En 2050, la industria de la moda enfrentará un desafío sin precedentes al tener que vestir a más de 9 mil millones de personas. Este crecimiento demográfico traerá consigo una serie de retos significativos, desde la alta costura hasta el prêt-à-porter. La proliferación de marcas y el consumo masivo amenazan con desbordar la capacidad de producción, lo que podría resultar en una alarmante sobreproducción. Además, las malas condiciones de trabajo en la cadena de suministro textil y el uso excesivo de químicos plantean serias preocupaciones éticas y ambientales.
Para abordar estos desafíos, es esencial que la industria adopte prácticas sostenibles e innovadoras. La implementación de tecnologías que reduzcan el desperdicio y el uso de materiales ecológicos será crucial. Asimismo, la promoción de una moda ética que garantice condiciones laborales justas es imperativa para el bienestar de los trabajadores en todo el mundo. La colaboración entre diseñadores, fabricantes y consumidores es vital para construir un futuro en el que la moda no solo sea accesible, sino también responsable.
A medida que nos acercamos a 2050, es fundamental que todos los actores de la industria se unan para crear soluciones creativas y sostenibles. La moda del futuro debe ser un reflejo de nuestras aspiraciones, no solo en términos de estilo, sino también en responsabilidad social y ambiental. ¡Descubre cómo la industria de la moda puede evolucionar para enfrentar estos retos!
**Hashtags:** #ModaSostenible, #IndustriaDeLaModa, #FuturoDeLaModa
**Keywords:** moda 2050, sostenibilidad en la moda, desafíos de la moda, consumo masivo, alta costura, prêt-à-porter, sobreproducción, condiciones laborales, industria textil, moda ética.
Para abordar estos desafíos, es esencial que la industria adopte prácticas sostenibles e innovadoras. La implementación de tecnologías que reduzcan el desperdicio y el uso de materiales ecológicos será crucial. Asimismo, la promoción de una moda ética que garantice condiciones laborales justas es imperativa para el bienestar de los trabajadores en todo el mundo. La colaboración entre diseñadores, fabricantes y consumidores es vital para construir un futuro en el que la moda no solo sea accesible, sino también responsable.
A medida que nos acercamos a 2050, es fundamental que todos los actores de la industria se unan para crear soluciones creativas y sostenibles. La moda del futuro debe ser un reflejo de nuestras aspiraciones, no solo en términos de estilo, sino también en responsabilidad social y ambiental. ¡Descubre cómo la industria de la moda puede evolucionar para enfrentar estos retos!
**Hashtags:** #ModaSostenible, #IndustriaDeLaModa, #FuturoDeLaModa
**Keywords:** moda 2050, sostenibilidad en la moda, desafíos de la moda, consumo masivo, alta costura, prêt-à-porter, sobreproducción, condiciones laborales, industria textil, moda ética.
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00:00In this video, we are going to show you how to create your own style.
00:20Unless we all live in nature complexes,
00:23the 9 billion people who will inhabit the earth in 2050
00:27will have to dress and choose their style.
00:29Will they become hipsters from Brooklyn,
00:31enthusiasts of Japanese manga or London businessmen?
00:35Fashion affects everyone.
00:37It helps us to define our social identity,
00:39to reaffirm ourselves and to be part of a group.
00:42I think fashion has become much more democratic
00:45and we have to maintain that, but with a view to the future.
00:48We can't end up with our planet.
00:51From the high seam to the prete a porté,
00:54150 billion pieces of clothing are made every year in the fashion industry.
00:59And it will have to face several issues.
01:01Brand proliferation, massive consumption, overproduction,
01:05failure of labor regulations in the production chain,
01:08use of chemical products.
01:10Fashion has a long way to go.
01:12It is suffering from a crisis of consciousness
01:14and will soon have to face these social and environmental issues.
01:18The current fashion industry is exhausted.
01:21It is crumbling.
01:23It is falling apart because of massification,
01:26fast fashion and poor quality.
01:29The search for new fabrics, innovative materials
01:32and more ecological methods will make a difference in 2050.
01:36I think the changes will be made in clothing,
01:38in how clothing is made and what garments can do,
01:41the smart ideas that will incorporate garments.
01:44That's how I see the changes.
01:46Technological advances will allow designers to imagine
01:50the fashion of tomorrow, like Paco Rabanne,
01:52who used metal and plastic to turn women into space barbarians.
01:56The new 2050 Barbarian
01:58may look like Lady Gaga and her flying dress.
02:01And fashion may allow us to fly like Icarus,
02:04the ultimate dream, without a doubt.
02:06But will the garments of the future
02:08look like the predictions of science fiction?
02:21This thing doesn't fit.
02:23I'm adjusting. Fit.
02:25Pull out your pants pockets.
02:26All kids of the future wear their pants inside out.
02:29Put on this cap.
02:31Perfect. You're the spitting image of your future son.
