It's been three months since Tess won the first prize
in the 2018 Redress Design Award.
Her prize was to design a sustainable collection for the label The R Collective,
and her mission to take it to market.
Now has she been able to do this?
Let's find out.
Hey guys! Hey Tess!
Hi!
This is so exciting!
Yeah it's insane.
Oh my God, so it's only been three months since you won
and already we're here at the photoshoot for your collection.
How has the journey been?
Pretty stressful, like there's been a lot of challenges but I've learnt so much.
- I'm sure. - So it's been a pretty full on three months.
The Redress Design Award 2018 with The R Collective goes to...
Tess Whitfort!
Tess won because her technique is very, very well done,
and also her style is very original.
I'm really excited about my journey ahead with The R Collective
and it will be so fantastic to have so much guidance on that journey
to making my first commercial collection, yeah.
Our last collection is in Lane Crawford.
Oh cool!
The next day, straight after the finals we had our first design meeting.
With The R Collective we are doing six capsule this year,
and yours is actually the first one.
The R Collective is started by Christina Dean who is also the owner of Redress
and it's a fashion label that is all about up-cycling.
What you doing today Christina?
I'm going to be a model.
I would say like the reason why we have to work extra hard
is because we really try to stay away from making waste look like waste.
It has to be like extra luxurious.
What's kind of your vision for this collection?
We are thinking about doing a six to seven piece collection.
We wanna make sure all the pieces could be mixed and matched
with the client's own wardrobe as well so nothing too crazy,
nothing too dated, definitely 'timeless' is our key.
I've always done more artistic, edgy kind of collections
so it's quite a different target audience.
So what's the timeline for this collection?
We are aiming to launch in February,
which means all the samples need to be done by November.
That's pretty tight, yeah that's a short timeline.
Yes.
I think it's going to be very challenging.
Oh she's got some hard brutal work to do,
she's gonna be working non-stop.
So I started designing while I was in Melbourne.
The starting point was thinking about ways of incorporating my style
with The R Collective brand.
So it's all about like streetwear,
in a refined wearable context.
I was communicating with The R Collective.
So I was emailing them sketches and then at the same time
we were looking at the textile waste that was available
and selecting things that were appropriate for the designs.
So my collection is being produced by TAL.
Most of the textile waste we are using is sourced from a factory in Bangkok,
like industry end-of-roll fabrics that other brands have over ordered
or have been left to move excess inventory.
so we're taking that and re-purposing it into something desireable.
So all of this is available textile waste?
Yes.
That one as well?
Yes, same.
The fashion industry produces an estimated
four hundred billion square metres of fabric every year
and for various reasons,
up to fifteen percent of this ends up
on the cutting room floor.
One of the main culprits is fabric left over
after the pattern is cut.
Zero waste design eliminates this problem
by creating a design and pattern
that uses a hundred percent of the fabric marker.
To do this a huge amount more thought and planning
is required at the design stage
as measurements must be exact.
This can be quite cool for the jumpsuit actually.
Do we know the width?
Fifty eight.
So that will work well because we need the width
to be the same to do the zero-waste pattern.
Yeah, that should be good.
Alright, what else have we got?
With the zero-waste pattern cutting
I think it requires working within parameters
that are set by the techniques and materials that are available.
I'm thinking about using this fabric for the pants.
It's got like a little bit of texture to it which is quite nice.
The content isn't ideal,
I like always prefer to use natural fibers
but working with textile waste
we kind of have to work with what we got.
This is cool. I like the colour.
Is this cotton?
- Yes. - Nice.
Do you think the consumer will like it?
It is a little bit rough,
but I think in like an oversized t-shirt it'll be ok.
Yeah, I think this will be really cool.
Ok we have some fabrics, that's a good start.
I only had a couple of weeks to actually design the collection.
I'm a fresh graduate!
I've never created a collection for manufacturing before
so I'm still quite worried that we weren't going to meet deadlines.
I did feel a little bit stressed.
The team from TAL came to us in Hong Kong
and we viewed the first samples.
We were kind of looking at the samples
and we were like 'oh they look fantastic!'.
Nice huh?
Yeah, super nice!
Trying them on the model,
and they were fitting really well.
I'm all about pockets!
But once we look at the pattern...
It's not zero-waste.
We realised that the samples were not zero-waste.
We actually opened up the markers
and realised that they've just conventionally pattern cut them
according to the sketch and the measurements that were provided.
Zero-waste is so new!
I think the factory just have a very systematic way of doing things.
They immediately, you know, think in their head like
'ok, how do I transform this sketch into a sample?'.
They don't expect you to give them how to draw the pattern.
So I think we need to go a bit more detail style by style.
Ok, so we need to cut where?
Where's the cutting point?
This should probably be a dotted line, that's a fold.
Ok, fold one.
You need to work on the pattern.
Because you don't give them more specific measurements
then it's very hard for them to work.
It's really difficult to alter conventional patterns to zero-waste.
You kind of have to start from zero again.
When I first arrived back in Bangkok,
I then created the whole zero-waste pattern marker
and did the whole layout with multiple sizes.
And I think from there they did understand the concept more
letting go of those sort of rigid rules that are usually applied to pattern cutting.
What did we change?
This wasn't zero-waste.
So we developed the zero-waste patterns,
we made it longer...
and now we're going to see it in the actual fabric.
Yeah, it's exciting.
The team at TAL turned out to be just like, so helpful.
Their sort of technical knowledge and ability to problem solve
was really valuable.
She said you can even do a flap for access
from the leftovers.
I think as long as we get the shell right,
then we can tailor the details.
Yeah, she gets it.
I think with the zero-waste technique,
it was something very new for them.
But once they get it it was a lot quicker than us doing it.
Can we cut, like, this on one of the one and a half yards,
and then this on the other?
Ah...
it can do, but very, very difficult.
They also use a lot of computers to do the calculation
which we don't know how to do,
so I think there's definitely an advantage there
of working with someone like TAL.
In just one week, it really turned around.
They've done a good job of that.
They've done a really good job.
The samples looked really good
and the zero-waste patterns were working
so I felt pretty good about it by the time we left.
Today we're doing the photoshoot for Tess's collection
because now the samples are done,
now is like, really thinking about how to market it.
It's nice to have lines because of the weave of the shirt.
With sustainable fashion,
the way you market it is different
because you have to explain the story behind each product.
That's good.
Yeah, perfect.
Yeah, these are cool.
Ok, change!
So what do you think about the collection?
I'm really happy with it.
It's kind of a product of the textile waste that we're working with,
the zero-waste patterns,
and combining my style with The R Collective.
- Yeah - So what we've ended up with is a good mix.
Yeah, that's good.
Yeah, I really like it!
I think it gives The R Collective aesthetic
and also puts a little bit of Tess in it.
Beautiful!
Very proud of it.
But to secure a buyer is very, very difficult.
The biggest thing I've learnt is
it's really important for us to actually integrate
sustainable techniques into the fashion industry as it is today,
rather than thinking of sustainable design as bit more of a niche.
We need to look at ways of making sustainable fashion profitable
and applicable to all aspects of the fashion industry.
We've now learnt how important it is for designers
and manufacturers to work together
to lessen the impact that fashion has on the environment,
and we as the consumers are the last piece of the puzzle,
and it's easy to get started!
We can swap clothes with our friends,
we can ask more questions to the brands we buy from,
we can invest in timeless pieces that
we'll love and cherish forever,
and of course we can support sustainable fashion designers
in their fight for a brighter future for fashion.
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