The Hand of Fashion 1st Edition by Black Magazine

POST LUXURY //

many hands make great work!

1st Edition

STELLA JEAN KAREN WALKER UNITED ARROWS CARMINA CAMPUS SOPHIE ZINGA CHAN LUU OSKLEN

S T U D I OO N E E IGHT YN IN E . C O M

ITCâ&#x20AC;&#x2122;s Ethical Fashion Initiative invited Instituto-E to visit Haiti in search of materials that could be handled by the local population in order to be transformed into fashion pieces. The result of the research was then handled to Osklen, long time partner of Instituto-E, and well known for its unique design and experience on working with sustainable materials. The line, named E-Ayiti, includes necklaces, pendants, and bracelets. Their design reflects the simplicity and purity of style of Osklen and the pieces were replicated by Haitian artisans, assembled into Cooperative des Atelier dâ&#x20AC;&#x2122;Art de Cite Soleil, under the direct supervision of the Ethical Fashion Initiative (EFI) â&#x20AC;&#x201C; ITC, creating a source of income for these people. E-Ayiti products were developed from materials like wrought iron and colored phone strings, tissues from remaining tents of refugee camps and tubes made of paper mache. The entire line is engraved with words in Haitian Creole and Braille chosen by the artisans.

TRASH TURNED INTO TREASURES

From Carmina Campus Space Waste collection : tote bag made of plast www.carmina

WA ST E, AL SO IN TE N DE D A S C A RE L E S S D IS S IP A TI O N O F R E SO U RC E S, H A PROJE CT BA S E D ON T HE ID E A OF RE U S IN G E X IS TI N G M AT E R IA L S TO C R E A AN D MI XI NG U S E D A N D UN U S ED , P RE CI O U S AN D P O O R, R A R E AN D O R D I ST ILL CONS U MPT ION G OOD S , B UT C AR R YI N G A DE SI G N C O N C E P T IN W 10

tic trash bags with vintage thermo-transfer film and soda can bottoms acampus.com

A S A L WA YS BEEN T HE R ES E A R CH FI EL D OF CA R MI NA CA MP US. A D ES I G N A TE HI G H - EN D A C C ES S OR I ES A ND FU R NI T U R E. W I T H WA S T ED MA T ER I A L S IN AR Y, C AR MI NA CA MP U S C R E A T ES ON E- OF-A - KI ND OB JE CT S T H A T A RE W HICH BEA UT Y I S E NR I C H ED BY T H E V A L UE S OF T R UT H A ND G O O D . 11

kia ora! buongiorno! jambo rafiki! bonjou! hola! hujambo! habari! malo e leilei! gidday! aloha! bonjour! hallo! Foreword

The Artisan. 1. A person skilled in an applied art; a craftsperson. 2. A person or company that makes a high-quality or distinctive product in small quantities, usually by hand or using traditional methods. Welcome to The Hand of Fashion, the magazine that supports the ITC Ethical Fashion Initiative, our people, our products, our partners and communities around the world, this planet we call Earth. We bring this all to you in partnership with Black Magazine. As the fashion world moves beyond mass production, the new luxury is hand-made and letâ&#x20AC;&#x2122;s be clear, many hands make great work! In this first issue we feature news from the ITC EFI world, interviews and stories with some of our designer partners, in depth articles about some of the artists and creatives that work with us, a photo shoot of Stella Jeanâ&#x20AC;&#x2122;s SS15 collection in Paris by Thom Kerr and a 36 page photo essay featuring our artisans themselves from just one of our hubs in Korogocho, Kenya by Louis Nderi. So please do enjoy this first edition, we will be back with the next edition of The Hand of Fashion in 2015. Much love, Black and the ITC Ethical Fashion Initiative www.ethicalfashioninitiative.org

Just another cola company that wants to make as much money as possible.

Money from every bottle of Karma Cola goes straight back to the village in Sierra Leone that grows the cola in the first place. This money is then used for infrastructure, irrigation and schooling. Ideally we'd like people to give money to the village directly; but that's probably an unreal expectation, so we're happy enough if they just give indirectly every time they wander in to a cafe and feel a bit thirsty. It's not a great business model, but it is a good one.

karmacola.co.nz

Masthead

Black Magazine Grant Fell & Rachael Churchward grant@blackmagazine.co.nz rachael@blackmagazine.co.nz ITC Ethical Fashion Initiative Chloé Mukai and Mary Jo Cartier mukai@intracen.org cartier@intracen.org Art Director Ian Fraser Ferguson ian@friendsofdesign.com

Writers Grant Fell, Simone Cipriani, Auret van Heerden, Simonetta Gianfelici, Michael Whittaker, Chloé Mukai, Mary Jo Cartier, Haram Sidibé, Timothy T. Schwartz PHOTOGRAPHERS Thom Kerr, Louis Nderi, Tahir Carl Karmali, Chloé Mukai, Romel Jean Pierre HAIR & MAKE-UP Iggy Rosales and Bunny Hazel Clarke ARTISTS/ILLUSTRATORS Papa Oppong

The Hand of Fashion is published by: BLK NZ Ltd/Black Magazine P.O.Box 68-259, Newton, Auckland, New Zealand/Aotearoa Ph: + 64 9 817 9601 www.blackmagazine.co.nz www.facebook.com/blackmagazine www.twitter.com/blackmagazine www.pinterest.com/blackmagazine www.vimeo.com/blktv issuu.com/blkonblk To support: ITC ETHICAL FASHION INITIATIVE International Trade Centre 54-56 rue de Montbrillant, Geneva, 1202, Switzerland Telephone: +41-22-730.0223 www.ethicalfashioninitiative.org www.facebook.com/TheEthicalFashionInitiative www.twitter.com/_ethicalfashion www.pinterest.com/ethicalfashion1 www.instagram.com/ethicalfashion/ The views expressed in The Hand of Fashion are not necessarily those of the publishers and editors and in no way represent the views of the International Trade Centre, the United Nations or World Trade Organization. © ITC Ethical Fashion Initative 2014

ASSISTANT DESIGNER Nina Van Lier SUB EDITOR: Mary Jo Cartier ADVERTISING: Grant Fell +64 21 407 248 Thanks to: The entire Monica Re team, Rhiyen Sharp at IMG Paris, Kiria, Marina Guidi and Elena Beretta from Spazio 38, the artisans of Bega Kwa Bega Group, Maria Elena Moioli, Giulia Fasanella, Camilla Trizio, Vincent Oduor, Heta Hudson, Anne Pressoir, Cyril Pressoir, Kristin Settle, Milwaukee Art Museum, August Udoh, Sydelle Willow Smith, Osborne Macharia, Jjumba Martin and the Ethical Fashion Initiative team, Nina Van Lier, Thom & Iggy, Tanya Jackson, Simon Coley, Nicky Roswell, Heta Hudson and the Black Whanau

ethical fashion international “NOT CHARITY JUST WORK” -Chan Luu

www.chanluu.com 15

Contents thof #1

Contents

News at Hand 24. Viv La Revolution 26. Lovin’ Chan Luu 28. Studio One Eighty Nine 34. Wonderwalls 38. Palette-able 44. Made of Metal Design For Life 48. Karen Walker 56. Sophie Zinga 62. United Arrows 68. Instituto-E 70. Trace projects 72. Osklen 76.Carmina Campus 84. Stella Jean

Cover

Photography: Thom Kerr at Independent Artist Management Fashion editor: Chloé Mukai Hair: Iggy Rosales using Bumble & Bumble Make-up: Bunny Clarke Model: Kiria at IMG Paris All clothing and accessories: Stella Jean RTW SS 2015

Fashion At Work 96. Our World of Artisans 130. Beth Nyambura 134. Weaving Dreams - Danfani Art Is At Hand 142. Art Naif 144. Haiti Cherie 152. The World As I See It It’s Going To Work 168. Shock Absorbers or assets 174. Design for People, Plan for Good Business 178. Stella McCartney Tote bag 180. Follow Us Friends

E V ERY CEN T F RO M T HE SEL L IN G PRICE OF VIVA GL A M L IP S T ICK A N D L IP GL A S S GOES TOWA RD HEL PIN G WOMEN, MEN A ND CHILDREN LIVING WITH A ND AFFECTED BY HIV / AIDS. M ACCOSME TICS.CO.NZ

Our people... Contributors

Simone Cipriani Chief Technical Advisor, ITC Ethical Fashion Initiative, Geneva Photo: Altaroma

ChloĂŠ Mukai Communication Manager, ITC Ethical Fashion Initiative, Geneva with David Kamau, Videographer, Nairobi

Mary Jo Cartier ITC Ethical Fashion Initiative, Geneva (with Jeniffer Kaari) Photo: ChloĂŠ Mukai

Louis Nderi

Photographer, Nairobi. Photo: Terilyn Lemaire

Simonetta Gianfelici Talent scout, model, curator, Rome Photo: Angelo Cricchi

Rachael Churchward Creative Director, Black Magazine, Auckland Photo: Ribal & Gil

Grant Fell Editor, Black Magazine, Auckland Photo: Ribal & Gil

Ian Ferguson Art Director, Friends of Design, Auckland Photo: Dusty Ferguson

...planet people... Contributors

Auret van Heerden Labour Expert and President of Equiception, Geneva

Thom Kerr,

Photographer, Sydney/Paris

Romel Jean Pierre Photographer and artist, Port-au-Prince

Tolga Dilsiz,

Film Director, Zurich Photo: FMP 2013

Timothy T. Schwartz PhD, Author and Anthropologist

Bonnie Katei

Videographer, Nairobi Photo: Louis Nderi

Michael Whittaker Writer, Auckland

Mark Tintner

Film Director, London Photo: Tahir Carl Karmali

Tahir Carl Karmali Photographer, NYC Photo: Axelle Chazal

John Rasmussen Film Director, videographer, Les Cayes

news at hand

Around the World of Ethical Fashion 22

Viv La Revolution/ Lovin Chan Luu/Studio 189/ Wonderwalls/ Palette-able/Made of Metal

VIV! La revolution! Codie Young with the Vivienne Westwood beaded Climate Revolution clutch. Photo: Charlie Engham

Partner news

She is a vital partner to the ITC Ethical Fashion Initiative, and a champion of many of the good causes in fashion, which in itself may seem like something of an oxymoron to some. Vivienne Westwood is still the punk, the activist, the outsider of fashion, but she is definitely the fashion outsider with heart. Upon the release of her new collection of ‘Handmade with Love’ bags, Michael Whittaker muses on Westwood’s vision of art and culture as the hope of humanity.

Vivienne Westwood is undeniably one of the defining forces of fashion. Westwood’s enduring power stems from her refusal to be limited by an elitist expectation that equates fashion with mere aesthetic appeal. Her ceaseless activism has constantly assailed that cliché. Westwood sees art and culture as the hope of humanity; as “the anchor that holds us together as a people and gives life greater meaning.” In her visionary style, she is a woman of the people and in her collections she has always spoken for, and to the people, and particularly to the overlooked and the marginalised. She has ever used her success to expose inequality, to promote sustainability and to celebrate the potential of all humanity. Westwood urges us not to be selfishly stupefied by what she sees as the “drug of consumerism”, and to insist upon a local and global shift in prioritizing human rights above selfish short-sightedness. Westwood has put her money where her mouth is, and she is smiling at the results. For nine seasons now, Westwood has been producing bag collections in association with the EFI. Her employment of African artisanal micro-producers, she ardently insists, “is not charity; this is work”. The quality of these bags makes her statement resonate. Indeed, the very inspiration of the bags was a celebration of the specialization of different artisan communities, which Westwood saw as an opportunity to utilise and display the resourceful artistry and rich cultures of Kenya. The collaborative result makes massmanufactured bags, unthinkingly churned out by competitors appear soulless and demeaning in comparison. In conjunction with the ITC EFI, Westwood worked with the local artisans to craft masterworks out of recycled materials

including recycled canvas, reused roadside banners, unused leather off-cuts, and recycled brass. In the slums, artisans source discarded metal and melt it down to make a product that is of the upmost quality and also makes a difference. To quote Vivienne in the video below: “It’s incredible to think you can change the world through fashion.” Central to this ethos is that quality goods are only strengthened by an ethical inspiration. The collection comprises of both men’s and women’s styles, as well as unisex pieces. There are rucksacks, totes, patchwork drawstring bags and Maasai beaded clutches and key rings. One can feel the “love of Nairobi” in these pieces, both in terms of Westwood’s appreciation of the place and its people and customs, and the artisan’s earnest talents. Westwood is adamant that the future lies in not wasting opportunities, resources and people. The iconic and prescient Westwood declares that the decisive enacting of sustainability in human and environmental resources is imperative: “We must begin today – tomorrow is too late.”

Watch the film:Ethical Fashion Africa Project with Vivienne Westwood and team

Lovin’ Chan Luu

Partner news

Vietnamese-born Chan Luu launched her eponymous jewelry brand in 1996 with a core belief that her products would be “totally handmade with love and care by skilled artisans,” a belief that is in perfect harmony with the ITC Ethical Fashion Initiative. In 2001 she designed her now famous wrap bracelet after being inspired by weaving techniques she discovered in India. The bracelet has evolved many times over - for both women and men. Each and every wrap bracelet is still handcrafted in Vietnam by local artisans and has grown to incorporate a variety of materials including custom dyed leathers, sterling silver, semi precious stones and Swarovski crystals. The bracelets have become a staple accessory for the likes of Lady Gaga and fashion blogger Rumi Neely. The Chan Luu brand continued to grow over the past decade whilst staying completely true to the brand’s core ethos and roots. A clothing line was added in 2004, a cashmere scarf line in 2005, a highly successful online store launched in 2006, a men’s jewelry line in 2010 and a collaboration with BreastCancer.org followed in 2011. Then,

after the Haiti earthquake, the Clinton Bush Haiti Fund, recognising Chan’s existing track record working with artisans, invited her to visit Haiti and help local artisans to connect with the global export market. She saw great opportunity there to create a sustainable industry in Haiti and subsequently launched her own line Chan Luu ethical fashion international to further this effort. Not long after she met Simone Cipriani and established a relationship with the ITC Ethical Fashion Initiative to create work for artisans in Kenya. Since January 2013, Chan Luu’s ethical fashion international line has given work to nearly 800 Kenyan people, 98% of whom are women, created jobs in 24 individual community groups and provided not only the opportunity to work, but to engage in a meaningful and responsible business. “Ethical fashion is taking an active role in changing the world for the better; in my case, providing a sense of dignity and a sustainable system of support for our artisans around the world who need work, not charity,” says Chan. In April 2013, the first ‘Kenya Collection’ hit stores. Handcrafted by

EFI artisans in Kenya the wrap bracelets are inspired by the intricate beading techniques created by the Maasai tribe. The collection includes patterned single wrap and threewrap bracelets woven onto raw cut leathers and comes in a wide range of colours. Simone Cipriani, in appreciation of the relationship: “The work Chan is carrying out in Africa and Haiti is a great contribution toward poverty reduction and empowerment of women. It isn’t charity; it’s business. She has been able to create fair and inspiring work that gives marginalized people the power to change their own lives.”

