ICHI Magazine #1 by ICHI Magazine

NOVEMBER 14

ICHI #1

Editors 004 Editors letter 005 Breaking the rules 006 Ahida Agirre 010 Textiletoolbox 014 The rise of ethical manufacturing to the mainstream! 017 Sustainable future for Korean fashion? 019 A whole lot of story 022 Quality and small quantities! 026 Catid – New York City 028 Arcadia 031 Why your friends don´t get it? 036 I Love Goldie 040 Change with style! 042 Confined Space X Vivienne Mok 046 What Does Your Consumption Pattern Look Like? 048 Kajsa Lorentzon 051 Contributions 054

ICHI #1

Editors PAULA PONZER

Editor-in-Chief

MIKA NITZ PETTERSSON Fashion Editor

ALEXANDRA RENDTORFF

Creative Editor

ELIZABETH SENSKY

Article Editor

MIMMI ERICSSON Graphic Designer

ICHI #1

Editors letter. - By Paula Ponzer

Sustainability as a concept, and the relationship it has to fashion, is something most of us will have heard about. We know that our mass consumer lifestyle has a negative impact on the world, and we know that we could contribute to a positive change if we would actively make more conscious choices. But in looking at the widespread awareness that has developed over the last few years, we can also see that awareness alone doesn’t result in a different behavior. In talking about sustainability and how to get more people engaged to make more conscious choices, there is something that is often overlooked – and that is the importance of how we communicate. For a long time we have been focusing on the problems in the industry when we talk about sustainability; a narrative that doesn’t sound encouraging, but rather upsetting. We believe, that in order to get more people to actively choose to change their behavior as consumers, it’s not really about what we say – it’s about how we say it. With this in mind we started ICHI magazine, not for the purpose of educating the readers on what sustainable fashion is or the problems in the industry – but to challenge the way we talk about it. We want to show the inspiring possibilities a sustainable attitude can contribute to, show the progressive examples of how sustainability is incorporated into businesses today, and talk about how innovation will be the driving force of change. We also have a strong belief that the image many still associate to words such as “eco fashion” needs to be addressed, which is why our own visual expression is meant to go against everything you might think “green fashion” looks like. Because at the end of the day, we can’t force change based on morality and virtue – we need to inspire change by providing more attractive options. 5

ICHI #1

Breaking the rules. Interview with the girls behind tHERAPY, Recycle and Exorcise. - By Paula Ponzer

Paula and Mariรกngeles Aguirre are the creative sisters behind the ingenious upcycling brand Therapy, Recycle and Exorcise. Because of their signature style and inspiring esthetics we wanted to talk to them about their inspiration, ideas, and how they see the growing interest for unique and personal items is contributing to a more sustainable consumer culture in fashion.

ICHI #1

We are so in love with your creative and hardcore esthetics, what inspires you? When we were younger we loved to watch music videos, and we still do. So music is really a great source of inspiration for us. We also flick through magazines for new ideas, take inspiration from street art, architecture, and travelling – but most of what inspires us come from our past. But what really inspires our style and attitude is breaking rules and breaking ideas of what fashion should be. We don’t want to be part of the “fashion dictatorship,” or fit into and standard or norm. We love to rethink things, and give them new meanings. When we recycle accessories, textiles or other materials, we want to give them a new purpose. To give a new meaning to things, taking them out of the original context and use, that’s what we really love to do. Could you tell us a little bit more about tHERAPY, and what it is that you do? Apart from upcycling, our aims are to create awareness about the consequences of mass production and to encourage people to become more creative individuals, and less dependent on brands and fast-fashion. We believe that reusing old or abandoned materials and objects is the best way to achieve both aims. What we wear everyday is a very strong channel for communicating our beliefs, moods and attitudes and makes it possible to express one’s individuality and (life)style. tHERAPY started as a need to recover our creativity and to do things with our own hands – like therapy for the soul. To exorcise through tHERAPY means for us to open our soul and let fresh air come inside, to let bad thoughts and fears fly away.

How do you think upcycling and DIY could play a part in creating a more sustainable fashion consumer culture? When you create something with your own hands, you develop a stronger relationship to it. It will tell a story, and because it will have more meaning, you are more likely to keep and treasure it longer. When you discover that you actually can make something with your own two hands, you feel empowered by your own creativity. Handwork also creates more understanding of the time and effort it takes to make something. What are your thoughts on how to make more fashion consumers interested in DIY and upcycling, opposed to mainstream and fast-fashion? We think it is most important to use the channels and strategies that non-sustainable and mass-producing brands use. We have to compete on the same terms. We think it’s all about communication, and what language we use. To make it attractive to a wider target group, you have to highlight aspects that fit with current fashion, rather than what fits with a target group focused on sustainability. Right now we have a big advantage, as our “break the rules” –attitude happens to be in style: Transgression is fashionable. So we take this angle and use it for our own purpose. To express yourself and create your own style is very important in our current fashion culture. By focusing on this in our communication, rather than focusing on sustainability, we can attract a wider audience. If you could name one thing, what do you think is most important, in order for the fashion industry to change? Even if the understanding of sustainability is growing all over the world, I think nothing is going to change on a bigger scale if governments don’t take their responsibility in controlling how the big companies produce and commercialize their products. I think legislation and government control is most important for developing a sustainable fashion industry.

