Lessmagazine #5

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CONTRIBUTORS Editors in chief Martin Mitchell & Ghazal Bazrafkan Contributing writers Helene Jeune Devin Hentz Christine Løth Katalin Horvath Suzi Christoffersen Rikke Haurvig Marlo Saalmink Nina Jørgensen Cecilie Harry Pernille Hammershøj

Other contributors Charlotte Ea Joergensen Natalie Weiss Alicja Biala Stuart McIntyre Caroline Salomonsen Súsanna Johansen Malou Bum Bum Tobias Birk Mikkel Völcker Caroline Boas Oscar Schmitto Madara Freimane Sebastian Canedo Aase Helena Hansen Sedsel Brøndum Lange

Graphic design Vanessa Hoffmann

Proofreading Anna De Laurenzio

Cover by Charlotte Ea Joergensen 2

EDITORIAL Authenticity

There is no doubt that developing and forecasting sustainable businesses are becoming key models of green strategy within the fashion industry. The word ‘green’ and ‘authentic’ approaches to clothing are increasingly covered and incorporated concepts (some would even call it trendy or fashionable), flirting with everything from green consultation, sustainability communication and sustainable fashion collection etc. Yet, the fashion industry has had its problems defining this ambiguous subject, since sustainability within fashion, just like fabric manipulation can transform textiles - increases the variables of our understandings of an authentic late modern sustainability. Forgoing traditional sustainable development as a vision of our future, and how we can manage this future here and now in the best possible way, is somehow pushed aside for a more casual and momentary approach.

For this fifth issue we have chosen to highlight the authenticity of what we carry out here and now, bearing in mind that our consumption patterns, executions and decision-making competences have implications for others elsewhere, and will inevitably affect another time, place and have a fundamental impact on the chances of people’s lives. Not shockingly, this idealistic comprehension is rather bargained when discussing solutions within authentic approaches. ’Authentic clothes’, in the same way that fashion is the production and marketing of new styles of goods, is selling you the illusion of being a conscious consumer. The discussion about authenticity within fashion is very much concerned with the production of clothing under ‘decent conditions’, instead of also focusing on our consumption - when in fact this seems to be the most available and viable concrete alternative we have at this point in time.

Apart from being a philosophical topic, authenticity is also an omnipresent ideal impacting the fashion industry. Understanding authenticity as a ‘concept’ might involve historical and philosophical causes, which have an impact on our socio-political attitudes of contemporary societies, including our consumption patterns, and the way we understand ‘authentic clothing’. At Less Magazine we continue to challenge our understandings of sustainable fashion, which is broadly understood as quite a miscellaneous topic since there is no fixed definition. This relatively new concept has only been in use for the past 20 years, and thus confronts our pre-notions on whether sustainable fashion should be produced under suitable conditions, made from recycled material, organic cotton, all things combined - or is the fashion industry still ill-fated since it is constantly devouring itself, producing things and narratives in the illusion of being authentic?

This issue of Less Magazine also differs from previous publications as Pernille Mosbech has been on leave and Ghazal Bazrafkan has filled in as guest editor. We have Helene Jeune from KEA to look at how you can achieve an authentic voice regarding communicating sustainability. We look at child labor and discuss how to deal with it properly – where boycotts and solidarity actions might not always be the right or complete solution. Furthermore, we have talked to the inspiring and tactile designers behind Hansen Garments and Amy Revier who seek authenticity in surface and craftsmanship. Visually, our photographers have experimented with aberrant ways to approach authenticity as a concept.

We have brought in more brands than we have ever handled, and we keep on discovering brands that work within our take on slow clothing – be it tactility, craftsmanship, material approaches, designs or boundary pushing angles.

Martin Mitchell & Ghazal Bazrafkan

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SLOW CLOTHING A c c o r d i n g To L e s s M a g a z i n e

Less Magazine focus on slow clothing, as you probably know. But you might not know exactly what we mean when we say this. So, in order to be more transparent we made a definition, so you can have a clearer idea of what you see on the following pages. The fashion industry itself is not very transparent at this moment. We are doing the best we can, but we can only be as transparent as the brands allow us be.

At Less Magazine we define slow clothing as a specific approach to clothing consumption mainly from the point of view of consumers. Because of this, a brand can be acceptable in the slow clothing sense without awareness of it and without branding itself as such. A single garment can also be acceptable while the brand is not.

At Less Magazine we expect a slow clothing garment to be of very high quality in both materials and handicraft. This assures that the garment will last a long time but also at the same time certifying a lot of use.

Furthermore the garment should fulfill at least one of the following standards to be accepted as slow clothing.

The garment should have:

• Special features that makes it long lasting, e.g. a timeless fit and color.

• Special meaning that makes it more than just clothes to the owner. This could be in

• The form of sentimental value, or a special artistic or conceptual idea behind the design.

• Be made of reused material or other eco-friendly materials.

• Be made by using techniques that reflect environment issues.

For a brand to be accepted as a slow clothing brand it needs to ignore seasonal trends, be of very high quality and at least meet one of the following standards.

The brand should:

• Only make garments that live up to our definition of a slow clothing garment.

• Work on maintaining or developing new sustainable materials or techniques.

• Present a high level of transparency concerning the consumers.

To the best of our ability we will mark every garment in one of these ways: Slow clothing garment from a non-slow clothing brand or from a slow clothing brand.

This slow clothing definition will be reviewed biannually.

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a slow clothing garment

CONTENT 06. Statements On Authenticity 10. To Search In Time 26. In Search of An Authentic Voice 33. Visualization By Mikkel Völcker 40. Democracy Utopia 44. Origin9 58. There Is Nothing More Intimate Than A Piece Of Clothing 65. Visualization By Malou Bum Bum 74. What Is Child Labor?

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62 Degrees North

88. Material Research 92. A State of Nature 100 . The Hansen Way 106. A Good Tailor Is Worth A Fortune 110. Visualization By Natalie Weiss 118. Authenticity 122.

Deadly Denim

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Brand List

130. Notes

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S tatem e n ts On Aut hent i cit y

W IT H

BE RGT HOR A GU DNA DO T T I R

DE SIG N E R , FA R M E R S M AR K E T

”For Farmers Market, authenticity is mainly about two main key things: authentic style and authentic materials. In terms of style we aim to reflect our roots as a nation from the north of the hemisphere. Being from Iceland we grow up in close contact with nature and the forces of nature and we use that as a guideline for the brand’s style. Through our nation’s history Icelanders have been heavily dependent on sheep farming both for nutrition as well as for shelter. For Farmers Market wool is a key material although we also use other kinds of natural and sustainable materials.”

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S tatem e n ts On Aut hent i cit y

W IT H

T OBI A S BI R K N I E L SE N

CREATIVE DIRE CTOR & D E S IG N E R

”In a way it kind of doesn’t mean anything and then at the same time everything. Cause I don’t see authenticity as an artifact or something that can be staged and designed, but as an intricate emotional system that has the possibility to create the enchanted feel of authenticity when the objects of fashion correspond perfectly with its receiver and his or her empirical background.”

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S tatem e n ts On Aut hent i cit y

�I constantly think of a vision. I believe that it outgrows from roots - family, homeland. Vision in my mind is a continuous process, a patient and responsible ideology, that remains grounded, both in design and business.�

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W IT H

E L I NA DOBE L E

DESIGNER, ELIN A D OB E LE

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Creative director & stylist Martin Mitchell Assistants Oscar Schmitto & Silja Bjรถrk Photography Charlotte Ea Make-up & hair Morten Kongsbak Model Rasmus, Le Management

This editorial closely follows a disillusioned man dressed in handcrafted and tailored outfits appealing to history, as he tries to find the answer to how authenticity plays a role in life.

Wools, cottons and linens make way for a tactile experience and generously oversized cuts leave you with a distinct feeling of timelessness. So is he in fact already authentic, real, genuine, original in his appeal? And does his way of dressing make him a part of society or an outsider? Is it important to fit in after all, and does dressing help humans to find their way?

12 Hat & shirt by Jan-Jan Van Essche Coat & jacket by Hansen Garments

Hat by Hansen Garments Knit & trousers by Jan-Jan Van Essche Shoes by Elina Dobele

Knit by Jan-Jan Van Essche 16

Suit by Hansen Garments 17 Shirt by Armoire Officielle Shoes by Elina Dobele

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Sweatshirt & trousers by Jan-Jan Van Essche Shirt by Hansen Garments Shoes by Elina Dobele 20

Hat by Hansen Garments Knit by Jan-Jan Van Essche Jacket vintage

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Suit by Hansen Garments 24 Shirt by Armoire Officielle Shoes by Elina Dobele

Hat & shirt by Jan-Jan Van Essche Coat & jacket by Hansen Garments Pants by Daniel Andresen Shoes by Elina Dobele

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I N S E A R C H O F A N A U T H E N T I C V O I C E - COMMUNICATING SUSTAINABILIT Y Helene Jeune Illustration Alicja Biala

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“The world of human beings is one that we build ourselves and fill with meaning” - Ezio Manzini Communicating sustainability is a road full of pitfalls and contradictions. Most sustainable communication messages give an illusion of doing good while promoting overconsumption and unsustainable lifestyles.

But how should companies communicate their valuable efforts within sustainability?

It seems no matter how far companies reach out it’s still not good enough. This article offers suggestions on how companies can work with and communicate more authentically within the field of sustainability. Communicating authentically with sustainability offers companies the opportunity to redefine their core values and to legitimize anew their role in the world.

Sustainable Practices – Unsustainable Lifestyles Sustainable messages are everywhere: ‘Shop consciously’, ‘Be responsible – buy responsibly’, ‘Don’t’ let your clothes go to waste – recycle’. It’s easy to be deceived, misled and become lost in rhetoric. Communicating sustainability can be seen as an oxymoron - a road full of pitfalls and contradictions. The real questions to be asked are: What is the true impact of these messages? How do these messages affect consumption patterns? As companies and consumers are we moving in the right direction towards a more sustainable world?

The interlacing of fashion and sustainability encompasses a range of paradoxes.

Despite many great business initiatives and strategies such as recycling, new innovative materials, the reduction of toxins in clothes, and improved working conditions, more ‘stuff’ is produced and consumed than ever before. Current consumer behavior patterns are connected to one of the most ecologically destructive systems in the world1.

John Ehrenfeld2 asks us to stop and think about the impact of our so-called sustainable products. He argues that we simply incorporate sustainable practices with one hand, but feed into unsustainable lifestyles with the other. In the bigger picture unsustainability is reduced by introducing organic cotton, using less toxins and offering take-back systems, but we are not moving sustainability forward in terms of producing and consuming less. This paradox makes communicating sustainability complex.

For example, Marks & Spencer and H&M have initiated thorough take back systems.

The aim is to reduce the negative impact of the amount of clothes that end up in landfills. The concept is to encourage consumers to bring back used clothes to the companies for re-use, redesign, up-cycling, or down-cycling to less valuable items. The take-back systems tap into the idea of a closed loop system where everything goes back into the system for re-use. These initiatives are valuable since they address the problem of waste and pollution, which put huge constraints on the environment.

Yet, in my opinion, the initiatives promise and communicate more than they deliver. The take-back systems address the end-user phase of the value chain, but they don’t encompass full responsibility of the whole chain. In other words the companies still produce low durable clothes in high quantities and communicate messages that promote greater consumption. The authenticity of the message lacks credibility.

The leading sustainable actors in the lifestyle industry, such as Marks & Spencer, H&M & NIKE are still focused

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on overproducing. New stores and storehouses are opening every month around the world. The companies do reduce unsustainability by establishing sustainable initiatives and they do invest in new materials and technological innovations that provide better solutions for future challenges.

This is both important and inspirational, but their core business and core message still promote conspicuous consumption and unsustainable lifestyles. The root cause of unsustainability is not being addressed.