Kenyan artisans working on Chan Luu bracelets and bracelets close up. Photos: ITC EFI

Watch the film: Chan Luu working with artisans in Kenya 27

Studio One Eighty Nine Studio One Eighty Nine is more than a fashion label, it is a social enterprise and collective for a selection of fashion brands, artists, musicians and photographers... Photos (these pages) of Studio One Eighty Nineâ&#x20AC;&#x2122;s SS15 collection by Jason Eric Hardwick Photography.

Partner news

This page: Rosario and Abrima at work in Ghana. Opposite: Fresh, hand-dyeing and batik Photos: ITC EFI

...and it is more than a side project for a famous actress. Rosario Dawson and Abrima Erwiah have been friends since they were children, growing up on the same New York block they reunited as adults to create Studio One Eighty Nine, a platform to help promote and curate African and African-inspired content through an ecommerce shopping site, a supporting agency and an artisan produced fashion collection called Fashion Rising Collection. Working with artisans in the Cape Coast region of Ghana the pair recently launched the Studio One Eighty Nine’s second Fashion Rising Collection, a collection in which every piece of fabric is hand-dyed by artisans in Ghana and in fact, each garment is entirely made by the artisans. Images of the development of the collection and links to watch films follow on the next pages but the duo’s own designs and collections are only part of the Studio One Eighty Nine story. The idea germinated following a trip with Eve Ensler’s V-Day movement in February, 2011, through Kenya, Burundi and Rwanda to Bukavu in the Democratic Republic of Congo for the opening of the City of Joy. The trip created a desire within the pair to focus on creating opportunities for empowerment, education and employment of artisans and creatives. In 2012, One Billion Rising was launched as part of the V-Day movement, a global campaign

to end violence against women, rise for justice and promote gender equality and the cause remains integral to the machinations of Studio One Eighty Nine and its many partners. Less than four years after that first trip and Studio One Eighty Nine represents, or partners with, multiple designers in addition to releasing the Fashion Rising Collection: Bottletop - a line of bags created by Cameron Saul and Oliver Wayman. In the early 2000s, Saul launched the Bottletop Foundation with his father Roger (founder of Mulberry) and created a handmade bag made from recycled bottletops in Africa that were lined with Mulberry leather in Europe. Hence the name. The Studio One Eighty Nine x Bottletop collaboration of three handpainted Enamel Line bags were crafted and finished by hand in Salvador, Brazil, using up-cycled aluminium ring pulls. Geren Ford - a premium brand of clothing and accessories with over 300 doors worldwide including Barneys New York, Harvey Nichols, Bergdorf Goodman and Neiman Marcus founded by California-based Geren Lockhart. Gold Coast Trading represents founder Emeka Alams’ time in the Cape Coast in Ghana, where he was particularly moved by a visit to the region’s Elmina Slave Castle. His production is now split between the USA and West Africa and Gold Coast Trading has also collaborated directly with Eve Ensler’s

One Billion Rising. Ugandan designer Anna-Clare Lukoma aka Lulu learned her trade at the Yokohama Fashion Design College in Japan and the Tiner International School of Fashion and Beauty in Uganda. To reflect this bi-cultural schooling she initially launched NihonAfriq in 2004 within which she worked with local craftsmen and artisans before launching Lulu in 2011 and collaborating with Studio One Eighty Nine. Menzer Hajiyeva draws on the heritage of Azerbaijan in a scarf collaboration which mixes modern technology (photography, digital printing) with manual production (batik, silk painting and fabric dyeing). The scarves also incorporate Ghanaian Adinkra symbols. Shine on Sierra Leone - cocurator of Studio One Eighty Nine producer Tiffany Persons and filmmaker Rebecca Chaiklin’s trip to Sierra Leone to film separate documentaries in 2006 sparked a love for the people of the war-torn country and a special love for the weaving and woven blankets sold there. This has since grown to a selection of beautiful artisan-created scarves. Last but not least, New York-based Taiana, aka Taiana Giefer creates Merino wool pieces using an old felting technique; no loom, just raw fiber, warm water, natural soap made from olive oil and two hands. Each piece is 100% handmade by the designer and therefore 100% unique. Taiana has a

history of collaborating with designers; for Calvin Klein’s Fall 2009 collection she collaborated with head designer Francisco Costa with a series of custom fabrics and she has since worked in a simialr way with Rick Owens, Helmut Lang, Maiyet, Inaisce, Fauxtale Design and once again with Calvin Klein. Like the Ethical Fashion Initiative with whom Rosario and Abrima collaborate regularly, Studio One Eighty Nine is a great shared vision for a better world, where respect, a mantra of work not charity and the empowerment of women are at its core.

Watch the film: Rosario and Abrima interviewed by Hot 9t Fm

Watch the film: Fabric is handdyed and painted in Ghana

Watch the film: Aggie the Artisan’s message from Ghana

This page: Friends, fun, work! Opposite (top): Abrima applying the block to the hand-dyed fabric print. Photo: ITC EFI. (Bottom left): Rosario getting (her hands) into it. Photo: Studio 189 (Bottom right) An artisan working on dyeing and batik. Photo: ITC

Wonderwalls Above (left): Papa Oppong and Peter Caitoe working on the mural for the Ethical Fashion Initiative’s Hub in Accra, Ghana. Above (right): A designer and talented fashion illustrator, Papa was the man behind the artwork for the ITC EFI mural in Accra. Photos: Papa Oppong Opposite (above right): Designer Stella Jean, Talent Scout Simonetta Gianfelici and EFI’s Simone Cipriani posing in front of the ITC EFI Nairobi Hub mural. Photo: Louis Nderi Opposite (below right): Papa Oppong working from his desk at the Radford College of Fashion in Accra Photo: Ofoe Amegavie

Although fashion production is the core business at our production hubs, art is never very far away. Artists like the talented Ghanaian Papa Oppong are commissioned to paint murals that not only represent the work created, the designer partnerships and the interconnectivity between the hubs but also brighten up the space for the workers.

Papa Oppong Bediako, seen working above on a mural in the Accra hub of ITC Ethical Fashion Initiative with fellow artist Peter Caitoe is a fashion designer, illustrator and artist from Ghana in West Africa. Born in Accra, Ghana’s sprawling capital city, Papa attended Alpha Beta Montessori School before attending a series of schools where he eventually discovered a passion for visual art and fashion. He is currently pursuing a fashion degree at Radford University and designing as part of the Radford Collective (see following story). The young man from Accra’s talents have not gone unnoticed either; in 2012, Papa Oppong placed third in an international art contest oraganized by twin eyewear designers Coco & Breezy. His fabulous illustrations (see following pages) have been featured in the UK-based illustration magazine Dash Magazine. Last year that famous Child of Destiny herself, Kelly Rowland came across a digital painting that

Papa had made of her and loved it so much she went on to share it with her millions of fans worldwide via her social media networks. Perhaps it is his attitude toward the celebration of difference and the oddities of life that come through in his work. In his art and core creativity he is inspired by things that wouldn’t necessarily inspire the average person; death, decay and fear for example. Equally, he is inspired by pop culture, stars like Rhianna, Beyonce, Lady Gaga and Lana Del Rey and he credits fashion designers like Stephane Rolland, Viktor & Rolf and Alexander McQueen as major influences. In short, Papa Oppong represents a part of our future, an artist and designer with serious talent and vision who, like many working in the burgeoning African fashion and arts industries, is ready to bring his talent to the world.

Opposite (above): Not Charity, just Papa at work. Opposite (below) and this page: Papa Oppong fashion illustrations

Palette-able Emerging designers from Ghana

Ameyo designer Netty Anang backstage with models at the IED Moda show

As a flagship programme of the International Trade Centre and joint agency of the United Nations and World Trade Organisation, the Ethical Fashion Initiative links the world’s top fashion talents to maginalized artisans - the majority of them women - in East and West Africa, Haiti and the West Bank. Whilst we are all about creating a fairer global fashion industry the Ethical Fashion Initiative is also about advocating and growing young and emerging fashion designers from these regions. Designers like Stella Jean, Lisa Foliwayo, Sophie Zinga, Anita Quansah, Christie Brown, duaba serwa, Studio One Eighty Nine and MO SAÏQUE are building followings in partnership with the ITC EFI and showing in various parts of the world. A raft of new African designers are springing forth to show there is an abundance of fashion and design talent incubating in the region. The ITC EFI has been particularly active in developing this talent in West Africa and Ghana in particular. The Palette Association is a group of Accra-based designers who operate as a non-profit

organisation. The young designers work with ITC EFI’s Creative Director in Ghana to “lead collaborative product development and facilitate intermediation with international and regional buyers, and provide an industry focal point for coordinating ITC support.” Recently some of the designers participated in Dutch Design Week as part of the MUD show and several also showed as part of a prestigious IED (Instituto Europeo di Design) event in Milan in partnership with SECO (Switzerland State Secretariat for Economic Affairs) an event called IED Moda. The Ghanian designers Akosua Afriyie-Kumi of A A K S, Klekleli Dzidzienyo and Netty Anang of Ameyo and two designer collaborations: Joint Collective by Leslie Wiredu and Kofi Gyedu Kwabia and Radford Collective by Afua Biney, Papa Oppong and Michael Owusu made for a strong show alongside Swiss duo PortenierRoth who used fabrics hand-woven in Burkina Faso in their collection. Other designers in the Pallette Association include: Á-Côté Collection, Ashyenne Creation, Chapter-One, Enaj Bijou Concepts, Jaunity Expressions, Mabel

Dress by AmĂŠyo at IED Moda. Photo: Paolo Consaga

Akosua AfriyieKumi of A A K S working on her bags for the IED Moda show

Agbo, Metro Gear, Multi Bellar, Nuna Couture, Quami Wear, Sambalake, Tony Black Couture and YedeBeads. Whilst there is clearly a sense of collaboration, association and collective thought emanating from the association’s base in the Garment Enclave situated in the North Industrial Area of Accra, there is also a strong sense of the attributes and values intrinsic to the ITC EFI: craftsmanship, empowerment, ethical values and a sense of history and pride in their own culture. Of the designers who showed in Milan, Akosua Afriyie-Kumi of A A K S is based in both Ghana and London and incorporates the use of leather and raffia to create bags hand-crafted by top level local weavers; Améyo designers Klekleli Dzidzienyo and Netty Anang design and create fashion that is “relevant in the lives of the independent modern woman who is creative and sophisticated yet likes to show a simple elegant style”; Joint Collective designers Leslie Wiredu and Kofi Gyedu Kwabia combine sharp tailoring and feminine shapes, hand-woven cotton fabrics and striking Ghanaian wax prints. Their designs, whilst strong and militaryinspired are softened by using soft and airy fabrics. In Milan they paired their collection with Ghanaian shoe brand Heel The World. 40

Finally, Radford Collective is the work of Afua Biney, Michael Owusu and Papa Oppong, whose artwork and illustrations feature a little earlier in this magazine. The three students from Ghana’s Radford University fashion department created a capsule collection showcasing talent from the country’s premier fashion programme. With this ground swell of creativity, production and design taking place in Accra it is clear that the country is building its own foundation toward the growth of African fashion and the ITC EFI is proud to be part of it.

Watch the film: IED Moda show, Milan by Tolga Dilsiz

A A K S at IED. Photo: Paolo Consag

Above: Netty Anang and Klekleli Dzidzienyo of AmĂŠyo. This image: Kofi Gyedu and Leslie Wiredu of Joint Collective. Both images; ITC EFI

Radford Collective at IED Photo: Paolo Consaga

Made of Metal Haitian metalwork artist Mickerson Jean talks to Chloé Mukai about learning his art in Croixdes-Bouquets, his respect for fellow artist Serge Jolimeau, the difference between spirits or ‘Iwas’ and signs or ‘vévés’ and above all else, his passion for work. Photos: Romel Jean-Pierre

Above: Mickerson Jean, fer battu artisan, in his workshop Top right: Serge Jolimeau, one of the most respected metalwork artisans in Haiti Bottom right: 3. Fer battu artisans transform metal drums into intricate designs

Chloé Mukai: How old are you and how long have you been working in fer battu (metalwork)? Mickerson Jean: I’m 30 years old and I started when I was 12 years old, so it has been 18 years. What led you to this profession? I learnt out of curiosity. I’ve always lived here, in Croix-des-Bouquets. My father died when I was 6 years old and my mum when I was 11. From when I was about 12, I started commuting back and forth from the Croix-des-Bouquets area, and this is when I noticed there was lots of fer battu work going on here. Were all these artisans already working here back then? Not as many as now, but there were many already. I got my face known by some of the ateliers and started spending time watching their work. Then, I started imitating what they were doing and this is how I came to love this work. Who taught you in the beginning? At first I learnt alone, out of curiosity, by just observing. But then love for this work pushed me to integrate a workshop. I was lucky: one of the best artisans in Croixdes-Bouquets, Serge, helped me to refine my skills. So Serge (Serge Jolimeau, the godfather of fer battu) was like your mentor? Yes, although I was part of several workshops, the key workshop - the one that helped me become the person I am today - was the Serge Jolimeau workshop. He is the oldest guy around and represents the fer battu sector here in Haiti. I’ve learnt a lot from him, not just his skills but also his behaviour, how he acts with clients, his 44

open-mindedness etc. He has been a great inspiration to me in so many ways. What do you like about fer battu? I like it because I live thanks to it, and of course I enjoy the process of designing and producing metal pieces. Could you explain the whole process of working with fer battu? In order to produce one piece of fer battu, there are 7 crucial steps. First of all the purchasing of the raw material: oil drums that we buy in Port-au-Prince. Then, you must burn the empty drums to remove the colours on them, because barrels are always coloured (yellow, blue, brown etc.) and we cannot work on them when there are colours. Then we cut them in half and make them flat and clean them to make sure there is no metal dust left on them. After this, it’s time to draw the design – from a sample or from pure inspiration, onto the flattened, half-pieces of metal. Finally, we can start with the cutting: take the “negative” out, this part is called “débourrer”. But the richness of the design is not only about the cut-outs, but also about the textures we put into the metal that we emboss with different tools. What tools do you use? The punch and chisel are important. We use a hammer to bend the drums and sandpaper and varnish for the finishing. Do you mostly work for people like Stella Jean, who ask for specific items? Do you still make your own creations? I work for people like Stella who want specific things, but also from my own inspiration. My speciality is

masks. Do you research them, or do your ideas come out of imagination? I research about masks and about voodoo religion, because I link the masks with voodoo. I research African masks to see what they produce there, especially since my masks originate from Africa. My work is different from traditional African masks, but they inspire me. Are there no masks in Haiti? There are, but I don’t want my work to be like what we already have in Haiti. I don’t want to make what I see in Africa either. But it is my inspiration: I appreciate African masks, especially those from Congo. So do you do research on the internet, in books? I research a lot on the internet. There is this French guy who buys my masks and one day he brought me a book about African masks. I avoid making exactly the same thing, but try to get inspired by these photos. I also feel the link with voodoo. In reality, Haitian and African voodoo have a lot in common. When you see Haitian voodoo, you can also see Africa, because many of our lwas (the spirits of Haitian voodoo) come from Africa. This is why there is a very strong link between the two. Voodoo in my work is mostly perceptible

in my masks and in the vévés (religious symbol commonly used in voodoo), because each of our lwas has a vévé illustration. So the vévé and lwa are two separate elements? The vévé is the sign which designates a lwa. When we see a vévé, it is the symbol of a lwa, like Agwé, Ambala, Simbi. So for example when we see this vévé (points at a small metalpiece), we know that it represents Simbi. Whereas this one (points at another piece) is a Kuzesaka, the spirit of cultivators. Now let’s talk a little bit about you. What can you share about yourself asides your work? Not much… I work all the time. Even when I’m not working, work is on my mind. It’s a slightly crazy idea but I wish I could die at work. Sometimes I listen to music and I occasionally drink a beer, but never two. Do you have children? I have two: a boy of 11 and a girl of 3. Do you think your son will work here? Would you like him to? I can see in him the ability to become an artist of some kind, because he likes to draw. I would like him to work in fer battu, here or elsewhere. I love my job so it would make me proud to have him follow my steps.

