Regenerative Design and Concept

Regenerative Design and Concept

Regenerative Design and Concept

Every regenerative product or service is born from a process of analysis and identification of the type of solution that we intend to offer. Many times, we have stalled along the way, have it not happened to you? What do we do at that time? To help you, I have made a compilation of 10 key aspects to take in consideration, when developing a product or service under a regenerative concept.

1. What’s the problem? What issue have you identified? For example: Excessive consumption of plastics, loss of marine biodiversity, pollution of rivers, etc.

notebook beside the iphone on table
Photo by picjumbo.com on Pexels.com

2. What solution can you offer? What kind of solution will you offer with your product or service? What type of regenerative impact are you delivering (social, cultural, environmental, or economic)? Who are the main stakeholders?, being our Planet and Society, the main participants.

3. Who are your clients? Who will be your clients? Here, you must describe in detail the characteristics of your Buyer Persona (Profile of your Target Customer). What are their interests, their concerns? What places do they frequent? What kind of digital tools do they use to choose a product or service, which influencers or references in Regenerative Fashion do they admire?

4. Who are your competitors? With the current globalization, we currently compete with global brands, therefore, the competitive advantage must be closely connected to the regenerative value proposal that you offer. In this link, you can find some key tools to be able to carry out the evaluation of your competition. Take in consideration that a good start will be looking for market research reports like Statista, OMS, World Economic Forum among others related to our now days digital ecosystems.

water swimming competition pool
Photo by Pixabay on Pexels.com

Remember that in addition to evaluating what fraction of the market they lead, you must analyze how they are managing their strategic, operational and support processes.

“Design creates culture. Culture shapes values. Values determine the future.”

— Robert L. Peters, designer and author

5. Strategy of the Regenerative Product or Service: Here it is important to carry out an evaluation of the environment with a SWOT Analysis (strengths, weaknesses, opportunities, and threats), PESTEL (political, economic, social, technological, ecological and legal environment, Porter Force Analysis, analysis of organizational capabilities the 7s and define if we choose to compete in an environment of high competition (RED) or BLUE ocean scenarios (minimal or no competition).

6. Define Key Processes: in the fashion sector are Research and Development, Concept and Storytelling of the product or service, but very essential is prototyping where we can quickly design, manufacture, and test the level of success of the new product or service and in addition to its final cost. One quote that resumes this part is: “Design creates culture. Culture shapes values. Values determine the future.” — Robert L. Peters, designer and author.

7. Design and Concept: At this stage of the development of the concept and idea, agile and systematic ideation tools such as Brainstorming and Mind Maps come into play, as for the product development phase, tools such as Design Thinking, Design Tools such as Rhinoceros, Adobe XD, Sketch, Fusion 360 and others. Also type of digital technology that will be used for its fabrication such as laser cutting and engraving, 3D printing, milling, embroidery and digital fabric are used for prototyping and final manufacturing.

Agar agar Bioplastic Research by Mashua Project at Factory 103.

Finally, once the prototype has been validated, the production and marketing of the product proceeds. It should be noted that in this last part the marketing channels are today online, and marketing goes hand in hand with the development of a Digital Marketing strategy.

8. Selection of Technologies and Materials: This process is key because it will define the level of quality and alignment of the final product or service with the needs of the consumer. On the other hand, it will define the level of environmental, social, and cultural impact of the same. In this process, we will ask ourselves the following questions: Is the final product compostable? Is it biodegradable? What is the average lifetime of the product? What is the carbon footprint of your production? Estimated production time? Machine Hours, Man Hours; etc.

“Every great design begins with an even better story.” 

– Lorinda Mamo, designer

9. Costing, Financing and Production: After carrying out a detailed costing of the materials, labor, marketing and distribution expenses, production and administration, the correct thing to do is to carry out an economic and financial analysis of the product or service generated under 3 scenarios: the optimist, conservative and pessimist. Very important, define the percentage that can be financed with own resources and the percentage that will have to be financed by incubators, financial entities or subsidized by the State, if applicable.

woman holding white paper with graphs
Photo by RODNAE Productions on Pexels.com

10. Control and Monitoring: Here we analyze the results through an analysis of financial indicators, sales, production, quality, sustainability, social responsibility and very important the results of the surveys of our clients, because in the end it is about to determine whether our value proposition is meaningful to our customers and why.

It should be noted that aspects 1 to 6 generally correspond to the strategic processes during the generation of products and services, and that processes 6 to 10 correspond to the operational and support ones.

