Virtually every clean energy record in the world has been broken in the past year. The most investment in clean energy ($329 billion in 2015), the most new renewable capacity (a third more than in 2014), the cheapest ever solar power (in Chile, where it’s half the cost of coal), the longest a country has been run entirely on renewable electricity – 113 days over this summer in Costa Rica.
The pace of the shift to a clean economy is astonishing. This year, half a million solar panels have been installed every day, while China has erected two wind turbines an hour. Wind farms off Denmark, solar farms in Morocco, wave farms off Scotland – everywhere you look, an unparalleled global effort is taking place, one that dwarfs the achievements of the space race.
Nevertheless, the scale of the problem is immense. Even as Barack Obama was announcing the ratification of the historic Paris Agreement on climate change, which aims to hold global temperatures to no more than two degrees above pre-industrial levels, he had to concede, ‘Even if we meet every target embodied in the agreement, we’ll only get to part of where we need to go.’ This is also the first year in which global CO2 levels crossed the symbolic 400ppm threshold.
Never before has our species contemplated a task so vast: to change the composition of the air itself. And when the history of this great green leap comes to be written, it will presumably be told as a story of technologists, of activists, of Elon Musks saving the world from itself. But in fact no greater part is being played than by government, the only kind of institution we have evolved that can co-ordinate an effort of this magnitude, and that is ultimately responsible for doing so.
Jigar Shah, founder of the global clean energy company SunEdison and more recently of investment firm Generate Capital, put it like this: ‘When you think about the spread of technology like the iPhone, it didn’t really replace anything. It wasn’t something that people even considered they needed till they got it. It was greenfield. But clean energy is providing the exact same service you’ve relied on for a hundred years: kilowatt hours. So, how do we get to 100% clean energy? The only answer is government regulation.’
Slow Fashion is not your typical seasonal fashion trend, it is a movement that is steadily gaining momentum and is likely here to stay...
Today’s mainstream fashion industry relies on globalised, mass production where garments are transformed from the design stage to the retail floor in only a few weeks. With retailers selling the latest fashion trends at very low prices, consumers are easily swayed to purchase more than they need. But this overconsumption comes with a hidden price tag, and it is the environment and workers in the supply chain that pay.
The fashion industry is contributing to today’s sustainability challenge in a number of ways. It currently uses a constant flow of natural resources to produce ‘Fast Fashion’ garments. In the way it operates, this industry is constantly contributing to the depletion of fossil fuels, used, for example, in textile & garment production and transportation. Fresh water reservoirs are also being increasingly diminished for cotton crop irrigation. The fashion industry is also introducing, in a systematic way and in ever-greater amounts, manmade compounds such as pesticides and synthetic fibres, which increase their persistent presence in nature.
As a result, some natural resources are in jeopardy and forests and ecosystems are being damaged or destroyed for such things as fibre production, leading to issues such as droughts, desertification and not least, climate change, that are affecting society at large.
To visualise the sustainability challenge of today’s fashion industry, the funnel metaphor is used to demonstrate the consumption behaviour of the larger fashion industry, including consumers. If this keeps increasing at the current rate, the impact on the social and ecological environment will also increase. This leads to a very limited space for the industry to handle these impacts in the future and resolve the issues society is facing today. This is symbolised by the sloping walls of the funnel.
Using this metaphor we can draw the conclusion that if we do not want to ‘hit the narrowing walls of the funnel,’ we must re-design the current unsustainable practices in society, including the fashion industry. This change, if achieved, is likely to result in a gradual return to equilibrium, where societal behaviour is not in conflict with natural resources, and the fashion industry can carry on without compromising the health of the people and our planet.
Slow Fashion represents all things “eco”, “ethical” and “green” in one unified movement. It was first coined by Kate Fletcher, from the Centre for Sustainable Fashion, when fashion was compared to the Slow Food experience. Carl Honoré, author of “In Praise of Slowness”, says that the ‘slow approach’ intervenes as a revolutionary process in the contemporary world because it encourages taking time to ensure quality production, to give value to the product, and contemplate the connection with the environment.
For Slow Fashion to emerge as a sustainable fashion model, a team of three researchers from the Master’s in Strategic Leadership towards Sustainability programme in Sweden have recommended that “Slow Fashion Values” be used to guide the entire supply chain. They looked closely at the positive actions that were happening and also turned to the food, design and agriculture industries for inspiration.
The values are not meant to be a one-size fits all solution, but they can encourage creativity and be adapted. They are intended to spark a conversation with designers, manufactures, retailers and others in the Slow Fashion movement about who they are, where they are going and how their actions can have a greater impact.
1. Seeing the big picture:
Slow Fashion producers recognise that they are all interconnected to the larger environmental and social system and make decisions accordingly. Slow Fashion encourages a systems thinking approach because it recognises that the impacts of our collective choices can affect the environment and people.
