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Kellie Nisbet

H00107159

Contemporary contextual Essay and Personal Brief

E10CE

Sustainability in the textile industry and its connection throughout my textile work

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Abstract

In this Contemporary contextual Essay I will be looking at the dangers of unsustainable fabrics, through cultivation and farming, dying, printing and also finishing of the textile and the effects on the people involved in the fibre processes and the people not involved and the effects on the ecosystem which we live in.

I will be writing a literature review of the writer Kate Fletchers book “sustainable Fashion and Textiles design journey” looking closely at the alternatives to cotton and the waste management concept of “Reuse, reduce and recycle” and what it mean now and in the future of the textile industry.

I also have followed an amazing surface pattern and textile designer Justine Aldersey-Williams throughout my time at university. She is a designer that uses plant dyes instead of conventional chemical dyes; she also uses ethically sourced fabrics which I always try and incorporate into my own textile work.

I will then go on to talk about my own textile work through university, my toile length inspired by rock pools that I did in second year and my recent work of interiors and tea towns inspired by “raw natural inspiration” and printed onto recycled and organic cottons and linens, these interiors and tea towels were also finished in a heat press instead of steamed and washed using a lot of water and creating waste.

I hope to have shown the growing cause for concern in the textile industry through the cultivation, dying, printing and finishing of fashion textiles and interior textiles, and that things really need to change in the near future and to make more people aware and want to source environmentally friendly fabric, recycled fabrics and unconventional dyeing and finishing practices.

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Contents

Page 6 - cultivation of textile fibres

Page 7 - cultivation of textile fibres

Page 8 - cultivation of textile fibres

Page 9 - dying, printing and finishing

Page 10 - dying, printing and finishing

Page 11 - dying, printing and finishing

Page 12 - Literature review – “sustainable Fashion and Textiles design journey”

Page 13 - Literature review – “sustainable Fashion and Textiles design journey”

Page 14 - Literature review – “sustainable Fashion and Textiles design journey”

Page 15 - Designer case study - Justine Aldersey – Williams

Page 16 - Designer case study - Justine Aldersey – Williams

Page 17 - Designer case study - Justine Aldersey – Williams

Page 18 - Textile work Through University - inspiration

Page 19 - Textile work Through University - inspiration

Page 20 - Textile work Through University - inspiration

Page 21 - Textile work Through University - second year toile length

Page 22 - Textile work Through University - second year toile length

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Page 23 - Textile work Through University - Forth year interior capsule collection

Page 24 - Textile work Through University - Forth year interior capsule collection

Page 25 - to conclude

Page 26 - Bibliography

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Cultivation of textile fibres

The textile industry is one of the biggest industry’s causing pollution. Sustainable textiles have grown in popularity in recent years, “The movement has also gathered interest by people in other fields as well. A number of fashion and design companies are feeling the impetus to shift their unsustainable ways.” (2014). Sustainable Textiles and Natural Fibers. Available:

http://www.sustainablematerials.org.uk/resource/textiles.html. Last accessed 10th nov 2014 ,but there isn’t enough being done; the new era of textile designer must concentrate on using as much sustainable and recycled products as they can.

Even at the very beginning of the textile industry it is a very un-environmentally friendly industry, with the amounts of agrochemicals (pesticides and) used in the growing of fabric crops like and linen, “Agrochemicals are the result of modern technology that depends on inorganic fertilizers and pesticides. Over use of these chemicals have severe effects on environment that may lead to an immediate and long term effects.” Govinda Bhandari. . An Overview of Agrochemicals and Their Effects on Environment in Nepal. Available:

http://pubs.sciepub.com/aees/2/2/5/. Last accessed 10th Nov 2014. Agrochemicals are sprayed and dropped on crops at a very large destructive rate by tractor, plane and helicopters, the pesticides being dropped on the chosen crop sometimes set onto nearby areas of animal and plant habitat, these remain in in the environment for many years contaminating everything it come in contact with. Millions or animals and plant life are killed off every year from the uses of

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Farmers spray pesticide over cotton crop in Faisalabad.

http://www.dawn.com/news/745956/pakistani-crop-pickers-exposed-to-hazardous-pesticides-study-reveals

agrochemicals.” Although many of these pesticides have been banned, some newer pesticides still cause severe damage. In North America, for example, it is believed that millions of wild birds are killed each year from exposure to the agricultural insecticide carbofuran.” (2011). Agrochemical . Available:

http://www.scienceclarified.com/A-Al/Agrochemical.html. Last accessed 10th nov 2014 . Agrochemicals are damaging the environment as the use of fertilisers in crops leads to contamination of ground water with nitrate, this in large quantities can be poisonous to humans and animals. Also when the fertilizers run of into nearby streams and lakes and other surface waters this can cause a great growth in algae, leading to death to the aquatic animals living in the waters, then causing a knock on effect to the ecosystem.

