Cfs magasin 24x32cm digital 170306 by Danish Fashion Institute

THE OFFICIAL MAGAZINE

COPENHAGEN FASHION SUMMIT 12 MAY 2016

RE S P ONS I B L E I NNOVAT I ON

WE LCOME

WELCOME TO COPENHAGEN FASHION SUMMIT

PATRON

Dear Participants, As patron of Copenhagen Fashion Summit, it is my great pleasure to welcome you to the fourth edition of the world’s largest event on sustainability in fashion. I would also like to extend a warm welcome to all of you who are coming from abroad, to the city of Copenhagen. With sustainability at the core of the summit’s agenda, Copenhagen is a very relevant host city, as it is a city that holds the ambition of becoming the first carbon neutral capital in the world. Since I first participated in the Copenhagen Fashion Summit back in 2009, the summit has grown both in size and importance. The Nordic fashion industry joined forces with the common goal of making the fashion industry more sustainable and climate friendly and they timed this action to coincide with the UN Climate Change Conference (COP15) in Copenhagen. This laid the foundation for the following summits. Today, seven years later, Copenhagen Fashion Summit is seen by some as the “Davos for the fashion industry”. It has become a global gathering place for more than 1,200 influential decision-makers in fashion, business and politics. Participants from all over the world come to engage in discussions about the evolution of the fashion industry and the need for new business models to tackle the growing environmental and social footprint it leaves across the globe. The fashion industry is not just one of the most resource-intensive industries in the world; it is also one of the most labour intensive. As many as 75 million people worldwide are employed in the fashion industry, which is also – and historically always has been – one of the most female-dominated industries in the world. In fact, it is estimated that approximately 75% of garment workers are women. For most women in the garment industry, their job can provide hope of a better future for themselves and their children. However, the unattractive reality for many means excessive hours, unsafe working conditions and low wages. This is a just one of the unattractive realities that needs

RE S P ONS I B L E I NNOVAT I ON

to change. We know that fashion and its stakeholders have the power to create change. So now, it’s time to make it happen. It is fundamental to the evolution of the fashion industry that the next generation of designers, business leaders and consumers is engaged and leading in this journey. It is very positive to see that over 100 students from across the world are gathered at this time, here in Copenhagen, to participate in the Youth Fashion Summit. Here they have the opportunity to discuss and debate openly about the industry and its future and, in particular, the central role that they and sustainability must play. We all hold a responsibility to rethink the fashion industry. Copenhagen Fashion Summit is not just an ambitious conference about visions and words; it is an action-orientated movement to change the fashion industry for the better. I would like to thank the Nordic Fashion Association for this much needed initiative and the Danish Fashion Institute for making the biannual Fashion Summit here in Copenhagen a reality. I wish you all an enjoyable stay in Copenhagen but, more importantly, a game-changing summit. With warm regards,

Her Royal Highness Crown Princess Mary of Denmark PATRON OF COPENHAGEN FASHION SUMMIT

P ROGRAMME

PROGRAMM

WELCOME

08.30 AM – 09.30 AM

Press conference (by invitation only)

09.00 AM – 09.45 AM

Registration and light breakfast

10.00 AM

Her Royal Highness Crown Princess MARY OF DENMARK

KRISTIAN JENSEN, Danish Minister for Foreign Affairs ELŻBIETA BIEŃKOWSKA, European Commissioner for Internal Market, Industry, Entrepreneurship and Small and Medium-Sized Enterprises

PART 1 10.30 AM RICK RIDGEWAY, vice president of public engagement, Patagonia HANNAH JONES, chief sustainability officer and vice president, Innovation Accelerator, NIKE, Inc. LIVIA FIRTH, founder and creative director, Eco-Age Ltd. PANEL DEBATE: “The power of media”, moderated by MONITA RAJPAL, independent journalist and former CNN news anchor PANELLISTS: IMRAN AMED, founder and CEO, The Business of Fashion BANDANA TEWARI, fashion features director, Vogue India EDWINA MCCANN, editor-in-chief, Vogue Australia SHAWAY YEH, group style editorial director, Modern Media RENZO ROSSO, president, OTB Group in conversation with SUZY MENKES, Vogue international editor 12.00 PM – 1.20 PM

LUNCH

PART 2 1.20 PM “The voice of the next generation”, presented by DILYS WILLIAMS, director, Centre for Sustainable Fashion, University of the Arts, and BURAK CAKMAK, dean of the Faculty of Fashion, Parsons School of Design EVIE EVANGELOU, founder and president, Fashion 4 Development LINDA HEWSON, creative director, Selfridges and DANIELLA VEGA, director of sustainability, Selfridges in conversation with MONITA RAJPAL, independent journalist and former CNN news anchor PANEL DEBATE: “Fashioning philanthropy: Giving back to create change”, moderated by JULIE GILHART, fashion consultant PANELLISTS: NADJA SWAROVSKI, executive board member, Swarovski SUSAN ROCKEFELLER, CEO & founder, Protect What Is Precious Denim Challenge and Design Challenge, presented by François Girbaud, co founder and owner, Marithé + François Girbaud, and Catarina Midby, sustainability manager, H&M UK & Ireland

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

P ROGRAMME

Interlude 3.00 PM – 3.30 PM

BREAK

3.30 PM – 4.30 PM Breakout sessions BREAKOUT SESSION 1: THE BRAVE NEW WORLD OF DENIM François Girbaud, co-founder and owner, Marithé + François Girbaud Peter Frank, product development manager, Nudie Jeans Marco Lucietti, global marketing director, ISKO™ Michael Kobori, vice president sustainability, Levi Strauss & Co. Moderated by Samuel Trotman, denim editor, WGSN BREAKOUT SESSION 2: MAKING LUXURY MORE SUSTAINABLE Brigitte Stepputtis, head of couture, Vivienne Westwood Michael Beutler, director of sustainability operations, Kering Sylvie Bénard, director of environment, LVMH Group Moderated by Elisa Niemtzow, director, Consumer Sectors, BSR BREAKOUT SESSION 3: FASHION AND POLITICS Marjeta Jager, deputy director general, Directorate-General for International Cooperation and Development, European Commission Marjan Schippers, deputy director, International Trade Policy and Economic Governance, Ministry of Foreign Affairs of the Netherlands Jason Kibbey, CEO, Sustainable Apparel Coalition Vivek Batra, CEO, hessnatur François Zimeray, Ambassador of France in Denmark Moderated by Lars Fogh Mortensen, title?, International Cooperation and Partnerships, European Environment Agency BREAKOUT SESSION 4: WILL TECHNOLOGY SAVE FASHION? Cyrill Gutsch, founder, Parley for the Oceans Shubhankar Ray, global brand director, G-Star James Carnes, vice president of strategy creation, adidas Lewis Perkins, president, Cradle to Cradle Products Innovation Institute Miroslava Duma, founder, Buro 24/7 Moderated by Michael Schragger, executive director, Sustainable Fashion Academy

PART 3 4.40 PM ANNA GEDDA, head of sustainability, H&M JUAN ORLANDO HERNANDEZ, President of Honduras VANESSA FRIEDMAN, fashion director and chief fashion critic, The New York Times PANEL DEBATE: “The future of fashion”, moderated by NADER MOUSAVIZADEH, co-founder and partner, Macro Advisory Partners PANELLISTS: CAROLINE RUSH, chief executive, British Fashion Council CARLO CAPASA, PRESIDENT, Camera Nazionale della Moda Italiana STEVEN KOLB, CEO, Council of Fashion Designers of America LINDA GREER, senior scientist, National Resources Defense Council MARCO LUCIETTI, global marketing director, ISKO™ 5.50 PM – 6.00 PM EVA KRUSE, CEO, Danish Fashion Institute

RE S P ONS I B L E I NNOVAT I ON

I MP RI NT

IMPRINT DANISH FASHION INSTITUTE FREDERIKSHOLMS KANAL 30-C 1220 COPENHAGEN K, DENMARK

PUBLISHER: Danish Fashion Institute A/S EDITOR-IN-CHIEF: Maria Jæpelt EDITOR-AT-LARGE: Magnus Jorem EDITORS: Eva Kruse, Jonas Eder-Hansen, Johan Arnø Kryger, Cecilie Thorsmark COPY EDITOR: Nancy Aaen, inenglish.dk ART DIRECTOR: Marie Brodersen PHOTOS: Luka Roné, Elisabeth Eibye, Thomas Degner, Copenhagen Fashion Week PRINT: KLS PurePrint A/S

COVER PHOTOGRAPH: CREATIVE DIRECTOR: KIM GRENAA/DANSK COVER PHOTOGRAPHER: SIGURD GRÜNBERGER MODELS: KIRSTIN/SCOOP MODELS & VICTOR N/SCOOP MODELS STYLIST: ANNE STOCKMANN MAKE-UP: TROMBORG HAIR: LASSE PEDERSEN/AGENTUR CPH CLOTHES: MADS NØRGAARD RETOUCH: POST STUDIO CARPETS: EGE CARPETS FLOWERS: BLOOMON

EVERY EFFORT HAS BEEN MADE TO TRACE THE COPYRIGHT HOLDERS FOR THIS PUBLICATION. SHOULD ANY HAVE BEEN INADVERTENTLY OVERLOOKED, DANISH FASHION INSTITUTE WILL BE PLEASED TO MAKE THE NECESSARY CHANGES AT THE FIRST OPPORTUNITY.

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

FORE WORD

PROBABLY THE MOST POWERFUL INDUSTRY IN THE WORLD! work in the industry, making it one of the most important industries worldwide. This is especially since it also holds a tremendous capacity to spark change that could potentially influence the lives of millions and have a monumental effect on our planet. With such influence comes a responsibility to generate new business models and to apply the creative and innovative forces of the industry to bring about a transformation toward greater sustainability. Concepts like circular economy, recycling, reuse, new materials, longevity and lasting quality are among the innovative drivers for new business models that can lead to innovation and stronger businesses while also minimising the impact on people and our planet. Of all the things I do in life, this is what I’m most passionate about and is the reason we initiated the Copenhagen Fashion Summit in 2009. We wanted to establish a platform for likeminded people to meet, for sustainable brands to shine and a forum for sharing knowledge, innovations and solutions. My aim was to start a movement and then to keep the ball rolling in the fashion industry until consumers everywhere are also inspired to change.

I love fashion. Of course I love clothes and I love the creative minds, the ambitious people and the rapid pace, but above all what I love the most is the power of the fashion industry. Fashion has a reach beyond any other, influencing us consciously and subconsciously. It makes us love, desire, excite, reject and change. Over and over again. On top of that, fashion is also one of the world’s largest industries and one of the most resource intensive when it comes to the use of energy, raw materials, pesticides, chemicals, water and manual labour in (low-wage) countries. The world is facing serious climate change and other severe issues affecting our habitat, influencing both animal and human life. The global fashion industry has an immense impact on the environment and on the millions of people who

This year’s theme, Responsible Innovation, emphasises once again that Copenhagen Fashion Summit is a catalyst for change. The commitment to and momentum surrounding the 2016 summit have been overwhelming. The impressive speaker line-up and list of participants, with leading companies from more than 50 nations, prove that decision-makers from the worlds of fashion, politics, media, academia and NGOs are ready to take on said responsibility. They are poised to kickstart a discussion on new business models and solutions for a more sustainable fashion industry. Looking back at the summits that have taken place in the past seven years, I’m proud to say that searching for brands and people able to take the stage and present their work, ethics and innovations is no longer a struggle. Their numbers have clearly grown. We all know there’s still a long way to go but every step matters, even the smallest. Consumers play a pivotal role in honouring or supporting companies that improve their eco-footprint.

RE S P ONS I B L E I NNOVAT I ON

However, I do not believe that consumers will be the ones to kickstart change in fashion. The reality is that the initiatives begin with YOU – the industry leaders, the top management, top designers, the clever editors, the researchers and scientists, the NGO’s and the policymakers. Thus, as a powerful industry we must set a good example for consumers by offering them a desirable and sustainable choice and by leading the way. I really do love fashion – especially when I feel empowered and optimistic about where we can drive sustainable development as an industry. I would like to use this opportunity to express my gratitude for all the support the summit team and I have received, our greatest thanks extended to our special advisors Jan Olesen, Julie Gilhart and Thomas Tochtermann, for their tireless efforts and great success in attracting key people to the event. We also owe a large debt of gratitude to all our sponsors, speakers, panellists and media partners for providing content and depth to the summit’s framework and to helping spread the word. I would like to thank each and every one of you for coming and for joining us here in Copenhagen. This is indeed an amazing gathering of people, of power, of voices and of muscle, all geared toward making this change happen. Please join me and my team on this journey to reinvent fashion to make it better based on stronger and more sustainable business models for the benefit of the planet and generations to come.

Let’s restart fashion! EVA KRUSE CEO DANISH FASHION INSTITUTE

CONT E NT

CONTENT THE HOSTS:

Q&A WITH Amber Valletta AND Derek Blasberg

COPENHAGEN FASHION SUMMIT WELCOME

Patron Her Royal Highness Crown Princess Mary of Denmark

COPENHAGEN FASHION SUMMIT PART 1

Q&A WITH Rick Ridgeway

THE POWER OF MEDIA

Q&A WITH Renzo Rosso

Q&A WITH Suzy Menkes

COPENHAGEN FASHION SUMMIT PART 2

YOUTH FASHION SUMMIT: Our

hope for a sustainable future

FASHIONING PHILANTHROPY: giving

back to create change

DENIM CHALLENGE

DESIGN CHALLENGE

COPENHAGEN FASHION SUMMIT PART 3

Q&A WITH Anna Gedda

Q&A WITH Vanessa Friedman

THE FUTURE OF FASHION

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

CONT E NT

BREAKOUT SESSIONS

The brave new world of Denim Making luxury more sustainable Fashion and politics Will technology save fashion?

62 64 68 72 76

PROUD SPONSORS

A COMPREHENSIVE APPROACH â&#x20AC;&#x201C; IN PRACTICE GARMENTS, MANUFACTURING AND MILLIONS OF LIVES

82 83 84

MARIO TESTINO EXHIBITION: ICONS, NUDES & ROYALS

SUMMIT PARTNERS

AT THE FOREFRONT OF DESIGN-DRIVEN SUSTAINABILITY

THE NUMBERS MATTER

RAISING TOUGH QUESTIONS: A SUCCESS STORY

VEHICULAR PARTICULARS

SCIENCE & NATURE

THE JOY OF THE JOURNEY

NORDIC INITIATIVE CLEAN AND ETHICAL

DANISH FASHION ETHICAL CHARTER

A SUSTAINABLE CONFERENCE

100

THE HANDS THAT MAKE IT HAPPEN

104

PRESS SERVICES

106

PAVING THE WAY

RE S P ONS I B L E I NNOVAT I ON

HOST

HOSTS AMBER VALLETTA Model, actress and entrepreneur Amber Valletta, model, actress, entrepreneur and activist, spearheads Master & Muse, the premier online store for responsible, cutting-edge fashion. Having worked with some of the most prestigious names in the fashion world as a model before transitioning to acting and then to business and documentary projects promoting tailored sustainability, Valletta is a force for advancing environmental awareness and smarter consumption within an industry she understands from many different vantage points. Valletta is featured in Driving Fashion Forward, a series of short documentaries on fashion and sustainability released by A Squared Films, a

You’re very devoted to pushing for sustainability. What are your dreams for the fashion industry? My wish for fashion’s future is that sustainability is viewed in a more holistic way — not only in terms of materials but also in workers’ lives, production and supply chain pressures, and even the fashion calendar. My hope it that producing responsibly will be the norm … not a trend or a branding tool, but the way we do business because it’s fundamentally better business, better for the bottom line, better for the planet. You cannot deplete any system and expect a positive long-term outcome.

What principels do you live by? Sustainability is the bedrock of my belief system – environmental, financial, personal and human sustainability. This broader definition of sustainability works for me because it’s intrinsic to who I am and how I choose to live my life. From there

I strive to bring awareness out into the world on issues that matter to me. I believe in partnership and collaboration as a way to innovate and incite change for the greater good. Integrity – doing what I say I am going to do is important to me. Creativity and fun must be present as well. These principles are the lens through which I evaluate all my endeavours.

What kind of actions or little things do you do in your everyday life to improve the environment? I live a very healthy lifestyle. My house is on solar panels, my car is all electric, my food is organic and all of my home care is ecologically friendly. I purchase carbon offset for my business when I can’t reduce. I am mindful of what I purchase and heed the need to consume more.

How do you hope to influence the fashion industry with your

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

studio she co-founded in collaboration with Lexus’ L-Studio. She also serves as a member of the Council of Fashion Designers of America’s Sustainability Committee, the Cradle to Cradle’s Fashion advisory board and was a juror for the 2015 H&M Global Change Award. These and other pursuits allow her to devote her time to influencing a wide range of companies, designers and consumers to adopt responsible practices and habits, without compromising style.

Q&A entrepreneurial and activist contributions? I hope to continue to inspire the industry to grow. The current path that we are on is unsustainable, from designer timelines and unmanageable supply chains to compulsive shopping and excess waste on the consumer side. We need to start where we are. I hope to be one of the influencers to help ignite change for the better by offering solutions to brands, companies and consumers. I hope that I can continue to build awareness both from within the industry and with consumers.

What are your dreams for Master & Muse? Partner with designers, brands and companies to design, source and produce more responsibly made fashion and products. AND to give the consumer more choices and access to stylish and responsibly made fashion and products.

HOST

Why did you want to be a part of the 2016 Copenhagen Fashion Summit? The first time I came to this summit was a few years ago, which I had come to as a spectator. I appreciated the topics that were being raised and walked away from it feeling grateful that there are people who are committed to changing the way the fashion industry affects our environment. Even as a kid I was concerned with humanity’s footprint on Mother Earth. I remember in grade school my friends and I would save our allowances and ask our parents to buy acres in the Amazon rain forest to stop deforestation. So, when I was asked to take a more active role in this year’s summit, I was both flattered and excited to accept.

As newly appointed CNN Style host, do you have any particular topics that you wish to bring forward to CNN viewers? What is so great about my show on CNN is that it approaches style from a multitude of angles. Often, the word ‘style’ is associated only with fashion. But it should mean much more than that. It’s the way we talk, the way we walk, the way an artist holds a paintbrush. My show looks at style in the worlds of art, architecture, design and even automotive. It’s been exciting to peel back some of those layers and illustrate these worlds to a new audience. CNN is an iconic news brand, and we’re bringing that same brand of reporting to the world of style.

What do you believe the On a personal level, future holds for fashion? what are the determinConsumers now are more and more educated about what they’re buying, and I think as more ining factors when you formation emerges people will be more interested in where the things they buy come from and how they were created. I hope that soon, true style will buy a garment? be about awareness.

Since I moved to New York more than a decade and a half ago, my entire style ethos and philosophy has changed. I used to like disposable fashion and would look for inexpensive clothes that I’d only wear once or twice and then forget about. I don’t know if it has to do with being mature or more informed about my choices, but now I look for more classic things, and I appreciate quality and material. My clothes cost more nowadays, but they last longer and, to be honest, they look much better, too.

What is the best advice you’ve ever received? I was always an impatient child and that didn’t change when I grew out of adolescence either. I was always in a hurry for things to move quicker, and whenever I would get frustrated my grandmother would tell me, “Rome wasn’t built in a day.” That inevitably frustrated me even further, but looking back now I realise that the things I’m most proud of – writing books, my career, my friendships – all took years. So that’s the best advice I ever received: Respect that there is nothing more important than the investment of time.

