LCF24: Reviving Fashion with Yukito Lim Lin through upcycling, innovation and sustainable design
- Written byLubna Hussain
- Published date 02 October 2024
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At London College of Fashion, sustainability is more than a trend—it's an urgent conversation. I had the opportunity to sit down with Yukito Lim Lin, a MA Fashion Textiles Technologies student whose final postgraduate project 'Reborn' is redefining the potential of up-cycling. Yukito draws from her unique experiences managing a vintage shop and working with discarded materials from her mother's fashion factory.
Her innovative use of laser cutting, digital knitting, and dead stock fabrics not only showcases the beauty of repurposed materials but also highlights a future where sustainability and cutting-edge design coexist. In our conversation, she opens up about the inspirations behind her collection, the challenges she faced, and her vision for the future of sustainable fashion.
What initially inspired you to focus on up-cycling and working with dead stock or discarded materials?
My inspiration to focus on up-cycling and utilising discarded materials originated from my experience managing a vintage shop and creatively repurposing remnants from my mother's fashion brand factory. This role not only deepened my appreciation for sustainable practices but also revealed the immense potential in giving new life to vintage garments. Remaking these pieces with unused materials became the core of my project and has continued to guide my fashion practices, emphasising the importance of sustainability in the industry. Additionally, the donated boxes full of discarded materials at uni became my source of creation.
Was there a specific experience or moment that pushed you in this direction within fashion and textiles?
Absolutely! The game-changer for me was seeing how people reacted to the remade pieces we sold at the vintage shop and vintage markets. When you watch someone fall in love with a piece that's been crafted from discarded materials, it really hits home. People were genuinely more interested in the uniqueness and quality of the design rather than if the materials were brand new or not. That experience really drove home the idea that great design and solid craftsmanship speak louder than the pedigree of the materials. It shifted my whole perspective on what sustainable fashion could be and definitely pushed me to dive deeper into this path.
Your work features techniques like laser cutting and digital knitting. What made you choose these methods, and how have they shaped your approach to repurposing materials?
I chose laser cutting and engraving to inject a unique touch into discarded fabrics, extending their lifecycle with designs that reflect my personal style. Digital knitting came into play due to its precision and versatility, ideal for utilising the dead stock yarns I collected over time. This journey wasn’t without its challenges, especially with digital knitting, where the fragile nature of the process led to frequent yarn breakages.
However, pushing through these difficulties and finally mastering the techniques allowed me to not only fulfil my design visions but also enhance the sustainability of each piece. Together, these methods have profoundly shaped my practice, allowing me to blend innovation with traditional craftsmanship and make each piece not only eco-friendly but intensely personal.
Could you walk us through the story behind Look 1, which uses dead stock fabrics and leftover leather?
Look 1 embodies the core concept of my project: the contrasting qualities of fragility and strength. This was beautifully articulated through the use of Devoré techniques with non-poisonous chemicals, creating a fabric that is both delicate and durable, mirroring the dual nature of worn and enduring materials. Inspired by the shape and historical significance of vintage vases, I developed the garment’s silhouette to reflect these classic, elegant forms. Using leftover leather, I crafted not only detachable sleeves that enhance the outfit’s versatility but also a functional piece that doubles as a dry flower vase. This design illustrates the transformative potential of up-cycling, showcasing how materials often perceived as waste can be reinvented into multifunctional, high-fashion elements that resonate with themes of sustainability and creative resilience.
Look 2 features dead stock yarns, discarded organza, and fake leather. How did you balance the technical demands of these diverse materials with your creative vision for the final piece?
For Look 2, I embraced the challenge of working with decade-old dead stock yarns, which were incredibly fragile due to their age. To strengthen them, I innovatively combined two cones into one, enhancing their durability. I used monofilament yarns to add contrast in colour and create vivid 3D textures, which brought a dynamic visual element to the piece. The front of the garment was knitted to showcase this texture, while the back was made from discarded organza, setting a stark textural contrast that highlights the garment’s dual nature.
Additionally, the inspiration for the decorative skirt came from observing the waste material left from laser cutting. Each time I performed a cut, the leftover pieces sparked the idea of recycling them into a decorative element, seamlessly integrating sustainability with creative reuse. This approach not only solved a technical challenge but also aligned perfectly with my vision of transforming waste into wearable art.
For Look 3, you deconstructed Jordanluca leather trousers and combined them with discarded denim. How did the idea of deconstruction influence your design approach, and what do you think this look communicates about up-cycling and personal expression?
In Look 3, the essence of up-cycling took a creative turn with the deconstruction of second-hand trousers, which I then redesigned into a distinctive top. I used a novel assembly technique, connecting each pattern piece with piercings and eyelets, which not only enhanced the visual appeal but also underscored the durability of the garment.
To integrate my personal design touch, I employed laser cutting to etch my own animal patterns onto the discarded denim, adding a layer of individualised storytelling. This approach showcases how up-cycling can transcend traditional recycling, offering a powerful medium for personal expression and innovative design. This look speaks volumes about the potential for discarded materials to be transformed into high-fashion pieces that are both unique and environmentally conscious.
Your designs seem to embody both innovation and craftsmanship. How do you envision the future of fashion textiles in terms of balancing traditional techniques with modern technology, especially within the sustainability framework?
I envision the future of fashion textiles as a perfect blend of tradition and innovation, where modern technology enhances traditional techniques while promoting sustainability. Through my work, I’ve seen how techniques like laser cutting and digital knitting can transform old materials into new, wearable art, demonstrating sustainability isn’t just an add-on but integral to the design process. This synergy not only reduces waste but also elevates the craftsmanship, paving the way for a sustainable fashion industry that doesn’t compromise on quality or aesthetics.
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