In order to value design and the profession of designer, the Estonian Association of Designers decided in 2006 to start giving out the Estonian Design Award. The first Design Award was given out in the eighties by Tallinn Art Institute Department of Design at the initiative of Bruno Tomberg, after whom the Estonian Design Award has been named. Among the award-winners are experienced professionals like Matti Õunapuu, Heikki Zoova etc.
The Estonian Association of Designers wishes to present innovative, high-standard new products to the public that would prompt Estonians to consume domestic design and motivate entrepreneurs to involve professional designers in product development. The recognition would encourage designers to create new interesting products and motivate them to learn about tendencies in design on the international level. For the design-knowledgeable entrepreneur participating in the competition with a designer and the public sector, product development from the aspect of design and design management would bring recognition and would be a good role model for others. In the long-term perspective, the Design Award is a springboard for new products and brands to the international arena.
The Italian Ministry of Foreign Affairs and International Cooperation presents the exhibition "3CODESIGN. 3R: Reduce Recycle Reuse". Spread over a space of 150 square meters, “3CODESIGN” offers a selection of recycled objects, products and furnishings, but also sustainable materials and technologies, all designed by Italian designers and/or Italian industries and companies in the sector.
The exhibition, with its sustainable installation plan designed by Bruno Morello, aims to offer an inevitably concise yet sufficiently paradigmatic overview on how Italian design is working towards the direction of the latest environmental sustainability needs, a real inversion of trend compared to the systems of production and design strategies employed during the 20th century. It is an overall and radical rethinking of a production model that aimed at the over-exploitation of resources; a re-evaluation of all the stages of design and production – a starting point for thinking of objects and products that become repairable, reusable, shareable, and recyclable. Instead of ending up in landfill, the value of an object must remain in circulation, by regenerating itself continuously.
Curated by Silvana Annicchiarico, the exhibition will be circulating abroad through the diplomatic-consular network and Italian Cultural Institutes for the next three years, with the aim of giving space and visibility to the new frontiers of Italian design and to actualize the reputation it enjoys around the world, telling the story of the journey of the designers toward environmental sustainability. “3CODESIGN” has previously been to Prague, Doha, Shenzhen, Toronto, Washington, Tunis and Pristina.
On display: Massimiliano Adami, Luca Alessandrini, Alessi, Giuseppe Arezzi, Antonio Aricò, Artemide, Alessandra Baldereschi, Mariapia Bellis, Guglielmo Brambilla, Anna Castelli Ferrieri, Carraro Chabarik mosaico contemporaneo, Valentina Carretta, Acqua Chiarella, Citco, Lorenzo Damiani, Da a Italia, Rodolfo Dordoni, Pablo Dorigo, ECAL, Errepi technology e Pepo con Allard, Assenza, Ferretti, Paniccià e Marin, Favini, Salvatore Ferragamo, Fondazione Cologni dei Mestieri d’Arte, Fonderia Artistica Versiliese, Doriana e Massimiliano Fuksas, Piero Gatti Cesare Paolini e Franco Teodoro, Gervasoni, Luca Gnizio, Grado Zero Group, Kanesis Mkr Lab Bilcotech, Keep Life, Konstantin Grcic, Martí Guixé, Giulio Iacchetti, It’s Great Design, JoeVelluto Studio, jpeglab, Kartell, Marta Laudani, Piero Lissoni, Roberto Lucchinetti, Magis, Manerba, Enzo Mari, Antonio Marras, Luciano Marson, Issey Miyake, Mosaicomicro, Myop, Paola Navone, Nerosicilia Group, NestArt s.r.l., Lorenzo Palmeri, Pieces of Venice, Matteo Ragni, Sapiens Design, Seletti, Silk hi-tech classical instruments, Slamp, Sovrappensiero Design Studio, Philippe Starck, Martina Taranto, Teraplast, Tipstudio, Toiletpaper, Toiletpaper loves Seletti, Paolo Ulian, Zanotta, Zava Illuminazione, Marco Zito.
__________________________________
Ten students from Denmark (Design School Kolding), Finland (LAB University of Applied Sciences), Lithuania (Vilnius Academy of Arts) and EKA took part in a week-long CIRRUS workshop ''Reinvented footwear''.
Students covered the following topics: material waste mapping in the industries; handicraft skills to use as part of designing and prototyping; design research methods and working with people from different cultural and socio-economic backgrounds. Course objective was making a shoe / shoes out of recycled materials.
artun.ee/aksessuaar*Local upcycling. Using the post-consumer textile waste as a raw material to create novel designs with new value.
The rapidly overwhelming mountains of textile waste generated from used garments, household textiles or undisposed clothing has become one of the main sources of concerns that take a toll on the environment and waste management. With Europe, US and China exporting most of their textile waste to African countries, the maddening amount of discarded textiles waste is growing into a major component of the landfills- the extremely polluted rivers, textile dumping or burning in the outskirts in Kenya or Ghana are just some of the visible evidence.
Repurposing and upcycling used clothes locally is one of the most effective solutions there is to deal with the textile waste issues we are facing. Upcycling involves endless creative ways of using old products and redesigning or repurposing them by giving them a new life. Moreover, by making use of already existing materials the consumption of new materials is reduced which can result in a reduction of energy usage, water pollution, CO2 emissions, hence taking a significant step towards zero waste.
The invited exhibitors here showcase a selection of possible solutions to the textile waste problem by taking advantage of the qualities and properties that the discarded textiles still possess and by giving them a new purpose.
*Industrial upcycling - circulating leftovers back to production inside factory
The innovative UPMADE® upcycling design & production system allows industries to turn excess pre-consumer materials into garments which present savings in water, CO2 and energy usage.
UPMADE® enables brands and manufacturers to apply our industrial upcycling method and obtain certification. A circular economy produces zero waste and pollution, by design. It is an ideal that the UPMADE® method supports in a real and practical way. Traditional clothing manufacturing creates an average of 18% textile leftovers. Our method closes the loop by applying upcycling on an industrial scale and reducing the amount of textile leftovers. Thanks to this, that 18% can now be turned from cost into value. The UPMADE® Certification process is the outcome of a solid partnership between comprehensive field research and thorough scientific analysis to meet the most far-reaching aspirations in upcycling. It strives for a smaller environmental footprint and maximised resource efficiency in the textile industry through a broader use of upcycling in industrial production.
The display consists of examples in industrial upcycling by Reet Aus PhD.
+ a video describing an example of industrial upcycling in Bangladesh
*Recycling - presenting practical evidence of the potential of textile recycling.
According to the European Commission’s report “Towards an EU Product Policy Framework contributing to the Circular Economy”, recycled materials only account for around 1% of all materials used in textile production. It’s a surprisingly small number, given that we would be able to do much more. Textile waste has become one of the most complex types of waste in the welfare society. But why?
The reason lies within the materials. This 1% is, in large part, due to the fact that many designers don’t take into account the principles of circularity. Most of the clothes we wear are made out of mixed materials that are difficult or even impossible to recycle. Consumption in the welfare society is endless and post-consumer waste has become a massive problem. Within the European Union, we are only able to collect 25% of used clothing, and only 1% of that gets recycled. The rest is burned or sent to landfill. In Estonia, for example, the recycling percentage is 0%. That is shocking and devastating.
The Sustainable Design and Material Lab in the Estonian Academy of Arts is tackling the issue of post-consumer textile waste with an ongoing research project funded by the Estonian Environmental Investment Centre (EIC). The project aims to find solutions to the Estonian post-consumer textile waste through mechanical recycling, new yarn and textile composite material development. This display showcases a selection of results from material and product development process concluded within this project- all presented product designs are made entirely from recycled textile waste.
* Regeneraitive Textile design - Layers of Repair
The popularity of the #visiblemending is proof that mending textiles is becoming a trend on social media. Is it just a passing flow or can the act of repair mend the World? To avert catastrophic climate change huge numbers of us must embrace necessary shifts in behaviour. Wearing out gives the user a possibility to interact with the clothing by adding layers of repair as a sign of increasing value over time. Mending could be similar to the way nature heals itself - adding up new layers and slowly repairing manmade damages. Imagine a World where things have a life of their own in the hands of a user or multiple users.
dima.artun.ee
www.artun.ee
repairandregeneration.com
Facebook
LinkedIn
Artisan designer Anthony Luciano is a first generation New Yorker, a second generation Italian, and the last of six children, who carries with him evolution of artistry and old world traditions. Having learned how to do handwork – embroidery, crochet, knitting and stitching – from his grandmother, Anthony started collecting anything vintage before he even started his business.
When he started making accessories, he was obsessed with vintage clasps and would always be on the lookout for local vintage gems, both when travelling abroad (Paris, Rome, London, Cairo etc) and in the States (different state sales, flea markets in NYC and other places). This brought him to the world of handbags: Anthony is fascinated about the history and the story of these women who would carry these beautiful bags. Who were those women and what was their lifestyle? What kind of events were they attending?
His collection of globally sourced vintage handbag clasps provided the spark and inspiration to launch his eponymous collection in 2000, with the intent to produce a luxurious line of day and evening bags of the highest quality and craftsmanship. Almost immediately, his bags filled the racks at some of the finest retailers in America, including Bergdorf Goodman, Neiman Marcus and Stanley Korshak.