Q&A

DEREK BLASBERG

Fashion journalist and host of CNN Style Derek Blasberg, magazine writer, editor and best-selling author, is Vanity Fair’s man on the street and a senior staff member at Gagosian Gallery. Furthermore, he is host of the recently re-launched CNN style. In 2010 Blasberg’s first book, Classy: Exceptional Advice for the Extremely Modern Lady, was released by Penguin. A collection of humorous essays about modern etiquette, it spent weeks on The New York Times’ bestseller list and was followed two years later by a sequel, Very Classy: Even More Exceptional Advice for the Extremely Modern Lady. In 2015 he published Harper’s Bazaar: Models, a photographic survey of the most influential faces to have appeared in the magazine.

RE S P ONS I B L E I NNOVAT I ON

Blasberg has contributed to editions of Vogue, Vanity Fair and Harper’s Bazaar worldwide, as well as W, Glamour, WSJ Magazine, The New York Times and The London Sunday Times. He holds two degrees, one in dramatic literature and one in journalism, from New York University and has collaborated with some of the industry’s most iconic image makers, from Karl Lagerfeld to Terry Richardson.

Copenhagen Fahsion Summit

WELCOM / copenhagenfashionsummit

@copenhagenfashionsummit @CphFashSummit

ME BRUNS BAZAAR

PAT RON

SPEECH Her Royal Highness Crown Princess Mary of Denmark will deliver the OPENING SPEECH

PATRON

COPENHAGEN FASHION SUMMIT

Her Royal Highness

CROWN PRINCESS MARY OF DENMARK Her Royal Highness Crown Princess Mary is patron of the Copenhagen Fashion Summit 2016. Her patronage demonstrates continued support for promoting a sustainable and responsible fashion and textile industry. At this year’s fashion summit, the Crown Princess will be giving the opening speech as well as participating in several events. The Crown Princess also attended the summit in 2009, 2012 and 2014.

and serves as patron of several international organisations and agencies, including the United Nations Population Fund and the World Health Organization Regional Office for Europe, but also the following Danish NGOs: Danish Refugee Council, Maternity Worldwide and LOKK, which is a national association of women’s shelters. The Crown Princess has previously served as patron of the Copenhagen International Fashion Fair.

The Crown Princess is a passionate advocate for health, gender equality and the empowerment of women and girls. She is committed to creating awareness, respect and acceptance of women and girls´ sexual and reproductive health and rights, including access to family planning and the reduction of maternal and child mortality.

In 2007 the Crown Princess founded The Mary Foundation with the mission of fighting social isolation. Under her leadership the foundation brings together untraditional partners to develop and manage projects and programmes that work on prevention, create opportunities and empower vulnerable individuals and groups who find themselves socially isolated. The foundation’s focus areas are: domestic violence, bullying and wellbeing and loneliness.

Crown Princess Mary is as a member of the High-Level Task Force for the International Conference on Population and Development

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

S P E AK E RS

KRISTIAN JENSEN

Danish Minister for Foreign Affairs Kristian Jensen is currently Denmark’s Deputy Prime Minister and Minister for Foreign Affairs. A spokesperson for Left, or Denmark’s Liberal Party, and a member of the Danish Parliament since 1998, he has also held the position of Minister for Taxation (2004-2010). In addition he has served as a spokesperson for the Left on information technology and sports (1998-2001) and on financial policy, later becoming the vice chairman of the Fiscal Affairs Committee in 2001.

son, he has argued for more private sector involvement in climate efforts and for innovative approaches to financing the way forward that combines public and private funding.

SPEECH Kristian Jensen will deliver A WELCOME SPEECH

As the Minister for Foreign Affairs, Jensen is an advocate of ambitious sustainable practices, such as the World Development Goals, and of reaching a global climate treaty, both of which are intimately tied to global economic growth. He does not believe that these issues are mutually exclusive, but interdependent. For this rea-

ELŻBIETA BIEŃKOWSKA

European Commissioner for Internal Market, Industry, Entrepreneurship and Small and Medium-Sized Enterprises Elżbieta Bieńkowska has been European Commissioner for Internal Market, Industry, Entrepreneurship and Small- and Mediumsized Enterprises since 2014. Prior to this, she served as Deputy Prime Minister and Minister of Infrastructure and Development in Poland from 2013-2014 and was Minister of Regional Development from 2007-2013. Bieńkowska’s team in the European Commission is responsible for initiatives such as Sustainable Growth and EU Horizon 2020, and Sustainable Growth and Automotive Industries. She heads a unit crucial to private-sector involvement in environmental initiatives in the world’s biggest market.

RE S P ONS I B L E I NNOVAT I ON

Bieńkowska holds a master’s degree in oriental philology from Jagiellonian University and a post-graduate diploma from the Polish National School of Public Administration.

SPEECH Elżbieta Bieńkowska will deliver A WELCOME SPEECH

Speak up! #RESTARTFASHION #COPENHAGENFASHIONSUMMIT

Copenhagen Fashion Summit

PART 1 DESIGNERSâ&#x20AC;&#x2122; NEST

S P E AK E R

RICK RIDGEWAY Patagonia

Rick Ridgeway is the vice president of public engagement at Patagonia, a high-end outerwear label. During his time there, he has developed environmental initiatives such as Freedom to Roam, the Footprint Chronicles, the Responsible Economy Campaign and Worn Wear. Ridgeway was the founding chair of the Sustainable Apparel Coalition, the world’s largest apparel, footwear and home textile trade organisation. He also created the Higg Index, a suite of standardised tools to measure sustainability and produce industry benchmarks for continual impact reductions.

Even though Patagonia is in the outdoor sector of the larger apparel industry, we’ve seen a great interest, especially in recent years, among fashion companies seeking to learn more about our practices. How the use of environmentally preferred materials can provide business value. Why quality and durability are both important components of sustainability. How sustainability commitments assist employee recruitment and retention. The list goes on, and we are more than happy to share what we have learned in our own journey.

What impact do you hope that Sustainable Apparel Coalition’s Higg Index will have? The Sustainable Apparel Coalition (SAC) was founded on the idea that the reduction of environmental impacts and the improvement of so-

SPEECH Rick Ridgeway will give a speech on PATAGONIA: GOOD FOR BUSINESS & GOOD FOR THE PLANET

Q&A

As one of the world’s foremost mountaineers, Ridgeway has produced and directed many

Why have you chosen to take part in the discussion on sustainability at the 2016 summit?

television adventure shows. The author of six books, he has also written for Outside, National Geographic and the Harvard Business Review. In 2008 National Geographic honoured him with its Lifetime Achievement in Adventure award. He serves on the boards of Conservacion Patagonica and the Turtle Conservancy and the advisory boards of World Wildlife Fund, Unilever USA and the Leonardo DiCaprio Foundation.

cial justice issues in the apparel industry are best managed by using standardised measurement. Since Patagonia co-founded the SAC in 2010, the coalition has delivered on the tool part – the Higg suite of tools – and now the measurement part is starting to scale. Benchmarks are being created. The next step – the original hope – is that together the industry can show the world, one year to the next, that against those benchmarks environmental impacts are going down and social justice issues are getting better.

What are your dreams for the fashion industry? I said that quality and durability are both important components of sustainability. Everything we make and consume requires energy and water and results in waste and carbon emissions during production and distribution. The environmental footprint a shirt or dress or pair of pants decreases exponentially as its usable life increas-

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

es. My wife was in the fashion industry when we married 34 years ago; she was among the first employees at Calvin Klein. Our daughters still wear some of the clothes she brought into the marriage – products that are over 40 years old – and our girls, now young women, look great in them.

What daily acts do you practice to be more sustainable? The most important thing we can do to live more sustainably is to live more simply. That is also one of the hardest things to do. I’m not very good at it. But what I have learned to do is value the non-material parts of my life and to pay attention to the small things we too often ignore. To pause walking between buildings to go from one meeting to next, to feel the sun on your face and to listen to the bird singing in the tree.

S P E AK E RS

HANNAH JONES NIKE, Inc.

Hannah Jones is the chief sustainability officer and vice president, innovation accelerator at NIKE, Inc. With a goal to decouple growth from constrained resources through sustainable innovation, Jones leads NIKE’s sustainable business and innovation team, which works to rethink materials, methods of production, products and business models to solve complex sustainability challenges. As vice president, innovation accelerator, Jones shepherds a dynamic team intended to move innovation faster through the business.

by the World Economic Forum in January 2007. In 2013 Jones was awarded the C.K. Prahalad Award for Global Business Sustainability Leadership. Jones is a board member of the Ecover and Method brands.

SPEECH Hannah Jones will give a speech on DESIGNING THE FUTURE

From 2007-2010, she chaired the Sustainable Consumption Initiative for the Consumer Industries grouping of the World Economic Forum and was named a Young Global Leader

LIVIA FIRTH Eco-Age Ltd.

Livia Firth is the founder and creative director of Eco-Age Ltd., a brand consultancy that helps businesses grow by creating, implementing and communicating bespoke sustainability solutions. Under Firth’s leadership, Eco-Age simplifies sustainability for its clients, offering tailored, measurable solutions that help companies achieve growth, establish sector leadership and enhance the bottom line, creating long-term value for themselves and the societies they work in. As an Oxfam Global Ambassador, Firth has travelled to Ethiopia, Kenya, Bangladesh and Zambia, connecting with the people at the beginning of the supply chain. She is also a founding member of Annie Lennox’s The Circle, a powerful women’s advocacy group.

RE S P ONS I B L E I NNOVAT I ON

Firth is a UN Leader of Change and has also been recognised with the UN Fashion 4 Development Award. In 2014 she was awarded the Rainforest Alliance Award for Outstanding Achievement in Sustainability, and the Honorary Award of the National German Sustainability Foundation.

SPEECH Livia Firth will give a speech on CUTTING THROUGH THE NOISE

PANE L DE B AT E

The power of media

Fashion media play an important role in providing a bridge between the industry and its stakeholders, primarily consumers. The media represent a powerful format that shapes and describes the latest trends in the fashion industry, influencing how consumers perceive the industry and its outputs. But can a media environment largely funded by ads from the companies they are covering offer critical coverage that brings up the necessary issues for advancing sustainability in fashion? Can fashion magazines, newspapers and online platforms offer incisive critique and investigative stories when attention spans, particularly in the world of fashion, are growing shorter and shorter, attuned increasingly to quickly consumed images and styles? This panel will discuss the fashion media’s role in advancing the discussion on sustainability in fashion, including such challenges, but also with a look at new opportunities arising in the changing media landscape.

MONITA RAJPAL Independent journalist

Monita Rajpal is an independent journalist with 20 years of experience in television as an onair reporter and anchor. She began her journalism career in Canada, and until recently worked for CNN International. In her 14 years with the network, she was based in Atlanta, London and Hong Kong. Rajpal has anchored some of the biggest stories of the last two decades, including the 9/11 attacks, the 2004 tsunami, the Iraq War, President Obama’s historic election, the Arab Spring and the London Olympics. In her time at CNN she anchored the network’s flagship breakfast show in London and a prime-time news programme in Hong Kong.

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

Besides interviewing political leaders like Mikhael Gorbachev, Goodluck Jonathan and Shimon Peres, Rajpal has specialised in the luxury industry, hosting a series of programmes in which she interviewed the CEOs of LVMH, Kering, Cartier, Chopard, Tag Heuer, Salvatore Ferragamo and Boucheron, among others. She has also hosted an AIDS special called Staying Alive on MTV.

MODERATOR: MONITA RAJAPL PANELLISTS: Imran Amed (Business of Fashion), Edwina McCann (Vogue Australia), Bandana Tewari (Vogue India), Shaway Yeh (Modern Media)

PANE L L I STS

IMRAN AMED

The Business of Fashion Bringing a unique understanding of the creative and commercial sides of fashion, Imran Amed has emerged as one of the global fashion industry’s leading writers, thinkers and commentators and is founder, CEO and editor-in-chief of the Business of Fashion (BoF).

cals, including the BoF 500, an annual list of the people shaping the global fashion industry; BoF Careers, a global marketplace for fashion talent; BoF China, a Chinese-language edition; and BoF Education, a platform for online learning.

BoF has sparked a new kind of fashion dialogue, exploring the key drivers of an industry undergoing unprecedented changes, including rapidly growing new markets and an explosion of social media and technology. Amed had grown BoF into a credible industry authority with one million unique visitors monthly and more than three million followers on social media worldwide. The BoF team numbers more than 30 people overseeing multiple verti-

EDWINA MCCANN Vogue Australia

As editor-in-chief of Vogue Australia since 2012, Edwina McCann is responsible for the Vogue brand across print, digital and social media platforms. With more than 20 years’ experience in the luxury fashion market, McCann is one of the most respected editors in the market. After starting her career as a fashion assistant at Vogue, McCann moved onto fashion-related editorships at The Australian, WISH and Grazia before joining Harper’s Bazaar Australia as editor-in-chief. McCann spearheaded the creation of the Australian Fashion Chamber to nurture and promote Australia’s fashion design community. She acts as chair of the organisation, which is recognised as a sister association of the British Fashion Council and the Council of Fashion

RE S P ONS I B L E I NNOVAT I ON

Designers of America. She is also passionate about her role on the Gold Committee, which raises funds for the Sydney Children’s Hospital. In 2014 McCann was named in the Business of Fashion 500 and also joined the advisory board of the University of Technology Sydney Business School. In 2015 McCann topped B&T’s list of 30 Most Powerful Women in Australian Media.

PANE L L I STS

BANDANA TEWARI Vogue India

Bandana Tewari has made a name for herself as one of the fashion industry’s smartest commentators. As Vogue India’s director of fashion features, she has quickly become the go-to-source for anyone who wants to learn about India’s rapidly evolving luxury market, as well as the madeby-hand indigenous eco-system of the country.

In the past Tewari hosted and scripted 50 episodes of the first primetime fashion and style show for Indian television and hosted the first series of fashion webisodes in India. She has also written a quaint travel book called The Little Guide to Italy.

Tewari was named in Industrie magazine’s fashion media A-list, alongside other leading fashion commentators, and is also a columnist for the Business of Fashion. She has written for some of the world’s leading lifestyle magazines and newspapers, including International Herald Tribune, The New York Times, US Vogue, UK Vogue, Tank, Wallpaper, Conde Nast Traveller India and Architectural Digest India.

SHAWAY YEH Modern Media

Shaway Yeh is a key opinion leader on fashion and design in China. Under Yeh’s editorial direction, Modern Weekly, the country’s most influential lifestyle publication – with a circulation of over 860,000 copies – reaches elite Chinese readers with the latest news, trends and discussions in the fields of style and culture. Yeh launched aRUDE magazine in New York in 1994 and GQ Taiwan in 1996, before moving to Shanghai in 2003 to prepare for the launch of Vogue China. In 2005 she helmed communication for Prada in China and joined Modern Media Group in 2006. Yeh has spoken at a variety of forums, including China Fashion Designers Association, the

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

Wolpole British Luxury, Hong Kong Art Fair. She curated “Tribute Song, China’s First Fashion Icon” at the Museum of Central Academy of Art in Beijing in 2010 and co-presented nine Chinese fashion designers with Nicola Formichetti during New York Fashion Week in 2011. She has also launched the digital style platform iTV and curated “Dressing the Screen: UK and China fashion films exhibition” at Ullens Center for Contemporary Art in Beijing.

FIGURA COLLECTION Push the conventional floor design into a completely new

with the patented and Cradle to Cradle Certifiedâ&#x201E;˘ felt backing

direction. With Figura, you have shape, material and colour entirely

produced from recycled water bottles that are turned into a soft,

in your hands to tailor your floor into a truly unique experience

yet highly durable underlay with great acoustic performance.

with new, interesting and exciting effects. All Figura tiles come

Learn more at egecarpets.com.

S P E AK E R

Q&A What does sustainable fashion mean to you, personally?

Sustainable fashion (or rather, any sustainable business) is not only about reducing waste, pollution and negative social impact, it also means building something positive. It means caring for your people, caring for your business partners, caring for the world, thinking of the future and not just the here and now. Multinational companies have a huge responsibility; they can do more to change the world than most politicians. Modern entrepreneurs have to embrace this responsibility and act upon it as much as they can.

How does Only The Brave Foundation approach sustainability?

Which of your achievements are you most proud of?

Our engagement ranges from our care for the welfare of our employees, to our support of our best small and medium-sized suppliers (the backbone of ‘Made in Italy’), to the restoration of Venice’s Rialto Bridge, one of the icons of Italy’s art patrimony, which we are financing, to the different activities of our Only The Brave Foundation, which has the mission to fight social inequality and contribute to the sustainable development of less advantaged people and areas around the world.

People seem to appreciate that I built my own company from zero, that I never in my entire life worked just to make money, that passion is what drives me, and because of this, young people all over the world stop me in the street just to tell me that I am a good, motivating example for them. This is what I hope to leave behind: the thought that we can all achieve something in our lives, no matter how big or small, something that we can be proud of.

What dreams do you have for Only The Brave Foundation? I built the foundation on a few important criteria, one of which is the fact that its operating costs have to be as close to zero as possible. My dream is that this becomes THE WAY any foundation and philanthropic initiative worldwide is run.

What do you think and hope that the future of the fashion industry holds? More conscious creative and production processes, more attention to people and the environment, the involvement of every individual in a cultural change that is highly needed.

RENZO ROSSO OTB

Renzo Rosso is the president of OTB, the parent company of Diesel, Maison Margiela, Marni, Viktor&Rolf, Brave Kid and Staff International – which produces and distributes brands like DSquared2, Just Cavalli, Vivienne Westwood Red Label and Man and Marc Jacobs Men’s. Rosso created his first pair of jeans when he was 15 on his mother’s sewing machine. He wore them, his friends wanted some too, and a clothing pioneer was born. In 1978 Rosso joined the Genius Group, where a number of brands came into being, including Katherine Hamnett, Replay and Diesel. In 1985 he took full control of Diesel, turning it into a cult brand thanks to its unusual style and innovative marketing.

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

Because of Rosso’s Only The Brave Foundation, whose mission is to contribute to the sustainable development of less advantaged places with a special focus on Sub-Saharan Africa, he was appointed Millennium Development Goals Global Leader, with the task of generating awareness on these issues within the industry and the general public. The foundation has invested in more than 170 social projects around the world, touching the lives of over 180,000 people.

CONVERSATION Renzo Rosso will be in conversation with Suzy Menkes

S P E AK E R

SUZY MENKES Vogue

Vogue’s international editor, Suzy Menkes, is one of fashion’s most respected voices. As a critic and forecaster of fashion’s future, her work appears digitally on 19 Vogue websites in 13 different languages, reaching an online audience of 38 million. With 175,000 Instagram followers (and rising) and 34,000 Facebook followers, Menkes reports from the frontlines on shows, commenting and critiquing the wider industry. She is also responsible for organising annual luxury conferences, first for Condé Nast International in Florence, Italy in 2015 and another in Seoul, Korea in 2016.

Why did you wish to take an active part in the summit? Is there anything more important than the future of our planet? Unfortunately, the fashion world has, in its past history, been very careless with water use, water pollution and treatment of some workers. Awareness has started to improve the situation – and I am eager for that to continue.