2. Slowing down consumption:
Reducing raw materials by decreasing fashion production can allow the earth’s regenerative capabilities to take place. This will alleviate pressure on natural cycles so fashion production can be in a healthy rhythm with what the earth can provide.
Slow Fashion producers strive to maintain ecological, social and cultural diversity. Biodiversity is important because it offers solutions to climate change and environmental degradation. Diverse and innovative business models are encouraged; independent designers, larger fashion houses, second-hand, vintage, recycled, fashion leasing, your local knitting club and clothing swaps are all recognised in the movement. Keeping traditional methods of garment & textile making and dyeing techniques alive also gives vibrancy and meaning to what we wear and how it was made.
4. Respecting People:
Participating in campaigns and codes of conduct can help to secure the fair treatment of workers. Some brands have joined the Asian Floor Wage Alliance, Ethical Trading Initiative, and the Fair Wear Foundation, among others. Labels are also supporting local communities by offering skill development and helping them to trade, such as Toms Shoes and Banuq.
5. Acknowledging human needs:
Designers can meet human needs by co-creating garments and offering fashion with emotional significance. By telling the story behind a garment or inviting the customer to be part of the design process, the needs of creativity, identity and participation can be satisfied.
6. Building relationships:
Collaboration and co-creation ensure trusting and lasting relationships that will create a stronger movement. Building relationships between producers and co-producers is a key part of the movement.
Slow Fashion brands focus on using local materials and resources when possible and try to support the development of local businesses and skills.
8. Maintaining quality and beauty:
Encouraging classic design over passing trends will contribute to the longevity of garments. A number of Slow Fashion designers are ensuring the longevity of their clothing by sourcing high quality fabrics, offering traditional cuts and creating beautiful, timeless pieces.
Slow Fashion producers need to sustain profits, and increase their visibility in the market to be competitive. Prices are often higher because they incorporate sustainable resources and fair wages.
10. Practicing Consciousness:
This means making decisions based on personal passions, an awareness of the connection to others and the environment, and the willingness to act responsibly. Within the Slow Fashion movement, many people love what they do, and aspire to make a difference in the world in a creative and innovative way.
Nike announced today it has entered a strategic partnership with DyeCoo Textile Systems B.V., a Netherlands-based company that has developed and built the first commercially available waterless textile dyeing machines.
Details of the partnership -- such as the amount of textiles that Nike will convert from water-dyeing to the waterless technology as well as the pace of that conversion -- have yet to be determined.
But the potential impact of the world's largest sporting goods company adopting waterless dyeing process is huge.
Last year, Nike was among several apparel companies that entered an agreement with Greenpeace to end textile-dyeing practices that have been blamed for endangering water supplies worldwide, especially in China and the rest of Asia.
Conventional textile dyeing requires substantial amounts of water. On average, an estimated 100-150 liters of water is needed to process one kg of textile materials.
Industry analysts estimate that more than 39 million tons of polyester will be dyed annually by 2015. At present, DyeCoo's technology is limited to dying polyester, though research is underway to add cotton and other natural and synthetic products to the waterless mix, Eric Sprunk, Nike's vice president of merchandising and product., said in an interview with The Oregonian.
The preindustrial method of linen production hasn`t changed in centuries. Though over the last hundred years we`ve developed machines that complete the task of harvesting, retting and dressing flax, these processes damage the delicate fibres such that finest linens are still manufactured almost entirely by hand. Because the process is still so laborious, even mechanised production actually requires a great deal more handwork than other mass industrially-produced textiles like cotton and rayon.
This is how the process looks like today :
PLANTINGPlanted between March 15th and April 15th, the seed takes 100 days to grow and reach 1 meter when it flowers.FLOWERINGJune - though the Linen flower only lives a few hours atop its supple stem, all flowers in a field do not bloom on the same day; This is what gives the landscape a delicate blue-ish colour for a few weeks, moving like an Impressionist sea in the wind.
RETTINGSCUTCHINGThe second phase for mechanically transforming the plant into fibres: to use the linen fibres which surround the central wood like skin, it is necessary to separate them. Scutching, a specialised mechanical process, includes shelling, stretching, grinding and treshing. The sunny, sensual fragrances of cut grass and warm bread float in the air.COMBINGCombing is the preparation for spinning, a homogenization of fibres into soft, lustrous ribbons like blond hair.
Untangle, regularised, stretch, thread fibres. The metric number (Mn) corresponds to the number of kilometres of yarn, made out of 1 kilogram of fibre. The higher the figure, the thinner the yarn.
WEAVINGWeaving is the process in which the flax threads are interlaced to form the linen fabric. On a loom, or frame, the length-wise threads known as the warp are fixed under tension while another thread is woven through the warp which is called the weft. The warp threads are separated and the weft is carried through them on a shuttle. Linen can be developed in serge, herringbone, glen plaids, double-weaves, velvet, floating yarns, gauze, satin...