“The results of large amount of agro chemicals” talked about in Govinda Bhandari journal, An Overview of Agrochemicals and Their Effects on Environment in Nepal are terrible for the environment and the health of humans. He states that pesticide threats vary from each different pesticide but, “all pesticide residues cause nutrient imbalance and reduction in the quality of agricultural products. Govinda Bhandari. (). An Overview of Agrochemicals and Their Effects on Environment in Nepal. Available: http://pubs.sciepub.com/aees/2/2/5/. Last accessed 10th Nov

2014. The residue from pesticides affect human health, from studies into low- term low-dose of pesticides that causes respiratory diseases like asthma and sperm quality in males leading to infertility. Poisoning from pesticides occurs mostly in developing countries rather than in developed countries.

While researching into the dangers of agrochemicals to humans I found a report about agrochemicals not just in the textile industry but in the food industry “In Argentina, Health Problems Linked to Agrochemicals” the report was about a farm worker that used pesticides to close to people’s homes. “Schoolteacher Andrea Druetta lives in a town where it’s illegal to spray agrochemicals within 550 yards of homes, and yet soy is planted just 33 yards from her back door. Recently, her boys were showered in chemicals while swimming in their backyard pool.” (2013). In Argentina, Health Problems Linked to Agrochemicals - See more at: http://globalresearchreport.com/2013/10/22/in-argentina-health-problems-linked-to-agrochemicals/#sthash.7w2qW8LV.dpuf. Available: http://globalresearchreport.com/2013/10/22/in-argentina-health-problems-linked-to-

agrochemicals/#sthash.7w2qW8LV.dpbs. Last accessed 1st Dec 2014. The report also states that 80 percent of the neighbours in the community carry pesticides in their

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blood resulting in dangerous health problems and birth defects in children. One third of Argentina has no rules in place for the spraying of chemicals meaning they can spray chemicals near homes, school and businesses. There are rules in place for the rest of Argentina but people are very rarely punished for breaking the rules of pesticides. The health problems from pesticides in Argentina are very dangerous for the residents living near farm land, “A house-to-house epidemiological study of 65,000 people in Santa Fe, led by Dr. Damian Verzenassi at the National University of Rosario, found cancer rates two times to four times higher than the national average, as well as thyroid disorders, respiratory illnesses, and other afflictions seldom seen before.” (2013). In Argentina, Health Problems Linked to Agrochemicals - See more at: http://globalresearchreport.com/2013/10/22/in-argentina-health-problems-linked-to-agrochemicals/#sthash.7w2qW8LV.dpuf. Available: http://globalresearchreport.com/2013/10/22/in-argentina-health-problems-linked-to-agrochemicals/#sthash.7w2qW8LV.dpbs. Last accessed 1st Dec 2014.

The use of agrochemicals in the textile industry and in other farming industry’s is obviously very dangerous resulting in death and disease to not only the farmer but to the local community and also the ecosystem near the areas being sprayed with poisons. The use of agrochemicals has to be cut down dramatically by education and research to other methods of farming and prompting an influx in the uses of organic and ethically sourced fibres for cultivation.

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Dyeing, printing and finishing

The process of dying and printing textiles is also a very un-environmentally friendly process, from amount of water used, pigments, discharge dyes and finishing baths. “The textile industry is one of the most chemically intensive industries on earth, and the No. 1 polluter of clean water (after agriculture). It takes about 500 gallons of water to produce enough fabric to cover one sofa. Half a billion people 0live in regions prone to chronic drought, and by 2025, that number is likely to have increased five-fold, to between one-third and one-half of the entire world population. Global consumption of fresh water is doubling every 20 years.” TEXTILE INDUSTRY POSES ENVIRONMENTAL HAZARDS. Available:

http://oecotextiles.com/PDF/textile_industry_hazards.pdf. Last accessed 10th Nov 2014 . ” All used chemicals eventually working their way into water systems. As many as 2,000 different chemicals are used in the textile industry, from dyes to transfer agents “ TEXTILE INDUSTRY POSES ENVIRONMENTAL HAZARDS. Available:

http://oecotextiles.com/PDF/textile_industry_hazards.pdf. Last accessed 10th Nov 2014 . This causes hostile environments for underwater plant life and aquatic animals. Colorants in the water create problems with aquatic plant life carrying out photosynthesis. Meaning there can be great consequences in the future due to the dying of fabrics for the textile industry.

