Volumes, policy measures and Targeted Producer Responsibility all fitted into discussions the week before Easter, where some of us jumped back and forth between Webex, Zoom and Teams, recordings and live webinars. The take-aways are that several policy tools are mired in antiquated ideas that seriously need updating from research, and that the conversations around volumes and sufficiency are what actually can drive change.
STICA’s Climate Action Week coincided with intense webinars from EU’s Joint Research Center on ESPR’s stakeholder review and also PEFCR for apparel and footwear’s open hearing, presented by the Technical Secretariate’s lead. Yes, it was dizzying, but most importantly, Targeted Producer Responsibility and questions surrounding how EU actually plans to address the issue of volumes and degrowing the sector did got airplay.
Kerli Kant Hvass, who is one of our Wasted Textiles partners, presented Targeted Producer Responsibility during the session on the obstacles facing new circular business models during STICA’s Climate Action Week, hosted by Michael Schragger from Sustainable Fashion Academy and lead for Scandinavian Textile Initiative for Climate Action (STICA). In the session Circular Business Models Are Critical for Climate Action – So What Is Preventing Them from Becoming Mainstream? she explained the concept, and continued her argument during the panel discussion towards the end:
“Focusing on the product and assuming this will result in sustainability has serious limitations. Instead, collecting data in the waste streams, and establishing if a product has been used for half a year or for ten years, actually establishing its duration of service (DoS), can give the database for modulating fees.”
TPR got nods
We noticed that Maria Rincon-Lievana, from the EU Commission and DG ENV nodded a lot when Kerli repeated this. Sarah Gray from UK’s WRAP, who is wrapping up a PhD on to what degree circular business models actually have climate and environmental impact, wholeheartedly backed Kerli’s call for dating products in order to gain data on the actual DoS of products for comprehensive LCAs.
“Labelling regulation presents an opportunity (…) for instance introducing the production date on the label (…) we can know how long the product has been circulated at the end of life. If we do waste audits, we can estimate the DoS to understand was it used to 10 years or was it used for two weeks and then it was discarded and it can also support consumers in knowing that they have the right of a legal guarantee from the purchase date of two years during which if the product fails under normal circumstances, they have the right of it being repaired for free.”
“EPR can for instance be based on how long the product was on the market based on waste audits and the date of production, and thus we can modulate who will have to pay a higher fee. We need to incentivize the reduction of the volumes placed on the market.”
This is the whole idea behind TPR, and even if Luca did not specifically mention TPR, he was voicing the principles behind it.
Old-fashioned or not fit for purpose, or both?
So, what is old-fashioned about the approach the policy-makers are taking? What are the tools that are not fit for purpose?
As it was ESPR and PEFCR we were lectured on the same week, the following thoughts arise.
ESPR (Ecodesign for Sustainable Product Regulation) clearly is based on the faulty assumption that 80% of a product’s environmental impact is decided in the design phase. So, it is intertwined with predicting for example durability, repairability, recyclability and thereby assuming DoS. The problem is, as SIFO research shows, only one-third of textile products or apparel go out of use because they are used up, so if ESPR is going to eco-modulate EPR fees (which seems to be the idea) this will be based on pure guess-work, or what could be more diplomatically called predictions.
TPR suggests the opposite, building the eco-modulation on what becomes waste prematurely and modulated ‘against’ what captures value in the new business models, as Kerli so well described in her presentation.
The hen or the egg?
For PEFCR (Product Environmental Category Rules) the problem is that they are meant to underpin ESPR, but JRC have actually not decided if they are fit for purpose, they said as much in their presentation. So, currently PEF seems to be in limbo, perhaps only fit for Green Claims (Baptiste Carriere-Pradal said as much in his presentation, but also hinting that ESPR would have to use PEF).
PEF is not aiming to be a consumer-facing label, only a set of 16 “frankenproducts” (12 for apparel, four for footwear) which you as a company can compare your product to, and say if your product is “greener” than the “frankenproduct” based on very strict LCA parameters. The data-base that these parameters are resting on, have serious data issue, and may be why France when presenting their “amost-PEF-compatible” label, have taken out one of them (physical durability), In addition, France also is not making GHG emissions the most important parameter – counting for 1/4th of the ‘score’, which PEF currently does.
The main problem, though, is understanding. Consumers understanding what and why.
Simply: In ESPR there is a demand for recycled content, and this is heavily stressed. During the sessions, I asked simply “why?” and presented the latest IVL report with a 1.3% climate reduction for large-scale recycling in the EU. What also surfaced during the week was that only 11% of EU’s population want recycled content. So, win-win or lose-lose to demand recycled content?
Apparel for real life or for bureaucratic purposes?
The issue then feeds into PEF, and how the scores of the “frankenproducts” actually have meaning when talking about real life. Why are stockings, socks and leggings the same “frankenproduct”? What are sweaters actually – when we all know they differ enormously and also their function. It seems, in the end, that everything is a desktop solution for real life actualities.
Having good clothes that are fit for purpose, not apparel that fit policy purposes, should be the goal. They will be used the longest and deliver on DoS. Using ESPR, with PEF as the underpinning logic, will not at all help either the environment, climate change or Europe’s consumers.
So, all in all, listening to the STICA webinar, so well organized by Michael Schragger, gives better insight on where we need to go, than both the JRC organized webinar (which sadly is not publicly available even if it was recorded) and the PEFCR webinar (which can actually be accessed), put together. EU still needs to get their heads around that it’s not at the product level, but at the systems level, that change needs to happen. Let’s hope STICA gave them food for thought.
Panel discussion on the role of municipalities in promoting circularity and more sustainable consumption patterns in the fashion sector.
Sustainable fashion is often regarded as an issue of international trade and global issues, disregarding the role of local municipalities in the phenomena of overproduction and overconsumption and their trickle-down effects. Yet many cities around the world have started to think of this challenge and develop innovative mechanisms to reduce the volume of production and overconsumption and support their city’s fashion sector’s transition to sustainability. How can municipalities reduce waste, induce sustainable consumption behaviours in their citizens and promote sustainable choices, and circular business services? Do municipalities that are at the receiving end of fast fashion initiate policies and initiatives to re-address the phenomenon? Can cities impact the fashion industry by changing consumption patterns of their citizens?