02:34Designers and researchers around the world
02:36are exploring and imagining the fashion of the future,
02:39inventing tools that emerge from new technologies
02:41to create increasingly extravagant shapes and fabrics
02:44that will connect us to the world we live in.
02:47The new materials will be the inspiration
02:49for everyone to start creating in a different way.
02:52It's the power of fashion,
02:54especially when it's combined with technology
02:56and new functionalities, new behaviours.
02:58It can make you feel, it can make you perceive new things.
03:02Maybe in the future,
03:03fashion will also understand your mental state
03:06and your clothes will be brighter when you're happy
03:09or it can understand your social needs.
03:12When you're going to a party or a gym,
03:15the clothes will be tighter to fit your body.
03:19These visionaries follow in the footsteps
03:21of those who drew and advanced the history of fashion.
03:25At first, putting on clothes meant protecting yourself from the weather.
03:29The Cro-Magnons were the ones who started using leathers and leathers.
03:32About 30,000 years ago,
03:34our ancestors started using bones to pierce the leathers.
03:37Then they came up with the idea of
03:39interlacing natural fibres to make fabrics.
03:42The first sewing machines appeared.
03:44Clothes soon became a reflection of social status.
03:475,500 years ago,
03:49the Chinese used silkworm yarn to make luxury fabrics.
03:53However, the tunic prevailed for both men and women
03:56until the Roman Empire.
03:58Fabrics became more sophisticated and styles refined.
04:02In the mid-14th century,
04:04men's clothing was different from women's,
04:06but fashion was exclusively for the elite.
04:09In 1785, the English inventor Edmund Cartwright
04:12patented the first mechanical fabric.
04:14An industrial and social revolution had begun.
04:18But fashion designers were ahead of the luxury artists.
04:22In 1858, Charles Frederick Ward
04:25created the high seam with his fashion shows
04:27in Parisian salons with royal models.
04:30At the same time, the confection and the future pret-a-porter
04:33began to fill the large warehouses, popularizing fashion.
04:37In 1873, Lévi-Strauss patented work pants,
04:41the famous cowboy pants,
04:43which would become a cult garment.
04:47After the First World War,
04:49women's clothing began to be simpler,
04:51reflecting the emancipation of those who wore it.
04:54It was the end of corsets and other limiting garments.
04:58In 1926, Coco Chanel designed her famous little black dress,
05:03a timeless classic, perfect for any occasion.
05:06Around that time, chemist Hermann Schrodinger
05:09discovered a process that gave rise to new materials
05:12such as nylon and polyester.
05:14In the 1960s, more than ever,
05:16clothing reflected the evolution of society
05:18in its norms and transgressions.
05:23Yves Saint-Laurent designed smoking suits for women,
05:26the London designer Mary Quant designed the miniskirt,
05:29while in France the visionary André Cuvées
05:31created an ultra-modern style that earned him the nickname
05:34of the Le Corbusier of high seam.
05:36Prêt-à-porter really took off,
05:38fashion became more accessible,
05:40young people took over it
05:42and the fashion industry changed radically.
05:46The Internet has changed how and what we consume.
05:49Between virtual locker rooms and the boom of e-commerce,
05:52you can buy practically everything without leaving home.
05:55But what kind of garments will there be in the future?
05:58How will fashion be in 2050?
06:00What will be the next technological revolutions?
06:06Each generation is familiarized unconsciously
06:09and is inspired in an intuitive way
06:12by the technology of the moment.
06:16But it happens that this new generation of visionary creators
06:19is using 3D printing,
06:21one of the cutting-edge technologies of the 21st century.
06:24This technical and artistic revolution
06:26makes them create exuberant designs
06:28that would never have been possible with manual techniques,
06:31and they are making innovative,
06:33magical and poetic figures
06:35that never cease to amaze us.
06:37A new figure is emerging,
06:39the designer-researcher,
06:41the researcher-designer.
06:43In some way,
06:45the laboratory is replacing the traditional study.
06:50Well, fashion has the power to anticipate.
06:53When I create fashion,
06:55I'm visualizing tomorrow.
06:58That explains why I'm not with you right now.
07:01I can't, because I'm working on a collection
07:04that we will launch next year.
07:06I'm always moving.
07:08I'm never in the same time zone.
07:12Iris Van Herpen is one of those pioneers ahead of her time.
07:15She uses 3D printing for her creations,
07:18which fits perfectly with her technological trend.
07:21She is turning women into hybrid creatures of the future
07:24and is deciding what the shapes of the future will be
07:27through inspiring and creative designs.
07:31She works for artists, she works for architects,
07:34collaboratively.
07:36She is very futuristic, very interesting.
07:39What interests her is the lifestyle, the environment.
07:42She incorporates those things into fashion.
07:44And yes, I think right now
07:46she is one of the most interesting designers there is.
07:54In Amsterdam, Iris Van Herpen's studio
07:56has views of the canals.
