Category Archives: fashion

Fashion, sustainability, and the protein threads that bind textiles and cosmetics

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I’m starting with a somewhat enthusiastic overview of the role synthetic biology is playing in the world of clothing and cosmetics in The Scientist and following it up with some stories about fish leather, no synthetic biology involved but all of these stories are about sustainability and fashion and, in one case, cosmetics.

Fashionable synthetic biology

Meenakshi Prabhune’s June 14, 2024 article in The Scientist, in addition to the overview, provides information that explains how some of the work on textiles and leather is being used in the production of cosmetics. She starts with a little history/mythology and then launches into the synthetic biology efforts to produce silk and leather suitable for consumer use, Note: Links have been removed,

Once upon a time, circa 2700 BC in China, empress Xi Ling Shi was enjoying her afternoon tea under a mulberry tree, when a silkworm cocoon fell from the tree into her tea. She noticed that on contact with the hot beverage, the cocoon unraveled into a long silky thread. This happy accident inspired her to acquire these threads in abundance and fashion them into an elegant fabric. 

So goes the legend, according to the writings of Confucius, about the discovery of silk and the development of sericulture in ancient China. Although archaeological evidence from Chinese ruins dates the presence of silk to 8500 years ago, hinting that the royal discovery story was spun just like the silk fabric, one part of the legend rings true.1 The Chinese royals played a pivotal role in popularizing silk as a symbol of status and wealth. By 130 BC, emperors in the Ancient Civilizations across the world desired to be clad in silken garments, paving the Silk Road that opened trade routes from China to the West. 

While silk maintained its high-society status over the next thousands of years, the demand for easy-to-use materials grew among mass consumers. In the early 20th century, textile developers applied their new-found technological prowess to make synthetic materials: petrochemical-based polymer blended textiles with improved durability, strength, and convenience. 

…

In their quest to make silk powerful again, not by status but rather by thread strength, scientists turned to an arachnoid. Dragline silk, the thread by which the spider hangs itself from the web, is one of the strongest fibers; its tensile strength—a measure of how much a polymer deforms when strained—is almost thrice that of silkworm silk.2 

Beyond durable fashion garments, tough silk fibers are coveted in parachutes, military protective gear, and automobile safety belts, among other applications, so scientists are keen to pull on these threads. While traditional silk production relies on sericulture, arachnophobes can relax: spider farms are not a thing.

“Spiders make very little silk and are quite territorial. So, the only way to do it is to make microbes that make the protein,” said David Breslauer, cofounder and chief technology officer at Bolt Threads, a bio apparel company. 

For decades, researchers have coaxed microbes into churning their metabolites in large fermentation tanks, which they have harvested to solve dire crises in many areas. For instance, when pharmaceuticals struggled to meet the growing demand for insulin through the traditional methods of extraction from animal pancreas, researchers at Genentech sought the aid of E. coli to generate recombinant insulin for mass production in 1978.3  [emphases mine]

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Prabhune’s June 14, 2024 article notes some difficulties with spider silk, Note: Links have been removed,

… researchers soon realized that producing spider silk in microbes was no easy feat. The spider silk protein, spidroin, is larger than 300 kDa in size—a huge jump from the small 6 kDa recombinant insulin. Bulky proteins impose a heavy metabolic load on the microbes and their production yield tanks. Also, spidroin consists of repeating regions of glycine and alanine amino acids that impart strength and elasticity to the material, but the host microbes struggle with protein folding and overexpression of the corresponding tRNA molecules.4  

…

… researchers had gotten close, but they hadn’t been able to synthesize the full spidroin protein. Since the molecular weight of the silk protein correlates with the strength of the silk thread, Zhang [Fuzhong Zhang, a synthetic biologist at Washington University in St. Louis] was determined to produce the entire protein to mimic the silk’s natural properties.5

To achieve this goal without pushing the metabolic limits of the bacteria, Zhang and his team literally broke down the problem. In 2018, they devised a recombinant spidroin by constructing two protein halves with split inteins—peptides known to catalyze ligation between proteins while splicing out their own residues—tagged at their ends. They synthesized the halves in separate E. coli cultures, mixed the two cultures, and ligated the proteins to yielded a recombinant spidroin of 556 kDa—a size that was previously considered unobtainable.6 The resulting silk fiber made from these recombinant spidroins matched the mechanical properties of natural spider silk fiber.

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While synthesizing the high molecular weight protein validated their technical prowess and strategy, Zhang knew that the yield with this approach was going to be unavoidably low. “It was not even enough to make a simple shirt,” he said.

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Zhang and his team did solve the problem of getting a higher yield but that led to another problem, from Prabhune’s June 14, 2024 article,

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Breslauer echoed the importance of this step. He recalled how scaling up was the biggest challenge when he and his cofounder Dan Widmaier, chief executive officer at Bolt Threads, first set up shop in 2009. The duo met during their graduate studies. Breslauer, a material science student at the University of California, Berkeley, was fascinated by spider silk and sought help for synthesizing the protein in microbes. Luckily, he met Widmaier, a synthetic biology graduate student who was optimizing systems to study complex proteins.

When their collaboration to produce recombinant spider silk proteins in yeast yielded promising results, the duo decided to challenge the status quo in the textile industry by commercially producing bio-silk apparel, and Bolt Threads was born. The market transition, however, was not as smooth as the threads they produced. 

“There was so little innovation in the textile space, and brands were really eager to talk about innovation. It felt like there was demand there. Turns out, the desire for storytelling outweighed the desire for actual innovation with those brands,” Breslauer said. “We didn’t realize how adverse [sic] people were going to be to the idea because it was so unfamiliar.”

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Prabhune’s June 14, 2024 article also covers leather and cosmetics, Note: Links have been removed,

David Williamson, a chemist and the chief operations officer at Modern Meadow and his team wanted to separate themselves from the herd. In their quest for sustainable alternatives, they went back to the basic biology and chemistry of the material. As leather is made from animal skin, it is rich in collagen, a structural protein abundant in the extracellular matrix of connective tissues. If the team could produce this primary component protein at scale, they would be able to process it into leather downstream. 

In about 2017, Williamson and his team developed a fermentation-based approach to produce collagen from yeast. While they achieved scalable production, there was one small hiccup. The protein properties of collagen alone did not yield the mechanical properties they needed for their leather-like material. 

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The team went to the drawing board and analyzed the amino acid residues that contributed to collagen’s characteristics to look for a substitute protein. They found an alternative that had the desirable functional elements of collagen but was also sustainable and cost effective for industrial scale up: soy protein isolate. While tinkering with their recipes, they found the perfect combination for material strength by mixing in a bio-based polyurethane polymer with the protein to yield a refined bioalloy called Bio-VERA. 

