PROJECT A new infrastructure for the fashion industry based on circularity, total transparency, zero tolerance for waste and a generic belief in strong visions.
CASE Streamateria is a radically new digital service implementing time into fashion design by offering bespoke, compostable clothing with a controlled life span to be consumed without environmental guilt. Consumption made possible by designing transience – designed to die - as an added value right from the start.
- How do we dress in a society where our clothes are consumed as fresh food?
Streamateria is not merely a new service – it is a new perspective. A perspective made possible through closed circuits for design, materials and waste as well as – and maybe most importantly - through a circular business model where waste no longer exists. It is just considered raw material for new resources.
The service is based on materials such as cellulose that are biodegradable and with similar or enhanced drape, printability, texture and design as of today. But the material will stay in a closed material loops, restricted by time.
Just like food. Design that you can experience over and over, but never own.
The Streamateria infrastructure aims to set the standards for the whole production chain, from growing the resources, via designing and printing to destruction and closing the loop.
The bold ambition of the digital Streamateria service is to temporarily turn bits into atoms and for the first time ever a stream of physical objects.
Streamateria is also a matchmaking platform where brands and designers can find the renewable material that suits their product and their specific requirements.
Then, in addition to offering a world of designed-to-die fashion to the end consumer, Streamateria acts as an intermediary connecting the brand's needs for renewable raw materials and circular processes with innovative material manufacturers and industry.
The service addresses people who embrace progress and sustainability, who like to consume and who love fashion. People who demand a renewable society, a society that will stop changing trends and instead start changing structures.
These streamed clothes create a paradigm shift that moves the boundaries for ownership of physical objects, from material to immaterial. The clothes cannot be owned but rather experienced, indicating a renewable world based on transience instead of the all too prevalent notion that stuff should be produced to last.
This can also indicate us in a new direction towards a society in which we actually do not own anything (in regards to nature, we really do not). We just lend it from the planet.
What happened to music (vinyl to streaming) and movies (VHS to streaming) will eventually happen to physical material. What better segment to start this revolution is there than the fashion industry, that relies on progress and is constantly renewing itself? Streamateria will implement a fourth dimension into fashion design.
Bits to atoms, explained in 90 seconds flat.
We link sustainable material with the fashion brands of the future, redefining the very definitions of consumption, quality, ownership, permanence, impermanence, life and death.
WE BELIVE IN VISIONS, NOT IN STATUS QUO.
Embrace the forces of consumption with a garment that stays intact for only an hour or design a piece that lasts for a hundred years. It´s up to you. Just stick to six basic rules.
The Manifest of Streamateria.
- There is a Japanese say – mono no aware – that could be described as the sadness of things or the passing of time. When you look at a forest in autumn and feel lonely and sad for example. That is when you feel the passing of time.
Maybe we need to miss something to really appreciate it and in the end – appreciate life itself.
– This is an art project. But then again, there is a very thin line between art and innovation.
Society is on the boundary between two prevailing paradigms, the fossil-based and renewable. We already have the technology and scientific knowledge we need to enter into the new paradigm, but we lack fundamental insight in how to use it. One can even argue that this is largely due to the difficulties we have when we try to use methods and processes developed in an earlier paradigm for developing behaviors and structures for an entirely new.
The cultural tools are therefore fundamental as they not only fulfill the function of intuitively graspable carriers of new insights, but also essential for the development of these new insights.
For more information contact
CEO Erik Lindvall erik[at]guringo.com