07:58It is a quiet place, close to the water,
08:00and one of her sources of inspiration.
08:02It is like a waterfall,
08:04where she works in a very studious environment.
08:17When I was little, I danced a lot.
08:20And I wanted to be a dancer when I was older.
08:24And through dancing,
08:26I learned a lot about the transformation of the body,
08:30about the relationship with space,
08:33about movement.
08:36And I think I still take those elements into account
08:40when I design today.
08:43And I was very inspired by technology
08:46because often when you work with fabrics or materials,
08:50you start from a two-dimensional surface,
08:54but with 3D printing,
08:56you work in three dimensions directly.
08:59And it is easier to work with complex concepts
09:02in three dimensions
09:04because it is very exhaustive.
09:07For me, it is not a replacement for anything.
09:10It is just another tool in my toolbox.
09:14What I like about Iris
09:16is that she is not a victim of technology.
09:19She adapts it.
09:21She adapts it and transforms it so much
09:23that you forget about it completely.
09:25Who cares about technology?
09:37I think that in my work,
09:39the key is to mix fashion and technology,
09:42the transformation of identity and of beauty.
09:46And collaboration is also very important in my work.
09:50I don't see fashion as being singular only.
09:54I need the influence of art, science, architecture,
09:59and I try to include all these disciplines in my world of fashion.
10:08The attention to detail and three-dimensional structures
10:11provide the guidelines that Iris and architect Marcin Kolety
10:15need at the University of Innsbruck.
10:17Together, they have made the central piece
10:19of their latest Spring-Summer 2016 fashion show,
10:22a metal dress cut with a laser and printed sheets
10:25by small robots and inspired by Indian trees.
10:30Here they are working on a new sample in their laboratory.
10:37That shows you how the printing works.
10:40It is very slow but very precise.
10:43And as you can see,
10:45this is only a small part of the huge circular dress.
10:51This material, cut by laser, represents a wave.
10:56We tried to create the same organic structure in the printing.
11:01And if you look at the texture of the printed line,
11:05it looks like little waves,
11:07so it really brings together all the materials.
11:13It is very interesting to find the way to mix
11:16the artisanal techniques with the digital techniques
11:19that the robots have made,
11:21and then to see how one technique can complement the other.
11:26And obviously, we have achieved the expertise
11:30and virtuosity of high stitching through the machines.
11:38It can be excessive, it can be repetitive,
11:41it can be regular, it can be two-dimensional,
11:44it can be three-dimensional.
11:46Therefore, it offers many possibilities
11:48that we will discover in the future
11:50and promote even more.
11:56We normally take three or four months to make a piece.
12:00In that time, we develop the textures,
12:04the material and, of course, the design of the garment.
12:09And then the printing often takes one or two weeks,
12:13so that's quite fast.
12:15And sometimes we print the whole dress and it's finished.
12:21And sometimes we print parts of the dress
12:24and then we continue with manual techniques.
12:27So the printing and the manual technique
12:30are really woven together.
12:33Obviously, we work with traditional fabrics
12:36like silk, wool, cotton,
12:39but we also work with other materials
12:42that are not so common,
12:44like this metal that I'm using,
12:46or dragon skin,
12:48which is the silicone that is used to make masks.
12:52And to print,
12:54we use a wide variety of materials,
12:57like adhesive tape.
13:01I could go on and on about this for a long time.
13:12I do a lot of research on the development of materials
13:16and the way in which biology and technology
13:19are fusing together today.
13:22I find it very interesting
13:24and I really feel that the materials
13:27and their functions
13:29will change hugely in the future.
13:34And that will automatically change
13:36the way designers will think.
13:39So I do have to be patient as well.
13:44There are techniques I'm not able to use today,
13:48but maybe in five years I will be able to use them.
13:54I'm not interested in going in huge mass production
13:58because we would lose the quality,
14:01we would lose the development.
14:04And that's what I miss within the fashion industry.
14:08The industry is going so fast
14:11that there's always that feel,
14:14that there's always that progress.
14:18I really think that fashion is a form of art
14:22and the high seam is the perfect place for that.
14:27It's like a laboratory.
14:30It's the place where I find time and space
14:33to really develop something,
14:35to work on a dress for several months,
14:38to work with a new material for more than a year,
14:42if I wanted to.
14:44And I could not do that with the speed
14:47that production in series entails.
14:56I hope I can inspire other people with my work
15:00and the way we create things.
15:04There's not just one way of making things.
15:07And the more you learn
15:09and the more tools you know how to use,
15:12the wider you are in the design process.
15:17So I'm really excited to explore all my possibilities.
15:23Yeah.
15:26This technique is not reserved for high seam.
15:29It will be more accessible and will be used by many designers.
15:33Everyone will be able to participate in the design
15:36and manufacture of their own clothes.
15:39A million 3D printers will have been sold worldwide in 2035.
15:48I mean, in the old days, we used to sew ourselves,
15:51we made ourselves the clothes.
