Textil- och modeindustrin är en av de mest miljöförorenande industrierna i världen, med dess resursintensitet och stora mängd producerat avfall. De senaste åren, med start från år 2000 har klädproduktionen fördubblats, medan det genomsnittliga antalet gånger plagget används innan det slängs har minskat. Förändringar i produktionsteknik, konsumtionsmönster och materialval är sannolikt inte tillräckligt för att vända textilindustrins påverkan på miljön. Branschen behöver övergå från den nuvarande linjära ekonomin till en mer cirkulär ekonomi där design spelar en central roll. Denna studie belyser de svenska modeföretagens arbete med cirkulära designstrategier och utforskar hur kunskap om cirkulära strategier från andra branscher skulle kunna hjälpa modebranchen att gå mot ökad cirkularitet. Med hjälp av mixed method undersöktes den svenska modebranschens arbete med cirkulära design strategier och branschens utmaningar för ökad cirkularitet. Studien utforskade även organisationer utanför modebranschen för att avgöra hur deras cirkulära framgångar kan implementeras på modeindustrin. Resultaten visar att medan svenska modeföretag implementerar cirkulära designstrategier regelbundet behöver det inte översättas till ökad total cirkulariteten i deras kollektioner. Studien finner att ett gemensamt mått på cirkularitet inom modeprodukter, en systemförändring där cirkulär design och affärsmodeller implementeras genom hela värdekedjan, och ökat samarbete kombinerat med nödvändig infrastruktur är de mest nödvändiga faktorerna för att öka cirkulariteten inom branschen. / The textile and fashion industry is one of the most environmentally polluting industries in the world, with its resource intensity and large amount of produced waste. In recent years, starting from the year 2000, clothing production has doubled, while the average number of times a garment is used before it is thrown away has decreased. Changes in production technologies, consumption patterns and material choices are likely not, enough to reverse the textile industry's impact on the environment. The industry needs to shift from the current linear economy to a more circular one where design plays a pivotal role. This study sheds light on the Swedish fashion companie's work with circular design strategies and explores how knowledge about circular strategies gained from other industries could help fashion move towards increased circularity. With help of mixed method research the Swedish fashion industry's work with circular design strategies and the industry's challenges for increased circularity were examined. The study also explored organizations outside the fashion industry to determine how their circular successes can be implemented here. The results show that while Swedish fashion companies implement circular design strategies regularly it doesn’t necessary translate into increased overall circularity of their collections. The study finds that a common measure for circularity in fashion products, a systemic change where circular design and business models are implemented throughout the entire value chain, and increased collaboration paired with necessary infrastructure are the most necessary factors to increase circularity within the industry.

This study aims to examine the possibilities and limitations ofresidual products from the Swedish food industry for new uses inpackaging design. The selection in the study is semi strategicallyrandom and through the selection four interviews were conductedvia e-mail, two interviews from RISE and two from the Swedishdesign agencies Snask and Bedow. The interviews are based on thestudy's question issues; What innovative packaging materials withproperties corresponding to plastics are available in the Swedishmarket? And How does a selection of Swedish design agenciesapproach the innovative packaging materials available on theSwedish market? Through results and analysis we have come tothe conclusion that there is a great awareness of design agencieswhen it comes to making environmentally conscious designdecisions and that it is highly relevant in today's society. Duringthe study, interesting packaging material was discovered. What hasalso emerged is that it is a matter of course to have to be climatefriendly as everything depends on demand from customers andconsumers. There are no direct regulations to relate to, but it is upto each individual how to relate to a more sustainabledevelopment. However, in order for a societal transformation totake place, collaboration between the various social sectors isrequired (Svenska vetenskapsrådet Formas, 2018).

This study aims to account for the potential of algae as future innovative foods in the Swedish market. The methods for collecting the empirical material were quantitative content analysis and mapping of how many food companies there are in the Swedish market that have algae in their products. The second method was a qualitative interview survey in which the respondents were allowed to express their opinions and perceptions about circular design, food technology and algae as alternative foods. Through results and analysis, it has been shown that there are only a couple of food companies with a focus on algae on the Swedish market, but that the market is in its infancy. A lot of research is done on the subject and large investments are made on algae research in Sweden. This in turn shows that there is interest and potential for these innovative and more climate-friendly foods. Unfortunately, it has been difficult to establish innovative food companies, as Sweden is a country that has valued the safety and development of existing foods. On the other hand, Swedes are proving to be the most open consumers to new trends and embrace new foods. This is good for the development of testing new foods in the Swedish market before export. Through the Government's action plan for the 2030 agenda, innovation is a cornerstone that opens up better conditions for food innovation. It is obvious that it is necessary to invest in innovation in the food chain in order for Sweden to be globally competitive and achieve these goals to reach a sustainable future. The global goals that will form this study are the following, 2 - zero hunger, 12 - responsible consumption and production, 13 - climate action, 14 - life below water.

