Redress Design Award 2021 Magazine

REDRESS DESIGN AWARD M A G A Z I N E VOL. 8 2021

GRADIENTS OF REALITY

2021 NEW TALENTS FASHION SHOOT

漸變現實

2021 新晉設計人才作品時尚拍攝

ACCELERATING SUSTAINABILITY

HOW DIGITAL SOLUTIONS ARE ENABLING POSITIVE CHANGE IN FASHION

加快可持續性的速度 線上辦法如何讓時尚界帶來正面改變

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We Are Made For Change VF is proud to sponsor the Redress Design Award 2021

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A NOTE FROM OUR FOUNDER

創辦人的話

IF this chaotic COVID-19 pandemic has reinforced anything, it’s that the Greek philosopher, Heraclitus, was right when he said “change is the only constant in life”.

Whilst we all personally grappled to adapt as ‘change’ forced itself into our homes, hearts and lifestyles, the gigantic fashion industry was almost brought to her knees by the sudden need to change. Imagine broken supply chains, lost and cancelled orders, stranded fabrics and materials, fragmented business deals, and confused consumers and industry professionals alike.

But the great thing about ‘change’ is that it invites new approaches. Necessity is the mother of invention, afterall. So as an NGO with a mission to reduce fashion’s waste that has been constantly shouting for change since our inception in 2007, COVID’s abrupt forcing of a departure from ‘business as usual’ was, in a twisted and unexpected way, a welcomed relief.

The new urgency to find collaborative ways to reduce fashion’s hefty environmental load, particularly around textile and clothing waste which is core to our work, has not come a moment too soon. Left unchecked, textile waste, which currently churns into global landfills or incinerators at the rate of one dumper truck per second, is set to increase by 60% by 2030.

We know we are not alone in demanding a less wasteful fashion industry. Time and time again I’m reminded that it's brave individual champions working anywhere from the drawing board to the board room who courageously, confidently and steadfastly dare to dream that fashion can do better. And this past year has proven both the individual resolve and a larger industry

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We know designers hold the power to determine up to 80% of a product’s environmental impact, before the needle even touches fabric. So, we urgently need knowledgeable professionals entering the market if we ever hope to achieve a sustainable future for fashion. And we’re making Redress’ very own dream come true – with 160+ global fashion academic institution partners, 56,000+ emerging professionals engaged in person or online since our launch and a growing pool of 200+ alumni designers.

As we celebrate our 2021 cycle’s conclusion, we virtually salute and thank our 10 incredible finalists dotted around the world for their commitment to changing fashion. As COVID-19 travel restrictions prevented our finalists from physically descending into our beloved Hong Kong, we created a hybrid virtual and physical grand final experience that included design challenges and masterclasses, and a grand final runway show graced by both virtual and physical models, as we stamped our highimpact educational competition into firm reality.

The Redress Design Award could not have driven this wave of change from Hong Kong to the rest of the world without our sponsors. And so our heartfelt thanks go to our lead sponsor, Create Hong Kong, and key partners VF, Avery Dennison and TAL Group.

Of course, there’s one very important person whose support motivates us to continue to do what we do – you! Thank you, for joining us in constantly demanding and making change, as together, we make fashion a force for good.

REDRESS DESIGN AWARD 2019 COLLECTION BY ALUMNA NATALIE TZUR.

歷屆參賽者 NATALIE TZUR 的2019年度「REDRESS 設計大賽」系列。

collective responsibility to overcome obstacles and to collaborate when facing this urgent crisis – together.

At Redress, we are buoyed by the collective dreams of the next generation of fashion professionals who are redesigning a fashion industry to be proud of, many of whom apply to the Redress Design Award, the world ’s largest sustainable fashion design competition.

Determination, nerves of steel and a dog-with-a-bone inquisitive mentality is an inherent requirement from our applicant emerging designers, arising from over 50 regions worldwide, and the 10 finalists now competing at the final stages to make their sustainable design dreams become a reality.

Redress started the Redress Design Award with a strong calling – to change the future of fashion by educating the backbone of tomorrow’s fashion industry. It’s impossible to overstate how key educating tomorrow’s industry leaders is if we wish to change the devastating wake left behind by today’s.

REDRESS DESIGN AWARD FINALISTS AT THE IMMERSIVE VF ‘MADE FOR CHANGE’ CHALLENGE IN 2019.

2019年度「REDRESS 設計大賽」決賽入圍者在威富公司「MADE FOR CHANGE」挑戰。

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THE REDRESS DESIGN AWARD 2020 PHYSICAL/VIRTUAL JUDGING SESSION.

2020年度「REDRESS 設計大賽」實體 /虛擬評審會議。

假如這個混亂的新冠疫情有強化到任何事物，那希臘哲學家赫拉克利 特說的「只有變化才是一直不變的」便是對的。 當「變化」強行進入我們的家庭、心靈和生活方式時，我們每個人都在 努力適應，龐大的時尚界幾乎要屈服於突如其來的改變需求下。假設 供應鏈中斷、訂單丟失和取消、面料和材料擱置、商業交易破裂，消費 者和業界專業人士都會感到困惑。 但「改變」的好處在於它帶來新辦法，始終，發明的誕生在於「必須」。 因此，作為一個以減少時尚廢料為使命的非政府組織，我們自2007年 成立以來一直不斷地呼籲改變，新冠疫情的出現突然強制改變了「一切 照舊」的模式，以一種扭曲和出乎意料的角度來看，這是一個會令人歡 迎的寬慰。 為減少時尚對環境造成的沉重負擔，尤其是減少那些圍繞我們工作核 心的衣物及紡織廢料，現在有迫切性要找出協調的方式。如果不加以 控制，目前以每秒一輛垃圾車的速度進入全球垃圾堆填區或焚化爐的 紡織廢料，將於2030年增加至60%。 我們知道我們並不是唯一一個要求時尚界減少廢料的人士。我一次又 一次地被提醒，無論是草圖板或在會議室工作的人都很勇敢和出類拔 萃。他們勇敢、自信和堅定地希望時尚可以做得更好。過去的一年證明 了個人決心和更大的業界集體責任，共同克服障礙並在面臨這一緊迫 危機時合作。 我們在 Redress 中被下一代時尚專業人士的共同夢想鼓舞，他們正在 重新設計一個引以為豪的時尚行業，其中有許多人也有申請世界上最 大的可持續時裝設計比賽「Redress 設計大賽」。決心、鋼鐵般的意志 和求知欲強的好奇心是我們對來自全球 50多個地區的新晉設計師的 基本要求，10 位總決賽參賽者現正在最後階段競爭，讓他們的可持續 設計夢想成真。

Redress 發起了「Redress 設計大賽」，強烈呼籲通過教育未來時尚界

的棟樑來改變時尚的將來。如果我們希望改變今天留下毀滅性的覺 醒，那麼教育明天的業界領袖的重要性再怎麼強調也不為過。

我們知道在正式開始前，設計師有權決定產品對環境高達 80% 的影 響。因此，如果我們希望實現可持續時尚，我們迫切需要學識淵博的 專業人才加入市場。我們正讓 Redress 的夢想成真，自我們成立以來， 已有160多間全球時尚學術機構合作夥伴、56,000多名新一代專業人 士親自或網上我們慶祝 2021年參與，以及日漸增長的200多名歷屆參 賽者設計師。 在我們慶祝 2021年度活動完結之時，我們在網上向分佈在世界各地的 10位出色的總決賽參賽者致敬並感謝他們對改變時尚的承諾。由於新

冠疫情限制了我們的總決賽參賽者親自前往我們鍾愛的香港，我們創 造了一個虛擬和實體的混合總決賽體驗，其中包括設計挑戰、大師課 程，以及一個由虛擬和實體模特加持的總決賽時裝秀，將高影響力的 教育性比賽融入現實。

如果沒有我們的贊助商，「Redress 設計大賽」便不可能推動這一波從 香港到世界各地的變革。因此，我們衷心感謝我們的主要贊助商創意 香港以及主要合作夥伴威富公司、艾利丹尼森和聯業製衣。 當然，有一個非常重要的人的支持不斷鼓勵我們繼續所做的事，那就 是您！感謝您加入我們鍥而不捨要求及做出改變，因為大家共同合作 使時尚成為一種作出積極改變的力量。

CHRISTINA DEAN Founder and Board Chair, Redress Redress 創辦人及董事長

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CREATE HONG KONG

創意香港

Create Hong Kong (CreateHK) of the Government of the Hong Kong Special Administrative Region is honoured to sponsor Redress in the last decade to promote the development of sustainable fashion through the Redress Design Award.

Since its debut in 2011, the Redress Design Award has established itself as a reputable brand in driving growth towards circular fashion and grooming a global pool of sustainably-minded fashion designers.

The Award has not only become an important brand in the sustainable fashion design community that recognises talented emerging fashion designers around the world , but is also an extensive educational platform that equips them with sustainable design theories and techniques.

This year, the Redress Design Award received more than 550 applications from 58 countries and regions, which hit a record high despite the pandemic. This demonstrates the fashion industry’s increasing awareness of the environmental protection and the utilisation of resources, and the wide recognition of the Redress Design Award by the industry around the globe.

At the beginning of a new decade for the Redress Design Award, I would like to take this opportunity to thank Redress for their dedicated efforts in organising the Award again. I also wish the awardees every success in their future endeavours.

香 港 特 別 行 政 區 政 府「 創 意 香 港 」很 榮 幸 在 過 去 的 十 年 間 贊 助 Redress，通過 Redress 設計大賽，推動可持續時裝設計的發展。

Redress ﾠ設計大賽自2011 年創辦以來，一直致力推動循環時尚系統

發展，以及培育全球具有可持續理念的時裝設計師，至今已是口碑載 道。Redress 設計大賽不僅是可持續時裝設計界的一個重要品牌，以表 揚世界各地才華洋溢的新晉時裝設計師，更是一個十分全面的教育平 台，向他們介紹可持續設計的理論和技術。 今年，Redress 設計大賽在疫情下，仍然破紀錄地收到來自58 個國家 和地區，超過550份的申請，可見時裝界愈來愈關注環保和資源運用， 以及大賽已成功得到了各地業界的廣泛認可。 在 Redress 設計大賽進 入第二個十年的起 點，我 想 藉此 機會感謝 Redress 再次舉辦有關比賽，並祝賀各位得獎者，希望你們日後在循環 時尚的路上，繼續發揮所長。

MR. VICTOR TSANG CHIU-HOK

曾昭學 先生

Head of Create Hong Kong, The Government of the Hong Kong Special Administrative Region

香港特別行政區政府創意香港總監

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A NOTE FROM OUR FOUNDERﾠ創辦人的話

Christina reflects on the industry change afoot on the heels of the global pandemic

Christina 反思全球疫情之後的業界改變

NEW ON THE BLOCK 新一輪比賽 26

GRADIENTS OF REALITYﾠ漸變現實

Dive into our photoshoot shining a new light on the future creative frontrunners

走進我們的照片拍攝，為未來的創意先鋒者帶來嶄新的光芒

MEET THE FINALISTSﾠ認識總決賽參賽者

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Introducing the Redress Design Award 2021 finest talents

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The Redress Design Award is represented by the best that the

介紹本年度「Redress 設計大賽」的優秀人才

MEET THE JUDGESﾠ評審委員

sustainable fashion industry has to offer

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由首屈一指的可持續專家組成的「Redress 設計大賽」評審委員

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ROAD TO THE FINALﾠ總決賽倒數

On the way to the Grand Final the finalists embark on an intensive educational journey and series of exciting challenges

在迎來總決賽之際，總決賽參賽者踏上了充滿教育意義和挑戰的旅程

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REWARDING TALENTSﾠ表彰人才

Discover the prizes that will offer unparalleled opportunities for the winners to present their work

了解更多能夠讓得獎者向全世界展示其作品的無可比擬的機會

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BEHIND THE SCENESﾠ鏡頭背後

Meet the team behind our “GRADIENTS OF REALITY” Photoshoot 認識「漸變現實」的拍攝團隊

FEATURES 專題 10 76

ACCELERATING SUSTAINABILITYﾠ加快可持續性的速度

How digital solutions are enabling positive change in fashion 電子化解決方案怎樣為時尚界帶來正面改變

SHIFTING THE LANDSCAPE OF EDUCATION

改變教育格局

Is change in education moving quick enough to achieve the fashion industry’s environmental goals?

在教育方面的改變是否趕得及達成時尚界在環境方面的目標？

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CONTENTSﾠ目錄

ALUMNI SUCCESSES 歷屆參賽者成就 14

THE FUTURE OF SUSTAINABLE DESIGNﾠ可持續設計的未來

Follow up on the works of the Redress Design Award Alumni bringing innovation and circularity to the fashion industry

跟進「Redress 設計大賽」歷屆參賽者的為時尚界帶來創新和循環性的作品

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EYE OF THE TIGERﾠ虎之眸

We catch up with Le Ngoc Ha Thu, the winner of the Redress Design Award 2020 Menswear category, on her collaboration with Timberland

我們了解到2020年度「Redress 設計大賽」男裝大獎得主 Le Ngoc Ha Thu 與 Timberland 合作的最新近況

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NEW COLLECTIONSﾠ嶄新系列

Discover the latest sustainable collections from Redress Design Award Alumni brands 了解「Redress 設計大賽」歷屆參賽者的可持續品牌最新系列

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LEARN 探索問題 GET INFORMEDﾠ了解更多

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Keep up with the current issues in the circular fashion industry

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Find out the latest technology which are enhancing the circular fashion industry

了解循環時尚界最近的議題

INNOVATIONSﾠ創新

了解改善循環時尚界的最新科技

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ON THE COVER 封面

Beanju C and Alfred J wear androgenous clothing by Eric Wong, Redress Design Award alumnus, reconstructing and repurposing vintage clothing in collaboration with Midwest Vintage.

Beanju C 和 Alfred J 穿著「Redress 設計大賽」歷屆參賽者王偉 俊與「美華氏」聯乘的重新構造以及重新利用的古董服飾。

EDITORS 編輯 Hannah Lane Shirley Aun CONTRIBUTORS 撰稿 Katherine Nightingale Bel Jacobs Erica Lee RESEARCHERS 研究人員 Morgane Parizot Koey Wong 黃嘉程 Shirley Yuen 阮雪蓮

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DESIGNERS 設計師 Edmund Chan 陳漱元 Kevin Ho 何敬謙

TRANSLATORS 翻譯 Helaina Chow Viola Keung Vanessa Man

PHOTO CREDIT FARRAH FLOYD

Good times.

Together.

ASIA’S FASHION SPOTLIGHT

0.5 AD

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ACKNOWLEDGEMENTSﾠ鳴謝 WE would like to thank all of our sponsors and partners, who without their generous support the Redress Design Award would not be possible. We are also lucky to have the support of more than 160 university partners across the world. All partners can be viewed at www.redressdesignaward.com/partners. 我們希望藉此機會感謝全體贊助機構及合作夥伴，各方的慷慨解囊成就「Redress 設計大賽」順利舉行。 同時亦感謝全球逾 160所支持教育機構的鼎力支持。詳細贊助機構及合作夥伴名單請瀏覽：www.redressdesignaward.com/partners。

Lead Sponsor 主要贊助

Create Hong Kong (CreateHK) is a dedicated agency set up by the Government of the Hong Kong Special Administrative Region in June 2009. It is under the Communications and Creative Industries Branch of the Commerce and Economic Development Bureau and dedicated to spearheading the development of creative industries in Hong Kong. Its strategic foci are nurturing talent and facilitating start-ups, exploring markets, and promoting Hong Kong as Asia’s creative capital and fostering a creative atmosphere in the community. 「創意香港」是香港特別行政區政府於2009 年 6月成立的單位，隸屬商務及經濟發展局通訊及創意產業科，專責推動香港創意產業的發 展。現時的策略重點為培育人才及促進初創企業的發展、開拓市場，以及推動香港成為亞洲創意之都，並在社會營造創意氛圍。

Gold Sponsor 金贊助

Logistics Partner 物流夥伴

Bronze Sponsors 銅贊助

Livestream Sponsor 直播贊助

Alumni Prize Sponsors 歷屆參賽者獎項​贊助

Prize Sponsors 獎項贊助

Media Partners 媒體合作夥伴

Prize Partner 大獎合作夥伴

Food & Beverage Sponsor 餐飲贊助

Hair Sponsor 髮型贊助

Make-up Sponsor 化妝贊助

Venue Sponsors 場地合作夥伴

Accounting Sponsor 會計贊助

Supporting Organisations 支持機構

association of fashion and textiles

REDRESS DESIGN AWARD MAGAZINE 2021

With thanks to all members of team Redress, past and present, who are the driving force behind the Redress Design Award, including Matthieu Amelin, Shirley Aun, Zoe Belhomme, Lauren Boucher, Edmund Chan, Charly Cheung, Helaina Chow, Corane Chu, Nissa Cornish, Christina Dean, Tisa Fan, Hannah Lane, Ann Li, Danie Liu, Kinson Lo, Kay Liu, Nastasia Malatesta, Morgane Parizot, Gwendoline Venn, Sonia Wan, Koey Wong, Maggy Yip, Shirley Yuen and our volunteers Louise Boase, Celia Cheung, Danielle Dillon, Viola Keung, Erica Lee, Vanessa Man, Charlotte McKeown, Saleha Noor, Ciara Pedrotta, Muskan Shah, Christy Tse, Jessica Tsui and Claire Wu. 特別鳴謝推動「Redress 設計大賽」的Redress 成員及義工團隊。

WWW

redressdesignaward.com redress.com.hk

RedressDesignAward RedressAsia

GetRedressed

RedressAsia

缮Redress

RedressAsia

Redress_Asia

Disclaimer: The Government of the Hong Kong Special Administrative Region provides funding support to the project only, and does not otherwise take part in the project. Any opinions, findings, conclusions or recommendations expressed in these materials/events (or by members of the project team) are those of the project organizers only and do not reflect the views of the Government of the Hong Kong Special Administrative Region, the Communications and Creative Industries Branch of the Commerce and Economic Development Bureau, Create Hong Kong, the CreateSmart Initiative Secretariat or the CreateSmart Initiative Vetting Committee. 免責聲明：香港特別行政區政府僅為本項目提供資助，除此之外並無參與項目。在本刊物／活動內（或由項目小組成員）表達的任何意見、研究成果、結論或建議，均不代表香港特別行政區政府、商務及經濟發展局通訊及創意產業科、創意香港、創意智優計劃秘書處或創意智優計劃審核委員會的觀點。

COPYRIGHT 版權所有 © 2021 REDRESS LIMITED

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ACCELERATING SUSTAINABILITY

加速可持續發展

How digital solutions are enabling positive change in fashion 探討虛擬時尚如何幫助實現可持續發展

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Written by 作者ﾠ|ﾠBel Jacobs

FASHION has been hit hard by the pandemic. As brands cancelled orders in the struggle to survive and factories were forced to close, garment workers were left destitute. Without the ability to travel or host live events, global fashion weeks became online happenings, comprising short films and designer interviews. Meanwhile, the spotlight has turned on fashion’s disproportionate contribution to the climate emergency.

From carbon emissions to resource consumption, the impact of an industry whose products have vastly exceeded the essential is increasingly being questioned.

