WEARME FASHION N O I H S FA Y T I L A U D I V I IND
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A R T Á V PE O K Č PTÁ WEARME FASHION 2
Š Á K A K LU Z Á H C O R P WEARME FASHION 3
A N E T AL N A S S E B WEARME FASHION 4
A S I A DEN L A V O D WEARME FASHION 5
P I L I F N E Y NGU WEARME FASHION 6
IVA Á V O T E K R U B WEARME FASHION 7
Managing Editor VERA ARTEMYEVA Acting Writer and Researcher SARA VOLPI Acting Copy Editor MOLLY BRIND’AMOUR Graphic Design MADELINE STONE Cover Photography CIRO CENNAMO Illustration ELISA DI LEO, MADELINE STONE Collaborators VITTORIA KIDANE, RAFAELA PONS, GAÉTANE AUFFRET WEARME FASHION ® Publishing MOMENTFACE s.r.o. Zvěřinova 3413/14, 130 00, Prague, Czechia – Tel: +420 608 099 970, +39 392 349 5254 pr@wearme.fashion IČO 01900030, DIČ CZ01900030 Issued: November 2018 – Registration: MK ČR E 22701 - ISSN 2533-5618
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WEARME FASHION 8
’ s r o t i d E Lette r
The rise of individual designers is shaping a fresh, eco-conscious market built on innovative and sustainable practices, and yet broad-based results are still to be seen. Who among these individuals can become so distinctive and, at the same time, so disruptive, to influence today’s fashion scene, both locally and globally? In an era of widespread massification, we see individuality, selfexpression and freedom of choice regain indisputable importance. These creatives can’t turn back time and change the history of fashion as we know it. But being part of the system today, and acting within it, can positively impact it and influence its future. Extreme creativity and passion for healthy fashion can overcome the limits imposed by markets’ size, even limited availability of resources. These millennial designers are driven to experiment, learn and introduce new opportunities to innovate the fashion system at their own level. Does the market’s size really matter for their success? No doubt it does, but there’s much more at stake. In this issue we introduce several designers from Czech Republic and Slovakia who share their stories and experiences. They discuss their perspectives regarding the aspects of sustainability available within those small fashion markets, stressing challenges as well as successes. What we took from these encounters is that we should give credit to their unique work of creativity. Their fashion design is made to enrich worldwide customers with pieces that bring unique and out-of-theordinary looks to their wardrobes. Step by step, a new road has been paved. Now we just need to take the journey.
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TEXT: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, ILLUSTRATION: ELISA DI LEO
CRAFTSMANSHIP
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REINVIGORATING THE ARTISANAL HEARTBEAT
D
espite being one of the most crowded markets in the world, the global fashion industry is showing no signs of slowdown. As of today, the apparel market (without footwear and jewelry) is worth around $1.3 trillion (€ 1.12 trillion) in retail sales globally per year, according to Euromonitor
International, and is expected to increase up to $1.4 trillion (€1.2 trillion) by 2021. With new brands popping up from every corner of the globe, there is evidence that if designers want to rise and shine above their competitors, they need to offer customers something so distinct that it cannot be found anywhere else. Fashion has always centered itself on being distinctive, but the expanding massification phenomenon has
allowed people to get easy access to the same branded items whether they find themselves in Prague, London, New York or Beijing. The fashion industry has become so successful and, often, so accessible, that brands are pushed to shift toward a diverse type of exclusivity to win customers over. The well-informed, globe-trotting consumer is not looking for the same names they can find in similar shopping streets around the world; rather, they have a growing interest in the local and independent brands reinvigorating craftsmanship and originality. Usually, “craft” is associated with traditional handmade techniques, passed down from generation to generation, long a prerequisite of high-quality fashion products. Sometimes considered in the domain of extinction, there is a general tendency to think of craftmanship as something belonging to the past, to a faraway moment in time and location. Today, some designers are working to free craft from these nostalgic associations, revamping traditional techniques and know-how to meet contemporary tastes.
WEARME FASHION 11
A L E N A B E S S A N T IS SAVING WASTE FROM THE LANDFILL WITH HER METICULOUS SKILL... WEARME FASHION 12
INTERVIEW: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF ALENA BESSANT
FASHION CRAFTSMANSHIP: WHY IS IT WORTH SO MUCH?
G
lance around and look at every detail, material and color: each bag inside Alena’s studio is one-of-a-kind piece of
craftsmanship. Through her work under the label Sugared&Glazed, Alena Bessant is an ambassador of quality handcrafted products made according to sustainable practices. “If we consider the shortage of leather and the ecological footprint of tanning, for instance, it just makes more sense to use the beautiful materials already at our disposal,” Alena says. Therefore, all her bags are made using around 90% upcycled fabrics, such as luxury upholstery remnants and offcuts, as well as quality leather jackets sourced through second-hand shops or brands like Róisín Gartland, Prestige Textiles and Lakeland, among others. Researching good quality materials is of primary importance to Alena, which is why she needs to feel and look at them. After all, it’s her job to understand fabrics, something she has practiced working as a designer for luxury English brands like Alexander McQueen and Vivienne Westwood. But raw materials themselves are not all it takes. To ensure her bags are unique and timeless, ability and know-how are crucial. It’s right in the process of creating a piece that the thoughts, skills and creativity of its maker emerge, resulting in exceptional manufacturing. “The real value of the handmade product is the craftsmanship. To be a true craftsman you need to put your heart and soul into the product you are creating,”
“There is no money in the world that can buy you craftsmanship.”
Alena explains.
and I know what’s happening.”
In today’s consumer landscape, it can be easy to forget
As for style, Alena does not produce “on trend” in the
the processes of creation behind the products we buy.
sense that her bags will last just one season; instead,
In response to this tendency, Alena’s work pushes
her designs are based on the fabrics she finds and her
customers to understand the full context in which an
creative ability to make them work together. All this
object is made, which means recognizing its special
comes with years of experience. As with many other
value. “Craftsmanship is very important, especially
skills, craft is not just something that can be learned
in upcycling and recycling, because it can generate
from a video, during a short course or workshop.
a product of a higher quality and value than the
Instead, as Alena explains, it takes time and passion
original components,” she explains. It also requires a
to develop “the ability to create something beautiful,
deep knowledge of one’s own craft. When it comes to
elegant and at the same time of high quality, that
making, she says, “I am involved in all the aspects of
delivers…long-lasting value for years to come.” There is
the handmade production and I work with people that I
no shortcut, but once you find your own way, it remains
have the control over, so it’s not mass-produced, that’s
with you. And then, she says, “there is no money in the
another level I can assure quality, because I’m there
world that can buy you craftsmanship.” WEARME FASHION 13
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INTERVIEW: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF VENDULA KNOPOVÁ
SAVING
TRADITIONAL CRAFTS
HOW M O N I K A M O N G O L IS REVAMPING ASIAN TRADITIONS IN HER OWN WAY...
T
ake a pretty – seemingly basic – dress and
consequence, more people are worrying about what they
add an unexpected splash of a colorful
could lose in terms of knowledge and value. People are
thread, skillfully intertwined.
now starting to look back at their roots and traditional
This is the signature of Monika Mongol, a Czech label
skills with the aim of preserving them. “Whether it’s
with a far Eastern soul. It’s a deep love for Asian
in food, habits or crafts,” Monika stated, “people today
spiritual culture and traditional motifs that permeates
try to revert to traditional techniques, and they realize
Monika Přikrylová’s fashionable pieces: from Mongolia
they really appreciate more the things they gave their
to Vietnam, Thailand and Indonesia, the designer mixes her fascination with traditional, colorful costumes and centuries-old craftsmanship with her minimalist feminine design. Driven by the desire to connect ready-to-wear with traditional craft, Monika applies her distinctive skills to blend symbols of Asian culture and religion in her contemporary design, pushing embroidery to a new level. For her fashion label, she wanted to create something different and unique:
“In a world obsessed with globalization, handcraft is perishing...”
“I didn’t want to do print, because it’s everywhere,
time and work to.” Although there are several factors
instead, I wanted to substitute print with embroidery,”
at stake, increased awareness is pushing a rediscovered
the designer explained. She started decorating her
interest in handmade, one-of-a-kind products that are
clothes with hidden symbolism, like blooms, of Asian
able express uniqueness and tell a story. Starting from
culture, resorting to a unique embroidery technique
sourcing the materials – either new natural fabrics or
that she developed over time, while continuing to
already existing ones – to the colorful embroideries
experiment with the traditional handwork of tribes she
and finishing touches, Monika puts the emphasis on
encountered during her trips to Asia. Unfortunately, as
her creative concept, which she is determined to share
Monika witnessed, these skills are slowly disappearing,
with her customers: “I would like to explain…and make
especially due to how time-consuming they are.
it clear that each item is connected to a story, a travel,
Unfortunately, as Monika witnessed, these skills are
and it’s a hand-made product.” This is what drives
slowly disappearing, especially due to how time-
originality and recalls values, according to Monika,
consuming they are, compared to mass production.
values which seemed forgotten but now are being
In a world obsessed with globalization, handcraft
brought back and cherished for the good of the fashion
is perishing due to massified production. As a
system. WEARME FASHION 15
V E R O N I K A V I M P E L O VA SHARES HER SECRET FORMULA TO SUCCESS AS A CZECH CRAFTSMAN DESIGNER IN THE UK
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INTERVIEW: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF JACOB&PAULINE PHOTOGRAPHY (AW14), PAVLÍNA KLEPRLÍKOVÁ (SS18)
STYLE QUALITY SUSTAINABILITY
creations, as well as references to popular Czech culture. There might be no more crystal beads or coats of arms, but the new collection is still connected to Veronika’s roots; in fact, one of the embroideries takes inspiration from the Czech illustrator Ota Janecek’s children’s book illustrations, Veronika explained. The
C
ombining history, tradition and minimalism is the core of Vimpelova’s namesake womens- and menswear label. Since the
beginning, the London brand follows its founder’s
“Investing money in something that is handmade or made to order, without many copies, means having something unique...taken care of throughout the creation process.”
Czech roots, a heritage she hasn’t forgotten, even after six years in business in the UK. From the experimentalism of her debut collection through the minimalism of her latest creations, Veronika continues to find new ways to pay tribute to her home country’s artisanal staples. “In our AW14 collection, we worked with Preciosa crystal beads and chandelier components to embroider Coat of Arms from various regions of the Austro-Hungarian empire,” Veronika explained. Since then, the designer made quite a jump and her style swung toward a more minimalistic and clean design to meet customers’ desire for more basic – but still high quality – garments. Despite moving away from
beautiful embroideries she refers to are tree-shaped,
her more experimental phase, handcraftsmanship
handmade decorations embellishing belts and corsets.
and traditional skills are still present in Veronika’s
Veronika applies some techniques used for 18th century WEARME FASHION 17
underwear to the corset, learned during her experience as a costume creator. If tradition permeates this meticulous handwork, it is its combination with clean design and precious organic materials that gives the collection its contemporary appeal. Specifically, the designer uses organic cotton, organic linen and organic silk, as well as organic hemp for accessories like belts, all sourced from small European suppliers specialized in ethical and sustainable textiles. Veronika doesn’t hide that there are difficulties in being a small sustainable brand. “Sometimes there are things suppliers don’t offer, but I try to work hard to find a solution, and if I don’t find it, I try to work around it to find another way,” like sourcing the fabric first and then developing the design afterwards, she explained. It’s a constant challenge, but in the end, creativity and craftsmanship assure both quality and timelessness, which is what customers are looking for, Veronika pointed out.