From a communication perspective it can be argued that the ‘bring-backyour-clothes’ message communicates to the user that ‘stuff’ is valuable and the user should re-think how and how much she uses it. However the underlying issues at stake are serious; companies that promise more than they deliver or even mislead their customers through green washing (the practice of appearing to be sustainable) both lose their stakeholders’ trust and increase general consumer mistrust towards sustainability.

The ‘bring-back-your-clothes’ message has an underlying connotation implying users can keep consuming with a clear conscience as long as she brings her used clothes back to the company. The effect of the message is counterproductive as long as the companies keep producing such high quantities and promoting consumption through their marketing.

In Search For A New Vocabulary Communicating sustainability is not easy, I reckon. Robert Engleman, head of ‘The State of the World’3, argues the term sustainability has become a sustainababble, a term without meaning and impact.

The term is vast and encompasses multiple aspects and directions; different actors define it in different ways. Without clear definitions and guidelines companies find it hard to grasp the complexities and implement them thoroughly in their core business. Equally, attempts to communicate

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sustainability lose meaning and impact the vocabulary of sustainable communication is often vague and shallow. Facts and nuanced information that educates the audience is rare. Messages that go beyond the value of the product and take a stand on the bigger issues of unsustainable lifestyles are even rarer. Instead, consumers are often left with unsubstantiated wording that may mislead and give the illusion of doing good.

This can be found in the following example: the wording ‘environmentally friendly’ is often used to describe a sustainable product. It sounds good, but conveys an illusion. There is almost nothing that is produced today that is environmentally friendly; everything produced has a cost even though the negative impact of a ‘sustainably’ produced product might be reduced compared to that of a conventional product4. Perhaps the wording ‘less environmentally unfriendly’ would be a trustworthier phrase; however, it would not be as attractive of course.

Getting the message right is crucial if companies want to be perceived as authentic.

Companies are easily carried away by their good deeds and the temptation of getting a lot out of a little. Eventually this leads to a gap between how the company perceives itself and how it is being perceived.

There has to be equipoise between what the company does and what the company says it does. Tipping that balance is both dangerous for the image of the company and more importantly it dilutes the sustainability agenda and the support from all stakeholders in the long run.

Integrating New Values Into The Vocabulary Since the 1950s advertising campaigns have been based on the notion that products must fulfill a desire in the individual. The perception that material products bring fulfillment is an extremely powerful marketing tool. It has changed

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the core values in society since World War II and influenced the way individuals define and perceive one another and themselves. Dreams and desires are articulated through a vocabulary of consumption.

A change in the vocabulary used in communication and marketing campaigns can become a game changer for infusing new values based on ethics, caring and engagement rather than on want and desire for new goods. The advertising campaign that best reflects such thinking is Patagonia’s campaign ‘Don’t Buy this Jacket’ launched in 20115 (www.patagonia.com). Patagonia had the courage to suggest their customers to reconsider their need for a new jacket. At the same time Patagonia initiated the ‘worn wear program’ that offered a repair service for their products. This kept Patagonia items in action for longer as well as celebrating the ‘wearing’ stories of the products (www.patagonia.com/us/wornwear).

Communication messages that inspire rethinking and engaging in more sustainable lifestyles are needed; a new vocabulary that infuses a new set of values and better belief systems that change the perception of consumption. It demands courageous companies to redefine their way of doing business and it demands citizens to engage in such initiatives and connect with such companies.

Authenticity is a key component that allows companies to be able to connect and engage with customers around a product or a cause. Authenticity allows the message to be heard and believed; yet it is not easily gained. In my opinion, authenticity can only come from a place of honesty, trustworthiness, transparency and reliability.

Communication As Engagement Although few large marketing campaign such as theaforementioned Patagoniado exist, multiple initiatives are emerging

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that move consumers from an economy based on desire and materialism into transitioning towards an economy based on services and engagement.

Danish designer Vigga Svensson (former owner of KATVIG) has launched a new service for baby clothes based on renting.

For a monthly fee consumers subscribe and receive baby clothes for a period of three months at a time. This makes it possible to continuously get baby clothes in the right size without having to buy or own them (vigga.us).

The American designer Alabama Chanin engages with customers through her School of Making. It inspires users to produce their own garments, even providing them with patterns and a sewing kit through her website. Throughout the website and marketing material Chanin communicates and inspires sustainable lifestyles thus engaging with customers on a deeper level (alabamachanin. com).

The IOU project offers a closer link between suppliers, Indian weavers and garment makers, and their customers. Through an e-shop IOU shows and tells the stories of the people behind the product; each item is traceable to the exact weaver who produced the item. Customers can act as givers and traders for the company, and in turn earn commission on sales generated through their own virtual trunk, shown on their social networks (IOUproject.com).

This is exactly what is needed: companies that offer services that challenge today’s current production and consumption systems and support healthier and more sustainable lifestyles. Companies that create social bonds between customers and suppliers are needed in order to make the relationship that consumers have with clothes and goods in general more valuable.

The aforementioned companies, I would argue, communicate with authenticity. Their entire business models and their core messages are derived from a common denominator, a place where unsustainable consumption and lifestyle is being addressed thus keeping the message of authenticity intact.

I would call the above initiatives Fashion for Engagement, or Communication for Engagement. This is about creating sustainable concepts, services and messages that engage, inspire and connect users, wearers, co-workers and communities to work and live more sustainably.

Redefining Value Ehrenfeld suggests that the sustainability agenda of many businesses today has mainly moved from doing ‘business as usual’ to doing ‘business almost as usual’ 6 . The latter suggestion has impact and is a better version of the first one, yet is still not good enough in a future with more people and less resources.

To maintain today’s current lifestyles in the future, the need to find ways to prosper without growth is the argument made

by Tim Jackson7. Industries cannot keep increasing the level of production within the finite resources the planet has available. Today’s current growth paradigm is inherently based on creating more goods that are basically undermining tomorrow’s prosperity. A third of all the planet’s resources have been consumed within the past four decades8 .

To prosper without growth requires redefining value. As mentioned earlier, most marketing campaigns focus on the materialistic extrinsic values that lead to overconsumption. For companies, organizations and in society as such emphasizing such intrinsic values as caring, empathy, relationships, family, community and engagement is needed. These values infuse wellbeing and connection both at an individual

and on a community level. Communication and marketing departments play a pivotal role in communicating and infusing such new mindsets and values.

Working with and communicating sustainability is both valuable and absolutely necessary. But being humble and honest about the impact sustainability efforts bring to customers and the earth overall is essential. Companies need to reconsider the sustainable messages they are sending out and rethink what these messages entail. This is vital to the essence of communicating a future based on true sustainability.

Sustainable messages should not give consumers the illusion that they are ‘safe’ as long as they buy so-called sustainable products. Those responsible for communicating the message of sustainability must embrace the complexity of the action and even go so far as to convey it to all stakeholders. Messages that still infuse unsustainable lifestyles can never truly come from an authentic place and will not be perceived as such, in my opinion. More importantly these types of messages become counterproductive for moving the industry in the right, truly sustainable direction.

Less material consumption does not mean the end of the business; it is the beginning of a new world9. Companies that have the courage to go the whole way in addressing today’s consumer behavior and culture patterns have the opportunity to gain authenticity and to truly support a path to a more sustainable future.

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Visualizations

Mikkel Vรถlcker

Malou Bum Bum

Natalie Weiss

A big part of Less Magazine is to let creative people show their talents. Visualization is a section divided into three parts as we choose three different stylists or photographers to visually interpret a theme given by the editors of the magazine. In this issue the theme to be interpreted is

Authenticity

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V isu aliza tio n

MIKKEL VÖLCKER In this series I put up three dogmas in order to achieve the most authentic outcome as I think the dynamics, synergy and energy is lost when shooting the same look for a hundred frames: 3 frames per look Analog camera Emulsion lift editing The whole process of photographing with an analog camera is as a whole an authentic experience, but to add to the authenticity I chose to manipulate the frames with a technique ‘called emulsion lift’. An emulsion lift is done by removing the emulsion layer from the Polaroid and transferring it to another surface. I chose to use the backside of the same Polaroid. This leaves you with one original photo. This type of editing makes the frames unique, in contrast to photoshopping layers on top of layers when digitally retouching. The frames are unique pieces. They are authentic.

Creative direction & photography Mikkel Völcker Styling Onassis Kayyal Hair & make-up Margrethe Yasmin, Divamodels Model Joachim Palsby, Scoop Models Special thanks to Michael Berg

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T-shirt by Vibe Johansson Leather vest by Leon Louis Double pocket leather bag by Barbara I Gongini Long leather gloves by Leon Louis

Coat by Mads Dinesen T-shirt by Barbara I Gongini

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T-shirt by Leon Louis Shorts by Leon Louis Leggings by Barbara I Gongini Leather jacket by Barbara I Gongini

Hat by Leon Louis Necklace by Ninna York Scarf by T.A.S

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Shirt by Barbara I Gongini Skirt shorts by Leon Louis Bracelet by Ninna York Shoes by The Last Conspiracy

Blazer by Leon Louis T-shirt by Leon Louis Leather backpack by Leon Louis Gloves by Leon Louis Ring by Ninna York

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The term ’fashion’ is often used to refer to all clothing, when actually it only describes a very narrow idea of clothing produced for a social class that holds more power and prestige than others. When one does a quick research of fashion history in Google, the most popular links usually start with the Victorian era. Starting with the Victorian era, and to only include hairstyles, jewelry, and clothing worn by the rich excludes everything that is not of wealthy European origin, and severely limits the bounds of dress as we know it, and all who participate in it. In the article ‘Fashion’s Democratic Disease’ the author asserts that “fashion is not about an equal distribution of social rewards.” Democracy considered as a disease of fashion says so much about the ideas that fashion stems from and the system as it is today. The author makes the point that luxury clothing is not a right and that in the pursuit of luxury, and in the name of democracy, the masses, ironically, are complicit in a system in which the quality of the clothing is nothing like what it imitates – fast fashion.1 I think the fuel to the fire of fast fashion is a desire for utopia. Though what constitutes a perfect society is subjective, there is a commonality amongst the desires of the people around me. There is a desire to see their selves and their particular attributes reflected in mainstream discourses.

A utopia that fulfils the desire that some marginalized groups have of seeing their selves reflected in the culture of a society assumes that equal visual representation means equal opportunity or equal rights for everyone. This assumption is what brought democracy into the realm of fashion. An example of this ideology in fashion can be seen in rapper Kanye West’s A/W 2016 presentation in Paris. In an interview with Style.com about his intentions within fashion, he responds: “Because I’m only concerned with making beautiful products available to as many people as possible… The least I could do is spend my time trying to give other people a piece of the so-called good life. Everyone should have the good life.”2 Kanye’s sentiments are not new. Style.com even referred to him as the “Robin Hood of fashion”.

This reference alludes to the democratic desire to take from the haves and give to the have-nots. The utopian situation embodied by Kanye’s statement is a utopia in which the people outside of the fashion system seek to imitate those who have excluded them. To him, and to many other people who seek to make fashion more democratic, proximity to privilege, even if by means of imitation, is a success for people.

The desire for inclusion and privilege from a group that excludes you based on financial, and therefore social, worth is an issue we should look at more closely. Fast fashion seeks to close the visual gap of those with the means to afford ‘luxury’ clothing and those who cannot. Luxury has both a physical and symbolic component: we assume that luxury clothing is physically made from ‘better’ materials. ’Better’ is defined as slightly more rare or not as easily produced, more pleasing tactically to the body, and visually to the eye. It is the symbolic component that drives fast fashion. We all already realize that fast fashion is not producing luxury in the material sense; for the most part the clothing is ill fitting, and cannot withstand human use, but the clothing can carry some of the ideas of the clothing it seeks to imitate, retaining its symbolism.

