New Fashion Landscapes
Project Report April 2022

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ACKNOWLEDGEMENTS:
This project was made possible by
British Council,
UAL Fashion Textiles and Technology Institute,
Fashion Revolution and Fashion Revolution Nigeria

We thank you all for your generous engagement in support of our project vision.

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CONTENTS:
1. Context & summary p5
2. Stats and facts p9
3. Participant profiles p12
4. Perspective p23
5. Recurring themes & insights p27
6. Recommendations p34
7. Image & quote gallery p38
8. Appendix & references p43

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PROJECT LEADERSHIP TEAM:

Jocelyn Whipple – Lead Partner UK / Project co-ordinator & Report author
Olusola Idowu – Fashion Revolution Nigeria /Project Partner Nigeria
Modupe Alao-Sanni – Research & graphics coordinator Nigeria

Badj Whipple – Visual editing & digital content lead UK
Dr. Shola Olaleye - (LB Studios ) - Film content Nigeria
Sophy Harlow – Project assistance UK

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SYNOPSIS:
Denim to Denim is a collaborative program that advocates for circular [denim]
practice from the ground up and encourages design for secondary markets. The
project relied on, on the ground exploration as well as digital communications
technology, such as online meetings and webinars to facilitate dialogue and to
capture visual content. In this way we explored the real life working experienceof people in the global denim value chain, who would never normally havecontact, let alone an opportunity to compare experiences and technical insights
about denim design, construction and life cycle.
Working with a replicable format of short course, dialogue sessions and pre-set
interviews the project fostered collaboration and a unique opportunity togenerate important recommendations based on human centred experience,
knowledge and innovation.
Collected from two very diverse cultural and industry centres this project makes
visible the practical issues and potential solutions derived through sharedpractice and new connection. The recommendations, although generated inonly two regions are relevant to the global dialogue around circular denim.

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CONTEXT: JOSS WHIPPLE ON PROJECT PURPOSE
Inspired by my fellow Fashion Revolutionaries and the work of The OR Foundation and building on my previous
work with British Council and Fashion Revolution, where I designed and delivered a series of workshops and a
global ‘Study Group’ that brought together responsible fashion activist from 16 diverse nations. I designed Denim to
Denim as a starting point, a focused project, reliant entirely on the input and engagement of the participants.
So many fashion industry professionals and theories, hypothesize about ‘circular’ textile economies, rarely
considering the perspectives of the individuals who might implement these processes. I found that the profiles ofparticipants like those included in this project were missing from almost every other study, report orcircular denim platform I could find.
We are failing to include the insight of critical knowledge holders, who are already implementing circular
practices such as upcycling, sorting, downcycling and repurposing, across the breadth of the denim value
chain. Conventional industry preconceptions, projections and positioning is one directional, top down andnarrow, like so many other problematic fashion business scenarios.
Denim to Denim asks, what if we start to shift the ‘circularity’ narrative away from the exclusive arenas of, fashion
marketing, proprietary materials, NGO reports and greedy CEOS?
Why are we not elevating the technical and social experiences of stakeholders from deep within the denim value
chain who are not being considered or consulted about design and material solutions but who are alreadyovercoming and addressing so many issues on behalf of us all.
These are the key questions behind this piece of enquiry that seeks to facilitate dialogue, uncover practical
recommendations and create a meaningful space that contributes towards an equitable, fair and just fashionindustry.