design for life

The United Hands of Fashion

Karen Walker/ Sophie Zinga/United Arrows/ Instituto-E/ Osklen/Carmina Campus/Stella Jean

Visible Moves

Karen Walker

In early 2014, New Zealand-based designer Karen Walker became the second Australasian designer to partner with the ITC Ethical Fashion Initiative after sass & bide. Thousands of eyewear pouches were created with Kenyan artisans to house Karen Walker Eyewear in the global retail market. Grant Fell asks Karen about her partnership with the ITC EFI; what it means to her, how it works and where is it going. He also talks with Karen Walker accessories designer Jade Leigh Kelly who travelled to Kenya during production of the pouches to shoot the highly ‘Visible’ campaign with Derek Henderson and the artisans at Waithaka. Photos: Derek Henderson and ITC EFI Grant Fell: Karen, when did you first learn of the ITC Ethical Fashion Initiative? Karen Walker: We’ve been following the EFI and its work since it launched in 2009 and in 2012 we worked with them to create a bag that was sold throughout Myer stores in Australia. We were thrilled with how the bag looked and so following on from that, in mid 2013, when Simone Cipriani and I were both speaking at the Bespoke conference at the Sydney Opera House we discussed the idea of working with his team in this bigger way. What was it about the ITC Ethical Fashion Initiative and their work that appealed to you? We always look for how we can challenge the way things are done, from the product design to the way a product is produced and marketed. This project has given us an opportunity to create a new kind of product (our wearable pouches that come with every pair of new season eyewear) that was not possible with our traditional channels. The EFI understand the luxury market and they understand that designers and customers are looking for unique points of difference all the time. It also allowed us to collaborate from the point of product design right through to partnering with the community on the images. This allowed us to create visibility for the community and the EFI. The most important thing though is the fact that the project’s allowed us and our customers to make a difference. Additionally, because the EFI is part of the UN, we had absolute trust that there would be honesty and transparency throughout the project and it’s been thrilling to see the reports around the impact that this project has had on the community. The idea of giving people a way out of poverty through fair pay and dignified work is what initially drew us to the idea and why we’re going to continue to work with the EFI from now on. Before partnering with them did you research them, their model and how you would fit in – a little due-diligence as it were? Yes, we did a lot of research about them and asked a lot of questions. We had a long-standing relationship with one of the people on the EFI team so had a lot of trust in them because of that and also, of course, the fact that Myer were working with them and had done all their due-diligence also gave us a great deal of confidence. Plus, the fact that they’re under the umbrella of the UN gave us great confidence. When did you first meet or communicate with Simone Cipriani? I first met Simone when we were both on the bill at the Bespoke Conference in Sydney in mid 2013. I was immediately spellbound. He’s an incredible man and a wonderful communicator. Tell us about the initial stages of the Karen Walker Eyewear Visible project, how did you get it under way in a design and creative sense? The eyewear design process began before the campaign but we worked on the pouches with the EFI. Simplicity was very important, keeping in mind a short turnaround time and what skills and materials were most available within the community we were working with. In addition, we released more complex and detailed pouches that were also created by the EFI’s artisans, featuring beading and tasseling by the Maasai artisans, that people may purchase in addition to the simple one included with

Winnie Wangari, production supervisor at Ethical Fashion Africa shot for Karen Walker Eyewear campaign by Derek Henderson

“The work for Karen Walker has allowed the income for most workers to increase by over 40%. The income earned was also used to support education and contributed towards sustaining decent living environments and access to health services”

every pair bought. As a designer partner to the ITC Ethical Fashion Initiative how does the business side of it work? How do you provide work for the artisans? The EFI connects designers with some of the world’s most marginalised artisans. In everything it does, the Ethical Fashion Initiative develops local creativity, fosters predominantly female employment and empowerment, promotes gender equality to reduce extreme poverty and increases the export capacities of the regions in which it operates. The Karen Walker partnership with the EFI has had a real and measurable impact on community groups of artisans in Kenya. For example, the Impact Assessment report from the United Nations’ International Trade Centre revealed that to date, the work created for Karen Walker has allowed 153 previously unskilled people to gain skills. To complete the orders, the artisans involved took part in various trainings on business practices, customer relationships and quality control. These trainings yield a wider impact in terms of building entrepreneurial spirit and an increase in confidence, pride and satisfaction levels within the community. The work for Karen Walker has allowed the income for most workers to increase by over 40%. The income earned was also used to support education and contributed towards sustaining decent living environments and access to health services. Despite 3.6% inflation, 38% of the population surveyed indicated they were able to save. 62% of the artisans involved advised that the income from the work created for Karen Walker provided a means to address pressing household needs such as education, housing, health and nutrition. How different was this relationship from your existing supplier relationships? It’s not very different really. We still start with finding out what skills and materials the supplier is best able to provide and then we design with that in mind. Designs are created in our design room and CADs (Computer Aided Designs) emailed. Samples are created and photos emailed then product couriered to us, comments made, counter-samples seen and signed off. The same process we work to with all our suppliers, but just working with different skills, materials and out of a different place. Do you know how many artisans in total were working on your project? 170. You chose to build a campaign around this project, sending Karen Walker’s Jade Leigh Kelly and photographer Derek Henderson to Kenya to shoot your product on the people of the region. The campaign was highly ‘visible’ for both Karen Walker and the ITC Ethical Fashion Initiative, did that process bring you closer to the project overall? We wanted to expand on the project by presenting not only the pouches created for us, but also something more intimate - a glimpse into the world that the work is coming from. The people we photographed included machinists, cutters, tailors, beaders, production managers and metal workers as well as members of the Maasai group who create the more elaborate beading work. None of them are professional models. Karen Walker Eyewear has always had an optimistic outlook and has always been about standing out from the crowd. This campaign captures both this innate optimism and love of maximum-impact in the images themselves and also the way in which they direct our attention to this part of the world and the work being done there. In short, the images

help to bring visibility to this place, these people and the work of the Ethical Fashion Initiative. Explain how the pouches created by the artisans, the work as such, was applied to the Karen Walker brand. Where did they go? The simple, screen-printed pouches come with every pair of Karen Walker Eyewear from the Summer 2014 season and, in addition, more elaborate and embellished versions were available to buy separately. Have you had feedback from customers about the pouches? The feedback has been overwhelming. People have appreciated what the project’s all about and love the product. They also really love the images. I know you have a few other projects on the boil with the ITC Ethical Fashion Initiative, can you tell us about them yet? We’re continuing to work with them on other products but working with the same team and the same skills and materials – new designs though. We’re expecting to get the next story into market mid 2015 followed by another story late 2015.In a few words, describe your relationship to date with Simone, Chloé and the ITC EFI. We have a rule that we only work with people we’d want to have dinner with and I’ve had many dinners with this team – Tokyo, New York, Sydney, and more. They’re wonderful people whom I respect and appreciate having in my life.

Jade Leigh Kelly

Grant Fell: When did you first learn of the ITC Ethical Fashion Initiative? Jade Leigh Kelly: Prior to working with the EFI, I had been a fan of the work they were doing with other designers over the past five years. Had you been to Africa before flying in to oversee the campaign shoot with Derek? No. I hadn’t been to Africa before but it had always been on the list of places I’d love to go. As a child I was fascinated with Africa, its animals and landscape so this trip was truly a dream come true. Tell us about the first day, did you land in Nairobi and then drive to Waithaka? We landed in Nairobi late afternoon to what felt like a makeshift airport due to the recent fire they’d had. As we left the airport building we walked into the hot dusty haze where our lovely driver Cyrus greeted us with a big smile.

Opposite: Every eyewear pouch was screen-printed by hand. Here, drying printed canvas at Ethical Fashion Africa at the Godown Arts Centre, Nairobi. Above: Karen Walker’s Jade Leigh Kelly getting some help from the locals

“ Derek and I were welcomed by song; all the workers stood and sang a welcome. It was amazing! We weren’t expecting it and it felt like a joyful celebration that we were there”

Screen printed Karen Walker rabbit logos drying in Nairobi

The drive from the airport to the hotel took over an hour; there were so many cars and lots of roadwork going on so we were idle in traffic for a lot of the time. It was probably one of the most interesting traffic jams I have been stuck in. People were walking through the cars and up to windows trying to sell all kinds of things, from nuts and leather bags to necklaces and towels. We did well to resist but then we came across one young boy who had the most adorable face and was very persistent with his plea for us to buy from him. Our driver Cyrus advised us not to buy anything as it encourages parents to send their children out to work rather than school, but rightly or wrongly we crumbled. We bought a bag of nuts. Was Chloe or someone from the ITC EFI there or perhaps someone from the Hub there to help with things like translation? Most of the people we were working with spoke some level of English so we didn’t really need much translating. It was only when we went to visit the Maasai beaders at their manyatta (settlement) that we needed some assistance talking with Kappoka and Rason who are the elders in our campaign. The kids were more that happy to help, they were fascinated with talking to us. Chloé from the EFI and Cyrus our driver was with us the entire trip so we always had assistance with translation. What did you eat? The food was great and all very familiar, lots of fresh fruit and veges. Describe your first meeting with the artisans? I first met the artisans working on our product during our tour of the EFI artisan Hub. Arriving at the hub, there was a lot to take in, people out and about working on different things and lots of art and murals on the sides of the buildings. Jeremy and Lisa from the EFI, who we had been working closely with on the Karen Walker pouches, greeted us at the doors of the hub and showed us around the workshops. Derek and I were welcomed by song; all the workers stood and sang a welcome. It was amazing! We weren’t expecting it and it felt like a joyful celebration that we were there. They did the same when we left, with a song thanking us for providing them with work. There was a real sense of pride and gratitude about the work that they do. I enjoyed getting to know some of the artisans more closely. Winnie, a supervisor of embroiderers at the hub (and also one of the stars of our eyewear campaign) has worked with the EFI since 2009 and has been able to send her brother to school and improve living conditions for her family. The other women also expressed how working with the EFI has helped them gain more confidence and new skills. Did you spend time with them while they were actually making the pouches, did you check their production set-up? Yes, I got to see how all the work comes together and meet many of the artisans working on our order. I was impressed with the set-up - they had different areas for various parts of the production, from machine sewing, hand painting, screen-printing to pressing and packing. It was 52

Screen printing is a labour-intensive activity, entirely manual, which provides much needed work to the artisan communities involved in the project.

such a pleasure to meet and talk to the artisans working on our pouches. They take such care and pride in their craft. Not all aspects of sampling and production are done at the EFI Hub. The EFI do a great job of taking work to the community. For example, the beading on our more intricate pouches were done by the Maasai beaders at their manyatta before the goods head back to the hub for finishing. Did they like having their photos taken in the KWE sunnies? I loved how keen the artisans were to be included in our campaign. They were some of the best talent we’ve worked with. Some were shyer than others but they were amazing and had a great time being photographed by Derek. I think this really shows through in our campaign images. I heard your truck got stuck in the mud, can you tell us about that? Oh the van! It certainly did bring unexpected twists and turns to the adventure. We actually broke down twice. The first time was when we were driving to one of the metal workshops where a group of artisans were being trained. The workshop was on a farm so we had to drive through fields but it had been pouring with rain the last few days so the land had turned to sludge. Our driver was a pro, I couldn’t believe we got as far as we did in our rickety old van in such messy and bumpy conditions, but, alas, our luck ran out and we began to slip and slide until we got stuck in the mud. Luckily all these men just appeared from what felt like nowhere, some young, some old and some barefoot. They began to push, rock and shake the van until we became unstuck! After the rescue, our heroes asked what we were doing and were then keen to try on the sunglasses so we took a few snaps. It actually turned out to be one of my highlights of the trip, they were really funny and loved playing up for the camera. The second time we broke down was in Nairobi National Park when we were trying to find our way out as it was getting near to closing time. We had to cross a part of the road that had pretty much turned into a river due to the rains, we got through it and then the van conked out! There was no one around and it was starting to get dark. The last living thing we saw was a massive buffalo, which was just around the corner, I found the whole situation hilarious, I just couldn’t believe what was happening. We had no option but to get out of the van and push in the pouring rain. Cyrus and Derek were trying to start the van up whilst pushing from the front and Chloe and I were at the back giving it all we had between fits of laughter. It wasn’t until we’d picked up some pace and were running with the van that it actually started. We did a big cheer and a merry dance, got in and got out!! What is your lasting memory of the trip, what was special about it? I found the trip very emotional and inspiring. I left with such a massive sense of pride that we were a part of this amazing organisation that’s making such an improvement to the lives of so many. 53

Watch the film: Karen Walker Visible Eyewear campaign 54

Top: Michael Ochola Owino working the screen-printing set-up at Waithaka. Above: Elisabeth Awuor Otambo drying the fabric that will become Karen Walker Eyewear pouches

Velma, marketing assistant, photographed for the Karen Walker Eyewear campaign by Derek Henderson

Sophisticated Lady She may be a graduate of Parsons, the prestigious New York Design school, but Senegalese born designer Sophie Zinga considers herself a citizen of the world and her designs a ‘distinctive blend of her artistic experiences and an eclectic cocktail of her voyages’. Grant Fell finds out about lessons learned from Parsons School of Design, settling back in Dakar and why Abyssinia is one of the ‘most underrated civilizations of all time.’ Photos: Fabrice Monteiro, Ibra Ake and Mandela Gregoire Interview

Grant Fell: Sophie, you were born in Senegal. Whereabouts in Senegal and did you grow up there? Sophie Zinga: I was born in Dakar, Senegal. I left for the US, when I was about 22 months old. I later returned to Dakar for a short period of time before my family and I moved to Kenya for a couple of years. We moved back to Dakar when I was 10 and we ended up moving back to the US by the time I was 13. My high school years were split between Dakar and Tri State area where I’ve been living up until I moved back to Dakar 3 years ago. I still go back to New York quite often. Tell us about your childhood. Can you remember when you first became interested in fashion? I had a really happy childhood. I was the last child and grew up with my two big brothers who were always very protective of me. I was also quite studious and was completely consumed by books and literature. In fact up until now, I always have a book in my bag out of habit. Having said that I was always drawn to beauty and art. I also grew up surrounded by art everywhere, as my parents are avid art collectors. I remember watching in the 90’s, a Naomi Campbell documentary, which gave me a glimpse of the fashion world and I was completely fascinated from then on. You were on course for a career in Public Health before applying to enter Parsons, in New York. The prestigious school has launched the careers of some of fashion’s true visionaries; Marc Jacobs, Alexander Wang, Prabal Gurang, Zac Posen and so many more. Talk us through how Parsons has shaped Sophie Zinga, the designer… I grew up being drawn to development work and social issues in Africa because both my parents worked in that. From a very young age, our family discussions/debates were about world politics, Africa and African American

history. In fact, while studying economics at The New School, I interned in the UN and worked on a Columbia University-led team on Millennium Development goals related to health in Sub-Saharan Africa. However all throughout this time, I always said “in another world I’d be a fashion designer.” It was not until 2009 that I applied to Parsons and when I got accepted, I knew it was my calling. Parsons was instrumental in shaping the designer I am today. It truly is a world class school. It was highly competitive environment but in a positive way. A regular school day before midterms or finals would end at 3am with students still working on projects. My education there taught me the importance of rigor and dedication. Do you still work or collaborate with anyone from the school? Not as of now, but I still keep in touch with my professors and a couple of classmates. I am actually working on a project to be launched in 2016 in which I’d like to collaborate with Parsons. Did you create a standout piece while you were at Parsons that has informed your work today? If so, please describe the piece…I was always drawn to clean lines and I focused much on perfect tailoring and finishing the inside of a garment. I took this haute couture techniques class and it still very much informs my work. The meticulous finishing that is seen in my pieces stems from the rigorous training I received. Draping classes were one my favorites but curiously enough I haven’t ventured much into draping in my collections, however, my school sketches and final projects always bring back great memories and ideas as well. Your first line was launched in 2012, what was it called and what was distinctive about the collection? I did not give a name to my first collection.

