NOBUT III.
My Master’s project combines my hands-on experience in design and upcycling with the fashion production knowledge I gained during my master’s studies. It explores the feasibility of upcycling post-production offcuts, with a particular focus on luxury brands and high-quality materials. Using the Burberry Kensington Trench Coat as a case study, the project mirrors real-world fashion production practices. The project demonstrates a circular approach to Trench Coat production, which includes three lengths: long, mid-length, and short. By using the long Kensington Trench Coat offcuts to produce short Kensington Trench Coats, the waste of one product serves as material for another.The project also considers Burberry’s customers, who highly value the brand’s consistent and iconic design. For this reason, the upcycled trench coat is developed to look exactly like the original version, maintaining the same silhouette and construction without introducing any additional seams. In this way, the trench remains true to Burberry’s design identity while being produced entirely from waste material.
This research not only addresses the pressing issues of textile waste and raw material extraction but also presents significant economic advantages for companies by lowering material costs and minimizing waste.
Through my Master’s project, I gained valuable insights into upcycling from a fashion production perspective, extending beyond a design-led approach. My research encompassed multiple technical and analytical areas, including identifying which garments are most suitable for my upcycling strategy, conducting pattern research and development based on the Kensington Trench Coat, producing markers in CLO and additional industry software, and exploring nesting software and programming methods. Compared to my previous design-focused projects, this work operates on several interconnected layers and engages more deeply with technical production processes. To communicate these findings in an accessible format, the following video outlines the key stages of the upcycling workflow, before this chapter examines each step in more detail.
The video demonstrates how Burberry’s Kensington Trench Coat production offcuts are transformed into a new Coat. First, a conventional nesting and cutting system is demonstrated, in which the red-coloured gaps indicate areas of fabric waste. Traditional nesting software primarily focuses on optimizing fabric consumption for rectangular shapes; however, it does not consider the size or geometry of the remaining waste material. To enable the reconstruction of a new trench coat from the offcuts, the lay plan must be optimized to produce fewer but larger gaps, while maintaining the same overall fabric consumption.After developing the revised lay plan and identifying the usable scraps, the Kensington pattern pieces are nested onto the offcuts using shape-matching software. These pieces can then be cut and assembled into a new Kensington trench coat. Each lay plan accommodates three Kensington coats. Six layers of the lay plan are required to produce one new coat. Therefore, for every 18 trench coats produced, one additional coat can be created from the accumulated offcuts.
The upcycling strategy I developed is demonstrated using the Kensington Coat as an example, but it can be adapted to any design. The greatest efficiency is achieved with garments that are produced regularly and consistently, such as “signature pieces.”
Throughout my experience, I have learned that the primary challenge of upcycling lies in scalability. My research into overcoming this obstacle led me to explore signature pieces such as the Burberry Trench Coat. These garments are defined by their timeless design, embody a brand’s heritage, and remain essential to its collection. The images on the left-hand side show the very first Kensington design (left) and the most recent one (right), demonstrating the minimal changes made to the coat over the decades. Burberry’s Heritage Trench Coats have maintained a consistent design over time. This continuity in design and pattern results in uniform production offcuts, enabling the scalable upcycling of these materials and forming the foundation of my work.
Through my Master’s project, I gained valuable insights into upcycling from a fashion production perspective, extending beyond a design-led approach. My research encompassed multiple technical and analytical areas, including identifying which garments are most suitable for my upcycling strategy, conducting pattern research and development based on the Kensington Trench Coat, producing markers in CLO and additional industry software, and exploring nesting software and programming methods. Compared to my previous design-focused projects, this work operates on several interconnected layers and engages more deeply with technical production processes. To communicate these findings in an accessible format, the following video outlines the key stages of the upcycling workflow, before this chapter examines each step in more detail.
NOBUT III.
My Master’s project combines my hands-on experience in design and upcycling with the fashion production knowledge I gained during my master’s studies. It explores the feasibility of upcycling post-production offcuts, with a particular focus on luxury brands and high-quality materials. Using the Burberry Kensington Trench Coat as a case study, the project mirrors real-world fashion production practices. The project demonstrates a circular approach to Trench Coat production, which includes three lengths: long, mid-length, and short. By using the long Kensington Trench Coat offcuts to produce short Kensington Trench Coats, the waste of one product serves as material for another. The project also considers Burberry’s customers, who highly value the brand’s consistent and iconic design. For this reason, the upcycled trench coat is developed to look exactly like the original version, maintaining the same silhouette and construction without introducing any additional seams. In this way, the trench remains true to Burberry’s design identity while being produced entirely from waste material.
This research not only addresses the pressing issues of textile waste and raw material extraction but also presents significant economic advantages for companies by lowering material costs and minimizing waste.