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SUMMARY:This project has discovered and confirmed the barriers that exist around
access to positions of influence, and offered surprising levels of interest
and engagement with this new, people centred approach.
We feel we have succeeded in our aims to facilitate some or all of the following
participant benefits:
Visibility and recognition of each other
Opportunity for individual practice and professional experience to be
showcased, in their own words not via branded marketing or conventional
journalism.
Support for peer to peer problem solving and knowledge sharing.
Creating potential for new regional practice initiatives and collaborations
Creating potential to train and facilitate the same process for other global
regions
Providing space for reflection and contemplation of professional, regional
activity in a more informed context.
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STAKEHOLDER MAPPING:

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METHODOLOGY:
Using digital technology, the project succeeded in ‘transporting’ stakeholders, who would normally nevercommunicate, into each other’s experience of the value chain in order to share technical practice,knowledge and perspective. All participants contributed equally in the following ways:
1. By completing a unique Denim to Denim Questionnaire. All questionnaires were then shared with all otherparticipants to generate insight, further questions and feedback.
2. All contributors made a short Practitioner Profile using film, text and images that was also shared with all fellow
participants in the same way as the questionnaire, offering deeper Insight.
3. After a period of Review and Reflection, which was submitted to the coordinators, as well as country specificbrainstorming we hosted an industry first event to round off the activities.
4. Our Round Table Dialogue session made space for all participants to meet, engage and dialogue, around the
topics, themes and commonalities exposed through the previous processes.
The resulting ‘Recommendations’ in the form of direct quotes as well as audio and film excerpts, we hope willserve to increase the attention and the value we place on each other as contributors and collaborators in the denim
industry.
The impact and legacy of Denim to Denim will be found in the new connections, collaborations andmindset shifts, our foundation stone for expanded projects, new sign posting for designers and brands
and increased awareness around circularity, the denim lifecycle and the role of previously ignored experts
and stakeholders in the denim value chain.

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STATS AND FACTS:PEOPLE AND PLACES
Participants – 9Countries – 2
Studio, academic or working locations – 8Professions - 4

9STATS AND FACTS:
TRADING & TRAINING
Primary customers of participants are individual citizens seeking quality garments, repairs,
alterations, and other denim products.
For Pat Nwanade, who sells second hand denim in Lagos’ largest outdoor market, it is informal
sector labourers and artisans who need hard wearing garments that are his primary customer
profile.
The training level of participants ranges from self-taught to bachelor’s degree.
7 out of 9 participants have previously heard the term ‘circularity’ in conjunction withtextiles.
In response to the multiple choice question;
We also asked: “In what way do you think your specific work or interaction with denim
contributes to a ‘circular’ denim economy?”
4 Participants answered, ‘In a big way’ and 5 Participants answered, ‘In a small way’.

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STATS AND FACTS:TECHNICAL AND MATERIAL

Denims physical durability is, unsurprisingly, the most favoured quality by allparticipants.
Participants materials are sourced from;
Commercial branded seconds
Globally traded second hand
Direct and indirect regional donations (from citizens and brands)
We identified a split between the pros and cons of working with stretch versus nonstretch denim
5 participants prefer to work with stretch
3 participants prefer to work with non stretch
1 participant has no preference
Self stated unique skills and expertise include
Invisible mends and alterations
versatile use of single needle machines
overdyeing
technical design, development and production processes for new denim product
Manual/ visual assessment of texture and fabric quality.
Participants preferred denim brands referenced were
Levis, Black Horse Lane Atelier, Wrangler, Next
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PARTICIPANT PROFILES:
We are Traders, Designers, Tailors, Alterationists, Creatives,
Academics, Students, Researchers, & Industry advisors. We comefrom diverse cultures and backgrounds.
We don’t normally have the opportunity to connect with eachother and our opinions on solutions for the future of fashion are
not often sought out and yet we are in prime position to develop
them.
“participants have a first-hand experience in terms of other people(customers, buyers, resellers) reaction to their denim related
handwork; these participants can tell you first-hand how certain
peoples reaction to different types, forms, grades and species ofdenim actually is, and this point of view it is very valuable to thisproject” – Eno Andrew - Essien

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PATRICK NWANADE:
Patrick is a trader and wholesaler operating in
Lagos, Nigeria’s, Tejuosho Market. Pat
specialises in second hand denim imported
mainly from Canada, and The UK. He also
works closely with other artisans and tailors tocreate customised products for his customers.