“...creativity and craftsmanship assure both quality and timelessness.” “Trends change at such a rapid rate that you are forced to buy a different top, a different skirt each half a year,” the designer remarked, leaving people to buy either the same luxury items or their lower-quality copies, putting value and sustainability aside. But the situation is gradually changing, and people are starting to care more about uniqueness and the environment. As Veronika explained, investing money in something that is handmade or made to order, without many copies, means having something unique, something that has been taken care of throughout the creation process. “It’s about style and also quality, but the plus is sustainability, it’s an added value,” she remarked.
WEARME FASHION 18
PARIS YA R N S · FABRICS · LEATHER · DESIGNS · ACCESSORIES · MANUFACTURING
FEBRUARY 12-14 | 2019 PA R I S N O R D V I L L E P I N T E
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H A N A F R I ŠO N S O V Á TURNS HER UPCYCLING PROJECT INTO AN ARTISTIC PERFORMANCE THAT EXPLORES THE THEME OF CONSTANT RE-CREATION AND MUTATION OF HERITAGE
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INTERVIEW: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF MICHAELA KARÁSEK ČEJKOVÁ, DESIGN: HANA FRIŠONSOVÁ, MICHAELA KARÁSEK ČEJKOVÁ
OUROBOROS: REALITY, REBIRTH AND RESTORATION
WEARME FASHION 21
T
here is a fashion designer in Czech Republic
turned the pictures into collages, replicating the
who is going “crazy” with her projects. Her
Ouroboros concept through the intertwined hands of
name is Hana Frišonsová, and she’s a free
the performers, naturally posing beyond her lenses.
spirit incorporating performances, collaborations and
The collage was then printed and applied to the jacket,
traveling experiences into her creations. They walk the
adding a new layer of meaning to the pieces. “Details
line between artisanal fashion and art – “in a way that it
are important, but another important thing is that some
doesn’t have to be just the garments, it’s the experience
things are printed, some are real, and there is a soft
in the whole package,” Hana explains. Three years ago,
border between both, so you are not sure what is what,”
with this viewpoint and a go-with-the-flow attitude,
Hana explains. “Fantasy and reality flow together.”
she jumped into one of her most beloved projects.
“Everything comes in a circle; in time, everything comes back, but on a different level.”
After approaching upcycling in previous works, Hana, in collaboration with photographer Michaela Karásek Čejková, embarked on a long and eventful journey to turn Ouroboros into reality. The most “mystical” among her projects, the designer explains, is actually a small capsule made of only three looks that involved many people from Hana’s entourage, including musicians and artists. The input of this project is a specific concept, Hana explains: “Everything comes in a circle; in time, everything comes back, but on a different level.” That’s where the name Ouroboros comes from, referring to the ancient symbol that depicts a snake eating its own tail. Ouroboros represents the idea of cyclicality and eternal return, hence, Hana knew she had to use vintage garments as raw canvas to which she could apply her creativity and craft. She found a long black leather jacket and some old lace that she transformed and gave new life to, using different handcrafting techniques. “I started looking for some garments in second hand shops and upcycling was part of the concept,” she points out. The leather jacket was sprayed grey, and the
In addition to the three almost “mystic” garments,
lace was tie-dyed in the same shade and restored with
there is a tapestry decorated with embroideries and
some new crochet work, one of Hana’s many special
glass beads, another piece challenging the audience’s
skills. But the whole point was not to make garments,
senses and perception of reality. Silver thread is
per se; it aimed to bring about the feeling of coming
important in Hana’s experience, both on a personal
alive, returning to life.
and technical level. Hana’s traditional handcrafting
Together with Michaela, her photographer who focuses
techniques, passed on from her mother, add impact
on collages, Hana wanted to photograph people and
to the pieces. The Ouroboros project was exhibited at
use their body as the subject of the collage. “We were
FASHIONCLASH in Maastricht and Take Festival in
thinking who we could use, somebody who has an
Vienna, among other events. Although the project is
interesting background, charismatic people,” she
now done, Hana still feels its “strong, mind-blowing
explains. The duo ended up choosing Berlin-based
energy,” as she puts it. So there’s certainly opportunity
electronica musicians Hyenaz. After capturing the
for the deft designer to take her creations to another
performers’ attitude and relationship on set, Michaela
level.
WEARME FASHION 22
INNOVATION
WEARME FASHION 23
DESIGN WITH FREEDOM IN
3D
ŽI L J U L I E V O S TA L O V Á COMBINES PHYSICAL AND DIGITAL WORLDS. HER EXPERIMENTS WITH DIGITAL PROTOTYPING BRING US A VISION OF ZERO-WASTE FASHION FROM DESIGN
O
TO PRODUCTION rganic sources, recycled fabrics and
the sustainability manifesto.” It’s a new attitude to
sustainable dyes have been all the rage in
design, one that treats sustainability as a necessary
the eco-fashion world, bringing us garments
prerequisite, rather than a marketing tool or an
created with their own impact in mind. At the forefront
afterthought.
of this ecological moment is the overarching concept
“We don’t need another fashion designer.” That’s
of zero-waste fashion, clothing generating the smallest
something that stuck out to Vostalová when her
possible amount of waste product. As Stephanie
professor in design school first mentioned it. For her,
Rosenbloom pointed out in “Fashion Tries on Zero
it highlighted the importance of designing for a reason,
Waste Design,” in the New York Times, this sort of
a higher purpose. According to Vostalová, it’s what
design leaves “not so much as a scrap of fabric on the
allowed her to begin incorporating technology into her
cutting room floor.” One zero-waste designer, Žil Julie
process. “I feel that I am the generation that has to do
Vostalová, wants to pursue this with the full arsenal
this,” she said. She’s adamant that sustainable design
of 21st-century technology available; particularly,
be more than just a buzzword. “I don’t want to see it as
bodyscanning and computer-aided design.
a fashionable word,” Vostalová explained. “I really want
Vostalová’s passion for designing sustainably was
to do it…Doing sustainable fashion, no, I take it as a
kindled during her BSc studies in the Netherlands,
philosophy.”
where considering a garment’s ecological impact
Vostalová is hired by companies to “digitally sew” their
was a natural stop in the creation process. “I cannot
garments using her 3D prototyping, she explained,
imagine doing it otherwise,” she explained. “From day
sending them digital, “sewn” versions of their
one, we had to be able to justify every product with
patterns and then adjusting them based on feedback.
WEARME FASHION 24
INTERVIEW: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF ŽIL VOSTÁLOVÁ, HELENA TO
Vostalová finds the current trend towards local
the need to create waste management plans. Working
production fascinating, pointing out that the
completely within a defined square of fabric, though,
specialization provides added value, compared to
can be a challenge. For Vostalová, designing zero-
clothes produced in China. Vostalová, too, tries to
waste is something of an adventure in problem solving,
stay local. For her, it is a matter of bringing back the
with each new cut or fold rippling out to the rest of
importance of fashion and production to the Czech
the garment. “It’s like life,” she explained. “You do
Republic.
something and there’s a consequence.”
Vostalová uses computer technology – specifically,
To some, zero waste fashion can seem restrictive. One
3D prototyping, to develop her patterns, which are
stumbling block Vostalová pointed out was grading
designed to use the full rectangle of fabric, creating
(sizing): developing patterns for a variety of sizes would
no waste, she explained. “No waste fashion is heavy
mean making tricky adjustments to the proportions so
on trials, on trying things, so I moved this process
as to keep the designs zero-waste even across several
into the computer where I don’t use paper, scissors, I
different-sized patterns of the same garment. Another
don’t use fabric. I just create it in the computer and,
hurdle mentioned by Rosenbloom in the Times is the
when I’m satisfied, I print out the patterns,” Vostalová
costs of committing to zero waste, which requires
“...all people involved in 3D projects, from managers to end users, are optimistic about this technology.”
businesses to alter their supply lines across factories. This could be especially expensive for big companies with lots of production equipment. Style, too, is a concern. As the Times hinted, it may be difficult to get consumers sold on alternative, zero-waste versions of garments with classic silhouettes – like blue jeans – they’ve come to love. Perhaps computer-aided design and prototyping, like the work Vostalová does, could help solve dilemmas like these. Three-dimensional computer modeling can help designers see how garments would hang on an actual human before they’re cut, giving designers the tools to improve the style and aesthetic of their garments immediately. And while changing supply lines may not be cheap, today’s technologies offer ways to save money in other ways – for example, prototyping digitally can save the labor required to trace patterns by hand that Vostalová lamented. This could also save some of the material required to test out different versions of the garment and the waste that would have been produced with more traditional cuts. The twofold savings of using
said. By moving her process to the computer, she is
all the purchased fabric and not having to dispose of
cutting out steps like hand-tracing, steps that she found
unused fabric could benefit the finances of fashion
unnecessary at her internship.
companies worldwide.
Using scanning technologies, she can store the
Though there’s still work to do to make zero-waste
measurements of her models and test her clothes on
fashion a worldwide norm, the spirit of the movement
them within the computer program. According to
is tenacious. “There is a problem where everyone is
the designer, these systems allow her to determine
saying the technology is not there yet,” Vostalová says.
exactly how much fabric is needed, also eliminating
“I agree, but I have to say that it’s not gonna stop me.” WEARME FASHION 25
Shaping Kombucha in the Atelier and the Lab CZECH DESIGNER D E N I S A D O VA L A HAS LEARNED TO CREATE ECO-FRIENDLY LEATHER IN HER OWN HOME MADE FROM A SURPRISING MATERIAL: KOMBUCHA TEA. DOVALA SPOKE WITH US ABOUT HER EXCITING JOURNEY AND THE CHALLENGES OF WORKING WITH SUCH AN UNCONVENTIONAL TEXTILE
K
ombucha is having a moment. Grocery stores now sell the fermented beverage made of tea, bacteria and yeast in trendy flavors like rosé,
lavender and lemon cayenne. Kombucha companies are taking the drink further into the mainstream than ever before. But there’s more possibilities to the mixture than just beverages. Denisa Dovala has been taking the concoction one step further and creating clothes with it. Cellulose, as Dovala explained, is the material that grows from kombucha, reacting with other compounds She began her experiment by putting her ingredients into boxes and allowing the bacteria to develop, a process that took three weeks, according to the designer, and took up 10 boxes. Dovala laughed when she mentioned that she chose to grow the bacteria at home. “It was just complicated because it smells,” she explained. “It was a little bit disgusting.”
viable textile is its initial fragility. During the bacterial
After creating the base material, she put it on a
growth process, the base that will become cellulose can
mannequin and shaped it, allowing it to dry before
be vulnerable to other common bacteria, which could
beginning to stitch and alter the material. She
cause growth to be destroyed – out of the 10 boxes of
developed several items for a collection, including
base Dovala started, only six were viable to use in her
“aesthetic pieces” like a corset and a collar.
designs. The biggest problem though, she said, was
“It can be used instead of leather,” Dovala said, adding
weather, as water can soften the material and cellulose’s
that the material develops a more papery texture when
colors will darken over time.
it dries.
