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Digital Guide: Sav Riley: Factory Reset

Curated by T. Bujold-Abu, TD Curatorial Fellow (2025-2026)

October 15, 2026 – February 21, 2027

A series of sixteen rectangular tapestries that explore different parts of a pair of jeans, such as: back pockets, waistbands, zippers, and the like.

Factory Reset is a hard reboot, an opportunity to reimagine the Fast Fashion industry from the perspective of the consumer, as we interrupt the means of production. 
 
Artist Sav Riley works with donated denim; the sturdy cotton twill fabric representative of labor, activism,and rebellion. However, alongside the history of this proletariat fabric – the environmental repercussions of denims over consumption are creating a lasting impact.  
 
Fast fashion is the second-biggest consumer of water and responsible for about 10% of global carbon emissions – as the second-largest consumer of water among industries; it takes 2,000 gallons of water to produce a pair of jeans.1 
 
Sav Riley (communally known as Designs by Sav) foregrounds a new perspective: to salvage andtransform the future of denim, such as a pair of jeans, through the same labor it embodies. Factory Reset is a collection of streetwear fashion and textile explorations that reinvent the lifecycle of denim through sustainability.  
 
1 Maiti, Rashmila. “Fast Fashion: Its Detrimental Effect on the Environment.” The Environmental Impact of Fast Fashion, Explained, February 3, 2026. https://earth.org/fast-fashions-detrimental-effect-on-the-environment/.  

Curated by T. Bujold-Abu, TD Curatorial Fellow (2025-2026).

Special Thanks to Stephen Nilsson, Spencer Montcalm, and the AWE Prep Team in support of this exhibition.  

Special Thanks to the jean donations from the Windsor-Essex community in support of this exhibition. 

“Sustainability, inclusivity, community.”

Artist, Sav Riley

Deconstructed Jean Tapestry, 2026

Donated textiles, Polyester thread

“What I didn’t see coming was the community aspect – everyone has jeans…90% of what I do is based on donations. I love bringing in the community.”

The Deconstructed Jean Tapestry is a series of sixteen (16) sections; each section highlights an element of a standard pair of jeans, for example; the waistband button and buttonhole, the bottom hem, mini pocket, or zipper. From section to section, new patterns emerge exposing the structural components of jeans that repeat across brands, fits, and fades.

In conversation with artist Sav Riley, they discussed the detail and function of pulling things apart to put them back together: “This entire show is focused on jeans – I started with separating the jeans into different parts, which took pretty long, but was honestly fun. While doing the deconstructing, you discover how the jeans are made and what really goes into making a pair of jeans.”

In the repetitive and detailed work of disassembly, parallel considerations emerge for Riley; what we learn about jeans as garments (their construction, fasteners, brand details) and what we learn about people (from what they wear and how they wear it).

What did you learn about jeans?

“As I was deconstructing the jeans, there are different material components and blends, the seams, the amount of belt loops, and a lot of certain brands of jeans – does this mean they are good or bad? Some jeans are easier to sew with; the more high-quality jeans are the ones that are easier to work with – whereas stretchy jeans are harder to place, and bunch easy in the sewing machine.” Aside from the fabric and base construction of jeans, Riley also notices the details, “usually, there are five belt loops (two in the front, three in the back), but there are more belt loops on stylistic jeans (grunge, for example), or some jeans use bedazzled belt loops as an embellishment.”

What did you learn about people?

“Some of the donated jeans had stuff left in the pockets: tissues, a receipt, a candy wrapper…or there are pants covered in paint, or half-deconstructed jeans from other creatives – those are cool, the jeans are an idea that I get to finish.” Not all stories, or the remnants of them are in the pockets – there is also an intimacy in learning how jeans breakdown overtime “…like the fabric wears thin in-between the thighs from chaffing, the worn bottom hem if they are longer on the wearer, belt loops from where they pull up their pants, the knees fade. I like when people I don’t know donate to me – it’s a snapshot of maybe who that person was or is or what’s going on there.”

Upcycled Home, 2026

Donated textiles, Polyester thread

In Sav Riley’s definition of upcycling, there is an intake process – all items are split into three (3) categories:

1) Chop: cut it up

2) Keep: upcycle the garment

3) Scrap: save and bin the mangled pieces

From this initial separation, the items cycle through these categories as they transform and take shape – “some of the jeans go back in the pile, and you’ll come back to them.” What makes a pair of jeans good for upcycling? Riley says it is the quality, the fit, and the size. The lower quality and damaged jeans are chopped and turned into materials for future projects. Main priority? No waste here! That isn’t an option. In Riley’s process, there is always room to turn the tiny bits into something new – to reimagine and remake: “it feels wrong to throw anything away, and there is so much that can still be done; maybe it does contribute to hoarding, but it is also ecologically minded.”

