world’s pesticides are used in growing cotton. These chemicals end up in the surface water along with those used to wash, bleach, dye and coat denim. In 2011 Greenpeace reported that 70 per cent of all of China’s rivers are polluted: a fact to which the fashion industry turns a blind eye (Greenpeace: 2011).

These issues constitute a truly systemic crisis that forces us to think about the more fundamental values of clothing, a transparent and sustainable production method in a chain in which waste products are re-used as raw materials.

SLOW FASHION

Slow Fashion is the most significant movement that is attempting to invest fashion with another set of values, with the emphasis not on ‘the new’ but on the handmade, the tailor-made and on classical forms. Proponents of Slow Fash-ion claim that these criteria give clothing a value that extends their lifetime. The greater quality or timeless design of hand-made garments are of importance, but so too is the fact that the consumer is brought closer to the making process and craftsmanship. The garment itself comes to the fore instead of the image or the brand. Slow Fashion places the emphasis on the provenance of the product: it makes the production process transparent, making it possible to trace how and under what conditions a garment was made. And it attempts to slow down the system.

The Slow Fashion movement has three core principles: the industry must return to the use of local raw materials and

03

so-called ‘distributed economies’; the production system must be transparent with direct lines between producers and consumers (eliminating intermediaries); and fashion needs new values (such as recycling or a unique story) so that fashion products remain attractive longer. In the Netherlands various designers are attempting to market sustainable brands based upon this philosophy. ( )

Slow Fashion thus shifts attention back to earlier defini-tions of fashion, i.e. the making of clothing and identity rather than simply appearance, according to Hazel Clark: ‘All these issues call for “paying attention to” or “being aware of” some-thing that typifies an unhurried approach’ (2008: 427). Slow Fashion thus assumes a new type of consumer who is not dazzled by classical marketing strategies but who feels an affinity with a maker and his or her brand. In the Netherlands examples include Mud Jeans, which builds a more commit-ted relationship with its customers through a lease model for jeans. YouAsMeMeAsYou uses crowdfunding to cultivate this relationship. ( )

More and more fashion brands are choosing to create a dialogue with their customers by listening to their wishes and desires and sometimes even involving them in the design process. In the long run such a dialogue (with a clientele that knows what it wants) leads to co-creation and thus to a more sustainable fashion product in which supply and demand are once again entirely attuned to each other as they were in the days of tailor-made clothing. And the clothing is made only when the customer orders it.

CLOSING THE LOOP AND THE CIRCULAR ECONOMY

While Slow Fashion creates a more sustainable fashion sys-tem by means of a transparent product with direct lines to the consumer, the ‘circular thinking’ in terms of sustainabil-ity goes a step further. It is crucial that all raw materials are kept in the chain: after use, all waste products are sorted and re-used so that there is as little loss of energy as possible. This way of working is known as ‘closing the loop’, through which an attempt is made to carry out all steps — shredding spinning, weaving, making — locally so that the transportation miles do not push up CO2 levels.

Only 15 to 20 per cent of all textiles are currently recy-cled. The rest ends up in landfill sites or is burned, leading to a great loss of energy and raw materials. Several textile and carpet manufacturers in the Netherlands, such as Desso and Interface, are leading the way in terms of re-use, working systematically to close the loop. But the fashion world lags behind. Last year WE launched a recycled sweater made from old clothing and G-Star Raw has produced denim from recy-cled ocean plastic, but there is no structural vision and policy for how used clothing can be fed back into the system.

Because clothes remained costly possessions until well into the twentieth century, a lively second-hand market devel-oped. In addition there are still small-scale classic recycling projects, most notably in Prato in Italy and in the South of France, where wool is collected, sorted by colour and re-spun so that the threads do not have to be re-dyed. These prac-tices have been rediscovered by small, sustainable brands such as the French company L’Herbe Rouge and Kings of Indigo, which is working with companies in Prato on recycled jeans. ( )

In the Netherlands the Texperium Foundation has been working for several years to develop and perfect local textile recycling. In an initial pilot scheme, the foundation recycled used KLM uniforms, which for security reasons may not be thrown away, to produce scarves and slippers in the airline’s distinctive shade of blue. It is now working on perfecting the eco-system by adding spinning to its existing unravelling facilities.

This circular thinking has spawned several new design philosophies. Many designers are against low-cost country sourcing. They want to be closer to the making process and

04

would rather develop their own fabrics by using recycled materials or ‘forgotten’ fibres such as hemp or flax. The explo-ration of these traditional plants, which in earlier centuries played an important role in the fabrication of textiles, uncovers history and also invites experimentation, resulting in new fab-rics in which, for example, tactile values are important.

Designers, including fashion designers, are increasingly aware of the fact that their products will eventually be recycled. This ‘design4recyling’ principle is based on guidelines that indicate what designers need to take account of in the design process so that their products can be 100 per cent recyclable.

05

FASHION MACHINE Conny Groenewegen

From the railings on the third floor of Het Nieuwe Instituut, during Temporary Fashion Museum, large, roughly knitted flags hang all the way down to the first floor. Visitors are invited to join in the knitting, so that the flags slowly grow into a thick mass of material. This flag-knitting machine is part of the installation Fashion Machine developed by Conny Groenewegen for the exhibi-tion Fashion Data.

This impressive spatial interven-tion is based on a waste product that is characteristic of the fast-fash-ion industry: the fleece sweater. Fleece is originally made from another indus trial waste product, the PET bottle. The fleece is by no means the most adventurous fashion item and mountains of them end up in collec tion containers. Unfortunately, this product is rarely suitable for reselling in charity shops or on the markets of Eastern Europe, Africa or India.

For the installation Fashion Machine, huge quantities of fleeces are chopped up and the polyethyl-ene thread wound onto spools. What could best be described as a poor- production installation then evolves in the exhibition space, a sweatshop. The reprocessed threads are ulti-mately used in a knitting machine to make flags and mattresses. The installation renders tangible the production mechanism and scale of the fast-fashion industry, while the banal materials take on a new form and an almost activistic allure.

In her work, Conny Groenewegen navigates the interfaces between fashion, technology and design. The technical and social implications of the fashion industry fascinate her, but her work always reflects a human scale. The tension between mecha-nised and handmade, industry and craft, is clearly visible in her designs. Groenewegen teaches fashion and design at a number of (inter)national fashion and design institutes. In 2011 she received the Mercedes-Benz Dutch Fashion Award.

HACKED Alexander van Slobbe

and Fransisco van Benthum

HACKED is a joint venture by design-ers Alexander van Slobbe and Fran-cisco van Benthum and is being presented in the Temporary Fashion Museum. For this project, van Slobbe and van Benthum have developed a collection to counter the growing dominance of fast-fashion chains. Independent designers, according to the duo, are being reduced to the role of ideas suppliers by the large garment producers, who copy their ideas without paying.

Van Slobbe and van Benthum delved into this fast-fashion pro-

duction system and got hold of remnants and remainders from the industry. They then set to work with these garments and bag and shoe parts. By overlaying the ‘prefab’ foundations with the handmade, the pieces once again acquire a design-er’s signature. A comprehensive collection has emerged, which falls into the same price category the fast-fashion chains use to exclude competition. With this manoeuvre, the designers have reclaimed the initiative and hacked fast-fashion’s powerful system.

With HACKED, van Slobbe and van Benthum are opening up a dialogue around the themes of over-production, copyright, wastage, upcycling and a garment’s meaning. In today’s fashion system, production speed, distribution, sales and con-sumption all occupy centre stage. Fashion no longer even follows the rhythm of the seasons – collections are renewed monthly, even weekly. Not only does this lay waste to designers’ original ideas, it also leads to an unnecessarily liberal consump-tion of raw materials, means of pro-duction, labour, PR and retail space. Consumers’ appre ciation of value consequently beco mes subject to inflation. Fashion and transience have always been close, but now they seem almost synonymous. The new design strategy devised by van Slobbe and van Benthum for HACKED, adds value precisely by slowing down the process.

Alexander van Slobbe founded the women’s fashion label orson + bodil at the end of the 1980s. He added his men’s label SO in the early nineties. Both labels pay great attention to the design and manu-facture process and have brought van Slobbe international recognition. Van Slobbe has focused on orson + bodil since 2003. Centraal Museum Utrecht held a survey show of van Slobbe’s work in 2009 and in recent years he has been guest curator on a number of design exhibitions in the Netherlands and abroad.