Dr. Peter Musk, a science catalyst for The Edge at the
According to Dovala, there’s a definite opportunity
State Library of Queensland, has his own experience
for this material in the fashion industry. But since
testing these boundaries of cellulose. In 2015, he
she’s more familiar with design than chemistry, the
worked in the lab with Queensland University of
designer thinks there needs to be more connection and
Technology fashion students, exploring cellulose’s
collaboration with other industries to really get the
potential in fashion. Musk’s procedure begins with
textile ready to go.
harvesting at three or four weeks, followed by a rinse
One of the issues keeping cellulose from being a more
in the washing machine, then a coconut oil rub and air
WEARME FASHION 26
INTERVIEW: SARA VOLPI, TEXT: MOLLY BRIND’AMOUR, PHOTO COURTESY OF TOMÁŠ ČERNÝ AND DENISA DOVALA
to develop a texture that is sort of like a “second skin.”
drying to finish.
fabrics from European countries like Italy and Poland.
“Production has gotten easier through trial and error,
The designer explained that it’s very important to
so the process is fairly routine now, but it did take
her that she does not source them from countries like
a fair bit of experimentation to get this easy,” Musk
China.
explained. “And because each culture has its own
“Every personal designer is sustainable,” she added, “…
characteristics…sometimes it is still not so easy to
because the first point of sustainability is, I think, to
make a consistent product. Like leather, each ‘skin’ is
make it in one place and not to travel.”
a bit different, while fundamentally having the same
Dovala also focuses on quality as an aspect of
characteristics.”
sustainability in her collections, so that garments can
Dovala likens the development still ahead for cellulose
last long and not be destroyed after just one season.
to the trajectory of 3D printing. Although the first
Sticking to her principles of slow growth and artistic,
prints may be experimental and for professional use
high-quality collections means that the designer makes
only, they pave the way for further development.
everything herself and chooses not to seek out any
Certainly, Dovala’s challenges seem unique in the
investors. Still, even with a second job and the pressure
design world because she creates her textile from
of creating her collections all by herself, Dovala can
scratch, rather than using readily available materials
sell her designs in Prague and Bratislava, and hopes to
like wool or silk. In fact, one of the frustrating aspects
develop a connection to sell in Budapest soon.
of the fashion industry, for her, is the lack of creativity.
While her cellulose designs aren’t viable yet for the
Musk, meanwhile, sees kombucha textiles as a certain
global, ready-to-wear marketplace, the designer
creative opportunity.
remains optimistic. To Dovala, it’s important just to
“Not all materials are suited to all purposes,” he
show people that this material exists and is ready for
explained, “and when you find its place, the low-cost,
development.
sustainable nature of Kombucha material will give it an
“And maybe it’s the future of fashion, you know?” she
advantage. It also has an intrinsic curiosity factor that
said.
lends it to creative marketing and standing out in the
“I think the future for Kombucha as well as other new
crowded fashion world is always a bonus.”
biomaterials is only just beginning,” Musk added.
While using bright colors means she can’t always use
“The world needs sustainable, democratic and cheap
only 100% natural materials, she does source her
materials to empower a growing tribe of makers.” WEARME FASHION 27
The Complexity of a Sustainable Business
H
andwoven leather textiles with bold color
sustainable if supplied by the right tannery than ever-
combinations and unexpected juxtapositions
so-promoted PU “vegan leather.” For example, almost
are hallmark elements of Martina Špetlová’s
all plastic production (PU leather included, unless it’s
namesake brand. Her bespoke technique, applied to
plant based) are made from non-renewable sources
produce small quantities, particularly jackets and skirts,
(oil), so are environmentally depleting, while leather
via private orders is what makes her brand unique.
is a readily available by-product that would probably
Along with the designer’s excellent handcrafting
otherwise be waste. The vast majority of tanners
skill, the brand is also built on Špetlová’s social and
around the world now use proper equipment and waste
environmental consciousness. Not only is she the first
management procedures to make good quality leather.
fashion designer incorporating Provenance’s blockchain
The workforce is treated correctly and given
technology in her collection, but she also works with
appropriate workwear and training.
environmentally conscious suppliers and supports both local and distant communities.
What motivated you to commit to zero waste production, and how are you achieving that?
Tell us about your road to sustainability and
Talking about leather and how a precious material it
how it evolved over time.
is, I was always amazed at how much of it is wasted in
I have always been interested in sustainability, but now
luxury fashion and accessories production. The leather
making the full commitment to it in my work.
is a natural material that can have blemishes and
I believe in innovative approaches to sustainability
imperfections, but they are seen by the client as faults,
and ethical transparency, so, like my work with
and therefore not usable. There is always to consider
communities, I partner only with suppliers that have
that each hide is a different size, and therefore it is
the same values as me. For example, I am currently
not easy to cut patterns out without leaving larger
in partnership with tech company Provenance
offcuts. It requires lots of planning not to waste. For
who is at the forefront of applying cutting-edge
my hand-woven leather panels, I use computer
blockchain technology to clothing. Each garment
powered CNC machine and so it is easier to avoid
comes with a scannable chip detailing in its materials,
unnecessary offcuts. I also work in a patchwork where
sourcing and processes, to show a transparent supply
most of these offcuts are used. The rest is donated for
chain as well as to provide a fascinating digital life story
craft school projects.
for each piece. How important is craftsmanship and working Why did you decide to work with leather? What
by hand to you?
are its unique qualities?
I love experimenting in my studio. I always start with
I…started working with leather during my MA studies at
textiles when working on my new collection. I am very
Central Saint Martins. It is beautiful material that can
hands-on, and handcrafted textiles of high-end quality
be cut, molded, transformed, and in fact, can be more
are always an important part of my work. With this
WEARME FASHION 28
INTERVIEW: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR PHOTO COURTESY OF SYLWANA ZYBURA, ART DIRECTION: TOMAS C TOTH, MODEL: NEEMA KAYITESI
LONDON-BASED CZECH DESIGNER M A R T I N A ŠP E T L O V Á TELLS ALL ABOUT HER BRAND, FROM HER UNMISTAKABLE SIGNATURE STYLE TO HER PATH TOWARD SUSTAINABILITY AND TRANSPARENCY
approach to textiles and techniques I am using and
What are the biggest challenges you are facing
developing, I can make my work unique and personal to
in the industry?
other designers’ work.
It is extremely challenging to compete and design, whilst still being innovative, with demand from stores
What requirements do you look for when you
to keep low cost. I work with texture, color and lots of
are sourcing materials?
detail, as well as handmade textiles that require time
I have narrowed down my supply chain to six
and craftsmanship in order to deliver the quality I
companies at the moment, but sustainable sourcing is
believe in. Designing any product has to acknowledge
not easy. It is getting easier with more options, but I
its price point as much as production, materials and
work with lots of color and that seems to be difficult,
detailing. That is almost impossible in today’s fashion.
sometimes, to find. Before I approach a company, I do lots of groundwork and research. Many times, the company has large minimum orders or simply never reply, or promise samples but does not deliver. In supplier I always look for quality of the materials. Innovation is always a big plus for me, good communication, and based in Europe. You support small, local businesses, and you also empower women, for instance, through Small Project Istanbul. How do these collaborations affect you as a person, and your products’ identity? Small Project Istanbul is a social enterprise working with woman artisans from Syria. I have been working with them since the start of this year and the aim is to help them to rebuild their lives in a new country through work. We are at the moment in the stage of training and creating a core group of artisans that can run the project and my sampling and production. Working with communities is challenging. It takes time to set up, but I already feel how rewarding it can be. There is a large sense of commitment involved from my side and need to succeed for them. This also adds another layer to my product story. I have come to realize the importance of storytelling, and how each piece of clothing has a narrative; its journey not only from conception to design, but how it has been made, where it has traveled and how it ends up with the consumer, and their attachment to that piece knowing the story behind it. WEARME FASHION 29
ALL EYES ON L A I C I F I ART E C N E G I L L E T IN S H E R R Y S O L I M A N , CO-FOUNDER OF THE CHOISI PLATFORM, OPENS UP ON WHAT BENEFITS AI CAN BRING TO INDIVIDUAL DESIGNERS AND BRANDS IN TODAY’S INTERVIEW: SARA VOLPI, TEXT: VITTORIA KIDANE, SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF CHOISI
DIGITAL WORLD
WEARME FASHION 30
W
ith endless labels, styles, high streets
shopping online a way smoother, successful experience
and websites, finding the fashion we’re
for both parts, customers and producers,” Soliman
looking for seems more and more
added.
challenging. Fashion is a hectic industry where supply
The outcome will be a buying history where newly
and demand move fast, and it can be difficult for both
added items will match with specific people who
brands and customers to find their place. The truth is,
would be most interested in them. At the same time,
it’s not always easy for designers to reach their desired
designers and brands can benefit from direct feedback
clientele, and it’s not always easy for customers to know
about their collections. This way, analytics provide the
where to find clothes to match their taste.
necessary data insights for designers to get a deeper
Choisi is a brand-new fashion platform, operating with
understanding of their core customers and market
visual AI and machine learning technologies, aiming
segments. Ultimately, the insights can allow them to
to promote innovation and originality. Choisi is setting
predict trends and figure out what is and isn’t working,
itself as a meeting point for independent designers
so that they can define their future collections or adjust
and customers who want to find a different, unusual
their inventory. Well-established companies are not
By storing what you’ve been looking at in the past,
“AI helps new brands and independent designers get the exposure they deserve.”
based on your browsing history or fashion-related
the only ones to create high-quality, unique garments,
activities on social media, AI can show you choices
and artificial intelligence can recognize that. This way,
tailored to your personal taste.
people are given the possibility to build a different,
“It’s like being recognized by products,” Soliman
more original wardrobe that includes popular brands
explained. “We reach them in half of the time it would
as well as smaller, independent labels, giving clients a
normally take, and what we are going to look at, it’s not
unique look that sets them apart from the masses.
a casual item, but something that’s been specifically
“That’s what we’re hoping to do with our AI,” Soliman
picked for us based on our taste. It’s like having a
said, “start introducing people to some of these
personal stylist who knows what would suit us and
designers that they just couldn’t discover on their own,
shows us all the options.”
and really show them the uniqueness and the high-
Since products are filtered down according to features
quality items these designers have...”
and style, and not a brand’s popularity, designers
According to Choisi research, the U.S. market is
benefit too. The algorithm works to find items that
currently the most open to AI personalization services.
will match our personal preferences, going beyond
Saving time and increasing efficiency are seen as very
common knowledge. This way, AI helps new brands and
important factors in online shopping in America, so
independent designers get the exposure they deserve.
it makes sense for Choisi to invest in technology for
Moreover, once potential customers acknowledge these
this market first. Their next mission is to explore the
creators and their unique items, it will increase their
Chinese market, as it hasn’t adopted AI in fashion yet,
chances of making a sale.
and is still not as familiar with the unique lure of niche
“AI combined with machine learning really makes
and independent brands.
selection. By turning to artificial intelligence that stores data, websites can create bespoke shopping experiences based on previous online activities, helping designers get feedback from customers to better inform their business decisions. “Their main job is to extract infos from images to cut down the time of a search and present people’s preferences right away,” explained Soliman.
