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Installation Shot of Padina Bondar: Refuse. Photo by Julia Brucculieri.
Padina Bondar:
Refuse
Textile Museum of Canada
(55 Centre Avenue)
On until June18th
Are you the kind of person who keeps the wrappers from Quality Street candies or the mesh bag that bulk lemons come in because you see their artistic potential – and of course, realize how wasteful our everyday lives have become? I have several containers filled with such eye-catching detritus, and my plan is to one day make something out of them. But what? And how?
My growing interest in material reuse is why I was so pleased to speak with the Iran-born, Toronto-raised, New York-based designer and textile innovator Padina Bondar; she takes trash and turns it into treasures I couldn’t even conceive of. Bondar, who was a Council of Fashion Designers of America scholar in 2021 and graduated with an MFA from Parsons School of Design in 2022, has developed a special spindle that’s used to transform plastic waste – including garbage bags and caution tape – into couture designs.
Bondar’s spectacular work is on display now at the Textile Museum of Canada, and the show includes examples of her specialities such as lace-making. Especially impressive is the portrait called Woman, Life, Freedom that references the women’s rights movement in Iran; it’s a delicate yet powerful piece that deftly demonstrates the scope of Bondar’s ingenious skill set.
Having attended the opening of Bondar’s show, where she spoke at a Q&A to a packed room of sustainable design enthusiasts, I was keen to learn more about the genesis of her practice and what’s next.
I wanted to start off by talking to you about dumpster diving, because I don't think I've ever heard anyone described as an "avid dumpster diver" before. When did that penchant develop and why?
It's so funny, my friends call me “dumpster Dior” but for very obvious trademark reasons it’s not something I can use. But I've always been a very resourceful person. My family tells me that when I was a kid, every time someone was wearing something interesting, I’d ask, “Can I have that when it breaks?” or “Can I please keep this?” I would also make little dolls out of candy wrappers and foil; I particularly liked shiny things like wrapping paper, bows, things like that.
As I got older, I started to notice a lot of things being thrown out that weren’t garbage; things that were just a bit damaged that no one thought to reuse or donate. That's when I became really interested in seeing how recycling can be a part of my life, not just as for my work, but also as a lifestyle with how I’m decorating my house, for example.
Professionally speaking, in my designs, I was working with topics like women's rights and human rights, but many of the fabrics I was using were made in conditions that violate these rights to manufacture that product. It just wasn't working – it didn’t fit my narrative. But I couldn’t source alternative materials that were accessible at the time; and when I did, it was not affordable. There was a lot to sacrifice as a designer, and I felt limited by the options available to me. So I started making my own [recycled] embellishments, and eventually, I decided that I wanted to start a full-time career making textiles using waste materials. And now I dumpster dive for everything [laughs].
When you were younger and thought about being a fashion designer, were you aware of the amount of waste and unethical behaviour that’s so prevalent in the industry?
I’ve been making clothes since I was around six, and I started to take professional sewing lessons when I was 12. It’s still the most comfortable way for me to present my ideas; I just see fashion as a platform to share my vision, rather than designing for seasons and sales. After I graduated, I was very interested in bridal because that’s what I was focused on in my undergrad. Even then, I was doing a lot of my own embellishments and had a small business making custom wedding dresses. That's when I realized that even at a higher price point and more of a one-of-a-kind business model, fashion is still wasteful. And it wasn't just the wedding dress I was making, the event itself – the waste created at weddings is kind of traumatizing. And it's all socially accepted as normal…. The more I worked in bridal, the more I wanted not to be a part of it. People are very blinded by consumer culture when it comes to big events like weddings; even the most ethical people can become selfish assholes.
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Padina Bondar, Dress, 2023. Caution tape found in construction site garbage bin, upcycled rigilene base; crochet. Courtesy of the artist. Photo by Julia Brucculieri.
So now, how do you craft your pieces? Do you have the design in mind before dumpster diving, or do you find the materials first? I’m thinking about something like the dress made out of caution tape, which is part of the Refuse show on now at the Textile Museum of Canada.
I find the materials first. I save everything, and I specifically try to dumpster-dive near places where I know there will be useful garbage, for example, near universities with architecture schools or other design programs. A couple of times, I’ve walked by restaurants and found something cool. Once, I saw a giant pile of hookah pipes made of beautiful colourful plastics. I still haven't done anything with them; they’re sitting in a box under my bed. But whenever I see something with potential, I’ll take it. Eventually, I'll make some prototypes to see what I can do with my collected materials, try various techniques to upcycle them, and examine how practical the final product is. At the moment I have more garbage than upcoming designs, so variety is not a concern.
Do you have a favourite piece in the Textile Museum show?
My lace pieces are by far my favourite pieces. The narrative is so exciting to me because lace has always been one of the most luxurious materials. It’s extremely labor-intensive, and historically it is associated with royalty, luxury, and couture. The patterns I use are inspired by historic lace from centuries ago. For me to make a lace piece like that out of garbage…that's when I feel the most accomplished, like, okay, I've done it; I've added real value to the garbage that I’m upcycling.
The portrait was also one of my biggest accomplishments because it's been a long time since I've had the chance to draw. I felt very proud to be able to make lace in that form.
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Padina Bondar, Woman, Life, Freedom, 2023. LDPE (low density polyethylene) garbage bags; needle lace, bobbin lace, knit. Courtesy of the artist. Photo by Julia Brucculieri.
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At the moment I have more garbage than upcoming designs, so variety is not a concern.
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Padina Bondar, Material samples, 2021-2022. LDPE (low density polyethylene) garbage bags; knit, crochet, woven, embroidered, beaded, CNC cut. Courtesy of the artist. Photo by Julia Brucculieri.
What are you hopeful about when it comes to design and sustainability?
Greenwashing is the biggest concern of all because sustainability has become such a marketing trope. Many people are associating it with trends and fads, so they don’t take it seriously because they think it’s a gimmick. We're in a strange place where some people really believe in it, and others just aren't sure.
We live in a capitalistic society deeply embedded in consumer culture – there's no way to deny that. I think that once brands and companies realize that they can make money off sustainability, that's when we will see impactful changes that can become common practice. As an independent artist who has never been money-driven, it doesn't upset me to see big brands wanting a return on their sustainable investment. In fact, I want to prove to them that they can get more than they hoped for because that is when they will truly integrate sustainability into their business models. Although working with plastics is what I'm passionate about for my own creations, the bigger umbrella of my work is recycling; whatever that material might be. My goal is to be able to collaborate with bigger brands and help them develop circular systems where they can reuse their waste and new materials.
The more we demand sustainable practices, the more businesses will shift toward them. Consumers drive the market. Awareness, transparency, and educated demand have the power to challenge big corporations.
I'm optimistic that we are going in the right direction, and I can't wait to see sustainably produced products become more mainstream, accessible, and affordable.
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Padina Bondar, Dress, 2019. Upcycled garment bags, used wrapping paper, used plastic bags; crochet, hand-cut, appliqué. Courtesy of the artist. Photo by Julia Brucculieri.
I'm curious about where you see the scope of your work going in the next couple of years. For example, material innovation is so prevalent in sportswear; will we see you working in that world one day?
Honestly, I’m open to everything and anything as long as it's not going to compromise my mission and process. One thing I’m really leaning towards making right now is accessories made of my recycled plastic yarns. I’m currently working on a high-end jewelry line with a very talented Toronto designer and friend, combining our skills to create pieces made of precious metals and recycled plastics. They are smaller pieces that are on par with my couture creations, giving us a chance to produce on a viable scale.
This interview has been edited and condensed.
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