What future do you see for sustainable fashion? I think that this is a process that needs to be led from the top down. It should be considered shocking for a so-called ‘luxury’ project to be made in a way that harms the environment or its workers. As the big names lead, others should follow.

What role do the media play in the context of sustainable fashion? I personally have always tried to include sustainability as a subject in interviews and to report on information. But I feel that journalists mostly have to dig out these facts. The Kering group is the exception in offering efficient information.

How does fashion keep your interest after so many years in the industry? Fashion is always fascinating because it holds up a mirror to the times – often being ahead of the curve of change. For example: when designers produced broad shouldered, mannish trouser suits for women in the late 1970s, the look was laughed at. But in retrospect, that was the beginning of feminism that helped break the glass ceiling to the boardroom. I would say that the arrival of Vetements – a collection of simple, un-glamorous, non-show-off clothes – echoes the rise in several countries of politicians who are fighting for the people.

How has the fashion industry changed in the past 50 years? Has it changed for the better or worse? I am sorry to say that the fashion world has gone full circle over the last 100 years, if not perhaps 50 years. Workplaces with tough conditions in developed countries have disappeared, but not really. They have been moved to Bangladesh or

RE S P ONS I B L E I NNOVAT I ON

Menkes received the French National Order of the Legion of Honour in 2005 and was more recently honoured with the Order of the British Empire for services to fashion journalism. In 2013 she received the Fiorino d’Oro from the city of Florence, which gave her keys to the city in 2015 in recognition of her service to culture and the arts.

Q&A Vietnam, where fashion is created under deplorable conditions. It is shameful that people buy these clothes at extremely cheap prices, without asking about their origins.

Which of your many career achievements are you proudest of? It is a pleasure to receive awards for my work. But I am far more concerned about the health and development of my family than about medals. Perhaps my greatest pleasure was the golden key to Florence for artistic endeavour given to me by the then Mayor of Florence Matteo Renzi, who went on to be the Prime Minister of Italy but still acknowledges me.

/ copenhagenfashionsummit @copenhagenfashionsummit @CphFashSummit

Copenhagen Fashion Summit

PART 2

MARK KENLY DOMINO TAN

YOU T H FAS H I ON S U MMI T

OUR HOPE FOR A SUSTAINABLE FASHION FUTURE Having grown up with greater awareness of environmental issues than any generation, today’s youth represent the single best hope for the implementation of sustainable practices in fashion and the wider society. During Copenhagen Fashion Summit, the more than 100 students from across the globe who took part in this year’s Youth Fashion Summit will present their ideas. On 25 September 2015, the 193 members of the UN General Assembly adopted 17 Sustainable Development Goals (SDGs) that will dictate the global development agenda until 2030. The Youth Fashion Summit, held in the two days prior to Copenhagen Fashion Summit, explored how the SDGs can represent opportunities for companies to align their own sustainability goals with broader societal aims.

industry is set to be launched at Copenhagen Fashion Summit 2016. Prior to the summit, participating students attended seven webinars with various themes ranging from new business models and systemic thinking to sustainable design thinking and material storytelling, enlightening them about various aspects of sustainability – and unsustainability – in the industry.

The students will present their demands for the industry on stage during Copenhagen Fashion Summit 2016.

Organised by Danish Fashion Institute and the Copenhagen School of Design and Technology (KEA) in collaboration with other leading Danish design schools, the Youth Fashion Summit invited more than 100 students from around the world to showcase industry-specific examples and ideas for corporate action related to the SDGs. A finalised framework for the fashion

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

E DU C ATORS S U MMI T

PARTICIPATING SCHOOLS

Total: 116 students No. of nationalities represented: 40 No. of represented continents: 6 (North America, South America, Europe, Asia, Africa, Oceania)

• AALTO UNIVERSITY SCHOOL OF ARTS, DESIGN AND ARCHITECTURE • AALTO UNIVERSITY SCHOOL OF BUSINESS • AMSTERDAM FASHION INSTITUTE • BGMEA UNIVERSITY OF FASHION & TECHNOLOGY (BUFT) • BLEKINGE INSTITUTE OF TECHNOLOGY (BTH) • BOCCONI UNIVERSITY • CHELSEA COLLEGE OF ARTS • COPENHAGEN BUSINESS SCHOOL (CBS) • COPENHAGEN SCHOOL OF DESIGN AND TECHNOLOGY (KEA) • DESIGN SCHOOL KOLDING • ESCOLA DE ARTES, CIÊNCIAS E HUMANIDADES (EACH) • ESMOD BERLIN • ESMOD FRANCE • GLASGOW CALEDONIAN UNIVERSITY • ISTITUTO MARANGONI • LONDON COLLEGE OF FASHION • LUND UNIVERSITY • MCGILL UNIVERSITY • MILANO FASHION INSTITUTE

• OTIS COLLEGE OF ART AND DESIGN • POLIMODA INTERNATIONAL INSTITUTE OF FASHION DESIGN & MARKETING • PRINCETON UNIVERSITY • REUTLINGEN UNIVERSITY • ROYAL HOLLOWAY, UNIVERSITY OF LONDON • RYERSON SCHOOL OF FASHION • SAXION UNIVERSITY OF APPLIED SCIENCES • THE DANISH SCHOOL OF MEDIA AND JOURNALISM • THE ROYAL DANISH ACADEMY OF FINE ARTS, SCHOOL OF DESIGN • UNIVERSITY COLLEGE UCC • UNIVERSITY OF BOLOGNA • UNIVERSITY OF MINHO • UNIVERSITY OF SÃO PAULO (USP) • UNIVERSITY OF SOUTHERN DENMARK • UPPSALA UNIVERSITY • VIA UNIVERSITY COLLEGE • WEST SAXON UNIVERSITY OF APPLIED SCIENCES ZWICKAU • WHITECLIFFE COLLEGE OF ARTS AND DESIGN

convenient and effective opportunity to build and grow their networks, explore collaborations and help each other to navigate the broad, vaguely defined and fast developing topic of sustainability. The first of its kind, the summit was based on a set of structured sessions for presentation and dialogue balanced with the flexibility to allow valuable discussions to emerge and flow.

Educators are among the world’s most influential catalysts of change – whether their students go on to great leadership roles in entire industries or countries, or make smaller-scale differences in local communities. The Educators Summit, which was held the evening before Copenhagen Fashion Summit, is an open and stimulating space for educators to exchange and dissect insights, ideas and best practices for integrating sustainability into curricula, classrooms and

beyond. Its purpose is to collectively advance teachers as knowledge-based drivers of longterm sustainability, and to spark dialogue on what that means. Organised by Danish Fashion Institute, the Sustainable Fashion Academy and the Copenhagen School of Design and Technology (KEA), the Educators Summit furnished teachers of design, communications and business a

RE S P ONS I B L E I NNOVAT I ON

The participants of Educators Summit – who represent a cross-cutting profession of relevance to all kinds of fashion fields – will take part in the rest of Copenhagen Fashion Summit. Whether you are a educator yourself or a professional in any other area of the fashion industry, we encourage you to take part in the continued discussion on how education plays a role in the various topics explored, and how smarter teaching could benefit your own area for greater sustainability in the future. After all, the skills of those you hire – be they designer, business developer or communicator – will largely depend on how they were taught.

S P E AK E RS

BURAK CAKMAK Parsons School of Design As dean of the Faculty of Fashion at Parsons School of Design, Burak Cakmak is focused on guiding academic programmes into a new era with a strong emphasis on sustainable design and social responsibility. He has extensive experience in forging partnerships as a business strategist and sustainability expert for some of the largest, most prestigious retail and luxury brands in the world and has facilitated successful collaborations with a wide range of stakeholders, including suppliers, NGOs, governments and the media to drive ethical industry change.

en sustainability strategies as the first director of corporate sustainability for Kering’s luxury brands, including Gucci, Bottega Veneta, Yves Saint Laurent, Alexander McQueen, Balenciaga and Stella McCartney.

Prior to joining Parsons Cakmak worked at Swarovski Group as the company’s first vice president of corporate responsibility, establishing global programmes to foster environmental stewardship. He previously acted as general manager of Made-By Benelux in the Netherlands, advancing fashion sustainability practices for brands like H&M, Acne, Primark and Ted Baker. Prior to that he spearheaded innovation-driv-

DILYS WILLIAMS

Centre for Sustainable Fashion Professor Dilys Williams is director of Centre for Sustainable Fashion, a University of the Arts Research Centre, which she established in 2008, supported by London College of Fashion, the centre’s base. Guiding the centre’s exploration of fashion and sustainability, Williams’ work contributes to the study of fashion as a life well lived within ecological boundaries and practices of human equity. This study is applied to new forms of education, business, and public and political dialogue. Williams’ work draws on her extensive experience as a lead womenswear designer with international collections for Katharine Hamnett, Liberty and Whistles, alongside a globally recognised teaching and research portfolio, as evidenced by her place on the Evening Standard’s London’s Progress 1000 list in 2015.

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

Acting as co-secretariat to the House of Lords All Party Parliamentary Group on Fashion, Sustainability and Ethics, Williams brings a range of climate and social change considerations to the attention of key political figures. She is a Fellow of the Royal Society of Arts.

Dilys Williams will introduce the YOUTH FASHION SUMMIT

Making Fashion a Force for Good C&A Foundation is working with partners across the globe to spark the change that will transform the fashion industry.

www.candafoundation.org |

@CandAFund |

CandaFund

S P E AK E R

EVIE EVANGELOU Fashion 4 Development

The founder and president of Fashion 4 Development (F4D), Evie Evangelou first introduced F4D’s global awareness campaign and the Annual Official First Ladies Luncheon during the UN General Assembly in 2011. Evangelou is also the co-founder of a new initiative, Sustainia Living, a project initiated by the Scandinavian House of Innovation, Monday Morning. It focuses on a healthier life in a healthier world beginning with today’s lifestyle basics: food –fashion –fitness/well-being. Inspired by her career in the international arena of cultural diplomacy and international relations, specialising in entertainment, arts, fashion, beauty, travel and trade, Evangelou has also served as interim deputy secretary general for the World Federation of the United Nations in NYC, where she worked with more than 100 UN Member States & Countries and Missions, as well as numerous non-governmental bodies focused on education, cultural affairs and humanitarian causes.

It’s time to restart fashion! 32

Evangelou was also previously a key consultant to the special representative of the SecretaryGeneral for the UN themes “Dialogue among Civilizations” and “Diversity is Beautiful”. Throughout her career she has received acknowledgements from the U.S. Senate and been honoured by various international governments.

SPEECH Evie Evangelou will give a speech on SUSTAINIA LIVING

Speak up! #RESTARTFASHION

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

S P E AK E RS

LINDA HEWSON Selfridges

Linda Hewson has occupied several roles at Selfridges since joining the company in 2001 and became the high-end chain’s creative director in 2014. She started out as a visual merchandising manager for the London store, then led the windows team before becoming director of windows. As creative director Hewson has been heavily involved in reinventing upscale retail with a positive message of sustainability and an emphasis on designers who make use of recycling, promote ethical work practices and reduce waste in a variety of ways. This transformation is central to the whole eco-system of sustainable fashion as brands with this focus would not be able to reach consumers adequately without a strong retailing partner that prioritises pushing the agenda. Hewson studied public art at Surrey University and has also worked for Habitat, where she was the visual merchandiser manager.

DANIELLA VEGA Selfridges

As director of sustainability at Selfridges, Daniella Vega created the high-end department-store chain’s sustainability strategy, Buying Better, Inspiring Change, and continues to head its implementation. In 2014, under Vega’s leadership, Selfridges became the first department store to be awarded the Carbon Trust Triple Standard for reducing energy and water use and for improving waste management across its operations. In 2015 she led the award-winning initiative Project Ocean, which saw Selfridges ban the sale of single-use plastic water bottles in an effort to tackle marine plastic pollution. Vega was previously Head of Corporate Responsibility at Sky, where she was in charge of a team overseeing reputation risk management, responsible sourcing, the accessibility of products and services, child safety, diversity and employee engagement. In 2013 she won the UK 2degrees Sustainability Champion of the Year award for her work heading up the Sky Skills Studio, an experience for young children that develops life skills. Vega holds a master’s degree in sustainability and responsibility with a focus on systems thinking, action research and sustainable business.

RE S P ONS I B L E I NNOVAT I ON

CONVERSATION Linda Hewson and Daniella Vega will be in conversation with Monita Rajpal about WHERE SUSTAINABILITY MEETS CREATIVITY … AND EVERYONE IS WELCOME

PANE L DE B AT E

Fashioning philanthrophy:

Giving back to create change

At first glance, fashion and philanthropy appear to be contradicting worlds. The former seems to be focused on the lavish world of consumerism, whereas the latter is about giving of oneself selflessly. Fashion and philanthropy have nonetheless recently become more intertwined. In fact, we see more and more key figures in fashion dedicating themselves and their businesses to philanthropic endeavours for improving the world – be it the planet or the people. But is this a tendency caused by tactical and strategic considerations and the ultimate pursuit of a greater return on investment? Or can fashion philanthropy be emotionally driven, led with the heart first and a true wish to make a difference? Does the motivating force behind philanthropy even matter, or should we stop discussing and just focus on the substantial positive impacts? This panel debate, featuring two women who are spearheading the mission, Nadja Swarovski and Susan Rockefeller, will discuss the current level of philanthropic engagement in the fashion industry and how this has changed in recent years.

JULIE GILHART Fashion consultant

Industry veteran Julie Gilhart is a creative business consultant for a concentrated, influential set of fashion clients that includes the world’s leading online e-commerce platform, Amazon. com, and the largest luxury goods group, Louis Vuitton Moët Hennessy (LVMH). Recently Gilhart helped launch the LVMH Prize for Emerging Talent, aimed at engaging young, promising talent from around the world. She was previously senior vice president and fashion director at Barneys New York. In this capacity she was responsible for discovering new designers and building their businesses, including Alber Elbaz at Lanvin, Alexander Wang, Nicolas Ghesquière at Balenciaga, Proenza Schouler, Riccardo Tisci at Givenchy, Rick Owens and many more. Gilhart co-developed and launched Christie’s the Bid to Save the Earth environmental auction and has served as ambassador for One Percent for the Planet. She is a founder of Fashion Girls for 34

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

Humanity, a non-profit focused on raising funds for immediate disaster relief. She serves on the boards of Parsons, Mulberry and Outerknown and currently supports several philanthropic efforts, including Alice Water’s Edible Schoolyard NYC and Waves4Water.

MODERATOR: JULIE GILHART PANELLISTS: Nadja Swarovski (Swarovski), Susan Rockefeller (Protect What Is Precious)

PANE L L I STS

NADJA SWAROVSKI Swarovski

Nadja Swarovski is a member of the executive board of Swarovski, the world’s leading crystal manufacturer, which was founded by her great-great-grandfather Daniel Swarovski in 1895 in Austria. Swarovski makes the world’s most sustainable crystal, with its Advanced Crystal formula manufactured using methods that minimise harm to people and the planet. Nadja’s career in the family business started in the mid-1990s, when she began showcasing Swarovski’s vast product range to the fashion, jewellery, architecture, lighting and home décor industries, encouraging designers to experiment with crystal’s creative potential. This laid the foundations for a series of collaborative relationships with exceptional, creative talents.

Since 2012 Nadja has overseen Swarovski’s corporate responsibility efforts, creating a strategy to ensure that ethical and environmental standards are embedded in business practices. The company recently published its third Sustainability Report, setting out a vision of becoming a world leader in sustainable luxury. Nadja is also chair of the Swarovski Foundation, which she established to consolidate long-term commitments to projects that foster creativity and culture, meet social needs, promote well-being and conserve natural resources.

SUSAN ROCKEFELLER Protect What Is Precious Susan Rockefeller is an entrepreneur, conservationist and filmmaker. She is the founder and CEO of Protect What Is Precious, a company that consults with businesses on how to improve their products and processes in a way that contributes to a better future for the planet, while enhancing the value of their brands. Rockefeller’s films explore a range of contemporary issues, such as ocean acidification and the future of ocean health, post-traumatic stress disorder, the use of music to heal, the confluence of race, poverty and illness, and global food sustainability. Her films have aired on HBO, PBS and the Discovery Channel. She is a partner in

RE S P ONS I B L E I NNOVAT I ON

Louverture Films, which makes art-house narrative features, as well as documentaries, and sits on the boards of Oceana, Stone Barns Center for Food and Agriculture and We Are Family Foundation.

The flash of the eye that masters the mind: denim lights up our vision, to go beyond any imagination.

Sight, thought, soul. The denim senses, the innovation spirit. ISKO is a trademark of SANKO TEKSTIL.

DENIM CHALL

M LENGE

DE NI M C H AL L E NGE

EXHIBITION Denim Challenge 9.00 AM - 6.00 PM STUDIO 1

DENIM CHALLENGE Production of Denim – the omnipresent fabric never having gone out of fashion since first becoming popular during the California Gold Rush of 1849 – is among the world’s most water-intensive processes. So how can we work together to alleviate the footprint of a resource constantly in demand? The Copenhagen Fashion Summit 2016 Denim Challenge seeks to address this issue. In partnership with world-leading premium denim supplier ISKO™, Danish Fashion Institute is proud to present the Copenhagen Fashion Summit 2016 Denim Challenge. It showcases the best of innovative sustainable denim design from emerging fashion brands produced in denim with industry-leading qualities and techniques. Top international design talents were invited to create one complete outfit in sustainable denim supplied and produced by ISKO™.

The participating brands were chosen by a selection committee consisting of British Fashion Council, Camera Nazionale della Moda Italiana, Council of Fashion Designers of America, Flanders Fashion Institute and Nordic Fashion Association. A jury consisting of international fashion and sustainability experts then reviewed the designs. Three outfits have been chosen by the jury to receive a special mention based on who most successfully merged environmental friendliness with cutting-edge design. Members of the jury, headed by ISKO’s Marco Lucietti, were Francois Gibraud, Peter Franck, Samuel Trotman, Hassan Pierre and Peter Ingwersen. Our hope is not only to present new possibilities for sustainable stylishness with denim but to inspire the myriad companies employing the fabric to reinvent their practices for the benefit

PRESENTER François Girbaud will present DENIM CHALLENGE

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

of the environment. Enjoy the results, and please spread the word about the ideas and techniques used by these innovative designers to your own companies and business partners.

The outfits from the Copenhagen Fashion Summit 2016 Denim Challenge can be seen first-hand at an exhibition during the summit at Copenhagen Concert Hall.

DE NI M C H AL L E NGE JU RY

al methods and is thus far better for the environment and the health of factory workers. Girbaud currently lives in Los Angeles, where he continues to reinvent denim, applying the innovations and principles of Wattwash™ at an industrial level and advancing the cause of sustainability within the world of denim.

Since 1989 the two have focused their research on ecologically and ethically conscious techniques, perfecting the use of lasers and ozone to treat denim, removing hazardous chemicals and processes. Their eco-friendly Wattwash™ method, named after the unit of measurement for energy and heat, creates a targeted faded effect on denim, allowing a multitude of different patterns and textures to be designed. Importantly, this technology uses 97.5% less water than tradition-

MARCO LUCIETTI ISKO™

Marco Lucietti is the global marketing director of world-leading premium denim manufacturer ISKO™, a part of SANKO textiles. He manages the company’s worldwide marketing activity with a global and highly structured output combining marketing, sales and communication strategy, including partnerships, cultural and educational projects, events and promotions. Lucietti advocates a comprehensive approach to sustainability, arguing that you cannot call yourself sustainable as a company unless waste and environmental harm are slashed at every stage of production and consumption. ISKO’s factories are particularly renowned for how little water they use in an otherwise water-intensive denim industry.