WEARME FASHION 31
SEE THE WORLD WITHOUT PLASTIC THE BERLIN-AND BRATISLAVA-BASED DESIGN STUDIO C R A F T I N G P L A S T I C S ! IS LEAVING ITS MARK ON SUSTAINABLE DESIGN
WEARME FASHION 32
P
lastic is undoubtedly a revolutionary
bio-based frames developed by crafting plastics! are
material, one that has eased the way we
made according to sustainable practices: they are laser
produce and consume in many ways. But
cut from handmade sheets of bioplastic and dyed using
today, the consequences of its use have become a
only natural colorings from earth and food pigments.
worldwide issue. The urge to find viable solutions to
In their further efforts, the studio implemented 3D
the compelling problem led to the development of
printing procedures, which give customers more
alternative paths, such as substituting in bioplastic.
options to customize their favorite frame, while
Bioplastic is a natural product that is usually derived
allowing an 80 percent reduction in waste.
from microorganisms or plants. Cornstarch, for example, can be used to create bioplastic. Bioplastic
Right from the beginning, the duo developed this
still hasn’t entered our day-to-day life, but that may
bio-material with product designers in mind, people
soon change.
who can implement change during the manufacturing
The Slovak studio crafting plastics!, founded by
process and stimulate a cascade effect, upstream on to
Vlasta Kubušová
the final consumer.
and Miroslav Král,
The crafting plastics!
is pushing a shift in
team designs its
the approach toward
eyewear to use either
bioplastic products,
bioplastic exclusively
starting with fashion
or materials
eyewear. Together
designed so that
with scientists from
each part can be
the Slovak University
easily disassembled,
of Technology,
recycled or
the duo developed
composted.
TEXT: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF CRAFTING PLASTICS!
NUATAN ™, an oil-free material
Yet most of today’s
that combines
produced bioplastics
two existing
present a daunting
bioplastics made by
problem: they are
microorganisms.
not compostable
This “material of the
at home. Some
future” is sustainable,
of them can
but it must also be functional and variable, both in
only be industrially processed, while others are not
production and in application. It may not be suitable
compostable at all, which can be quite discouraging.
for heavy industries, like the automotive industry, but it is easily applied in fashion and furniture design.
Crafting plastics! imagines a day when all biodegradable plastic objects can end up in the home composter along
Since fashion and design products are subject to
with yesterday’s dinner. If this is still utopia, then
constantly changing trends, why not develop something
the studio is ahead of the game. The team has already
that can be composted after people get tired of it? With
started to work on closing the loop and creating plastics
this concept in mind, the studio combined the intrinsic
that are readily compostable. The crafting plastics!
durability of bioplastic with disposability to create
studio is exploring the new aesthetic of sustainable
sustainable yet fashionable eyewear collections. The
plastic, trying to visualize a future when it will be the
bio-based frames developed by crafting plastics! are
new norm. WEARME FASHION 33
FASHION THERAPY FOR SOCIAL INCLUSION
K AT E ŘI N A J U N G O V Á IS THE FOUNDER OF THE FASHION AND DESIGN WORKSHOP METRÁŽ, HELPING TO EMPLOY DISADVANTAGED WOMEN IN THE PRODUCTION OF UPCYCLED PIECES
WEARME FASHION 34
I
n 2015, Kateřina Jungová, then working in a
much else for wages, the founder explained. Because
youth homeless center, found herself troubled
Metráž doesn’t receive any big grants, the women are
by the plight of young girls, a minority in the
only paid through the profits from the products’ sales.
facility. A therapist herself, Kateřina noticed that the
It makes a difference for the workshop’s employees,
girls ran into trouble with the other young men there,
though; as Kateřina cited, one woman who works for
which spurred her to take action to lift the women out
Metráž has used her weekly shift as a supplement to
of potentially negative situations.
help her afford her medicine.
“It’s not so simple when you are in such a bad social
INTERVIEW: SARA VOLPI, TEXT: MOLLY BRIND’AMOUR, PHOTO COURTESY OF EDUARD AND THEODORIK MENSL
situation as they were,” Kateřina explained. The girls she encountered were dealing with everything from
The benefit to Metráž’s workers is not just financial;
drug addiction to dysfunctional families, she said,
according to Kateřina, the positions also allow for
and lacked proper support. Hoping to help improve
relationship building and networking that the women
their condition, Kateřina teamed up with her friend
might not normally be able to do. The work also
Lucie Kutálková, of the fashion brand Leeda, to form
helps the women develop specific handcrafting skills,
Metráž. The design workshop provides employment
like silverwork or embroidery. With Metráž’s design
opportunities for the women like those Kateřina was
schedule, new products mean new fields, skills and
worried about, giving them a role in the creation of
techniques for the women to hone. Besides these
Metráž’s wares.
specific skills, Metráž can offer general social and
As a design workshop, Metráž produces a wide range of
workplace experience, helping marginalized women
goods. According to Kateřina, they’ve produced jewelry,
who may have been out of work for a while to develop
as well as accessories and clothing like t-shirts and
the abilities they need to function well in society,
dresses, using techniques ranging from embroidery to
Kateřina said. With her therapy experience, of course,
metalwork. Metráž collaborates with designers, who
she sees the creative work itself as “therapeutic,”
host the workshops for two to three months, guiding the
providing women with a safe environment for
women through the design and production processes
cooperation and learning. “I think it’s really important,”
of their items. For Kateřina, it is essential not only that
Kateřina remarked. “When they come to the market
collaborating designers create lovely products, but also
and see people buy their products…it’s also something
that they value and respect Metráž’s social commitment
which can empower them.”
to working with women in need. These women may
Metráž’s next collection, a collaboration with a lettering
have had “troubles”, like homelessness and poverty,
designer, aims to target pertinent current issues:
lack of education and even exile.
“racism, xenophobia, sexism and social exclusion.” As
The projects take around six months to complete.
Kateřina highlights social awareness, she doesn’t shy
Post-production, the goods are sold through Metráž’s
away from sustainability. She explained that Metráž
website, as well as at markets, boutiques and concept
uses natural and reused materials, melted-down
stores around Czech Republic and, on special occasions,
jewelry, and local Czech and European designers to
places like Brussels. According to Kateřina, the typical
keep its environmental impact in check. Many people
customer who buys these goods is a woman who
in Czech Republic prioritize price, she reported, and
appreciates design, fashion and the important social
sustainable products aren’t always cheap.
role Metráž plays.
“Me, I really prefer to buy local products. It’s not
For the women it employs, Metráž offers a diverse
easy, it’s not cheap, but I try to choose well,” Kateřina
array of benefits. The wages, which range from 2000-
said. Money aside, Metráž’s goal, as reported on its
3000 CZK per month, are admittedly “not so much,”
own website, is helping the women it employs, and
as Kateřina pointed out, but they mean a lot for the
while doing the right thing isn’t always profitable, it’s
women who receive them, many of whom don’t have
something Kateřina and Metráž stand firmly by. WEARME FASHION 35
FROM A SIMPLE OUTDOOR ACTIVITY TO A FASHIONABLE COMMODITY
Of all widespread sports and leisure activities, cycling is
km of protected paths and thousands of kilometers of
one of the most popular among Czechs today.
safe routes have been created in the form of lanes for
“People cycle everywhere in towns, cities,” Johana
cyclists, according to the Cycling Association.
Nádvorníková, co-founder of Mooq, explained. “They
This love for cycling, though, is not something that
use bikes as a means of transportation and they also
simply runs in people’s blood, but a passion that has
like to spend their free time cycling.”
deep roots extending back to more than 150 years ago,
Perhaps one of the reasons behind this tendency is
to 1867, when the first velocipede entered Bohemia.
the growing network of cycle routes and cycleways to
That year, many Czechs went to Paris for the world’s
enjoy around the country, as well as bike parks and trail
fair, where they saw a modern machine in the streets:
centers for the more adventurous. As a reference, 3,240
the boneshaker, as it was called. Once they returned
WEARME FASHION 36
TEXT: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTOGRAPHY: THANKS TO PERMISSION OF NATIONAL TECHNICAL MUSEUM
OUTDOOR AND C Y C L I N G C U LT U R E
Czechoslovakia. Bikes clearly became more common and popular. More and more native companies and branches of foreign ones specialized in making all different kinds of bicycles, like Stadion, Štantejský and Hillman, as well as Herbert & Cooper, to name a few. Racers, too, began to build their own businesses. After winning several titles between 1920 and 1931, Antonín Perič made a name for himself with the road and track bicycles that he produced from 1933 up to the 1950s, when the Communists expropriated his small workshop. Professional figures shaped – and continue to shape – more than just the business side of the cycling scene. Thanks to their achievements, they act as role models, sources of inspiration for people eager to get into cycling. The brothers Jan and Jindřich Pospíšil became world champions in cycle ball 20 times from the middle of the 1960s to the end of the 1980s. This achievement, unprecedented in the history of the sport, had a huge impact on people. Athletes like these continue to inspire today. “One of the best cyclists in the world comes from Slovakia,” Martin Velits from Isadore explained, referring to Peter Sagan, “so people are inspired by him.” But besides history, tradition and the influence of champions, perhaps there’s another reason why cycling home, they put their abilities to use and, based on
has taken off.
a sketch, they reconstructed similar machines and
“It’s very addictive,” Martin said, “and once they start
introduced them to the country.
riding a bike, it’s very hard to stop.”
From that moment on, the structure of the first
As a matter of fact, bike culture has always been
velocipedes was constantly improved in terms of
divided between the utilitarian, the recreational and
weight, safety and performance, especially for races,
the competitive, but there’s an increasing overlap,
which rapidly became very popular. At the beginning,
especially nowadays. This tendency is certainly visible
bikes were very heavy (30 kg or more) and made
on the apparel side. When it comes to gear, the Czechs
entirely of iron, even the tires, with pneumatic tires
like to be properly equipped, and are willing to spend
invented by J. B. Dunlop in 1888. In those years, each
money for it. But to what extent should cyclists sacrifice
new development became obsolete after just a few
style and convenience for performance and safety?
months, and prices were very prohibitive. A bicycle
In response to this dispute, several local brands are
costed around three months of a workman’s pay at the
bringing outdoor apparel to a higher level, working on
end of the 19th century. By comparison, in the 1930s, a
the verge of extreme performativity and exciting design
bicycle costed closer to a month’s pay. As a reference, in
to provide good quality garments for every outdoor
this decade, there were 800,000 bikes on the roads in
enthusiast. WEARME FASHION 37
WEARME FASHION 38
INTERVIEW: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF MOOQ
CZECH:
A NATION OF
CYCLISTS M O O Q PENETRATES CYCLING’S FASHION CULTURE
J
ohana Nádvorníková and Ondřej Šmída are
supported throughout. Mooq also provides functional
two sports and fashion enthusiasts who are
gear for those who are in love with fashion but struggle
channeling their passions into their brand
to find the right functional and stylish outfit. Material,
Mooq. Supported by the Prague-based VSEM Accelerator — which combines business and
here, becomes the raw canvas for Mooq’s minimalistic
sustainability approaches for start-ups — the company
to express themselves. When it comes to cycling,
is determined to compete within the sportswear market
functionality is what guarantees performance and
and to communicate its distinct identity and key values.
comfort, while design has the power to make people feel
“There is quite a competition in Czech Republic,”
good in what they wear during their activities.