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As natural textiles are derived from animal skin, hair, or proteins, it is no surprise that many synthetic biologists in the textile space have also found a niche in cosmetics. Even as the Modern Meadow team transitioned away from their protein fermentation strategies to innovate Bio-VERA, they realized that they could still apply their expertise in skincare. While leathery is not an adjective one desires to associate with skin, collagen is an integral component in both. “When our bodies make collagen and build our extracellular matrices, one of the first proteins that they deposit is type three collagen. So, you can think of type three collagen almost like the structure or scaffold of a building,” explained Williamson.

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To cater to the increasing demand for solutions to achieve younger looking skin, Williamson and his team engineered a recombinant collagen type three protein containing part of the protein sequence that is rich in binding domains for fibroblast interactions.9,10  “After you expose the extracellular matrix to this protein, it stimulates the fibroblasts to make more type three collagen. That type three collagen lays down type one collagen and elastin and fibronectin in a way that actually helps to turn back time, so to speak, to increase the ratio of type three collagen relative to type one collagen,” Williamson said. 

The Modern Meadow team are not the only ones to weave their textile strands into cosmetic applications. When Artur Cavaco-Paulo, a biological engineer at the University of Minho [Portugal], was studying wool fibers, he was struck by their structural similarities to human hair. “We decided that it would be a really good idea to transfer some of the knowledge that we had in wool textiles to human hair,” said Cavaco-Paulo. Particularly, he was interested in investigating solutions to fix hair strands damaged by highly alkaline chemical products. 

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Over the next few years, Cavaco-Paulo developed […] shortlisted peptides into the K18 peptide product, which is now part of a commercially available leave-in conditioner. Cavaco-Paulo serves as the chief scientific officer at the biotech company K18. 

Although he started his career with textile research, Cavaco-Paulo favors the cosmetics sector with regards to returns on research and technology investment. “The personal care market is much more accustomed to innovation and has a much better and more fluid pipeline on innovation,” seconded Breslauer. “Whereas, [in] apparel, you really have to twist arms to get people to work with your material.” Bolt Threads ventured into the personal care space when Breslauer and his team serendipitously stumbled upon an alternative use for one of their textile proteins. 

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While it’s not mentioned in Prabhune’s June 14, 2024 article, sustainability is mentioned on two of the company websites,

Bolt Threads

Bolt Threads is a material solutions company. With nature as our inspiration, we invent cutting-edge materials for the fashion and beauty industries to put us on a path toward a more sustainable future.

Through innovative collaborations with world-class brands and supply chain partners, we are on a mission to create way better materials for a way better world. Join us.

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Modern Meadow

Modern Meadow is a climate-tech pioneer creating the future of materials through innovations in biology and material science.

​Our bio-materials technology platform with nature-inspired protein solutions delivers better performance, sustainability, scalability, and cost while reducing reliance on petrochemical and animal-based inputs.​

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K18 has not adopted a ‘sustainability’ approach to marketing its hair care products.

Sustainability without synthetic biology: fish leather

In a January 3, 2022 posting I featured fish leather/skin in a story about the “Futures exhibition/festival” held at the Smithsonian Institute from November 20, 2021 to July 6, 2022.

Before getting to Futures, here’s a brief excerpt from a June 11, 2021 Smithsonian Magazine exhibition preview article by Gia Yetikyel about one of the contributors, Elisa Palomino-Perez (Note: A link has been removed),

Elisa Palomino-Perez sheepishly admits to believing she was a mermaid as a child. Growing up in Cuenca, Spain in the 1970s and ‘80s, she practiced synchronized swimming and was deeply fascinated with fish. Now, the designer’s love for shiny fish scales and majestic oceans has evolved into an empowering mission, to challenge today’s fashion industry to be more sustainable, by using fish skin as a material.

Luxury fashion is no stranger to the artist, who has worked with designers like Christian Dior, John Galliano and Moschino in her 30-year career. For five seasons in the early 2000s, Palomino-Perez had her own fashion brand, inspired by Asian culture and full of color and embroidery. It was while heading a studio for Galliano in 2002 that she first encountered fish leather: a material made when the skin of tuna, cod, carp, catfish, salmon, sturgeon, tilapia or pirarucu gets stretched, dried and tanned.

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The history of using fish leather in fashion is a bit murky. The material does not preserve well in the archeological record, and it’s been often overlooked as a “poor person’s” material due to the abundance of fish as a resource. But Indigenous groups living on coasts and rivers from Alaska to Scandinavia to Asia have used fish leather for centuries. Icelandic fishing traditions can even be traced back to the ninth century. While assimilation policies, like banning native fishing rights, forced Indigenous groups to change their lifestyle, the use of fish skin is seeing a resurgence. Its rise in popularity in the world of sustainable fashion has led to an overdue reclamation of tradition for Indigenous peoples.

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Brendan Jones provides an update of sorts in his Alaska-forward take in his February 22, 2024 article “Fish Leather Is Incredibly Strong and Beautiful. Can Makers ‘Scale Up’? Meet artisans in Alaska and BC who are sustaining, and advancing, an ancient art.” for The Tyee,

Fish leather artist June Pardue began her journey into the craft not knowing where to start. Which was a problem, considering that she had been given the job of demonstrating for tourists how to tan fish skin at the Alaska Native Heritage Center in Anchorage. “I couldn’t find anyone to teach me,” Pardue said with a laugh.

“One day a guy from Mississippi noticed me fumbling around. He kindly waited until everyone had left. Then he said, ‘Do you want me to share my grandpappy’s recipe for tanning snake skins?’”

His cocktail of alcohol and glycerin allowed her to soften the skins — as tourists looked on — for future use in clothing and bags. This worked fine until she began to grow uncomfortable dumping toxins down the drain. Now she uses plant-based tannins like those found in willow branches after the season’s first snowmelt. She harvests the branches gingerly, allowing the trees to survive for the next generation of fish tanners.

Pardue, who teaches at the University of Alaska, was born on Kodiak Island, off the southern coast of the state, in Old Harbor village. Alutiiq and Iñupiaq, she was raised in Akhiok, population about 50, and Old Harbor.

Following her bumpy start at the heritage center, Pardue has since gone on to become one of Alaska’s and Canada’s most celebrated instructors and practitioners in the field of fish leather, lighting the way for others in Alaska and Canada.

Among the people Pardue has advised is CEO and founder of 7 Leagues tannery Tasha Nathanson, who is based in Vancouver. She met with Pardue to share her idea of creating a business built on making fish leather into boots and other items for a large customer base.

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Before making her move to open a business, Nathanson spent a year running the numbers, she said. In 2022, the global fish leather market was valued at US$36.22 million. As fish tanneries open their doors and fashion houses take notice, the number is expected to grow 16 per cent annually, topping $100 million by 2030.

“Salmon certainly don’t come to mind when you think of tanning, but people are catching on,” said Judith Lehmann, a Sitka-based expert in fish leather, who took Pardue’s class. (The Tyee reached Lehmann in Panama, where she was experimenting with skins of bonito and mahi mahi.)

