9 Requirements of SP

Requirements for Sustainable
Production- Materials , Processes,

Human resources
Production
• Most of us know what fashion is.
• Many of us know what sustainability is.
• When it comes to exploring the relationship
between the two, we can very quickly find
ourselves on new ground.
• For the relationship between fashion and
sustainability is active and complex and each
time we look at the key ideas or issues at
stake, different aspects seem to come to light.
Production
• Sometimes what is emphasized is technical
information about toxic chemicals or working
conditions in mills and factories on the other
side of the world.
• At other times, the fashion and sustainability
relationship seems best understood by
looking at what goes on locally: networks of
handcrafters; dyes made from species of
plant found only in local hedgerows (borders);
our individual laundering practices.
Production
• The truth is, of course, that sustainable
fashion is all of these and more.
• It is a celebration of ingenuity, vitality, care,
resourcefulness and strong relationships
between us and our world, expressed in
garment form.
• These sustainability values will help shape the
future of fashion and give us a mental picture
and about the direction in which we should
head.
Production
• Part of this “shaping” involves reducing the
impact of the fashion sector as it exists today
- and it is a massive job.
• For the production and consumption of
fashion impacts hard on ecosystems,
communities, workers and consumers in a
variety of challenging and sometimes
surprising ways.
Production
• Producing fashion clothes, and the textiles
they are made from, is one of the longest and
most complicated industrial chains in
manufacturing industry.
• It starts in fields with the cultivation of fiber
crops like cotton and wool or in chemical
plants where fibers like polyester are
extracted; and ends up in homes, on our
bodies and in landfill sites.
Production
• The journey in between involves the use of
lots of labor, water, energy and processing
chemicals and produces waste and pollution.
• Thus it makes sense that sustainable fashion
activity is underpinned by a deep awareness
of the use of resources and how these
resources are organized to meet people’s
needs.
Production
• Central to this is “lifecycle thinking”, an
approach that sees garments as a mosaic
(combo) of inter-connected flows of
materials, labor and move through phases of
a garment’s life from fiber cultivation, to
processing and transportation and into
garment use, reuse and eventual disposal.
Production
• Such lifecycle thinking is inspired principally
from the study of ecology, where each part of
a system influences every other, and where
overall system effectiveness is prioritized
over the individual parts.
• When fashion is looked at from a lifecycle
perspective, what is revealed are “hotspots”
of harmful impact and opportunities for the
greatest whole system improvement.
Production
• For some fashion clothes, these hotspots of
harm are linked to material choices.
• Traditional views of sustainable fashion focus
their attention almost exclusively on
materials and their origin; on whether fiber is
organically grown and fairly traded, or
whether materials are from rapidly renewable
sources or from recycled yarn.
Production
• Today for example over 20 major brands and
1200 smaller ones now sell organic fiber
products.
• Yet for many other fashion clothes, choice of
materials has only limited effect on overall
product sustainability.
• In the case of frequently laundered clothes
for instance, the overwhelming hotspot of
harm is the use phase of a garment’s life.
Production
• Here it is our laundering choices, washing,
drying and ironing behavior and perceptions
of cleanliness that have most influence over
our clothes’ sustainability.
• Yet these flows of resources are only part of
the story.
• Fashion clothes are much more than the fiber
and chemicals needed to make them.
Production
• They are signs and symbols, expressions of
culture, newness and tradition.
• They link us to time and space and deal with
our emotional needs, manifesting us as social
beings, as individuals.
• Thus sustainability issues in fashion are as
much about cultural, economic and social
phenomena as material and manufacturing
ones.
Production
• For in order to make sustainability happen in
the fashion sector, there needs to be change
at many levels: we need both root and branch
reform.
• Making such sustainability-inspired reform to
fashion brings to the fore the sector’s key
issues, these include:
Production
• Damaging agricultural practices where some
natural fibers – most notably cotton – are
cultivated with very large quantities of
pesticides and synthetic fertilizers, water and
energy in large farms, with no crop variety,
have an effect to
(1) Reduce the fertility of the soil
(2) Create water pollution
Production
(3) Damage the diversity of plant and animal
species
(4) Develop pesticide resistance, leading to ever
higher levels of pesticides being applied in
order to control pests
(5) Damage to workers’ health through
exposure to acutely toxic pesticides.
Production
• Resource intensive fiber, fabric and garment
manufacturing including significant use of
energy and petrochemical resources for
synthetic fibers like polyester; pollution to air
and water from production of synthetic and
cellulose-based fibers (like viscose); and for all
fibers large water consumption, use of toxic
chemicals and waste generation.