Anthony likes to remake the bags using his imagination, his knowledge and research on the history of accessories throughout different centuries. He remakes the bag with contemporary twists and attaches it to the vintage frame.
There has been a little cell of circular design working around in the corridors of the Estonian Academy of Arts for many years now. It has done science, created new materials, experimented with different design solutions and mapped out textile waste, and eliminated it by circulating it back by using different design methods. The 19th of September is the day for bringing it all into the spotlight and making it official. It is the opening of DiMa.
On stage, you can see fashion design that has been made from industrial leftovers and post-consumer textile waste that has seen more countries than passionate travellers can dream of. As one of the research topics of DiMa is circular design, specifically upcycling and recycling the show brings you design that has been made by using the before-mentioned design methods. An enormous amount of textile waste has been brought back into circulation through design.
In order to value design and the profession of designer, the Estonian Association of Designers decided in 2006 to start giving out the Estonian Design Award. The first Design Award was given out in the eighties by Tallinn Art Institute Department of Design at the initiative of Bruno Tomberg, after whom the Estonian Design Award has been named. Among the award-winners are experienced professionals like Matti Õunapuu, Heikki Zoova etc.
The Estonian Association of Designers wishes to present innovative, high-standard new products to the public that would prompt Estonians to consume domestic design and motivate entrepreneurs to involve professional designers in product development. The recognition would encourage designers to create new interesting products and motivate them to learn about tendencies in design on the international level. For the design-knowledgeable entrepreneur participating in the competition with a designer and the public sector, product development from the aspect of design and design management would bring recognition and would be a good role model for others. In the long-term perspective, the Design Award is a springboard for new products and brands to the international arena.
The Italian Ministry of Foreign Affairs and International Cooperation presents the exhibition "3CODESIGN. 3R: Reduce Recycle Reuse". Spread over a space of 150 square meters, “3CODESIGN” offers a selection of recycled objects, products and furnishings, but also sustainable materials and technologies, all designed by Italian designers and/or Italian industries and companies in the sector.
The exhibition, with its sustainable installation plan designed by Bruno Morello, aims to offer an inevitably concise yet sufficiently paradigmatic overview on how Italian design is working towards the direction of the latest environmental sustainability needs, a real inversion of trend compared to the systems of production and design strategies employed during the 20th century. It is an overall and radical rethinking of a production model that aimed at the over-exploitation of resources; a re-evaluation of all the stages of design and production – a starting point for thinking of objects and products that become repairable, reusable, shareable, and recyclable. Instead of ending up in landfill, the value of an object must remain in circulation, by regenerating itself continuously.
Curated by Silvana Annicchiarico, the exhibition will be circulating abroad through the diplomatic-consular network and Italian Cultural Institutes for the next three years, with the aim of giving space and visibility to the new frontiers of Italian design and to actualize the reputation it enjoys around the world, telling the story of the journey of the designers toward environmental sustainability. “3CODESIGN” has previously been to Prague, Doha, Shenzhen, Toronto, Washington, Tunis and Pristina.
On display: Massimiliano Adami, Luca Alessandrini, Alessi, Giuseppe Arezzi, Antonio Aricò, Artemide, Alessandra Baldereschi, Mariapia Bellis, Guglielmo Brambilla, Anna Castelli Ferrieri, Carraro Chabarik mosaico contemporaneo, Valentina Carretta, Acqua Chiarella, Citco, Lorenzo Damiani, Da a Italia, Rodolfo Dordoni, Pablo Dorigo, ECAL, Errepi technology e Pepo con Allard, Assenza, Ferretti, Paniccià e Marin, Favini, Salvatore Ferragamo, Fondazione Cologni dei Mestieri d’Arte, Fonderia Artistica Versiliese, Doriana e Massimiliano Fuksas, Piero Gatti Cesare Paolini e Franco Teodoro, Gervasoni, Luca Gnizio, Grado Zero Group, Kanesis Mkr Lab Bilcotech, Keep Life, Konstantin Grcic, Martí Guixé, Giulio Iacchetti, It’s Great Design, JoeVelluto Studio, jpeglab, Kartell, Marta Laudani, Piero Lissoni, Roberto Lucchinetti, Magis, Manerba, Enzo Mari, Antonio Marras, Luciano Marson, Issey Miyake, Mosaicomicro, Myop, Paola Navone, Nerosicilia Group, NestArt s.r.l., Lorenzo Palmeri, Pieces of Venice, Matteo Ragni, Sapiens Design, Seletti, Silk hi-tech classical instruments, Slamp, Sovrappensiero Design Studio, Philippe Starck, Martina Taranto, Teraplast, Tipstudio, Toiletpaper, Toiletpaper loves Seletti, Paolo Ulian, Zanotta, Zava Illuminazione, Marco Zito.
__________________________________
Ten students from Denmark (Design School Kolding), Finland (LAB University of Applied Sciences), Lithuania (Vilnius Academy of Arts) and EKA took part in a week-long CIRRUS workshop ''Reinvented footwear''.
Students covered the following topics: material waste mapping in the industries; handicraft skills to use as part of designing and prototyping; design research methods and working with people from different cultural and socio-economic backgrounds. Course objective was making a shoe / shoes out of recycled materials.
artun.ee/aksessuaar*Local upcycling. Using the post-consumer textile waste as a raw material to create novel designs with new value.
The rapidly overwhelming mountains of textile waste generated from used garments, household textiles or undisposed clothing has become one of the main sources of concerns that take a toll on the environment and waste management. With Europe, US and China exporting most of their textile waste to African countries, the maddening amount of discarded textiles waste is growing into a major component of the landfills- the extremely polluted rivers, textile dumping or burning in the outskirts in Kenya or Ghana are just some of the visible evidence.
Repurposing and upcycling used clothes locally is one of the most effective solutions there is to deal with the textile waste issues we are facing. Upcycling involves endless creative ways of using old products and redesigning or repurposing them by giving them a new life. Moreover, by making use of already existing materials the consumption of new materials is reduced which can result in a reduction of energy usage, water pollution, CO2 emissions, hence taking a significant step towards zero waste.
The invited exhibitors here showcase a selection of possible solutions to the textile waste problem by taking advantage of the qualities and properties that the discarded textiles still possess and by giving them a new purpose.
*Industrial upcycling - circulating leftovers back to production inside factory
The innovative UPMADE® upcycling design & production system allows industries to turn excess pre-consumer materials into garments which present savings in water, CO2 and energy usage.
UPMADE® enables brands and manufacturers to apply our industrial upcycling method and obtain certification. A circular economy produces zero waste and pollution, by design. It is an ideal that the UPMADE® method supports in a real and practical way. Traditional clothing manufacturing creates an average of 18% textile leftovers. Our method closes the loop by applying upcycling on an industrial scale and reducing the amount of textile leftovers. Thanks to this, that 18% can now be turned from cost into value. The UPMADE® Certification process is the outcome of a solid partnership between comprehensive field research and thorough scientific analysis to meet the most far-reaching aspirations in upcycling. It strives for a smaller environmental footprint and maximised resource efficiency in the textile industry through a broader use of upcycling in industrial production.
The display consists of examples in industrial upcycling by Reet Aus PhD.
+ a video describing an example of industrial upcycling in Bangladesh
*Recycling - presenting practical evidence of the potential of textile recycling.
According to the European Commission’s report “Towards an EU Product Policy Framework contributing to the Circular Economy”, recycled materials only account for around 1% of all materials used in textile production. It’s a surprisingly small number, given that we would be able to do much more. Textile waste has become one of the most complex types of waste in the welfare society. But why?
The reason lies within the materials. This 1% is, in large part, due to the fact that many designers don’t take into account the principles of circularity. Most of the clothes we wear are made out of mixed materials that are difficult or even impossible to recycle. Consumption in the welfare society is endless and post-consumer waste has become a massive problem. Within the European Union, we are only able to collect 25% of used clothing, and only 1% of that gets recycled. The rest is burned or sent to landfill. In Estonia, for example, the recycling percentage is 0%. That is shocking and devastating.
The Sustainable Design and Material Lab in the Estonian Academy of Arts is tackling the issue of post-consumer textile waste with an ongoing research project funded by the Estonian Environmental Investment Centre (EIC). The project aims to find solutions to the Estonian post-consumer textile waste through mechanical recycling, new yarn and textile composite material development. This display showcases a selection of results from material and product development process concluded within this project- all presented product designs are made entirely from recycled textile waste.
* Regeneraitive Textile design - Layers of Repair
The popularity of the #visiblemending is proof that mending textiles is becoming a trend on social media. Is it just a passing flow or can the act of repair mend the World? To avert catastrophic climate change huge numbers of us must embrace necessary shifts in behaviour. Wearing out gives the user a possibility to interact with the clothing by adding layers of repair as a sign of increasing value over time. Mending could be similar to the way nature heals itself - adding up new layers and slowly repairing manmade damages. Imagine a World where things have a life of their own in the hands of a user or multiple users.
dima.artun.ee
www.artun.ee
repairandregeneration.com
Facebook
LinkedIn
Artisan designer Anthony Luciano is a first generation New Yorker, a second generation Italian, and the last of six children, who carries with him evolution of artistry and old world traditions. Having learned how to do handwork – embroidery, crochet, knitting and stitching – from his grandmother, Anthony started collecting anything vintage before he even started his business.