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Luxury clothing performs ideas. Clothing performs what it means to be sexy, or minimalistic, or professional, or glamorous, or male or female. This is the symbolic function of clothing. Luxury clothing has symbolic value because we assume that the artistic and technical design is superior to that of other clothing. There is an assumption that one is performing better or more because the clothing was intentionally created to embody many cultural ideas of what it means to ‘be’ something. Fast fashion provides the wearer with illusion, and sometime ‘real’ benefit of what it means to wear clothing that more closely performs the ideas with which we seek to align ourselves.

The democratic approach to fashion seeks to equalize the ability to ‘be’ something through the choice of clothing. The issue with this approach is that the ability to perform ideas is different from living in a society where one is institutionally hindered from being what they want to be. An example of this can be seen in the recent aesthetic fixation of fashion with trans identities. Rising trans actress and model Hari Nef says: “Fashion is having a moment with trans aesthetics, not trans issues.” This statement is a comment on the fact the fashion industry is seeking to profit socially and financially from trans identities, but is not investing in helping trans individuals live a life free from violence and discrimination that quite often befalls them, especially trans people of color. The inclusion of people visually in a society does not necessarily give them political power in the systems and institutions that dictate a person’s quality of life.

This is not to say that there is zero benefit that comes from the visibility of usually marginalized people, but mere visibility, and mere copying of what it perceived to be luxury should not be the ultimate goal.

The system of fashion as it is necessarily exclusionary because of its base (at least in westernized nations) in European imperialism. The issue with only seeking equal visibility is that the marginalized are merely seeking to fit in, but within the system of fashion, which operates in the system of capitalism, some groups of people have to be excluded from reaping the social benefits, in fast fashion’s case, it is the factory workers in third world countries. The use of exclusion can be clearly illustrated with the modeling and beauty industries: in order for people to be sold an idea of beauty, it is explicitly implied that anything that falls short of that image is not valuable.

I think it’s a noble and progressive idea to assign value to all groups of people, and that overall visibility is great, and that quality clothing for all would be amazing. But, focusing only on equal visual representation just puts low-income or middle class people in westernized nations that buy the clothes with low-income factory workers that make the clothing – neither side seems to be gaining very much.

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O R I G I N

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The denotation of authenticity will never be or become a man-made ar tifact thus it cannot be created, staged or provoked by human hands no matter how strongly you want to. Authenticity is a question of emotional chemistr y and subjective empiricism, which needs to find each other in the most absolute amount of its own content that its counterpar t demands.

Therefore the superior correlation, authenticity, is to be built through a code of histor y provoked emotions which appears when human histor y recalls its already known sentiments. This is the phase that creates the intricate system we call authenticity.

With that in mind - o r i g i n 9 - is made as a modest trek into the human core with the aim of recalling, learning and adapting to its own primitive ly authenticity.

Ar t direction & st yling Andres Caicedo & Tobias Birk Nielsen Photography Sebastian Canedo Photo assistant Angel Benitez Make - up & hair Igor Losado Model Ricardo Dominguez, Sight Management S tudio

Hat vintage Jacket by Dries van Noten Knit vintage Socks by 11 By BBS Boots by Bottega Veneta

Jacket by Dries van Noten Knit vintage Socks by 11 By BBS Boots by Bottega Veneta

Jacket by Dries van Noten Knit vintage Socks by 11 By BBS Boots by Bottega Veneta

Shorts by Guillem Rodriguez x Alba Rihe Boots by Bottega Veneta

Jacket by Guillem Rodriguez Shirt vintage Shorts by Guillem Rodriguez Sandals by Martin Across

Jacket by Guillem Rodriguez x Alba Rihe Pants by Guillem Rodriguez x Alba Rihe Boots by Bottega Veneta

Vest by Guillem Rodriguez Socks 11 By BBS Boots by Bottega Veneta

Vest by Guillem Rodriguez x Alba Rihe Hat vintage

Jacket by Guillem Rodriguez Top by Guillem Rodriguez Pants by Guillem Rodriguez Boots by Bottega Veneta

Knit dress by Martin Across Pants by Guillem Rodriguez

In ter vie w

A m y R e v ie r : “T h e re Is Not h i n g M o re I n t i m at e T h a n A P i e c e O f C l ot h i n g ” Christine Løth Photography Madara Freimane Moving from zone 2 to 3, I find myself checking in and out of countless social and online profiles, while checking my own emails, texts, posts and status updates in rush hour I am on my way to meet the London-based American artist Amy Revier, who is known for criss-crossing the boundaries between art and design. In my flow of updates I check Amy’s webpage for any news or new designs, only to find the text: “Making new work, see you soon.”

Slowness is a mindset and a reaction to our obsession with newness. We’ve started to take note of the slower process, the sustainable process, the history, and the craftsmanship. A shift from quantity to quality. That’s how Amy lives and breathes and in a way becomes the

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new realistic mirror for the lifestyle we should all aspire to, and boy, did it make me long for change.

Amy tells me about her years travelling the world as I meet with her in her charming apartment and studio in Highgate on a sunny spring day. I’m instantly transported from the hectic mid-zone life to what feels like a quiet and idyllic cottage in the countryside. Her relaxed, sympathetic, and welcoming attitude isn’t found everywhere in the fashion industry and as she serves a pot of green tea and a plate of beautifully arranged fresh fruit, we sit down at the long white dining table. Dominating the living room, as a sculpture in itself, is a tradi-

tional Swedish style floor loom. “When I think of my life in London, I think of this completely green place or it might be that I have curated my life in that way. I have completely fallen in love with London and I think it sort of has to do with seeing its green side.” A speedy talker and energetic thinker – I barely need to interrupt her with a question or a direction. There is a natural narrative in her persistent flow of words, finding meaning in some of her early memories.

“I was like a crazy woman,” she confesses, as she looks back on her early years at Art School.

“I’ve been running so many things since I was in school: Committees and visiting artist programs, while at the same time creating work and taking graduate classes in Art History.” Amy grew up in Austin, Texas, where she received a BFA in Fine Art and Art History and later in 2009 was awarded The Fulbright U.S. Scholar Program to study in Iceland for a year:

“It was the time for me to not actually do anything. To be sort of rebellious, to just be and absorb things.

It was right after the big crash and, It was a spectacular time to be there. People were real as the entire economy had just been stripped down.”

Before moving to Iceland, Amy was working around sculptures and challenging the intersection between art, performance and craftsmanship. She was making these body wraps and sort of ritual coats and head-wraps, while playing around the notion of abstract travel. Thinking of objects that wrap and protect you, she was creating work inspired by wooden, beautiful cradleboards - originally used by hunters and gathering tribes - fitted on their backs for infants to spin their first life on.

“Now that I look back on it, there are a few objects that I can point to and see exactly why clothing became rational to me, particularly the German artist Rebecca Horn, who did a lot of performance work in the 60s and 70s. She covered herself with these sort of fettered headdresses and really sort of strange suiting. So things like that really got me into the idea of taking sculptures as performance, using the body.” Performance became a way to be more intimate with the material – to dig into its structure and create sculptural shapes.

Coming from the art world and working with textiles is a struggle. The material is too loaded in the concept and history of labor and female domestication. “I was playing with this idea and having a really hard time, just internally. I was able to make sculptures, but I was so in love with beautiful thread and silkworm cocoons and this sort of raw material. I thought the idea of using lines to build things was amazing and I was trying to work secretly within this to try to figure out a way of getting it out of its category.”

Moving to London in late 2011 was an experimental time for Amy, before finishing her first collection in 2013. “I didn’t even know that I was going to make garments back then. I was in the studio playing around and making stuff.”

It all sort of happened through a conversation with a former Dover Street Market buyer about the sad rush of time and what a shame these designer pieces were now on sale.“ So we were

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talking about these things and how sad that is and they asked me what I did and I said, “Well I am developing something. I make, kind of, sculptures, but I might be weaving garments. I am not sure yet.” Two weeks later and completely out of the blue, Amy received an email from the DSM buyer, who wrote, “You know, I had a feeling about you, you said you were working on something. If you happen to make a garment maybe come and see me.”

Suddenly it was quite simple. These sculptures that she was working on just needed to be transformed into wearable materiality for the body and that would allow her to make a living from it, as people are willing to invest more regularly in clothes as opposed to if they were collecting her work as an artist. They would buy her work as an artist maybe once a year, whereas these same collectors would buy her work as wearable pieces four to five times a year.

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“There is always the feeling when you come from the art world into the fashion world of, wow, I can’t do this. This world is so different, but who’s to say that I can’t make things as one-offs just as you would with sculptures. I could never dream of doing this and having 18 looms in a system. I don’t want to live that way. It is about keeping it really simple, just as you would, having a studio as an artist making work” and in that sense it wasn’t really a hard transition and didn’t feel as if she was compromising herself as an artist. The value of a work of art is only lost when it is mass-produced. Call it curated fashion, with a philosophy of providing unique pieces as one-offs.

“I still see myself as an artist, I am not a fashion designer. I don’t really care about fashion and trying

to only just have a pinky nail in that world and the rest of it stays in the art world. That’s the world that I strive in and appreciate, but you don’t really have to be in either world, you can be in this weird other world, where there are no rules.”

Talking with Amy about her vision, inspiration and thoughts on her creative process there seem to be two themes running throughout every expression: performance and caretaking. I ask her how these pieces might be added to everyday performances of people. “Some people call them cocoons, which is a huge compliment. The most exciting thing for me, which is completely unexpected, is that I have developed collectors. I have one woman who has 22 pieces and another man in Hong Kong has 12 pieces.

They really collect these pieces and you start developing relationships with them. One thing that has always struck me is that they feel loved and they feel incredibly special in the clothes.” She talks about clothes as a form of nourishment and hopes that is how people utilize them. It has to do with the textile and the drape that really encompasses you back to the wrapping and protection idea from Amy’s early work in Art School. “Performativity I don’t know – there is this whole discussion around if you wear clothes or if clothes wear you. I think the fashion world likes to say that you wear clothes, but actually I think clothes wear you. I think clothes transform your entire personality based on what you put on your body. They make you feel a certain way.

Clothes can mould and shape someone’s soul and completely change your performance. That is why it’s exciting to me.”

Amy keeps in contact with her clients, or collectors as she calls them, building relationships, even offering to mend anything that might fray in the future. “It’s really a pleasure to have relationships with the clients the way that I do. A lot of them have been with me since the very beginning, so as an art collector, they really see you grow and they completely understand what you are doing.

The other amazing thing is that businesswise you are making one-off garments and you are selling and working with stores, but occasionally you need to do a few direct sales. Most people in my position have a really hard time with that, because they have to sneak behind the store’s back to sell the same coat that is in the store to a direct client and they have to ask them to not mention it to the store. I don’t have to do that. One of the reasons is because each piece is a one-off. The stores that I work with know that I need nourishment just as I nourish them.”

She works closely with the two stores Hostem and Dover Street Market. Hostem found Amy through her very first collection at Dover Street Market as they were just about to set up their Womenswear division. “I need both of them.

I kind of enjoy having the dynamic of the broad spectrum of clients they each nurture. In particular, a lot of people that are traveling tend to come to Dover Street, because it is the place to go.” She expresses a relationship with the two stores that is built on mutual trust and no financial commitment, which is an important founding element to her creative process. “They never have any idea whatsoever of what I am making or what I will be making. Material, cut - nothing!

They can’t know, they can never have a say and that’s how it has to be. One of the reasons that it has to be that way is that creating in this way is just really unpredictable. So no one can know anything. It keeps me sane. I am a people pleaser, so if I promise someone something, I will deliver it and that’s why no one can know until it is sitting in front of me and I know it looks great.”