Some of those seeking answers are investigating digital. With the pandemic keeping people at home, online purchasing became both a relief and a lifeline for many. In 2020, e-commerce’s share of fashion sales nearly doubled from 16% to 29% globally, jumping forward six years’ worth of growth. The shift to online purchasing will only accelerate: according to McKinsey’s The State of Fashion 2021 report, 70% of fashion executives are fully expecting growth of more than 20% in their e-commerce channels. Just over a quarter of executives project a jump of 50% or more.

None of this is particularly good news about an industry that already produces too much. But while e-commerce and the digitisation of business operations is, according to the McKinsey report, “the most cited opportunity by far” for fashion in 2021, sustainability is the second – and it is the intersection between the two that could shift the industry’s heavy environmental and ethical record. Again, Redress has been quick to explore the possibilities: in a 2020 challenge, finalists were invited to digitally upcycle a deadstock garment; digital innovations are covered in Redress’ circular fashion course and, after a virtual 2020 grand final, this year’s event will feature virtual models alongside physical ones.

Fashion marketing, including fashion shows, advertising and customer engagement, offers the most public face of digital possibility. At the head of a growing army of unnervingly lifelike CGI influencers, Lil Miquela (@ lilmiquela) boasts a cool three million followers on Instagram, and has modelled in campaigns by Dior, Chanel, Prada and Gucci. And while the versatility of the digital avatar may be compelling, its potential to cut fashion’s carbon footprint is more so: no more environmentally and financially costly photoshoots, wasteful influencer product hauls or the expensive shipping of physical samples.

‘ ROBOT’ INFLUENCER LIL MIQUELA ENDORSING FOR BRANDS IN A

DIGITISED OUTFIT. (PHOTO CREDIT LIL MIQUELA)

網絡「機器」紅人 LIL MIQUELA 穿著數碼化服裝為品牌代言。

Redress Design Award Alumni have been experimenting with digital clothing as a sustainable alternative. A futuristic bodysuit by alumnus Angus Tsui is currently available on DressX, the world’s largest platform for digital fashion, while 2014/15 first prize winner Kévin Germanier provided a Swarovski crystal-studded ‘ dress’ for quirky digital influencer Noonoouri. In the Redress Design Award Grand Final this year, finalists will be producing four outfits physically with a fifth item to be projected using virtual models, creating a seamless experience for the livestream audience.

But it is behind the scenes that digital technology could have the greatest impact. Digital sampling – creating fashion designs in virtual software platforms – has real capacity to eliminate the wasteful processes of physical sampling and fittings. The opportunity for creative experimentation is equally infinite with designers able to play with virtual

ANGUS TSUI ’ S VERSATILE FLIGHT JUMPSUIT DIGITISED BY DRESSX. (PHOTO CREDIT ANGUS TSUI)

由 DRESSX 數碼化 ANGUS TSUI 多功能飛行連身衣。

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3D VIRTUAL FABRIC SAMPLING BY VIRTUAL TOUCH. (PHOTO CREDIT VIRTUAL TOUCH) VIRTUAL TOUCH 的虛擬立體織物採樣。

fabrics, styles and prints, eliminating the need to send tests back and forth to different parties for approval and allowing fashion garments to be modified and edited in 60% less time.

A recent collaboration between Adobe Substance and leading provider of 3D fashion design Browzwear has knocked out old issues of translating a digital design into a physical one – by drawing productionready manufacturing data from a digital image. And there is the ability to work in new ways with deadstock, demonstrated in last year’s Digital Upcycling Challenge, in which the Redress Design Award Finalists used Browzwear Vstitcher software to design and sample items of clothing, using TAL deadstock garments. “[With digital tech], you’ll be amazed at the speed and how many iterations you can get – with no waste,” said CEO of TAL Group, Roger Lee.

Higg Sustainability Index allow platforms to share data, accelerating transparency and accountability throughout the global supply chain.

Speed and waste reduction, versatility and innovation, transparency and data sharing: digital technology’s position in a sustainable future for fashion is proving invaluable.

The burgeoning secondhand market has also profited from digital tech. Sites such as ThredUp and Depop employ powerful software and proprietary data to make it easier than ever for consumers to trade secondhand clothing. Luxury fashion B Corp Another Tomorrow is partnering with a technology startup to offer digital passports that trace garments from supply chain to secondary sales and beyond. Schwap, by entrepreneur Kalkidan Legesse, is a resale platform that uses participating brands’ databases to generate product listings at the initial point of sale. Partner brands earn passive income on clothing they have already produced and customers are encouraged to resell unloved items without the slog of finding garment data.

Last but not least, digital innovation is increasingly being used to bolster fragile supply chains so that the human rights failures caused by the pandemic can never happen again. Projects such as a recent collaboration between the Open Apparel Registry and

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BROWZWEAR VSTITCHER ’ S REALISTIC 3D PROTOTYPE FOR PATTERN CREATING OR MODIFYING PATTERNS. (PHOTO CREDIT BROWZWEAR) BROWZWEAR VSTITCHER 用於創建或修改紙樣模型設計的逼真3D 模型樣板。

時尚界受到疫情的嚴重打擊，品牌為著生存取消訂單、工廠被迫關閉， 工人因此變得一貧如洗。當人們不能出遊以及舉行活動，全球時裝周 變成線上活動，糅合短影片以及設計師訪問。同時間，聚焦點亦轉移到 時尚對於氣候危機不合比例的影響，從二氧化碳排放量到能源消耗，作 為一個產品遠超於所需的工業，其所帶來的影響不斷受到質疑。

部分尋找解決方法的人士正在研究電子平台。當疫情讓人們留在家 中，網上購物對於許多人來說成為了解決方法以及逃生門。2020年， 電商的全球時尚銷量市場份額從 16%上升至 29%，升幅接近 2倍，相等 於6 年的增幅。而網上購物的趨向只會加速，根據 McKinsey 2021年度 《The State of Fashion》報告，7成時尚從業人員預期他們的電商會增 長 20%，四分之一的從業人員預期會有5成或更多的升幅。

對於一個已經製造過多用品的行業來說，這些其實都說不上好消息。 但當 McKinsey 的報告指出電商以及電子化生意是 2021年時尚界「目 前為止最多人提及的機會」，可持續性隨後，兩者之間的互動將可以 減輕行業沉重的環境以及道德負擔。Redress 亦迅速地探索這些可能 性，在 2020 年的挑戰賽中，總決賽參賽者受邀網上升級再造滯銷存 貨；電子創新亦被包括在 Redress 循環時尚課程之內。而2020年線上 總決賽過後，本年度的活動將同時用上真人和虛擬模特兒。 包 括 時尚秀、推 銷 以 及 顧 客 參 與 在內的 時尚營 銷 為大 眾提 供了電 子化的可能性。栩栩如生的 CGI 網絡紅人不斷增多，如 Lil Miquela (@lilmiquela) 在 Instagram 上就有著 3 百萬關注者，她亦為 Dior、 Chanel、Prada 以及 Gucci 的企劃擔任模特兒。虛擬偶像不單止在多 元化方面吸引人，它在減少時尚界的碳足跡方面的潛力更引人注目，不 再有對於環境以及財政充滿著負擔的拍攝，網絡紅人浪費產品貨運又 或是昂貴的實體樣板運輸。

「 Redress ��大�」的歷�參�者一�以來在��作為可��� �的��服��由歷�參 �者 Angus Tsui ��的一件未來��� 服現正在���大的���尚平� Dress X ��；2014/15 年度大

UPCYCLED COPPER AND MINT DRESS BY KÉVIN GERMANIER. (PHOTO CREDIT GERMANIER) KÉVIN GERMANIER 升級再造的銅�薄荷夾色連衣裙。

�得主 Kévin Germanier �為���� Noonoouri ��了一 �佈 滿 Swarovski �晶的「���」�在�年度「Redress ��大�」中，� ��參�者��作�����服�以�一��由�������，並 以���式為�������一個����的��� 但電子科技其實為幕後帶來最大的影響。時尚設計軟件平台製作的電 子樣品能夠切實地減少實體樣板以及試衣所帶來的浪費程序，創意試 驗的機會如同設計師探索虛擬布料、風格以及印花一樣永無窮盡，消 除了在不同持訓方來回寄件獲得許可的需求，並且能令時尚服飾在修 改方面減少6成的時間。

Adobe Substance 與3D時尚設計的領軍人物 Browzwear 透過從電子

影像取出準備好製作的生產數據，踢除了將電子設計轉變成實體設 計的問題。另外，滯銷存貨亦將有新方法處理。在去年線上升級再造 挑戰賽裡，Redress 設計大賽總決賽參賽者們使用了 Browzwear 的 Vstitcher 軟件，利用 TAL 的滯銷存貨設計以及為服飾打版。「（有了電 子科技）你將會被零廢料下的速度以及重複的次數震驚。」

越發興盛的二手服飾市場亦受惠於電子科技。ThredUp、Depop 等網 站利用厲害的軟件以及所持有的數據令顧客比以往更輕易地購買二手 服飾；奢侈時尚 B Corp Another Tomorrow 正與科技新興企業合作， 提供一個能夠追蹤從供應鏈到二次銷售及往後的電子證件；企業家 Kalkidan Legesse 成立的再銷售平台 Schwap 使用參與品牌的數據庫 產生出最起初銷售時的產品列表。

電子創新正越頻繁地被使用以支援脆弱的供應鏈，讓因疫情造成的 人權問題不再發生。如 Open Apparel Registry 和 Higg Sustainability Index 最近讓平台間互相分享數據的這類合作增強了全球銷售鏈的透 明度以及問責性。降低速度、減少廢物、多樣性與創新、透明度與數據 分享，電子科技在未來可持續時尚方面顯然至關重要。 ARTWORK SHOWING BOTH REGULAR PRINT AND ADOBE SUBSTANCE EMBOSSING EFFECT. (PHOTO CREDIT BROWZWEAR)

圖稿展示常規印刷及使用 ADOBE SUBSTANCE 浮雕的效果。

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THE FUTURE OF SUSTAINABLE DESIGN

可持續設計的未來

A new wave of progressive designers have arrived. 218 Redress Design Award alumni in 38 regions are stepping up together to bring a brighter future in circular fashion. Understanding the importance of ethical, environmental and sustainable designs, these fashion designers have taken the time to innovate imaginative clothing without compromising the quality. They are the forefront pioneers in circularity designs and provide unique knowledge and inspiration on how to tackle issues within the fashion industry. 新一波進取的設計師已經上岸，來自38個地區的218位「Redress 設計大賽」 歷屆參賽者正共同為可持續時尚帶來一個更光明的未來。了解到人道、環保 以及可持續設計的重要性，這些設計師花時間在不會影響質量的前提下創新 服裝。他們是循環時尚設計的先鋒者，提供獨一無二的知識以及解決時尚界 問題的靈感。

PHOTO CREDIT KATIE JONES

PHOTO CREDIT JESSE LEE

FASHION REVOLUTION WEEK’S FASHION OPEN STUDIOﾠ|ﾠKATIE JONESﾠ|ﾠJESSE LEEﾠ|ﾠKÉVIN GERMANIER

Taking the public behind the scenes of designers’ studios, Fashion Revolution Week ’s groundbreaking Fashion Open Studio saw April play host to a digital showcase of interviews, panels and tutorials. From an exclusive who’s-who of sustainable design talent, three of Redress’ own alumni were selected to take part.

2014 semi-finalist Katie Jones gave audiences a taste of her signature handicrafts with a masterclass on using crochet patches to repair beloved garments, whilst 2019 finalist Jesse Lee discussed his creative journey in a conversational workshop teaching simple denim stitching techniques. The line-up also included a chat with 2014/15 Winner Kévin Germanier, exploring the “most terrific trash” used by his award-winning Paris label, Germanier.

將大眾帶到設計師工作室的幕後，Fashion Revolution Week的 Fashion Open Studio 在4月舉辦了一場由訪談、小組討論和教 程組成的網上展示。他們從可持續設計人才中，挑選了 Redress 的三名歷屆參賽者參加。

2014 年度準決賽參賽者 Katie Jones 為公眾舉行了一堂充滿著她獨特手藝風格的大師課，使用針織補丁修復心愛的衣物； 2019年度總決賽參賽者李顯鋒在一個教授簡易牛仔縫紉技巧的對談工作坊中討論自己的創意旅程；陣容還包括了2014/15年 度大獎得主 Kévin Germanier，他在屢獲殊榮的巴黎品牌 Germanier 中探索所使用的「最棒的垃圾」。 FASHIONOPENSTUDIO.COM

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DESIGNING FOR THE FUTUREﾠ設計出未來

MYËﾠ|ﾠMAI TAKEMORI Based out of Singapore, Mai Takemori has been working as a freelance designer since her participation in the 2014 cycle of the competition. This year, she launches her first solo label MYË – a sustainable activewear range created using recycled PET bottles.

With just one pair of leggings saving 12 plastic bottles from landfill, the brand aims to provide premium-grade activewear with lower environmental impact. From biodegradable packaging, to partial proceeds supporting reforestation efforts, conscientious practice drives the MYË brand every step of the way. 來自新加坡的 Mai Takemori 自從 2014參加比賽以來一直擔任自 由設計師。 今年，她推出了她的第一個個人品牌 MYË — 一個使 用回收 PET 瓶製作的可持續運動服系列。該品牌旨在提供對環 境影響較小的優質運動服，僅用一條緊身褲就可以從垃圾填埋 場裡拯救 12 個塑料瓶。從可生物降解的包裝到以部分收益支持 重新造林的工作，認真的實踐推動了 MYË 品牌的每一步。

MYEACTIVE.COM PHOTO CREDIT MYË

PHOTO CREDIT FARRAH FLOYD

FARRAH FLOYDﾠ|ﾠBOJANA DRACA In 2013, Bojana Draca was a semi-finalist in the fourth Redress Design Award cycle. Eight years, countless collections and one flagship store later, her brand Farrah Floyd has sparked a sustainable revolution in Brussels.

Today Bojana aims to share her success, enlisting emergent creatives for a multidisciplinary project that’s reimagining the sustainable label. Born from the constraints of lockdown, the Yellow Collapse concept invited local musicians, dancers, artists and more to explore their creative expression through garments, handpicked from the new Farrah Floyd collection.

2013年，Bojana Draca 進入了第四屆「Redress 設計大賽」的準決賽。八 年來，繼無數系列和一家旗艦店後，她的品牌 Farrah Floyd 在布魯塞爾 引發了一場可持續發展的革命。如今，Bojana 為一個重新構想的可持續品 牌的多學科項目招募新興創意人，旨在分享她的成功。Yellow Collapse 概 念 誕 生 於 封 鎖 的 限制，邀 請 當 地音樂 家、舞 者、藝 術 家 等人 員 通 過 從 Farrah Floyd 新系列中精心挑選的服裝來探索他們的創意表達。

FARRAHFLOYD.COM

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KAREN JESSEN

Since winning the 2013 cycle, Karen Jessen’s stunningly architectural, upcycled designs have been a tour de force in avant-garde sustainability.

In April her latest collaboration with Levi’s graced the pages of VOGUE Germany; a striking three-piece ensemble, painstakingly reassembled from old denim pieces. Hand-picked by the editors to represent Germany in the international project, Karen converted eight denim jackets to create the pants, top and field jacket featured. Her design celebrates the denims’ past life, with the original panels providing a design language and silhouette. 自從贏得2013年度的大賽以來，Karen Jessen 令人驚嘆的富建築感、升 級再造設計一直是前衛的可持續發展的傑作。 最近，她與 Levi’s 在4月 的合作製作了一套由舊牛仔布精心組裝而成，引人注目的三件套套裝， 登上了德國版的《VOGUE》。由編輯精心挑選以代表德國參加全球企 劃，Karen 將八件牛仔夾克改造成褲子、上衣和野戰夾克。她的設計通 過原始鑲板賦予了設計語言和輪廓，向牛仔布的上一代生命致敬。

KAREN-JESSEN.COM

PHOTO CREDIT LOVE FROM BLUE

PHOTO CREDIT VOGUE GERMANY

LOVE FROM BLUEﾠ|ﾠGRACE LANT After taking home the Hong Kong Best prize in 2020, designer Grace Lant debuted her sustainable knitwear label Love From Blue. Using only natural fibre and deadstock yarns, the brand works with local factories to create limited-edition unisex knitwear pieces. Their latest drop evokes the Hong Kong horizon, with graphic patterns and dusky tones. 設計師 Grace Lant 在 2020 年獲得香港最 佳設計師獎後，推出了她的可持續針織品 牌 Love From Blue。該品牌僅使用天然纖 維和滯銷紗線，與當地工廠合作，打造限量 版男女通用的針織品。他們的最新作品以 圖形和暗色調喚起了香港的地平線景觀。

LOVEFROMBLUE.COM

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DESIGNING FOR THE FUTUREﾠ設計出未來 CLAIRE DARTIGUES Whilst her eponymous label continues to flourish, 2017 finalist Claire Dartigues has turned her sights to the world of performance art. Her project IMAGINE takes sustainable fashion out into the world, in live displays of craftsmanship spanning ice rinks to mountain tops. By bringing sewing outside of its usual framework, Claire hopes to open up new creative perspectives. 在她的同名品牌繼續蓬勃發展的同時，2017 年決賽入圍者 Claire Dartigues 將目光投向 了行為藝術的世界。她的項目 IMAGINE 將 可持續時尚帶入世界，從溜冰場到山頂現場 展示其工藝。Claire 希望通過將縫紉帶離平 常的框架開闢新的創意視角。

CLAIREDARTIGUES.COM PHOTO CREDIT BLOCKS OF_

PHOTO CREDIT CLAIRE DARTIGUES

BLOCKS OF_ﾠ|ﾠABBY GASKIN After completing her thesis at Parsons School of Design, 2019 cycle alumni Abby Gaskin has launched her hybrid platform/ brand Blocks Of _ – all about finding the meditative moments in mundane tasks. With a capsule release of nineteen ‘uniforms’ for the every-day, the label uses upcycled bed sheets to reimagine daily chores as inspirational fashion. 在帕森斯設計學院完成論文研究後，2019 年的歷屆參賽者 Abby Gaskin 推出了她的 混合平台/品牌 Blocks Of _ — 旨在平庸的事 務中尋找冥想時刻。該品牌推出19款日常配 搭的「制服」膠囊系列，使用升級再造的床 單將日常瑣事重新定義為鼓舞人心的時尚。

BLOCKSOF.CA

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ROCARINAﾠ|ﾠCARINA ROCA PORTELLA The fierce fashion sustainable advocacy that won designer Carina Roca the runner-up prize in 2019 continues in her most recent project: a bold fashion film taking aim at overproduction and overconsumption. Carina is also soon to debut a range of feminist-inspired activewear, cutting out waste with a unique made-ondemand production model. 熱衷可持續時尚宣傳的2019年亞軍得獎設計師 Carina Roca 在她最近的項目中延續這份精神： 一部針對過度生產和過度消費的大膽時尚電 影。Carina 亦將推出一系列受女性主義者啟發 的運動服飾，透過按需製造的模式減少廢料。

CARINAROCA.COM

PHOTO CREDIT IF.OR__SEEYOU

PHOTO CREDIT ROCARINA | BONASTRE.PHOTO

IF.OR__SEEYOUﾠ|ﾠJANUS HA 2012 semi-finalist Janus Ha has launched her handmade label if.or__seeyou, after graduating from The Hong Kong Polytechnic University with First Class Honours specialising in natural dyes. Handicraft techniques like pleating and smocking define the brand’s vintage aesthetic, with a mission to create valued, zero-burden fashions from upcycled industrial waste.