Q: In your work or experience what are the most common reasons for
denim product to be rejected as waste?
A; When the denim is made with fake dye, it washes off. Also thecolour of the jeans determines if it can be sold or not especiallywhen it has faded
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KEMI BABAJIDE:
Kemi is a fashion design student studying at OSC
College of Fashion in Lagos Nigeria. She values theuniversal style and durability of denim and through herstudies she is exploring waste reduction and ways ofusing scrap denim

Q;Who is missing from the denim industry and circularity conversations?
A;The government
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PARTICIPANT PROFILES:
Jahmale Ukson – Also known as The Denim Master
Tailor, Jahmale is a denim specialist, offering aunique repair, alteration and up-cycling service
direct to clients in London UK.
His creative approach is self taught and he also
runs regular classes to teach others. He works on asingle needle machine and has a preference forvintage and 100% cotton denim for quality andenvironmental reasons.

Q: What design elements of denim products are most beneficial to youractivity or handling of denim?
A: For me the older the denim the better and more reliable thefinished product will be.
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FAITH EMMANUAL-OREVBA:
Faith is a student of OSC Fashion College in Lagos
Nigeria. She is exploring different techniques toextend the life of denim products including overdyeing of faded jeans. She is interested in finding out
more about the beginning of the value chain and theimpacts on people and planet.

Q: In your work or experience what are the most common reasons for denim
product to be rejected as waste?
A: When it wears out or fades.
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ENO ANDREW-ESSIEN:
Eno is the project coordinator for an initiative thatcollects and upcycles denim waste generated by thedomestic market and individuals in Lagos Nigeria.
She prefers to work with 100% cotton denims andcreates many types of household product such as
carpets, dolls and footwear from the donated materials
they receive.

Q: What are the most consistent technical problems you see with product?
A: designs for denim items that make them difficult to reuse / recycle

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AMBER JUANITA JOINER:
Amber is a fashion student based in London UK. She hasa passion for vintage denim and regularly customizes,
alters and upcycles garments she receives from friends
or buys from charity shops. She is currently developing
her technical skills and applying for a degree course in
Fashion

Q; Do you wear denim clothing?
A; Yes, the majority of my wardrobe is denim based.
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FOLAKEMI SHONUBI:
Folakemi is the founder of Bash House Of Denim, aLagos based brand who created custom made denim
attire and household products with a distinctly Nigerian
aesthetic. She often struggles to find high quality denim
fabrics and is interested to develop techniques andideas that will use up the scraps and small off cuts fromher studio.

Q; Any other points or important questions you would like this project to explore?
A: Scarcity of high quality denim fabric in places like Nigeria where I work
from.
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SAMSON ORJI:
Samson is a denim and jean alterationist, working
alongside other tailors from the Good Brothers
Studio in Yaba, Lagos Nigeria. His businesscomes direct from the market traders orindividual customers buying at the large second
hand markets such as Tejuosho. He is self taught
and works on a traditional, pedal powered, single
needle machine. When there is electricity he canadapt the machine to be motorised. His work is
labour intensive and takes a toll on his legs inparticular. He specialises in invisible waist, hipand length alterations.
Q; In what way do you think your specific work or interaction with denim
contributes to a ‘circular’ denim economy?
A: In a big way, I repair jeans so people can wear them.
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JANELLE HANNA:
Janelle has many years experience as a denim designer
for major brands and now runs a specialist consultancy
and upcycled denim brand, White Weft in London UK.
Her work identifies product based solutions using bothindustry surplus and citizen donations.