Kaffesump ingår i kategorin matavfall- och svinn och varje år konsumerar hela Sverige cirka 79,7 tusen ton kaffe per år. Det innebär att enormt mycket kaffesump slängs och betraktas som avfall. Kaffesumpens innehåll är en resurs och kan utnyttjas inom flera olika områden. Kaffebranschen behöver ställa om från en linjär- till en cirkulär modell.  Syftet med denna studie är att, ur ett cirkulärt designperspektiv, undersöka huruvida avfall i form av kaffesump kan vara en resurs i en hållbar utveckling på svensk marknad.  Den här studien avser bidra till ökad kunskap om kaffesump som resurs, samt skapa en efterfrågan på produkter av kaffesump av konsumenter såväl som producenter. Detta för att bidra till en hållbar konsumtion i form av kunskap om- och utförande av en cirkulär kaffebransch med koppling till de globala målen 12 Hållbar konsumtion och produktion och 13 Bekämpa klimatförändringarna.  Huvudresultatet i denna studie är att kaffesump har stor potential för att vara en del i cirkulära processer, som bidrar till hållbarhet på den svenska marknaden.

The fashion system is contributing to the environmental and social crises on an ever increasing scale. The industry must transform in order to situate itself within the environmental and social limits proposed by economist Kate Raworth, and the 17 sustainable development goals set out by the United Nations. This research explored methods of eliminating textile waste through utilising zero waste pattern cutting to expand the outcomes possible within industrial contexts and speculates as to the implications for the wider industry and society. Employing an experimental and phenomenological approach, this thesis outlines the testing of known strategies in the context of industry and responds with new emergent strategies to the challenges that arose. A series of interviews were conducted with designers who have applied zero-waste fashion design in an industry context – both large and small scale – to unpack the strategies used and contextualise the difficulties faced. The findings that emerged from the iterative design practice and the experience of working within the field tests inform the surrounding discussions and reflections. This reflection brings into sharp relief the inherent conflicts that exist within the fashion system and has led to the development of a series of theoretical models.The implications for design and industry are broad. Firstly that while this thesis outlines garment design strategies, and broader – company-wide – approaches that can work to reduce waste in a given context, this research finds that a holistic transformation of the internal design and management processes of the industry is required for them to be successful. In response, theoretical models have been developed which seek to articulate the constraints, roles and actions of design within broader company practices, while contextualising these within the economic system it operates. It is clear that reducing waste will only have a minor positive effect on the environmental outcomes unless we also reduce consumption of raw materials through reducing yield or reducing consumption – ideally both. These findings and models point towards a necessary recalibration of the industry as a whole – small changes are not enough as the existing methods, processes and ethos are deeply embedded, and its agents are resistant to change. The results concur with previous research and conclude that a fundamental shift in thinking is required – one that prioritises a different set of constraints to those the industry and society currently focus on – in order to make the rapid and meaningful change necessary.

MYCELIUM MILLENNIUM imagines a new era in which biological resources, specifically Fungi and Mycelium, are used to grow a collection of objects for everyday domestic rituals, merging biofabrication and traditional craft. The project is an effort to demystify the transformation of an organism to a biomaterial and at the same time raise questions of aesthetics and cultural acceptance. The fungal mycelium material qualities –  antibacterial, fire-resistant, heat isolating and water-resistant – are incorporated in the function of each design.  The objects adopt antique symbols embedding them in a longer material history, as well as a scale and form that introduces the fungal material to the context of the home. While the collection attempts to stress longevity and resilience, it is integrated into a circular vision, where the material is sourced from nature and returns to nature.   MYCELIUM MILLENNIUM is an invitation to raise awareness for a material revolution, an opportunity to learn from nature and its potential, where products and objects could match the planet's needs.

A ubiquitous household appliance, the washing machine currently sees a fall in its usage life to a mere 7 years, with valuable and finite resources getting lost to the landfill faster than ever. The reason?  Mechanical obsolescence and barriers in repair that make helpless users as far removed from the process as possible. The goal of my degree project is to create long lasting product and service experiences through easier channels of repair and to design deeper partnerships between humans and the appliances that surround them. I want to be part of a rising sustainability movement that aims for a seismic shift in thinking by creating resilient product experiences.  Can the key to a sustainable future be appliances that last for generations?