When he started making accessories, he was obsessed with vintage clasps and would always be on the lookout for local vintage gems, both when travelling abroad (Paris, Rome, London, Cairo etc) and in the States (different state sales, flea markets in NYC and other places). This brought him to the world of handbags: Anthony is fascinated about the history and the story of these women who would carry these beautiful bags. Who were those women and what was their lifestyle? What kind of events were they attending?
His collection of globally sourced vintage handbag clasps provided the spark and inspiration to launch his eponymous collection in 2000, with the intent to produce a luxurious line of day and evening bags of the highest quality and craftsmanship. Almost immediately, his bags filled the racks at some of the finest retailers in America, including Bergdorf Goodman, Neiman Marcus and Stanley Korshak.
Anthony likes to remake the bags using his imagination, his knowledge and research on the history of accessories throughout different centuries. He remakes the bag with contemporary twists and attaches it to the vintage frame.
With over 25 years of experience in the accessories industry, NYC designer and master craftsman Anthony Luciano will share his techniques of preparation, cutting and finishing your own custom small leather handbag.
Also check out his IG @anthonylucianohandbags
No experience necessary!
Only a creative open mind required!
Participants in the Curatorial Exhibition will be gathered in five thematic groups: Metabolic Home, From Brick to Soil, Food and Geopolitics, the Archaeology of Architecture and Food Systems and the Future Food Deal. The exhibition
“Edible" at Estonian Museum of Architecture is open until November 20.
TAB 2022 is chosen as one of the TOP architecture events of 2022 by Dezeen and Archdaily .
In order to value design and the profession of designer, the Estonian Association of Designers decided in 2006 to start giving out the Estonian Design Award. The first Design Award was given out in the eighties by Tallinn Art Institute Department of Design at the initiative of Bruno Tomberg, after whom the Estonian Design Award has been named. Among the award-winners are experienced professionals like Matti Õunapuu, Heikki Zoova etc.
The Estonian Association of Designers wishes to present innovative, high-standard new products to the public that would prompt Estonians to consume domestic design and motivate entrepreneurs to involve professional designers in product development. The recognition would encourage designers to create new interesting products and motivate them to learn about tendencies in design on the international level. For the design-knowledgeable entrepreneur participating in the competition with a designer and the public sector, product development from the aspect of design and design management would bring recognition and would be a good role model for others. In the long-term perspective, the Design Award is a springboard for new products and brands to the international arena.
The Italian Ministry of Foreign Affairs and International Cooperation presents the exhibition "3CODESIGN. 3R: Reduce Recycle Reuse". Spread over a space of 150 square meters, “3CODESIGN” offers a selection of recycled objects, products and furnishings, but also sustainable materials and technologies, all designed by Italian designers and/or Italian industries and companies in the sector.
The exhibition, with its sustainable installation plan designed by Bruno Morello, aims to offer an inevitably concise yet sufficiently paradigmatic overview on how Italian design is working towards the direction of the latest environmental sustainability needs, a real inversion of trend compared to the systems of production and design strategies employed during the 20th century. It is an overall and radical rethinking of a production model that aimed at the over-exploitation of resources; a re-evaluation of all the stages of design and production – a starting point for thinking of objects and products that become repairable, reusable, shareable, and recyclable. Instead of ending up in landfill, the value of an object must remain in circulation, by regenerating itself continuously.
Curated by Silvana Annicchiarico, the exhibition will be circulating abroad through the diplomatic-consular network and Italian Cultural Institutes for the next three years, with the aim of giving space and visibility to the new frontiers of Italian design and to actualize the reputation it enjoys around the world, telling the story of the journey of the designers toward environmental sustainability. “3CODESIGN” has previously been to Prague, Doha, Shenzhen, Toronto, Washington, Tunis and Pristina.
On display: Massimiliano Adami, Luca Alessandrini, Alessi, Giuseppe Arezzi, Antonio Aricò, Artemide, Alessandra Baldereschi, Mariapia Bellis, Guglielmo Brambilla, Anna Castelli Ferrieri, Carraro Chabarik mosaico contemporaneo, Valentina Carretta, Acqua Chiarella, Citco, Lorenzo Damiani, Da a Italia, Rodolfo Dordoni, Pablo Dorigo, ECAL, Errepi technology e Pepo con Allard, Assenza, Ferretti, Paniccià e Marin, Favini, Salvatore Ferragamo, Fondazione Cologni dei Mestieri d’Arte, Fonderia Artistica Versiliese, Doriana e Massimiliano Fuksas, Piero Gatti Cesare Paolini e Franco Teodoro, Gervasoni, Luca Gnizio, Grado Zero Group, Kanesis Mkr Lab Bilcotech, Keep Life, Konstantin Grcic, Martí Guixé, Giulio Iacchetti, It’s Great Design, JoeVelluto Studio, jpeglab, Kartell, Marta Laudani, Piero Lissoni, Roberto Lucchinetti, Magis, Manerba, Enzo Mari, Antonio Marras, Luciano Marson, Issey Miyake, Mosaicomicro, Myop, Paola Navone, Nerosicilia Group, NestArt s.r.l., Lorenzo Palmeri, Pieces of Venice, Matteo Ragni, Sapiens Design, Seletti, Silk hi-tech classical instruments, Slamp, Sovrappensiero Design Studio, Philippe Starck, Martina Taranto, Teraplast, Tipstudio, Toiletpaper, Toiletpaper loves Seletti, Paolo Ulian, Zanotta, Zava Illuminazione, Marco Zito.
__________________________________
Ten students from Denmark (Design School Kolding), Finland (LAB University of Applied Sciences), Lithuania (Vilnius Academy of Arts) and EKA took part in a week-long CIRRUS workshop ''Reinvented footwear''.
Students covered the following topics: material waste mapping in the industries; handicraft skills to use as part of designing and prototyping; design research methods and working with people from different cultural and socio-economic backgrounds. Course objective was making a shoe / shoes out of recycled materials.
artun.ee/aksessuaar*Local upcycling. Using the post-consumer textile waste as a raw material to create novel designs with new value.
The rapidly overwhelming mountains of textile waste generated from used garments, household textiles or undisposed clothing has become one of the main sources of concerns that take a toll on the environment and waste management. With Europe, US and China exporting most of their textile waste to African countries, the maddening amount of discarded textiles waste is growing into a major component of the landfills- the extremely polluted rivers, textile dumping or burning in the outskirts in Kenya or Ghana are just some of the visible evidence.
Repurposing and upcycling used clothes locally is one of the most effective solutions there is to deal with the textile waste issues we are facing. Upcycling involves endless creative ways of using old products and redesigning or repurposing them by giving them a new life. Moreover, by making use of already existing materials the consumption of new materials is reduced which can result in a reduction of energy usage, water pollution, CO2 emissions, hence taking a significant step towards zero waste.
The invited exhibitors here showcase a selection of possible solutions to the textile waste problem by taking advantage of the qualities and properties that the discarded textiles still possess and by giving them a new purpose.
*Industrial upcycling - circulating leftovers back to production inside factory
The innovative UPMADE® upcycling design & production system allows industries to turn excess pre-consumer materials into garments which present savings in water, CO2 and energy usage.
UPMADE® enables brands and manufacturers to apply our industrial upcycling method and obtain certification. A circular economy produces zero waste and pollution, by design. It is an ideal that the UPMADE® method supports in a real and practical way. Traditional clothing manufacturing creates an average of 18% textile leftovers. Our method closes the loop by applying upcycling on an industrial scale and reducing the amount of textile leftovers. Thanks to this, that 18% can now be turned from cost into value. The UPMADE® Certification process is the outcome of a solid partnership between comprehensive field research and thorough scientific analysis to meet the most far-reaching aspirations in upcycling. It strives for a smaller environmental footprint and maximised resource efficiency in the textile industry through a broader use of upcycling in industrial production.
The display consists of examples in industrial upcycling by Reet Aus PhD.
+ a video describing an example of industrial upcycling in Bangladesh
*Recycling - presenting practical evidence of the potential of textile recycling.
According to the European Commission’s report “Towards an EU Product Policy Framework contributing to the Circular Economy”, recycled materials only account for around 1% of all materials used in textile production. It’s a surprisingly small number, given that we would be able to do much more. Textile waste has become one of the most complex types of waste in the welfare society. But why?
The reason lies within the materials. This 1% is, in large part, due to the fact that many designers don’t take into account the principles of circularity. Most of the clothes we wear are made out of mixed materials that are difficult or even impossible to recycle. Consumption in the welfare society is endless and post-consumer waste has become a massive problem. Within the European Union, we are only able to collect 25% of used clothing, and only 1% of that gets recycled. The rest is burned or sent to landfill. In Estonia, for example, the recycling percentage is 0%. That is shocking and devastating.
The Sustainable Design and Material Lab in the Estonian Academy of Arts is tackling the issue of post-consumer textile waste with an ongoing research project funded by the Estonian Environmental Investment Centre (EIC). The project aims to find solutions to the Estonian post-consumer textile waste through mechanical recycling, new yarn and textile composite material development. This display showcases a selection of results from material and product development process concluded within this project- all presented product designs are made entirely from recycled textile waste.
