Decomposition of Materiality

Decomposition of Materiality

Decomposition of Materiality

‘Decomposition of Materiality’ speculates a simulated ecosystem where biomaterials grow, decompose and shift form as they are exposed to the elements. A result of intense experimentation and development in a laboratory, this sensitive, reactive material is crafted from algae extract and silk cocoon protein (sericin), a bio waste which is commonly discarded in industrial wastewater from textile manufacturing. It responds directly to its environment and is able to fully biodegrade in alkaline water within 24 hours. With a key focus on sustainability, the project utilised 3D technologies to generate models of the textile’s shape, to digitally fabricate a casting mold, and to exhibit the garment textiles - also serving to consciously minimise waste, contrasting to the fashion sector’s unsustainable nature. This virtual existence means once the garment’s physical material vanishes its soul is uploaded into a new, digital life which is not only sustainable but also significantly more accessible. The project harnesses the powers of both nature and technology to display the beauty of natural life forms, challenging viewers with the concept of material life cycles and suggesting a new direction for sustainable fashion.

As a designer, I have always had an interest in speculating the core of design in general and its material concepts, so during my exploration in the fashion field, I began to question our modern understanding of garments and clothing. Whilst working in the fashion studio during my studies at Central Saint Martins I came to realise how much material waste is generated during a traditional fashion design project development, as garment toiles (mock-up models) are made repeatedly before the production process even begins. The vast majority of textiles on the market are non-recyclable, which means we as young generation fashion graduates/students are also contributing to the pollution issues if we continue to do things the traditional way.

Much of the garment textile’s design was engineered using 3D technologies - an innovative alternative to the fashion industry’s waste problem. 3D modelling and rendering were used to simulate potential outcomes and textures, while 3D animation became one of the final presentation mediums, where the product was exhibited in a virtual showroom. As a result, the finite nature of the degradable textile is transformed into an endless digital artefact which can be accessed from all over the world.

‘Decomposition of Materiality’ speculates a simulated ecosystem where biomaterials grow, decompose and shift form as they are exposed to the elements. A result of intense experimentation and development in a laboratory, this sensitive, reactive material is crafted from algae extract and silk cocoon protein (sericin), a bio waste which is commonly discarded in industrial wastewater from textile manufacturing. It responds directly to its environment and is able to fully biodegrade in alkaline water within 24 hours. With a key focus on sustainability, the project utilised 3D technologies to generate models of the textile’s shape, to digitally fabricate a casting mold, and to exhibit the garment textiles - also serving to consciously minimise waste, contrasting to the fashion sector’s unsustainable nature. This virtual existence means once the garment’s physical material vanishes its soul is uploaded into a new, digital life which is not only sustainable but also significantly more accessible. The project harnesses the powers of both nature and technology to display the beauty of natural life forms, challenging viewers with the concept of material life cycles and suggesting a new direction for sustainable fashion.

As a designer, I have always had an interest in speculating the core of design in general and its material concepts, so during my exploration in the fashion field, I began to question our modern understanding of garments and clothing. Whilst working in the fashion studio during my studies at Central Saint Martins I came to realise how much material waste is generated during a traditional fashion design project development, as garment toiles (mock-up models) are made repeatedly before the production process even begins. The vast majority of textiles on the market are non-recyclable, which means we as young generation fashion graduates/students are also contributing to the pollution issues if we continue to do things the traditional way.

Much of the garment textile’s design was engineered using 3D technologies - an innovative alternative to the fashion industry’s waste problem. 3D modelling and rendering were used to simulate potential outcomes and textures, while 3D animation became one of the final presentation mediums, where the product was exhibited in a virtual showroom. As a result, the finite nature of the degradable textile is transformed into an endless digital artefact which can be accessed from all over the world.

1. One digitized material archive (20 pieces of material samples (A4 sized)) in a browser-based open access virtual platform.

2. One biodegradable garment composed of:
- Algae extract - red seaweed as a base material support structure which, as a fairly ubiquitous saltwater-grown coastal crop, significantly helps to reduce excessive land use, transport, waste and deforestation.
-Silk cocoon protein - ‘sericin’ as a bio waste is commonly discarded in industrial wastewater from textile manufacturing. It is not recycled within both European and Asian traditional silk productions (except for special cosmetic products). I realised its repurposing potential during my research trip to traditional Japanese textile mills in Kyotango, Japan in 2019, and received generous support of resources from Tango Open Kyoto and Kyoto D-Lab throughout my journey in this project, which I later focused on in my material research and experiment to engineer garment shapes through manipulating with the silk cocoon protein’s hydrophobic character. I was able to engineer a selective pattern on the bio textile to apply the protein (sericin), resulting in an overall texture which is controlled by its surrounding humidity. This results in shrinkage and creases in specific areas of the textile in response to its local climate.

1. One digitized material archive (20 pieces of material samples (A4 sized)) in a browser-based open access virtual platform.

2. One biodegradable garment composed of:
- Algae extract - red seaweed as a base material support structure which, as a fairly ubiquitous saltwater-grown coastal crop, significantly helps to reduce excessive land use, transport, waste and deforestation.
-Silk cocoon protein - ‘sericin’ as a bio waste is commonly discarded in industrial wastewater from textile manufacturing. It is not recycled within both European and Asian traditional silk productions (except for special cosmetic products). I realised its repurposing potential during my research trip to traditional Japanese textile mills in Kyotango, Japan in 2019, and received generous support of resources from Tango Open Kyoto and Kyoto D-Lab throughout my journey in this project, which I later focused on in my material research and experiment to engineer garment shapes through manipulating with the silk cocoon protein’s hydrophobic character. I was able to engineer a selective pattern on the bio textile to apply the protein (sericin), resulting in an overall texture which is controlled by its surrounding humidity. This results in shrinkage and creases in specific areas of the textile in response to its local climate.

https://www.dezeen.com/2020/08/28/scarlett-yang-biomaterial-dress-central-saint-martins-fashion-design/

https://vimeo.com/444582203/1714a60759

Scarletty.com

Scarlett Yang is a London-based digital fashion and material designer. Within her multi-disciplinary design practice, she focuses on the combination of tactility and virtual realities. Having worked in couture ateliers, bio-laboratories and digital fabrication labs, she intends to research in-depth and develop innovative approaches on the intersection of fashion, design and technology. A 2020 graduate from Central Saint Martins’ BA Womenswear course in London, UK, her design practice investigates both bio design and digital/generative technology together, speculating fashion textiles in the context of product life-cycles as a biodegradable and virtual solution for our current environmental emergencies. Her past projects have been featured on BBC, Dezeen and Fast company, as well as exhibited on Dutch Design Week (NL), Tate Modern (UK) and Kyoto D-Lab Gallery (JP).

Scarlett Yang: concept development, bio designer, 3D designer, fashion designer.

London, UK