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The Next Black - A film about the Future of Clothing - YouTube
"The Next Black' is a documentary film that explores the future of clothing. Watch as we meet with some of the most innovative companies on the planet to get their opinion on clothing and its future, including: heroes of sustainability, Patagonia; tech-clothing giants, Studio XO; sportswear icon, adidas; and Biocouture, a consultancy exploring living organisms to grow clothing and accessories.

Learn more about the project: http://www.aeg-home.com/thenextblack

Join the discussion on Facebook, Twitter and on the hashtag #thenextblack

https://www.facebook.com/pages/AEG-Global/586037381449750
https://twitter.com/aeg_global "

[See also:
http://www.studio-xo.com/
http://www.biocouture.co.uk/
http://www.patagonia.com/us/worn-wear
https://www.ifixit.com/Patagonia
http://www.patagonia.com/us/worn-wear-repairs
http://www.patagonia.com/email/11/112811.html
http://www.patagonia.com/us/patagonia.go?assetid=106223
http://www.adweek.com/news/advertising-branding/ad-day-patagonia-136745
https://www.patagonia.com/us/patagonia.go?assetid=2388
http://www.bloomberg.com/bw/articles/2013-11-25/patagonias-confusing-and-effective-campaign-to-grudgingly-sell-stuff ]
design  documentary  fashion  video  clothes  clothing  glvo  reuse  mending  repair  materials  textiles  studioxo  biocouture  adidas  patagonia  recycling  waste  consumerism  consumption  capitalism  biology  wearable  wearables  suzannelee  technology  nancytilbury  suzanne  slow  slowfashion  fastfashion  dyes  dying  industry  manufacturing  globalization  environment  rickridgeway  uniformproject  customization  ifixit  diy  alteration  resuse  repairing 
july 2015 by robertogreco
Alexandra Lange on 3D printers versus the sewing machine
"In March, Slate Magazine's Seth Stevenson provided a public service when he borrowed a Solidoodle 4, pitched as the "accessible", "affordable" 3D printer, and attempted to print a bottle opener from Thingiverse. [http://www.slate.com/articles/technology/technology/2014/03/solidoodle_4_testing_the_home_3_d_printer.html ] Results, as they say, vary, but he ended up, after a series of phone calls and false starts, with "a functionless, semi-decorative piece of plastic."

The bumbling encounter with technology is a popular stratagem for Slate, but here it pointed directly to the reason we're not seeing a 3D printer in every den. I've seen those rhino heads, those dinosaur skulls. They do not fill me with delight, but remind me instead of the cheap toys my kids bring home from birthday parties and I throw away in the night. Why bother? How is printing your Triceratops at home more creative, more making, than buying one from a store? In either case, step one is scrolling through pages of online options, pointing and clicking in 2D.

Stevenson concluded that 3D printing was no place for amateurs, but for tinkerers. Those able to work under the hood of the printer: to understand the terms in the manual, to customise or create their own products for Thingiverse. For such tinkerers, neighbourhood printing hubs like Techshop, where subscribers can go to use physical or digital tools, make more sense. Designers taking advantage of 3D printers' capabilities for rapid prototyping and small-batch production have already started farming out the actual printing to places like Shapeways. When we stopped having to fax even weekly, we all got rid of those machines.

But then Stevenson took a turn toward the larger question of craft. He wrote, "Once upon a time, people purchased sewing patterns (like a program from Thingiverse) and yards of fabric (like filament) and they made their own clothes. I wasn't alive back then, but I'm pretty sure the process sucked."

I must be older than Stevenson, because my mother and grandmother sewed clothes for me. My mother, aunt and I have all sewed clothes and quilts for my children. They are not amateurishly constructed. We managed to make them while also holding down full time jobs. And judging from the extremely active online sewing community, the active trade in old machines and patterns on Ebay, and the ease with which one can locate a scan of a thirty-year-old sewing machine manual, the digital age has not turned sewing into a novelty, but spawned a revival of interest. In fact, if 3D printers are truly going to become a consumer good, they have a lot to learn from the sewing machine.

Because Stevenson snidely generalised from his own limited experience, he missed the instructive dialogue between craft and the machine age. Post-industrial sewing is not a freak but a respite. In Evgeny Morozov's recent New Yorker essay on the new makers, he quotes historian Jackson Lears' critique of the Arts & Crafts movement as "a revivifying hobby for the affluent." I'd say middle-class: (mostly) women who aren't seeing what they want, at a price they can afford, in the marketplace.

There’s an appetite for the "refashion," recycling an old dress or an adult T-shirt, and turning it into something new. Once upon a time, the use of flour sacks as fabric prompted grain-sellers to start offering their wares in flowered cotton bags. If some boutique grain company began doing that again, there would be a run on their product. Under the technology radar, there's a community of people sharing free patterns, knowledge and results, without the interpolation of brands, constantly obsolescent machinery, or the self-serving and myth-making rhetoric Morozov finds in Chris Anderson's Makers. There are the answers to the questions "Why bother?" and "How creative?" Rather than sewing being a cautionary tale, 3D printing can't become a consumer good until it learns a few lessons from why we sew now.