UN ALLIANCE WEBINAR February 5th, 2024 14:00 – 17:00 CET
Opening remarks Simone Cipriani, Chairperson, UN Alliance for Sustainable Fashion & Chief Technical Advisor, Ethical Fashion Initiative (EFI/ITC)
Introduction Katia Dayan Vladimirova, PhD, Senior lecturer and researcher, University of Geneva
City Cases (10 min each) AMSTERDAM: Dieuwertje de Wagenaar, Senior Policy Officer Circular Textiles, City of Amsterdam. Fashion and textiles in the “Amsterdam Doughnut”: How policy can boost local circular ecosystems. OSLO: Kirsi Laitala, Senior researcher, Oslo Metropolitan University. Key challenges of textile waste and city-level solutions: Case of Oslo. ACCRA: Elizabeth Rickett, Co-founder, The Or Foundation. Textile overwhelm: How Accra City is managing the growing volumes of imported second hand garments and the resulting textile waste through circular practices. GENEVA: Katia Dayan Vladimirova, PhD, Senior lecturer and researcher, University of Geneva. Opportunities to support responsible local fashion consumption: Case of the City of Geneva. CAPE TOWN: Alison Evans, Head: Waste Markets, City of Cape Town. Moving towards circular textiles through Cape Town partnerships. The case of the city of NEW YORK will also be featured.
Discussants (5 min each) Felicity Lammas, Sustainability Manager, Global Fashion Agenda Mohammad Awale, Founder, Rummage Josephine Philips, Founder and CEO, Sojo Matt Dwyer, Product Impact and Innovation Leader, Patagonia Enrica Arena, CEO, Orange Fiber Åsa Degerman, Manager, Once More Q&A
Conclusions ● Gulnara Roll, Head of the Cities Unit, UNEP Moderation ● Paola Deda, Director, Forests, Land and Housing Division, UNECE
This is an event of the UN Alliance for Sustainable Fashion; organized by ITC Ethical Fashion Initiative, UNECE, UNEP, ICLEI and the University of Geneva.
Wardrobe and Climate was the over-arching theme for a CHANGE event at the Norwegian Folk Museum in Oslo: how we can convey historical knowledge about resource thinking, crafts and wardrobe joy in the museum’s costume collections. An academic hybrid conference morphed into a hands-on evening.
“How did they do it?” was the big question posed during the hybrid seminar during the day, where around 25 attended in person and the same number joined us virtually; and where Ingun Grimstad Klepp and Ingrid Haugsrud, both from Consumption Research Norway (SIFO) at Oslo Metropolitan University, spoke about two forthcoming papers. These are: Variety in dress: Norwegian and Swedish clothing 1780-1880, co-authored by Bjørn Sverre Hol Haugen, Marie Ulväng, Pernilla Rasmussen, Ingun Grimstad Klepp and Ingrid Haugsrud, and Towards a closet full of clothes, but nothing to wear: Wardrobe planning regimes in women’s weekly magazines 1908-2023.Here the authors are Ingrid Haugsrud, Ingun Grimstad Klepp and Vilde Haugrønning.
Ingrid Haugsrud presented findings from Norway’s oldest women’s magazine.
The headline was “Unused resources for CHANGE: Fashion, history and sustainability”, and the question was why does history matter? Why do we need to talk about historical practices in the discussion around the environmental impact of textiles and clothing? asked Professor Ingun Grimstad Klepp, before she then went into how dress-practices from Norway and Sweden during the 100-year period spanning from 1780 till 1880, could offer clues to variety without excessive wastefulness. The red thread being that when we have less clothes, we take much better care of them and assign them high value.
This was followed by Ingrid Haugsrud speaking about “A closet full of clothes, but nothing to wear. Wardrobe planning in Norwegian weekly magazines 1908-2023”, where her analysis of three time-periods in the history of Norway’s oldest surviving women’s magazine which is KK (Kvinner og klær), that started out as Nordisk Mønstertidning. The three main themes that emerged for early 1900s, 1970s and 2020s were: Making do with what one had and at the same time creating variety, mix and match wardrobes (creating an illusion of having more than one actually does) and finally “the capsule wardrobe” and cleaning out/ridding oneself of unused things. The latter having led to a waste colonialism issue in the global south as an unforeseen problem.
Else Skjold led the panel, engaging both the physical and the digital audience.
After the two talks speakers were done, they were joined in a panel by Bjørn Sverre Hol Haugen, Marie Ulväng and Pernilla Rasmussen, monitored by Else Skjold. Here Marie Ulväng pointed out that in the 19th century, a household-budget for apparel was as much as 1/4th of the total. Which is a far cry from today’s share.
Later the same day, many of the participants joined others for a hands-on behind-the-scenes deep-diving into old wardrobes and textile know-how. Participants guessed what materials were hidden in jars based only on how they felt to touch, and also the weight of two garments, an old wool skirt which had belonged to Åse Roe from Tinn in Norway and a silk dress woven in the 1750s, with several reincarnations in the 1800 and 1900s.
Hands-on research: Is it silk, viscose or…?
The audience was also invited to talk about their own wardrobes and clothes with Ingun and Ingrid in what evolved as a deep-dive in a theme that was brought forward during the hybrid seminar: a need for a better language about our wardrobes and what makes them sustainable. Watch and listen to the hybrid webinar by clicking here
Engaged participants discussing with Ingun and Ingrid.
The proposal for the Waste Framework Directive, which is currently being read and analyzed by a myriad of companies, NGOs, researchers, policy-makers and interested citizens throughout Europe, handles two major consumer ‘goods’: Textiles and food. We are mainly concerned with the former, however, we have found that food offers us two good guiding principles.
The first one is to eat up what is on your plate. The second is waste audits as a means to gain meaningful knowledge on what gets “eaten up” and what doesn’t. In three separate documents, we ask the EU to heed these two guiding principles and apply them to apparel and other textiles.
One of the documents is our feedback on the textile part of the Waste Framework Directive (read the document here), where the authors have concrete recommendations for ensuring that the policy measures in the WFD can actually contribute to the EU’s ambition of putting fast fashion out of fashion. Currently, the Duration of Service is what is lacking in the available data (how long apparel has been in use and to what level the apparel and textile waste is ‘used up’ ), but even if the background document (#4) states “There is currently no sound method of estimating textile waste (collected and discarded in mixed municipal waste)”, this is just not true. And the two other papers elaborate on exactly this point. Waste audits/waste composition studies – which are very much used when gaining data on food waste – and wardrobe studies – are well-developed methods.
The document Status for developing methods for using waste as a resource for knowledge about the use phase of clothing (read the document here), offers an overview of exactly the current status for these methods, while the document USED, BUT NOT USED UP: Using textile waste to inform textile rating schemes (read the document here) explores how the data-collection methodology using waste audits can underpin several policy measures, such as the Product Environmental Footprint Category Rules, Ecodesign for Sustainable Products Regulation (ESPR), Labelling and Digital Product Passport (DPP), the Green claims directive, as well as EPR and the WFD. We have called the ongoing waste audit method for Targeted Producer Responsibility (TPR), as we originally saw it as a more effective means for levelling a EPR fee, using the Duration of Service as the measuring stick. However, we also now have realized that taking the waste as the point of departure, has many other ramifications that can be leveraged.
The cut-off point for feedback to the WFD keeps being postponed, but we encourage everyone to respond, as a functioning EPR scheme which actually takes the waste hierarchy seriously, can be reality, if we use waste audits as the basis for eco-modulating the fee. What we urgently need is for companies to add the date of production or when the product goes to market to the brand label. Then we can look both upstream, and downstream, from the time apparel and other textiles enter the different waste streams.