Q: What are the most persistent problems you face in your role in regards
to the handling of denim that you think others in the industry may not know
about?
A: The process of upcycling is extremely time consuming compared
to traditional production and therefore it’s difficult to develop
products that are financially viable as there is little economy of scale
and poor understanding in my local context of the cost of labour ingarments21

We asked the participants “who is missing from the denim industry
and circularity conversations?” These are their replies:
Big brands accountability
Anyone who is at the start of denim production for example those
harvesting cotton.
Those who live with and work with the waste - traders and up-cyclers in
the 2nd hand resale markets. Charity shop workers in UK, People who
repair jeans, Textile waste collectors. The conversation is currently very
focused on green innovation that can continue to fuel the current capitalist
models of overproduction.
The government
The people that will use the waste generated from the alterations I doon the jeans.
The voice of reason, the laws that protect the workers, more designers
with credible knowledge / unions
No one22

PERSPECTIVE:
SOLA IDOWU
Project Partner Nigeria
My long sojourn in fashion has taken me across production, retail,education and consulting. I have learnt to question everything aboutfashion and I know there is a need for a complete overhaul of theentire fashion system. As country coordinator for Fashion Revolution
Nigeria I am able to continue in my mission to entrench sustainablefashion in a cultural context in Nigeria

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PERSPECTIVE :.

Partnering on the Denim to Denim project for me wasa good opportunity to deepen my understanding of
circularity using the template of denim textiles used to
produce a ubiquitous and very much loved item ofclothing amongst Nigerians- ‘Jeans’.
I also saw it as a great opportunity to use myexperience to support a collaborative effort andtest how grounded I am in the local fashion Industry in
Nigeria. I’ve always prided myself on being close topeople who work in the not so glamorous side of
fashion and this was my chance to showcase that.
I so loved the bottom up approach of this project, andmost especially the fact that it’s a pioneering effort
whose scale was limitless. Bringing ordinary folks whojust do their stuff in the industry together with theircounters in the UK and having them together discusswith academics gave this project that one-of-a-kindtouch.

There are 2 large second -hand markets in Lagos Tejuosho and Katangowa Markets. On an earlier
expedition to Katangowa market we had learnt the traders
could be evacuated from the site they’re occupying
anytime, so that informed our choice of Tejuosho market
traders.
We went seeking out an alterationist who is not a ‘lone
ranger’ but one working in a group so that we can beensure he/she is stable and not one that might be difficult
to track over time. We got lucky in our choice of Mr
Samson as he introduced the Jeans reseller- Mr Patrick,so from the onset there was synergy between the two ofthem and this made our task easier as they always support
each other.
The two student participants came highly recommended by
the proprietress of OSC, Mrs Sola Babatunde and we
found them very pleasant to work with.
The up-cycler -Eno was invited on the project based on ourprevious interactions on the work she does for Africa
Collect Textiles
Interestingly, a search on IG for ‘denim Nigeria’ brought up
Bash House of Denim, to conclude the group ofparticipants.

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PERSPECTIVE :At the beginning of the project I tried to think of areas
where challenges could come from.
The list was short- Access to smart phone, internet
access by the participants, keeping to timelines, staying
through the project by participants. A support staff washired to visit the traders in the market with a laptop to help
out during the filing and review of the questionnaires tohelp in reading through the questions and recording theiranswers in their own exact words.
We faced a disruption during the videography session forthe profiles in the market when touts threatened to disrupt
the exercise and cart away the equipment of the video
crew. Payment was made to appease them and to oursurprise, the group to which the alterationist belongs
asked to be ‘settled’ before we could proceed. We
however decided to make a donation to the Good
Brothers Tailoring Association as they’re called, explained
to them why the approach is quite wrong as they’ll besending away people that could be of help with that kindof attitude. We thus established a relationship with thegroup and can leverage on that anytime in the future as
we intend helping to improve their skills and tools in thenear future.

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PERSPECTIVE :The participants, who were not really expressive at the
beginning of the project, became more open andemboldened as the project progressed.
Some who previously could hardly see nor understandtheir role in addressing the issues of environmental andsocial justice in the denim industry can now clearly see
their role in all that is happening and more importantly how
they can play an active one.
We have all gained significant amounts of insights fromthis wide collaboration, voices having been heard, people
feel more empowered and even obligated to carry on asambassadors of a new approach to denim practiceespecially with regards to circularity.