ICHI #1

Ahida Agirre By Maria Pizzeria Photography by Miss Paola Vivas HairLebronSalon Models: Lizzie & Jesus From Ahida´s ”Tsuyu” collection AW14

ICHI #1

When and how did you start your brand Ahida Agirre? I finished school in June 2010, and because I had some success already in creating my final project I was already participating in markets and working with established designers from Barcelona. So then my friend Dani Melo made a logo for me, and I simply felt that there wasn’t any reason to go back, so I started my own brand. How do you feel about having the brand in your name? As I’m a designer and I want to show my own identity and ideas through my collections, I think it’s a good way to connect my work in very personal way to the brand name. What is important, as a fashion designer, to contribute with to the already mass producing fashion industry? Most important for me is to make people trust in the magic of fashion again, slow consumption down, and not mindlessly follow trends. I love DIY, and the wonderful imperfections that appear when you create handcrafted items in a small studio. I enjoy going to markets, selling the pieces on my own, talking to the costumers about my work. Do you have any other people you are working with? I’m mostly on my own, but I have some good friends I team up with when I need a hand with graphic design, shippings, exhibitions, etc. Can you tell us a little bit about your working process, from idea to finished product? I usually have an image in my head of what the final collection should look like, so I start with making a mood board where I put pictures, textures, words and other things. Usually I find them from Tumblr or Instagram – I get a great deal of inspiration from social media. Then I make drawings and patterns, buy fabrics, trimmings and other things I find for the shoots. The whole process is actually a lot of fun!

ICHI #1

How do you produce your pieces? I really enjoy making patterns and finding unusual fabrics and trimmings. Usually I’m around East London, where I have two dress makers who help me create my pieces. For me it’s very important to be close to the people I’m working with, and also to see the whole process. I usually do the final touches myself, like the embroidery and printing, because it gives my pieces originality and the hand made look that I’m going for. What’s next for you? I’m planning to expand my brand, but through a relaxed process. I want to keep screen printing and dyeing. I also want to get back to sewing more myself, and make more unique pieces for special customers. I want to keep having fun, but to do it in an even more ”professional” way. www.ahidaagirre.com www.mariapizzeria.tumblr.com

ICHI #1

Textiletoolbox Tools for sustainable fashion and textiles designers - By Miriam Ribul (MISTRA Future Fashion)

Designers in education and companies are often faced with esthetic and material decisions under tight deadlines. The understanding of sustainability needs to start in education in order to lead to a new generation of designers that are fully aware of the environmental, social and economic impact of their work. An increasing number of companies and institutions are shifting to a more sustainable practice, however, in a fast-changing market where new products, services and materials take the lead each day, it is becoming increasingly complex to make the right decisions. TED has developed a range of tools that can be used by fashion and textile designers in the decision making process for multiple requirements and contexts. Tested between Stockholm, Copenhagen, London, New York, Shanghai and Hong Kong, these tools can be applied to different contexts for innovative outcomes.

Since 2011, the TED Research group, part of the Textile Futures Research Centre at the University of the Arts London, has been involved in a unique Swedish research project called MISTRA Future Fashion. MISTRA connects international researchers with the aim to achieve systemic change in the fashion industry. TED is the only design research team within the consortium, and has developed design tools to deliver sustainable design-thinking courses with 15 Swedish companies at the Sustainable Fashion Academy (SFA) in Sweden. The group has also taught two elective programs at Konstfack University of the Arts, Crafts and Design in Stockholm, and to create a bespoke training program for 600 members of staff at H&M. 14

Designers have appropriated tools and processes for making garments, patterns and textiles. With these tools, they develop unique garments or mass-produced quantities of goods. But TED’s question was, “if they change their tools, will their outcomes look different?” And what happens if they change the design process itself, or apply their craft to an entirely different context? If individuals or a community are handed tools, they are empowered to develop their own products in a self-sustaining environment. The same applies to tools for design thinking that can support the decision making process for a more sustainable fashion industry. When “decisions made in design are responsible for 80-90% percent of

a product’s environmental and economic costs (Graedel et al. 1995),” design strategies like TED’s The TEN are essential to support designers in this process. Physical objects such as workbooks, worksheets and workshop spaces support the application of ten strategies for sustainable design to the traditional design process. These materials were put to use when the TED researchers developed and delivered a bespoke training program for H&M. This program featured a series of inspiring lectures to over 600 of their Stockholm-based design staff, and a workshop series which aimed to explore design thinking for sustainability within the company. This gave the designers the opportunity to apply new tools to their design process.

ICHI #1

projects that each look to overcome different barriers in order to change the fashion industry: business models, consumer choices, materials, recycling issues, sustainable assessment methods, garments in the public sector, policies and design processes. All of this research demonstrates a few key points: - Innovative outcomes are achieved through creating opportunities for collaboration between the different agents within the fashion industry. - New materials and processes can embrace current fast fashion consumption behaviour and create products and systems that work within it. - Radical business models are possible when new products and experiences make extending garment lives enjoyable. - Recycling can become an engaging activity and form international collaborations when the application of design language makes materials more easily traced and processes better understood. The outcomes of these collaborations are being translated in ten new exhibition pieces for discussion that will be available on the site from 12th November this year. Here the new

products demonstrate the direction for progressing a sustainable fashion system. The exhibits are a starting point for discussion, and demonstrate how new tools combined with scientific and design collaboration creates entirely new visions for the future of the industry. TED’s The TEN training tools and models will be available from the site in the final report in June 2015 as a free download. TED hopes it will inspire companies to try different approaches to their production, supply chain management, business models, design and more. To follow TED’s progress and send feedback to them use Twitter, Facebook or the project website. www.textiletoolbox.com @textiletoolbox