Growing numbers of buyers are willing to pay for not only the beauty but also the remarkable durability fish leather can offer. California-based eco-fashion designer Hailey Harmon’s company Aitch Aitch sells the Amelia, a teal backpack made of panelled salmon leather, for $795.

One company in France has started to collect fish skins from restaurants — material that would otherwise end up in trash cans — to make luxury watch bands and accessories. Designers like Prada, Louis Vuitton and Christian Dior have incorporated fish leather into their lines. Even Nike introduced running shoes made of perch skin.

Whether they know it or not, today’s trendsetters are rooted in ancient history. “People have been working with fish skins for thousands of years,” Pardue said. “Ireland, Iceland, Norway, China, Japan — it’s an age-old practice.”

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“On a molecular level, fibres in fish leather are cross-hatched, as opposed to cow leather, which is just parallel,” Nathanson explained. “So, pound for pound, this leather is stronger, which is great for shoes. And it’s more available, and eco-conscious. It’s a win across the board.”

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Jones’s February 22, 2024 article has some wonderful embedded pictures and Beth Timmins’s May 1, 2019 article for the BBC (British Broadcasting Corporation), while a little dated, offers more information about the international scene.

Synthetic biology is a scientific practice that I find disconcerting at times. That said, I’m glad to see more work on sustainable products however they are derived. On that note I have a couple of recent stories:

  • “Three century long development of a scientific idea: body armor made from silk” is the title of my July 11, 2024 posting
  • “Grown from bacteria: plastic-free vegan leather that dyes itself” is the title of my June 26, 2024 posting

Enjoy!

Grown from bacteria: plastic-free vegan leather that dyes itself

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Interesting rather than aesthetiically pleasing,

Caption: Bacteria grown and dyed shoe. Credit; Tom Ellis/Marcus Walker/Imperial College London

An April 3, 2024 news item on phys.org announces this latest example of bacterial footwear,

Researchers at Imperial College London have genetically engineered bacteria to grow animal- and plastic-free leather that dyes itself.

In recent years, scientists and companies have started using microbes to grow sustainable textiles or to make dyes for industry—but this is the first time bacteria have been engineered to produce a material and its own pigment simultaneously.

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An April 3, 2024 Imperial College London (ICL) press release (also on EurekAlert) by Caroline Brogan, which originated the news item, delves further into the research, Note: Links have been removed,

Synthetic chemical dyeing is one of the most environmentally toxic processes in fashion, and black dyes – especially those used in colouring leather – are particularly harmful. The researchers at Imperial set out to use biology to solve this.

In tackling the problem, the researchers say their self-dyeing vegan, plastic-free leather, which has been fashioned into shoe and wallet prototypes, represents a step forward in the quest for more sustainable fashion.

Their new process, which has been published in the journal Nature Biotechnology, could also theoretically be adapted to have bacteria grow materials with various vibrant colours and patterns, and to make more sustainable alternatives to other textiles such as cotton and cashmere.

Lead author Professor Tom Ellis, from Imperial College London’s Department of Bioengineering, said: “Inventing a new, faster way to produce sustainable, self-dyed leather alternatives is a major achievement for synthetic biology and sustainable fashion.

“Bacterial cellulose is inherently vegan, and its growth requires a tiny fraction of the carbon emissions, water, land use and time of farming cows for leather.

“Unlike plastic-based leather alternatives, bacterial cellulose can also be made without petrochemicals, and will biodegrade safely and non-toxically in the environment.”

Designer collaboration

The researchers created the self-dyeing leather alternative by modifying the genes of a bacteria species that produces sheets of microbial cellulose – a strong, flexible and malleable material that is already commonly used in food, cosmetics and textiles. The genetic modifications ‘instructed’ the same microbes that were growing the material to also produce the dark black pigment, eumelanin.

They worked with designers to grow the upper part of a shoe (without the sole) by growing a sheet of bacterial cellulose in a bespoke, shoe-shaped vessel. After 14 days of growth wherein the cellulose took on the correct shape, they subjected the shoe to two days of gentle shaking at 30°C to activate the production of black pigment from the bacteria so that it dyed the material from the inside.

They also made a black wallet by growing two separate cellulose sheets, cutting them to size, and sewing them together.

As well as the prototypes, the researchers demonstrated that the bacteria can be engineered using genes from other microbes to produce colours in response to blue light. By projecting a pattern, or logo, onto the sheets using blue light, the bacteria respond by producing coloured proteins which then glow.

This allows them to project patterns and logos onto the bacterial cultures as the material grows, resulting in patterns and logos forming from within the material. 

Co-author Dr Kenneth Walker, who conducted the work at Imperial College London’s Department of Bioengineering and now works in industry, said: “Our technique works at large enough scales to create real-life products, as shown by our prototypes. From here, we can consider aesthetics as well as alternative shapes, patterns, textiles, and colours.

“The work also shows the impact that can happen when scientists and designers work together. As current and future users of new bacteria-grown textiles, designers have a key role in championing exciting new materials and giving expert feedback to improve form, function, and the switch to sustainable fashion.”

Greener clothes

The research team are now experimenting with a variety of coloured pigments to use those that can also be produced by the material-growing microbes.

The researchers and collaborators have also just won £2 million in funding from Biotechnology and Biological Sciences Research Council (BBSRC), part of UK Research and Innovation (UKRI), to use engineering biology and bacterial cellulose to solve more of fashion’s problems, such as the use of toxic chromium in leather’s production lines.

Professor Ellis said: “Microbes are already directly addressing many of the problems of animal and plastic-based leather, and we plan to get them ready to expand into new colours, materials and maybe patterns too.

“We look forward to working with the fashion industry to make the clothes we wear greener throughout the whole production line.”

The authors worked closely with Modern Synthesis, a London-based biodesign and materials company, who specialise in innovative microbial cellulose products.

This work was funded by Engineering and Physical Sciences Research Council and BBSRC, both part of UKRI.

Here’s a link to and a citation for the paper,

Self-pigmenting textiles grown from cellulose-producing bacteria with engineered tyrosinase expression by Kenneth T. Walker, Ivy S. Li, Jennifer Keane, Vivianne J. Goosens, Wenzhe Song, Koon-Yang Lee & Tom Ellis. Nature Biotechnology (2024) DOI: https://doi.org/10.1038/s41587-024-02194-3 Published: 02 April 2024

This paper is open access.

Modern Synthesis, the company with which the researchers collaborated, can be found here.

Interweave: A multi-sensory show (March 21, 2024 in Vancouver, Canada) where fashion, movement, & music come together though wearable instruments.

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Interweave is a free show at The Kent in the gallery in downtown Vancouver, Canada. Here’s more from a Simon Fraser University (SFU) announcement (received via email),

SFU School for the Contemporary Arts (SCA) alumnus, Kimia Koochakzadeh-Yazdi, is hosting Interweave, a multi-sensory show where fashion, movement, and music come together though wearable instruments.

