The Collective: #WorkinFashion 50 (Revised) by @Workinfashion.me

#SUSTAINABLE FASHION

#SOCIAL ENTERPRISE EXCLUSIVE INTERVIEW IN THE #WORKINFASHION50 pp.116-117

ZII ROPA

www.workinfashion.me

CONTENTS EDITOR’S LETTER What is Fashion For? pp. 8-9

FOREWORD If It’s Not Ethical, It’s Not Fashion pp. 12-13

INTERVIEW PINATEX founder Dr. Carmen Hijosa pp. 14-18

#PERSPECTIVE Confessions of a Shoe Addict by Adjoa Hennessey pp. 20-21

The Beauty of A Boring Wardrobe by Courtney Fingar pp. 22-24

Dressing The Part For Every Situation by Amanda Shipley pp. 25-27

In Defence of Artistry by Errol Michael Henry pp. 28-32

Art Lovers & Art Collectors: The Next Gen by Kitty Dinshaw pp. 35-40

#WORKINFASHION PRESENTS... The Converted Closet pp. 42-45

Intoart pp. 46-48

85 Paris pp. 50-52

Heritier Freres pp. 53-55

Atelier Molinari pp. 56-57

THE COLLECTIVE: #WorkinFashion50 New Faces, Decision Makers and Trailblazers pp. 58-132

#ARCHIVES pp. 133-151

Editor’s Letter

Fashion is Art.

Dr. Carmen Hijosa – a real life heroine, permitted me to pick her brains on the subject of When I first launched the @WorkinFashion.Me innovation within fashion, as she explains what led website in November 2016, it contained just two her to create a cruelty-free substitute to leather articles. The first, ‘Functionality vs The Aesthetic’ which is now being used by the likes of Puma and and the second ‘Abstract Impressions’ (my review of Hugo Boss. Other profiles include Sarah Mower the exhibition at the Royal Academy in London). MBE, Junior Green, Isabella Macpherson and My objective was simple, we – society, need to admany more. just the focus when it comes to the arts. Proceeds from the sales of this publication Creativity, in my opinion, is the ultimate exwill be donated to The House of St. Barnabas in pression of humanity. Whether it’s a canvas hanging Soho, London. It is a members club and charity on a wall or an item of clothing draped over a that specialises in rehabilitating and retraining Lonhanger, both, require ingenuity, skill and craftsmandon’s homeless, giving them the tools to become ship to complete the composition. I am the daughpowerful players within the workforce. Having vister of an artist and a musician, so I have my own ited as a guest in 2016, I vowed to return with the reasons for wanting to champion artists’ rights. means to make a sizeable contribution. Many of I have seen first hand, how we live in a world their graduates now work there in various capacithat celebrates the work, but disregards it’s author. ties, demonstrating the effectiveness of the charity’s Hence my lifelong obsession with ethics. Ethical work. business practices and ethical fashion are the two Last but not least, I would like to say thank topics I love to write about. So, what better way to you to you, my readers. The first suggestions and celebrate the second anniversary of #W’s launch, words of encouragement that I ought to write a than with a publication about this very subject! book – came from the comments section on the After perusing the pages within this tome, @WorkinFashion Blog. Over the course of 2017, there are three things I wish for you to take away emboldened by the website’s growing following, I with you. made the decision to make this – my full time job. For everyone who has supported me, challenged  Art Matters. me and given me a helping hand (the list is too long  If it’s not ethical, it’s not fashion - but you know who you are) THANK YOU!  The Collective: It takes a village. Take time to assemble and celebrate the posi- I quote my parents a lot, but this particular life lesson, underpins everything that I do : tive forces within your own social circle. “Businesses will come and go; Make sure you are a With special thanks to the contributors, brand that lasts forever. Build Your Brand. Adjoa Hennessey, Courtney Fingar, Amanda Create Your Legacy.” Shipley, Kitty Dinshaw and Errol Michael Henry. Thank you to Sabine Zetteler and her team at Zetteler PR for bringing the wonderful work Intoart is doing with disabled artists to my attention. Their new collaboration with British knitwear firm John Smedley, is this winter’s must have item. Their collaborations is a powerful reminder that art is not only about expression, it empowers too. Our title feature The Collective: #WorkinFashion50 has been a labour of love. Over the past year, I have been conducting interviews with some of the figures that have personally impacted my world, and the industry that I operate within. With the recent launch of her $75 million capital venture fund, Imaginary, Natalie Massenet has returned to the headlines in business as an inYasmin Jones-Henry vestor that is supporting ethical brands, from a wide Editor-in-Chief range of sectors from food, clothing to interior design - making space for the next generation of entrepreneurs.

If It’s Not Ethical: It’s Not Fashion By Yasmin Jones-Henry

Words matter. What we choose to say, the phrases we apply to communicate our intentions are critical elements to the foundation, the basis and survival of any society or social construct. So initially when I intended to write a piece on the current status of the luxury fashion industry and ethical fashion as a genre – I found myself unable to proceed. That the two sectors had ever been conceived in isolation is beyond a crime. As I’m sure you are aware – fashion is taken from the Latin ‘Facere’ meaning to do or to make, so to discuss the output of manufacture with no consideration for the conditions under which the labour market operates would be negligent. To discuss the concept of ‘luxury’ and premium goods, without questioning whether their production processes warrant such a label also brings the concept of ‘fraud’ into play. ‘Luxury fashion’ – should be ‘ethical fashion’. The scent, the aroma of wealth, comfort and prosperity that is emitted from most expensive department stores is immediately associated with the word ‘luxury’. Until now, when the word ‘Luxury’ is uttered it pulls up images of Harrods, Bond Street, Saks Fifth Avenue etc. However I would like to change this. When the word ‘luxury’ is used, I hope in the near future the images search engines, fashion editors, photographers and consumers draw for, will not simply depict the retail facade, but will immediately add the names, faces, hands and stories of the manufacturers on the other side of the world. ‘Luxury’ is categorised as ‘luxury’ because it is marketed to the consumer as being well made, to the highest standard.

But how many ‘luxury’ brands, pay the cotton farmers, the sheep farmers, the mill workers and the pattern cutters – what their labour is actually worth? How many luxury brands are guilty of exploiting the current murky global supply chain that creates a huge discrepancy between salaries and retail price? Are these billions generated through entrepreneurial ingenuity or exploitation? Before fawning at the feet of these conglomerates, I urge other editors to ask these questions. Before you champion a brand for its cool campaign, question the conditions under which its products were produced. Most luxury brands are now little more than a shop front. The atelier whose name is mounted above the door, in many instances, has been long dead. What is left, is an oligopoly market home to a few massive corporations who absorb, acquire, invest and manipulate the market forces for their own convenience. The entire infrastructure from globalisation, outsourcing labour, trade routes, market prices and industry advertising spend – is entirely orchestrated by them. The artisan, the labourer, the farmer – none of them – under the current conditions, receive even a fraction of the wealth their so called ‘luxury’ brand partners generate from their hard work. This is not right. This is not ethical. This is not luxury. Repeatedly, case studies are emerging of so-called high-end brands, using outsourced sweatshop labour to manufacture their ‘luxury’ goods which they sell for an eye watering profit.

#foreword Take for example earlier this year, the Bloomberg story about a Chinese owned factory in Ethiopia, that outsourced its contracts with the likes of Tommy Hilfiger to manufacturers in the region who paid their (mostly female workforce) less than $30 a month. How much does a pair of Hilfiger Jeans cost? September is an important month for many reasons. It’s a new season, a fresh start. In the fashion calendar – it is the key moment, where new collections are unveiled. But before the carousel of Fashion Week commences, before the editors congregate, before the influencers line the front and second row, before the bloggers begin to post on social media, I would like them all to pause. Few can ignore that ‘Sustainability’ and ‘ethical’ have been buzzwords this year. There has been serious momentum, with the CEOAgenda Report and Fashion Revolution’s ‘Who Made My Clothes’ campaign, that has forced even big players like Kering, to take a seat at the table and at the very least – put on the appearance of being ready to listen to the discussion. But, this is not enough. Nowhere near enough. If editors are still the appointed gate keepers of the cultural narrative upheld in their respective publications, then they have an obligatory duty to fulfil. One token issue on sustainable fashion will not suffice. The time to mount the pressure and maintain momentum is now. I propose a few changes: Let’s say – in the drive for more transparency in both working conditions and supply chains, firms who do not comply – should not be given a platform in the pages of respectable publications to sell their wares.

Brands who remain unapologetic in their substandard labour regulations should not be given advertorial space. Brands who still, do not pay the farmers and manufacturers a wage – that is truly reflective of the value of the product they harvest/ produce, should not be included in features or in shoots. The decades of silence, means there is guilt. There is accountability, and in tragic cases like the Rana Plaza incident, there is also blood on their hands. You don’t have to be on the factory floor standing there with a whip in your hand. But if you are part of the infrastructure than enables this modern day slavery to thrive – then you have two choices. Repent and atone for being complicit in your silence and proactive promotion of this deceit, or, step down. Step away, and let others who have a genuine love for the aesthetic and human life take over. The world will not wait. I have always maintained that outside of the glossy pages – fashion is a beacon in society, forecasting, projecting and revealing cultural trends, changes and influences. If the existing infrastructure does not reform at an accelerated rate, if the decision makers still shuffle their feet while they wait to be persuaded of the virtues of ‘ethics’, then we, the outside world, will simply build a new one. So, my message for the September edition is a simple one: Ethical fashion is here to stay. Those who do not meet the basic requirements, those who do not participate in the universal need for empowerment , and choose to remain on the side of exploitation, will soon find themselves obsolete. If it’s not ethical, it’s not luxury. If it’s not ethical – it’s not fashion. [END] Originally published via www.workinfashion.me (September, 2018)

Coat made by Laura Strambi. Made from Pinatex

â&#x20AC;&#x153;Design is not just about product. Design is about responsibilityâ&#x20AC;? (Dr. Hijosa, Ananas-Anam,

Interview by Yasmin Jones-Henry

#interview I was asked the other day, why I write about ethical fashion. The answer was obvious, but only to those who understand what ethical fashion is about. The reason I built @WorkinFashion.me and populated it with articles, was for this very purpose. Although many are influenced by ‘fashion’ – some still do not understand or appreciate the fact that fashion serves a purpose. What is fashion for? To tackle this question – I began with my first article: Functionality vs The Aesthetic where I argued that fashion is an art form. I also presented the argument that fashion ultimately serves various functions, but it is primarily an extended form of self-expression and self-advertisement.

Ethical fashion as a movement represents the counter revolution that has been mobilised to clean up the mess that global greed and unethical trade practices have left behind. If you look at nature and its reliance upon seed and harvest for survival, nature is a capitalist too. But in it’s natural state, capitalism is sustainable too. What is needed now is for the industry and the firms that support it – to ensure that their practices are ethical at all times. This means paying their staff, factory workers and farmers a proper wage that is reflective of the value of the product, as opposed to their desire to satiate the shareholders’ appetite for growing profits and lower production costs. Sustainable fashion also ensures that profit is not the only objective.

The things you choose to wear, the items that you select and curate are a reflection of your inner tastes and preferences. So ask me again why I choose to write about ethical fashion. Part of the derision that many ecowarriors and supporters of ethical fashion face – is rooted in the misunderstanding of what fashion represents in modern society. In Welcome to 2017 when I assessed the state of the fashion magazine industry I explained that fashion’s role at large has always been political. Fashion represents the beacon signalling to the masses what to do and when. If fashion is the arbitrator of what is deemed acceptable in our society then whatever is deemed ‘fashionable’ automatically forms the fabric of our culture. With this taken into consideration, the question of whether something has been ethically produced is not one that should be dismissed or overlooked. Ethical’ by definition is derivative of ‘ethics’. The dictionary defines ethical as: ‘Relating to moral principles or the branch of knowledge dealing with these; Morally good or correct’ (Oxford Dictionary, 2017). So any discussion about ethics, is a discussion about the basis upon which our understanding of right and wrong, fairness and morality is built. Look out of the window. Open your newspapers, turn on the television. This is a conversation we need to have.

(Photo by B.Blanco) Dr. Carmen Hijosa with one of the farmers examining the Pinatex fibres

#interview A heightened awareness of the state of our planet and the need to take care of our shared home and resources, has forced many conglomerates to pivot towards investing in methods that are not only cost effective, but ensure that minimal damage is done to the environment in the production process. So is it any wonder, that when I heard about the Pinatex® technology, felt its texture and its proximity to leather, that I almost fell off my chair when I was told this beautiful material is not a hide, but the product of pineapple leaves!

If you’ve read: WorkinFashion Presents…Taikka,

YJH: What provoked you to develop Pinatex®? CH: The spark that led to the development of Piñatex® was seeing firsthand the ecological impact of mass leather production. My career was founded in upmarket leathergoods design, and from this I became an industry consultant. In the 1990s I was in the Philippines with the brief to ‘upgrade’ the leather product export market, which took me to a leather tannery. Becoming aware of the toxic reality of the tanning process, and the broader environmental impact of cattle farming, I decided there and then I could no longer work with this material and was determined to find a more sustainable

(photo by B.Blanco) YJH: It is clear from my interactions with Riikka Juva (founder of Taikka bags) that you inspire others to join the Pinatex® revolution as a result of your genuine passion for creating sustainable and ethically produced products. What is your vision for Pinatex® in the future? Where would you like to see Ananas Anam in 10 years time?

CH: Thank you – I would not have gotten to this point without passion for what I am doing, and I’m you’ll know the long standing affection I have for lucky to have a team that shares that passion. We their ethical luxury clutch bags that are made using are always working towards achieving the next steps this new technology. I love the texture of leather. I in the vision, which at the moment is focused on love how it looks, but what I love the most, is that upscaling production capacity to meet demand, with Pinatex®, your senses are still satisfied without developing new partnerships with an ounce of guilt. No animals are harmed or slaugh- farming communities and continued tered in the process of manufacturing this material. research and development to improve the finishing processes of the textile. In 10 years I would like So, without further delay, ladies and gentleAnanas Anam to be supplying sustainable, lowman allow me to introduce you to Dr. Carmen Hiimpact textiles to the mass market, reducing the josa, the founder of Ananas Anam, and innovator of need for the use of leather and synthetic textiles the Pinatex® technology…. worldwide – the vision has always been to achieve a true global impact, which necessitates scale.

#interview YJH: If you could give one piece of advice to the next generation of fashion and design graduates who are about to make their mark on the industry, what would it be? CH: Thinking outside of the box, research and joint interdisciplinary collaboration is key. Solutions come from looking at issues from new angles. Have a strong vision, which is good for the world and its people. Think globally, be resilient and be prepared to work very hard. That is more than one â&#x20AC;&#x201C; but all equally important! [End]

MEET THE CONTRIBUTORS. . . Adjoa Hennessey, Courtney Fingar, Amanda Shipley, Errol Michael Henry & Kitty Dinshaw 19

Confessions of a Shoe Addict By Adjoa Hennessey

How can you have 100 pairs of shoes and not know it? Especially if you live in a one-bedroom flat in an excouncil block. I’ll tell you how. The way you do it is to secrete the shoes around the place the way an alcoholic hides bottles. Heaped at the bottom of a wardrobe. Piled up in a cupboard and boxed under the bed. When there’s no more space at home, you stash other pairs elsewhere. In bin bags marked ‘For Ebay’ in the pram shed. Stuffed into an office drawer and, below the desk, in a cardboard box and two bulging bags for life. Some of this footwear is beautiful. I especially love the tan Chia Miharas that make me dream I can dance, L’Autre Chose slingbacks in soft turquoise with brown stitching that feel perfectly 50s, and pointed satin courts dyed Tiffany blue to match a mid-century bridesmaid’s dress. Some of it is beautifully ugly, like the sheepskin-lined Clarks moonboots I look forward to wearing each winter.

But a lot of them are boring, and the over-riding feeling is not joy in a well-curated collection of beloved artefacts. The overwhelming feeling is a contradictory mix of indifference and anxiety. I’ll explain later. It all started around 2000 when I worked near a lot of shoe shops. I was editing stories about fashion and earning a bit more money an unfortunate combination for anyone with particular tendencies. To keep the nascent habit in check, and the shame, I made a bargain with myself. The deal was that every time I bought a new pair, I would atone by giving whatever they cost to the Anti-Slavery Society. And for a time, I kept to it. It was a bit like the alcoholic’s bargain: if they can have this one last drink, one last night’s drinking, they will never touch another drop. Like the alcoholic, I fell off the wagon. At some point, I stopped the charity donations. When and why, I can’t remember; perhaps they began to cost me too much. I kept buying the shoes, though.

#PERSPECTIVE Why shoes? They had a special value when I was a child. For a time, when it was just mum and me, we didn’t have a lot of money - and shoes, measured in clothing coupons, were especially expensive. Those we did buy had to be practical and sturdy, particularly as they were certain soon to be too small. They would be worn, not until you didn’t want to wear them anymore, but until you couldn’t wear them anymore. There was no putting a pair aside for a special occasion, or buying something just to match this or that shade of skirt. For some of my classmates, it was different. When we were nine or ten, there was a vogue for patent buckle-ups in an impossibly exotic range of shades, stitched and studded with flowers that had no use but decoration. At certain intervals, friends would turn up with their latest pairs and tales of queuing outside an emporium called Grant’s of the Walworth Road. It was unfathomable to me, and wonderful, that parents would invest time and cash in buying kids these pretty, impractical products. What would compel a grown-up to trifle with fashion this way? It wasn’t that they were rich. They were council tenants, like us. But in our house, where you’d find a women’s group in the living room or architecture students in the garage-studio, a girl’s footwear was designed for action. Kickers - non-slip soles, laceups - were perfect. How could you tear about the adventure playground in patent party shoes? From kindness and exasperation, and perhaps because there was a little more money around, mum eventually gave in. We made treasured trips to Dolcis and Ravel on Brixton Road, coming home with a pretty - yes, pretty - pink maryjanes with the hint of a heel (it was in these that I slid over racing for third base in rounders). The crepe sole T-bar in blue-grey nubuck with a floral pattern punched out of the upper - I slept with them by my bed the first night I brought them home. Psychologically, the 100 pairs of shoes make a kind of sense. It can’t be that uncommon for adults to build an abundance of something that was scarce when they were little kids with no control. For some people, it’s food or cash. For me, it’s footwear - the certainty of having to hand whatever I want in that mood and that moment. This is where the indifference and the anxiety come in. The indifference goes like this. If I have so many pairs that that I can forget I ever bought a particular

style or that I already have a pair almost identical perhaps the heel is a millimetre higher or the vamp is one vital millimeter lower - that’s evidence of abundance. If there are enough shoes, so many that you lose count, there is enough of everything. Then there’s the anxiety. Some people who buy a lot of shoes will pay £500 or £1,000 for a pair they love. The anxiety would never let me do that. It’s there whether I’m trying on synthetic H&M flats or Italian tan leather gaucho boots. Whether the price is £9.99 or £250, the self -interrogation is the same. What if you don’t really like them? What if they seem to fit but they don’t actually fit? What if you never wear them and they stay unworn in the wardrobe - evidence of fecklessness, a pristine rebuke? What if one day you need that £250, or that tenner, really need it, for something that matters? There are elements of hoarding, along with echoes of compulsion and addiction. I still have some pairs from 20 years ago, when I struck that bargain with myself. The subverted Dorothy shoes - black glittery kitten heels - feel a bit wrong two decades on (did square toes really look normal?) but they stay, long unworn, under the bed. Innumerable, identical flats, the kind that come on a hanger, accumulate year after year after year. Designer or disposable, they’re treated the same. Why throw them away if they’re not worn out? And how can they get worn out if you have 100 pairs? Yet, if buying shoes is an addiction, it is a habit that has its upside. I know for sure it will never have the power to do what addiction to alcohol can do to a parent. Buying shoes will never cost me my job, my partner and children, followed by the roof over my head. It’s not going to rob me of innate gifts, like talent and ambition and, at the very end, my liver and my last, most tenacious relatives. It won’t put me in a suburban crematorium at the age of 52. So it’s all a bit uncomfortable and a little bit cramped. I look forward to the day – and it might happen when none of this matters anymore. But for now, for the moment, I’m learning to live with the guilt, the anxiety and the 100 pairs of shoes. [End]

#PERSPECTIVE

The Beauty of a Boring Wardrobe by Courtney Fingar

When it comes to closets, fifty shades of grey can be the hottest option of all.

I am possibly the least likely fashion blogger ever. Of all the F words one could use to describe me (hey, I meant fun, feisty and fabulous, you potty-mouth), ‘fashionista’ is not one of them. Don’t get me wrong, I’m not frumpy by any stretch of the imagination. I care about my appearance, enjoy shopping as much as the next gal and occasionally abuse my credit card at Westfield.

I scrub up pretty damn well. I wear the occasional brand name. But I care not a jot about Fashion — capital F — as a concept. Years ago I had a flatmate who spent long evenings pouring over Vogue, clipping out photos of must-have handbags, and mapping out her weekly wardrobe in a notebook. Before a trip abroad, she would plot out literally every single outfit for each day, down to the accessories.

#PERSPECTIVE I regarded all this with utter bemusement. I couldn’t fathom investing this amount of time into figuring out what to wear two Tuesdays away, and with which shoes.

I bought my wedding dress off the rack at Reiss, after a hunt that lasted approximately half an hour. I paired it with £30 court shoes from Clarks. I miss out on most of the trends, fashion magazines are written in a foreign language to me, and I wear the same ole clothes on a loop. If you scroll through my Facebook photos you’ll see a few favoured dresses and tops appear again and again; the backgrounds and settings change but the clothes are the constant. There are a few business dresses I’ve worn to chair conferences in dozens of countries over many, many months or years. More often than not, these repeat items are mono chrome or grey. My closet is fifty shades of grey without the nipple clamps. I do spin the colour wheel when needed: in my role as a globetrotting journalist I present a video series that sometimes takes me on location to tropical locales, in which case you’ll see me sporting bright colours or floral patterns. If I’m chairing a potentially dull conference and need to mix things up, I wear a certain hot-pink dress and flash a lot of leg. My casual wear includes an inordinate amount of red, but that is only because my much-loved American football team has crimson as its signature colour. For a long time I never really noticed these predilections of mine — too busy actually living life to consider the ramifications of my wardrobe choices — but as so often happens when you have two X chromosomes, others inevitably weighed in with helpful ‘suggestions’ (translation: bitchy critiques) — and not just other women. I would look great if I wore brighter colours, bigger, bolder accessories, or higher heels, etc etc. Maybe I would, but here’s the crux of the matter: would any of that improve my life one iota? Clearly, no. So I cannot see the point. I have a highly entertaining, if complicated life, and a job that I love and have done well in. I am happily married, ironically to an elegant man from the world’s fashion capital, Italy. I have lots of friends and a rambunctious social life. So what’s the upside of jazzing up my wardrobe?

What difference would a ‘statement necklace’ make?

My clothes look like extras in a black and white film, but I live my life in technicolour. Isn’t that the important part? Let’s leave aside the obvious and annoying double-standard here. Would anyone comment at all on a high-flying career man’s ‘boring’ wardrobe, or even notice if the same tie showed up at multiple conferences? Let’s also park the issue of why it should matter to anyone else. Let me simply defend the beauty of a boring wardrobe. For me, the F word that matters is functionality. When it comes to business attire, I’m interested first and foremost in looking appropriate and professional, and representing myself and my company well. I don’t need to make style waves. If the situation calls for a certain kind of look, be that bright and flashy (which works best on video) or subdued and serious, that is what I will go for. I also need a wardrobe that travels well. I get on a plane more weeks than not, so I spend half my life packing. My trips tend to be hectic and any given day could find me traipsing through factories or fields, touring a port in a hardhat, having coffee with the prime minister, presenting at a conference, attending a black-tie dinner, or boogying at a dodgy night-club — sometimes all in the same day. So I need my wardrobe to work for me not the other way around; and I need a highly flexible, adaptable set of clothes. I find it easiest if I wear a lot of black or grey as that way most of my items match each other and can be swapped in and out as needed.