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RECURRING THEMES AND INSIGHTS:
Denim to Denim participants all love
denim, all wear denim, all work withdenim and operate within primary,secondary and tertiary global markets
dominated by globally recognised
manufacturing brands.

There is excess denim inpeoples wardrobes, especiallyin the global north, they are notmaking use of it themselves
resulting in the full blown global
market for second hand denim.

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RECURRING THEMES AND INSIGHTS ON DESIGN AND MAKING :Small scraps are the most difficult element to deal with
Stretch denim presents quality, durability and environmental issues
and is often harder to repair and upcycle.
There is a lot of innovation needed to produce in the secondary
and tertiary markets, but it is not always valued.
Stretch is being included to increase popularity but in fact it lowers thefunction and durability as well as the options to upcycle / recycle.

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RECURRING THEMES AND INSIGHTS ON BUYING, SELLING AND RESELLING :Materials are purchased or donated and in (this cohort), even purchasedmaterials come predominantly from secondary and surplus sources.
There are many layers of exchange sometimes commercial sometimes
individual.
Buying second hand imports means ‘buying blind’ whether it be baled
garments or fabric on the roll. Unlike all other commercial transactions in
the industry, here there is no preview option, content specification or rightto return faulty goods.
Denim materials are heavy to move around and create a lot of dust and canleave chemical dyes and finishes on the skin.
It was highlighted that there are no specific public reallocation systems for
denim.
Selling upcycled product can be difficult as there is a perceived lower value
Buying stretch to alter and resell can be preferable short term but finding non
stretch presents a much more reliable and higher value option for upcycling andtechnical longevity.
Most people, including the participants in this cohort, have no idea what
chemicals are in their jeans or information on how that affects our healthand what chemicals linger. This is particularly pronounced in secondary
markets where labels may be cut out and fabrics have no traceability.
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RECURRING THEMES AND INSIGHTS ON REPAIRING AND ALTERING:
Crotch wear and tear is everyone’s most common damage problem,
participants shared varied approaches to this repair.
Participants compared equipment and commented on the needfor more specialised machines.
Mending and repair skills are often self taught and specific to theindividual practitioner.
Hardware replacements are very complicated and require specialist
equipment, without which some repairs are abandoned.
Felled seams make opening and reworking very hard.
Invisible alterations (waist, hips, length) are most commonly required
but can also be complex to complete.
Stretch denim can be easier to alter and is especially preferredby Nigerian tailors, however there can often be issues with fabricquality as it tends to wear out instead of ‘wear in’.

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RECURRING THEMES AND INSIGHTS TEACHING AND TRAINING:
Upcycling, repairing and mending are not considered ‘formal’ elements offashion training
There is an opportunity for more holistic design training thatconsiders repairing, upcycling and secondary markets as intrinsic togood design.
There is appetite for more specific spaces that foster peer to peer
knowledge sharing
Participants are equally inspired by each other as they are by big
brands31

We asked the participants“Do you work with a denim ‘waste’ or surplus stream, if so please describe? ““Many participants replied ‘No’ to this question which I foundvery interesting, because to my mind they are working with asurplus / waste stream so it means the lines are blurred
about when a garment or material becomes waste.”
Joss Whipple

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We asked the participants“Are there any ways in which you think your work or interaction with denim could bechanged to better contribute to a circular denim economy? Please describe”
Yes, if we could have more direct relationships with recyclers we could be
more certain of where our "rags" go. At the moment everything in UK goes via
a textile collection company and there is no guarantee that rags are not being
landfilled or exported - Janelle Hanna
If I knew people that need the waste I generate, I will keep it for them insteadof throwing it away – Samson OrjiI could be teaching more people abut the art of reconstruction / how to sew.
Jahmal Ukson
Yes. Like converting to short, rip jeans, pants to skirt, denim bags, slippers
etc so that the life span of the jeans can be extended instead of throwing it
away. – Patrick Nwanade
Adding extra labels with instruction that says "done with me? please send me
to the recyclers". Falokemi Shonubi
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RECOMMENDATIONS:
During our Round Table event and in follow up materials participants wereinvited to share their recommendations to the industry using the twocategories of ‘Physical’ and ‘Emotional’ durability, as defined in the Ellen
McArthur Jeans Redesign report, as a loose guide.