* Regeneraitive Textile design - Layers of Repair
The popularity of the #visiblemending is proof that mending textiles is becoming a trend on social media. Is it just a passing flow or can the act of repair mend the World? To avert catastrophic climate change huge numbers of us must embrace necessary shifts in behaviour. Wearing out gives the user a possibility to interact with the clothing by adding layers of repair as a sign of increasing value over time. Mending could be similar to the way nature heals itself - adding up new layers and slowly repairing manmade damages. Imagine a World where things have a life of their own in the hands of a user or multiple users.
dima.artun.ee
www.artun.ee
repairandregeneration.com
Facebook
LinkedIn
Artisan designer Anthony Luciano is a first generation New Yorker, a second generation Italian, and the last of six children, who carries with him evolution of artistry and old world traditions. Having learned how to do handwork – embroidery, crochet, knitting and stitching – from his grandmother, Anthony started collecting anything vintage before he even started his business.
When he started making accessories, he was obsessed with vintage clasps and would always be on the lookout for local vintage gems, both when travelling abroad (Paris, Rome, London, Cairo etc) and in the States (different state sales, flea markets in NYC and other places). This brought him to the world of handbags: Anthony is fascinated about the history and the story of these women who would carry these beautiful bags. Who were those women and what was their lifestyle? What kind of events were they attending?
His collection of globally sourced vintage handbag clasps provided the spark and inspiration to launch his eponymous collection in 2000, with the intent to produce a luxurious line of day and evening bags of the highest quality and craftsmanship. Almost immediately, his bags filled the racks at some of the finest retailers in America, including Bergdorf Goodman, Neiman Marcus and Stanley Korshak.
Anthony likes to remake the bags using his imagination, his knowledge and research on the history of accessories throughout different centuries. He remakes the bag with contemporary twists and attaches it to the vintage frame.
D_O_M - in the light of the green transition
Not just a fashion show, but a spectacle! D_O_M introduces designs that last longer than a season or a trend. Through the D_O_M performance, the story of the Estonian brands is told, their essence is interpreted and acted out on a site specific show.
However, in the light of the green revolution, a question arises: how much new clothes do we really need?
Rushing the fashion industry behind due to the overall desire for novelty, and creating more and more items into the world will not solve the global problems we are facing.
At the same time, pressuring designers and artists with successively updated solutions raises a question: what was wrong with the existing one? Yes, new ideas, innovation and development are needed. But at the same time, let's maintain and transmit the best existing solutions, let's use them to maximum potential before the hand grabs for a new one.
We save the world if we save a square metre of soil already. We can use already purchased clothes for an absolute maximum period of time, style them smartly and care for them consciously.
This year's D_O_M honours and puts in the limelight these valuable products that are already brought into the world. These clothes are worth mending and bequeathing.
SORCERER - the source for everything magical
SORCERER is a creative collective of five artists, who value recycling materials, making one-of-a-kind and sometimes sculptural pieces, hoping to sustain uniqueness on a bigger scale. Their aim is to provide an emotional experience - the accessories, clothing and artefacts displayed to viewers often look wild and irrational, traditional gender roles and aesthetic standards have been destroyed, along with the hierarchy between materials. SORCERER deliberately chooses to juxtapose natural and artificial aesthetics in order to produce contrasts and opposing surroundings. The artefacts transform the wearer into a creation that is a reflection of SORCERER’s own understanding of the world.
Kelpman Textile - appreciating the creation
kelpman textile creates high-quality interior and clothing accessories and small-scale clothing. The ambition is to create comfortable, warm and healthy textiles for the northern climate.
Designer Mare Kelpman controls the entire production process, weaving the fabrics in Finland with old industrial Dornier machines. Textiles with legendary author patterns are finished without using chemicals. The remaining fabric details will find a worthy position in unique clothing and home furnishing products over time. So the ecological footprint is minimal.
The much-loved brand is celebrating a magnificent anniversary this year - over the course of a decade, the brand has built its way up and established a warm place in the hearts of Estonians.
Mare Kelpman, applause!
kelpmantextile.com
@kelpmantextile
Lilli Jahilo #lillijahilopreloved
The Lilli Jahilo fashion brand has been delivering the most beautiful dresses in the world to women across the globe for the past 12 years. Known for their superb fit, couture-inspired quality and unique design, they’re dresses that empower the wearer and contribute to creating a better world.
Lilli Jahilo awaits all to visit her on September 22 from 12 to 19 to learn more about #lillijahilopreloved products at a lively pop-up.
SEOS – shaping light
SEOS Valgustus led by the designer Tõnis Vellama has been creating lighting for 25 years. Among an ever-increasing collection, special-order lighting for concert halls, embassies, hotels, restaurants, manor schools and many other interiors can be listed.
A lamp has to fulfil several tasks, balancing between ideas of form, materials and solutions of technology. SEOS Valgustus’ chandeliers are not just fashionable, but bring light to people's lives across seasons, regardless of trends throughout many years.
Participants in the Curatorial Exhibition will be gathered in five thematic groups: Metabolic Home, From Brick to Soil, Food and Geopolitics, the Archaeology of Architecture and Food Systems and the Future Food Deal. The exhibition
“Edible" at Estonian Museum of Architecture is open until November 20.
TAB 2022 is chosen as one of the TOP architecture events of 2022 by Dezeen and Archdaily .
In order to value design and the profession of designer, the Estonian Association of Designers decided in 2006 to start giving out the Estonian Design Award. The first Design Award was given out in the eighties by Tallinn Art Institute Department of Design at the initiative of Bruno Tomberg, after whom the Estonian Design Award has been named. Among the award-winners are experienced professionals like Matti Õunapuu, Heikki Zoova etc.
The Estonian Association of Designers wishes to present innovative, high-standard new products to the public that would prompt Estonians to consume domestic design and motivate entrepreneurs to involve professional designers in product development. The recognition would encourage designers to create new interesting products and motivate them to learn about tendencies in design on the international level. For the design-knowledgeable entrepreneur participating in the competition with a designer and the public sector, product development from the aspect of design and design management would bring recognition and would be a good role model for others. In the long-term perspective, the Design Award is a springboard for new products and brands to the international arena.
The Italian Ministry of Foreign Affairs and International Cooperation presents the exhibition "3CODESIGN. 3R: Reduce Recycle Reuse". Spread over a space of 150 square meters, “3CODESIGN” offers a selection of recycled objects, products and furnishings, but also sustainable materials and technologies, all designed by Italian designers and/or Italian industries and companies in the sector.
The exhibition, with its sustainable installation plan designed by Bruno Morello, aims to offer an inevitably concise yet sufficiently paradigmatic overview on how Italian design is working towards the direction of the latest environmental sustainability needs, a real inversion of trend compared to the systems of production and design strategies employed during the 20th century. It is an overall and radical rethinking of a production model that aimed at the over-exploitation of resources; a re-evaluation of all the stages of design and production – a starting point for thinking of objects and products that become repairable, reusable, shareable, and recyclable. Instead of ending up in landfill, the value of an object must remain in circulation, by regenerating itself continuously.
Curated by Silvana Annicchiarico, the exhibition will be circulating abroad through the diplomatic-consular network and Italian Cultural Institutes for the next three years, with the aim of giving space and visibility to the new frontiers of Italian design and to actualize the reputation it enjoys around the world, telling the story of the journey of the designers toward environmental sustainability. “3CODESIGN” has previously been to Prague, Doha, Shenzhen, Toronto, Washington, Tunis and Pristina.
On display: Massimiliano Adami, Luca Alessandrini, Alessi, Giuseppe Arezzi, Antonio Aricò, Artemide, Alessandra Baldereschi, Mariapia Bellis, Guglielmo Brambilla, Anna Castelli Ferrieri, Carraro Chabarik mosaico contemporaneo, Valentina Carretta, Acqua Chiarella, Citco, Lorenzo Damiani, Da a Italia, Rodolfo Dordoni, Pablo Dorigo, ECAL, Errepi technology e Pepo con Allard, Assenza, Ferretti, Paniccià e Marin, Favini, Salvatore Ferragamo, Fondazione Cologni dei Mestieri d’Arte, Fonderia Artistica Versiliese, Doriana e Massimiliano Fuksas, Piero Gatti Cesare Paolini e Franco Teodoro, Gervasoni, Luca Gnizio, Grado Zero Group, Kanesis Mkr Lab Bilcotech, Keep Life, Konstantin Grcic, Martí Guixé, Giulio Iacchetti, It’s Great Design, JoeVelluto Studio, jpeglab, Kartell, Marta Laudani, Piero Lissoni, Roberto Lucchinetti, Magis, Manerba, Enzo Mari, Antonio Marras, Luciano Marson, Issey Miyake, Mosaicomicro, Myop, Paola Navone, Nerosicilia Group, NestArt s.r.l., Lorenzo Palmeri, Pieces of Venice, Matteo Ragni, Sapiens Design, Seletti, Silk hi-tech classical instruments, Slamp, Sovrappensiero Design Studio, Philippe Starck, Martina Taranto, Teraplast, Tipstudio, Toiletpaper, Toiletpaper loves Seletti, Paolo Ulian, Zanotta, Zava Illuminazione, Marco Zito.
__________________________________
Ten students from Denmark (Design School Kolding), Finland (LAB University of Applied Sciences), Lithuania (Vilnius Academy of Arts) and EKA took part in a week-long CIRRUS workshop ''Reinvented footwear''.
