JOURNAL
SUSTAINABLE FASHION
What is
sustainable
fashion?
CONTENTS 17 5
THE ORIGINAL PROTAGONIST EDITORIAL WITH POLOSOPHIA
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CARYN FRANKLIN LIFE FOR THE WORKERS AFTER THE RANA PLAZA
KAREN GOLD
BRITISH AND WEST AFRICAN CRAFTSMANSHIP
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POLOSOPHIA
ORGANIC, STORYTELLING UNISEX BRAND
ZOË BURT
THE BEAUTY OF NATURAL DYES
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29 CLUTTER AND CLASH
EDITORIAL WITH SOPHIE COCHEVELOU AND MAYAMIKO
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DRESSGANG
RENTAL DESIGNER CLOTHING
DÖRTE LANGE
LISSOME, CURATION OF MINDFUL FASHION
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KITES AND BITES
MULTI-CULTURAL PATTERNS FOR THE YOUNG CONSUMER
MODELS OWN FASHION, IDENTITY AND THE VALUE OF CLOTHING
THE ORIGINAL
PROTAGONIST THE WORLD’S FIRST STORY-BASED FASHION LABEL POLOSOPHIA... PRESENTS A BEAUTIFUL, POETIC COLLABORATION BETWEEN STORIES AND EFFORTLESS CLOTHING. THESE ORGANIC, MULTIFUNCTIONAL GARMENTS OFFER FREEDOM FOR ADVENTURE AND A SENSE OF TIMELESSNESS THROUGHOUT YOUR JOURNEY. EACH COLLECTION IS A CHAPTER OF ITS OWN. CHAPTER 1 IS CURRENTLY AVAILABLE FOR KINDLE AND IN FREE ACCESS ON WWW.POLOSOPHIA.COM 5
Text taken from Chapter 1: The Original Protagonist Photographer Matthew Willcocks Stylist Jessica Joy Models Lara Olutunmogun Arnaldo Sanha
THE TOWN TODAY WAS YOUR REGULAR FILM STILL: DREAMY, ENVELOPED IN THE GLOW OF LATE SPRING, ITS STREETS, A SPARKLING MESH OF DRAGONFLY WINGS, STRAYING OFF FROM THE BROAD CENTRAL AVENUE. THE AVENUE, CUTTING ALL THE WAY THROUGH THE TOWN, WAS QUIET, WITH NOT A SOUL IN SIGHT AT THIS HOUR WHEN EVERYONE WAS BUSY WITH WORK OR SCHOOL OR SOMETHING OR OTHER.
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SHE RAN HER FINGERTIPS OVER THE COAT ONCE AGAIN, THEN PICKED UP AND HELD IT, FEELING THE WEIGHT OF THE FABRIC. THICK ANCIENT WOOL HAD A CERTAIN GROUNDED QUALITY TO IT. SHE PUT THE COAT ON. PERHAPS IT WAS JUST HER IMAGINATION POPPING A PLACEBO, BUT SHE INSTANTLY FELT BETTER. THE COAT IS PROTECTION, SAID THE LETTER. SHE WALKED OVER TO THE MIRROR. THE GARMENT FIT HER PERFECTLY, ITS LENGTH JUST RIGHT, ITS LOOSE FOLDS CREATING A WARM SHIELD, ITS STITCHES LEADING TOWARDS LIFE UNKNOWN, YET ONE SHE WAS KEEN TO DISCOVER. SHE TWIRLED A COUPLE OF TIMES, THE FABRIC FOLLOWING HER MOVEMENT, SWEEPING HER INTO A TIDE OF ANTICIPATION.
Photographer Chris Floyd
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FASHION COMMUNICATION
Caryn Franklin
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...when I began at i-D magazine it was about being able to say something about yourself, being able to self-style, control your image and feel good about yourself and your body.” What does sustainable fashion mean to you? “I look at it as a broad spectrum. It is a production of design that has not exploited the worker or does not exploit the self-esteem of the wearer or the buyer by portraying unachievable body ideals. There is a full circle to sustainability, it’s not just resourcing, it’s a motion.”