Amy works single-handedly, weaving four to five garments per month. “My background isn’t in fashion and textiles. I’m a self-taught weaver and somehow have confidence doing this stuff naturally.” All the materials are sourced from Japan, Kyoto-based spinners, most of which are hand-dyed and limited stock. She first started looking for local suppliers in the UK but it all looked too much like yarn. “I don’t want yarn, I want lines. I want interesting materials and I wouldn’t weave if I didn’t have the right material.

The material that I am working with from Japan is really innovative and at the same time incredibly traditional in line with their culture and their aesthetic. The colors that they dye are just gorgeous.”

They have over two hundred different kinds of materials from linen, fiber bass, ramie and interesting mixes with paper yarns and gorgeous 61

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cotton that doesn’t look like cotton. “I tend to go for the weird ones that don’t look like yarn, but the more sculptural ones and what I have found with hand woven clothing is that the textiles are a lot more successful when they are not super soft.”

Winding and weaving is done in the traditional and authentic way on a big Swedish style floor loom. The particular yarn is set at a certain thickness determined by the inds per inch depending on what specific kind of textile she wants. She often uses the same warp and weft as simplicity is key in creating her timeless garments. Warp strings are running along the loom, as the fundamental bones of the textile, whereas the weft is what Amy sits with in the back weaving and creating an interlocking grid.

“It’s almost like an elegant dance, which brings in the element of performance, as I am one with the loom while weaving.”

The fabric finally emerges after two weeks “Once it is washed and dried, you have this rectangle to play with and I often need to take a day or two to figure out what it wants, what kind of personality it has.” She drapes the wrap over herself to get a sense of the shape and form, while discussing designs with her tailor. The studio is for building textiles and thinking about ideas, and the clothes are then made in North London. Every garment is hand stitched, underlining the craft of working with your hands. “It’s a really nice feeling for me to actually send it away and I know that it is in such good hands and when is comes back to me it this new thing. He has transformed it into an object that has been built.”

The slow movement emphasizes the design process, rather than the end product, allowing Amy to put creativity first, which results in long-lasting products through craftsmanship.

Even the garment dust bags are one of a kind, with illustrations done by her friend and artist Nathalie Northrup.

“It is all about not compromising. One of the ways I survive is because I choose extremely expensive materials, take three weeks to make the garments and have them hand-sewn - even when it comes 64

to the dust bags. So everything I do is really expensive, which means that I don’t need to sell hundreds of garments a month; if I sell four or five a month I’m okay. I’m not making tons of money, but I am doing what I want to do, and for now that is the goal. It is totally a lifestyle, being okay with making just enough money to make more garments and fuel my studio practice. Also you would have to have a hot philosopher boyfriend that can pay your rent otherwise I don’t know what you are going to do. I think that people should talk about this stuff, like how you survive and be honest about it. I’m supported by an amazing family that got me this new loom when I needed help and I have now paid them back, but you need to have a lot of support.”

“This is my third year now and what I am interested in is peeling back the layers and actually digging deeper. Close the door and become more and more secretive, not in a contrived way, but just to make really good work and to realize that people are collecting these garments. You need to keep those people interested. Let’s make better things and let’s do things that you would say you didn’t have time to do. So I am actually going to go slower.”

My cup is empty; we’ve been talking for almost three hours and this inspiring lecture has come to an end. “I invested in those clothes and they invested in me. Developing your identity using clothing in a really intimate way. There is nothing more intimate than a piece of clothing.”

V isu aliza tio n

MALOU BUM BUM What is authenticity? Can art be authentic? Can fashion be authentic? Can you manipulate authenticity? Can authenticity be fake? Or the other way around? The aim is to play with people’s minds about what is real and what is not, whether it be the subjective part or the objective part.

All clothing second hand Styling & assistant Sophie Bendixen Model Emilie Hoppe

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W H AT I S C H I L D L A B O R ?

Katalin Horvath

Illustration Alicja Biala

Photography Sanjoy Shubro

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When talking about child labor, we shall have to first define what this represents.

According to the International Labor Organization (ILO) there are two fundamental conventions that govern this issue: ILO Convention no. 138 (1973) on the minimum working age and ILO Convention no. 182 (1999) on the worst forms of child labor. These conventions are applicable to every country enlisted as a member of ILO. To be more specific, the first convention highlights the minimum age, which is under 14, 15, or 16 years and it refers to the compromise of the education and full development of a child. The second convention includes examples such as slavery, child trafficking, forced labor, and all illegal activities that can affect the health, safety and morality of the minor. In conclusion, we can talk about child labor, when the intellectual, physical, social and moral development of young people is jeopardized (Rinaldi & Testa, 2014).

Now that we have settled upon the parameters introduced by ILO, which plays an important role in this matter, let us venture into understanding this subject matter more in-depth. According to the United Nations Convention on the Rights of the Child, all work done by a child under the age of 15 and all hazardous work done by children under 18 is illegal (Overeem & Theuws, 2014).

Although the law forbids this, the estimated figures for child labor at present is between 168 million to 200 million child laborers working around the world today (Overeem & Theuws, 2014). According to The Guardian, one in six children are involved in child labor, some involved in hazardous work; others are forced into debt bondage or other forms of slavery. Sadly, some of these children die in work-related accidents (McDougall, 2008).

In the fashion industry there are two main supply chain stages, where child labor could occur: the production of the textile and the manufacturing of the garment.

In the former, children are usually hired for the production of the cotton seed, cotton harvesting and yarn spinning, while in the latter, they are usually hired for all phases of the cut-make-trim phase (Overeem & Theuws, 2014). Because of the high volume and time pressure, sometimes even unanticipated or ders, factories subcontract to other factories or workplaces without informing the company. In these cases, the wellknown ‘sweatshops’ and home workers pop up in the supply chain and are unauthorized by the fashion company. When talking about traceability, the complexity of the supply chain is what makes it so difficult to track factories and subcontractors, who hire child laborers, especially because of the unauthorized subcontracts made by the manufacturer.

Why Is This A problem?

First of all, child labor is an issue because it is likely to interfere with the child’s right to education, and it is harmful to their health or physical, mental, spiritual, moral or social development (Overeem & Theuws, 2014). The children of poverty are targeted specifically because of their small and agile hands and based on their vulnerability they are easily manipulated or abused. According to Ethel Brooks as cited in Smestad, 2009, they are “extreme victims of the global political, economical flows.” And this is one of the key drivers of this issue: poverty. In the case of India, Uzbekistan, China, Bangladesh, Egypt, Thailand and Pakistan, extreme poverty is an important push factor within these countries and makes them notorious for child labor in the textile and garment industry (Overeem & Theuws, 2014). In addition, one is forced to ask, can the family afford for the child NOT to work?

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When previously mentioning the issue of subcontracting, it is important to know that this is time saving and a cheaper alternative for the manufacturing factory to deliver the order on time. To save money, the workers are often paid below minimum wages and are forced to work in poor conditions with little consideration for health and safety (Overeem & Theuws, 2014). In other words by Smestad: ”[...] to countries where labor laws are less restrictive, making it possible for the company to cut costs by cutting worker wages and benefits; a process made easier by a young workforce.” And she continues: “they represent not only labor abuse but have also come to signify poor quality and workmanship, deplorable ethics, and insufferable human rights violations.” (Smestad, 2009). In conclusion, the ‘fast fashion’ model’s effect results in low wages, forced labor, unhealthy and dangerous working conditions (SOMO, 2014).

Case Studies Now that we have settled upon what constitutes this issue, let us look at a few case studies, where child labor occurs today: Cotton harvesting in Uzbekistan is estimated to involve around 2 million children between the ages of 11 and 17 under conditions that are described as forced labor (Rinaldi & Testa, 2014). For two months every year, the Uzbek government forces these children to miss school and help with the cotton harvest (Overeem & Theuws, 2014).

During this period of time, the schools are closed, as well as hospitals and offices, in order for the students, teachers, and government employees to boost workforces (Rinaldi & Testa, 2014). The schoolchildren are given the harvest quotas as large as 50 kilos of cotton per day and are physically abused or publicly humiliated if they fail to meet the standard or pick low quality cotton (Overeem & Theuws, 2014). The living conditions include unheated and uninsulated field barracks, resulting in hunger, exhaustion and heat stroke. As a result, these children often contract illnesses and receive little to no payment (Overeem & Theuws, 2014).

Returning to the economical background of the aforementioned countries, Grootaert & Patrinos state, as cited in Smestad, 2009, that: “in many societies a 10-year-old whose work makes a major contribution to the household’s income is not considered a child.” (Smestad, 2009).

In this regard, according to Smestad: “poverty re-arranges the activities and priorities of childhood.” (Smestad, 2009). It is often the case that the adult of the family earns so little that they do not meet the family’s basic needs (SOMO, 2014). Finally, based on their vulnerability and the fact that they are the cheapest available labor, child labor is a preferred choice for many manufacturing factories.

Another case is the so-called ’sweatshops’ or subcontracting factories, which are unauthorized by the companies. In 2013 the TV channel CBS went undercover in a Bangladesh clothing factory and the scene was disturbing.

The subcontractor was Monde Apparels employing at the time around 1400 workers. Their orders included a million boxer shorts for Walmart, subcontracted to them by another factory, but Walmart had not approved the factory. This footage showed an evacuation plan demonstrated by the manager, which consisted of 13 fire extinguishers, but nearly all of them were missing. In the event of a fire, and only finding two out of the suppo-

It is therefore fair to state that the issue of child labor is strongly connected with survival and this is the underlying reason why children are so easily manipulated into working.

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sed 13 fire extinguishers, these workers would then find the exits blocked by boxes. Another detail that was revealed during this news coverage was child labor. Although claiming that the factory was not hiring children under 18, these do get hired through providing fake birth certificates that state they are 18, when in fact some of them are only 12. In addition to bending the law and having poor working conditions, the factory underpays the workers. So, instead of paying for 20 hours, they only get a salary for 11 and so on. Being one of the poorest countries in the world, Bangladesh produces a lot of our clothes and the consequences thereof is a long history of workplace disasters (William, 2013).

Boycotting Is Not The Solution When criticizing the issue of child labor, it is essential to first understand the cultural, economical and political differences and based on this work further on creating change. Again, the aforementioned question shall be raised, whether the child and his/her family can afford for the child not to work. (Smestad, 2009) This, according to Smestad, “may mean accepting that our own ideas about children and labor will get turned upside down when we confront the difficult choices families must make around the world.” Pointing out the essence of understanding the differences stated above, it is important to emphasize that people who live in first world countries act for boycotting the issue of child labor. But without extensive knowledge around this issue, the consequences could go sideways. As explained by Krüger & Plannthin et al.: “people (...) who live in affluent parts of the world can afford to have this politically correct attitude, it has had disastrous consequences in some of the poorer parts of the world, namely in those countries where the survival of the family depends on their children working.” (Krüger & Plannthin et al., 2012).

This result included examples, such as children forced into prostitution, because the western companies corrected the practices (Krüger & Plannthin et al., 2012). In conclusion, these children are left without work and left to search elsewhere, in most cases illegal ‘professions’, like theft or prostitution, which guarantees no money - only danger (Smestad, 2012). Coming back to the first idea of the need for understanding the underlying reason, as Smestad states “one must content not only with poverty, but the circular relationship poverty has to personal circumstance.” (Smestad, 2012).

In connection with the earlier expressed outcome work has on children, concerning their social, physical and mental development, it is crucial to emphasize the importance of education. In most of the cases, specified by, “children who work and do not go to school will end up in low paid jobs later, and so will their children - thus perpetuating the vicious cycle of poverty.” (Overeem & Theuws, 2014). In other words, stated by Weatherhill: “improved income but no access to school doesn’t prevent child labor, whilst access to school with no poverty eradication merely means that kids undertake hazardous work instead of school or outside of school hours.”(Gould, 2015). This never-ending cycle would not be improved if people consider boycotting as the answer to the issue of child labor.