TED’s The TEN cards (2011)

In addition to educational design thinking tools, TED has set up a project website www.textiletoolbox.com as a live research platform for engaging a global audience with ideas for inspirational sustainable fashion in Sweden. At the moment, the platform is a blog where leading sustainable design experts contribute their strategies for sustainable design. Here they reflect on each of The TEN strategies, using international and Swedish examples of companies that currently extend ‘normal’ practices. One of these companies, Nudie Jeans, is often mentioned for its commitment to ‘Repair, Reuse and Recycle.’ With their long-lasting garments and in-store repair services for broken jeans, they back up their commitment with action. Other initiatives of the company, such as the production of rag rugs, offer a new life to old worn out jeans. à not sure if this section is necessary, breaks the flow But what really makes the MISTRA Future Fashion program unique is that it promotes sustainable choices across all stages of a product’s lifecycle. Acknowledging that sustainable fashion cannot just be achieved through better products or materials, MISTRA Future Fashion connects eight research

ICHI #1

”Sustainable fashion”. Not my favourite way to describe the change that is happening in the world of design. Bring this topic up when discussing fashion and more likely than not you will cop a few strange looks and some comment about hemp and yoga pants. This is, however, not the case and ”sustainable fashion” is in a very exciting place right now, slowly breaking free from these negative connotations. On the back of the work that Christopher Raeburn and Maharishi have done with the use of decommissioned military products, there has been a new wave of designers across the world bringing the use of sustainable textiles to the mainstream. Here is a little look at some of my favourites that are making moves.

Kjetil Aas of Armoire d’homme Designers such as, Kjetil Aas of Armoire d’homme, create to surpass trends with quality, functionality and accessibility in mind. In a recent interview Kjetil highlighted that “most important of all is to create a product the customers want – a product that is not sold is inherently unsustainable no matter how ethically produced.” Fanmail One of my favourite new labels, Fanmail, was born out “not being able to find a high-quality t-shirt that was made in the USA from sustainable materials” and founder Charlie Morris felt “that there were other shoppers out there like me, who were willing to pay a little bit more for a t-shirt from a brand open about its manufacturing processes.” Charlie uses a lot of hemp in his collection and having recently designed a custom outfit for Drake’s tour, things are certainly looking up for the New York based label. 16

Superfluous Culture Sustainable fashion is not just for basics though. My guys in Canada, Superfluous Culture, are dropping some of the best clothing out there utilising local production to produce its range of hemp, bamboo and linen goods. All sourced locally from fair-trade environments, the latest lookbook featured an outstanding customisable denim trench coat and is definitely a label that could shake up the industry. Brothers We Stand Finally, in the era of online shoppers Brothers We Stand has stepped in to provide platform that stocks ethical and sustainable designers with a full breakdown next to each product showing how it was made. To the general consumer, this has put the convenience into sustainable purchases and is helping attract a wider audience outside of those die-hard researchers like myself.

When the global retailer, H&M, chooses to publicly announce it is aiming to use organic cotton exclusively by 2020 it is safe to say the world is changing and people are beginning to shift their thoughts towards alternative materials. At a grass roots level, new labels with strong ethics are surfacing daily, and I look forward to the possibility of working with them in the future. Check out interviews with Armoire d’homme, Fanmail and more over at www.iiikanji.com

The rise of ethical manufacturing to the mainstream!

ICHI #1

- By Kelsey Matheson

ICHI #1

Sustainable future for Korean fashion? Interview with Codye and Bright - By Paula Ponzer

South Korea is a country that has developed immensely over the last few decades. Since the 1960s, it’s gone from being one of Asia’s poorest to one of the world’s wealthiest nations. Apart from being reflected in the architecture, education and society in general, this is also apparent in the development of the fashion industry and culture.

ICHI #1

South Korea’s fast-fashion industry is well known for its speed in adapting to new trends and demands. With new designs being produced over night to be sold the next day, Seoul has become a fast-fashion Mekka for shopping enthusiasts from all over the world. At first glance, it’s as far away from being sustainable as it could possibly get — however in looking closer, there might be some fundamental aspects to the Korean fashion industry, which could develop successfully in a sustainable way. Besides being a country where much of the production is local, essentially meaning shorter supply chains and communication routes, and being an industry with rapid changes and adaptation built into the system, the Korean fashion industry also has great financial government support, especially for financing global

expansion efforts and promotion as a future business market. From this point of view, South Korea already has many of the basic ingredients needed for a sustainable industry transformation. On a hot summer afternoon I met with Codye and Bright, who are both active within the fashion industry in Korea, to discuss the possibility and probability for a sustainable development to happen, and what needs to change in terms of values and the culture surrounding fashion. As insiders in the industry, their perspectives of what needs to change and how it could happen, reveal interesting insights into the unique fashion climate of South Korea and what it means for the rest of the fashion world.