A classic-cut black blazer can be paired with a dress for a daytime conference but also worn over a cocktail dress in the evening; it can also work with jeans and a casual blouse for the flight home. Simple gold or silver jewellery goes with almost everything. A pair of stunningly classic diamond earrings given to me by my father-inlaw travel with me everywhere. They look perfect with every single outfit imaginable. >

#PERSPECTIVE It is not that I can’t appreciate the appeal of a fabulous shoe, but I regard Manolos as exotic yet useless objects to be gazed at like museum exhibits rather than to be worn or put to any real use. I’m moving around too much to be hobbled by sexy but impractical footwear. Who wants to be the girl squealing, “Oooh, I can’t do that, I’m in heels!”? I am also — full disclosure — a Phenomenal klutz with ankles that snap like twigs. My three-year-old niece walks better in her highheeled faux glass slippers than I do in a modest kitten heel. In a chaotic lifestyle, I value the consistency and simplicity of my no-frills wardrobe. I’ve heard it said that daring clothes or bold jewellery show personality. I would argue that it is actually, um, personality that shows personality. Dressing interesting and being interesting are not the same thing.

I should specify that I’m not criticising the fashion-focused females among us. Some of my favourite people are fashionistas — including the one who owns this publication. (Fist bump to the editor.) I don’t consider fashion to be frivolous. It can be fun but it can also be a great tool for advancement in life, love and self-confidence. I admire my friends who always bring their fashion A-game.

Neither am I arguing that one has to choose between having a fun life and a fun wardrobe. My most stylish friend — the one I call with fashion emergencies such as “the invitation says ‘Riviera chic’, What does that mean?!” — happens to be among my most entertaining and impressive pals. She flits among countries, runs her own law firm and carries out a long-distance relationship all while being at the forefront of every fashion trend and teetering around in jaw-droppingly gorgeous stilettos. I look on in awe, from the slightly lower vantage point of my ballet flats. But that’s ok, right? What matters is living your very best life; clothes are merely an accessory to that. Live large, live loud — and do it in the comfort of a grey cardie, that’s my mantra. Can I get that on a t-shirt? A grey one with black font, obviously.

[END] Courtney Fingar is a business journalist based in London. Twitter: @CourtneyFingar

Dressing The Part For Every Situation By A. Shipley Situational dressing. It’s become my calling card. It’s what I do. It’s what I love. And it’s what inspires others or so I’m told. It’s only a footnote to my fulltime career as a lawyer, but more on that later. I’ve always cared about clothes. My mom can tell endless stories about taking me shopping to Macy’s as a tween and how I would request that the tags be cut off there in the shop so I could wear my new very coordinated Esprit outfit home. Who would see it? My mom. Maybe my sister, brother or dad if I was lucky, but it didn’t matter. I just loved clothes. I loved feeling put-together. And I loved feeling on trend – even when it was the 80s and very much not a trend with staying power.

That didn’t abate with age. In high school, I would read Vogue cover to cover. I knew all of the supermodels. I knew all of the photographers of the supermodels, I knew all of the make-up artists of the supermodels, and I knew the designers of the supermodels – all very useful things for a fifteen year old living in the suburbs of Atlanta, to know. In college, I learned from my way-more-stylish sorority sisters from California about $100 Diesel jeans and, finally, on my semester abroad in Florence, during the days of the lira, I could afford the name brands. With Prada

#PERSPECTIVE and Gucci one-third of the price as at Saks, I could buy the masterpieces I’d always coveted. So for years, I read and I researched and I bought and I wore, but my look was sort-of directionless. And that was ok because I was a lawyer and, more importantly, I lived in Boston which is (a) very very cold and (b) very very boring with respect to fashion. I think Boston ranks second behind Washington, DC for the highest percentage of women wearing button-down shirts.* But then I moved to London at the end of 2010. In London, as long as you didn’t work in The City (ranked third behind Washington, DC and Boston for the highest percentage of women wearing button-down shirts)*, you can get away with a lot. In London, you can almost wear tights as trousers to work and get away with it. In London, I started to find my way. It was in London when I first heard about situational dressing whilst watching #RichKids of Beverly Hills on E! back in 2014 (don’t judge). Around the same time, I was hitting my stride with respect to what I pictured myself to be as a partner in my own law firm. It was then that I started pushing the boundaries of what it looked like to be a lawyer and, for that, situational dressing was the perfect fit. Situational Dressing What ‘situational dressing’ means in practice is to dress up for the occasion of the event. Dress for the role. Dress for the situation. So, for example, you’re going to Hawaii. Don’t pack dresses that would be just as fitting for a trip to Italy. No! You pack your palm tree prints. You pack your tropical prints. And you pack your pineapples. That, my friends, is appropriate for the situation. Inspired by the #RichKids (has anyone else ever typed that sentence?), I began implementing situational dressing as a policy in 2015. I agonized over the perfect outfit to mount Machu Picchu (athletic wear but something that would photograph well for the view of a lifetime). I channeled my inner ‘power woman lawyer’ look to speak at a conference (vibrant bold blue Lanvin dress and Gianvito Rossi shoes that could only be worn safely within a conference room at the hotel where I was staying). And I wore almost exclusively Osklen and Adriana Degreas during a trip to Brazil since the designs of the fabrics were reflections of the Rio landscape. Citizens of Humanity overalls for my boyfriend’s farm. Superfine Rebel skinny jeans for a Harley ride. All, in my opinion, perfect for the situations.

And, really, once you embrace situational dressing fully, it’s hard to dress any other way. Almost every day (except non-client-facing days when yoga pants and sports bras reign), I channel the look I am going for. Meeting with my conservative bank client? Something more traditional (neutral nail polish, Aquazzura Belgravia pumps, and Stella McCartney pantsuit). Meeting with my potential client in the music industry? Something that says, “I’m not your typical square lawyer, but you can still count on me” (Valentino Rockstud shoes in black patent – best investment ever; Whistles button down – acceptable if in a print rather than solid colour; and Rag & Bone cigarette trousers). Meeting my girlfriends for tea? Something pretty (anything Dries Van Noten). And don’t even get me started on the work that goes into a holiday! But situational dressing becomes a way of life and it can make every day a fashion adventure. You can play a part that will affect your day and outlook. It’s something you can embrace fulltime (like me) or part-time (like many of my friends and colleagues). To do so, I wanted to leave you with three tips:  Start with a vision. This can be something already in your imagination from a dream, film, or advert. It can be something that you actively seek out on Pinterest based on where you are going. Or it can simply be the news and witnessing the Prime Minister stepping off the plane in America with the most ‘female boss’ winter coat you’ve laid eyes on. This will be the look I pursue the next time I need to look particularly ‘female boss’. 

Don’t be afraid if you’re the only one who showed up dressed for the party. People are too casual these days. Very few people value the importance of an occasion. This is most troublesome in a grand venue like the Royal Opera House when people are wearing trainers. Personally, I think trainers should be banned from anything royal unless it’s some sort of run. But don’t let this discourage you! After hours of tireless research for my recent safari (no neon – animals spot it; no black – mosquitoes love it; yes neutrals – I don’t own any), I am pretty certain that, other than my good sport of a boyfriend, I am the only person who took the dress code seriously.

#PERSPECTIVE But guess what? I didn’t care. I looked awesome. I felt awesome. And my pictures are awesome. If you embrace situational dressing, you must be prepared to go at it alone. But if you love situational dressing, you will know that you are the one dressed appropriately and appreciate the thrill of an occasion!  Don’t overdo it and always do you. Situational dressing is supposed to be fun. It’s supposed to make you happy. Thus, it’s important not to overdo it. There are some situations that would price me out of house and home (think – long fur coat in Aspen) so I have to find the look that I can afford that works for that location or event (grandmother’s fur shrug and borrowed Herve Leger bandage dress). Further, when purchasing items for your situation, I encourage you not to go fully with disposable one-off items. The challenge is half the fun! You also want to do you. Situational dressing is not supposed to be a costume. You want to feel as great as you look and if you push too far outside of your comfort zone, you’ll feel as silly as you do wearing face paint.

So if you’re not sure you’re ready to wear the flamingo blouse in Palm Springs, wear the flamingopink colored blouse instead. Or the flamingoprinted lingerie. Nobody will see it but you will know that you dressed for the situation and you can test how you feel without quickly hiding back in your occasion-less shell. Overall, situational dressing makes me very happy and I’m not alone. Mariah Carey refers to it as “festive” all whilst swilling a glass of champagne on a dance floor. Situational, occasional, festive. Whatever you call it, it allows me to channel my creativity into something other than legal arguments and has a guaranteed rate of success. *Rankings are the author’s own guesstimate. Amanda Brill Shipley is a US Immigration attorney at TGL Shipley Parisi in London. Her alter ego, Brelle Woods, can be found on Instagram @brellewoods.

In Defence of Artistry by Errol Michael Henry

Portrait of Errol Michael Henry, The Sound Principle By Adrian Wood

#PERSPECTIVE

I have been a musician for as long as I can remember. My love of music inspired me to learn everything I possibly could about the art of creating music from its initial conception to the endusers who consume it – and everything inbetween.

I have been fortunate enough to write and produce music for world-class performers like Bobby Womack, Lulu and The Jones Girls. My exploits as a creative being also gave me occasion to do business with some of the largest music companies in the world including: Universal Music, BMG Music, EMI Records, Sony Music, Atlantic Records, Island Records and WarnerChappell Music. I have been fortunate enough to collaborate with some of the finest talent here in the UK, in France, Japan and the USA, yet

despite a wide array of experiences from a divergent range of perspectives (songwriter, musician, arranger, producer, music publisher, record label owner and business consultant) I am left with uncomfortable memories about much of what I have observed to-date. I thought long and hard about how to make sense of a topic that seems to make little sense to those outside of the artistic ecosystem but the subject matter is too important to leave alone, so come with me on a journey as I offer you a ‘birds-eye view’ of a day in the life of a creative being.

NEWSFLASH! Artists are just like everyone else – but a little different. They start their days just like anyone else. The bills need to be paid, the kids need new shoes, the car needs to be repaired and food needs to be procured, prepared and served with the minimum of fuss and fanfare – just like everyone else. The principle difference is that the product that needs to be created in order to generate the requisite funds doesn’t exist – until it is imagined, quantified, recorded mixed, marketed and sold. No pressure there then!

#PERSPECTIVE ART FOR SALE There are people who sincerely believe that ‘art should be free for everyone.’ When I ask the clueless dolts who talk that kind of trash if it is right and proper that they get paid for doing their job they always answer the same way: “Yes, of course I should!” When I explain that creating music is my job and that creating music is ruinously expensive and impossible to maintain as a venture if no revenues are generated, those same dim-witted idiots often respond by saying “but music is a gift to everyone so why should I pay for it?” I cannot publish what I usually say afterward so let’s just pretend that I smile meekly and walk away! Sadly, it’s not just ignorant ‘consumers’ who consider creative people fair game: there are entire industries set-up for the sole purpose of exploiting individuals whose central drive is to create artistic wealth as opposed to pure fiscal wealth alone. Greedy, deceitful, manipulative crooks target people who are keen to further their art and compel them to follow a number of roads – none of which lead to anywhere good. Before I explain in more detail why people need to be a little more appreciative of makers of art, I’d like you to do this exercise with me: close your eyes. In your mind, play your favourite record. Recall why you first ‘engaged’ with that song or the artist who created it then begin to ‘edit’ the recording one bit at a time.

Erase the lyrics and then ignore the vocalist. ‘Turn off’ the bass, the guitars the keyboards and the drums. Mute the strings and override the brass section. What you should be left with by now is utter silence. Welcome to my world… Before that wonderful record that you love so much containing the power to stir such deep emotions ever made it onto your personal playlist, into I-tunes, or your local record store – there was just silence. Someone wrote a lyric that you considered worth listening to. Someone wrote a melody that you considered worth learning so that you could sing it to yourself at a later date. That infectious groove that get’s you up and dancing was invented by someone who went to great lengths to ensure that your feet would start tapping the moment the beat hit your ears. That funky guitar riff that you look out for was played by someone who knew that if they got that performance ‘just right’: their efforts would mean something to you – a person they have never met and are unlikely ever to encounter.

Errol Michael Henry, Smokehouse Studios, Wapping

How many hours, days weeks, months or years does it take to be good enough at writing lyrics that otherwise ‘busy’ people are likely to give a damn about? How many years of practice does it take to play an instrument well enough in order to be considered an expert? At what costs do studio technicians become proficient at their jobs: learning how to skilfully capture and finesse sound in order to ensure that you enjoy a pleasant listening experience? Somebody has to know what needs to be added to a composition in order to transform it from a rough ‘sketch’ into a product that others might consider worth purchasing. At what cost do these mysterious ‘music shapers’ learn not only who to call (in terms of creative collaborators) but what type of performances to extract from them in order to create something that consumers will appreciate? How long does all of this expertise take to master and who pays for this extremely complex education?

How much of their own money do musicians routinely invest in music that others seem to devote their lives to stealing? NEWSFLASH! File sharing is stealing. Taking anything you haven’t paid for is stealing – yet when it happens to ‘creative people’ it really doesn’t matter because they are ‘arty’ and not real people at all! Please don’t get the wrong idea. I am deeply honoured that people trust me with their ears. I am still awestruck when I hear my music coming out of the radio and I still don’t know what to say when people tell me the effect that my music has had on their lives.

#PERSPECTIVE Art asks these questions of those who create it. Art brings people who otherwise have little in common together. Even divisive art has the power to unite – because people feel compelled to agree to condemn it: rightly or wrongly.

Good art will most certainly have ‘cost’ its creator more than ‘ordinary’ people are willing to pay.

I am often reduced to a gibbering wreck when upand-coming musicians tell me that my accomplishments inspired them to make a career in what is a tough and unforgiving business. I am not bitter: I have managed to escape the worst that the music industry can inflict on unsuspecting ‘talents’ but I’d be lying if I didn’t admit that a sense of sadness also resides in my thoughts.

I am constantly mindful of the immensely gifted people I have encountered who were eventually ‘broken’ by a world that considered them a ‘luxury.’ Countries are quite content to spend billions on weapons of mass destruction: armaments designed to kill as many human beings, as efficiently as possible, yet consider ‘art’ (in its many forms) a waste of money. I have been to Tokyo, but I can’t speak word of Japanese. During a visit there in 1996, soul music fans got wind that I was being interviewed at the offices of a well-known magazine. By the time the interview was concluded, there was a sizable crowd waiting for me outside. I couldn’t understand what they were saying to me but they had copies of my music in their hands and pointed at me, then pointed at the vinyl discs, before pointing toward their own hearts. The rough translation would be “we love your music!” I learned from my time in Japan that art speaks a universal language. THE ART OF FREEDOM

Art is not gender specific nor does it give a damn about race, creed, social background, economic status or anything else for that matter. “Is it good?” “Does it inspire?” “Does it intrigue?” “Does it enrich the enduser?” “Does it invigorate the emotions of the human soul?”

I can personally attest that I would need to charge thousands of pounds for each copy of the recordings I make if I were to even get a ‘minimum’ wage for the man hours I invest in each and every piece of music that I release. My reality is that I have never considered fiscal remuneration as a good motive for being ‘creative.’ The pursuit of a goal that resides entirely in my imagination until such time as I find a way to extract it has been an all consuming ‘driver’ for me from the beginning. Sharing ideas with others who then add their own creative prowess to the process never gets old for me and the lack of sleep or food whilst this difficult feat is accomplished always feels worth it once I declare: ‘I’m Done!’ By the way, whilst I am trying to make sense of an idea that exists only in my mind until I transform it into tangible audio – my bills just keep on coming. People say things like: “Oh you can do everything on computers these days.” I am afraid that simply isn’t true. Granted you can collect a seemingly endless battery of ‘samples’ but my particular brand of artistry requires real musicians, to play real instruments in a physical location big enough to house them all at once and also requires the use of a large format mixing console that needs sufficient space to live in.

My business is just like any other. The building in which my products are created needs to be maintained and staff wages need to be paid. The promotions experts who ensure that my music gets a fair shot at being heard, also need to be paid – yet the product that generates all of the income necessary to keep the whole process going simply does not exist until I and those with whom I collaborate transform silence into music. All of this would probably be tolerable if I didn’t have to suffer the inane ramblings of unwashed Philistines who rabbit on about ‘free music’ and the arts being ‘free for everyone’.

#PERSPECTIVE Artists are mere mortals: made of flesh and blood with the same ‘life’ problems as everyone else. Except true artists are quite different to nearly everyone else. Knowing the suffering involved, the treachery, theft, abuse, disrespect, the lack of appreciation or downright contempt they endure for pursuing what many others deem a ‘lesser’ career – they still do it anyway. A society robbed of creative people is

a world no decent person wants to inhabit. A country devoid of artistic expression betrays a deep (and sinister) secret that dares not speak its name.

Where you find a thriving artistic culture you will also find a thriving community of people who share values that transcend economic, social, racial or historical divisions.

A world that cannot appreciate the benefits of creative power that resides with a few: who study, practice, persevere and excel – in order to add tangible value to the benefit of many, is a world that ought to hang its head in shame. Art is one of the purest forms of freedom known to mankind – which is precisely why governments, giant corporations and other global powerhouses seek to control or influence artistry wherever possible. Freedom of expression represents evidence that true liberty has not been marginalised – despite the best efforts of others to do precisely that.

I start my days with bills to pay just like everyone else, yet somehow through the trials and tribulations I face (problems that affect everyone who participates in modern society), but my passion for creating art ‘speaks’ to me and assures me that creativity is my best defence against all threats. Art in its purest form is a powerful expression of human faith – because without genuine faith ideas would remain locked away in someone’s imagination: never to be seen or heard by another soul.

Some people won’t listen to a single word that leaves the mouth of any politician, but will pay close attention to a well-written and performed song.

“Money makes the world go round.” That sentiment is too true in too many instances, yet upon closer inspection you’d be amazed just how much money washing around the global economy is linked to artistic endeavour.

Why? Because any sleaze ball can hire a spin-doctor and get elected to high office, but true art can’t be faked. Genuine ‘artistry’ communicates an honest thought, emotion or experience that others can relate to on some level.

Sharing your deep personal heartache, disappointments or failures with total strangers is not ‘normal’, yet artists do it every day and don’t care if people think less of them as a result. This article is entitled ‘In Defence of Artistry’ but in truth, true artistry doesn’t need defending from decent, sincere, reasonable or caring people –they already know why it matters and appreciate that someone has created something that would otherwise simply never come into being.

Alas, art does need defending from boorish morons who have no artistic ability of their own, yet consider it worthless. Sadly, art also needs defending from ‘fakers’ who simply mimic others in order to participate in a world that they will never be qualified to inhabit.

I am committed to redressing the balance that currently sees people who contribute absolutely nothing to the creation of art profiting at the expense of those who do the heavy lifting. No records are kept of those who don’t quite make the grade and the arts can be a vicious, competitive, murderous environment if the ‘wrong types’ are permitted to exert influence over it. I actually agree that art is for everyone, but I could never agree that it has no worth. I ask for no special treatment or praiseworthy recognition. I create art because I like it and if you also draw pleasure from art in whatever form you consume it, just remember that someone else went through a range of feelings, thoughts and experiences to deliver that slice of pleasure into your life. [END]

HERITIER FRERES

Héritier Frères is sold exclusively in the UK, at Harrods, London and online via www.workinfashion.me

HERITIER FRERES

Héritier Frères is sold exclusively in the UK, at Harrods, London and online via www.workinfashion.me

Art Lovers & Art Collectors: The Next Generation by Kitty Dinshaw

#PERSPECTIVE

As the world changes, so too must the art-world. Galleries can no longer rely on being exclusive and intimidating, the preserve of the wealthy, in an era where we consume art daily on our phones and are inspired to go to exhibitions by other people’s selfies. There is no doubt that art is as relevant to the millennial generation as it has been to generations past, if not more so. Art is accessible in a way it never was before and the explosion of contemporary art, especially in mediums such as performance and installation work, has contributed to a growing democratisation. When I was a child, a trip to an art gallery meant wandering through endless huge rooms with religious paintings that all looked similar, meant nothing to me, and were equally incomprehensible to anyone without an art history degree. When I took my seven year old son to see Lee Bul at the Hayward Gallery, some thirty years later, there were sculptural costumes hanging from the ceiling, brilliant and engaging performance films, and even the ubiquitous “selfie moment”.

Museums, galleries and art fairs have caught on in a big way. Yayoi Kusama’s pumpkins might be the most Instagram-famous artworks ever, but most museum and fair directors, curators and artists across the world are alive to the viral power of social media. And of course, art is finding an audience as never before. Only a decade ago, if you wanted to see a new Tate show, you had to visit the Tate. Now you can see most of it on your phones, either filtered through Tate’s own feed, or from those you follow. Instagram has also opened up the market to artists in an incredibly positive way; particularly women or minority artists, long ignored or underrepresented by the art establishment. Now artists don’t need a gallery, curator, critic or collector to support them and their work - just some basic knowledge of how a fairly simple app works. Artists can live and work outside the established art world and it makes little difference. We cannot underestimate the importance of this and the positive change that will flow as a result. Major institutions are listening to their new audience: curating shows that people actually want to see, and inventing new ways of engaging with art.

Friday Lates have been happening for a number of years now, and are hugely popular. I was excited to attend (completely by chance) a twenty minute gallery tour by one of Tate Britain’s staff, picking out his favourite works by women artists in the collection. Apparently that tour was a twice-weekly occurrence! Lunchtime tours and talks are now common at Tate, the National Gallery, and international museums too, designed to catch office staff on their lunch break. In Britain, there is a logical thread that connects the explosion in art appreciation and enjoyment to the 2001 Act of Parliament that made all museums and galleries in the country free. The millennial generation have grown up knowing that art is not off limits to them, because it quite simply hasn’t been. This relates back to my point about museums and galleries listening and engaging with a new audience - their whole model, their whole raison d’etre, changed in 2001. They needed to rely more on government and Arts Council funding, rather than ticket sales, and for that they needed to show they had a larger purpose than just hanging great art on the walls. Special exhibitions (which are still ticketed and often expensive) have to be truly exceptional now, as museums know that if they aren’t...well, their visitors can always get their hit of art by viewing the permanent collection for free.

