Favini gets fit for fashion
“The visual book has been designed and conceived with the same attention to detail as a finely tailored item of clothing”
Favini is a forward-thinking Italian paper company that has an ecological mindset. Renowned for inventive paper-making techniques, its newest collection, Refit, is crafted out of recycled materials from the production of wool and cotton, making it a perfect partner for the fashion sector.
Silk Pearce played a consultancy role in the development of the sustainable paper, advising on the texture, colour palette, branding and promotion, including the name, swatch and brochure design.
It’s not the first time that Favini has added another ingredient to its paper to reduce its environmental impact. In 1992 it caused a sensation in the paper market when it launched Alga Carta – a paper substituting pulp for algae. While, more recently, Favini introduced Crush, containing fruit and nut process residues, which would have otherwise gone to landfill.
Making it better
Refit is certainly in good company as it joins Favini’s portfolio of sustainable papers. They all include waste materials which have been creatively reused, or put another way, upcycled. While concerns associated with fast fashion and a throw-away society are at the top of the current agenda, Refit focuses on taking waste and reusing it. The process of adding cotton or wool by-products to replace 15% of cellulose, not only recycles waste products, but also saves a considerable amount of tree pulp.
Telling a visual story
Favini is always keen to create a story around its papers, so when designing the visual book for Refit, we created a story of our own.
With a paper ideal for the fashion and luxury packaging market, we played on the fashion element and built a concept around creating an outfit. The outfit consists of a cotton shirt, wool jumper and denim jeans, with each item incorporating the raw materials added to the paper. The individual elements of creating the outfit have been broken down within the visual book, with each process highlighted by a different printing technique on the paper.
At the outset of the story, cotton is shown in its raw state, reflecting the paper’s natural beginnings. While appropriately its print reference states it's produced on Refit Cotton White 120 gsm.
We’ve taken a different approach with the cover, although it still stays true to Favini’s style of artwork, it steps away from the norm with a distressed design that’s reminiscent of a well-worn and well-washed leather jeans labels.
A burnt-out effect has been achieved with distressed edges, while tumbling adds a worn authentic denim look, and the heavy stitched binding acts as a throwback to the waxed yellow thread used by jeans' manufacturers.
One of the most striking images is perhaps the tailor’s pins which are printed on the Wool version of Refit that resembles a fine cloth. Each pin is hot foil printed in silver, with the pin head screen printed in yellow.
The finished design includes an extraordinary amount of fine detail. From six uniquely designed rivets that have been screen printed, foiled blocked and then embossed to give a metallic effect, to the specially commissioned embroidered clothing label, featuring the Refit brand logo. Each element has been designed and conceived with the same attention to detail as a finely tailored item of clothing.
The book is a demonstration of the scope of creative ideas and printing techniques that can be achieved on the paper. These creative possibilities are extended with the choice of French-folds for the internal pages. They add flexibility to the printing techniques, allowing flat sheets to be printed on one side, and embossing imprints to be hidden within the folds.
Creative Director, Gail Russell, was thrilled to work on the project: ‘All Favini projects are lovely to work on, but this one’s particularly special because it’s such an innovative product that’s got so much potential.’
She’s also encouraged by Favini’s approach to print: ‘They enjoy experimenting with print and see it as a real craft, as a designer that’s something to get excited about, and I envisage that other designers will get excited by what they can do with the paper too.’