When starting the work for Upcycled Home (2026), the process began by sorting the donated jeans by colour wash: light, dark, and medium. Riley noted that as a material, denim and denim blends exist on a wash spectrum – dark could be considered light, depending on how manufactured and organic fading interact. However, even with the best jean care intentions, “everything ends up fading lighter, and there is a brown/beige tint to the fading and wearing of a garment.”

Alongside the material considerations and ongoing deconstruction, the symbol of ‘home’ has been reoccurring in Sav Riley’s work with two thought streams in mind; the act of upcycling (and the playful qualities of reimagining donated clothes), and community – “I’m kind of doing something that feels right to me” Sav says, and in sharing that with the community, they are offering everyone the opportunity to join in: “At art markets a lot of people are like, oh, I love your stuff, but I could never wear that. And I always say that the only person who is stopping you is you. It is important to share and give someone the opportunity to try something different, in that sense – everyone is welcome in the jean home.”

the perfect pair of jeans, 2026

Donated textiles, Polyester thread

When you think of the perfect pair of Jeans, what do you look for?

Everyone is looking for a specific fit, flare, button, pockets, and length. Overtime, these same specifics evolve to fit the people we are becoming, the fashion trends, the weather over the course of seasons. When asked this same question, artist Sav Riley says they make their own: “I own two (2) normal pairs of jeans, also known as the ‘just in case’ jeans. Usually, when I wear jeans, they must have a little something – one of my favorite pairs just has a ton of frayed holes. My wardrobe is all things I’ve made for myself.” 
 
The work the perfect pair of jeans (2026) was inspired by the 9ft Extendo Jeans from Bronze 56k (2018), an extra-long pair of jeans that measured 9 feet long – Riley’s work is a campy nod to unfunctional, but fun, style.  
 
As jeans continue to rotate their fits: the straight leg, loose fit, distressed, high-rise vs. low rise, Riley chimes in: “skinny jean hate is real, they are a sensory nightmare. What could bring them back?” In our discussion of contemporary jean politics, Riley notes a trend towards prioritizing comfort and agrees: “everyone should wear whatever they want.” 
 
The real question is, would you wear this perfect pair of jeans? 

Seated, 2026

Donated textiles, Polyester thread

Jean leftovers, 2026

Donated textiles 

Factory Reset Collection, 2026

Donated textiles, Polyester thread 

Models in Image 1 & 3 @thebaba8hassin, @margielaamarting, @jayfayx2. Photography by @chaycevphoto
Models in image 2 Image @sava3ughn. Photography by merima.amirem

About the Artist: Sav Riley

Savaughn Riley (they/them), professionally known as Sav Riley and Designs by Sav, is a Black, queer Windsor-based artist whose practice centers on wearable art, textile-based installation, and upcycling. Working primarily with donated clothing – especially denim – Sav transforms discarded garments into sculptural, patchwork, and streetwear-inspired creations that explore sustainability, community, and self-expression. Their work aims to create a more sustainable world by reimagining the life cycle of clothing through unconventional design and public presentation. 

Since 2020, Designs by Sav has been an active presence across Southern Ontario, participating in over 100 markets, pop-ups, and public events. Sav has presented work in numerous fashion shows and exhibition contexts, including Phog Lounge, Turbo Entertainment Complex, Circuit, Artcite Inc., and Artspeak Gallery. Their work has been featured in multiple group exhibitions such as Colors of Resilience, Heart from the Streets, The Hope of Healing, and Made Me, as well as Locals Only 6 at Circuit in 2025.

In addition to presenting their own work, Sav regularly collaborates with local artists and organizations to co-coordinate and design fashion shows, installations, and community events. Notable projects include Upcycled: A Designs by Sav Fashion Show at Phog Lounge (2024) and House of Jart (2024), a jean-based art installation and community-curated event. Their practice extends into education and mentorship through sewing workshops and arts programming. 

About the Curator: T. Bujold-Abu, TD Curatorial Fellow

Talysha Bujold-Abu (she/her) is a Ghanaian and French-Canadian illustrator, educator, and arts administrator currently residing on the traditional territory of the Three Fires Confederacy of First Nations in so-called Windsor ON. Bujold-Abu holds a Bachelor of Honors of Fine Arts (2016) from McMaster University, a Master of Fine Arts (MFA) (2018) and a Bachelor of Education (Bed) (2025) from the University of Windsor. In practice, both academically and studio-based, Bujold-Abu’s work centers on inviting play alongside critical inquiry, encouraging audiences and participants to reconsider belonging and visibility (terms that exist within multiple and shifting intersections of identity politic) through accessible visual storytelling – building connections between research, creation, and community. 

This exhibition forms part of Below the 6, a series of exhibitions that focuses on artists based in Southwestern Ontario whose practices are socially and politically minded.

The 2025-2026 Below the 6 series is curated by Talysha Bujold-Abu. The exhibition is generously supported by TD Bank Group.

This exhibition is also supported by the Ontario Arts Council (OAC) Exhibition Assistance Grant and the Government of Ontario.