I saw a massive change in the 90s when big brands were gobbling up the smaller labels. These corporations were beginning to effectively convince consumers that they needed to buy more and more by reducing prices. To enable this, suppliers’ prices were squeezed, resulting in large profits for the brands but poor wages for the workers.
How have you considered or communicated sustainable fashion in your own career? “I have had a very long career, and for me I was always interested in identity. Right at the beginning, when I began at i-D magazine it was about being able to say something about yourself, being able to self-style and control your image and being able to feel good about yourself and your body. That has always been what drives me.
Furthermore, they would promote imagery of women that is objectifying and unachievable in its promotion of one body ideal and then come digital, benefit from accelerating that promotion. My career has been very much about broadcasting a counter cultural transition and naming myself as a disruptive fashion lover, critiquing the way the big businesses are working and being excited about innovative solutions from emerging creatives.”
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Thanapara, Bangladesh. Photographer Miki Alcalde
Did your visit to Dhaka, Bangladesh challenge your values and practices? “I went to Bangladesh with Safia Minney who is the co-founder of People Tree to do two things. I went to hear a testimony from workers who had escaped the Rana Plaza disaster and to hear directly from them what had led up to their situation and how they had been treated afterwards. Many families lost the wage earners and the grandparents, were left struggling to look after the children. The situation is dire out there, because people aren’t even paid a living wage so they need two or three wages to support a small family and they often all live in one room. Compensation was promised by western companies and not delivered. Prior to the incident, I was told that workers had flagged up concerns about the growing cracks in the walls but were repeatedly ignored and threatened, in such unethical ways as the withholding of their wages if they didn’t complete jobs. This indicates a
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“There is nothing more powerful than seeing something first hand, you never forget it. Regularly I was so emotionally impacted, that it was burnt into my brain.”
system that is too big to manage itself, too big for the people who say they care about these things to check what’s actually happening. If we had smaller businesses and smaller systems and there was less profit margin and less bonuses going to CEO’s, we might have a system that was easier to monitor. There is nothing more powerful than seeing something first hand, you never forget it. Regularly I was so emotionally impacted, that it was burnt into my brain.” During your trip, I understand you visited the workers at People Tree, how did that experience differ from speaking to the survivors of the Rana Plaza? “I travelled with Safia, inland from Dhaka to a village called Thanapara, where People Tree clothing is
made. It’s a fair trade complex in which I could compare the lifestyles of the workers effectively. I witnessed a huge difference, there was simply no human suffering, everybody was joyful and felt they were engaged in a day’s work that made them feel good about themselves. They took a wage home to their family and they weren’t working exploitative long hours in industrial situations that were dangerous to their health. Really interestingly, I met one worker who had escaped the Rana Plaza and gone to Thanapara who stated ‘I never ever saw my daughters when I worked in Dhaka because of my hours. I had terrible health because of the water supply and the food that we were able to afford.’ This woman was speaking from a village mud hut with a shared village toilet, however, she was thrilled about the rise in the standard of her living.”
“...there was simply no human suffering, everybody was joyful and felt they were engaged in a day’s work that made them feel good about themselves.”
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How have these experiences affected your personal consumption of fashion? “It is difficult for people to really understand the impact our clothes have on people’s lives and the very poor treatment of workers who make them. Since I began thinking hard about it, I have bought my clothes very differently. I don’t buy from high street companies, but I will buy high street in a second hand shop. I investigate clothes for cut and design features that are flattering for me and I’ll buy from sample sales of young designers or if something has been made by a seamstress. I also like to buy from recycling or upcycling specialists or designers. Quite a lot of garments that I own have had a different life and they have been remade into something else. “
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“It comes back to the thing I connected with in the 80s, which is self-styling, saying something unique about yourself. That is to this day why I am attracted to working in fashion and with clothes.”
Key Tips for... Garment workers for People Tree. Photographer Miki Alcalde
Starting a business
How much impact do you believe a young designer has in changing the future practice of the fashion industry and what advice would you give? “I think a young designer can have great impact on many levels. In the first instance, being part of a creative team in a big firm, asking questions and investing process crucial. When something doesn’t feel right, being able to say ‘could you just tell me where we are getting this particular fabric from? Is there any way we can improve our relationship with the people who supply us?’ Asking questions empowers other people to investigate their own thinking. Looking forward, have aims that are not unreasonable so that you can gently navigate through, but be open to opportunities that come up.”
