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This collection features a selection of inspiring examples of the circular economy, compiled in the context of the Switch to Circular Economy Value Chains programme (SWITCH).

Launched in 2020, SWITCH is a five-year initiative that assists EU multinational companies and their suppliers from developing countries to switch to more circular economy approaches and practices in three selected value chains: [Plastic Packaging](https://knowledge-hub.circle-lab.com/switchtocircular/search?collections=832%3D0&framework_elements__5=111), [Textile & Garments](https://knowledge-hub.circle-lab.com/switchtocircular/search?collections=832%3D0&framework_elements__5=99), and ICT and Electronics.

The overall objective of SWITCH is to support the “transformation towards a circular economy”, and to contribute to sustainable growth, low carbon and climate resilient development, decent jobs creation, and a safer, healthier and pollution-free environment.

SWITCH is co-funded by the European Union and the Government of Finland, and implemented by UNIDO, in collaboration with Chatham House, Circle Economy, and the European Investment Bank.
Learn more at www.switchtocircular.eu

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Switch to Circular Economy Value Chains

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Business case

Reduced use of virgin materials and/or an increase of the use of secondary and bio-based materials

Reduce Material Consumption (SDG12)

Minimise waste through diversion: Instead of sending waste to landfill, it is redirected into other industrial processes for handling, treatment, recycling, recovery, or reuse in various forms. 

Minimise waste through design: At the outset of a process of project, plan and design such that there is zero waste or minimal waste during production, use, and at end of life. 

Minimise Waste (SDG12)

Producing textile and leather products and processing them into apparel and accessories

Fashion and Textiles

Designing products so they produce as little waste as possible during production

Design for minimal waste

Utilising data and models to to identify, enable and/or implement circular strategies (eg. effective resource use & logistics planning, circular business models & design)

Data analytics, modelling

Research and facilitate new technological developments to aid the transition to a circular economy.

Research and Development

VISION:
Raw materials are renewable, recyclable and safe, kept in continual circulation.

DETAIL:
Imagine a time when…the raw materials that are used to make things are sourced from existing products and regenerative agriculture, via carbon negative and climate neutral processes. Biodegradable raw materials are used for products with biodegradable end routes. Toxic chemicals have been washed out of the global materials pool, disposed of safely and replaced with beneficial alternatives. Virgin fibres made from fossil fuels have been banned, while secondary synthetic fibres, derived from what was already in the system, are kept in constant circulation as a resource. Circularity accounting methods, built on science-based metrics, help to manage a balanced system of resources, across all industries, and in line with the planet’s environmental limits.

Raw Materials and Planetary Boundaries

VISION:
Products and services are designed for multiple use and material value retention, with maximum positive impact.

DETAIL: 
Imagine a time when…products flow via optimal collection and distribution streams into reusable and repairable product platforms. Reuse and access models are dominant, and products are designed for multiple recirculation before biodegrading (if designed to do so), or being broken down into reusable raw materials for production. People only consume what they need. Production and consumption wastes have been fully eliminated and multifunctional, season-less and timeless fashions are the norm, yet still fulfil our human need for expression and creativity without constraint. All business models, organisations, governments and citizens play a role in maintaining a healthy, functioning circular ecosystem.

Products and Services

Impacts

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Industries

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The principles of a circular economy concern designing out waste, regenerating ecosystems and keeping items in use. Decoupling the economy from material flows—improving the rate of resource productivity faster than the economic growth rate—is also a consistent guide. By evolving with the growing number of applications of circular economy principles, and consolidating these strategies across thematic areas, Circle Economy’s Key Elements Framework (KE) renders the elements of the circular economy salient and serves as a basis to derive contextual strategies and interventions. 


The Framework consists of:
- Core Elements: Activities directly handling product or material flows; and uniquely,
- Enabling Elements: those that remove obstacles for core actors.


Key elements of the circular economy

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Circle Economy's framework of strategies and activities that define the circular economy

It is 2050.  Full systems change has taken place. This wouldn’t have been possible without the immediate action and radical steps taken from 2020 onwards. Many targets had to be identified in the early 2020s and achieved by 2030 to ensure that the 2050 goal happened in full. A sense of urgency, turbo stakeholder collaboration, supportive government regulation and clear, data driven targets enabled the mindsets and systems change needed to transform to a fully circular textiles ecosystem.

A circular economics model underpins what we have created. It reflects and supports a living organism made up of makers, users and restorers, interacting across vibrant and interconnected networks. Checks and balances, alongside transparency and accountability, ensure a healthy system. Financial, environmental, and social metrics have the purpose of serving communities and the planet. There is shared ownership of profit and loss – across all three metrics – throughout the value chain.

This is what we’ve achieved over the last 30 years:

WCTD Themes

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Conventional patternmaking principles are limited in their ability to create tailored zero-waste garments. My approach to zero-waste design has always been to understand the underlying structure and function of fashion patternmaking. Over time I would become increasingly dissatisfied with existing fashion patternmaking techniques and I would eventually abandon most of them. As an alternative I would implement new techniques based on principles of modern science and mathematics. This would eventually lead me to put my label on hold and complete a PhD in order to address many systemic problems in fashion patternmaking. I would go on to create the new field of:“Non-Euclidean Patternmaking” (Liu 2015).I have not released a zero-waste collection in years. However, I never stopped developing new zero-waste techniques or new collections. My zero-waste fashion techniques have vastly evolved since 2009 and I will release more in the future when the time is right…LIU, M. 2007, ‘Can engineering textile designs into pattern cutting create innovations in fashion design?’ Masters Thesis, Central Saint Martins College, London University of the Arts, United Kingdom.  LIU, M. 2015, ‘Fashioning Geometric Patterns: Investigating the underlying geometry of fashion patternmaking.’ PhD Thesis, University of Technology Sydney, Australia.