There is also a more result of agrochemicals working their way into lakes and rivers, “Pesticides are capable of killing salmon and other aquatic life directly and within a short period of time. For example, in 1996 the herbicide acrolein was responsible for the death of approximately 92,000 steel-head, 114 juvenile Coho salmon, 19 resident rainbow trout, and thousands of non-game fish in Bear Creek, a tributary of the Rogue River. Deaths of threatened and endangered species from accidental contamination of waterways are of grave concern. The loss of each individual in a sensitive population makes recovery efforts that much more difficult. Fortunately, these deaths are relatively infrequent.” Ewing, R.D. (1999). Pesticides Effects on Salmon, Steelhead and Trout. Available:

http://www.krisweb.com/stream/pesticide_fisheffects.htm. Last accessed 1st Dec 2014. These fish may become extinct in the future because of the human use of

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agrochemicals because of the great demand for textiles in the fashion and interior industry in recent years. There is also an added danger for people eating fish, this is going to work its way into the human body through eating the contaminated fish if the fish hasn’t died through the chemicals before it’s caught.

Maryland – USA 2008 danielk123.wordpress.com http://danielk123.wordpress.com/aquatic-pesticides/

Textiles are mostly all dyed at some point whether it is from the original natural colour of natural fibers to white or uniformed light colours or dyed colours for the demand of the customer, meaning that there is a huge amount of used dyes passing through water systems which is very difficult to remove

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by waste treatment facilities. The alternatives are to expand on the current uses of natural dyes like indigo, madder and Osage; it is a slower and less effective way of dying for large amounts of fabric but this is the way forward after many years of damaging the environment. Salt can be reduced in new reactive dyes and have a higher fixation. I feel people are much more cautious of the environment and human impact on the environment so we should pushing for the textile industry to follow and do their part and cut down un-environmentally friendly measures in the industry.

Literature review – “sustainable Fashion and Textiles design journey”

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Lydia Heida 2014 Dye house waste in Chinese rivers, Yangtze and the Pearl

http://www.greenbiz.com/blog/2014/07/21/waterless-dyeing-

processes-clean-clothing-industry

I decided to read Kate fletchers “sustainable Fashion and Textiles design journey” and write a literature review on this book. Fletcher book covers the background of sustainable fabrics, nature fibres, man-made fibres, ethically made fabrics, finishing of fabrics and reusing and recycling materials.

Fletcher firstly writes about that there is a misconception that synthetic fibres are “bad” and natural fibres are “good” this is not the case as she shows in the cultivation and production of cotton and other natural fibres “cultivating 1kg of cotton for example, draws on as much as 3800 litres of water. In comparison, producing 1kg of polyester uses little water, approximately 17lites per kg of fibre, polyester manufacturing does whoever, consume almost twice the energy needed to make the same amount of cotton” Fletcher, K (2014 ). sustainable

Fashion and Textiles design journey. 2nd ed. London : routledge . p11. growing cotton uses a large amount of pesticides and water making it a un-sustainable fibre.

There are fibre alternatives to cotton these include organic cotton, low chemical cotton, low water cotton. Organic cotton does not use synthetic pesticides, fertilisers and growth regulators; these are not used as natural methods are used to control pests, weeds and disease in the crop “organic production also has a strong social element and includes many fair trades and ethical production principles: as such it can be seen as more than a set agricultural practice, but also as a tool for social change” Fletcher, K (2014 ).

sustainable Fashion and Textiles design journey. 2nd ed. London : routledge . p27. These changes will make a drastic change in the production of cotton. I know a lot of people buy “organic” products because of the social elements to this and with past advertising and pressure put on products to become organic. Low-chemical cotton is the reduced uses of chemicals in the production of cotton, these methods included integrated pest management (IPM) and the introduction of genetically modified (GM) varieties. “For farmers the benefits of GM varieties include : reduced pesticide use(because the crop is toxic to pests, comes under attack less often and so requires fewer sprays): equal or higher yields: no impact on fibre quality; and increased increases income because of less outlay on pesticides. For the environment, chief benefits arise through reduced pesticide use; it is claimed. For examples, that significant reductions in