Production
• Exploitation of garment workers who
experience labor abuses including poverty
wages, excessive working hours, forced
overtime, lack of job security and denial of
trade union rights.
• In recent years, working conditions in
factories have been forced ever lower in what
is called a “race to the bottom” as
manufacturers compete on price for a place in
the supply chain of big brands.
Production
• Damaging effects of fashion trends and
imagery where the drive to constantly
“renew” ourselves in the light of changing
trends helps feed short-term thinking,
psychological insecurity and rising levels of
mental illness; while fashion imagery is linked
to body issues and serious medical conditions
like anorexia, which is now reaching record
levels in young men as well as women.
How does Hemp fair environmentally
and socially as a material?
• Hemp (Cannabis sativa) has a lot of good
environmental criteria.
• It is fast growing and smothers out other
plants (including weeds) therefore not
requiring any application of herbicide.
• It appears to grow better in an organic system
than in a conventional one.
How does Hemp fair environmentally
• It grows well in cooler climates and little or no
irrigation is required.
• It grows to between one and four meters tall
and yields around 6 tonnes per hectare and
20- 30% of the plant is fiber.
• Hemp has far higher fiber yields than other
natural fibers.
How does silk fair environmentally
• Information on the environmental impacts of
silk production is difficult to identify.
• Silk worms are easily affected by
agrochemicals, so it would seem likely that
few pesticides are used in both the cultivation
of worms, or in their diet (predominately
mulberry bushes).
How does silk fair environmentally
• The process of degumming the silk has
traditionally used detergent and hot water
which have implications for the environment
if discharged untreated in large enough
quantities.
How does cotton fair environmentally
• The environmental impacts associated with
the cultivation of cotton are well known and
include:
(1) Reduced soil fertility;
(2) Soil salinisation;
(3) Loss of biodiversity;
(4) Water pollution;
(5) Adverse changes in water balance
(6) Pesticide-related problems including
resistance
(7) Severe health problems relating to exposure
to acutely toxic pesticides
• Intensive cotton production causes a range of
environmental impacts; mainly in cotton
producing nations.
• Cotton is highly vulnerable to insect attack, is
normally cultivated as a mono crop and
therefore cannot be sustained without large
quantities of pesticides and fertilizers.
• In mono cropping, the natural systems of
nutrient cycling and pest control become
redundant.
• Pesticides account for more than 50 per cent
of the total cost of cotton production in most
of the world.
• The most widely used groups of pesticides on
cotton are insecticides and have been
classified by the World Health Organization as
'moderately hazardous'.
• However, some insecticides that are widely
used, especially in developing countries, are
classified as 'highly hazardous', these are
generally acutely toxic and are nerve poisons.
• Cotton fiber production also requires large
quantities of fungicides, herbicides and
defoliants.
• Large amounts of synthetic fertilizers (often
based on nitrogen compounds) are also used
and can result in nitrate contamination to
water.
• Fertilizer pollution of water can cause
accelerated growth of aquatic plants and
algae and lead to eutrophication, which can
deoxygenate the water to a state in which it
cannot support animal life.
• Water consumption in cotton fibre production
is another significant factor and ranges from
29000 litres in Sudan to 7000 litres in Israel.
• As all irrigation water contains some soluble
salts it causes soil salinisation, reducing
fertility.
• Cotton contains many impurities (seeds, dirt
and plant residues) which have to be removed
to convert it into useful textile fibers.
• About one third of the raw material is cotton
fiber, the rest is seeds and impurities.
• Hand picked cotton contains considerably
fewer impurities than cotton which is
machine picked.
• Naturally colored fibers produce a fiber which
does not have to be bleached or dyed.
• Naturally pigmented or 'native' cottons were
conserved by traditional people and have a
range of colors including beige, brown, green
and mauve.
• However, there are a number of problems
associated with these cotton varieties, such
as short staple and fineness which has limited
industry interest.
• The genetic modification (GM) of biological
species via the use of bacteria, fungi or
enzymes has implications for the textile
sector.
• Two types of genetically modified cotton have
been introduced in the last two years: Bt-
cotton which contains a gene that enables the
plant to produce its own pest-killing toxin,
and herbicide resistant cotton developed to
tolerate specific herbicide applications.
• The reported benefits of both of these
varieties lie in the reduced levels of pesticide
application required.
• However, like all GM technology there are
concerns about pest resistance.