2012 年的準決賽參賽者，專攻天然染色的 Janus Ha 在香港理工大學獲得一級榮譽畢 業後成立自家製品牌 if.or__seeyou。帶著從

工業廢料中製造出有價值、零負擔的時尚 使命，皺褶、皺折繡等手工藝技巧定義了品 牌的復古美學。

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INSTAGRAM.COM/IF.OR__SEEYOU

DESIGNING FOR THE FUTUREﾠ設計出未來

PHOTO CREDIT ANGUS TSUI

PHOTO CREDIT AMERICAN EAGLE

ANGUS TSUI Sweeping through Redress Design Award categories in the 2012, 2017 and 2020 cycles, the high-flying career trajectory of Hong Kong designer Angus Tsui has been unstoppable. Recently featured by ELLE Magazine as a designer to watch, he debuted his F/W 2020/21 collection at London Fashion Week to widespread acclaim. Featuring Angus’ blend of recycled fabrics and cutting-edge silhouettes, his latest work explores interchangeable design for more sustainable options. Angus’ futuristic flair has proven popular among the fashionable it-crowd, with Hong Kong singers Kira and Jace Chan spotted sporting his looks for music videos and award shows.

And the profile of Angus Tsui’s sustainable eponymous label keeps growing- earlier this year, the designer secured a high-profile collaboration with retailer American Eagle. Commissioned to put waste back into use by upcycling pre-loved American Eagle jeans, Angus’ exclusive contemporary capsule collection comprised 15 one-of-a-kind pieces which were auctioned for charity. In May, Angus also took to the virtual stage to advocate sustainability in design at Hong Kong’s own 2021 Fashion Summit. 橫掃2012、2017和2020年度「Redress 設計大賽」獎項的香港設計師徐逸昇扶搖直上的事業已經勢不可擋。他最近被 Elle 雜誌名為值得關注的設 計師，亦在首次參與的倫敦時裝周發佈 2020/21秋冬系列，贏得廣泛讚賞。在最新系列裡，他運用了糅合回收布料的技巧以及先鋒的輪廓，為可持 續設計探索可互換的設計。徐逸昇未來感的設計深受時尚愛好者歡迎，香港歌手陳葦璇和陳凱詠亦在音樂短片以及頒獎典禮穿著他的服飾。

徐逸昇同名的可持續時尚品牌繼續拓展，較早前他與 American Eagle 合作，受邀升級再造二手 American Eagle 牛仔褲，為廢料再次帶來用途。徐逸 昇的獨家精品系列共有15件獨一無二的作品，拍賣作品所得的款項將捐贈給慈善機構。5月，他還在香港舉辦的2021年時尚峰會上走上虛擬舞台， 倡導設計的可持續性。

ANGUSTSUI.COM

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CLASSICS ANEWﾠ|ﾠJANKO LAM

Since winning the 2011 cycle, Janko Lam’s acclaimed label, Classics Anew, has captured the attention of the Hong Kong public with its unique blend of heritage and sustainability. In her latest effort to promote longevity in fashion, Janko has launched online learning platform Classics Anew Academy, teaching beginner sewers the techniques to make traditional garments that celebrate craftsmanship. She also collaborated with Redress on new tutorials about design with longevity and upcycling techniques for our LEARN platform to further contribute in sustainable fashion education.

自贏得2011年度比賽以來，林春菊備受讚譽的品牌「新裝如初」在 獨特地糅合傳統和可持續性方面備受大眾的關注。她最近為促進 時尚長壽而努力中，春菊推出了網上學習平台「華服學堂」，向裁縫 新手教授製作傳統服裝的技術，以歌頌手工藝。她還與 Redress 合 作，為我們的 LEARN 平台編寫了有關長壽設計和升級改造技巧的 新教程，以進一步為可持續時尚教育作出貢獻。

CLASSICSANEW-ACADEMY.COM

PHOTO CREDIT CLASSICS ANEW

JESSE LEE 2018 Hong Kong Best Winner Jesse Lee continues his work exploring recycling discarded ﾠ materials, ﾠ most ﾠ recently collaborating with Redress and Tommy Hilfiger for an exclusive virtual workshop to teach his craft. Passionate about reuse and circularity in fashion, Jesse also presented sustainable designs at Fashion Summit HK Virtual Booth 2021.

2018 年香港最佳設計師獎得主李顯鋒最 近與 Redress 和 Tommy Hilfiger 在一個 獨家的網上工作坊合作，教授他的技藝， 繼續探索回收被廢棄的物料。對於重用 以及熱衷循環性的李顯鋒亦在 2021年度 時尚高峰展示他的可持續設計。 INSTAGRAM.COM/LEEPOCHEUNG

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DESIGNING FOR THE FUTUREﾠ設計出未來 GERMANIERﾠ|ﾠKÉVIN GERMANIER One of the greatest sustainable fashion success stories to emerge in recent years, Redress’ 2014/15 Winner Kévin Germanier continues to change the game with his glamorous upcycled style. Gaining a cult celebrity following for his signature jewel-encrusted looks, Germanier’s meteoric rise shows no signs of slowing down.

Latest devotees include drag icon A’ Whora, who wore a crystal-laden look to the BAFTAs, while ﾠ K-Pop ﾠ sup ergroup ﾠ IT Z Y ﾠ donne d Germanier for a recent Singles Magazine cover.

They join the ranks of music royalty CL, Aespa and Joy in sporting the label this year, both in print and on stage.

Debuting his newest A/W collection at the prestigious Paris Fashion Week in March, Kévin continues to work closely with Swarovski by using their end-of-line gems in his collections. The label’s penchant for rescued jewels doesn’t stop with clothes, however.

In an exclusive collaboration with Guerlain, Germanier reimagined the iconic ‘Bee Bottle’ in his distinctive bejewelled style with the aim of leading the Parisian powerhouse toward an eco-conscious future.

PHOTO CREDIT GERMANIER

Perfume bottles are just the latest addition to the Germanier line up, with the brand’s prolific success seeing them expand into playful accessories. The latest drop? iPhone covers upcycled from past seasons’ clips and jewellery! 作為近年最為成 功的可持續時尚故事之一，

2014/ 15 年度「 Redress 設計 大 賽 」得 獎 者 Kévin Germanier 繼續透過迷人的升級再造

風格改變業界規則。他標誌性的以珠寶點綴 的服裝收穫著狂熱的明星信徒，而 Germanier 上 升 的 事 業 亦 未 見 半 點 放 緩。最 新 的 支 持 者 包 括 變 裝 皇 后 A' Wh or a，他 穿 著 一 條 遍 佈水晶的裙裝出席 BAFTAs，而韓國超級偶 像團體 IT Z Y 則身穿 G ermanier 登 上 最 近 的 Singles Magazine 封面，他們本年與音樂界 的擁躉 CL、Aespa 以及 Joy 一同在紙媒以及 舞台上支持 Kévin 的品牌。

3 月，Ké v in 在 高聲 望 的巴 黎 時 裝 周首 次發

佈了他 最 新 的 秋 冬 系 列，是 次 系 列 繼 續 與

Swarovski 緊密合作使用滯銷寶石。然而，該

品牌對拯救珠寶的喜愛並不止於衣服。在與嬌 蘭的獨家合作中，Germanier 以其獨特的珠寶 風格重新構想了標誌性的「蜂印瓶」，旨在帶 領這間巴黎大企業邁向一個具有生態意識的 未來。

PHOTO CREDIT GUERLAIN

而香水瓶只是 Germanier 作品的最新成員之 一，品牌的成就 擴 展到俏皮的配飾。最新出 品？是用過去幾季的髮夾和珠寶回收而成的 iPhone 手機套！

KEVINGERMANIER.COM

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LEELALOOM HANDWOVENﾠ|ﾠDEE BURTON Dee Burton, an alumna from the very first Redress Design Award cycle in 2011, has launched a line of ethically handmade textiles designed for babywearing. The brand, Leelaloom Handwoven, is driven to support artisan weaving communities in rural Thailand, crafting the traditional multi-wear slings from naturally dyed, durable cotton.

Dee Burton 是 2011年度首屆「Redress 設計 大賽」的歷屆參賽者，她推出了一系列專為 嬰兒穿著而設計合乎道德的手工紡織品。 品牌Leelaloom Handwoven 使用天然染色 的耐用棉製作傳統的多用途嬰兒背帶，致 力支持泰國農村的編織工匠社群。 LEELALOOMHANDWOVEN.COM

PHOTO CREDIT SPAZIO 3R

PHOTO CREDIT LEELALOOM HANDWOVEN

SPAZIO 3Rﾠ|ﾠCORA BELLOTTO While continuing to develop her own namesake brand, Redress 2015/16 alumna Cora Bellotto recently co-founded social organisation SPAZIO 3R, providing vulnerable women with training in tailoring and employment opportunities. As designer and Vice President for the association, Cora believes sustainable fashion needs to better consider the social aspect of fashion manufacturing. 在繼續發展同名品牌的同時，2015/16 年度的歷 屆參賽者 Cora Bellotto 最近與他人共同創立 了社群組織 SPAZIO 3R，為弱勢女性提供剪裁 培訓和就業機會。作為該協會的設計師和副總 裁，Cora 認為可持續時尚需要更深入地考慮製 造過程對社會方面的影響。

SPAZIO3R.ORG

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ONE year on from winning the Redress Design Award 2020 Menswear category, we catch up with designer Ngoc Ha Thu on her six-month collaboration with international powerhouse, Timberland, to create the pinnacle piece for their upcoming Lunar New Year 2022 collection, ‘Year of the Tiger’.

贏得2020 年度「Redress 設計大賽」男裝大獎一年 後，我們與設計師 Ngoc Ha Thu 談及她與國際著名 品牌 Timberland 六個月的合作項目 — 為 Timberland 創作 2022 年農曆新年系列「Year of the Tiger」的主 打單品。

What was it like working with the Timberland team? 和 Timberland 的團隊合作怎麼樣？ I felt immediately welcomed and included as a member of experienced specialists in the field. Meeting weekly by video call, during the concept development and sketching stages, the Timberland team allowed me the highest degree of creative liberty, challenging me to push against conventional ideas and practices in sustainable fashion. Whenever I felt uncertain or unsatisfied with my work, we would come together as a team to devise concrete solutions. 他 們 當下 把 我 看 待 成 這 個 行 業 有 經 驗 的 專 業 人 員 之一 令 我 感 到 賓 至 如 歸。透 過 每 週 視 像 通 話，Timberland 團隊在發展概念以及繪圖的過程中都 賦予我最高度的創作自由，促使我去推翻可持續時尚 的常規概念以及做法。每當我對自己的作品感到不肯 定或不滿意的時候，我們會作為一個團隊一起相量建 設性的解決辦法。

Has the experience affected your own design process? 是次經驗如何影響你自己的設計過程？

EYE OF THE TIGER 虎之眸

Each aspect of the collaboration has been formative to my career, providing me with lessons that I have incorporated in my own work. Before this project, much of what I knew about the field was theoretical, and what little of that theory I had been able to put into practice was restricted to smaller scale, personal projects. Besides designing with Timberland, I was involved extensively in the sourcing process and gained valuable insights into sourcing sustainable and low-impact materials on a large scale. I also got the opportunity to visit VF partner factories in Vietnam, which provided me with a more pragmatic approach to sustainable fashion that is applicable on a large scale.

I was most impressed with Timberland's CLS (Compatible ﾠ Layering ﾠ System) ﾠ which ﾠ enables designers to mix-and-match different layers of coats and jackets giving the customer garments that are fully versatile across different weather conditions – with ﾠ interchangeable ﾠ layers ﾠ between ﾠ different garments! I have been inspired to utilise and innovate CLS even further in my own designs.

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合作的每一方面都有助我事業的形成，其中我學習到很多能融入工作 的知識。這個項目之前，我認識的大多是理論上的知識，令我只可在規 模較小的個人項目中付諸實踐。除了與 Timberland 一起設計之外，我 亦廣泛地參與了採購過程，在大規模採購可持續時尚以及低影響物料 方面獲得寶貴的見解。我亦有機會參觀威富公司在越南的合作工廠， 為我提供一個促使可持續時尚大規模製作的實用方法。

我影響最深刻的是 Timberland 的 CLS（兼容分層系統），它讓設計師 能夠配搭多層大衣及外套，透過可互換的服裝層為顧客提供多元化、 適用於各種天氣的服飾。它啟發了我在自己的設計中進一步去運用以 及創新 CLS。

activities and living conditions. I’m most proud that I was able to combine Timberland’s heritage with my own touch, upgrading an existing design to create a better product. For example, taking inspiration from the white tiger’s agility, I wanted to increase the mobility of the garment, looking into alterations in the joint areas – elbow, knee, shoulder point.

I discovered that in previous versions of vintage military-inspired fishtail parka, the liner usually features half opened armpits, and decided to incorporate this detail in my design. 與 Timberland 一起設計農曆新年的主打單品是我莫大的榮幸。儘管這 個全球的疫情帶來不少考驗，這次合作為我提高了靈感以及寶貴的業 界知識，令我作為一名設計師得以成長，亦肯定了我對時尚界可持續 性的承諾。我最終的設計是一件三合一的派克大衣和一個大膽舞動的 白色老虎背包。大衣在不同場合有無窮的搭配方法，可以作為多功能 服飾或是實用的單品。我對於自己能結合 Timberland 的傳統以及自己 的風格感到自豪，升級一個已有的設計去設計出一個更好的產品。以 白虎的靈活性中汲取靈感為例，為了增加服裝的靈活性，我研究了關節 區肘部、膝蓋和肩點的變化。我發現軍用魚尾派克大衣舊設計中的襯 里經常在腋窩位置作半開，我決定將這一細節加入到我的設計當中。

How did the Redress Design Award ready you for your collaboration with Timberland? 「Redress 設計大獎」如何讓你與 Timberland 的合作做好準備？

THU DREW INSPIRATION FROM THE POWER AND AGILITY OF TIGERS FOR STRUCTURAL ELEMENTS OF THE GARMENT. THU 從白�的力量和�捷性中汲取靈�,打�服�的�構元��

What are you most proud of in your final Timberland design? 在最終的 Timberland 設計中，你最引以為豪的是什麼？

Working with Timberland to design the ‘pinnacle piece’ for the Lunar New Year 2022 collection has been a great privilege. Despite numerous challenges posed by a global pandemic, this collaboration has provided me with inspiration and invaluable industry knowledge, helped me grow as a designer, and reaffirmed my commitment to sustainability in fashion.

My final design is a 3-in-1 parka and accompanying backpack with a bold and dynamic white tiger pattern. Worn as one multi-purpose unit or as practical separates, the parka has endless combinations for diverse

The experience I gained from taking part in the multiple educational activities was incredibly helpful, particularly through the VF ‘Made for Change’ challenge, which gave me a stepping stone into the brand. Every part of running a business was touched upon, from Sustainability & CSR, to Design, Sourcing and Production, to Marketing and Merchandising.

What was also valuable to me was the other finalists’ interpretation of Timberland’s philosophy, and applying that understanding into a new context. During the design collaboration, I often found myself referring back to the materials given to me by Redress & VF for the challenge. 我從參加多項教育性活動中取得的經驗十分有幫助，特別是透過威富 公司「Made for Change」挑戰，這為我提供了進入這個品牌的基石。 從可持續發展和企業社會責任，到設計、採購和生產，再到營銷和銷 售，生意經營的每一個部分都有接觸到。對我來說同樣充滿價值的是 其他總決賽者對於 Timberland 美學的釋義，並將這種解釋應用到新的 情景。在設計合作過程中，我發現自己經常參考 Redress 和威富公司 給我的挑戰參考資料。

PROTOTYPING FOR THE JACKET’ S ACCOMPANYING BACKPACK (PHOTO CREDIT LE NGOC HA THU)

外套隨附背包的原型設計。

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Any key takeaways from the experience? 是次經驗有沒有重要得著？

My experience with Timberland has given me a pragmatic and optimistic view of sustainability in the fashion industry, and continues to encourage me to experiment with the versatility of applied sustainable materials and practices. Timberland’s philosophy and active involvement with the community have given me invaluable insights in bringing sustainability into the mainstream, such as global brands leveraging their international power while considering local context and histories. 我在 Timberland 的經歷令我對時尚界的可持續性有了務實而樂觀的看 法，並繼續鼓勵我去試驗可持續材料和方法的多樣性。Timberland 的 理念和對社區的積極參與讓我在將可持續發展融入主流社會方面獲得 了可貴的見解，例如國籍品牌在考慮當地背景和歷史的同時活用它的 國際影響力。

What’s next for you? 你的下一步是什麼？

Through the collaboration with Timberland, I have come to appreciate the power and influence of an international corporation in its own supply chain and the global industry. I was also inspired to put what I learned into practice and launched my own brand XAVAN Studio this year – a thought I often entertained but never planned to realise. Our first product, the Denim Type II Jacket, is an updated version of the reconstructed kimono jacket in my collection for the Redress Design Award! Our underlying philosophy is “good things take time” and “ doing less but better.” All pieces are one of a kind using zero-waste design, high

It’s time to re-imagine the way you think about a traditional care label.

quality deadstock fabrics along with traditional techniques. We are also in talks with local & international artists and fashion brands for future collaborations. 和 Timberland 的合作讓我體會到一家國際企業在自己的供應鍊和全 球業界中的力量和影響力。這亦啟發了我將學到的知識付諸實踐，並 於今年推出了自己的品牌 XAVAN Studio，這是一個我經常感到滿意， 但從未打算實踐的想法。我們的第一款產品 Denim Type II Jacket 是我 的「Redress 設計大獎」系列中經過改造的和服外套的升級版！我們的 理念是「好的事情需要時間」和「做得少但做得更好」。所有單品均採 用零廢棄設計、高品質的滯銷布料以及傳統技巧。我們還在與本地和 國際藝術家以及時尚品牌商談未來的合作。

LE NGOC HA THU REDRESS DESIGN AWARD 2020 MENSWEAR WINNER 2020年度「REDRESS 設計大賽」男裝大獎得主 LONDON 倫敦ﾠ/ﾠVIETNAM 越南 ﾠLE_NGOCHATHU

The Timberland Lunar New Year 2022 collection will launch across Asia in early 2022.

Timberland 的2022農曆新年系列將於 2022年初在亞洲推出。

HALF-PAGE AD (AVERY DENNISON)

Avery Dennison launch the Digital Care Label.

Avery Dennison is proud to launch our Digital Care Label, through our first pilot partnership with Ambercycle, a post-consumer garment recycler.

The partnership is the first in a series of innovation-based collaborations; bridging the physical and digital to enable circularity within the fashion industry. Scan the QR to find out more. Join the movement of #caretobethechange.

Scan the QR to find out more.

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GRADIENTS OF REALITY

漸變現實

EXPLORE the work of ten stunning emerging talents who apply a wide range of sustainable and circular design approaches to tackle and transform industry waste. In response to the core brief of the competition, our finalists give second life to a variety of waste from end-of-rolls or samples, and consumer waste, like suits and uniforms; through to more unusual waste streams like damaged camping equipment and old sailing flags.