Students covered the following topics: material waste mapping in the industries; handicraft skills to use as part of designing and prototyping; design research methods and working with people from different cultural and socio-economic backgrounds. Course objective was making a shoe / shoes out of recycled materials.
artun.ee/aksessuaar*Local upcycling. Using the post-consumer textile waste as a raw material to create novel designs with new value.
The rapidly overwhelming mountains of textile waste generated from used garments, household textiles or undisposed clothing has become one of the main sources of concerns that take a toll on the environment and waste management. With Europe, US and China exporting most of their textile waste to African countries, the maddening amount of discarded textiles waste is growing into a major component of the landfills- the extremely polluted rivers, textile dumping or burning in the outskirts in Kenya or Ghana are just some of the visible evidence.
Repurposing and upcycling used clothes locally is one of the most effective solutions there is to deal with the textile waste issues we are facing. Upcycling involves endless creative ways of using old products and redesigning or repurposing them by giving them a new life. Moreover, by making use of already existing materials the consumption of new materials is reduced which can result in a reduction of energy usage, water pollution, CO2 emissions, hence taking a significant step towards zero waste.
The invited exhibitors here showcase a selection of possible solutions to the textile waste problem by taking advantage of the qualities and properties that the discarded textiles still possess and by giving them a new purpose.
*Industrial upcycling - circulating leftovers back to production inside factory
The innovative UPMADE® upcycling design & production system allows industries to turn excess pre-consumer materials into garments which present savings in water, CO2 and energy usage.
UPMADE® enables brands and manufacturers to apply our industrial upcycling method and obtain certification. A circular economy produces zero waste and pollution, by design. It is an ideal that the UPMADE® method supports in a real and practical way. Traditional clothing manufacturing creates an average of 18% textile leftovers. Our method closes the loop by applying upcycling on an industrial scale and reducing the amount of textile leftovers. Thanks to this, that 18% can now be turned from cost into value. The UPMADE® Certification process is the outcome of a solid partnership between comprehensive field research and thorough scientific analysis to meet the most far-reaching aspirations in upcycling. It strives for a smaller environmental footprint and maximised resource efficiency in the textile industry through a broader use of upcycling in industrial production.
The display consists of examples in industrial upcycling by Reet Aus PhD.
+ a video describing an example of industrial upcycling in Bangladesh
*Recycling - presenting practical evidence of the potential of textile recycling.
According to the European Commission’s report “Towards an EU Product Policy Framework contributing to the Circular Economy”, recycled materials only account for around 1% of all materials used in textile production. It’s a surprisingly small number, given that we would be able to do much more. Textile waste has become one of the most complex types of waste in the welfare society. But why?
The reason lies within the materials. This 1% is, in large part, due to the fact that many designers don’t take into account the principles of circularity. Most of the clothes we wear are made out of mixed materials that are difficult or even impossible to recycle. Consumption in the welfare society is endless and post-consumer waste has become a massive problem. Within the European Union, we are only able to collect 25% of used clothing, and only 1% of that gets recycled. The rest is burned or sent to landfill. In Estonia, for example, the recycling percentage is 0%. That is shocking and devastating.
The Sustainable Design and Material Lab in the Estonian Academy of Arts is tackling the issue of post-consumer textile waste with an ongoing research project funded by the Estonian Environmental Investment Centre (EIC). The project aims to find solutions to the Estonian post-consumer textile waste through mechanical recycling, new yarn and textile composite material development. This display showcases a selection of results from material and product development process concluded within this project- all presented product designs are made entirely from recycled textile waste.
* Regeneraitive Textile design - Layers of Repair
The popularity of the #visiblemending is proof that mending textiles is becoming a trend on social media. Is it just a passing flow or can the act of repair mend the World? To avert catastrophic climate change huge numbers of us must embrace necessary shifts in behaviour. Wearing out gives the user a possibility to interact with the clothing by adding layers of repair as a sign of increasing value over time. Mending could be similar to the way nature heals itself - adding up new layers and slowly repairing manmade damages. Imagine a World where things have a life of their own in the hands of a user or multiple users.
dima.artun.ee
www.artun.ee
repairandregeneration.com
Facebook
LinkedIn
Artisan designer Anthony Luciano is a first generation New Yorker, a second generation Italian, and the last of six children, who carries with him evolution of artistry and old world traditions. Having learned how to do handwork – embroidery, crochet, knitting and stitching – from his grandmother, Anthony started collecting anything vintage before he even started his business.
When he started making accessories, he was obsessed with vintage clasps and would always be on the lookout for local vintage gems, both when travelling abroad (Paris, Rome, London, Cairo etc) and in the States (different state sales, flea markets in NYC and other places). This brought him to the world of handbags: Anthony is fascinated about the history and the story of these women who would carry these beautiful bags. Who were those women and what was their lifestyle? What kind of events were they attending?
His collection of globally sourced vintage handbag clasps provided the spark and inspiration to launch his eponymous collection in 2000, with the intent to produce a luxurious line of day and evening bags of the highest quality and craftsmanship. Almost immediately, his bags filled the racks at some of the finest retailers in America, including Bergdorf Goodman, Neiman Marcus and Stanley Korshak.
Anthony likes to remake the bags using his imagination, his knowledge and research on the history of accessories throughout different centuries. He remakes the bag with contemporary twists and attaches it to the vintage frame.
Participants in the Curatorial Exhibition will be gathered in five thematic groups: Metabolic Home, From Brick to Soil, Food and Geopolitics, the Archaeology of Architecture and Food Systems and the Future Food Deal. The exhibition
“Edible" at Estonian Museum of Architecture is open until November 20.
TAB 2022 is chosen as one of the TOP architecture events of 2022 by Dezeen and Archdaily .
Design is a discipline located at the junction of art, craf tand industry. From this vantage point, over time, design has mirrored cultural, societal and economic change. Women’s influence and contributions to these transformations have been growing. They play roles of active protagonists, independent players and thinkers, rather than muses and supporters. Over the last decade, mindfulness and holistic thinking have become essential characteristics of design processes, more than the spectacular, short-term performance qualities of design that we have seen in the past.
The narrative of Looking Through Objects focuses on women, Polish designers, acting locally and internationally. The starting point is a curated selection of design objects, which offer an insight into the ongoing transformations taking place in Poland. We focused on sixteen female designers and objects, which they designed. We met each of them on several occasions and discussed inspirations and processes, individual strategies and approaches to the material.
By looking through objects we can learn about countries and societies, but we can also learn the individual stories of designers. The items on display belong to different categories; from serial industrial production to individual unique design. The approach of the designers also differs from brief, driven and pragmatic processes to artistic, intuitive research or even a search to find a space for creative freedom. Some designers are makers; others instead manage production processes; others are problem solvers, and still others spectators.
Polish exposition:
Curators: Agnieszka Jacobson-Cielecka, Gian Luca Amadei, Dario Lombardi
Exhibition design: Dominika Janicka
Graphic design: Kasia Kubicka
Eesti exposition:
Curator: Triin Jerlei
Exhibition design:: Maria Pukk, Ivar Lubjak / Oaas Arhitektid
Graphic design: Indrek Sirkel
The design uses exhibition modules developed by the architecture bureau 3+1.
Supported by: Cultural Endowment of Estonia
In order to value design and the profession of designer, the Estonian Association of Designers decided in 2006 to start giving out the Estonian Design Award. The first Design Award was given out in the eighties by Tallinn Art Institute Department of Design at the initiative of Bruno Tomberg, after whom the Estonian Design Award has been named. Among the award-winners are experienced professionals like Matti Õunapuu, Heikki Zoova etc.
The Estonian Association of Designers wishes to present innovative, high-standard new products to the public that would prompt Estonians to consume domestic design and motivate entrepreneurs to involve professional designers in product development. The recognition would encourage designers to create new interesting products and motivate them to learn about tendencies in design on the international level. For the design-knowledgeable entrepreneur participating in the competition with a designer and the public sector, product development from the aspect of design and design management would bring recognition and would be a good role model for others. In the long-term perspective, the Design Award is a springboard for new products and brands to the international arena.
The Italian Ministry of Foreign Affairs and International Cooperation presents the exhibition "3CODESIGN. 3R: Reduce Recycle Reuse". Spread over a space of 150 square meters, “3CODESIGN” offers a selection of recycled objects, products and furnishings, but also sustainable materials and technologies, all designed by Italian designers and/or Italian industries and companies in the sector.
The exhibition, with its sustainable installation plan designed by Bruno Morello, aims to offer an inevitably concise yet sufficiently paradigmatic overview on how Italian design is working towards the direction of the latest environmental sustainability needs, a real inversion of trend compared to the systems of production and design strategies employed during the 20th century. It is an overall and radical rethinking of a production model that aimed at the over-exploitation of resources; a re-evaluation of all the stages of design and production – a starting point for thinking of objects and products that become repairable, reusable, shareable, and recyclable. Instead of ending up in landfill, the value of an object must remain in circulation, by regenerating itself continuously.
Curated by Silvana Annicchiarico, the exhibition will be circulating abroad through the diplomatic-consular network and Italian Cultural Institutes for the next three years, with the aim of giving space and visibility to the new frontiers of Italian design and to actualize the reputation it enjoys around the world, telling the story of the journey of the designers toward environmental sustainability. “3CODESIGN” has previously been to Prague, Doha, Shenzhen, Toronto, Washington, Tunis and Pristina.