“If you are looking to start up your own business or make your own product then a key thing to do would be to engage with people who are just that bit further ahead of you - contact people who could be mentors and ask them questions. Interning is a really valuable way of learning because it’s a fair exchange. However, it never ceases to surprise me when interns don’t ask questions. They may have taken part in some business process but they have missed out on 75% of the intern treasure, which is asking questions.”
Becoming successful “Create your definition of success. My definition of success is being able to work on projects that don’t compromise my values and at the end of each day I’ve made a contribution to the self-esteem of people who may come into contact with what I am doing. However, that has meant that I don’t always have a secure earning stream or that I’ve turned down work that’s been quite a bit of money because I know I won’t feel good about what I’m going to be asked to do. High status jobs potentially do offer high status finance but they also bring with them extreme pressures and sacrifices. For some people, doing those jobs for a short while is a very valuable learning experience, which then nourishes how they want to go forward.”
Feeling confident “Finally, for all beginners to know, every single creative professional has doubts, moments where their own confidence has been challenged or ideas didn’t work. Of course you grow in confidence as you go forward but nobody is indestructible, every creative feels insecurity and needs to tap into a certain level of bravery. Everyone puts out calls and emails and doesn’t get replies and it’s very tempting to think that it’s you because you’re not talented enough, but that’s just how it is. Developing resilience is something that we all need to step up to so we can remain in the game.”
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Photographer Pedro Antunes Hair and Make-Up Artist Joanne Cushing Stylist Jessica Joy Models Olga Ceceleva Claudia Lavender
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FASHION DESIGN
Polosophia
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We aim to design the garments that will be worn and loved for many years, that will become interwoven in the life stories of our customers.” Polosophia is the world’s first story-based fashion label, what inspired you to create this and how do you communicate these intentions through the brand? “Polosophia is unique in the sense that we take storytelling in fashion to its logical conclusion: we design garments based on our original Polosophia story. Chapter 1 is currently available for free on our website and every purchase comes with a little collectible book edition. As the story unfolds, we follow the protagonist as she sets out on a journey of self-discovery and along the way develops her perfect wardrobe. Polosophia garments are tangible artefacts of this magical world. We design for adventurers, explorers and modern-day mythical creatures who treasure every day and live their lives as the works of art that they are. Another side of this is that we aim to design garments that will be worn and loved for many years, that will become interwoven in the life stories of our customers.”
How important do you believe a move to more sustainable fashion is? “I think it just makes sense to do things ethically and sustainably. We have loads of people living on one planet. We all share it, and there’s no way out really. A short term monetary pay off is not as important as making sure our species survives! As a consumer, I want to support brands that do things in the right way. I want to buy things that will wear, that are beautiful, and that I don’t feel guilty about buying. I want to know what goes into what I buy. As a human being, I think, if my friends or family had to work for a fashion brand, how would I want them to be treated? Would I want them to slave for days in a sweatshop for less than minimum wage in unsafe conditions, only to know that most of their work will end up in a landfill? I think in the global world, where we are so far removed from the source of the things we buy, it’s easy to forget these simple truths.”
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Sustainable fashion means creating lasting garments out of natural or sustainable materials which are not taxing on the planet.
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How does Polosophia apply sustainability to the design cycle? Design
“We are not trends-driven. Rather, we design to make garments fun and for people to wear. This is achieved through high-quality materials, interactive design elements (e.g. many of our garments are reversible, have adjustable ties and shirts can be worn as dresses, etc.) and general daily avant-garde look that is suave in a modern way, but still ultimately wearable. This also implies certain colour choices that can be built upon within existing capsule wardrobes. Additionally, we are moving towards waste-free design in our pattern making.”
Materials
“We stick to natural and organic materials (the cotton and bamboo silk we use is organic and our wool is 100% natural).”