Francisco van Benthum launched his men’s fashion label FRANCISCO VAN BENTHUM in 2003. His trade-mark is the contemporary twist he brings to classic designs. He rein-terprets and rewrites the traditional components of the men’s fashion silhouette. In 2012 he was awarded the Cultuurfonds Fashion Grant by the Prins Bernhard Cultuurfonds.

HACKED is the first collection for their new, joint label Van Slobbe Van Benthum.

Lastly, there are designers who take a more political stance as hackers in an attempt to deplete the enormous amounts of unsold clothes generated by the Fast Fashion industry. This so-called ‘dead stock’ is their material. They adapt the design or customise it in order to make it more attractive. In this way these ‘waste’ garments find their way to customers rather than ending up in landfill sites.

In fibre production in the Netherlands there is now a keen awareness that flax and hemp are much more ‘climate neu-tral’ than cotton and that until well into the nineteenth century these crops were widely used for making linen and canvas. This realisation has led to a ‘green deal’, in which the Ministry of Economic Affairs has partnered with businesses to set up educational programmes for the cultivation of and process-ing of hemp. Farmers are encouraged to grow hemp and are being educated on how to use all parts of the plant: in tex-tiles, cattle feed, building insulation and composite materials.

06

FLYING ARCHITECT Studio Plott

& Roos Meerman

Flying Architects is part of the exhibition Dressed by Architects in the Temporary Fashion Museum. Fly ing Architects is a project by Studio Plott (Rudi Boiten and Mireille Burger) in collaboration with Roos Meerman.

Flying Architect is a continuation of Studio Plott’s research into the possibilities of 3D printing. The designers have built a 3D printer that allows them to print textile-like structures on a scale of several square metres. The outcomes of their experiments with printing graphic patterns can best be com-pared with weaving, embroidery or macramé. The prints are flexi-ble, strong and light. The process resulted in a series of wall objects and net and panel curtains.

Following on from these exper-iments, Studio Plott joined forces with designer Roos Meerman to seek out new possibilities for weaves and patterns. Sharing a fascination for 3D printing, they became convinced that it must be possible to build objects with a flying printer, in other words, a printer drone. Just as a bird

builds a nest, or a spider its web, this drone would be able to con-struct three-dimensional woven and knitted articles, which could be used in both architecture and fashion.

Studio Plott and Roos Meerman refer to a melding of architecture and fashion. They point out how new technologies are changing fashion: garments are being given more shape, structure and relief. The body is becoming enveloped in sculptural, almost architectonic forms. In archi-tecture, buildings are being wrapped in textile-like structures and archi-tects are exploring softer and more flexible constructions. The design-ers hope that Flying Architects will achieve a maximum liberation of form for both disciplines.

Rudi Boiten and Mireille Burger founded Studio Plott after graduating from the Design Academy Eindhoven in 2014.

www.plott.nlRoos Meerman won the New Mate-rial Fellowship 2014, which enabled her to spend a research period at Het Nieuwe Institiuut. She also won both the Hendrik Valk Prize and the Design and Innovation Prize Gelder-land in 2014.

www.roosmeerman.com

THE TECHNOLOGICAL SOLUTION

It is often assumed that natural materials are more sustainable than their synthetic counterparts because they are made from renewable raw materials. But the development of innovative, smart materials can contribute to the greening of the clothing industry, and the combination of new textile technologies and IT can increase the efficiency of clothing production.

For example, the Japanese chemical and pharmaceutical company Teijin has employed mimicry to develop Morphotex, a coloured fibre that contain no dyes or pigments, thus reducing water and energy consumption and industrial waste. The fabric is inspired by the wings of the morpho butterfly found in the Amazon rainforest. In flight the butterflies seem to disappear in the blue sky. The butterfly’s metallic blue colour derives not from pigment but from the structure of microscopic light-reflecting scales on its wings. For Morpho-tex, Tejin developed a similar structure that reflects light to produce colour (O’Mahony 2013: 179). The Austrian Lenzing Group has used nanotechnology to develop a fibre called Tencel from wood pulp and the Austrian yarn manufacturer Schoeller Spinning Group has introduced a mix of merino wool and inox (stainless-steel) that makes the fibres stronger and more resilient and therefore longer-lasting (O’Mahony 2013: 180). New fibres such as these are distinguished by a new aesthetic and new material characteristics. Designer Jef

Montes explores the beauty of technological fibres, mostly developed for technical applications, by incorporating them within his couture (

).

That biological processes can help to make the fashion system more sustainable is evident in the work of design-ers such as Suzanne Lee. For several years she has been developing a leather-like fabric from the layer of cellulose that forms on the surface of tea. Plants and bacteria can also assist in more sustainable methods of dyeing fibres. On a more fundamental level, Carole Collet, professor of Design for Sustainable Futures at Central Saint Martins in London, is exploring the use of genetic technologies to allow fabrics to grow on plants (Teunissen 2014:33).

The interplay between sustainable concepts and tech-nology has brought about radical changes in the traditional process of making clothes: from drawing to pattern to stitched panels. The rapidly advancing field of 3D printing is a good example: the Electroloom, a technology for 3D-printing fabrics is currently being tested. Experiments are also being carried out with 3D scanning the body to create a mould for making clothes that require no traditional patternmaking or sewing. Li Edelkoort has predicted a future in which people can down-load patterns from an open-source platform to make their own Dior dresses. And so we return to the nostalgia of home-made clothing, only now it is made to measure.

These technological innovations not only effect sustain-ability but also influence the communication and meaning of clothing and fashion. There is an important role for techno-logically advanced materials — so-called smart fabrics — that can measure temperature, make emotions visible through colour or react to external factors such as air quality. Pauline van Dongen, for example, has explored how light in clothing reacts when a group of joggers train together ( ).

Smart fabrics change the relationship between clothing and the wearer, thus altering the meaning of the clothes. They strengthen the body by supporting movement or they make the wearer (and others) aware of the body’s condition or response to external conditions. The question remains whether we will wear such items in order to communicate who we are as individuals or in order to interact with others. Smart clothing can become a cocoon from within which we communicate with others at a distance or indeed with our-selves because it permanently confronts us with our own body and the bodily functions it records. Like Slow Fashion and the circular economy, this Smart Fashion will shape future definitions of our concept of fashion. All these new tendencies will eventually make the dream world of magic and glamour served up by big fashion brands, fashion shows and magazines seem outmoded while fashion’s tangible, concrete dimension — the power of craftsmanship and its timeless and durable aspects — will gain ground.

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ILLUSTRATIONS

08

ILLUSTRATIONS

ILLUSTRATIONS

09

= € 10 = € 10

€ 34.500Average income

13%(€ 4.601)

Food, alcohol

and tobacco

11%(€ 3.743) Transport

28%(€ 9.501)Housing (water, energy

and light)

14%(€ 4.781) Leisure

and culture

5%(€ 1.721)Clothing & Shoes

(€ 638)Women’s Clothing

34%(€ 11.874)

Other

(€ 383)Men’s

Clothing

(€ 360)Shoes

(€ 203)Children’s Clothing

(€ 22) Baby

Clothing

(€ 95)Other

ILLUSTRATION 01 ILLUSTRATION 01

The amount of money consumers in the Netherlands spend on clothes is decreasing

56 57

= € 10 = € 10

€ 34.500Modaal

inkomen

13%(€ 4.601)

Eten, alcohol

en tabak

11%(€ 3.743) Vervoer

28%(€ 9.501)Huisves-

ting (water, energie en licht)

14%(€ 4.781) Vrije tijd

en cultuur

5%(€ 1.721)Kleding

& schoenen

(€ 638)Dames-kleding

34%(€ 11.874)

Overig

(€ 383)Herenkle-

ding

(€ 360)Schoenen

(€ 203) Kinder-kleding

(€ 22) Babykle-

ding

(€ 95)Overig

ILLUSTRATION 01

Back to the essay

10

= € 10 = € 10

€ 34.500Average income

13%(€ 4.601)

Food, alcohol

and tobacco

11%(€ 3.743) Transport

28%(€ 9.501)Housing (water, energy

and light)

14%(€ 4.781) Leisure

and culture

5%(€ 1.721)Clothing & Shoes

(€ 638)Women’s Clothing

34%(€ 11.874)