On display: Massimiliano Adami, Luca Alessandrini, Alessi, Giuseppe Arezzi, Antonio Aricò, Artemide, Alessandra Baldereschi, Mariapia Bellis, Guglielmo Brambilla, Anna Castelli Ferrieri, Carraro Chabarik mosaico contemporaneo, Valentina Carretta, Acqua Chiarella, Citco, Lorenzo Damiani, Da a Italia, Rodolfo Dordoni, Pablo Dorigo, ECAL, Errepi technology e Pepo con Allard, Assenza, Ferretti, Paniccià e Marin, Favini, Salvatore Ferragamo, Fondazione Cologni dei Mestieri d’Arte, Fonderia Artistica Versiliese, Doriana e Massimiliano Fuksas, Piero Gatti Cesare Paolini e Franco Teodoro, Gervasoni, Luca Gnizio, Grado Zero Group, Kanesis Mkr Lab Bilcotech, Keep Life, Konstantin Grcic, Martí Guixé, Giulio Iacchetti, It’s Great Design, JoeVelluto Studio, jpeglab, Kartell, Marta Laudani, Piero Lissoni, Roberto Lucchinetti, Magis, Manerba, Enzo Mari, Antonio Marras, Luciano Marson, Issey Miyake, Mosaicomicro, Myop, Paola Navone, Nerosicilia Group, NestArt s.r.l., Lorenzo Palmeri, Pieces of Venice, Matteo Ragni, Sapiens Design, Seletti, Silk hi-tech classical instruments, Slamp, Sovrappensiero Design Studio, Philippe Starck, Martina Taranto, Teraplast, Tipstudio, Toiletpaper, Toiletpaper loves Seletti, Paolo Ulian, Zanotta, Zava Illuminazione, Marco Zito.
__________________________________
Ten students from Denmark (Design School Kolding), Finland (LAB University of Applied Sciences), Lithuania (Vilnius Academy of Arts) and EKA took part in a week-long CIRRUS workshop ''Reinvented footwear''.
Students covered the following topics: material waste mapping in the industries; handicraft skills to use as part of designing and prototyping; design research methods and working with people from different cultural and socio-economic backgrounds. Course objective was making a shoe / shoes out of recycled materials.
artun.ee/aksessuaar*Local upcycling. Using the post-consumer textile waste as a raw material to create novel designs with new value.
The rapidly overwhelming mountains of textile waste generated from used garments, household textiles or undisposed clothing has become one of the main sources of concerns that take a toll on the environment and waste management. With Europe, US and China exporting most of their textile waste to African countries, the maddening amount of discarded textiles waste is growing into a major component of the landfills- the extremely polluted rivers, textile dumping or burning in the outskirts in Kenya or Ghana are just some of the visible evidence.
Repurposing and upcycling used clothes locally is one of the most effective solutions there is to deal with the textile waste issues we are facing. Upcycling involves endless creative ways of using old products and redesigning or repurposing them by giving them a new life. Moreover, by making use of already existing materials the consumption of new materials is reduced which can result in a reduction of energy usage, water pollution, CO2 emissions, hence taking a significant step towards zero waste.
The invited exhibitors here showcase a selection of possible solutions to the textile waste problem by taking advantage of the qualities and properties that the discarded textiles still possess and by giving them a new purpose.
*Industrial upcycling - circulating leftovers back to production inside factory
The innovative UPMADE® upcycling design & production system allows industries to turn excess pre-consumer materials into garments which present savings in water, CO2 and energy usage.
UPMADE® enables brands and manufacturers to apply our industrial upcycling method and obtain certification. A circular economy produces zero waste and pollution, by design. It is an ideal that the UPMADE® method supports in a real and practical way. Traditional clothing manufacturing creates an average of 18% textile leftovers. Our method closes the loop by applying upcycling on an industrial scale and reducing the amount of textile leftovers. Thanks to this, that 18% can now be turned from cost into value. The UPMADE® Certification process is the outcome of a solid partnership between comprehensive field research and thorough scientific analysis to meet the most far-reaching aspirations in upcycling. It strives for a smaller environmental footprint and maximised resource efficiency in the textile industry through a broader use of upcycling in industrial production.
The display consists of examples in industrial upcycling by Reet Aus PhD.
+ a video describing an example of industrial upcycling in Bangladesh
*Recycling - presenting practical evidence of the potential of textile recycling.
According to the European Commission’s report “Towards an EU Product Policy Framework contributing to the Circular Economy”, recycled materials only account for around 1% of all materials used in textile production. It’s a surprisingly small number, given that we would be able to do much more. Textile waste has become one of the most complex types of waste in the welfare society. But why?
The reason lies within the materials. This 1% is, in large part, due to the fact that many designers don’t take into account the principles of circularity. Most of the clothes we wear are made out of mixed materials that are difficult or even impossible to recycle. Consumption in the welfare society is endless and post-consumer waste has become a massive problem. Within the European Union, we are only able to collect 25% of used clothing, and only 1% of that gets recycled. The rest is burned or sent to landfill. In Estonia, for example, the recycling percentage is 0%. That is shocking and devastating.
The Sustainable Design and Material Lab in the Estonian Academy of Arts is tackling the issue of post-consumer textile waste with an ongoing research project funded by the Estonian Environmental Investment Centre (EIC). The project aims to find solutions to the Estonian post-consumer textile waste through mechanical recycling, new yarn and textile composite material development. This display showcases a selection of results from material and product development process concluded within this project- all presented product designs are made entirely from recycled textile waste.
* Regeneraitive Textile design - Layers of Repair
The popularity of the #visiblemending is proof that mending textiles is becoming a trend on social media. Is it just a passing flow or can the act of repair mend the World? To avert catastrophic climate change huge numbers of us must embrace necessary shifts in behaviour. Wearing out gives the user a possibility to interact with the clothing by adding layers of repair as a sign of increasing value over time. Mending could be similar to the way nature heals itself - adding up new layers and slowly repairing manmade damages. Imagine a World where things have a life of their own in the hands of a user or multiple users.
dima.artun.ee
www.artun.ee
repairandregeneration.com
Facebook
LinkedIn
Artisan designer Anthony Luciano is a first generation New Yorker, a second generation Italian, and the last of six children, who carries with him evolution of artistry and old world traditions. Having learned how to do handwork – embroidery, crochet, knitting and stitching – from his grandmother, Anthony started collecting anything vintage before he even started his business.
When he started making accessories, he was obsessed with vintage clasps and would always be on the lookout for local vintage gems, both when travelling abroad (Paris, Rome, London, Cairo etc) and in the States (different state sales, flea markets in NYC and other places). This brought him to the world of handbags: Anthony is fascinated about the history and the story of these women who would carry these beautiful bags. Who were those women and what was their lifestyle? What kind of events were they attending?
His collection of globally sourced vintage handbag clasps provided the spark and inspiration to launch his eponymous collection in 2000, with the intent to produce a luxurious line of day and evening bags of the highest quality and craftsmanship. Almost immediately, his bags filled the racks at some of the finest retailers in America, including Bergdorf Goodman, Neiman Marcus and Stanley Korshak.
Anthony likes to remake the bags using his imagination, his knowledge and research on the history of accessories throughout different centuries. He remakes the bag with contemporary twists and attaches it to the vintage frame.
Participants in the Curatorial Exhibition will be gathered in five thematic groups: Metabolic Home, From Brick to Soil, Food and Geopolitics, the Archaeology of Architecture and Food Systems and the Future Food Deal. The exhibition
“Edible" at Estonian Museum of Architecture is open until November 20.
TAB 2022 is chosen as one of the TOP architecture events of 2022 by Dezeen and Archdaily .
As a tradition, the autumn design market will again be a part of the festival weekend: to explore the Design Street no driver’s license is needed as there's plenty of room for wanderers on foot! Walk through the streets and discover lots of great fashion-, accessory-, product- and interior design.
In order to value design and the profession of designer, the Estonian Association of Designers decided in 2006 to start giving out the Estonian Design Award. The first Design Award was given out in the eighties by Tallinn Art Institute Department of Design at the initiative of Bruno Tomberg, after whom the Estonian Design Award has been named. Among the award-winners are experienced professionals like Matti Õunapuu, Heikki Zoova etc.
The Estonian Association of Designers wishes to present innovative, high-standard new products to the public that would prompt Estonians to consume domestic design and motivate entrepreneurs to involve professional designers in product development. The recognition would encourage designers to create new interesting products and motivate them to learn about tendencies in design on the international level. For the design-knowledgeable entrepreneur participating in the competition with a designer and the public sector, product development from the aspect of design and design management would bring recognition and would be a good role model for others. In the long-term perspective, the Design Award is a springboard for new products and brands to the international arena.
The Italian Ministry of Foreign Affairs and International Cooperation presents the exhibition "3CODESIGN. 3R: Reduce Recycle Reuse". Spread over a space of 150 square meters, “3CODESIGN” offers a selection of recycled objects, products and furnishings, but also sustainable materials and technologies, all designed by Italian designers and/or Italian industries and companies in the sector.