Hand dyed Alenรงon lace dress by SOPHIE ZINGA (S/S 2014 collection)

Interview

This page: Sophie wears a Hand dyed Alençon lace dress from her S/S 2014 collection) Opposite: Silk satin top, handembroidered with Swarovski details by SOPHIE ZINGA (S/S 2015 collection)

I remember when I first started working on it, I had just given birth to my daughter and a month later I was running around New York City subways and the garment district. I have always focused on using high quality fabrics and my first collection was no different. I wanted it to have an African touch and rather than using the popular “Ankara” fabric, I used a Senegalese hand woven fabric called “pagne tissé.” I used the fabric to design a cocktail dress and a maxi pleated skirt which eventually got the attention of one of Elle France’s editors. In 2013, you set up production and opened a 1200 ft concept store in Dakar, Senegal’s capital. Why did you decide to return to the country of your birth to establish your brand? I think even though I grew up abroad I always made a conscious decision to go back to Senegal to either work or create jobs and impact my community. My parents, siblings and I spent most of our summers in Dakar so I always felt a strong connection with the culture and spoke the local languages fluently. For me, when I launched the line it was just a matter of time before I settled back in Dakar. What is the fashion scene like in Dakar? Is there a common thread to the design coming out of the area? The fashion scene in Dakar is growing. I’m so proud of what the latest generation of Senegalese designers are doing. We all have our own distinctive styles. Platforms such as Dakar Fashion Week spearheaded by Adama Paris helps grow and

bring awareness to the growing Senegalese fashion scene. We still have a lot of work to do but I’m confident that we will catch up with the rest. Senegalese women are known for being elegant and gracious. When did you first learn of the ITC Ethical Fashion Initiative? I first learned of the ITC Ethical Fashion Initiative though a talent contest that was launched in 2013. Explain how you work with the ITC EFI now…It has been great collaborating and working with ITC. They have provided me with great feedback during S/S 15 collection and have also facilitated and sponsored my presence in platforms such the Vogue Talents during Milan Fashion Week. I think they have arrived at the right time as African fashion has been booming and having international platforms to get our work known is capital. I love their motto “not charity, just work”. It echoes the “trade not aid” sentiment which more Africans have been pushing for. They are making history. You have shown at a number of fashion weeks now: New York, Paris, Milan, Dubai, MBFWA in Johannesburg and more recently in Lagos at the Lagos Fashion and Design Week... Do you have a favourite show to date? New York is like home so my S/S 14 collection presentation in New York will always be special to me. Having said that, each city and each fashion week has its own distinctive benefit. For example I love the spontaneity of Dubai, they have that culture of buying off the runway. Lagos’

Opposite:Hand dyed ombré Alençon lace gown by SOPHIE ZINGA (S/S 2015 collection) This page left: Cotton piqué top with dyed and Swarovski incrusted appliqué by SOPHIE ZINGA (S/S 2015 collection) Right:Tstrap hand-beaded chiffon cocktail dress by SOPHIE ZINGA (S/S 2015 collection)

energy and creativity was unparalleled and I think MBFWA’s prestige and beautiful production still has me nostalgic. I really try to get the the best out of all of my shows and presentations. One of your signature techniques involves the use of a Malian tie-dye technique applied to beautiful French Alencon lace, chiffons and other fabrics. Are you developing other design and production techniques like this, where African artisan processes are applied to European fabrics or design? Yes, I am an avid fan of fusing cultures and aesthetics. In fact, I am currently conducting research on the use of old Senegalese dying and batik techniques. Batik and dying are techniques that have been used all throughout West Africa. For 2015, I plan on developing my own silk printed fabrics while using old age West African techniques. I think it always adds a special element to clothes. Your roots are in West Africa, yet your latest collection is called ‘Abyssinia’ the region in East Africa now known as Ethiopia. Why did you call the collection Abyssinia? My roots are indeed West African but I spent part of my childhood living in East Africa. I think the Ethiopian civilization has been one of the most underrated civilizations of all time. It also helps that my father wrote a book and did extensive research on African writing. I am very much drawn to revisiting historical aspects of Africa to not only raise awareness, but to also get people

interested and start conversations. Similarly, talk us through the use of the cross in the collection from the Ethiopian Orthodox Church… As I was conducting more research on Ethiopia I stumbled on the Ethiopian Orthodox cross which is deemed the “African cross” because of its distinctive shape. I also noticed that many of traditional Ethiopian traditional attire feature the cross. In the collection, the cross is embroidered onto some the dresses and jumpsuits. It was my way to pay homage to Abyssinia. What is next for Sophie Zinga? What does the next year hold for you? In 2015, I will be developing an accessories line. A diffusion line is also in the works, which will be launched towards the end of 2015. I am also working on a larger scale project to be launched in 2016. It is a quite ambitious project and will be linked to training and developing the African fashion industry. What music are you listening to at the moment? Nina Simone on repeat - “Aint got no” Your favorite city? New York City. Your favorite book? Too many to choose from. You are having a dinner party and can invite four people from any time or place. Who would they be? Michelle Obama, Oprah Winfrey, Malala Yousafzai, Lupita Nyong’o. If you could do one thing to change the world, what would it be? Eradicate poverty.

Straight&True

In Japan, and now also Taiwan, United Arrows represents a significant retail empire that is built on quality fashion. An early champion of Comme des Garçons, United Arrows now stocks a vast selection of high-end designers and also has a stable of its own products, including Tégê, the label formed to distribute artisanal fashion goods. Grant Fell outlines that partnership and United Arrows founder and creative director Mr Hirofumi Kurino provides his own unique insight into traveling to Kenya to work with our artisans on the Tégê project. In positing the strapline to this magazine “Post-Luxury” United Arrows founder Mr Hirofumi Kurino unveils his vision for a world where hand-made-by-artisans becomes the new quest for purveyors of quality fashion. United Arrows’ ethos is simple; a tireless passion for quality; the best shoemakers, the best leathers, the softest cashmere, beautiful things well made for discerning buyers; those who want a “rich and high-quality lifestyle,” or “fashion-savvy men and women who enjoy elegant quality products.” Yet United Arrows is not just another Asian retail chain stocking wall-to-wall luxury items. A scan through the list of the several hundred brands stocked - from Acne to Zweisel - tells a compelling story of quality and craftsmanship, artisanal flair and a classy, effortless sense of style. In partnering with the EFI on their Tégê collection, United Arrows are making something of a statement within Japanese fashion, an avant-garde detour that links a Japanese company which values craftsmanship with African artisans . In a recent interview with Kaikari.com Mr Kurino talks of his search for creativity in clothing but also his search for ‘the spirit of true craftsmanship’ and by traveling to Kenya and also Burkina Faso to work directly with the artisans on the Tégê collection - a variety of products from jackets and trousers to necklaces and bags - he reflects not only the pioneering spirit intrinsic to the company but also an example of the new frontiers that are emerging for fashion design and production. Besides being considered one of Business of Fashion’s top 500 most important fashion people, Mr Kurino is himself something of a style icon, appearing several times on The Sartorialist and a number of other street style blogs who recognise his timeless chic and sartorial panache. He credits much of his personal style origins to The Beatles and British rock band style of that era, yet he is also a big fan of Fela Kuti and Nigerian designer Duro Olowu. Mr Kurino, ever the cultural adventurer is once again steering United Arrows, straight and true, into a new ‘post-luxury’ world.

Reversible canvas men’s pouch with Maasai beading, made in Kenya for Tégê United Arrows. Photo: United Arrows

Comment

Above: United Arrows Senior Creative Director Hirofumi Kurino and Men’s Buyer Shoji Uchiyama on a sourcing mission in Burkina Faso, searching for the spirit of true craftsmanship. Opposite:Tégê United Arrows jackets and trousers: tailored in Japan from cotton made in Burkina Faso & basket from Kenya

Reproduction of Mr Hirofumi Kurino’s impressions of his first trip to Kenya (first published in Figaro Japon, August, 2013): “What I saw in Africa, was a place where the beautiful fashion is born, I met the most beautiful people in the world in Kenya! I travelled there to research the collaborative project between the ITC EFI and United Arrows, called Tégê. I’ve long been attracted by Kenya and Western Africa’s various tribes and cultures so I was very excited to go there, both personally and for business reasons. I have been friends for more than 10 years with the famous Nigerian designer Duro Olowu and of course Nigeria is the place where the great musician Fela Kuti was born as well. The bead craft and needle work of Kenya and the textile fabrics of Burkina Faso are both amazing and United Arrows were excited about working with the local people, people who work with their hands. When I received the offer to collaborate on this project with the ITC EFI, I immediately talked to UA headquarters and we accepted the offer to collaborate with them. We knew that in doing so we would be helping the artisans of Africa but we also knew that these people make fabulous products. I like the slogan of the ITC EFI, “Not Charity, Just Work”. The Korogocho slum near Nairobi is situated next to a giant garbage tip. About 60% of the local people make a living by picking up things which can be recycled. It is unhygenic and dangerous but for many of them there is no choice. It is great the ITC EFI are trying to offer another source of income. Kibera, the largest slum in Africa is also in Nairobi. Here there is another community that the ITC EFI supports as well. There is also a community that supports orphans in Gilgil. There, mostly women artisans do bead work, create textile fabrics and prints. The work they get gives them the opportunity to be able to afford food and education for their children, once the works are produced and developed. The kids we met were very friendly, greeted us with a smile and never asked for money, all they ask is: “How are you?” I don’t see that in Asian markets. Even though people live in poverty, they are still very positive. I didn’t feel any fear, stress or suffer any problems during my stay. When I met the women of the Maasai tribe, I discovered the reason why I have been so attracted to the culture there. They have a natural ability to be a stylist!! I was so ashamed that I had made a selection of outfits for my trip to Africa based upon the concept of “good to be dirty”. Yes, fashion is for all, transcending cultures and environments...

Watch the film: United Arrows x ITC EFI by Mark Tintner

Brazil’s new frontier:

e-collaborators Brazil does not immediately come to mind when terms like ‘sustainability’ or ‘eco-friendly’ are used. Insituto-E hopes to change that. Alongside creative companies like Brazilian clothing brand Osklen they have instigated a series of collaborative projects and intiatives like E-Fabrics, Traces, Water Traces and e-ayiti the latter also in partnership with the EFI. Mary Jo Cartier hears from Instituo-E Executive Director Nina Braga of the success of E-Fabrics in partnership with the Italian Ministry of Environment, Land and Sea, the slowly changing attitudes of Brazilians toward sustainability and the challenges faced in educating the market. We also outline the Traces project and showcase Osklen’s SS 15 collection, Inhotim, fresh from the catwalk at New York Fashion Week.

Interview

Harvested jute ready to be spun into yarn. Eco-jute is a natural fibre from the Amazon that is bio-degradable

Maryjo Cartier: Can you briefly describe the philosophy behind Instituto-E? Nina Braga: Instituto-E believes sharing information is the first step to human development. Our characteristic is that we use an alternative multimedia language to direct society’s energy and guide it to protect our biodiversity, right to information and education, as well as historical and cultural heritage. Instituto-E’s mission is to change and position Brazil as a leading country for sustainable human development by establishing a network that strengthens the synergies between different initiatives and actors in the society. Like the Ethical Fashion Initiative. What is your role at Instituto-E? I am the Executive Director since 2007. My responsibility is to manage institutional relationships as well as every day issues. An important activity in my job is to support the President of Instituto-E, M. Oskar Metsavaht, also a UNESCO Goodwill Ambassador, in his advocacy towards a new paradigm for sustainability. Our goal is to demonstrate the importance of the eco agenda with the creative economy’s agenda. Instituto-E is a pioneer of sustainability - what have been your successes and what challenges have you encountered? Successes: One of our core projects is E-Fabrics through which we identify sustainable raw materials that can be used by the textile industry and fashion supply chain with the objective of creating a conscious consumer culture. It also promotes impact study on the production process, preservation of diversity and social relations with communities, increasing incomes and generating design products. The mapping of E-Fabrics was developed with private companies, academic institutions and research centers. This project won prizes and led to many other projects, for example a collaboration with the Italian Ministry of Environment, Land and Sea (IMELS) named ‘Traces’ and ‘Water Traces’. Traces tracks the carbon, water and social footprint of ten products - sustainable and non sustainable - used by our partner Osklen. We also have the e-ayiti project, developed with the Ethical Fashion Initiative, through which we highlight how design has to relate to ethics. Aesthetic and Ethics must be united, while creativity is a tool to empower local groups’ knowledge and enable to them acquire new abilities. Challenges: We faced many challenges, for example people misreading our concept. We believe the market is crucial in what we do; unfortunately many people still believe that charity is a solution to many problems. For us, charity is an outdated concept. Another challenge is to be based in a country where sustainability is not very valued by the public. Because of this it can be quite a challenge to communicate – and successfully convey the message– on the added value of sustainability. This is why we put so much emphasis on the story telling behind the product. How would you define Brazil’s relationship with sustainability? Ambiguous. Brazilians love the immensity and the