Conclusion, if you are in the process of developing a new product or service, the starting point is the problem or “pain point” identified (the need) and once the proposed solution has been validated through the prototyping process, you will be able to make your proposal of value is scalable through the development of steps 7 to 10. Another aspect to consider is that not all tools work for all projects, so the journey consists of identifying which ones really complement and will accompany you on your journey as a creator, researcher, bio manufacturer and entrepreneur.

#regenerativeconcept, #design, #regenerativesolutions,#design,#art,#creativity,#processes,#fabrication, #productmanagement

10 Things to know about Agar Agar Bioplastics

10 Things to know about Agar Agar Bioplastics

10 Things to know about Agar Agar Bioplastics

The main (bio)material we used for our latest  Bio Uncu Maker is based on Agar agar, a gelatinous substance made with an extract of red algae abundant on the Pacific coast of Peru and Chile.

Did you know that this biomaterial is biocompatible with human skin? And the fact that this considerably reduces the probability of an allergic reaction occurring?

Another amazing fact is that Agar agar bioplastics affect touch capacitive screens! Amazing, right?!

Our research and development process began with the generation of the biomaterial, which brought us many lessons learned that we want to share with our future bio makers:

  • Tip 1: Agar agar’s Powder form dissolves faster and more evenly

Agar is available in three different formats (bars, granules, and powder). Because agar needs to be heated to 90°C to dissolve properly in liquid, the powdered form is easiest to work with. If you are using bars or flakes, we suggest you break them into a powder first, using a coffee or spice grinder. The powder form dissolves faster and more evenly.

Source: https://pacificharvest.co.nz/seaweed-blog/how-to-use-agar/
  • Tip 2: Start with a basic recipe and then try different combinations of Agar agar, Glycerine and Distilled water.

Checkout some online cooking recipes books. Ones that I can truly recommend are the following: The Secrets of Bioplastics by Clara Davis and Bioplastic Cook Book by Anastasia Pistofidou.

An additional thing to know is that a bioplastic made with Agar agar may ‘sweat’ when in humid weather. To prevent this, you may add a little bit of corn starch (corn flour) with Agar agar into the liquid that you are cooking it in.

There are many recipes, but you start your journey with those ingredients that you can find in your community or closest ecosystem, but also keep in mind what type of possible applications of your new biomaterial you can explore and validate further.

  • Tip 3: Check Ph of liquids vehicle and natural dyes

If you’re going to add some natural dyes, the best way to include them in your recipe is to add them at the end of the cooking process. In addition, it is very important that you monitor the level of pH of the liquid solution because Agar agar is sensible to acid pH levels and to the concentration of Calcium in the solution. Therefore for all your liquid ingredients make sure you always use filtered water.

Take in consideration that some natural colors can be thermosensitive (Spiruline and beet for example), therefore you must add them at the very end of your cooking process to prevent any fading.

  • Tip 4: Documentation and Registration of your Bioplastic Journey

This is key for documenting all the lessons learned during your bio-making journey. Excel sheets can help at the beginning for effectively following up a sample’s progress. Don’t forget to include photos. All the morphological transformations will be key for identifying each resulting biomaterial’s possible applications: rugosity, transparency, brightness, flexibility, hardness and density.

Biomaterial Follow Up Chart by Mashua Project
  • Tip 5: Natural dyes preparation

Colour’s selection depends on the concept of your bio project. But here you can find some very useful guidelines for preparing your natural dyes. For example, for our Bio Uncu project we decided to go for an Andean Palette of Colours made with Purple Corn and Annatto.

  • Tip 6: Bubbling control and heating

Having in mind Agar agar bioplastics cool quickly, it is very important to control bubbling before pouring the mixture into the molds. You can stir the bubbles with a spoon or pass the hot mixture through a colander. If you want to remove them in a professional manner, there is specialized equipment for it called Vacuum Bubble Removers.

Another very important method is by controlling the temperature of your preparation, just make sure it does not exceed the 90-95 Celsius degrees.

  • Tip 7: Surfaces of molds

Ideal surfaces for Agar agar bioplastics are glass, textiles with high thread counts of 250 or more and high-density textiles. It will depend on the type of transparency and texture you would like to accomplish.

  • Tip 8: Cooking Time and Volume

Cooking time will depend on the volume of your mixture. For samples between 300ml to 500ml the cooking time over moderate heat is approximately 30min and for volumes greater than 500ml the ideal cooking time is 40 to 45min. Do not forget to control the temperature and shake the mixture continuously to avoid the formation of lumps.

Biotextiles Research by Mashua Project. Location Factory103.
  • Tip 9: How to make an Agar agar bioplastic stronger

Researchers at Tuskegee University in Alabama found that adding nanoparticles made of eggshells to bioplastic increases the strength and flexibility of the material, potentially making it more attractive for use in the packaging industry.