Other

(€ 383)Men’s

Clothing

(€ 360)Shoes

(€ 203)Children’s Clothing

(€ 22) Baby

Clothing

(€ 95)Other

ILLUSTRATION 01 ILLUSTRATION 01

The amount of money consumers in the Netherlands spend on clothes is decreasing

56 57

= € 10 = € 10

€ 34.500Modaal

inkomen

13%(€ 4.601)

Eten, alcohol

en tabak

11%(€ 3.743) Vervoer

28%(€ 9.501)Huisves-

ting (water, energie en licht)

14%(€ 4.781) Vrije tijd

en cultuur

5%(€ 1.721)Kleding

& schoenen

(€ 638)Dames-kleding

34%(€ 11.874)

Overig

(€ 383)Herenkle-

ding

(€ 360)Schoenen

(€ 203) Kinder-kleding

(€ 22) Babykle-

ding

(€ 95)Overig

ILLUSTRATION 01

11

€ 2,10Trade and profit

€ 0,79Taxes

€ 0,65Marketing

€ 0,82Profit Factory

€ 0,40Material

€ 0,06Transport

€ 0,13Wage

€ 4,99T-shirt fast fashion

€ 29,00T-shirt middensegmentprijs

€ 15,00Trade and profit

€ 3,47Taxes

€ 3,61Marketing

€ 1,15Profit Factory

€ 3,40Material

€ 2,19Transport

€ 0,18Wage

€ 8,72Trade and profit

€ 3,18Taxes

€ 1,10Profit Factory

€ 2,90Material

€ 1,20Transport

€ 0,60Wage

€ 29,00T-shirt medium price segment

€ 4,99T-shirt fast fashion

ILLUSTRATION 02 ILLUSTRATION 02

ILLUSTRATION 02

Back to the essay

12

€ 2,10Trade and profit

€ 0,79Taxes

€ 0,65Marketing

€ 0,82Profit Factory

€ 0,40Material

€ 0,06Transport

€ 0,13Wage

€ 4,99T-shirt fast fashion

€ 29,00T-shirt middensegmentprijs

€ 15,00Trade and profit

€ 3,47Taxes

€ 3,61Marketing

€ 1,15Profit Factory

€ 3,40Material

€ 2,19Transport

€ 0,18Wage

€ 8,72Trade and profit

€ 3,18Taxes

€ 1,10Profit Factory

€ 2,90Material

€ 1,20Transport

€ 0,60Wage

€ 29,00T-shirt medium price segment

€ 4,99T-shirt fast fashion

ILLUSTRATION 02 ILLUSTRATION 02

ILLUSTRATION 02

13

€ 15,00Trade and profit

€ 3,47Taxes

€ 3,61Marketing

€ 1,15Profit Factory

€ 3,40Material

€ 2,19Transport

€ 0,18Wage

€ 19,90T-shirt slow fashion

€ 8,72Trade and profit

€ 3,18Taxes

€ 2,20Marketing

€ 1,10Profit Factory

€ 2,90Material

€ 1,20Transport

€ 0,60Wage

33

32

= 1 liter

Het kost gemiddeld 2.500 l water om een T-shirt te produceren It takes on average 2,500 l of water

to produce a T-shirt

ILLUSTRATION 02 ILLUSTRATION 03

€ 19,90T-shirt slow fashion

ILLUSTRATION 02

Back to the essay

14

€ 15,00Trade and profit

€ 3,47Taxes

€ 3,61Marketing

€ 1,15Profit Factory

€ 3,40Material

€ 2,19Transport

€ 0,18Wage

€ 19,90T-shirt slow fashion

€ 8,72Trade and profit

€ 3,18Taxes

€ 2,20Marketing

€ 1,10Profit Factory

€ 2,90Material

€ 1,20Transport

€ 0,60Wage

33

32

= 1 liter

Het kost gemiddeld 2.500 l water om een T-shirt te produceren It takes on average 2,500 l of water

to produce a T-shirt

ILLUSTRATION 02 ILLUSTRATION 03

€ 19,90T-shirt slow fashion

ILLUSTRATION 03

15

34 35Het kost gemiddeld 7.000 l water om een spijkerbroek te producerenIt takes on average 7,000 l of water to produce a pair of jeans

ILLUSTRATION 03 ILLUSTRATION 03

ILLUSTRATION 03

Back to the essay

16

34 35Het kost gemiddeld 7.000 l water om een spijkerbroek te producerenIt takes on average 7,000 l of water to produce a pair of jeans

ILLUSTRATION 03 ILLUSTRATION 03

ILLUSTRATION 03

17

36 37Het kost gemiddeld 10.000 l water om een T-shirt te produceren

73

72

1.30% wordt verkocht

voor een normale prijs

2.30% gaat in de

uitverkoop

3.40% wordt

weggegooid

1.

2.

3.

1. 30% is sold for a normal price

2. 30% is sold on sale

3. 40% is thrown away

It takes on average 10,000 l of water to produce 1 kilo of cotton

ILLUSTRATION 03 ILLUSTRATION 04

ILLUSTRATION 03

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18

36 37Het kost gemiddeld 10.000 l water om een T-shirt te produceren

73

72

1.30% wordt verkocht

voor een normale prijs

2.30% gaat in de

uitverkoop

3.40% wordt

weggegooid

1.

2.

3.

1. 30% is sold for a normal price

2. 30% is sold on sale

3. 40% is thrown away

It takes on average 10,000 l of water to produce 1 kilo of cotton

ILLUSTRATION 03 ILLUSTRATION 04

ILLUSTRATION 04

19

38 39€ 5,00Hamburger

€ 5,00T-Shirt€ 5,00

Hamburger€ 5,00T-Shirt

ILLUSTRATION 05 ILLUSTRATION 05

ILLUSTRATION 05

Back to the essay

20

38 39€ 5,00Hamburger

€ 5,00T-Shirt€ 5,00

Hamburger€ 5,00T-Shirt

ILLUSTRATION 05 ILLUSTRATION 05

ILLUSTRATION 05

21

42 43€ 10,00Cocktail

€ 10,00Jurk€ 10,00

Cocktail€ 10,00Dress

ILLUSTRATION 05 ILLUSTRATION 05

ILLUSTRATION 05

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22

42 43€ 10,00Cocktail

€ 10,00Jurk€ 10,00

Cocktail€ 10,00Dress

ILLUSTRATION 05 ILLUSTRATION 05

ILLUSTRATION 05

23

7

6 Inleiding

In de mode draait het altijd om ‘het nieuwe’. Elk seizoen brengt nieuwe trends en de mode predikt dat het nieuwe waardevoller is, omdat we daarmee ‘bij de tijd’ zijn. ‘Oude kleding’ kan worden afgedankt, omdat die ‘passé’ is en dus uit de tijd. Op deze manier slingert de mode, meer dan andere discipli-nes, onze consumptiebehoefte permanent aan. Sinds de democratisering van de jaren zestig is er geen sprake meer van één vast-staande modetrend, er zijn er velen tegelij-kertijd. In de jaren daarna is er langzamer-hand een ingenieus systeem ontwikkeld dat we Fast Fashion noemen. Trends van de catwalk en van de straat worden onmid-dellijk door bedrijven opgepikt en belanden binnen zes weken in de winkel tegen bodem-prijzen. Het slechten van handelsbarrières in de jaren zestig maakte het mogelijk om de productie van kleding naar lage lonenlanden te verplaatsen. Door digitalisering in de jaren negentig kon informatie over verkoop, nieuwe trends en patronen direct wereldwijd gedeeld worden. Zo konden handige mode-bedrijven als Zarah en H&M (die winkels en productie combineerden) uitgroeien tot grote wereldspelers die doorlopend hun winkel vernieuwen met nieuwe collecties voor een aanschafprijs die te vergelijken is met een stuk kaas of een filmkaartje. Van alle geproduceerde kleding wordt van-daag de dag 30% tegen een normaal tarief verkocht: 30% verdwijnt in de uitverkoop en ruim 40% blijft ongebruikt achter of haalt de winkel niet eens. Het hedendaagse Fast

ILLUSTRATIONS

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24

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Overzicht van zestien Nederlandse ontwerpers en labels die in reactie op de negatieve gevolgen van de hedendaagse mode-industrie alternatieve

oplossingen ontwikkelen en presenteren.