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pesticide use have occurred in every country where Bt cotton had been grown, moreover, it leads to low tillage of the soil which results in less particulate matter in the air and greater water retention due to less compact soil.” Fletcher,

K (2014 ). sustainable Fashion and Textiles design journey. 2nd ed. London : routledge . p30. There are also a number of concerns in the use of GM varieties such as a decline in pesticide use for the first three years but after the three years it went back up again and the diversity of the seed industry as now only ten companies control over half of the seed industry since the introduction of GM varieties. “In addition to reducing the chemical use of cotton, minimizing water usage of cotton also brings benefits. Around 50 percent of cotton in irrigated; the remainder is partially irrigated or depends entirely on rainwater” Fletcher, K

(2014 ). sustainable Fashion and Textiles design journey. 2nd ed. London : routledge . p30. rain-fed cotton uses less water but is a poorer quality because of the different quantities and time of rainfall, there is also irrigation techniques available, drip irrigation saves around 30 percent of rainwater compared to conventional irrigation, but this technique is very labour intensive and only possible on hand picked crops. Fletcher goes into great detail into the different alternatives and gives good facts that are easy to understand and see why they are mostly good alternatives. “The fashion and textile industry’s future success will depend on use reducing its environmental and social burden across the entire lifestyle” Fletcher, K (2014 ). sustainable Fashion and Textiles design journey. 2nd ed. London : routledge . p43.

Fletcher than writes about “reuse, recycling and resource exchange” in chapter 4 “ this chapter explores the design opportunities and sustainability challenges associated with the end-of-life phase of the lifecycle of textiles and fashion products, touching upon practical handling of waste as well as more philosophical concerns and associated structures that have a normalized business models based on obsolescence” Fletcher, K (2014 ). sustainable Fashion and

Textiles design journey. 2nd ed. London : routledge . p116.. In the UK annual volume of clothing and textile products discarded is about 1.1 million tonnes which means 18kg a year per person. There is also 8.5kg per year per person collected for reclamation like charity shops and textile banks. The amount of people willing to recycle and reuse clothes has grown in recent years to over two-thirds of the pollution willing. Fletcher goes on to state that around half of the textiles collected in the UK are sent overseas, which means that the clothes

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and textiles are still getting used and not going to waste and generating jobs and income as they are usually sold at local markets. Fletcher writes about how waste management is very important in textiles sustainability. “Reuse, reduce and recycle” is the widely known approach to waste management. “Their aim is to extract the maximum benefits from the products by extending their life either as a whole product, fabrics or fibres, before throwing them away. Waste management strategies intervene at the end of the industrial chain and contain or help remediate the negative environmental effect of waste generation” Fletcher, K (2014 ). sustainable Fashion and Textiles design journey. 2nd ed.

London : routledge . p117. fletcher talks about how reusing the products usually for the same purpose sometimes with the resale of the product, keeping the product as long as possible by repairing and reconditioning and then recycling parts of old products to be made into new products. Fletcher states that reusing textiles used very few resources only involving the collection and resale of the textile or product, repairing products use a little more resources as parts and labour are heavy involved in this process. Recycling products use the most resources as they may need to go back to the fibre material or polymer. But the process is still uses less resources than the production of brand new materials.

Reading “sustainable Fashion and Textiles design journey” by Kate Fletcher gave me a more insight into sustainability in textiles. The book gives good facts about sustainability in the fashion and textiles world. The book cuts it down into chapters giving reasons and methods that could change the way we look at sustainability and try and reverse some of the damage we have already placed on the planet and ecosystem that we live in.

Designer case study - Justine Aldersey – Williams

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Justine Aldersey – Williams is a surface pattern and textile designers who is interested in eco-textiles “For my textiles, I use plant dyes, shibori resist techniques and hand embroidery to embellish luxurious wool and silk scarves. I bring mindfulness to my practice by adding rambles of consciousness inspired by yogic philosophy and everyday life, the mundane mixed with the sacred.” Justine Aldersey – Williams . (2013). Biography . Available: http://www.surfacepatterndesigner.co.uk/about_justine.html. Last accessed 18th Nov 2014 .