Through my Master’s project, I gained valuable insights into upcycling from a fashion production perspective, extending beyond a design-led approach. My research encompassed multiple technical and analytical areas, including identifying which garments are most suitable for my upcycling strategy, conducting pattern research and development based on the Kensington Trench Coat, producing markers in CLO and additional industry software, and exploring nesting software and programming methods. Compared to my previous design-focused projects, this work operates on several interconnected layers and engages more deeply with technical production processes. To communicate these findings in an accessible format, the following video outlines the key stages of the upcycling workflow, before this chapter examines each step in more detail.
The video demonstrates how Burberry’s Kensington Trench Coat production offcuts are transformed into a new Coat. First, a conventional nesting and cutting system is demonstrated, in which the red-coloured gaps indicate areas of fabric waste. Traditional nesting software primarily focuses on optimizing fabric consumption for rectangular shapes; however, it does not consider the size or geometry of the remaining waste material. To enable the reconstruction of a new trench coat from the offcuts, the lay plan must be optimized to produce fewer but larger gaps, while maintaining the same overall fabric consumption.After developing the revised lay plan and identifying the usable scraps, the Kensington pattern pieces are nested onto the offcuts using shape-matching software. These pieces can then be cut and assembled into a new Kensington trench coat. Each lay plan accommodates three Kensington coats. Six layers of the lay plan are required to produce one new coat. Therefore, for every 18 trench coats produced, one additional coat can be created from the accumulated offcuts.
The upcycling strategy I developed is demonstrated using the Kensington Coat as an example, but it can be adapted to any design. The greatest efficiency is achieved with garments that are produced regularly and consistently, such as “signature pieces.”
Throughout my experience, I have learned that the primary challenge of upcycling lies in scalability. My research into overcoming this obstacle led me to explore signature pieces such as the Burberry Trench Coat. These garments are defined by their timeless design, embody a brand’s heritage, and remain essential to its collection. The images on the left-hand side show the very first Kensington design (left) and the most recent one (right), demonstrating the minimal changes made to the coat over the decades. Burberry’s Heritage Trench Coats have maintained a consistent design over time. This continuity in design and pattern results in uniform production offcuts, enabling the scalable upcycling of these materials and forming the foundation of my work.
The video demonstrates how Burberry’s Kensington Trench Coat production offcuts are transformed into a new Coat. First, a conventional nesting and cutting system is demonstrated, in which the red-coloured gaps indicate areas of fabric waste. Traditional nesting software primarily focuses on optimizing fabric consumption for rectangular shapes; however, it does not consider the size or geometry of the remaining waste material. To enable the reconstruction of a new trench coat from the offcuts, the lay plan must be optimized to produce fewer but larger gaps, while maintaining the same overall fabric consumption.After developing the revised lay plan and identifying the usable scraps, the Kensington pattern pieces are nested onto the offcuts using shape-matching software. These pieces can then be cut and assembled into a new Kensington trench coat. Each lay plan accommodates three Kensington coats. Six layers of the lay plan are required to produce one new coat. Therefore, for every 18 trench coats produced, one additional coat can be created from the accumulated offcuts.
The upcycling strategy I developed is demonstrated using the Kensington Coat as an example, but it can be adapted to any design. The greatest efficiency is achieved with garments that are produced regularly and consistently, such as “signature pieces.”
Throughout my experience, I have learned that the primary challenge of upcycling lies in scalability. My research into overcoming this obstacle led me to explore signature pieces such as the Burberry Trench Coat. These garments are defined by their timeless design, embody a brand’s heritage, and remain essential to its collection. The images on the left-hand side show the very first Kensington design (left) and the most recent one (right), demonstrating the minimal changes made to the coat over the decades. Burberry’s Heritage Trench Coats have maintained a consistent design over time. This continuity in design and pattern results in uniform production offcuts, enabling the scalable upcycling of these materials and forming the foundation of my work.
A FOUR STEP STRATEGY
Development of Kensington long Trench Coat in order to understand what offcuts would be left.
To obtain the production offcuts, the pattern pieces are nested onto the fabric. Fabric consumption is at least 85% to mimic industry standards.
Today’s nesting software focuses primarily on fabric consumption, often resulting in many small offcuts. Adjustments to the lay plan can lead to offcut pieces that are better suited for upcycling. This step results in the “final offcuts.”
This last step focuses on matching pattern pieces with offcuts. The Kensington pattern pieces are placed on the final offcut pieces, which can then be cut and sewn.
PATTERN DEVELOPMENT
The pattern was developed in CLO3D. Measurements and details were taken from a physical Kensington Trench Coat and directly translated into a digital version.