ICHI #1

Paula: First of all, in general, you think sustainable fashion has become a thing yet in Korea? Do people talk about it at all? Codye: Honestly, no. I don’t think it’s a thing yet, but sure there is potential. Korean fashion is gaining more international recognition now, and since sustainability is becoming an important aspect for fashion companies all over the world, Korean brands eventually will catch on. They just have to realize the importance, business wise, for the future of their company. Bright: There are Korean designers and buyers who care about these issues and would like to go in a more sustainable direction, but since fast-fashion is what Korea currently is known for doing best, and fashion trends are changing at an insane speed here, high-quality garments are still considered way too expensive for most people. P: But what about stuff like vintage, remake and DIY? Is this something people in fashion are into? B: From a business standpoint, and from my experience working in fashion and also with vintage, sustainability has never been a reason as to why companies sell vintage items. And no, unfortunately, there is not enough interest to make a profit from selling vintage items anymore. There used to be more of an interest when there was more of a trend to buy second-hand, but it’s gone down now. And for the companies — the work cost now outweighs the profit, so just in the recent years many vintage focused businesses seem to have disappeared. C: For young and creative fashion connoisseurs, the vintage market is really very accessible here, through markets such as Gwang Jang Textiles Market. But just like Bright said, the interest has gone down now. Seoul is a hugely fashion conscious city with many cool and innovative brands, which are not fast-fashion but actually could be considered sustainable in some aspects. But because environmental consciousness is not yet interesting for the average fashion consumer, vintage fashion or the sustainability aspects of these brands are not at all a selling point.

P: I have a theory that simply understanding the problems of the fashion industry, is not enough to drive changes in behavior among consumers. Instead, we need to “sell” the idea of sustainability, and in some way, make awareness of these issues something that is considered cool to know about. In terms of how trends develop on the Korean fashion scene, which media outlets and what people would need to talk about sustainability for the average fashion-kid to become interested? C: Koreans are amazingly fast at catching new trends of all sorts, and the catalyst is often a celebrity. And, I mean, on a whole different level than back at home. Frankly, Koreans are in general very quick to follow those who are considered to know “what is cool.” When a singer, actor, model, or another influential fashion icon wears something with the purpose of “selling” it to others, it really works. Their picture will be taken a plethora of times and posted over multiple fashion and entertainment sites — and I mean much more than in any western country — literally over night it becomes a trend. So honestly, if just a few very influential fashion personalities would start talking about sustainability, the consumer demands could change very quickly.

C: Like Bright said, the Korean fashion industry is very fast to follow trends and produce new clothes. From what I have seen, Koreans in general are obsessed with their appearance. I mean, not only in fashion, but also by looking at how, for example, plastic surgery is almost as commonplace as dyeing your hair. So even if someone is wearing casual clothing, like jeans and a white t-shirt, they are likely to choose it based on what is a popular fashion trend — like in that month. And the thing is, the percentage of very fashion conscious people is vastly higher here than anywhere else, meaning that this behavior is not just for a small click of fashionistas, but this is the conventional behavior. And in a city of about 10 or 15 million people, any trend has a huge impact. P: The Korean fashion industry is focusing a lot on gaining global recognition right now, and even has financial governmental support to make this happen. From a business standpoint, I think those fashion companies that realize sustainability will be important for future business, and are trying to adapt now, will have a stronger competitive position. Their sustainability will be what sets them apart and drives them towards their goal of international recognition.

P: While we are on the topic, lets talk a little bit about the unique fashion climate in Korea. Like how it’s possible to produce new items so quickly, if a trend suddenly changes. B: Dongdaemun is the area in Seoul in which this all happens. It’s a part of the city where fashion and textiles is totally the main industry, and what the area is known for. Here it takes on average about a week to design, produce and have apparel ready to sell. And because this is what is done on a daily basis, there are new designs out in store every day. The system of design and production in Korea is basically built to copy. If a trend suddenly changes, the designers are quick to observe, imitate and produce. But because new designs are demanded every day, it’s interesting to see how many small variations you can create from one trend. I guess that is also why Korean fashion is known for having a unique twist, though still completely on-trend.

I think Korea is a country that truly has the advantages to make this happen. Do you think this would be a possible scenario? B: I believe that is possible. It’s similar to how Korean pop music (K-pop) is gaining recognition abroad right now, and the international k-pop promotion strategies work much like what is done in fashion. I think that with the right focus on what could set Korean fashion apart —it’s really possible. C: Sustainable future for Korean fashion? Yeah, it’s totally possible! Especially, because of the pride Korea takes in its fashion industry, its amazing growth over just the past five years, and the insane amounts of financial investment. I think there is a great possibility that sustainability will become a significant development aspect. Yeah, it’s really an exciting time to be in Korea right now.

ICHI #1

A whole lot of story Interview with Sophie Schandorff (pelechecoco) - By Cecilie MĂ¸ller

When most of us think about sustainable fashion, itâ&#x20AC;&#x2122;s hard to look pass the brown linen-type products. But, in reality, sustainability can take many different forms. pelechecoco is a Copenhagen and London based brand, with sustainability at the core of the company. All their materials are made out of recycled materials that they collect from around the world. We had the chance to talk with Sophie Schandorff, who is one of the masterminds behind the brand.

