Solar photocatalytic oxidation system for colour removal in dyeing effluent

The effectiveness of various photocatalysts including titanium dioxide and other oxidants was investigated in a solar powered UV photocatalytic oxidation system for colour removal in dyeing effluent. A semi-empirical constant model and guidelines were developed to assist the design and to evaluate the full scale of the system.

Decolourisation of real textile waste using electrochemical techniques: Effect of electrode composition

The present paper presents the study of the decolourisation of real textile effluent by constant current electrolysis in a flow-cell using a DSAO type material. The effect of using different anode materials (Ti/Ru0.3Ti0.7O2; Ti/Ir0.3Ti0.7O2; Ti/RuxSn1-xO2, where X = 0.1, 0.2 or 0.3) on the efficiency of colour removal is discussed. Attempts to perform galvanostatic oxidation (40 and 60 mA cm(-2)) on the as-received effluent demonstrate that colour removal and total organic carbon (TOC) removal are limited. In this case the greatest degree of colour removal is achieved when anode containing 90% SnO2 is used. If the conductivity of the effluent is increased by adding NaCl (0.1 mol L-1) appreciable colour/TOC removal is observed. The efficiencies of colour and TOC removal are discussed in terms of the energy per order (E-EO/kWhm(-3) order(-1)) and energy consumption (E-C/kW h kg(-1) TOC), respectively. Finally, the extent of colour removal is compared to consent levels presented in the literature. (C) 2008 Elsevier B.V. All rights reserved.

Intrinsic kinetics of titania photocatalysis : simplified models for their investigation

Even though titanium dioxide photocatalysis has been promoted as a leading green technology for water purification, many issues have hindered its application on a large commercial scale. For the materials scientist the main issues have centred the synthesis of more efficient materials and the investigation of degradation mechanisms; whereas for the engineers the main issues have been the development of appropriate models and the evaluation of intrinsic kinetics parameters that allow the scale up or re-design of efficient large-scale photocatalytic reactors. In order to obtain intrinsic kinetics parameters the reaction must be analysed and modelled considering the influence of the radiation field, pollutant concentrations and fluid dynamics. In this way, the obtained kinetic parameters are independent of the reactor size and configuration and can be subsequently used for scale-up purposes or for the development of entirely new reactor designs. This work investigates the intrinsic kinetics of phenol degradation over titania film due to the practicality of a fixed film configuration over a slurry. A flat plate reactor was designed in order to be able to control reaction parameters that include the UV irradiance, flow rates, pollutant concentration and temperature. Particular attention was paid to the investigation of the radiation field over the reactive surface and to the issue of mass transfer limited reactions. The ability of different emission models to describe the radiation field was investigated and compared to actinometric measurements. The RAD-LSI model was found to give the best predictions over the conditions tested. Mass transfer issues often limit fixed film reactors. The influence of this phenomenon was investigated with specifically planned sets of benzoic acid experiments and with the adoption of the stagnant film model. The phenol mass transfer coefficient in the system was calculated to be km,phenol=8.5815x10-7Re0.65(ms-1). The data obtained from a wide range of experimental conditions, together with an appropriate model of the system, has enabled determination of intrinsic kinetic parameters. The experiments were performed in four different irradiation levels (70.7, 57.9, 37.1 and 20.4 W m-2) and combined with three different initial phenol concentrations (20, 40 and 80 ppm) to give a wide range of final pollutant conversions (from 22% to 85%). The simple model adopted was able to fit the wide range of conditions with only four kinetic parameters; two reaction rate constants (one for phenol and one for the family of intermediates) and their corresponding adsorption constants. The intrinsic kinetic parameters values were defined as kph = 0.5226 mmol m-1 s-1 W-1, kI = 0.120 mmol m-1 s-1 W-1, Kph = 8.5 x 10-4 m3 mmol-1 and KI = 2.2 x 10-3 m3 mmol-1. The flat plate reactor allowed the investigation of the reaction under two different light configurations; liquid and substrate side illumination. The latter of particular interest for real world applications where light absorption due to turbidity and pollutants contained in the water stream to be treated could represent a significant issue. The two light configurations allowed the investigation of the effects of film thickness and the determination of the catalyst optimal thickness. The experimental investigation confirmed the predictions of a porous medium model developed to investigate the influence of diffusion, advection and photocatalytic phenomena inside the porous titania film, with the optimal thickness value individuated at 5 ìm. The model used the intrinsic kinetic parameters obtained from the flat plate reactor to predict the influence of thickness and transport phenomena on the final observed phenol conversion without using any correction factor; the excellent match between predictions and experimental results provided further proof of the quality of the parameters obtained with the proposed method.