RE S P ONS I B L E I NNOVAT I ON

Thanks to various complementary experiences, Lucietti has comprehensive expertise in marketing and management, both for business-to-consumer and business-to-business markets. He holds a degree in international economics from Pavia University and a master’s degree from Bocconi University.

DE NI M C H AL L E NGE JU RY

PETER FRANK Nudie Jeans

Peter Frank has worked with product development and garment production with a focus on denim since 1995. In 2007 he joined Nudie Jeans, where he started as production manager before entering his current position as manager of the product development department.

to inspire and influence society towards sustainable development and minimising the environmental impact of manufacturing.

Frankâ&#x20AC;&#x2122;s team is responsible for designing and developing collections in a manner that integrates sustainability and corporate social responsibility into the production process. The label is known for creating durable denim pieces that donâ&#x20AC;&#x2122;t go out of style and can remain in a wardrobe for years and years. Since its start in 2001 Nudie Jeans has kept a clear focus on social, ethical and environmental issues. Today it is a transparent company striving

SAMUEL TROTMANN WGSN

Samuel Trotman is the denim editor of leading trend forecaster WGSN, which provides companies in the worlds of fashion, interior design and various other creative industries with expertise and solid data platforms to enhance their business. Among its core services, WGSN provides colour and trend forecasts two or more years in advance, with 93% of executives affirming that such services have helped them improve sales. A combination of expert consulting from people such as Trotman and quantitative data, including analytical tool InStock, underlie this success.

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

Prior to joining WGSN, Trotman studied fashion merchandise management at the University of Westminster in London. His experience at premium high street retailer AllSaints boosted his budding knowledge about denim and also helped develop his discerning taste for subtle denim details and original workwear brands.

DE NI M C H AL L E NGE JU RY

HASSAN PIERE Maison de Mode

Hassan Pierre is the co-founder of Maison de Mode, a travelling luxury boutique specialised in unique and innovative ready-to-wear, fine jewellery and accessories from the world’s leading ethical brands.

vintage couture fabrics and proudly supports high-fashion manufacturing in the USA. The label has appeared in the pages of Vogue, W, Harpers Bazaar, Marie Claire and other fashion magazines.

Through Maison de Mode, Pierre and co-founder Amanda Hearst continue to change the perception of ethical fashion by opening finely curated boutiques during cultural events such as film festivals and fashion, design and art fairs. In October 2015 they launched the Maison de Mode e-boutique, allowing customers to shop their finely curated selection 24/7 from anywhere in the world with an internet connection. Pierre is also creative director of demi-couture label Way It Should Be, which specialises in

PETER INGWERSEN Strategic consultant

Peter Ingwersen is a designer, strategic fashion consultant and the founder of the fashion label Noir, known for incorporating corporate social responsibility principles into its business model. Until early 2014 he was also the creative director of the Dutch retail brand We. Ingwersen has advised Topshop/Topman on sustainable denim programmes and worked with the Sri Lankan Export Development Board, creating a sustainable supply chain of textiles from the sub-continent to Europe. Earlier in his career, Ingwersen worked for iconic brands like Levi’s and Day Birger et Mikkelsen.

RE S P ONS I B L E I NNOVAT I ON

His interest in sustainability started in the early 1990s at the same time as his career at Levi’s — one of the first brands to introduce a code of conduct — where he initially worked as a designer and later as innovations manager and brand director for Levi’s Vintage Clothing and Levi’s Red. These pursuits led to Levi’s Engineered Jeans at the beginning of the millennium. Sponsored by the British Fashion Council, Ingwersen created Noir to show that high-end fashion can also take a political stand for a better world. The label used organic cotton traded fairly with Ugandan women.

DESIG CHALL

GN LENGE MARK KENLY DOMINO TAN

DE S I GN C H AL L E NGE

EXHIBITION Design Challenge 9.00 AM - 6.00 PM STUDIO 1

DESIGN CHALLENGE What is a sustainable wardrobe? There is no single answer to that question because it depends not only on purchasing fashion designs with supply-chains, transportation histories and production methods with the lowest eco-footprints but also on durability, washing requirements and garments that don’t look dated the next season. The Copenhagen Fashion Summit 2016 Design Challenge seeks to provoke continued discussion on these issues. The goal of the Copenhagen Fashion Summit Design Challenge is to promote sustainable wardrobes focused on longevity in terms of design and quality. This can be interpreted as fashion essentials, basics or classics, or as any kind of individual style. Most importantly, a sustainable wardrobe does not contain fast-changing trends or poor-quality products that cannot be worn or cared for sustainably. A sustainable wardrobe contains garments and accessories that reflect the wearer’s own personal style and lasts, both design wise and quality wise, for years or even decades. Held in partnership with H&M, the 2016 Design Challenge required participating brands to curate a sustainable wardrobe using two outfits from their own back catalogues.

communication on sustainability or other qualities. Overall, a wardrobe that lasts was the key criteria. Members of the jury, headed by H&M’s Catarina Midby, were Kai Margrander, Orsola de Castro, Amanda Hearst, Scott Mackinlay Hahn and Barbara Burchfield. We hope to inspire you with these examples of fashion brands that push the conversation forward, and also welcome your inputs on what a sustainable wardrobe means to you.

The Copenhagen Fashion Summit 2016 Design Challenge outfits can be seen first-hand at an exhibition during Copenhagen Fashion Summit at Copenhagen Concert Hall.

The jury examined whether the styles chosen consisted of eco-friendly/certified materials, if they were sourced in environmentally friendly ways, had sustainable wash care instructions, were cleverly packaged and integrated

PRESENTER Catarina Midby will present DESIGN CHALLENGE

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

THE PARTICIPATING BRANDS COMPRISED NORDIC COUNTRIES:

By Malene Birger (DK) Mads Nørgaard (DK) Filippa K (SE) Dagmar (SE) Marimekko (FI) Samuji (FI) byTiMo (NO) Veronica B Vallenes (NO)

DE S I GN C H AL L E NGE JU RY

CATARINA MIDBY H&M

Having worked in the fashion industry for a quarter of a century, Catarina Midby is the Sustainability Manager at H&M UK and Ireland. She started out at the London College of Fashion studying fashion journalism, launching her career with Elle Sweden as a fashion editor before moving on to the Swedish fashion monthly Damernas Värld as a fashion director.

numerous responsibilities. Midby holds degrees from London College of Fashion in fashion writing and from Stockholm University in English.

Then, ten years ago, Midby became head of PR at H&M, where she has been responsible for H&M’s trend work, which is where she initiated Conscious Collections — made of organic or recycled materials — in 2007. Midby is passionate not only about fashion but about making it as sustainable as possible, to as many people as possible, and has done so throughout her time at H&M, where she has had

KAI MARGRANDER Harper’s Bazaar Germany Kai Margrander has been the fashion director of the women’s fashion magazine Harper’s Bazaar Germany since 2013. Margrander has 19 years of experience working with fashion journalism in a variety of publications and capacities. He previously served as the fashion director of Condé Nast’s Glamour, having first joined another Condé Nast publication, GQ, in 1997, where he served as its fashion editor for seven years. He has also worked freelance as fashion editor of various other media, including pop culture and style magazine Max, fashion and beauty publication InStyle, German weekly Bunte and Swiss newspaper Neue Züricher Zeitung.

RE S P ONS I B L E I NNOVAT I ON

Margrander was an official member of the Council of Fashion Designers of America (CFDA) Fashion Awards Guild for the CFDA Fashion Awards New York in 2012, 2013 and will be again in 2016. In addition to fashion, Margrander is a connoisseur of modern art. Prior to entering the world of fashion magazines, he worked at the Goethe Institute, an official institution that spreads German culture across the globe.

DE S I GN C H AL L E NGE JU RY

ORSOLA DE CASTRO Fashion Revolution Day

Orsola de Castro is a pioneer and internationally recognised opinion leader in sustainable fashion. In 1997 she founded From Somewhere, a label whose clothes are made entirely from pre-consumer waste, including discarded materials such as surplus and production cut-offs. The label combined sustainable thinking with fashion-forward design, bringing quality and craftsmanship to exquisite rubbish. From Somewhere collaborations have included Jigsaw, Tesco, Speedo and a number of best-selling capsule collections for Topshop.

of like-minded designers and supported more established brands mindful of their supply chain. In 2014, with Carry Somers, she founded Fashion Revolution Day, marking the Rana Plaza factory collapse in Bangladesh, which killed and injured thousands of workers. The initiative has become an annual protest in over 83 countries.

In 2006 de Castro co-founded the British Fashion Council pioneering initiative Estethica, which she curated until 2014. Estethica was London Fashion Week’s showcase for labels designing sustainably. It nurtured new generations

AMANDA HEARST Maison de Mode

Amanda Hearst is the co-founder of Maison de Mode, a travelling luxury boutique specialised in unique and innovative ready-to-wear, fine jewellery and accessories from the world’s leading ethical brands. Through Maison de Mode, Hearst and co-founder Hassan Pierre continue to change the perception of ethical fashion by opening finely curated boutiques during cultural events such as film festivals and fashion, design and art fairs. In October 2015 they launched the Maison de Mode e-boutique, allowing customers to shop their finely curated selection 24/7 from anywhere in the world with an internet connection.

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

Hearst is special projects editor for Town & Country magazine and has worked as Marie Claire’s associate market editor. An avid fan of ethical fashion and an activist in her own right, Hearst is also the founder of Friends of Finn, an organisation dedicated to stopping the inhumane treatment of dogs in puppy mills.

DE S I GN C H AL L E NGE JU RY

BARBARA BURCHFIELD Conscious Commerce

Barbara “Babs” Burchfield is the CEO and co-founder, along with actress Olivia Wilde, of Conscious Commerce, a creative agency and incubator whose mission is to integrate conscious consumerism into every commercial vertical through content and collaboration. Conscious Commerce has worked with such collaborators as Alternative Apparel, Anthropologie, Birchbox, the Council of Fashion Designers of America, Global Citizen Festival, Lexus, Maiyet, Organize.org, Prop 47, Thrive Market and, most recently, with H&M on the launch of the H&M Conscious Exclusive collection and World Recycling Week.

Burchfield also serves as the creative director at Riot.House – a virtual reality, content and event production company – and is a producer of Global Citizen Festival, an annual festival in Central Park, where fans engage in social causes in exchange for tickets to see their favourite artists. The most recent festival included top international acts like Pearl Jam, Beyoncé, Ed Sheeran and Coldplay.

SCOTT MACKINLAY HAHN Loomstate

A sustainable design leader, entrepreneur and socio-environmental advocate, Scott Mackinlay Hahn has dedicated his career to cultivating conscious commerce, positively transforming related supply chain practices and empowering small farmer communities. In 2001 Hahn co-founded Rogan, a company redefining denim culture with fashion-forward sustainable textiles and responsible production. In 2003 he co-founded Loomstate, a casual clothing brand dedicated to 100% certified organic cotton and the communities that grow it, and in 2004 he partnered with Ali Hewson and Bono to create EDUN, a company focused on trade that promotes economic and social justice in SubSaharan Africa.

RE S P ONS I B L E I NNOVAT I ON

Hahn is active on the advisory boards of the Cradle to Cradle Products Innovation Institute, the Natural Resources Defense Council’s Clean by Design Initiative, the Council for Textile Recycling, as the CFDA Sustainability Committee co-chair, and the Sprat Theatre Company. His creativity and business background span the realms of media, communications and design, and his passion for the environment goes back to a childhood in Fire Island, New York.

Copenhagen Fashion Summit

PART 3

Itâ&#x20AC;&#x2122;s time to restart fashion! #RESTARTFASHION

REHEASALS AT BY MALENE BIRGER

S P E AK E R

What are you looking forward to the most at the 2016 Copenhagen Fashion Summit? Getting a chance to meet with so many inspiring, engaged and committed people and to discussing what a sustainable fashion future could look like – and how we can get there together. And of course, spending some time in Copenhagen, one of my favourite cities in the world.

What does sustainable fashion mean to you personally? I have always loved fashion. But I also want not just my generation but also future generations to enjoy fashion, just as I do. And that means taking care of the people who make the clothes so that the fashion industry can continue to thrive, and

Q&A

that we use resources in a sustainable way that the planet can afford. Bringing those two passions together is why I started at H&M.

What is H&M’s most ambitious goal in terms of sustainability? Our newly released vision of becoming 100% circular is of course a huge ambition for us and means that we will have a circular approach to how products are made and used.

What daily act could we all do to make the world a better place? An easy thing to do (that we all can do) is to choose more conscious care methods for your clothes. Washing, drying and ironing your clothes stands for almost 40% of the total environmental impact of the average garment during its lifetime! So, simply washing your clothes less

frequently at a lower temperature and avoiding tumble-drying can have a great impact and your clothes will be just as clean. And of course make sure to not let any fashion go to waste! Give things you no longer want or need to friends or charities, sell them or bring them to H&M and we will make sure to give them a new life.

What future do you see for sustainable fashion? I believe that fashion in the future will be fully circular – allowing us to express our personality with pieces that we love and care for, and to make those out of recycled fibres from once beloved garments. I also believe that the fashion industry will become much more transparent – both in order to drive change and to enable customers to make more sustainable choices. That is one of the reasons that we are driving transparency and, for example, are active members of the Sustainable Apparel Coalition and publish not only our first, but also part of our second, suppliers publicly. Looking at the creativity, innovations, ingenuity and collaboration that is happening around us, I have no doubt that the fashion industry can be truly sustainable.

ANNA GEDDA H&M

Anna Gedda was appointed head of sustainability at H&M in January 2015, when she also became a member of the company’s executive management team. As one of the first big fashion companies to recognise consumer demand for greater transparency and ethical production methods, H&M continues to invest in transforming its practices for the 21st century, including sustainable sourcing of cottons and paying workers a fairer wage. Now at the forefront of such efforts, Gedda advocates that this is in the company’s long-term interest. Before taking over as head of sustainability, Gedda held various roles at the H&M sustainability department from 2008 onwards, including as social

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

sustainability programme developer and social sustainability manager. With a background at the Ministry of Finance of Sweden, Gedda holds a master’s degree in political science and a bachelor’s degree in business and economics.

SPEECH Anna Gedda will give a speech on TRANSFORMATION FOR FUTURE SUCCESS

S P E AK E R

JUAN ORLANDO HERNร NDEZ President of Honduras

Juan Orlando Hernรกndez held a variety of influential political positions prior to entering office as the President of Honduras in January 2014, including serving as president of the central committee of the national party and later as president of the National Congress of Honduras. Throughout his political career, Hernรกndez has worked with unrelenting determination to improve living conditions for people from all walks of life in his country, for example, through various new security laws, amendments to existing laws, job creation and social programmes, just to name a few.

Hernรกndez is the youngest person to hold the presidency since Honduras became a democracy in 1980.

SPEECH Juan Orlando Hernรกndez will give a speech on LEADING TEXTILES

RE S P ONS I B L E I NNOVAT I ON

S P E AK E R

You’ve become a Copenhagen Fashion Summit regular. Why do you support this event? I think sustainability is an important topic in fashion, and this is a great event if you want to really keep current with the conversation. It’s a way to spend a day in the heart of the subject.

What are you looking forward to the most this time?

in your 2014 speech, call sustainable fashion an oxymoron or has the gap between the two become smaller?

What kind of actions or little things do you do in your everyday life to improve the environment?

I do still think sustainable fashion is an odd concept. I still think our language is not specific enough, and it adds to the confusion around the subject. And I wish someone – maybe this organisation [Danish Fashion Institute] – could create an ABCs of sustainability that would actually define the vernacular in a universally relevant way. There’s a mission, if you choose to accept it.

My family recycles, composts, tries to reduce water usage, and tries to think very carefully about what we buy, especially when it comes to clothes. My children are pretty militant about it.

It’s a lovely city. I wish I could spend more time here. And I’m interested in the way it has embraced this topic as part of its identity.

Do you think that the attitude of consumers towards sustainability has changed/evolved in the past couple of years?

How would you define sustainable fashion? Do you still, as mentioned

I think it is slowly going from a very niche part of the industry to a topic that has been broadly absorbed, and is now considered important for every brand. Not that long ago, if you were the person in charge of sustainability for a global brand, you’d be off in some far part of the building with your own little team howling into the wind. Now that role is a part of the C-suite.

Learning and listening.

What do you think about Copenhagen?

VANESSA FRIEDMAN The New York Times

As the fashion director and chief fashion critic of The New York Times, Vanessa Friedman leads its global fashion coverage on all platforms. Before joining the paper, Friedman was the inaugural fashion editor of the Financial Times, where she edited the Style pages and Luxury360 vertical, wrote a column on Saturdays and created the paper’s annual Business of Luxury conference. She has also worked with InStyle UK, The Economist, American Elle, Vogue, The New Yorker, Vanity Fair and Entertainment Weekly. Friedman, the author of Emilio Pucci, holds a degree from Princeton University and is an honorary professor at Glasgow-Caledonian University. She was the recipient of the 2012 Front Page

Award for fashion writing and received the 2013 Fashion Monitor Journalist of the Year award. Friedman’s writing is renowned for its direct, pragmatic approach to fashion, offering incisive commentary on the socio-political ramifications of its role in today’s society.

SPEECH Vanessa Friedman will give a speech on SEX AND SUSTAINABILITY

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

What are your dreams for the fashion industry?

Q&A That it learns to be happy making less stuff.

FRONT LINE INNOVATION AND COSMETIC SCIENCE LEADING EDGE TECHNOLOGY

SC ANDINAVIAN MOOD PROFESSIONAL MAKEUP TREATMENT BEAUTY OF NORTH

PANE L DE B AT E

The future of fashion This closing panel will take a penetrating look at Responsible Innovation, the theme of Copenhagen Fashion Summit 2016. Panellists and their organisations will reflect on the interventions proposed during the day and discuss their hopes for the future of fashion. While the content of the debate will depend on what this year’s Copenhagen Fashion Summit has highlighted, you can expect a central issue to be whether innovation is occurring fast enough in a global economy with billions of new consumers with disposable incomes, especially in Asia, demanding far more garments than our planet has ever produced before. How can the various players in the fashion industry – companies, media, organisations and governmental partners – work together in a variety of sustainability-promoting ways to change our manufacturing models so that emerging markets and existing ones can consume responsibly and ethically?

NADER MOUSAVIZADEH Macro Advisory Partners Nader Mousavizadeh is partner and co-founder of Macro Advisory Partners, which delivers strategic consulting for governments and businesses. He previously served for three years as chief executive of Oxford Analytica, the global analysis and advisory firm. Prior to joining Oxford Analytica, he was an investment banker at Goldman Sachs in New York. Before entering the private sector Mousavizadeh served at the United Nations, first as a political officer in Bosnia-Herzegovina and subsequently in the Executive Office of UN Secretary-General Kofi Annan from 1997-2003. He co-authored Interventions: A Life in War and Peace with

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

Annan and is the editor of The Black Book of Bosnia. Elected a Global Leader for Tomorrow by the World Economic Forum, Mousavizadeh is a widely published contributor of articles and essays to The Financial Times, The New York Times, The Times of London, Reuters and Foreign Policy, among others. He is a graduate of Harvard College, University of Oxford and Massachussetts Institute of Technology, where he took his MBA.