Collectively, the Redress Design Award 2021 finalists works demonstrate the power that designers have to transform waste. 探索十位令人驚嘆的新晉人才的作品，他們應用廣泛的可持續和循環設計方法來解決和轉 化行業廢料。為呼應比賽的核心內容，我們的總決賽參賽者給予不同的廢料第二次生命，如 卷軸尾端布料或樣板廢料，以及西裝和製服等消費後廢料；甚至乎到更不尋常的廢物來源， 如受損露營設備和舊帆船旗。 總括而言，2021 年「Redress 設計大賽」的入圍作品顯現了設計師轉化廢料的實力。

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ISABELLA LI KOSTRZEWA Zero-waste peplum lace shirt and wide-leg trousers, upcycled from damagedﾠcurtainsﾠandﾠthrifted vintage tablecloths. 由回收已損壞的窗簾與舊式桌布 製成的零廢棄荷葉邊蕾絲襯衫及 闊腳褲。

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PSY LAU 劉倩怡

Zero-waste roll-neck knit and wide leg shorts, worn with embellished upcycled jacket, all made from damaged and surplus textiles. 零廢棄的高翻領針織衣和闊 腳短褲，搭配以已損壞和盈

餘紡織品及以裝飾點綴升級 再造製成的外套。

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LUCY SAUNDERS Layered top reconstructed from secondhand t-shirts and shirts.

Asymmetrical skirt constructed from a vintage tent and boat covers, worn over upcycled flag maxi skirt. 由二手T恤及恤衫重新構造而成的 層次上衣。由舊式帳篷和船罩製成

的不對 稱半 截裙穿搭在 升級再造 旗幟半截長裙上。

JESSICA CHANG 暢芷荺

Upcycled one-piece jumpsuit with trench coat panelling made using sampling yardage and reconstructed secondhand clothing. 採用樣品廢料嵌板及由二手服裝升級再造 而製成的風衣形連身褲。

LILI SIPEKI Reconstructed quilted jacket customisable through removable pockets ﾠ and ﾠ tied ﾠ panelling.

Wide-leg trousers made from secondhand school blazers and shirts. 重 新構 造 的 絎 縫 夾 克可透 過

可拆卸口袋和繫綁嵌板自行定 制。由二手校 服 外套 和襯衫製 成的闊腳褲。

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JIN PEI-WEN 金蓓雯

Zero-waste crop camisole worn over multi-wear tunic blouse, featuring shoulder tie and ruffled hem detailing. Created from rescued sampling yardage. 零廢棄剪裁的吊帶背心穿搭在百

搭長衫上，配有肩帶和荷葉邊下 擺細節。由回收樣品廢料製成。

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TULIKA RANJAN Zero-waste felted cocoon and trousersﾠfeaturingﾠRorschach inspiredﾠprint, ﾠcreatedﾠfrom rescued wool fibres and merino wool, silk and linen fabrics. 由回收羊 毛 纖 維 和美利 奴羊

毛、絲綢和亞麻織物製成的羅 夏克墨漬印花零廢棄氈化蠶繭 和長褲。

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FRIEDERIKE SNELTING Padded jacket and cape constructed from fabric made from upcycled polyamide f ibre, ﾠ with ﾠ recycled ﾠ wadding ﾠ and pillow filling. Worn over reconstructed leggings and upcycled jumper. 由升級再造聚酰 胺 纖 維布料、再生棉 絮及枕頭填充物製成的襯墊外套和斗

篷。襯搭在重新構造緊身褲和升級再 造套頭衫之上。

LIU FENG 劉鳳

Transformable overcoat upcycled from deadstock textiles, with integrated removable bag. Worn over upcycled panelled shirt and wide-leg trousers. 由滯銷紡織品製成的可變形大衣，

帶 有一 體 式 的可拆 卸 袋 和疊 層服

裝。配搭在升級再造拼接襯衫和闊 腳褲之上。

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KRISTINA VYZAITE

Upcycled ﾠ long-sleeved ﾠ top paired with zero-waste panelled trousers, ﾠ both ﾠ constructed from secondhand crocheted tablecloths and textiles, and lined in end-of-roll materials. 均由二手鉤編桌布、紡織品和 卷軸尾端布料襯裡製成的升級

再造長袖上衣，襯搭零廢棄拼 接長褲。

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AT a time where the physical and virtual worlds are becoming increasingly intertwined, this cycle’s annual editorial shoot created a digital playground to showcase our 10 finalists’ looks, inspired by the aesthetics of cyberspace, with two outcomes – the stunning photos shown here and an extended digital-hybrid feature for the October 2021 edition of VOGUE Hong Kong. 在實體和虛擬世界日益交織在一起的時代，啟發自網絡 空間的美學，本屆的年度編輯拍攝創造了一個數碼場地 以展示我們 10 名決賽選手的造型。呈現出兩個結果 — 令人驚嘆的照片和2021年《VOGUE》Hong Kong 十月 刊深入的虛擬實體專題。

Photography by 攝影 KARL LAM (@SHOTBYKARL)

Styled by 造型 KIERAN HO (@KIERANHO) Senior Vice President of Purple PR

Hair by 髮型 MARCO CHAN (@MARCOCHANPRO) Ambassador for KMS with assistance from Dean Tsui Makeup by 化妝 KAREN YIU (@KARENPAINT) for HK Makeup Artist with assistance from Tingting Models 模特兒 BEANJU C (@BEANJUU) ALBERT J (@WOO_LICK) From Quest Artists & Models Creative Direction 創意監製 MATTHIEU AMELIN EDMUND CHAN

Production 製作團隊 SONIA WAN CELIA CHEUNG

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BEHIND THE SCENES

鏡頭背後

The creative vision of the ‘Gradients of Reality’ shoot was skilfully executed by a team of local Hong Kong talent, to spotlight the forward-thinking designers tackling fashion’s waste predominantly through reconstruction, upcycling and zero-waste techniques. The images reflect a ‘new normal’ in the era of online communication – and celebrate its potential to foster collaborative worldwide change. Striking yet simple hair and make-up brought the garments into crisp focus, highlighted against a backdrop of gradient light, representing the ether of the virtual world. 「漸變現實」的創意願景由香港本地傑出團隊巧妙地執行，透過 重新構造、升級再造以及零廢棄技巧突出時尚廢物的前瞻性設 計。這些圖像由彈出式面板和數字界面構成，反映了網上交流時 代的「新常態」— 並慶祝其促進全球協作變革的潛力。拍攝本身

體現了這種「虛擬團隊」的概念，我們的決賽參賽者從遠處監督 造型。引人注目但簡單的頭髮和化妝使服裝成為清晰的焦點，在 全息燈的背景下突出顯示。

STYLING BY KIERAN HO

KIERAN HO 為拍攝設計造型

With each year there is always something new and innovative – I am always surprised when I see gorgeous pieces up close that you really can’t tell have been made from reused materials. 每 年 都會 有一 些 全 新的和創 新的東 西—當我近 距離看到這些華麗的作品 時，我總是感到驚訝，你真的無法分辨 出它們是由重用物料製成。

KIERAN HO

Fashion Stylist 形象設計師

MAKEUP BY KAREN YIU FOR HK MAKEUP ARTIST

KAREN YIU 代表 HK MAKEUP ARTIST 擔任化妝造型

HAIR BY MARCO CHAN FOR KMS

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MARCO CHAN 代表 KMS 設計頭髮造型

REFRESHMENTS SPONSORED BY PIZZAEXPRESS PIZZAEXPRESS 為攝影團隊提供餐飲贊助

THE VIRTUAL TOUCH TEAM PUTS FINAL TOUCHES ON THE DIGITAL-HYBRID EXTENDED FEATURE FOR VOGUE HONG KONG VIRTUAL TOUCH 團隊為刊登在《VOGUE HONG KONG》的數碼混合專題進行最後編輯

PHOTOGRAPHY BY KARL LAM 攝影師 KARL LAM

LOGISTICS SPONSORED BY UPS

物流贊助 UPS 協助將參賽者的設計系列帶到香港

THE REDRESS PRODUCTION CREW REDRESS 製作團隊全體

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HONG KONG BEST WINNER 最佳香港設計師

FINALIST HONG KONG 香港 9PSY LAU 劉倩怡 HONG KONG-based designer Psy Lau unites a variety of sustainable techniques in her bold, eclectic menswear collection, influenced by the ubiquitous street style of her home city and her own experience living with Attention Deficit and Hyperactivity Disorder.

“I would like to create a new interpretation of the suit by combining it with street style to illustrate my story,” states the Hong Kong Design

in the industry. “As sustainable fashion designers we should consider whether sourced materials are sustainable and can be reused or recycled after use,” she says. “Each decision on pattern design, creation and consideration of users should seriously consider the environmental impacts of our creations.”

Institute alumna, who is currently pursuing a BA in Fashion and Textiles at The Hong Kong Polytechnic University. “Through my designs I like exploring new solutions for fashion that have the potential to change consumption behaviours and limit the negative environmental impacts of the fashion industry.”

Rendered in striking black and yellow, Psy’s designs symbolise the coexistence of hyperactivity in a world of ‘normal’ people. She draws from Hong Kong’s rich history of tailoring and craftsmanship, reviving slow fashion methodologies in her bespoke outfits.

Unique and customisable, Psy hopes her work will make consumers reconsider fast fashion’s appeal. “I hope to enhance Hong Kong street fashion by inputting more personalised elements to the market, instead of blindly appreciating big brands only,” she explains. Using zero-waste textile processes, the collection ‘A.D.H.D’ is reconstructed from secondhand garments alongside industry waste including damaged textiles and yarns.“I enjoy finding beauty in things that are odd and imperfect,” she says of her creative practice.

Introduced to sustainable fashion through the work of Redress Design Award alumnus Angus Tsui, Psy advocates for greater accountability

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PSY HANDPICKED SECOND HAND GARMENTS FOR RECONSTRUCTION, UNITING TRADITIONAL TAILORING WITH CONTEMPORARY STREETWEAR.

倩怡精心挑選二手服裝進行改造，將傳統剪裁與現代街頭服飾相結合。

S T O RY -TE

MEET THE FINALISTSﾠ認識總決賽者

MADE USING ZERO-WASTE TECHNIQUES, THE COLLECTION IS A CELEBRATION OF SLOW FASHION.

該系列採用零廢棄技巧製成，頌揚慢時尚。

LL

IN G 故事演 繹

THE DESIGNER DRAWS HER PATTERN-MAKING SKILLS FROM HONG KONG’ S RICH HISTORY OF TAILORING AND CRAFTSMANSHIP.

倩怡從香港豐富的剪裁和工藝歷史中汲取製版技巧。

I hope to enhance Hong Kong

street fashion by inputting more personalised elements to the markets, instead of blindly ﾠ appreciating ﾠ big brands only. 我希望能夠透過在市場注 入更多個性化的元素，而非 只是盲目追崇大品牌，來增 進香港街頭時尚的市場。

受啟發於自家城市無處不在的街道風 格以及與注意力不足及過度活躍症相 處的經驗，香港設計師劉倩怡在她大 膽、不拘一格的男裝系列使用了一系列 可持續技巧。 如今在香港理工大學修讀時裝及紡織 品學士學位，香港設計學院的舊生劉 倩 怡 說 :「 我 希望 透 過 與街 頭 風 格 融 合，創作出一 個嶄新的方法呈現西裝 來演繹我的故事。」「透過我的設計， 我喜歡探索有潛力改變消費者習慣以 及限制時尚界負面的環境影響的新解 決辦法。」

劉倩怡利用引人注目的黑色及黃色，希望她的作品能夠讓消費者重新考慮快時尚。她指 出：「我希望能夠透過在市場注入更多個性化的元素，而非只是盲目追崇大品牌，來增 進香港街頭時尚的市場。」運用零廢棄過程，《 A.D.H.D》系列從二手服飾以及包括已 損壞的布料及紗線在內的工業廢料重塑而成。提及創意過程時，她說：「我享受從 古怪以及不完美的事物中尋找美。」 透過歷屆參賽者徐逸昇的作品認識可持續時尚，劉倩怡提倡時尚界承擔更多的問 責性。她說：「作為一個可持續時尚設計師，我們應該考慮採購的物料是否可持續以 及能否在用完後重用或循環再造。」「設計過程、創作以及用家作的每一個決定都應該嚴謹 地考慮我們的創作在環境方面的影響。」

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INDIA 印度

PEOPLE'S CHOICE AWARD WINNER 人氣大獎得主

TULIKA RANJAN THE great human and environmental toll of the textile industry in India proved key in the development of Tulika Ranjan’s collection – a cause particularly close to the designer’s heart.

“I love to research as part of my creative process and have visited big

garment factories in Bangladesh through to remote weavers in Indian villages,” says Tulika, who holds a Bachelor's Degree in Fashion Design

from the National Institute of Fashion Technology in New Delhi, India.

“I have seen first-hand the real problems calling for real solutions and my dream is to be a part of this change.”

Her collection ‘Just An Outlier’ celebrates those she calls ‘rebels with a cause’: the fringe-dwellers and outsiders whose resilience is propelling systemic change. Aiming to start conversations around mental health within society, Tulika’s contemporary designs draw inspiration from the distinctive iconography of the Rorschach inkblot test.

Using zero-waste and upcycling techniques, the designs unite factory waste with traditional handicraft. “India is very rich in textiles, both handmade and industrial. However, they are rarely used together,” says Tulika. “This inspired me to bridge the gap and marry the two waste streams together.”

Tulika explains the greatest challenge to developing her sustainable collection was her highly selective sourcing process alongside the use of experimental materials. “To avoid chemicals, I am naturally dyeing undyed textile waste, then using soot for hand painting and screen printing. Soot is an innovative pigment created from waste by-products of air pollutants.”

THE DESIGNER ’ S DISTINCTIVE HAND-PAINTED INK-BLOT PRINTS USING LAMPBLACK PIGMENT DERIVED FROM AIR POLLUTANTS. TULIKA 使用了源自空氣污染物的燈煙炭黑色素，手繪出獨特的墨跡印花。

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Through her work, the designer hopes to inspire mindful consumerism through education about slow and sustainable fashion. “My dream is to build a slow fashion community of like-minded designers and suppliers, tackling the challenges of textile waste, pollution and supply chain transparency.”

MEET THE FINALISTSﾠ認識總決賽者 印度紡織業對人類以及環境造成的影響是 Tulika Ranjan 系列的發展中 的關鍵，背後聯繫著這位年輕設計師心靈的事件。 持有印度新德里國家時裝技術學院服裝設計文學士學位的 Tulika 說:「 我喜歡將研究作為創意過程的一部分，並曾造訪小至印度偏遠地方的 紡織工人，大至孟加拉的大型製衣廠。」她接著道：「我曾親眼目睹需 要解決方法的問題，我的夢想是成為這變革的一份子。」 她的系列《 Just An Outlier》讚頌那些「有理由地反叛」的人 — 異鄉人 和局外人正以他們的韌性推動系統性改變。Tulika 的當代設計從羅夏 墨跡測試的獨特圖像擷取靈感，希望藉此喚起社會對於心理健康的關 注。

通過零廢棄以及升級再造技巧，其設計融合工業廢料以及傳統手工藝 製品。Tulika說：「印度的紡織品十分豐裕，包括手工製及工業製的，但 是它們很少被一起使用，這推使我去彌合差距，結合兩者。」

Tulika 指出發展其可持續系列最大的挑戰是她極度高要求的挑選過程

以及實驗選用的物料。「為了避免使用化學物，我使用天然色素為未 經染色的紡織廢料進行染色，然後使用煤灰進行手繪及絲網印刷。煤 灰是一個由空氣污染物的廢棄副產品製作的創新染料。」

設計師希望通過她的作品，以有關「慢時尚」以及可持續時尚的教育激 發有意識的消費主義。「我的夢鄉是建立一個由志同道合的設計師以 及供應商組成的『慢時尚』社區，解決紡織廢料的挑戰、污染以及供應 鏈的透明度。」

I have seen first-hand the real

problems calling for real solutions and my dream is to be a part of this change.

NATU

R

我曾親眼目睹需要解決方法的問題，我 的夢想是成為這個變革的一份子。

S DYE L 天然染 A

料

DRAWING FROM TRADITIONAL TECHNIQUES, TULIKA NATURALLY DYES HER UNPROCESSED TEXTILE WASTE TO AVOID CHEMICALS.

TULIKA 從傳統技巧中汲取靈感，為她未加工的紡織廢料進行 天然染色，以避免使用化學物質。

TULIKA SEEKS DESIGN SOLUTIONS TO REDUCE FACTORY WASTE FROM INDIA’ S VAST GARMENT INDUSTRY. TULIKA 尋求減少印度龐大服裝行業的工業廢料的設計解決方案。

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MAINLAND CHINA 中國內地

LIU FENG 劉鳳 RAPID industrialisation and urbanisation have created sweeping social change in rural China – with designer Liu Feng knowing all too well the impacts on those left behind.

Her collection ‘Left-behind Children’ aims to raise awareness around these issues of displacement, as thousands of Chinese parents each year are forced to leave their home villages – and their children – to seek employment in major urban centres.

“My inspiration comes from some of my own experiences, from the surrounding environment and people,” says the Apparel Design graduate

of Beijing Institute of Fashion Technology, currently undertaking an MA in Pattern and Garment Technology at London College of Fashion. “I want to give this group some attention and tell people what they need is sometimes just a hug.”

Feng’s collection repurposes denim deadstock, a prolific resource that she believes is chronically under-utilised. “In China, a large number of stock fabrics are just waiting to be used,” explains the designer. “Due to years of accumulation there are many types of fabrics to choose from.

By creatively finding ways to use and unify them, we can bring value back to these materials.”

劉鳳運用3D建模技術減少廢料。

To further represent the group’s plight, Feng also finds materials from a unique source closer to home – connecting directly with some of these impacted children to repurpose their old clothes into her garments.

“ Sustainable design is a new topic for me that I discovered in graduate

With the help of 3D modelling technology to eliminate wastage, Feng’s designs combine these rescued materials through layering and structural

44

LIU UTILISES 3D MODELLING TO DESIGN OUT WASTE.

elements, to represent the notion of warm hugs that these children so need from their parents.

school, and learned that fashion design can contribute to sustainable development,” Feng says of her decision to pursue zero-waste and upcycling processes in the collection. “I am enjoying delving deeper into that area to reduce textile waste and make a positive impact on the environment.”

MEET THE FINALISTSﾠ認識總決賽者

急劇工業化以及城市化對於中國農村留守兒童造成巨大改變 的影響是設計師劉鳳太過了解的社會問題。 她的系列《Left-behind Children》渴望提高大眾對於流離失 所問題的關注，因為每年都有成千上萬的家長由於求職，被迫 離開小孩以及家鄉前往大城市。 擁有北京服裝學院服裝與服飾設計學士學位，現於倫敦時裝 學院服裝剪裁制版和成衣制作技術修讀碩士課程的學生如此 說：「我的靈感來自身邊環境、人們以及個人的經驗。」她接 著道：「我希望為這個群體帶來一些關注以及告訴人們他們 有時候需要的只是一個擁抱。」

By creatively finding ways to use and

unify them, we can bring value back to these materials.