Nourishing or polluting : redefining the role of waste in the fashion system

Waste is intrinsic to the fashion system. Fashion is predicated on built-in obsolescence, and as such outmoded garments are rapidly discarded to charity shops or landfill. However, the story of fashion is also one of abundance and extravagance in design ideas. Every season there are new design details – prints, embroidery, embellishments, shapes and textures. This excess of ideas is in itself another form of waste, albeit one that is culturally nourishing. The grave of a fashion garment may also be the grave of a season’s research and creativity. This paper compares the tangible waste of the industry with its intangible waste, namely fashion’s creativity and cultural excess. Fashion’s excess and abundance of trends and ideas makes any move to curb the environmental impact difficult. For all practitioners of fashion – whether designers or consumers – the waste and excess inherent in the fashion system is a difficult ethical terrain to negotiate. However, inverting the wasteful phases of the production cycle can help reframe waste from pollution to a source of nourishment for future practice. While creative excesses of designers may be ‘wasted’ after a season, fashion styles and tropes are recycled and reinvented, with the once passé styles and design ideas from previous years revalorized and returned into the fashion system. Similarly, material garments acquire new value through entering or re-entering the second hand or vintage markets. Design processes can utilise pre or post-consumer textile waste, or eliminate waste through design. In these processes, waste becomes the primary source of nourishment for future fashion cycles.

Open and closed-loop recycling of textile and apparel products

Textile waste is a significant contributor to landfill yet the majority of textiles can be recycled, allowing for the energy and fibre to be reclaimed. This chapter examines the open-loop and closed loop recycling of textile products with particular reference to the fashion and apparel context. It describes the fibres used within apparel, the current mechanical and chemical methods for textile recycling, LCA findings for each method, and applications within apparel for each. Barriers for more effective recycling include ease of integration into existing textile and apparel design methods as well as coordinated collection of post-consumer waste. The chapter concludes with a discussion of innovations that point to future trends in both open-loop and closed-loop recycling within the apparel industry.

Investigation of an effluent treatment system for an integrated textile facility

Available effluent treatment systems to treat wool scour and dyehouse wastewaters were investigated. Electroflotation was found to be the most practicable treatment process as it had the ability to reduce the contaminant load in wastewaters. The quality of the treated wastewaters was then suitable for disposal to sewer or reuse on site.

Characterization and sorption ability of wool powder

This work focused on the characterisation of wool powders and their sorption capacity for dyes and metal ions. It provides new information to the field of wool and the potential use of wool to sorb contaminants from wastewater. It also suggests a new use for inferior and waste wool.

Synthesis of denim waste-based adsorbents and their application in water defluoridation

This study evaluates the application of denim fiber scraps as a precursor for the synthesis of adsorbents for water treatment via pyrolysis and their application in water defluoridation. The best pyrolysis conditions for the synthesis of this novel adsorbent have been identified and a metal doping route with different salts of Al3 +, La3 + and Fe3 + was proposed to improve its fluoride adsorption behavior. Different spectroscopic and microscopic techniques (i.e., FTIR, XPS, XRF, SEM) were used to characterize the precursor and adsorbents, and to analyze the surface interactions involved in the fluoride removal mechanism. Experimental results showed that these adsorbents were effective for fluoride adsorption showing uptakes up to 4.25 mg/g. The Si-O–metal–F interactions appear to be highly relevant for the fluoride removal. This study highlights the potential of denim textile waste as a raw material for the production of added-value products, thus minimizing their associated disposal cost. It also shows the performance of denim textile waste as a precursor of adsorbents for addressing relevant environmental concerns such as fluoride pollution.