So how do we, in the commercial area of the art world, encourage this new generation of art-lovers to become art-collectors - and therefore help a new generation of artists to thrive? For starters, there simply has to be less snobbery, particularly around price. I still struggle to understand how it can benefit artists (except at the truly blue-chip places where the work is sold “behind the scenes” anyway) for a potential buyer (someone who has seen an artist’s work on Instagram, for example) to walk into an intimidating space where no-one greets them, no-one talks to them and where there are no prices on the walls. At the end of the day, galleries are selling art. Very few are actually non-profit, and so most need to pay their rent to survive. So why try to disguise that fact? Enjoying art is a beautiful and rarefied experience, yes, but so is shopping at Liberty or Dover Street Market. No-one would ever suggest that they remove the price tags from their clothes. At Subject Matter, we’re also pretty evangelical about the role online galleries play in democratising the art world; possibly because we are online ourselves! The popularity of online art galleries is growing year on year, as are thirdparty platforms such as Artsy. You can browse, buy and frame art, all from the comfort of your sofa. Yes, we don’t have a physical space, so we have to be innovative: pop-up exhibitions to provide that stillnecessary offline experience, photoshopping

#PERSPECTIVE artworks into clientsâ&#x20AC;&#x2122; room shots for them, or DM-ing with clients on a Saturday afternoon when they are home, they have time, and they need your advice! And of course the obligatory free shipping and free returns, vital for any online enterprise. This is all valuable work: we are contributing to a more open art world, we are embracing change, and most importantly, we are making art-buying easy, fun and enjoyable. The more people that enjoy buying art, and do so regularly, the more artists will be able to give up their second, third or fourth jobs and do what they love full-time. Ultimately, one cannot disconnect art from the artists who make it. That amazing Instagram image was taken by someone, somewhere in the world. That artist you saw in the blog article is making but also wants to be selling. That solo show you saw a while ago has now closed but you loved the artist and want to follow their development. The more people that buy art, the more artists will thrive. We are at a moment where we can effect real, lasting positive change - both as art-lovers and art-buyers. Letâ&#x20AC;&#x2122;s do it!

#PERSPECTIVE

Click HERE to view the exhibition in the Subject Matter Art Gallery

#PERSPECTIVE

‘The Future’s Gold’’ by Lakwena Maciver Available to purchase via SubjectMatterArt

@WORKINFASHION.ME PRESENTS...

THE CONVERTED CLOSET INTOART

pages 30-31

85, Paris

pages 33-35

HERITIER FRERES ATELIER MOLINARI

pages 26-28

pages 36-39 pages 40-41

#WorkinFashionPresents

The Converted Closet By Yasmin Jones-Henry Fast Fashion, fast food, fast life… with one click of a button we can acquire a brand new look with a newly purchased wardrobe online. With several swipes we can survey potential marriage proposals and with the help of social media and instant messaging we can stay in touch without ever meeting our friends face to face. Welcome to the twenty first century: The era of Connectivity and Convenience. As data reigns supreme, there is a real danger that we are losing our sense of humanity. For me art is a very expansive word, it has always played a crucial role in my life. My father is a musician and my mother a designer – so I have been surrounded by creative power and its energy since birth. Being creative is just as important as breathing in the scheme of human survival.

Society has misled us into dismissing ‘creativity’ and ‘art’ as social and leisurely activities when in actual fact our creative power is the cornerstone of our humanity.

My parents could not help but show me through their own work and lives, that freedom of expression and the right to self determination are not luxuries, but fundamental human rights. This belief informs everything I think, everything I say and everything I do. So when it comes to ‘fashion’, I have always considered myself as something of a rebel. I value freedom of expression – I believe strongly in the right to self determination, so month after month, year after year, I loathed being told what to do and what to wear by glossy publications. The fashion industry has become rigid. Stuck in a cycle of ‘seasons’ and trends that insist on universal participation, there is little room for individuality and creative thought. In ‘Functionality vs The Aesthetic’ I began this journey by asking the question, ‘What is fashion for?’ As you know, fashion is taken from the Latin ‘facere’ meaning to do or to make – so my line of argument rests firmly in the belief that ultimately, fashion is what YOU make it. The process of manufacture and creativity that is implied in its original Latin state also speaks of imagination, skill, art and handmade craft. These are things that only the individual can contribute to the world of fashion. >

#WorkinFashionPresents Oligopolies major corporations and big retail (fast fashion) sit outside of this realm. This is the exclusive territory of the artisan. I am well aware that the stance I have taken towards fashion is an unusual one. Many choose to simply follow, never challenging the status quo, merely repeating the same jargon, repackaging the same motif as a new and exciting trend. The fashion industry is moving further and further away from the human touch. Machines replace workers, shop assistants disappear from the shop floors as self service stations arrive on the high street and all the while the consumer is conditioned to think less and less of the human hands that make their garments. Fashion – is art. It deserves to be revered in the same way that fine art is cherished, respected and protected. Could you imagine if every piece of couture was treated like a Monet? The stigma that would accompany being seen with a counterfeit would soon put those pirates out of business.

Art in its formal capacity is also deemed as a good investment amongst high net worth individuals. They don’t buy, they invest. That attitude towards fashion would change consumer spending patterns dramatically. Instead of rushing to the nearest high street – sweat shop endorsed brands, the consumer, conscious of their money, would pause to examine the quality of the product on offer, the material and the craft. These items would be hung carefully in the closet, preserved to be worn on display for the appointed occasion. The pageantry that exists alongside the functionality of fashion would no longer be cast off as the preserve of the few fashionistas who dominate the public scene. Treating fashion as art, celebrating the creative power that infuses it is good for humanity and good for business. The designer, the seamstress, the tailors and the factory workers would all be paid their rightful due according to the value of each item’s worth as opposed to the shareholder’s lust for profit. The consumer would take more care, modifying where necessary, tailoring, replacing buttons and re-dying after wear and tear to ensure the full value of said item has been extracted.

Is this a mere hypothesis? Have I dreamt up a Thomas More-like Utopia? Or is there anyone else out there who agrees with me? Scrolling through my Instagram one morning last year I stumbled across a profile that amused me. Every morning, a stylist named Kate, would post a photograph of herself wearing an outfit – with an extensive caption beneath it. She would describe where the item was from, how she found it. How it made her feel. Was it comfortable? If not she would describe how she planned to rectify the situation. Later these photographs metamorphosed into short 1 minute videos explaining for example how to pin an item in preparation for alterations. How to transform a rather dull looking off the hanger ensemble into a one-off custom piece. How to breathe new life into an old purchase that some might have thrown out, by cutting bits off, adding new buttons… Eureka! I had found another comrade. Ladies and gentleman, allow me to introduce you to Kate McGuire, stylist extraordinaire and founder of The Converted Closet: YJH: What provoked you to start The Converted Closet? KM: A life-long love of converting clothes from what I see in front of me to what I want to see! I feel a very strong sense of how a piece of clothing needs to fit a body to flatter it to the max. If the fit is not good, trends and fashions are irrelevant. Growing up it was always easier to play around and convert clothes that had been bought at a discount – vintage, in sales etc. (less consumeranxiety meant increased creative thinking/less to lose) and I still feel this way. And I’ve discovered there is something so rewarding about breathing new life into something that has been given up on. YJH: What drew me to your work, was the fact that The Converted Closet feels like the perfect antidote to the damage fast fashion has done to the way we treat our clothes. Was that your intention? KM: Fast fashion doesn’t sit well with me either – and I wouldn’t even call myself a particularly

#WorkinFashionPresents

“eco person” at all really, but the idea of clothes being worn once or twice before being destined for landfill just doesn’t feel right when there are SO many incredible, really well-made original pieces just sitting around unworn because they are Not New. I am on a personal mission to get women thinking about getting their fashion-fix in an alternative way.

a bit of thought to properly edge it up) with ultra modern to create an edgy look. Edge is a word I use a lot – its prerequisite for me when it comes to clothes.

We are so programmed to think of the high-street when we are bored of our wardrobes; but how about finding out what the options might be to change some of what you’ve got? The Converted Closet is about assuring people that you don’t have to be a fashion designer, a seamstress or a stylist to convert your closet. All you need is inspiration, guides on what can be done to get a perfect fit/make things unique/your very own, and a good alterations person to turn your vision into a reality (at your local dry cleaners!). Converting feels good on so many different levels. If you’ve done it, you know.

I get a real kick out of wearing something unusual and covetable and ideally, label-less. I much prefer my clothes to be appreciated for their style and design rather than the label they bear.

Did you know that women only wear about 20% of the clothes they own? I believe the scope for creativity and conversion is ripe. There’s 80% of redundant clothing sitting in virtually every woman’s closet! YJH: How would you define your signature style? KM: Thoughtful. Cool is priority for me. And by cool I mean on-trend, original and unique. All in one! I particularly enjoy creating my own style by mixing things up. For example: vintage (because it is

YJH: You have recently started doing video tutorials (which I love by the way) will this be a permanent fixture on your insta-blog? KM: Absolutely! I love showing “before and afters” – they are super exciting! The transformation that can happen with a couple of snips and tucks is quite astonishing. There’s nothing better than inspiring others to be creative. It’s a win-win and brings me a great deal of pleasure to witness. I am about to launch a website which will be giving really cool ideas and examples of how to convert – practical ones as well as style conversions – eg. how to edge up vintage. And The Converted Closet is making a YouTube series which is just super fun! If it’s as fun to watch as it is to make – it’ll be massive. And that’s exciting. I would love to see a huge movement towards people converting what they’ve got and “getting their creative on” because I believe that’s what makes life infinitely interesting and fulfilling. Not to mention the closet! [End] Instagram: @TheConvertedCloset www.TheConvertedCloset.com

INTOART

JOHN SMEDLEY KNITWEAR

#WorkinFashionPresents Intoart Interview w/ Co-Founder Ella Ritchie

YJH: What inspired you to launch Intoart in 2001? ER: Myself and Sam Jones founded Intoart in response to a lack of high-quality arts education and limited opportunities for artists with learning disabilities. We had both just graduated from Central St Martins in Fine Art Printmaking. Alongside studying in my third year of the BA course, I had been working on summer projects with people with learning disabilities through recreational activities but when it came to the arts activities the resources being made available and expectations of people were very poorly invested in. Determined to challenge preconceptions and overturnprejudices, we set up the first 8 -week Intoart project in Peckham in 2001, with a commitment to working with adults with learning disabilities for whom there was limited access to the visual arts and art education. We have remained committed to our founding values and expanded to work in the design field. Intoart aims to provide a platform for people with learning disabilities to become both visible and equal in the art and design world – not merely applauded for participating, but recognised and respected as creatives in their own right. Over the past 18 years Intoart has grown to become a permanent, full-time programme and studio space, moving into our new space at Peckham Levels earlier this year. We support the work of 21 artists and designers, working across a range of media including painting, print, illustration, fashion, ceramics, product and graphic design.

Intoart have realised exhibitions, commissions and research projects with contemporary art galleries and museums in the UK and internationally, including to date, V&A, Tate, Southbank Centre, Whitechapel Gallery and Studio Voltaire. YJH: Describe what Intoart offers in 3 words ER: Ambition / Craftsmanship/ Integrity YJH: What are your long-term plans? Where would you like Intoart to be in 5 years time? ER: For more people with learning disabilities to be recognised and seen as artists and designers in their own right. We will continue to develop innovative programmes and new partnerships. In five–years’ time we would love to have a number of new and exciting high profile collaborations under our belt that align with our practice and are experienced by many people who had never previously heard of us and what we do. YJH: What advice would you offer to anyone looking to launch a social enterprise/initiative of their own? ER: We have built up the organisation incrementally and had a close eye on maintaining the quality of our practice whilst increasing the ambition. We have always valued our partnerships, collaborations and working with individuals who contribute ideas, widen networks and opportunities – it’s really important to nurture new relationships and invest in long-standing ones.

#WorkinFashionPresents YJH: What can projects #W readers look out for next from Intoart? ER: This November, we launch a new capsule collection Intoart X John Smedley of nine garments designed by Intoart artists. The collection will be launching in John Smedley stores on 15 November in time for their flagship Christmas window displays. It’s the first collaboration of its kind for both Intoart and John Smedley, as well as the biggest commercial impact that Intoart has had on the design industry to date. We are really excited to work with a major design brand to realise the potential of Intoart’s artists and designers, and hope that it will lead to further opportunities and collaborations. The collaboration came about through renowned designer and creative director Holly Fulton, who, alongside her partner, illustrator James Lambert, have had a relationship have enjoyed a long-standing collaborative relationship with both John Smedley and Intoart. Three artists from the Intoart studio have each produced three designs for the collection, which includes unisex jumpers, woollen dresses, a scarf and a shawl.

Andre Williams’ knits feature his attention-grabbing typographical style and wry wit, using Azure Blue to add emphasis to his high-impact comical messages. Yoshiko Phillips draws on mythical creatures and animal imagery to create a series of eye-catching patterns in Blaze Orange that evoke the notions of predator and prey. With accents in Cerise Pink, Ntiense Eno Amooquaye’s designs explore the iconography of fashion and its embodiment in the image of the fashion model. It was important to us that the original lines drawn by each artist, and that their distinctive styles are preserved throughout the transition from paper to wool. The resulting nine garments have been successful in achieving this and we look forward to seeing the public’s response to the collection. The collection will available to buy from johnsmedley.co.uk and John Smedley shops on Brook Street, Jermyn Street and New Cavendish Street, London, from 15 November 2018 Social media Instagram: @intoart_uk Website : www.intoart.org.uk

Follow us on: Instagram: YoungOnes_books, Twitter: OurOnes, Facebook: OurYoungOnes Available to purchase via www.emhglobalmedia.com

www.85Paris.com @85Paris

#WorkinFashionPresents

85˚ Words by Yasmin Jones-Henry I don’t love fashion: I love people and I admire the works of art they create. When it comes to fashion, there are two things that interest me: craftsmanship and entrepreneurialism. What is it? Where was it made? How was it made? It’s not the item that interests me, but the stories of the lives – the hands that mould, meld, stitch and complete these works of wonder that capture my imagination. I have often pleaded with friends who have been seduced by the high street’s offering of fast fashion to consider the hands and hearts of the people who make these clothes. Plagiarism isn’t cool. Exploitation will never be chic. It has taken a long time for the industry to gravitate towards a dialogue about sustainability and ethically sourced materials. For so long phrases like ‘eco-fashion’, ‘ethical fashion’ and ‘fairtrade’ were treated as mere buzzwords. Thankfully, along this quest to redefine fashion, what it means and how it ought to operate, I have found some new collaborators. As it happens – if you search you will find a growing community of like minded individuals working behind the scenes to change the game.

Introducing 85˚, Paris 85˚ Paris is a business that champions both craftsmanship and entrepreneurialism. Founded by Amaya Ducru Clouthier and Ines Olaechea, 85˚ Paris is the epitome of cool. They offer a multifaceted service of consultancy, e-commerce and promotion for ethical lifestyle brands made in Latin America. Earlier this year I met with Ines in London, as she walked me through some of their sample pieces, I found myself feeling extremely grateful. I was grateful to meet someone who shares a similar world view about the direction that fashion ought to be heading in. For a long time, ethical fashion – for those who have championed it, has been a lonely wilderness. The few voices carrying the message of fairness in commerce, have often fallen on deaf ears in the face of fast fashion’s ill gotten profits. >

85 Paris founders, Amaya Ducru Clouthier and Ines Olaechea

#WorkinFashionPresents Fashion and economics go hand in hand. I have always maintained this argument – because it’s factually correct. In its purest form – fashion represents the sum of manufacturing, human labour and craft (skill, dexterity, ingenuity, innovation etc); taking resources and making them into something accessible and affordable that the consumer can purchase with their disposable income. Consumers’ demand drives supply, which drives employment opportunities providing jobs and thereby facilitating agency in some of the world’s most deprived areas. This, in theory – when applied under ethical conditions is the beauty of fashion. Its beauty lies not only in the aesthetic value of a particular item, but also in its potential to sow a self multiplying seed of independence and social mobility across the world. In the tapestry of humanity, the item you purchase will contribute to clothing, feeding and providing for people that you may never meet. This mindfulness of the wider community infiltrates everything 85˚ Paris represents. “Creating a cultural syncretism through design” is the headline on their brochure. They too share in my desire to change the culture that surrounds the artisan and the consumer in the world of fashion. Shifting focus away from cutting costs, cutting corners, exploitation and deceit, they bring with them a refreshing selection of new, groundbreaking and most importantly, ethical designers.

They have created a platform through which artisans in Latin America are able to bring their products to the European markets that have previously been saturated with produce manufactured in the Far East.

85˚ is the mean degree of latitude and longitude that covers the Latin American territories, Amaya explains. Their aim is to remain focused on a particular region, a particular market, and a particular type of clientele. Too often luxury lifestyle brands lose their way trying to be all things to all people. These e ntrepreneurs have spotted a gap in the market. By prioritising Latin American designers – they have found their niche. They have understood early on that there are many advantages to being exclusive. In their pursuit of the clean aesthetic, untainted by fast-fashion, they have automatically created a filter for the products they market. At 85˚ Paris the prices are reasonable and affordable, sitting in between the high street and high fashion. With a wide selection ranging from womens daywear to interiors and accessories for the home, each piece, is an investment. They offer their clients in Latin America access to both their e-commerce store and their showroom in Paris, as they appreciate that not all of their customers exist solely in the digital realm. With their new store opening to the public from 7th May 2018, they have provided one more excuse for me to hop on the Eurostar to pay them a visit. [End]

#WorkinFashionPresents

Héritier Frères

Words by Yasmin Jones-Henry Héritier Frères: A brief history I met with the founder Sophie Goldsztejn at Pure London in Kensington earlier this month. Walking past her stand, I found myself walking back. The briefcases, the weekend bags and the iphone cases that also doubled as a wallet – large enough to carry bank cards and business cards… are all made with the finest Italian leather, soft to the touch. The colours: black, coffee, navy and forest green – were evidently selected with the formal working wardrobe in mind. Reader, I thought of you. When you work in the city – whether you are a man or woman, it is hard to find luggage/ accessories/bags that allow you to blend in with your surroundings.

From the commute, to the boardroom, to formal work events or after work drinks, it can be problematic trying to negotiate your gym life and work life with formal and informal settings. But fear not, I have found a brand that solves this conundrum. As I sat down with Sophie, I began to ask her questions, I wanted to know the story behind the brand. Judging by the name – it was evidently targeting a male audience, but the designs are precisely the style that I would wear, so the Héritier Frères collection could be marketed as unisex. The tubular leather weekend bag, part of the Athlete collection, would go perfectly with any uniform the London city folk usually wear. You know the suit wearing, gym addict – that likes to head over for a quick workout during lunch, before cycling home… Yes – those people.

#WorkinFashionPresents

But as I held the Treccia briefcase (I was drawn to the blue streamline bag with the single strap) Sophie informed me that those were designed with the female office worker in mind. “Look” she said, as she ordered me to pay attention. As she unzipped the bag an elongated strap emerged transforming the briefcase into an elegant cross body or shoulder bag, suitable for after work drinks or work functions. The thing that I loved about this collection was the fact that each item is so well thought out. So often the things that we purchase that are deemed ‘fashionable’ are normally overpriced and impractical in certain social situations. It’s why as a woman who has had all of her jobs in the city – I frequently found myself commuting with two bags and two pairs of shoes on a daily basis. Hands up who else wore trainers into work and changed into heels once in the office because there is no way your feet or the soles of

your expensive shoes would survive the walk to and from the station on London’s streets? So to see a designer thinking of people like me, who can appreciate elegant things, but insist on durability and multipurpose usage… well, it makes me smile. You all know that I believe that fashion is a form of self advertisement – an asset, a secret weapon in the corporate world that if used wisely, a person’s sense of style can help to reinforce and communicate their personal brand values. But I also believe that in order for fashion to work – it must be functional. Anything else is idle vanity. The myth that functionality and the aesthetic are diametrically opposed – is precisely that: a myth. Looking at the ancient Greek and Roman architecture, the balance between harmony and practicality was a recurring motif. There is something extremely satisfying about creating something that works well, but also looks good.

#WorkinFashionPresents This new collection from Héritier Frères – reminded me of the simplicity of purpose and purity of form from that Classical period. That is the very essence of European design. Designed in Paris and made in Italy, these bags are an example of why the Italians and the French are still the biggest stakeholders in luxury manufacturing. No frills, no fanfare. Understated confidence is the motif that runs throughout. As far as making an investment goes, you can make your purchase safe in the knowledge that in a decade – these pieces will still be on trend. A Gap In the Market The tide is changing. Increasingly the patience for fast fashion and cheaply produced items that have a short shelf life, is on the verge of expiration amongst consumers. A growing conscience and an awareness that each purchase must be worthwhile – has led to a shift of emphasis in the UK luxury market. If it’s not ethically sourced and produced with sustainability in mind and if it’s not produced to a high standard – people will just walk away taking their credit cards with them. Already high street firms are scrambling to re-strategize as they realise they have reached the end of the Fast Fashion rainbow.

So now, there is even more room for new and smaller brands like Héritier Frères to enter the market and receive the accolade it deserves. Aside from my own personal bias in favour of all things functional, the new collection is genuinely beautiful. As far as luggage goes, with her new brand, Sophie is setting a new standard. Héritier Frères will find kinship among the fashionista’s and style conscious who insist on quality in all areas – at all times. Whether you are boarding a plane for the weekend or hauling yourself to the gym after work, Héritier Frères will emerge as a go to lifestyle brand. It is early days, the company is only 6 months old – but the narrative has already been set. With appearances at Pitti Uomo in Florence and having been exclusively picked up by luxury retailers such as Harrods, I can’t wait to hear what 2018 has in store for Sophie and her new creations. Listening to Sophie express her own interest in wanting to create a collection and a brand that was both functional and aesthetically pleasing demonstrated that there is a collective out there of people who just get it… Who wouldn’t want a life that is filled with beauty and purpose? [End]

The “Lario” Weekender Bag www.heritierfreres.com

Héritier Frères is sold exclusively in the UK, at Harrods, London and online via www.workinfashion.me

www.atelier-molinari.com Instagram: @Atelier_Molinari

#WorkinFashionPresents

Q&A with Anna Molinari Yasmin: What 3 words would you use to describe the Atelier Molinari? Anna: Handmade – All my pieces are exclusively handmade. I insist on this as I want to keep the beauty of craftsmanship alive. It also adds uniqueness to every single piece that leaves my workshop. It takes generations to learn such skills and passion to work hours on such small pieces of art. I like to think each piece of jewellery holds a bit of history. Delicate – I seek inspiration in the lacey patterns I see around me. Whether it is lace, shadows, church windows, moucharabia – I like the contrast of delicate patterns against strong material. I aim to reproduce a gold lace with the classic fine jewellery “mise a jour” technique that I have transformed into my own. This technique aims to open little holes under the set stones to allow the light to shine through and reveal the beautiful colours of natural stones. This lace-effect makes my pieces beautiful from every angle. Luxury – first of all by using previous material such as 18k gold and natural gems such as diamonds, emeralds, sapphires etc… I believe luxury would come to people’s mind when describing Atelier Molinari. To me luxury is more about holding a handmade piece, a unique piece which is what my brand is all about.

Yasmin: As an independent designer, what would you say are the greatest challenges you face as you build your brand? Anna: At the beginning I struggled with making myself acknowledged. The jewellery industry is all about trust and it can be a little tricky when no one in your family or your surrounding social circle is in this field. I had to dare to push a lot of doors and ask many questions. Yasmin: What is your long term vision for Atelier Molinari? Anna: My dream would be to open a boutique one day that offers bespoke services. I truly enjoy working hand in hand with my clients, creating something special for every one of them and finding the right stone for each of them. Yasmin: If you could give 1 piece of advice to a student, graduate or new designer what would it be? Anna: I would give them the same advice I was once given: Never give up, believe in yourself, dream and work hard! [End]

Accroche Coeur Necklace £95000

Mini Dentelle £350.00

Confetti Nekclace £15.0.00

#TheCollective It takes a village to raise a child. It takes a collective to usher in a revolution. The #WorkinFashion50 celebrates the 50 individuals we believe are working to improve their respective industries.

*NewFaces *DecisionMakers *Trailblazers

#Fashion #Design #Lifestyle #Publishing #Journalism #Art

#Intro

#TheCollective Platforms and Protégés By Yasmin Jones-Henry (Oct, 23, 2017)

“Encouragement is a powerful thing, you never know what others will create with it.”