“Our goal is to demonstrate the importance of the eco agenda with the creative economy’s agenda” diverse biodiversity our country is lucky to host, but tend to see it as a never-ending abundance. Consequently, we do not use our resources rationally, and we have been facing problems like a water supply crisis in our biggest city, although we have one of the world’s largest water sources! We also have to deal with the old-fashioned concept that sustainability is transversal and encompasses every aspect of human activities. Our government often places the poverty eradication agenda as the primary concern, which is a major issue, yet social and ecological crises are interconnected, not separated. But little by little, day by day, the number of people concerned with sustainability is increasing. Not a majority, nor has it become a public policy, but there is a general awakening towards sustainability issues. Our hope is that the awareness will become so significant that this regrettable scenario will change in time to avoid losing our priceless natural heritage. We are happy and proud to say that Instituto–E is helping to change the environmental outlook in Brazil. Can you explain the strong partnership between Instituto-E and Osklen? The Instituto-E’s president and founder is also the creative director of Osklen, a benchmark in the fashion industry. Since the founding of the Instituto-E we are proud to have built a strong partnership with Osklen, who supports and serves as an excellent platform to showcase some of our main projects like E-Fabrics and e–ayiti. But our work on sustainability extends to more brands: we share our research on sustainable products or raw materials with other fashion brands interested in becoming more socio-eco-friendly. In the past, we have developed projects with partners that did not involve Osklen. Yet many people mistakenly associate all Instituto-E’s projects directly with Osklen. Unfortunately this leads to brands declining collaborations, which is a shame. Instituto-E does not “belong“ to Osklen: we are partners and we receive royalties as their consultants in social environmental initiatives, but our funding also comes from other sources, both from the public and private sector. Can you tell us about the e-ayiti collection that Instituto-E produce in partnership with Osklen and the Ethical Fashion Initiative in Haiti? The Ethical Fashion Initiative’s team, Simone Cipriani and Chloé Mukai, were introduced to the E-Fabric project during the Rio+20 conference in 2012. Immediately, EFI understood that E-Fabrics was an initiative that could generate income and social inclusion in Haiti, where they were working at the time. As Director of Instituto-E, I was invited to visit Haiti in search of materials that could be worked by local artisans and transformed into fashion pieces. In June 2012 I brought back the results of the research conducted with various re-used materials, which were transformed into fashion accessories such as necklaces, pendants and bracelets. This was the first e-ayiti line. Developed by the Osklen designer Ana Beatriz, the collection reflected the simple and pure style of Osklen. Each piece was produced by Haitian artisans from the Cooperative des Ateliers d’Art de Cité Soleil, under the direct supervision of the Ethical Fashion Initiative, creating a source of income for the producers. Materials included coloured telephone wires, wrought iron, silk wires and cement bags. The entire e-ayiti (“Haiti” in Creole) collection was engraved with the word “hope” in Portuguese, French, English, Creole and Braille and are available in Osklen stores in Brazil and in the USA. They sold well and Osklen even placed a repeat order! Thanks to this partnership, Ana Beatriz has been to Port-au-Prince twice to train the artisans. Now, our goal is to establish a permanent supply chain whereby there is a constant demand from Osklen, which in turn generates a steady flow of income for the Haitian artisans involved. Currently, new materials available in Haiti are being tested and our second line will be ready at the beginning of 2015.

Trace Elements The TRACES project is an innovative co-project between the Italian Ministry for the Environment, Land and Sea (IMELS) and Instituto-e, an organisation supported by Osklen. Osklen founder and creative director Oskar Metsavaht has long believed that economic wealth should co-exist with social and environmental wealth and sees his label as a starting point to develop projects that measure impact, good operational practice and show how a green economy is not only possible, but desirable. The initial TRACES project which mapped the carbon and social footprint of 6 Osklen products made using e-fabrics was presented at Rio+20 in 2012. Experts from both countries studied the supply chain for Osklen’s Pirarucu (Amazonian fish) leather bag, Silk tennis shoes, Eco canvas Dock side, World Wildlife Fund Jute bag, recycled Pet and Cotton backpack and Organic cotton t-shirt. Images of some of these fabrics and components can be seen on the following pages. TRACES has since evolved into WATER TRACES. This second stage of the project monitors the usage of that most precious of commodities, water, in the creation of four Osklen products; a straw bag, tennis shoes, jeans and

a t-shirt to create a ‘hydric’ footprint which measures usage of the three types of water; Green water, Blue water and the far less desirable Grey water. The project’s teams explored three regions of Brazil - Midwest, Southeast and South - in order to check the water used in the multiple stages of planting and manufacturing of each of the pieces, as well as the social impact along the production chain right to the end and the product’s disposal. Given that the textile sector globally employs more than 30 million people and that water is limited, or difficult to access for over one billion people in the world, this is research with far reaching consequences. Oskar Metsavaht’s commitment towards sustainability has seen him nominated as UNESCO’s Goodwill Ambassador for the Culture of Peace and Sustainability. In February, 2014, Osklen, Instituto-e and the Ethical Fashion Initiative launched e-ayiti, a collection of craft jewellery fashioned out of optical cables, reclaimed metal, refugee tent scraps and recycled paper by the EFI’s artisans in Haiti. The e-ayiti line is engraved with the word ““HOPE” in Portuguese, French, English, Haitian, Creole and Braille.

Opposite: Jewelry and packaging of the e-ayiti line. Opposite (below): The Osklen team visiting production communities in the Amazon with the Instituto-E and Italian Ministry for Environmental, Land and Sea’s team. This page: 1. Measuring the length of a piracuru, a large freshwater fish native to the Brazilian Amazon used by Osklen in partnership with Instituto-e for its leather. Piracuru can only be caught if they are 1.5 metres in length. Piracuru fishing is protected by environmental law in Brazil 2. Archipelago of Marajó, Pará, North of Brazil 3. A silk cocoon and silk worm on a production site in the state of Paraná, South of Brazil 4. Fishing centre on the Archipelago of Marajó, Pará, North of Brazil. 5. Eco-jute yarn from the Amazon. Eco-jute is a natural fibre that is bio-degradable 6. Preparing jute to create eco-jute yarn 7. Artisans handweaving organic silk in the state of Paraná, South of Brazil 8. Hand-weaving eco-jute into fabri

OSKLEN Social

Instituo-e Social

Watch the film: TRACES, Social, Environmental and Carbon Footprint Project

Watch the film: WATER TRACES, Instituto-e/Osklen, 2013

Art, Nature and Architecture

Osklen Creative Director Oskar Mestavaht called the label’s Spring/ Summer 2015 collection ‘Inhotim’ after the esteemed Brazilian contemporary art museum in Brumadinho, southeast Brazil. Founded by art collector Bernado Paz, the museum and gallery sits within a sprawling, 5,000 acre botanical garden designed by landscape artist Roberto Burle Marx. The garden, boasting two dozen art ‘pavillions’ opened to the public in 2006 and include works by the likes of Hélio Oiticica, Yayoi Kusama, Anish Kapoor, Thomas Hirschhorn, Dominique Gonzalez-Foerster, Steve McQueen, Cildo Meireles, Tunga and Lygia Pape. The gardens, some of the scupltures and the geodesic dome designed by Paula Zasnicoff Cardoso can all be seen in the beautiful ‘making of Inhotim’ film linked here; art meets nature meets architecture to create Osklen Inhothim. Metsavaht and his team spent four days at the museum during the development of the range and the connection between art, nature

and architecture is palpable in the film. The result was seen in September 2014 when the collection debuted at New York Fashion Week, a clever amalgamation or hard, architectural lines and shapes and soft, warm fabrics and knits. A series of beautiful floral prints are seen as both a stark shadowy silhouette and blossoming botanical colour, and the variety of e-fabrics, an Osklen signature, includes organic silk, dense silk fibres and cotton knits. The juxtaposition between rigid plastic skirts and the organic vibe of unfinished hems sums up Inhotim perfectly.

Watch the film: ‘Making of Inhotim’ here:

Create without destroying

Ilaria Venturini Fendi of Carmina Campus learning how to bead with a Maasai community on the Ngong Hills in Kenya Photo: Chloe Mukai

The development of the Carmina Campus project, an accessories and furniture brand established by Ilaria Venturini Fendi to ‘create without destroying’ has mirrored the development of the ITC Ethical Fashion Initiative itself. Grant Fell and Rachael Churchward visit I Casali del Pino where Carmina Campus is based to learn more about a project that also shares the mantra ‘Not Charity, Just Work’ Images: Chloé Mukai and Grant Fell.

Designer Ilaria working on a collection of canvas bags embellished with recycled shuka, the traditional Maasai blanket

In the midst of our thoroughly magnificent sojourn to Rome in July this year, ostensibly a trip to attend AltaRoma AltaModa and to spend some time with the ITC Ethical Fashion Initiative’s Simone Cipriani and Chloé Mukai, we were asked if we would like to meet Ilaria Venturini Fendi, one of the project’s staunchest supporters. We had already been taken by Simone and Chloé to have a look at her store RE(f)USE inside a Fendi family owned building on Via della Fontanella di Borghese in Rome’s upmarket shopping precinct. Nestled among an enclave of luxury brands the specialty store features fashion and design made exclusively with recycled or reused materials and is a key component of Ilaria’s expanding Carmina Campus project. There was one small problem; we had met Simone and Chloé on a Monday morning for cornetto and coffee and in Rome in midSummer many stores in the area were yet to open on a Monday morning. “Oh, let’s see if you can go out and see her the day after tomorrow then, she has a beautiful farm,” Simone suggested whilst looking at Chloé with a can-you-get-that-organised look. In

between shows, events and meetings over the next two days I began to assiduously garner as much information as I could about Carmina Campus, after all Ilaria was a daughter of the famous Fendi family, a family steeped in fashion history, a great Italian house. I would need to know my baguette from my bag bug at the very least. I learnt that she was the youngest daughter of Anna, one of five Fendi sisters who transformed the brand post World War 2 into a global fashion powerhouse within which Ilaria’s sister Silvia Venturini Fendi remains the head accessories designer. Ilaria had been entrenched in the business as a shoe designer and Accessories Creative Director of the Fendissime line when she had something of an epiphany and felt an overwhelming desire to leave the city and lead a more simple, holistic and agrarian life. Consciously turning her back on the fashion industry she purchased I Casali del Pino, a beautiful farm situated on ancient Etruscan land northwest of Rome. Farming was as much in her blood as fashion via her father Giulio Venturini, a passionate outdoorsman who died when

Some workers from the Ethical Fashion Initiative Nairobi Hub were trained by the best artisans in Italy thanks to the collaboration with Carmina Campus.

she was young. It was here at the farm she launched the seed of Carmina Campus in 2006, a brand that aims to ‘create without destroying’ by making handbags, jewels and furniture out of reused materials. “See you guys in the hotel foyer at 10am,” said Chloé, “we will grab a taxi”. We were excited as the week in the fabulous city of Roma had been extraordinary, a broad feast of historical, architectural, cultural and epicurean delight but a trip into the Italian countryside sounded perfect, although surely that would be an expensive taxi ride? We were surprised that the trip took little more than 30 minutes passing a string of fruit and flower shops and semi-rural, semi-suburban enclaves along the way. The farm was surprisingly close to town. Upon arrival we entered through a hooped gateway embellished with the words ‘Floracult’ in iron and a driveway lined with that most fabulously iconic tree of Roma, the Stone or Umbrella pine. Floracult? I wondered if we might perhaps be entering the ‘greenest’ place in Italy but we were not met by daisyhaired Roman flower children upon arrival but a lovely warm, smiling woman called Elisabetta Facco instead. Elisabetta explained that ‘Floracult’; was a massive three day nature and culture event which had recently been held on the farm, hence the sign was still up. Set on 174 acres of lush countryside I Casali del Pino is magnificent. Ilaria and her team have lovingly restored a number of the buildings on the site, a process that has not been as easy as she would have liked due

to the historical importance of the site and the buildings and the fact ancient Roman and Etruscan archaeological sites pepper the landscape. An overwhelming sense of ‘organic’ pervaded the warm summery air in a very warm and welcoming way. Elisabetta ushered us in through a side door of one of the beautiful brick buildings on the farm and we meet and greet Ilaria and commercial/logistics manager for Carmina Campus Roberto Palagetti. The Carmina Campus showroom is resplendent with many accessories, mainly bags, several pieces of furniture, a number of sculptures and art pieces and numerous textiles and fabrics – all of it made from recycled or up-cycled materials. We give Ilaria a copy of Black Magazine and I begin to extract my dictaphone, thinking we have perhaps one hour maximum to get some sort of story. Ilaria spys the device and suggests she may get nervous and will not be able to stop talking too quickly in Italian. We are fine with this as my Italian is fledgling at best and there is clearly so much to see here, so much creativity, craftsmanship and style. Rachael and I are both struck by the quality of the construction of a number of the bags and the easy way in which the bottom of a soft drink can becomes a feature of a bag that can sell for up to 1,200 euro. Two of the sculptures are genius: A table made from an old gas station forecourt light works as exactly that, a table and a light, and a droopy Snoopy-esque dog made of shredded car tyres standing about four foot high in the corner is plain cute. We begin to realize that Carmina

Opposite above; Finding new ways to reuse materials. Here, kanga off-cuts are ironed and folded to create add-ons for Carmina Campus bags Opposite (left): A beautiful wooden bath and olive oil tin seat in one of the hotel rooms at I Casali del Pino. Above: A material storeroom at Carmina Campus, everything is still alive, still has a use!

Campus is rich with creative thinking as well as responsible attitude. The farm itself is a picture of sustainability. Beneath the ubiquitous pines its rolling hillsides are populated with Sarda sheep. These long-haired, handsome sheep produce milk which Ilaria, in turn, makes into a Mozzarella cheese made of sheep milk instead of cow’s milk. Much of the food that sustains the team working on the farm is grown there, including honey from numerous hives. It was in fact her honey-making bees that first led Ilaria and Carmina Campus to the ITC Ethical Fashion Initiative in a roundabout way. The University of Rome asked her in 2007 to share her apiarist skills with a group of visiting beekeepers from Cameroon. As a thank you for her time the beekeepers thanked her by gifting a hat made by artisans in Cameroon. Intuitively, Ilaria turned the hat on its own head, as it were, and made it into a bag. This single item reignited a desire to once again use her Fendi-born design skills but this time around in a way that is in keeping with her new life as an agricultural entrepreneur and an environmentally forward-thinking woman by reusing, recycling and creating without destroying. Thus followed a trip to Cameroon to find out more about the hat, the artisans and perhaps to get them to work on Carmina Campus products but many ethical and social questions quickly confronted her; questions of humanity over business. Enter Simone Cipriani and the ITC Ethical Fashion Initiative, which was then in its formative years as well. The ITC EFI were able to offer an ethical business model that fitted perfectly with Ilaria’s aspirations and a considerable number of artisans to ensure the work was

done. It was, and still is, a match made in an ethical and sustainable heaven. Just inside the Carmina Campus workroom is a hallway leading to several other rooms, large repositories of materials, fabrics, leather, off-cuts and fittings. The hallway is lined with several hundred bags down one wall, Carmina Campus prototypes and vintage items. These rooms are resonant and resplendant with an undertone of the artisanal history of Italy itself, after all the Italians really are a race rich with great artisans. “Let’s go for a tour,” Ilaria says, “I will show you what we are doing with the farm.” We head outside and toward a large building with three beautiful conical turrets along one wall which Ilaria explains are solar chimneys - a sustainable system for heating and air conditioning. This is the convention centre and exhibition space, a perfect building to use in conjunction with the large courtyard outside for an event like Floracult. Ilaria mentions that they sometimes hold film evenings in the space and gestures to a set of prayer/genuflecting seats near the front of the room, “and some locals also use the room for Mass.” The wood and metal finishing on the building is exquisite and perfectly suited to the age and history of the surrounding buildings. Next we go outside to the remains of a stable, elements of the ancient city are visible in its walls and floor, a much newer, yet still antique metal children’s roundabout sits in one corner. Like everything and everywhere in Roma, history is omnipresent. We then move to a fabulous two-story building which had traditionally been used as the farm workers quarters. The building has