通過利用創意尋找統一它們和使用的方法， 我們可以為這些材料帶來價值。

劉鳳的系列重新利用了她認為長期未得到充分利用的滯銷牛 仔存貨。她指出：「在中國，一大堆布料庫存正等待被使用。」 「因為日積月累，有多種不同的布料可以選擇。透過有創意地 尋找方法使用以及結合它們，我們可以為這些物料再次帶來 價值。」 劉鳳亦從自家附近一個特別的來源尋找布料 — 重新利用受 到這個社會問題影響的受害者捐贈的二手兒童服飾。有賴於

D

L AYERE

提及到在系列中追求零廢棄 以 及 升 級再造 過 程 的 決 定 時，劉鳳 說：「可持 續時尚 對我來說是在研究所發現 的一個新課題，我了解到時 尚設計可以 對可持 續 發 展做出貢獻。」 「我正 享受在那個領域鑽 研減 少紡織廢料 以及對環境做 出正面影響的 方法。」

M

3D建模技術的幫助減少廢料，劉鳳的設計利用分層以及結構 元素融合這些被拯救的物料，反映出這些兒童十分需要來自 父母的擁抱這一命題。

G NIN A E

層疊意 義

PROLIFIC DEADSTOCK TEXTILES IN LIU ’ S CHINESE HOMELAND INSPIRED HER TO CREATE UPCYCLED DESIGNS.

劉鳳的中國家鄉眾多的滯銷紡織品激發了她創作改造設計。

EMOTIVE AND IMPACTFUL, THE COLLECTION REPURPOSES CHILDRENS SECONDHAND CLOTHES.

該系列重新利用二手的兒童衣服，喚醒情感並帶來感染力。

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USA 美國

ISABELLA LI KOSTRZEWA WHEN lockdown saw life in the USA state of Michigan grind to a halt, designer Isabella Li Kostrzewa set themselves a challenge: to develop a truly local, sustainable fashion collection from the confines of their bedroom.

“Every challenge I face brings opportunity to create something more beautiful, practical, sustainable – like solving puzzles every day,” observes Isabella, a current BFA Fashion Design student at Parsons School of Design. “ Sustainable design is a much more fun process than designing with no limits, it pushes you to think and grow.”

Taking aesthetic inspiration from second-wave feminism and the counterculture movements of the 1960s and 1970s, their collection ‘Everything Bad I’ve Ever Done’ is envisioned as “a unique all-encompassing system” of dress – zero-waste, hyperlocal, unisex and adaptable. “I am so deeply inspired by the limitations that come with zero-waste making,” says Isabella. “It’s like a game, finding something out of nothing – the euphoric feeling when you crack the code of a new pattern, or find a use for the last piece of scrap.”

Despite the constraints of COVID regulations, sustainable sourcing remained a priority for the designer – curating secondhand linen curtains, tablecloths and napkins for upcycling, all sourced within a 30-mile radius of their rural hometown. Unifying the traditional feminine handiwork of these materials with a sharp utilitarianism, their dynamic and fluid silhouettes allow for flexible, multi-purpose wear.

ISABELLA APPROACHES ZERO-WASTE MAKING LIKE A PUZZLE, RESULTING IN DYNAMIC MULTI-PURPOSE WEAR ISABELLA.

像拼圖一樣對待零廢廢料製造，從而打造出充滿活力的一衣多穿服裝。

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Isabella proposes a radical vision for the future of fashion, whereby “no more virgin-fibre textiles are produced ever again. Clothes would become so interesting!”, they remark. Ultimately, Isabella says their design goal remains simple; “To loosen up the gender binary with my clothes, and create things that don't hurt anyone in the process.”

MEET THE FINALISTSﾠ認識總決賽者

Every ﾠ challenge ﾠ I ﾠ face ﾠ brings opportunity ﾠ to ﾠ create ﾠ something

當 封 城 讓 美 國 密歇 根 州人們 的生 活 陷 入停 頓，設計 師 Isabella Li Kostrzewa 為自己定下一個挑戰 — 利用房間的 物料研發一個完全本土的可持續時尚系列。

more beautiful, practical, sustainable – like solving puzzles every day.

美國帕森斯設計學院的時裝設計學生 Isabella 指出：「面 對的每一個困難都為我提供了創出更美麗、實用和可持續 的物品的機會，每一天像是在拼拼圖。」他接著道：「可持 續設計比起無限制地設計更有趣，它推動你去思考以及成 長。」

每一個面對的困難都為我提供了創出 更美麗、實用和可持續的物品的機會，每 一天像是在拼拼圖。

從第二次女權運動以及1960至1970年代的反文化運動涉 取靈感，他的系列《Everything Bad I’ve Ever Done》被想 象成零廢棄、超本地化、中性、易穿以及「一個獨特的全 方位系統」裙裝。他說：「我深受零廢棄製作過程的限制 啟發，它像是一個遊戲，從無中尋找有，就像是那種從破 解新模式的密碼，或者找到最後一塊碎片的用途時的亢奮 感覺。」 儘管應對新冠疫情的規管帶來限制，可持續的採購方法仍 然是設計師的優先考量。他升級再造從30 英里內採購的 亞麻窗簾、桌布和餐巾，用傳統的女性手藝與精準的實用 性將物料結合，他們流變的輪廓允許靈活、多樣的穿著。 Isabella 為未來的時尚倡議一個激進 的構想 —「不再產生用原生纖維製 造的布料，服裝將會變得很有 趣！」最終，Isabella 說他的設 計目標十分簡單：「透過我的 服裝解放性別二元性，創作出 不會在製作過程中傷害到 任何人的物品。」

ISABELLA SOURCED ALL MATERIALS LOCALLY FROM THRIFT STORES, WHICH THEY TAILORED TO UNISEX AND ADAPTABLE DESIGNS.

LOCA LS O

ISABELLA從本地二手店採購的物料製作成中性、易搭配的設計。

G CIN UR 本地採

購

FROM VINTAGE CURTAINS TO LACE TABLECLOTHS, HOUSEHOLD LINEN IS SORTED AND NATURALLY DYED FOR UPCYCLING.

從復古窗簾、蕾絲桌布到家用亞麻布，全都是為升級再造 而收集和天然染色。

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GERMANY 德國

FRIEDERIKE SNELTING WITH her competition collection ‘RE.SKI’, finalist Friederike Snelting has the sportswear industry firmly in her sights – bringing sustainable practice to the world of high-performance garments.

“As a designer, I feel responsible for my designs' impact and effects, especially the social and environmental aspects,” says the graduate of Masters in Fashion Design Technology Menswear from the London College of Fashion, UK. "We are the industry's creative heads, and it is time to act and protect our planet by innovating the industry and setting an example.”

FRIEDERIKE SOURCED PRODUCTION SURPLUS MATERIALS MADE EXCLUSIVELY FROM RECYCLED FIBRES. FRIEDERIKE 採用了只由回收布料製成的生產盈餘物料。

The German-born designer’s menswear range reimagines winter performance-wear using upcycled production surplus. “Jackets have an exceptionally long product lifecycle,” Friederike explains. “However finding outerwear made of recycled fabrics is rare. I decided to not buy any new materials along the process and only use what I can find around me, challenging myself to use the fabric scraps I collected through previous projects as effectively as possible.”

In the conscientiously-designed lineup, oversized, padded cuts are paired with strategic elastication, creating garments that adapt with the wearer’s body for greater longevity. With structures informed by an innovative inflatable material (initially developed by the designer as a low-waste packaging alternative), the looks are evocative of retro skiing aesthetics.

Taking inspiration from labels like French fashion house PATOU and sustainable fashion designer Bethany Williams, Friederike looks forward to gaining further experience in the sustainable luxury fashion sector. “I can imagine starting an eco-conscious brand with a forward-thinking vision,” she says optimistically. “Working sustainably is a process. With each project, you can widen your knowledge and optimise the level of eco-conscious strategies.”

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MEET THE FINALISTSﾠ認識總決賽者

總決賽參賽者 Friederike Snelting 為比賽設計的《RE.SKI》系列，她緊 貼運動服裝產業的行情，立志為高性能衣物帶來可持續的方法。 畢業於倫敦時尚學院攻讀時裝設計技術男裝碩士學位的 Friederike 說： 「作為設計師，我需要對作品所帶來的影響負責任，由其是在對社會 和環境方面。」她又說：「我們是這個業界的創意領袖，現在是時候通 過創新業界以及定下範例去行動以及保護我們的地球。」 德國設計師 Friederike 的男裝系列將生產盈餘進行升級再造，重新構 思成冬季的功能性服裝。Friederike 解釋道：「外套的產品生命週期格 外地長，但以再生布料製作的外套非常少見。我決定在設計過程中不 再購買任何新物料，只在身邊尋找物料，挑戰自己盡可能有效地使用 先前項目留下的廢棄布料製作。」

We are the industry's creative

heads, and it is time to act and protect our planet by innovating the industry and setting an example.

我們是這個業界的創意領袖，現在是 時候通過創新業界以及定下範例去行動 以及保護我們的地球。

在精心設計的作品中，寬鬆和加墊剪裁配上鬆緊調較，使服裝可以適 合穿戴者的體型，延長服裝壽命。服裝結構採用創新的充氣材料（最 初是由設計師開發的低廢棄包裝代用品），外型令人聯想到懷舊的滑 雪美學。

Friederike 從法國時裝品牌 PATOU 和可持續時裝設計師 Bethany W i l l i a m s 上得 到 靈 感，她 盼 望 於 奢 侈 時 裝 領 域 獲 得更 多 經 驗。 Friederike 樂觀地說：「我可以想像到自己創辦一個具環保意識又有遠

見的品牌。」她接著說：「可持續地工作只是一個步驟，你在每一個項 目中也可以擴闊你的知識和活用生態意識策略。」

USING SCRAPS, FRIEDERIKE FOCUSES ON CREATING LONG-WEARING OUTERWEAR WITH ADAPTIVE SILHOUETTES. FRIEDERIKE 使用碎布，專注於打造可靈活變換的長款外套。

HI G H

-P

F ER

O R M A N CE 高性 能

INSPIRED BY PACKAGING MATERIALS, THE PADDED STRUCTURE OF THE MATERIAL IS DESIGNED FOR DURABILITY.

啟發自包裝材料，物料的填充結構是專為耐用性而設計的。

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FIRST PRIZE WINNER 大獎得主

TAIWAN 台灣

JESSICA CHANG

暢芷荺

DRAWING from notions of protection, Jessica Chang’s utilitarian collection ‘The Wall’ explores different forms of barriers – from those existing in nature, to man-made architecture and emotional walls we build to protect our hearts.

“My collection is a reflection of myself,” says the Fashion Design graduate of Parsons School of Design in the USA. “I always seek to see

duality in all things, figure out their relationship and the balance between them.”

Jessica’s designs look to synthesise industry waste with reconstructed secondhand garments. “Utilising existing materials and problem-solving are things we must consider as responsible designers,” she observes.

Using zero-waste techniques, her unisex pieces are created with breathable panelling, aimed at reducing the frequency of washing. “It's very inspiring to approach designing from a sustainable angle,” Jessica notes, reflecting on the process. “I've discovered methods I wouldn't have thought of and discovered it is not an obstacle to design this way, but rather has improved my design skills.”

Citing her time interning with American designer Rachel Comey as the spark for her interest in sustainability, Jessica aims to rethink resource use and waste in fashion. “My goal in life is to make a career from conscious fashion, and nurture a community that thrives from one another,” she says.

Now based in Taiwan, Jessica sources her materials from the prolific local textile trade – one of the world’s largest. Her goal for this industry is clear, asserting that “It would be logical to have some laws and regulations implemented that every brand has to offset a percentage of their carbon footprint, or have a certain percentage of materials that are recycled.” Collaborating with like-minded businesses, her collection utilises surplus deadstock, selected for its functionality and recycled fibre content.

INSPIRED BY DUALITY, THE DESIGNER CRAFTS UNISEX, DURABLE, UTILITARIAN LOOKS THAT ARE AS FUNCTIONAL AS THEY ARE FASHIONABLE.

受耐用性啟發，設計師製作出中性、耐用、功能性的服飾，它們實用又時尚。

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MEET THE FINALISTSﾠ認識總決賽者 取材自保護議題，暢芷荺的功能性系列《The Wall》探索從大 自然已存的、人造的以及為保護心靈而築起的各種圍墻。 畢業自美國帕森設計學院的暢芷荺說：「我的系列是自我的 反映。我一直在尋找事物之間的二元性，弄清楚他們的關係 以及平衡。」 暢芷荺指出跟隨美國設計師 Rachel Comey 實習時萌生出對 可持續性的興趣，她渴望重新思考資源利用以及時尚廢料。 她指出 ：「我的人生目標是在可持續時尚界闖出一番事業， 並孕育一個相互繁榮的群體。」 現居於台灣，暢芷荺從全球最大布料貿易地之一的台灣採購 物料。她對於業界的目標十分清晰，斷言「實行一些法律以 及規管讓每一個品牌抵消他們一部分的碳足跡，或回收一部 分的物料是合理的。」她的系列與志同道合的企業合作，運 用根據功能性挑選的滯銷存貨以及再生纖維。 暢芷荺的系列尋求將工業廢料與重塑的二手服裝融合。她指 出:「作為負責任的設計師，運用已有物料以及解決困難是我 們必須考慮的事項。」她中性的時尚單品利用零廢棄技巧以 及透氣嵌條完成，渴望減少洗濯的次數。在回顧製作過程時 她說：「從可持續的角度切入設計過程十分鼓舞人心。」「我 發現了從未想過的方法，明白到這樣去設計不單止不是一個 難關，更改善了我的設計技巧。」

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PANELLING IS KEY TO JESSICA’ S ZERO-WASTE DESIGN PROCESS, OPTIMISING FABRIC PLACEMENT.

嵌條是芷荺的零廢棄設計過程的一大關鍵－活用布料。

My goal in life is to make a career from conscious fashion,

and nurture a community that thrives from one another.

我的人生目標是在可持續時尚界闖出一番事業，並孕育一個相 互繁榮的群體。

JESSICA SOURCES SURPLUS RECYCLED FABRICS FOR HER DESIGNS FROM TAIWAN ’ S TEXTILE MANUFACTURING HUB.

芷荺從台灣紡織生產地為她的設計採購回收布料。

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UK 英國

LUCY SAUNDERS LUCY Saunders’ collection ‘ShowCase2021’ proves we don’t have to look far to see opportunities for sustainable change, with the designer finding inspiration – and source materials – in her own backyard.

“The fabrics I use are always the most important element of my collection.

It is about taking a product that has no use anymore and bringing new life to it,” says the designer, who holds a BA in Fashion from the Kingston School of Art, UK. “For this project, the products include old boat covers, old flags, tees and also a tent. Fabrics that I have around me, from friends and family,” she explains. “I use these utilitarian materials because they are hardwearing, durable and waterproof and I like the idea that these qualities create beautiful designs from a very practical starting point, bringing beauty into functionality.”

Reinventing these objects from her childhood, Lucy’s utility-inspired unisex collection combines zero-waste, upcycling and reconstruction techniques. Drawing from the great outdoors, the garments make the most of their source materials’ more unique elements, such as transforming the original eyelets or rope into mechanisms for flexible styling. “My designs are based on fitting as many different sizes as possible with multi-function elements, allowing fewer pieces to be made with different ways to wear them.”

USING ZERO-WASTE PROCESSES, LUCY SELECTS HARDWEARING TEXTILES FOR GREATER DURABILITY AND SUSTAINABILITY. LUCY 採用零廢棄的手法，選擇了耐磨的紡織品以提高耐用性和可持續性。

Lucy hopes her approach to designing out waste will help shift the status quo. “I think fashion is a very exciting industry to be a part of if it's done right,” she reflects. “I do believe fashion is changing for the better and brands, designers and consumers are starting to think about the product they are making and buying. This includes using sustainable materials, repurposing materials, buying less but keeping them longer, and considering the lifecycle of the product and what happens to that product when it’s no longer wanted.”

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MEET THE FINALISTSﾠ認識總決賽者

EYELETS AND ROPES ARE REINVENTED AS ADJUSTABLE MECHANISMS, ALLOWING DESIGNS TO BE WORN IN MYRIAD WAYS.

重新設計孔眼和繩索為調節裝置，使設計可以以多種方式穿著。

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THE DESIGNER REIMAGINES UNEXPECTED OBJECTS, INCLUDING TENTS, SAILING FLAGS AND BOAT COVERS.

設計師將意想不到的物品，包括帳篷、旗幟和船罩等，重新想像。

LUCY Saunders 的《ShowCase2021》系列向我們證明了做出可持續改變的機會 就在眼前，設計師在自己的後花園尋找靈感以及材料。

擁有英國金斯頓大學時裝文學士學位的設計 師指出：「我所使用的布料一直是我的系列最 重要的元素，為沒有再被使用的物品帶來新生 命。」她接著說：「這個系列所使用的物料包括 舊船罩、舊旗幟、T恤以及一個帳篷，一些來自 家人和朋友的布料。我使用這些功能性物料因 為它們是耐用以及防水的，而且我喜歡這些物 料從實際的起點創造成美麗的設計的概念，將 美融入功能性。」

Lucy重新研究這些童年玩物，以功能性為靈感

的中性系列結合零廢棄、升級再造以及重新構 造的技巧。她從戶外獲取靈感，服飾充分利用 它們原本獨特的元素，例如將孔眼或繩索改造 為靈活的造型設計。「我的設計是基於運用多 功能元素，盡可能適合更多不同體型的人，以 更少數量的服裝作出不同方法的打扮。」

My designs are based on

fitting as many different sizes as possible with multifunction elements. 我的設計是基於運用多功 能元素盡可能適合更多不同 體型的人。

Lucy希望她對廢料的設計方法能夠改變現狀，「我認為時尚界如果做的對的話 是一個讓人十分興奮想要加入的業界。」她指出：「我真的相信時尚正朝更好的 方面改變，品牌、設計師以及顧客開始思考他們製作以及購買的產品 ...... 這包 括使用可持續物料、再次利用物料、買少一點但是使用長時間、考慮產品的生 命週期以及當他們壽命結束的時候該如何處置。」

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FINALIST UK 英國 5

KRISTINA VYZAITE

FOR finalist Kristina Vyzaite, circular fashion is no new phenomenon, but rather was a formative influence on the designer’s childhood. In a deeply personal collection, Kristina explores concepts of family, heritage and her experience consuming sustainably to survive.

By educating consumers in garment upkeep and repair, Kristina aspires to rekindle our emotional connection with clothes – a concept she refers to as ‘generational threads’. “Right now, the world’s consumerism is centred around ‘buy new’; I strive to change the default to ‘give new life’.”

“As a young child, I watched my mother rip up an old coat to create two coats for my twin sister and me,” recalls the designer, who studied fashion design at Vilnius Academy of Arts in Lithuania and holds an MA Fashion from Kingston School of Arts, UK. “Lithuania was still finding its feet after gaining independence from Soviet occupation and materials were scarce. This day has always stood out in my memory as it was the first time I was exposed to sustainability and rational consumption.”

In her collection ‘Nerimas’, hand-crocheted textiles and their symbolic significance to storytelling and family form the central inspiration.

Upcycling tablecloths and placemats as raw material, Kristina meticulously deconstructs and reassembles into contemporary styles, even naturally hand-dyeing from home grown plants. “With the materials that I’ve used and the techniques that I’ve adopted, the garments are formed by truly sustainable means – but can then be unravelled and given new life.”