MODERATOR: NADER MOUSAVIZDEH PANELLISTS: Caroline Rush (British Fashion Council), Carlo Capasa (Camera Nazionale della Moda Italiana), Linda Greer (National Resources Defense Council), Steven Kolb (Council of Fashion Designers of America), Marco Lucietti (ISKOTM)

PANE L L I STS

CAROLINE RUSH British Fashion Council

Caroline Rush is the chief executive of the British Fashion Council. She has 20 years of experience in marketing and PR across both consumer and corporate communications within fashion, music and lifestyle. Prior to her appointment she delivered strategic communications for the British Fashion Council from her own company. Since Rush took over as chief executive in 2009, Burberry, Matthew Williamson, Mulberry, Pringle of Scotland and Preen have returned to show at London Fashion Week. Under her tenure, which has seen exponential growth in the global reach of British fashion, the first ever in-depth statistics-based reports on the fashion industry have been published, most notably, The Value of Fashion (2010) and The Future of Fashion (2012). In June 2012 the UK’s menswear indus-

try was given its own platform when she created London Collections: Men, Britain’s only biannual menswear trade showcase for over 130 designers. Rush has also presided over the launch of BFC/ GQ Designer Menswear Fund; Contemporary, a designer support initiative; Fashion Film, a talent initiative that supports designers to use film; Headonism, a millinery initiative; and Rock Vault, a fine jewellery initiative. In 2009 she was awarded a Commander of the Most Excellent Order of the British Empire for her services to the British fashion industry. ing and conserve natural resources.

CARLO CAPASA

Camera Nazionale della Moda Italiana Carlo Capasa has been president of Camera Nazionale della Moda Italiana, the Italian Chamber of Fashion, since April 2015, having been a member of the non-profit group for many years prior. In his job as president and in his previous engagements with the chamber, he promotes the development of Italian fashion in national and global markets. As leader of Camera Nazionale della Moda Italiana, Capasa has set out a 12-month plan that focuses specifically on supporting emerging Italian design talent and encouraging the fashion industry’s engagement, with Milan as a fashion capital. He works closely with the Italian govern-

RE S P ONS I B L E I NNOVAT I ON

ment and has put in focus education and financial support for the young designers shaping the future of Italian fashion – which is essential to his country’s culture and economy. Capasa is also the chief executive and co-creator of Costume National, a brand he founded with his brother, the company’s designer, Ennio Capasa.

PANE L L I STS

LINDA E. GREER

National Resources Defense Council Linda E. Greer, PhD in environmental toxicology, is a senior scientist with the Natural Resources Defense Council, one of America’s largest environmental groups, where she focuses on toxic pollutants in air, water, food and shelter, as well as evaluations of harm to human health from chemicals. For many years Greer has addressed the increases in pollution from manufacturing within apparel and other industries. She created the Clean by Design Program, a supply-chain initiative that reduces the use of water, energy and chemicals in manufacturing in China, Italy and other countries.

hazardous waste and industrial efficiency. She has served on many panels and commissions, including the National Academy of Sciences Board on Environmental Sciences and Toxicology, the National Academy of Sciences Board on Life Sciences, and the Executive Committee of the U.S. EPA Science Advisory Board. She is currently on the board of the Sustainable Apparel Coalition and on the Task Force on Environmental Health in China.

In her career Greer has done extensive work on legal and policy matters within such areas as

STEVEN KOLB

Council of Fashion Designers of America As CEO of the Council of Fashion Designers of America (CFDA), Steven Kolb oversees all activities for the American fashion industry’s preeminent designer trade association and its affiliated charity. Kolb’s responsibilities include managing all member services, trade association activities and philanthropic initiatives. He works directly with president Diane von Furstenberg to service the 400 designer members on the council. Kolb helps to nurture the next generation of American designers via many programmes, including the CFDA/Vogue Fashion Fund, which provides financial assistance and mentoring to the most promising American designers. He was

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

behind the launch of Fashion’s Night Out, which helped restore consumer confidence during the recession. Under his leadership the annual CFDA Fashion Awards have become a premiere international fashion event, raising large sums of money for both the CFDA and its foundation. To help members develop their businesses and create jobs, Kolb has launched the Business Services Network, a community of high-profile companies that also includes members from outside the fashion industry. He is also behind the influential American Fashion series of books.

PANE L L I ST

#RES

T A R

TF ASHI

It’s time to restart fashion!

MARCO LUCIETTI ISKO™

RE S P ONS I B L E I NNOVAT I ON

S P E AK E R

EVA KRUSE

Danish Fashion Institute Eva Kruse is president and CEO of Danish Fashion Institute and Copenhagen Fashion Week, both of which she co-founded. A pioneer in promoting sustainability in fashion, Kruse has worked ambitiously to push this agenda globally since 2008, an effort that includes creating Copenhagen Fashion Summit, launched in 2009 alongside the UN Climate Change Conference in Copenhagen. In the fall of 2013, she gave a TEDx Talk on the topic â&#x20AC;&#x153;Changing the world through fashion,â&#x20AC;? in which she advocated that not only companies and politicians, but also consumers, should be at the forefront of sustainability efforts. Since graduating as KaosPilots, an alternative business school, Kruse has worked in the worlds

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

of fashion and media in various capacities, including as editor-in-chief of Eurowoman and as a TV presenter on the Danish networks TV2 and TV3. Kruse also serves as board member of several leading companies and organisations within fashion and culture and of the Nordic Fashion Association.

SPEECH Eva Kruse will give a speech on RESTART FASHION

BREAKO SESSION The brave new world of denim Making luxury more sustainable Fashion and politics Will technology save fashion?

OUT NS

B RE AKOU T S E SS I ON

The brave new world of denim The denim industry has always been a valuable source of innovation in terms of design and finishing. Recently, more innovation capacity has focused on producing denim garments based on the most efficient possible use of resources at each stage of the production process, from fibre to finish. This is particularly crucial for water conservation, as the manufacturing of denim – a fabric that seemingly never goes out of style – is highly water-intensive, and

key players in the industry are making water efficiency a top priority. This creates a wide array of new opportunities for responsible innovations. This session will focus on the opportunities arising from new ways of thinking about resources and explore these issues from various perspectives, including marketing, product development, sustainability and design.

The panellists represent various positions and backgrounds including design, product development, marketing and sustainability in order to bring out various perspectives on the mentioned opportunities.

SAMUEL TROTMAN WGSN

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

um high street retailer AllSaints boosted his budding knowledge about denim and also helped develop his discerning taste for subtle denim details and original workwear brands.

MODERATOR: SAMUEL TROTMAN (WGSN) PANELLISTS: Peter Frank (Nudie Jeans), Michael Kobori (Levi Strauss & Co.), François Girbaud (Marithé + François Girbaud), Marco Lucietti (ISKO™)

PANE L L I STS

PETER FRANK Nudie Jeans

to inspire and influence society towards sustainable development and minimising the environmental impact of manufacturing.

Frank’s team is responsible for designing and developing collections in a manner that integrates sustainability and corporate social responsibility into the production process. The label is known for creating durable denim pieces that don’t go out of style and can remain in a wardrobe for years and years. Since its start in 2001 Nudie Jeans has kept a clear focus on social, ethical and environmental issues. Today it is a transparent company striving

MICHAEL KOBORI Levi Strauss & Co.

Michael Kobori has led sustainability at Levi Strauss & Co. since 2001. Under his leadership the company has been a pioneer in bringing sustainability to the apparel industry. He has been a champion of industry collaboration on sustainability, serving as chair of the Better Cotton Initiative and a board member of the Sustainable Apparel Coalition. In 2014 Fast Company magazine named him one of the 1,000 Most Creative People in Business. Under Kobori’s tenure, Levi Strauss & Co. has brought sustainable products to the market through its Levi’s® Water<Less™ and Waste<Less™ collections and Dockers® WellThread™ collection. The company has engaged consumers in sustainability through its Care for our Planet™

RE S P ONS I B L E I NNOVAT I ON

and clothing take-back programmes. It recently launched Workers Well-being, a programme desiged to improve the lives of the people who make the products. Prior to working at Levi Strauss & Co. Kobori was vice president at Business for Social Responsibility and spent nearly ten years at the Asia Foundation. He holds a master’s degree in public policy from Univeristy of California Berkeley and did psychology and Asian studies as an undergraduate.

PANE L L I STS

FRANÇOIS GIRBAUD Marithé + François Girbaud As co-founder and owner of Marithé + François Girbaud, François Girbaud has been at the forefront of denim innovation since 1967. From stone-washing to engraving with light, he and his partner Marithé Bachellerie have transformed the world of jeans with their renowned global brand. Since 1989 the two have focused their research on ecologically and ethically conscious techniques, perfecting the use of lasers and ozone to treat denim, removing hazardous chemicals and processes. Their eco-friendly Wattwash™ method, named after the unit of measurement for energy and heat, creates a targeted faded effect on denim, allowing a multitude of different patterns and textures to be designed. Importantly, this technology uses 97.5% less water than tradition-

MARCO LUCIETTI ISKO™

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

S OC I ALL LME DI A PANE I STS

/copenhagenfashionsummit @copenhagenfashionsummit @CphFashSummit copenhagenfashionsummit restartfashion

RE S P ONS I B L E I NNOVAT I ON

B RE AKOU T S E SS I ON

Making luxury more sustainable: Drivers, challenges and solutions

There is an increasing focus by luxury fashion companies on sustainability. Luxury fashion brands have been slower to adopt more responsible practices than their mainstream peers for a variety of reasons, including differing business models and stakeholder pressures. Yet, over the last several years, luxury fashion brands have begun improving environmental and social

practices and speaking more openly about their activities. This session examines the current state of play, including the challenges and opportunities regarding sustainability and luxury across the value chain, from sourcing to clients. In what areas are companies innovating, and what is driving the change? Why is a focus on

luxury fashion’s precious raw materials important, and what are brands doing about it? What are the key barriers to improving practices, and how can we overcome them, as individual brands and collaboratively?

ELISA NIEMTZOW BSR

Elisa Niemtzow has worked at the crossroads of fashion and sustainability for the past 15 years. She leads BSR’s consumer sectors practice globally, with a focus on the luxury, apparel and beauty industries. Her role includes working with companies to improve the sustainability of their operations and products. To achieve this goal Niemtzow helps companies rethink issues such as consumer engagement and behavior change, supply chain management, and strategy and integration. She also leads BSR’s Sustainable Lifestyles Frontier Group and Luxury Working Group.

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

Prior to joining BSR Niemtzow was principal at Sequoia Lab, where she advised luxury, fashion and beauty companies on sustainability strategy and communications. Before that she managed multi-million-dollar accounts as a ready-to-wear executive at Chanel. Niemtzow holds an MBA in luxury goods marketing and management from Sup de Luxe, in addition to degrees in French and international relations.

MODERATOR: ELISA NIEMTZOW (BSR) PANELLISTS: Sylvie Bénard (LVMH), Michael Beutler (Kering), Brigitte Stepputtis (Vivienne Westwood)

PANE L L I STS

MICHAEL BEUTLER Kering

Michael Beutler joined Kering as the director of sustainability operations in 2011. Prior to that he served at multinational software company SAP in senior management positions for six years. Over the last 20 years he has also worked at international corporations DHL, PWC and Ford.

Beutler’s team has been instrumental in embedding sustainability across all of the Kering group’s brands, making it a key part of their business activities, a feat recognised by external rating agencies for its excellence.

During his recent tenure at Kering Beutler has been integral to operationalising Kering’s comprehensive sustainability strategy. He oversees and manages a team to implement cross-cutting innovative approaches to help manage and reduce the environmental impacts from Kering’s Luxury and Sport & Lifestyle brands. This includes being responsible for implementing the brand’s individual Environmental Profit & Loss Accounts.

SYLVIE BÉNARD LVMH

As environment director at the LVMH Group, a job she has held since 1992, Sylvie Bénard oversees a range of environmental and climate-related initiatives across the world-leading luxury goods conglomerate. Having first joined Hennessy, which later became part of LVMH, to work as a researcher in food microbiology in 1983, Bénard has been part of the company for decades but has worked with a range of external actors and organisations on sustainability initiatives. Most recently, in 2015, she oversaw LVMH’s official partnering with the COP21 Climate Change Conference in Paris.

RE S P ONS I B L E I NNOVAT I ON

One ongoing initiative led by Bénard is LVMH’s environmental reports, which have been released since 2002, and which indicate strategies, best practices and a variety of indicators of progress. They also showcase climate-related activities such as renewable energy powering LVMH Houses, an internal LVMH carbon fund and improving energy performance in retail spaces. Bénard holds a degree in food science from Cornell University and is a doctoral engineer in agronomic sciences. She is member of several associations linked to biodiversity and the environment.

PANE L L I ST

BRIGITTE STEPPUTTIS Vivienne Westwood

With over 25 years of experience in the fashion industry, Brigitte Stepputtis is head of couture at Vivienne Westwood. She joined the company in 1990 and has since contributed to the growth of the Vivienne Westwood brand with her expertise in design, tailoring and pattern-cutting.

rector of the Ethical Fashion Forum and board member of the German British Forum, Stepputtis is in a pivotal position to pursue a variety of interests vital to her. She is also a key member of the Medinge Group, a think tank of brand experts, and the co-author of Brands with a Conscience.

In 1996 Stepputtis launched the Vivienne Westwood Couture service at the Davies Street Boutique in Mayfair, where she continues to manage all Couture and Bridal collections. She is a key implementer of the brand’s sustainability strategy, including its Green Carpets projects. Stepputtis was the art and styling director for Vivienne Westwood’s take on Handel’s opera Semele in 2011, which showed to great acclaim in Germany, Australia and South Korea. As a di-

/copenhagenfashionsummit @copenhagenfashionsummit @CphFashSummit

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

B RE AKOU T S E SS I ON

Fashion and politics On both national and regional levels, government institutions have increased their encouragement of responsible management of supply chains in the fashion, textile and garment sectors – especially since the Rana Plaza factory collapse in 2013. Responsible business conduct is the latest term used by policy-makers to work with improving conditions in the sector’s supply chain. Furthermore, textile and fashion play a distinct role in the new circular economy

directive from the European Commission. With its Garment Flagship Initiative, more than seven General-Directorates across the European Commission are now working together on building the best framework for responsible business conduct for the sector. Finally, national governments in Germany, the Netherlands and Denmark have recently formulated national action plans for sustainable fashion and textiles while Sweden, France and Italy have introduced other specific government

initiatives and projects that focus specifically on fashion and textile. This session will bring participants from various government initiatives together to discuss current policies that are being proposed and adopted in order to learn from best practice cases – and to discuss future models of collaboration to create systemic change in the fashion and textile value chain.

LARS FOGH MORTENSEN European Environment Agency Lars Fogh Mortensen leads the work of the European Environment Agency on the UN Sustainable Development Goals and on partnerships with business. He is a trained economist from the University of Copenhagen and has over 20 years’ experience through various international organisations with analytical and policy aspects of sustainability, including with the environmental impact of the clothing and fashion industry. Mortensen has also run a company on risk and sustainability and worked at the OECD in Paris, the UN Rio Secretariat in New York and at the Danish Ministry of Environment and Food. Mortensen has written and co-written a large number of reports and articles on various aspects of sustainability, much of his work focusing on the environmental impact of consumption, but also policy options related to the consumption of clothing and the fashion industry. In ad-

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

dition to regularly making keynote speeches and presentations on various aspects of sustainable development, he sits on various European and global advisory boards and panels on sustainability.

MODERATOR: LARS FOGH MORTENSEN (EUROPEAN ENVIRONMENT AGENCY) PANELLISTS: Marjeta Jager (Directorate-General for International Cooperation and Development), François Zimeray (Ambassador of France to Denmark), Jason Kibbey (Sustainable Apparel Coalition), Marjan Schippers (Ministry of Foreign Affairs of the Netherlands), Vivek Batra (hessnatur)

PANE L L I STS

MARJETA JAGER

Directorate-General for International Cooperation and Development Marjeta Jager is the deputy director general for the Directorate-General for International Cooperation and Development (DG DEVCO), which is a European Commission service responsible for designing European international cooperation and development policy and for delivering aid throughout the world. DG DEVCO runs development cooperation policy in a wider framework of international cooperation, adapting to the evolving needs of partner countries. This encompasses cooperation with developing countries, including with those that have graduated from bilateral development assistance to covering their needs during transitions from low-income to upper-middle-income status.

Jager has worked in the European Commission since 2005, starting as director for security in DG Energy and Transport and later as director for international energy and transport files and coordination, as well as head of cabinet of the Transport Commissioner. Before joining the European Commission, Jager worked on the accession of Slovenia to the EU for the country’s Ministry of Foreign Affairs and she was the first Coreper I Ambassador of Slovenia to the EU.

FRANÇOIS ZIMERAY Ambassador of France to Denmark François Zimeray is Ambassador of France to Denmark, former French ambassador-at-large for human rights and attorney of law and former member of the European Parliament. A lawyer, politician and diplomat, he was a member of the European Parliament from 1999 to 2004 and has also served as mayor of Petit-Quevilly. In his current position, Zimeray has held a fundamental yet discreet role in spreading the culture of human rights into French diplomacy. He was the first non-career diplomat to hold this position since its creation in 2000 and has also held the post longer than anyone else. Nearly 100 diplomatic missions have led him to the Syrian border, Chechnya, Colombia, Gaza, Burma, Lebanon, Uganda, Chad, Congo, Rwanda,

RE S P ONS I B L E I NNOVAT I ON

Libya, Algeria, Egypt, Nepal and other areas crucial to human rights work. Zimeray has advocated for every French embassy being a centre of human rights and has also represented French diplomacy in key trials in recent years, including those of Mikhail Khodorkovsky, Yuriy Lutsenko and human rights defender Yevgeny Zhovtis. He also supports inter-cultural dialogue, such as the Aladdin Project in Baghdad.

PANE L L I STS

JASON KIBBEY

Sustainable Apparel Coaltion Jason Kibbey is the CEO of the Sustainable Apparel Coalition, which uses the Higgs Index, a supply-chain analysis tool, as a basis for transforming the worlds of fashion and home textiles towards better practices for the environment and workers. Prior to that he was the CEO and co-founder of PACT, an apparel company combining design, sustainability and philanthropy.

Having begun his career as an associate consultant at Bain & Company, Kibbey also has experience with turnaround and product strategies for high-tech companies. He holds a bachelorâ&#x20AC;&#x2122;s degree in environmental economics and an MBA, both from University of California Berkeley.

Kibbey has also served as co-founder and interim executive director of Freedom to Roam, a non-profit initiative that brings together people, organisations and businesses to enhance and protect wildlife corridors and landscape connectivity in North America. He developed Freedom to Roam while working on environmental campaigns for Patagonia.

MARJAN SCHIPPERS

Ministry of Foreign Affairs of the Netherlands Marjan Schippers is deputy director for International Trade Policy and Economic Governance in the Ministry of Foreign Affairs of the Netherlands. Her job at policy level is of key importance to the inclusion of socially responsible practices and environmental sustainability for the economic development of the Netherlands and its many trade partners. In her diplomatic career, spanning more than 20 years, Schippers has held a number of key international postings, most recently at the Dutch Permanent Representation to the EU in Brussels, heading the international cooperation and development portfolio. Before that, Schippers worked

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

at the Prime Ministerâ&#x20AC;&#x2122;s office, dealing with global issues (G20) and the European Council. While Schippers has mainly worked on economic and EU portfolios through her career, she has also held posts in Malaysia and Canada.

