Much has been written, and is being written all the time, about the large-scale efforts to fight climate change, and why they hopelessly fall short of the mark. At the same time, however, this is not one single fight, contained to the realms of high politics.

Regular citizens, activists, people from all walks of life, have also been doing what they can to stem the tide, to make the world more prepared, to make it more sustainable. We have chosen to sit down with one of these people for an interview.

Meet Dr. Ruxandra Lupu. She is a distinguished researcher, with a PhD in film/video and photographic arts from the University of Leeds. Professionally, she’s been working at the intersection between business and academia for a long time. She describes herself as “a traditional printmaker and digital humanities researcher”.

In 2020, she founded Eithne, a company that allows her to marry her academic and professional knowledge of textiles and printmaking, with the push for sustainability. You can read more about her extensive background here.

More interestingly from our point of view, Dr. Lupu has been disseminating her hard-won knowledge. Together with international partners, Eithne is implementing Sustainique, a project that aims to teach advanced and sustainable textile production techniques to “VET providers, textile designers, entrepreneurs, employees, and trainers in professional fashion firms”.

Of course, supporting research, education, and knowledge dissemination is one of the things the EU arguably does best, and we also believe it’s one of the essential tools in building a shared European home. That’s why we sat down with Dr. Lupu for a chat about sustainability and textiles.

Question: Which aspects of sustainability does your work address?

Answer: My work initially did not explicitly focus on sustainability. As a printmaker, I engaged in craftsmanship through textile printing. My focus shifted to sustainability when I researched the impact of innovation for a British media cluster. This project highlighted the importance of greening media technology and achieving sustainability through creative storytelling and processes.

Since then, my attention has turned completely into sustainability in arts and crafts, both as a researcher and an independent entrepreneur. In the past two years, my work has concentrated on the craft and textile fields, exploring sustainability in competencies, technologies (like haptics), storytelling, and innovation practices.

I particularly focus on responsible and hidden innovation in relation to sustainability. My approach now combines multimodal and interdisciplinary methods to address sustainability in arts and crafts, with an emphasis on care and responsibility, especially in textiles and fashion.

Q: How do you describe sustainable textile innovations, and their role within a more responsible fashion industry?

A: From a theoretical perspective, textile innovations are novel textiles created through new materials, designs, or production processes. The concept of novelty can be tricky, since changes occur daily. For example, is a textile fiber from an ancient crop innovative? Is engineered yarn from orange peels innovative? Both can be seen as innovative, but ensuring these products are durable, caring, and respectful to the environment and communities is key.

Labels like GOTS and Oeko-Tex should certify products, but their transparency and scope, especially in addressing social and economic aspects like fair trade and worker safety, can be limited. While traceability is vital, it’s challenging due to the complex production chains in textiles. We need comprehensive sustainability measurements, considering cultural, social, environmental, and economic factors in developing textile innovations.

Q: What is the state of the art of adoption of textile innovations in Europe?

A: Europe has high ambitions for textile innovations. Initiatives like Master programs at IAAC Spain and Boras University Sweden, and EU-funded projects such as WORTH, DeFine, and Re-Fashion, support this goal. Institutions like Fashion for Change advocate for a more resilient industry.

However, impact measurement and consistency of innovations lag behind. Many new products are not widely adopted due to low market availability, high prices, and risks associated with new materials. Young designers are more open to these innovations, often for limited editions or unique products, but mass adoption remains distant.

Q: How can material libraries contribute to fostering the uptake of textile innovations? What are the challenges they face?

A: Material libraries are places of discovery, stimulating designers by offering textiles and materials instead of books. Europe has fewer than ten material libraries, mainly serving architects and engineers, with few focusing on textiles. In 2022, a project with the University of Florence showed that designers are curious and open to new materials. However, material libraries face challenges like staff shortages, lack of funds, and a need for specialised experts. Educational institutions, especially at VET level, play a crucial role in promoting sustainability and innovation in textiles and fashion.

Question: How should holistic education be set up in terms of fostering the uptake of sustainable textile innovation?

A: Holistic education should encompass both external and deep knowledge. Designers need to understand, not only the physical properties of materials, but also how they were created, by whom, and their environmental and social impacts. This multifaceted knowledge helps designers make informed, sustainable choices. Future designers should be educated to assess materials’ properties for their specific needs, and understand their broader impact on communities and ecosystems. This approach fosters a resilient and caring practice in the textile industry.

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