ICHI #1

Where did the idea of a brand with sustainability as a main focus originate? pelechecoco was developed with the vision and dream of starting a brand focusing on reducing all material consumption. But also the idea of creating a brand that could make the recycling, and sustainable way of producing clothes, work. The re-purposed leather we use has a whole lot of story behind it, and is also comfortable to wear. So it’s basically a combination of delivering cool and inspirational fashion, with a background of where the items come from. What do you think about the development of sustainability in the fashion industry? It is nice to see the growing focus on sustainable clothing in terms of materials and methods. It is a fantastic progress. Not to pollute our planet any further is something that is very important in the development of our brand. But also to inform the customers about the existing and better alternative to a newly produced leather jacket that often has undergone a series of treatments involving chemicals meant to create a more worn look. The fact that there are leather products with a naturally worn look, as the leather has had the chance to live and develop through time, is a more sustainable alternative to the chemically treated leather products. So the development to me is great but there is certainly room for growth in terms of sustainability. It is all about thinking outside the box in a world of material overload.

If you could choose a designer to do a collaboration with – who would it be and why? That is a hard question since there are so many designers that I personally love. In consideration to our brand, designers such as Vivienne Westwood, Helmut Lang, Ann Demeulemeester and Ivan Grundahl would be first in line. They all have an adventurous approach to fashion, with a lot of draping and a hint of the bleaker Rock’n’Roll look – so one of them would be an incredible collaborator. There is probably a bit more political fascination of e.g. Vivienne Westwood, who has never been afraid of using her brand to express a political point of view. Fashion has always worked as some sort of cast-divider, expression front, and aesthetic fusion. It is rarely just about what you wear – but also why. What are your plans for the future of pelechecoco? We are working full time on developing by taking in different materials that can work in recycle- or sustainable production. So a lot of the time is currently spent on that. It is important for us to live up to a standard that can compete with a non-sustainable product, but which of course feels and looks better. We are working on the launch of our new store here in Copenhagen. The launch will be in September, and we are excited to see our jackets on the beautiful people of our city. www.pelechecoco.com

ICHI #1

Quality and small quantities! Interview with Anna Birkholm - By Alexandra Rendtorff

Anna Birkholm is the designer and creative soul behind the sustainable Danish brand BIRK-HOLM. To her, a sustainable way of making clothes is the only way that makes sense. Growing up on a farm, she was taught to consider the consequences of consumption from an early age. These roots set her on a path towards designing for a more sustainable future. Creating beautiful knitwear of organic cotton is her way of contributing to the fashion movement. We talked with Anna to hear what she had to say about being a designer, and what role sustainability plays in her work.

ICHI #1

What inspired you to become a sustainable designer? I grew up on the countryside in Denmark, in a large family, and we all worked together to make ends meet. With such an upbringing, I have always had a consciousness about fellow human beings, our environment and its resources. Since I was seven years old, I have always used recycled clothing or made my own garments. So, for me, it just makes sense to care for our environment and try our best to treat people with respect, not just in one’s home country, but also in the countries where most clothing is produced. It is hard to get people to spend a bit more money on clothes that are better for the environment. Why is that you think? It depends on the customers. But I often experience that people do not understand that they can’t get sustainable clothing for the same price as cheap, non-sustainable clothing. I don’t think that people understand why sustainable clothing costs more. And they might not be aware of the awful truth behind the production of garments that are simply too cheap. Sustainability is hip right now, but we need people to truly understand the importance of sustainable choices.

What do you see as the advantages of being a sustainable designer? And what disadvantages? With sustainable clothing comes quality, luxury and small quantities. More and more people understand this and are willing to pay the fair price for a piece of clothing, when they feel the quality. Furthermore, a lot of people like the story behind the clothing. I see the prices as a disadvantage. But until more brands choose to work with, for example, organic cotton, the price will remain high. On the other hand, I know that the quality is always spot on. How would you define “a sustainable designer”? You can work with sustainability in many different ways. In general, I see a sustainable designer as a designer with an open mind and a conscious way of including his fellow man. What inspires you the most at the moment? My largest inspiration is the body – how to make a beautiful back and how to drape the garment around the shoulders. This brings me directly to my second largest inspiration, which is cuts and unusually placed seams. What is the craziest, weirdest or funniest thing that has happened on your journey to where you are today with BIRK-HOLM? The weirdest experience was when I presented the first styles to the public. I was proud, but it was still a strange feeling of exposing yourself, and just letting go of something very personal. Today I’m working on expanding BIRK-HOLM, from only being knitwear, to also including limited edition styles handmade here in Denmark.

ICHI #1

Catid â&#x20AC;&#x201C; New York City Founded by Kerrin Smith, CATiD is a NYC-based project committed to a shift from passive consumerism to responsible global citizenship in the fashion industry. As both a brand and an ethos, CATiD uses aesthetics, garments, and intellectual discourse to illustrate what it means to be Cool And Thoughtful.â&#x20AC;? Photography by Elliott Brown Jr., Creative Director: Kerrin Smith Model and Make up: Kerrin Smith 28

ICHI #1

Arcadia Photography by Josiah Reed Styling and Nails: Cory Wigg Hair: Mark Williams Model: Carlyle (Directions USA) Location: Sports Connection

ICHI #1

Why your friends don´t get it? About sustainable fashion and communication - By Paula Ponzer

We have all been there at some point. The moment we start understanding what sustainability is all about, and start realizing the overwhelming challenges we are facing in the world. What it is that triggers our interest to become a part of the solution varies for everyone, but what happens after seems quite universal.