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BARBARA LANGENDIJK

Designer: Barbara LangendijkFounded: 2013 Location: AmsterdamWebsite: www.barbaralangendijk.com

Fashion designer Barbara Langendijk combines modern modes of fashion production with more traditional tech-niques, often working with designers and artists from other disciplines. These collaborations result in inter-disciplinary garments that present a new perspective on mainstream fashion culture.

For her graduation project Lan-gendijk drew inspiration from the Japanese kimono. She designed special clasps and pins to hold the fabric in place and create unexpec-ted silhouettes. This way of working means that you don’t have cut the fabric into pattern parts, which is what would usually be done in the fashion industry. Remnants are therefore kept to a minimum and, because the clasps make the gar-

ment adjustable, it doesn’t need to be produced in as many sizes. For her project ‘For Sale’, Langendijk carried out research into retail, mass production and reassessment of value in fashion. Her aim is to show consumers the difference between mass production and handwork. She hopes to make the consumer more aware of malpractices in the fashion industry and to promote a greater appreciation of handwork and craftsmanship.

Barbara Langendijk’s work has been presented at the Arnhem Mode Biennale, Dutch Design Week in Eindhoven and the Istanbul Art Biennial. She was recently nomi-nated for the Dutch Design Awards 2015 Young Designer Award.

BY-WIRE.NET

Designer: Marina ToetersFounded: 2007Location: UtrechtWebsite: www.by-wire.net

Marina Toeters, founder of by-wire.net, works on the interface between fashion technology and fashion design. Through her company, Toeters encourages collaboration between the fashion industry and technology by developing innovative ideas, technical garments and prototypes.

Toeters joined forces with Mar-tijn ten Bhömer for the project Naz-cAlpaca. Ten Bhömer was awarded a PhD by the Eindhoven University of Technology for his research into ways to design smart textiles for the healthcare and welfare sectors. Toeters and ten Bhömer were com-missioned by Bear Creek Mining S.A.C. in Peru to develop the first prototype for high-quality knitting using alpaca wool combined with innovative, wearable technology.

This prototype combines electronic components, silver fibres and alpaca wool in an interactive fashion item. The NazcAlpaca Shirt monitors the wearer’s body through sensors incorporated in the textile. Settings can be adjusted using an app – to start a workout, or even a massage. Because the shirts monitor the body and the history of the wearer, issues such as work stress can be prevented.

Using the knowledge gained through her projects, Marina Toeters know advises Philips Research, Ilja Visser and ESA on product develop-ment. She works as a teacher, coach and researcher at the HKU University of the Arts Utrecht (Fashion), Saxion University of Applied Sciences Enschede (Textile Technology) and Eindhoven University of Technology.

CORSAGE-STUDIO

Designers: Rabin Huissen and Robert StroombergFounded: 2010Location: RotterdamWebsite: www.corsage-studio.com

CORSAGE-STUDIO is a design duo comprising fashion illustra-tor Rabin Huissen and filmmaker and photographer Robert Stroom-berg. The studio combines gar-ment design and production with visual art. Because they approach fashion from the perspectives of an illustrator and a photograp-her, their collections are a mix-ture of wearable objects, clothing concepts and personal items.

Huissen and Stroomberg are almost anthropological in their explorations of why people wear what they do. They are interested in the emotional aspects of fashion and seek out the point where fashion becomes art and vice versa. Taking material as the starting point for

their work, the duo use traditio-nal crafts and new technologies to create new, geometric forms and organic silhouettes. Huissen and Stroomberg believe clothes become more beautiful over time.

Yet CORSAGE-STUDIO, far from avoiding present-day issues, tries to explore the meaning of fashion in relation to topical the-mes. The series ‘Oceans. Sea of Desire’, for instance, is based on a photograph of a refugee whose body was found washed up on a beach in the Canary Islands. They also use fishing nets in their work to address such issues as overfis-hing, sustainability and recycling. In 2015, CORSAGE-STUDIO won the jury prize for their work Hat Dresses during the competition The Future of Fashion is Now at Museum Boijmans van Beuningen.

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ack to the essay

BARBARA LANGENDIJK

Designer: Barbara LangendijkFounded: 2013 Location: AmsterdamWebsite: www.barbaralangendijk.com

Fashion designer Barbara Langendijk combines modern modes of fashion production with more traditional tech-niques, often working with designers and artists from other disciplines. These collaborations result in inter-disciplinary garments that present a new perspective on mainstream fashion culture.

For her graduation project Lan-gendijk drew inspiration from the Japanese kimono. She designed special clasps and pins to hold the fabric in place and create unexpec-ted silhouettes. This way of working means that you don’t have cut the fabric into pattern parts, which is what would usually be done in the fashion industry. Remnants are therefore kept to a minimum and, because the clasps make the gar-

ment adjustable, it doesn’t need to be produced in as many sizes. For her project ‘For Sale’, Langendijk carried out research into retail, mass production and reassessment of value in fashion. Her aim is to show consumers the difference between mass production and handwork. She hopes to make the consumer more aware of malpractices in the fashion industry and to promote a greater appreciation of handwork and craftsmanship.

Barbara Langendijk’s work has been presented at the Arnhem Mode Biennale, Dutch Design Week in Eindhoven and the Istanbul Art Biennial. She was recently nomi-nated for the Dutch Design Awards 2015 Young Designer Award.

BY-WIRE.NET

Designer: Marina ToetersFounded: 2007Location: UtrechtWebsite: www.by-wire.net

Marina Toeters, founder of by-wire.net, works on the interface between fashion technology and fashion design. Through her company, Toeters encourages collaboration between the fashion industry and technology by developing innovative ideas, technical garments and prototypes.

Toeters joined forces with Mar-tijn ten Bhömer for the project Naz-cAlpaca. Ten Bhömer was awarded a PhD by the Eindhoven University of Technology for his research into ways to design smart textiles for the healthcare and welfare sectors. Toeters and ten Bhömer were com-missioned by Bear Creek Mining S.A.C. in Peru to develop the first prototype for high-quality knitting using alpaca wool combined with innovative, wearable technology.

This prototype combines electronic components, silver fibres and alpaca wool in an interactive fashion item. The NazcAlpaca Shirt monitors the wearer’s body through sensors incorporated in the textile. Settings can be adjusted using an app – to start a workout, or even a massage. Because the shirts monitor the body and the history of the wearer, issues such as work stress can be prevented.

Using the knowledge gained through her projects, Marina Toeters know advises Philips Research, Ilja Visser and ESA on product develop-ment. She works as a teacher, coach and researcher at the HKU University of the Arts Utrecht (Fashion), Saxion University of Applied Sciences Enschede (Textile Technology) and Eindhoven University of Technology.

CORSAGE-STUDIO

Designers: Rabin Huissen and Robert StroombergFounded: 2010Location: RotterdamWebsite: www.corsage-studio.com

CORSAGE-STUDIO is a design duo comprising fashion illustra-tor Rabin Huissen and filmmaker and photographer Robert Stroom-berg. The studio combines gar-ment design and production with visual art. Because they approach fashion from the perspectives of an illustrator and a photograp-her, their collections are a mix-ture of wearable objects, clothing concepts and personal items.

Huissen and Stroomberg are almost anthropological in their explorations of why people wear what they do. They are interested in the emotional aspects of fashion and seek out the point where fashion becomes art and vice versa. Taking material as the starting point for

their work, the duo use traditio-nal crafts and new technologies to create new, geometric forms and organic silhouettes. Huissen and Stroomberg believe clothes become more beautiful over time.

Yet CORSAGE-STUDIO, far from avoiding present-day issues, tries to explore the meaning of fashion in relation to topical the-mes. The series ‘Oceans. Sea of Desire’, for instance, is based on a photograph of a refugee whose body was found washed up on a beach in the Canary Islands. They also use fishing nets in their work to address such issues as overfis-hing, sustainability and recycling. In 2015, CORSAGE-STUDIO won the jury prize for their work Hat Dresses during the competition The Future of Fashion is Now at Museum Boijmans van Beuningen.

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ELISA VAN JOOLEN

Designer: Elisa van Joolen Founded: 2012Location: AmsterdamWebsite: www.11x17.nl www.elisavanjoolen.com

Designer and researcher Elisa van Joolen is interested in the entire spectrum of the fashion industry and works from the conviction that the fashion world needs to adopt a new, social approach to garment production. Van Joolen’s designs begin in an unusual way. She com-bines parts of garments by different labels to produce a unique design: intervention and reconfiguration.