Embrace the fusion of creativity and expression alongside your fellow alumni in a setting that celebrates innovation and the uncharted synergy between fashion, music, and movement. This is a great opportunity to mingle and reconnect with your peers.

Event Details:

Date: March 21, 2024
Time: Doors 7:30pm, Show 8:00pm
Location: The Kent Vancouver, 534 Cambie Street
Free Entry, RSVP required

Interweave is the first event from Fashion x Electronics (FXE), a collective created by Kimia Koochakzadeh-Yazdi, SCA alumnus, composer, and performer, and designer Kayla Yazdi. FXE is an interdisciplinary collective that is building multi-sensory experiences for their community, bridging together a diverse range of disciplines.

This is a 19+ event. ID will be checked at the door.

RSVP Now!

I wasn’t able to discern much more about the event or the Yazdi sisters from their Fashion x Electronics (FXE) website but there is this about Kayla Yazdi on her FXE profile,

Kayla Yazdi

Designer / Co-Producer

Kayla Yazdi is an Iranian-Canadian designer based in Vancouver, Canada. Her upbringing in Iran immersed her in a world of culture, art, and color. Holding a diploma in painting and a bachelor’s degree in design with a specialization in fashion and technology, Kayla has cultivated the skill set that merges her artistic sensibilities with innovative design concepts.

Kayla is dedicated to the creation of “almost” zero-waste garments. With design, technology, and experimentation, Kayla seeks to minimize environmental impacts while delivering unique styles.

Kimia Koochakzadeh-Yazdi’s FXE profile has this,

Kimia Koochakzadeh-Yazdi

Sound Artist / Co-Producer

Kimia Koochakzadeh-Yazdi(b. 1997 Tehran, Iran) is a California/Vancouver-based composer and performer. She writes for hybrid instrumental/electronic ensembles, creates electroacoustic and audiovisual works, and performs electronic music. Kimia explores the unfamiliar familiar while constantly being driven by the concepts of motion, interaction, and growth in both human life and in the sonic world. Being a cross-disciplinary artist, she has actively collaborated on projects evolving around dance, film, and theatre. Kimia’s work has been showcased by organizations such as Iranian Female Composer Association, Music on Main, Western Front, Vancouver New Music, and Media Arts Committee. She has been featured in The New York Times, Georgia Straight, MusicWorks Magazine, Vancouver Sun, and Sequenza 21. Her work has been performed at festivals around the world including Ars Electronica Festival, Festival Ecos Urbanos, Tehran Contemporary Sounds, AudioVisual Frontiers Virtual Exhibition, The New York City Electroacoustic Music Festival, Yarn/Wire Institute, Ensemble Evolution, New Music on the Point, wasteLAnd Summer Academy, EQ: Evolution of the String Quartet, Modulus Festival, and SALT New Music Festival. She holds a BFA in Music Composition from Simon Fraser University’s Interdisciplinary School for the Contemporary Arts, having studied with Sabrina Schroeder and Mauricio Pauly. Kimia is currently pursuing her DMA in Music Composition at Stanford University.

For more details about the sisters and the performance, Marilyn R. Wilson has written up a February 21, 2024 interview with both sisters for her Olio blog,

Can you share a little bit about your background, the life, work, experiences that led you to who you are today?
Kayla: I’m a visual artist with a focus on fashion design, and textile development. I like to explore ways to create wearable art with minimal waste produced in the process. I studied painting at Azadehgan School of Art in Iran and fashion design & technology at Wilson School of Design in Vancouver. My interest in fashion is rooted in creating functional art. I enjoy the business aspect of fashion however, I want to push boundaries of how fashion can be seen as art rather than solely as production.

Kimia: I’m a composer of acoustic and electronic music, I perform and build instruments, and a lot of times I combine these components together. Working with various disciplines is also an important part of my practice. I studied piano performance at Tehran Music School before moving to Vancouver to study composition at Simon Fraser University. I am currently a doctorate candidate in music composition at Stanford University. I love electronic music, food, and sports! My family, partner, and friends are a huge part of my life!

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You have your premier event called “Interweave” coming up on March 21st at The Kent Gallery in Vancouver. What can guests attending expect this evening?

Kayla & Kimia: Interweave is a multidisciplinary performance that bridges fashion, music, technology, and dance. Our dancers will be performing in garments designed by Kayla, that are embedded with microcontrollers and sensors developed by Kimia. The dancers control various musical parameters through their movements and their interaction with the sensors that are incorporated within the garments. Along with works for movement and dance, there will be a live electronic music performance made for costume-made instruments. So far we have received an amazing amount of support and RSVP’s from the art industry in Vancouver and look forward to welcoming many local creative individuals.

We’d love to know about the team of professionals who are working hard to create this unique experience. 

Kayla & Kimia: We are working with the amazing choreographers/dancers Anya Saugstad and Daria Mikhailiuk. We are thankful for Laleh Zandi’s help for creating a sculpture for one of our instruments which will be performed by Kimia. Celeste Betancur and Richard Lee have been our amazing audio tech assistants. We are very appreciative of everyone involved in FXE’s premiere and can’t wait to showcase our hard work.

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I have a bit more about Kimia Koochakzadeh-Yazdi and her work in music from a February 27, 2024 profile on the SFU School for the Contemporary Arts website, Note: Links have been removed,

Please introduce yourself.

I’m a composer of acoustic and electronic music, I perform and build instruments, and a lot of times, I combine these components together. Working with various disciplines is also an important part of my practice. I studied piano performance at Tehran Music School before moving to Vancouver to study composition at Simon Fraser University, graduating from the SCA in 2020. I am currently a doctoral student in music composition at Stanford University, where I spend most of my time.

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Tell us about your current studies.

I’m in the third year of the DMA (Doctor of Musical Arts) program at Stanford University. I do the majority of my work at the Center for Computer Research in Music and Acoustics (CCRMA). I’m currently trying to learn and to experiment as much as possible! The amount of resources and ideas that I have been exposed to during the last couple of years has been quite significant and wonderful. I have been taking courses in subjects that I never thought I would study, from classes in the computer science and the mechanical engineering departments, to ones in education and theatre. I’m grateful to have been given a supportive platform to truly experiment and to learn.

As for my compositions, they are more melodic than before, and that currently makes me happy. I have started to perform more again (piano and electronics), and it makes me question: why did I ever stop…?

…

Koochakzadeh-Yazdi’s mention of building instruments reminded me of Icelandic musician, Bjork and Biophilia, which was an album, various art projects, and a film (Biophilia Live), which featured a number of musical instruments she created.