15:53People used to sew, embroider and make patterns.
15:56But that's something that has already been lost.
15:59With 3D printing, people will start making clothes again.
16:02I think perhaps what we will do is buy the patterns or the ideas,
16:07but we will make the clothes at home.
16:11In San Francisco, this vision is becoming a reality.
16:15A team of young and innovative engineers
16:17has developed the first 3D printer for textiles
16:21in a project called Electrolume.
16:24I think it's a very interesting project
16:27because it opens the possibilities of fashion design.
16:31But one of the problems that the printer has
16:34is that it's not very practical yet.
16:36You can do a lot of practical things,
16:38but a lot of the things we do with it are just for fun.
16:42And what we want is to make things that are practical
16:44and that people can use them every day
16:46and not just for fun.
16:49We wanted a 3D printer that went beyond rigidity
16:53and that did practical and interesting things.
16:56And we thought the clothes were perfect.
16:58We started asking ourselves,
17:00why not print a shirt that we like being in our room?
17:04And that's how we started working towards that.
17:19The inspiration for the project
17:22was the research that we did in the university,
17:25especially those of a project
17:27in which we made artificial blood vessels.
17:30On a very small scale, it was made on a very small scale.
17:35So we decided to scale it up
17:37to see if we could create a 3D printer for clothes.
17:41It was purely an idea for many months
17:43and we finally got together in the kitchen
17:46and with a very basic team
17:48we began to test the principles
17:50that we had tested in the university laboratory.
17:53And we began to make little pieces of fabric.
17:56And so we began to see that if we were doing this now on a small scale,
18:01we could continue to work
18:03and we could expand it and make real-size clothes.
18:16Yeah, the machine is a little complicated,
18:19but basically the fundamental thing
18:21is that it works with liquid material,
18:23so polyester in a liquid state.
18:25And we generate an electric field inside of the machine
18:28and that electric field converts the liquid polyester
18:31into a solid fiber that will be transferred to the target,
18:34which could be a 3D shirt.
18:36And then layer by layer,
18:38those fibers will build up on top of each other.
18:41It's similar to a spray process,
18:43but the magnetic field is the one that guides the fibers.
18:47So it's very different to any other manufacturing technology.
19:00The polyester we use is biodegradable,
19:02which is interesting,
19:03although for clothing application,
19:05it would have to change
19:06because biodegradable right now
19:08means that it disintegrates in the water almost immediately.
19:12So we have to improve a lot of things.
19:15The biodegradability in terms of durability
19:18is a very interesting and rewarding thing,
19:21and it's something that we would like to keep,
19:23but there are a lot of things that will change in a few years,
19:26because we want the fabrics to be more durable,
19:29washable, wearable, things like that.
19:43It takes a long time right now to print a garment.
19:46We take 12 to 14 hours to make the shirt.
19:51We've made a lot of progress,
19:53because the first year,
19:54only a part of the process took us about 10 hours,
19:57and that took us some progress already,
20:00but obviously we want to reduce the time down, for sure.
20:05Right now, we can handle the printer without any problem,
20:08but at the individual user level,
20:10it needs a lot of improvements,
20:12and that's what we're working on right now.
20:14What we want is that one day this machine is automatic,
20:17that you get close, you press a button,
20:19and the shirt you want comes out, or the garment you want,
20:21without too much complication.
20:28I think what's most interesting for me
20:30is that people have much more access to the creative process,
20:34when people and the public in general
20:36have more access to the creative process,
20:39very interesting things happen.
20:42For me, it's not just about making a machine that makes clothes,
20:45but the idea is to make something that people can learn to use,
20:48that can spark their creativity in fashion,
20:52or creativity in general,
20:54and that they can learn that technology.
20:56That's what I find most interesting.
20:58And there's the human component to this as well,
21:00that is, connecting with the user
21:02and spreading our enthusiasm
21:04for what we're passionate about and what motivates us.
21:16Printing our own clothing fits perfectly
21:19in the search for the consumer of uniqueness
21:21and the need for interactivity,
21:23because, yes, in 2050, fashion will be connected,
21:26there will be smart garments that will do everything for us,
21:29and they will even make us superheroes.
21:33We designed suits that allow them to contain
21:35and control those conditions.
21:41This suit controls spectral flashes
21:43and refractive visibility.
21:45With intense concentration,
21:47it will also have the ability to make other invisible objects.
21:51One of the most interesting things that's going to happen
21:53is that the clothing will think for us,
21:55the clothing will think for us.
21:57So it's going to be like the refrigerators
21:59that tell you when you've run out of milk.
22:01We're going to do that kind of thing.
22:03They're going to integrate that kind of thing
22:05into the garments so they work for you,
22:07just like cell phones help us every day,
22:09smart phones.
22:11I think that's the next step in fashion.
22:18Thanks to nanotechnology,
22:20fabrics are becoming smarter and more technical.
