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Dr Emily Baines

Teach SDGs: How to Embed Sustainable Development in a Taught Course event, 11 th July 2019 Education for Sustainable Development Forum, DMU. Embedding Sustainability within Fashion History. Dr Emily Baines. Sustainability Teaching (2018/19).

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Dr Emily Baines

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  1. Teach SDGs: How to Embed Sustainable Development in a Taught Course event, 11th July 2019Education for Sustainable Development Forum, DMU Embedding Sustainability within Fashion History Dr Emily Baines

  2. Sustainability Teaching (2018/19) PhD supervision (Slow Fashion Strategies for Chinese SMEs; Indian & UK Consumer Drivers for Fashion End of Use) FSHN 5702 Dissertation supervision (MA Fashion Management & Marketing) MDTI 5001 Design, Innovation & Sustainability (MA Interior Design, Design Innovation and Textile Design, Technology & Innovation) FSHN 5114 Critical Perspectives on Ethical and Sustainable Fashion (MA Fashion & Textiles and MA Fashion Management & Marketing) CULT 1700 Design Cultures (BA Hons Textile Design) CULT 1200 Design Cultures (BA Hons Fashion Buying)

  3. CULT 1200 Design Cultures (first year Fashion Buying) Lectures on: • Environmental Issues in the Fashion Industry • Ethical Issues in the Fashion Industry • The Development of Ready to Wear Clothing (incl. some ethical issues) Within a broader programme of lectures on fashion history, gender, cultural identity, class and semiotics. Seminar: with examination of my handling collection of sustainable textiles and discussion of issues

  4. Module Content • Lectures on sustainability were designed to bring out an awareness of sustainability issues throughout the history of fashion, so that this could be integrated into the students’ understanding of fashion and knowledge of fashion history.

  5. Climate change and air pollution (SDG 13 Climate Action) Punch cartoon 1853: on a meeting to protest against the Smoke Nuisance Bill: Acts passed in 1853 and 1856 to take action against furnaces. Medieval (sea-coal fired) lime kiln: lime was widely used in leather and dyeing processes. Edward I banned the use of sea-coal in London’s kilns in 1307. Illustration from the 1961 reprint of John Evelyn’s Fumifugium: ‘hellish and dismall cloud of sea-coal’ Zara Two-Tone Stripe Dress, polyester, 2019: 100% renewable energy consumption in Spain, Germany, Brazil, etc. and website facilities.

  6. Toxicity: human health impacts (SDG 12: Responsible Consumption and Production) and water pollution (SDG 6 Clean Water and Sanitation; SDG 14: Life Below Water) Leather, flax retting, wool fulling and dyeing pollution in rivers with local legislation from 13th C. to 16th C. Toxicity of current Azo dyes (especially group III A1 and A2): reactive azo dyes are considered to be 60-70% of dyestuffs in textile production (Rawat et al, 2010) and many are considered to have a mutagenic/ carcinogenic effect (Bruschweiler & Merlot, 2017). Early 19th C. green arsenic dyes: Emerald Green from 1814, widely used through 1820s/30s until deaths of consumers and workers became generally known. Aniline dyes (from Perkin’s mauvein in 1856): also highly toxic.

  7. Ethics of production conditions (SDG 8 Decent Work and Economic Growth) Exploitation of Italian silk workers with transition to a verleger/ merchant-entrepreneur system of putting out, from the 14th C. which led to very low wages for carders (who rebelled in 1378) and restrictions/ exploitation of the weavers who revolted in Lucca in 1531 Sweatshop conditions and lack of fire exits resulted to the New York Triangle Shirtwaist factory fire in which 146 garment workers died. This led to new labour regulations in the USA.

  8. Assessment: aim to integrate sustainability within an understanding of any example of clothing analysed A 1,500-1,750 word essay analysing a portrait, family photo or advertisement before 1990. • Relate to its immediate personal context and the wider historical context; • discuss the garments and other signifiers, with comparison to contemporary examples, positioning them in terms of their social significance; • discuss the context of production of the garments and textiles, with consideration of sustainability issues; • conclude with the overall meaning of the image.

  9. Portrait of Shah Jahan, Mughal Empire, 1616 • Disposable fashion: Mughals only wore a garment once (Wilson, 1979) • Conspicuous consumption of gold thread, jewellery, silk and pashmina from Tibetan goat hair • Good working conditions in palace workshops, • though mordants used for colour-fast dyeing would have harmful effects on the workers • Poor social status of women in the Mughal Empire 1942 family photo: Joan and Mary Garland, Leicester • Durable tweed suits • Good conditions for woollen fabric production • Rayon cravat: toxicity in production and potential deforestation • Leather scraps used for shoe production (non-matching colours): low waste approach • Wooden soles for shoes: lower water and chemical use • Handmade fabric flower accessory to update look

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