Number one: what's not available on the market. If you have a girl child in America, it is often difficult to find reasonably-priced, 100 per cent cotton clothing for her without ruffles, pink or purple, butterflies and hearts. If you go to the boy section, you run into an equally limiting set of colors, navy and army green, and an abundance of sports insignia. A full-skirted dress, a petite skirt, prints for the plus-sized – there are plenty of styles that are not novelties but, when not in fashion, disappear from stores. Online you can find patterns to make any of the above for less than $10, and fabric at the same price per yard. Online you can find step-by-step explanations, with photos, of how to make that pattern. That world of patterns is vast, constantly updated, and historically rich. Yes, sewing your own garment will take some time, but then you will have exactly what you want. That's why women bother.



Second lesson: recycling. Say my mother did actually sew something amateurishly. That's not the end of the story. A mis-printed jet-pack bunny is so much trash (unless I buy a second machine like a Filabot to remelt my filament). A mis-sewn seam can be ripped out and redone. An old dress can be refashioned into a new one. A favorite vintage piece can be copied. Sewing does not create more waste but, potentially, less, and the process of sewing is filled with opportunities for increasing one's skills and doing it over as well as doing it yourself. What are quilts, after all, but a clever way to use every last scrap of precious fabric?

So far, 3D printing's DIY aspects seem more akin to the "magic" of an ant farm, watching growth behind glass. Sewing lets the maker find their own materials, and get involved with every aspect of the process. 3D printing could do this, and there are classes, but even at the Makerbot showroom the primary interaction seemed to be ordering from Thingiverse. My local sewing shop has to teach more women to sew to survive; I don't see the printer makers coming to the same conclusion.

In addition, the machines themselves are constantly becoming junk. It's not unusual for new technology to change quickly. That's the fourth Solidoodle since 2011. Makerbot is on its fifth generation. It is early days for 3D printing, and the machines may eventually stabilise. But the rapid obsolescence suggests a lifecycle closer to that of a mobile phone than of a washing machine, which might also turn consumers off. The sewing machine was considered a lifetime purchase.

Last but not least, sharing. This is the one consumer area where 3D printing approaches sewing's success. From the Free Universal Construction Kit to full-body scans, the idea of open-source, free, and social-media enabled printing has been built-in to the 3D process. Showing off what you made is better when you created it, rather than printed it out. On the sewing blogs, the process pictures are half the fun, and most of the interest. What does it really teach your children when you can get doll house furniture on demand, except a desire for ever-more-instant gratification? For me to believe in 3D printers as a home machine, I'd have to see the digital file equivalent of women in their off-hours, making up patterns as they go along, sharing mistakes, dreaming better dreams. 3D printing feels bottled up, professionalised, too expensive for the experimentation of cut and sew and rip and sew again.

Stevenson wrote, "most people would much rather just get their clothes from a store — already assembled by people employing industrial-level efficiency and a wide variety of materials," and that's true. What Solidoodle and Makerbot and the rest should be looking at is the people who have seen everything in the store and found it wanting."
alexandralange  2014  sewing  3dprinting  makerbots  making  makers  repair  reuse  glvo  sharing  obsolescence  process  howwework  cv  waste  utility  technology  fabrication  alteration  thingiverse  purpose  usefulness  solidoodle  makerbot  recycling  agency  need  necessity  patterns  clothing  wearables  techshop  shapeways  sethstevenson  craft  lcproject  openstudioproject  homeec  repairing 
may 2014 by robertogreco
DAILY SERVING » Summer of Utopia: Interview with Ted Purves
"I feel like a project is successful if we have had substantive encounters with people, if we have created spaces where a kind of exchange—whether it’s family history, or talking about why something should or shouldn’t be in an art museum, or sometimes it’s just swapping recipes—some form of animated or engaged dialogue comes out, or some sort of story emerges. It means we learn something, a story can be brought forward from that, that’s when things are successful. Another high-five moment comes when there is something compelling to look at. A lot of times when you see a social practice show, it’s either a room full of crap to read, or it looks like a place where they had a party and you didn’t get to go. I’ve been to a lot of those, and they’re not satisfying! You either wish they had just printed a book you could take home and read in your own chair—because it’s not very comfortable to sit in a museum—or you wish that you’d been at the party."

[via: http://randallszott.org/2012/05/25/ted-purves-aesthetics-social-practice-personal-economies/ ]
urbanism  rural  cities  urban  suburban  suburbia  suburbs  belief  via:leisurearts  democracy  alteration  change  perception  lemoneverlastingbackyard  wrongness  weirdness  glvo  openendedness  seeing  art  aesthetics  fruit  dialog  publicspaces  publicspace  workinginpublic  disagreement  decisionmaking  debate  negotiation  unplanning  thebluehouse  temescalamityworks  susannecockrell  sharing  2010  overlappingeconomies  capitalism  economics  utopia  thomasmore  socialpractice  tedpurves  dialogue 
may 2012 by robertogreco

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