Taking into account another aspect that was stated earlier for the reasoning behind child labor was the low adult wages that are not sufficient for one family’s basic needs. It is therefore, beneficial to look at this issue from the adult’s perspective as well. Especially since some critics argue that the adults would benefit from the child labor being banned because it would create a more scarce labor that would allow the adult workers

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to negotiate better wages and improve labor conditions (Overeem & Theuws, 2014). In other words, as stated by Overeem & Theuws, “child labor sustains poverty rather being a way out of “poverty”.

of the supply chain, as well as at the buying end of the textiles and garment industry, mainly because there is still a large amount of countries with a small amount of restriction laws.

Last, but not least, it is crucial to highlight the huge difference between what is acceptable and what is a violation of human rights. Based on the legal age limit for children, not all work that children do constitutes child labor. In other words, placing the age limit at 18 can have adverse consequences. Decent work opportunities for young people are important for their development. But, Eniko Horvath, the UN Guiding Principles Researcher stresses: “Consumer demand is not an excuse for companies. The cost of respecting human rights always needs to be part of any business model.” (Gould, 2015).

Nonetheless, creating and enforcing fair labor standards is key for all involved parties in this matter, including governments, conventions, companies and so on. As mentioned earlier in Eniko Horvath’s statement, companies should not be excused for paying more than the suggested minimum wage. Especially because they have control over this particular matter that could improve the issue. As explained by Smestad: “while it is not possible to have control over whether the family must rely on the labor of a child to survive, it is possible to have some measure of control over labor standards: wages, working conditions, and benefits.”

(Smestad, 2012).

What Could Be The Solution?

First of all, let us take a look at the different legal actions that have already taken action. According to the United Nations Convention on the Rights of the Child (1989), there are four principles that should underpin any action concerning children. These core principlwes are: the best interest of the child, non-discrimination, child participation, and survival and development (Overeem & Theuws, 2014).

Another important aspect is the role of the government in combating child labor. It is each individual government’s responsibility to translate the above mentioned and other contents of international treaties and conventions, such as the ILO, into national legislation. Governments play an important role in ensuring that labor laws are implemented and enforced. However, it is fair to state that there is still a long way to go for the countries at the production end

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As for the buying companies, suggested solutions include extended supply chain responsibility that requires the buyers to look not only the end-assembly phase, but also into preceding steps, like the sourcing of the raw cotton. In connection with this, another solution could be the human rights risks assessment and continuous monitoring. This refers to a good understanding of the particular local context, consultation and cooperation with local stakeholders, including trade unions, civil society organizations and community-based organizations.

From the children’s development point of view, ensuring support for children that are employed at the company’s own operations and/or in operations across the entire supply chain, including access to education. This being of the utmost importance, companies should not limit their efforts to seeing that children are removed from the workplace, but rather facilitate their transition to a formal ed-

ucation with access to healthcare, adequate adult support, temporary financial support or other services (Overeem & Theuws, 2014).

Being a member of an independent non-profit organization is recommended for companies, especially since these can ensure that the requirements set by the company or by the non-profit organization are met. Such an example is the Dutch non-profit organization called Fair Wear Foundation that includes members such as brands like Acne Studies, Filippa K and Nudie Jeans. The labor standards set-up by this particular organization involve: freely chosen employment, no discrimination, no child labor, age limit of 15 years old, membership to a trade union and the right to collective bargaining, payment of a living wage, no excessive working hours, safe and healthy working conditions and finally legally-binding employment relations. Lotte Schuurman, the Marketing and Communications Officer at Fair Wear Foundation states for the Guardian’s ‘Child labor in the fashion supply chain’ initiative: ”if parents have no education they will end up in low-paid work; their children will be forced to work, they will miss out on their education, and they too will end up in low-paid work as adults.

You need to get out of that vicious circle of poverty to decline child labor.”

Other alternatives that are recommended include the Fair Trade certification, whose standards are designed to tackle poverty and to empower producers in the poorest countries. As for the textiles, the Global Organic Textile Standard defines both environmental and social criteria throughout the entire organic textile supply chain. Last but not least, the Ethical Trading Initiative, whose motto is “Respect for workers worldwide” and is the leading alliance for companies, trade unions and NGOs. Finally, let us conclude this section with a statement by Smestad that validates the importance of collaborating with the different NGOs, governments and other stakeholders: “beginning to take the pressure off laborers and beginning to put it on industries. Rather than seeking to eradicate these jobs, perhaps a better strategy would be to make the jobs better.”

(Smestad, 2009). In conclusion, it is fair to state that all parties involved are responsible to improve this matter. Rather than boycotting child labor, it is essential to understand the children’s background and cultural differences and empower them through providing better working conditions, higher payment and access to education.

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Dress by Sni谩lvsd贸ttir

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Degrees North Photography SĂşsanna Smith Johansen Assistant Hildur Joenson Model RannvĂĄ Stancheva

Dress by Rebekka รก Fjallinum

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Sweater by Soul Made

Dress by Guรฐrun&Guรฐrun Leggings by Barbara I Gongini

Jacket by Guรฐrun&Guรฐrun Sweater by Guรฐrun&Guรฐrun

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Dress by Guรฐrun&Guรฐrun Leggings by Barbara I Gongini

Sweater by Steinum Trousers by Soul Made

Suzi Christoffersen & Rikke Haurvig Sustainability regarding fabrics is a hard one to measure. It differs from person to person. For some it is fabrics made from pure nature, for others it is synthetics, new innovative fabrics etc. Sustainability in regards to materials is not as simple as we would like it to be! In this article series we will look at sustainability concerning materials. The first part will present a range of materials and fibers with pros and cons in the production and use.

Our Fashion Footprint Faster than anything else, what we wear tells the story of who we are. Fashion touches the lives of each and every one of us, yet the influence and the vast creative industry that it supports can seem covert and distant. The textile industry is ranked the second largest worldwide in terms of economic activity for intensity of trade and provides millions of people with their livelihoods, but like most other global industries, fashion has its dark side. The textile and fashion industry is extremely resource demanding and a big polluter. Five major points stand out when it comes to textile production and pollution: 1. Extensive water use and water pollution.

2. Massive GHG emission from energy use.

4. A significant waste problem.

5. Biodiversity impacts, contamination and exhaustion of land.

It Takes Energy To Work With Fashion As listed above different materials and production processes are associated with a wide range of environmentally degrading impacts. In this article we will focus on the fashion and textile industry’s greenhouse gas (GHG) emissions in regards to fabrics and sustainability. The largest source of GHG is caused by the use of energy, which results in CO2 emissions. Besides energy use, GHG consists of four other greenhouse gases, where methane is the second largest emission. The main issue in the fashion industry is the encompassment of high-energy processing required in synthetic fabric production, agricultural emissions related to cotton farming, farming equipment, and the rearing of sheep for wool production. Also energy use in production equipment and factory operations, as well as in the user phase, where we wash, dry and iron our clothes infinitely. The energy used is generated from the extraction of oil, coal and gas. Besides this massive emission of CO2 that creates huge climate changes, these processes also deplete these scarce resources.

3. Substantial use of chemicals.

MATERIAL

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GARMENT PRODUCTION

PACKAGING/ TRANSPORT

COSTUMER USE

END OF LIFE

The value chain of fashion can roughly be divided into five phases: Raw Material – Production – Packaging/Transport – Consumer Use – End-of-life. By looking at the main issues with GHG, we recognize three hotspots in the lifecycle of apparel products: Raw material production Garment production Consumer use It is a common mistake to believe that the main carbon emission is in the transportation of apparel, and studies show that this phase only accounts for 3-6%, whereas the majority of the footprint actually occurs in the material- production- user phases.

Plastics In relation to durability and the energy required to wash, dry and iron textile products, synthetic fabrics generally have a noticeably lower footprint than natural ones. Within polyesters, recycled polyester serves as a great alternative to virgin polyester. Recycled polyester requires fewer processing steps, which means that less energy is utilized during the production process. For some types of recycled polyester this results in the reduction of carbon emissions of up to 32%, and energy savings of up to 60%, a considerable drop.

Accordingly these processes will also lead to a decrease in the water consumption of up to 94% compared to virgin polyester.

Recycled polyester is made from recycled plastics such as water bottles. One kilogram of recycled polyester yarn can reduce plastic waste by thirty one-and-a-half liter bottles.

However, sustainability is never as simple as we would like it to be because virgin polyester, as well as recycled polyester, does have a dark side. Nano plastics are found in sea- and marine organisms, which possibly impact the marine environment and our ecosystem. This issue is being researched in the context of the world’s entire use of plastic and we do not know the full consequences yet. Moreover oil, the source for virgin polyester or plastic bottles for that matter, is a non-renewable resource resulting in a massive waste. Time will tell whether or not polyester will have a future in the textile industry.

When it comes to recycled fabrics in general, they all reduce the environmental footprint compared to their counterparts, as the process of turning them into new fibers requires fewer steps than making a new raw fiber. A T-shirt of good quality cotton can be made into T-shirts three times if we recycle it, thereby reducing the amount of new production, and in turn decreasing the energy use. So looking at recycling textiles and fibers makes perfect sense in lowering waste and using less energy.

Hemp Industrial hemp, or cannabis sativa, is one of the strongest and oldest natural fibers.

It is a versatile fiber and can be used for a wide range of products. It grows easily - to a height of four meters - without agrochemicals and captures large quantities of carbon (carbon accounts for 70% of GHG).

Hemp uses the energy of the sun to convert CO2 and water into hydrocarbons – the material from which plants are made, and acts as a carbon-storing source.

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Hemp has great adaptability to various climatic conditions and requires no pesticides, herbicides or irrigation water. One acre of hemp delivers as much as 2-3 acres of cotton, and has an extensive root system that can contribute to reducing soil loss and erosion if planted as part of crop rotation.

Production of hemp is restricted in some countries, where the plant is confused with marijuana. People speaking against hemp tend to think that hemp merely serves as a way past the restrictions of marijuana and therefore an easier way to get stoned. However, this is a misconception and hemp only contains very small parts similar to marijuana and will most likely provide you with nothing but a headache if you try to smoke it.

Overall, hemp plays a very small part in the global textile industry, and if hemp were to change this industry it would need to overcome a series of technical constraints, involving the entire sequence of production and utilization.

Tree Fibers A T-shirt made of viscose is often associated with bamboo fibers and seen as a sustainable choice, since it is made from a natural source. However, viscose production requires a huge amount of chemicals and water and is highly energy intensive. Generic Viscose is a man-made regenerated fiber of cellulose origin –originating from wood, cotton, and bamboo using differing manufacturing processes with common roots. A much better choice could be lyocell, another type of cellulose fiber where the pulp manufacturing is relatively similar

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to generic viscose processing.

The lyocell process differs from the viscose process, mainly in that the chemicals used in the viscose process are replaced by an organic solution, N-Methylmorpholine-N-oxide (NMMO). Together with the water used in the production, the solution is recycled and reused in a closed loop system. Thus, there are no residues of harmful chemicals and water consumption is reduced significantly.

Wool Wool is associated with high GHG emissions at the farming and raw material processing stage. Due to several factors wool requires much processing. Wool is a very dirty fiber and cleaning involves a significant use of chemicals. However, methane released from the rearing of sheep is the core GHG emission from wool production.

On the other hand wool is more sustainable than it might indicate. When we look at the use and longevity, a garment made from wool can often be used and maintained for many years. Bearing in mind that the user phase is a hotspot regarding the apparel footprint, wool may have an overall lower impact than several alternative fabrics because of its longevity and sturdiness.

Vegan Leather The serious issues and the bleak look of the future entail a large potential in developing new materials and technologies that can overcome some of the challenges.