First of all, we would like to welcome you as a colleague! This is a very happy development for Consumption Research Norway (SIFO) and our clothing research group, alongside of course, the work in the projects you have the lead of work packages. So firstly: welcome!
For such a long time, we have associated you with London College of Fashion, and now you are affiliated with three Scandinavian institutions. Is there a special affinity to this region that has resulted in this tripling of your affiliation?
Well, it is a very beautiful region! Seriously, there has been a steady – and growing – presence in sustainability, design, fashion and textiles work in the Nordic countries over the last twenty-five years and I am now honoured to be able to connect with this work in three different institutions.
Are the other two positions very different from your role at SIFO?
All the roles are fairly distinct, drawing on different parts of my knowledge and skills. Some are more design-based, others more strategic, while the work at SIFO is more specifically linked to research projects.
Your research project, Craft of Use, brought in a new perspective on how we use our clothes in a myriad of ways; that has inspired many to rethink their relationship with clothes. How did this research lead to for example Earth Logic and your input to new research? Can you give us a ‘thread’ that weaves through your research?
The Craft of Use project started out in 2008 as a way to glimpse what ‘fashion’ might look like ‘post growth’. The idea was that in a world beyond consumerism when clothes are no longer bought mindlessly, the skills of using garments well, with dedication and care, take on new significance. These skills would become the currencies of post growth fashion, they also emphasise practices not just products and users, not just garments. Through a hybrid ethnographic-design research project the Craft of Use project connected the everyday (the lifeworld of the user), systemic questions about taken-for-granted economic and social structures, and relational potential of design to act and connect differently. Earth Logic is, I guess, an obvious continuation of this approach. It also uses a similar action research methodology and is similarly radical.
From left to right: Else Skjold, Trine Skødt, Mette Dalgaard Nielsen and Kate Fletcher. From the launch of the Klothing Research Center.
In the two projects Lasting and CHANGE, where you lead two work packages, you are looking outside the Global North concept of consumption and fashion/clothing practices with a new lens or kaleidoscope. Is this challenging to you personally and also research in general?
It is both personally challenging, and challenging to research, and necessarily so. For too long the dominant ideas in fields like fashion and sustainability have been assumed to be universal, with the assumption that no one sits outside of these ideas, beyond this epistemic territory. But with this assumption comes erasure, and denial of other perspectives, realities, possibilities etc. Looking to more plural perspectives tackle some of the biggest subjects like Western hegemony, human exceptionalism, patriarchy, but it also asks about small practical things like how writing items in a list introduces a hierarchy, which in turn introduces an inadvertent priority or power relation.
Some of the focus in Mathilda Tham’s and your Earth Logic, is about a more localized and diverse approach to clothing and fashion. I personally find this fascinating, and it resonates with so much of what needs to be in place in order “repair” our current system, if we can even repair it. Do you have any thoughts at all that you are willing to share, on systemic change within the current economic system?
Community based action is seen, time and again, as the radical basis of sustainability change. For it is in local places that lives are lived. One of the strands of work that is ongoing within Earth Logic is an exploratory project around a local fashion government. In Earth Logic, when we talk about government and governance people often think about big government, like what happens at national or pan-national levels, but what Earth Logic is interested in is at a different level. Our interest is the small sets of individual, household, community and regional decisions around organising and regulating clothing provision and expression. To be clear, this is not about what can be produced in a region, but more about how to meet needs with the clothing that we already have. This for me is systemic change. I’ll let you be the judge if it sits within the current system or not.
What do you feel should be further explored at SIFO, what themes do you see as unaddressed?
One of the critical challenges for fashion and sustainability is to tackle rising consumption volumes. I would like to get straight to heart of this challenge and to explore consuming less, and to do that with colleagues with expertise from across the SIFO family.
Kate with the CHANGE team at Finnskogen, flanked by Ingun Klepp (left), Ingrid Haugsrud, Else Skjold and Lea Gleisberg, Vilde Haugrønning in front.
Do you feel research councils understand what the actual problems are? Do you have a wish for a call you haven’t seen?
In general terms it seems research councils prefer funding projects that are similar to existing ones, that use related thinking, and aligned with established economic priorities. What I hope for is that bolder, riskier, farsighted projects will also be funded. Such projects generally create the compost that other projects then go on to sow the seeds of change in. And without the compost, other seeds of future projects will not germinate. So, this is ultimately an investment in the future.
Consumption, as a word and a concept; what do you find the most problematic and what do you find to be valuable?
Etymologically, I find the term consumption problematic, meaning, as it does, “to use up”. And in the fashion context, its strong association with the culture of consumption is antithetical to ecological balance. Yet inspired by the words of the poet and farmer Wendell Berry, I am also seeing consumption, as about husbandry. That is, the name of all practices that sustain life by connecting us conservingly to our places and our world. It is the art of keeping tied all the strands in the living network that sustains us.
Lisbeth Løvbak Berg, Ingun Grimstad Klepp, Anna Schytte Sigaard, Jan Broda, Monika Rom and Katarzyna Kobiela-Mendrek.
Abstract
Production and use of plastic products have drastically increased during the past decades and their environmental impacts are increasingly spotlighted. At the same time, coarse wool, a by-product of meat and dairy production, goes largely unexploited in the EU. This paper asks why more coarse wool is not used in consumer goods, such as acoustic and sound-absorbing products, garden products, and sanitary products. This is answered through a SWOT analysis of results from a desktop study and interviews with producers of these products made from wool, as well as policy documents relating to wool, waste, textiles, and plastic. Findings show that on a product level, the many inherent properties of wool create opportunities for product development and sustainability improvements and that using the coarser wool represents an opportunity for replacing plastics in many applications as well as for innovation. This is, however, dependent on local infrastructure and small-scale enterprises, but as such, it creates opportunities for local value chains, value creation, and safeguarding of local heritage. The shift to small-scale and local resource utilization requires systemic change on several levels: Here the findings show that policy can incentivize material usage transitions, but that these tools are little employed currently.
March 14th, 2023, 10 am to 12 noon. Athene 1 (auditorium), Pilestredet 46, OsloMet.
PhD Candidate Anna Schytte Sigaard will present preliminary findings based on data collection from 28 Norwegian households in three areas of Norway: Oslo, Vestfold and Salten. This is part of her PhD Want Not, Waste Not: A wardrobe study approach to minimizing textile waste from Norwegian households.
Each household collected textile items that they would have otherwise discarded during a period of 6 months. They participated in a start-up interview at the beginning of the collection period and two interviews about the collected textiles after 3 and 6 months. All textiles (more than 3000 pieces) were brought to SIFO for analysis where they have been registered according to different physical properties and the story for each textile, from acquisition to disposal, has been recorded.
The findings will grant insights into consumption of clothing and other textiles from households in Norway.