In doing a quick rundown of the personal development phases of ”sustainable consciousness”, which I think most of us go through at some point, I want to share my thoughts on how these stages affect the way we talk about sustainability – and why communication can either be the key, or ruin the chance of getting the message through to those around us. What happens first, as we start seeing what needs to be done in order to solve the problems in the world, is that we start making conscious choices in our own lives to contribute to a positive development. We feel good about ourselves, and the fact that we believe we can be a part of the change. But, then we start to look around. We start noticing what other people are doing – and what they are not doing. We start to become frustrated about how those around us don’t seem to understand how important these issues are for our common future, so we start talking about sustainability 36

with our friends and families, seeing how those close to us should understand our way of thinking. But because they don’t seem as interested as we thought, and don’t take our advice for how to make more conscious choices as consumers, it makes us even more frustrated. We start sharing articles and statuses on Facebook, posting images that clearly show the devastating effect that our mass-consumer lifestyle has on the world, with the hopes of reaching at least a few. We believe that information is the key, as understanding the problem was the reason we started caring about sustainability ourselves. But in the end, the only ones who ‘like’ our statuses or click on the article links, are the friends who are already as passionate as we are. For a while we can’t help but thinking that most people in the world are just ignorant and selfish, and to lazy to make any adjustments in their lives. And at this stage many of us remain for quite

some time, blaming those who are not taking an interest, getting annoyed at those who challenge our ideas, and keep on positing with the hopes of educating maybe just a few more. However, after a while, some of us start to question what the problem really is about. We wonder if people are just naturally ignorant, or if there something we ourselves might be doing wrong. We start understanding that even though we became concerned with natural disasters, animal maltreatment, social issues, and ultimately passionate enough to actively want to contribute to the solution – that might not work for everyone. So, we start thinking: What it is that makes someone interested in anything to start with? We start looking at the bigger picture: How does education work? What role does the way we communicate a message affect the chances of it getting through?

ICHI #1

Maybe our thoughts go back to when we were in school ourselves, when a teacher tried to tell us how important our least favorite subject would be in our future, and we see the fact that this didn’t make us any more interested. Or maybe we think about when our parents said that we did something wrong, or that our grades were failing, and that this didn’t make us try any harder. And maybe we also think about the fact that if we instead were told we were doing well, received encouragement for our efforts, we wanted to do it more and better – whatever it was. Having these thought in mind it starts to become apparent that encouragement is far more effective than criticism, in order to make someone interested in learning anything. We start to see this translating into the communication of sustainability. That maybe instead of talking about the problems, and discussing how people are negatively contributing to them, we should start focusing on the solutions and talking about the small efforts that many around us are actually making. Even though they might not make much difference yet in the grand scheme of things – for example buying secondhand or eating more vegetarian meals – this will still create encouragement enough to make someone want to do it more. We might also start thinking about the fact that it’s easier to learn and get interested in something that is closely related to our other interests: Something that is relevant to the choices we are already making on a daily basis and naturally goes in line with how we see ourselves and our lifestyle. For example, if a person is already interested in living a healthy life, maybe it’s more relevant for them to choose organic foods for the health aspect, rather than the environmental aspect. So, in trying to convince this particular person to make other positive choices, we should talk about the health qualities. Or if they are perhaps interested in fashion, and express their own unique style by wearing vintage items, then that point would be more relevant than promoting second hand purchases for the purpose of recycling. Because, at the end of the day, does it really matter if you make a sustainable choice because you want to be sustainable, or if you make it for another reason entirely? It’s the action that is important, not the objective, right?

As we learn more about what sustainability is, we also realize that the concept is completely adaptable to any aspect of life, every type of business, and any type of lifestyle. We understand that there are so many angles from which you can talk about it that we can make it interesting for just about anyone – but for different reasons. So finally what we can see is that if you combine these two ideas – positive encouragement and making it relevant to something closely linked to someones personal interests – the positive choices might eventually make them feel satisfied for the sustainable outcome as well. And when they feel appreciated for doing good, they’ll naturally want to learn how to do it more and better. And as we, who have been engaged in the field of sustainability for some time, are growing in numbers and experience, we are starting to develop new ways or talking about it. Just as scientific and technical development moves the understanding of sustainability forward, the knowledge of effective communication will as well. As these two forms of development come together, we will be able to see real strives forward. A movement that everyone can and will want to be a part of. And this is where we are right now – It is now the sustainable development of society starts.

ICHI #1

â&#x20AC;&#x153;It is now the sustainable development of society startsâ&#x20AC;?

ICHI #1

I Love Goldie I love Goldie produces sustainable, non-toxic apparel and accessories. â&#x20AC;?We promote fashion for elevation. Not pollution.â&#x20AC;? Photography by Nicole Anne Robbins 40

ICHI #1

Change with style! - By Juliana Holtzheimer (Jan n’ June)

We started our work with Jan n’ June by talking to people about our business idea, to see what reactions we got. We wanted some insight into how far the idea of sustainable fashion has developed in the average consumer’s mind, meaning those who are not yet engaged in the sustainable fashion movement. Because the reactions were so diverse, we decided to map them in categories of stereotypes that would help us understand them. Although somewhat exaggerated – this is what we found.