By the time I have finished writing this article, it will be exactly a year to the day I left my job at the Financial Times. Mentally and emotionally exhausted, I had learned a painful but necessary life lesson: Just because you are good at doing something, it does not mean that you should do it. The same applied to me and sales. I stumbled into all three of my first jobs after university, curious to learn as much as I could about the other aspects of publishing. I have known since the age of five that I wanted to be a writer, but I have also long harboured a desire to run my own business, and crucial to this independence is a rounded knowledge of how different aspects of the industry works. So there was some method to the madness in me accepting roles that were defined by targets, deadlines and commission as opposed to outright creativity. There is no doubt that my experiences have toughened me up and I am grateful for it. I started out as a naive, wide eyed arts graduate. Working in sometimes volatile, hostile and competitive environments also gave me insight into the

fundamental pieces of the machinery that help the industry to move along. But most importantly, recovering from the rippling experience of anorexia and bulimia it forced me to find my voice. The world of sales is no place for shrinking violets. You have to fight for your seat at the table. Every. Single. Day. To get better at my job, in order to compete I had to be well. I needed to have optimum fitness: both mental and physical. By the time I had arrived at the FT I accepted these basic facts. Breakfast, lunch and dinner. A good night’s sleep, a brisk evening walk along the Southbank from Southwark Bridge to Waterloo and weekly ballet lessons saw my weight improve and overall health return after a long three year struggle. So I while I felt momentarily deflated as I sat on a bench contemplating my life, with my belongings placed beside me on the Southbank, I did not leave my last job with a broken heart, but one filled with gratitude. The truth is I had lingered in a role that was never meant for me. I knew that and it became

#Intro glaringly obvious as the months wore on. Some advised me to consider roles in marketing. Others were adamant I would do well in PR, I enjoy meeting people and I know how to sell – so that made sense. Selling subscriptions for a database that analysed the world’s banks and their activities was never meant to be my calling. The truth is I stayed because of the people. For the first time in my life I had found somewhere where I finally belonged. I had found my tribe. I was surrounded by people who shared a similar world view. I had finally found a work environment where my inquisitive nature was not chastised, but encouraged. Senior editors were happy to talk, offer feedback and share insights. I was challenged, nurtured and accepted. But I had begun to get comfortable day in and day out fulfilling a task that had no real correlation to the future I had envisaged for myself. For anyone who is creative by nature, complacency of any kind is a deadly sin. They say necessity is the mother of invention. I can confirm that that saying is true. While I was filling out endless job applications for editorial and PR related roles, I noticed a motif appearing in the feedback I received: ‘great profile, but we are looking for someone with at least 2 to 3 years experience.’ The sound of firmly shut doors was deafening. But I knew that aged 24, having experimented in other roles, I had to pursue my editorial ambitions once and for all. “You have a unique voice, you must take your writing seriously” Kes Hennessy said to me when I first met her in the FT canteen at the start of 2016. I hung onto those words. They arrived at the precise moment I had begun to give up. I thought I was going to be trapped in the sales vortex forever. Sat with an inbox full of rejection letters, I used her words of encouragement to kick down a few doors. It occurred to me, that if no one would give me an opportunity, then I must create one for myself. In need of a routine and a project, I set myself the reasonable task of learning how to build @workinfashion.me. Many of you will be familiar with my first article: ‘Functionality vs The Aesthetic’. It has become the manifesto and the cornerstone of the WorkinFashion.me ethos.

#TheCollective Before I could engage in any dialogue about fashion, I had to pose the question: “What is fashion for?” So much of what I believe is wrapped up in that question. I am not a fashion blogger. This is not your average fashion blog. My intention from the very beginning has been to reclaim the word and return it to the masses. I say it in almost every article I write – but I’ll say it again… Taken from the Latin infinitive ‘Facere’ meaning to do or to make – fashion is literally what you make it. It is an art form like any other, and it is entirely subjective. I am interested in people’s sense of style, how they go about their daily lives. How they overcome the various obstacles in their way, and how they win. From my own experiences I knew that if I appreciated that information, my peers would too. The strap line ‘We dress, We work, We win’ is an illustration of the fact that it is important to collaborate in our pursuit of ‘winning’ at life. The ‘We’ is crucial, because it speaks of the collective, the community of like minded individuals in support of each other in the joint quest for success. I am well aware that I am offering a different message from most publications and going against any trend can be daunting. In September 2016, when I sent the first draft of ‘Functionality vs The Aesthetic’ to my friends and seasoned FT journalists Josh Spero, Kesewa Hennessy and Courtney Fingar I was wary of what their response would be. ‘Go for it!’ was the unanimous reply. During my year at the FT I found that step by step, inch by inch, I was getting stronger. The aforementioned mentors, had no clue of the other issues I was grappling with at the time but their kindness in taking the time to nurture and encourage me throughout my time there – gave me the extra strength I needed to transform my idea into the product that stands before you now. Fast forward to October 2017 – a calendar year later, having received an invitation from Sarah Mower to view a new collection, I found myself standing in the middle of a showroom in Liberty’s of London. Located on the first floor, ‘Sarah’s List’ is a carefully curated collection of new and up and coming designers handpicked by Sarah Mower MBE, the British Fashion Council’s Ambassador for Emerging Talent. >

#Intro For those of you who are unfamiliar with her work as an accomplished journalist, she is also the benevolent figure behind the rise of designers such as Christopher Kane, Simone Rochas, Mary Katrantzou, Jonathan Saunders and Roksanda llincic to name a few. Initially, I confess, my sole motive was to view the work of Richard Malone, a new Irish designer whose work is grounded in the precepts of ethical fashion. I had stumbled across Sarah’s Instagram post about his work. A remark that his clothes were woven by a women’s organisation in India caught my attention. If you have read my most recent post ‘Work In Fashion Presents…ActionAid: The Survivors Runway’ – where I speak of the need for improved working conditions, to support the female population in developing countries such as India and Bangladesh, where women are in dire need of independence and economic freedom, you would understand why I was eager to see his work up close.

People first, profit later’ – was the closing remark of that article as I concluded my thoughts on the direction the fashion industry ought to take. But, as I picked my way through Malone’s collection, felt the material, examined the detail, the craftsmanship visible in each individual piece, I found those words were made manifest in the clothes that hung before me.

#TheCollective When creativity is connected with an appreciation for humanity, something genuinely beautiful is produced. Another dimension is added. The value is heightened when you know that each item is not only aesthetically pleasing to the customer, but when others are blessed by it too (in this case the working mothers in India), somehow you walk away with the feeling that this small act of creativity has helped to make the world a better place. This is what fashion is for. Philo*Anthropos Philanthropy is treated like a big word. The wealthy elite use it as a means to display an ostentatious appetite for ‘charity’ and a confirmation of their status. What it really means – if you break it down is this: philo and anthropos – which in ancient Greek translates as ‘the love of mankind’. We should all be philanthropists. It is not the preserve of billionaires, politicians or celebrities; it should be the label that is attached to every citizen. Finding ways to interweave philanthropy into our everyday lives is what I believe our creative power is for. The times are changing. What was once permissible will be permissible no more. Ethical fashion used to be a buzzword. It used to be a badge that some wore while others ignored the call for a more moral and sustainable way of life. But look around you. The temples of consumerism and greed are crumbling. Conglomerates that are not on the right side of history will soon lose whatever comparative advantage their size or wealth had previously bought them. People will simply stop using their products and take their money elsewhere. The belief that you can exploit others without end, will ultimately be the downfall of many an Icarus in the coming months. The economic and political climate is such that people are repulsed by corruption and unimpressed with numbers. Ethics – belief – substance – humanity are all trending. As I walked through the rest of the exhibit, examining the other designers and their respective collections, I was deeply moved not only by the quality of work, but also by the care and consideration in which their work has been displayed. Le Kilt, who many will recognise from the Material Worlds exhibit in Selfridges earlier this year, is featured in this collective. >

#Intro

Stella Jean, Richard Quinn, and Teatum Jones were also among the up and coming designers on display and each presented a unique aesthetic, using wools, silks, bold prints and florals, all offering a different narrative. Platforms designed to elevate and showcase new talent are a crucial part of the evolution and survival of any industry. What is missing in the corporate world today is this generosity of heart among those who already have that platform. Those who currently hold positions of power have not been conditioned to share. Many are threatened by what is new. Many are intimidated by the young. Many are too preoccupied by self interest to care. This deficit, this vacuum that exists between one generation and the next is why our society suffers from the ailments it currently has. Sarah’s List, moved me because what I witnessed surpassed any discussion about fashion. What stands on the first floor of Liberty’s is a perfect paradigm of what needs to happen across society to safeguard the survival of our civilisation.

#TheCollective

Each new designer is allocated their own space in which key pieces from their collections are displayed. Space and Time have been given, a platform has been shared, and now this constellation of bright young stars will benefit from the exposure their works of art will receive and so the cycle will continue. Taking the time to support, nurture and develop new talent may not win you a Nobel prize. Making the effort to encourage those around you might not bring you fiscal rewards, but it is always the right thing to do. Philanthropy should not be categorised as an extracurricular activity for the wealthy. It belongs at the very heart of corporate culture. Platforms and protégés… that was the phrase that came to mind when I tried to summarise Sarah’s List. It reminded me that ‘sustainability’ is about much more than a discussion about the materials used, it is a philosophy. Sustaining an ecosystem of new talent is tantamount to securing the future. What can you do to help? Be a resource to those around you. Encouragement is a powerful thing – you never know what others will create with it. [End]

#TheCollective

#WorkinFashion50

NEW FACES They might have been around for a minute, but if you didnâ&#x20AC;&#x2122;t know... you do now!

#NewFaces

#WorkinFashion50 Candice Carty-Williams Author, Journalist

Candice Carty-Williams is an author, book marketer and sometime journalist based in south London. Born in 1989, the result of an affair between a Jamaican cab driver and a Jamaican-Indian dyslexic receptionist, Candice worked in the media before moving into publishing aged 23. In 2016, Candice created and launched the Guardian and 4th Estate BAME Short Story Prize which aims to find, champion, and celebrate underrepresented writers. She contributes regularly to Refinery29, i-D, Guardian, BEAT Magazine and more, writing about culture, sex, identity and music. She currently works at Vintage books, an imprint of Penguin Random House. Her first novel, Queenie, is published in April 2019.

#NewFaces

#WorkinFashion50 Shoba Chacklesfield

Assistant Manager, Mind Charity Shop Harrow

YJH: Why did you begin volunteering with Mind charity, and what was it that encouraged you to apply for the assistant managerial role? SC: Between graduating from university in 2012 and starting volunteering in 2015 I was mentally unwell, bouncing in and out of acute psychiatric units. I was frustrated at the lack of resources within NHS mental health care and desperately needing to break free from isolation. Mindâ&#x20AC;&#x2122;s work in mental health support and advocacy was something I felt passionate about by this personal experience. I was driven to give as much time as I could as a volunteer in my local Mind charity shop. My team was so supportive and through being challenged to interact with the public, I eventually gained confidence in myself. This was crucial to my recovery. My manager noticed my talent for understanding charity retail and encouraged me to apply for a new assistant manager opening. Despite my initial hesitancy, I have been in the role part time since 2016 and have been able to work while attending an outpatient therapy program.

YJH: What do you enjoy most about the role? SC: I love that we raise money thanks to the generosity of others. Our stock is donated and our dynamic team of volunteers to assist us in running the shop. Depending on what they are most suited to, they could be doing anything within the process of getting donations from the back room to the till point. I enjoy tailoring my training methods to suit individual volunteers, many of whom are overcoming their own personal battles. Seeing their journey and being able to work alongside them is a pleasure. YJH: How do you feel charity shops can contribute to the ethical sustainable fashion movement? SC: If everyone bought new then where would all the old go? The premise of selling second hand contributes to fashion sustainability. Charity retail is associated with the sale of second hand clothing. Unwanted clothing gets a second chance instead of going straight to landfill. Clothing unsuitable for sale gets recycled. Despite recent growth in popularity, charity shops should continue improve their image and profitability to further develop within the retail sector.

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#WorkinFashion50 Nina Parker Editor, Chef, Author

Nina Parker is a London based chef, writer and director of her own food company, ‘NINA’. She currently has two cookbooks out (NINA St Tropez and Capri) which both pay homage to the region’s stunning scenery and cuisine. After working in London restaurants she now does private catering and counts Donatella Versace, Russell Brand and Stormzy among her clients. She has written content for publications such as Vogue and Conde Nast Traveller and is now the food travel columnist for Tatler. She posts recipes, restaurant reviews on her Instagram @antoninaparker and runs a monthly supperclub in collaboration with the dating app, Bumble. www.ninafood.com Instagram: @AntoninaParker www.ninafood.com/blog/ www.twitter.com/antoninaparker

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#WorkinFashion50 Henry Tobias Jones Editor, Editor of Dyson_On Magazine

Henry Tobias Jones is a journalist and editor who specialises in new editorial projects. Henry started his career in journalism when he landed a coveted internship at the BBC’s flagship current affairs programme, Newsnight. Learning from the editor of the day, Peter Rippon, Henry quickly fell into the habits of a news junkie. After leaving the Daily Mail to work on the new luxury lifestyle start up ‘The Gentleman’s Journal’, it was at this publication that Henry learned to love magazines. Over the next few years this editorial experimentation led to a period of intense growth at Gentleman’s Journal. During his time at the GJ, Henry formed a working relationship with the now art editor of GJ, Joseph Sinclair Parker. Together they transformed the GJ brand, using Henry’s newspaper know-how about what people want to read and Joseph’s peerless reputation as a designer of some of the most beautiful magazines in print today.

Some of the cover stars that appeared in Henry’s features included Riz Ahmed, Ansel Egort and Jeff Goldblum. One of the most successful features the pair worked on was an exclusive interview with the British industrialist, engineer, and design icon, Sir James Dyson. Following this interview in 2017, Sir James approached Henry with a curious idea for a project. While Sir James had enjoyed the GJ piece, he was increasingly concerned that his company was losing out on all the incredible content that people make about Dyson. In short, he wanted to make a magazine of his own – and he wanted Henry to be the editor. Today, Henry has published three issues of “on:” – the resulting Dyson magazine.

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#WorkinFashion50 Kate McGuire Founder of The Converted Closet

Kate McGuire is founder of Converted Closet. She’s been converting clothes for years and thought everyone else was at it too. When she discovered they weren’t, Converted Closet was born. Her love of converting clothes started in her early teens when her weight began uncomfortably yo -yo’ing from a size 8 up to a size 16 and back again. It was fashion that helped her on her journey to selfacceptance. She began converting and styling clothes to fit, flatter and express herself, exactly as she was. Nothing was off-limits. She turned her dad’s shirt into a dress, green tights into a belt and even her school tie got a conversion. Pretty soon she found herself doing full blown remodelling. Clothing became her passion, her armour and her form of self-expression. Born and raised on the South Coast, Kate took extra-curricular drama lessons from the age of 4 to 18, successfully winning competitions and awards. After attaining her BA in Classics at London University, Kate began her corporate career at the Royal Academy of Arts. She moved into banking and subsequently went on to develop a prominent Investor Relations head-hunting practice in the City. Working with senior FTSE. management teams,

she combined her love of business with boardroom ‘conversion couture’. During a family-focussed career break she became increasingly cognisant of the environmental and ethical issues surrounding the fashion industry. It shocked her to the core. With 60 billion items of new clothes being purchased every year and women only wearing 20% of their wardrobes, she realised that her lifelong passion for breathing exciting new life into neglected clothes could become a huge part of the sustainable solution. Converted Closet has become a platform and a vehicle for change. By harnessing the power of top designers, fashion pioneers and influencers, Kate aims to deliver a serious message wrapped up in fashion entertainment. Through videos, podcasts and How To… guides, neglected clothes get transformed into ultra -desirable new creations, inspiring us all to rethink our own. This isn’t up-cycling, this is SUPERCYCLING. Her lifelong mission is to reconnect us with our clothes and inspire a more sustainable, ‘fashion conscious’ mindset. @ConvertedCloset

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#WorkinFashion50 Marina Shrestha Marina Vaptzarova

Marina Vaptzarova is a Nepal-based company founded and led by French-born designer Marina Shrestha. Drawing from Nepal’s different artisan traditions and finding inspiration in ancient cultures, Marina Vaptzarova creates contemporary luxury journals and lifestyle products, exclusively and carefully handmade and using only the most natural and sustainable raw materials found in Nepalese traditions. By revisiting Nepal’s traditions through luxurious contemporary designs, the brand aims to uphold Nepal’s cultural heritage, its economy and enhance the prestige of Nepalese craft. Each Marina Vaptzarova product is the expression of dedicated quality and exceptional craftsmanship. All products are made by hand from plant harvest to finish and solely sourcing from plants that regenerate spontaneously and rapidly in order to preserve Nepal’s eco-system. “Ever since I was a child, I have carried a deep passion for handicrafts, particularly the ancient arts and crafts, which seemed to speak to us through time, of ancient civilizations. I am fascinated by the idea that

our roots can reach so far back over the centuries and yet be connected to us, extending further still into the future through new creations. This connection gives me the feeling that I am a part of a whole and not just a mere individual.” - Marina Shrestha The world of Marina Vaptzarova expresses the emergence of a new definition of luxury: sustainable, of high quality, made carefully and slowly. As the world evolves, luxury takes on a new meaning; one that is more personal and intimate. It is and must be respectful of nature’s flow, of the artisans and of the end client. Marina’s designs have moved beyond the products for her brand: the same values are used to enhance interiors to create a feeling of intimacy and wellbeing through accessories that are pleasing to eye, as much as, to the touch. Her use of natural and sustainable textiles draws nature from the wild into your space.

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#WorkinFashion50 Guy Morgan Founder, Botanist

“I founded Guy Morgan with the intent of providing authentic and efficient skincare, that’s both natural and ethical. The lush countryside of the Quantock hills in Somerset, England, gave me a love for nature from a young age. My mother was a botanist who worked towards the conservation of the surrounding heathlands, I soon shared this passion which eventually piqued an interest in natural skincare. Unhappy with the numerous products I tried as a teenager with problematic skin I decided to put my knowledge of botany to use, hand crafting my own skincare. My reasons for turning to the power of plants were not only the rich uncompromised nutrients, but the want to minimise my environmental impact. My blends were not only enjoyed by myself, but were effective and sought after by friends and family, inspiring me to develop my craft further.

I launched ‘Guy Morgan’ in 2015, initially with solutions I’d been using myself for years. Since then I’ve refined and expanded the range using customer feedback and ongoing research. Future wise I’m planning on expanding my range and opening a practise offering natural skin treatments and facials. I’m hoping to have my first popup in Hackeny, East London for 2019. One of my long term aims is to pick up my mothers work, and have an active roll in the conservation of Somersets countryside, specifically the Quantocks. To create a product that utilises surrounding fauna from the area would be a dream.” - Guy Morgan (November 2018) www.guy-morgan.com

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#WorkinFashion50 Laura Ironside Designer

Laura Ironside is a designer/director of slow fashion luxury eponymous womenswear label. Our focus is to create beautiful garments, thoughtfully, to try and encourage a slower fashion cycle and a more conscious consumption. Laura launched the label in 2017 after some years working in the industry in a variety of different capacities. “It had occurred to me that if you decide to bring a new product into the world you have to be aware of the impact you’re having. However, terms like ‘eco-friendly’ or ‘green’ fashion seemed to almost lose meaning to me and didn’t seem to address the whole product cycle. Slow fashion is about asking questions at all stages of the product’s life cycle. It’s an approach in which designers, buyers, retailers and consumers are more aware of the impacts of products on workers, communities and ecosystems.” As a label, their aim is to produce fewer products that are higher in value and quality, allowing for a fairer distribution of the retail price throughout the supply chain.

As a result, stronger, more valuable relationships and interactions can be formed throughout the cycle. “I create seasonless collections in limited styles and fabrics in Edits rather than seasons. The idea being that an Edit evolves through the learning and feedback gained from the previous. The intention is that no collection then becomes obsolete.” Still a very young label, we want to remain agile, learning according to our market and our feedback but the core of the brand values will always remain the same. All fashion creation should be conscious in how it’s being produced. Hopefully in the not too distant future ‘ecofashion’ or ‘sustainable-fashion’ will just be ‘fashion’!” www.lauraironside.com

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#WorkinFashion50 Cavan Jayne Designer

Cavan is a Scottish designer who recently graduated with a Masters Degree in Womenswear Knit from The Royal College Of Art. It was here that she explored her passion in fusing sculptural knitwear with woven silks, meanwhile building an archive of ethical fabrication and colour pigment. Scholarships from The British Fashion Council for the last three years, alongside sponsorship from The Dewar Arts Award Scotland and The Society Of Dyers Colourists is a testament to Cavan’s dedication to her practice. With work experience in couture to corporate industries worldwide, Cavan has gained a diverse amount of knowledge to carry into her own label. The London based designer’s latest collection is inspired by the Scottish coast. A vegan, and passionate advocate of ethical and sustainable fashion, Cavan uses 100 per cent natural fibres. Her clothes are manufactured in UK using her own dyes made from her homemade recipe book. Cavan’s proximity to nature, is the driving force behind her strong sense of ethics with regards to how things are produced. “ The ethics is the aesthetic for me.” Cavan explains , “That's the future of fashion.” www.cavanjayne.com

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#WorkinFashion50 Ioanna Topouzoglou Designer, Mashu

MASHU is a sustainable and ethical bag brand conceptualised in the UK and handcrafted in Greece. Inspired by Art Deco and Art Nouveau architecture and interiors. The structured minimal silhouettes of the bags offset the playful embroidered textures to create a nuanced aesthetic balance. Ioanna Topouzoglou describes her brand as ‘compassionate, playful and unique’. Using the new innovative material Pinatex, she has created a brand that keeps ecofashion at the heart of its narrative. “Our motto is looking good and doing good meaning that our bags don't just look good but are also made without compromising our planet or its inhabitants,” Ioanna explains. The bespoke handles, a signature of the brand, turn each bag into a unique and distinctive statement. Inspired by Ancient Greek columns, Art deco and Memphis design movement. The bags are made from ethical and sustainable sourced materials that don't harm the environment or it's inhabitants.

Each handle is hand turned on a lathe by artisans in Greece. The types of wood used this season are from Walnut, Iroko and Venge. Heritage also plays an important role this season celebrating her Greek roots with their new wave embroidery inspired by Cycladic Architecture. All of MASHU’s materials are vegan, ethical and sustainably sourced. The linings are made from recycled polyester and recycled plastic bottles. The bags are made from a sustainable PU using toxic free solutions. They have a minimal dependency on natural resources, with low volatile organic compound, overall reducing MASHU’s carbon footprint. Each bag includes recycled polyester fibres and plastic, reducing CO2 emission and energy by 80%, whilst still remaining stylish and playful by integrating embroidered textures to create a nuanced aesthetic balance. This innovative brand is taking ecodesign forward, striving to develop design solutions. https://mashu.co.uk/

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#WorkinFashion50 Susanna Wen Co-founder & Designer Birdsong

YJH: Select 3 words that best encapsulates Birdsong: SW: Revolutionary, Authentic, Ethical YJH: What was the motivation behind establishing this brand? SW: Founders Sophie and Sarah started Birdsong in 2015 in direct response to a social problem that they had experienced. There are many groups of women in London, largely from migrant communities, who face significant barriers to employment due to language barriers, lack of digital skills or family commitments. Many of this women have brought high quality making skills from their home country, but are not putting them to use outside the home. With the current growth in ethical fashion, the duo saw an opportunity in this untapped pool of skill.