Opposite: Clockwise from top left: A gas station sign becomes a light/ table. Like a flower the fabric is reused and grows once again, here as the front of Carmina’s best sellers, the Tetris bag. Ilaria outside the conference hall. The drawers of an artisan. A Carmina Campus carry-all. Above: The boutique hotel built within the former farm worker’s quarters.

been lovingly restored to its former glory and opened in September as a beautiful boutique hotel. I Casali del Pino is a destination of sorts, housing two restaurants on site as well as hosting events like Floracult. Inside the hotel each room has been developed with the utmost care and creativity. It is apparently a Fendi-wide trait to collect ancient tiles and in many of the rooms in the hotel these are laid into walls, floors, bathrooms – once again artisans have been at work. Within the hotel’s many rooms there are once again, examples of Carmina Campus ingenuity. A couch made of plane seats has been resuscitated from its airline heyday with fold-out table still intact and operational for ease of eating, writing or a laptop perhaps. In another room a Mercedes Benz headlight has been extracted, and sans car, shaped and turned into a useful room lamp. Surrounding all of this ingenious thinking and responsible action is a sense of style, a sense of class intrinsic to one called Ilaria. We briefly meet two of the friendliest donkeys known to man who ee-aw across the paddock and we give the particularly talkative Bruno a pat before jumping into Ilaria’s jeep for a trip around the farm. We see an ancient ‘swimming pool’, Roman walls amidst bush that once housed water and perhaps,

occasionally, a real toga party. An ancient bridge, hand carved in the side of a hill is all that is left of a road, a ‘way’ similar to the Appian Way, upon which Etruscan merchants would travel with their goods to Rome and perhaps the archaeological jewel on the farm, an ancient Roman spring/well, tiled into a hillside and still working. We return to the farm and are invited to lunch with Ilaria and her team, which we gratefully accept: our 1-hour interview has become a three hour tarriance with great people in a great place. We eat in Ilaria’s provincial kitchen meets dining room, and we eat beautiful Italian food; cheeses made on the farm; we share loaves of home made bread, vegetables and salad greens grown on the farm, cold meats, fabulous wines and Rachael wonders across the table at me “Are we in a film?” As we leave there is an overwhelming feeling of warmth and a sense that we have been immersed in something very good, very honest, very organic. Something that may be steeped in history and culture but is also forward-thinking and very much about the culture of the future.

Lavi a BĂ¨l Stella Jean SS 15

Photography: Thom Kerr Fashion editor: ChloĂŠ Mukai Hair: Iggy using Bumble & Bumble Make-up: Bunny Hazel Clarke Model: Kira at IMG Paris

Printed cotton jacket, cardigan, golden metal and hand painted fer battu necklace, striped hand-woven cotton canvas trousers and leather and canvas shoes, all STELLA JEAN. Fer battu pendants made in Haiti and striped handwoven cotton made in Burkina Faso.

Hand painted and embroidered caban, printed swim suit, striped hand-woven cotton canvas shorts, golden metal necklace, leather and canvas shoes and striped hand-woven cotton canvas bag with leather details, all STELLA JEAN. Striped hand-woven cotton made in Burkina Faso.

Striped hand woven cotton canvas jacket, tartan printed cotton shirt, golden metal necklace with coloured details and stones, multicoloured printed cotton drape skirt with leather sandals with raffia decorations, all STELLA JEAN. Striped hand-woven cotton made in Burkina Faso.

Multicolored tartan skirt, green football style maxi t-shirt, golden metal and raffia necklace and leather and canvas shoes, all STELLA JEAN. Tartan hand-woven cotton made in Burkina Faso.

Thanks to Rhiyen Sharp at IMG Paris Maria and Elena at Spazio 38

Jacket realised with giraffe printed Bogolan fabric, tap-tap printed white t-shirt, printed cotton trousers, golden metal with coloured details and stones, golden metal and hand painted fer battu details necklace, dĂŠcolletĂŠ shoes, all STELLA JEAN. Bogolan fabric made in Mali and fer battu pendants made in Haiti.

Cotton printed suit, golden metal necklace with horn details, both STELLA JEAN. Horn detail made in Haiti.

Hand painted and embroidered caban tartan printed cotton shirt with crystal pin, printed cotton pencil skirt with gros grain bow, all STELLA JEAN

Multi-coloured printed cotton pencil skirt with gros grain bow, embroidered cotton cardigan and golden metal and raffia necklace. The Necklace is made with recycled fabric beads from Haiti.

Long printed silk dress and striped hand-woven cotton canvas weekend bag with leather details, both STELLA JEAN. Striped hand-woven cotton made in Burkina Faso. Thanks to Rhiyen Sharp at IMG Paris Marina and Elena at Spazio 38

fashion at work

Our World of Artisans 94

The artisans of Bega Kwa Bega*, Korogocho, Kenya photographed by Louis Nderi

*Shoulder to Shoulder 95

“Work gives me Hope” “I hope that my children will get better education to become respected citizens” “I dream to have my own business”

â&#x20AC;&#x153;What motivates me is when I have to work. My Challenge is about meeting my basic needs of housing, clothes and foodâ&#x20AC;? Ruth Mumbai

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â&#x20AC;&#x153;My challenge in life is poverty and sickness I hope to have good work and regular incomeâ&#x20AC;? Jane Wangari

â&#x20AC;&#x153;Poverty is my greatest hurdle to achieving my dreams. I dream that one day I will be able to gain better skills to emerge as a great artisanâ&#x20AC;? Phylis Wangu

â&#x20AC;&#x153;My greatest challenge is the medical condition I have. Hope to get work and live betterâ&#x20AC;? Grace Mbatha

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â&#x20AC;&#x153;Work gives me hope, I dream to make money through regular workâ&#x20AC;? Regina Njeri

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â&#x20AC;&#x153;My challenge is raising my children as a single mother. I hope to have regular work and meet my needs.â&#x20AC;? Catherine Njoki

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“I am an actor but without work. My dream is to own a business” Leah Wanjiru

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â&#x20AC;&#x153;My hope is in my children. I am challenged by my poor state.â&#x20AC;? Asha Naburi

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â&#x20AC;&#x153;My challenge in life is poverty and sickness. I hope to have good work and to give good education to my childrenâ&#x20AC;? Jane Wanjiku

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â&#x20AC;&#x153;My challenge is raising my child as a single and young motherâ&#x20AC;? Carol Mbula

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â&#x20AC;&#x153;My best day was when I was invited to work with the group of Bega Kwa Bega. I hope that my children will get better education to become respected citizensâ&#x20AC;? Mildred Anyango

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â&#x20AC;&#x153;Poverty is my greatest hurdle to achieving my dreams. I dream that one day I will be able to gain better skillsâ&#x20AC;? Elizabeth Auma

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â&#x20AC;&#x153;My challenge is raising my children as a single mother. I hope to have regular work and meet my needs.â&#x20AC;? Mary Warokere

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â&#x20AC;&#x153;I am motivated by my friends with whom we live. My dream is to own a businessâ&#x20AC;? Goretty Atieno

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â&#x20AC;&#x153;I dream to be a respected leader in future. My challenge in life is lack of incomeâ&#x20AC;? Violet Alusa

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â&#x20AC;&#x153;My hope is derived from the fact that I work. Poverty is my greatest challengeâ&#x20AC;? Eunice Awuor

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â&#x20AC;&#x153;My hope is from my family who live together despite our poverty. I dream to have skills and to workâ&#x20AC;? Dorcas Achieng

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â&#x20AC;&#x153;I dream to own a home and I hope that my children will be able to receive better educationâ&#x20AC;? Dorcas Akinyi

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â&#x20AC;&#x153;My challenge in life is lack of work and income, I dream to have my own business.â&#x20AC;? Freshia Wangari

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“I dream to own a business I hope that will be able to give my children better education” Emily Achien’g

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â&#x20AC;&#x153;I am motivated by my family who need me to provide. My challenge is that I am not able to provide enough as I am also disabled and sickâ&#x20AC;? Jane Kalekye

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â&#x20AC;&#x153;I hope to live better than today. I dream to have better workâ&#x20AC;? Lucy Nyambura

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â&#x20AC;&#x153;My challenge in life is lack of work and income. WI dream to have my own businessâ&#x20AC;? Lilian Katunge

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â&#x20AC;&#x153;I dream that one day I will have decent and regular work. I wish that my children get a better education and lead a better life.â&#x20AC;? Mary Wangeci 121

â&#x20AC;&#x153;I hope to be trained in beading and tailoring skills. My challenge is educating my childrenâ&#x20AC;? Mary Mwelu

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â&#x20AC;&#x153;My greatest challenge is lack of moneyâ&#x20AC;? Margaret Mmbone

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â&#x20AC;&#x153;I dream to have my own business. My best moment is when I have workâ&#x20AC;? Pauline Nthenya

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â&#x20AC;&#x153;Poverty is my greatest challenge. I hope that one day I will have better work.â&#x20AC;? Mary Mercy

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â&#x20AC;&#x153;I want my children to get better education, to respect everyone and to take care of their own future. Having regular work is the most important thing I wish in life so that I may provide all the needs of my familyâ&#x20AC;? Nancy Njeri

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â&#x20AC;&#x153;I want my children to get better education. Having regular work is the most important thing I wish in lifeâ&#x20AC;? Ruth Awinja

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“I need work to earn a living. I dream to own my own house, not renting” Sophia Wabui

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â&#x20AC;&#x153;I dream that my children will have better education and a better life than what I lead. Hope to own a business.â&#x20AC;? Veronica Auma

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Beads of Hope An interview with an artisan: Beth Nyambura

Interview: ChloĂŠ Mukai Photos: Louis Nderi

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Beth Nyambura, single-mum of two and bead artisan working with the Ethical Fashion Initiative in Nairobi.

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Above and opposite (top): Since joining the Initiative two years ago, Beth has considerably improved her beadwork skills and now works on orders for clients such as sass & bide in Australia (as seen here). The LOVE MORE pouch, made in Kenya for sass & bide. Opposite (below): Working at Bega Kwa Bega translates into much needed income, but also a dignified work environment where she can interact with fellow women artisans from Korogocho.

Chloé Mukai: Can you tell us a bit about yourself? Beth Nyambura: I am Beth Nyambura, 24 years-old and I have two children: one is 6 and the other is 1. How long have you been working here? Two years. Before that what were you doing? Nothing! Just doing casual work: washing clothes for others, doing laundry (note: almost all the inhabitants of Korogocho slum work in the informal sector, doing casual work like laundry, selling food produce in the street). How did you find this job? I came asking for a job and I was absorbed. Lucy, the supervisor, trained me. So are you from the area? How did you know that there was work here? Yes, I come from Korogocho (one of the largest slums in Kenya) and I used to visit this workshop and I saw women working, so I asked for a job. Before starting this job did you already have skills in beadwork? No I didn’t… I was trained by another artisan called Lucy. I am not perfect yet, I am still training on the job. How do you find this job? It’s very good: it helps me pay school fees for my children and to feed them well. Weren’t they in school before? They were, but to very poor schools. Now they go to a better school that I can afford. Tell us about the work with the other ladies? It is good and boosts my moral. Working together makes me confident. I can be corrected if I am wrong. One of the challenges is that sometimes, I cannot keep up with the pace of others. When there is a big order, I can make fewer pieces compared to the others, which means my skills are

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still not perfect. But I am improving. What is the best thing about your job? Now that I am working, I am not idle and I don’t stay at home. I come here and keep myself busy. What is your dream? Even a crazy one. My first dream is to get my skills perfected and to be able to train others. Then, with the money I would save I would like to open my own business. I want to take care of my children and for them to go beyond the level I reached and get better education.Can we talk a little bit about you? What artists or people in general do you like? Jennifer Lopez. Her music is very beautiful and sentimental to me. I also like Lupita Nyong’o (Kenyan actress, ‘12 Years A Slave’, ‘Star Wars Episode VII’). Because she has not lost her identity, she respects her culture despite not living in Kenya. How about in fashion: do you have a favourite designer? I do not know the name, but I like this Nigerian designer. What is your favourite food? Ugali (Eastern African cornmeal-based dish), rice, mukimo (traditional food mixture of maize, beans and veggies). Do you like living in Nairobi? For now yes, because I need the money I earn here, but once I have made enough money I would like to move because Nairobi is stuffed. I will move to the rural area, like Murang’a or another area outside of Nairobi. Murang’a is about a five hour drive. What brings the most happiness in your day? My work. But I also like to spend time with my friends and to see other parts of Kenya.

â&#x20AC;&#x153;(Work) boosts my moral. Working together makes me confident. I can be corrected if I am wrong.â&#x20AC;?

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Weaving Dreams

Danfani: 100% made in Burkina Faso

Story: Haram Sidibé Photos: Chloé Mukai

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Artisan in Burkina Faso weaving fabric used to produce a Stella Jean trench coat, which was showcased at the Teatro Armani during Milano Fashion Week in 2013

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Matching Fashionâ&#x20AC;&#x2122;s Demand

The new, large looms, enable artisans to produce fabric in a width that is attractive to international designers. The looms were specifically designed with light materials that are less tiresome to manipulate, that can be sourced locally.

In Burkina Faso, women have a strong tradition of hand weaving cotton fabrics known as danfani. Tapping into this valuable savoir-faire, since 2013 the Ethical Fashion Initiative has been connecting local weaving ateliers to international fashion brands. This market-access has brought about much needed employment opportunities to the women weavers, and even moreâ&#x20AC;Ś Linking these artisans to the international value chain of fashion has in fact initiated important cultural changes in the weaving communities of Burkina Faso. Originally weavers preferred working on small metallic looms. This would produce fabric that was short in width but long in length. The long panels of fabric were then stitched together to produce fabric large enough for garment production. For the weavers, the production of this size fabric also presented advantages on a technical and economic level. Larger looms, capable of producing larger width fabric, were seen as more complicated to use and more physically demanding to manoeuvre. Moreover, the women avoided

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this type of weaving because the task of assembling and repairing these looms is a male job in Burkina Faso. This would make them dependent on men for help, so better to keep on weaving on narrow looms and remain independent. In contrast, almost all fashion designers design garments constructed with fabrics ranging from 100 to 150cm wide, meaning the fabrics produced on the small looms did not match the demands of the textile market. Because of this, the introduction of commercial fashion buyers has been an important milestone in the adoption of larger looms. Leaders of weaving ateliers realised the business opportunity associated to the production of wider fabrics. Being able to produce wider danfani meant the weavers would have more work, which in turn would generate an opportunity for women empowerment â&#x20AC;&#x201C; largely outweighing the negative perception associated with larger looms. This is how the revalorisation of large looms contribute directly to the economic empowerment and improvement of livelihoods of these women artisans in Burkina Faso.