Johana explained. She pointed out that while Czechs
“It doesn’t matter if you are doing cycling, running or
are keen on sports, they aren’t always so familiar with
fitness,” Johana explained, “you expose your body to
investing in quality clothes. Mooq strives to change this.
extreme conditions, so you need quality materials and
Taking pride in producing locally, the Mooq team aims
cut…so they cooperate with your body, so that you enjoy
to support not only the Czech economy, but also to
every moment of your sport.”
design, allowing customers to mix and match pieces
make local people proud of Czech-made garments that combine quality and design. Johana and Ondřej also
Materials are therefore selected because of their
strive to prove the worth of Czech products outside
performative properties, like thermoregulation and
their own country. They want to reach those markets
breathability, as well as water and wind resistance, the
where the culture of cycling and fashion is part of life
categories that sports fundamentalists require. Other
from childhood, places like Germany, Italy and the
fabrics make use of antibacterial microfibers, namely
Scandinavian peninsula.
in cycling trousers, since cyclists usually don’t wear underwear, as Johana explained. Last but not least,
Mooq’s cycling garments are created for people who
Mooq uses MITITECH POWER technology, a knit with
cycle regularly, those who don’t use it merely for
higher compression capabilities that helps postpone
transportation in the city, but for long trips or races.
fatigue, according to the co-founder.
Mooq’s gear is meant to appeal to bike aficionados who can spot the difference between good and bad cuts,
Although the competition is stiff, Mooq is taking up the
because they must spend a considerable amount of
challenge by offering Czech-made gear that balances
time on their bikes and need to feel comfortable and
functionality and style needs. WEARME FASHION 39
A BIG OPPORTUNITY SLOVAKIAN BRAND I S A D O R E DISCOVERS ITS SUCCESS IN THE GROWING GLOBAL CYCLING MARKET
WEARME FASHION 40
WEARME FASHION 41
I
sadore is a family-affair business, built on
so it was a necessity to find ways…to develop products
two brothers’ deep connection and love for
within a couple of hours of travel for us….at the same
cycling. Martin and Peter Velits developed
moment, we thought the localness has also its charm…
their company as a natural extension of their athletic
and we can spend more time with the manufacturer,
identity, with a necessity to succeed not only as
we can refine things much more and of course, we have
professionals in cycling, but in business.
control over the whole process. I need to mention that we source all the materials and we stock them, so we
Passion for cycling runs in your family, but
also have complete control of the supply chain…this is
how did you and your brother decide to found
how we started to work from the beginning. We produce
your own company?
locally as long as there’s capacity, and as long as we are not exactly price-oriented but more quality- and brand-
Our dad was always riding a bike, and at that time you
oriented.
couldn’t be a professional, but he was close to being a professional cyclist and it was always a big dream for
What is sustainability to you, and how do you
me and my brother to become professionals one day.
achieve it in your company?
We always had more ambition than just ride our bikes and train and prepare for races…spending the rest of
For me, it’s not only about using ecological materials or
the time doing nothing was really not our ambition.
source the most ecological things, but whenever there
So, we were really trying to look for something to fill
is an opportunity to take a more ecological material
this free time, and at the same time, also to find new
even for a higher price we’d rather go for that, but it’s
challenges…And we know bikes very well, but it’s quite
not only that…There is another level, being local and
technical thing, and then we know the clothing very
supporting the local community by giving…business
well, because we wear it most of the time, maybe even
to a local manufacturer or company; another part of
more than casual clothing.
sustainability is how you run things within your own
How important is functionality and style in
company that you are running, so sustainability is not
your products?
only necessarily about eco for me but the whole.
The vision was, from the beginning, to combine
Which sustainable and ecological materials do
functionality and the performance that you need in
you use?
this clothing when you are spending your time, from one to five, six hours on a bike, a day, but the vision
Textile is a dirty business, that’s the reality, but at
was always not to go only…after the functionality, but
the same time there are always the better choices
also to go on the style, the contemporary feeling of it,
that we can make, so whether it’d be sourcing the
so that you can still feel yourself and feel well off the
main materials for our lifestyle jerseys that contain
bike, sitting in a café… Functionality must be one side
wool which is organic, sustainable material or 100
and style must be the other side and they must be well
percent organic cotton, there is always the choice
balanced.
between the standard and the organic cotton, which is more expensive, but makes more sense for us… It’s
How do you manage to keep control over
really great to see when brands like ours are creating
production and quality?
the demand for this kind of materials, then the manufacturers and their business partners, they react…
When we started five years ago, I was still a professional
We are not saying we are saving the world, but we are
cyclist and my brother was still a professional cyclist,
just saying there are better choices that we try to make.
WEARME FASHION 42
INTERVIEW: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF ISADORE
company, how you want to build the culture within the
d n a g n i l c Cy o t g n o l e b luggage each othe r IN COLLABORATION WITH
FESTKA, NAUT HAS INTRODUCED A MODULAR ACCESSORY BAG BLENDING FASHION WITH OUTDOOR FUNCTIONALITY
N
AUT aims to create functional luggage and bags with a clean, sharp look for those who want to stand out from the crowd,
wherever they choose to go. Founded by two friends, Filip Nguyen and Lukáš Procházka, the brand embodies their artistic nature and love for craftsmanship, which was influenced by their fields of study, architecture and car body design. The two couldn’t find the right product on the market that combined functionality and style, so they decided to create it themselves. Their proof of concept is in their recent collaboration with renowned bike manufacturer Festka. The output of the collaboration was the NOMAD backpack, with a design matching the Festka Scalatore Giro Edition. “Actually, it was a little experiment,” Filip said. “We were trying to find out how people would react to such products… they can love it and they can say ‘this is a great backpack, this is a great bike and it’s very nice that they match to each other,’ or the other option is that the backpack is an ordinary merch product for the bike.” Only one sample bag was created to test the concept, but thanks to the positive outcome, NAUT is preparing to bring it to life. Regardless of whether you’re embarking on a weekend trip with friends or just the daily commute, in the words of Filip, “cycling and luggage belong to each other.” WEARME FASHION 43
This certainly seems to ring true in the Czech market. “People here just love the outdoors, and there’s a pretty big number of Czech outdoor brands,” Filip explained. “It is similar with cycling, in terms of sport activities. not like in the Netherlands, but it’s nice to see how this culture is growing.” It’s not a surprise, then, that the best-selling items come from the latest collection, Nomad, which reflects Naut’s original model’s sleek look, with a fine-tuned design for maximum utility. According to Filip, the practicality and extra options are the reasons why the collection has been so successful. “It’s modular, people can adjust the design, people can play with it…so there are so many options and it showed up that people liked having more possibilities,” he said. All NAUT products are manufactured exclusively in Czech Republic, using quality materials sourced within Europe. The three core materials are CORDURA 500D sourced from Czech Republic, TECH PRO fabric from Italian supplier Sisa and natural leather. “We always were fascinated by the beauty and the uniqueness of this material,” Filip Nguyen said, “and leather is definitely one of the oldest materials used for whole luggage, for bags. its life can be very long if you treat it right.” One of the most important things the cofounders keep on their minds, when designing and producing, is the products’ end life. “Our goal is to make products that last, that somehow… ignore fashion trends,” Filip explained. But when it comes to sustainability, in terms of environmental impact, the founders don’t consider NAUT to be sustainable yet. “Because of the character of our products, we just cannot switch to materials that are 100% natural, recycled or recyclable,” Filip said. “It’s one of our important goals, but we can’t change so fast because it would influence the quality of our products.” For now, the brand is focusing on testing and experimenting with new offerings available on the market. “Fortunately, trends in sustainable materials change and they grow,” Filip continued. With more and more options and possibilities, the team will keep their eyes open, always looking for the best balance between quality and price. WEARME FASHION 44
INTERVIEW: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF LENKA GLISNIKOVA, DIRECTOR: JIRI HORENSKY, STYLING, APPAREL: JAN CERNY, MODELS: EVA CHE, DAVID TOMAIER
When it comes to urban cycling and commuting, it’s
SIMPLE TRANSFORMATIONS DESIGNER P E T R A P T ÁČK O V Á INFUSES HER POLYHEDRAL IDENTITY INTO HER VERSATILE GARMENTS
INTERVIEW: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR
P
etra Ptáčková’s journey to the fashion world
the qualities — when it comes to the function — are
started seven years ago when she was studying
simply…not replaceable yet,” she explained. Multi-
fashion design in Paris. As a Czech in the
functional outdoor apparel and handcrafts are two
French capital, she realized she simply couldn’t act like
separate worlds that Petra aims to join in her never-
her fellow students. She soon started questioning how
ending quest to unite design and function. Creatives
to make the most out of her small budget, recognizing
can appreciate her purely stylistic choices, while in
that she couldn’t spend lots of money on materials like
the active world, customers look straight for function.
crocodile for school projects like her classmates could.
“It is always about the good balance,” Petra added.