- Physical durability (considers garment construction
and component reinforcement in order to create
products that can resist damage and wear)- Emotional durability (considers the product’s ability
to stay relevant and desirable to the user, or multiple
users over time)34

RECOMMENDATIONS
2. LEGISLATECOMPULSORY
DURABILITY TESTING
ON ALL NEW DENIMGARMENTS BASEDON 30 HOME WASHES- Janelle Hana

4. DESIGN FOR REPAIR.
FOR EXAMPLE, SIDESEAMS THAT ARE EASY TO
OPEN AND ARE NOT TOP
STITCHED OROVERLOCKED CLOSED- Janelle Hana
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RECOMMENDATIONS
6. LEGISLATION AROUNDCHEMICAL AND FINISHINGPROCESSES SHOULD
INCLUDE GARMENT USERPHASE AND SECONDARYMARKET SCENARIOS.
- Patrick Nwanade, Kemi
Babajide, Janelle Hana

8. CHANGE THE STIGMA AROUNDSECOND HAND THROUGH
EMPHASIS ON CARE AND
PRESERVATION SO THATGARMENTS CAN BECOME
VINTAGE.
Amber Joiner

10. DESIGNERS NEED TO BACK THE IDEAS
AND LOOKS THAT THE PLANET CAN AFFORDINSTEAD OF SAYING THE MARKET WANTS
THIS OR THAT (EG RIPPED JEANS OR
CHEMICAL INTENSIVE WASHED LOOKS)- Janelle Hana, Jahmale Ukson, Eno Andrew Essien
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RECOMMENDATIONS TABLE:
MOST RELEVANT STAKEHOLDERS / ACTION NEEDEDRAWTEXTILETEXTILE
MATERIALS PRODUCTION FINISHIING

CUT MAKE& TRIMGARMENTFINISHING

MANUFACTURING
BRANDSDESIGN FOR
PRIMARY (&SECONDARY)
MARKETSFASHION &TEXTILES
TRAINING

LEGISLATORS &PUBLIC SERVICEPROVIDERSSECOND HANDSECONDTEXTILES
HAND
COLLECTION
WHOLSALE& SORTINGSECONDHANDRETAILMENDING &UPCYCLING DOWNCYCLING
ALTERINGDECOMPOSITIO
N

1. DENIM WITHOUT STRETCH COULD PREVENT MASSIVE
VOLUMES OF NON DEGRADABLE MATERIALS AND KEEP
TRUE TO THE ORIGINAL USE OF DENIM AND ITSINHERENT DURABILITY AS THE KEY VALUE
JahamleUkson

2. LEGISLATE COMPULSORY DURABILITY TESTING ON
ALL NEW DENIM GARMENTS BASED ON 30 HOMEWASHES
Janelle Hana

3. MORE EMPHASIS ON CARE AND REPAIR AT PRIMARYRETAIL, COMMUNICATED MORE EXPLICITLY BY THE
MANUFACTURING BRANDS
Amber
Joiner, Folakemi Shonubi

4. DESIGN FOR REPAIR. FOR EXAMPLE SIDE SEAMSTHAT ARE EASY TO OPEN AND ARE NOT TOP STITCHEDOR OVERLOCKED CLOSEDJanelle Hana