• The first serious step towards organic cotton
growing and processing was taken in Turkey
in the early 1980s.
• Since then, the amount of organic cotton
produced has grown steadily – from 3,400
tonnes in 1992 to nearly 13,000 tonnes in
1995.
• The number of acres of organically grown
cotton in California, for instance, grew from
5,000 to 40,000 between 1998 and 2002.
• This led to 12,500,000 fewer pounds of
agrochemicals being used.
• Without the use of pesticides, crop yields fall
when farmers first turn to organic methods.
• For example, in Turkey, changing to organic
production resulted in a drop from 3,160 to
1,500 kilos per hectare.
• But the yield gradually recovered, with
production increasing to 2,750 kilos per
hectare.
• On average, organic cotton crop yields are
about 14% lower than conventional cotton
crops.
• However, income is about 6% higher because
production costs are lower.
• Soil fertility, pest management and natural
controls have all helped to reduce the
presence of insects that can damage the
cotton.
How does wool fair environmentally
• The production of wool involves the use of
pesticides, which cause particular impacts
both as they are applied on the farm and in
subsequent downstream processing.
• Traditionally sheep have been dipped to
control parasite infection.
• The two pesticides most commonly used for
dipping are organophosphates and
pyrethoids.
• Exposure to the former is linked to severe
nerve damage in humans.
• This has led to an increased use of the latter
which has given rise to a significant growth in
incidences of water pollution as pyrethoids
are one thousand times more toxic to aquatic
life than organophosphates.
• The production of organic wool is extremely
small-scale.
• It requires that at least 75% of the food
consumed by the sheep is organically grown.
• In addition, the use of preventive medicine,
pesticides and synthetic growth promoters
are not allowed.
• Organic sheep rearing is almost solely
associated with organic sheep meat
production.
• Major environmental impacts are associated
with initial cleaning of raw wool (scouring).
• Effluents arising from wool scouring are
significant in terms of their pollution
potential to both water and land.
• Raw wool like all other natural fibers contains
many impurities.
• It is scoured at hot temperatures in an
aqueous solution of sodium hydroxide
(caustic soda) and detergent to emulsify the
grease.
• The process produces an effluent with high
suspended solids content.
How does Lyocel fair environmentally
• Lyocel is made from wood pulp, but is
processed so that water and solvents are
recycled with minimal loss, thus reducing
environmental impact.
• The process involves mixing wood pulp with
amine oxide and then spinning the 'dope' into
an amine oxide solution.
• This is then purified and recycled back to the
main process.
How does Lyocel fair environmentally
• While the process of Lyocel production
consumes few other resources, it appears to
be energy intensive, although little
information is available regarding energy
consumption or other environmental
impacts.
• Properties:
(1) Soft, strong, absorbent
(2) Fibrillated during wet processing to produce
special textures
How does Lyocell fair environmentally
(3) Excellent wet strength
(4) Wrinkle resistant
(5) Very versatile fabric dyeable to vibrant
colors, with a variety of effects and textures.
(6) Can be hand washable
(7) Simulates silk, suede, or leather touch
(8) Good drapability
(9) Biodegradable
How does Linen fair environmentally
• The production of flax (or linen) is often
carried out with the use of agricultural
chemicals and in particular fertilizers and
herbicides to control weeds.
• The flax is often grown in cooler climates than
other natural fibers like cotton and extensive
irrigation is not required, so avoiding
environmental impacts associated with water
consumption, pollution and soil salinisation.
• It is also suggested that fibers like flax and
also hemp, jute and kenaf grow well on land
unsuitable for food production and may help
re-cultivate soils polluted with contaminants
such as heavy metals.
• The traditional process of degumming flax
fibers from the stalk (retting) involves placing
small bundles of stalks in water tanks, open
retting ponds or running river water while the
stalk rots and the fibres are separated from
the woody core.
• Water retting is linked to water pollution as
nutrients from the decaying stalks promote
high levels of BOD and COD.
• Alternatives to water retting exist and include
among others: dew retting, where plants are
left to decompose on the ground with the
right conditions of heat and moisture; and
enzyme retting, in which enzymes are applied
to the flax either in the field or in tanks and
which avoid pollution problems associated
with the traditional method.
How does Nylon fair environmentally
• Nylon (or polyamide) fibres are based on a
petrochemical feedstock.
• There are several forms of nylon, in general
terms chemicals are combined to form a
polyamide salt.
• The molecules of the two chemicals react
under high pressure and heat.
• The polymer is then extracted and cooled with
water.