You may experiment with adding other additives (fibers, organic waste; etc) that will make your samples more tough and resistant.

  • Tip 10: The drying and testing process

Agar agar bioplastics shrink a lot in size and thickness over time, and if left in a mold where it’s connected to wooden edges, will form cracks in the center. So, make sure to cut the agar free from the edges of the mold after the first 24 hours of setting.

Wait and dry, typically 2-4 days before you remove your samples from the mold. The morphologic and biomechanical tests of your samples must be done after the second week though.

One very important thing is to let the samples dry in a well ventilated, insulated and dry environment to prevent the samples from mold.

Agar gar Biomaterial Research Progress by Mashua Project.
Bioplastic Progress
Agar agar Bioplastic’s Samples by Mashua Project.

I hope these tips will be useful for you as a good starting point for your journey as future bio makers!

#agar, #bioplastics, #biocompatible, #regenerativedesign, #biotextiles, #microorganisms, #biouncu, #inkatextiles, #biotocapus, #biofactory, #bioloom, #digitalfabrication, #bioplasticos, #algae

Source: Bioplastic Cookbook for Ritual Healing from Petrochemical Landscapes by Tiare Ribeaux

Ten Simple Rules for a Successful Research Collaboration

Ten Simple Rules for a Successful Research Collaboration

Ten Simple Rules for a Successful Research

Collaboration

Given that collaboration is crucial, how do we pick the right collaborators, and how can you make the collaboration work in the best possible way? This question came to my mind since currently as a regenerative designer I am involved in a few research and development projects and, keeping in mind my ups and downs, I wanted to share with you these simple rules that I believe will help our maker community to choose wisely in which collab projects they should get in or not.

Here are my ten simple rules based on our experience that I hope will help you. Keep in mind that these rules are for both you and your collaborators.

Always remember to treat your collaborators as you would want to be treated yourself and that empathy is the key.

Rule 1: Do Not Be Lured into Just Any Collaboration

Learn to say “No”, even if it is to an attractive grant that would involve a significant amount of money and/or if it is a collaboration with someone more established and well-known. It is easier to say “no” at the beginning—the longer an ill-fated collaboration drags on, the harder it is to sever, and the worse it will be in the end. 

Ask yourself, will this collaboration really make a difference in my research? Does this grant constitute a valid motivation to seek out that collaboration? Do I have the expertise required to tackle the proposed tasks? What priority will this teamwork have for me? Will I be able to deliver on time? If the answer is “no” for even one of these questions, the collaboration could be ill-fated.

ENTER A COLLABORATION BECAUSE OF A SHARED PASSION FOR THE SCIENCE . . .

Rule 2: Decide at the Beginning Who Will Work on Which Tasks

Carefully establishing the purpose of the collaboration and delegating responsibilities is priceless. Often the collaboration will be defined by a grant. In that case, revisit the specific aims regularly and be sure the respective responsibilities are being met. 

Once given the delegation of tasks, It is very important to discuss expectations for authorship early in the work. New ideas will arise. Have a mutual understanding up-front that these ideas can be embraced as an extension of the original collaboration. Discuss adjustments to the timelines and the order of authors on the final published paper, prototype, or product accordingly. In any case, be comfortable with the anticipated credit you will get from the work. 

At this point I highly recommend using important Project Management Tools such as Discord, Miro, Gantt Diagrams, Trello, Asana, among others. Additional recommended tools can be found on the following link: https://financesonline.com/top-20-online-collaboration-tools-for-project-managers/ .

Rule 3: Stick to Your Tasks

Research and Creative Design are such that every answered question begs a number of new questions to be answered. Do not digress into these new questions without first discussing them with your collaborators. Do not change your initial plans without discussing the change with your collaborators. Thinking they will be pleased with your new approach or innovation is often misplaced and can lead to conflict. 

As designers, our main responsibility is to conceptualize and design future products and services by always keeping in mind their impact into the wellbeing of natural and human made ecosystems. Therefore, our solutions should be tested prior to delivering our final products and services.

Some very useful tools for this creative and prototyping process are Design Thinking, Business Model Canvas, among others. For more complex and challenging contexts, Scrum. In regards to technologies and equipment we can mention a few: Laser Cut and Engraving Machines, Digital Milling Machines, 3D Printing, CAD CAM; Sublimation Printing, Digital Ink/Stitch etc.

Rule 4: Be Open and Honest

By using the project and design management tools in Rules 2 and 3, share design drafts, references, data, protocols, materials, etc., and make papers accessible prior to its product / service delivery, paper, magazine and book publication. Remain available. A trusting relationship is important for the collaborative understanding of the problem (that is being solved) and for the subsequent joint thinking throughout the evolution of the collaboration.