From high fashion to massive sportswear companies the latest technology and hi tech materials gives you the edge in the fashion industry. Textiles design is essentially materials science and dying fabric is carbon chemistry. Fashion patternmaking is applied geometry. Running a fashion label is a business which requires financial literacy and is applied mathematics. Technology is everywhere in fashion from laser cutters and wearable electronics, to the coding that builds us our social media platforms. If you care about the environment it is impossible to truly understand sustainability without scientific literacy.   Mark:As a fashion and textile designer I have always used my understanding of science, technology, engineering and mathematics to push my designs to their limits. During my PhD research I began to explore the underlying scientific processes of fashion design. As an accidental by-product of the research it became possible to teach advanced principles of mathematics and science through fashion and textile design.In collaboration with Dr Mary Coupland from the University of Technology Sydney I have been developing a series of workshops that teach Science, Technology, Engineering, Art and Mathematical (STEAM) concepts through fashion and textile design. We thought this would be a great way to engage people who do not respond to traditional math and science education while having lots of fun.Mary:As a mathematics educator, I am passionate about making mathematics more accessible. Maths is everywhere and it need not be difficult - in fact it can be fun! Collaborations with Mark have helped me see possibilities for making visible the links between geometry and design.At present we are developing STEAM outreach programs developed for high school students. 

   “Non-Euclidean Patternmaking” is a revolutionary new form of fashion patternmaking based on the mathematics of curved Non-Euclidean geometry which fundamentally changes the way we understand and practise fashion design. Developed during Liu's PhD research (2015), it addresses systemic problems in traditional patternmaking techniques due to their reliance on linear measurements, Euclidean geometry and subjective judgement. Built from the ground up on rigorous modern mathematical principles, it offers new strategies to bypass existing systemic problems, enabling greater accuracy, control, creative freedom and new possibilities. “Non-Euclidean” geometry is the modern mathematics of curved surfaces. Developed in the 19th century it forced mathematicians to understand that curved surfaces have completely different rules and geometric properties to flat surfaces. Most of us are familiar with Euclidean geometry from high school, but never learn Non-Euclidean geometry unless we study mathematics or science degrees. Most fashion designers are not familiar with advanced Non-Euclidean geometry.Conventional patternmaking techniques were developed using Euclidean geometry and linear measurements. Linear measurements have a limited ability to capture the three-dimensional curvature of the body. For example, three people may have the exact same linear body measurements, but completely different three-dimensional body shapes. This means the intervention of a skilled patternmaker is often required to guarantee an accurate fit. Liu’s PhD research sought to understand the underlying geometry of fashion patternmaking. His research identified that conventional patternmaking techniques use Euclidean mathematics on curved Non-Euclidean surfaces. This incompatibility in mathematical rules is why they can never be completely accurate. Linear measurements are also incapable of recording the curvature of a surface which fundamentally limits their accuracy. The only way to know which geometric rules applied to a surface is to measure its curvature. Different parts of the body can have completely different geometric properties. Only by understanding Non-Euclidean geometry is it possible to accurately map the curved surfaces of the human body.         Parts of the body have different curvatures which have different geometric properties and mathematical rules.    Liu’s research used Non-Euclidean geometry to explain the systemic fitting problems in traditional fashion patternmaking systems. To solve this problem, he built a new patternmaking system from the ground up based on curved Non-Euclidean geometry. The challenge was to make the complex mathematics powerful enough to increase the accuracy of patternmaking, yet simple enough for a fashion patternmaker to understand. He also invented a new device called the “drape measure” that can measure the curvature of a surface and record it as an angle measurement which can be used in patternmaking.          An early prototype of the "drape measure" a new invention that changes shape to measure the curvature of a surface and improves the accuracy of patternmaking.             The drape measure recording the curvature of a spherical surface as an angle measurement.              The drape measure recording the curvature of a hyperbolic surface as an angle measurement.     Understanding fashion patternmaking from a modern geometric perspective allows us to fundamentally rethink many areas of fashion design. Fashion patternmaking is pervasive and this affects everyone from high fashion to fast fashion. A Non-Euclidean patternmaking system which has greater accuracy can improve the efficiency of fashion production. It allows us to rethink ready-to-wear sizing systems or more efficiently fit tailored clothes. A patternmaking system that bridges the gap between traditional techniques and modern science creates new possibilities for technology. It will be possible to build better 3D scanning algorithms that can create accurately fitted clothing.Fashion education requires students to rote learn many techniques, while teaching them the underlying geometry of patternmaking rapidly accelerates their ability to master advanced techniques. It is also possible to develop fashion STEAM workshops that teach advanced mathematical principles such as calculus and geometry through fashion design. This is a great way of engaging high school students who do not respond to traditional mathematics education.   Non-Euclidean geometry opens a new frontier for fashion design with exciting new possibilities...   

Australia

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Dr Mark Liu is a fasgion and textile designer focused on advancing fashion design through the use of scientific principles to traditional techniques 

Dr Mark Liu

<p>Traditional pattern making often involves a linear, Euclidean geometry approach to measurement. Yet, it fails to accurately measure the three dimensional curvature of one's body, leading to the potential waste of fabric. Dr Mark Liu argued that a Non-Euclidean geometry is needed. With a Non-Euclidean approach, it allows greater accuracy, control, and efficiency in pattern making. He created pieces leveraging on this approach and is continuously seeking for ways to incorporate the potential of the STEAM subject in the fashion industry.</p>