A more detailed agenda will be shared closer to the event date.
Snacks and coffee/tea will be provided.
Location: Athene 1 (auditorium), Pilestredet 46, 0170 Oslo
If you are interested in joining in person, please contact Anna Schytte Sigaard. email: annasiga@oslomet.no
We throw away enormous amounts of clothing, and most of it contains polyester and other plastics. We need more knowledge to be able to meet the new EU requirement for separate textile collection by 2025, say researchers.
Text Kjersti Lassen/Consumption Research Norway (SIFO)
After cleaning out your wardrobe, you might be left with a pair of trousers with a huge hole in the knee, a sweater you stopped wearing a long time ago or a dress you never really ended up wearing. Where should you dispose of the clothes you want to get rid of?
In Norway you may put whole garments that are clean and functional for a new user in a container for clothing collection, but what about the damaged clothes?
– There are few other options than throwing them in the residual waste, says PhD candidate holder Anna Schytte Sigaard, part of Consumption Research Norway’s Clothing Research team.
Clothing disposal after 2025
But this will not be an option quite soon. Textiles are prioritized in the EU’s circular economy strategy, and by 2025, separate textile collection will be mandatory, also in Norway.
– In order to find out how this is to be organized, we need to know what types of textiles are actually thrown into the municipal waste or end up in other waste or collection streams, says Sigaard.
She is involved in the research project Wasted Textiles, which studies the fate of all the textiles that go out of use. Why do we throw away clothes, what do we throw away, and what do we choose to keep? What is the condition of the clothing that is thrown away, and how much is made of synthetic materials, i.e. plastic?
Because what will happen to the textiles that are collected? Can they be recycled in some way, so that the materials can be used further?
– Then we first have to find out what the clothes are made of. Material recycling is difficult, and with mixed materials it is almost impossible. The next product is almost always of poorer quality, she says.
Method: Deep dive into our waste
To find answers, the researchers have gone through our textile waste: from municipal waste, from recycling facilities where people themselves deliver clothes as waste and from apparel and textile receiving bins where interior textiles, clothes and shoes are delivered to UFF (Humana People to People) or Fretex (Salvation Army).
SIFO-researchers Lisbeth Løvbak Berg, Anna Schytte Sigaard og Kirsi Laitala are here sifting through the textile waste in a recovery station in order to analyze several things. Photo: Kristiane Rabben, Mepex
– We had to start by developing the picking analysis method, says Sigaard, which they did together with Mepex, a consulting company for waste and recycling. Dressed in protective suits and masks, they went through a total of 3,500 kilos of waste, some of it soiled, smelly and ruined, while other things were as good as new. They have looked at different types of textiles, fiber content and the condition of the garments.
– We found a surprising number of garments with the price label still on them, also at the waste recovery stations. People have thrown away completely new garments.
– Everything from the municipal waste, however, was ruined, as the textiles were mixed with food waste and everything else, and impossible to assess. Clothes in the municipal waste have no use value, she says.
SIFO-professor Ingun Grimstad Klepp heads the Wasted Textiles project, and participated in the sorting and analysis of textile waste. Photo: Lea Gleisberg/Wasted Textiles
Surprised by the amount of plastics
Two-thirds of the textiles examined contained some or mainly synthetic fibers, i.e. non-renewable materials or plastics, depending on how one likes to categorize synthetics. Polyester is the largest category, but acrylic, elastane and nylon were also prevalent.
The rest, a third of the textiles, were natural materials or what we call renewable materials, such as cotton, wool and silk. Or viscose, which is also plant-based and degradable, but has undergone intensive chemical processing.
– We were surprised by the large proportion of plastic, as we included all textiles, and found a lot of bed linen and towels, which are most often made of cotton. Still, there is an inordinate amount synthetic altogether, says Sigaard.
If we had only included clothing, there would have been an even greater proportion of plastic. Over two-thirds of all materials in textiles produced today are synthetic.
There is also reason to believe that the proportion of plastic clothing binned will increase in a few years. There is a constant growth in the production of synthetic textiles, and the clothing bought today will be thrown away in a few years. The clothes we find in the trash today have of course been bought back in time.
Analyzing over 3000 discarded clothing-items
All clothing has a label showing the fiber content. This is required by law. But how precise is this label? Investigations in other countries show that many clothes are mis-labelled and contain a greater proportion of synthetic materials than what is stated on the labels. Does this also apply in Norway?
To test this, the Wasted Textile researchers have borrowed a FabriTell fiber scanner – a small, hand-held machine that uses near-infrared analysis technology to identify the fiber composition in textiles. The researchers scanned a selection of the textiles that had been collected from the 28 households. They chose everything that was labelled as mixed fibers or not marked at all.
The FabriTell fiber scanner. Photo: Tone S. Tobiasson
– We found a lot that was mislabeled. For example, t-shirts or hoodies may be labeled as 100 percent cotton, while the scanner shows that the ribbed edges are mixed with synthetic materials. This is within the law, but gives incorrect information, says Sigaard.
We need to reduce production
All knowledge that emerges in Wasted Textiles can be used in the work to fulfill both policy issues and other incumbent requirements the new textile strategy for circular economy in the EU will spearhead. Denmark will start a separate textile collection system as early as June 2023, and hopefully Norway will follow suit in 2025.
Overproduction of clothing is made possible due to the large amount of polyester and other cheap plastic materials used by the apparel industry. This creates enormous amounts of textile waste that leach microplastics and chemicals. The waste often ends up as waste mountains in the Global South, as we have seen in the media from Chile and Ghana.
– The most important thing is to reduce the amount of waste. For this to happen, all actors in the value-chain must agree, or be forced to do so. As of now, the industry is only concerned with recycling opportunity, not reducing production, says Sigaard. In other words: Business as usual.
Recycled polyester seems to be the industry-favored answer to the current conundrum, the willingness to degrow the sector is not easy to advocate. Photo: Tone S. Tobiasson
Fashion met cultural history in the project VikingGold, and the two were woven together into a beautiful wool fabric, that found its way to museum exhibits and Norwegian national tv as the most sustainable fabric of the future.
During the annual event Oslo Runway, the Norwegian actress Iselin Shumba debuted as a catwalk model on a runway set up in a factory deep in the Norwegian forests close to the Swedish border. By chance I was at the event. By chance I was wearing the Oleana jacket I had worn on Norwegian national TV for the episode of Norway’s Sewing Bee (Symesterskapet) when Iselin Shumba was the “client” who wanted a jacket or coat she could wear on chilly days when she does her weekly “sit in for the climate” in front of the Parliament building in Oslo. She wanted the fabric to be “the most sustainable possible”, which was why the Norwegian national TV had called me. I’ll come back to that.
Let’s unravel the threads back in time and explore what fascinates people with the fabric.