Rule 5: Feel Respect, Get Respect

If you do not have respect for the creative, scientific or technical work of your collaborators, you should definitely not be collaborating. Respect here especially means playing by Rules 2–4. If you do not respect your collaborators, it will show. Likewise, if they don’t respect you. Look for the signs. The signs will depend on the personality of your collaborators and range from being aggressive to being passive–aggressive. For example, getting your tasks done in a timely manner should be your priority. 

Showing respect would be to inform your collaborator when you cannot make a previously agreed-upon deadline, so that other arrangements can be made.

Rule 6: Communicate, Communicate, and Communicate

Consistent communication with your collaborators is the best way to make sure the partnership is going in the planned direction. Nothing new here, it is the same as for friendship, marriage or any other significant relationship. Communication is always better face-to-face if possible, for example by traveling to meet your collaborators, or by scheduling discussion related to your collaborations during conferences that the people involved will attend.

Synchronous communication by telephone or video teleconferencing is preferred over asynchronous collaboration by e-mail (data could be exchanged by email prior to a call so that everyone can refer to the data while talking).

The excitement of a new collaboration can often quickly dissipate as the first hurdles to new projects appear. The direct consequence can be a progressive lack of interest and focus to get the job done. After all, your collaborators could just be having a difficult time for reasons outside of their control and unanticipated at the time the collaboration started. After three chances, if it feels like the collaboration cannot be saved, move on. You may still need to deal with the co-authorship, but hopefully for one paper only!

Rule 7: Protect Yourself from a Collaboration That Turns Sour

Rule 8: Always Acknowledge and Cite Your Collaborators

This applies as soon as you mention preliminary results. Be clear on who undertook what aspect of the work being reported. Additionally, citing your collaborators can reveal your dynamism and your skills at developing prosperous professional relationships. This skill will be valued by your peers throughout your career.

Even though you may not encounter severe difficulties that would result in the failure of the partnership, each collaboration will come with a particular set of challenges. To overcome these obstacles, interact with colleagues not involved in the work, such as your former advisors or professors in your department who have probably been through all kinds of collaborations. They will offer insightful advice that will help you move beyond the current crisis. Remember, however, that a crisis can occasionally lead to a breakthrough. Do not, therefore, give up on the collaboration too easily.

Foto de RF._.studio en Pexels

Rule 9: Seek Advice from Experienced Designers, Scientists and ProTechs

Rule 10: If Your Collaboration Satisfies You, Keep It Going

Ever wondered why a pair of authors, creators, designers has published so many papers together? Well, it is like any good recipe: when you find one that works, you cook it again and again. Successful teamwork will tend to keep flourishing—the first project, research paper, product will stimulate deeper and/or broader collaboration projects that will in turn lead to more projects. As you get to know your collaborators, you begin to understand work habits, strengths but also weaknesses, as well as respective areas of knowledge.

Accepting these things and working together can make the work advance rapidly, but do not hurry: it takes time and effort from both sides to get to this point.

Foto de fauxels en Pexels

References

  • Quentin Vicens is a Howard Hughes Medical Institute Fellow at the University of Colorado, Boulder, Colorado, United States of America. 
  • Philip E. Bourne is the Editor-in-Chief of PLoS Computational Biology.
  • PLOS COMPUTATIONAL BIOLOGY : https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1847992/
Regenerative and Sustainable Design: What’s the Difference?

Regenerative and Sustainable Design: What’s the Difference?

Regenerative and Sustainable Design:

What’s the Difference?

Is sustainable design enough nowadays, is it a part of the solution? Or a part of the main misconception problem?

While a Sustainable Design seeks to reduce negative impacts of the environment, and the health and safety of building occupants, thereby improving building performance. The basic objectives of sustainability are to reduce consumption of non-renewable resources, minimise waste, and create healthy, productive environments. Its main approach is to eliminate and reduce potential negative impacts in the future of society and the environment.

On the other hand a Regenerative Design has a systemic approach, in other words is a process-oriented whole systems approach to design

Algae at Costa Brava in Catalunya.

The term “regenerative” describes processes that restore, renew or revitalise their own sources of energy and materials (ecosystems). Regenerative design uses whole systems thinking to create resilient and equitable systems that integrate the needs of society with the integrity of nature.

Designers use systems thinking, applied permaculture design principles, and community development processes to design human and ecological systems. The development of regenerative design has been influenced by approaches found in biomimicry, biophilic design, ecological economics, circular economics. As well as social movements such as permaculture, transition and the new economy. Regenerative Design can also refer to the process of designing systems such as restorative justice, rewilding and regenerative agriculture.