RECOMMENDATIONS

5. A KEY COMPONENT TO EXTENDING GARMENTLIFESPAN IS A HIGH QUALITY HEAVY WEIGHT POCKETINGFABRIC
Janelle Hana

6. LEGISLATION AROUND CHEMICAL AND FINISHINGPROCESSES SHOULD INCLUDE GARMENT USER PHASEAND SECONDARY MARKET SCENARIOS.
Patrick Nwanade, Kemi Babajide, Janelle Hana
7. EASIER ACCESS TO REPAIR SERVICES ANDNORMALISE VISIBLE MENDING.
Amber
Joiner, Kemi Babadije
8. CHANGE THE STIGMA AROUND SECOND HAND
THROUGH EMPHASIS ON CARE AND PRESERVATION SO
THAT GARMENTS CAN BECOME VINTAGE.
Amber Joiner
9. GOVERNMENTS COULD INCENTIVISE REPAIR AND
REUSE BY DROPPING VAT ON REPAIRED AND
UPCYCLED GOODS, AS THERE IS CURRENTLY AN ISSUE
WITH THE COST OF A REPAIR BEING MORE THAN THE
COST TO REPLACE THE GARMENT.
JanelleHana
10. DESIGNERS NEED TO BACK THE IDEAS AND LOOKSTHAT THE PLANET CAN AFFORD INSTEAD OF SAYING
THE MARKET WANTS THIS OR THAT (EG RIPPED JEANS
OR CHEMICAL INTENSIVE WASHED LOOKS)Janelle Hana, Jahmale Ukson, Eno Adnrew -Essien37

IMAGE & QUOTE GALLERY: CIRCULARITY TO ME MEANS……………
An all around process, it means accountability, it means concern, it means sustainably
procurement or production, it means caution.
Sustainability and having the ability to reuse and recycle material at any point in the life
cycle of a material or garment. Also transparency throughout the chain.
Circularity means that the textile has a life and value beyond its first product. It can berecycled into either a new garment or new textile.
Ideally with equal or higher value than the first but in my experience this is not currently
realistic.
It means to minimize waste by upcycling and re-cycling
It means every piece of the material is used and none wasted.
Where or how a garments starts to where it would finish. Or where it can continue to be
used and developed into something new and useful.
I call it adding value. Creating other things other than the original plan. Creating
something from what would have been considered as waste.
Taking into consideration what happens to textile after its useful life .

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IMAGE & QUOTE GALLERY: GRAPHIC ASSETS
Available via @fashrevng & @josswhipple

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IMAGE & QUOTE GALLERY: AUDIO ASSETS
Available via @fashrevng & @josswhipple

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IMAGE & QUOTE GALLERY: FILM ASSETS
Hosted on The Fashion Revolution Youtube channel

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“Earth’s biome, which we all live within and rely on
entirely for our existence, is a circular system.
There is no such thing as a linear system
There are only degrees of regeneration or degradation
within Earth’s circular system
We aren’t inventing ‘circular systems’ or ‘circularity’ weare simply starting to slow down and maybe reverse theactivities that contribute to a permanently degraded
continuum”- Joss Whipple

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APPENDIX AND REFERENCES:
All Images included in the report are collected directly from the participants and depict them and their work
Project Timeline

Research / Education References:

December - Planning finalized // Project Kick Off
Call

Transformers Foundation
The OR Foundation

January - Questionnaires, Profiles & Interviews
documented

Jeans School

February - Questionnaires, Profiles and Interviews
Shared & Reviewed**Ellen McCarthur Foundation (Jeans
Redesign)

March - Content Preparation // Brainstorming//Round Table Dialogue // Recommendations
decided**PACE Circular Economy Action
Agenda**Circle Economy

April - Content editing // Mini Report preparation //Digital content and assets prepared // Public launch
during Fashion Revolution Week 2022**Circular Days**Textile Exchange**Industry leadership spaces where Denim to Denim Participants (or similar
profiles) were not found:43