Kristina is an avid believer in the power of slow fashion, and was inspired by her mother to pursue a career in sustainable fashion. “Celebrating the importance of craftsmanship and the old zero-waste techniques like knit and crochet, whilst making them relevant for nowadays, is something that is truly and uniquely sustainable.”

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KRISTINA UNITES TRADITIONAL ZERO-WASTE TECHNIQUES LIKE KNITTING WITH CONTEMPORARY SUSTAINABLE DESIGN THINKING. KRISTINA 將針織等傳統零廢棄技術與當代可持續設計思維相結合。

MEET THE FINALISTSﾠ認識總決賽者

對總決賽者 Kristina Vyzaite 而言，循環時尚 並不新穎，但對 Kristina 的童年有著重大的 影響。在 Kristina 的個人珍藏中，她探討了 有關家庭和文化遺產的概念，還有她以可持 續方法生活的經歷。 持有英國 金斯頓大學碩士學位及畢業於立 陶宛維爾紐斯藝術學院時尚設計的 Kristina 回憶說：「小時候，我看見母親 將一件殘舊 的外套撕開，將它製成兩件外套給我和我的 孖生姊妹。」她又說：「立陶宛從蘇聯佔領下 取得獨立後，還未站穩腳跟，當地的物資短 缺。這些日子的回憶常常被勾起，那是我首 次接觸可持續和理性消費的議題。」

As a young child, I watched my

mother rip up an old coat to create two coats for my twin sister and me.

小時候，我看見母親將一件殘舊 的外套撕開，將它製成兩件外套給 我和我的孖生姊妹。

在 Kristina 的《Nerimas》系列中，手工鉤編的紡織品和它們敘述故事 以及家庭的象征意義成為設計的主要靈感。Kristina 升級再造桌布和餐 墊成為原材料，精心拆解並重新組合成現代風格，就連手工染色也是 用自家種植的植物作天然染料。她說：「我使用的物料和我採用的技 巧，使衣物能夠以真正可持續的手法製造，而隨後可以被拆散並賦予 新的生命。」 受到母親的啟發，Kristina 追求可持續時尚事業，並且是「慢時尚」的狂 熱信徒。她說：「歌頌手工藝的重要性和如針織和鉤針編織等傳統零廢 棄技術，同時使它們與當下息息相關，是真正且獨特的可持續作品。」

DECONSTRUCTED AND REPURPOSED, THESE HAND-CROCHETED TEXTILES HOLD GREAT PERSONAL AND CULTURAL SIGNIFICANCE TO THE DESIGNER.

這些經過拆解和重新利用的手工紡織品對設計師具有重要的個人和文化意義。

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通過教育消費者進行服裝保養和修理，Kristina 渴望重新點燃我們與 衣服的情感聯繫，她稱之為「世代線」的概念。她說：「現在世界的消費 主義以『買新』為主；我努力使人們轉向『賦予新生命』為主。」

A SLOW FASHION ADVOCATE, KRISTINA ADOPTS VARIOUS DIY PROCESSES- EVEN NATURALLY DYEING FROM HOME GROWN PLANTS.

作為「慢時尚」的倡導者，KRISTINA 採用了各種 DIY 工藝，甚至 是使用自家植物作天然染料。

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TAIWAN 台灣

JIN PEI-WEN 金蓓雯

A childhood toy may seem like an unusual inspiration for a cutting-edge fashion collection, but for Jin Pei-Wen it has opened up a new world of design opportunities.

Inspired by the interlocking polygons of tangram puzzles, her zero-waste collection ‘Tangram Club ’ is designed to be disassembled. “To make

RUNNER-UP PRIZE WINNER 優異獎得主

pattern pieces that can be assembled into different styles, I spent a lot of time studying human body dimensions, doing experiments and analysis,” comments the designer, currently studying an MA in Fashion Design at Shih Chien University, Taiwan. “I finally came out with a zero-waste pattern making method, using simply one kind of curve and a straight line.”

The result is a fully-interactive fashion experience, as approachable as the child’s play that informed it. “My tangram-based pattern blocks are in very simple geometric shapes, which can be easily reconstructed into a new zero-waste style after unstitching the fabric blocks”, Jin explains.

Crafted using upcycling techniques, Jin uses the surplus textile samples of other brands to create her collection – a resource she explains is near inexhaustible in the manufacturing hub of Taiwan. The collection keeps the textiles’ end-of-life in mind at every point, prolonging their use life through multi-wear designs that fit a range of bodies.

JIN UPCYCLES SAMPLE WASTE GENERATED BY THE LOCAL MANUFACTURING INDUSTRY.

金蓓雯升級再造本地生產工廠製造出來的樣板廢料。

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The designer hopes to revive what she calls the ‘intangible but valuable elements’ of the creation process, focusing on transparent sourcing and craftsmanship. “I believe that the only way for industry to coexist with nature is to consider sustainability as a necessary priority in every decision,” Jin asserts. “As a fashion designer, I have the responsibility to make sure that not only the aesthetic works, but also the whole production process behind the garment has been well tracked and controlled.”

MEET THE FINALISTSﾠ認識總決賽者 兒時的玩具看似一個不尋常的先鋒設計靈感來源，但是對於金蓓雯 來說卻為她打開了一個嶄新的設計世界。 靈感來自七巧板相扣的幾何圖案，金蓓雯的零廢料系列《 Tangram Club》被設計為可拆卸。正在台灣實踐大學攻讀時裝設計碩士學位的 她說：「我花了很多時間研究人體維度，進行試驗以及分析以製造出 可以重組成不同風格的樣片。我最終得出一個零廢棄的設計樣板方 法，只需要一種曲線以及直線。」 成果是一個富有趣味性的互動時尚體驗，像小孩的玩戲一樣平易近 人。金蓓雯解釋道：「我基於七巧板的樣板是非常簡單的幾何圖案， 在拆開織物組件後可以輕易重塑為新的零廢棄風格。」

I believe that the only way for

industry to coexist with nature is to consider sustainability as a necessary priority in every decision.

我相信業界唯一一個與大自然共存 的辦法就是將可持續性作為每一個決 定的優先考慮要素。

PRINCIPLES ADAPTED FROM TANGRAM PUZZLES INFORMED JIN ’ S ZERO-WASTE PROCESS, RESULTING IN STRIKING GEOMETRIC LOOKS.

七巧板的原理為金蓓雯的零廢棄過程帶來資訊，形成奪人眼目的幾何外觀。

金蓓雯利用升級再造的技巧將其他品牌的過剩布料樣板創作她的系 列。系列時刻留意著布料的生命盡頭，透過採用適合各種體型的多種 穿法設計，延長它們的壽命。 設計師希望復興創意過程中「不可觸及卻十分珍貴」的過程，注重具 透明度的採購以及工藝。金蓓雯指出：「作為一個設計師，我有責任 去確認不單止審美方面奏效，整個製作過程亦得到很好的規控。」

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DEVELOPED THROUGH 3D MODELLING, JIN ’ S UNIQUE PATTERN SYSTEM ALLOWS GARMENTS TO BE EASILY INTERCHANGED AND RECONSTRUCTED.

使用3D建模技術研究，金蓓雯獨特的紙樣系統能夠讓服裝輕易 互換以及重塑。

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UK 英國

LILI SIPEKI SEEKING inspiration for her collection, designer Lili Sipeki looked to a globally unifying fashion experience: the much-maligned school uniform.

Her boldly reimagined designs are challenging the attitudes surrounding these garments – and with 1.4 million wearable school uniforms thrown away in the UK each year, she sees untapped potential in the resource.

“Having a family with school-aged children made me realise how much textile waste is created by outgrown or unwanted school uniforms,” states

design strategies for garment longevity, multi-functionality, alterability and mendability, as well as physical and emotional durability.”

Her ultimate goal is to establish her own sustainable label that encourages people to be more conscious about their consumption habits. “It is such a rewarding feeling being able to use your skills and creativity to contribute to a more circular fashion industry.”

the University of Chester graduate, currently pursuing a Masters in Fashion at Kingston University, UK. “Seeing all the clothes being thrown away made me think how I could repurpose them and give them a new life.”

In her collection ‘REuniFORM’, Lili adapts traditional quilting and patchwork techniques to reconstruct the secondhand garments into distinctive high fashion looks. Challenging the homogeneity of the uniform concept, the customisable designs feature detachable elements and unique detailing to increase their practical and emotional durability.

“Making multi-functional garments that can be personalised leads to a longer product life”, Lili explains. “The garments are designed to fasten

with laces so no hardware like zips or buttons are required, making them easier to recycle. The ties also allow the pieces to be adjusted and fit different body types and sizes.”

Inspired by the cultural heritage of her Hungarian birthplace, the designer advocates combining traditional textile handicrafts with contemporary techniques. “I want to investigate new methods of innovation that solve complex issues around environmental sustainability in fashion such as

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OUTGROWN OR UNWANTED SCHOOL UNIFORMS GENERATE SIGNIFICANT TEXTILE WASTE, A FACT LILI IS STRIVING TO CHANGE.

過時或不需要的校服會產生大量的紡織廢料，這是LILI正在努力改變的事實。

MEET THE FINALISTSﾠ認識總決賽者

設計師 Lili Sipeki 為尋找系列靈感，目光注視在一個全球一致的時尚 經驗 — 備受詬病的校服。她大膽想像的設計挑戰對於這些服飾的 態度，而當英國每年有140萬件仍可穿著的校服被扔去，她看見這個 資源窮不盡的可能性。 持有英國切斯特大學時裝設計文學士學位，現正在英國金斯頓大學 攻讀時裝碩士的 Lili 說：「我的家庭中有正在讀書的小孩，讓我意識 到不合身或是不想要的校服製作了多少紡織廢料。」她又說：「看見 這些服裝被扔去，讓我思考自己可以如何再次利用它們，以給它們 一個新生命。」 在她的系列《REuniFORM 》，Lili 採用了傳統的絎縫以及拼接技巧 將二手服裝重新構造成鮮明的高級時尚打扮。為了挑戰校服的相同 性，這些可定制的設計使用了可拆卸的元素以及獨特的細節去增加 他們的實用性以及持久性。

FROM MULTI-FUNCTION TO MENDABILITY, CONTEMPORARY DESIGN THINKING MEETS WITH TRADITIONAL HANDICRAFT IN THIS RECONSTRUCTED COLLECTION.

從多功能到可修補性，當代設計思維與傳統手工藝在這個重新構造系列中相遇。

「製作可以個人化的多功能服裝可以延長其產品壽命。」Lili 接著說： 「服裝被設計成使用蕾絲綁上，因此不需要用像拉鏈或鈕扣這樣的 配件，令它們更容易被回收；繫帶亦讓這些單品能夠隨意調節，適 合各種身形。」

Lili 受到她的出生地匈牙利的文化

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遺跡啟發，她主張融合傳統紡織 手工藝與當代技巧。「我希望研究 創新的方法解決時尚在可持 續 環境方面的複雜議題，例如延 長衣物壽命的設計技巧、多 功能性、可變性、可修改 性以及耐用性。」

LACES AND TIES REPLACE FASTENINGS IN THE FULLY-ADJUSTABLE MODULAR GARMENTS, IMPROVING RECYCLABILITY.

模塊化

她的最 終目標是成立 個 人 的可持 續 時尚 品牌，鼓 勵人們更 留 意自己 的 購 物 習慣。「能 夠用 自己 的 技 能 以 及創意對循環 時尚界做出貢 獻 是 一 件 很有成 就 感的事。」

蕾絲和領帶取代了可調教的模塊化服裝中的扣件，提高了 可回收性。

Making multi-functional garments that can be personalised

leads to a longer product life.

製作可以個人化的多功能服裝可以延長其產品壽命。

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MEET THE JUDGES

評審委員

THE Redress Design Award 2021 judges represent the crème de la crème of sustainable industry expertise. Drawing from the worlds of retail, design, manufacturing and communications, the judges look for qualities of creativity, originality, sustainability and market viability in the participants work.

2021年度「Redress 設計大賽」評審委員都是可持續行業的

頂尖專家。由零售、設計、製作到傳媒，他們冀在總決賽者們 的作品中看到創意、原創性、可持續性、市場認受性等特質。

INTERNATIONAL JUDGES

國際評審團

Responsible for selecting the 10 finalists, and overall winners of the competition. 負責選出10名決賽入圍者以及大獎得主。

ORSOLA DE CASTRO

CHRISTOPHE DEGOIX

Fashion Designer, Global Creative Director and Co-founder, Fashion Revolution

Chief Operating Officer, TAL Apparel Ltd.

時裝設計師、時尚革新聯合創辦人及環球創意總監

聯業製衣集團首席營運總監

VOGUE has always championed creativity, and it's even

more exciting when creative impact can foster positive change in society. I took such joy in reviewing all the entries because [...] there is a true mission behind each thread and stitch. An undisputed "fashion force"!

VOGUE 一直倡導創意，而當創意可以正面影響社會時更是錦 上添花。我很高興評審所有參賽作品，因為[...]每一根線和針的背 後都有一個真正的使命 — 無可爭議的「時尚力量」！

DESIREE AU Founding Publisher, VOGUE Hong Kong 《VOGUE Hong Kong 》出版人

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I am always inspired and impressed by the talent,

the innovative thinking, and the dedication to creative, purposeful design exhibited by the finalists and this year is no exception.

每次看到總決賽選手所展示的才華、創新思維，以及對有 創意和目的的設計努力不懈時我總會感到受啟發和讚嘆， 今年也不例外。 SEAN CADY Vice President, Global Sustainability, Responsibility and Trade, VF Corporation 威富公司全球可持續發展，責任與貿易副總裁

MAHMOUD SALAHY

CECILIE THORSMARK

JEANNIE RENNÉ-MALONE

Vice President & Managing Director, Timberland APAC

CEO, Copenhagen Fashion Week

Vice President, Global Sustainability, VF Corporation

Timberland 亞太區副總裁兼董事總經理

哥本哈根時裝週首席執行官

威富公司全球可持續發展副總裁

The contestants have demonstrated new dimensions

of colours, forms and styles, while embracing sustainable practices. We can definitely see the next gen game changers are striving for a better future. 參賽者展示了顏色、形式和風格的新維度的同時採用了可持續 的做法。我們絕對可以看到下一代改革者正在為更美好的未來而 努力。

ANGUS TSUI Creative Director, ANGUS TSUI and Alumnus, Redress Design Award ANGUS TSUI 創意總監、「Redress 設計大賽」歷屆參賽者

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REGIONAL JUDGES

地區評審團

Responsible for shortlisting our 30 semi-finalists. 負責選擇30名準決賽入圍者。

KRITI TULA

QUEENNIE YANG

GLORIA YU

Co-Founder and Creative Director, Doodlage

Creative Business Consultant & Former BoF China Editorial Director

意總監

創意業務顧問兼前中國《BoF時裝 商業評論》執行編輯主管

Designer, Content Creator, Sustainability Advocate

NAOMI BAILEY-COOPER

JACINTA FITZGERALD

OLGA JOHNSTON ANTONOVA

KÉVIN GERMANIER

Fashion Textiles Designer, Artist and Researcher

Strategist: Sustainability, Materials and Circular Design at Make Good

Founder REDSHIFT IN FASHION, Educator, Journalist

和循環設計

教育工作者、記者

Germanierﾠ品牌創辦人及2014/15 年度「Redress 設計大賽 」獲獎者

Doodlage 品牌聯合創辦人兼創

時尚紡織品設計師，藝術家和研究人員

REDSHIFT IN FASHION 創辦人、

KATIE DOMINY

CAMILLA CARRARA

ESETHU CENGA

Co-Founder and President, Artsthread

Founder and Zero-waste Designer ZEROBARRACENTO and Redress Design Award Alumna

Co-Founder and CEO, The Rewoven Co

ARTSTHREAD 聯合創辦人及主席

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Make Good 策略師：可持續、材料

ZEROBARRACENTO創辦人、零廢 棄設計師及「Redress 設計大賽」歷屆 參賽設計師

The Rewoven Co 聯合創辦人兼行

政總裁

設計師、內容創建者、可持續發展 倡導者

Founder, Germanier and Redress Design Award 2014/15 Winner

ALWAYS MINDFUL. NEVER WASTEFUL. TRY THE NEW KMS CONSCIOUS STYLE.

UP TO: 97% BIODEGRADABILITY 98% NATURAL INGREDIENTS 100% PERFORMANCE USE OF RECYCLED MATERIALS

# kmshair # kms♥cares63

ROAD TO THE FINAL

總決賽倒數

27,900+

160

58

10

觸及人數

所合作院校

個地區

個系列

REACH

PARTNER INSTITUTIONS

TRAINING CURRICULUM TOMORROW’S TALENT FOR CHANGE

訓練明日人才

Redress’ education programme – this year combining virtual and physical learning – presented 28 lectures globally, reaching 6,800 attendees. ﾠ 19,700+ ﾠ discovered our innovative LEARN platform, offering insights into sustainable sourcing and design. A further 1, 400+ ﾠ b enef it te d ﾠ f rom ﾠ the Pathway ﾠ Course, ﾠ with ﾠ content on Circular Fashion giving them an ﾠ edge ﾠ in ﾠ the ﾠ fast-changing industry, and a helping hand in their competition applications.

Redress 的教育項目今年結合了虛 擬 和實 體學習，在全 球舉 辦了 28 場 講 座，合共 6 , 8 0 0 名參加 者。 超過 19,700人造訪了我們創新的 LEARN 平台，平台提供有關可持 續採購和設計的見解；另有 1,400 多人從學習課程中受益，接收循環 時尚的內容讓 他們在瞬息萬變的

行業中佔據優勢，在比賽中助他們 一臂之力。

課程求變

Now counting the support of 160 partner ﾠ institutions ﾠ worldwide, Redress expanded its Sustainable Fashion Educator Pack – assisting teachers to integrate sustainability into the curriculum with resources on product lifecycle, sustainable f ibres, ﾠ zero-waste ﾠ techniques, upcycling and more. A further 23 educators were reached through development workshops.

REGIONS

SCOUTING FOR TALENT

尋找人才

週期、可持續纖維、零廢棄技術、

For the 11th cycle of the competition, Redress received over 500 applications from 58 regions across the globe. Our diverse panel of experienced judges – spanning the worlds of retail, design, manufacturing and communications – assessed applicants’ creativity, sustainability and market viability to whittle down to 30 semi-finalists and then 10 finalists. In a competition first, Indian designer Tulika Ranjan secured a spot in the Grand Final by winning The People’s Choice Award.

續發展整合到課程中。另外，通過

在第11屆比賽中，Redress 收到了來

Redress 有賴全球 160 所合作院校

的支持，擴展了《可持續時裝教育

套》，與教材套包括有關產品生命 升級回收等資源，幫助教師將可持 工作坊，接觸到23名教育工作者。

自全球58個地區的500多份申請。

我們多元化的評審團由經驗豐富的 評審委員組成，跨越零售、設計、

製造和傳播領域，評估了申請者的 創意、可持續性和市場認受性，精

選出 30 名準決賽者後再選出 10 名 總決賽者。在比賽中，印度設計師

Tulika Ranjan 率先贏得了人氣大獎， 獲得了總決賽的一席之地。

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COLLECTIONS

BUILDING PORTFOLIOS

豐富履歷

The finalists’ collections are unveiled in a groundbreaking digital-hybrid photoshoot, to be featured exclusively in VOGUE Hong Kong’s October issue.