The story starts with the project Valuing Norwegian Wool, led by Consumption Research Norway, before they became part of Oslo Metropolitan University, and financed by the Norwegian Research Council. One of the aims of the project was to explore a label of origin for Norwegian wool. “Norwool” had been trademarked by a Swedish company, an American outerwear company had done the same with “Norwegian Wool”. In addition, a Norwegian yarn company selling cheap Chinese-spun wool of uncertain origin called their product Viking Yarn.
To our big surprise, we discovered that one of the sponsors of the British-based Campaign for Wool was “Viking Wool of Norway.” The label was even owned by a subsidiary of the Norwegian farmers’ coop, Nortura. Why hadn’t they as project-partners informed us? The truth was rather obvious. The label was ugly as sin. It had been developed in the UK to sell carpet-wool, and as such, worked well. But for wool textiles and fashion? Curtis Wool Direct, who had developed the “Viking Wool of Norway” label, did everything in their power to launch it in Norway, including enlisting now King Charles, then the Prince of Wales, but Nortura put their foot down. Luckily.
However, this resulted in an idea, when the opportunity arose to apply for funding from KreaNord, a fund under the auspices of the Nordic Council of Ministers for cultural projects. What if we lifted up the cultural textile heritage from the Vikings, looking at the Viking women’s role in this trader and explorer culture, later explored by Michele Hayeur Smith in “The Valkyries’ Loom: The Archeology of Cloth Production and Female Power in the Atlantic”? Read more about this book here. This was the historic beauty and heritage we highlighted in the application, and which won the funding. We decided to call the project VikingGold.
In the project there were several partners: Consumption Research Norway (Oslo Metropolitan University), the Museum of Cultural History (University of Oslo), Nordic Initiative Clean & Ethical Fashion, and the Norwegian Fashion Institute, who took the lead. The project lasted from the autumn of 2013 until the autumn of 2015. However, VikingGold had long-term impact that was hard to envision from the outset.
Important for the project was to create meeting points for historical expertise, raw material suppliers, and the finished goods industry and designers. These represented people and groups who had not earlier cooperated. Representatives from the industry and designers got access to historical archives and got to see preserved textiles from the Viking age, and gain knowledge about the Vikings’ clothing and textile production. Marianne Vedeler, the archaeologist in the project, was simultaneously working on a reconstruction of the tunic from Lendbreen, Norway’s oldest garment from around year 300 AD, and we chose this as a starting-point. The tunic is about 500 years older than the Viking age, but diamond twill, the weaving-pattern, was widely used in the Viking age as well. The selected tunic was thoroughly examined and well documented, and this made it possible for us to be able to show both a reconstruction (described here) and our industrially produced fabric at the same time. Our collaborators, from sheep farmers to designers, were involved in the decision-making process and the discussions themselves, and were important for enhancing competence and understanding of what compromises must be made when a historical material is to be produced in a modern way.
The wool
We had to choose a breed living in Norway today. For the reconstruction, Old Norwegian (Gammelnorsk) sheep wool were used, while the VikingGold project used Old Norse Spæl and Modern Spæl (short-tailed) to get two different shades. Ingvild Espelien at Selbu Spinning Mill took responsibility for the collection of the 200 kilos of wool from two local herds and it was also she who sorted the wool into two shades and cleaned it, and also separated some of the coarser guard hairs out of the fleeces.
Old Norse Sheep grazing on heath lands. (Photo Jan Broda/Woolume project)
Spinning
Half of the wool was sent to Hillesvåg Woolen Mill, to spin the weft yarn. Selbu Spinning Mill spun the warp yarn, and both were spun with a z twist, though the warp was a little looser spun. The thickness of the yarn corresponded to 6 nm, as 7 nm was on the border of what the machines could spin. This may appear as a minor detail, however the trade-off between being closest to the original yarn in the tunic, and getting a good raw-material with the wool and the technology we have today, was important.
The yarn spun for the fabric. (Photo: Tone S. Tobiasson)
Weaving
Ingvild sent the warp yarn first to Krivi Vev, and in order for the yarn in the weft to be as compatible as possible, it was weighed before Hillesvåg started their spinning. No one at Krivi Vev had seen the original fabric, and worked from drawings and pictures in order to set up the pattern and density. A characteristic of older textiles is often a lack of symmetry in the patterns. Krivi Vev chose to clean up the pattern a little, and also chose to distribute darker and lighter portions evenly in the weave to counteract clear stripe patterns. The yarn initially seemed more difficult to weave than it actually was. The actual weaving of the 200 meters therefore went quickly and easily. See how it went here.
Finishing
Krivi Vev has no finishing facilities at Tingvoll, and usually sends their fabrics to Sweden for these types of processes. However, Sjølingstad Woolen Mill museum (which is part of the Vest-Agder museum) assumed responsibility for the last finishing, and although the fabric was a bit too wide for their machine, this went well. We chose a very simple and easy finish, although some of the designers had requested a felted, waulked or fulled fabric (see below for how this will now be resolved). For anyone who had seen the fabric before and after treatment, it was striking how much softer and smoother the finished fabric was than when it was newly woven.
The “finished” fabric on the left is smoother and softer than the unfinished fabric in the right. (Photo: Tone S. Tobiasson)
Design
Parallel to the actual fabric production, a design competition was announced for a select group of Norwegian and Icelandic designers – and the invited sketches were then exhibited as part of Ta det personlig (Take it personally) exhibition at the Historical Museum in Oslo, where both the original Lendbre tunics, the reconstruction of the tunic and VikingGold were presented with sketches from five Norwegian and two Icelandic designers.
From the exhibit at the Historic Museum in Oslo, where the results from the VikingGold challenge were showcased, alongside the tunic from the Lendbreen glacier. (Photo: Tone S. Tobiasson)
Among these, we picked out three who got several meters of fabric and sewed outfits that were shown during the Oslo Wool Day in 2015 (Sissel Strand, Connie Riiser Berger and Elisabeth Stray Pedersen). These were also shown at an exhibition at the Coastal Museum in Florø (Exhibit Tradition and trend: Norwegian wool in all times).
From the exhibition at the Coastal Museum in Florø.
In addition, two designers have designed specific items, using the fabric: Malin Håvarstein and Rebeca Herlung, alongside Kim Holte, who received the material and has dyed it blue for her Viking re-enactment, and both Ingun Klepp and Ingvild Espelien have sewn dresses using the fabric.
A jacket detail: Designer Malin Håvarstein played with the VikingGold material in a modern context. (Photo: Håvarstein Design)
Krivi Vev has woven a similar fabric afterwards with ordinary crossbred wool, and designer Marianne Mørck made a collection using this material. Also, the furniture producer Nuen has made a series of chairs with this same fabric. They have adopted a fibershed approach, which means they source their materials within a given radius. Read more about Fibershed here.