Getting back to Interweave, it’ s on March 21, 2024 at The Kent, specifically the gallery, which has,

… 14 foot ceilings boasts 50 track lights with the ability to transform the vacuous hall from candlelight to daylight. The lights are fully dimmable in an array of playful hues, according to your whim.   A full array of DMX Lighting and control systems live alongside the track light system and our recently installed (Vancouvers only) immersive projection system [emphasis mine] is ready for your vision.  This is your show.

I wonder if ‘multi-sensory’ includes an immersive experience.

Don’t forget, you have to RSVP for Interweave, which is free.

Fine watchmaking and nanotechnology team up again

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An article by Annie Darling focused on watchmaking and the influence an emerging technology (nanotechnology) can have on this well established field was making the rounds not too long ago (March 6, 2023 on SCMP and March 7, 2023 on Luxury Launches), Note: Links have been removed,

Ever since spring-powered clocks were developed in 15th century Europe, watchmakers have strived to advance the science behind haute horlogerie. First, the mainspring was brainstormed as a mechanism for powering a clock. This apparatus stopped the cracking and weakening of a timepiece’s movement so it could withstand numerous cycles.

Next came the balance wheel, which ensures that movements are able to keep regular time, invented in the mid-17th century by Dutch mathematician and all-round know-it-all Christiaan Huygens. And, of course, any collector worth their salt knows about Abraham-Louis Breguet’s tourbillon that rotates a timepiece’s movement to counter the negative effect of Earth’s gravity.

A lot has changed in the years since, with improved materials and methods allowing for increased miniaturisation, precision and reliability. Now, another wave of innovation is breaking over the field of watchmaking: nanotechnology, the study and manipulation of matter on a near-atomic scale to produce novel structures and materials.

…

Now watchmakers are starting to take notice, with Hermès incorporating nanotechnology into its novelties for 2023. The Crepuscule – “dusk” in French – is the new iteration of the brand’s emblematic Cape Cod watch. Designed by artist Thanh Phong Lê, the dial features a pensive piece of graphic art depicting a setting sun reflected in water.

One of Switzerland’s leading silicon experts, the Swiss Center for Electronics and Microtechnology, was commissioned to complete the dial, shaped using a silicon wafer just 0.5mm thick. To reach the intensity of colour requested by the maison, a nanotechnology procedure called photolithography was used to transfer Phong Lê’s motif onto the silicon, which was then coated in yellow gold.

Tag Heuer is also experimenting with nanotechnology and has patented a carbon composite hairspring, which comprises of rolled-up sheets [carbon nanotubes; CNTs], each just a single layer of carbon atoms. The hairspring is attached to a watch’s balance wheel to help mechanical timepieces keep accurate time. “Our hairspring is at the very heart of our movements,” says Emmanuel Dupas, director of the Tag Heuer Institute. “We developed our own hairspring based on a carbon nanotube scaffold, which is filled with amorphous carbon. Carbon nanotubes have extremely narrow diameters but can be very long.”

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The Hermès Cape Cod Crépuscule depicts a setting sun reflected in water. [Designed by artist Thanh Phong Lê.] Photo: Hermès [downloaded from https://luxurylaunches.com/watches/nanotechnology-fine-watchmaking.php]

it’s a good article if watchmaking and/or luxury products and/or applied nanotechology interests you. Whichever site you choose (March 6, 2023 on SCMP or March 7, 2023 on Luxury Launches), you’ll find more embedded images of watches from different companies.

There’s also this December 29, 2016 posting, “Luxury watches exploit nanocomposite materials,” about an Australian watch company.

Pusan National University researchers explore artificial intelligence (AI) for designing fashion

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Caption: Researchers from Pusan National University in Korea have conducted an in-depth study exploring the use of collaborative AI models to create new designs and the engagement of complex systems. This encourages human-AI collaborative designing which increases efficiency and improves sustainability. Credit:Yoon Kyung Lee from Pusan National University

A Korean researcher is exploring what a collaborative relationship between fashion designers and artificial intelligence (AI) would look like according to a January 6 ,2023 Pusan National University press release (also on EurekAlert but published January 12, 2023),

The use of artificial intelligence (AI) in the fashion industry has grown significantly in recent years. AI is being used for tasks such as personalizing fashion recommendations for customers, optimizing supply chain management, automating processes, and improving sustainability to reduce waste. However, creative processes in fashion designing continue to be human driven, mostly, and not a lot of research exists in the realm of using AI for designing in fashion. Moreover, studies are generally done with data scientists, who build the AI platforms and are involved with the technologic aspect of the process. However, the other side of this equation, i.e., designers themselves, are not roped into research often.

To investigate the practical applicability of AI models to implement creative designs and work with human designers, Assistant Professor Prof. Yoon Kyung Lee from Pusan National University in Korea conducted an in-depth study. Her study was made available online in Thinking Skills and Creativity on September 15, 2022, and subsequently published in Volume 46 of the Journal in December 2022.

“At a time when AI is so deeply ingrained into our lives, this study started instead with considering what a human can do better than AI,” says Prof. Lee, explaining her motivation behind the study. “Could there be an effective collaboration between humans and AI for the purpose of creative design?”

Prof. Lee started with generating new textile designs using deep convolution generative adversarial networks (DC-GANs) and cycle-GANs. The outputs from these models were compared to similar designs produced by design students.

The comparison revealed that though designs produced by both were similar, the biggest difference was the uniqueness and originality seen in the human designs, which came from the person’s experiences. However, the use of AI in repetitive tasks can improve the efficiency of designers and frees up their time to focus on more high-difficulty creative work. AI-generated designs can also be used as a learning tool for people who lack expertise in fashion want to explore their creativity. These people can create designs with assistance from AI.  Thus, Prof. Lee proposes a human-AI collaborative network that integrates GANs with human creativity to produce designs. The professor also defined and studied the various elements of a complex system that are involved in human-AI collaborated design. She also went on to establish a human-AI model in which the designer collaborates with AI to create a novel design idea. The model is built in such a way that if the designer shares their creative process and ideas with others, the system can interconnect and evolve, thereby improving its designs.

The fashion industry can leverage this to foresee changes in the fashion industry and offer recommendations and co-creation services. Setting objectives, variables, and limits is part of the designer’s job in the Human-AI collaborative design environment. Therefore, their work should go beyond only the visual aspect and instead cover a variety of disciplines.

“In the future, everybody will be able to be a creator or designer with the help of AI models. So far, only professional fashion designers have been able to design and showcase clothes. But in the future, it will be possible for anyone to design the clothes they want and showcase their creativity,” concludes Prof. Lee.

We hope her dreams are very close to realization!

This is the first time I’ve seen a press release where the writer wishes well for the researcher. Nice touch!

Here’s a link to and a citation for the paper,

How complex systems get engaged in fashion design creation: Using artificial intelligence by Yoon Kyung Lee. Thinking Skills and Creativity Volume 46, December 2022, 101137 DOI: https://doi.org/10.1016/j.tsc.2022.101137

This paper is behind a paywall.