Luxury fashion : the significance of luxury fashion goods for sustainable fashion design

This paper extends the work of “Luxury fashion : the role of innovation as a key contributing factor in the development of luxury fashion goods and sustainable fashion design” (Finn, 2011). The discussion here begins with the observation that post consumer textile waste remains a major obstacle in realising a model of sustainable fashion design and production however, amongst the millions of tonnes of textile and clothing sent to landfill each year there is little evidence of authentic luxury branded goods ending life as landfill. The sustainable fashion movement often support approaches such as fashion up-cycle, re-cycle and cradle to cradle solutions. This paper argues that the priority should be to break the cycle of consumerism as an immediate intervention in ongoing unsustainable (and in some cases unethical) practices involved in the production of fashion goods. The connections between maker and consumer are explored through object analysis and the findings raise questions of the separation between luxury fashion goods and fashion goods that bear luxury fashion branding. This paper suggests that unethical and subversive exploitation of these connections may be used to promote increased consumerism while at the same time purporting exclusivity and superior craftsmanship.

Silk purse, sow’s ear : transforming second-Hand clothing into luxury fashion through craft practice

There is more apparel being created than ever before in history. The unsustainable production of materials and the clothing and textile waste that contributes annually to landfill, an estimated 500 000 tonnes of clothing per year in the UK (Gray, 2012) are significant issues inspiring the practice of Australian fashion designers, Carla van Lunn and Carla Binotto. While the contemporary fashion industry is built upon a production and consumption model that is younger than the industrial revolution, the traditions of costume, craft, and bodily adornment are ancient practices. Binotto and van Lunn believe that the potential for sustainable fashion practice lies outside the current industrial manufacturing model. This case study will discuss their fashion label, Maison Briz Vegas, and examine how recycling and traditional craft practices can be used to address the problem of clothing waste and offer an alternative idea of value in fashion and materials, addressing the indicative conference theme, Craft as Sustainability Activism in Practice. “Maison Briz Vegas”, a play on the notion of French luxury and the designers’ new world and sub-tropical home town, Brisbane, is an experimental and craft-based fashion label that uses second-hand cotton T-shirts and wool sweaters as primary materials to create designer fashion. The first collection, titled “The Wasteland”, was conceived and created in Paris in 2011, where designer Carla van Lunn had been living and working for several years. The collection was inspired by the precariousness of the global economy and concerns about climate change. The mountains of discarded clothing found at flea markets provided a textile resource from which van Lunn created a recycled hand-crafted fashion collection with an activist message and was shown to buyers and press during Paris Fashion Week. The label has since become a collaboration with fellow Australian designer Carla Binotto. The craft processes employed in Maison Briz Vegas’ up-cycled fashion collections include original hand block-printing, hand embroidery, quilting and patchwork. Taking an artisanal and slow approach, the designers work to create a hand touched imperfect style in a fashion market flooded with digital printing and fast mass-produced garments. The recycling extends to garment fastenings and embellishments, with discarded jar lids and bottle tops being used as buttons and within embroidery. This process transforms the material and aesthetic value of cheap and generic second-hand clothing and household waste. Maison Briz Vegas demonstrates the potential for craft and design to be an interface for environmental activism within the world of fashion. Presenting garments that are both high-design and thoughtfully recycled in a significant fashion context, such as Paris Fashion Week, Maison Briz Vegas has been able to engage a high-profile luxury fashion audience which has not traditionally considered sustainable or eco practices as relevant or desirable in themselves. The designers are studying how to apply their production model on a greater scale in order to fill commercial orders and reach a wider audience whilst maintaining the element of bespoke, limited edition, and slow hand-craft within their work.