Arriving in Hong Kong from across the globe, the looks were brought to life with the help of visionary local creatives, Karl Lam, Kieran Ho, Marco Chan (for KMS), and Karen Yiu (Hong Kong Makeup Artist) 總決 賽 者的比賽系列 將 在

《 VOGUE Hong Kong 》十月刊 以開創性的數位混合攝影形式

揭露。服飾從世界各地抵達香港， 在富有遠見的本地創意人士

Karl Lam、Kieran Ho、KMS 大使 Marco Chan 及 Hong Kong Makeup Artist 的 Karen Yiu 的幫助下，這 些造型顯得朝氣蓬勃。

FROM the first idea to the final show, the exhilarating Redress Design Award journey fosters intensive and passionate learning – equipping the next generation of designers with the tools to build a circular fashion future. 從最初的想法到最後展示，令人振奮的「Redress 設計大賽」旅程促進了緊 密和熱情的學習，裝備好下一代設計師，以構建循環時尚的未來。

11

3,000+

20+

600,000+

日

位直播觀眾

套服裝展示

名消費者

THE GRAND FINAL

INTERNATIONAL SHOWCASE

FRONTLINE FASHION

DAYS

THE FINAL COUNTDOWN

最後倒數

LIVE AUDIENCE

總決賽

In the days leading up to the Grand Final, our 10 finalists come together virtually from across the world to prepare for the event and participate in a bootcamp of educational activities to gain profound insights into the sustainable fashion supply chain. This includes a series of masterclassesﾠwithﾠindustr y experts Sara Miano, Loop Swim and TAL Group, two in-depth challenges in partnership with TAL Group and VF Corp. The week culminates in a virtual judging session with our panel of experts.

For the first time in its history, the Redress Design Award 2021 Grand Final transforms into a hybrid event, with state-of-the-art virtual models synthesising the physical and digital worlds. Showcasing the final 10 sustainable collections, the event will comprise an exclusive in–person audience of industry elites, influencers and VIPs with an online simulcast to thousands of international viewers, with winners announced.

在總決賽前幾天，我們來自世界各

體世界和虛擬世界相結合。活動將

地的 10 名總決賽者在網上聚集，

2021 年「Redress 設計大賽」總決

賽 有史以來第一次轉 變為混合模

式，採 用最 先 進的虛 擬 模 型 將實

審團進行的一個網上評審環節。

際觀眾打造一場數碼化展覽。

獲 獎系列 Frontline Fashion 以

今屆比賽週期的完結將繼 續以引

人入勝的展覽形式吸引全球消費

者 和行業 觀 眾，其中包括展示 10 覽將在香港和歐洲進行，並會為國

「Unstitched」季度再度回歸，透

中的旅程。與參賽者會晤，發現他

觀眾進行聯播，同時宣布得獎者。

個挑戰。這一周的高潮是與我們評

件實體 服裝和 10 件虛擬 服裝。展

The award winning series Frontline Fashion returns for another ‘Unstitched’ season with short films documenting our finalists’ journeys in the world's largest sustainable fashion design competition. Meet the competitors and discover the inspiration behind their incredible collections, go behind the scenes of our digital-hybrid photoshoot, learn more about sustainable fashion through our educational challenges and see the exciting culmination of our finalist’s efforts in the Grand Final show.

獨家現場觀眾，並在線向眾多國際

尚供 應 鏈的見 解。訓 練營包括與

Swim 和 TAL 集團的大師課，以及 與 TAL 集團和威富公司合作的兩

This year's completion cycle will continue to attract consumer and industry audiences globally, in the form of a captivating exhibition showcase featuring 10 physical and 10 virtual garments. The exhibition will be visiting Hong Kong and Europe, and a digital exhibition will be created for international audiences.

時尚先鋒

過 短片記錄我們的總決賽者在世

有業界精英、影響者和 VIP 作為

業界專業人士 Sara Miano、Loop

國際展覽

CONSUMERS

展出最後10 個可持續系列，屆時將

為 賽 事做 準備，參加 教 育活 動之

一 的 訓 練 營，增進他 們 對循環 時

GARMENT SHOWCASE

界上最 大的可持 續時 裝設計比賽 們令人讚歎的系列背後的靈感，並 且走進我們數碼混合拍攝的幕後，

通 過我們具 教育性挑 戰了解更多 關於可持續時尚的資訊，並在總決 賽中看到總決賽者激動人心的特 別時刻。

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REWARDING TALENTS

表彰人才

FIRST PRIZE

大獎

The runway champion will receive an exclusive opportunity to collaborate with the VF Timberland team on a design project. They will have the privilege to work with the VF Corporation Sustainability & Responsibility team gaining insight to sustainable production and marketing strategies in a supply chain. Additionally, the winner will receive a development fund of HK$50,000, two high-performance machines from JUKI and a six-month individual access to Bloomsbury Fashion Central, The Berg Fashion Library and the Fashion Photography Archive. 大獎得主將連同威富公司旗下的 Timberland 團隊進行一 個設計項目。他們將有機會與���司的「可持續與責任 團隊」合作，了解更多有關供應鏈、可持續生產以及市場推 廣的資訊。除此之外，得主將獲得 50,000 港元的發展資 金，兩台由 JUKI 提供的高性能縫紉機，6個月 Bloomsbury Fashoin Central、The Berg Fashion Library 以及 Fashion Photography Archive 的個人使用權限。

RUNNER-UP PRIZE

優異獎

The runner-up will receive a tailored mentorship with sustainable fashion designer and competition judge, Orsola de Castro. As one of the most influential figures in sustainable fashion, Orsola has nurtured many pioneering names in sustainable fashion from their early designs through to their established brands. This winner will also receive a development fund of HK$15,000, two highperformance machines from JUKI and 10 digital books from Bloomsbury’s Basics Fashion Design series.

優 異 獎得主 將 獲 得 著名可持 續 時 裝 設計 師 以 及比賽 評 審 Orsola de Castro 度身定造的啟導計劃。作為可持續時尚的其中一位最具影響力人 物，Orsola 培育了許多領軍人物，從早期的設計到成立個人品牌給予他們很多珍貴的意 見。除此之外，得主將獲得15,000港元的發展資金，兩台由 JUKI 提供的高性能縫紉機， 以及10本來自 Bloomsbury’s Basics Fashion Design 系列的電子版書籍。

HONG KONG BEST PRIZE

最傑出香港奬項

This is awarded to the highest-scoring designer in Hong Kong, recognising a leading emerging talent in Redress’ home city. This year’s winner will receive a development fund of HK$15,000, two months access to the Designerooms co-working space, a JUKI high-performance lockstitch sewing machine, and Bloomsbury book “The Dangers of Fashion: Towards Ethical and Sustainable Solutions” by Sara B. Marcketti and Elena E. Karpova.

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這 個 獎 項 是 為 傑 出 的 香 港 設 計 新 秀 而 設，認 可 他 們 在 Redress 起 源地 的 創意以 及 成 就。本 年得主 將 獲 得 15,000港元的發展資金，2 個月 Designerooms 共享工作空間的使用權限， 1台 JUKI 高性能平縫縫紉機，以及由 Sara B. Marcketti 和 Elena E. Karpova 撰寫，Bloomsbury 出版的書籍《The Dangers of Fashion: Towards Ethical and Sustainable Solutions》。

PEOPLE’S CHOICE 人氣大獎 This was awarded to Tulika Ranjan – the designer who impressed the global public in an online global vote to outshine the other 29 semi-finalists. In a competition first, the winner was fast tracked to the final, and will receive a JUKI overlock sewing machine, and Bloomsbury book “The Dangers of Fashion: Towards Ethical and Sustainable Solutions” by Sara B. Marcketti and Elena E. Karpova. 人氣大獎是為在網上投票平台給全球公眾留下深刻印象，擊敗 其餘 29 位準決賽參賽者而設。作為大賽的首次，人氣大獎得主 Tulika Ranjan 快速晉級總決賽，並將獲得1台 JUKI 包縫縫紉機， 以及由 Sara B. Marcketti 和 Elena E. Karpova 撰寫，Blommsbury 出版的書籍《 The ﾠ Dangers ﾠ of ﾠ Fashion: ﾠ Towards ﾠ Ethical ﾠ and SustainableﾠSolutions》。

ALUMNI PRIZES WITH KIPLING KIPLING 歷屆參賽者獎項 This cycle Kipling and Redress are collaborating to award two talented alumni – Beatrice Bocconi will create a capsule collection of four key styles of bags and accessories, complementing the 2021 Kipling theme of sustainability. Grace Lant will work on Kipling’s 30 years of Art project in 2022 to re-define the Kipling iconic bag, ART M to launch in March 2022 for International Women’s Day. Both designers will be challenged to use VF deadstock, to create pieces with circular design principles at their core. 本年度，Kipling 聯同 Redress 一同獎勵兩位才華橫溢的歷屆參 賽者，Beatrice Bocconi 將打造膠囊系列的四種主打包袋和配 飾風格，與2021年 Kipling 的可持續發展主題相輔相成；Grace Lant 將於2022 年參與 Kipling 的 30 週年藝術項目，重新定義 Kipling 標誌性的手袋 ART M，並於2022 年 3月國際婦女節推 出。兩位設計師將挑戰使用威富公司的滯銷貨品，創造以循環 設計原則為核心的作品。

ALL 10 FINALISTS 10位總決賽設計師 Under the international spotlight the 10 finalists will have their designs showcased in an exhibition after the Grand Final. Each finalist will benefit from valuable knowledge sharing via a minimentorship with a sustainable fashion expert. To further support the talented designers, this prize also includes a subscription to the Berg Fashion Library and a copy of the Bloomsbury title “Global Perspectives on Sustainable Fashion” by Alison Gwilt, Alice Payne and Evelise Anicet Ruthschilling. 所有總決賽參賽者在總決賽之後將得以在全球觀眾的注目下展 出他們的作品。除此之外，參賽者將獲得可持續時裝專家的指 導，助他們發展未來事業，他們亦可獲得 Berg Fashion Library 的訂閱以 及由 Alison Gwilt �Alice Payne 和 Evelise Anicet R u t h s c h i l l i n g 撰 寫，B l o o m s b u r y 出 版 的 書 籍《 G l o b a l Perspectives on Sustainable Fashion》。

ALUMNI PRIZE

歷屆參賽者獎項

This prize supports 5 alumni in the long-run and to accelerate their work as sustainable designers. One alumni will receive an opportunity to launch their brand on Staiy, the top sustainable marketplace, along with their prosperous marketing package.

One alumni will receive a JUKI high-performance lockstitch sewing machine. Two alumni will be granted a free upgrade to PRO membership on the CO platform, providing access to premium intelligence and industry connections. One last alumni will be receiving a one-year full subscription to access all areas of Bloomsbury Fashion Central.

5 個讓人興奮的獎項將頒發給歷屆參賽者以促進他們的可持續 時尚事業：一名歷屆得主將有機會在頂尖可持續市場平台 Staiy 推出他們的品牌，並且獲得一定的推廣套餐；今年的得主曾繁 宇將獲得 JUKI 的高性能平縫 縫 紉機；兩名歷 屆參 賽者將獲 得由 CO 平台提供的免費升級至 PRO 會員 服務，獲取優 越 情報以及業界社交網絡；一名歷屆參賽者將獲得 Bloomsbury Fashion Central 全平台1年的訂閱。

WHAT WE PUT INTO OUR CLOSET MATTERS

我們放什麼入衣櫥非常關鍵

Redress supports its local community by making it easy, affordable and attractive to shop secondhand.

THE sale of pre-owned clothing is one of the fastest-growing trends in the fashion world. Already a US $24 billion market back in 2018, sales are projected to double to $51 billion by 2023, as brands increasingly see the value in recovering and selling preloved clothing. Consumers are also embracing the movement, with 51% saying they plan to spend more on secondhand in the next five years.

It’s a business model that makes sense. In Hong Kong, Redress studies have found that two in five Hong Kongers keep their clothes for only a year or less, and that 30% of their unwanted clothes are thrown straight in the bin. With an average of 169 tonnes of clothing being condemned to landfill daily, Hong Kong needs solutions that can be implemented quickly and at a community level.

To answer this call, The Redress Closet opened its doors in May, in Sham Shui Po – known historically as Hong Kong’s fabric and garment district, and now as a hotspot for hipsters and trendsetters. The shop, with its welcoming atmosphere, carries a daily-changing selection of one-of-akind finds. In turn it promotes a key mission of Redress to reduce clothing to landfill while raising critical funds to support the charity's programmes.

“What we put into our closet matters,” explains Christina Dean, the founder of Redress. “We have always believed in the positive power of

fashion and we want people to love fashion, in a more sustainable way. This permanent shop is one way we are supporting Hong Kongers in making sustainable fashion choices.”

The model is simple, and starts with Redress’ Takeback Programme.

Partnering with leading fashion brands such as Zara and Tommy Hilfiger, Redress provides dozens of used-clothing collection points across Hong Kong, where the public can drop off their unwanted clothing. Clothing is then sorted into categories, benefitting more than 20 charity partners and ensuring an extended life for each garment. The most high-quality clothing becomes inventory for The Redress Closet, and can be purchased by the public for as little as HK$50.

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Redress 透過簡單、實惠、引人入勝的二手購物支持 本地社區。

二手服飾的銷售額是時尚 界增速最快的趨勢之一。 早在 2018 年，美國的二手 服飾市場已達到 240 億， 由於品牌更重視修復以及 販售二手服飾，銷售額預 計會在 2023 年前倍增至 510 億。與此同時，消費者 亦投身於這個趨勢，51%的 消費者指出他們正計劃在 未來五年在二手服飾上花 更多金錢。

這是一個合理的商業模式。在 Redress 的研究中，在香港，每5個人就有 2個人只會保留他們的衣物1年甚至更少，30%的閑置服飾更直接被扔 進垃圾桶。在2019年，每天就有169噸衣物被扔進堆填區，香港需要一個 可以立即在社區實行的解決辦法。

以回應這個需求，The Redress Closet 於5月在深水埗開張，深水埗一直 以來被譽為香港布料以及衣物的區域，現為時髦和時尚尖端人士的熱 門地點。通過這家商店溫馨的氛圍，以及每天更新的獨一無二的衣物， 它藉此促進了 Redress 減少衣物被扔進垃圾堆填區的重要使命，同時籌 集關鍵資金來支持慈善機構的不同計劃。

Redress 創辦人 Christina Dean 說： 「關鍵在於我們放什麼進入衣櫥。」 她接着說： 「我們一直相信時尚的正能量，我們希望人們以一個可持續 的方式喜愛時尚。這間永久的店鋪是我們支持香港人做出可持續時尚 選擇的一個方法。」

從 Redress 創新的衣物收集計劃開始，模式非常簡單。Redress 與 Zara 和 Tommy Hilfiger 等領先品牌合作，在香港提供眾多衣物收集箱，讓人 們更容易掉去閑置服飾。經過一絲不苟的挑選後，這些衣物會惠及 20 多個慈善合作夥伴，並確保每件衣服的使用壽命更長。最高質量的服飾 將成為 The Redress Closet 的庫存，大眾能夠以低至50港元購入。

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GET INFORMED

了解更多

MCKINSEY & COMPANY AND BOF

mckinsey.com/industries/retail/our-insights/state-of-fashion Business of Fashion’s annual report once again provides an insightful peek behind the industry curtain, analysing the influences that will shape tomorrow’s fashion world. Don’t miss the fascinating essay Digital Sprint, detailing consumers’ shift toward embracing digital innovations.

STAY ahead of the curve with the latest in sustainable thinking discover tomorrow’s solutions with our curated selection of eyeopening books, podcasts and influencers.

透過這些精心挑選的書籍、播客、人物以及網站，以了解可持續 領域的主要議題和解決方案。

Business of Fashion 的年度報告再次提供了行業幕後的洞察力，分 析了有機會塑造未來時尚世界的元素。不要錯過引人入勝的文章 Digital Sprint，其中詳細介紹了消費者擁向數碼創新的轉變。

LEARN 學習

ECOS

DURABLE, REPAIRABLE AND MAINSTREAM - HOW ECODESIGN CAN MAKE OUR TEXTILES CIRCULAR

The State of Fashion 2021

ecostandard.org/publication The Environmental Coalition on Standards is holding policymakers and industry players to account in this eye-opening report. Outlining the failings of linear production, the NGO offers up inventive solutions for circularity in hopes of reforming current regulations. 環境標準聯盟要求政策制定者和業界人士為這份具啟發性的報告 承擔責任。該非政府組織概述了線性生產的缺點，提供了循環創 造的解決方案，希望能夠改革現行法規。

Durable, repairable and mainstream

LEARN 學習

THE STATE OF FASHION 2021 2021 全球時尚業態報告

IMAGE CREDIT MCKINSEY & COMPANY BUSINESS OF FASHION 3

Towards circular textiles:

a recipe to slow down and close the loop

How ecodesign can make our textiles circular

emissions, waste and microplastics pollution. To top it off, production is often outsourced to developing regions, and is

THE BUSINESS OF FASHION PODCAST

subject to poor and dangerous working conditions, as well as environmental degradation and forced and child labour7.

Laundry Transports Distribution and retail

End-of-life treatment

3% 3%

11%

Fibre production

16%

Transports in production

1%

Confectioning

16%

Climate impact

80%

Production

3%

10%

Yarn production

17%

Use-phase

17%

Use-phase

10%

Fabric production

23%

3%

時裝商業評論播客

businessoffashion.com/podcasts

End-of-life

Wet treatment (dyeing and finishing)

LISTEN 聆聽

BUSINESS OF FASHION

Textile production is a linear, resource intensive industry. Its impacts on the environment are significant and wide-ranging: hazardous chemicals, unsustainable use of natural resources (land, water, energy), vast amounts of greenhouse gas

Figure 2 Climate impact of Swedish clothing consumption8 Source: Mistra dialogues, Investor Brief: Sustainability in Textiles and Fashion, 2020 Illustration: Visual Thinkery

Today’s fashion is faster and faster – and keeps on

Clothing represents the lion’s share of the industry, but

accelerating at breakneck speed. In 2017, EU households

there is more to it – for example, technical and household

spent €527.9 billion on clothes and textile products9.

textiles such as floor coverings, linen, bedding and cleaning

According to EEA estimates10, the amount of clothes

textiles12.

bought per person in the EU increased by 40% between 1996 and 2011, with an average European consuming 26 kg of textiles per year11.

April 2021 Durable, repairable and mainstream - how ecodesign can make our textiles circular

7

LISTEN 聆聽

IMAGE CREDIT ECOS

高度相關、發人深省且內容豐富 — 對於關注時尚的播客而言，

Business of Fashion 的每週產品應該是您的首選。始終走在尖端，

ETHICAL FASHION INITIATIVE

業界領導提供了全新觀點和多樣化的展望。

ETHICAL FASHION ethicalfashioninitiative.org/podcast

Hyper-relevant, thought-provoking and informative – for podcasts with their finger on fashion’s pulse, Business of Fashion’s weekly offerings should be your go-to stop. Consistently ahead of the pack, fresh perspectives from industry leaders offer diverse outlooks.