LAYPLAN DEVELOPMENT AND MODIFICATION
After developing the pattern, I focused on creating the lay plan. In order to replicate the Kensington production process as closely as possible, I ensured that the total lay plan length did not exceed 10 metres, as most companies operate with cutting tables below this length. Additionally, I paid careful attention to fabric consumption, aiming for a utilisation rate of 85% or higher. To achieve the most efficient nesting, I tested several software solutions, including Lectra, Gerber, and CLO. The final lay plan was developed using NestIt software, which achieved the highest fabric utilisation rate of 86%.
Prior to modification:
The video (left) shows the NestIt lay plan with 86% fabric consumption. The offcuts, indicated in red, are primarily small pieces and are therefore not suitable for the production of a coat.
After Modification:
The lay plan was adjusted to create fewer but significantly larger offcut sections, again highlighted in red. This change was essential, as the largest pattern piece of the coat is the front panel, which requires a scrap piece large enough to fit it. By optimising the placement of the pattern pieces, the remaining waste material became more suitable for upcycling, while the overall fabric consumption remained consistent at 86%.
After Modification:
The lay plan was adjusted to create fewer but significantly larger offcut sections, again highlighted in red. This change was essential, as the largest pattern piece of the coat is the front panel, which requires a scrap piece large enough to fit it. By optimising the placement of the pattern pieces, the remaining waste material became more suitable for upcycling, while the overall fabric consumption remained consistent at 86%.
SAME FABRIC CONSUMPTION
BIGGER OFFCUTS
Front pattern piece on fabric leftover after layplan modification.
Most lay plan and nesting software currently used in the fashion industry is designed with a single objective: achieving the highest possible fabric utilisation. While this effectively reduces material consumption, it offers little to no control over the shape or size of the remaining offcuts. As a result, waste material is often fragmented into small, irregular pieces that are difficult to repurpose. Since no existing software addresses this limitation, I manually adjusted my lay plan to generate fewer but more usable scrap sections. However, especially in cases where a company already knows what it intends to create from the offcuts, a tool that optimises lay plans for specific reuse outcomes would be extremely beneficial. For example, small remnants may be suitable for accessories, whereas coats or other larger garments require significantly bigger offcut pieces to enable meaningful upcycling.
NESTING WITH OFFCUTS
Another key limitation of nesting software in the fashion industry lies in the shape framework it is designed to accommodate. Most systems focus on nesting pattern pieces within a rectangular layout, imitating the structure of a fabric roll. In my case, however, the goal was to nest pattern pieces directly onto production offcuts, which are irregular and non-rectangular in shape. While certain nesting programmes exist that allow nesting within variable outlines—most commonly used for leather skins—these tools are often difficult to access and are not highly efficient in identifying the best one-to-one fit between an offcut and a specific pattern piece. In response to this gap, I began programming my own shape-matching software. By importing both the pattern pieces and the offcuts, the programme evaluates whether a piece can fit onto a given scrap section and calculates the resulting fabric utilisation, allowing the most suitable matches to be identified.
Short Kensington Trench Coat pattern on scrap pieces.
A FOUR STEP STRATEGY
Development of Kensington long Trench Coat in order to understand what offcuts would be left.
To obtain the production offcuts, the pattern pieces are nested onto the fabric. Fabric consumption is at least 85% to mimic industry standards.
Today’s nesting software focuses primarily on fabric consumption, often resulting in many small offcuts. Adjustments to the lay plan can lead to offcut pieces that are better suited for upcycling. This step results in the “final offcuts.”
This last step focuses on matching pattern pieces with offcuts. The Kensington pattern pieces are placed on the final offcut pieces, which can then be cut and sewn.
PATTERN DEVELOPMENT
The pattern was developed in CLO3D. Measurements and details were taken from a physical Kensington Trench Coat and directly translated into a digital version.
LAYPLAN DEVELOPMENT AND MODIFICATION
After developing the pattern, I focused on creating the lay plan. In order to replicate the Kensington production process as closely as possible, I ensured that the total lay plan length did not exceed 10 metres, as most companies operate with cutting tables below this length. Additionally, I paid careful attention to fabric consumption, aiming for a utilisation rate of 85% or higher. To achieve the most efficient nesting, I tested several software solutions, including Lectra, Gerber, and CLO. The final lay plan was developed using NestIt software, which achieved the highest fabric utilisation rate of 86%.
Prior to modification:
The video shows the NestIt lay plan with 86% fabric consumption. The offcuts, indicated in red, are primarily small pieces and are therefore not suitable for the production of a coat.