That’s when she began her path toward sustainability,
“You have to find the right line where it is still kind of
experimenting with upcycling and patchwork
understandable and attractive for both worlds.” From
techniques on any fabric she could find. “Maybe that
the beginning, creating multifunctional clothes was a
is the only way that first-staged designers can work,”
personal choice for Petra. The designer is always on
Petra said. Later, aiming to dive deeper into the
the go, traveling around Europe, America and Asia.
fashion industry and become more sustainable, Petra
Her somewhat nomadic lifestyle made her establish
embarked on an evolving path to learn new skills. She
a business prerogative: to work for the needs of the
left New York for Italy to attend a one-year knitwear
fashionable, comfy traveler. That’s how the first
masterclass. Despite the challenge, she fell in love with
multifunctional garment was born, a jacket which
this brand-new language, which she reckons will be
can be turned into a backpack and vice versa. And
the choice of the future. “If you learn more and focus
the backpack isn’t just for show. “You can actually
on knitwear today...I think it would be a big part of the
carry something you need and the straps work,” Petra
collection of a designer and I think it is getting more
explained. With a simple transformation, customers
and more popular,” Petra added. Knits are very versatile
can turn one product into another, from raincoats
— as she pointed out, they can even give the impression
to jackets and pants. The difficult part about these
of woven fabrics — especially since technologies allow
transformable items lies in the proper communication
designers to work with knits in new ways, from yarn-
and presentation of those hidden opportunities to the
weaving to pattern-making. With this newly acquired
customer. Petra admits that the effort to present the
knowledge, Petra feels that she’s entered a new stage
items can equal the effort to create them, although
where she can consider herself a more sustainable,
that effort usually pays off, at least in certain markets.
ethical designer. From both a creative and a sustainable
In Japan, people are more open to embrace Petra’s
point of view, working with knits gives designers the
take on creativity, rather than labeling her creations
freedom to define what the composition of the material
as “craziness.” This is not always the case in Czech
or the final garment will be, starting from the yarn. This
Republic – but the markets are hardly comparable, as
can be a crucial opportunity to make the right choice,
the designer pointed out. The same applies to France,
where Petra can see future development in working
Los Angeles or New York, where her collections can be
with recycled yarns, especially those made of plastic.
found. “I believe that the good stuff needs time to be
So far, though, the designer has experimented a lot
born and developed,” Petra explained, whether that’s in
with natural fibers, namely Merino wool. For an active
LA, Japan or Czech Republic. With this mindset, Petra
lifestyle, it’s incredibly important to have comfortable
wants to find the best way to function in her native
clothes that offer a mix of sporty and luxury appeal,
market, without compromising on design or quality,
targeting Petra’s core market. “I would definitely vote
and while adopting the right pricing strategy for the
for natural wool rather than artificial fibers because
local lifestyle. WEARME FASHION 45
WE SPOKE TO T I L A K , A CZECH OUTDOOR BRAND MAKING A SPLASH ABROAD FOR ITS QUALITY GOODS WEARME FASHION 46
OUTDOOR TRAVELER
WEARME FASHION 47
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Climashield insulation, YKK components... Their
manager and an employee since 1998,
common attribute is that they are the best available
to discuss the key aspects of Tilak’s
materials on the market even though also the most
ability to succeed in an outdoor-specialized market.
expensive ones. But our products are used in the most
Tilak’s gear ranges from trail running to hiking, skiing,
demanding conditions, so we have to absolutely rely on
and even extreme ice climbing.
all these fabrics and components.
How did you influence local taste for outdoor
Which items are your bestsellers? What
wear?
properties and qualities make them unique and
Our company started with the production of outdoor
desirable, from a customer’s point of view?
garments in early 90s, it means still very short after
Generally speaking the rain jackets and namely the trio
the fall of communist regime. There was a long-term
of mountaineering jackets made of Gore-Tex Pro fabric.
lack of quality equipment on the Czech market and the
They are called Evolution, Raptor and Stinger PRO.
outdoor was not any exception. The Czech people were
The customers appreciate their durability, reliability,
eager to travel to countries behind the formal “iron
used technical features and last but not least – their
curtain” and as they collected experiences with hiking
design. Among the bestsellers I have to mention also
or climbing in mountains they were also hungry for the
Odin smock – at the first glance it’s a bit like an old-
equipment. We didn’t have the ambition to change this
fashioned anorak style made of Ventile cotton. But the
part of industry, our philosophy was quite simple. As a
construction details are the same of the latest products
domestic producer [we wanted to] offer customers the
made with modern laminated fabrics and the Ventile
best available quality and service. As time passed we
material itself has unique properties compared to
equipped generations of travelers, climbers or outdoor
classic cotton. The customers love the vintage look
enthusiasts and became the traditional brand not only
combined with the smart construction of this jacket.
in our domestic market but worldwide.
Why did you decide to create Poutnik, a
Why are the Czechs crazy about outdoor
more urban collection? How do you balance
functional garments?
performance and style?
People who took their outdoor activities seriously
Originally, we created Poutnik line 6 years ago for
spent a lot of money for the garments. For your better
Japan only. We wanted to bring a range of products
imagine, the Gore-Tex jacket cost three quarters of
with more civilian or fashion look but use our
average months income, trekking boots a half of it. ….
technical experiences, construction solutions and
And at the time when you had it you simply wanted to
latest functional fabrics. We cooperate with reputable
use it every day and everywhere. Despite the fact the
Acronym studio from Berlin and Boa Design from
outdoor clothing was in bright colors and definitely not
Prague in the field of design. In 2016 we succeed at
according to the latest fashion trends. Since this time
the Czech Grand Design Award, so we decided to offer
the other nations make a mock of the Czechs that they
Poutnik also in Europe and our domestic market.
always look like on a mountain trip even if they are
What are the main challenges in the outdoor
walking in Prague’s streets. The funniest thing is that
sector at the moment?
now it is the trend of the latest years – the crossover
Globally, the reduction of impacts to nature. All
of practical sportwear with fashion. The Czechs were a
material producers work on new DWR formula to
little bit ahead.
avoid the use of perfluorinated substances. Another big
Gore-Tex and Polartec are among the most used
challenge is reduction of water consumption during the
fabrics in your collections. What makes them
production procedure.
the best choice for your garments? Gore-Tex is our key fabric but we use many others. Not only Polartec but also Japanese Pertex, Ventile cotton, WEARME FASHION 50
EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF TILAK
W
e asked Jan Hauška, Tilak’s sales
CZECH FASHION ENVIRONMENT I VA B U R K E T O V Á EXPLAINS THE INVISIBLE CONCEPTS BEHIND THE CZECH FASHION SCENE
W
hen we consider a fashion market as young as the Czech market, we must take into account the hidden
opportunities and obstacles it brings to local designers and the creative community. It’s quite a rollercoaster. Some of these creative people join the fashion field through education, others by chance, and still more straight from work experience, as in Iva Burketová’s case. Burketová is a designer known for her distinctive approach toward fashion, which permeates her brand, Odivi, and all her business choices. The label is not just built on the designer’s identity, but also on suggestions and influences of the people involved in her team, as well as on a series of successful commercial collaborations with companies like Nike, Škoda and Jägermeister. For the past 11 years, Burketová has witnessed the Czech fashion industry’s evolution from scratch. She can now claim that today, the Czech fashion panorama lacks a supporting structure to flourish. Take, for example, the education system. “Schools in Czech [Republic] teach just fashion design…. but you can’t be alone running the brand, you need marketing people, management people,” the designer explains. Czech Republic produces a lot of fashion designers, yet they have limited or no education at all in business and marketing. This imbalance automatically inhibits the new generation of designers from understanding those concepts in the early stages of their professional development. Consequently, they are left to face challenges and figure things out by themselves, leading them to a road full of daunting obstacles. WEARME FASHION 51
Production’s minimum is another limit. “When you
Brůha was selected out of 50 applicants, despite – or
want to do something special with factories and fabric
thanks to – his education in new media and lack of
suppliers you have to have bigger quantities,” Burketová
experience in garment making. His idea of designing a
adds. But she found a personal winning solution. The
jacket with implemented electromagnetic waves struck
designer embarked on several commercial projects that
her due to its innovative approach. The electromagnetic
benefit her on both professional and personal levels.
waves can be perceived and experienced via mobile
Established connections with factories allow her to
phone and they can also interfere with the device.
work on a smaller scale and produce small collections
In addition to technological innovation, sustainability
for Odivi. But that’s not the norm among most local
is also at the core of the project, achieved through 3D
designers, she reckons. And when it is not possible to
printing and no-waste pattern making.
make something special and personal, designers turn to more basic, readily available products. All this has
During the selections, Burketová noted a great number
resulted in the wide popularity of minimalistic style,
of projects striving to implement sustainability.
especially among small individual designers in Czech Republic and other emerging fashion markets.
“It’s like the main point I guess in these days,” she says. With the task she has taken on, the designer not only
As for Burketová, she is able to make the most out
advocates more sustainable practices, but she hopes
of the bridges she builds with different scenes, from
to communicate the importance of team building and
outdoor and sport sectors to the cosmetics segment of
synergistical work, two main elements for succeeding in
the market. In the past, she’s created snowboarding
any business.
equipment, surf-inspired pieces and a line of bio cosmetics with Czech company Nobilis Tilia, all results of her “passion for earth.” But what really motivates her to collaborate is a drive to learn from any new working experience. “We are doing so many collaborations because we want to go beyond our horizons, we want to learn from people around,” she states. The latest collaboration the designer has undertaken is with Vodafone, for the project “Jetovtobě” that aims to marry garments and technology. The project wants to push collaboration and break existing boundaries that affect the Czech creative community. “We are having this problem, it’s about personalities and designers and we are not really able and ready to collaborate,” Burketová says, stressing the difficulties of building networks and working in teams. Thus, the Vodafone project became a challenge for the designer herself, as she acts as a mentor and a connection point, bringing together the right people from various fields. That’s why she chose Kryštof Brůha as the winner of the fashion contest, although he is not from the fashion sector. WEARME FASHION 52
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WEARME FASHION 53
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POST-APOCALYPTIC
FA S H I O N
WEARME FASHION 55
INTO THE TINY
SLOVAK INDUSTRY HERE IS WHY B A R B O R A P E U C H IS INFUSING KNOWLEDGE AND CONSCIOUSNESS
A
INTO STUDENTS AT THE UNIVERSITY OF FINE ARTS IN BRATISLAVA former designer herself, Barbora Peuch
locally. According to the academic, the Slovak fashion
had a turning point in her career during
industry is very tiny, and sustainable fashion is nearly
the process of getting her Ph.D. While
nonexistent.
fashion,” she bumped into images of post-apocalyptic
“Slovakian people are not buying Slovakian fashion,
movies, games and music, images so real that they
they’re buying cheap fashion or famous brands and
couldn’t all be virtual illusions. “This is when I realized
labels,” she explains. The reason why the made-in-
that these devastated places on our earth are existing
Slovakia fashion can’t compete with the offers currently
and they are made by humans,” Peuch explains. The
available on the market is that local production is
research led to the discovery of the impact industries,
more expensive, and the retail price point does not
particularly the textile industry, have on the planet. For
correspond to the purchasing power of the local citizen,
the researcher, this sparked the need to share values
Peuch says. Many graduates pursue a teaching path,
of sustainability, especially with the younger, more
or work in magazines as creative fashion writers, or in
unaware designers.
already existing textile companies as designers, because they are still missing information when it comes to the
Like Peuch, the Studio of Fashion Design at the
production process.
University of Fine Arts where the academic works believes that dealing with the newest and most
After school, the fashion journey begins with fixing the
important topics, like slow and sustainable fashion, is
gaps and learning more about producers and a brand’s
key to healthy development in the fashion sector. Here,
visions: what to produce, what market to target, what
students are offered specific insights on how to design
aesthetic to follow. Yet it can be very tough to find a
and produce in a sustainable way. Thanks to workshops
local producer that wants to cooperate with young and
and discussions, they have the opportunity to share and
emerging designers, the academic explains. “I spoke
build awareness on the topic, not only from an artistic
with our ex-students, they are not able to cooperate
point of view, but from a much wider perspective.
with already existing companies very well…”
“Our aim at the Studio of Fashion Design is to grow
The reason is simple: the needs of young designers do
well educated and informed young designers who will
not match with the needs of manufacturers, as young
understand that the need of sustainable way for fashion
designers often look forward to producing only a small
is principal,” Peuch says.
number of garments, while businesses need bigger orders to survive.