Our society is all the more shifting towards focusing on the impact that we have on the world’s climate and reducing our environmental impact is getting increasingly popular. Amongst efforts to reduce the impact of the products that we use, the field of Circular Design has emerged as a solution that tackles the problem at its roots in a holistic way, aiming to not only reduce the climate impact of products, but to transition our entire society into a sustainable one through the implementation of a Circular Economy. This ideal economic state is structured around ensuring that products are not simply produced, used and then discarded, but instead that the value of products are never lost. This is done by circulating them in different stages, ensuring that they are reused by other people, refurbished to a good condition, remanufactured as a new product, or that their materials are recycled and used in other products. This holistic approach currently seems to be the most viable for transitioning our society into one structured around sustainability.   In the midst of the increasing interest in sustainability, companies are starting the move towards implementing changes with this in mind. In the electric guitar industry, .strandberg* stands out as one of the more well-known brands that is doing just that, by introducing product design changes to their electric guitars with the goal of reducing material waste and moving away from materials that are becoming scarce in the world. This can be seen as a first step towards changing the entire industry, that is currently focusing mostly on constantly manufacturing new products, to one that focuses on the value of existing products and how to maintain this for as long as possible. The electric guitar as a product is one that commonly sees several users during its lifetime already, and those with high degrees of quality and performance, such as .strandberg*’s products, can potentially be used and kept in a functional state indefinitely. As such, introducing Circular Design to this product category stands as a challenge.   During the course of this thesis project, the process of Design Thinking and the skillset of an Industrial Design Engineer has been used to take on this challenge of Circular Design applied to the electric guitar. Current circular products have been analyzed to find success factors, inspiration and knowledge of the implications that Circular Design has on product development. The work included a comprehensive literature review of the field to take part of the existing academic knowledge, contextual and user research to understand the current situation as well as the needs of the relevant user group, idea generation to find innovative solutions, visual prototyping of concepts and the use of evaluative methods to understand how well the solutions would work.   The final results of the project ended up being more theoretical than anticipated, as it was found that .strandberg*’s products in their design already fit many of the criteria for circular products. Instead, a circular business model system (CBMS) was developed, that details a process wherein .strandberg*’s newly produced as well as existing products can circulate through a sequence of users, while also incentivizing these users to take care of their products and ensure that their functional service life is maximized. The CBMS stands as a broader value offering to both .strandberg* as a company and to the users of their products.   Recommendations for future work with the CBMS includes testing alternative material choices with physical prototypes, launching the model at a small scale to investigate its validity and work out eventual problems as well as to build partnerships with actors, either on a small but potentially on a global scale, to be able to implement aspects of the CBMS.

Sammanfattning: This study aims to examine how cosmetic products recyclingand markings look like in Sweden. Thestudy used two methods where the first one was a visualresearch done through an externalmonitoring of ten different nail polishes where recyclingmarkings and other markings have been infocus. Then, five products that have similar properties(content, recycling, marking) as nail polishhave been analyzed to compare with the polish. Thesecond part of the method consists of aquantitative web survey to find out what nail polishconsumers' consumption looks like, how muchthey know about recycling and markings on nail polish,and how they think a nail polish bottle affectsthe environment.Results and analysis show that cosmetics/nail polishconsumers don't know much about nail polishmarkings. They know that nail polish is bad for theenvironment, but not why it is bad. This thereforeshows that the visual communication on the nail polishbottle is not sufficient and needs to be betterthrough design. It requires a circular design thatmakes conscious decisions early in the process toprevent the release of hazardous chemicals, miscommunicationregarding the recycling of packagingand clearer markings on the nail polish bottle.This study is based on the UN's global goals: 12-Responsible Consumption and Production, morespecifically 12.4- Responsible Management of Chemicalsand Waste and 13- Climate Action (UNglobal goals, 2020).

UME Friluftsliv is a mobility solution focusingon Rural coliving communities. The author hasexperienced the huge transition of urbaniza-tion. After more than 15 years of urban life,the author occasionally missed the old daysand questioned if there was any other choice.During the study in Sweden, the author learnedthe Scandinavian concept “Friluftsliv” whichtranslates literally as free air living. It is a lifestyleattaching much importance to connecting withnature and spending time outdoors. The authorhad practiced along the journey and benefitedfrom it a lot. Hence, Friluftsliv was chosen as theproject theme to promote such a lifestyle and toevoke the audience to join.During the research, it was found that with amore flexible working pattern, coliving becameincreasingly popular and promising. And thecommunity spirit is the core. Among diversecoliving spaces, coliving in rural regions offerscommunities and more outdoor explorationopportunities, while the locations are likely onthe radar. For better understanding, the authorconducted a case study on the Arctic Cowork-ing Lodge, which is located in Lofoten Islands,Norway.The creative process is based on the case studyresults of Arctic Coworking Lodge, enhancingthe rural coliving experience for everyone wasthe priority. Collaborating with colleagues, thepackage was defined by mock-up in the stu-dio as a space configuration of concentrate,exchange and relax. Hand sketching was usedprimarily for initial exploration, and then build-ing up 3D drafts helped to coordinate variouscomponents into the package. The design focusof this project is the community spirit. Modulardesign was applied to make the vehicle versatilefor the different persona in different scenarios.The concept is the modular interior componentscan be detached and shared out to supportoutdoor activities.