Vegan leather made from sugar and bacteria is novel and tackles the issue with GHG emission from leather production in a number of ways. Bio leather is grown in a solution of green tea, sugar, yeasts and

the result is a thick yet flexible material that looks and feels like leather. Once the fabric is developed, it can either be cut and sewn like regular fabric or be molded into a shape. This practice generates less waste than conventional leather tailoring. Furthermore, vegan leather can easily be dyed and printed; in fact it uses significantly less dye than other fiber types usually do.

be taken into account. Since both natural and synthetic fibers have good and bad sides it is of great importance to increase awareness, especially in the user phase to help decrease the overall GHG emission.

It should be regarded as a shared goal for the world!

User Phase The focus here has been on materials, but as shown, a choice in materials affects the environmental footprint in all of the garments lifecycle.

However, there are also lots of ways to influence the footprint in the user phase.

Many studies indicate that the user phase - laundering, drying, and ironing - are the most significant GHG contributor to the environmental footprint of textiles. This is a frightening prospect, but there are several simple ways to lower our impact at this stage. A couple of tricks to lower the footprint in the user phase: choose cold wash, air the clothes every second time instead of washing them, spot clean and avoid dry cleaning, dry your clothes in the open and iron less. This will not only affect the GHG emission, but also our finances and will actually also prolong the durability of the clothes.

What Is The Right Choice Then?

Sustainability in fashion can be a difficult character to understand and overcome, but there is no doubt that we need to think about our environmental footprint.

There is no easy answer when it comes to sustainable fabrics and technologies, as countless factors essentially need to

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A State Of Nature Authenticity. The quality of being real and true. Nature. Nature can never be controlled.

We forget its beauty but use its resources.

Garments. A product of nature. A product of the real and the true. Creative direction Caroline Salomonsen Photography Caroline Boas Stylist Frida Lassen Model Louis Volsing Kristensen & Helene Misser Make-up Charlotte Petersen

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Her Knit by Farmers Market Shorts by Pelechecoco Him Knit by Farmers Market Shorts by Triple Two

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Knit by Farmers Market Shorts by Pelechecoco

Him Shirt by Farmers Market Pants by Triple Two Boots by The Last Conspiracy Her Dress by Farmers Market Boots by The Last Conspiracy Bench by Ent Cph

THE HANS A STORY OF SARTORIAL POLITESSE Marlo Saalmink Photography Aase Helena Hansen We live in times of (un)followers, both in the urban and internet sphere. A call for true mavericks is often unanswered. When we delve into the fashion archives, powerful Japanese renegades such as Kenzo Takeda, Rei Kawakubo or Yohji Yamamoto, now form part of a distant history. Their momentum was so remarkable due to the fact that they rebelled against the establishment, creating silhouettes their way and on their own clock. The impact of their work, as we know, cannot be underestimated.

Fashion is a most volatile industry, one that is often dominated by a constant hunger for the next best thing. In this rage, it often forgets to breathe, repose and take a moment. This is to avoid us all becoming the same. A true evolution comes from within.

On a recent journey to Copenhagen, I visited the atelier of HANSEN GARMENTS, tucked away in a beautiful old courtyard of a merchant’s house on a cobbled downtown alley.

Aase Helena Hansen, the brand’s creative mind, meets me at the entrance and kindly ushers me inside, where a big pot of black coffee is already brewing. We find ourselves surrounded by wooden furniture, shelves that are eyes on the eyes and a rather scarce workshop decor. True to her sincere nature, she is not one for chit-chat and likes to get right down to it.

During our chat, she speaks with confidence on issues that matter to her. Perhaps she is one of those new mavericks, going against the grain, salvaging what is left of our industry’s forlorn sense of wonder.

We begin our conversation by talking about her upbringing, as we all come from something. As a youngster, Aase grew up all over the world, spending it mostly barefoot on the 100

plains of Uganda, Zambia and Mozambique.

Coming back to her hometown at the time, Bergen, Norway, was always quite the culture shock. It is this dual existence that shaped her love for eccentrics and opening up to creativity.

She adds: ‘’Back then I did not really know what to do with my creativity. Therefore I continued searching in the creative field and finally entered the Royal School of Design. Here, I was introduced to fashion/clothing for the first time, it felt right from the beginning.”

These proved to be groundbreaking years for Aase as she teamed up with fellow graduate Hanne Madsen to found HansenMadsen, a most conceptual art meets fashion brand. This early inception of under the radar brand making, meant freedom of expression and going beyond the obvious. Several jobs followed and after a while, Aase was ready to start on her own, with HANSEN GARMENTS as the result.

When I ask her if it was challenging to emerge as a Scandinavian creative, she says: ‘’Yes and no. I believe it is challenging to start wherever you are. Perhaps, HANSEN has been challenging because we placed ourselves in a difficult and untypical place, comparable to most Scandinavian clothing companies’’. Naturally, I am curious to explore this further, as her work has much more of a Japanese workwear feeling to it, with clear reference to the 50s and the slow denim revolution. Aase adds: ‘’You are right, but in a way our Scandinavian feeling comes out, as what we do is very low-key, subdued and less colorful than other cultures. We focus on function, material and shape. Our products are very much meant for everyday use.’’

EN WAY With their unique workmanship style, HANSEN has been able to connect with a large creative audience, without losing touch with the initial idea of making wearable supreme pieces. As we get onto discussing the process of actually crafting the collections, she explains this selection process further.

make good fits for the male body and have never had in mind that it should be for both genders. I guess some of the shirts and trousers work well for women too. Based on my experience: to be honest I do not think unisex is a great concept for clothing. That is also why we launched a small line for women’’.

“Well, I select all the fabrics myself, we absolutely do not work with any type of sourcing. At this point I simply follow my intuition. Then comes the creating of the collection. For me this is like painting – all the colors and surfaces, compositions and weights of the fabric need to complement each other and create a wholesome and dynamic image. Choosing fabrics and working on the silhouettes is a parallel process. For this, I work closely with a very gifted pattern maker. She is very old school. All the patterns are draped then fitted before making a paper pattern, the way it should be’’.

As I put in my introduction, perhaps this also indicates that HANSEN is not aware of trends, Aase works from instinct and crafts what she can connect to herself. Or as she puts it:

When I move upstairs to explore the latest offering for FW15, it becomes clear that nothing that she just said is founded on thin air. Each piece is meticulously tailored, finished by hand and eventually constructed.

When it comes to designing, process is one, but the actual idea of abstraction is even more relevant. Hereby, I mean how people actually wear the clothes, feel, perceive and understand them. Firstly, I am curious to discuss the gender-roles that Aase implies with her collection. The garments are indeed mainly masculine, with only a small portion devoted to womenswear. As I got used to, since my arrival, she is a little ahead of me: ‘’My focus is definitely on menswear. I aim to

“I like that you bring this up, as I cannot support this seasonal fast and ‘throw away’ fashion industry. So we make clothing with longevity in mind. I want to make pieces you want to keep and that age handsomely. And if in this process, I am able to make someone’s new favorite piece, that always fills me with pride.’’

When it comes to visualizing what we do, images are the most potent tool to do so. Many fashion brands struggle to properly communicate what they stand for. Again, HANSEN does it their own way, with Aase shooting the collection images herself. ‘’Since I love designing and photography I found a way to do both. So, indeed I take most of our images. There is just something about the clothing and the photos connecting truly. If I look at people who have influenced my style, the work of Vivian Mayer, August Sander and Josef Koudelka speaks to me a lot’’.

On a recent journey to India, naturally armed with a camera, she captured some of the inspiring individuals she met, dressed in a white HANSEN shirt, to express the neutral and 101

democratic nature of her designs. As we speak about India, she tells me the impact of this particular journey: ‘‘Already spending time in 30 degrees heat, was very inspirational when drawing the next spring summer collection. Besides this, it was important to take a break and have time to reflect on what and how we do as a company. Being in India also reminds me of what is important in life – seeing poverty like you can see there puts everything in perspective. As we are only a humble company doing clothing...’’

As we pour our third coffee, I have to admit I am rather taken by Aase and her sincere and no-nonsense approach to the world we live in.

In a way, HANSEN captures the essence of rebellion by not wasting time and resources, but directing them to where they matter. So, I felt like asking her a final question, to see if she believes such local artisans and the power of craftsmanship will survive. A typical Aase response follows: “I really believe it depends on two things: Do the end consumers care? And are the small ateliers and craftsmen able to communicate the importance of quality (to justify their existence)? Next to

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this, I also have noticed a growing interest in consumer-awareness over the past 5 years. It seems that more and more people care. But is it enough?

I don’t believe the huge companies will become smaller… time will tell.’’

As I pack away my notepads and black felt tip pen, Aase and I remain locked in conversation for quite some time. Her words resonate powerfully through the old atelier. Designing garments from a profound belief is indeed providing a service to your clients, something that has been a relevant and traditional concept.

Unfortunately, it has slowly been replaced by the fast-fashion stigmatization of cheap and ever replaceable wardrobes. Can we turn back the clock? We should not want to but what we need is for future generations to clutch on to those rebels and innovators out there that understand the skills of sartorial politesse. This is about crafting a future that is worth living, worth defending and worth understanding.

HANSEN definitely do their part, with a proud heart and deep polite bow, as I leave them to work.

All garments by HANSEN GARMENTS

L ess Na r r a ti ves

A G O O D TA I LO R I S W O

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ORTH A F O R T U N E Nina Jørgensen Illustration Alicja Biala Copenhagen. I have had the honor of interviewing my grandfather; one of the finest tailors in Denmark who catered for the entire aristocracy. He agreed to tell me his story on a cold afternoon in Copenhagen in June 2015. This is a story of craftsmanship from times past.

In today’s society, almost all our clothes are mass-designed and mass-produced.

Tailoring, along with many other crafts, is in strong decline, and owning something tailor-made is truly a rarity. It seems we have forgotten, or maybe never known, the luxury of having something made just for us – something unique and of the highest quality and handicraft. This article takes you back to a time before that: a time where clothes were made by hand, and not reproduced in thousands of copies. A time where a tailor-made garment was a piece of art.

My grandfather started his apprenticeship in Western Jutland when he was fifteen and completed it four years later. ”You had to work in different places in order to learn. Every place was different. I was to make clothes, you see, and I had to learn something and try my wings.”

He explains how, following your appren-

ticeship, it is in the tailoring trade itself that you really start to learn. And learn he did.

From Minesweeper To Royal Neighborhoods After joining the Danish navy sailing on a minesweeper, my grandfather returned to his birth town Holstebro. However, at this point, he knew he wanted to travel to Copenhagen.

After working for several fine menswear stores, he started working for Alfred Alm, the finest tailor in the country at the time.

Alm’s Skrædderi was situated on Bredgade, in the decadent neighborhood close to Amalienborg, home of the Danish Royal family; in the building that hosts the renowned auction house Bruun Rasmussen today. You walk in through the gate and turn left, before you enter the old, elegant quarters.

My grandfather was a cutter by profession.

Cutting fabric for clothes is considered the hardest and most delicate part of the tailoring craft. He and Alm were both cutters.

Alm owned the tailor’s shop, but other than that, they performed the same tasks. They served the customers, took their measurements and cut the fabric before handing it over to the journeyman tailors, who sewed the clothes.

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Danish Nobility And Fine English Fabrics I ask about the customers that visited the tailor’s shop. As it was the finest place in town, I have a feeling that it was not just anybody who came there to have clothes made: “It was the Danish nobility and the corporate leaders of the time, people who were financially strong.”

Alm’s Skrædderi imported their fabrics themselves. It was the custom to buy fabrics from wholesalers, but by skipping this step the store had access to fabrics that other stores were not able to offer.

The fabrics were imported mainly from England, which was the dominant supplier of fine fabrics at the time. When I ask why, my grandfather tells me that it was because of the wet, English climate: moisture was important for the production of the fabric. With modern techniques this need has been superseded, but back then it was crucial for the manufacturing. If the fabrics were not of English origin, they were imported from Italy, a country with a long-standing tradition for fine garments, or from France.