Production
“We produce in small batches, to order in the UK and are working to avoid over-production and waste. While establishing relationships with new factories, we look for fair-trade factories that run production ethically. Ultimately all that we to do is aimed at creating the feeling of involvement with the garments.”
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As a young fashion designer yourself what advice would you give to design students and those just starting out in the industry? “As a young designer, especially if you try to establish your own brand, it is easy to be tempted to compromise as you strive to get the business off the ground. It can be difficult to stay idealistic and dedicated to your cause. But don’t let it sway you. We need role models, we need people to look up to, who lead by example. These are the people that make a difference and make a change. I like to believe that if you are smart and persevere, do your research and take considered steps, it will all pay off. Learn. Learn about yourself, about what you want. Also learn about the industry. Try things, as much as your time and finances allow. Gain practical experience and jump on opportunities. At the same time, push yourself. That’s how you make what is uniquely yours relevant to the world.”
“All the big brands and famous designers started somewhere. The biggest trees grow from tiny seeds. Everything must have a beginning, no matter how small.” 25
TEXTILE DESIGN
Zoë Burt
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My current focus is on creative and experimental textiles. Fashion couldn’t exist without textiles, the significance of textiles is not to be undervalued.” Categorised as both a textile and fashion designer, which industry do you feel you relate to the most? “The two areas are intrinsically linked. I trained in printed textiles at Central St. Martins and then worked in the fast fashion industry for several years. Partly in response to working in this area, I initiated the Seeds of Fashion project to see if it was possible to grow a garment from seed in an urban environment within the M25. The aim of this project was to help people re-connect with where clothes come.” Do you believe the average UK fashion consumer is aware of the dying process involved in the production of their clothes and its harmful effects? “Our skin is the largest breathable surface area on our body, the dyes and treatments on an item of clothing are in close contact with us. Just as we are unable to see the pollution we often breathe in cities, the residuals of chemicals on our clothing are potentially having an affect. It is an interesting area to investigate particularly for people with allergies.”
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“I really love the colours that can be obtained from plants: such a surprisingly vast array. None of the colours ever appear to clash.� 27
What does sustainability mean to you? “Michael Braungart who co-wrote the book ‘Cradle to Cradle: Remaking the Way We Make Things’ challenged my notion of what this word meant. Taking inspiration from the model of nature to explain good practice in sustainability, he gives an example of leaves falling from a tree in autumn which enrich the soil and then feed back into the nutrients under the tree and become part of a natural cycle of optimum health and productivity. This simple model enables us to think and plan ways to enhance and balance our commercial and environmental concerns.”
Why do you choose to use natural dyes over synthetic in your work? “Having studied under Sue Craig and Jenny Dean for the Grow your Own Colour course, I have enjoyed learning about and experimenting with pigments from plants and developing knowledge. I have a growing book of swatch cards, techniques and samples from reds to purples; interestingly green is one of the hardest colours to obtain in dyeing unless using extracts.”
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There is an ever growing trend for natural resources. Many people as they become more educated and aware of the impact of their buying choices are seeking out alternative options and being rewarded with wider choices.
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How important do you feel education is to the future of the fashion and textiles industry? “Education is hugely important from primary school onwards. Cassie Liversideg helps children in several schools in East London grow their own flax and was part of the project to grow a garment from seed within M25. Education is a meaningful way for us to challenge the norms and create new modes to enhance all our lives with due respect for the planet.”
