studying all things fibre, material, colour, print, process and more, at the leading Arts and Design University in the world. In my penultimate term, our tutors urged us to consider sustainability and our environmen- tal impact within our practices as part of a larger conversation but also the educational curriculum. We were urged to examine the ways in which we are creating, through various questions presented to us within tutorials and critiques.


Some of these questions included: Why


are we making these things? How are we making it? What is the reason? How can we design and create for the greater good? How can we create intentionally and slowly and move away from fast and disposable production?


New purpose for fabrics It was these conversations that left a lasting impression with me and a drive for a call to action. Alongside lectures and talks, we were visited by the ReFab Studio – a social enterprise, upcycling luxury fabrics destined for landfill into bespoke, unique products, alongside running workshops for disadvan- taged communities. They were extremely generous, donating a considerable amount of ‘waste’ fabrics to our cohort from interiors shops, hospitality and more. Renee Materials is another company which offers high-quali- ty reclaimed materials and supplies to creatives and makers, who frequently host pop-up fabric and material sales. On both occasions, I walked away with a heavy bag, and a mind full of ideas. No


piece was the same; there were different sizes, shapes, fibre blends, appearances, colour, textures. It sparked an idea; how could I best utilise these materials for my final collection on my masters degree course? These materials became the epicentre of my design thinking and process for my final unit at the Royal College. From this point, there was a considerable amount of investigation and decisions to be made, one that felt educational and informative. As a textile designer, my specialities lie in screenprinting and digital embroidery. Depending on the material properties and appearance, I altered my methods and designs accordingly. It was a way of giving new life and purpose to these fabrics, for them to be used in construction in the future.


As an addition to working slower and


more authentically, I didn’t expose any screens for screenprinting. I relied on a clear, blank screen and drawings in the newspaper to apply my designs to the fabric. Because of this approach, I was only able to use each design once, meaning each print feels unique and bespoke, and the use of the stencil printing meant I could be spontaneous in my design process and decision making. Exposing screens requires lots of chemicals, water and energy, not to mention plenty of time – setting myself this limitation of using stencil printing allowed me to work more organically and consciously. It was testament to my imagination and resourcefulness, which are qualities needed for this process.


Strengths and limitations My final collection was made intentionally, relying on my source materials as a key focus for design and innovation. The use of ‘waste’ materials was very cost effective, meaning I wasn’t spending hundreds of pounds on brand new materials. I was able to be more playful and experimental, allowing the strengths and limitations of my fabrics to guide my decision-making, and see each piece as a creative challenge and adventure. One thing is for sure, fashion manufac-


turing and design companies aren’t going away, nor is the demand for fresh, exciting ideas. But what is changing is the under- standing of our planet and the need and will to protect it. Whilst I don’t have all the answers as to how we tackle this issue, I can share how I’ve changed the way I work and the benefits delivered. We’re seeing more and more companies joining this conversation through the utilisation of waste fabrics where in turn they’re able to save money, help the planet and produce something original. But we have to start small, and lead by example. Remaining optimistic, I see a future where this is adopted by the mainstream, where companies from all over the world are more conscious, concerned and receptive to necessary change.


About the author Ellen Nacey is a freelance textile designer Email: naceyellen@gmail.com Instagram: @ellustrated_


Textiles Loop • Summer 2026 29


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