Extending a wig’s life with a nanocomposite

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A June 13, 2022 American Chemical Society (ACS) news release (also on EurekAlert) announces a nanocomposite that could make wigs last longer,

For some people, wigs are a fun and colorful fashion accessory, but for those with hair loss from alopecia or other conditions, they can provide a real sense of normalcy and boost self-confidence. Whether made from human or synthetic strands, however, most hairpieces lose their luster after being worn day after day. Now, researchers in ACS Applied Materials & Interfaces report a new way to make wigs more durable and long lasting.

Wigs come in all colors of the rainbow and in every style imaginable. Some cover the whole head, while others are “extensions,” sections of hair that clip onto existing locks to make them look fuller or longer. Hairpieces can be made of real human strands or synthetic materials, but either way, washing, UV exposure from the sun and repeated styling can cause these products to become dry and brittle. To extend the wearable life of wigs, some researchers have spray-coated a layer of graphene oxide on them, whereas other teams have immersed wig hairs in a keratin/halloysite nanocomposite. Because it’s difficult to cover an entire hairpiece with these methods, Guang Yang, Huali Nie and colleagues wanted to see if a nanocomposite applied with a tried-and-true approach for coating surfaces with ultrathin films — known as the Langmuir-Blodgett (LB) technique — could improve coverage and increase durability.

The researchers first developed a keratin and graphene oxide nanocomposite as the coating material. To coat hairs with the LB method, they dipped a few human or synthetic hairs into water in a special apparatus with moveable side barriers. After the nanocomposite was spread on the water’s surface with an atomizer, the barriers were moved inward to compress the film— like the trash compactor that almost crushed the heroes in the movie Star Wars. After 30 minutes, the researchers lifted the hairs out of the water, and as they did so, the film coated the locks.

Compared to the immersion technique, the LB method provided more coverage. In addition, hairs treated with the LB approach sustained less UV damage, were less prone to breakage and could hold more moisture than those that were simply immersed in the nanocomposite. They also dissipated heat better and generated less static electricity when rubbed with a rubber sheet. The researchers say that the method can be scaled up for use by companies that manufacture wigs.

The authors acknowledge funding from the Fundamental Research Funds for the Central Universities, the Shanghai Natural Science Foundation, the Shanghai Pujiang Program, the Natural Science Foundation of Shandong Province, and the Shanghai International Cooperative Project of the Belt and Road.

Here’s a link to and a citation for the paper,

High-Performance Wigs via the Langmuir–Blodgett Deposition of Keratin/Graphene Oxide Nanocomposite by Shan Du, Tiantian He, Huali Nie, and Guang Yang. ACS Appl. Mater. Interfaces 2022, 14, 23, 27233–27241 DOI: https://doi.org/10.1021/acsami.2c05965 Publication Date:June 3, 2022 Copyright © 2022 American Chemical Society

This paper is behind a paywall.

A spray-on dress with nanoparticles as the base?

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Even a month after the fact, this is still fascinating. The magic is in watching the paint/textile get sprayed onto model, Bella Hadid’s body, and watching the liquid transform into a textile. (Note: Ms. Hadid has a minimal amount of clothing at the start),

Fashion designer/scientist, Manel Torres developed the technology, Fabrican, about 20 years ago according to an October 14, 2022 article by Gooseed for complex.com,

Coperni, the Parisian ready-to-wear brand founded by Sébastien Meyer and Arnaud Vaillant, has always focused on tailored minimalism since it launched in 2013. Yet it also strives to take an innovative approach to design that connects its collections with the current fashion moment and pay homage to the past.  

The finale of their Spring/Summer 2023 presentation for Paris Fashion Week, where model Bella Hadid walked onto stage half-naked to get sprayed with a white substance, gave the brand a viral moment. At first glance, most of us thought it was a performance. But after a few minutes, the white shell that appeared on Bella’s body looked like a dress solidified into a texture that almost resembled latex. It wasn’t a body painting, but an actual dress. Charlotte Raymond, Coperni’s Head of Design, even helped style the dress by cutting a slit into the garment and altering the straps to make it an off the shoulder silhouette. The rest is history. Videos of the dress blew up on social media and are now anchored in the digital ether.

The truth is that this magic behind the dress is not new. It has been around for almost two decades.

The innovative technology behind Hadid’s Coperni dress was created by Manel Torres, a Spanish fashion designer turned scientist. Torres has been nicknamed “The Chemist Tailor” because of Fabrican, a liquid tissue made up of polymers, additives, and fiber that turns into a solid nonwoven material when it comes into contact with air. That’s why Fabrican can come out of a spray can to instantly create something like Bella’s Coperni dress. It can also be used to create protective covering for furniture or car interiors. Torres founded his business in 2003 and has been researching the possibility of creating clothes, chairs, and medical patches with just one spray for over 20 years and counting.

…

His journey started first at the La Escuela de Artes y Técnicas de la Moda in Barcelona, where Torres studied arts with a specialty in fashion design. He then enrolled at the Royal College of Art in London where he graduated with an MA in womenswear. He went on to graduate with a PhD from the Royal College of Art in 2001 by publishing a thesis centered on spray-on fabrics from an aerosol can. It was a collaborative thesis between his school’s fashion department and the chemical engineering department at the Imperial College of London. Torres then started creating his own collections with the first versions of Fabrican fabric. Before Coperni, he presented Fabrican at several runway shows like Science in Style in 2010 and during Moscow Fashion Week in 2011.

Despite Torres’ fashion background, he mostly works with clients within the automobile, medical, and sportswear industry. “I’m a fashion guy so my wish is that this industry starts to invest more in technology and not rely so much on branding,” says Torres when sharing his views on the fashion industry a couple days after the Coperni moment.

…

Torres’ drive to push Fabrican into the fashion business has also garnered the interest of other industries outside of apparel. He says it has made him realize that there are possibilities for new production models in all aspects of design. “This is completely a new idea so it requires a completely new approach. That in an industry like fashion, and in any industry in general, is going to take some time,” says Torres. He is patient and persistent about achieving his number one goal, which is to make Fabrican available for everybody.

Additionally, since Fabrican is plant-based and composed of natural fibers, it can be used as an alternative to animal-derived leathers. The fabric can also be washed and reused and sprayed on to again to extend the garment. Torres hopes to grow Fabrican to an industrial scale with the help of a robotic arm spray system that could quickly create complex forms in a very precise way and operate 24 hours a day, which could significantly reduce human labor and product costs associated with garment production. The durability of the fabric is also something that Torres assures to be “very similar to the clothes we use daily but needs to be improved.” He reveals that he’s currently working with the German government to apply Fabrican technology to produce uniforms.

…  

For the curious, there are more images and videos embedded, as well as, the links I’ve have eliminated from the excerpts, in Gooseed’s October 14, 2022 article.