The exhibition, with its sustainable installation plan designed by Bruno Morello, aims to offer an inevitably concise yet sufficiently paradigmatic overview on how Italian design is working towards the direction of the latest environmental sustainability needs, a real inversion of trend compared to the systems of production and design strategies employed during the 20th century. It is an overall and radical rethinking of a production model that aimed at the over-exploitation of resources; a re-evaluation of all the stages of design and production – a starting point for thinking of objects and products that become repairable, reusable, shareable, and recyclable. Instead of ending up in landfill, the value of an object must remain in circulation, by regenerating itself continuously.
Curated by Silvana Annicchiarico, the exhibition will be circulating abroad through the diplomatic-consular network and Italian Cultural Institutes for the next three years, with the aim of giving space and visibility to the new frontiers of Italian design and to actualize the reputation it enjoys around the world, telling the story of the journey of the designers toward environmental sustainability. “3CODESIGN” has previously been to Prague, Doha, Shenzhen, Toronto, Washington, Tunis and Pristina.
On display: Massimiliano Adami, Luca Alessandrini, Alessi, Giuseppe Arezzi, Antonio Aricò, Artemide, Alessandra Baldereschi, Mariapia Bellis, Guglielmo Brambilla, Anna Castelli Ferrieri, Carraro Chabarik mosaico contemporaneo, Valentina Carretta, Acqua Chiarella, Citco, Lorenzo Damiani, Da a Italia, Rodolfo Dordoni, Pablo Dorigo, ECAL, Errepi technology e Pepo con Allard, Assenza, Ferretti, Paniccià e Marin, Favini, Salvatore Ferragamo, Fondazione Cologni dei Mestieri d’Arte, Fonderia Artistica Versiliese, Doriana e Massimiliano Fuksas, Piero Gatti Cesare Paolini e Franco Teodoro, Gervasoni, Luca Gnizio, Grado Zero Group, Kanesis Mkr Lab Bilcotech, Keep Life, Konstantin Grcic, Martí Guixé, Giulio Iacchetti, It’s Great Design, JoeVelluto Studio, jpeglab, Kartell, Marta Laudani, Piero Lissoni, Roberto Lucchinetti, Magis, Manerba, Enzo Mari, Antonio Marras, Luciano Marson, Issey Miyake, Mosaicomicro, Myop, Paola Navone, Nerosicilia Group, NestArt s.r.l., Lorenzo Palmeri, Pieces of Venice, Matteo Ragni, Sapiens Design, Seletti, Silk hi-tech classical instruments, Slamp, Sovrappensiero Design Studio, Philippe Starck, Martina Taranto, Teraplast, Tipstudio, Toiletpaper, Toiletpaper loves Seletti, Paolo Ulian, Zanotta, Zava Illuminazione, Marco Zito.
__________________________________
Ten students from Denmark (Design School Kolding), Finland (LAB University of Applied Sciences), Lithuania (Vilnius Academy of Arts) and EKA took part in a week-long CIRRUS workshop ''Reinvented footwear''.
Students covered the following topics: material waste mapping in the industries; handicraft skills to use as part of designing and prototyping; design research methods and working with people from different cultural and socio-economic backgrounds. Course objective was making a shoe / shoes out of recycled materials.
artun.ee/aksessuaar*Local upcycling. Using the post-consumer textile waste as a raw material to create novel designs with new value.
The rapidly overwhelming mountains of textile waste generated from used garments, household textiles or undisposed clothing has become one of the main sources of concerns that take a toll on the environment and waste management. With Europe, US and China exporting most of their textile waste to African countries, the maddening amount of discarded textiles waste is growing into a major component of the landfills- the extremely polluted rivers, textile dumping or burning in the outskirts in Kenya or Ghana are just some of the visible evidence.
Repurposing and upcycling used clothes locally is one of the most effective solutions there is to deal with the textile waste issues we are facing. Upcycling involves endless creative ways of using old products and redesigning or repurposing them by giving them a new life. Moreover, by making use of already existing materials the consumption of new materials is reduced which can result in a reduction of energy usage, water pollution, CO2 emissions, hence taking a significant step towards zero waste.
The invited exhibitors here showcase a selection of possible solutions to the textile waste problem by taking advantage of the qualities and properties that the discarded textiles still possess and by giving them a new purpose.
*Industrial upcycling - circulating leftovers back to production inside factory
The innovative UPMADE® upcycling design & production system allows industries to turn excess pre-consumer materials into garments which present savings in water, CO2 and energy usage.
UPMADE® enables brands and manufacturers to apply our industrial upcycling method and obtain certification. A circular economy produces zero waste and pollution, by design. It is an ideal that the UPMADE® method supports in a real and practical way. Traditional clothing manufacturing creates an average of 18% textile leftovers. Our method closes the loop by applying upcycling on an industrial scale and reducing the amount of textile leftovers. Thanks to this, that 18% can now be turned from cost into value. The UPMADE® Certification process is the outcome of a solid partnership between comprehensive field research and thorough scientific analysis to meet the most far-reaching aspirations in upcycling. It strives for a smaller environmental footprint and maximised resource efficiency in the textile industry through a broader use of upcycling in industrial production.
The display consists of examples in industrial upcycling by Reet Aus PhD.
+ a video describing an example of industrial upcycling in Bangladesh
*Recycling - presenting practical evidence of the potential of textile recycling.
According to the European Commission’s report “Towards an EU Product Policy Framework contributing to the Circular Economy”, recycled materials only account for around 1% of all materials used in textile production. It’s a surprisingly small number, given that we would be able to do much more. Textile waste has become one of the most complex types of waste in the welfare society. But why?
The reason lies within the materials. This 1% is, in large part, due to the fact that many designers don’t take into account the principles of circularity. Most of the clothes we wear are made out of mixed materials that are difficult or even impossible to recycle. Consumption in the welfare society is endless and post-consumer waste has become a massive problem. Within the European Union, we are only able to collect 25% of used clothing, and only 1% of that gets recycled. The rest is burned or sent to landfill. In Estonia, for example, the recycling percentage is 0%. That is shocking and devastating.
The Sustainable Design and Material Lab in the Estonian Academy of Arts is tackling the issue of post-consumer textile waste with an ongoing research project funded by the Estonian Environmental Investment Centre (EIC). The project aims to find solutions to the Estonian post-consumer textile waste through mechanical recycling, new yarn and textile composite material development. This display showcases a selection of results from material and product development process concluded within this project- all presented product designs are made entirely from recycled textile waste.
* Regeneraitive Textile design - Layers of Repair
The popularity of the #visiblemending is proof that mending textiles is becoming a trend on social media. Is it just a passing flow or can the act of repair mend the World? To avert catastrophic climate change huge numbers of us must embrace necessary shifts in behaviour. Wearing out gives the user a possibility to interact with the clothing by adding layers of repair as a sign of increasing value over time. Mending could be similar to the way nature heals itself - adding up new layers and slowly repairing manmade damages. Imagine a World where things have a life of their own in the hands of a user or multiple users.
dima.artun.ee
www.artun.ee
repairandregeneration.com
Facebook
LinkedIn
Artisan designer Anthony Luciano is a first generation New Yorker, a second generation Italian, and the last of six children, who carries with him evolution of artistry and old world traditions. Having learned how to do handwork – embroidery, crochet, knitting and stitching – from his grandmother, Anthony started collecting anything vintage before he even started his business.
When he started making accessories, he was obsessed with vintage clasps and would always be on the lookout for local vintage gems, both when travelling abroad (Paris, Rome, London, Cairo etc) and in the States (different state sales, flea markets in NYC and other places). This brought him to the world of handbags: Anthony is fascinated about the history and the story of these women who would carry these beautiful bags. Who were those women and what was their lifestyle? What kind of events were they attending?
His collection of globally sourced vintage handbag clasps provided the spark and inspiration to launch his eponymous collection in 2000, with the intent to produce a luxurious line of day and evening bags of the highest quality and craftsmanship. Almost immediately, his bags filled the racks at some of the finest retailers in America, including Bergdorf Goodman, Neiman Marcus and Stanley Korshak.
Anthony likes to remake the bags using his imagination, his knowledge and research on the history of accessories throughout different centuries. He remakes the bag with contemporary twists and attaches it to the vintage frame.
Participants in the Curatorial Exhibition will be gathered in five thematic groups: Metabolic Home, From Brick to Soil, Food and Geopolitics, the Archaeology of Architecture and Food Systems and the Future Food Deal. The exhibition
“Edible" at Estonian Museum of Architecture is open until November 20.
TAB 2022 is chosen as one of the TOP architecture events of 2022 by Dezeen and Archdaily .
As a tradition, the autumn design market will again be a part of the festival weekend: to explore the Design Street no driver’s license is needed as there's plenty of room for wanderers on foot! Walk through the streets and discover lots of great fashion-, accessory-, product- and interior design.
In order to value design and the profession of designer, the Estonian Association of Designers decided in 2006 to start giving out the Estonian Design Award. The first Design Award was given out in the eighties by Tallinn Art Institute Department of Design at the initiative of Bruno Tomberg, after whom the Estonian Design Award has been named. Among the award-winners are experienced professionals like Matti Õunapuu, Heikki Zoova etc.