A Nuen chair with fabric woven by Krivi Vev from wool spun at Hillesvåg Wool Spinnery. (Photo: Tone S. Tobiasson)
TV fame
After the project ended, there was still rolls of the fabric left over. The question remained what to do with these. During 2020, I was contacted by the Norwegian national broadcaster, NRK, who had the production rights for the British reality-concept Sewing Bee. They had decided that the focus for the up-coming season would be sustainability, and one of the episodes would look at the ‘most sustainable fabric of the future’. They clearly envisioned a ‘new-gen’ material, and wondered if perhaps fungi or waste from agriculture could be the feed-stock for such a material. They had already tried to get hold of materials, but had failed miserably. My suggestion was to use the VikingGold left-overs. And to turn the story-telling around into a new discourse that said “how the most sustainable fabric is not science-fiction, but rather reinventing the past”.
NRK loved the twist.
So, a few months later, I found myself on the set, explaining to the contestants, the three celebrities hosting the show and ‘the client’ Iselin Shumba about the sheep, the wool, the process and the fabric – and why it is the epitome of sustainability. All the contestants received a material-piece in order to trial sewing, as some of the designers we had worked with the material, said it did take some getting used to and offered some resistance. When the show aired a year later, the fantastic results rolled across the tv-screen and the winning coat/jacket was chosen by the Shumba, who posted pictures of her wearing it over and over again on Instagram. Which, of course, made it even more sustainable. However, how happy she was with the result I didn’t hear before much later, when she debuted as a catwalk-model a year later.
Iselin Shumba in her VikingGold jacket. (Photo: Private)
Latest development
During a conference at Selbu Spinning mill in October 2022, an American student from Rauland Academy for Traditonal Art and Folk Music, presented work with fulling (or waulking) textiles with old techniques. We decided rather on a whim, to send him 10 meters of the VikingGold material to experiment with. He will be doing both “foot-fulling” and a trial with a wooden box he has reconstructed from old instructions, and document this for further research. So far he has reported that the VikingGold material offered much resistance to be fulled.
As we round up this story, how Iselin Shumba has chosen to use social media to promote climate change, to make a cultural sustainability aspect the main story – is stellar.
In the middle of Advent 2022, Vilde, Kirsi and Ingun traveled to Uruguay. Irene was already there with her family, and the trip was well planned in collaboration with Irene, who lives in Portugal, but is from Uruguay, and Lucrecia who works in Montevideo. Part of the background for the trip was the testing of the wardrobe method that had been carried out in Norway, Portugal and Uruguay. This was with good help from students there who also actively participated in a seminar. Text Ingun Grimstad Klepp
Warm reception in a warm country
We spent the first weekend planning the seminar on clothing and the environment which was to take place on Monday and Tuesday, as a collaboration between CHANGE and the local university. On Sunday we went for a long walk in the city where large parts of the streets were filled with a market. Here, most things were for sale, from pets such as rabbits, hamsters and tropical fish, to objects that we would hardly have found a market for in Norway, such as remote controls, parts for electronics, eye glasses, etc. There were some new clothes, mostly of a simpler nature and many used clothes. There was very little textile craftsmanship to be seen with a couple of exceptions of crocheted stuffed animals and toddler clothes.
We also visited various shops for used clothes, both permanent and pop-up shops. The system for reselling clothes was quite different from Norway, where humanitarian organizations’ collection stations are everywhere. There is no public collection of textiles, nor “textile towers” by private humanitarian organizations. In contrast, used clothes are sold in the markets. Some of the clothes that were sold in the second-hand shops were bought at the market and then they were resold somewhat more expensive.
The CHANGE team exploring the many markets and second-hand shops in Montevideo.
The extensive reuse of most things that we experienced on this first day was confirmed again and again in everything from interiors and buildings to bicycles. We were given various explanations that ranged from a mentality among most people, to politics and economics. Being content with what you have and not always wanting something else and more, was central. Uruguayans are, in their own and others’ eyes, a pragmatic people who are satisfied without a lot, as long as they have their “matte”, the local green tea that is drunk hot everywhere, most carry a thermos under the arm.
Typical reuse of materials for new purposes.
Another explanation was that the political investment in sustainability, for example in the form of large-scale conversion to renewable energy, was so central. The last explanation has to do with economics and economic differences. More poverty, and also more difficult economic conditions for the middle class, was repeated by several. That lower costs for labor compared to new products affects the amount that is reused and repaired is almost self-evident, but it was interesting to have several and more complex explanations for the same phenomenon.
CHANGE Seminar at The Faculty of Architecture, Design and Urbanisme FADO
On December 5th and 6th, the Uruguayan partners in the CHANGE project organized a seminar in Montevideo. Prácticas de diseño y consumo de indumentaria: Miradas y acciones hacia un desarrollo sustentable. (Read more in Spanish here.) Some of the project’s researchers from Norway and Portugal exchanged experiences with the local community. The seminar took place at the beautiful building of the Faculty of Architecture, UdelaR, and was organized by Lucrecia de León and Lucía Lopez from the local Industrial Design School.
Participants gathered in the atrium at the FADO institution.
Just coming to this building was an experience in itself. FADO is one of the sixteen faculties that make up the University of the Republic. The building is from 1948, its headquarters were inaugurated on Artigas Boulevard, in the Rodó Park of the city, it is one of the most characteristic buildings of the city of Montevideo, designed by the architects Román Fresnedo Siri and Mario Muccinelli. They had just completed an extension and we were in a newer part of the faculty. Among other things, apparel was taught – and therefore not fashion as in many design schools. This probably also contributed to the fact that professionally it was easy for us to “find the tone” with teachers and students there.
During the first day, speakers shared local experiences and efforts to reduce the environmental impact of the sector. These included perspectives from the academic, public, and private sector. There were both teachers, students and entrepreneurs among the approx. 50 the audience.
Federico Baráibar from the Ministry of the Environment talked about local data and policies and the lack thereof. As many other places, there is actually not much focus on clothing in environmental politics. He spoke mostly about textile waste in the management and policy of waste in Uruguay. He presented what they know about different types of textile waste. An estimate is 20-30 000 tons of textiles household waste in Uruguay per year. Not surprising, there is more focus on plastic packaging. Compared to other waste streams, textiles as a product group, is small and does not receive particular attention, policies usually emerge based on actual problems. In his opinion, it is difficult for a country in development to let a government interfere in private consumption to reduce consumption and waste production.
Federico Baráibar from the Ministry of the Environment talked about local data and policies and the lack thereof.
In 2019, they had a new policy where they wanted to apply 1000% tax on certain disposable objects, but it was not passed, so they there will be added 180% tax in a law (not yet applied). Tax was also the way import of second-hand textiles was regulated. It is not banned to import second-hand clothes to Uruguay, but just that the taxes paid are the same as for new clothes. We did hear from others several times that only Chile allowed import of used clothing, but it is possible that this was import without tax they then meant. There is doubtless a lot we do not know about the policy for used apparel in Uruguay, South America (and other places), and very interesting that ban is not the only way to restrict and reduce.