Measuring And Cutting – The Hardest Part Of The Tailor Trade Being accustomed to today’s mass production and ready-made clothes, I am curious about the process – the transformation from fabric to a fine garment. I ask about the preparation of a suit – one of the most essential pieces in a male wardrobe.

My grandfather explains how at Alm’s Skrædderi they only made the finest and

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most difficult pieces of men’s clothes – suits, coats, smoking jackets and tailcoats.

Pants, shirts and vests were made to order in other tailor shops in Copenhagen.

As the customer entered the shop on Bredgade, he would first have to pick out a fabric for his garment. He would either choose from the suit-length of fabric, or if it were not in stock, he would be provided with a swatch. In either case the customer would be able to see, feel and get a sense of the fabric before going on to have his measures taken.

This was one of the most important parts of creating a garment, and it was the master tailor Alfred Alm and the cutter, my grandfather, who made the measurements. Once the customer had decided on a fabric, he would enter a fitting room where he would have his measurements taken.

All measurements were taken with a tape measure and taken while the customer was wearing his existing suit, potentially removing the jacket.

My grandfather does not remember exactly how many measurements a suit required, but he tells me that it was a time-consuming and complicated process.

Measuring for the jacket was the hardest part, he recalls, for it had to fit perfectly.

After taking sufficient measurements, a model was drawn on paper. This model was laid out on the preferred piece of fabric, and carefully, a line was drawn around it with a piece of chalk. Normally, it took around three meters of a suit-length to make a suit. The fabric was then cut with

extreme care and precision, using a pair of large and very sharp tailor scissors.

As the shop had many regular customers, they would often already have the measurements of a given customer upon his arrival, and of course this simplified the process. After measuring and cutting the fabric, it would be handed over to the journeyman tailors, who sewed the suit jacket on site, in the workshop in the back of the shop. Alm’s Skrædderi employed around ten journeymen tailors who, apart from suit jackets, were also responsible for sewing coats, smoking jackets and dress-suits.

My grandfather and Alm would always approve their work before a customer could come in for a fitting.

Tailoring Is Art As I ask my grandfather whether the cutting or the sewing was the most important work, he answered reluctantly: “They belong together… It is very hard to be a real tailor. Some can do it, but some never learn.

It is an art!”

I ask about the other garments he made: the coats, smoking jackets and the dresssuits with the classic tailcoat, which are seen so rarely today. Dress-suits, used on festive occasions such as dances and dinners, were also hard to make. The proportions had to be right - the length of the sleeves relative to the length of the jacket, it all had to be cut to perfection.

might be more slender or slightly broader; the shoulders might differ in how much they slant, and the jacket can be more or less waisted, but the essential silhouette remains the same throughout time.

He tells me about the technique of cutting the fabric, all the consideration and thought that lies behind it and how you need a sharp eye if you want to be really good. There are different ways to do it in terms of style and it has to be sewed just right; that is equally important, he explains.

Like so many other crafts, tailoring sooner or later started to decline in the market. It became more and more expensive to have clothes tailor-made, as mass-production started to gain ground in Denmark and everywhere else around the world. There were no tailors to hire, but it did not come as a surprise, my grandfather recalls. People knew which way the wind was blowing.

However, he does look back at his time as a tailor with satisfaction and pride. He always loved his profession: “It is actually a great satisfaction to make a great suit, for example. I mean… It does not get any bigger than that. And it does not matter who you are. And if you do not feel it… then I would say you were not a real tailor.”

One of the beautiful aspects about classic menswear is that the basics never change. As I enquire about the shifting fashions and tendencies, my grandfather clarifies that very few things change. The lapels

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V isu aliza tio n

Seeing and observing establishes our place in the surrounding world.

Consciously widening our vision and perspective results in a more absolute and truthful knowledge of the things around us. This editorial investigates the same moment from two different angles.

Putting oneself in an antithetical direction critiques the idea of the subjective viewpoint, and asks the question: What is authenticity?

Photography Sara Naim & Natalie Weiss Model Danielle Duvale

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Clothing by Laboratoire TrinitĂŠ Shoes by Rombaut

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114 Skirt vintage Shoes by Rombaut

Top by Laboratoire TrinitĂŠ Skirt vintage Shoes by Rombaut

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L ess In tro d uci ng

AUTHENTICITY And The World’s Best Sailor Sweater Pernille Hammershøj Photography Stuart McIntyre

The Copenhagen-based label ANDERSEN-ANDERSEN rose from a vision of creating a product of sublime quality, with eye for traditional craftsmanship. Inspired by the sailor as a mysterious figure, knitting technics from a bygone age and proud Danish design traditions, ANDERSEN-ANDERSEN takes a stand as a counterpart to the fashion industry.

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Essential Craftsmanship ANDERSEN-ANDERSEN was founded in 2009 by the couple Cathrine Lundgren-Andersen and Peter Kjaer-Andersen. Both had previously worked in the commercial industry, and felt the need for a creative breathing space, liberated from the dictates of the market.

“We might as well have started doing furniture” Peter Kjaer-Andesen explains. “When we met, Cathrine and I wanted to create something together. It was not so much about the actual product, more the craftsmanship behind it.”

Cathrine had a background as a design student from VIA University College, but by having re-discovered Peter’s old sailor sweater, the choice of creating the world’s best sailor sweater was made.

Craving For Quality Once presented to the philosophy behind the ANDERSEN-ANDERSEN brand, one’s thoughts quickly turns to the idea of slow fashion. But despite the focus on small collections and sustainable production, slow fashion was not part of the design concept from the beginning.

“We started out with a strong wish of making something of really high quality. We wanted to know every aspect of the production. From where the wool comes from, to who are knitting and processing it.“ Peter thus rejects the notion that he and Cathrine were embracing the slow fashion trend, when they started their business. But conscious about it or not there must have been something about it. The slow fashion trend can be interpreted as a counterpart to the fast moving fashion industry, which with its constant changes demands more and more consumption. Peter continues: “We only produce when we have an actual need to fill up our storage. We wanted to follow our heart, and make a project, which we could feel good about – in every aspect. A project that, when you think about it, makes you feel good.”

traditions and a positive approach to their work, which implies that they never give up on a new task.

“We often experienced that our Danish knitters told us something was too difficult to make. In Italy, they are used to designers demanding wild creations and therefore nothing is ever impossible” Peter says.

He would have wanted the production to take place in Denmark, but knitting traditions is a ghost from the past, and he could not find anyone capable of handling the task on Danish ground.

“We want everyone to feel responsible for the final product. That is the most important thing for us. We are no trying to sell a high-end brand or something fashionable. What’s important for us is the quality of the product. The rest should not be taken too seriously.”

Authenticity And Proud Danish Traditions According to Peter, there is a certain romanticism connected to the sailor sweater. Back in the day, Danish men made a living out of being fishermen and the occupation was connected to great danger. Sailors became the pride of local communities living close to the ocean, and impressionistic painters from the 19th century such as PS Krøyer and Holger Drachmann documented their life and work. Today the quota on the fishery regulated by the European Union, has made the life of modern fishermen difficult. However the romantic figure of the hardy fisherman remain an important part of Danish cultural history. The authenticism of the ANDERSEN-ANDERSEN sailor sweaters is part of that story, bringing the shouts of the sailors as they drag the boats up on the beach back to life.

A Humanistic Approach The production of the their sweaters takes place in a small Italian village. Local women take care of the craftsmanship drawing on proud 121

Re p o r ta g e

SANDBLASTING JEANS IS A CHEAP AND EFFECTIVE WAY TO GIVE JEANS THE PERFECT ‘WORN-OUT LOOK’, BUT THE TECHNIQUE HAS DEADLY CONSEQUENCES FOR THE TEXTILE WORKERS.

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Two billion. That is the number of jeans produced worldwide every year. Jeans have been a treasured garment for a long time: the average woman has eight pairs of jeans in her closet. Throughout the years jeans have been on a pervasive journey proving the versatility of denim: they were part of the worker’s uniform during the industrial revolution, the favorite outfit of a cowboy and a rebellious clothing item for teenagers in the 1970s. Today, jeans have transformed into being a modern staple for men, women and children. Despite the versatility, the actual design of jeans has not changed much over the years.

Jeans, or denim, is made from cotton. The jeans can be produced in a variety of styles and colors – boot cut, slim fit, straight leg, low waist, aged finish, overdyed – these are all expressions for different fits and looks.

Jeans often have a worn-out and faded look to make them appear cooler – if that is what the trend dictates. This worn-out and distressed look can be achieved in different ways during the production of jeans. One way of doing so is called stone wash, where the jeans are, as the name suggests, literally washed with stones. The jeans are put into large washing machines and tumbled with the stones. The longer the stone wash, the more worn-out and lighter the jeans will get. Brush is a finish, where the workers brush the jeans with sandpaper. This finish is very common. Sandblasting is another finish, where the jeans are blasted with sand.

Sandblasting basically results in the same look as the brush finish, but sandblasting is a cheaper method to achieve the desired faded look. The use of chemicals on jeans has also become a common practice to achieve the same look as if the jeans were stone washed or sandblasted. All the techniques have one thing in common: there are both positive and negative sides. Here we will focus on the very damaging and deathly consequences for workers using the sandblasting technique.

The room is filled with dust. It is almost impossible to see your own hands in front

of you. The noise from the hoses blasting out sand drowns out the sound of the breathing young workers in the room. The boys are 15 years old. They are working together in pairs, one manages the hose and the other turns the jeans around, making sure the sand is blasted on the jeans in the right areas. They have small masks covering their mouths, but the dust will nevertheless reach their lungs. The room is hot and there is no ventilation.

This is how Abdulhalim Demir describes the working conditions he experienced when working with sandblasting in Istanbul in 1996. Back then he was a 15-yearold child worker and had moved to Istanbul from Kurdistan where his first job was sandblasting jeans. He was homeless and did not have any place to sleep, so he slept in the textile area of the factory. Demir, who prefers to be called Bego, worked with sandblasting for approximately five years but he had no idea about the consequences it would have for his health.

“We did not know anything about sandblasting being dangerous. I was a child, I was really young and you do not know anything.

Today 46.2% of my lungs are not working. I can breathe when I am sitting down or when I am working, but I cannot run and I cannot do stuff with effort,” explains Bego.

When sandblasting jeans the workers inhale a large amount of sand dust. The dust contains silica particles, which are toxic for the body. The dust causes parts of the lungs to clog, and develops into the fatal lung disease called silicosis. The dust causes irreparable damage to the lungs and the worst part of this reality is that there is no cure.

It was not until 2005, when Bego went to the army, that he learned about his illness.

He found out that one of his close friends had lost his life, and he started investigating the cause of his friend’s death. Bego contacted a doctor, who informed him that sandblasting in fact seriously damages the

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lungs and causes silicosis. Both Bego and his friend had become victims of this incurable disease silicosis. Luckily, Bego is able to live with the condition, which has stabilized, but a new infection could be fatal. As Bego expresses it: “You live with it or you die.”

Doctors have known about silicosis since the 18th century. Back then knife grinders and mineworkers were the victims, due to their heavily polluted working conditions.

Unfortunately, sandblasting jeans has the same deathly effect, and no one would expect today’s workers from the textile industry to die of silicosis. Normally the disease develops very slowly, but in the small sweatshops with huge amounts of sand dust in the air, the disease develops much more rapidly. Some of the workers who become sick have only worked with sandblasting for a few months according to doctors. 1200 cases of silicosis have so far been registered in Turkey according to Aktive Forbrugere, a Danish organization working for ethical and social sustainability in the textile industry.

