My name is Kim, a fourth years student at AMFI and I am a 3D Designer within iNDiViDUALS. In my job role, I use CLO 3D as a design tool.

For me the design process can go different ways. Sometimes I start by sketching on paper and then creating my patterns, but sometimes I directly sketch in CLO 3D or collaging. The best combination is combining different programs at the same time, then the designs are getting more dept and the process can be a lot quicker because the result is faster visualized. Most of the time I start by making my patterns in Modaris, a vector-based program. For the next step, I import the patterns in CLO. I love working with CLO, this is because I can really quick adjust the patterns and see directly how the design will look, without making any toiles. Another pro for me about working in 3D is that is much more sustainable because you don’t make  any toiles in real fabric.


Working as a 3D designer gives me lot of space to experiment with design but also with the program. A lot of things that are not possible in real life are possible in 3D, (background that are not possible with a photoshoot in real life, think about space f.e.). Next to that, it gives me a lot of freedom, whenever I am inspired or have a new idea, I can grab my laptop and start designing. Also, the errors in the program are sometimes really inspiring and fun to look at.

For me the hard part of working with 3D is getting in depth. I always want to create   something as realistic as possible. This is also very much in contrast with the fashion industry. In our industry a lot of photoshop is used and I am trying to make it as human as possible, with the avatar, background but also the fabric properties. It is the details that is making it hard but also the most realistic. Sometimes, it takes a few hours to let the fabric drape in the most realistic way, or fold the pleats in the right direction. I have been working with the programs for a year now, and only now I am able  to create the garment more in dept.

Even though I have found my own ways to create nice results, I stilI have a long way to go.

A lot of people would describe this job role as something like: “oh, you make sure the company uses sustainable fabrics and no animals are hurt…”.  Well, yes and no. These are only some of the elements which fall under this job description. The overall goal of the CR Manager is to implement the “value over profit” mentality, which we as an entire company decided to focus on during the second phase of our project.


The Corporate Responsibility Manager job role is one that is becoming more and more exercised and important in the fashion industry. It has become a critical component to a company’s operating ethos, its values and purpose.


As Gen25 is the generation of a new, re-launched, reinvented iNDiViDUALS, we are giving great importance to social and environmental responsibility internally as well as externally. This means that my job is to develop a strategy which helps the company operate in an ethical and sustainable way. This strategy should not be forced, it should derive from our values, purpose and goals while acting as the ‘voice of reason’ behind all of our decision making. This has to be clear to all members of our team, as well as to our consumers and target group.


“Corporate Social Responsibility is not a goal to be pursued in itself but, rather, an integral part of the day-to-day operations of a company that focuses on long-term value creation.” - Forbes, 2017


By being the CR Manager of the re-launched iNDiViDUALS, my involvement with all the different departments and their developments is more intense than ever. As we are putting such significance on environmental and social impacts of the industry and have decided to communicate this with our consumer and other members of the industry, it is very important for me to be up to speed on all of our plans and developments in order to make sure it does not contradict with what is at the core of new iNDiViDUALS.


Before iNDiViDUALS I have never done anything remotely close to this position. At first I was a bit sceptical because of preconceived ideas I had of the role. Now, looking back I am so happy to have been given the opportunity to explore this field and experiment with creative and alternative approaches, perspectives and strategies. Also, on a personal level, I work way better when I have  a clear overview of the projects and activities going on, so this job role ended up being the perfect blend of my skills, tasks and aspirations.


Sourcing for sustainable fabrics is a big part of the collection development for iNDiViDUALS. Long lead-times, high minimum order quantities and high prices makes the task very challenging. Another big challenge is the tight schedule. How can we find suppliers, source the hangers on time and order the selected fabrics within a few weeks so we can meet the deadlines?              

Knowing that sustainability is a key element of our company, there is no way we can use unsustainable fabrics to create our collection. From A to Z, everything that our garments are made of, has to reach our standards. How do we measure that? By creating a benchmark for sustainable fibres and trims, we select the fabrics for the collection. If the fabric we have found does not fit within our benchmark, no matter how beautiful, no way we will use this fabric for our designs.

Working with NO STOCK policy makes the buying process even more difficult. We have to count the exact amount of fabrics we need, to make sure we are not creating any waste. Even more so, we decided to buy the fabrics from the company that sell the stock from another companies or designers, to help them to get rid of their own stock. In past generations, iNDiViDUALS has collected some meters of stock fabrics itself. To give deadstock a second life, we decided to use these fabrics for toiles and first production samples. This way we are also very economical, which then saves money for further experimentation.

Once the ordered fabrics are received we begin IN HOUSE fabric testing. It is important to test fabrics to be able to create the care labels for your garments. It is a time consuming and discrete task, for which good preparation and teamwork are necessary.

Why is it fun to be a “BOSS” of fabrics?
Well, no fabrics means no garments. Sounds simple, but it’s a challenging and important task during the development of the collection. Working closely with designers and trying to make it happen makes it very exciting. Inspirational trips such as to Premiere Vision and Texworld in Paris, where you see all the latest fabric trends and innovations, makes this task very important from the very beginning of this course. Daily contact with suppliers inside and outside the Netherlands, makes it possible to broaden our network and learn how to communicate and work professionally… And of course when you receive the production samples which are made from the actual material, is when you feel that final rush of “yes, I nailed it”!



A subtle protest against the conventional fashion industry. By focusing on corporate well-being and addressing the unrealistic measures of success.


