Luca Braschi: Translating the vision on to the canvas
Now is a good time to explore new areas of finishing and develop novel techniques, according to Luca Braschi from denim consultancy Blue Alchemy. He acts as a bridge between brand, laundry and suppliers, advising on practical ways to achieve designers’ ideas using the most sustainable methods.
Which development has made the most impact over the past five years? Are there any that have more potential?We are witnessing a new era of denim finishing with methods and treatments that have less impact on the environment, operators and consumers. While the conventional approach left little to creativity, now there is ample room for inventiveness and innovation. New technologies and chemicals have been invented and are evolving, I wouldn't be surprised if there is a new one next week.
However, there is room for improvement, and I am focusing my efforts on unexplored areas, such as the interaction between new chemistries and raw materials with ozone and lasers. Lasers have been improving rapidly with some good results and this "new" technology has had the greatest evolutionary support in terms of software and control.
Reducing water consumption is key, which means washing using minimal water, but these practices can pollute the garments with indigo discharged during treatment, which tends to redeposit. To fix this, peroxidase is a product that is underused; it cleans the water, reducing rinsing, making garments bright and enhances contrasts. I consider this enzyme a premium look enhancer, as it merges the laser pattern with the wash look. In fact, when I don’t use it, the laser pattern looks fake and not in tune with the natural abrasion of the garment. In addition to technologies and chemistry, there is value in tools like new-generation abrasive materials that don’t create the dust and sludge of pumice stones.
How easy is it to adapt finishing processes when working with hemp or recycled fibres? Or with natural dyes?
We start from the assumption that the textile industries don’t want to make finishing complicated, keeping the classic cotton fabric behaviour as a reference. Each fibre has its own natural structure; hemp and linen are a different length to cotton and this must be taken into account – these fabrics are quite delicate and risk tearing if the washing is too aggressive. They are suitable for "vintage" washing, or medium-light washes, creating accentuated salt-and-pepper effects and are generally blends that give a nice look and cast.
Fabrics with recycled cotton are the opposite: they are more attractive with medium-dark washes. This is because the weft of the recycled cotton is not white but rather blue, so it is difficult to obtain bright contrasts and beautiful points of white. Some types of natural dyes are rather superficial and stay on top of the fibre, so it is recommended to use the “old” effect obtained with both mechanical and laser abrasion. Dark tones cannot be obtained. It is also very important to select the correct binder to improve the fastness.
What qualities are important for someone in your position and how do you keep up to date?
I worked at chemical companies for many years where I gained not only experience but also a passion for denim, and visited laundries around the world. I consider every experience, every technique and piece of advice as tools I can draw on. A quality that characterises me is the aesthetic sense – the creation of the look – which comes from understanding the behaviour of fabrics in different conditions, enhancing their characteristics. After working for creative studios and brands, I learned to translate the requests of designers into practical results, from the concept and the mood to the finished product.
In this sector you never stop learning, this pushes me to search for ideas, explore new applications and technologies. Fortunately, I have a great relationship with the suppliers who share their innovations with me. I think this is an ideal time to explore the grey areas, to develop new effects and optimise them.
What’s most important to you and what do you enjoy focusing on?
The most important thing in my work is beauty, because aesthetics should never be compromised, and to create sustainable techniques without compromising the look. I try to get the most out of my clients' resources, whatever technologies they have. Sustainability cannot be limited by the ability to invest in new technologies or economic resources. With industrial production, the most important factors are cost, time and result, which must be guaranteed and constant. The most important technology is our brain and creativity, so the best results are found by finding the right balance of logic, conventional methods and new technologies, chemistry and tools. I'm also focusing on all those unexplored areas that new sustainable technologies and practices have. One of these is certainly ozone, which is only minimally exploited.
What are some of the biggest changes you’ve seen over the years?
I have been working in the textile industry for 20 years, and in the last decade there has been a growing interest in change, probably starting with the famous Greenpeace Detox campaign in 2011. I have worked for leading chemical companies that immediately began to search for new raw materials to create products without hazardous substances. Things only move where there is an economic interest, and fortunately this demand has created a new economy for producers and suppliers.
Campaigns to raise consumers’ awareness have also had some impact. Brands and chemical groups have led the change, and this has had a knock-on effect down the supply chain. Only recently have I noticed a growing desire in consumers to purchase sustainable garments; this part has been too slow.
How much of the sustainability of the garment is rooted in materials?
Everything starts from the raw materials - the fabric, the accessories and the chemistry. When the raw material has biodegradability or is able to be recycled, we are halfway there. It is important to avoid the exploitation of natural resources, for instance, using lower-impact fibres such as hemp.
Our supply chain is full of variables and sometimes they are difficult to control, so starting with 100% "green" materials makes everything more controllable. If I use chemicals that do not contain dangerous components, I don’t have the problem of monitoring how it is used; with “unsustainable” chemistry, there are concentration limits, meaning a human dosage error could pose risks for the environment and people. At the design stage, it is important to consider the end of the garments’ life, such as accessories that can be easily removed and using recyclable fabrics.
How would you ideally like the industry to change, and how do you think it will in reality?
A revolution in the way of working, designing and planning is needed. Consumers who were already conscious of ethics, nature and responsibility are now more so, while those who were not are starting to pay attention. This change is still too slow so brands must make a courageous sustainable choice, regardless of consumer demand, and present their actions in a clear and simple way, because there is too much confusion about sustainability. Transparency and traceability will be fundamental, there are already several systems in place, but the key to making the message understood is to have a universal language. Brands should be sustainable in their DNA, not just for marketing purposes. Unity is strength, so the more people, brands, leaders and industries take the same direction, the more chance they have to change radically for the better.
Luca Braschi advises brands and retailers through his consultancy Blue Alchemy. He has over 20 years’ industry experience, including working for Garmon and The Italian Job creative studio, where he worked closely with brands such as AG (Adriano Goldschmied), Citizens of Humanity, Hugo Boss and Levi's. He is currently working with Uniqlo and the Fast Retailing Group on a sustainable production project.