22:23Applications are developing rapidly
22:26in the health sector,
22:28and the goal is to gather and transmit
22:30the user's biomedical data.
22:32Athletes use all kinds of connected garments
22:34to measure their heart rate,
22:36the amount of calories they burn,
22:38or to regulate body temperature.
22:40In the pre-sport sector,
22:42the Japanese brand Uniqlo has clearly focused
22:44on this specialized market
22:46with a technology called Heat Tech,
22:48which retains and generates heat.
22:50In addition to these practical applications,
22:52designers are making increasingly sophisticated garments
22:55with electrical circuits and integrated LEDs.
22:58The British company Cute Circuit, for example,
23:01and its Twitter dress,
23:03or this skirt that can send messages
23:05with a mobile application,
23:07are currently working on a low-cost airline,
23:09and we can perfectly imagine
23:11the potential of this project.
23:21We can imagine
23:23a kind of miraculous fabric
23:25that can heal wounds
23:27or accurately indicate the heart rate.
23:29In some way,
23:31these technological garments
23:33have replaced
23:35the fairy tale garments
23:37of some people's imagination.
23:48Pauline Van Dongen's garments
23:50are not fairy tales,
23:52they are real.
23:54This young designer is specialized
23:56in wearable technology.
23:58Her work reflects the trend
24:00for smart clothing
24:02and the need to use technology for new purposes.
24:04Her project, Photo Trove,
24:06is a sports shirt with LED strips
24:08integrated into the fabric
24:10to be visible at night,
24:12which can always come in handy.
24:14I tried it running myself,
24:16and that's how we did the design.
24:18We redesigned the electronics
24:20so it's not a static design.
24:22It's never finished.
24:24It's constantly being enhanced
24:26or improved.
24:34Pauline Van Dongen
24:36has chosen Ardhem,
24:38in the Netherlands,
24:40to create fashion and technology garments.
24:42I think I always had this fascination
24:44for the human body.
24:46And when I started to study fashion,
24:48I didn't realize that I could
24:50also incorporate that
24:52in my work.
24:54But only a while later,
24:56in a master's,
24:58I started to realize
25:00that I could do something
25:02with technology
25:04because I've always been interested
25:06in science
25:08and my experimental methodology
25:10could go beyond
25:12traditional designs.
25:14The idea is not
25:16to put more and more technology
25:18in the clothes,
25:20but really
25:22taking the time
25:24to think about
25:26how we can make fashion more valuable.
25:28For me, technology
25:30is a source of inspiration.
25:32It's not just a tool.
25:34It has its own aesthetic.
25:36It has its own characteristics.
25:38It has its own materiality.
25:40So I'm not just interested
25:42in technology.
25:44For me, it's very important
25:46to make technology intimate
25:48and personal.
25:50I often explore materials
25:52in the moving body
25:54as well
25:56and have this kind of
25:58emotion with it as well.
26:04Pauline Van Dongen
26:06is working on the prototype
26:08of a connected shirt
26:10that will serve as an energy source
26:12using solar cells.
26:16When I started
26:18with the solar shirt,
26:20I was very determined
26:22not to be limited
26:24by the technology,
26:26but the fact that we were
26:28going to be working
26:30together with Halls Center
26:32of Electronic Printing
26:34more freely.
26:36We have been able to make
26:38different designs
26:40and we have used prints
26:42instead of glue
26:44to fix the cells
26:46and that has been
26:48a great improvement
26:50for us.
26:52And yes,
26:54one of the ideas
26:56apart from designing the shirt
26:58is to show people
27:00that this is not only
27:02a high-seam shirt.
27:04Yes, we can make
27:06spectacular dresses,
27:08but also very affordable shirts
27:10that anyone of us
27:12will wear in the future.
27:14We are now
27:16working on the technology.
27:18We still have to improve things.
27:20The printed technology
27:22and all the interconnections
27:24are washable,
27:26but the solar cells
27:28are not washable yet.
27:30And this is something
27:32that we have to improve.
27:34We also want to make the shirt
27:36more solid,
27:38because when we integrate
27:40technology and electronics,
27:42it needs to be a design
27:44that can last for a long time.
27:46Basically, there are 120 cells
27:48in the shirt,
27:50distributed all around the body,
27:52so from different angles
27:54it will be able to absorb
27:56solar light that will be
27:58in a box with a rechargeable battery
28:00and an electronic piece
28:02to better absorb the energy,
28:04so the mobile phone
28:06or other devices
28:08can be recharged.
28:10If you wear the shirt
28:12for an hour and a half or two hours,
28:14depending on the light,
28:16you can charge your phone
28:18from 0 to 100%.
28:28We are talking about fashion,
28:30so people need to find it
28:32attractive,
28:34they need to want to wear it,
28:36they need to feel good with it.
28:38So if it looks like a device,
28:40it will never really become
28:42part of fashion
28:44or part of anyone's wardrobe.