#1 The Hater Usually you meet them randomly; sometimes it’s a person you already know that surprises you with their strong attitude towards sustainable fashion. They hate talking about the topic, say they don’t care, they want to buy cheap clothes, and they think your idea is not going to work. “Your clothes will be too fashionable for greenies and the idea is too green for fashionable people,” would be a typical statement. This type of character is a born pessimist, and probably due to their missing creativity, imagination and lethargy towards new ideas and options; they link the idea of sustainability with huge sacrifices. Trying to explain is useless, just let them talk. They’ll come around eventually.

2 The Questioner They will question everything you tell them. This syndrome often appears with a great portion of disbelief and might also come along with mocking your idea. Without having their own opinion, “The Questioner” is referring to all the information a human being gets as a huge lie. Newspapers lie to us, politicians lie to us, and television lies to us. They don’t trust anyone and question everything. Who knows if fast fashion is really as bad as they tell us? How do we know it’s not made up by the media? What is sustainability anyway? Every one of us has met “The Questioner” at some point. And since they won’t go out to the world and form their own opinion there is just one solution to shut them up: give strong answers and facts to all their questions. Be prepared!

#3 The Uninformed Most people think this type is a dying breed, but from time to time you meet one. This character doesn’t have a clue about sustainability in terms of fashion (or at all). If you wish to talk to “The Uninformed” and give them an idea of what sustainable fashion is, there is one important rule you should never break. Don’t let them know you think they are ignorant and stupid – and certainly don’t tell them they have been categorized as such. If you follow that rule “The Uninformed” is easily handled. Their lack of knowledge gives you the perfect foundation to share your own. Make sure you give them something to think about and try to stress the possibilities that the sustainable movement can offer us, instead of the problems or complicated facts.

ICHI #1

#4 The I-am-on-your-side You thought this type is rarer than “The Uninformed?” You are right. But this species is multiplying fast right now. Often found in Scandinavian countries and Down Under. The “I-am-on-yourside” tends to appear more in big cities of other countries too. You are lucky to meet them because having a conversation with one about your idea often ends up in a constructive discussion you will profit from. These are the ones that might be one of your first clients as a designer, and they are likely to say, “I have been waiting for a brand like this”. What have we learnt from identifying these different categories of people? That there is work to be done to communicate our idea and the general attitude towards being conscious of what we wear. Whenever we get the chance to talk about sustainability in fashion we have to take it. But we have to realize that you have to have different approaches depending on who you talk to. It’s more about how you say it, than what you say. As you see, in our slightly exaggerated descriptions, there will always be people doubting you and your idea. But looking for positives, we see that the “I-am-on-your-side” species is growing fast. More and more people start to be aware and care where their clothes are from. The movement is set in motion and the only way is up. But that is of course always the thing about change – it takes time for people to accept it.

How not to use the words ‘sustainable’ or ‘eco’ After we had defined our new company’s values, thought about the supply chain, and our style, we started producing. And then, suddenly, it occurred to us that the biggest question was and still is: “How are we going to communicate sustainability without being pigeonholed as the stereotypical greenie-brand?” So the first thing we decided, was to try not to use words such as “eco”, “green” and “sustainable”. Sometimes of course, like in the beginning of this article, we have to. But inspired by our minimalistic style we tried to find another word for eco-fashion, and agreed that the term clean fashion helps a lot. Since it’s not linked strongly to the sustainable movement, we as a brand have more space to create our own image. If someone asks what JAN ‘N JUNE‘s vision is, we say that we want sustainability to be inherent to the system of textile industry – and we want it to be sexy. It isn’t about indoctrinating ideas to the costumers. Our product should not convince because of its sustainability – it has to meet other demands like image, quality, style and price first. The sustainability aspect is just something that makes it better. We don’t want to make people sacrifice or change their style. We all like beautiful things and we are used to getting what we want. The only answer is to provide better options. We have to be creative and open-minded for change. Try new things out, have fun and sometimes fail. We will learn, and we will do it better next time. In conclusion, change is possible – if we do it with style. www.jannjune.com

ICHI #1

Confined Space X Vivienne Mok Photography & Make Up by Vivienne Mok Model: Marine at Crystal models Art Direction: Carrie at From A Confined Space

Lingerie : Odile De Changy, Cardigan : Romy & Ray , Jumper: Chinti & parker, Socks and sweatshirt: Confined Space Knit Dress: Olwen Bourke, Jewellery: The Blossom Bohemian, and Under The Pyramids

ICHI #1

What Does Your Consumption Pattern Look Like? - By Malin Viola Wennberg

Fashion and the fashion system is built upon a promise of changes and the ever new. Every spring and every fall, the models walk down the runway of Fashion Week in a new “must-have” creation. Even if the knitted sweater presented this fall is very similar to the knitted sweater which was presented last year we can’t resist that new glow. The fashion system encourages and relies on continual consumption. Nevertheless, as of a few years back more fashion companies have taken an interest in sustainable fashion. Even fast fashion companies, such as H&M, which launched a Conscious Collection, are joining in. Doing so, they put the notion of sustainability and sustainable fashion on the agenda. However, this does not change the fact that the garments presented in these collections are something new, something that glows on the runway. Can the consumers tell the difference? Or are these sustainable fashion collections simply another way to increase consumption with the allure of a “sustainability,” a “better” buy to get rid of the bad guilt? Sociologist, Zygmunt Bauman, defines the life of a consumer in a consumerist culture: “The life of a consumer, the consuming life, is not about acquiring and possessing. It is not even about getting rid of what has been acquired the day before yesterday and proudly paraded a day later. Instead, it is first and foremost about being on the move.”[1] Consumerist culture, as well as the fashion system, is first and foremost about striving for the next big thing to come. In a world over-run with this “grass is 48