Shrinking Violets

Description of the work Shrinking Violets is comprised of two half scale garments in laser cut silk organza, developed with a knotting device to allow for disassembly and reassembly. The first is a jacket in layered red organza including black storm flap details. The second is a vest in jade organza with circles of pink organza attached through a pattern of knots. Research Background This practice-led fashion design research sits within the field of Design for Sustainability (DfS) in fashion that seeks to mitigate the environmental and ethical impacts of fashion consumption and production. The research explores new systems of garment construction for DfS, and examines how these systems may involve ‘designing’ new user interactions with the garments. The garments’ construction system allows them to be disassembled and recycled or reassembled by users to form a new garment. Conventional garment design follows a set process of cutting and construction, with pattern pieces permanently machine-stitched together. Garments typically contain multiple fibre types; for example a jacket may be constructed from a shell of wool/polyester, an acetate lining, fusible interlinings, and plastic buttons. These complex inputs mean that textile recycling is highly labour intensive, first to separate the garment pieces and second to sort the multiple fibre types. This difficulty results in poor quality ‘shoddy’ comprised of many fibre types and unsuitable for new apparel, or in large quantities of recyclable textile waste sent to landfill (Hawley 2011). Design-led approaches that consider the garment’s end of life in the design process are a way of addressing this problem. In Gulich’s (2006) analysis, use of single materials is the most effective way to ensure ease of recycling, with multiple materials that can be detached next in effectiveness. Given the low rate of technological innovation in most apparel manufacturing (Ruiz 2011), a challenge for effective recycling is how to develop new manufacturing methods that allow for garments to be more easily disassembled at end-of-life. Research Contribution This project addresses the research question: How can design for disassembly be considered within the fashion design process? I have employed a practice-led methodology in which my design process leads the research, making use of methods of fashion design practice including garment and construction research, fabric and colour research, textile experimentation, drape, patternmaking, and illustration as well as more recent methods such as laser cutting. Interrogating the traditional approaches to garment construction is necessarily a technical process; however fashion design is as much about the aesthetic and desirability of a garment as it is about the garment’s pragmatics or utility. This requires a balance between the technical demands of designing for disassembly with the aesthetic demands of fashion. This led to the selection of luxurious, semi-transparent fabrics in bold floral colours that could be layered to create multiple visual effects, as well as the experimentation with laser cutting for new forms of finishing and fastening the fabrics together. Shrinking Violets makes two contributions to new knowledge in the area of design for sustainability within fashion. The first is in the technical development of apparel modularity through the system of laser cut holes and knots that also become a patterning device. The second contribution lies in the design of a system for users to engage with the garment through its ability to be easily reconstructed into a new form. Research Significance Shrinking Violets was exhibited at the State Library of Queensland’s Asia Pacific Design Library, 1-5 November 2015, as part of The International Association of Societies of Design Research’s (IASDR) biannual design conference. The work was chosen for display by a panel of experts, based on the criteria of design innovation and contribution to new knowledge in design. References Gulich, B. (2006). Designing textile products that are easy to recycle. In Y. Wang (Ed.), Recycling in Textiles (pp. 25-37). London: Woodhead. Hawley, J. M. (2011). Textile recycling options: exploring what could be. In A. Gwilt & T. Rissanen (Eds.), Shaping Sustainable Fashion: Changing the way we make and use clothes (pp. 143 - 155). London: Earthscan. Ruiz, B. (2014). Global Apparel Manufacturing. Retrieved 10 August 2014, from http://clients1.ibisworld.com/reports/gl/industry/default.aspx?entid=470

Utilização de descarte de resíduos têxtil (poliamida/poliester), como agregado, em concreto