Justine is inspired by nature and being outside, she used natural dyes to dye fabric and used ethically sourced fabrics to create her textiles “I like the interaction that takes place when using natural materials such as herbal dyes and ethically sourced fabrics. I feel they bring a provenance and wisdom to the creative process which often surprises and challenges me to relinquish my control” Justine Aldersey – Williams . (2013). Biography . Available: http://www.surfacepatterndesigner.co.uk/about_justine.html. Last accessed 18th Nov 2014 .Like me she feels that sustainable ethically sourced fabrics lends its self well with her work inspired by appreciation for nature. I think that natural, raw looking drawings and marks look good printed or dyed onto sustainable fabrics that have already had a life before this adds to the story and specialty of the textile piece.Justine also used nature dyes like rhubarb, madder, cochineal, log wood and dyers camomile with many techniques like shibori and resist dying on many different fabrics, the colours of these natural dyes come out just as lovely and bright as manmade chemical ridden dyes. I would like in my innovation work or in semester 2 projects to experiment in natural dyes adding to my portfolio and portfolio of sustainable textiles in fabrics, dyes and techniques. Justin is obviously very passionate about using sustainable fabrics and dyes in her textile work, her passion comes through in her lovely scarfs and textiles, she shows that sustainable textiles can be just beautiful as conventional textile techniques.

“The textile dyeing and finishing sector uses large volumes of water and substantial quantities of complex chemicals.” – water and chemical use in the textile dyeing and finishing industry” (2012 ). WATER AND CHEMICAL USE. Available: http://www.wrap.org.uk/sites/files/wrap/GG062.pdf. Last accessed 17th Nov 2014 .This might never change on a large scale textile making industry but small businesses and textile designers working small scale can use as little chemicals and finishing processes as possible. Justine Aldersey- Williams shows that dyeing can be

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done by using natural found plant materials and still produce beautiful bespoke textile art.

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Artisan Shibori silk scarf, naturally dyed with madder root with rust

Justine Aldersey-Williams 2013

Justine Aldersey – Williams 2013 copyright

Capsule collection and Textile work Through University

My work through my time at university has shown a great love for mark-marking and abstract marks, mostly inspired by natural textures, In second year at university I became more aware of the dangers and consequences involved in the textile industry whether it is from the way the natural fibre crop has been cultivated or the processes the fibre has gone through to become a finished textile like dying, finishing and washing.

I am very conscious of how my work could become more sustainable rather than buying fabrics from the wholesaler or shop, fabrics could be sourced in other ways and the fabrics can be second hand fabrics or organic or eco-friendly fabrics and also in the way I finish my samples and final fabrics, I like to use the heat press rather that steaming, washing and drying the fabrics as the heat press uses no water at all and produces the same result.

The way I work through the technique of mark-making and with natural textured inspiration works well with eco-friendly fabrics and second hand sourced fabrics because the mark-making doesn’t look neat and perfect. The mark-making drawings look messy and abstract so work well with worn fabrics and materials. Fabrics like organic cotton and linen work well with my textile work as my market is textiles for interiors so these normally thick, heavy weight fabrics work well for this market.

For my inspiration I have been looking at raw natural inspiration, with images like microscopic structures and textures in nature. I looked into Fernan Federici’s photographs that he took from plant matter under a microscope for his PHD at Cambridge University. “Dr. Fernan Federici has created these amazing photographs of plants at the cellular level. Federici is a renowned molecular geneticist and award-winning microscopist…” (July 17, 2013). Microscopic Photographs of Plants by Dr. Fernan Federici. Available: http://www.123inspiration.com/microscopic-photographs-of-plants-by-dr-fernan-federici/. Last

accessed 27th Nov 2013 .

I used these images as they had a mark-made look to the initial photographs with a metallic/neon shimmery ambience. These images have a lovely mirrored

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photography look. I used these images as I liked how they had a mark-made abstract look and I wanted to re-create these images in my colour palette taking small pieces from the images as creating a new textile from them. The depth to the images is amazing and there are so many parts to take small textures out and create a make- made painting through Federici’s photographs inspiration.

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Dr. Fernan Federici, 2013

Microscopic Photographs of Plants

http://www.123inspiration.com/microscopic-photographs-of-plants-by-dr-fernan-federici/

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When I was in second year I had a project to design a French toile length of fabric using the inspiration that I had collated. My individual theme for this project was Scottish rock pools. I took my own photographs for this project at a beach in east Lothian called Yellow Craig’s beach, I created mark- made drawings for the sketchbook part of the project. I used, ink, paint, pen and collage to recreate the texture in the rock pools. These drawings were then turned into a repeated toile length. This project made me feel that mark-made drawings and paintings was what I wanted to further explore in the future of a textile designer. My final toile length was hung in heriot Watt University’s high-mill front entrance.