Therefore, any technical, social and perceptual innovation can be achieved by applying a Regenerative Design approach, because it is more integral and responds to our nowadays needs which not only look for eliminating and reducing negative impacts, but for restoring all existing damages too.

person in black jacket sitting near lake
Regenerative Tourism at Millpu’s Natural Pools in Ayacucho Peru. Photo by Alex Azabache on Pexels.com

A new generation of designers are applying ecologically inspired design to fashion and beauty, agriculture, architecture, community planning, cities, enterprises, economics and ecosystem regeneration. They use the resilient models observed in systems ecology in their design process and recognise that ecosystems are resilient largely because they operate enclosed loop systems. Great examples are: The Principles of Bio design, Biomimicry and Circular Economy Principles. Using this model regenerative design seeks feedback at every stage of the design process. Feedback loops are an integral to regenerative systems.

Do you want some examples of Regenerative Design? Here are some applied into different sectors:

Calguerxo, an example of a Regenerative Home Renovation Project.

Patagonia, an example of a Regenerative Casual Sportswear Fashion Brand.

Conscious Travel, a great example of Regenerative Tourism Consultancy.

vation, a result of a  co-creation project where designers propose projects with food scraps using artisanal techniques and digital fabrication. They collaborate with agents from Poblenou’s neighbourhood in Barcelona to promote a local circular economy ecosystem.

Biodegradable Coat made with Organic Waste and Bioplastics at Remix El Barrio 2020.

So, which other regenerative brands, initiatives or projects do you know?

References

Authors:

  • Carol Sanford, author of The Regenerative Business and director of Carol Sanford Institute.
  • World Economic Forum: Regenerative business: a roadmap for rapid change. 
What is Regenerative Tourism? How is connected with Regenerative Fashion?

What is Regenerative Tourism? How is connected with Regenerative Fashion?

What is Regenerative Tourism? How is connected with Regenerative Fashion?

It is always good to disconnect, unlearn to continue learning, reconnect with nature, but above all to observe and respect her, because she is the best teacher.

Tourism has been one of the sectors most affected by the current Pandemic, but you know what? Regenerative Tourism (Textile Routes, Gastronomic Routes, Yoga and Meditation Retreats, Rural and Community Tourism for example) can be the key to economic reactivation with a positive and exponential impact.

Do you know what is Regenerative Tourism? How can we get together tourism and fashion for developing a Regeneerative Tourism Experience?

1. According the New York Times article called: “Move Over, Sustainable Travel. Regenerative Travel Has Arrived” Regenerative Travel/Tourism is “leaving a place better than you found it.”

2. Sustainable Tourism aims to counterbalance the social and environmental impacts associated with travel. But any Regenerative Tourism Initiative aims for socio-economic, cultural and environmental wellfare.

3. Regenerative Tourism is a group of economic or recreational activities that we do in a Regenerative Fashion.

4. Regenerative Fashion Experiences are part of a regenerative culture, where ancestral good practices of farming, weaving, embroidery, pottery, painting, dying among other artistic expressions are learned, respected and preserved, while its ecosystem of development is well maintained and culturally, socially, economically and environmentally regenerated.

Regenerative Tourism is a group of economic or recreational activities that we do in a Regenerative Fashion.

– – Mashua Project

5- Three characteristics of a Regenerative Tourism Experience will be:

  • Awareness Tour Groups must be managed properly to make sure that Regenerative Awareness is guaranteed.
  • Educational and Collab Experiences, instead of visiting attractions in a certain natural area, make sure all stakeholders involved (authorities, tour operators, communities, tourists and others) understand the importance of preserving and regenerating those natural areas by generating activities where tourist are introduced into the best ancestral practices of farming, arts and crafts, medicine and why not cooking.
  • Effective, clear and concise Waste Management, Eco Efficiency and HSE Procedures.

So, Tell Us, how can you start a Regenerative Toursim Initiative in your community? How can we monitor a Regenerative Fashion Innovation Impact then?

Sources:
– What is regenerative tourism? And how should we deliver it? https://bit.ly/3ijkbav
– In Bali, locals are turning from tourism to seaweed farming | UpLink https://bit.ly/3wJ4JJL

#regenerativelifestyle,#regenerativedesign,#regenerativetourism,#sustainableliving#regenerativeecosystems#costabrava,#catalunyaexperience

Excursion organized by Plan B to the medieval towns of the Emporda in Catalonia

#regenerativetravel#nature,#regenerativelifestyle,#ruraltourism,#permaculture,#biophilictourism,#emporda,#catalunya ,#regenerativedesign#turismolocal

Tamshi – Sustainable Materials

Tamshi – Sustainable Materials

Tamshi – Sustainable Materials

Another of the materials of the Peruvian jungle is an aerial root known as ¨Tamshi”. With this fiber, baskets, brooms and baskets are made. In turn, the Tamshi is also used to join the logs in the construction of huts for the communities. Similarly, there is the fiber of the Chambira palm, used by the Yaguas tribe to make clothing, hammocks, bags and fishing nets.