28:50Clothes can be equipped
28:52with electronic systems,
28:54even if it is not electronic
28:56in and of itself.
28:58It supports electronic systems
29:00in a more comfortable and discreet way,
29:02but clothes
29:04are just the support.
29:08Technology will become
29:10increasingly intangible.
29:12For example, this velvet jacket
29:14that I am wearing right now,
29:16this type of jacket
29:18already existed 150 years ago
29:20and surely
29:22in 20 years
29:24there will still be
29:26but equipped
29:28with a lot of things
29:30that will not be visible
29:32and that will not need
29:34demonstrations.
29:36Have you seen
29:38what my jacket can do?
29:40That is precisely
29:42the idea of the Jacquard project,
29:44launched by the technological giant
29:46Google and the Levy clothing brand.
29:48Its goal is to develop
29:50tactile and conductive
29:52gestures.
29:54Gestures can be detected
29:56and transmitted to a tablet
29:58or smartphone
30:00and over time
30:02the functions of a computer
30:04can be incorporated
30:06into any garment.
30:08I think it's going to be the future
30:10when Apple and Dior
30:12are associated,
30:14that's when we'll move forward
30:16or maybe Apple will enter
30:18only in the fashion industry.
30:20And maybe brands like Apple
30:22and Google will be the new
30:24Dior and Chanel.
30:26Maybe things are going
30:28in that direction.
30:32Will these highly connected
30:34garments meet
30:36environmental and ecological concerns?
30:38Another great challenge for 2050.
30:40But we are talking
30:42about the high end of fashion,
30:44where a lot of responsibility
30:46is required
30:48and there is a lot of pressure
30:50to meet all the requirements
30:52in the production chain.
30:54For example, with organic cotton.
30:56But I think still
30:58ethical fashion
31:00is still a luxury.
31:02It has to change.
31:04But there may have to come
31:06harder rules to make it change
31:08because right now you can't
31:10produce on a large scale
31:12without being unethical.
31:14In the last 15 years
31:16a shortage of cheap clothes
31:18has led to an excessive consumption,
31:20a decrease in quality
31:22and a much shorter useful life.
31:24If we add the disastrous
31:26manufacturing processes,
31:28the dyes presumably responsible
31:30for 60% of the pollution
31:32of China's rivers,
31:34the tremendous amount of water
31:36used to make
31:3810,000 liters of jeans,
31:40we will understand the great challenges
31:42that the fashion industry
31:44has to face.
31:46The Swedish giant H&M, for example,
31:48has created the well-known
31:50Cansius line of organic and recycled cotton.
31:52Inditex, owner of Zara and Bershka,
31:54has committed to eliminating
31:56the toxic substances
31:58from its production lines
32:00and the high seam
32:02ensures that it is more and more ecological.
32:04And then there are free spirits
32:06like Vivian Westwood,
32:08the creator of punk aesthetics
32:10and Greenpeace activist
32:12who left a long time ago
32:14to use leathers and leather,
32:16replacing them with alternative
32:18natural materials.
32:20To boost things even more,
32:22there are new fibers
32:24that are being developed
32:26all over the world.
32:28As these fibers are easily renewable,
32:30they are much cheaper.
32:32They can solve supply and demand problems,
32:34sudden increases
32:36or decreases.
32:38It can be a great commercial
32:40asset.
32:44It could be the case of high fibers
32:46in casein.
32:48In Hanover, Anke Domaschke
32:50is the founder of Qmilk,
32:52a small German company
32:54that produces 1,000 tons of fiber per year.
32:56Fibers are sold, dyed
32:58and turned into fabrics.
33:00Qmilk is an innovative and biodegradable material.
33:02It is as soft as silk
33:04and could one day become
33:06the alternative to cotton.
33:10In the 1930s,
33:12they already invented
33:14the milk fiber.
33:16But the problem
33:18was that it depended
33:20on a lot of acrylics.
33:22It took over 60 hours
33:24to produce the fabric
33:26and they needed up to 75%
33:28of the acrylic.
33:30We had the idea
33:32to rethink the process
33:34so that it was ecologic
33:36and if we compare it,
33:38now it doesn't take 60 hours,
33:40only 5 minutes of processing,
33:42no acrylic
33:44and we hardly use water.
33:54What hardly anybody knows
33:56is that more than 2 million tons
33:58of milk are eliminated per year
34:00because it is not suitable
34:02for consumption
34:04and this is only in Germany.
34:06But now we can use it
34:08for something
34:10and this is what we are doing.
34:14And yes,
34:16obviously we only use
34:18secondary milk.
34:20We extract the protein
34:22from the milk,
34:24that's why it has to be sour.
34:26And this one is already
34:28protein powder
34:30and this powder
34:32is put in a machine
34:34and it becomes
34:36a kind of dough
34:38that has a texture
34:40similar to the ones
34:42in the mills
34:44when they pile up
34:46and it is made
34:48basically like this.