How does Nylon fair environmentally
• While details of the production sequence for
nylon fibres are well documented, information
or analysis of the environmental impacts
appear to be extremely limited.
• That is with the exception of nitrous oxide
(N2O) emissions from nylon production, which
from a single UK site have a global warming
impact equivalent to more than 3% of the
UK's entire carbon dioxide emissions.
How does Polyester fair
environmentally and socially as a
material?
• The agents used in the manufacture of
polyester fibre are oducts of the
petrochemical industry.
• Petroleum products are not solely used as
feedstock, other fossil fuels are used to
provide energy; the consumption of energy
has far-reaching environmental implications,
the most serious of which include climate
change and ozone depletion.
material?
• In general terms, water consumption in the
production of manufactured fibres is lower
than for natural fibres.
• Polyester for example, can be processed by
several routes, some requiring no water.
material?
• In terms of emissions to air and water arising
from the production of polyester fibres, the
presence of a number of substrates have been
identified which are perceived to have a
medium to high potential of causing
environmental damage if discharged
untreated.
material?
• These include:
- heavy metal cobalt and manganese salts;
- sodium bromide;
- titanium dioxide;
- antimony oxide;
- acetaldehyde.
How does Viscose fair
material?
• Cellulosic fibres like viscose are formed from
natural polymers which are then dissolved and
extruded as a continuous filament.
• A common source of cellulose for these fibres
is fast growing soft woods such as eucalyptus,
which have a harvest cycle of seven years.
material?
• Eucalyptus is often grown as a monocrop and
there are significant environmental issues
associated with such plantations, such as loss
of biodiversity.
• Processing requires external inputs of energy,
water and other raw materials and emissions
are produced.
• The cellulose is pulped in a sulphite-based
process and then spun, both with significant
environmental impacts.
material?
• The production of viscose generates emissions
to air in the form of sulphur, nitrous oxides,
carbon disulphide and hydrogen sulphide.
• Emissions from the process to water result in
high levels of COD and BOD.
• These emissions are all considered to have
major potential for creating environmental
problems if discharged untreated.
Other Fibers
• The Swiss company Rohner Textil developed a
new material called Climatex which meets the
textile Eco-Label "Eco-Tex 2000".
• Climatex was developed as substitute for
cotton which was causing environmental
problems.
• By substituting cotton with a new raw material
the need for waste water treatment was
solved.
Other Fibers
• Climatex is a patented mix of ramie, pure wool
and polyester.
• This gives it excellent seating comfort as ramie
combines moisture absorption of wool with
fast humidity transport of polyester.
• TENCEL® was designed as an environmentally
friendly cellulosic fibre to produce fabrics that
maximise comfort and function.
Other Fibers
• It is a man-made cellulosic fibre derived from
wood pulp which is harvested from managed
forests.
• Cellulose is the natural polymer that makes up
the living cells of all vegetation.
• TENCEL® is produced via an advanced 'closed
loop' solvent spinning process, with minimal
impact on the environment and economical
use of energy and water.
Other Fibers
• It uses a non-toxic solvent which is continually
recycled.
• TENCEL® has been certified for use of the
Oeko-Tex, Confidence in Textiles, mark (issued
by the International Association for Research
and Testing in the Field of Textile Technology).
• As a natural fibre TENCEL® is breathable,
absorbent and fully biodegradable.
Other Fibers
• LoooLo take great care in their choice of
materials, the process by which fabrics are
made, and even how their interior furnishings
go to market.
• They also use water-based inks, recycled
paper stock and FSC (forestry stewardship
council) approved paper products for our
printed material.
Other Fibers
• In the future, they aim to encourage Canadian
farmers towards sustainable production as
well as educating consumers about the impact
their choices make.
• In 2003, they partnered with Rohner Textiles
in Switzerland, inventors (in collaboration with
William McDonough and Michael Braungart
for DesignTex) of Climatex Lifecycle®;
upholstery fabrics made from organic yarns
and dyes free of toxic chemicals and
hazardous bio-products.
Other Fibers
• LoooLo is the first company to use Climatex
Lifecycle® yarns to create biodegradable
interior furnishings.
• The dyes in the Climatex Lifecycle yarns used
for are free of all toxic chemicals and are still
available in a full range of colours.
Other Fibers
• The dyes used in their yarns are processed in
a ‘closed loop’ facility which means that the
leftover dye baths never leave the facility and
that the factory’s water purification system
allows old water to be recycled and re-used.
• They only use natural certified organic
materials farmed both within Canada and
abroad.