The vegetable fiber of “Tamshi” plays an important role in the life of the rural population of the Peruvian Amazon, since it is common in the construction of houses, household utensils and handicrafts; however, very few are aware of the need for its preservation and management. Due to excessive use, the species is seriously threatened; However, with proper management, it can contribute to generating economic income and preserving the Amazonian tropical forests.

The name “Tamshi” is assigned to a group of plant fiber species, such as “Wire Tamshi” (Heteropsis linearis, Kunth), “Cow Tamshi” (Heteropsis oblongifolia, Smith), “Huasi Tamshi” (Heteropsis spp.), ” Tamshi Lamas “(Heteropsis spp.),” Tamshi Basket “(Thoracocarpus bissectus (Vell.) Harling), and others. These species have in common being hemi epiphytes with long, cylindrical, wire-like roots that hang or are attached to the trunks of trees over 20 meters high in primary forests.

The “Tamshies” are native species of the Amazonian forests climax or in apogee, they are not in secondary forests. Tamshies are non-timber forest products, they have multiple uses and applications. In rural areas it is an important construction material that replaces wire and is used as a tie material to hold “beams”, for example.

It is highly resistant to the attack of fungi and insects. Its use is also common in the weaving of baskets, mats, beds, hats, and other utensils and fishing materials. The “tamshies” depending on the thickness and characteristics of the species, are also used in the construction of fences for the protection of animals, assembly of beds in replacement of bed bases, lines to dry clothes and as raw material for the manufacture of handicrafts in different communities native. In urban areas it is also widely used in the manufacture of furniture, as it perfectly replaces the well-known wicker fiber.

Currently, the pressure exerted on this resource forces rural inhabitants to look for these species in areas increasingly distant from the traditional centers of production, becoming increasingly scarce and rare. However, in this situation, very little is known about the basic aspects of its taxonomy, biology, ecology and physical and mechanical characteristics.

In Peru and neighboring countries, inventories of abundance in non-intervened forests in neighboring countries have been reviewed, as well as the results of the inventory carried out in the Palma Real Native Community and the experiences in making handicrafts, using Tamshi as raw material.

A clear example of good practices for the use of this natural fiber is that developed by the artisans of the Palma Real Native Community in Madre de Dios, since they have developed habits of use that allow the sustainability of the resource. This is an empirically learned management, which has been transmitted from generation to generation. Other native communities that we can mention are the native communities of Nanay in Loreto and Puerto Esperanza of the Asheninka ethnic group in Ucayali.

 Sources:

IAAP Tamshi: Otro producto no maderable de los bosques amazónicos con importancia económica: https://bit.ly/3apXL52

Rainforest Alliance: Guía del Alambre Tamshi : http://bit.ly/3ny8duX

CESTA ARTESANAL DE TAMSHI – Comunidad Nativa Palma Real https://bit.ly/3mxNeXR

  • Tamshi
  • shipibo women
  • Ucayali
  • Tamshi Basket

Chambira – Peruvian Jungle Sustainable Materials

Chambira – Peruvian Jungle Sustainable Materials

Chambira – Peruvian Jungle Sustainable Materials

Palm trees have played a very important role in the daily life of Amazonian communities. Its different uses have been associated mainly with basic needs such as housing construction, food, the manufacturing of utilitarian crafts, medicines, fertilizers, fuel, clothing, etc. The weaving technique together with the ancestral knowledge about the plants that belong to their natural ecosystem and the dyes that they produced, allowed the Amazonian population not only to enter the world of color and expression, but also to find the roots and identity of each people, expressed in the designs of their fabrics and body paintings.

Chambira is a typical palm of the Amazon, we can find it in tropical forests of Peru, Colombia, Venezuela, Ecuador and Brazil. In the Peruvian Amazon it is found in the low jungle, especially in the Department of Loreto. Although its growth is slow, after three years its fiber can already be used to make articles that do not require a hard fiber. At six years of age the fiber of the leaves has already matured, becoming more resistant and hard. The spinning of the raw fiber, an activity known locally as “fiber twisting”, is carried out manually. For this, good hygiene of the hands and legs is necessary, since the thread will slide over them.