Organizing A Campaign I am meeting Bego in Istanbul. On a busy shopping street called Istikal merchants sell warm chestnuts from small stands, and many stores offer a variety of colorful Turkish delight. Both American and traditional Turkish music ooze out of the many stores and gives you a feeling of simultaneously walking in a modern metropolis and an old-fashioned Muslim city. McDonalds, Burger King and H&M exist side by side with kebab restaurants and small boutiques selling handbags, shoes or jewelry. This evening, Bego has gathered groups of people to stand in front of the Turkish clothing store LC Waikiki carrying banners and megaphones. They are demonstrating because LC Waikiki produced clothes in Rana Plaza in Bangladesh, where the big collapse of an eight-story factory building in 2013 caused the death of over 1000 textile workers. Now, two years after the tragedy, they want LC Waikiki to pay up. Facing the store, Bego shouts into the megaphone:

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“Does anybody want to take responsibility?”

There is no reaction from the store, and evening shoppers still enter the store ignoring the demonstration. Four security guards stand in front of the store with blank expressions on their faces. Suddenly, you can hear the sound of a very large group of people walking towards the demonstration from the other end of the shopping street.

They have come to support and join the demonstration. They are singing in Turkish and holding photos of the textile workers.

After the demonstration I meet up with Bego and we go to a small hidden-away café on one of the side streets. The walls are dark and a couple of young people are playing a board game.

“When I was a child I used to write poems. I realized it was time to write my history and I wrote a letter. I sent it to a Turkish newspaper, but I did not expect my letter to be published. Then a couple of days later, when I went to buy a newspaper, I saw my letter on the front page. A lot of newspapers around the world translated my letter and published it, for example Le Figaro and Le Monde. The campaign started with that,” Bego explains enthusiastically.

In the letter he wrote that workers “helplessly wait for our death” putting emphasis on the horrible consequences for the sandblasting workers. Bego gained both national and international attention because of his letter, and many people wanted to work with him. The letter proved to have a great impact and helped him in starting a very successful campaign called the ‘Solidarity Committee of Jeans Sandblasting Workers’.

“I wanted to find out about my rights, so I talked to a doctor and a lawyer and I said that we should organize a campaign for sandblasting workers. I visited all the hospitals around Turkey and checked their data to see if they had anyone diagnosed with silicosis. I found a lot of people and I visited them and told them

their rights. I found three volunteer lawyers and we began court cases,” Bego explains.

With the help of the volunteer lawyers the committee started to run court cases on behalf of the sandblasting workers. They opened 157 court cases against companies and authorities accused of having failed to control the workshops properly. A Turkish association supported the committee financially, but they still needed to raise money to run the court cases so they organized a music concert.

“When we set up the committee a lot of famous people wanted to join, because everyone had read my letter and they were emotional about it. It affects people. Everyone wears jeans, and they did not realize the background behind the jeans. They found themselves guilty of that and they wanted to support us. We set up the first concert and around 50 famous people wanted to sing voluntarily,” says Bego.

All the members of the Solidarity Committee of Jeans Sandblasting Workers - doctors, lawyers and trade unions - raised awareness of the danger of sandblasting jeans, and the political agitation eventually forced the Turkish government to ban sandblasting in March 2009.

Meeting With The President However, the fight did not stop there. Even

though the sandblasting ban was a huge success for the Solidarity Committee for Jeans Sandblasting Workers, the law did not help the workers who were already fatally ill. These workers are not able to work anymore due to the difficulty with breathing and some even need oxygen masks to breathe. Therefore it is crucial for them to receive financial support and retirement benefits from the state. But the Labor Ministry did not consider silicosis a legitimate occupational disease, and did not offer the victims any compensation. Bego arranged a demonstration in Ankara, where members of the committee sat in a park for two weeks in total.

“Then the secretary of Turkey’s president called me and said that the president wanted to meet me. We went there as a team, and the president said; ‘I will help you guys to make a law’,” Bego explains.

The Turkish president made sure the government made a law that allowed all workers to receive a pension. But the workers only had three months to apply. Bego was frustrated; “We said, ‘you have to make the workers aware that they can apply for the pension’, but the government said it was not possible. So we had to do it. We made a movie with many famous people, which we posted on different

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social media sites. A lot of workers saw the movie and applied.”

Companies Partly Responsible For Deaths The raised awareness of the incurable health risks associated with sandblasting has led international companies to condemn and ban the sandblasting of jeans. Brands such as H&M, Gucci, Diesel, Wrangler and Bestseller have declared that they are not using the sandblasting technique anymore.

But that is only a very small part of the industry.

According to Bego many companies are simply moving their production out of Turkey and into other countries, where sandblasting it not yet illegal.

“A lot of brands have moved to other countries. Now they are sandblasting in Bangladesh, China and Egypt,” says Bego.

The sandblasting technique is cheap, and therefore companies continue to use it in

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places where health and safety laws are weaker. By recklessly moving sandblasting production to other parts of the world, international companies are partly responsible for the continuous deaths of textile workers. Even though companies are not officially doing anything illegal, they have an ethical responsibility according to Bego: “They are just looking to make more money, but they have to take responsibility. They have to check their factories, even though they are only buyers. But the competitive system forces them to compete with each other on who is buying the cheapest and selling the most expensive, and they are killing people.”

Only the future can tell if jeans will enter a new more ethically responsible stage, hopefully starting with a global sandblasting ban. Let’s hope – for the sake of the endangered textile workers – that this will happen sooner rather than later.

BRAND LIST The Last Conspiracy www.thelastconspiracy.com • Timeless • Artistic • Craftsmanship Daniel Andresen www.danielandresen.com • Timeless • Artistic • Materials • Craftsmanship • Production • Techniques

Amy Revier www.amyrevier.com • Timeless • Artistic • Materials • Craftsmanship • Techniques • Production Gudrun&Gudrun www.gudrungudrun.com • Timeless • Artistic • Materials • Craftsmanship • Production • Techniques

Steinum www.steinum.net • Timeless • Materials • Craftsmanship • Production • Techniques Rebekka á Fjallinum • Timeless • Materials • Craftsmanship • Techniques Elina Dobele www.elinadobele.com • Timeless • Artistic • Materials • Craftsmanship • Production • Techniques Jan-Jan Van Essche www.janjanvanessche.com • Timeless • Artistic • Materials • Craftsmanship • Production • Techniques

Sniálvsdóttir www.snialvsdottir.com • Timeless • Materials • Craftsmanship • Production

Hansen Garments www.hansengarments.com • Timeless • Artistic • Materials • Craftsmanship • Production

Soul Made www.soulmade.nu • Timeless • Materials • Craftsmanship

Acne Studios www.acnestudios.com • Timeless • Materials • Production

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Leon Louis www.leonlouis.com • Artistic • Materials • Craftsmanship • Production • Techniques Kim Vestergaard www.kim-ik.dk • Timeless • Artistic • Materials • Craftsmanship • Production • Techniques Vibe Johansson www.vibejohansson.com • Artistic • Materials • Craftsmanship • Techniques 11 by Boris Bidjan Saberi www.11bybbs.com • Artistic • Materials • Craftsmanship • Production • Techniques

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• Materials • Craftsmanship • Techniques Bottega Veneta www.bottegaveneta.com • Timeless • Materials • Craftsmanship • Techniques Laboratorie Trinité www.laboratoiretrinite.com • Timeless • Materials • Production Rombaut www.rombaut.com • Artistic • Materials • Craftsmanship • Production • Techniques Mads Dinesen www.madsdinesen.com • Artistic • Materials • Craftsmanship • Techniques

Dries Van Noten www.driesvannoten.be • Timeless • Artistic • Materials • Craftsmanship • Techniques

Ninna York www.ninnayork.com • Timeless • Materials • Craftsmanship • Production • Techniques

Guillem Rodriguez www.guillemrodriguez.eu • Artistic • Materials • Craftsmanship • Techniques

T.A.S www.t-a-s-japan.com • Artistic • Materials • Craftsmanship • Techniques

Martin Across www.martin-across.com • Artistic

Andersen Andersen www.andersen-andersen.com • Timeless

• • • •

Triple Two www.tripel.de • Production • Materials

Materials Craftsmanship Production Techniques

Amoire Oficielle www.armoiredhomme.com • Timeless • Materials • Production

Dr. Martens

www.drmartens.co.uk • Timeless • Materials Barbara I Gongini www.barbaraigongini.dk • Timeless • Materials • Craftsmanship • Techniques • Production

Pelechecoco www.pelechecoco.com • Timeless • Crafsmanship • Production • Materials Farmers Market www.farmersmarket.is • Timeless • Materials • Craftsmanship • Production • Techniques

Ent CPH www.entcph.com • Timeless • Materials • Craftsmanship • Production • Techniques

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NOTES IN SEARCH OF AN AUTHENTIC VOICE – COMMUNICATING SUSTAINABILITY Jonathan Chapman (2015). Prospect Seed and Activate, from Fletcher & Tam, The Routhledge Handbook of Sustainability and Fashion.

Kate Power & Oksana Mont (2009), Understanding the factors that shape consumption. European Topic Center on sustainable consumption and production) John R. Ehrenfeld (2013). Flourishing – A frank conversation about sustainability. Earthscan.

Robert Engleman (2013). The state of the world - Is sustainability still possible? The world Watch institute.

John R. Ehrenfeld (2015). The real challenge of sustainability, from Fletcher & Tam, The Routhledge Handbook of Sustainability and Fashion.

Futerra report: ‘The Greenwash Guide’. Futerra.co.uk Carbonaro & Goldsmith (2015). Branding Sustainability, from Fletcher & Tam (2015), The Routhledge Handbook of Sustainability and Fashion.

John R. Ehrenfeld (2015). The real challenge of sustainability, from Fletcher & Tam, The Routhledge Handbook of Sustainability and Fashion.

Jackson, T (2009), Prosperity without growth – economics for a finite planet. Earthscan.

Burnie (1999), from Fletcher & Tam, The Routhledge Handbook of Sustainability and Fashion (2015) In text by Chapman, J. Prospect Seed and Activate Jules Pretty http://bit.ly/1HhlL3p

DEMOCRACY UTOPIA 1) Liroy Choufan http://www.businessoffashion.com/articles/opinion/op-ed-fashions-democratic-disease 2) Dirk Standen http://www.style.com/trends/fashion/2015/kanye-west-adidas-originals-interview

WHAT IS CHILD LABOR? Gould, 2015, 10 things we learned about eradicating child labour, Available from: http://bit.ly/1EFEGRG

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ILO Convention no. 138 (1973), Minimum Age Convention, Available from: http://bit.ly/1waNbQJ ILO Convention no. 182 (1999), Worst Forms of Child Labour Convention, Available from: http://bit.ly/1hZb7jb Overeem P. & Theuws M., 2014, Fact Sheet: Child labor in the textile & garment industry, Amsterdam: Centre for Research on Multinational Corporations.

Krüger H., Plannthin D., Himmelstrup Dahl E. & Hjort T., 2012, Guidelines II, Sustainable Solution Design Association, SSDA McDougall, 2008, The hidden face of Primark fashion, Available from: http://bit.ly/1DwNfDT Overeem P. & Theuws M., 2014, Fact Sheet: Child labor in the textile & garment industry, Amsterdam: Centre for Research on Multinational Corporations.

Rinaldi R. & Testa S., 2014, The Responsible Fashion Company: Integrating ethics and aesthetics in the value chain, Sheffield: Greenleaf Publishing Smestad L., 2009, The Sweatshop, Child Labor, and Exploitation Issues in the Garment Industry, Berg Publishing: Fashion Practice, Volume 1, Issue 2, pp. 147-162 United Nations Human Rights, 1999, Convention on the Rights of the Child, Available from: http://bit.ly/1McN0RC William, 2013, CBS News goes undercover in a Bangladesh clothing factory, Available from: http://cbsn.ws/1InZjq7 Guardian’s ‘Child labor in the fashion supply chain’ http://bit.ly/1B8wdqS Fair Trade Certification - www.fairtrade.net Global Organic Textile - www.global-standard.org Ethical Trading Initiative - www.ethicaltrade.org

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