But equipping a new generation of designers with information and knowledge is perhaps only half of
“In the past we were searching for a cooperation
the battle. The other half, the most important part,
between our academy and Slovak [clothing] industry,”
lies in the employment of these creative graduates
Peuch explains. The aim is to help the students find
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INTERVIEW: SARA VOLPI, VITTORIA KIDANE, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF ANNA HORČINOVÁ, DESIGNER: BARBORA PEUCH
researching her topic of choice, “post-apocalyptic
YOORA STUDIO
Say yes to the eco-dress Zuzana Kedroňová, the label’s designer and founder, creates a comprehensive collection of wedding gowns made in Slovakia, using only certified, naturally grown materials. Among the main fabrics, there are beautiful organic and peace silks, as well as lace made with organic cotton. The lining of the dresses is eco-friendly, made with satin bamboo, a viscose fiber. The brand is therefore able to offer bespoke dresses, each a unique and conscious creation.
GOLD AGE A new time has come
It’s a collection of clothes made by Silvia Fröhlich Zrebná as a project for her master’s degree. Her creative choices stand as a critique and reaction to today’s exaggerated consumption, suggesting that the best historic era for eco awareness has already arrived. Silvia’s next mission is to create a brand promoting and offering goods purely made from sustainable textiles.
WEARME FASHION 57
“Our aim at the Studio of Fashion Design is to grow well educated and informed young designers who will understand that the need of sustainable way for fashion is principal.” placement after graduation, but these cases are few, and often the collaboration lasts for just a short amount of time. Having a designer isn’t a big priority for these companies, Peuch points out. This low demand for creatives can be linked to the portfolio of clients that the Slovakian clothing industry has targeted so far, customers who look for a simple commercial product instead of an original design. Thus, the Slovak clothing industry mainly survives by exporting its products to other countries like Poland, the industry sustains itself though this practice. This scenario has led the academy to collaborate with other European groups and institutions. What’s working very well for Slovak students is the Erasmus program, which gives them the possibility to live abroad for at least a semester, meet similar minds, create connections and find new inspirations for future works and research. As the academy suggests, given their local reality, students must spend more time thinking about projects and ideas before moving on to successful production. Only by understanding why it is important to embrace sustainability it is possible to know how to effectively move into action and perpetuate change. WEARME FASHION 58
PHOTO COURTESY OF KRISTÍNA BOTLOVÁ, PATRÍCIA KVASŇOVSKÁ
Czech Republic, Germany, etc. Roughly 90 percent of
17—18 / 11 / 2018 OD KOTVA 5th and 6th floor Sa: 11.00–19.00 Su: 10.00–17.00
CHRISTMAS SHOPPING MINT organizes markets with fashion, jewelery, design and delicacies across the whole republic. You can find MINT in Prague, Brno, Pilsen, Ceske Budejovice, Pardubice and Hradec Kralove and more! Stay tuned at mintmarket.cz
Free entry
WEARME FASHION 59
TREND REPORT A 19 W 20
WEARME FASHION 60
BLOOMING WINTER
PHOTO COURTESY OF MUNICH FABRIC START: LIBERTY; CARLO BASSETTI; GIRANI; LICA DESIGN STUDIO; PRIMUS PATTERN. PHOTO COURTESY OF SOLSTUDIO TEXTILE DESIGN, MOSCOW
CARLO BASSETTI
This season is about out-of-the-ordinary flowers. Enlarged and mysterious, they twirl and swirl hypnotically. Winter patterns feature graphic blooms with phenomenal GIRANI
petals, exuberant tulips with bold outlines, pared-down peonies, plus smooth or textured graphic flat tints, in coat-weight jacquards and silky prints. Ornaments inspired by nature also turn up in lace, guipure and embroidery, awash
LICA DESIGN STUDIO
in scrolls, stems, petals and bunches illustrated with pure lines. These looks are geometricized and ‘70s-inspired, highly stylized and hinting at Art Nouveau, or PRIMUS PATTERN
matte and elegant in tri-tone or two-tone colorways.
GRAPHIC BLOOMS
SOLSTUDIO TEXTILE DESIGN, MOSCOW
PHENOMENAL P E TA L S GIRANI
N AT U R E INSPIRED
LICA DESIGN STUDIO
LIBERTY
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CREATIVE SPIRIT
LIBERTY
This season is marked by colliding aesthetics, combining the beauty of chaos and the wild comfort of dystopia. A mix of singular storyline, intertwining different cultures, languages and perspectives.
SELECTA COMO
It’s creative play, pairing contrasting colors, fabric weights, patterns, structures and prints. The sources of inspirations range from faces to art, from cartography to space,
MALHIA KENT
an aesthetic highly personalized, reinvented and stylized with sophisticated colors.
COLLIDING AESTHETICS
LICA DESIGN STUDIO
C R E AT I V E P L AY
LICA DESIGN STUDIO
H I G H LY PERSONALIZED LICA DESIGN STUDIO
MALHIA KENT
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ROYAL BLUE
PHOTO COURTESY OF MUNICH FABRIC START: LIBERTY; MALHIA KENT; LICA DESIGN STUDIO; ROYAL BLUE. PHOTO COURTESY OF PREMIÈRE VISION PARIS: SELECTA COMO.
inspirations defines a new and more modern
PHOTO COURTESY OF PREMIÈRE VISION PARIS: SERIDE; HEYONE. PHOTO COURTESY OF ATELIER NATANSKI, PARIS. PHOTO COURTESY OF TISSAGE DES CHAUMES. PHOTO COURTESY OF MUNICH FABRIC START: EUSEBIO; LICA DESIGN STUDIO; PREMIERE; GRAUSAM.
SERIDE
INTO THE WILD
ATELIER NATANSKI, PARIS
From mountain life to x-rays of plants and mad leopard prints, wild references decorate this winter’s fabric surfaces. Inspiration is drawn from rural landscapes and reinterpreted forests, inhabited by prehistoric animals in offbeat colors.
EUSEBIO
Animal skins are revised in puffers, cut-yarns, overprinted burnt-outs and in brushed or plasticized surfaces. The colors are far from natural, marrying winterly tints, scales and
LICA DESIGN STUDIO
hearty tones.
WILD REFERENCES
HEYONE
REINTERPRETED FORESTS
PREMIERE
O F F B E AT COLORS GRAUSAM
WEARME 63 TISSAGE DES FASHION CHAUMES
NEON TECH
EUSEBIO
are soft, clingy and technological, with a deliberately intense neon twist.
INNOVA
Laser-cut, super-function jerseys coexist with rubber coated fabrics for the perfect athleisure look. The most important color stimuli are generated by acid greens, fuchsias and reds.
D E L I B E R A T E LY INTENSE
LAMINTESS
LAMINTESS
AT H L E I S U R E LOOK
TORAY
LAMINTESS
TORAY NANTONG
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NEON TWIST
FREE TIME
PHOTO COURTESY OF MUNICH FABRIC START: INNOVA; LAMINTESS; TORAY; FREE TIME. PHOTO COURTESY OF PREMIÈRE VISION PARIS: TORAY NANTONG. PHOTO COURTESY OF EUSEBIO
Winter sees high-performance fabrics that
PHOTO COURTESY OF MUNICH FABRIC START: LANIFICIO T. LINE; TESSILIDEA; ALMODO; ÖZDOKU. PHOTO COURTESY OF STYLEM ITALIA: EDIZIONE LIMITATA COMO COLLECTION BY STYLEM ITALIA. PHOTO COURTESY OF MARINI INDUSTRIE.
NEW TAKE ON CHECKS
EDIZIONE LIMITATA COMO COLLECTION BY STYLEM ITALIA
LANIFICIO T. LINE
Traditional geometric motifs – checks, houndstooth and shepherd’s checks – are updated in prints and silkies. Patterns are blurry, diluted, layered and even mixed with metal-plastic yarns for a subtle shimmer of light. The reinterpretation of orderly motifs
MARINI INDUSTRIE
focuses on diamond shapes in embroidery and jacquards, gridded guipure and squared-off lace. Textures are rich with rectangular patches of offbeat colorful sequins. Very dark nuances
TESSILIDEA
come in a wide variety, including red, gray, blue and petrol hues.
SUBTLE SHIMMER
ALMODO
DIAMOND SHAPES
ÖZDOKU
DARK NUANCES TESSILIDEA
TESSILIDEA
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WARM SOFTNESS
IL PANDA
Winter fabrics offer plenty of airy hairs, plus padded volume and raised fleecy fake furs, as well as velour and feathers. Wool is gaining importance for sustainability reasons and because of its natural functions.
TEXAPEL
Softness is key together with an enveloping roundness, conveying a malleable air. Colors are warm, but in no way ordinary: russets, blues and pinks with strong personalities evoke contemporary environments, while
TEXAPEL
faded hues like beiges and browns steeped in yellow recall cultivated fields and fluffy
ENVELOPING ROUNDNESS
VELCOREX
MALLEABLE AIR N O WAY ORDINARY
EUSEBIO
PREMIERE
IL PANDA
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LANIFICIO ROMA
PHOTO COURTESY OF MUNICH FABRIC START: IL PANDA; TEXAPEL; VELCOREX; EUSEBIO; PREMIERE; LANIFICIO ROMA
clouds.
PHOTO COURTESY OF MUNICH FABRIC START: GIPITEX; GB TEXTILE; PIEMME; TISSAGE DES CHAUMES; LANIFICIO T. LINE. PHOTO COURTESY OF ULYSSE PILA. PHOTO COURTESY OF LAURENT GARIGUE.
GIPITEX
TWEED & CO.
GB TEXTILE
A warm tactile symphony of coarse-grained, thick fabrics, like tweed and bouclé, dominates the cold winter scenery. The contemporary 3D textures find their
PIEMME
background in rural life and past tradition, enhancing the craftsmanship. Colors are a mélange of earthy nuances, with a splash of brighter tones and oxidized finishes. TISSAGE DES CHAUMES
TA C T I L E SYMPHONY CONTEMPORARY 3D T E X U R E S
TISSAGE DES CHAUMES
OXIDIZED FINISHES
LANIFICIO T. LINE
ULYSSE PILA
LAURENT GARIGUE WEARME FASHION 67
Seasonal Highlights F R O M T H E FA I R S
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BERTO TEXTILE INDUSTRY Is renowned for high-quality fabrics, from shirting textiles to denim. The seasonal offerings stand out with a denim fabric called Pianeta, made with warp and weft coming from the company’s regenerated production waste. Berto Textile Industry also offers a shirting fabric, Recover, made with recycled weft and even a Bio Eco Denim made with organic cotton and natural indigo, GOTS certified.