• All products can be composted and will be
reabsorbed by the earth within 1 year.
Other Fibers
• Terratex ® is a range of fabrics developed by
Interface.
• Made from 100% recyclable or renewable
material.
• Manufactured using increasingly sustainable
processes.
• Made to meet or exceed industry standards
for quality and performance.
• Recyclable or compostable at the end of it's
useful life.
Other Fibers
• Teijin Polyester - In 2001, the Japanese
company TEIJIN introduced a new method for
recycling PET polyester.
• The details of the method are not published
but it includes decomposing polyester into
two main components: ethylene glycol and
terephthalic acid.
• Dye and other contamination are then
cleansed from the two components, and they
are conclusively combined into PET polyester,
which has the same quality as new polyester.
Other Fibers
• This new method, called “ECO CIRCLE”,
reduces the energy demand by 84% and the
CO2 emission by 77% compared to the
production of polyester from mineral oil.
• It requires and involves a network of
companies from all over the world to sign up
for and send back garments of TEIJIN
polyester for recycling.
Sustainable product development and
production
• Within the apparel industry the dialogue on
sustainability has mainly focused on the
production of 'green products' and the use of
textile processing methods and supply chain
strategies that reduce the sector's
environmental footprint.
But as we begin to think of sustainability in
broader terms, the product development
stage provides another key point in the
product lifecycle that is worthy of a closer
look.
production
• What is the vision for sustainable product
development and how is technology
supporting this vision?
• With these questions in mind, researchers in
the product development area of [TC]² are
directing their investigations toward emerging
systems that support the notion, 'lean is
green'.
production
• Reducing development iterations and creating
efficient transitions to manufacturing are of
primary importance in this movement toward
greater sustainability.
• Thus, 3D product simulation, electronic
communication of design and fit intent, and
digital methods for printing and colouration
are key components of this research initiative
and the following section provides a brief
highlight of related systems.
production
• Software tools for 3D visualisation of
garments have been available for a number of
years.
• These systems support virtual dressing of
avatars (digital humans or replicas) using 2
dimensional patterns digitised or created in a
CAD system.
• Thus, these applications have been developed
for use by product developers rather than for
consumers and are closely tied to the pattern
production
• Offerings are available from key vendors in the
CAD area including Gerber Technologies in
conjunction with Browzwear (V-
Stitcher), Lectra (Modaris 3D Fit), Optitex (3D
Runway Suite), Tukatech (e-fit Simulator),
Assyst/Bullmer - a company recently acquired
byHuman Solutions (Vidya) - and GCL Distribution
(distributor of PAD System products and Haute
Couture 3D).
• The process for creating the 3D simulation
normally involves virtually stitching 2D patterns
together.
production
• In most cases the user can select from a set of
generic avatars that can be customised in
terms of body dimensions and shape to better
reflect the target customer or 'fit model'
attributes.
• Fabric textures can be applied to the garment
along with draping properties to enhance the
aesthetics of the visualisation.
• Once the garment has been draped, users can
rotate the figure to review positioning of
seams and design features such as pockets.
production
• A number of solutions support the ability to
visualise areas of fabric stress and ease in
relation to the avatar that is being dressed.
• In some instances it is also possible to use
drawing tools to illustrate changes to the style
and add notes to the 3D rendering.
• With the support of 3D viewers, this rendering
can be sent to remote development and
manufacturing partners to support clearer
communication between parties.
production
• In related developments, [TC]² has engineered
new technologies to support virtual fashion
applications, one for use directly with 3D body
scanning and another for use online or
whenever a [TC]² NX-16 3D body scanner is
not available.
• The first technology provides the ability to
rapidly produce high fidelity 3D avatars based
on 3D body scan data.
production
• The process involves morphing a generic 3D
avatar to exactly match the shape of the 3D
body scan.
• If the generic 3D avatar is "clothed" then the
resulting output is a realistic representation of
what that fashion article will look like on the
person scanned.
• This enables real-time virtual fashion
visualisation.
production
• [TC]² has also developed an "Avatar Engine"
for use when a body scanner is not available
(such as in an online environment).
• Using 3D statistics derived from thousands of
human body scans obtained from the SizeUSA
study, the Avatar Engine can generate a very
realistic representation of a human with a
relatively small number of measurements and
shape inputs.
• This tool can also be used for virtual fashion
purposes.
production
• Virtual fashion applications using the Avatar
Engine will be launched on the [TC]²
supported web site ImageTwin in summer
2009.