34:50The characteristic is that
34:52when the protein
34:54becomes a thread
34:56it combines the benefits
34:58of the two fibers
35:00but also the milk fiber
35:02it adapts to the body temperature
35:04it can be warm
35:06and warm
35:08it feels like silk
35:10and it has a very soft structure
35:14it can be washed
35:16up to 60 degrees in the washing machine
35:18and you can wear it
35:20to make jerseys,
35:22dresses,
35:24whatever.
35:26It has a lot of potential
35:28and could replace plastic
35:30bottles, containers
35:32and recyclable bags
35:34to start being more ecological.
35:38Therefore,
35:40it has a lot of potential
35:42in terms of utilities.
35:44It is not a simple
35:46textile fiber.
35:48It is interesting
35:50because I think it is just
35:52the tip of the iceberg
35:54so there is so much more to discover.
36:00In this context of recycling
36:02and reusing raw materials
36:04to fight waste and pollution
36:06many initiatives are being carried out.
36:08The GSTAR brand
36:10launched the project
36:12RAW FOR THE OCEAN
36:14with Pharrell Williams.
36:16The goal is to reuse
36:18the 10 million tons of plastic
36:20thrown into the oceans every year.
36:22The idea is to recycle this highly
36:24polluting material
36:26and turn it into jeans
36:28in a simple and effective way.
36:30In a more fun and peculiar way,
36:32Jean Charles de Castelbajac
36:34has his own way of imagining
36:36the clothes of the future.
36:42And now
36:44I'm going to put something
36:46for you.
36:48I call it
36:50the raincoat of the future.
36:52It is 100% recyclable.
36:54I can even change my face.
36:56Welcome to 2050.
36:58Let's keep fighting for ecology.
37:04In Berlin,
37:06two young people are fighting for ecology
37:08in their own way.
37:10They belong to the new wave
37:12of highly aware designers
37:14of environmental challenges.
37:16In their study, Blond and Beaver
37:18are experimenting with a natural material,
37:20algae.
37:22They are recycling them and using them
37:24in a textile process
37:26called alchemy.
37:28Our work is sustainable.
37:30We use materials
37:32that are not toxic.
37:34And as a link between fashion
37:36and the textile industry,
37:38we are very aware of it.
37:40And so many chemical substances are used,
37:42so many toxic pigments and agglutinants
37:44that obviously harm
37:46the environment,
37:48the workers
37:50and the people who put on that clothes
37:52in the restaurant.
37:54So we have that in mind
37:56and we developed something
37:58that is in total contrast with that.
38:10Alchemy
38:12started as an open field
38:14of experimentation.
38:16We started at a time
38:18when allergies
38:20were the most important topic.
38:22And we started to be interested
38:24in the production of oil,
38:26the production of energy.
38:28Yes, it was quite a futuristic vision
38:30that connected us with this field.
38:32And what really interested us
38:34was that we worked with the same material
38:36but in some way
38:38with a totally different perception.
38:40And we started experimenting.
38:42What else can we do with it?
38:44And we wanted an aesthetic transformation as well.
38:46There are about 60,000 species of algae,
38:48so there is a lot of potential
38:50to develop the range of colors a lot.
38:54We expect more green tones,
38:56obviously,
38:58but we don't have only green.
39:00There are many greens,
39:02very beautiful greens,
39:04but there are also blues,
39:06reds, and that surprised us a lot.
39:08And as designers,
39:10we have a single material,
39:12perhaps a bit like scientists,
39:14with which we enjoy different perceptions
39:16of the world.
39:28We developed our own printer
39:30and the process starts
39:32with the breathing of the algae.
39:34It's like taking care
39:36of a kind of garden,
39:38maybe.
39:40So what you do is you plant a seed
39:42and it grows.
39:44And then the first phase
39:46is breathing and nutrition.
39:48And in nutrition,
39:50we add CO2 to the algae.
39:52And we didn't want to add
39:54any energy resource.
39:56We wanted to do it all
39:58with the energy of our own body.
40:00So what we do is we exhale
40:02in the bottle
40:04to add our CO2
40:06to the production of the algae.
40:08And the next step
40:10is filtering.
40:12We filter it
40:14through a very fine mesh
40:16and then we can take
40:18pigment out of it
40:20and mix it in a bowl with a bag
40:22and then it's ready.
40:36So the idea
40:38of our work as a company
40:40is not just
40:42a whole process of printing
40:44as an alchemy,
40:46but also as a process
40:48of being able to grow it.
40:50And of course as designers
40:52and makers,
40:54it's always fascinating
40:56if you're able to grow
40:58your own material
41:00to influence it
41:02from the start.
41:04We call them living colors
41:06because they mean
41:08you never predict
41:10what's going to happen
41:12with them,
41:14but it's also part
41:16of the charm
41:18that this material has.