Van Joolen’s projects emphasise collaboration and participation. One example is her research project 11” x 17” in which she interrogates the fashion industry’s value system and explores new production methods. Van Joolen’s 11” x 17” Sweater (afbeelding XX) developed out of this project. The sweater is made

out of parts of different items of clothing, which were donated by staff at a number of clothing companies.

Van Joolen has a BA from the Gerrit Rietveld Academy in Amster-dam and an MA from Parsons The New School for Design in New York. She was a recipient of a Fulbright Award (2010) and was nominated for the New Material Award (2014) and the Dutch Design Award (2013). Her work has been presented and appreciated in the worlds of both art (including exhibitions at Museum Boijmans van Beuningen, Rotterdam, and OCT Contemporary Art Ter-minal, Shenzhen) and fashion and design (5th Brazilian Design Biennial and New York Fashion Week). Van Joolen is a visiting lecturer at a number of art schools in the Nether-lands and abroad.

STUDIO ELSIEN GRINGHUIS

Designer: Elsien GringhuisFounded: 2009Location: ArnhemWebsite: www.elsiengringhuis.com

Studio Elsien Gringhuis is a sustai-nable, high-end fashion label which focuses on the essence of clothes: timeless, clean, chic and minimal. The studio was founded by Elsien Gringhuis who graduated from ArtEz Institute of the Arts, Arnhem, in 2008. Innovative details and Fair Trade and ecological certification set her designs apart. Using such materials as linen, hemp and biode-gradable leather, Gringhuis strives for quality in her garments’ design and finish.

The emphasis in Gringhuis’ work is on the design of innovative patterns that produce as little waste as possible. Instead of bringing out a new collection every year, Gring-huis works from a basic collection called Books. New additions to the

collection, which Gringhuis calls Chapters, are added organically and continue to be available until all the material in stock has been used up. The label is exclusively produced in the Netherlands to encourage local craftsmanship and to make the entire production chain as sustaina-ble as possible.

Gringhuis was nominated for the Frans Molenaar Prize in 2008 and in 2009 she presented her first collection at Amsterdam Fashion Week. She has won many interna-tional fashion awards, including Createurope, Mittelmoda, the Green Fashion Competition, the Fair Luxury Award and in 2014 she was nominated for the Woolmark Prize.

JEF MONTES

Designer: Jef MontesFounded: 2012Location: ArnhemWebsite: www.jefmontes.com

Jef Montes is a high-end couture label for women, founded by the designer Jef Montes. In his collec-tions, Montes translates personal histories, often based on old objects, into contemporary silhouettes using experimental production techniques. Montes basis his designs on elemen-tary, architectural forms and mate-rials, which are manipulated and merged in a continuous production process. His interest in the effects of light on materials are visually amplified in his designs in combina-tions of artificial and daylight.

The development of innovative materials is an important part of Montes’ inquisitive way of working. He develops a new type of material for each collection. A collaboration with the TextielLab at TextielMuseum

Tilburg resulted in an innovative, dissolvable material for his col-lection Velero. By deconstructing and reinterpreting the materials he works with, Montes is able to create a new aesthetic.

Since the launch of his label, Montes’ designs have been presented at a range of national and internatio-nal exhibitions. He has also entered into inspirational collaborations with artists, musicians, product desig-ners, dancers and a range of institu-tions. Jef Montes made his debut at Amsterdam Fashion Week in 2014 with his collection Illuminosa.

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Studio Elsien Gringhuis

Elisa van JoolenJef M

ontes

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Nylon cape w

ith airbrush work in black ink, Velero C

ollection (2015)Photo: Sabrina B

ongiovanniPhoto: Tse K

ao

Photo: Blomm

ers / Schumm

Title: 11”x17” Sweater ‘Tultex x m

oniquevanheist x G

-Star RAW

x Union M

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Studio Elsien Gringhuis

Elisa van JoolenJef M

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Nylon cape w

ith airbrush work in black ink, Velero C

ollection (2015)Photo: Sabrina B

ongiovanniPhoto: Tse K

ao

Photo: Blomm

ers / Schumm

Title: 11”x17” Sweater ‘Tultex x m

oniquevanheist x G

-Star RAW

x Union M

ade’

Appendix: designers &

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Kin

gs o

f Ind

igo

Mai

son

the

Faux

Kar

in V

lug

Phot

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KARIN VLUG

Designer: Karin VlugFounded: 2014Location: AmsterdamWebsite: www.karinvlug.com

Fashion designer Karin Vlug resear-ches the future of fashion with a focus on smart production and con-struction techniques. Her aim as a designer is to transform the produc-tion process so that made-to-measure is brought within everyone’s reach. Vlug’s ideal is to create a new ward-robe without any sewing, using as little material and, ultimately, as little transportation as possible. Her collections consist of standard and easy to produce pattern parts with right-angles. Her designs can be made to fit any body, just by joining the pattern parts in different ways.

In her research project Smart Fashion Production Vlug works closely with Laura Duncker, a lecturer in Fashion Research & Technology at Amsterdam Uni-

versity of Applied Sciences. Their research began in June 2014 when Vlug began developing an innova-tive garment production process for CLICKNL’s KIEM programme (knowledge-innovation mapping). This involved using 3D body scans to personalise a digital design. First, a flexible mould is made from the digital design. The mould is then ‘dressed’ with liquid tex-tiles, which generate no remnants or waste materials. The ultimate aim is to use the same materials each time to make a new design.

Karin Vlug won the Frans Molenaar Prize in 2014 for her graduation collection.

KINGS OF INDIGO

Designer: Tony TonnaerFounded: 2010Location: AmsterdamWebsite: www.kingsofindigo.com

Kings of Indigo (K.O.I.) is a sus-tainable denim label by Tony Ton-naer. K.O.I. employs a sustainable production process to make time-less and environmentally friendly clothes. This production process is based on K.O.I.’s own Triple-R philosophy: Recycle, Repair, Reuse. Besides using recycled and organic cotton, K.O.I. also employs alterna-tive washing methods, which keep water wastage and the use of che-mical pollutants to a minimum. The label works closely with Fair Wear registered partners.

K.O.I. combines its concern for sustainability with innovative pro-duction methods, such as laser and ozone washes and original finishes. Their focus is on innovative uses for existing and new materials

and techniques. K.I.O. strives to achieve the highest possible qua-lity for its products. The company makes enlightened, timeless designs – design classics which resist the transient dictates of fashion. A pair of K.O.I. trousers can last a lifetime.

Kings of Indigo recently laun-ched their Red Light Denim line, a collection made from 18% recycled cotton from denim collected in Amsterdam. Founder Tony Tonnaer hopes that ultimately no new cot-ton plants will have to be planted, because all cotton and clothing will be recycled. K.O.I.’s designs are all named after former kings and queens.

MAISON THE FAUX

Designers: Tessa de Boer and Joris SukFounded: 2013Location: ArnhemWebsite: www.maisonthefaux.com

MAISON the FAUX is a creative studio which presents itself as a major fashion house. This fictional ‘maison de couture’ is an affection-ate dig at traditional fashion houses. De Boer and Suk play on the expec-tations of the world of fashion, using performance, individuality and love as their key ingredients. With a healthy dose of self-mockery, hu-mour and a predilection for fashion, MAISON the FAUX have taken the national and international fashion stage by storm.

Using the term ‘Humanwear’, the label presents a new take on gender. MAISON the FAUX col-laborates with creative individuals, who they call ‘Résidents’, on every new project. Together they shake up

the fashion world, make innovative designs and create space for the development of young talent.

Since launching the house in 2013, MAISON the FAUX has pre-sented four collections: ‘It’s Clean-ing Day!’, ‘Make a U-turn if Pos-sible’, ‘C’est vrai ou c’est FAUX?’ and recently ANNA. They regularly give theatrical and musical perfor-mances at exhibition openings and (fashion) events. On their wish list for the future is Beirut Brand Store, a perfume line with human odour, an album and a reality show.

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30B

ack to the essay

KARIN VLUG

Designer: Karin VlugFounded: 2014Location: AmsterdamWebsite: www.karinvlug.com

Fashion designer Karin Vlug resear-ches the future of fashion with a focus on smart production and con-struction techniques. Her aim as a designer is to transform the produc-tion process so that made-to-measure is brought within everyone’s reach. Vlug’s ideal is to create a new ward-robe without any sewing, using as little material and, ultimately, as little transportation as possible. Her collections consist of standard and easy to produce pattern parts with right-angles. Her designs can be made to fit any body, just by joining the pattern parts in different ways.