Lucía López, EUCD (Institute of Design, University of the Republic Uruguay,) presented her Project #textourgente, which uses textile upcycling and print as a way to activate social change and attitudes towards clothing. Her focus is upcycling as a way to activate the user as opposed to the passive user. She used text printed on clothes as a means to upcycle and generate reflection, in order to help people to wear a previously owned garment with pride. She explained how emotional design depends on the personal approach of the designer and the target group, what is emotional cannot be standards, but must emerge from the community that is engaged.
Sofía Dinello presented her thesis about active life of clothing and emotional design and Gabriela Pintos (FCEA) shared her view about consumer behavior in a circular economy from the perspective of economic theory.
In a second session focused on action, Renata Casanova presented the circular economy program of Ceprodih, an NGO dedicated to support women in a vulnerable social position. They use donated textile in teaching sewing and entrepreneurship. Much of what they work with is reutilization of PVC plastics. This was done in textile workshops, making accessories that they sell through the workshop and collaborate with a network of entrepreneur women in circular economy programs. They work with businesses and hospitals, and the waste they generate. What their partners could not themselves use, was transformed. In this way logos and colors could be kept and used. We visited this company a few days later and had the opportunity to discuss with her. More under Day 2.
Josefina García and Laura Moreira shared their efforts towards circular design in the local denim brand Rotunda, This was ambitious work with creating guidelines for circularity in design with jeans. Based on design and circularity principles from Ellen MacArthur. They emphasize durability: first guideline of denim is to be in perfect condition after 30 washes. Screen print washing instructions on the pockets instead of tags to not lose the information. 80 % of fibres are organic cotton and 20 % is recycled cotton. They emphasize trims, not using the processes that requires chemicals, raw colors of the metals, the latter is hard without changing the look of the jeans. Trying to overcome the things that are associated with jeans, but not necessary. This includes buttons and other things that can be taken off. They had a pilot project with a RFID label with a QR code for information for the consumer stage and forward. Aim is for each item to have a personal code.
Alejando Esperanza presented their rapidly growing resale business VOPERO, an app used for resale of second-hand clothes that look like new. The most surprising with this concept is how it differs from other reuse-apps. Here there is little «ideology», rather an emphasis on volume. VOPERO employs 140 people. They approve about 50% of garments that are sent to them. The remainder is either returned to the owner or donated to local companies, if the owner does not want it back. They add about 1500 new garments to the app each day. Everything they sell must go through a quality check, but the inspection of each item must take less than 30 seconds to be cost-effective. The company does not wash or have time for significant repairs. One of the reasons for not accepting garments is related to smell. He explained that many customers are people that do not normally buy second-hand items but can save a bit of money by selecting things that still look like new. Quality photos of the accepted items is important and the price is about 20-30% lower than a similar new item, so they prefer brands that are recognized.
After his presentation, there was a lively discussion. Many people thought a lot about whether it was right or not to sell only clothes that looked new – as used. There was a great deal of what they received that they did not want to sell and which they then donated further internally in Uruguay. The discussion and the temperature in it were interesting in themselves. Why does this arouse so much opposition? Why must used clothes also be part of a “used” style? It is also a question of whether similar concepts exist elsewhere and whether this will eventually be exported.
Lucrecia de León (Wardrobe metabolism) presented her Master’s thesis work.
During the second day, focused on wardrobe studies as a tool to understand clothing consumption in the context of the environmental crisis, international and local CHANGE researchers shared their past and current research supported by wardrobe methods. These included:
Lucrecia de León (Wardrobe metabolism) presented her Master’s thesis work that was started by analysis of the wardrobe metabolism of two women, herself and another student. Later, the analysis was continued to a larger sample of similar women. 20 women started but only 8 finished. Some findings were that the new clothes were used more frequently and about 10% of items were unused. During the second week, wearing the clothes was planned, and inactive garments from the “RAM memory” were tried to be taken into use. Some garments were not possible to get activated, for example due to size.
Ingun Klepp (Wardrobe studies: History and variations) talked about the history of wardrobe studies as a method and gave examples of different methods that had been used at SIFO.
Kirsi Laitala (Wardrobe audits: Asking people what they don’t know) presented a method for the quantitative version of wardrobe studies, often called wardrobe audit. She introduced some advantages and disadvantages of the method and presented suggestions for improving the quality of collected data. Some examples from the international wardrobe audit were given to illustrate some of the points.
Vilde Haugrønning (Wardrobes in Change: Counting garments based on occasions) gave an overview of the field work she is doing in her PhD.
Irene Maldini (Assessing the impact of sustainable design strategies through wardrobe methods) held a lecture that many design school would find highly useful.
The next session was dedicated to Wardrobe methods in Uruguay, which included both already carried out studies, and plans.
Micaela Cazot, Lucrecia de León and Valentina Viñoles talked about the work with the pilot for CHANGE in Uruguay. Micaela Cazot and Lía Fernández (Identifying good practices of use: Reflections on the consumption of Slow Fashion in Uruguay) explored the plan for field work among people who themselves define their consumption as sustainable. The two were concerned with the wardrobe method’s possibilities also for self-reflection. Finally, Valentina Viñoles spoke about plus-size women’s wardrobe (Analysis of the coexistence between functional requirements, personal identity and social expectations).
Many engaged listeners in the audience.
The rest of the day was organized as a workshop with tables set up, where we could all choose different topics for discussion. This worked very well, despite the fact that talking together took time due to the different language skills we possessed. Spanish and English had to be translated back and forth constantly. But with a good mood and will, important topics such as politics and clothing for deviant bodies, and the development of wardrobe studies in Uruguay, were lively discussed.
This event contributes to the professionalization of wardrobe methods internationally, a central objective of the project, more specifically its work package 4. Students and junior researchers shared their experiences and initiatives using wardrobe methods, and more experienced researchers reflected on recent developments in methodological approaches and opportunities for future studies in the context of the growing social relevance of clothing consumption’s environmental impact.
Book presentation in an artisanal market
In the evening we participated in a book presentation at “Ideas +” a popular artisanal market that takes place every December in Montevideo. It also has a book launch every day, and some local music. There was a presentation of one of our colleagues’ work “Atinando al ojo del ciclope. La remanufactura y otros modos de accionar nuestras prácticas del vestir”. A well-organized market with books, arts and crafts and much more in one, of the city’s central parks. On the outskirts, there were also more unorganized markets. After the presentation, we got to see a bit of everything, and again the lack of textile craftsmanship struck us.
From the book launch.
Locally produced textiles from many Latin American countries are dominated by indigenous woven and embroidered colorful clothing. In Uruguay, there is no knowledge of, or traces of, those who lived there before European colonization. It was said that they all died of disease.
Visit to Manos de Uruguay
Wednesday 7th: Manos del Uruguay is a non-profit social organization that since 1968 has given work to women artisans in rural areas of Uruguay. In Manos garments are designed and woven, mainly from wool yarns, for the local market and for prestigious international clothing brands.
