Fourth Brainstorm - All the statistics (week28)

-
Pitch Presentation created by Team Robot in Google Slides 2017

Our Vir-Toile Pitch Presentation had lots of great research, (Following my Pitch Plan, we each undertook to research one company and one aspect of the project, make a slide, write a paragraph and then compile everything together) but the pitch did not contain as many facts and figures as we felt the project could do with, so Team Robot sat down, brainstormed and wrote a list of questions we wanted real figures for
These included....

How much water does it take to grow the cotton to make 1m of calico?

How much calico does a design studio use for toiles each week? how much of that is thrown away?

How many VR headsets were sold last year? in the 5 years before that? and in the 5 years before that?

How much energy does it take to run a VR headset for a day?

M was delegated to find the answers to these questions as her task of the week....

I also did a quick personal poll in a closed costume-studio group on Facebook to see how much fabric small businesses and sole traders in the field of costume were getting through each month, just to get an idea of the real quantities..

29 used between 1-5m

4 estimated 5-10m

37 makers/studios estimated they got through 10-20m of toile fabric

5 got through 20-50m

Even at the most conservative estimate that is 500m of toile fabric EVERY MONTH used by a very small proportion of working professionals.

Some people did comment that they reused toile fabric whenever possible, but many others commented that they marked up and drew all over their toiles before taking patterns from them and therefore the fabric was not reusable.

I wonder what happens to the waste fabric? Can it be recycled/ pulped/ If so, what is it used for?



Comments

Post a Comment

Popular posts from this blog

The Ecology of Culture

-
Image
Searle, P. (2017) Radium88 in Concert This document, The Ecology of Culture (A Report commissioned by the Arts and Humanities Research Council’s Cultural Value Project) by John Holden Visiting Professor, City University, London Honorary Professor, University of Hong Kong January 2015, was very interesting on a personal level. I paused to consider how the industries I've worked in have been a part of creative ecology model... where they fit into different sections and networks - and realised I've experienced all forms of the 3 spheres that make up his model. Publicly funded, Commercially funded and Amateur/Homemade. I received benefits in the 1990's to be in a band (publicly funded) - which made an enormous difference to my creative potential - I had time to make music (which I still do today - 11 albums and counting) and also created costume and art which led to starting my own business... obviously I hoped at that point that the band would be invested in by
Read more

The Initial Pitch (week 25)

-
Image
Jemas initial benefits and problems list (2018)   We want to find new ways of working for the future that will inspire and enhance the skills of designer and cutter while helping solve the problem of fabric waste and ecological impact. VR (or AR) would allow a cutter to drape in real time on a stand without actually using any fabric. This could be viewed from all angles in real time in the same VR space by a designer anywhere in the world, adjustments made, decisions on fit and fabric enacted instantly with the touch of a button. The technology could then be integrated with patterning software to digitally take apart the toile, make a pattern and send to factory. It would fuse the skills of an already talented workforce with technology that already exists (albeit in multiple forms) Tilt brush has proven the possibilities of intuitive artist creation in VR. Marvelous designer / Optitex already have fabric draping engines used for 3D simulation of 3D patterns. Combining al
Read more

major project 2 (plans plans plans)

-
Image
"Kandinsky" Collaboration with Deepart (J.Hewitt 2018) Best way to get started on something is just to start. so I sat down with the DeepArt IO and doodled exhaustively, using a combination of the basic silhouettes devised with C. Peacey and some vintage pattern blocks to reference the "rules" and history of cutting. I feel there are varying levels of "success" in these. They may or maynot fulfil prerequisites for computational creativity. I think they are certainly aesthetically pleasing rather than simply novel, but how far the algorithm itself is part of the aesthetic evaluation process I need to investigate further. Many are absolutely stunning images, and were I a fine artist who had painted them or had I written the Deepart Program myself  they would easily be worthy of submission as my finished pieces. However, I am a pattern cutter and I didn't write the program, it is simply a design starting point for my 3D pattern creation exercise.
Read more