In her research project Smart Fashion Production Vlug works closely with Laura Duncker, a lecturer in Fashion Research & Technology at Amsterdam Uni-

versity of Applied Sciences. Their research began in June 2014 when Vlug began developing an innova-tive garment production process for CLICKNL’s KIEM programme (knowledge-innovation mapping). This involved using 3D body scans to personalise a digital design. First, a flexible mould is made from the digital design. The mould is then ‘dressed’ with liquid tex-tiles, which generate no remnants or waste materials. The ultimate aim is to use the same materials each time to make a new design.

Karin Vlug won the Frans Molenaar Prize in 2014 for her graduation collection.

KINGS OF INDIGO

Designer: Tony TonnaerFounded: 2010Location: AmsterdamWebsite: www.kingsofindigo.com

Kings of Indigo (K.O.I.) is a sus-tainable denim label by Tony Ton-naer. K.O.I. employs a sustainable production process to make time-less and environmentally friendly clothes. This production process is based on K.O.I.’s own Triple-R philosophy: Recycle, Repair, Reuse. Besides using recycled and organic cotton, K.O.I. also employs alterna-tive washing methods, which keep water wastage and the use of che-mical pollutants to a minimum. The label works closely with Fair Wear registered partners.

K.O.I. combines its concern for sustainability with innovative pro-duction methods, such as laser and ozone washes and original finishes. Their focus is on innovative uses for existing and new materials

and techniques. K.I.O. strives to achieve the highest possible qua-lity for its products. The company makes enlightened, timeless designs – design classics which resist the transient dictates of fashion. A pair of K.O.I. trousers can last a lifetime.

Kings of Indigo recently laun-ched their Red Light Denim line, a collection made from 18% recycled cotton from denim collected in Amsterdam. Founder Tony Tonnaer hopes that ultimately no new cot-ton plants will have to be planted, because all cotton and clothing will be recycled. K.O.I.’s designs are all named after former kings and queens.

MAISON THE FAUX

Designers: Tessa de Boer and Joris SukFounded: 2013Location: ArnhemWebsite: www.maisonthefaux.com

MAISON the FAUX is a creative studio which presents itself as a major fashion house. This fictional ‘maison de couture’ is an affection-ate dig at traditional fashion houses. De Boer and Suk play on the expec-tations of the world of fashion, using performance, individuality and love as their key ingredients. With a healthy dose of self-mockery, hu-mour and a predilection for fashion, MAISON the FAUX have taken the national and international fashion stage by storm.

Using the term ‘Humanwear’, the label presents a new take on gender. MAISON the FAUX col-laborates with creative individuals, who they call ‘Résidents’, on every new project. Together they shake up

the fashion world, make innovative designs and create space for the development of young talent.

Since launching the house in 2013, MAISON the FAUX has pre-sented four collections: ‘It’s Clean-ing Day!’, ‘Make a U-turn if Pos-sible’, ‘C’est vrai ou c’est FAUX?’ and recently ANNA. They regularly give theatrical and musical perfor-mances at exhibition openings and (fashion) events. On their wish list for the future is Beirut Brand Store, a perfume line with human odour, an album and a reality show.

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MONIQUEVANHEIST

Designer: Monique van HeistFounded: 2008Location: RotterdamWebsite: www.moniquevanheist.com

Monique van Heist’s label focuses on a classical, unisex wardrobe to which she adds intelligent details and clear references. In 2008 Moni-que van Heist launched the project HELLOFASHION, with which she gave shape to her metavision of fashion, an idea that won her a Mer-cedes Benz Dutch Fashion Award in 2008.

HELLO FASHION is an on-going collection of ‘moniquevanheist classics’ with which she challenges fashion’s value system. This per-manent and ever-growing collection consists of garments and accesso-ries, as well as lifestyle products such as furniture, make-up advice and even recipes. The normal cycle of the system is thus interrupted by new products being added to the

collection at a moment of the desig-ner’s choosing. A seasonal variant is presented every six months in ‘new’ colours and materials. HELLO-FASHION’s products are numbered and have a name. With this project van Heist directly challenges the impermanence of fashion. HELLO-FASHION will run for ten years, ending with the publication of a book.

Alongside her own label, van Heist has made a number of exhi-bitions about her work over the last few years and has curated several other exhibitions. Monique van Heist has also taught design at a number of art schools in the Netherlands.

MUD JEANS

Designer: Bert van SonLocation: 2008Location: RhenenWebsite: www.mudjeans.eu

MUD Jeans stands out for being an entirely sustainable organisation: MUD Jeans products are made from organic cotton, unavoidable pack-aging is made from recycled mate-rials and the company is committed to making structural improvements to the social and economic conditi-ons of the production process.

To achieve complete sustainabi-lity, founder Bert van Son launched the concept Lease A Jeans in 2013. Customers are only users of the jeans and pay a deposit and a mont-hly fee. A lease contract is valid for a year. At the end of the year the con-sumer can choose to either keep the jeans or send them back in exchange for a new pair. MUD Jeans remains the owner of the jeans at all times and reuses the jeans or the material.

This form of ‘Circular Design’ consists of three phases:

1. ‘Designed for recycling’: The jeans are designed in such a way that they are easy to recycle. They have no leather labels on the back, for instance, but printed ones.

2. ‘Upcycling’: If you return them after a year, the jeans are taken by a designer and reappear as vintage jeans on the webshop, with a short story about the previous user.

3. ‘Recycling’: Ultimately, the jeans go to Italy where they are mil-led down and the fibres turned into new denim yarn.

NEFFA

Designer: Aniela HoitinkFounded: 2004Location: AmsterdamWebsite: www.neffa.nl

Neffa was founded by fashion desig-ner Aniela Hoitink. Hoitink focuses mainly on innovating textiles. By employing a multi- and interdisci-plinary way of working, she aims to change the way we use textiles. She regards textiles as an extension of the skin, and is interested in the idea of multifunctional layers. She researches how textiles might be used in the future and what the con-sequences might be. Using techno-logy and microbiology, she changes and improves the characteristics of a textile, making it possible to employ them in surprising new ways.

Neffa’s aim is to introduce innovative techniques to the broa-der public in a way that is easy to understand. One of the products that has come out of her research

is the ‘Chameleon Mood Scarf’. This scarf’s pattern responds to the wearer’s mood, environment and temperature.

Hoitink both initiates projects and works on commission. Clients are often companies who are looking for applications for their innovative new materials. Because Hoitink explores how new tech-nologies might be applied, she is developing new futures for textiles. Neffa’s partners include the Uni-versity of Utrecht, IMEC, Hasselt University and Elasta.

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Mud Jeans

Moniquevanheist

Neffa

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eleon mood scarf (2015)

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Mud Jeans

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Cham

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PAULINE VAN DONGEN

Designer: Pauline van DongenFounded: 2010Location: ArnhemWebsite: www.paulinevandongen.nl

Fashion designer and innovator Pauline van Dongen graduated with a B.A. and M.A. from ArtEz Institute of the Arts in Arnhem and has since worked to bring fashion and technology together. She hopes to make wearable technology ac-cessible to a larger audience. Her work is distinctive for its minimalist allure and the functional, wearable properties of her designs. Under her fashion label, van Dongen carries out extensive research into experi-mental, high-tech materials and tra-ditional techniques, and constantly innovates the notion of craftsman-ship. She joins forces with several companies to achieve this.

Since 2013, van Dongen has been carrying out research for her PhD within the project Crafting

‘Wearables’. This is a four-year long collaboration between the Radboud University Nijmegen, Eindhoven University of Technology, ArtEz Institute for the Arts, TextielMuse-um Tilburg, MODINT and a number of companies. Van Dongen is work-ing on developing a Wearable Solar Collection. One design from the series is the Solar Shirt. This seam-less design consists of 120 flexible solar cells and can recharge a smart-phone or any other USB device. The solar cells, combined with print-ed electronics, form modules that can be laminated directly onto the knitted fabric.

Pauline van Dongen has received national and international recog-nition for her work and is regular asked to speak or teach on the sub-ject of fashionable technology.