Their premises are located in Montevideo, where they have workshops and offices. A lot of work is put into developing new products, as well as controlling the quality of their products, training and administration. There was a large number of different products, both yarn types and woven textiles. The yarn was mainly Merino. It was seen as a problem that there was no major spinning mill in Uruguay. Much of the yarn was hand spun, and some imported. A part of it had a curled-up look almost like unraveled yarns. This produced soft and airy woven textiles. Much of the yarn was hand dyed. We were told that they wanted to produce yarns from coarser, local breeds. The market, especially for hand knitting yarn, was very good, according to our tour guide.
Some of the yarns the company spins.
The main product is a simple poncho and the most sold is undyed white. The market for this was both in Uruguay through the companies, but also for export. In addition, they sold to luxury brands as part of their profile. This market was growing and had also changed a bit. Today, companies were more interested in making it clear to customers who was behind the production. Manus de Uruguay added not only to the craft itself, but also confidence in the product.
The market for the products is good. What was a problem, however, was knowledge of crafts in younger generations and also access to suitable looms and yarns. After the tour, we visited one of the shops in the center of town where there was both a sale of leftovers, etc. and a more ordinary shop.
Cerpodih visit
CEPRODIH is a non-profit civil association, founded in Montevideo in 1998, with the mission of assisting and promoting the most vulnerable families, especially women with children in situations of high social risk: unemployment, domestic violence, helplessness during pregnancy. The main objective is to generate concrete alternatives for socio-economic inclusion, so that women who are going through situations of risk can overcome them and manage to effectively join the labor market; managing to be able to support their families with dignity and autonomy.
Here we again met Renata Casanova Sanchez, who had given a lecture on upcycling at the seminar two days before. She gave us a nice tour of large, nice premises with lots of people and resources. There were courses in everything from sewing to running a business; kitchens, childcare and premises for various types of recycling of glass, paper, textiles and plastics. They had their own shop, or “showroom”, which displayed a selection of the products. They mostly worked with gifts and profile products for various companies and often with recycling of materials from the companies themselves. As the materials were constantly changing – and also the end product – a great deal of work was put into product development and utilization of materials. It was rarely possible to make many similar products.
Here we see how the logos find a place on the products.
The company’s finances were supported by non-profit organizations, and thus only part of the income came from the sale of the products. Nevertheless, the competitive situation for these, very time-consuming products, against mass-produced versions of the same products, was difficult. It was impressive to see how much beauty they were able to get out of waste that we don’t normally think of as valuable: Synthetic textiles, plastic and cardboard packaging, and much more. Part of the material consisted of donated clothes, they were also sold partly as resale and partly directly. When we were there, there had been a fire in a warehouse and large quantities of underwear with soot had come in. A group of women went through the goods to check for the possibility of laundering and reselling the underwear. Some of the items had tags cut off, as a way to protect the brand. This also meant that information about fiber and care of the clothes was missing.
The underwear that had been damaged by a warehouse fire.
Visit to Wool Mill: Engraw
We were given a tour by Frederico Raquet, who runs the family business. He started by explaining investments that have been made to make the factory climate neutral and self-sufficient in everything from energy to water purification. He also talked about all the various environmental certificates that he uses, everything from C2C to Climate Accounting. The water was purified in a separate facility and the remains of lanolin and dirt that could not be used in agriculture nearby were used as water/fertilizer for a planted forest that served as a final purification. Outside at the back of the factory, we saw the various water baths for purification, windmills for energy, all within their own property. Frederico strongly believes in long-term planning and leaving the company – and nature – in better condition for future generations. He also emphasized the well-being of the slightly over 100 employees.
The wool mill from the outside
Frederico explained that a large number of different types of grass grew in Uruguay, and that most of the country consisted of grazing land (natural pasture), i.e. not cultivated meadow or plowed land. The large areas were primarily used for cattle, i.e. meat production, but the cattle could not utilize all the grasses. In order to maintain good pastures, the farmers therefore released sheep onto the areas after the cattle had “had their share”. Trees were also an important part of this system. Trees provided shade for the animals and helped bind CO2. In this way, meat and wool production in Uruguay will fare well in terms of climate calculations. The animals graze outside all year round, there is no need for buildings or feed-production. Very little of the country’s vast plains has been cultivated. With this in mind, it was not surprising that one of the questions he had for us was why land-use is so important – and comes out so badly – in LCA/PEF comparisons. He wanted to know why it was not positive to use the area in a good way, and what would possibly be an environmentally better alternative for using the areas. Good questions.
Very fine crimp!
Things were in good shape in the factory. The building itself was impressive with an incredible brick roof structure, neat and clean. He explained the various processes, from the wool entering in large trucks. Much is Uruguayan, both Merino and other breeds with coarser wool, but they also scour wool from other countries, mostly from South Africa. The Uruguayan wool was classified according to a separate wool classification system. Which he himself had learned well and thoroughly before he could move up the ranks in the company. The production itself was always based on specifications from the customer, and could consist of various mixtures. We got to see wool from many countries, and work plans where all customers figured only in codes. But… on this particular day, wool for carpet production in the Middle East whizzed through the machines. What we got to see of Uruguay’s own Merino was impressive. Fine, long fibers with good crimp. He believed that there was poor provision for the coarser qualities and that farmers were generally paid too little for wool. He was concerned with new market opportunities for the part of the wool with the worst prices.
Fine wool tops from Uruguay.
We saw how the wool was mixed, scoured, carded and combed to tops. Some were also super-wash treated. When we got there, he said he would answer ALL questions about super-wash when we sat down afterwards. He thus assumed that we had a lot of questions about exactly this. When we actually sat down afterwards, we talked about this through Ingun rather saying what she usually answers to questions about this treatment. He himself thought it funny that a treatment with inputs that are both well-known and not unusual (chlorine, salt, resin (the same that makes paper glossy) arouses so much attention and resistance.
We used the rest of the time in Uruguay to see the country and talk about the further work in CHANGE. We allowed ourselves to be enthralled by the vast plains, endless beaches and the people’s pleasant and relaxed demeanor. The temperature quickly rose to well over 30 – so clothes… well there was a lot of bare skin to be seen and not just on the beach, but also the use of clothes as protection from the sun – a function we rarely have use for here at home.
Drums and flags, an unusual experience for the Norwegian team.
Drums, often in large groups of men, are one of the country’s prides, and here too textiles are included in the form of huge flags which are preferably kept flying in time with the music. Another good use for textiles was mosquito netting around the beds. Paradise for mosquitoes, dogs and grass-eaters. Cattle, sheep and shiny, slender horses walked slowly around in large herds and could choose between open, warm plains, some shade from trees, or drinking from ponds of rainwater. We also experienced playful seals, walruses, people and not least waves at the beaches. Something for every taste, in other words.
Second homes are quite common, and we had a chance to visit Irene’s family’s cabin.