PANE L L I STS

VIVEK BATRA hessnatur

Vivek Batra is the CEO of hessnatur, a slow-fashion company that, since its founding 40 years ago by environmentalists, has created organic and natural clothing with ethical business practices. A native of New Delhi, India, Batra moved to Europe after a brief stint in banking and has since lived in Holland, France, Germany and the UK. He started his career in fashion at Mexx and then spent 15 years working in various CXO positions with Sara Lee Intimate Apparel.

served as a non-executive board member for the Ladies European Golf Tour since 2007. In addition to an MBA, Batra holds an undergraduate degree in commerce from University of Delhi and is a qualified chartered accountant.

For the past 12 years he has worked as managing director/co-investor with private equity funds and owners in various fashion and retail businesses in Europe, including Secon, Top Shop Russia and Dorothee Schumacher. He has also

Itâ&#x20AC;&#x2122;s time to restart fashion!

Speak up! #RESTARTFASHION

RE S P ONS I B L E I NNOVAT I ON

B RE AKOU T S E SS I ON

Will technology save fashion? From industrial looms to e-commerce, new technologies have redefined the world of fashion repeatedly. However, very often new technology-driven innovations take too long to gain acceptance in an industry rooted in — and yet resistant to — change. And too often this cyclical, fast-moving sector, dominated by a trend-driven mindset, engages with new technologies on only

a superficial level before moving onto the next big thing. But what is the potential for new technologies to create sustainable change? And what are the prospects for these new innovations to be strategically implemented into corporate long-term thinking?

product development and media that connect to sustainability, including a high-level discussion about the future potential for such technologies to make a real impact in the future.

This session will include examples of new technologies within recycling,

MICHAEL SCHRAGGER Sustainable Fashion Academy Michael Schragger is founder and executive director of the Sustainable Fashion Academy, which equips change agents with the tools they need to develop sustainable solutions. It supports large multinational companies, leading outdoor brands and innovative start-ups with advice, education and training. Schragger is also the chair of the Global Leadership Award in Sustainable Apparel (GLASA) and he has been working at the forefront of sustainability and business since 1996. An entrepreneur, advisor and activist, he provides strategic and tactical advice to apparel companies, academic institutions and NGOs on sustainability strategy, governance, management and communication.

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

GLASA inspires bold and courageous leadership, mobilising key stakeholders around promising practices that transform the apparel sector. Its 2015 State of the Apparel Sector Special Report on Water outlines key challenges and describes what they mean for the apparel industry, and what practices – technological, financial, policy, advocacy and collaborative – are currently underway to reduce the water footprint of apparel and textiles.

MODERATOR: MICHAEL SCHRAGGER (SUSTAINABLE FASHION ACADEMY) PANELLISTS: James Carnes (adidas), Miroslava Duma (Buro 24/7), Lewis Perkins (Cradle to Cradle Products Innovation Institute), Cyrill Gutsch (Parley for the Oceans), Shubhankar Ray (G-Star), Marco Lucietti (ISKOtm)

PANE L L I STS

JAMES CARNES adidas

Currently the vice president of strategy creation at adidas, James Carnes initially joined the company in 1994. Since then, he has held various leadership positions within the adidas brand, including as creative director of sport performance for many years. In these capacities he was responsible for a wide range of innovations within sneaker design, including the Boost technology, which gives greater responsiveness in running shoes, and the adiZero patent for footballers’ shoes. He also spearheaded the integration of ClimaCool with adidas.

adidas shoe made from ocean plastic. During Carnes’ time at adidas the company has worked with a range of external collaborators, including such sustainability-focused, high-fashion designers as Stella McCartney, to create products wildly popular with customers.

Most recently Carnes has taken the healm of the Open Source initiative, a new way of running company activities that brings outsiders into the design work, sparking innovation. Last year one such collaboration led to the creation of the first

MIROSLAVA DUMA Buro 24/7

As the founder of Buro 24/7 and its affiliated fashion and lifestyle platform, Buro247.com, Miroslava Duma has been cited as a force of the fashion industry by the Financial Times and as a brilliant entrepreneur by Vogue. Buro 24/7 has launched local versions of its fashion platform across the world, including in countries and regions like Russia, Ukraine the Middle East, Australia, Singapore, Malaysia, Mongolia, Kazakhstan, Azerbaijan and Central Europe. In addition to its digital magazine, the company provides marketing consultancy services to clients such as the Russian Ministry of Industry and Trade and Russia’s biggest retail company, Mercury.

RE S P ONS I B L E I NNOVAT I ON

Duma is an active investor across a range of businesses, including revFluence, a social media marketing company, Reformation, a green fashion brand, and RewardStyle, a monetisation service for publishers and content creators. As the founder of Peace Planet, which helps children in need of urgent medical assistance, she is also an avid philanthropist.

PANE L L I STS

LEWIS PERKINS

Cradle to Cradle Products Innovation Institute Lewis Perkins serves as the president of the Cradle to Cradle Products Innovation Institute in San Francisco and Amsterdam. The institute governs the Cradle to Cradle CertifiedTM Product Standard, guiding businesses to improve, innovate and optimise their products across five areas: material health, material reuse, renewable energy, water stewardship and social fairness. During his tenure with the organisation, Perkins has developed the C2C Product Symposium, launched Fashion Positive in 2014, and guided institutional strategy and organisational growth. Prior to joining the institute Perkins was director of sustainable strategies for the Mohawk Group, a leading carpet manufacturer.

A lifelong champion of sustainability, Perkins has served in strategic roles with such organisations such as the Clean Air Campaign, 360i, USWeb/ CKS and the Woodruff Arts Center. His passion for non-profit work has also put Perkins in an advisory or leadership role with EarthShare of Georgia, the Green Chamber of the South and the Captain Planet Foundation. He has spoken on sustainability at the Forbes magazine Green Visionary Series, Sustainable Brands, LOHAS Forum and the White House Council for Environmental Quality GreenGov Symposium.

CYRILL GUTSCH Parley for the Oceans

Cyrill Gutsch is the founder of Parley for the Oceans, a forum where creative industries act to protect our life-sustaining ecosystem. Originally specialised in start-ups and turning struggling companies around, Gutsch decided to apply his skills for the benefit of the oceans after an inspiring meeting with captain Paul Watson, co-founder of Greenpeace, in 2012. In his work at Parley for the Oceans, Gutsch focuses on establishing a new business culture where it is more lucrative to protect the oceans than to destroy them. One initiative draws attention to plastic pollution and its devastating consequences for seabirds, marine life and the human food chain. The programme offers a solution to this via a comprehensive programme reducing plastic usage, reclaiming ocean plastic

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

debris, intercepting plastic waste and promoting the replacement of plastic with green chemical materials. Gutsch entered a long-term strategic partnership with the G-Star denim brand in July 2013 and with the adidas Group in April 2015. He has worked as creative concept developer for major international companies for many years, which is how he acquired an ability to mediate environmental expertise into business strategy.

PANE L L I ST

SHUBHANKAR RAY G-Star

With wide experience in media, branding and shopping systems, the brand director of G-Star, Shubhankar Ray, is known for award-winning global campaigns. With his work for Caterpillar in the 90s, Camper in the 00s and now G-Star, Ray has pioneered a counter-intuitive approach to developing modern brands today – with wide-ranging experience to back his approach and views on what can make fashion sustainable. Ray’s work and films are recognised on a coveted level that few enjoy internationally, as demonstrated by his showings in world-leading galleries and museums, including: the Design Museum in London, Victoria Miro Gallery, Centre for Contemporary Culture and Museo Del Mar in

RE S P ONS I B L E I NNOVAT I ON

Barcelona, V&A Museum in London, the Venice Biennale and Atlantis Gallery in London – in addition to many other prestigious venues. He has received numerous advertising and design awards, including the Cannes Lion Grand Prix, Cannes Lion, Cannes Cyber Lion, D&AD, Premios Laus and the Emma Award.

TONSURE

P ROU D S P ONS OR

A COMPREHENSIVE APPROACH – in practice ISKO.COM/TR

Many companies launch sustainable initiatives they wish to highlight to customers, business partners and the press.While this has been a positive development for the fashion industry in recent years, an ethical practice or two does not guarantee sustainability. As one of the largest players in the denim field, ISKO™ does not just cherry pick glamorous projects but uses its business model to innovate for the sake of the environment. Sustainability is tough. Especially for an industry driven by fast-changing trends, evolving consumption patterns and intense competition with businesses in a field that isn’t so transparent to consumers, whatever their personal ideals are. One of the most widely sold categories of fashion is denim garments, the production of which happens to require an immense amount of water, in addition to other resources. So how do you successfully lead the way for the benefit of the environment while appealing to the mass market in a competition rife with players willing to work cheap and fast? ISKO™ supplies a wide range of premium fashion companies with denim products but its approach is changing the field. What may at first seem like a doomed idea – surpassing the fray with a sustainable mission in the denim game – has been at the heart of ISKO’s strategy since its inception in 1989. After decades of on-going investment in making technology more effective – including recycling techniques, mills that minimise waste and state-of-the-art water-cleansing capacities – ISKO™ has landed in the leading position it holds today.

Hitting multiple targets at once According to the global marketing director of ISKO™, Marco Lucietti, we stand at a crossroads when it comes to saving our planet for future generations. But doing so does not have to come at the cost of stylishness or consumer appeal.

“The first challenge for fashion? To create garments that are cool, not only because they look beautiful, but because their production does not damage our planet. This is very hard work, but ISKO™ and other big players absolutely have to answer this crucial call. The future is now, we can’t miss this turning point”, he says. Lucietti and the rest of the ISKO™ team are implementing a multi-layered, comprehensive approach to production that relies on big investments in research and development. As part of the SANKO conglomerate, ISKO™ has the wherewithal to invest in new technologies to fuel this drive, including high-tech water-purification and treatment systems designed to repurpose resources used in the production of denim. The water their factories use for supplying premium denim can then be used, for example, by other industries and communities, thus vastly minimising their eco-footprint. The overall approach also relies on the use of SANKO Yarn, which pioneered the use of organic cotton in Turkey to avoid pesticides and other unsustainable components that plague the environment. Consequently, ISKO™ implements sustainability not just in the industrial processing of denim but also in the basic fabric it sources. Ultimately, purchasing decisions rest with consumers, which is why it is important to demonstrate and document that the supply-chain behind a pair of jeans sold in a store is one that aligns with their values. ISKO™ holds a number of hard-to-achieve certifications that make it desirable not only to business partners but also to

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

consumers. These include the Nordic Ecolabel (ISKO™ is the only denim mill recipient), ISO 9001, the OEKO-TEX® Standard 100 and the organic exchange certification OCS Organic Cotton Standard – and more. “You can only say you are doing something for the environment when you examine every single stage”, Lucietti recently stated to DANSK magazine. His company is pursuing just that ideal.

ISKO™

P ROU D S P ONS OR

PAVING THE WAY HM.COM/CONSCIOUS

Sustainability is increasingly being adopted by players in the fashion business. But for the industry to truly deserve a medal, it must offer not just niche brands or a limited range of products but make a concerted effort to address all the pressing issues. This requires the proactive participation and leadership of all the actors along the value chain. H&M is paving the way. Not so many years ago, the words sustainable fashion brought to mind noble, yet lacking in style or, at best, an outrageously expensive collection with a price tag to foot the bill for fair and equal practices that only a select few could afford to splurge on for the sake of the environment. Fortunately, this is the case no longer. Enormous effort from multiple players in the fashion industry has led to significant improvements for the environment and people along the value chain. The challenge in the coming years, however, will be to move from this to achieving actual systemic changes that will shift the fashion industry to the next level to make it sustainable for decades to come. Contrary to wide belief, big players in the industry, alongside idealistic organisations and environment-branded companies, have a keen interest in driving this development forward, some of them are already leading the way.

Sustainability made available

The company’s mission, however, is to not just make sustainable fashion an affordable choice, but to bring about systemic change through the scale of H&M and its massive consumer appeal globally. Going forward, the ambition is to become 100% circular, including taking a circular approach to how fashion is made and used by using only recycled or other sustainably sourced materials – an aspiration few other fashion giants share, but which H&M hopes will inspire everyone in the industry.

Changing how fashion is made and used Ultimately, changing the fashion industry in the twenty-first century requires a paradigm shift that means not only the blossoming of innovative initiatives but also a transformation of how we access, choose and use fashion. In fashion, this cannot happen if style is compromised or if sustainability is available only to the few. H&M is demonstrating that these requirements are achievable.

In 1993, global fashion giant H&M’s consumer sustainability efforts began with the launch of the organic cotton Nature Calling collection. Ever since, the company has placed itself ahead of the curve with countless initiatives to improve practices in all sorts of areas, from the 2002 Water Collection to the Fashion Against AIDS initiative to annual Conscious Exclusive Collections, to name just a few. This has spread sustainability outwards from elite, conscious fashion consumers with big budgets to city streets spanning the globe, from LA to Tokyo.

In the words of company CEO Karl-Johan Persson:

To the regular consumer, this is what really matters. Most people cannot afford to purchase what is presented on Paris runways or worn by Hollywood stars. Paying for styles that do not destroy our habitat with their hard-earned dollars or euros or renminbi requires easy access to sustainable fashion. By taking environmental friendliness to the streets, H&M is playing a key role in mobilising the vast majority of buyers of clothes to join the agenda of Copenhagen Fashion Summit.

Many hurdles remain to be conquered, but the dedicated, enterprising efforts of such a big player to continuously embrace the sustainability agenda and to stake its own future on it greatly inspire others to join the endeavour.

“We have set ourselves the challenge of making fashion sustainable, and sustainability fashionable – and doing so within the limits that our planet simply sets us while contributing to good and fair jobs for people around the world”.

RE S P ONS I B L E I NNOVAT I ON

P ROU D S P ONS OR

GARMENTS, MANUFACTURING AND MILLIONS OF LIVES CANDAFOUNDATION.ORG ASHOKA.ORG

Through innovative approaches to ensuring that fashion is a force for good, players both large and small have exciting opportunities to shape the industry’s future. C&A Foundation and Ashoka proudly provide some examples of solutions that stand to help fashion producers succeed in both style and substance. It’s no secret that the fashion industry has a sustainability problem. A garment’s impact starts with the production of raw material and continues until it becomes waste, touching millions of lives along the way. Apparel’s complex supply chains and established practices present daunting challenges for fashion companies that want to ensure ethical and sustainable production. The good news is that a handful of influential brands are working to establish better standards and improved sourcing practices. Disrupting business as usual, however, is the key to unlocking systemic change. Many innovative solutions are coming from pioneering labels, small and growing businesses, and social entrepreneurs.

Giving workers a voice A lack of transparency in the supply chain has long been one of the greatest challenges to sustainability in the apparel industry. Traditional corporate monitoring falls short of preventing poor, or even dangerous, working conditions. Although such monitoring practices typically include audits and hotlines, they are often reactionary, non-scalable and produce little lasting impact. LaborVoices, pioneered by social innovator Kohl Gill, aims to change all that through a data-driven, technology-based approach that places

In 2015, C&A Foundation and Ashoka joined forces in Fabric of Change, a three-year partnership to find and foster social innovators leading the way toward a sustainable industry. Fabric of Change brings together C&A Foundation’s expertise in sustainable apparel with Ashoka’s network of social entrepreneurs to create a strong, collaborative group of problem solvers who partner with players across the apparel value chain. Together, Ashoka and C&A Foundation completed a social-innovation mapping that identifies cross-cutting barriers to sustainability in the industry and effective strategies to spark change. They have also launched a challenge to discover powerful, fresh approaches to take on the industry’s entrenched problems. The following emerging trends give cause for optimism about the future of fashion.

learned that engaged workers are the best source for detecting labour violations and other risks to supply chains. When workers are informed and given a voice, they can become powerful experts for addressing adverse workplace conditions.

Africa – pioneering sustainability Africa is fast emerging as the newest hub for apparel sourcing, but the risk is that brands will migrate there in search of lower costs and that supply chains will develop the same unethical and unsustainable characteristics found elsewhere. Despite this risk, African apparel manufacturing presents a huge opportunity to reimagine the apparel supply chain and design it from scratch, with sustainability at its core. Ethical Apparel Africa is doing just that. Its goal

workers at the centre of achieving transparency. By crowdsourcing intelligence from workers via mobile phones, LaborVoices creates real-time feedback loops among workers, brands, suppliers and local communities. LaborVoices has

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

P ROU D S P ONS OR

is to prove that ethical and cost-effective production are not mutually exclusive. They identify African-owned factories that have the potential to be models of best practices, where manufacturing is done efficiently and workers are put first. Ethical Apparel Africa partners with local manufacturers to help them develop lean principles – like reducing waste and optimising energy use, while becoming socially and environmentally conscious, and competitive. As the factories’ revenue and exports grow, they are required to reinvest in their workers, providing higher pay and access to healthcare and education. As workers experience these benefits, absenteeism declines and productivity grows. This, in turn, increases the overall efficiency of factories, creating a virtuous cycle of sustainability in the supply chain.

Conscious consumerism and the next generation While awareness is increasing among consumers, how can we get them to align their habits with their values? It is difficult to bridge the intention-behaviour gap when, according to behavioural economics expert Dan Ariely, “The same way that we often fail to act on positive intentions about dieting or exercise, we put off actions that help the environment.”

connect consumers with the people behind their clothing. According to Remake’s founder, Ayesha Barenblat, “The problem is that brands and consumers are disconnected from the human beings most impacted by their decisions. Here at Remake, we are committed to using the power of storytelling to build a conscious consumer movement among millennials, leveraging their empathy to build the necessary human connectedness to influence the consumer and their habits during a pivotal moment in their development as human beings.”

Game-changing tech The emergence of game-changing technology has the potential to truly transform the apparel industry’s resource-intensive practices. These innovative technologies are addressing the massive amounts of textile waste, either from apparel factories themselves, or at the end of the lifecycle of a garment. In the US alone, the industry generates more than 12 million tonnes of garment refuse each year, which ends up in landfills or is incinerated, creating toxic environmental waste that affects water, air and soil resources. Polyester is ubiquitous in fashion, but like plastic, it does not break down. Ambercycle, however, is engineering microbes that eat plastic and produce chemicals that become the building blocks for renewable polyester. This means that rather than starting with petroleum, waste plastic is the raw material and 100% renewably sourced. According to Ambercycle, the resulting fabric has the same qualities as virgin polyester, it’s cheaper to produce and it can be done at scale. Evrnu is another company that utilises innovative upcycling technology to address the apparel industry’s huge production of toxic environmental

Most of us have trouble changing old habits. Social innovators, however, are focusing on nurturing the next generation of conscious consumers, who perhaps aren’t yet set in their ways. The non-profit Remake is committed to investing in millennials and uses engaging multimedia to

RE S P ONS I B L E I NNOVAT I ON

waste. Evrnu developed technology to recycle post-consumer cotton into pristine fibre that can be used to manufacture new garments. Their process means that we have the potential to create cotton clothing with a minimum use of water and zero farmland. Evrnu’s breakthrough was discovering how to strip waste cotton of dyes and other contaminants, formerly one of the biggest obstacles to recycling cotton.