STUDIO JUX

Designers: Carlien Helmink and Jitske LundgrenFounded: 2006Location: AmsterdamWebsite: www.studiojux.com

Fashion designer Jitske Lundgren and communications specialist Carlien Helmink are Studio JUX. This is a sustainable, high fashion label for women and men that offers an alternative to fast fashion. Their designs are made from high-quality organic, natural or recycled materi-als. These are certified materials or textiles, which they buy directly off a local market in Nepal.

Studio JUX’s garments, accesso-ries and household items are produ-ced under good labour conditions in their own factory in Kathmandu, Nepal. With this factory, Studio Jux aims to create good working con-ditions and improve the lives of the Nepalese. Lundgren and Helmink also initiate other projects and have

set up small companies that are particularly focused on supporting the emancipation and independence of women. Under the slogan ‘Your Nepali Tailor is a Rockstar’ on their blog, they show us who the factory workers are. This makes the produc-tion process more transparent for the consumer.

Studio JUX regularly wins prizes for its collections. In 2009 they received the Ethical Fashion Awards, in 2012 they were the win-ners of the ‘Green Fashion Competi-tion’ and in 2014 they won financial investment from the Village Capital Competition for sustainable start-ups.

THE POST-COUTURE COLLECTIVE

Designer: Martijn van StrienFounded: 2015Location: RotterdamWebsite: www.postcouture.cc

The Post-Couture Collective was founded by designer Martijn van Strien. The collective aims to deve-lop garment production methods that will increase sustainability in today’s polluting and unjust textile industry. The Post-Couture Collective uses modern production techniques like laser cutting and 3D printing to achieve this.

The Post-Couture Collective adopts open source principles to ensure everyone has access to the resources and production models. Garment collections by different designers are then rendered into digital formats so that they can be shared with the consumer. The designs can then be fabricated by the end users following instructions

on the website. This lends the gar-ments a unique, personal signature, which would be impossible if they were mass-manufactured. Production, therefore, occurs in a global network of ‘make spaces’ – places where sustainable and recycled materials can be used. Because the garments are only made after they have been bought, there is no overproduction or unnecessary transportation.

The designs in the MPHVS ‘ONE | OFF’ collection are made using a 3D-spacer material made from recycled PET bottles. These garments can be assembled using an innovative method that requires no sewing machine. This makes the designs modular, which means the components can easily be adapted and replaced without the whole item having to be discarded. This is the haute couture of the future.

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PAULINE VAN DONGEN

Designer: Pauline van DongenFounded: 2010Location: ArnhemWebsite: www.paulinevandongen.nl

Fashion designer and innovator Pauline van Dongen graduated with a B.A. and M.A. from ArtEz Institute of the Arts in Arnhem and has since worked to bring fashion and technology together. She hopes to make wearable technology ac-cessible to a larger audience. Her work is distinctive for its minimalist allure and the functional, wearable properties of her designs. Under her fashion label, van Dongen carries out extensive research into experi-mental, high-tech materials and tra-ditional techniques, and constantly innovates the notion of craftsman-ship. She joins forces with several companies to achieve this.

Since 2013, van Dongen has been carrying out research for her PhD within the project Crafting

‘Wearables’. This is a four-year long collaboration between the Radboud University Nijmegen, Eindhoven University of Technology, ArtEz Institute for the Arts, TextielMuse-um Tilburg, MODINT and a number of companies. Van Dongen is work-ing on developing a Wearable Solar Collection. One design from the series is the Solar Shirt. This seam-less design consists of 120 flexible solar cells and can recharge a smart-phone or any other USB device. The solar cells, combined with print-ed electronics, form modules that can be laminated directly onto the knitted fabric.

Pauline van Dongen has received national and international recog-nition for her work and is regular asked to speak or teach on the sub-ject of fashionable technology.

STUDIO JUX

Designers: Carlien Helmink and Jitske LundgrenFounded: 2006Location: AmsterdamWebsite: www.studiojux.com

Fashion designer Jitske Lundgren and communications specialist Carlien Helmink are Studio JUX. This is a sustainable, high fashion label for women and men that offers an alternative to fast fashion. Their designs are made from high-quality organic, natural or recycled materi-als. These are certified materials or textiles, which they buy directly off a local market in Nepal.

Studio JUX’s garments, accesso-ries and household items are produ-ced under good labour conditions in their own factory in Kathmandu, Nepal. With this factory, Studio Jux aims to create good working con-ditions and improve the lives of the Nepalese. Lundgren and Helmink also initiate other projects and have

set up small companies that are particularly focused on supporting the emancipation and independence of women. Under the slogan ‘Your Nepali Tailor is a Rockstar’ on their blog, they show us who the factory workers are. This makes the produc-tion process more transparent for the consumer.

Studio JUX regularly wins prizes for its collections. In 2009 they received the Ethical Fashion Awards, in 2012 they were the win-ners of the ‘Green Fashion Competi-tion’ and in 2014 they won financial investment from the Village Capital Competition for sustainable start-ups.

THE POST-COUTURE COLLECTIVE

Designer: Martijn van StrienFounded: 2015Location: RotterdamWebsite: www.postcouture.cc

The Post-Couture Collective was founded by designer Martijn van Strien. The collective aims to deve-lop garment production methods that will increase sustainability in today’s polluting and unjust textile industry. The Post-Couture Collective uses modern production techniques like laser cutting and 3D printing to achieve this.

The Post-Couture Collective adopts open source principles to ensure everyone has access to the resources and production models. Garment collections by different designers are then rendered into digital formats so that they can be shared with the consumer. The designs can then be fabricated by the end users following instructions

on the website. This lends the gar-ments a unique, personal signature, which would be impossible if they were mass-manufactured. Production, therefore, occurs in a global network of ‘make spaces’ – places where sustainable and recycled materials can be used. Because the garments are only made after they have been bought, there is no overproduction or unnecessary transportation.

The designs in the MPHVS ‘ONE | OFF’ collection are made using a 3D-spacer material made from recycled PET bottles. These garments can be assembled using an innovative method that requires no sewing machine. This makes the designs modular, which means the components can easily be adapted and replaced without the whole item having to be discarded. This is the haute couture of the future.

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YOUASME MEASYOU

Designers: Twan Janssen and Mark van VorstenbosFounded: 2010Location: AmsterdamWebsite: www.youasme.com

YOUASME MEASYOU is a jersey and knitwear label founded by Mark van Vorstenbos and conceptual artist Twan Janssen. Both graduated from ArtEz Institute for the Arts, Arnhem, in the early nineties. In 2010 they decided it was time for a radical new turn in their practice: inclusiveness, transparency and social values took centre stage. The label was establis-hed entirely through crowdfunding.

Rather than exclusivity, Jansen and van Vorstenbos chose to embrace the art of sharing. The outcome was a label with a social conscience and a focus on closer ties between the maker and the user. YOUASME MEASYOU designs are high-qua-lity fashionable interpretations of classic designs.

In response to fashion’s eternal obsession with the new, in 2015 the designers launched the sustainable platform ‘MEANWHILE’. The platform transcends the seasons and concentrates on authentic inspiration and products that are made to be cherished. In 2014, van Vorstenbos and Janssen won the 5th Prins Bern-hard Fashion Grant for their pionee-ring work on slow fashion.

Below is a selection of organisations and businesses who develop, promote and /or research the value of fashion, fashion and technology and/or fashion and sustainability.

CENTRE OF EXPERTISE: FUTURE MAKERS IN FASHION & DESIGN www.futuremakers.artez.nl

Centre of Expertise: Future Makers in Fashion & Design is an initiative by CLICKNL|Next Fashion and ArtEZ Institute of the Arts. This project aims to develop new, sustainable materials and manufacturing processes and to deploy them in fashion and design. Students at ArtEZ, three lecturers and the Art and Business Centre are working with businesses on this project.

CLICKNL|NEXT FASHIONwww.clicknl.nl/nextfashion

The Next Fashion network develops and implements the agenda for inno-vation in the fashion sector from within CLICKNL, the knowledge and innovation network for creative industries in the Netherlands. The network is supported by three partners: ArtEZ Institute for the Arts (knowledge centres); MODINT, industry associations for fashion, interiors, carpets and textiles (commercial); the Provincial Government of Gelderland and Arnhem City Council (state).