IMAGE CREDIT ETHICAL FASHION INITIATIVE

Hosted by Ethical Fashion Initiative founder and officer of the United Nations, Simone Cipriani, and Clare Press this podcast series celebrates diversity and inclusion in ethical fashion. Featuring the voices of marginalised designers and leaders, episodes explore entrepreneurship, creativity and sustainability.

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該播客系列由道德時尚倡議創始人兼聯合國官員ﾠSimoneﾠCipriani 及 Clare Press 主持，頌揚道德時尚的多樣性和包容性。以邊緣化設 計師和領導人的角度為特色，劇集探索創業、創造力和可持續性。

IMAGE CREDIT BUSINESS OF FASHION

LET US BE HEROES

Instagram @fash_rev

letusbeheroes.com PHOTO CREDIT FASHION REVOLUTION

Spearheading the movement for sustainable fashion after 2013’s Rana Plaza tragedy, Fashion Revolution continues to ﾠ rally ﾠ change. ﾠ Breaking down the big issues, their informative ﾠ feed ﾠ ensures you’ll be up to date on the latest news and innovations.

How much difference can one person make? This is the question posed in activist Rebecca Capelli’s eye-opening film, exploring the far-reaching impacts of our food and lifestyle choices. Find it free to watch online.

WATCH 觀看

FOLLOW 關注

FASHION REVOLUTION

活動家 Rebecca Capelli 這部具啟發性的電影中提出了問題「一個 人能帶來多大的轉變？」，該電影探討了我們選擇食物和生活方式 的深遠影響。它可以在線免費觀看。

AJA BARBER Instagram @ajabarber

IMAGE CREDIT LET US BE HEROES

London-based activist Aja Barber tackles social justice and sustainability in fashion, gaining an avid following for her honest and raw prose. A talented stylist on the side, Aja’s well-curated feed makes for a fascinating follow.

ORSOLA DE CASTRO

LOVED CLOTHES LAST: HOW THE JOY OF REWEARING AND REPAIRING YOUR CLOTHES CAN BE A REVOLUTIONARY ACT

WATCH 觀看

倫敦活動家ﾠAjaﾠBarberﾠ致 力於 解決時尚領域的社會 正義和可持續發展問題，她 真實且真誠的散文贏得了狂熱追隨者。作為一名才華橫溢的造型 師，Aja 精心策劃的提要引人入勝。

HBO

ICE ON FIRE hbo.com/documentaries/ice-on-fire A much-needed perspective, this optimistic documentary from Oscar-winner Leonardo DiCaprio offers a ray of hope in the climate emergency, unveiling cutting-edge research and never-beforeseen solutions to slow down the escalating crisis. 這部由奧斯卡獎得主 Leonardo DiCaprio 執導的樂觀紀錄片為應 對氣候緊急情況提供了一線希望，揭示了前沿研究和前所未見的 解決方案，以減緩日漸惡化的危機。

One of the world’s pre-eminent experts in circularity, Fashion Revolution’s Orsola de Castro pens the ultimate guide to making the clothes you love last longer, in the fight against fast fashion. Practical and inspiring – don’t miss it. 作為世界上最傑出的循環專家之一， 時尚革命家 Orsola de Castro 撰寫 了終極指南，讓您在對抗快速時尚 的過程中，令您喜愛的衣服經久耐 用。實用且鼓舞人心 — 不要錯過。

IMAGE CREDIT PENGUIN LIFE

MIKE BERNERS-LEE

THERE IS NO PLANET B: A HANDBOOK FOR THE MAKE OR BREAK YEARS In a seemingly unconquerable world of social and environmental issues, author Mike Berners-Lee cuts straight to the point – how exactly do we fix it?

This entertaining, instructional guide lays out the answers as actionable solutions for all.

在一個看似不可征服的社會和環境 問題的世界中，作者 Mike BernersLee 直切入主題 － 我們究竟該如何 解決？這本有趣的教學指南列出適 用於所有人的可行解決方案。 IMAGE CREDIT HBO

READ 閱讀

PHOTO CREDIT AJA BARBER

READ 閱讀

FOLLOW 關注

在 2013 年拉 納廣場 悲劇發 生後，時尚革命繼續推動變 革。為解決重大問題，他們的信息源確保您可以了解到最新的新聞 和創新。

IMAGE CREDIT CAMBRIDGE UNIVERSITY PRESS

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INNOVATIONS

創新

THE pace of innovation continues to accelerate as the fashion industry seeks scaleable alternatives to some of fashion’s most pressing challenges. From addressing the industry’s plastic waste problem to replacing plastic altogether, from digitising the secondhand market to create a truly circular economy to exploring the multiple potentials of 3D tech, the solutions are – quite literally – out there. 隨著時尚界尋找可擴展的辦法解決最著手的問題，創新的速度繼續 提升。從業界的塑膠廢物問題到共同取替塑膠，從數位化二手服飾 市場到創造出一個真正的循環經濟以探索 3D 科技的更多可能，解 決的辦法已經昭然若揭。

IMAGE CREDIT CANDIANI DENIM

STRETCHING BOUNDARIES 伸展邊界

Stretch denim has become standard in recent years but the very formula that made it popular – blending synthetic elastane into cotton twill – has also made it untenable in ecologically challenged times. Italian Denim mill Candiani Denim has developed the world’s first compostable stretch denim, replacing petrol-based content with COREVA™, a renewable and biodegradable component made from natural rubber.

彈力牛仔布已經成為近年的標準，但是令彈力牛仔布出名配 方 — 在棉斜紋布混入合成彈力纖維，亦令它在生態充滿著危 機的時候亦站不住腳。意大利牛仔布工廠 Candiani Denim 研 發出全球第一款可生物降解的彈力牛仔布，使用從自然橡膠 製作的可再生以及可生物降解的 COREVA™ 物料取替以汽油 為基礎的物料。

IMAGE CREDIT FAIRBRICS

TURNING THE TIDE IN PLASTIC 扭轉塑料潮流

Energy-intensive, petroleum-dense polyester currently makes up more than 65% of fibres used in the textile and apparel industry.

Fairbrics converts CO2 from industrial sources into polyester fabric, in order to create a synthetic fibre that both has a net positive impact on the planet and is capable of meeting the demands of the market.

現今紡織品以及製衣業所使 用的布料多達 6 5% 是 耗 費 大 量 能 源 以 及 汽 油 的 聚 酯 纖 維。Fairbrics 將工業原料中的二氧化碳轉變 成聚酯纖維，以製作出一款對地球有正面影 響以及能夠符合市場需求的合成纖維。

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SPLITTING FIBRES 纖維分解

IMAGE CREDIT H&M FOUNDATION

The ability to recycle blended textiles is key to a circular fashion industry. The Hong Kong Research Institute of Textiles and Apparel Limited, in partnership with the H&M Foundation, has pioneered a hydrothermal process that fully – and gently – separates and recycles cotton and polyester blends into new fibres and cellulose using only heat, water, pressure and biodegradable green chemicals.

將混紡織物回收的能力對於循環時尚界來說是一大關 鍵。香港紡織及成衣研發中心與 H&M 基金會展開了 前瞻性的水熱分離技術，徹底並且柔和地分離棉和聚 酯纖維，只用熱能、水、壓力以及可生物降解的化學 劑將其回收再生成新纖維以及纖維素纖維。

GETTING ON THE RIGHT TRACK IMAGE CREDIT LABLACO

走上正軌

Ways of allowing users to re-use existing wardrobes are growing in popularity. Global platform SPIN by Lablaco, allows users to buy, swap and rent items with digital ownership traced on blockchain. All products listed on the platform are connected via digital care labels, with unique IDs that allow end-to-end transparency for both customers and brands, and the activation of takeback programs for circular business models at scale.

讓用戶重用已有服飾的不同方法越來越受歡迎。透過 區塊鏈，全球平台 SPIN by Lablaco 讓用戶能夠為曾 經被擁有的物品標記電子擁有權，允許他們購買、交 換以及分享物品。平台上標記的所有產品透過 IoT（物 聯網）連接電子維護標籤，獨特的 ID 為客戶以及品牌 提供端到端的透明度，具規模地為循環商業體系啟動 回收企劃。

INVENTING DIGITAL COUTURE 創造數碼定制時裝

IMAGE CREDIT SYNFLUX

Research collective Synflux creates Algorithmic Couture, a system of digitised design that reduces fabric waste by creating garments that fit exactly to the wearer's body. Data collected from 3D body scans are used to create zero-waste garment patterns.

As in haute couture, users can then customise the shape, fabric and colour of final garments to reflect personal style. 研究小組 Synflux 創作出 Algorithmic Couture，一 個透過製作合身衣服以減少布料廢物的電子化設計 平台。從3D身體掃描收集的數據會用於製作零廢棄 的衣服紙樣。如同高級定制一樣，用戶可以自訂最 終衣物的形狀、布料以及顏色，反映出個人風格。

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NEW COLLECTIONS

ASﾠenvironmental consciousness gains traction across the globe, consumers are demanding revolutionary change. Armed with sustainable solutions and the drive to make a difference, our global cohort of Redress Design Award Alumni are poised to answer the call, marrying cutting-edge style with radical sustainability. From upcycling to zerowaste, we explore their latest innovations. 當全球對於環境的意識提高，顧客正需求 一個革命性的改變。熟悉可持續方法和希 望作出改變的「Redressﾠ設計大賽」環球歷 屆參賽者正蓄勢待發、回應需求，以激進的 可持續性迎合前衛的風尚。從升級再造設 計到零廢棄，我們探索他們最新的創新。

Scan the QR code to shop the alumni brand. 掃描二維碼購買歷屆參賽者們的最 新時尚系列。

PAT GUZIK

IMAGE CREDIT ZEROBARRACENTO

IMAGE CREDIT PAT GUZIK

嶄新系列

ZEROBARRACENTO

20 15/ 16 ﾠ winn e r ﾠ an d 2020 ﾠ A ll ﾠ Star ﾠ Pat ﾠ G uzik ’ s ﾠ latest collaborative venture aims to reinvigorate local ﾠ producers, ﾠ with ﾠ a ﾠ limited-run co l l e c t i o n ﾠ t h at ﾠ u s e s ﾠ s e co n d h a n d garments and deadstock textiles.

Zero-wasteﾠlabel Zerobarracento, the brainchild of 2015/16 semi-finalist Camilla Carrara, presented its ﾠ latest ﾠ trans-seasonal ﾠ offering ﾠ of dynamic ﾠ yet ﾠ balanced ﾠ outerwear ﾠ at Roma Fashion Week 2021.

2015/16大獎及 2020年度全明星獎得主 Pat Guzik 最新的合作項目希望透過使用

20 1 5 / 1 6 年 度 準決 賽 參 賽 者 C a m i l l a Carrara 的零廢棄品牌 Zerobarracento 在 2021羅馬時裝周展示最新的跨季度、

二手服飾以及滯銷存貨製作的限量發售 系列振興本地製造商。

躍動並且中庸的外衣。

IMAGE CREDIT EMMA BORGEN

IMAGE CREDIT DAMINI MITTAI

ABSURD LABORATORY Collaborating with iconic store Midwest Vintage HK, 2011 finalist Eric Wong transforms genuine vintage pieces from the USA, in his upcycled collection, FIRST EDITION, blends varsitystyling with contemporary streetwear. 王偉俊與標誌性的香港商店「美華氏」 合作，FIRST EDITION 系列中，將來自 美國的正宗古董單品升級再造為一個融 合了大學風格與現代街頭服飾。

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DAMINI MITTAI

RedressﾠDesignﾠAward 2019 ﾠ Finalist ﾠ Damini Mittai collaborates with ethical institution The Summer House, for a range of oneof-a-kind patchwork jackets handmade in India by local craftspeople.

2019 年度「Redress ﾠ設計大賽」總決賽 參賽者 Damini Mittai 與道德學院 The Summer House 合作，讓印度手工藝者 製作出一系列獨一無二的拼湊夾克。

EMMA BORGEN

Experimentingﾠwith upcycling silk saris, 2019 semi-finalist Emma Bogren continues to blend feminine chic with cool tomboy styling in her latest collection.

2019年準決賽參賽者 Emma Borgen 正 試驗升級再造的真絲，在最新系列繼續 融合女性魅力與中性酷勁。

THE LOOM ART

Accessory is the latest passion ﾠ for ﾠ 2020 ﾠ semi-finalist ﾠ Elin Thomas,ﾠwhoﾠfoundedﾠherﾠzero-waste textile brand Elin Manon in 2018. The collection features hand-knit gloves and scarves, crafted from repurposed wool.

With a focus on ethical production and slow fashion practices, 2020 semi-finalist Aarushi Kilawat’s label, The Loom Art, launches an ultrawearable range of Shibori dyed looks.

飾 物 是 2020 年 度 準決 賽 參 賽 者 El i n Thomas 最近的心頭好，她在 2018 年成 立零廢料服飾品牌 Elin Manon。是次推 出的系列包括從重新利用的羊毛製作的 手工針織手套以及頸巾。

IMAGE CREDIT WEIYU HUNG

IMAGE CREDIT THE LOOM ART

IMAGE CREDIT ELIN MANON

ELIN MANON

WEIYU HUNG

關注良心製作以及慢時尚的 2020 年度 準決賽參賽者 Aarushi Kilawat 的品牌 The Loom Art 推出了一個可穿性極高的 絞染系列。

Exploringﾠtheﾠspirit of humanity, heritage and sustainable fashion and featuring looks made from surplus ﾠ textiles ﾠ and ﾠ traditional ﾠ barklace, 2020 All Star Weiyu Hung’s SS21 collection has met widespread acclaim.

2020 年全明星獎得主洪威宇的 2021 春 夏系列探索人性、遺產和可持續時尚，系 列涵蓋了由剩餘布料以及傳統樹皮織物 製作的服飾，獲得廣泛讚賞。

IMAGE CREDIT JULIANA GARCIA BELLO

IMAGE CREDIT ANNAISS YUCRA

IMAGE CREDIT UNDER THY SKIN

UNDER THY SKIN

ANNAISS YUCRA

Acclaimed lingerie brand Under Thy Skin, from 2017 semi-finalist Neri De Meester, debuts METAMORPH: a handmade, upcycled collection inspired by classic tales of transformation.

An avid proponent of social ﾠ change, ﾠ 2020 semi-finalist Annais Yucra delves into themes of body positivity with her namesake brands’ new swimwear line, created exclusively from recycled plastic bottles.

Connections,ﾠlimits and borders all serve as inspiration ﾠ for ﾠ 2020 ﾠ Womenswear Winner ﾠ Juliana ﾠ Garcia ﾠ Bello ﾠ in ﾠ her upcycled, zero-waste FW21 collection, debuted ﾠ at ﾠ Mercedes-Benz ﾠ Fashion Week Russia.

作為社會變革的狂熱支持者，2020 年 準決賽選手 Annais Yucra 憑藉其同名 品牌的全新泳裝系列深入探討了身體自 主性的主題，該系列完全由回收塑料瓶 製成。

連 接、界 限 以 及 壁 壘 成 為了 2 0 2 0 年 度「 Redress ﾠ設計大賽」得主ﾠ Juliana Garcia Bello 升級再造、零廢棄的2021秋 冬系列的靈感，系列於俄羅斯梅賽德斯 奔馳時裝周發佈。

由2017年準決賽參 賽者 Neri De M e e ste r 主 理，備 受 讚 譽 的內 衣 品 牌 Under Thy Skin 推出了一個以有關變形 的經典故事為靈感，手工製並且升級再 造的系列 METAMORPH。

JULIANA GARCIA BELLO

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SHIFTING THE LANDSCAPE OF EDUCATION

改變教育格局

Written by 作者ﾠ|ﾠMorgane Parizot Director of Education, Redress Redress 教育總監

LOOKING back on a decade of the Redress Design Award, it’s both startling and thrilling to see the change in the overall landscape of fashion in relation to sustainability during this time. From the onset, via the competition, we set out to highlight the issues around waste and inspire a generation of designers to be part of a critical shift for the industry.

Over the years we have worked directly with 218 emerging designers – now our alumni – seeing them grow and flourish, proposing alternative solutions to change the fashion industry, one garment at a time.

回顧過去十年的「Redressﾠ設計大賽」，可持續發展相關的時尚整體格 局的變化令人既震驚又興奮。從一開始，我們就通過大賽著手強調廢 物問題，並激勵一代的設計師成為行業關鍵轉變的一部分。多年來，我 們一直與218位新興設計師 — 現在的歷屆參賽者 — 直接合作，看著他 們進步成長，透過每一件衣服提出改變時尚行業的替代解決方案。

At the core of our annual competition is education. We believe that learning and awareness is the first step of any change, and that equipping emerging designers with the right information and tools as they head into their careers is key to fulfil the urgent needs of the industry.

自成立以來，我們由在亞洲的家透過網上和親身向超過 56,000人提 供循環和可持續設計內容。我們的工作基礎在於培養與學術機構的密 切關係，以推動高等教育內部的系統性變革。在我們努力加快可持續 發展教育的同時，Redress 繼續為設計師和其他時尚行業專業人士開 發和利用我們的免費資源。

From our home in Asia, we have delivered circular and sustainable design content online and in person to more than 56,000 individuals since the inaugural cycle. The foundation of our work lies in fostering close relationships with academic institutions to drive systemic change within higher education. While we work to accelerate a reduction in this gap in sustainability education, Redress continues to develop and build on our free resources for designers and other fashion industry professionals.

我們年度大賽的核心是教育。我們相信學習和意識是任何變革的第一 步，在新興設計師進入職業生涯時為他們提供正確的信息和工具是滿 足行業迫切需求的關鍵。

通過提供工具增強教學內容和鼓勵跨區域以及行業和教育者之間的 交流和討論，我們支持 160多個並持續增長的合作機構網絡的可持續 發展教育之旅。

我們在 Redress 永�止�的�力��我們������的���度不 足以�現行���的������的��目����可����是否

Without Redress’ strong determination and devoted hearty contributions throughout these years to engage our local institutions

in the pedagogical planning, the sustainability awareness would not have advanced to such positive stage [in Hong Kong].

這些年來，如果沒有 Redress 堅定的決心和熱誠的貢獻，讓我們當地的機構參與教學規劃，（在香港）可持續發展的意識就不會 進步到如此積極的階段。

We support our growing network of 160+ partner institutions in their sustainability education journey by providing tools to enhance their teaching content but also by encouraging exchanges and discussions cross regionally and between industry and educators.

Our never-ending drive at Redress stems from the constant concern that the system is not changing fast enough to hit all the ambitious environmental goals the industry has set. Is the lack of sustainability education failing our future generations? We need both industry and higher education bodies to be more transparent about the challenges of implementing ambitious sustainable goals and (re)educating fashion professionals. The collaboration between institutions and industry players is crucial to ensure they have the skills and knowledge to (move and) stay ahead of our planet’s needs.

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RAYMOND AU Redress Design Award Advisor 「Redress 設計大賽」顧問 ��我們的�代失�？我們��行�和�����構��現��� �的可��目�和���尚專��士���的挑戰更�����構和 行�參�者�間的�作�����們��技�和知識��重�以領 先我們星�的���

If you are interested in collaborating with Redress, please reach out to hannah@redress.com.hk. 如果您有興趣與 Redress 合作，請聯絡 hannah@redress.com.hk。

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