Birdsong was born to provide living wage work opportunities to women facing barriers to employment, using skills they already have. YJH: What's next? (plans for the future). SW: Our dream is to start a vertically integrated factory based in London where we can have all of our makers under one roof and we can provide much more living wage work opportunities to UK women facing barriers to employment. Our aim is to become the UK's most compelling ethical brand and hopefully establish a permanent retail space in the near future! (Susanna Wen) https://birdsong.london/

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#WorkinFashion50 Jordan Robinson Photographer/ Filmaker

Jordan Robinson is a 25 year old photographer turned videographer/ filmmaker from Stratford Upon Avon. He first took an interest in photography aged 14 and after studying at college became a freelance photographer, working at sporting and music events and weddings. He then turned his hand to graphic design. Employed as a graphic design assistant for a distribution business, he strengthened his technical skills, producing and editing his first corporate film, detailing the processes of his employerâ&#x20AC;&#x2122;s company. Jordan had discovered his true passion and enrolled at Met Film School, situated in Ealing Studios, London. After obtaining a BA in Film & Digital Cinematography in 2016, Jordan has worked on a variety of projects including documentaries, music videos, weddings, short films and some work for the BBC. Possessing a keen eye for composition and a unique creative flair, Jordan is a very all rounded filmmaker. His versatility is one of his self-professed â&#x20AC;&#x153;best traitsâ&#x20AC;? and it is something that makes him excited for his future endeavours. As well as a love for the arts, Jordan also has a strong passion for animals, one that he has had since a very young age. He hopes to one day get the opportunity to film them in the wild. Currently working as a video consultant for a digital marketing company in Leicestershire, Jordan is always trying to add new experiences and skills to his arsenal of creative abilities.

www.jordan-robinson.com j.p.robinson@hotmail.com

Top: Portrait of Errol Michael Henry. Bottom: Errol Michel Henry and Patrick Robinson, by Jordan Robinson Smokehouse Studios, Wapping, London

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#WorkinFashion50 Conor Selby Musician

How many 20 year olds do you know are signed with a newly released blues and soul album? Conor is a musician with maturity well beyond his years. His debut album Made Up My Mind contains a collection of songs paying homage to the greats. Released courtesy of UK independent label 3MsMusic. To purchase the album Click Here

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#WorkinFashion50 Paul Stafford & Selina Hershi Founders of The Season Hats

Paul Stafford and Selina Horshi met at Girton College, Cambridge University over 10 years ago and married in 2013. They work in Derry with the help (and distraction) of thier spaniel, Willow. Together they decided to launch a modern brand of headwear that is luxurious and contemporary, directional and flattering. They aim to offer something new to the market, that will give the wearer a distinct yet wearable style complimentary to the modern woman's wardrobe. The Season Hats have exhibited during London Fashion Week and Paris Fashion Week and have been featured in luxury press across the world, including Vogue Italia, Vogue India, L'Officiel Thailand, Huf Magazine, Schon, OK! and many more After graduating from Cambridge with a degree in Natural Sciences, Paul investigated ways in which he could combine his creativity with his scientific training and logical thinking. Millinery became the obvious path due to its basis in sculpture with the additional requirements of wearability and structural stability. Initially Paul trained under Royal milliner Rachel Trevor-Morgan where he learnt the traditional skills and handwork that allow for a perfect finish.He then took a Masters in Womenswear, specialising in millinery, at the Royal College of Art.

His graduate collection has been photographed for Vogue UK, CR Fashion Book and Dazed and Confused. Paul’s design roles include working in perfume bottle design for Thierry Mugler in Paris, and designing hats for Misa Harada (working on both Men’s and Women’s lines). Collaborations and freelance work has been undertaken for Yiqing Yin (Paris Couture Week) and Steffie Christiaens (Paris Fashion Week). He has exhibited at Fashion Space Gallery and in ShowCabinet, the exhibition space of ShowStudio. Selina grew up in Northern Ireland with her Irish mother and Lebanese Father. She was the first in her immediate family to go to University, and graduated with an MA in English Literature from The University of Cambridge. Her career started in the International Advertising department at The Times and Sunday Times, which allowed for extensive travel, before her interest in Social Media and Mobile technologies led her to move into the online team. Selina then enjoyed 5 years at The Economist, leaving the role of UK Digital Manager in order to start The Season Hats with Paul. She now works as a Director at The White Horse in Derry as well as on press and buying for The Season Hats. https://theseasonhats.com

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#WorkinFashion50 Nisha Sivanathan Management Accountant Bird & Bird, photographer

Portrait taken by Yasmin Jones-Henry

Nisha Sivanathan is 26 year old Maths and Economics graduate (Royal Holloway) and ACCA part-qualified accountant working for a law firm in the city. “Growing up, I loved the creative subjects I learnt South Indian classical dance and vocal, and enjoyed art at school. So why did I choose to go into corporate accountancy? It was my mum who always encouraged me to pursue a career in finance, as she believed a job with regular hours would mean that I'd have enough time for my creative outlets in the evenings and on weekends. I'm very grateful for her guidance, as this balance is actually proving to work.” As a big photography enthusiast, and beyond her 9-to-5 she posts pictures under the Instagram handle @vibrant_london. “What I believe differentiates me from anyone who owns a smartphone is simply how often I stop to capture the moments I stumble across, that's it. In the past, I'd constantly be reaching for my Sony α5000 to capture as many of the countless frames as I could during my #lunchtimestrolls.” Nisha explains.

“Photography was my quick-and-dirty form of expression, and I loved that it could be fit into a hectic schedule and done whilst on the go. Even as my lifestyle became increasingly busy, it made me take time to stand still and just take in my surroundings, which I loved. I've played with the idea of developing a career in photography alongside my day job, but at the moment I'm taking the time to enjoy the art form. When taking pictures, the key is not to be influenced by what I think people want to see, and to develop my own style with a decent camera. When practised as a non-competitive hobby, it's my form of relaxation. I believe that it's so important to nurture creativity because of the profound effect it's had on my own work-life balance. Although I've grown to absolutely love my job as an accountant, we also need to spend time on breaking away from the routine and finding what excites us. For me, that's definitely photography.” Nisha Sivanatan (October, 2018) Instagram @vibrant_london

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#WorkinFashion50 Samuel Davies

Director of Photography, founder of Filmsmiths

“Growing up, my spare time was spent making films, everyone knew it was what I was destined to do.” Davies explains. “It led to studying a BSc in Film and Television Production at the University of York. As a student I loved creating content for societies, nightclubs and musicians. These passion projects - little to my knowledge - would be the starting point to my now career and soon evolved into paid work for established brands. Fast-forward to 2018 after 3 years of freelance directing worldwide for some of the world’s leading brands, I have just co-founded ‘Filmsmiths’ a production company alongside my business partner Tom.

Tom brings 10 years of technical expertise to the table having headed the cinema division for a major rental house and together we realized it was rare to find creativity and such high technical competence within the same company. Whilst our day-to-day activities in our new venture involve producing and directing commercial projects, we also own numerous state of the art cinema cameras allowing us to create our own content to pitch and sell to distributors. ‘Filmsmiths’ is a vehicle to reach our feature film aspirations quicker and I’m really excited to build our brand and strive to stand alongside the world’s greatest storytellers.

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Amaya Ducru Clouthier and Ines Olaechea, Founders of 85˚, Paris

85° is the mean of degrees of latitude and longitude that covers the Latin American territories. “We want to be the bridge between these 85° of cultures and Europe. So, we created a concept store based in Paris that introduces a curated selection of contemporary design from Latin America that merges craftsmanship and sustainability with a unique modernity of line and redefinition of luxury. As a fashion and design omni-channel business in the European market, 85° is supported by its cross-media divisions such as e-com, pop-up shops and events, showroom, and image consulting. We value working with designers who are conscious of their surroundings, who are dedicated to a timeless vision of luxury, and together, we celebrate the exchange of knowledge they practice with their craftsmen and women, and their studio.” Amaya & Ines Contact: Email: info@85paris.com Instagram: @85Paris Web: www.85paris.com

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#WorkinFashion50 Michael Preysman Founder of Everlane

Michael Preysman is the founder and CEO of Everlane, a direct-to-consumer design brand based in San Francisco, California. Inspired by the lack of affordable options for quality basics, Preysman founded Everlane in 2011 to provide consumers with well-designed, high-quality clothing and accessories at an approachable price point while simultaneously encouraging them to stay informed and educated on product origins. By cutting out the middleman and openly sharing the costs behind each product, Preysman has become a distinguished leader in the transparent retail space, and a disruptor of the luxury clothing industry. Everlane now has two flagship stores in Nolita in New York City and the Mission in San Francisco. Prior to starting Everlane, Preysman was an investor at Elevation Partners for both their New York and Menlo Park offices investing in media and entertainment companies.

Michael enjoys sitting at the intersection of design and technology. He graduated from Carnegie Mellon with degrees in Computer Engineering and Economics. Everlane is committed to the elimination of plastic waste and has pledged to cease using virgin plastic in their supply chain by 2021. Presyman explains, “ReNew, a collection of outerwear made from discarded plastic bottles.* About three million of them .We know we’re only a small piece of the global puzzle. But together, we can make a big impact. So let’s ditch the plastic where we can, and renew what’s already here. It won’t be easy. But things worth doing rarely are.”

www.everlane.com/

@EVERLANE

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DECISION MAKERS Creativity comes with responsibility. Did you know artisans could be social entrepreneurs too?

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#WorkinFashion50 Ella Ritchie Co-founder IntoArt

Ella Ritchie and Sam Jones founded Intoart in response to a lack of high-quality arts education and limited opportunities for artists with learning disabilities. Determined to challenge preconceptions and overturn prejudices, they set up the first 8-week Intoart project in Peckham in 2001, with a commitment to working with adults with learning disabilities for whom there was limited access to the visual arts and art education. When asked about her long term plans for Intoart, Ritchie declared, “For more people with learning disabilities to be recognised and seen as artists and designers in their own right.”

This November, we launch a new capsule collection Intoart X John Smedley of nine garments designed by Intoart artists. The collection will be launching in John Smedley stores on 15 November in time for their flagship Christmas window displays. It’s the first collaboration of its kind for both Intoart and John Smedley, as well as the biggest commercial impact that Intoart has had on the design industry to date. The collection will available to buy from johnsmedley.co.uk and John Smedley shops on Brook Street, Jermyn Street and New Cavendish Street, London, from 15 November 2018 www.intoart.org.uk

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#WorkinFashion50 Intoart

Behind The Scenes Collaboration with John Smedley Knitwear 2018 Collection

Photographs supplied by Intoart

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#WorkinFashion50 Paul van Zyl

Founder The Maiyet Collective

Paul van Zyl bio: Paul van Zyl grew up in South Africa during the apartheid era. He served as the Executive Secretary of South Africaâ&#x20AC;&#x2122;s postapartheid Truth and Reconciliation Commission. Shortly after, Paul co-founded the International Centre for Transitional Justice, an international human rights organization that works in over 40 countries that have endured massive human rights violations under repression and conflict. He also received the Skoll Award for Social Entrepreneurship and was chosen as a Young Global Leader by the World Economic Forum and served on its Global Agenda Council on Fragile States. Paul is also the co-founder and CEO of Maiyet, an ethical luxury fashion brand that cultivates traditional design and culture by partnering with global artisans.

Paul co-founded The Conduit in 2016. The Conduit serves as a home for those committed to improving the world by harnessing the power of creativity and entrepreneurship. Located in a 40,000 sq. ft. building in the heart of London, The Conduit connects thinkers, leaders and innovators in various fields to force impact for the greater good. The Conduit opens in Summer 2018. Paul was also announced as one of London Tech Weekâ&#x20AC;&#x2122;s 30 Change Makers in 2018, which focuses on celebrating the companies and people harnessing technology to inspire social and economic impact and drive global innovation.

www.themaiyetcollective.com

The Maiyet Collective

NB - The Maiyet Collective showcases over 50 luxury sustainable and positive impact brands across RTW, home, beauty, fine jewellery and accessories The showcase is open for three curated days a month Guests can visit www.themaiyetcollective.com and sign up to request an invitation to The Maiyet Collective concept store and receive news and details of upcoming events The Maiyet Collective is the biggest collection of sustainable brands in London

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#WorkinFashion50 Amy Powney

Creative Director, Mother of Pearl

“I can’t do things if I don’t feel good about them.” Powney explains. “I know all my factories, I visit them all the time.” The motives behind Mother of Pearl’s latest no Frills Collection is clear. Fashion is supposed to feel good. Not because of the name tag or the price tag, but the knowledge that each product contributes positively to the lives of the farmers, pattern cutters, seamstresses and factory workers— an ecosystem of productivity that is ethical at it’s very root. Amy Powney has a refreshing perspective on the visible challenges of attempting to build a fashion brand that is entirely transparent from the ground up.

But, as she declares: “I wanted to prove that it was possible, set a precedent, by re-educating back to the fields. Geography and economy, where things were grown etc.” Two years later, she can now look back at the adventure and the results it has delivered for the industry to see. Ethical fashion isn’t a passing trend, it is the future. Brands like Mother of Pearl, are a beacon in British fashion, for making their aesthetic accessible. This year’s presentation at London Fashion Week, involved a series of installations, no runway, no conveyor belt vibes. Just pure, untainted art.

Mother of Pearl Spring/Summer 2019 Collection

Photographs taken by Yasmin Jones-Henry, London Fashion Week, September 2018

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Kitty Dinshaw & Liezel Strauss Directors of SubjectMatterArt

Online galleries have an equally big role to play in democratising the art world for gallerists too. In cities such as London and New York, rising rents mean that more and more small and medium sized galleries are closing, leaving only the big players. But the internet is a space that smaller galleries can make their own — all they need are good artists, a domain, and a good understanding of online customers and digital marketing (which can be learned over a period of many, many Google searches). It’s not easy but it can work — and it is significantly easier than telling your artists you have to close the gallery because you can’t pay the rent.

Subject Matter, the gallery for which I am Artist Director, is online, and so we know first-hand how valuable the model is. My business partner Liezel and I have freedom over our schedules, and the time we save not having to be in a space gives us more time to work for our artists. Because we both have young families, we have deadlines every day and commitments we cannot break. Having to frequently stay late for artist’s talks, curators events and private views simply would not work. A discussion of how the online model helps women — artists and gallerists — is one we hope to contribute to in the near future. But until then, we’ll keep listening to all the many sides of the debate: this one looks likely to run and run. (Kitty Dinshaw, 2018) Visit www.subjectmatterart.com

Subject Matter Art We See You, We Hear You Exhibition, London, October 2018

Photographs taken by Yasmin Jones-Henry, Ocotober, 2018

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Sarah Wallace Director Bluebird PR, UK

After working in various different agencies on and off over the last 18 years, in 2014 launched start my own company. Sarah explains: “Although I enjoyed PR I knew I wanted to focus my energies on a specific area to help hone my speciality and do something more for those I could help. I’ve always enjoyed working with charities, even when I was working in- house, my favourite clients were always those with interesting causes. I just felt like it was my way of making a bigger mark on the world to take onboard and spread awareness of their work. “ It’s such a cliché to say but every day really is different and knowing you are supporting people who are striving to do good in the world, makes such a difference to your own happiness.

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That’s not to say it was an easy choice though. Most of the clients I work with face massive challenges and as I mostly work with small to medium charities, it’s working closely with people who are directly affected by the cause, so can be heart-breaking at times. I am so lucky with my clients and work with everything from cancer care to rare illnesses and humanitarian aid charities. The varied nature of the topics always keeps my mind fresh. I really do feel lucky doing what I do.” Some of the charities Bluebird PR works with includes: Dimbleby Cancer Care, Teenage Cancer Trust, Wild at Heart Foundation. Website: www.bluebirdpr.co.uk

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Sabine Zetteler Founder & Director Zetteler PR, London

Zettelerâ&#x20AC;&#x2122;s founder and namesake, Sabine is a seasoned PR and marketing specialist with a decade of professional publicity experience and a degree in management and sustainability under her belt. After a career that took her from TV to travel (via the BBC and Mr & Mrs Smith), she shifted her focus to art and design in 2012, first as a freelance PR and then, when her client list ballooned, as the founder and director of Zetteler Creative Publicity. Now with a strong team behind her, she is thrilled to say she has her dream job: working with the most inspiring and creative people, sharing the brilliant things they do and, every so often, making a positive impact on the world. Clients include: Faber Futures Natsai Audrey Chieza London Design Fair London Craft Week End Youth Homelessness Hackney Winter Night Shelter The Conran Shop www.zetteler.co.uk

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Marverine Cole Broadcast Journalist & Director of BA (Hons) Journalism, Birmingham City University

Marverine’s worked for many of Britain’s most watched and listened to broadcasters. She’s at home in any given situation – be it in a live and unscripted environment, or with scripted production, direction and autocue. As a journalist, she’s appeared as a presenter and Reporter covering News and Current Affairs, Social History and Culture, as well as Celebrity and Lifestyle stories. She’s produced her own radio bulletins & speech programmes, she has also produced BBC local radio programmes & network documentaries, handling onair talent with ease. Her most recent documentary on BBC Radio 4 ‘Black Girls Don’t Cry’ addressed the taboo topic of mental health for women within the African and Caribbean communities. www.marverinecole.co.uk/

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#WorkinFashion50 Rose Hardy

Headmistress, St Margaret's, Bushey Herts. Rose Hardy is Headmistress of St Margaret’s School which is an all through independent day and boarding school for girls in Bushey. She was educated at St Albans Girls School and Somerville College, Oxford where she studied Modern History. She undertook a PGCE in History at the Institute of Education in London and took up her first teaching post at Tolworth Girls’ School. She then taught at University College School before becoming Head of History at Francis Holland School. She moved to St Albans School in 2001 where she was Head of Sixth Form and then Second Master. Rose completed her Masters in Educational Management at Buckingham University. She continues to teach history and has a passion for nineteenth century political and social history. She is a governor of Beechwood Park School, the British School of Paris and sits on the Cathedral Education Trust in St Albans. http://www.stmargaretsbushey.co.uk/

Julie Chatkiewicz Vice Principal, St Margaret's, Bushey Herts.

Julie has worked in education for 27 years, specialising in History which she teaches to A-level students. Julie is also a boarding inspector for ISI . Her remarkable work within pastoral care at St. Margaret’s School has ensured that she is a much loved figure among the schools extensive international network of alumni. She is also a sharp dresser, with a keen eye for fashion and an extensive brooch collection. http://www.stmargaretsbushey.co.uk/

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Nika Diamond-Krendel Founder of Paradise Row

Portrait by Claire Menary

Nika Diamond-Krendel, founder of East London based leather goods company Paradise Row, launched the brand in early 2017. Having spotted a gap in the market for high-quality bags at an accessible price point, and further fuelled by a desire to support the area’s declining leather goods industry, she set about creating a collection of her own, working with long-established leather workers in the area. Exclusively working with creatives - artists, photographers and graphic designers - from the up and coming neighbourhood in East London where she resides and works, Nika places an emphasis on design and collaboration with East London’s longstanding craftspeople. Working with skilled artisans who have been practicing locally for several decades; Nika values and supports these traditional professions. These core values of her ethos for Paradise Row naturally lend themselves to form an iconic brand recognisable by its look rather than its logo.

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Originally born in Cheshire, Nika moved in London in 2009 to do her Business Psychology Masters at Goldsmiths, a university well-known for its arts credentials and notable alumni such as Damien Hirst and Damon Albarn. Surrounded by the buzz of London and creativity of her peers, it is here her passion for design rose to the fore and first sparked the idea to create a brand that worked directly with local creatives and specialists throughout the entire supply chain; supporting the community. Upon completion of her masters, Nika took a role first as a consultant at Informa, then in-house at Santander. There she was repeatedly called upon to create and present workshops, and won Santander’s Mobile App Designer of the Year; a recognition of her artistic flair which gave Nika the confidence to take the leap and move into a more dynamic and creative career. For her first collection, Nika’s inspiration came from the area of London she loves and lives in; a range reflective

of East London’s artisan heritage and its international reputation as a creative hub. The values of hard work and craftsmanship that London holds proud, Paradise Row harbours at its core. The second, highly anticipated, Empathy collection nods to Nika’s studies in Psychology and the importance of embracing all emotions - both the individual’s own and those of others. Nika hopes to spark conversation through her meaningful and iconic collections, each inspired by different aspects of society; culture, psychology, and the arts.

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With a focus on design, viewing each bag as an individual art piece, it’s no wonder the brand is building a loyal following of engaged customers. Nika has since gone on to launch a bespoke service, following strong interest from hotels, restaurants and galleries for unique pieces designed by Nika, in the brand’s signature natural leather. For further information please contact Michelle McLaughlin: michelle@wearemuse.co.uk www.paradiserow.com Instagram: @nikadiamond_ / @paradise.row

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Catherine Lock

Mark Henderson

Founder & Creative Director, The New Craftsmen

Co-Founder & Executive Chairman The New Craftsmen

Prior to founding The New Craftsmen, Catherine spent 15 years as a product, trend and brand developer for British high street brands such as Sainsburyâ&#x20AC;&#x2122;s and Habitat . Her global travels exposed her to a colourful array of making, and makers, within workshops and homes which fuelled her fascination for the human and cultural aspects of craft, whilst merging it with that for her love of beautiful, well designed objects. In 2010 Catherine shifted her focus, touring the British Isles to meet regional craftsmen and traditional manufacturers. Having built her knowledge of materials, processes and provenance, she now works with craft makers to develop exclusive collections and bespoke products.

Mark has worked in luxury goods for most of his professional life. He is Chairman of Gieves & Hawkes, No 1 Savile Row, Chairman of the London Luxury Quarter (Mayfair & St Jamesâ&#x20AC;&#x2122;s), and a Director of Walpole (the UK luxury industry association). In 2004 Mark established the Savile Row Bespoke Association. His commitment to encouraging and nurturing emerging makers is renowned throughout the sector, and he is also a trustee of Queen Elizabeth Scholarship Trust (QEST) and a patron of the Heritage Crafts Association (HCA). Mark firmly believes that craft makers and making can be enhanced by dynamic exhibitions and the cross germination of skills and experience. www.thenewcraftsmen.com 34 North Row, Mayfair London W1K 6DG

The New Craftsmen

Adam Ross

Cameron Short (Printmaker)

Catarina Riccabona

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Bristol Weaving Mill

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StĂŠphanie Delpon Art Director, Pictoresq

StĂŠphanie Delpon is a art director and director based in Paris. She co-founded Pictoresq. She works with luxury brands such as Eres, La Perla, Nina Ricci, Christian Louboutin to create strong visual identities and impactful videos. www.pictoresq.com

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Pictoresq Archives Chromatic Study—Lacoste The New Rule of the Game—JC de Castelbajac

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TRAILBLAZERS The Visionaries, the Inventors, the Platform Builders, the Investors

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Portrait by David Stewart, for Wired Magazine

Dr. Carmen Hijosa Founder of Ananas-Anam LTD

Piñatex® is a natural, sustainably-sourced, cruelty free material. Recent collaborations with brands such as Puma (2017) and Hugo Boss (2018) are a mark of Dr. Hijosa’s success in bringing sustainability to the mainstream. For further information see @WorkinFashion.me Presents Pinatex for interview with Dr. Carmen Hijosa.