always greener” mentality, can anything be permanent? The concept of a never fully satisfied consumer and an ever-changing new is truly visible in the fashion industry. There are no less than four collections released every year, not only spring and fall, but also pre-spring and pre-fall, and sometimes additional resort collections. Around the time when you finally decided to go for this season’s “it-bag,” a new one is already entering the catwalk. Kate Fletcher and Lynda Grose, both prominent scholars within the field of sustainable fashion, are pointing towards the idea that the so-called “fashion seasons” are nothing but an additional selling point. They write, “Fashion thrives on change and speed, and the cycling of garments through an individual’s wardrobe. To ensure product turnover and additional purchases, the fashion industry has manufactured artificial retail ‘seasons’ that require new looks and styles.”[1] Do we

really need that new sweater from the fall season or are we simply just buying it on the premise that it is exactly that, a new sweater? Kate Fletcher addresses the evident tension between fashion, consumption and sustainability in her book Sustainable Fashion and Textiles – Design Journeys. Fletcher writes, “It’s an obvious truth that the relationship between fashion and consumption conflicts with sustainability goals – although, like the elephant in the room, it’s so obvious that it’s often overlooked.”[1] Most people in western society have seen the statistics, it is a fact that we are wasting resources. Still, we continue to consume like never before. Professor in sustainable design, Jonathan Chapman, states that the doomsday statistics so often presented to the public might in fact make the consumers even more paralyzed. The consumer hides behind the notion that their own actions as single individuals would never con-

ICHI #1

tribute to a change or help the bigger global crises anyway.[1] We buy that new sweater and convince ourselves that one sweater more or less doesn’t really matter. Furthermore, if the sweater has a tag that says “organic cotton” or “sustainable fashion” we legitimize the purchase as being good for the environment. Not saying that sustainable fashion collection is a waste of time, as mentioned above, they do put the problem on the agenda, but can a new buy ever be truly sustainable? Buying new seems to be a fundamental human behaviour, but what happens to all those garments in our wardrobe? Fletcher writes, “As recently as two generations ago and for centuries before that, textiles and garments were regularly made and maintained by those who wore and used them, yet few people have those same skills today.” [1] Fletcher points to the fact that we are now deskilled individuals who consume clothes because we no longer posses the knowledge how to make them or take care of the clothes we already have in our wardrobe. Looking back at the history of fashion, it is evident that most people have lost the skill of how to make and maintain clothes. Clothes used to be something precious. If there was a rip or a tear, the owner had the skill to mend it.

Today, those same skills are possessed by very few of us. Fletcher states that “From this position of passivity the only choice available to us seems to be to consume.”[1]. Instead of taking care of the clothes we have in our wardrobe, we prefer to buy new ones. After reading this, please take a moment to reflect on your own consumption patterns. What do you have in your wardrobe? When was the last time you bought something new? To strive for the next big thing might be a fundamental human behaviour, it might even be what makes humanity develop, but still, did you actually need that new sweater? Zygmunt Bauman. Consuming Life. Cambridge: Polity Press, 2007 Kate Fletcher, Lynda Grose. Fashion & Sustainability Design for Change. London: Laurence King Publishing Ltd, 2012 Kate Fletcher, Sustainable Fashion and Textiles Design Journeys. England: Earthscan, 2008 Jonathan Chapman, Emotionally Durable Design - Objects, Experiences and Empathy. London ; Sterling, VA : Earthscan, 2005

ICHI #1

Kajsa Lorentzon Photography by Kajsa Lorentzon

To see the result from being just an idea to actually hang on the wall or magazine is the best feeling ever. But when Im most enjoying photography is when Im having the camera in my hand and everything is possible. In these photos we started out with some champagne and some glitter. We ended up having so much fun and the result turn out to be better than expected. ItÂ´s all about having fun when you being creative then nothing can go wrong.

ICHI #1

“I´m mad for black and white pictures. I would if I could live in a black and white world”

ICHI #1

Contributions Cover picture josiahreed@gmail.com Cecilie Møller (writer) cecilierm14@gmail.com Sophie Schandorff & Philip Vaarskov (designer, art direction, styling) Pele Che Coco – www.pelechecoco.com philip@pelechecoco.com Martin Fält Hansen (photography) martinfalt@yahoo.com Cornelia Voigt (model) cornelia@voigt.com Oskar Christian Brønnum (model) hejoskaroskar@gmail.com Mimi Nyashanu (make-up) maivoji@gmail.com Vivienne Mok Shoot Vivienne Mok (photography, make-up) www.viviennemok.blogspot.co.uk Carrie Davies (writer, art direction) www.fromaconfinedspace.com carrie@fromaconfinedspace.com Marine (model) Crystal Models Theraphy recycle mariangeles.aguirre@gmail.com Jan n june jula@jannjune.com Ahida Agirre hello@ahidaagirre.com CATid kerrinms@gmail.com Mistra future fashion m.ribul@chelsea.arts.ac.uk Kelsey kelsey.matheson@futurethreadsproject.com “whats your consumption pattern” malinviolawennberg@gmail.com Codye and Bright kangnabi@gmail.com 54

ICHI #1

“We can’t force change based on morality and virtue – we need to inspire change by providing more attractive options.”