From Narrow to Wide Larger looms had previously been introduced by a project of United Nations Industrial Development Organization (UNIDO), aiming to encourage innovation within traditional weaving techniques. However the initiative failed to spark the real interest of women weavers and the widespread adoption of these larger looms never took place. The main reason behind this failure was the absence of market connections at regional, national and international levels. The innovation in the Ethical Fashion Initiative’s current programme in Burkina Faso was to awake a sleeping segment of the value chain, one that appealed to the fashion industry. In addition to this economic incentive (larger looms = larger fabrics = larger quantities and better price) three other elements were key to this programme’s success. Firstly, the reinforcement of production capacities by introducing the technology of large looms, in wood or metal, and providing capacity building to improve performance and productivity. This technical backing was effective thanks to ongoing assistance by international and

local textile and quality control experts. Secondly, through communication with the groups, significant change took place in the mindset of female artisans. The weavers gradually let go of the negative stereotypes associated with large looms, previously seen as harmful, inaccessible, high maintenance and unprofitable. Thirdly, funding from the Swiss State Secretariat for Economic Affairs (SECO) enabled the conversion and renovation of those unused looms, a project which was further supported by the 10th European Development Fund (EDF 10) Cotton Programme (funded by the European Union) which introduced more large looms, weaving tools and training, ensuring a smooth transition into this new technology. This collaboration also expanded the reach of participating ateliers. For such cultural and economic change to be sustainable, the transformation should be progressive. Thus, the decision to shift to weave on wider looms has been taken together with the weaving groups, based on their ability and willingness. Of course, the production of smaller fabric remains popular in Burkina Faso and is still of interest to some of the project’s partners.

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Opposite (above):Most people think of African fabrics with loud, ultracolourful prints, when in fact sometimes they can be very chic and minimalistic. Here, a series of striped fabrics hand-woven in Burkina Faso for Stella Jean and Tégê United Arrows Opposite (below): Examples of the much smaller traditional looms

Christiane Zoungrana is a 39 year old single mother that weaves for the Association Zoodoo pour la Promotion des Femmes (AZPF). Christiane is illiterate because her family lacked the funds to send her to school. She also faces the additional trial of a handicap caused by poliomyelitis affecting her legs. Christiane began work as an embroiderer, but switched to weaving out of passion. She works on a small metal loom using both pedals of the loom and is renowned for the rapidity and high quality of fabric she produces. Christiane says of her work: “It is an enriching experience, during which I have learnt the importance of weaving quality fabrics and mastered weaving on a small loom. I recognize we can make more money with big looms - I can see it with my colleagues - and it is more rewarding professionally. This project makes me feel important and that I contribute towards a wider objective. Today, I feel ready and motivated to start using the big loom: to earn more money and aspire to a better life for my little girl and myself”.

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Art is at hand

Our world our style

What is Na誰ve art?/ Stella Jean in Haiti/ The World As I See It - Simonetta Gianfeleci curates a selection of new African photographers

Far From Naïve

Stella Jean’s latest collection bears the signature of two forms of Haitian art: Art Naïf and the metalwork of the artisans of Croix-des-Bouquets. Michael Whittaker investigates the big Art Question itself and marvels at the artists of Haiti, whose art celebrates and mirrors the innate strengths of an island nation that has risen time and again to overcome adversity. The first time I saw ‘a Picasso’, I was a boy, alone at a gallery. Pablo, in a sense, was my babysitter. At the time, I understood that the painting before me must be significant. People were squinting and stroking their jawlines with Grinch-like gestures of musing. There was a little rope that kept us at bay. I looked and I squinted and I was confused. The painting was seemingly ‘childlike’. At school we were forever encouraged to be as ‘lifelike’ as possible in all renderings of ‘reality’. But, as I wondered at the very wonder that these people saw and gleaned from that ‘masterpiece’, I came to the conclusion that I could not, and should not, impose my own appreciation of meaning as definitive. It was apparent that what I saw, and accordingly my appreciation of it, was entirely an extension of my socialised experiences. Ever since, conversations as to “what art is” or, equally frustrating, “what makes good art” have seemed inane. I hope I am not alone in this. Such questions are ancient and insurmountable. History itself displays the diverse spatial, cultural and geographic variances in art. It should also have warned us against commanding supposedly ‘evolved’ judgments upon art forms that we do not care to understand. Instead, one’s varying idea(s) as to what (good) art is act to indicate upbringing, socioeconomic circumstance and ideological values. Rhetoric abounds. People unfortunately take their conception personally, repressing contemplations as to how their social and material conditions have influenced their conclusions. If we dare to take a more considered road, empathy can be fostered,

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leading us to understand, appreciate and perhaps take inspiration from, alternative aesthetics and art cultures. Let us realise that many different hands make great work. Such a reflection is important in the appreciation of Haitian art. In recent years, a marked interest in ‘outsider art’ or ‘naïve art’ (there being many names surrounding such art) has formed. Essentially, such art is created without an interaction with the complex hierarchies of capital that ensconce the mainstream art market In spite of (or indeed because of) this, these artists do not have pretensions of glory in the hallowed halls. Oftentimes, they cannot afford to. There is an immense power in work that is instinctual: it speaks of, and to, humanity in a particularly moving way. This art seems to not just be a self-fulfilling prophecy of hype. It is not self-consciously intellectual and indeed many of the artists involved are selftaught. Artists of such creative conviction, not encroached by expectations, articulate their inner vision, not relying upon the powers-thatbe in the art world to accredit it significance or meaning. Haiti has produced an astounding canon of such work. Haiti is a dominion of extremes. It might be understood as the very epicenter, or at least a compelling example, of colonialism’s awful mechanisms. Her people never stopped making art. A most extraordinary part of the Haitian story is the defiant joy of a people whose history is so rife with catastrophic upheaval. Art continues to make these lives livable. Haitian

“A most extraordinary part of the Haitian story is the defiant joy of a people whose history is so rife with catastrophic upheaval. Art continues to make these lives livable.”

Hector Hyppolite (Haitian, 1894–1948) Black Magic (Magique Noir), ca. 1946–47 Oil on board 25 1/2 × 37 1/2 in. (64.77 × 95.25 cm) Milwaukee Art Museum, Gift of Richard and Erna Flagg M1991.127 Photographer credit: Efraim Lev-er

art illustrates and testifies the strength these people possess; the strength to remember that there is meaning in life and pride and hope in work. As Phillipe Dodard, a leading Haitian artist declares: “They say that God created man and man created art, and the fact that Haiti has so much political problems; it’s like art is a door way to a new life.” Haitian art references her history: alluding often to slavery and her African roots, the old religions, her oral traditions, her legends, France’s imposition and ongoing influence, the nation’s iconic political emancipation and subsequent genocides and infighting, and the famed beauty and communal joys of the nation for which the ‘great powers’ clamoured; the “Jewel of the Antilles”. In poverty, artistic bricolage is necessitated. Nothing is wasted as an opportunity to create and imbue meaning. Haitian-Italian designer Stella Jean is importantly championing the brave creativity of Haitian artists, employing artisans who forge beautiful jewelry from scrapped oil drums. There is a powerful

metaphor at work here: from the overlooked and disregarded can come astounding work. The Haitian attitude of determination extends to self-taught expression. Many seminal Haitian artists are unschooled and illiterate. Their art transcends this. Truman Capote wrote of Hector Hyppolite, perhaps Haiti’s most celebrated painter: “there is nothing in his art that has been slyly transposed, he is using what lives within himself”. Accordingly, Haitian art epitomizes an unmistakable “original purity”. In Haitian artwork lives the misery, glory, spirit and above all, the worthiness of this storied people and their art. So, I implore you: do not disregard art that expresses a literally and metaphorically different perspectives from your own experiences of value. Difference is special. In difference, lies mutual growth. Special thanks to the Milwaukee Art Museum

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Haïti Chérie Stella at la Croix des Bouquets, on the outskirts of Port-au-Prince, after meeting the artisans who produced her taptap bracelets.

Upon returning to Haiti, and particularly the home of her grandmother, Italian-Haitian designer Stella Jean realised the island was very much her ‘second home’ and immersed herself in the culture, art and history of the island of her ancestors. Grant Fell learns of; Art Naïf as an inspiration and the production of papier-mâché and Fer Battu metal accessories for her SS15 collection; the tap-tap - Haiti’s ‘pop art on wheels’ and the unique and creative industries that thrive in Croix-des-Bouquets and Jacmel. Photos: Chloé Mukai Grant Fell: Hi Stella, when did you make the trip to Haiti that accompanies these photos? Stella Jean: May 2014 Even though you are of Haitian and Italian descent, was that the first time you had been to Haiti? No it wasn’t, my mother is Haitian and I have family there, although I was raised and still live in Rome. What was the first thing that struck you about Haiti once you had touched down? I’m Haitian, at least a half of me is. So for me, Haiti is my second home. What I’m most fond of are my grandmother’s gardens and home, her passion for the botanical crafts, the sea, the food, the smells, the music and the Naïf painting. Tell us about that, about your discovery of the artistic wave in Haiti, Naive art or Art Naïf. That’s something that somehow is part of my DNA, it was not an impromptu discovery about the last period. Thanks to the development of my SS 2015 collection and thanks to the support of ITC EFI, what I tried to do was show Haiti in a new light. Haiti, described by André Malraux as “the most amazing experience of the magic art of the 20th century”, is unveiled through ‘Art Naïf’, a movement marked by active observation built around a simple soul. This artistic perspective is an expression of life, nature and spirit, animated by the market women and their daily multi-coloured vanity, a vanity full of dignity. There are several prints in the latest collection which were formed as a direct result of this trip. Which prints are they and what is it about them that is unique to Haiti? The collection is a declaration of intent and confirms my commitment in

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testifying, sharing and tracing back secular traditions through narrative images. Thanks to my sourcing trip to Haiti with the ITC Ethical Fashion Initiative team, we got in touch with the Haitian tradition of Art Naïf, discovering such a rare treasure of artisanal and skilled handcrafts. The market, acting as a social barometer, is where we met proud vendors adorned with scarves enhancing their femininity. Adding to the hustle and bustle of the market, “tap-tap” buses also have a strong presence in recreating this atmosphere. The “tap-tap” is the traditional means of public transport, and is also described as “pop art on wheels.” The vehicles are adorned with subjects belonging to religious, popular and historical tradition; ironic phrases, proverbs or messages; they are painted by artists who attend art schools that specialize in tap-tap painting. Donkeys, another important means of transportation and labor, and sugar cane, are also recurring Haitian elements that reappear on prints and hand-painted fabrics, completing the visual landscape of this collection. You have also created accessories in Haiti, tell us about those...I had the opportunity to design these pieces directly with the local artisans. The papier-mâché fruits are produced in Jacmel, the cultural capital of Haiti and home to the country’s largest carnival, for which local artisans craft colourful papier-mâché masks and decorations. The horn bracelets are produced in a Port-au-Prince atelier of around fifty artisans specializing in horn and bone material. This animal by-product is washed,

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Above: A rural market on the road between Port-au-Prince and Jacmel Opposite: Stella and the taptap, the iconic Haitian public buses

cut, shaped and polished to perfection to achieve a smooth and glossy surface. The Fer Forgé Metalwork jewelry collection was made in several different ateliers that are part of a large community of metalwork artisans based in Croix-des-Bouquets, on the outskirts of Port-au-Prince (see story on Mickerson Jean). There, the local metalsmiths forged the Stella Jean pendants and bangles out of recycled oil drums using just a hammer and physical strength to create the design. Is there a hub or ITC EFI production space in Haiti yet? In Haiti there isn’t yet really a Hub, but the ITC has a team of professionals who manage all the community groups of artisans. I went to Croixdes-Bouquets, an entire village of artisans specializing in metalwork. They used discarded oil drums that they hammer down into sheets of metal which is then cutout, painted and shaped into accessories and home ware (called “fer battu”). Artisans from this place produced my tap-tap bangles and other metal components I used in the accessories collection. We also visited a group of old ladies making patchwork tapestries illustrating traditional Haitian lifestyle and landscapes. These ladies also made beads from fabric

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off-cuts, which were also used in some of the footwear and jewelry from the last collection. In Jacmel (coastal city around 2-3 hours from Port-Au-Prince, and home to the famous carnival), we met with local papier-maché artisans who are masters in this skill and produce some incredible things for the Jacmel Carnival. We designed some papier-maché fruits that were integrated in SS15 bracelets and necklaces. Another interesting artisan group was the cow horn group. They work from this narrow little workshop in downtown Port-au-Prince and shape, carve and polish horn (a by-product from local abattoirs). We also used some of their bangles in SS15. What about day-to-day life in Haiti, did you find any amazing restaurants, go to any art galleries, listen to any local music? With a question like that, two things immediately come to mind: the Caribbean music band Tabou Combo and the Galerie d’Art Nader in Portau-Prince. Is there a special place you want to return to? My grandmother’s home.

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Clockwise from top left: 1. With Serge Jolimeau and Mickerson Jean, two experts in “fer battu” (metalwork) in Serge’s Croix-de-Bouquets workshop. 2. Studying the voudou flags designed by master artist Jean Baptist Jean Joseph 3. Studying more work inside the atelier of Jean Baptist Jean Joseph 4. Haiti has plenty of artisanal work: painting, metalwork, embroidery, woodwork, bonework and much more. A designers’ heaven 5. Stella posing in front of her favourite tree, the tree was a direct inspiration for the “Flamboyant” dress in her SS15 collection 6. Broken down colonial buildings are a common site in Haiti 7. With Paul André, a cow horn artisan who produces jewelry items for Stella 8. Product development session in Lillavois, where Stella works with patchwork artisans from Peacequilts 9. Stella with Serge Jolimeau Opposite: Stella in Cité Soleil slum with school kids

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Above: Local fruit and veges! Opposite: Fishing boats against a stormy Haitian sky in Jacmel 150

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The World As I See It

A new school of African Photographers curated by Simonetta Gianfelici

â&#x20AC;&#x153;As the curator of the ITC Ethical Fashion Initiative Pinterest account and as a talent scout, I am constantly on the lookout for new talent. Architecture, fashion, photography, art and design are creative spheres that record, promote and shape contemporary culture and reflect social change. My strong interest in visual arts has led me to this project, where I want to celebrate the work of young African Photography talent. The image selection attempts to present an alternative narrative of the African continent â&#x20AC;&#x201C; one that distances itself from the tainted images of the continent which have come to dominate the occidental imaginary. These photographers, following their own vision, translate the creative and cultural processes they encounter through their lens. In this process, they re-establish the African aesthetic and the perception of the entire continent. Thus, the photographers portray an Africa of diversity, full of talent, intrinsic differences and stories.â&#x20AC;? Simonetta Gianfelici

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August Udoh The Fight Club August Udoh, is a Nigerian photographer based in Lagos. In his â&#x20AC;&#x153;The Fight Clubâ&#x20AC;? series, he portrays Nigerian boxers competing in the Dambe boxing competition. Dambe is a form of boxing linked to the Housa people of West Africa and focuses on the art of striking. In his photography, August tends to focus on portraits as he his fascinated with the human face. August believes a powerful truth is revealed through portrait photography.

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0387. “Because you in a foreign land doesn’t mean you can’t make your shit happen.”