The Estonian Association of Designers wishes to present innovative, high-standard new products to the public that would prompt Estonians to consume domestic design and motivate entrepreneurs to involve professional designers in product development. The recognition would encourage designers to create new interesting products and motivate them to learn about tendencies in design on the international level. For the design-knowledgeable entrepreneur participating in the competition with a designer and the public sector, product development from the aspect of design and design management would bring recognition and would be a good role model for others. In the long-term perspective, the Design Award is a springboard for new products and brands to the international arena.
The Italian Ministry of Foreign Affairs and International Cooperation presents the exhibition "3CODESIGN. 3R: Reduce Recycle Reuse". Spread over a space of 150 square meters, “3CODESIGN” offers a selection of recycled objects, products and furnishings, but also sustainable materials and technologies, all designed by Italian designers and/or Italian industries and companies in the sector.
The exhibition, with its sustainable installation plan designed by Bruno Morello, aims to offer an inevitably concise yet sufficiently paradigmatic overview on how Italian design is working towards the direction of the latest environmental sustainability needs, a real inversion of trend compared to the systems of production and design strategies employed during the 20th century. It is an overall and radical rethinking of a production model that aimed at the over-exploitation of resources; a re-evaluation of all the stages of design and production – a starting point for thinking of objects and products that become repairable, reusable, shareable, and recyclable. Instead of ending up in landfill, the value of an object must remain in circulation, by regenerating itself continuously.
Curated by Silvana Annicchiarico, the exhibition will be circulating abroad through the diplomatic-consular network and Italian Cultural Institutes for the next three years, with the aim of giving space and visibility to the new frontiers of Italian design and to actualize the reputation it enjoys around the world, telling the story of the journey of the designers toward environmental sustainability. “3CODESIGN” has previously been to Prague, Doha, Shenzhen, Toronto, Washington, Tunis and Pristina.
On display: Massimiliano Adami, Luca Alessandrini, Alessi, Giuseppe Arezzi, Antonio Aricò, Artemide, Alessandra Baldereschi, Mariapia Bellis, Guglielmo Brambilla, Anna Castelli Ferrieri, Carraro Chabarik mosaico contemporaneo, Valentina Carretta, Acqua Chiarella, Citco, Lorenzo Damiani, Da a Italia, Rodolfo Dordoni, Pablo Dorigo, ECAL, Errepi technology e Pepo con Allard, Assenza, Ferretti, Paniccià e Marin, Favini, Salvatore Ferragamo, Fondazione Cologni dei Mestieri d’Arte, Fonderia Artistica Versiliese, Doriana e Massimiliano Fuksas, Piero Gatti Cesare Paolini e Franco Teodoro, Gervasoni, Luca Gnizio, Grado Zero Group, Kanesis Mkr Lab Bilcotech, Keep Life, Konstantin Grcic, Martí Guixé, Giulio Iacchetti, It’s Great Design, JoeVelluto Studio, jpeglab, Kartell, Marta Laudani, Piero Lissoni, Roberto Lucchinetti, Magis, Manerba, Enzo Mari, Antonio Marras, Luciano Marson, Issey Miyake, Mosaicomicro, Myop, Paola Navone, Nerosicilia Group, NestArt s.r.l., Lorenzo Palmeri, Pieces of Venice, Matteo Ragni, Sapiens Design, Seletti, Silk hi-tech classical instruments, Slamp, Sovrappensiero Design Studio, Philippe Starck, Martina Taranto, Teraplast, Tipstudio, Toiletpaper, Toiletpaper loves Seletti, Paolo Ulian, Zanotta, Zava Illuminazione, Marco Zito.
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Ten students from Denmark (Design School Kolding), Finland (LAB University of Applied Sciences), Lithuania (Vilnius Academy of Arts) and EKA took part in a week-long CIRRUS workshop ''Reinvented footwear''.
Students covered the following topics: material waste mapping in the industries; handicraft skills to use as part of designing and prototyping; design research methods and working with people from different cultural and socio-economic backgrounds. Course objective was making a shoe / shoes out of recycled materials.
artun.ee/aksessuaar*Local upcycling. Using the post-consumer textile waste as a raw material to create novel designs with new value.
The rapidly overwhelming mountains of textile waste generated from used garments, household textiles or undisposed clothing has become one of the main sources of concerns that take a toll on the environment and waste management. With Europe, US and China exporting most of their textile waste to African countries, the maddening amount of discarded textiles waste is growing into a major component of the landfills- the extremely polluted rivers, textile dumping or burning in the outskirts in Kenya or Ghana are just some of the visible evidence.
Repurposing and upcycling used clothes locally is one of the most effective solutions there is to deal with the textile waste issues we are facing. Upcycling involves endless creative ways of using old products and redesigning or repurposing them by giving them a new life. Moreover, by making use of already existing materials the consumption of new materials is reduced which can result in a reduction of energy usage, water pollution, CO2 emissions, hence taking a significant step towards zero waste.
The invited exhibitors here showcase a selection of possible solutions to the textile waste problem by taking advantage of the qualities and properties that the discarded textiles still possess and by giving them a new purpose.
*Industrial upcycling - circulating leftovers back to production inside factory
The innovative UPMADE® upcycling design & production system allows industries to turn excess pre-consumer materials into garments which present savings in water, CO2 and energy usage.
UPMADE® enables brands and manufacturers to apply our industrial upcycling method and obtain certification. A circular economy produces zero waste and pollution, by design. It is an ideal that the UPMADE® method supports in a real and practical way. Traditional clothing manufacturing creates an average of 18% textile leftovers. Our method closes the loop by applying upcycling on an industrial scale and reducing the amount of textile leftovers. Thanks to this, that 18% can now be turned from cost into value. The UPMADE® Certification process is the outcome of a solid partnership between comprehensive field research and thorough scientific analysis to meet the most far-reaching aspirations in upcycling. It strives for a smaller environmental footprint and maximised resource efficiency in the textile industry through a broader use of upcycling in industrial production.
The display consists of examples in industrial upcycling by Reet Aus PhD.
+ a video describing an example of industrial upcycling in Bangladesh
*Recycling - presenting practical evidence of the potential of textile recycling.
According to the European Commission’s report “Towards an EU Product Policy Framework contributing to the Circular Economy”, recycled materials only account for around 1% of all materials used in textile production. It’s a surprisingly small number, given that we would be able to do much more. Textile waste has become one of the most complex types of waste in the welfare society. But why?
The reason lies within the materials. This 1% is, in large part, due to the fact that many designers don’t take into account the principles of circularity. Most of the clothes we wear are made out of mixed materials that are difficult or even impossible to recycle. Consumption in the welfare society is endless and post-consumer waste has become a massive problem. Within the European Union, we are only able to collect 25% of used clothing, and only 1% of that gets recycled. The rest is burned or sent to landfill. In Estonia, for example, the recycling percentage is 0%. That is shocking and devastating.
The Sustainable Design and Material Lab in the Estonian Academy of Arts is tackling the issue of post-consumer textile waste with an ongoing research project funded by the Estonian Environmental Investment Centre (EIC). The project aims to find solutions to the Estonian post-consumer textile waste through mechanical recycling, new yarn and textile composite material development. This display showcases a selection of results from material and product development process concluded within this project- all presented product designs are made entirely from recycled textile waste.
* Regeneraitive Textile design - Layers of Repair
The popularity of the #visiblemending is proof that mending textiles is becoming a trend on social media. Is it just a passing flow or can the act of repair mend the World? To avert catastrophic climate change huge numbers of us must embrace necessary shifts in behaviour. Wearing out gives the user a possibility to interact with the clothing by adding layers of repair as a sign of increasing value over time. Mending could be similar to the way nature heals itself - adding up new layers and slowly repairing manmade damages. Imagine a World where things have a life of their own in the hands of a user or multiple users.
dima.artun.ee
www.artun.ee
repairandregeneration.com
Facebook
LinkedIn
Artisan designer Anthony Luciano is a first generation New Yorker, a second generation Italian, and the last of six children, who carries with him evolution of artistry and old world traditions. Having learned how to do handwork – embroidery, crochet, knitting and stitching – from his grandmother, Anthony started collecting anything vintage before he even started his business.
When he started making accessories, he was obsessed with vintage clasps and would always be on the lookout for local vintage gems, both when travelling abroad (Paris, Rome, London, Cairo etc) and in the States (different state sales, flea markets in NYC and other places). This brought him to the world of handbags: Anthony is fascinated about the history and the story of these women who would carry these beautiful bags. Who were those women and what was their lifestyle? What kind of events were they attending?
His collection of globally sourced vintage handbag clasps provided the spark and inspiration to launch his eponymous collection in 2000, with the intent to produce a luxurious line of day and evening bags of the highest quality and craftsmanship. Almost immediately, his bags filled the racks at some of the finest retailers in America, including Bergdorf Goodman, Neiman Marcus and Stanley Korshak.
Anthony likes to remake the bags using his imagination, his knowledge and research on the history of accessories throughout different centuries. He remakes the bag with contemporary twists and attaches it to the vintage frame.
Participants in the Curatorial Exhibition will be gathered in five thematic groups: Metabolic Home, From Brick to Soil, Food and Geopolitics, the Archaeology of Architecture and Food Systems and the Future Food Deal. The exhibition
“Edible" at Estonian Museum of Architecture is open until November 20.
TAB 2022 is chosen as one of the TOP architecture events of 2022 by Dezeen and Archdaily .
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