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Errol Michael Henry Founder of Music Justice & Intimate Records

Born and raised in Lewisham, Errol is a proud ambassador of London. He is a musician, a songwriter, a producer, a publisher and an entrepreneur with a firm belief in the power of vision and creative freedom. He has devoted his life to allowing others to reach their full potential as he is passionate about the importance of self-determination and freedom of expression. Errol explains â&#x20AC;&#x153;Throughout my career, the companies that I have built, the products that I have created have all been designed with this one goal in mind. He is the founder of Intimate Records, the i2Music Group, Music-Justice and EMH Global Media LTD.

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Errol Michael Henry established Music Justice in 2016. Using his experience in the music industry for more than 3 decades, keen to put an end to the historic and often ruthless exploitation of creative people, Errol assembled a team of highly qualified, passionate and trusted professionals who have considerable practical experience covering the creative, business management and legal aspects of the music industry. Instagram: @TheSoundPrinciple Twitter: ErrolMhenryTSP

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Wizzy Tye & Tara Chicarro Directors, Picualia

Located in the heart of Andalucía's Jaen province, for over 70 years, farmers have collaborated to deliver the highest quality crop. 950 local farmers – all work together in a co-op to create a product that has won every international award available. The absence of a cold corporate face provoked me to ask questions about the olive groves and the production process. Sustainability, Wizzy informed me, was central to the brand’s ethos. Picualia own the only state of the art eco-friendly olive mill in Spain. Everything is used. The pips are converted into bio fuel – adding to Spain’s world leading reputation as being at the forefront of clean energy and bio-fuel technology. The passion Wizzy has for the liquid gold stored within the bottles stocked on Selfridges shelves – is borne out of a personal connection to the brand. Her sister, Tara is married to the son of one of the farmers and having lived in the region for over 20 years, confirms that the Picualia brand is a family affair. Both women are mothers – they cook with the oil. They both laughed as they informed me their teenagers are all well versed in the virtues of extra virgin olive oil. In a market that is already oversaturated, their ethical foundation is what enables Picualia to stand head and shoulders above their competition.

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With three harvests a year (as opposed to one – which most competitors have), Picualia is able to offer their customers a diverse selection of pure olive oils that vary in intensity. Stored in temperature controlled vats – the cold pressed Picual olive is harvested and immediately stored to preserve the nutrients and minerals in the oil. They promise full traceability: ‘never mixed, never blended’. Their oil is produced from the single Picual olive variety. Let’s start with the health benefits…  Of the 2,600 olives from around the world, the Picual olive has one of the highest levels of antioxidants and provides the most health benefits.  Packed with anti-oxidants – for those mindful of preserving their youth – the Picual olive also contains Vitamins A and E that helps to slow down the oxidative damage to body tissue.  Includes antioxidants that have been associated with lowering the risk of diseases such as Alzheimer’s.  Lowers cholesterol and blood pressure  Improves circulation, reducing the risk of thrombosis. Sold in Selfridges, London

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#WorkinFashion50 Sarah Mower MBE

Journalist, British Fashion Council Ambassador

Photograph courtesy of the British Fashion Council

YJH: What made you choose a career in journalism? SM: It’s funny - fashion journalism just became what I was able to do. It drew me to it - I didn’t actively set out for it, but I had always been interested in clothes, costume history and art since I was a child and that sort of made a parallel education out of school. When first had to do a history project on The Elizabethan Age at secondary school the history teacher didn’t know what to do when it came back fully illustrated with drawings of Elizabethan portraits and architecture and made me embarrassed about it. So anyway much later I went in for the Vogue Talent Contest while doing my finals in English and History of Art at Leeds. I was a finalist. The job - work experience - was ( strangely!) given to the daughter of a cabinet minister, but being a runner up was more than I ever dreamed possible and it was good being given a tour of Vogue to see how it worked which at 22 was invaluable.

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Anyway I was lucky not to get the job because it got me an interview at Ms London, a weekly giveaway mag and was plunged in deep end producing my own page of art and shopping stuff - from there to the amazing Honey magazine where I became features co-ordinator in charge of my own section. From there to opening The Guardian to see the job of Fashion Editor advertised (!!!) and getting it! Then headhunted for the Inde and finally Vogue asked for me back! Had wonderful years working for Liz Tilberis in the late 80s and then when she went to New York to edit Harpers Bazaar, she asked me to come with her. I’d already had my first baby and said I couldn’t- but she said “ Oh well, you can - I’ll fly you over a week a month” She did. it was fantastic. Then she tragically died and Anna Wintour asked me over to Vogue when the internet was just starting up ( 2000) as far as fashion was concerned. They had this new thing called Style.com. A humble thing nobody Vogue really wanted to work for.. ! They needed someone who knew fashion, designers, the history and could work fast .. so there I was, lucky again!

#Trailblazers YJH: What are the things you enjoy most about the mentoring that you do? SM: My interest in new designers stemmed from always needing to know where the next ideas are coming from. A journalistic curiosity which started right at the beginning of when I was at Ms London - linking club style with St Martins designers. It organically changed into more of an active role in the late 90s when I saw how a British generation had fallen - either out of business - or were leaving London. I was always invited onto BFC panels and would continually rant at them about their not doing anything to help young designers. It was a sclerotic organisation run along old boys and Ab Fab lines at the time - I think I became such a nuisance to them they just turned round and said “ Well YOU do it then!” I also had made friends with the very lamented Professor Louise Wilson at CSM MA who allowed me in to see what was going on, to understand excellent teaching in action and to get to know the students. That’s how I knew Chris Kane was a genius before he graduated. The rewards are immense for me - I really love having my ears open to new ideas . It’s hearing the future coming. I am really satisfied when I see designers in London who have made their way with the network of mentors we have in place now. One of the most exciting things is to see the growth of a whole culture of mentorship

#WorkinFashion50 and friendly co-operation which has grown up in London, between designers and professionals in many walks of the business. People think that’s what London IS - but I remember when it was NOT. The days of being difficult and outspoken at those BFC meetings paid off.. eventually! YJH: You are widely regarded as the go to journalist for break-out designers, from your own perspective what's your take on the current UK fashion scene? Do you think the current ethical fashion movement is here to stay? SM: I would be lying if I didn’t say I am petrified about the risk to this whole precious culture from Brexit. Everything has shifted in the industry and a 10 year cycle seems to be at an end. However - the thing I am excited about is all the kids who are rebelling against the ills of the system by being sustainability separatists. Especially the ones who are working on frontier of fashion, science and bio-tech. The hope for change is that young people have power as consumers and if they turn away from corporations which pollute - then those companies are going to have to change , fast, in order to survive. I feel like I’m the go -between who sees the potential for both sides. That’s the reason I started #sarahslist - to connect the industry with people they should hire or consult with. I seem to have followers who are 50% students and young creatives and 50% industry executives. So it’s working! [End]

Photograph courtesy of the British Fashion Council

Top: Mary Katrantzou was the winner of the 2015 BFC/Vogue Designer Fashion Fund. Bottom: Christopher Kane was the winner of the 2011 BFC/Vogue Designer Fashion Fund.

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Oliver Wayman & Cameron Saul Founders, Bottletop

â&#x20AC;&#x153;We have faced a multitude of challenges over the years, the narrative from conception has been one of positive social impact and responsible use of materials. This immediately puts you in a less advantageous position than our competitors. Sustainable materials are generally harder to source, more expensive and in the early stages can be more difficult to retain consistency. In the early years, creating a stable footing in a turbulent industry in which other businesses were undercutting you in every way was a struggle, so just surviving was an achievement in itself. That being said those challenges are linked to a commitment to the values that underline why we do what we do; and as such the brand has developed with a clarity of purpose. We began making bags in Kenya in 2002 and registered as a UK charity dedicated to empowering artisans with livelihoods and young people with health education. Following an album series, which took us to Brazil, and the discovery of an extraordinary eco-fabric made from up-cycled tabs from drinks cans we created our own atelier in 2007; the purpose of which was to employ people from local favela communities in the Salvador region of Brazil.

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We were enabling people, largely disenfranchised women, to become highly skilled artisans and earn a living for themselves, often saving themselves from lives as badly treated housemaids or even prostitution. We have since executed design collaborations with designers including Donna Karan and Narciso Rodriguez featuring our signature up-cycled aluminium ring pulls and award winning 'Amazon Zero Deforestation' leather and have been sold in some of the best department stores in the world, from Isetan, Tokyo to Selfridges, London. The formation of the BOTTLETOP mission driven company in 2011 enabled us to raise investment from a series of supporters in a variety of different fields, who have supported us both strategically and financially. We have maintained a focused, design and quality led strategy since day one, which has required significant focused investment into our atelier and the development of our signature materials and production techniques in Salvador. As such we feel confident in the foundations of the business, built firmly on our values and enabling us to service the increase in demand for our designs. Thankfully, our route map of investing in people in developing communities is paying dividends

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both from a social impact and financial perspective. We are set to show healthy profits this financial year. Undoubtedly the consumer landscape is changing. The fact that you are writing this article within this framework is a wonderful example of the growing consciousness and interest around the impact of supply chains, especially in the fashion industry, and the impact that we all have through our purchasing decisions. We are operating in one of the most polluting industries in the world. The beautiful facade of fashion has a particularly ugly backdrop that has often relied upon the exploitation of labour, misuse of chemicals and eye watering incineration of so called "terminal stock".

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#WorkinFashion50 Consumers visiting our flagship store on Regent Street are inspired and excited about the alternatives which exist. Not only are they able to find beautifully hand crafted products made from up-cycled materials, but even the store itself has been 3D printed from the equivalent of 60'000 recycled plastic bottles, the first of its kind in the world. We are more optimistic about the future within our industry than ever before and hope that with the continuing direction in consumer trends, ethical consumerism will continue to blaze a trail that we are proud to have been a part of since day one.â&#x20AC;? Oliver Wayman (September, 2018) Visit Bottletopâ&#x20AC;&#x2122;s flagship store in Mayfair, or follow them on instagram @Bottletop Website: https://bottletop.org/

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#WorkinFashion50 Emma Willis

Founder of Emma Willis, London & Style For Soldiers

Based in Jermyn Street London , Emma Willis has built a business and a brand with philanthropy at it’s very core. At a time when the international textiles industry was busy outsourcing, searching for the cheapest, darkest supply chains, Emma decided to take a different path. Founded in 1999, Emma Willis is a shirt maker like no other. With her bespoke shirt factory based in Gloucester, Emma sought to establish her own supply chain that was both transparent and ethical. The predominantly female team of artisans are trained onsite. With investment in the next generation also a high priority, Emma Willis has created a safe space for young people, graduates and refugees to learn the trade, while offering scholarships to those who wish to learn the craft of sewing.

Her other project, Style for Soldiers which is a labour of love, sees servicemen given a style make over. With custom made clothing to accommodate injuries, Style For Soldiers is demonstrative that fashion can be used to empower and instil confidence where it had once been lost. Her passion for young people and her devotion to helping others are some of the definitive characteristics of the Emma Willis brand. As an entrepreneur, she is also an ambassador for women in business. “My career didn’t really start till after motherhood” Emma explains. “The best thing about running my own business, is it allows me to combine all of the things I love. I get to do what I want, with the philosophy I want”. Visitwww.EmmaWillis.com

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#WorkinFashion50 Orsola DeCastro

Co-Founder of Fashion Revolution

Designer, curator, activist and agitator-in-chief, Orsola DeCastro is a force of nature. As the cofounder of one of the most dynamic and influential charitable organisations within the fashion industry, her most recent campaign â&#x20AC;&#x2DC;Who Made My Clothes?â&#x20AC;&#x2122; ricocheted all over social media as Fashion Revolution implored consumers to interrogate the brands they buy from. Where was it made? Who made it? - by demanding more information than whatever is on the usually ambiguous care label, Orsola &Co have encouraged consumers to use their economic power and their voices in provoking previously reluctant conglomerates into action. As you will have seen from the recent headlines,

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the UK will no longer adopt a laissez fair attitude to textiles production. With increasing calls from the government for major high street brands to account for waste, transparent supply chains and the prevention of child labour, there is more than enough evidence to demonstrate the material benefits of speaking out. Fashion Revolution is also a platform, providing followers with useful information about the manufacturing processes of commonly used materials. Transparency and freedom of information are top of Orsolaâ&#x20AC;&#x2122;s priorities as she insists the industry begins the process of reform. An informed consumer is more likely to be an ethical one. At least we think so... Long live the Revolution! Visit www,fashionrevolution.org

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#WorkinFashion50 Junior Green Junior Green Hair, London

Junior Green is an award-winning hairdresser and founder of the Junior Green Hair Salon in West London. He is recognised as a formidable force on the UK hairdressing scene with a career spanning 34 years, he has received several accolades which include British Afro Hairdresser of the Year, Stylist of the Year and was part of the Styling Team of the Year. Junior Green and Joy Miller Artistic director, have built a business and a brand that is family orientated. They both devote considerable time to teaching and training the next generation of stylists.

Contact: 0207 752 0620 salon@junior-green.com www.junior-green.com 55 Kensington Church St, London, W8 4BA

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Claudia-Liza Armah Presenter, Journalist Channel 5 News

With more than 15 years journalism experience, Claudia-Liza Armah has notched up hours of live broadcasting, working with the UK’s biggest television channels including Sky, BBC, ITV and of course Channel 5. Currently the face of 5 News Tonight, Claudia-Liza is the first black lead anchor to present the programme. Covering the day’s big and topical stories with discussion, debate and indepth interviews with political leaders and those at the centre of major events. In addition, she regularly covers the anchor role of 5 News at 5 and Jeremy Vine (formerly The Wright Stuff), leading discussions on a variety of topical issues. With a warm and engaging interviewing style, her focus is on putting people at the heart of stories. Her versatility sees her regularly interviewing some of the country’s leading politicians but she’s equally comfortable interviewing the biggest names in showbiz, which have included Naomi Campbell, Steve Carell, Sir Ian Mckellen and many more. Before joining 5 News, Claudia-Liza was a regular face of Sky News - working across the day’s

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shows, both solo and with a co-presenter, including its flagship breakfast show Sunrise, which was a perfect fit for her natural, warm, down to earth and personable nature. Adaptable in any fast-paced breaking news situation - she broke some of the biggest stories of 2017 including the Grenfell fire disaster and the Barcelona attacks. Born and brought up by her Ghanaian mother on an estate in London, but still very close to her father who lives in Ghana, her passion for education saw her excel in school and go on to study a degree in History and Journalism at Queen Mary University of London and City University, then later completing a Master’s degree in Broadcast Journalism She is a strong advocate of social mobility and mentors a number of young people supporting their applications to some of the UK’s top universities and offers advice and support to those who want to enter the world of broadcast journalism. She's also committed to work on equality, gender equality, education, diversity and inclusion.

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Sharmaine Lovegrove Publisher, Hatchette/DialogueBooks

Portrait by Suki Dhanda For the Observer Newspaper

Officially celebrated as the woman ‘spearheading inclusivity in the ‘publishing industry’, Lovegrove is both an entrepreneur and a power house, driving forward both reform, but also adding a new dynamic to the UK publishing industry. Speaking to the Guardian Newspaper, Lovegrove declared, “If you don’t have a diverse workforce or product, sooner or later you won’t exist.” Born and raised in South London, Sharmaine is a proud Londoner, but also divides her time between London, Bristol and Berlin. After battling teenage homelessness, selling books under Waterloo Bridge, Sharmaine got her first big break aged 19, working for Foyles (Charing Cross) where she was asked to run the ‘Black Literature’ department. She later moved to Berlin, opening the city’s first English language bookshop in 2009. In 2017, she joined Hatchette, launching their imprint Dialogue Books. During her first year, Dialogue Books (Hatchette) has published Lisa Ko’s critically acclaimed ‘The Leavers’ and Patrick Chamoiseau’s ‘The Old Slave and the Mastiff.’ Instagram @DialogueBooks

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#WorkinFashion50 Natalie Massenet

Founder of Net-a-Porter, Co-Chairman of Farfetch and Co-Managing Partner of Imaginary

Fashion – as I’m sure you all know by now (I say this in every article) is derivative of the latin ‘Facere’ meaning ‘to do or to make’- the word is much more expansive than people realise. What are you making? Who are you creating it for? Who will benefit from it? Artists create art – first, for themselves (it is after all the epitome of self-expression) but also for the edification of the viewer. I would like to think businesses work the same way. Entrepreneurs often stumble across an idea or a solution to a problem – that also benefits the consumer. In a world of capitalism that is defined not by greed but by ethics, this forms the perfect equilibrium of functionality and the aesthetic. So, when I heard that Natalie Massenet, founder of Net-a-Porter and co-Chairman of Farfetch was launching a new venture capital fund supporting early stage start ups within the retail and tech hemisphere, my heart skipped a beat. I make no apology for being a fan of Massenet. As an entrepreneur and visionary she has changed the face of fashion forever.

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In 2000, the concept of using the internet to purchase the clothes you see in Vogue was nothing short of revolutionary. The arrival of Net-aPorter dragged both the luxury retail houses and publishers into the 21st century. We the consumer have benefited from her willingness to explore new territories, finding new solutions to enable consumer comfort. Next time you order your new pair of Jimmy Choos online – spare a thought for the pioneers who spent time and money working out the logistics to make that possible. At the time she stepped down from her role at the Net-a-Porter group, the group recorded net revenues of just under a $1billion. Many would have been content to retire with those accomplishments and accolades. But in February of last year she announced she was joining Net-A-Porter’s rival Farfetch in the capacity of non executive Co-Chairman. >

She supports its founder Jose Neves in his mission to grow the global brand. Speaking at an fdi event in London last summer, he too expressed a devotion for creating platforms that supports the artisan and improves the consumers shopping experience. This need for accessibility seems to be one of the driving forces behind Massenet’s latest creation Imaginary. The $75 million venture capital fund is focused on supporting early stage direct to consumer businesses. With her partner Nick Brown, Massenet is moving into the realm of sustainability as they both find new ways to utilise their hard won industry knowledge to support the next generation of entrepreneurial talent. By creating an ecosystem of new, eclectic and diverse ventures that range from fashion retail, food and beverage to lifestyle, the Imaginary portfolio begins to paint a picture of what the global economy could look like if more benefactors adopted this concept of looking to the future. “Online discovery and distribution platforms have made it easier to launch a business, but equally it’s made it even more challenging for them to thrive in the long term.” Massenet explains, “The businesses that will endure, will be those that build their strategies around an authentic understanding of their consumers and never lose sight of them as they grow.

This is at the heart of all the emerging brands, platforms and retail solutions that we are investing in.” The desire to create sustainable long term success in business – illustrates a mentality that is philanthropic at its core. Their ethos benefits not only the investors but society as a whole, as they supply the consumer with a wider selection of companies that have an ethical basis. Changing the culture of business from the root, by default changes the economy. Many are content to moan, complain and protest about the state of the global economy, others choose to invest in change. Just as Sarah Mower’s collaboration with Liberty’s in London provided a visual paradigm of what society ought to do in context to creating new spaces and platforms supporting the next generation; with Imaginary, Massenet looks to set a new trend. Once again, as with Net-aPorter, when the history books are opened on the pages covering those who redefined this new era in commerce, next to the name ‘Natalie Massenet’ will feature these words: “After she won, she changed the game”. [YJH, 2018]

https://imaginary.co/

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L to R Glossier, Appear Here and Heist are among the list of growing brands Imaginary has invested in.

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#WorkinFashion50 Isabella Macpherson

Co-Founder of Platform Presents

Isabella Macpherson Portrait by Rebecca Reid

YJH: Why did you launch Platform Presents? IM: Actress Gala Gordon and I founded Platform Presents in May 2017 to create a platform for rising star talent, with a particular interest in female voices. We are both fascinated by the craft of theatre, television and film, but also the need that exists in this incredibly competitive industry to give people a platform, so we decided

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without any blueprint to set up a production company that did just this. At Platform Presents we have been tenacious with our choices. We aim to work with incredible writers, like Pulitzer prize and Tony award-winning/Academy Award-nominated Robert Schenkkan, as well as talented young directors like Stella Powell-Jones, >

Gala Gordon, co-founder of Platform Presents featured 2018 production Blueberry Toast

and brilliant actors from rising stars Jessamine-Bliss Bell, Sebastian de Souza and Morgan Watkins to established talent like Zawe Ashton, Jason Watkins. For our last poetry gala, we enlisted Joely Richardson, Lindsay Duncan, Jade Anouka, Ben Whishaw, Tobias Menzies, Chiwetel Eijofor and Gemma Arterton to name a few. YJH: What would you say are the top 5 benefits of collaborating with a business partner on a venture such as Platform Presents? IM: 1) Gala and I can share the workload, learn from each other and from each project; we are interchangeable. We both read scripts (a lot of scripts!), meet actors,writers and directors, work with investors and manage marketing, PR and financials. 2) With a partner you can unite different skill sets. Gala is an actress, she therefore understands things acutely from that point of view, she is at the heart of, or the coalface of the whole process, and that gives us a unique understanding and empathy. I come from the point of view of producing, working regularly and innovatively with artists and funders, finding a budget, partners, venues and audiences. 3)There is a huge advantage to having two sets of eyes on creative work, and two voracious appetites for the best material out there. 4)With a partner you can debate and define your ethos and purpose, then work together to create. So for example, Blueberry Toast, by Mary Laws, touched upon current issues which we both feel strongly about: the dismantling of the patriarchy,

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domestic violence, cycles of violence, gun laws and female empowerment. A person to explore the important issues with is critical to ensuring you stay relevant, meaningful and impactful. 5) It is beyond wonderful, and important, to have a person to laugh with, someone to get very excited with. Joy and delight is at the heart of the process. YJH: What's next? IM: At the forefront is planning for our next Poetry Gala, taking place in January 2019. This year we curated an evening with thirty stars of the stage and screen, reading Love poems to raise funds for Help Refugees. In January 2019, our poetry gala with an array of brilliant actors reading will launch a prize for a female playwright, chosen by a formidable judging panel. The chosen writer will have her play produced, with mentoring. In partnership with ATG and their visionary CEO, Mark Cornell. Alongside this we are working on scripts with female writers we really believe in, and projects with theatres we’d like to work with. We are also very interested in the medium of TV because of the quality achieved now and its reach. We are reading various scripts – we get sent a lot – and developing an idea of our own. Instagram; @PlatformPresents

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#FTLadies

Photo: Silvia Pavoni, Courtney Fingar & Sharold Palmer

The Financial Times, isnâ&#x20AC;&#x2122;t just home to world class journalism and economic news. Itâ&#x20AC;&#x2122;s also a collective, a hive of energy and community spirit. Meet some of the women who inspired the @WorkinFashion motto:

#WeDress #WeWork #WeWin

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#WorkinFashion50 Courtney Fingar

Editor â&#x20AC;&#x201C;in-Chief of fDi Magazine/ Financial Times

YJH: How long have you worked at the FT? CS.F: 14 years exactly - I joined in November 2004 YJH: How would say your style has evolved as your career has progressed? CS.F: I don't think my writing style has changed enormously but it has evolved in some ways. I am perhaps less flowery, more confident and concise in my writing. However, as management responsibilities increase and our division of FT grows, I have less and less time for writing and in that respect it becomes a bit more transactional. It is all a trade-off. In terms of public speaking -- which is a huge part of my role -- I am more confident, polished and relaxed as the years go by. It's one good thing about getting older ... I guess it compensates a little bit for the downsides! My 'style' in terms of fashion isn't something I think a lot about, but it would best characterised as understated and that is something that hasn't changed over the years.