• Avatars created both from the NX-16 3D body
scanner and the Avatar Engine can be used to
support 3D product development efforts
within commercial apparel CAD applications.
• [TC]² is currently working with Optitex,
Tukatech, Browzwear, and Lectra to further
this capability.
production
• While the majority of virtual dressing systems
rely on the 2D pattern as the basis for draping,
the product 'Virtual Fashion' (Reyes
Infografica) offers an alternate strategy.
• This tool provides users with a series of
standard garment 'moulds' that can be edited
to create new styles.
• Once the style has been created, fabric
properties and textures can be added for
aesthetic value.
production
• While it is not possible to translate the 3D
representation into a 2D pattern for
production, this technology does offer an
opportunity to quickly generate garment
concepts in 3D.
• As a result, it could have value for product
ideation, specification, and animation.
• The discussion of product visualisation and
communication is incomplete without
mentioning the value of Shapely Shadow's
FastFit360 technology.
production
• This system uses digital technology to capture
a series of images that, when knit together,
provide the ability to view the physical sample
in 3D.
• As with the virtual garments, these images can
be shared among development and
manufacturing partners to facilitate improved
communication of style and fit intent.
production
• Shapely Shadow has also developed a
communication tool, FastFit360.com as a
secure environment for sharing FastFit images
and comments.
• As virtual dressing and related technologies
become increasingly viable, there is an
opportunity for product development teams
to harness these capabilities for early
identification of style and fit issues.
production
• The application of these systems may reduce
sample iterations and support cycle time
reduction for development.
• However, as with most emerging technologies,
the currently technologies offer both rewards
and challenges.
• Thus, [TC]²'s research team is in the process of
gaining a more in-depth understanding of the
capabilities of available systems.
production
• This activity involves developing strategies for
use and identifying application issues and
barriers to adoption for the apparel industry.
• Many of the vendors mentioned in this section
have provided technology to [TC]²'s centre in
support of this ongoing research and
demonstration activity.
production
• Fabric colouration and printing are widely
identified as hot spots for improving our
environmental footprint and a desire to
strengthen the links between market demand,
product development, and manufacturing for
colouration is not new to the industry.
• Over the last decade, the introduction of
digital printing systems has allowed product
developers to bypass the screen making
process for printed sample creation.
production
• Digital sampling offers the opportunity to
print and review designs on fabric early in the
process and reduce over development, screen
engraving costs, waste streams and energy
consumption associated with sampling.
• However, until recently, this technology was
not seen by the apparel industry as a viable
resource for production and it has been
possible to produce digital prints that could
not be replicated via the screen method.
production
• More recent system advances are paving the
way for broader adoption and the ability to
connect sampling to digital production
methods.
• Emerging hardware systems provide
significant improvements in print speeds and
colouration chemistry has advanced to
support printing on most fibres and fabrics.
production
• The development of pigment based colourants
is of particular note, as these require only
heat curing for fixation, as opposed to the
steam/wash requirements of reactive and acid
dye colourants that first entered the market
for digital printing.
• Pigments have great appeal at both the
product development and production stage
due to ease of processing and reduced water
consumption and wastewater effluent.
production
• Researchers at [TC]² are particularly interested
in emerging technologies and chemistries that
will enable the development of digitally
driven, waterless colouration systems that
could provide benefits for both product
development and manufacturing.
• The digital print team is monitoring
developments and vendor offerings in this
area and conducting applied research with the
assistance of demonstration partners.
production
• Researchers are working with Yuhan-Kimberly
to understand the processing requirements
and colour capabilities of their nano colourant
pigment chemistry.
• On the fabric side the research team has
worked with contacts at Cotton
Incorporatedand yarn manufacturer, Clovertex
(recently merged with Tuscarora Yarns) to
understand the potential of cationic cotton for
digital printing and its ability to offer improved
efficiency for colour fixation.
production
• [TC]² is also working with Sawgrass
Technologies and Ergosoft to install textile
related systems that will further support the
broad digital print initiative.
• In summary, creating a more sustainable
product development scenario involves
identifying systems and methods that create
'leaner' processes and direct links within the
supply chain.
production
• Technology is playing a key role in this
movement and ultimately, leaner processes
that incorporate 3D visualisation and
communication and/or digital printing
strategies will allow companies to reduce
waste and respond to consumer demands
more effectively.
• In the end, this will have a positive impact on
the bottom line.

9 Requirements of SP

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9 Requirements of SP

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Requirements for Sustainable

Production- Materials , Processes,

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