There is this view within many industries that needs to change, that maybe it should not be about surviving but about thriving. People today are afraid that they will be seen as lazy as opposed to a highly valuable member of a community if they, when highly needed, take a step back and rest. In our current stressed society, we have a distorted view on what feeling successful or accomplished actually means, and most of us are associated with the idea that you always need to be “busy”. So we overwork ourselves, from the mind down to the body until ultimately, we get burned out.


Rather than adding into a culture of toxic competition, we can use our power to aspire change from within, to hopefully reach creative professionals that feel overworked and/or burned out and give them something to relate to.


First we need to focus on a culture change within the industry, then the product. Because change comes from within.


“Embrace the idea that an experiment could possibly fail, this is crucial for any successful process. It’s ok to not be ok. We all need time to develop and reflect to be able to create from our imagination. Taking a step back, away from the stress and chaos, we can observe things from a different perspective at a slower pace, and connect the dots. These moments are a key ingredient to reaching a fruitful outcome, but also to keep up motivation and increase creativity. Feeling fit and healthy both mentally and physically, make a huge difference in your decision-making.”



How to Re-Wax your bucket hat

Our bucket hat is pre-treated with beeswax, which makes the hat water-repellent, but the wax needs to be maintained after a regular use. 

This is very easy, and you can do it at home. 

Here are the steps on how to do it: 

  1. Clean and prep the bucket hat. 

  2. Apply the wax. Take a block of beeswax and rub it over the fabric with long and even strokes, so that a thin, smooth layer remains.

  3. Heat the applied wax. Use an iron or hair dryer on the lowest setting to regulate the heat and to melt the wax in the fabric. 

  4. Dry and wipe. 


You can do it twice a year or more if needed.

A perfect scenario where the production process runs smoothly. 

A reality where multiple production errors occurred. 

1) Sell 50 bucket hats

1) 39 bucket hats approved for sale after quality check


2) Minimal waste pattern


2) Minimal waste attempt was not followed by facility 


3) Staying within the budget

3) Unable to cover the production cost 


4) The fabric suits the product


4) The fabric choice is not ideal for the execution of the product 

5) Easily adjusting the pattern to a different size 

5) The fit of the adjusted size did not turn out as expected


6) Receiving two bucket hats that are true to size

6) The S/M bucket hats measurements differ from set size


7) The factory is able to produce a bucket hat 

7) The factory is not specialized in making hats


8) Sustainable printing of high quality on organic cotton labels

8) The sustainable dye faded on the care label due to textured fabric

After the quality check, there are 3 groups: A, B and F. 


Hats that align with the quality of iNDiViDUALS and are going to be sold for the full price.


price: 49e  

amount: 12 pieces


Hats that have minor mistakes but are still wearable, these are going to be sold for a lower price.


price: 25-35e , people can decide how much they want to pay for a product in a range from 25 to 35 Euros

amount: 27pieces


Canceled bucket hats that don’t align with the quality iNiViDUALS wants to reach in its products. 


not being for sale

amount: 11 pieces


These are the 5 most defective products:


Bucket hat number 2/50

Size: s/m


- fit is extremely bulky, due to wrong treatment of the fabric

- open seams (see center front) 

- finishings are not clean (loose threads) 

- pressed seams are visible because the bee wax was treated with the wrong tool 

- pleat in tunnel construction 

Bucket hat number 10/50

Size: s/m


- the label is not centered in the front (between opening between the tunnels)  

Bucket hat number 16/50

size: s/m


- open seams between panels, because of high tension in the machine 

- the lining is poorly stitched 

- fit is bulky, due to wrong treatment of the fabric

- disrespect of the seam allowance (front is lifted) 

- this model appears smaller than the regular s/m size 


Bucket hat number 40/50

Size: m/l


- extremely slanted seams and fabric on the left side 

- not finished neatly at the tunnel 

- pleated seam at the top, due to slanted seam 


Bucket hat number 50/50

Size: m/l


- the left side is 7 mm shorter than the right side (measured under the tunnel opening) 

- tunnel construction is not done neatly 


Bucket hat number 10/50

Size: s/m


- the label is not centered in the front (between opening between the tunnels) 

Outer layer + Strings


Name: ET_V008_black

Fabrics: Beeswaxed medium twill

Composition: 100% organic cotton + beeswax

Supplier: Ecological Textiles, the Netherlands

Origin: Turkey

Certification: GOTS certified cotton

Color: black

Price per m2: 22,25e

Order: 15 m

Price per bucket hat: 6,11e




Name: 650002

Fabrics: Canvas zwart

Composition:100% organic cotton

Supplier: Boweevil, the Netherlands

Origin: Turkey

Certification: GOTS certified cotton

Color: black

Price per m2: 10,70e

Order: 15 m

Price per bucket hat: 9,24e




Fabric: reprinted stock labels

Composition: 100% cotton

Colour: White

Printing technique: Sublimation print

Printing location: Mauritskade 11, 1091 GC Amsterdam, The Netherlands

Total label price: 10e

Label price per bucket hat: 0,20e


Stitching thread:

Art. no. : 1159

Colour: black 0038

Composition: 100% polyester

Supplier: Andrevo

Size: 80

Brand: Amann group

Company origin: Germany

Certification: STANDARD 100 by OEKO-TEX®, European Chemicals Regulation REACH




Name: A-rola bv

Location: Jan Rebelstraat 2, 1069 CB Amsterdam, the Netherlands

CMT per bucket hat: 35,00e

CMT per 50 bucket hats: 1750e

1 bucket hat: 1,1666 hour

50 bucket hats: 58,33 hours