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YJH: What are the three things you love the most about your job? CS.F: The topic I cover -- foreign direct investment -- is interesting, relevant and important. The international nature of the topic means hyper-frequent travel, and while that certainly is difficult at times, it keeps things interesting and I've been to places I never would have otherwise. I've been on assignment to more than 80 countries now, from some of the world's most beautiful places to the most blighted -- all of which have impacted in some way or another. Third, I work with some amazingly talented, fun people, including colleagues featured here in these pages! Twitter @CourtneyFingar

#Trailblazers

#WorkinFashion50 Sharold Palmer

Head of Digital Publishing, FT Specialist, Financial Times

YJH: How long have you worked at the FT? SP: 10 years, 6 months YJH: How would say your style has evolved as your career has progressed? SP: Within my role, I'm not required to write articles, however, I do need to have a keen eye for detail, for content presented in either the written or visual form. Within digital production, the visual is equally as important as the spoken or written word and I need to be able to catch any errors/rectify any anomalies before they are published online and fossilised in video. Delivering polished, engaging and timeless video requires a detailed and creative orientated approach, which I have maintained, nourished and fostered throughout my time in the role

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YJH: What are the three things you love the most about your job? SP: My colleagues, many of whom I consider as friends (wouldn't trade them in if I was paid to!) the travel opportunities (visited nearly 40 countries) and the buzz (the collective energy that is present within our division and the shared passion for doing the best we can, with what we can). The energy, pride and passion in which we pursue the delivery of quality content, makes it a both a challenging, rewarding and satisfying environment to work in. www.thebanker.com www.fdiintelligence.com www.pwmnet.com www.thebankerdatabase.com www.globalriskregulator.com

#Trailblazers

#WorkinFashion50 Isabel Berwick

Work & Careers Editor, Financial Times

Portrait by Charlie Bibby / Financial Times

YJH: What made you choose a career in journalism? IB: I was incredibly naive in all ways when I left university. (I didn't know what lager was until I was 24!) I lived in a gilded private school/Oxbridge bubble and I wanted to be a journalist because I was good at English [and read English at university]. I got into a postgraduate journalism course at the London College of Printing [now LCC I think] by lucky chance - I had to do a grammar test and aced it, and they overlooked my lack of actual reporting experience -but once I got going on the course, I realised that the reason I wanted to be a journalist was because I am curious about people and interested in their stories. I always have been. it's the number one key thing that keeps you going. You can learn to write. You can't learn curiosity. YJH: What are the things you enjoy most about your work now? IB: I have just taken over a department at the FT Work & Careers, where we deal with everything to do with work: management, leadership, business education and MBAs, office life... We talk about the kinds of careers our readers are in now - and the ones our children will be doing in an AI-assisted future. So mostly I am enjoying trying to get to grips with that, and with being a manager again after many years. I've had something of a 'mummy track' career - I had senior jobs early in my career, then working three days a week for more than a decade when I had small children. What makes me happy is seeing that younger women having their kids now are not held back, even if they are working part time. There is much more flexibility and understanding that mothers' talent should not be wasted things have really changed for the better in so many workplaces, not just my own.

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I've done a bit of mentoring over the years and would like to expand that - I really enjoy talking to younger colleagues and hearing their perspectives. I am about to start mentoring a young journalist via a social mobility and diversity organisation - that's what fires me up now: if I can use my position and knowledge to open doors for others, I will. YJH: How has your style evolved ? IB: In my first job - as a reporter on the medical press - I went to doctors' conferences and had to interview GPs in their surgeries in far-flung parts of the country. I often borrowed clothes from my mother. This was the early 90s - not quite shoulder pads, but her clothes had big statement lapels and gold buttons. I was 25 and looked about 45. I made that classic mistake of thinking that senior, older people would only take me seriously if I looked like them. In the last five years I have thought about style more than in the previous twenty. Having teenagers helps, and I read Grazia and Vogue and follow interesting brands and people on Instagram. My natural territory is Toast and Cos and now Arket - but I am trying to go beyond that and find quirky brands. I think more about where the clothes have come from, and aim for better, but fewer clothes. My last trainers came from Veja, for example. And I love London's charity shops. The Mary Portas Living & Giving shops are brilliantly curated - especially the Primrose Hill branch which is my local. I bought two vintage Jean Muir cardigans in perfect condition last time I visited. My ambition is to be one of those stylish older women with a smart, simple look. It's a work in progress ! Twitter @IsabelBerwick

Functionality vs The Aesthetic #Archives(2016-2017) By Yasmin Jones-Henry

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What is Fashion For? On a crisp Spring afternoon, I made the executive decision to walk from Green Park Station to Oxford Street. For anyone who knows me – walking any distance that doesn’t involve getting in and out of a taxi is an achievement in an of itself. Nonetheless, I felt a sense of adventure as I pounded the pavements in the sunshine. ‘Finally!’ I thought to myself, after a complete lack of a work life balance, and an adolescence of living with my head inside the pages of the glossy fashion magazines – now was the moment I was both mature enough and fiscally endowed to appreciate what both Old and New Bond Street had to offer me. As I drew closer to the parade of shops I had been salivating over since childhood, memories of shopping trips with mother began to flood my imagination. As I started to come across familiar brand names, I remembered the frustration, the fussing, ‘my feet hurt’ ‘I’m hot’… ‘How much longer?’ that would accompany these Saturday expeditions. Shopping – or rather retail therapy was never my forte. However what I did enjoy, was the excitement of walking past the enticing window displays of Dior, Dolce & Gabbana, Prada – even the famed Russell and Bromley on the corner – would beckon me to waddle over and look at the ‘One-Day-When-I-Grow-Up’ Big Girl Boots. This, one could argue, was the purpose of visual display: Aesthetic and Functionality working in beautiful symbiotic harmony. With an institution such as the Royal Academy literally round the corner, Old and New Bond Street offered a rival type of exhibition to the aesthetic savvy eye. The colours, the fabrics, the composition – heck the juxtaposition of accessories in the shop windows taught me, even then, that what we consider to be art – transcends a canvas hanging on a crusty wall. For all my fidgeting at that age, I am grateful to my Mum for persevering in bringing me along to her shopping trips. In a sort of subliminal – drip feed manner she was educating me on a much broader world view. .LessonsMamaTaughtMeNo1: #YouAreWhatYouWear Don’t get it twisted, by bringing me shopping with her, Mater wasn’t trying to breed another shallow materialistic mongrel. There were/are plenty enough in modern society as it is. No. By bringing me with her, she was subtly instilling within me the rites of a hardworking, pioneer: To be the best – in life, it is not enough to be the best at what you do – you must look your best – at all times. Presentation, Presentation, Presentation

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The significance of the statement ‘You Are What You Wear’ lies not in the value of the garment – or the notoriety of the brand, but in the acceptance that whatever items you chose to put on – are an extension – a reflection of your character, innermost thoughts, tastes and aspirations. Right or wrong, we live in a society where people still make life changing decisions based on how another person appears. Jobs have been offered and withdrawn based upon how the candidate has chosen to present themselves at the interview. A year spent working in recruitment taught me that: to the prospective employer, a person that takes no care in their appearance is not ‘liberated’ as some might have you believe. They simply look care-less. Would you want a careless person representing your hard earned merchandise/services or brand? By the same token, as a well educated and eloquent black woman – I know full well that I must look like a ‘well-educated-and-eloquentwoman’ at all times, to avoid the odour of racial prejudice that still lingers the moment people realise – that the voice on the other end of the telephone – does in fact belong to a woman of my complexion. I owe my mother a lot, but this pearl of wisdom she gave to me at the tender age of 7 is one that I arm myself with everyday. The simple reality is… the only way to overcome such prejudice is to “Control Your Own Narrative”. By saying ‘you are what you wear’, what that statement is actually signalling is that – clothes – fashion if you must – is an extended form of selfadvertisement. A lot of fuss is made over designer brands. They are expensive. The presumption amongst the unwashed and uneducated, is that to be seen in designer gear – must translate as: ‘I am successful. I am wealthy. I have taste’. #Newsflash… hang on to your receipts – because in the real world this is not the case. Standing in Bond Street Station – waiting for a friend a few weeks ago I felt my blood boiling with rage as I watched a young woman as she stood next to me decked from head to toe in designer labels. I would refer to such a display as ostentatious, but this was a level above… Von Dutch Cap (so 2005!) Dior belt and matching handbag (could be a fake but these days who knows). Jimmy Choo knee high patent boots… and an i-pad mini and iphone to boot – oh and let’s not forget the trademark Chanel sunglasses. Needless to say I was witnessing a walking disaster. Yet this young lady summed up perfectly

how the ‘You Are What You Wear’ mantra has been misinterpreted by so many in today’s InstaAren’t-I-Perfect-World. My fury was not simply at her appalling dress sense. It was at the futility that now pervades fashion in the 21st Century. I see it all the time on the train on my way in to work; in Selfridges when I pop in to buy some make up or to browse the rails or worst of all… in the once revered glossy reference libraries that I admired in my childhood. You always see the same breed of parasite. Celebrating everything that glitters and has a brand name. Wearing everything that glitters and has a brand name with no notion of the legacy, artistry, enterprise and ingenuity that founded the fashion house they now claim to endorse. This brings me right back to the opening question: What is fashion for? My reason for establishing Work In Fashion as an initiative is based entirely upon this question. It is time to re-educate the masses on the meaning of ‘fashion’. Taken from the latin ‘Facere’ – the word literally means “to do or to make”. The wonderful thing about the human race is our power to create. We all have it and we express our creativity in different ways.

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I have said it before and I will say it again, I believe that everyone has a unique narrative. One that they control entirely with its different flavours, rhythms, textures and origins. As a curator of all things aesthetic and functional I wanted to create a platform that enabled others to share their narratives – independently of the censored – heavily edited and photoshopped storyline that is force-fed to the masses via the newsstands every month. You don’t have to be a size zero glamazon to subscribe to the Work In Fashion ethos. Come as you are but just remember this one thing: Jobs, businesses- commerce will come and go. Make sure you are a brand that lasts forever. Take care of your composition – and the message you are about to convey. You never know who is watching!

[END] (November 2016)

Photographs taken by Yasmin Jones-Henry (2016),featured in the Made in London Gallery on @WorkinFashion.me

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Abstract Impressions By Yasmin Jones-Henry

Abstract. Impressionism Definitions. Before I begin, I thought it best to begin with some definitions. It is easy to assume the meanings of these two words often used in isolation every day, but when they are juxtaposed to a canvas, as you can see below, the terms ‘Abstract’ and ‘Impressionism’ take on an altogether different life. The dictionary defines ‘Abstract’ as: ‘Existing in thought or as an idea not having a physical or concrete existence… Relating to art or denoting art that does not attempt to represent external reality but rather seeks to achieve its effect using shapes, colours and textures.’ The dictionary defines ‘Impressionism’ as: ‘A style or movement in painting originating in France in the 1860’s, characterized by a concern with depicting the visual impression of the moment, especially in terms of the shifting effect of light and colour… A literary or artistic style that seeks to capture a feeling or experience rather than to achieve accurate depiction.’ Exhibition or Exchange? I believe we are coming to the end of the celebration of the many frontiers that technology and the digital age have liberated.

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Through the internet and social media we can traverse borders, visiting almost every corner of the globe at the click of a button. A phenomenal feat, one that as 90’s baby – it’s the only version of the world I recognise. However, as a spokesperson for my generation, in keeping with our rediscovery of cultural relics such as vinyl, the time has come for us to embrace and appreciate the Analogue completely. It was relegated to temporary retirement. However in light of recent world events, my generation has suffered a rude awakening. A painful realisation, that this world we have constructed online can never be more than pixels. Nothing will ever beat the real thing. The tangible. Bricks and mortar. Flesh and bone. So, to all the charlatans who have pedalled my generation the false reality of ‘likes’, ‘statuses’ and ‘tweets’ – show’s over! It is time to for you to pack up your imaginary thread, and find a dark hole to sit in. I’m serving you notice. You’ve been served. With so much chaos swirling around the world is now really the appropriate moment for me to undertake such a crusade? The answer is a resounding ‘Yes!’ I’m doing this for the security, >

emotional and mental wellbeing of my fellow citizens. People, politicians – often wield a Damoclean sword over the Arts as a drain on resources or a waste of time. In the pages that follow I hope to show you, why from time to time, we all need to unplug, disconnect the wi-fi and breathe. #SmellTheRoses Two weeks ago after months of rescheduling due to work and other distractions, I finally went to the ‘Abstract Impressions’ exhibition at the Royal Academy (Burlington House) in London. It was a defining moment for me as a 24-year-old grown up, because the last time I had crossed over its threshold, I was a 7 year old, accompanying my mother to view the work of Claude Monet. For those of you who are keen art-lovers you may remember that once-in-lifetime exhibition (1999) as it presented his entire ouvre, everything from his early work to the wonderful water-lilies of Giverny. I will forever be indebted to my mother for taking me, by arming me with one of those handheld-phone-guides she was handing me the keys to unlock a whole new world. If ever there was a defining moment in my childhood, that was the moment I consciously fell in love with Art. I resolved even then – aged 7 with little knowledge of any other artistic movements, that I would be a life-long fan of Impressionism. What was is about Impressionism that was so important? Well – at such a young and malleable age – and being a borderline introvert, it made a huge impression on me, and my understanding of the world around me. It felt like I had been invited, granted exclusive access to a club, a private members lounge – where people expressed their feelings and articulated their thoughts through colour and brushstrokes. There was no need for words, complicated and convoluted speech. There the canvases stood before me, Monet’s work spoke to me – and I understood him perfectly. That’s the ‘tangible’ physical element that technology will never be able to translate. There is an exchange, a conversation that takes place between the artist and viewer, even after the artist has long departed from this earth. The marks they leave are like sound bites. They have captured the moment in a way that a digital camera would be rendered a blunt instrument in contrast to their brushes and paint. The journey from the genesis of a thought, evolving into fully matured perspective, shades andframes the image in a way that marks their work as unique as a finger print.

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The mechanical, physical movement of their brushstroke, transfers the feeling – their unique feeling, in that moment – to you the viewer. It is this fellowship, this communion that people crave, to converse. It’s what makes us human. The Conversation Aside from the fact that visiting art exhibitions can be a social and therapeutic exercise, my main motivation to visit this particular one came from my eagerness to see the works of Jackson Pollock and Mark Rothko in the flesh. You don’t have to be an expert to know that these two gentlemen were giants in the post-war cultural narrative. I had studied Rothko for a brief moment aged 13 during an RE lesson where to illustrate a point, the teacher referenced some of his pieces, in particular Gethsemene 1944. That painting struck a chord – one that I knew someday, armed with maturity and a greater understanding of the world, I would revisit. Fast forward to me aged 18, now at the University of Birmingham studying Classics – first module, first semester and scarily, first assessment. As someone who only studied Latin Literature at school, I felt as though I had been dropped into the Classical deep end, with no armbands or lifejacket for support. The assignment needed to cover a thorough analysis of ancient Athenian drama, Athenian Tragedy as an art form and Neitzsche’s theory of the Apolline and Dionysiac (order and discord in art – for those of you who have never had suffer the chaos that is Neitzsche’s famous ‘The Birth of Tragedy’). Well. As I said, this other, middle earth of western culture was all new to me. I consumed all the necessary data to complete the assignment – but struggled to translate any of it. As I trawled through the internet searching for an anchor, something to pin my argument to – BAM! There was Jackson Pollock. Order and disorder embodied. If ‘Frenzy’ was the buzz word my tutor liked to see when referencing Athenian Tragedy as an art form then ‘Frenzy’ he would get. At least now, perhaps, I thought to myself, as I scrolled through an album of Pollock’s work, I was able to see that perhaps Neitzsche wasn’t a raving lunatic after all. When he spoke of the two opposing art forms: states of the human mind when engaging in the cultural exchange that is expression – he spoke of chaos, the unbridled, uncensored raw human emotion, contrasted with the controlled, >

ordered harmony, that is framed and placed in its rightful context. Suddenly, looking at Jackson Pollock’s Blue Poles 1952 I began to decipher what Athenian Tragedy as an art form and Neitzsche’s theories on the matter, all meant to me. Pollock had provided me with an accessible prism to interrogate this hitherto foreign world, and while introducing me to the world of Abstract Impressionism, his art had given me the means to articulate my argument – helping me to secure my first first in any assignment. #Result #Ballin So you see, that experience taught me a valuable lesson in life: in a room full of philosophers, the artist will always win. They can communicate and articulate a point so effectively it can be both deep and succinct at the same time. Language is not a barrier, neither is age. All that you needed are your senses – to access and absorb its meaning. The More You Look Is the More You See The answer depends entirely where you stand. If the viewer is at a distance, or observing onscreen/ online then yes, what you see before you, is a violent chaotic tantrum. However it was not until I saw it – within touching distance that I could truly appreciate it. The base grey colour, the gradual layering of the paint… No. Every syllable uttered by that paintbrush was intended to convey a message. What that is, is not for me to say. I have my own theories, but that is part of the fun. Returning back to my initial point about this ‘exchange’ this conversation between artist and the viewer, Pollock leaves space for you to make up your own mind, about what you see. Perhaps that was his message all along. An Individual’s right to Individual thought. Eureka! I

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Until now, as in just now (while writing this), I couldn’t quite articulate why as I walked away from the exhibition down Regent Street, into the night, I felt a weight lifting from my shouldersFor the first time – in a long time I felt free. I remembered feeling the same freeness after seeing Monet. I remembered what it was to be seven year old again. Unaware of the pressures of social media, the confusion 21st Century politics or should I say ‘post-truths’. It was cathartic. I’ve missed that feeling. I wanted to savour it, and not just for the afternoon. Amidst the clutter and clamour of every day living in today’s digital age, at that exhibition I had found a moment for reflection and introspection, something that today’s social media platforms deny. Posting selfies, statuses about every random thought that enters into your head, worrying about ‘which filter’ for the picture of the meal you have just ordered instead of savouring the taste is exactly why institutions such as the Royal Academy are needed. The Arts – collectively represent a facet of the human existence that must never be colonised by the data demons. The Arts – art – exists to recharge the senses, to remind us amidst the mundane, that as humans, we think, we see, we feel. It is this analogue – human to human exchange that must never be sacrificed on the altar of technology. As I left the Abstract Impressions exhibition it dawned on me: The freedom to express oneself is not a human right, it is the purpose of our existence. To forfeit that, – now that would be the ultimate tragedy. (November 2016)

Fast Fashion You Buy Cheap You Buy Twice By Yasmin Jones-Henry

Our survival as a race has depended upon it. It has funded numerous empires and established civilisation as we know it. Trade and consumption. I’ll keep repeating that phrase until it is imprinted upon your memory. When you dissolve the long and convoluted definitions that surround the study of ‘Economics’, that is what it boils down to. The trade and consumption of limited resources. In fact if you want to take it all the way back to its roots, ‘Oikonomia’, as it was first coined by Xenephon (Ancient Greek philosopher) was literally the study of the Oikos – the home. His study denoted the transactions – every transaction the mother – (buyer in chief) made – was for the financial profit of her household. His objective in For years, the advent of the internet has renhis treatise Oikonomia, was to suggest this picture dered capable human beings into little more than of domestic hustle – whereby both the vendor and slaves to convenience. If something is easier to buy at the household benefit via mutual exchange – repthe click of a button, if something is dramatically resented the microcosm of an ideal state and cohecheaper – it is entirely logical that the market for fast sive society. fashion has also grown just as rapidly in recent years. Logical yes. Ethical?…Well not necessarily, and it is The Business of Fashion For business to be ethical (in other words fair) it the ethics of fashion – that I would like to discuss. Trade and consumption. Since the beginning has to be of mutual benefit to all parties involved. If something is made well, of good quality, proof time, these two elements of human interaction duced in decent working conditions: then accordhave underpinned the essence of human existence. ing to the current cost of the standard of living What is the use of buying a cheap coat? Ok so it only costs £10, as opposed to the £1,000 coat you saw in Selfridges. And yes it does look like a carbon copy, but will it last? My Dad always used to tell me during my profligate teenage years ‘If you buy cheap, you buy twice.’ He was right. None of the fastfashion items I bought during my teenage years have managed to hang on long enough for me to wear them now. Now I work, now I have bills to pay, now I need them. That was all I was thinking about then, ‘Now’. Like so many others, I was seduced by the fast-fashion retailers promise of ‘Now’. They deliberately didn’t want consumers like me to focus on what happens ‘Later’.

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(wages) and production, the law of economics dictates it will not, nay, CANNOT be cheap. It’s just the price of doing business. For any retailer to tell you otherwise, implies that somewhere, someone is being exploited or a corner is being cut. Whether that person is the poor worker in a sweatshop in the far flung corner of Asia, or whether that person is the consumer – fooled into buying an inferior product that will eventually need to be replaced (thus ensuring the consumer spends twice) – someone – somewhere is getting robbed. In ‘my first article Functionality vs The Aesthetic’ I took great pains to argue – that I believe fashion is not a close cousin of fine art, but one in the same thing. If we look at it through this prism, treat it with the same level of reverence as we do the masterpieces we see hung in the galleries, it becomes difficult to be as dismissive of the concept of ‘ethical fashion’. The heightened level of caution that comes with not wanting to be bankrupt while being fashionable opens one’s senses to a whole new dimension within fashion. The next time you pick up a garment, feel the material in your hand, consider for a moment the time and effort that was spent constructing this work of art. Take a moment to consider the craftsmanship. The stitching. The dye. The texture. What material is this made from? If its cotton, is it organic and pesticide free? When you try it on, what does it do to your silhouette? Does it compliment or insult your figure? How does the item make you feel? You see, if fashion is indeed art, then a transaction – must be taking place that transcends the price tag. In my last post ‘Abstract Impression’ I speak of an exchange – that takes place – an intellectual transaction that occurs between the artist and the viewer. Whether you are aware of it or not, these conversations are taking place everywhere all of the time – not just in esteemed art galleries. You are a work of art, with many characteristics, preferences, traits, textures and layers. What you choose to put on, to frame these elements, will ultimately be a reflection of the sum of your character. Whether you realise it or not. #BuildYourBrand Why should you care about this? The ‘function’ of fashion – as a concept and an industry is to help you, the individual consumer to ‘build your brand’. That means, to find, curate and display on your person – items that you feel represent you and your tastes. Hold that thought. Do you want to be associated with ‘cheapness’ ‘poor quality’ ‘slave labour’, ‘exploitation’ and ‘unethical means’? Well that is exactly what is emitted when you choose the ‘fast fashion’ option.You might not be the owner of the sweatshop, but it is your money that is keeping the lights on, the wheels turning and subsequently

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the whip lashing in the abusive cycle that has made ‘fast fashion’ possible. I see it every time I walk through the West End. As I draw closer to Marble Arch, I see more and more paper bags with the notorious label of a budget brand (who I won’t name and shame) emblazoned upon them. Now let’s be clear I am not here to judge, I know only too well that when times are hard the cheaper option often feels like the only option. However, it worries me, when I see the floods of people pouring in and out of such ‘fast fashion’ retail stores, rabid in their search for a bargain, at just how little human suffering, matters – truly matters when they have been seduced with convenience and cheapness. This brings me back to my original statement: ‘If you buy cheap – you buy twice’. What is perceived as a bargain – is in fact a myth. In order to produce the items at such a low cost, cheaper materials must be used in addition to a cheaper (poorly paid) labour force. The outcome is that the end product – despite the sexy advert – is inferior. Prolonged usage will result in dramatic degradation – causing a necessity for the item to be replaced. Who really benefits in this transaction? The consumer? I think not. #Invest #Invest #Invest Pater was only trying to make me business savvy about my wardrobe. As part of my wider education, I was being encouraged to treat my wardrobe as an investment portfolio. Real works of art, do not come cheaply nor should they. The same applies to fashion. Each item you purchase, consider the process that was undertaken to deliver it to you. Has fair and ethical trade taken place? The next question you need to ask yourself is will it last? If you are going to spend any of your hard earned money on anything – let it be worth your while. You may find that you spend more, but buy less as a result. But do not be perturbed. Woe to the profligate heavy-laden with shopping bags. What’s fun about fashion, is that when you purchase an item, it should be a privilege to be able to take that work of art home with you. Each time you put it on, you will appreciate the love and the care that went into every sketch and every seam. You will remember that both you and your money in exchange for the item, played a vital role in the trade and consumption model. By resisting the temptation of cheap counterfeit goods, you have ensured that neither artist nor manufacturer will go hungry. Considerate, careful, charitable, – ethical. Fashionable, fair and sustainable. These should all be adjectives that people associate with you when they see you. It is your responsibility and that of your credit card – to see to it that this will be the case. [END] (December 2016)

As I write this, there is a syringe filled with ‘Hyaluronic Acid’ amongst a plethora of other chemicals too long to read and even longer to type, sat on my desk. I did not request this item, nor did I purchase it. It was handed out in a London department store to passers by – for free. Yes folks, free chocolates, free perfume samples and now… free fillers. No this is not a prank. This happened on Wednesday 5th April 2017. This is real. At first – my immediate reaction was to rant. Thrash out a searing piece of polemic. Name and shame the brand and store in this act of treachery, and scorch the earth (figuratively speaking) that they are standing on. Alas, what a difference 48 hours and several cups of tea makes. There is something inherently ‘British’ in keeping calm, but in this particular instance, I cannot carry on. We cannot carry on, sitting idly by while a dark force is at work. It has no name, no official body or collective, but it is real nonetheless. It sets about dismantling self confidence, destroying all traces of self-esteem and usurps a person’s right to self determination. That, after much reflection, is who – or rather ‘what’ I have come to wage war upon.