41:20And that's also why
41:22we want companies
41:24to work with them
41:26because I think people
41:28are tired of having
41:30done the same
41:32every single time
41:34all the time.
41:36And you develop a certain narrative
41:38and I think that people
41:40are more and more aware of that.
41:42The research in alchemy
41:44is ongoing and never going to be finished.
41:46And I think it's never going to be finished.
41:48And it has a lot to do
41:50with alchemy,
41:52and we like to experiment
41:54and fail
41:56and discover completely
41:58different materials
42:00if we have to.
42:02And that's why we always
42:04look for new ways
42:06of working
42:08and new materials
42:10to combine with algae.
42:16Animal, plant,
42:18the fashion of biological fashion
42:20using and finding inspiration
42:22in living matter
42:24is definitely something
42:26we'll have to count on in 2050.
42:28In Boston,
42:30a group of researchers
42:32have gone even further
42:34and are exploring at another level.
42:36Their project, called Biologic,
42:38is based on the behavior
42:40of a bacteria,
42:42the Bacillus subtilis.
42:44A Japanese samurai
42:46discovered this microorganism
42:48that has been living
42:50inside rice sprouts
42:52for a thousand years.
42:54Today it is used
42:56in the preparation
42:58of fermented soy.
43:00The reason we chose
43:02natural cells
43:04specifically
43:06because it is actually edible.
43:08Japanese have been using
43:10it for thousands of years.
43:12So for us,
43:14it's a very safe,
43:16friendly bacteria
43:18and it can be used
43:20perfectly in the body.
43:30We accidentally applied
43:32some of the bacteria
43:34on a thin film
43:36and figured out
43:38once the water evaporates
43:40it starts to curl up.
43:42We started to test out
43:44this transformation
43:46in different substrates.
43:48One place is in the human body
43:50and we realized
43:52when the sweat,
43:54only a tiny bit,
43:56the film starts to curl up.
43:58This is a very cool effect
44:00that can react
44:02to both temperature
44:04and sweat of the human body.
44:06It is a combination
44:08of high technology
44:10and low technology.
44:12We started from a biolaboratory
44:14at MIT.
44:16There we basically
44:18took the cells,
44:20put them in a bioreactor
44:22overnight or 24 hours
44:24and then when there was
44:26a sufficient concentration
44:28of cells,
44:30we purify them
44:32and make them into
44:34a liquid solution.
44:36We developed our own
44:38bio-impression
44:40and it's a really high resolution
44:42system.
44:44We load the cells
44:46and we print the liquid cells
44:48on top of the film.
44:50That's how we make
44:52our transformable films.
44:54We cut the films
44:56into the right dimensions
44:58that the film wants
45:00and then we composite it
45:02with the traditional fabric
45:04with the original forming
45:06and then we use sewing machines
45:08to make the final designs.
45:20I did the test
45:22with the garment
45:24produced by us
45:26and it's a very unique design.
45:28At the beginning you don't feel anything
45:30because the flaps don't open
45:32and it just wears a normal shirt
45:34and as you run
45:36the flaps will open up
45:38and you feel little air
45:40penetrating through the little holes
45:42and touching your back.
45:44It is for me
45:46physically
45:48a great experience
45:50and even mentally
45:52it reminds me
45:54that my body temperature is going down.
45:58So we are creating an ecosystem
46:00between the bacteria
46:02an edible bacteria
46:04as one living identity
46:06and the human body
46:08as another living identity.
46:12Comparing it to synthetic materials
46:14using bacteria
46:16brings us a very unique perspective
46:18and now to a very unique market.
46:22First of all
46:24the bacteria is very sustainable
46:26and good for the environment
46:28and it's very cheap
46:30because you can grow bacteria
46:32in 10 billion hours
46:34by just nutrition
46:36and now we get rid of the
46:38complicated chemical processing
46:40and also manufacturing steps.
46:44So it is a very easy to use system
46:46and we hope it can really
46:48democratize the
46:50bacterial fabrication
46:52or in general
46:54biological fabrication
46:56for the fashion industry.
46:58In a way I like the idea
47:00of dressing the body
47:02with a living fabric
47:04even if it is a little bit frightening
47:06because this is an unknown territory
47:08but I think in the future
47:10there will be a lot of exciting things
47:12that we don't quite know
47:14what's going to develop
47:16but maybe the fabric
47:18is going to develop
47:20like your own skin
47:22and maybe when you graze yourself
47:24the jersey will break
47:26so you'll jump in the hole
47:28and then it mends
47:30or maybe you'll change
47:32or perhaps clothing
47:34will change
47:36or perhaps clothing
47:38will change
47:40or perhaps clothing
47:42will regenerate
47:44those things can be fascinating.
47:52Fashion in 2050 promises
47:54to be more in tune with the environment
47:56it will adapt to the way
47:58we feel like a second skin
48:00that will live totally with us
48:02in perfect symbiosis
48:04with the world that surrounds us.
48:12www.Fashionecstasy.com