TEXT: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, ILLUSTRATION: ELISA DI LEO
DIENPI With traceable production, exclusively occurring in Italy, Dienpi is a labeling and packaging company with a responsible soul. Eco-friendly materials are used to make labels, packaging and rhinestones or studs, like certified organic fabrics, water ink and recycled paper. One particular example is the leather label eti-ECO, made without the use of chrome, using an ecological tanning process. Also new is its Smart Label. As the name suggests, the label communicates a wide range of information via smartphone, which is useful for traceability, marketing and preventing counterfeiting. This includes the certificate of product’s authenticity and information on the production chain, as well as images and links to the brand’s website.
PANAMA TRIMMINGS Offers a great variety of sustainable products like eco-friendly labels, made with materials like cork or recycled labels. Their new product that stands out is the g_label®. The label is printed using g_ink, namely recycled graphite powder, which is solvent-free and is a great substitute for chemical pigments. The innovative product, endorsed by Perpetua, represents a step forward toward the circular economy.
LANIFICIO EUROPA
Selects innovative and sustainable raw materials to produce a wide range of fabrics. Europa’s premium stretch articles use the GRS (Global Recycled Standard) version four
certified ROICA™ yarn, with more than 50 percent pre-consumer recycled content. Europa internally prepares its own stretch yarn to combine the ROICA™ one with Newlife™, to eventually obtain a smart yarn entirely made of GRScertified materials.
3CCOMPANY Eco-line is the “ecological” collection by 3CCompany, made using natural and sustainable materials. The concept of sustainability is embodied mainly in the use of “ecotec” cotton yarn, a recycled cotton obtained by the fraying of fabric swatches. The proposals include a padded jacquard pattern, featuring continuous panels with hem and separation, as well as ungauzed and heavily gauzed fleece.
EUROJERSEY
Presents a collection of technical and innovative Sensitive® Fabrics, made for multi-functional garments. The fabrics are breathable and wrinklefree, making the final garment easy to care for. The fabrics themselves require little maintenance and water consumption. They are also quick to dry, ensuring an above average lifecycle and a lower environmental impact. The entire collection is underscored by digital printing, with three-dimensional rendering interpreting textural effects, thanks to innovative 3D printing technology and special yarn, dyed and délavé.
GRUPPO TESSILE MONTI The Brezza collection was established this past AW season and has been newly upgraded with proposals that maximize sustainability and functionality. The Brezza Bio 100% Organic is a range of fabrics developed in different waves and created with organic raw materials. Among them the Brezza Bio, Brezza Bio Twill and Brezza Bio Zephir are elevated by eco-friendly and biological dyeing and finishing processes, guaranteed by the GOTS certification.
VALTER Is a manufacturer of Plexiglas and resin components for fashion
jewelry, garment components and accessories. Its biodegradable accessories are made with a bioplastic coming from renewable resources, mineral fillers and vegetable fibers. The products made with this material offer not only fashionable outcomes, but also durability, compostability and biodegradability.
ALCANTARA
Continues to pay attention to the environment, while offering a wide range of its versatile namesake material. Among the AW 19/20 proposals, the Jungle line stands out, thanks to embossing and embroideries, printings and laser cuts which creatively replace real leather, in line with the company’s “green” commitment. Alcantara offers a vast array of colorful fabrics, suitable for industries ranging from fashion and interior design to the automotive and hightech domains.
ETIQUE Located in the Italian silk district of the Como area, the company produces fabrics for many purposes, ranging from casual citywear to elegant cocktail dresses. The company introduced an increasing number of sustainable articles both plain and jacquard, choosing Newlife® fibers from recycled PET bottles and Sorona® fibers. Produced by DuPont™, the innovative fiber is obtained from the fermentation of glucose from corn seeds and allows a 37 percent reduction in energy consumption and a 63 percent reduction in CO₂ emissions.
CANEPA Offers new enhancements of already-proven viscose bases made with FSC yarn. Brocade jacquards show off recycled polyester fibers (from plastic bottle scrap), as well as reconditioned cottons and wools. With recent GOTS certification, the reconditioned organic cottons, dyed with sustainable dyes and prints, are proposed in full respect of the planet. Last but not least, 100% GOTS jacquard developments are new for mercerized yarn-dyed silk/ cotton. WEARME FASHION 69
SUSTAINABILITY AND TECHNOLOGICAL DEVELOPMENT CONQUER INTERNATIONAL TEXTILE SHOWCASES
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TEXT: SARA VOLPI, EDITOR: MOLLY BRIND’AMOUR, PHOTO COURTESY OF EUSEBIO, LANIFICIO ZIGNONE, TRENDYTEX
TEXTILE A WA R D S A W 19/20
MILANO UNICA HOSTS “303 TUSCANS” ETHICAL FASHION AWARDS In July, the 27th edition of the Italian textile fair was crammed with activities and initiatives promoting a more responsible and conscious approach within the fashion industry. With an event within the event, the Milanese fair was home to the 303 Tuscans Ethical Fashion Awards. Among the hundreds of exhibitors, 23 were awarded the prestigious recognition. Granted by TOC Fashion Academy Tuscany, the 303 Tuscans certificate went to those companies that distinguished themselves with their commitment toward increasing products’ value, for guaranteeing benefits for the end consumer, as well as for building a sustainable supply
LANIFICIO ZIGNONE Lanificio Zignone distinguished itself with its offer of sustainable fibers, namely high-quality, environmentally respectful wool, fully traceable and woven in Italy. The sustainable collection Zone assures that the wool is entirely organic and sourced from
chain.
animals free of artificial treatments, like hormones or
EUSEBIO
contain pesticides or any other chemical, hazardous
antibiotics, raised with GMO-free food that doesn’t substances.
Among the winners, Eusebio presented a capsule collection of fabrics made with 100 percent organic cotton and 100 percent recycled polyester. Its next AW 19-20 Another Down collection stood out, thanks to coupled fabrics made with 100 percent recycled polyester interlining coming from plastic bottles, making them great alternative fabrics for winter jackets.
TRENDYTEX
Trendytex presented a range of sustainable fabrics made with recycled yarns, including wool and cotton. For instance, their 20550/20552 fabrics were created with 76 percent mixed wool/nylon recycled yarn. The products are also “Cardato regenerated CO₂ neutral” certified (zero-carbon emission) and can be used for cardigans, light sweaters and light jackets. WEARME FASHION 71
THE 10TH ANNIVERSARY OF THE P R E M I ÈR E V I S I O N AWA R D S From September 19th to 21st, international fashion and textile professionals gathered at the forum of the Parisian fair to discover the winners of the 10th PV Awards, the forefront event for textile and leather excellence. The jury voted for eight winners, in two main categories, fabrics and leather, awarding the most outstanding products.
Of the fabrics, the Italian Marini Industrie received the Grand Jury Prize for the most outstanding and
TEXLOVER
Fellow Italian company Texlover secured the Handle
pertinent fabric of the season, thanks to a duchesse
recognition for Revenge, a particular “new moleskine”
in 100 percent viscose, with a special handfeel and
fabric with a soft wool-silky touch, made using only
a beautiful egg yolk color. Rather than sagging like
natural fibers. The rustic-chic fabric is made with 64
other viscose, it has a drier, cruder coat. If the fabric is
percent cotton and 36 percent linen, characterized by
expected to feel like silk, it is instead more substantial,
a certain visual aspect. It is fine and clean, but with a
allowing designers to experiment and play with shapes
delicate “slub-aspect” typical of linen-blended fabrics.
and volumes that are unthinkable for a viscose.
STYLEM-ZEN KIWAMI The PV Fabrics Imagination Prize was achieved by
Stylem – Zen Kiwami for a fabric made using viscose filament of Taslan-finished fibers. What characterized this fabric was the gap between texture and appearance, as it is shiny like silk with a dry touch, like Japanese washi (paper). WEARME FASHION 72
PHOTO COURTESY OF PREMIÈRE VISION PARIS: MARINI INDUSTRIE, TEXLOVER, STYLEM-ZEN KIWAMI, TORAY INDUSTRIES, FC
MARINI INDUSTRIE
TORAY INDUSTRIES
Another big Japanese contender, Toray Industries, was awarded with the Fashion Smart Creation Prize for Ultrasuede(r) nu, a hybrid, nonwoven ultra-thin fiber fabric that combines the luster of grain leather with a smooth suede touch. The fabric is a responsible leather imitation, made from recycled polyester with ecofriendly easy-care and breathable finishings.
NATURCA-AYSEN BUTIK Last but not least, the Leather Handle Prize went to Naturca By Aysen Butik, which displayed a lamb suede quality article, bonded with thermal fabric. The rustic
FC CREACIO I INNOVACIO
lamb leather with a washed laminated wool stands somewhere between a wool knit and a skin; therefore, it can be easily used as an adaptable article, suitable for winter, autumn and spring.
For leather, the Spanish FC Creacio I Innovacio received two awards: the PV Leather Grand Jury Prize and the Leather Fashion Smart Creation Prize. The company, specialized in tanned articles, was awarded for developing the most exceptional and pertinent leather, a very light, 3 mm thin lamb leather with a paper touch. But it also won a second recognition for presenting the most creative and yet responsible leather, a depigmented lamb skin of pure white created without any use of chemicals.
CKD CETINKAYA Ckd Cetinkaya was awarded the Leather Imagination Prize for its Merino Hologram, a reversible lamb leather bonded with thermal fabric. WEARME FASHION 73
MUNICH FABRIC START PRESENTS THE
The 45th edition of the Bavarian textile exhibition saw
fair and environmentally conscious production of the
the assignment of the prestigious Hightex Awards.
precious material, and for an innovative biodegradable
The innovation in textile prize is a recognition given
silk denim. The fabrics, obtained with non-harmful
to companies for their dedication toward fulfilling
animal treatment, are hand-woven by highly skilled
new needs while safeguarding the environment.
weavers for a fair payment. Subsequently, the filament
Specifically, three companies stood out because of their
is dyed without the use of any toxic chemicals and given
overall strategic commitment toward saving resources,
an anti-allergic finish. The company also produces a
developing innovative products, and implementing
silk-like material, called PET2Silk, which is made of
processes and marketability.
recycled PET bottles.
Third place went to Reca Group for developing a
The podium went to Italian jersey producer Brugnoli
brand-new process to help avoid product copies and
for presenting Br4tec5. The innovative fabric represents
forgeries. The Italian specialist for packaging, cards,
a new take on a classic piquĂŠ, with a blend of merino
plastic and metal labels presented a high-frequency
wool, a 100 percent bio-based polyamide (Evo by
embossing and printing method on polyurethane fabric
Fulgar) and 3 percent spandex. The production of this
ALM06. Thanks to the innovative methods, the process
particular fabric allows for a 20 percent reduction in
allows for the creation of different visual and tactile
both water and energy consumption, which means
effects, depending on the observation point.
2500 liters of water saved and 20 kilograms of COâ‚‚ production avoided, compared to the conventional
The silver medal was won by silk producer Cocccon. The manufacturing company was awarded for the WEARME FASHION 74
methods.
PHOTO COURTESY OF MUNICH FABRIC START
H I G H T E X AWA R D S
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