Want to learn more? These are just a handful of innovative solutions that are helping to shape a sustainable future for the apparel industry. Over the next years, C&A Foundation and Ashoka will continue to support social entrepreneurs and their ideas to advance a shared vision of fashion as a force for good. No single entity can solve the industry’s problems, and through the alliances created through Fabric of Change, the organisations hope to inspire all actors – including government agencies, businesses, non-profits, consumers, aspiring social innovators and others – to think big, connect and collaborate. Written by Cynthia McKinney Drayton, Senior Engagement Manager, Ashoka Changemakers

CHANGEMAKERS.COM /FABRICOFCHANGE

C&A Foundation Ashoka

MARI O T E ST I NO - NO L I MI TS

MARIO TESTINO EXHIBITION: Icons, nudes & royals One of the world’s most influential fashion photographers, Mario Testino, is opening his first solo exhibition in Denmark this week. As a strong supporter of sustainability in fashion, Testino’s timing is no coincidence. On 13 May, the art museum Kunstforeningen GL STRAND opens the exhibition “No Limits”, in which Mario Testino explores three kinds of motifs: iconic portraiture, the nude, and royal portraits alongside fashion imagery. The name “No Limits” touches upon Testino’s personal experience of Copenhagen as a city of openness and vibrant attitudes, free of conservative mentalities or rigid social norms. A liberal stronghold right up his alley. “When in Copenhagen, I feel a sense of freedom to be and do as you want. I’ve been attracted to it since the beginning, and did one of my favourite series for V Magazine here on a very hot summer day. I was so inspired by the freedom of the people,” he says. The irreverent mix of royal portraiture, high fashion and naked sensuousness promises to strike chords precisely in this spirit.

Broad support for the agenda The launch reception takes place on 12 May, the opening day of Copenhagen Fashion Summit. This timing is no accident – Testino has been a great supporter of Copenhagen Fashion Summit since first attending the event in 2014, and more importantly, of its mission to change the global impact of the fashion and textiles industry. “The importance of this agenda-setting summit is immense, so whatever I can do to support it, I will. So this time I’m opening an exhibition. And next time, who knows?”

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

“No Limits” has been made possible thanks to ege, a sustainable carpet company that will also take part in the summit. Testino has collaborated with ege to realise a bespoke installation in the historic stairway of GL STRAND, whose textiles transform the space connecting the three floors of the exhibition, each showcasing one of the thematic motifs. With support from the foundation of Crown Prince Frederik and Crown Princess Mary, CIFF – Copenhagen International Fashion Fair, Maersk Line and Danish Fashion Institute.

MARI O T E ST I NO - NO L I MI TS

“When in Copenhagen, I feel a sense of freedom to be and do as you want. I’ve been attracted to it since the beginning, and did one of my favourite series for V Magazine here on a very hot summer day. I was so inspired by the freedom of the people,” MARIO TESTINO

RE S P ONS I B L E I NNOVAT I ON

CIFF

AT THE FOREFRONT OF DESIGN-DRIVEN SUSTAINABILITY CIFF.COM

Fashion design is not just about creating beautiful garments, but increasingly about ensuring that the technical means to this aesthetic end are sustainable. As changes are happening around the world, the Danish capital is punching above its weight in this mission. Copenhagen International Fashion Fair, Northern Europe’s leading fashion and lifestyle platform, is out to make Copenhagen a global destination for design-driven sustainable fashion. A world-leader in windmills and other smart energy solutions, such as its residential heating system, Denmark aims to not just be a sustainable society but also to inspire other countries to follow suit. That ambition extends not just to the companies powering our energy needs, but increasingly to the wardrobe-purveyors shaping our sartorial purchasing decisions. Copenhagen International Fashion Fair, CIFF for short, is taking a key role in this pursuit.

The moment has come As CIFF’s fashion & design director Kristian Andersen explained recently, CIFF and its parent company BCHG have a longstanding commitment to sustainability, an undertaking that runs through all aspects of the business, from a significant proportion of their energy needs derived from a combination of solar, wind and water sources to their preference for locally grown, sustainable produce wherever possible. CIFF also maintains an ongoing partnership with 1.618, the Paris-based platform for sustainable luxury. As Andersen points out, it’s a natural progression for CIFF to become one of the premier showcases for sustainable fashion and lifestyle products. “You might say that sustainability is part of CIFF’s brand DNA. We’ve been waiting for the right moment to express it and I believe that moment has come,” says Andersen.

That moment kicked off during the Spring/Summer 2016 fair held last August, where CIFF introduced a new showcase dedicated to socially responsible and sustainable brands. Presented under the auspices of Raven Projects, CIFF’s highly exclusive area for design-driven menswear brands, it introduced a new 360-degree concept designed to elicit engagement with the idea of conscious consumerism in fashion. Unlike most eco-friendly fashion presentations, the emphasis was as much on design as it was on sustainability.

It’s the design That emphasis is at the heart of CIFF’s approach. “For too long, sustainable fashion has been almost exclusively about the environmental impact of production or the traceability of materials, with too little regard for design. We believe that if sustainable fashion is to have a real impact, the product’s design has to be part of the equation. Otherwise, it risks remaining a niche product,” explains Andersen. To drive the point home, CIFF selected a number of sustainable and socially responsible brands and showcased them alongside high-end brands such as E.Tautz, Nicholas Daley and Wales Bonner. “Brands like STORY mfg, Haeckels, Ecoalf, Dick Moby and Rombaut do a great job of marrying

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

design and environmental values. They deserve to be featured alongside the best not because they’re sustainable but because they offer a really beautiful, well-made product,” he explains. That showcase was the result of a joint collaboration between CIFF and John Skelton, creative director of London’s influential East-End concept store LN-CC. As far as Andersen is concerned, Skelton’s innovative approach to retail and fashion makes him just the person to bridge the divide between sustainable fashion and high fashion. “Design-wise, we feel strongly that sustainable fashion has to be able to hold its own against the best. This means that the fashions themselves have to appeal to consumers irrespective of their social or environmental mission. It was essential for us to work with someone who shares that perspective.” Having entrusted the visual design of Raven Projects to Jean-Christophe Aumas, who with his studio Voici/Voila routinely creates retail environments and décor for the likes of Louis Vuitton and Céline, CIFF’s pursuit of aesthetic excellence is unquestionable. Their undeniably Danish path to sustainability puts equal emphasis on pure fashion appeal.

CIFF

Adresse | Gl. Strand 48 - 1202 København Telefon | + 45 3336 0260 Web | www.glstrand.dk

Åbningstider | Tirs-Søn. 11-17 | Ons. 11-20 | Man. Lukket

S U STAI NAB L E AP PARE L COAL I T I ON

THE NUMBERS MATTER APPARELCOALITION.ORG

Sustainable missions and ethical values are all well and good, but are they enough to bring companies and organisations together for action that is not only positive but actionable and effective? By building a tool that measures various environmental and social variables, the Sustainable Apparel Coalition is bringing quantifiability to sustainability. There is a myriad of factors to consider when buying fashion, especially when the aim is to do so ethically. That goes not just for consumers but for business and industry. If maintaining a sustainable company is a business objective, business and industry must not only investigate how they sell, but what they can offer potential buyers, collaborators and consumers who also strive for sustainability. Taking into account manufacturing conditions, whether abroad or at home, managementâ&#x20AC;&#x2122;s business methods, the eco-footprint of processes and materials, and improving efficiency across the board is paramount. The Sustainable Apparel Coalition is providing a way for all fashion companies to embrace and manageably address this cacophony of pressing issues.

A risky tool? As a leading alliance for sustainable production within the apparel, footwear and textile industries, the Sustainable Apparel Coalition focuses on developing the Higg Index, a standardised supply-chain measurement tool for the industry. Using a comprehensive approach, the index provides clear insight into the environmental, social and labour impacts of making and selling consumer goods. The index is an assessment tool to identify risks and opportunities throughout the supply chain while simultaneously enhancing the external transparency of, e.g. factory conditions or environmental impact.

Using a tool like this might seem risky to companies in the fashion industry, especially those that base their business model on cheap prices and turning a blind eye to ethical considerations. What are the benefits of a transparent supply chain, impact assessments and closely scrutinised practices? This approach may at one time have appeared foolish, but major players in the field, from high street to high fashion, are increasingly adopting a more sustainable agenda. And that is something consumers appreciate. What might have begun as a lofty green agenda is gradually transforming into something noticeable, profitable and even measurable.

Spurring the competition By quantifying sustainability performance, the industry can address inefficiencies, resolve damaging practices and achieve the environmental and social transparency that consumers demand. These consumers come from all walks of life and include not just college-campus environmentalists but luxury buyers, Wall Street bankers, seemingly spoiled millennial office temps, Paris street hawkers and an infinite number of other fashion-conscious demographics. Thus, with an array of stakeholders involved, quantifying sustainability must be done right. The Higg Index is a comprehensive instrument designed to provide a wide and deep-picture of the many impacts of business to interested players

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

in the fashion and textile world. The Sustainable Apparel Coalition has succeeded in providing a single platform that affords an overview of practices that helps to eliminate audit fatigue while simultaneously disseminating the results quickly and easily. This is good news for companies that recognise that neither they nor their stakeholders, i.e. other companies and consumers, necessarily have the time to navigate the certification jungle. The Higg Index generates standardised performance scores that are anonymised and aggregated based on data input from brands, retailers and manufacturers on critical impact areas. Members of the Sustainable Apparel Coalition and non-member Higg account holders can easily connect and then share their scores with each other and benchmark performance against current and future supply chain partners worldwide. The index raises industry awareness with concrete statistics, helping to raise the sustainability bar while potentially leading companies to improved sales. The Sustainable Apparel Coalitionâ&#x20AC;&#x2122;s Higg Index is well positioned for near and long-term improvements to address ever-changing industry conditions and new challenges. Any and all feedback is welcome in the effort to perfect the system and its practices. Making the fashion industry more sustainable is truly a collaborative endeavour.

Sustainable Apparel Coalition

P L ANE T T E XI L E S

RAISING TOUGH QUESTIONS: A success story MCLNEWS.COM

In the past few decades emerging manufacturing giants in Asia have led the way in a global economic transformation. While this development has created spectacular growth in China and other economies, coupled with cheaper products for global consumers, it has also raised environmental stakes while exacerbating social issues in manufacturing. Planet Textiles puts the tough questions of an economic success story in the spotlight. The economic growth of China and other Asian countries has been the biggest story in global economic development in recent years – arguably even in human history. The economic targets of the UN’s Millennium Development Goals have been met in large part due to the success of these societies and their ability to rapidly integrate with other players in the global economy, mobilising unprecedented job creation and migration from village to boomtown while boosting GDP, all the while Western countries face a crisis of where to go next. Yet this undeniable growth story has not been without casualties. The Rana Plaza factory disaster in Bangladesh is but one example; drought around Beijing, air pollution in vast areas of East Asia and tragic factory-worker suicides due to conditions not officially condoned, but unfortunately widespread, are some of the rampant downsides to an otherwise gleaming development narrative.

Our common future Planet Textiles, a widely acknowledged annual conference, tackles crucial sustainability issues in the global textile supply chain and is the event platform of MCL News & Media, which publishes the influential Ecotextile News. The conference was launched in Hong Kong in 2009 with on-going partner Messe Frankfurt. Since its beginnings, Planet Textiles has proven to be a credible, informative and independent event on textiles

and sustainability, welcomed by many leading companies in the Chinese textiles manufacturing sector. It has also created value by connecting Western brands and retailers with Asia-based suppliers that share the same outlook on environmental issues and social compliance. In short, the philosophy of Planet Textiles is one of mutual understanding: getting everyone on board for a sustainable agenda that secures our common future – and crucially, without alienating manufacturers.

Partner up This year, Planet Textiles made its European debut in partnership with the Sustainable Apparel Coalition and Messe Frankfurt, in cooperation with Copenhagen Fashion Summit, an obvious partner in promoting its philosophy. Such intercontinental and transcultural ties are crucial given the global nature of supply chains and consumer patterns. European standards cannot be set in isolation from Asian realities – and thus platforms for dialogue between people and decision-makers in those regions and globally are a prerequisite for enacting change. For this reason, Planet Textiles encourages dialogue at Copenhagen Fashion Summit and hopes to engage with as many players as possible, from designers and managers to students, teachers and wealthy investors. They would also like you to attend their event in 2017 and to participate in the continued effort to achieve social

RE S P ONS I B L E I NNOVAT I ON

fairness and environmental sustainability. Planet Textiles believe that the continued growth and success of their conferences and those of Copenhagen Fashion Summit – innovative, forward-thinking platforms for sustainability – are vital to the future of sharing as a means for change. Change, however, cannot occur without the participation of economies worldwide. And economic success stories do not preclude finding new avenues through mutually beneficial dialogue.

Planet Textiles

AU DI

VEHICULAR PARTICULARS

AUDI.COM

Not everyone lives in a place or occupies a position where they can bike to work or take the subway in their daily travels. The car industry, along with fashion, is one of the world’s biggest polluters but is nonetheless making inroads into sustainability, one step at a time. Leading the way is Audi, whose high-end products are continuously being adjusted to reduce their eco-footprint, proving that vehicles, just like fashion, can go the extra mile for the planet while drawing envious looks. Just like modern fashion, cars were an iconic innovation of the Industrial Revolution that swept the Western world more than a century ago and still bolster the current global economy. For more than a century, fashion and cars have defined everyday life for people across the world, male and female, young and old, in ways that make getting up in the morning all the more manageable and enjoyable. Yet, like the garments we wear, the vehicles we drive are a major cause for concern about our common future. If we continue to wear and flaunt, and drive and race, in unsustainable ways, the generations to come may not have a place to strut their stuff. So how do you as a carmaker create a product that has the same appeal to drivers as a high-fashion garment does to sartorial addicts while simultaneously producing a lighter eco-footprint?

Car couture Recently, Audi has again demonstrated that friendliness to the environment does not have to come at the cost of the pleasure of driving.

Audi’s new Q7 e-tron represents an undeniable testimony to this mission. Achieving a range of up to 56 kilometres in purely electric mode, the plug-in hybrid SUV leads the current competition in efficiency and makes local journeys emission-free. Smartphone integration of Google Android Auto and Apple CarPlay in the new Audi smartphone interface means its operating concept, infotainment and connectivity also set standards. Along with a sleek, unforgettable design, this combination of features – whether aimed at reducing Audi’s eco-footprint or pleasing consumers directly with innovative technologies – is putting Audi at the forefront of the car industry’s equivalent to couture: acute attention to detail at every design stage and a razor-sharp focus on providing a premium product.

A ride to remember Everyone who has ever sat in or driven a car knows that not all driving experiences are created equal. But not everyone knows that the best experience can be had in a car that, more than any comparable model, reduces environmental

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

damage and sets new standards. A large SUV – hardly what one would imagine taking the vehicle industry to the forefront of sustainability – the Audi Q7 e-tron offers both top-notch CO2 efficiency and a range of features that mean travelling in comfort and style. Fashion names should hop on for the ride and parade their outfits in a choice of transport that will be remembered by peers, whether friend or foe – and not least by the environment.

AUDI

Audi Q7 e-tron

Plug-in-hybrid SUV med 374 hk

Audi Q7 e-tron 3.0 TDI quattro er verdens første plug-in-hybrid med V6 TDI og permanent firehjulstræk. Når både el- og forbrændingsmotoren er slået til, sætter den nye rekorder med 374 hk, et drejningsmoment på 700 Nm og en acceleration fra 0-100 km/t på blot 6,2 sek. Ifølge NEDC kører den ved kombineret forbrug op til 55,6 km/l - og har en rækkevidde på op til 1320 km fuldt tanket op med el og brændstof. På ren el er den elektriske rækkevidde op til 56 km. Audi Q7 e-tron kommer til Danmark i juni og koster fra 1.431.212 kr.

Audi Q7 e-tron 3.0 TDI quattro 374 HK (samlet ydelse) tiptronic: 1.431.212 kr. Ekskl. lev. omk. 3.880 kr. Forbrug v/bl. kørsel: 55,6. CO2: 48 g/km. Halvårlig grøn ejerafgift: 310 kr.

T ROMB ORG

SCIENCE & NATURE

TROMBORG.COM

The worlds of makeup and skincare are filled with colourful claims and exaggerated marketing, often lacking any scientific foundation. Seeking to change the game with a down-to-earth minimalist philosophy, delivering products that are as effective as they are natural, Tromborg operates under principles of simplicity, purity and, yes, science. “I’ve always worked from the principle less is more. My style is a delicate and natural appearance – not an over-done, painted look. This is why the products are not heavy and cakey, but have light, transparent colours and beautiful textures,” clarifies Marianne Tromborg, founder and head of the innovative Danish beauty and skincare company that bears her name. In the less-is-more spirit, her Tromborg range of makeup comes in a restricted colour palette of subdued, flattering hues, instead of offering an overload of unnecessary shades. Besides Tromborg Professional Make Up, the company offers Tromborg Scandinavian Mood, a range of washing and cleansing essentials, and Tromborg Treatment, a line of high-end creams and serums, as well as Tromborg Beauty Of North, which is a new high-performance advanced skincare line.

A personal approach to beauty Tromborg founded the company in 2003 along with creative director Michael Wendt and, as a coveted makeup artist before starting the company, she has shaped Tromborg based on her own personal and professional approach to beauty. This approach centres around the employment of natural therapeutic remedies that make the most of organic ingredients – but it’s also about offering a product that is easy to use for everyone, especially those with busy schedules, while leaving no doubt about the quality. “Tromborg Scandinavian Mood and Tromborg Treatment both match my own beauty philosophy about simplicity and accessibility. When you care for your skin, it’s important that you

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

feel confident about what you apply to your face and body, and this is key to the values behind the Tromborg name: a meeting between science and nature, where the purest of ingredients are combined with good old-fashioned common sense.”

It’s in the science The emphasis on science is not just a marketing claim, but something the company has incorporated into its practices as a central tenet of the business. In 2006 biochemist Tim Schyberg, who has a research background in the pharmaceutical and biotech industries, joined Tromborg as partner and chief scientific officer. He leads the in-house research and development that underlie the success of the label’s skincare and beauty lines, with a particular emphasis on anti-aging innovations. Trombog explains, “Tim’s ground-breaking knowledge of ingredients and how to combine them has led to innovative products that prevent signs of aging in the skin, remedy problematic skin and compensate for damages created by the environment. We only build upon the latest cutting-edge technology in anti-aging skincare. Our skincare products are full of the newest technological and innovative peptides (small chains of amino acids), which will smooth out lines and wrinkles. Bio-magical active ingredients and active plant extracts are the driving force.” These ingredients include organic essential oils and extracts from such plants as malva, calendula, passionflower and pomegranate, which are known for their soothing and softening properties. These components are combined into products produced responsibly in Denmark that Tromborg, spearheading her team of specialists, takes great pride in and feels a duty to ensure the quality of. “My name is on the products – and that’s a responsibility I take very seriously.”