This project made me see a connection in my work and sustainable aspect of textiles and how my way of working would look good in recycled or environmentally friendly fabrics. The final length of my printed length was printed on a heavy weight cotton fabric supplied by the university but I used recycled materials from charity shops and scrap stores for my samples and only washed the fabrics when a wash was needed lessening the wastage of water through finishing.

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Kellie Nisbet 2012

Yellow Craig’s beach, East Lothian

Screen printed sample

Kellie Nisbet 2013

Complete printed repeat length hanging in the

window of the High Mill Herriot, Watt University

Kellie Nisbet 2013

Now in forth year I have designed a collection of screen printed tea towels and furnishing fabrics using natural texture inspiration to create the mark-made drawings then used as patterns for the final interior fabrics. I used organic cottons and linens and I visited a scarp store and found help bagging fabrics which I also used in my collection, I wanted to be as ethically sustainable in this fabric collection as I could, once I had my final drawings and mark-made prints I then printed onto acetate and also drawing straight onto kodatrace for a unique abstract look. Then transferred these to screens and

sampled using organic cottons and linens and recycled fabric scraps before picking the most desirable colour ways and mixtures of prints for final tea towel designs and furnishing fabrics. The tea towels where cut down smaller, finished at the edges by sewing and then a bright contrasting orange ribbon attached to create the hanging mechanism for the tea towel collection.

The collection was in keeping with a three colour palette, lime green, blue and purple. White opaque was also used as a contrasting colour to the beige cotton fabric used for a tea towel and the hemp bagging material that was used for an interior fabric. Each colour bright and contrasting each but used in a way that they look good together, some finals used 1 colour and some used all three. The backgrounds were kept the original fabric colour to make the colour palette stand out even more. The prints were layered on top and underneath different prints to follow my original research and continuing the abstract feel to the textiles. The final interior fabrics and tea towels were finished on the heat press rather than steaming and washing as I wanted to cut down on water usage in my process of creating the final samples. Using the heat press was time consuming but gave me the same result of a fixed pattern design on the

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fabric. On the next page are my final printed tea towels and a finished interior fabric print.

Capsule Collection final interior fabric and tea towels

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Kellie Nisbet 2014 – capsule collection Interior screen print, white opaque on organic hemp

Kellie Nisbet 2014 – capsule collection Tea towel collection, screen prints on a mixture of recycled cottons and organic cottons

To conclude I feel I have outlined the dangers of the cultivation of textile fibres, dying and printing and also finishing of final textiles and fabrics, to both humans and the environment. This for me is a big problem and needs to be dealt with making the textile industry a more sustainable industry for people involved in the farming and processes involved with fibres, and the people living near these industries, the planet and the ecosystem, shown earlier in this essay by looking at “Govinda Bhandari’s overview of agrochemicals and their effects on the environment in Nepal” and “the report into the health problems linked to agrochemicals in Argentina. I have also looked at written work and designers producing textiles from environmentally friendly fibres, dyes and finishing processes like the surface textile designer Justine Aldersey-Williams who uses plant dyes and ethically sourced fabrics. Then reading Kate Fletchers book “sustainable Fashion and Textiles design journey” to get an idea of environmentally friendly fibres there is and what they can do for the future of the textile industry. I have also shown through my textile work throughout university I am aware of the environmental dangers of the textile industry by using recycled fabrics and organic fabrics whenever I can and trying to cut out certain finishing processes to make the whole printing process as environmentally friendly as I can.

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Biblography

Websites -

http://www.sustainablematerials.org.uk/resource/textiles.html

http://www.fibre2fashion.com/industry-article/41/4052/various-pollutants-released2.asp

http://www.epa.gov/osw/conserve/materials/textiles.htm

http://www.businessgreen.com/bg/news/2204863/uk-throwing-out-gbp25m-a-year-by-sending-clothes-to-landfill

http://pubs.sciepub.com/aees/2/2/5/

http://www.surfacepatterndesigner.co.uk/about_justine.html

http://www.scienceclarified.com/A-Al/Agrochemical.html

http://globalresearchreport.com/2013/10/22/in-argentina-health-problems-linked-to-agrochemicals/#sthash.7w2qW8LV.dpbs

http://www.krisweb.com/stream/pesticide_fisheffects.htm

Books -

Kate Fletcher “sustainable Fashion and Textiles design journey”

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