Applying Seven Generation Thinking to Apparel THrough a Waste-Led Design Process (2023)

Casey Stannard: Louisiana State University, Laura Kane: Framingham State University, Kelly Cobb: University of DElaware

Design Abstract: The fashion industry lacks formal procedures to operationalize the use of textile waste in apparel product development. This research establishes that using textile waste can be a sustainable development strategy with economic, environmental, and social benefits. The research team sourced textile waste and fabrics were shredded and feltloomed into new textiles. Each designer was able to create final apparel from the upcycled materials using draping and digital flat pattern design. Thus, this design collaboration demonstrates a waste-led design processes guided by Seventh Generation Thinking. Seven Generation Thinking is a concept that urges the current generation of humans to live and work for the benefit of the seventh generation into the future (Haley, 2021).

This project came about as a collaboration between myself, Casey Stannard, and Kelly Cobb. The purpose of this project was to take discarded textile waste and transform them into new fabrications and garments. Casey and I each began with separate waste materials for our project. Casey began with damaged silk curtains and I began with a large pile of cut up wool garments purchased from an antique market. The pieces were the leftovers from another maker that cut up the original garments for use in a quilting project. I began my design process by organizing each of the types of pieces I purchased by fabric type in order to take an inventory of all of the pieces I started with. In total I ended up with 27 unique garments represented in the initial scraps. I then split each piece up by category (sleeve, pockets, vents, collars, and unknown scraps) and mailed the sleeves, collars, and random scraps to Kelly Cobb at University of Delaware to be shredded up and refelted into new fabric. I ended up using about 3/4 of the remaining pockets, jacket fronts, and vents in the final design.

The design process for this garment was entirely organic and experimental. For each section of the garment I pinned the piece in place, testing various placements to effect the drape of the garment, and pinned and basted the sections in place as I went along. I tried to maintain as much of the original scrap piece in order to reduce the amount of textile waste left over at the end. The majority of the garments included in the garment were suit jackets. I decided to sew each piece together by hand using catch stitches in a heavy duty waxed thread in order to 1. communicate the connection between the worker and the garment in the design process and 2. pay homage to the handwork involved in traditional tailoring. This technique allowed me to work slowly and methodically, ensuring that I made use of each piece effectively.

The felted fabric from Kelly was cut up into smaller pieces and incorporated strategically into the garmet to support the weight of the dress and to add fullness to the silhouette.

The garment is also lined with the pieces of the lining that were left over from the larger jacket front pieces. The pieces of the lining were also hand stitched together with a catch stitch.

This garment was presented alongside Casey’s piece (shown below) at the Fashion and Circular Economy Symposium at Colorado State University.