Soñar el Futuro. La Moda
En 2050, nueve mil millones la industria de la moda deberá vestir a más de 9 mil millones de personas. Desde la alta costura al prêt-à-porter, la industria de la moda se enfrentará a muchos retos: la proliferación de marcas, consumo masivo, sobreproducción, malas condiciones de trabajo en la cadena de la industria textil, el uso de químicos. Además de estos desafíos, la moda está cambiando a medida que las innovaciones científicas y tecnológicas que son increíbles ofrecen nuevas oportunidades. Mañana, la ropa ecológica y la ropa inteligente serán dignas de las mayores fantasías de ciencia ficción. ¿Cóme serán los textiles del futuro? ¿Ofrecerán las nuevas tecnologías un nuevo espacio creativo a los diseñadores?
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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