SAME FABRIC CONSUMPTION
BIGGER OFFCUTS
Front pattern piece on fabric leftover afrer layplan modification
Most lay plan and nesting software currently used in the fashion industry is designed with a single objective: achieving the highest possible fabric utilisation. While this effectively reduces material consumption, it offers little to no control over the shape or size of the remaining offcuts. As a result, waste material is often fragmented into small, irregular pieces that are difficult to repurpose. Since no existing software addresses this limitation, I manually adjusted my lay plan to generate fewer but more usable scrap sections. However, especially in cases where a company already knows what it intends to create from the offcuts, a tool that optimises lay plans for specific reuse outcomes would be extremely beneficial. For example, small remnants may be suitable for accessories, whereas coats or other larger garments require significantly bigger offcut pieces to enable meaningful upcycling.
NESTING WITH OFFCUTS
Another key limitation of nesting software in the fashion industry lies in the shape framework it is designed to accommodate. Most systems focus on nesting pattern pieces within a rectangular layout, imitating the structure of a fabric roll. In my case, however, the goal was to nest pattern pieces directly onto production offcuts, which are irregular and non-rectangular in shape. While certain nesting programmes exist that allow nesting within variable outlines—most commonly used for leather skins—these tools are often difficult to access and are not highly efficient in identifying the best one-to-one fit between an offcut and a specific pattern piece. In response to this gap, I began programming my own shape-matching software. By importing both the pattern pieces and the offcuts, the programme evaluates whether a piece can fit onto a given scrap section and calculates the resulting fabric utilisation, allowing the most suitable matches to be identified.
Short Kensington Trench Coat pattern on scrap pieces.
After Modification:
The lay plan was adjusted to create fewer but significantly larger offcut sections, again highlighted in red. This change was essential, as the largest pattern piece of the coat is the front panel, which requires a scrap piece large enough to fit it. By optimising the placement of the pattern pieces, the remaining waste material became more suitable for upcycling, while the overall fabric consumption remained consistent at 86%.
SAME FABRIC CONSUMPTION
BIGGER OFFCUTS
Front pattern piece on fabric leftover after layplan modification.
Most lay plan and nesting software currently used in the fashion industry is designed with a single objective: achieving the highest possible fabric utilisation. While this effectively reduces material consumption, it offers little to no control over the shape or size of the remaining offcuts. As a result, waste material is often fragmented into small, irregular pieces that are difficult to repurpose. Since no existing software addresses this limitation, I manually adjusted my lay plan to generate fewer but more usable scrap sections. However, especially in cases where a company already knows what it intends to create from the offcuts, a tool that optimises lay plans for specific reuse outcomes would be extremely beneficial. For example, small remnants may be suitable for accessories, whereas coats or other larger garments require significantly bigger offcut pieces to enable meaningful upcycling.
Another key limitation of nesting software in the fashion industry lies in the shape framework it is designed to accommodate. Most systems focus on nesting pattern pieces within a rectangular layout, imitating the structure of a fabric roll. In my case, however, the goal was to nest pattern pieces directly onto production offcuts, which are irregular and non-rectangular in shape. While certain nesting programmes exist that allow nesting within variable outlines—most commonly used for leather skins—these tools are often difficult to access and are not highly efficient in identifying the best one-to-one fit between an offcut and a specific pattern piece. In response to this gap, I began programming my own shape-matching software. By importing both the pattern pieces and the offcuts, the programme evaluates whether a piece can fit onto a given scrap section and calculates the resulting fabric utilisation, allowing the most suitable matches to be identified.
NESTING WITH OFFCUTS
The results of this project demonstrate the significant potential of integrating upcycling into the production cycle of signature pieces. Burberry is estimated to produce approximately 100,000 to 250,000 Kensington Trench Coats annually. Applying my strategy, approximately 5,500 to 14,000 upcycled trench coats could be made per year. This approach would preserve large quantities of valuable gabardine fabric and substantially reduce material waste within luxury outerwear production. The upcycled coats show no noticeable difference in quality or appearance compared to conventionally produced garments. Given the high cost and environmental impact of producing gabardine, this model also presents a clear economic incentive for Burberry by lowering material costs while strengthening circular production practices.
The results of this project demonstrate the significant potential of integrating upcycling into the production cycle of signature pieces. Burberry is estimated to produce approximately 100,000 to 250,000 Kensington Trench Coats annually. Applying my strategy, approximately 5,500 to 14,000 upcycled trench coats could be made per year. This approach would preserve large quantities of valuable gabardine fabric and substantially reduce material waste within luxury outerwear production. The upcycled coats show no noticeable difference in quality or appearance compared to conventionally produced garments. Given the high cost and environmental impact of producing gabardine, this model also presents a clear economic incentive for Burberry by lowering material costs while strengthening circular production practices.