Photographer Marianne Wie
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CLUTTER AND CLASH
A COLLABORATION OF PATTERN AND PRINT
SOPHIE COCHEVELOU AND MAYAMIKO
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Garments Mayamiko Accessories Sophie Cochevelou Photographer Ben Lawrence Miller Hair and Make-Up Artist Joanne Cushing Stylist Jessica Joy Models Natalia Afanasiuc Cassandra Baratto
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Dörte Lange The Lissome
Lissome describes itself as a ‘thoughtfully curated platform that promotes high-quality and conscious fashion’. What inspired you to create this online platform? “It was initially two different realisations I had. While working as a Freelance Art Director and Communication Designer at Elle Magazine I became more and more aware of the negative impacts of the fashion industry through a series of different events and experiences I had. Researching into the slow food movement, Rana Plaza and The True Cost Movie all became little wake up moments that sharpened my consciousness. In response to this, I then started to look for alternatives and quickly realised I needed to look deeper, as my early findings didn’t really thrill me. In order for people to change I felt the alternative had to be really enticing both in terms of quality and style, alongside putting human beings and animals rights to the forefront. I also found, particularly on Instagram, that there was a growing momentum of sustainable brands emerging out there with
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aesthetics I shared. One of my strongest skills is communicating in a visual way and I believe visuals can be really powerful. When I initially started Lissome, I wanted to create a visually beautiful environment, sending a very positive message. I didn’t want to create a blame culture but instead celebrate the brands that were taking positive steps. We really need to change the system we are living in so that human, environmental and animal welfare is at the centre and I feel at the moment it’s not even on the sidelines.” How have you stayed true to your values? “My changing awareness has led to a career change from working at Elle Magazine to setting up Lissome. I think at some point I became less comfortable with promoting things I no longer believed in. From my decade of experience working for others I felt ready to start something else that was true to my own values. I have always loved fashion, however, I had a moment in my career where I lost a certain purpose and I felt it was destructive what I was doing which lead to a drastic career change.”
FASHION COMMUNICATION
Photographer Bella Fenning
Underwear Löv Photographer Berta Pfirsich Assistant Daniel Molina Make-Up Artist Rubén Mármol Stlist Claire O’Keefe Creative Director Maike Lüdenbach Models Chacha Huang Claudia Martínez Elisa Triana Gabriela Richardson
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Started by a former model, to promote body positivity, Löv presents underwear in a really affirmative way to strengthen the self-esteem of young women.
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What brands do you believe are currently demonstrating particularly good practice? “I think there are a lot! Recently I have come across an underwear brand in Barcelona called Löv, which ticks a lot of boxes. Started by a former model, to promote body positivity, Löv presents underwear in a really affirmative way to strengthen the self-esteem of young women. They have really beautiful campaigns showing ethnically diverse women and different body types, which I find very refreshing. The designer has pattern cutters in Vienna whom she works really closely with and through her she found production, a small manufacturer in Bratislava. Additionally, all her fabrics and components are certified. I think she is successful because she really knows her target customer and knows how to communicate with them. Similar to Reformation, who know their consumer extremely well and how to make sustainable fashion cool to the younger target group who may not have been interested otherwise.”
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We are the first generation to feel the effects of climate change and the last generation that can do something about it� Barack Obama 2014
How do you believe the next generation of creatives can best impact the industry? “I see the next generation of fashion creatives as the real key drivers for change; I think there is a real sense of urgency. If they have sustainability in their curriculum they come to the industry with a real advantage. It’s a really important extra tool that older designers and creatives don’t have and now find themselves in busy jobs with no time to relearn. I think the fashion industry would be really foolish not to welcome the new generation with open arms because it’s not just about small emerging labels anymore, it’s about driving a big change in the industry.” Any final tips? “Knowledge is power, be widely curious! Often, when people think of fashion they think of a shallow industry but its actually grounded on a wealth of expertise and history. You can learn about how fashion functions as a mirror of society and about material innovation that could transform the future. You should also know how production works and have a good understanding of supply chains so that you are grounded in knowledge. Finally, I would say its really important not just to focus on becoming a star. We have important problems to solve so it’s crucial we come together and collaborate on these. We need to learn to put aside our egos, it’s a complex subject so you will need a range of different expertise and to see yourself as part of a team, part of humankind.”