CRAFTING WEARABLES www.craftingwearables.com

The five-year old interdisciplinary research project Crafting Wearables is a collaboration between Radboud University Nijmegen, Eindhoven University of Technology, ArtEZ Institute for the Arts Arnhem, Philips Research, Tex-tile Museum Tilburg, MODINT, Freedom of Creation, Solar Fiber, Inntex and Xsens. PhD candidates Pauline van Dongen and Lianne Toussaint, along with four junior researchers, are researching the integration of fashion and technology.

FAIR WEAR FOUNDATION www.fairwear.org

Fair Wear Foundation is an independent, nonprofit organisation which works with fashion companies and manufacturers to improve working conditions for employees in the textile industry. FWF is active in 11 producer countries in Asia, Europe and Africa. The Code of Labour Practices, to which every member is expected to adhere, is based on eight labour standards.

FASHION FUTURESwww.fashionfutures.org

Fashion designer Anke Jongejan uses theory and practice to research possible future scenarios for fashion, both as an industry and as a cultural phenomenon. Fashion Futures presents solutions which are fundamentally different from those currently used in today’s fashion system. Using inno-vative prototypes and (fictional) products, Jongejan speculates on the future look of fashion.

LENA THE FASHION LIBRARY www.lena-library.com

LENA the Fashion Library is a clothing library where you can borrow high-quality and sustainable vintage clothes for a fixed monthly amount and where you can bring you own clothes to lend. This initiative aims to reduce over-production and over-consumption and thereby contribute to a better, cleaner world.

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MADE-BY www.made-by.org

MADE-BY is a nonprofit organisation for fashion companies, retailers and manufacturers who want to improve social, economic and ecological con-ditions throughout their entire production chain. MADE-BY’s mission is to make sustainable clothing commonplace. MADE-BY advises and supports companies applying for social or environmental certification and helps them procure sustainable materials.

MINT www.modefabriek.nl/nl/mint

MINT is part of the Modefabriek. At this trade fair, MINT co-founder Marieke Eyskoot presents around 25 sustainable fashion labels and lifestyle products, which have been made with respect for people and their environ-ment. A lecture programme, an exhibition and a shop are among the ways MINT works to enlighten a wide fashion audience and to stimulate the industry to adopt “forward fashion”.

CLEAN-CLOTHES CAMPAIGNwww.schonekleren.nl

Ever since 1989, Schone Kleren Campagne (clean-clothes campaign) has been bringing clothing companies together to improve labour conditions and the position of workers in the global garment industry. SKC is a coali-tion of unions, consumer organisations, women’s groups, aid organisations and research groups. They not only highlight abuses, but also propose constructive solutions.

STRAWBERRY EARTH www.strawberryearth.com

Strawberry Earth’s mission is to inspire people to make sustainable choices in fashion, design, cosmetics and food. Projects and initiatives like the Strawberry Earth Academy and Strawberry Earth Fair are aimed at stimu-lating a fair and green economy in the creative sector.

TALKING DRESS www.talkingdress.nl

With her office Talking Dress, Marieke Eyskoot works to put fair garments and a sustainable lifestyle well and truly on the map. Eyskoot is author of the book ‘Talking Dress – alles over eerlijke kleding en lifestyle, een gids voor eerlijke en modieuze kleding en lifestyle’ (currently only available in Dutch). She also lectures and organises events on sustainable fashion and improving the garment industry.

TEXPERIUM www.texperium.eu

Texperium is an open-innovation centre for textile recycling, which aims to make the textile chain more sustainable and to offer new market opportu-nities. The centre aims to bring together sorters and re-users by organising symposia and meetings around particular themes. Companies, knowledge centres and the government are working together on a range of research projects in the centre.

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MADE-BY www.made-by.org

MADE-BY is a nonprofit organisation for fashion companies, retailers and manufacturers who want to improve social, economic and ecological con-ditions throughout their entire production chain. MADE-BY’s mission is to make sustainable clothing commonplace. MADE-BY advises and supports companies applying for social or environmental certification and helps them procure sustainable materials.

MINT www.modefabriek.nl/nl/mint

MINT is part of the Modefabriek. At this trade fair, MINT co-founder Marieke Eyskoot presents around 25 sustainable fashion labels and lifestyle products, which have been made with respect for people and their environ-ment. A lecture programme, an exhibition and a shop are among the ways MINT works to enlighten a wide fashion audience and to stimulate the industry to adopt “forward fashion”.

CLEAN-CLOTHES CAMPAIGNwww.schonekleren.nl

Ever since 1989, Schone Kleren Campagne (clean-clothes campaign) has been bringing clothing companies together to improve labour conditions and the position of workers in the global garment industry. SKC is a coali-tion of unions, consumer organisations, women’s groups, aid organisations and research groups. They not only highlight abuses, but also propose constructive solutions.

STRAWBERRY EARTH www.strawberryearth.com

Strawberry Earth’s mission is to inspire people to make sustainable choices in fashion, design, cosmetics and food. Projects and initiatives like the Strawberry Earth Academy and Strawberry Earth Fair are aimed at stimu-lating a fair and green economy in the creative sector.

TALKING DRESS www.talkingdress.nl

With her office Talking Dress, Marieke Eyskoot works to put fair garments and a sustainable lifestyle well and truly on the map. Eyskoot is author of the book ‘Talking Dress – alles over eerlijke kleding en lifestyle, een gids voor eerlijke en modieuze kleding en lifestyle’ (currently only available in Dutch). She also lectures and organises events on sustainable fashion and improving the garment industry.

TEXPERIUM www.texperium.eu

Texperium is an open-innovation centre for textile recycling, which aims to make the textile chain more sustainable and to offer new market opportu-nities. The centre aims to bring together sorters and re-users by organising symposia and meetings around particular themes. Companies, knowledge centres and the government are working together on a range of research projects in the centre.

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ACKNOWLEDGEMENTS

This article is an elaboration of research carried out for the exhibition Fashion Data and draws upon find-ings that were published in A Fashion Odyssey (ArtEZ Press 2013).

LITERATURE

Claudia Banz and Sabine Schulze, Fast Fashion, Hamburg: Museum für Kunst und Gewerbe, 2015.

Sandy Black, Eco-Chic: The Fashion Paradox, London: Black Dog Publishing, 2008.

Jan Brand and José Teunissen, (eds.), A Fashion Odyssey, Arnhem: ArtEZ Press, 2013.

Hazel Clark, Slow + Fashion – an Oxymoron – or a Promise for the Future? in Fashion Theory, vol. 12, no. 4, 2008, pp. 427-446.

Gilles Lipovetsky, Moderne Luxe, Postmoderne Luxe in Jan Brand and José Teunissen (eds.), Mode & Accessoires, Arnhem: ArtEZ Press & Terra, 2007, pp. 28-41.

Michiel Scheffer, Problemen en de aanpak ervan in Jan Brand and José Teunissen (eds.), A Fashion Odyssey, Arnhem: ArtEZ Press, 2013, pp. 86-106.

José Teunissen, Mode in Nederland, Arnhem: Terra, 2006.

José Teunissen, The Future of Fashion is Now in Jan Brand and Jose Teunissen (eds.), The Future of Fashion is Now, Rotterdam: Museum Boijmans Van Beuningen, 2014, pp. 12-26.

http://www.rvo.nl/sites/default/files/ Routekaart_Tapijt_juni2012.pdf

FIGURES

from Claudia Banz and Sabine Schulze, Fast Fashion, Hamburg: Museum für Kunst und Gewerbe, 2015.

http://www.cpb.nl/cijfers https://www.oneworld.nl/water/

sta-drooghttp://www.greenpeace.nl/Global/

nederland/report/2011/ DirtyLaundry_LR.pdf

Met dank aan Modint, Matthijs Crietee

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COLOPHON

PublicationEssay: José TeunissenDesigner profiles: Mascha van ZijverdenEssay editor: Gert Staal Text editors: Lotte Haagsma Mahlee PlekkerGraphic design: Rudy Guedj

Exhibition Fashion DataCurator: José TeunissenInstallation design: Conny GroenewegenGraphic design: Rudy Guedj

The data visualisations are based on research by Claudia Banz, Modint and Circle Economy.

The Temporary Fashion Museum has been made possible thanks to generous support from Fonds 21, the BankGiro Lottery and the Ministry of Education, Culture and Science.

This is a publication from:Het Nieuwe InstituutMuseumpark 25, Rotterdamtel. +31(0)10-4401200service@hetnieuweinstituut.nlwww.hetnieuweinstituut.nl

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