Eglė Radžiūtė’s October 3 (?), 2022 article for boredpanda.com fills out the fashion commentary with a bit more detail about the science, Note: Links have been removed,

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In about 9 minutes, Bella’s body was engulfed in a light layer of fabric. Once the fabric had a second to settle, Coperni’s Head of Design Charlotte Raymond came up to wipe off the excess and shape the dress into its final form. Lowering the shoulder straps, cutting the bottom to mid-calf length, and adding a slit on Bella’s left leg, Charlotte completed something that was out of this world.

The segment was not previously rehearsed with Bella due to her Paris Fashion Week schedule, adding to the magic, as well as showing off the professionalism of the dress’s engineers, the designers, and Bella herself. The night before the show, a model stood in for Bella, but she couldn’t control her shivering on the chilly runway as the cold material hit her skin.

“I was so nervous,” Bella said backstage, as it would have been her first experience being sprayed. But she didn’t let it show. She was steely and delicate, occasionally raising her arms above her head with an elegant flair, or offering a little smile at the people working on her. “I kind of just became the character, whoever she is.”

Wasn’t it cold up there? “Honey, cold is an understatement,” Bella said, as reported by the NYTimes. “I really blacked out.” Yet as soon as she left the runway, she felt like the performance had been a “pinnacle moment” in her career.

…

Let’s dive into the science behind the dress. Partnering with Doctor Manel Torres, Founder and Managing Director of Fabrican Ltd, they utilized a spray-on fabric that, once sprayed, dries to create a wearable, non-woven textile. It can be made using different types of fibers: from natural to synthetic, including wool, cotton, nylon, cellulose, and carbon nanofibers. [emphasis mine]

Based in London [UK], at the London Bioscience Innovation Center, Doctor Torres has been working on this multifaceted piece of technology since 2003. A liquid suspension—a finely distributed solid in a liquid, which is not dissolved—is applied via spray gun or aerosol to a surface, creating a fabric. The cross-linking of fibers, which adhere to one another, creates an instant non-woven fabric.

The future-forward invention may be used for more than just creating intricate fashion; they believe it can revolutionize multiple industries. As stated on BBC’s The Imagineers, the fabric is sterile and thus can be made into bandages. It can be made to set hard and, thus, could be used as a cast for broken bones. But perhaps most crucially, the fabric absorbs oil, and so it could be used to clean up after oil tanker disasters.

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Whilst in pictures the dress looked to be made of a kind of silk or cotton, those who got close enough to touch it discovered that it felt soft but elastic, bumpy like a sponge. According to Arnaud, the dress was taken off like any other tight, slightly stretchy one: a process of peeling off and shimmying out. It can be hung and washed, or put back into the bottle of its original solution to regenerate.

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Coperni is an ultra-modern Parisian ready-to-wear and accessories brand designed by Sébastien Meyer and Arnaud Vaillant. Established in 2013, the pair have been on a mission to find the intersection between fashion and technology, “marrying exhaustive origami-like technique with a neat, ‘sportif’ silhouette.”

You can better see the dress’s texture in this image,

Image credits: bellahadid [downloaded from https://www.boredpanda.com/bella-hadid-coperni-spray-on-dress/?utm_source=duckduckgo&utm_medium=referral&utm_campaign=organic]

Health concerns

Do read the comments at the end of Eglė Radžiūtė’s October 3 (?), 2022 article. Most are admiring but there is a cautionary note from a construction painter noting that no one wore any “respiratory protective devices.” An ‘industrial hygienist’ seconded the the painter’s concern “that stuff is in their lungs,” as would anyone concerned with lung health.

The science of a spray-on textile

You can glean some information from his patent filings (where you’ll find mention of nanosilica but not of the carbon nanofibers mentioned in Radžiūtė’s article), Non-woven fabric Patent number: 8124549; Non-woven fabric Patent number: 8088315; Non-Woven Fabric Publication number: 20100286583; Non-Woven Fabric Publication number: 20090036014; and Non-woven fabric Publication number: 20050222320 on justia.com. The full list of Torres’ patents is here.

I’m guessing there’s more than one kind of engineered nanomaterial to be found in Torres’ mixtures but he’s pretty careful about spilling too much information. Charlotte Hu in her October 4, 2022 article for Popular Science helps to decode further the information in the patents (Note: Links have been removed),

This instantaneously materialized dress is not a magic trick, but a testament to innovations in material science more than two decades in the making. The man behind the creation is Manel Torres, who in 2003 created the substance used on Hadid, Fabrican (presumably a portmanteau of the phrase “fabric in a can”). His inspiration? Silly string and spiderwebs. His idea was to elevate the coarse cords of the silly string into a finer fabric that could be dispersed through a mist. Torres explained in a 2013 Ted Talk that when this spray-on fabric comes in contact with air, it turns into a solid material that’s stretchy and feels like suede. 

What exactly is in Fabrican? According to the patents granted to the company, the liquid fabric is made up of a suspension of liquid polymers (large molecules bonded together), additives, binders like natural latex, cross-linked natural and synthetic fibers, and a fast-evaporating solvent like acetone. The fibers can be polyester, polypropylene, cotton, linen, or wool. 

Torres added that they can easily form the material around 3D molds or patterns and tweak the textures, so they can get something that’s fleece-like, paper-like, lace-like, or rubber-like. He imagined that people could go into a booth, customize their dress, and instantly have it 3D printed onto their bodies. The spray could even be used for spot repairs on existing clothing.  

…

… Fabrican states on its website that it uses “fibres recycled from discarded clothes and other fabrics. The technology can also utilise biodegradable fibres and binders in place of fossil-based polymers to reduce the carbon footprint of material and manufacturing.” Additionally, the company said that “at the end of their useful life, sprayed fabrics can be re-dissolved and sprayed anew.”  

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For the curious, here’s the Fabrican Ltd. website, the Coperni website, and a Wikipedia entry for Silly String.

I have another story about producing something in midair in a May 17, 2016 posting titled: Printing in midair. That was about 3D printing metallic devices in midair.

H/t to the Celebrity Social Media October 3, 2022 posting (keep scrolling down about 75% of the way down) on Laineygossip.com and to Rosemary Hurst because her comments about the dress led me to Charlotte Hu’s article. *ETA: November 4, 2022 at 1550 PT: Rosemary compared to a process for handmaking paper.*

Edible nano-structured holograms could decorate food one day

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Caption Nanostructures (yellowish-green images; scale bar, 5 μm) were patterned onto dried corn syrup films, producing edible, rainbow-colored holograms (scale bar, 2 mm). Credit Adapted from ACS Nano 2021, DOI: 10.1021/acsnano.0c02438

Where food safety is concerned, much of the research I’ve seen is focused on adding senors to the packaging rather than direct application to the foodstuff but this is different, from a February 17, 2021 news item on phys.org,

Holograms are everywhere, from driver’s licenses to credit cards to product packaging. And now, edible holograms could someday enhance foods. Researchers reporting in ACS [American Chemical Society] Nano have developed a laser-based method to print nanostructured holograms on dried corn syrup films. The edible holograms could also be used to ensure food safety, label a product or indicate sugar content, the researchers say.