Tromborg

RAS K T RAV E L

THE JOY OF THE JOURNEY RASKTRAVEL.COM

Busy with client meetings, pleasing partners, appealing to decision-makers and attending fashion weeks, the attendees of Copenhagen Fashion Summit are all too aware of how cumbersome international travel can be. With an emphasis on honest advice and breadth of service, one boutique travel agency is making things easier. You’ve got a stakeholder meeting in New York on Monday, a show by an important client in Paris to attend on Tuesday, Wednesday spells teleconferences with partners in four different time zones, and Thursday night there’s that dinner with a Chinese buyer in Shanghai. Oh, and then there’s that weekend family holiday in Thailand. How do you manage the logistics, from planning to booking to actually getting rest, in your jam-packed schedule? RASK Travel is a boutique travel agency that specialises in exclusive, tailor-made services for travellers, both businesses and individuals, whether they are taking a vacation or attending a meeting. Founded in Denmark in 2009, RASK Travel has grown its reputation within the fashion and media industries, having been entrusted with taking care of some of the world’s top household names.

The core values of RASK Travel are personal service, security, know-how and value for money – all of which come together to satisfy any travel requests, thereby lessening your burden (or that of your poor personal assistant) and actually making the journey enjoyable. Named by Monocle magazine as “One of the world’s most charming businesses”, RASK Travel is a truly international company, with members of the team operating today from Denmark, the UK, Israel and Italy. The word rask in Danish means swift, reflecting their service, your itinerary and the planning that implies, but RASK Travel is based on anything but fast or easy fixes – however complicated your journey from A to B and onwards to Z might be.

RASK Travel

RE S P ONS I B L E I NNOVAT I ON

NI C E

NORDIC INITI CLEAN AND E Nordic Initiative, Clean and Ethical – NICE – is the Nordic Fashion Association’s flagship sustainability endeavour. This pan-Nordic project’s primary purpose is to motivate and engage the region’s fashion and textile companies in integrating responsibility into their daily business practices. Launched in 2008, NICE is the first common Nordic platform for systemic change in the fashion and textile sector – and has therefore contributed to inspire the themes for all Copenhagen Fashion Summits. We are at a time when sustainability is increasingly emphasised in business practices. The planet faces unprecedented challenges in any number of areas, whether concerning resources, habitats or equality, wherefore it is simply unavoidable for the fashion and textile industry to engage in the tough questions and take cooperative action. NICE is the first major initiative to emerge from Nordic Fashion Association (NFA). The initiative puts Nordic fashion and textile companies at the forefront of sustainability efforts, encouraging the industry to jointly meet our common challenges. Based on various means of knowledge-sharing, NICE mediates best practices and advances sustainable models – with an overall aim of allowing companies and organisations in the industry to inspire each other. The website nicefashion.org is the go-to place for know-how on business-practice improvement and the latest news for the sector

An eco-system of activism NICE operates on many levels and involves many stakeholders. It is not a narrow, restrictive mission but an activist eco-system that addresses a wide variety of interrelated challenges. Its objectives must necessarily involve multiple actors, so let’s break down some of the components.

As NICE has no Nordic funding, it is mainly based on the goodwill of the members of the NFA and the projects they are able to gain funds for. Currently, several different actors within and outside the NFA are looking at a Manufacture Nordic cooperation, where the focus will be on-shoring or re-shoring, along the lines of Make Works in Scotland and Manufacture New York. The first step will be a mapping of all manufacturing capacity in the Nordic - and possibly Baltic - region. This work is closely related to a report that NFA wrote in collaboration with the Norwegian Consumer Institute SIFO and several other Nordic partners for the Nordic Council of Ministers. This report is available on the website. The ’bold’ moves are based on the mapping the report undertook of ongoing international and Nordic projects and collaborations. The recommended areas for the Nordic region to take action on are reduce, replace, redirect and rethink. Through Danish Fashion Institute and Sustainable Fashion Academy’s participation in the Sustainable Apparel Coalition’s work with the Higg Index, NFA is very much involved in reducing chemicals, water, energy and waste in the production of fashion and textiles. But as increase in consumption is ‘eating up’ the gains, focus needs to be where we can actually make a difference. Projects looking at local resources and local value-chains become relevant

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

as the massive outsourcing has led to loss of knowledge and competence. Other aspects in the projects you can read about on the website go to equality, an inclusive society, active lifestyles and other typical Nordic features of life and society that are closely linked to our sense of dress – that gives us an edge up on responsible thinking. In spearheading NICE, Danish Fashion Institute has joined the European Clothing Action Plan and is promoting durability and flexibility in cooperation with the creatives who make the clothes, giving them access to a variety of tools that boost longevity. Prolonging the use-phase of apparel is vital in the ongoing challenge to reduce consumption, by offering consumers better clothes rather than more clothes. This can be done on many levels. Copenhagen’s Green Walk and Fashion Exchange are both consumer-oriented initiatives. The former is a roadmap of Copenhagen, guiding consumers to the city’s sustainable sartorial offerings, letting them buy and lease recycled or organic clothes, or pieces from companies with otherwise sustainable manufacturing methods. To involve the companies creating fashion on a day-to-day basis, there are many on-going projects. NICE hosts speed-dating events for fashion brands, matching them with sustainable agents from relevant countries of production but perhaps the biggest effort in this area is done by the

NI C E

IATIVE ETHICAL NORDICFASHIONASSOCIATION.COM Sustainable Fashion Academy based in Stockholm, who have developed an online version of several of their courses and who too spearheads GLASA (Global Leadership Award in Sustainable Apparel). NICE and NFA also continue their collaboration with C.L.A.S.S., Source4Style and other international platforms - digital and physical - that bring better and more responsible solutions to market. Recently, NICE has joined the Oslo Manifesto in looking at ways to implement the UN Sustainable Development Goals into the ultimate design brief.

What is sustainability? The question: “What is a sustainable fashion and textile industry?” has yet to be answered. The discussion is polarizing around whether recycling technology and new innovative materials will save the planet, or if down-scaling our wardrobes with multiple and better use is the answer for more empowered consumption. Change, however, is clearly brewing. Driven by new business models, technology and a growing understanding that stuffed wardrobes do not make us more well-dressed. Moreover, your contribution to Copenhagen Fashion Summit demonstrates that we have the ideas and energy to make change happen. NICE looks forward to reaching as many players as possible with a sustainability agenda. The hope is to involve the decision-makers shaping our future on principles of honest and transparent production, commitment to the environment and social fairness – all in the spirit of making fashion relevant once again, not just for its own sake but also for that of the planet. Consequently, we cannot wait to continue to collaborate with you on implementing the sustainability agenda going forward.

RE S P ONS I B L E I NNOVAT I ON

DANI S H FAS H I ON E T H I C AL C H ART E R

DANISH FASH ETHICAL CHA Since 2007 Danish Fashion Institute has worked with a variety of institutions to combat the ills of eating disorders and to unite the fashion industry in working towards healthier body ideals. Updated with unambiguous regulations in 2015, the Danish Fashion Ethical Charter has become a centrepiece in the fashion industry’s efforts to take responsibility for the well-being and self-image of not just models but also the public that views them.

Eating disorders are a worldwide ill. In Denmark alone, around 75,000 people suffer from bulimia, overeating or anorexia – and that’s not counting those with orthorexia, a morbid obsession with eating healthy foods, or megarexia, an obsession to be overly muscular. While the causes of these devastating phenomena are complex and involve a variety of societal institutions – from social media and mainstream media to the education system and how parents raise their children – the Danish Fashion Ethical Charter is built on the recognition that the fashion industry itself bears a responsibility to fight the causes of such disorders, and that doing so is not up for discussion.

Binding rules for signatories In addition to a range of values that the signatories must respect, four overarching rules comprise the charter: 1) Mandatory health checks of models, including screening for eating disorders 2) An age limit of 16 years for modelling work (exceptions being children’s fashion, and a limit of 15 years if the model is accompanied by an adult) 3) Provision of healthy meals for work lasting more than two hours 4) Payment of wages for modelling work (with a few exceptions, such as work for design schools) The charter has broad backing from the fashion industry’s relevant stakeholders and companies. Signatories include all the major model agencies in Denmark, in addition to fashion companies – anyone showing at Copenhagen Fashion Week is required to sign – plus magazines and various other industry actors. The wide and unequivocal support for the Danish Fashion Ethical Charter

speaks for itself; the industry is aware of its responsibility and is prepared to take collective action for the mission. The fact that the industry is taking such an active part means the charter will likely have greater impact in the long run than the alternative of top-down, government-issued legislation.

The charter recognises that all such actors must work together to address the issues of body ideals and disorders. Without a sustained and concerted effort, the movement to improve the situation is unlikely to prove effective.

A multi-stage approach Beyond the industry itself, the Danish Fashion Ethical Charter has been developed in close partnership with the Danish Association against Eating Disorders and Self-harm, which also assists in the treatment and support of those who exhibit risk behaviour. The charter does not legislate on the basis of body mass index or put a ban on skinniness – an approach that would miss out on helping many with bulimia who may look “normal”, while preventing naturally skinny models who are healthy, from working. The charter instead ensures that at every stage of a model’s professional life, from meetings with agencies to castings to photoshoots and runways, a healthy and fair standard is ensured. The vision, ultimately, is not just about helping models but about a wider promotion of healthier body images in society. This cannot be accomplished by the fashion industry alone as the societal and personal ill of eating disorders is caused a myriad of factors, with many different institutions bearing partial responsibility. The Danish Fashion Ethical Charter is a crucial step on a long path to promoting health and a positive self-image among girls and boys, women and men. It is crucial that the fashion industry follows the charter, develops it further and to launch other initiatives that support the vision. Beyond that, it is the hope and recommendation of Danish Fashion Institute, and companies and institutions supporting the charter, that the industries in other countries will follow suit.

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

DANI S H FAS H I ON E T H I C AL C H ART E R

HION ARTER

RE S P ONS I B L E I NNOVAT I ON

A S U STAI NAB L E CONF E RE NC E

A SUSTAINABLE CONFERENCE

Copenhagen Fashion Summit debates, promotes and reimagines sustainable solutions within the wider fashion and textile industries but also strives to be sustainable in every way possible. Minimising the environmental impact of everything that goes into the conference is a top priority, from the stage and its various components, to the carpets in the foyer, the water bottles you’re drinking from and the magazine you’re reading. Made from 100% natural hemp, even the Cadica Group keychains you’ve received are part of this commitment. The concept, luckily, also extends to your taste buds. Summit participants will have the chance to enjoy organic Nordic cuisine using produce from small, local producers. Nordic Food Export is the gourmet food supplier for the summit in collaboration with acclaimed taste purveyor Cofoco, whose chefs will pamper and surprise us with gastronomic delights.

100

Much like the speakers represented at Copenhagen Fashion Summit, we strive to go full-circle in our sustainability approach. For example, Sprout’s replantable pencils pass on the message of ecological continuity, while all natural and biodegradable Field Advice tableware and cutlery will be used for meals and the firm Arkitekturministeriet will provide visual features stemming from a constant exploration of new materials in terms of sustainability and beauty. Read more below about the partners who have made Copenhagen Fashion Summit sustainable – and how their innovations work to make the world greener and more pleasurable.

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

A S U STAI NAB L E CONF E RE NC E

Nordic Food Export NORDICFOODEXPORT.DK

Copenhagen-based Nordic Food Export has a simple vision grounded in proud Nordic traditions and artisanship as advanced in the Nordic Food Manifesto. In addition to principles on nutrition, sustainability and organic ingredients, the manifesto demands peerless quality and, most of all, unforgettable tastes. “Our vision is to share the experience and taste of high-quality Nordic gourmet foods produced by small, passionate and mostly organic producers. We want to make high-quality Scandinavian foods available to the end consumer,” says Nordic Food Export CEO Thomas Hoey. Nordic Food Export has Danish, Swedish and Finnish partners who share an unrelenting commitment to both quality and storytelling. The partners count, among others, Oialla, Søris, Knuthenlund, Cofoco, Magnihill and Bondens Skafferi, all of whom are trendsetters on the Nordic food scene, which has been a global leader in recent years. They are among the finest local producers of bread, flour, cheese, ice cream, tea, vegetable soups and fruit purée, as well as chocolate from wild cocoa plants, crackers and smoked salmon, not to mention other local specialties.

ege carpets

EGECARPETS.COM

Environmental responsibility lies deep in the heart of Danish interior trendsetter ege carpets, a company that strives for a greener future in everything it does. Continuously seeking to innovate products and processes, ege carpets has been passionate about doing what is right for the environment and people since 1938, a true CSR pioneer within the carpet industry. An exquisite ability to combine enormous amounts of know-how, groundbreaking design and uncompromising quality, all under an ethos of environmental responsibility, has put ege carpets on the leading edge of the industry. This is demonstrated by international recognition from the European Eco-Management and Audit Scheme, its Cradle to Cradle certification and the fact that, as the only carpet manufacturer in the world, it lives up to DS49001, a Danish Standards CSR management system based on ISO 26000. ege carpets uses abandoned fishing nets adrift in the ocean by turning them into strong, hardwearing yarns for carpets, as well as used water bottles for a soft, yet durable felt backing. These excellent examples of product innovations illustrate how ege carpets manages to turn a circular economy approach into an extremely attractive business model without compromising on product style, aesthetics or functionality.

RE S P ONS I B L E I NNOVAT I ON

101

A S U STAI NAB L E CONF E RE NC E

Not Just a Bottle NOTJUSTABOTTLE.COM

Not Just a Bottle designs, produces and sells sustainable bottles that are reusable and eco-friendly. Through innovative material selection and reutilisation, they offer an ethical and personal alternative to single-use drinking bottles. Handcrafted, each bottle is made of sustainable, one-piece Luong bamboo, which can reach up to 30 meters in height and is one of the fastest growing types of grass. The bamboo is harvested within five years, resulting in the binding of CO2 much faster than in slow-growing trees. Not Just a Bottle works closely with the local government and individual families who plant, maintain and harvest the bamboo in Vietnam to ensure minimal environmental damage and that the bamboo naturally regenerates between harvests. Their product combines modern Danish design with Asian tradition, based on the circular economy and cradle-to-cradle perspective. All materials can be separated, recycled or act as degradable components. The bottle coating is natural, sustainable – and even edible.

Field Advice FIELDADVICE.NET

Field Advice offers food packaging with an overarching ethos of sustainability. Their disposable packaging, cutlery and plates are all biodegradable, yet surpass the not-so-ecological alternatives when it comes to design, quality and feel for the user. Eco-friendly and biodegradable products by Field Advice include cutlery, glasses, cups and salad bowls made from cornstarch – a planet-conscious alternative to regular plastic that retains sturdiness and ease of use. Their plates, made of palm leaves and bamboo, draw on some of nature’s strongest resources and can be returned to nature without leaving a footprint. Field Advice also provides a wide range of other items made from wood and sugar cane that degrade without polluting in a short amount of time into 100% natural compost. Field Advice’s suppliers and partners are certified and approved by various European environmental tests. Their philosophy is that good packaging must comply not only with the needs of the client but also burden the environment to the least degree possible in every respect, from sourcing to end life, composting in a matter of weeks.

102

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

Sprout

A S U STAI NAB L E CONF E RE NC E

SPROUTWORLD.COM

Sprout is the green Danish start-up behind the world’s first plantable pencil. Participants will receive a patented Sprout pencil, which has a capsule with seeds at the end. When the pencil is too short to write with, the idea is to plant the stub and then watch it grow into herbs, vegetables or flowers. This way, you give it new life rather than see it go to waste. The Sprout pencil shows in a simple way what sustainability is all about and serves as a perfect icebreaker when it comes to talking about the subject. Sprout pencils are engravable and sold to over 60 countries and companies.

KLS PurePrint KLSPUREPRINT.DK

KLS PurePrint had a dream. To have the world’s cleanest printed products. And that dream came true. KLS PurePrint provides packaging and 100% biodegradable printed products made of special paper and new ink so clean it can be eaten. Until recently, just 75% of the pulp in printed products was reusable for new paper. The remaining 25% contained harmful chemicals and heavy metals to be disposed of as toxic waste. But in 2015, KLS PurePrint introduced a new, environmentally friendly product that made change possible. Today, that printed material is biodegradable and can be composted to become a biological nutrient in soil, due to KLS PurePrint’s product and process innovations. With products completely free of harmful chemicals and heavy metals, KLS PurePrint is only the second printing company in the world to be awarded the most exacting standard of environmental certification, Cradle to Cradle Certified™. Besides that recognition, KLS PurePrint paper is FSC® certified, which means it promotes sustainable forestry and ecosystem protection. KLS PurePrint was the first CO2 neutral printing company in Scandinavia and uses only electricity from windmills.

RE S P ONS I B L E I NNOVAT I ON

103

S U MMI T VOLU NT E E RS

THE HANDS THAT MAKE IT HAPPEN Without the volunteers who bend their backs to make things happen, Copenhagen Fashion Summit would never have grown into the global force it represents today.

The organisers would like to thank all the fantastic volunteers who have contributed to getting our programme executed, aiding in the planning and realisation of the event while tirelessly helping our international visitors. Our sustainable hats are off to you. To the participants of the summit, please remember to thank these dedicated contributors to our programme. All volunteers wear the black and white striped classic shirt, making them identifiable as targets of our collective gratitude. Do remember that gratefulness causes no harm to the environment, and that a warm nod of approval to a gorgeous young volunteer is completely sustainable.

Behind the sustainable shirt is Danish designer Mads Nørgaard:

“We’re very pleased to be a part of a Danish initiative about fashion and the environment. We see our Nørgaard Paa Strøget #101 t-shirt as an excellent example of sustainability as it is produced in Denmark close to distributors and consumers. The t-shirt is also uniquely durable in terms of style and quality.” Thanks to the companies that have proviced volunteers with an amazing goodie bag: Cloetta DANSK Magazine Gasoline Grill Grower’s Cup KIMS Mads Nørgaard Mondelēz International ALLER Media Moshi Moshi Mind

Our 38 volunteers represent 15 different nationalities AMERICAN, AUSTRALIAN/GREEK, BRITISH, CANADIAN, CHINESE, DANISH, DUTCH, GERMAN, HUNGARIAN, IRISH, ITALIAN, LATVIAN, POLISH, SCOTTISH AND SWEDISH.

mp Denmark Odd Molly NatureSource The Organic Company

104

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

S P ONS OR E NQU I RI E S

Want to be a sponsor of the next Copenhagen Fashion Summit? For sponsorship and partnership enquiries, please contact: VP and development director JONAS EDER-HANSEN jonas@danishfashioninstitute.dk

RE S P ONS I B L E I NNOVAT I ON

105

P RE SS S E RV I C E S

PRESS SERVICES Press kit INCL. HIGH-RES IMAGES, VIDEOS, PRESS RELEASES AND MORE COPENHAGENFASHIONSUMMIT.COM/PRESS

Press enquiries HOTLINE (12 MAY) +45 41 51 48 83 PRESS@COPENHAGENFASHIONSUMMIT.COM

Wi-Fi MAKE SURE TO PICK UP A WI-FI CODE FOR EACH OF YOUR DEVICES AT THE PRESS LOUNGE

106

COP E NH AGE N FAS H I ON S U MMI T 2 01 6

SAVANNAH

Erik Jørgensen Showroom

Pakhus 48

design Monica Förster

Københavns Frihavn

Klubiensvej 22

2150 Nordhavn

Tlf. 39 29 19 66

WWW.ERIK-JOERGENSEN.COM

#RESTARTFASHION

Scandinavian fine food and delicatessen Our vision is to share the experience and taste of high quality Nordic gourmet foods produced by small, passionate and often organic manufacturers. We want to make high quality Scandinavian foods available for the end consumer. www.nordicfoodexport.com

S U P P ORT I NG PART NE RS

THANK YOU

110

COP E NH AGE N FAS H I ON S U MMI T 2 01 6