To ensure that logging does not deplete the resource, communities or groups of artisans should organize and make agreements on the use of it and its conservation. These agreements must contemplate the prohibition of the felling of the palm tree, the respect of the populations close to the community, the repopulation of the species where it has been decimated, etc. The organized groups formed or the community itself as a whole, will be responsible for supervising and enforcing the agreements taken together.

The Chambira or Astrocaryum and its fiber have great potential in the growing tourist market of the Northern Jungle region. The recovery of traditional weaving and dyeing will not only mean a revaluation of Amazonian culture and indigenous culture in particular, but it will also enable rural artisans to achieve better income and working conditions. Among the main natural dyes used to dye this fiber we can mention Achiote, Coffee, Retama, Ojo de Vaca, Huito, Mango among other herbs, fruits and species present in its natural ecosystem.

Sources:

Manos Trabajadoras tejiendo la Chambira https://bit.ly/349jwly

Guía Chambira AECID https://bit.ly/3abB1pd Palmas Ecuatorianas https://bit.ly/2KpBZmS

Amazon Forest Store https://bit.ly/387I8MC

Global Giving Support native artisans & rainforest in the Amazon https://bit.ly/3gOjrZC

El Hilo Conductor Tradición y Moda en el Perú Autora: Olga Zaferson Aranzaens

  • chambira
Shielding and Biomimicry

Shielding and Biomimicry

Shielding and Biomimicry

Biomimicry is one of the main innovative approaches that is currently used for sustainable fashion design. There is a rapidly growing demand for an effective sustainable design approach in fashion, architecture among other industries, and without compromising the needs of future generations, but very few have proven effectiveness at a macro scale. This is because innovative biomimicry is still an emerging discipline in a development phase. So how upcoming technologic innovations are being inspired by nature and developing the “new normality garments and accessories”?

Shielding Technology inspired by Nature

Over thousands of years, nature and animals have continuously evolved to overcome challenges and adapt to everchanging environments. Here are two good examples: Goldenberry‘s calyx is a great example of the amazing natural shielding properties. If Goldenberry’s fruit is left inside the intact calyx’s husks, then fruit’s shelf life at room temperature can last up to 45 days, maintaining its firmness, acidity, lower ethylene production, less weight loss. The calyx is definitely inedible. A second example is melanized fungi, since It has been demonstrated that it exhibits protection against ionizing radiation and the protective effect of melanin can be transferred to organisms that do not produce the pigment.

Shielding

Additionally, there are inspiring technologies that will affect our everyday lives like Camouflaging Material’s inspired by the Octopus’ skin and Adhesion Systems based on Gecko’s gravity defying grip.

All above demostrates that biomimicry applied into sustainable design will soon deliver a new generation of products and services that are changing the way we interact each other and with our ecosystems during this “New Normality” post Covid19 context.

New Normality of Fashion Garments and Accesories

According to WGSN Future Consumer 2022 Report, the COVID19 pandemic is the biggest global driver of change seen for a long time, resulting in the evolution of numerous consumer attitudes. Therefore, most sectors are being pushed to adapt, as we are faced with a reality that demands from people and businesses alike flexibility, resilience and mostly creativity.

Another market research institution Opinno revealed, that if any business aims to adapt to the new “normality”, then they must become agile sustainable innovators and continuously co-create with clients. One of the 10 trends that has been mentioned is Social Hypochondria: Wellness, Health and Hygiene. For this reason future technologic revolutions like quantified people, assisted diagnosis, personalized treatments, telemedicine and wearables are getting more relevance.

Shielding Garment
Multifunctional Garment developed by Mashua Project

There are many advances applied into the fashion industry looking for delivering clothing with enhanced skin functions, such as shielding towards different external hazards, sensation, thermal regulation and absorption of vitamin D. For instance, textiles made with bioplastics, bioluminescence bacteria, nanofibers and biosensors, complemented with coded sensors have set the minimum base for the future smart clothing.

Therefore, since there is a growing need for fashion garments and accessories, that work with nature to create a regenerative ecosystem at all levels, then designers must become more loving, aware, respectful with nature for a more sustainable future.

New Normality Post COVID19

New Normality Post COVID19

New Normality Post COVID19

Post Pandemic Covid19 new normality allowed us to feel a sense of urgency to fully protect our health, safety, and value our freedom and lives, and hopefully we had learned to respect our planet. The main characteristics that we are looking for in our clothing are: durability, easy-to-wear items to help us navigate a cyclical chain of events, as we are no longer willing to waste time and money on clothing that offers otherwise. Now, we have been forced to admit it.

The economic crisis that has been imposed on us after Pandemic Covid19 has left us without disposable income to accumulate fast fashion trends. Therefore, we will have to invest into more essential products and be more creative with what we already have.