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A February 17, 2021American Chemical Society news release (also on EurekAlert), which originated the news item,

Most holograms are imprinted with lasers onto metal surfaces, such as aluminum, but the materials aren’t edible. For foods, holograms made with nanoparticles have been proposed, but the tiny particles can generate reactive oxygen species, which might be harmful for people to eat. In a different approach, food scientists have molded edible holograms onto chocolate, but the process only works for certain types of the confection, and a different mold is needed for each hologram design. Bader AlQattan, Haider Butt and colleagues wanted to find a safe, fast and versatile way to pattern edible holograms onto a variety of foods.

To develop their method, the researchers made a solution of corn syrup, vanilla and water and dried it into a thin film. They coated the film with a fine layer of non-toxic black dye. Then, they used a technique called direct laser interference patterning to etch off most of the dye, leaving behind raised, nanoscale lines that formed a diffraction grating. When struck by light, the nanostructure diffracted the light into a rainbow pattern, with different colors appearing at different angles of viewing. The team could control the intensity and range of colors by varying the spacing between lines in the grating or the sugar content of the corn syrup film. Before edible holograms are ready to hit store shelves, however, the researchers want to adapt the method to a food-grade dye that could replace the synthetic black dye used in these pilot experiments.

Here’s a link to and a citation for the paper,

Direct Printing of Nanostructured Holograms on Consumable Substrates by Bader AlQattan, Joelle Doocey, Murad Ali, Israr Ahmed, Ahmed E. Salih, Fahad Alam, Magdalena Bajgrowicz-Cieslak, Ali K. Yetisen, Mohamed Elsherif, and Haider Butt. ACS Nano 2021, 15, 2, 2340–2349 DOI: https://doi.org/10.1021/acsnano.0c02438 Publication Date:February 1, 2021 Copyright © 2021 American Chemical Society

This paper appears to be open access.

It seems these scientists are also considering the aesthetic possibilities. Ffrom the paper, Note: Links have been removed,

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The use of holograms in food could potentially improve sensory appeal [emphasis mine] and, through biosensing, could increase health and safety.(1,2) Holograms can even be used to store information as edible microtags.(3) They are also attractive to the eye as they produce rainbow patterns with light. Using edible holograms on foods, not only as decoration but also to sense harmful bacteria, could improve food quality/lifetime monitoring.(4,5) Food holograms which signify a qualitative information about the sugar contents could be of value in controlling the sugar consumption, that is challenging to be measured at the moment.(6)

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As it is, I find food pretty attractive. So, I’m not sure why there’s a need to improve its sensory appeal. On the other hand, I can’t argue with increased food safety.

Should you be interested in more about holograms and their current applications, including chocolate decoration, you can check out Michael Berger’s February 17, 2021 Nanowerk Spotlight article.

Holographic chocolate surfaces. (Image: Morphotonix) [downloaded from https://www.nanowerk.com/spotlight/spotid=57310.php]

What do you think about decorating food with holograms? If you feel inclined, do let me know in the comments.

Wood pulp and pomegranate peels as clothing

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Lilly Smith’s Sept. 11, 2020 article for Fast Company profiles a new article of clothing from Volllebak (first mentioned here in a March 11, 2019 posting titled: It’s a very ‘carbony’ time: graphene jacket, graphene-skinned airplane, and schwarzite),

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The Vollebak hoodie is made out of sustainably sourced eucalyptus and beech trees. The wood pulp from the trees is then turned into a fiber through a closed-loop production process (99% of the water and solvent used to turn pulp into fiber is recycled and reused). The fiber is then woven into the fabric you pull over your head.

The hoodie is a light green because it’s dyed with pomegranate peels, which typically are thrown out. The Vollebak team went with pomegranate as the natural dye for the hoodie for two reasons: It’s high in a biomolecule called tannin, which makes it easy to extract natural dye, and the fruit can withstand a range of climates (it loves heat but can tolerate temperatures as low as 10 degrees). Given that the material is “robust enough to survive our planet’s unpredictable future,” according to Vollebak cofounder Nick Tidball, it’s likely to remain a reliable part of the company’s supply chain even as global warming causes more extreme weather patterns.

… the hoodie won’t degrade from normal wear and tear—it needs fungus, bacteria, and heat in order to biodegrade (sweat doesn’t count). It will take about 8 weeks to decompose if buried in compost, and up to 12 if buried in the ground—the hotter the conditions, the faster it breaks down. “Every element is made from organic matter and left in its raw state,” says Steve Tidball, Vollebak’s other cofounder (and Nick’s twin brother). “There’s no ink or chemicals to leach into the soil. Just plants and pomegranate dye, which are organic matter. So when it disappears in 12 weeks, nothing is left behind.”

…

The article hosts a picture of the hoodie as does Vollebak website’s Product, Plant and Pomegranate Hoodie webpage,

Plant and Pomegranate Hoodie. Built from eucalyptus trees and dyed in a giant vat of fruit. The waiting list is now open.

5,000 years ago our ancestors made their clothes from nature, using grass, tree bark, animal skins and plants. We need to get back to the point where you could throw your clothes away in a forest and nature would take care of the rest. The Plant and Pomegranate Hoodie feels like a normal hoodie, looks like a normal hoodie, and lasts as long as a normal hoodie. The thing that makes it different is simply the way it starts and ends its life. All the materials we’ve used were grown in nature. Each hoodie is made from eucalyptus trees from sustainably managed forests before being submerged in a giant vat of pomegranate dye to give it its colour. As it’s made entirely from plants, the hoodie is fully biodegradable and compostable. When you decide your hoodie has reached the end of its life – whether that’s in 3 years’ time or 30 – you can put it out with the compost or bury it in your garden. Because the hoodie that starts its life in nature is designed to end up there too. Launching September 2020, the waiting list is now open.

Not much information, eh? I found the same dearth of detail the last time I looked for more technical information about a Vollebak product (their graphene jacket).

As for composting or burying the hoodies, how does that work? I live in an apartment building; I don’t think composting is allowed in my apartment and the building owners will likely get upset if I start digging holes in the front yard. There is a park nearby but it is city property and I’m pretty sure that digging into it to bury a hoodie will turn out to be illegal.

There is a recycling bin for organics but I don’t know if the businesses tasked with picking up the organic refuse and dealing with it will be familiar with biodegradable hoodies and I ‘m not sure hoodie disposal in the organics would be allowed by the city, which oversees the recycling programme.

These are not insurmountable problems but if people want to be mindful about their purchases and future disposal of said purchases, research may be needed.