Sydelle Willow Smith Soft Walls Sydelle Willow Smith is a freelance photographer/ filmmaker born in Johannesburg and based in Cape Town, South Africa. She is currently completing her MSc in African Studies at Oxford University through St Antony’s College. She was was mentored by Dave Southwood and is the 2013 Gisèle Wulfsohn Mentorship recipient. Soft Walls seeks to deal with convivial relationships between migrated African nationals and South Africans; revealing the subtle ways in which individuals make sense of their experiences; forming relationships and bonds that can challenge dominant perceptions and prejudices and celebrate difference. Sydelle Willow Smith’s photography narrative deals with the tensions between certainty & uncertainty and conviction & distance. Soft Walls is a contemplative and tentative response to Smith’s interactions with and understanding of her subjects that layers the city, the private, and public, framed by questions of belonging and assimilation. “Chasing shadows and curiosities and remembering and forgetting to respect my elders, standing on the shoulders of giants trying to get my own lens on the world.”

0401. Alzaandre’s mom’s house in Grabouw

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0376. Bus to Grabouw

0385. Untitled

0404. Koura at home in Maitland

0384. Thoko and Thompsonâ&#x20AC;&#x2122;s room in Camps Bay

0389. Coach Dino

0379. Domesticities

0369. Lunch with Dino

0389. Wedding Preparation in Grabouw

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Louis Nderi Louis Nderi is a photographer from Nairobi. Having grown up in Swaziland, he moved back to Nairobi in 2004 at which point he developed a keen interest in art. Yet it was only at university that he truly discovered photography. Ever since, he has been passionate about this medium through which he has developed a true skill capturing striking portraits of the people he meets. â&#x20AC;&#x153;In my work I would like to show Africans in a positive light, different from what the mainstream media show most of the time. I would hope to portray Africans as they always have been. A warm, generous and energetic people.â&#x20AC;?

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Anthony by Tahir Karmali

Jackie by Tahir Karmali

Tahir Carl Karmali Tahir Carl Karmali is a photographer from Kenya, currently based in New York City, United States. Starting his career as a food photographer, he has now become a photographer with a diverse portfolio. He aims for his photography to communicate a concept that leads the viewer to question their own perceptions. In his “Towel Heads” series, with the simple use of a towel as a prop, Tahir unites a group of diverse people and produces portraits with a raw quality.

“I use photography and art as a form of therapy and catharsis. I feel that my work is just an extension of myself - coming from Africa is definitely an influence but not a definitive factor in what I create.”

Ojay by Tahir Karmali 158

Zarina by Tahir Karmali

Wambui by Tahir

Untitled by Tahir Karmali

Adil by Tahir Karmali 159

Andrew Amonde by Osborne Macharia/Prokraft Africa

Osborne Macharia Shujaa Misuli Osborne Macharia is a contemporary and commercial photographer raised and based in Nairobi with a Bachelor degree in Architecture and a background in design. Osborne loves digital arts and is fascinated by dynamic lighting which he tries to integrate into all his images through composites of full on-location lighting. He would like to see African artists work in all sectors, including film, music, art and photography and compete on a global stage and gain the recognition they deserve. Osborne Macharia’s series “Shujaa Misuli”, meaning Muscle Warriors in Swahili celebrates Kenyan sport heroes that have achieved a great deal but their accomplishments have not been fully recognized. It is a self-funded and personal project.

“Through my work I believe I’m in the process of showing a different side to what Africa is known for. In my journey through art and visual stories, I’d like to show Strength, Passion, Vision, Identity and mastery of the crafts. I’d like to tell our stories through my eyes, through my experience or other people’s experiences and fantasies. Our stories are many but few have been able to visually capture them and present them to the world in a positive light. I hope to do so.”

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Benson Gicharu by Osborne Macharia/Prokraft Africa

Humphrey Kayange by Osborne Macharia/Prokraft Africa 161

Jjumba Martin Jjumba Martin is a freelance photographer from Uganda. He is a self-taught photographer that focuses on documentary and concept photography. The photographs shown here come from his “Woman Emancipation” and “Kampala Evening Hustles” series. “Through my photographs, I want to capture a certain interesting aspect in almost every image I produce, something that makes the viewer look at the photo for a minute or two. I want to make photos which can mature with time.”.”

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‘Abandoned’ by Jjumba Martin

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‘Kampala Evening Hustles 1’ by Jjumba Martin

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‘Kampala Evening Hustles 2’ by Jjumba Martin

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itâ&#x20AC;&#x2122;s going to work

Visions and Views 166

Op-Eds by Simone Cipriani Auret van Heerden Timothy T. Schwartz

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Shock Absorbers? or Assets? The Truth About Shop-Floor Workforces

Simone Cipriani, Chief Technical Advisor of The ITC Ethical Fashion Initiative and Auret Van Heerden, Labour Expert and President of Equiception outline the bad labour conditions within the garment supply chain and offer solutions. Photos: Sabrina Bosson

The problem of bad labour conditions in the garment supply chain is quite straightforward. If brands and retailers direct orders to wherever they get the best combination of (lowest) price, quality and delivery, suppliers have two choices. Either they constantly increase their efficiency in order to lower unit costs, or they constantly cut every cost they have. The first option involves investment in technology, training and premises. To choose it, suppliers need some longer-term security of orders before they will risk investing. But security is scarce: they can be easily replaced by lower cost competitors as there are very low barriers to entry. Therefore, they mostly go for the second option: they cut all costs (starting with workersâ&#x20AC;&#x2122; wages and safety) and just concentrate on coping with the constant pressure on lead times. At the end of the day, fashion is a seasonal industry in which production times are compressed to make room for new product development and new collections. The most admired companies in the fast fashion industry boast 2-3 week cycle times from designers desk to shop shelf at

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incredible prices and this requires that suppliers get cheaper and quicker all the time. We know where this has led: to an anonymous supply chain, in which consumers seek lower prices, retailers respond by cutting the margins they give to the brands, brands cut their margins to suppliers and suppliers cut the margins to their workers. Garment workers have become the shock-absorbers of the system: their wages and the hours they work have to absorb all the competitive pressures pushed down the supply chain. The immediate consequences are: 1) a compression in workersâ&#x20AC;&#x2122; wages; 2) growing casualisation of work, because suppliers tend to employ a core workforce to reduce their exposure to labour costs and social charges; if they receive more orders they pull in short term or temporary workers, or they subcontract. And it doesnâ&#x20AC;&#x2122;t stop there. In such a zero-sum supply chain, suppliers cut the margins to their suppliers who all look to save costs and cut corners. Even the building contractors who construct the factories hollow-out the construction

to the point where building collapses are inevitable. In other cases, suppliers simply rent the cheapest space they can, despite the lack of lighting, ventilation and fire exits. At the other end of the supply chain consumers have benefited from clothing price deflation and more choice than ever before, but at what social and environmental cost? How do we break this vicious circle? To date, we have seen a lot of ad hoc remediation at the margins - mostly reacting to a crisis like Rana Plaza and using CSR audits. Unfortunately the audits are generally superficial and often gamed by suppliers, and even well done audits do not address the root causes of the problems that frankly lie in the nature of the supply chain itself. We have to take a hard look at the model of the global supply chain we have created and ask ourselves what it would take to make it net positive for people and the environment. Two critical elements are the involvement of consumers and of workers.

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â&#x20AC;&#x153;Change is possible and the tools exist. Disposable fashion means nothing to the people who wear it and to the people who make it; responsible fashion gives us back the real worth of the clothes and shoes we produce and buyâ&#x20AC;? 170

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Consumers are changing the incentive structure of the industry, because they are increasingly unwilling to close their eyes and tolerate this situation. A poll carried out by YouGov and the Global Poverty Project found that 74% of respondents would be willing to pay 5% more if they knew the real story behind products. Consumers are ready to stand against unfair fashion: they just need more information to understand its true cost; they need to know the real story behind each product. This is not simply about doing more audits; it is about revealing the lives and the craft of the workers who make our favourite products. There are the social research tools and organisations to do it and this opens the door to the involvement of workers in talking about themselves. Workers can be directly involved in improving their working conditions and enriching the meaning of their work in the process. Job enrichment is about enabling them to have a say and a stake in the whole production process. Workers can use mobile phones or websites to rate their working conditions. In Cambodia this is

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done using the Interactive Voice Call, a tool developed by Better Factories Cambodia. There are also simple web tools to raise the awareness of workers about their rights that are effective even with people who have a low literacy rate. A road map for fashion companies: two simple actions to involve consumers and workers. •

Participate in a programme to assess the impact of your work on people and tell consumers about it. Partner with an organisation that does social research and thus enables you to tell the real stories behind each product in a credible and authentic way.

•

Invest in your suppliers to raise skills and motivation and bring artisanal quality back to the industry. How? 1) Work with a smaller number of long-term suppliers to improve productivity, quality and value-addition. These “strategic suppliers” would have longer-term contractual

relationships that would allow them to invest in up-skilling workers and up-grading factories. 2) Improve the skills of workers and make their work more meaningful, and better paid, by allowing small teams of multi-skilled workers to produce a whole piece. It requires on the job training and a different organisational structure, but it pays back in terms of efficiency, profitability and the satisfaction of workers who become fully engaged in the organisation of the factory. 3) Enable workers to actively participate in organisations and schemes to improve their working conditions, including the use of mobile phones or websites: devote a person in your HR team to facilitate it. Change is possible and the tools exist. Disposable fashion means nothing to the people who wear it and to the people who make it; responsible fashion gives us back the real worth of the clothes and shoes we produce and buy.

Opening pages and opposite: Have garment workers become the shock absorbers of the supply chain? Above: Small teams of multi-skilled workers equals more efficiency, productivity and satisfaction

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Design for People, Plan for Good Business by Timothy T Schwartz, Ph. D., Author and Anthropologist and Simone Cipriani, Chief Technical Advisor of the ITC Ethical Fashion Initiative

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There were many declarations of goodwill on the anniversary of the Rana Plaza tragedy in Bangladesh. But if we really hope to do justice to the memory of the 1,138 men and women who were crushed to death, we must look at ourselves and evaluate what we are doing.

There have been many declarations of goodwill on the anniversary of the Rana Plaza tragedy in Bangladesh. But if we really hope to do justice to the memory of the 1,138 men and women who were crushed to death, we must look at ourselves and evaluate what we are doing. Fashion has a highly work-intensive value chain that extends all across the world. At its core the industry is about uniqueness and personal investment: a stitch of embroidery on a garment, the imprint of a hammer on a belt buckle, the selection of a cluster of beads on a necklace. You get happier when you own something that is hand stitched. Instead of the cold and remote perfection of the engineer’s machine, you see the practiced touch of a human being. But at what cost to the craftspeople? The men, women and children who died in Rana Plaza were victims before the building collapsed. How many of them even wanted to be in the building? In the struggle to feed, clothe, and house themselves and their families they spent long days mindlessly putting button after button on shirts or stitching and stitching the same pattern over and over and over. For barely enough money to pay for the rice needed to keep their bodies stitching or putting on the buttons, they had to leave their homes, enter a massive room with thousands of other workers, supervisors breathing down their necks, monitoring their every move. No room for creativity. No time for experimentation. It was not even

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their work. They were little different and arguably had less value to their employers than the machine that might replace them. When they broke from their mindless routines it was to use the same stinking bathrooms, crouch against the same dirty walls, eat a plateful of the same rice. Responsible fashion takes a different approach. Most craftspeople work in their homes or in small shops where they control and govern themselves. They labour with family or workers with whom they have strong personal ties. In this way the designers and production and marketing managers who choose ethical fashion are supporting an alternative to the semi-slavery of the industrial factory. We are honouring, indeed purchasing and marketing something very special, very human, and very historic: the ageless dignity of the real craftsman, the shoe maker in 18th century Italy, the barrel maker in colonial Williamsburg, the ironsmith in the streets of 15th century Hamburg. Fashion is an artistic union between the skilled craftsman and world’s most gifted designers. Some might say that it is design that does the magic. But it’s the craftsmanship that imbues the creation with a priceless and timeless dimension such as that of the hand wrought Middle Age sword or the stitched quilt our grandmothers cherished. Then business takes the products to consumers. And that is fine; we are not marketing products of industrial wage slaves from the world’s most squalid sweatshops. But is it

enough? Even ‘Ethical Fashion’ can be couched in bad business practices: bad contracts, bad treatment of workers. It, too, is often insensitive exploitation of those who give the most in terms of effort but, by virtue of their station in life, get the least. Driving the process is an impersonal profit motive matched in frigidity only by the engineer’s bloodless machines. Is it really necessary to take a high dollar and high quality creation of handcrafted beauty and, in trying to squeeze out every cent of profit, soil the union of the designer and craftsman? What even Ethical Fashion lacks is business terms imbued with the same humanity that we crave in the handcrafted material object. This is what the Ethical Fashion Initiative is about. The artisans involved in the value chain of unique and authentic fashion are people. They have families to feed, children to send to school. Like the toy maker in Pinocchio, they depend on their micro businesses. They need time to prepare their work. They lead precarious lives in urban slums or remote rural villages. Borrowing, if they can find someone to loan to them, often means paying 100% interest rates. Even humanitarian micro-credit projects ask 50% annual rates. Nevertheless, whenever a fashion house approaches them, they are asked to work without advances, to develop samples for free. All too often, fashion houses, brands and distributors (buyers):

• • • • •

Don’t pay for initial samples. Ask for as many samples as possible from all over the world Don’t allow enough time for product development Pay salaries that people can barely survive on Allot themselves 60 or 90 days to settle accounts

It is not fair to the artisans. It costs them money they don’t have. In rich economies, suppliers who are paid after delivery have different forms of credit; not in the developing world, where interest rates can run 20% per month. Delayed payments are untenable for people with scarce working capital. It leaves them at the mercy of all powerful clients making arbitrary decisions. The artisans have no job security. It makes for a miserable and stressed life. The fashion cycle is a grind, with product development and production, deadline after deadline. Still, there is a way to make it function smoothly, and fairly.

It can be done through basic rules of engagement. They come before any Corporate Social Responsibility (CSR) scheme: • •

• • • •

Give ample time for development Only ask for samples when you intend to use them to develop something Pay for samples Adopt decent payment terms Pay a fair wage Check that people work in fair labour conditions.

We also must make an effort to assess whether people really get a decent life out of their work. Corporate Social Responsibility schemes are good. But often rules are applied formally and yet the worker does not benefit. We can check to make sure they benefit. We can use simple questionnaires to verify. But the questionnaires must also be applied where people feel they can answer freely, away from

their work places. This kind of “impact assessment” must go beyond a simple CSR strategy. It involves going to the slums or villages where the workers come from, seeing how they live and whether the work is enabling them grow economically. It allows those buying their crafts a way to truly assess the problems the artisans and their families face. To help overcome the problems underlying disasters such as that of Rana Plaza in Bangladesh, the fashion industry will need vision and long-term partnerships. This is something different from the logic of private equity and quick returns that all too often rule the industry. To give fashion real value and holistic beauty, to allow consumers to wear fashion proudly, the union of the craftsmen’s work and the designer’s genius must be honoured in the dignity of the business contract that binds them economically.

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Photo essay: Stella McCartney’s Noemi tote production, Kenya

Watch the film: Stella McCartney’s Noemi tote production, Kenya

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