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FASHION DESIGN
Kites and Bites
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“Kites and Bites aim to be an eclectic mix of statement clothes that embrace a truly international vision. The inspiration comes from worldwide traditions, celebrations, and travel adventures that appeal to the young target market.” Kites and Bites garments showcase a wide range of patterns, textures and prints, what was the inspiration behind this aesthetic? “I love seeing women with a versatile style that can surprise with unpredictability and uniqueness. Isn’t the world tired of uniforms, trends and the same old items worn for a short period of time by nearly everyone? I know I am. Kites and Bites aim to be an eclectic mix of statement clothes that embrace a truly international vision. The inspiration comes from worldwide traditions, celebrations, landmarks and travel adventures that appeal to the young target market.” What inspired you to create the brand? “It all started with a trip to Marrakesh. Having got lost within the expansive Souks, I ended up collating colourful fabrics and tassels from their traditional hats and belly dance fringes. Working for a fashion agency at London Fashion Week at the time I began to dream of designing my own collection. Knowing I couldn’t be the only one who was tired of fast fashion and
lookalike high street brands I began to research into the luxury market. Despite this market allowing the freedom for my creativity I struggled with the concept that I would be designing clothes that many could not afford. Ultimately, I wanted my brand to be a real alternative to fast fashion so began to investigate ways to make that possible. Alongside this, I wanted to build a brand that takes inspiration from all around the world, emulating London’s multicultural melting pot.” How much importance is placed on ethical and sustainable practice within the brand? “I grew up in Romania, a country that can be seen as the place of manufacturing on many high street labels and luxury ones at the same time. From the very start of my career I’ve interacted with workers in those factories; I know the costs of the clothes, the contracts, and the rules. Fortunately, the situation is better than in Bangladesh for example, but there is still a lot that can be improved.”
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New generations can start fresh and do things right. People need to learn to buy less and understand that a very cheap price often happens as a result of bad practice. It’s a big change that can’t happen overnight, but each and every designer counts.”
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To ensure ethical standards are maintained I visit all factories I am considering using and make regular visits throughout the manufacturing process. I realise it’s an additional cost to factor in, however, as a designer I see it as my responsibility to know who is making my products, allowing me to be transparent with my customer.
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Photographer Bam Douglas Hair and Make-Up Artist Edvinas Maciulis Stylist Jessica Joy Art Direction UAL Fashion Students at Saint Francis Xavier Sixth Form College Models Jo Marney Maja Laskowska
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Con
ntributors Caryn Franklin Polina Schadauer-Povarich Karen Gold Zoë Burt Paola Masperi Sophie Cochevelou Maike Lüdenbach Zoë Wells Natalia Kazakli Una Harcinovi Dörte Lange Alexandra Ursan Matthew Willcocks Miki Alcalde Chris Floyd Berta Pfirsich Stefan Yap Pedro Antunes Ben Lawrence Miller Paul Hine Bam Douglas Marianne Wie Joana Ascenso Joanne Cushing Dee Mahar Edvinas Maciulis Lara Olutunmogun BAME MODELS: Arnaldo Sanha Natalia Afanasiuc Alix Andrews Tiphane Gueret Cassandra Baratto Jo Marney Maja Laskowska Olga Ceceleva Claudia Lavender Yaourou Konaté Lehrmann Matt Ryalls Saint Francis Xavier Sixth Form College
www.franklinonfashion.com With special thanks to www.polosophia.com Kingston University: www.karengold.london www.zoeburt.com Sustainability Hub www.mayamiko.org www.sophiecochevelou.com Maria Xypaki www.lovthelabel.com @zjwells KUBacker www.dressgang.com www.dressgang.com Christopher Clements www.thelissome.com www.kitesandbites.com Green Connector www.matthewwillcocks.com Sophie Stedman www.behance.net/mikialcalde www.chrisfloyd.com www.bertapfirsich.com MA Fashion www.stefanyap.co Richard Sorger www.pedro-antunes.com www.blmiller.info www.paulhinephotographs.co.uk @bamdouglas www.mariannewie.net www.jomakeupart.wixsite.com/joanaascensomua www.joannecushingmua.co.uk @dee.mahar www.edvinmac.com @lara_never_laura www.bamemodels.com - Arnaldo Sanha - Natalia Afanasiuc - Alix Andrews - Tiphane Gueret @ cassandra_ksb @ jomarneymodel @ majalaskowska @ ceceleva Editor www.lenismodels.com www.yaourou.tumblr.com Jessica Joy Donnelly www.mattryalls.com www.sfx.ac.uk
FIND US HERE: www.sustainablefashionjournal.com @sustainablefashionjournal @sustainablefashionjournal