Inflaxuation investigates how we can create more value for flax by creating a wider range of textiles using only the materials sourced from the crop rotation that Mallon Linen has implemented. This textile collection consists of flax leather, flax fur, flax lace, starch buttons and fertiliser sequins and there is a range of techniques utilised to create these regenerative textile samples including 3D printing, embossing and lasercutting.

Due to the strength of flax fibres, the leather created has a high tensile strength whilst retaining flexibility and increased properties with the biodegradable coating. The flax fur is dyed using naturally sourced pigments, native to the UK, ensuring the process is not harmful to the soil at the end of life. Flax fur is a truly needed vegan alternative to animal fur, that contains no plastic coating! Fertiliser sequins are made using wastewater from the natural dye process of the fur and leather, they are made from crab shells, which are beneficial as a non-toxic fertiliser.

Biodesign is about looking back as much as it is about looking to the future. We have a natural fibre that is hailed as the most sustainable and the oldest known fibre to be used as textile, yet it makes up less than 1% of the fibre market. A lot of incredible advances in textiles within the field of biodesign focus on growing new materials that are undoubtedly incredible innovations but I wanted to demonstrate that we can use this field to improve our existing crops in a way that is regenerative and brings us closer to nature, utilising flax in more ways within the fashion industry, so that we stop relying heavily on cotton, animal or synthetic materials to make our garments.

Q. How have you found the process in producing your work this year?

A. This past year has been undoubtedly a huge struggle both with access to facilities and juggling working full time with restricted access. But I really believe that all the graduates who are studying during this period are demonstrating true resilience that is crucial in the field of design.

A. Definitely. Being restricted indoors and not being able to go outside to get inspiration and speak with professionals to advance my work has created challenges to overcome. But it has also taught me how to work with the equipment I have available to me, and utilise the materials that are easily accessible.

Q. Do you think the last year’s experiences have been reflected in your work?

A. My work always touched on my identity, but especially over the past year it made me look upon my Irish culture with such curiosity and that is why I decided to focus on flax as the natural fibre of the future. Starting with what we know, in my eyes, is the best place to start making change and the past year has heightened this in my mind.

Q. What are your post-graduation plans?

A. I was recently awarded the UAL Mead Fellowship to conduct a 9-month funding research and development project that I will start in October. As well as this I have had a few designers and brands reach out about my graduate collection and I have been in talks with them about selling some material for their new collections, I also want to continue the development to investigate what else flax can do! I started my R&D company C.Q Studio last year which I plan to grow further over the next 12-months through another grant that I was awarded. I have also just begun working on a fashion social justice project in collaboration with LCF that teaches young people fashion skills and repurposes metal from knives to highlight and help fight knife crime.