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Skin Electronics Project by Mashua Project and Animai Studio

The return to arts and crafts at home:

According to Luxiders Magazine, all above means the return to sewing skills, products made to last rather than made to wear for a minute, creative concepts of reinvention, and the art of costume swaps. Also, core values ​​such as respect for craftsmanship, the need for collaboration, and the antidote for connection will be challenging, since conventional fashion is designed to favor the few beyond immeasurable influence, while subduing the hands behind garments and accessories.

Some examples of these new market trends are the several online tutorials and masterclasses that are being offered through different Social Media platforms in regards of recycling, upcycling, DYI facemasks, face shields, diet planning and recipes, physical trainings among others.

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The redesign of User Experience at private and public areas:

Finally, Hypochondria will be joined by Agoraphobia and Social Claustrophobia, due to current sanitary protocols that have been implemented worldwide. This New Normality may force us to avoid crowds, crowded spaces or those lacking adequate ventilation, which implies a comprehensive redesign of the customer experience in shopping centers, gyms, cinemas, airplanes, cruise ships, beauty salons, schools; etc. Mobility will be a sector widely affected by this trend and consequently the energy sector, due to the consumption of oil generated by this sector. Fashion accessories like foulards, face masks, hoods, vests, and other multifunctional, timeless, minimalist, and durable garments will be around for the years to come.

The collective challenge:

So, what’s next? It’s time to rewrite the narrative. Everyone in the fashion design industry needs to go beyond divisive and individualistic motives; that they take sustainability not as a trend, but as the solution; and that it has come to stay.

Alpaca: Sustainable Materials

Alpaca: Sustainable Materials

Alpaca: How Sustainable is It?

Every 1st of August, the “National Alpaca Day” is celebrated in Perú, a great opportunity to recognize the mystical work that Alpaca’s breeders carry out daily in the 17 producing regions of Perú. The main Alpaca wool´s producers are in Perú and Bolivia.

There are more than 3.7 million Alpacas worldwide, which represents 87% of the world population, with the Huacaya and Suri breeds predominating.

Alpaca’s wool is a natural fabric that belongs to the so-called noble fibers, such as Mohair, Cashmere or Angora. It has a wide range of natural colors (20 or more) ranging from white to black, through light brown, dark brown or gray.

Alpacas live in large herds at 3.000-4.000 meters above sea level. Their natural ecosystems present extreme weather conditions, with sudden temperature changes, strong winds, very high solar radiation and low concentration of oxygen, which have led them to develop a very resistant and high-quality fur.

Types of Alpaca’s wool

There are three types of Alpaca’s wool: 1. Alpaca Fleeze, 2. Baby Alpaca, which is the fiber that comes from the first shearing done in the life of an alpaca when they are 3 years old, this fiber has an enormous and extremely soft quality and 3. Royal Alpaca, which is a selection of the best Baby Alpaca fibers and only 1% of the world production of alpaca fiber corresponds to this variety.

Other types are Huarizo, used to make knitted fabrics and Gruesa with which rugs, tapestries and linings are made.  

Alpaca’s Wool Production Process: Quality Assurance Certification

The best way to check if the Alpaca garment or accessory you are getting complies with the quality standards is by looking into the Alpaca Mark tag that is provided by IAA International Alpaca Association based in Arequipa, Perú, ISO 9001 certification among other type of certifications.  

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Alpaca’s Wool: Product’s certifications

Fashion is the second most contaminating industry that not only affects ecosystems, but has been associated with complex social compliance issues such as child labor, workers’ wages, and benefits, as well as health and safety issues. Due to this, the demand for certified sustainable products is growing. Certifications such as ISO45001 Health and Safety Management System, GOTS global Organic Textile Standard that aims to ensure the organic condition of textile products, from the manufacture of the raw material, RWS standard for responsible wool, OCS organic content standard, IVN Nature Standards among others are currently available, but there is still opportunities of improvement in regards of the supervision and control of its compliance.

Alpaca’s Wool Main Benefits

Here are the main advantages and benefits of Alpaca’s wool:

a) It is warmer and stronger than sheep wool.

b) It is hypoallergenic, unlike sheep wool, it does not contain lanolin.

c) Offers thermal insulation.

d) Its level of comfort is extremely high.

e) It has a wide palette of natural colors (20 or more).

f) It is silky and shiny, it does not lose its shine after dyeing and washing.

g) It is light and comfortable, despite being a very warm fiber.

h) It’s elastic and resistant.

i) It’s fire resistant.

j) It is durable, garments last for many years, they do not break, deform, or wear through use.

k) It is also not affected by fungi and other microorganisms.  

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