The Fabric Nobody Wanted — Deadstock, Waste and Why It's at the Heart of Everything I Make
There is nothing quite like the feeling of finding that fabric, whether it be a flea market in Paris or a Berlin secondhand store. My eyes are always on the hunt for something that will be special enough for the next collection. And it makes me wonder, with all that already exists, what actually happens to fabric the fashion industry leaves behind?
The term deadstock is by now quite a familiar term used to describe fabrics, but do we really know what it means? Deadstock by definition is surplus of unused fabric from mills, factories or cancelled orders - meaning that it was material that was produced but was never used to create a garment. Rather than being used, it is simply left behind. According to Good On You, around 15% of global production is left behind as deadstock and Queen of Raw, a fabric resale platform working to keep deadstock in circulation, estimates that $120 billion worth of unused fabric is sitting in warehouses worldwide — most of it destined for incineration or landfill.
With the world already producing 92 million tons of textile waste every year, using what already exists avoids the need for new water, energy and raw materials entirely. Using what already exists is even more important, as Eco Club reports that less than 1% of the material used to produce clothing is recycled into new clothing.
Before I started this brand I designed for other people, I was able to see firsthand how the industry works. From sourcing in local markets to visiting factories, I was able to see the level of waste that occurred during production. Garments as well as fabrics were often surplus to requirements leaving the factories with the responsibility of dealing with them. I made a conscious choice to use fabrics that already exist, that had a previous life not only for their aesthetics but to slow down the cycle.
From the first embroidered tablecloth that made it into my studio, I knew that these were the fabrics that I wanted to work with. How they were sewn and the stories they held within them. More often than not these textiles tend to be of natural materials, cotton or linen, woven for durability making them stronger and more resilient. Over time they are still strong but have acquired a softer hand feel, slightly more lived in as it were. The charm of playful embroideries or the delicate patterns of the lace never fail to amaze me, the time taken to create such pieces involves a level of patience I am not capable of.
Every collection starts with the fabrics I source, my latest trip to Italy saw me visit a small thrift store in Bologna, where the ladies there helped me look through the countless linens that were stacked along one wall. Folded so neatly as if new, they took out each one and we spread them out over the table. Hearing them comment on each one, I nodded along whilst wondering whether it would work well as a blouse. From the many I viewed, I brought back a wonderful lace tablecloth, a collection of fringed (and monogrammed) towels and a fantastic lace curtain - for what can only have been for a palazzo window. The curtain also had a fantastic pom-pom hem which makes for a very fun detail on a blouse.
Now, realistically using deadstock isn't a perfect solution. It really shouldn't be there in the first place. The actual problem is overproduction but until we can find a solution to that then using what already exists is, for small businesses like mine, the best and most meaningful thing to do.
Every Vicki Malone piece is made from a single rescued fabric — which means every piece is genuinely one of a kind. When it's gone, it's gone.
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