Neste trabalho são apresentadas algumas características físicas, vantagens e viabilidade do uso do pó de tecido, proveniente do processamento de resíduos têxteis que são descartados em confecções em geral. A produção e utilização desse tipo de pó diminui o impacto ambiental e se mostra viável economicamente, pois é produzido facilmente a partir do processamento de resíduos, que seriam descartados na natureza. O presente trabalho mostra o estudo da produção do pó de tecido e a sua substituição parcial do agregado miúdo natural na produção de concretos de cimento Portland convencionais. Para comprovar a viabilidade técnica e econômica do uso do pó de tecido foram analisadas características do agregado como sua composição granulométrica, e seu comportamento nos ensaios de abatimento tronco de cone (Slump Test). Uma relação água-cimento também foi convencionada a um concreto usual com resistência esperada de 27MPa. Com estes dados foi definido um traço para o concreto utilizando 5% e 15% de agregado pó de tecido, substituindo a areia. A pesquisa apresenta os resultados de resistência à compressão simples dos corpos de prova cilíndricos de concreto aos 28 dias. Verificou-se que as amostras não apresentaram diferenças significativas de resistência entre si, tão pouco com relação às resistências de um concreto convencional produzido somente com agregado miúdo natural. Entretanto, houve uma melhora nos resultados dos ensaios à compressão, principalmente no concreto com 15% de pó de tecido.

Colagens têxteis: em busca de um design sustentável

Os desafios dos designers nos dias de hoje são inúmeros, sendo um deles o de desenvolver produtos que atendam ao mercado sem deixar de lado as preocupações com a sustentabilidade, seja ambiental, sócio-ética ou econômica. Assim sendo, a própria disputa para alcançar novos patamares de destaque no mercado também fez proliferar novas tecnologias de produção sustentável como um fator diferenciador nos dias de hoje que, para além de preservar a natureza, conquista uma larga faixa de clientes sensíveis a este tipo de preocupações. É objetivo deste trabalho a criação de produtos de design de moda e decoração e sua verificação enquanto design sustentável. Neste contexto, enquadra-se este trabalho que visa desenvolver produtos de moda e decoração realizados com a técnica da colagem têxtil, resultando assim, em produtos inovadores, únicos, intemporais e com design. A presente investigação desenvolveu-se em parceria com o Banco de Vestuário de Caxias do Sul, que forneceu dados para o estudo do setor têxtil e levantamento dos resíduos da indústria têxtil da região para caracterização do setor, além de disponibilizar os resíduos têxteis que serviram de base para a criação de produtos de moda e de decoração mais sustentáveis. Para a criação das superfícies têxteis coladas foram desenvolvidas amostras com testes de temperaturas e tempos para verificar a combinação que mais se adequa a cada tipo de matéria-prima. Além de fazer uso destes resíduos, a investigação contou com o auxílio de mão-de-obra de artesãs que, por sua vez, foram capacitadas com a técnica da colagem têxtil através de dois workshops. Após esta etapa, para fazer a análise dos níveis de sustentabilidade dos produtos, utilizou-se o Sustainability Design Orienting Toolkit (SDO) que é um conjunto de ferramentas que visa a orientação dos designers no desenvolvimento de produtos em termos de sustentabilidade ambiental, sócio-ética e econômica.

Optical and Thermal Characterization of Dye Intercalated Montmorillonites and Rare Earth Doped Materials

Nondestructive photothermal methods as well as optical absorption and fluorescence spectroscopy are utilized to characterise three different materials, both thermally and optically. The possibility of using montmorillonite clay minerals, after textile waste-water treatment, is investigated for further applications. The laser induced luminescence studies and thermal characterisation of certain rare earth titanates prepared by self propagating high temperature synthesis method are also presented. Moreover, effort is made to characterise rare earth doped sol gel silica glasses with the help of these nondestructive techniques.