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A bold statement, yes, but a necessary one. I don’t need any hashtags, filters or celebrity endorsements to make my case. This is personal. I am a survivor of both Anorexia Nervosa and Bulimia. Before you all clutch at your pearls in horror, note the key word in that sentence is ‘survivor’. I was fortunate enough to emerge from that illness – with my life and my sense of hope in tact. Others have not been so fortunate. It is for them, and the generations that follow why I am compelled to speak. This battle that we all face – on a daily basis is not a physical one, but a psychological and spiritual one. It starts with your mind and leaves with your soul, if you do not safeguard yourself from the aforementioned forces at work. So, this syringe is symbolic. It represents a physical representation of what is wrong with our society in 2017. Someone, somewhere – thought that handing out an instrument filled with toxins, designed to disfigure and distort a person’s natural features, was a good idea. Elsewhere, we have a consortium of ‘influencers’ online who flaunt their own plastic faces, bottoms and other body parts for eye-watering sums of money.

The overriding message that is broadcasted to the unsuspecting and impressionable mind, is that they are not, in their natural state: sufficient. Instead of photoshopping or cropping a picture, people have now regressed to literally editing themselves – via their physical features. While they commit to this project – they are simultaneously leaving themselves open to a world of health risks and life threatening illnesses. Why? Who decides what features are ‘in’ or ‘out’? As a young woman of West Indian descent I find it absolutely hilarious when I walk into Selfridges and see those ‘braiding booths’ peddling old school cornrows to public school girls for £20. It is almost comical when I scroll through Instagram and see numerous tutorials illustrating, how to ‘grow your own bottom’ – when only a century ago – a woman of colour’s curvaceous silhouette, large posterior and full lips, were regarded among the staunch imperialists and white-supremacists as flaws, evidence of biological and social inferiority. I kid you not. It made for painful reading during my Literature degree when I had to read endless 18th and 19th century notes on ‘physiognomy’. If you don’t believe me look it up! – So, you see, in light of this complete change of heart, from objectifying and rejecting to fetishizing a black woman’s body – I find myself seething. The effects of such ‘trends’ permeates and resonates much further than people care to admit. Stroll into any black hair and beauty shop in London and somewhere on a shelf – you will still find multiple variations of skin bleach. Likewise, if I were to walk into any major pharmacy franchise, I will find an aisle of similar proportions stacked with ‘self-tanning’ solutions. The women of colour strive to be lighter and whiter, whilst the women of the fairer complexion, strive to be darker. Can you see the confusion? Add the recent Kardashian induced obsession of feeding off of the carcass that is ‘black culture’ big butts and all, you will see a very chaotic picture beginning to emerge. #Diversity I was born in the 90’s, so I am sick to death of hearing the empty – politically infused term ‘diversity’, because when I look around, contrary to numerous governments’ policies, it still does not exist (in the mainstream). People are still, not permitted to live, embrace and enjoy their unique individuality without fear of being rejected, discriminated or excluded from the wider cultural narrative.

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While on the surface – public figures preach the sermon of diversity – they are complicit in applying the pressure for the ‘plebs’ to follow consensus – whatever that consensus of the day may be. It is a sinister form of mind control and a tragic state of affairs. That syringe represents an invitation to tamper with nature’s perfect form. Mankind is still in 2017 trying to impose, nay, usurp Nature’s Way. I do not judge anyone who chooses to use fillers, nor am I criticising anyone who makes the personal decision to undergo plastic surgery. What I object to, is the open and brazen subliminal messaging that is being sent across the airwaves and through screens, that we, in our natural state are not enough. For me, growing up ‘Black’ and ‘British’, with (despite my darker complexion) mixed heritage – meant that I never truly felt as though my face ‘fitted’ anywhere. At school, the Africans would refer to me as being ‘quarter-caste’ or more bluntly as a ‘slave baby’ in reference to my West-Indian roots. For those of you who do not know, it was a direct reference to their presumption that in being mixed my mother was half white (she is not, – she is a mixture of Cuban, native Indian, Scottish and English – all of which found their way to Jamaica) it was also a cruel reference to the reality that during slavery – in the Caribbean most black female slaves were raped by their white masters. The inference there was that as a probable descendant, I was somehow tainted by that reality. Add to this toxic brew, the fact that despite having a mixed background I was often dismissed for being ‘too dark’ – as though nature had made a mistake when it was blending my skin colour. The politics of envy – is another plague that has ravaged British society. During my childhood I constantly felt conflicted and was often berated for the fact that my parents chose to send me to public schools. Being ‘above yourself’ or rather, having aspirations of a better life, is treason to crabs who live in a barrel. I could go on with a long list of examples involving hair (big issue amongst black women), university etc but ultimately the point I am trying to illustrate – is that before I was even 15 – I was having to wrestle with the reality that in life, I might never be fully accepted anywhere. It felt like I was not enough. I know I am not alone in this. And believe me, this feeling of not fitting comfortably into the space that ‘convention’ has assigned you is in no way exclusive to race. This is entirely a social construct. A social ‘prison’ if you will. The point is, or rather the question is, who decides what is ‘conventional’ or not? >

Contrary to popular presumption about eating disorders, mine was not induced by my interest in fashion – or any desire to be thin (although I do acknowledge that is a popular diagnosis amongst others). Looking back at the year I turned 21, the fateful year both disorders attempted to take my life, my illness was brought on by fatigue and stress. When you wrestle with your insecurities alone for an extended period of time, mix in the deadly concoction that is the fear of expectation and approval, coupled with pure exhaustion – simply from fighting for the right to be your own person – it creates a toxic mix. For me – it made itself manifest in a loss of appetite, sleep deprivation (I slept very little if at all for 9 months) and a whirlwind of self doubt. Left unchecked, this corrosive mixture can lead to multiple suicide attempts as one’s brain slowly loses grip on what is real, and what is true. First, Love Yourself To esteem something – in the English language, means that you must consider it to be of high value. With that being said, if you had something that was of high value, precious and irreplaceable, would you leave it in the hands of a complete stranger – who does not have your best interests at heart? Would you surrender it in exchange for something that is intangible and unattainable? Have you ever heard of the saying that ‘you cannot please all of the people all of the time’? The meaning of that sentiment is that it is futile to try, because there will always be someone, somewhere, who for their own reason chooses not to appreciate what you have to offer. With that being said, I hope now, you can see why I say that the world, is not enough. The world’s approval did not create you, therefore it cannot sustain you and has no place in altering the way you choose to see yourself.

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@WorkInFashion.me, was designed to be a movement. A rebellion of sorts against the tyranny of censorship, mind control and convention. The right to self determination – is a fundamental human right. From self determination stems creativity, freedom of thought and genuine diversity. It is what I am writing for. It is what I will always fight for. That syringe, represents a gateway, to a parallel universe where an unseen figure, instructs the unsuspecting victim, that they are not enough. That they are not of value. No, my dear reader. My eureka moment came, when I realised, that we are more than enough. It is the rest of the world that lacks the discernment to appreciate our worth. The real war for humanity is not fought with missiles and guns. It starts and ends with the mind, and its thought process. Take the time to know thyself. Understand what makes you ‘you’. Be sure of what you think and believe and stand firm in it. What is your unique style? When you have established it, wear it with pride. #WorkInFashion was never about the clothes. I created it to celebrate the champions – who happen to carry themselves with style.

At @WorkinFashion.me we care about your mindset. Be free, but most importantly, be you: because only then will you truly know what it is to #dress, #work and #win! (April 2017)

Note to self...When Courtney Fingar texts you on a Friday night and asks if you “fancy going to a Russian’s Karaoke-Birthday party in Notting Hill tomorrow?” – always say yes. That is precisely what I did. My reply was simple and concise: ‘Yes’. Why? I hear you ask, because you never know who you might meet. Just as the party was heating up, the barbecue was going and the wine flowing, a petite, blonde lady – carrying this gold, leather clutch bag tucked under her arm, began making a beeline for the door. As she was saying her goodbye’s the person I had been talking to could see my eyes were drawn to the bag she was holding. So much so, I had actually lost track of what I was saying. “Oh, go on!” my convobuddy laughed as they conceded the battle for my attention had been lost to a gold clutch-bag. I walked up to the owner, shook her hand and the rest, as they say, is history! So, allow me to introduce you to Riikka Juva. Entrepreneur, Mother, Wife, Fashionista and fulltime activist of sustainable fashion. She is also the Managing Director and Founder of the new – and much celebrated eco-friendly brand Taikka. They are one of the first to deliver the exciting new prospect of eco-friendly, sustainable, vegan-leather: Pinatex to the general public. Yes. The bag I had thought was leather, that felt like leather (she allowed me to hold it, stroke it and caress it if only to pretend for a nano-second that it was mine) was in fact made out of discarded pineapple skins. ‘We launch May 8th,” she explained “what you are looking at is an exclusive”. After we had followed each other on instagram (and exchanged emails) I vowed that the next edition of ‘

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WorkInFashion Presents’ would be all about Taikka. So here it is: The Story “I love London,” Riikka explained as she handed me my cup of coffee. “Raising children in London is so much fun because there is no fixed way to do anything. It’s… It’s…” Cosmopolitan? I can finish her sentence, because as the grandchild of West Indian immigrants, born and bred in North West London, I know only too well what she means. London is the city that just keeps on giving. Whatever the political party of the day, the fact remains, just as it would have been at the turn of the 16th century, London attracts all sorts from all corners of the globe. Artisans, musicians, traders, diplomats, writers and academics: London has long been a multicultural hub. As a city, it creates its own organic aesthetic. It was this, Riikka explains, that she wanted to capture in her latest collection for Taikka.>

Sat in front of me on the coffee table, was the gold clutch that had first caught my eye at the karaoke party. Beside it lay another, equally striking clutch bag. Black, distressed leather-like finish, with gold studs for the more subtle but equally edgy palette. There is no getting away from it, the sustainability aspect guarantees the sleepless nights will be kept at bay after purchase as you will rest safe in the knowledge that no one was harmed in the production of these ecofriendly accessories. But ethics aside, these are genuinely beautiful bags. To hold, to look at, to carry and to wear. While I do preach that Fashion needs to be ethical, it should also be fun. If these bags are anything – they are fun. Functionality vs The Aesthetic Yes. We are back here again. As you know when I approach fashion, I never venture far from these two tangents when examining a product or looking at a concept. “Is it functional?” and “ Is it aesthetically pleasing?” are the first two questions I always ask. For those of you who arrived here via my article “Functionality vs The Aesthetic” you will be well versed in the @WorkInFashion.me manifesto that reverts back to the Latin for its definition of fashion. Taken from the Latin ‘Facere’ meaning to ‘do’ or to ‘make’ I am a firm believer that if the item in question is to qualify as being a part of ‘fashion’ – it must be made for a reason, it has to have a function and serve a purpose. So you can imagine my quiet satisfaction at hearing Riikka explain that her motive behind establishing Taikka stemmed from her desire to create a practical bag for women – that was both functional but also attractive. “Women have multiple roles. Work life, home life, Motherhood, business… I wanted to create something functional that could be carried

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Looking down at the black clutch with the gold studs, eyeing up the various different night clubs, dinners, summer parties I could take it to, I could see clearly that she had achieved what she had set out to do. “A customer contacted me the other day to say thank you. She said she was able to put her ipad inside the clutch, and could carry it into meetings with her. What had been bought as an accessory for an event – doubled as a mini briefcase for work. I was so happy to see it being used in this way.” Riikka beams as she watches me then take my own i-pad and test to see if it fits. Plenty of room. I looked down at my own briefcase, back at clutch and back at my briefcase again. If I could trade I would have done in an instant. The clutch bag had enough space for an ipad, some make-up, a small umbrella and a lampshade. No ok. No lampshade, but even the au-pair who is famous for having the magic holdall would be impressed with this bag. Functionality covered, let’s get to the aesthetic. So, it’s not without reason that when you mention ‘eco-friendly’ a cynical eyebrow often raises itself in doubt. In so many cases designers have often had to compromise the aesthetic for the sake of sustainability. With Taikka that is a dilemma they will never have to worry about. Aside from looking like real leather – even when up close, their bags feel like real leather too. Another fun factor of fashion is not just the visual joy at the aesthetic harmony – it’s also the feel. Texture plays a big part in why people invest in fashion. They like the way an item makes them feel. This is important. The senses stir emotions. Almost like a drug, if something feels good, it triggers a chemical in the brain that makes us happy. Cashmere, Velvet, Leather… all affordable substitutes for a simple high. In this instance, the Pinatex technology used to manufacture these bags, has an equally comforting feel. You will find yourself stroking it. It compels you to. The bag with the gold finish in particular, toys with the imagination as you know it is not leather but its smooth, waxy soft texture gives way in the same way that expensive leather does.

What else? Oh the brand. So, as I mentioned earlier the founder, Riikka is the heartbeat of this brand. Her energy is woven into every seam.

As she recounts her numerous heated conversations with various factory owners in discussing the importance of precision, quality assurance and a reduction of waste, when manufacturing her products, her customers appreciate her attention to detail. But she does not act alone. The brand is a joint venture between Riikka and her close friend Mia who is based in Australia. Like the city from which the idea sprung, this is a brand that is built on diversity. Riikka’s Finnish roots champion sustainability, consumer and manufacturing consciousness, but at the same time, the bags themselves feel like they belong to warmer climes. Both features ensure that the Taikka bags will blend in beautifully on any London high street: whether it be Shoreditch or Sloane Street. “I throw the ball, but Mia catches it, she runs with it, and she helps to make the idea ‘happen’ – the only person I know who can do that” Riikka muses. The chemistry between the two women is manifest in the product itself. What started out as an idea, turned into an experiment, found its way into a conversation at the school gates and boom! Taikka was born. It’s not hard to see why Taikka attracts so much interest wherever it goes. It is made from pineapple skins – but from pineapples that were not grown for manufacture, but are a bi-product of the existing agricultural trade in fruit. Riikka informs me that approximately 21 million tonnes of pineapple skin is wasted every year – the Pinatex is a bi-product of this waste. Produced in the Philippines, the world’s largest pineapple producer, no over-farming is necessary, the soil is not exhausted to satisfy a couturefiend’s habit. Being made from natural substances – means it is biodegradable. It will return to the soil from whence it came – free from toxins, evil dyes and poisonous glues. Friendship is a beautiful thing. So is the symphony that is created when it is combined with an ethical vision. Affordable, fairtrade, fun, functional and beautiful – I could talk to you about Taikka bags all day. But I won’t. The moral of the story is this:- always say yes to karaoke parties and don’t be afraid to try something new. Check out the new range of Taikka bags now. [End] (May , 2017)

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Portrait by Ellie Porter (2017)

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Citizens of Hope: The World Refashioned By Yasmin Jones-Henry

I built @WorkinFashion.me to talk about hope... As some of you will know, I came up with the idea and the name for ‘WorkinFashion’ while sitting in the canteen on 6th floor of the Financial Times during a lunch break. I was at a crossroads in my life, where for the first time in over 3 years, I was beginning to see daylight. A lengthy battle with depression, anorexia and bulimia meant that the first four years of my twenties had been an uphill struggle and an ultimate test of endurance. The feeling of overwhelming gratitude

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that consumed me, as I looked out of the window at London’s haphazard skyline, brought me close to tears. For the first time in a long time, I began to hope for the future. I began to believe in my future. I had genuinely forgotten until that moment, what hope actually felt like. You see, when you have been locked in a prison, be it physical, psychological or spiritual, for an extended period of time, the first moments that you taste freedom, are the sweetest moments in life. You get to see and feel the raw beauty that is in life

before it turns grey with the monotony of stress, work and worry. Now that I had found it, I refused to let it go. My mission is not only to savour it, but to find multiple ways to bottle it and share that hope with as many people as I can. Why do we need hope? That is a rhetorical question. Life without hope isn’t life at all - it’s a form of purgatory. Trapped, oppressed, depressed, tortured, suffering and in constant pain (from my own experiences) - that is what life without hope feels like. Hope is freedom. Freedom makes way for hope. The world is losing sight of hope. Whatever corner of the planet you choose to call home, everywhere you turn, on every news channel, in every newspaper you will read stories of heartbreak, desolation and death. I grew up in London during the mid 2000’s when knife crime and gang violence were such that it left most of us fearful every time we ventured outside, waited at a bus stop, boarded a train or wandered into a postcode that was not our area. I was heartbroken to see that having fled the capital aged 18 to attend university far away from home, I had returned to find the state of my hometown in a far worse condition than when I left.. With the added threat of terrorism, the challenges of economic uncertainty and the fragility of global peace – the government loses efficiency with the ever mounting battles it has to fight. Hate crimes have risen. Violent crimes are on the rise. Homelessness is on the rise. It is impossible to walk anywhere in central London and not see some poor soul stooped in a doorway. The literal action of having step over the homeless sat on the steps of London Bridge station on my way into work at the Financial Times every morning, where I would then analyse global banks and the general wealth circulating the planet was a deeply disturbing experience. It forced me to ask – why? Why does a city that has so much wealth, contain such poverty. Why do we wait for the government to solve our social problems? Surely their priority is to maintain law and order. Surely – if we the people care – that should be sufficient. London is one of the wealthiest cities on the planet. Despite Brexit and multiple political melt

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downs, London remains the financial capital of planet Earth. So with so much wealth in our city, why do we not do more? Wherever hope has been abandoned, throughout history we have seen a correlation between hopelessness, crime, exploitation and suffering. As more young lives are lost – it is clear that not all victims of crime are gang members or criminals. Mental health has had some positive PR in the media recently, but with suicide rates on the rise, the loss of hope is the epidemic that poses the biggest threat to human life. Our society is under siege. Dark forces are at work. I simply wish to ask, who is ready to stand up and safeguard our freedoms? Who is willing to be an ambassador of hope? My parents taught me as a child that, ‘those who know better - must do better.’ Aged 25, I can now testify that I understand what they mean. The internet has bred a colony of trolls and armchair critics who have mistaken posting a comment – with activism. To genuinely effect change, we have to actually ‘do’ something about it. Complaining about crime rates won’t change the statistics. Healing the wounds in our society using our humanity is the only cure. What I am talking about is divorced entirely from politics. It transcends political divides. Kindness, decency and fairness can never be monopolised by a political party, no matter what they put in their party manifesto. The only people that can effect real and genuine change in any community – is the community itself. The subtitle: ‘#Wedress, #Wework, #Wewin’ speaks of a collective assembled and mobilised, actively seeking to improve their world and succeeding in their quest for success not only in their own lives but in the lives of their peers. BuildYourBrand : CreateYourLegacy Whenever I talk about ‘fashion, I always revert to the Latin. Fashion, in its purest form means ‘to do or to make’. From its original appearance as the word ‘facere’ we get words such as ‘manufacture’, ‘factor’, ‘facility’ and ‘facilitate’ all orbiting the underlying principle that resides at the heart of creative power. Hope inspires creativity and creative power produces hope. The endless possibility that creative power combined with faith and imagination secures is worth celebrating.

No matter how dire your circumstance, the knowledge that in some way, somehow, you posses the power to create a solution is where hope begins and never ends. The principle that you may not always control your ‘circle’ but you can always control your ‘stance’ was a lesson my father taught me aged 14 during his many lectures on the journey home from school. When dealing with circumstance, the power, he explained, ultimately rests with you. Irrespective of what goes on around you, you must always retain control of your thoughts and your attitude. Attitudes shape a person’s outlook – the perspective they chose to adopt can change everything. What was a problem becomes an opportunity. What was once deemed as failure becomes valuable life knowledge. It’s all about Perspective. @WorkinFashion.me was not simply built to change the way people perceive fashion, but to change the way they perceive themselves, their own personal abilities and what they think they are able to achieve. We all have our own unique narrative. As a millennial, I can testify that we live in a society where we have been conditioned to abandon independent thought while looking at ourselves, measuring ourselves and moulding ourselves through the prism of public opinion.

I have always maintained that fashion is also a form of self advertisement and self-expression. With this in mind, this website provides a service in its purpose in provoking the reader to reconsider, revise and reclaim control of their own compositions and their own style but also to be mindful of what values they wish to uphold. These are the elements that form the narrative in a person’s life. This is what creates a person’s legacy. I am under no illusions. Hope saved my life. If it saved me, then I am certain that it will save others. I am a passionate advocate of ethical fashion and I have been since childhood. As the child of artistic parents, I have seen firsthand the suffering that occurs when heartfelt efforts have been exploited. For me, ethical fashion is about so much more than conversations about organic cotton, or whether an item has the fair-trade logo on it. Ethical fashion represents the physical manifestation of a set of values that guarantees that people will not be exploited, that the workers’ lives are worth more than the cost of their labour. It reflects an ideology that facilitates and manufactures a world, where everyone works and everybody wins.

Whether it’s likes on Instagram, comments on Facebook or retweets on twitter – an entire generation has been deceived into seeking validation outside of themselves. They have become actors on someone else’s stage, reciting lines from someone else’s script. We are watching a tragedy unfold before our very eyes. Functionality & The Aesthestic I am a genuine lover of art and all things involving the aesthetic, so I believe that human life itself is a work of art and a thing of beauty. It is up to us to decide what compositions we will create. This is what excites me. This is what gives me hope. The realisation that in some way we have a duty to leave behind some beauty in this world, is an invitation to believe in hope and to believe in your own creative power. You want to win at life? All confidence is borne out of hope. Faith is borne out of hope. Imagination is the brainchild of hope. Hope makes everything possible.

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My name is Yasmin Jones-Henry And I am a Citizen of Hope. (December, 2017)

#CitizensofHope

@WorkinFashion.me/Store

Proceeds from the sale of his collection will be donated to the House of St. Barnabas, London. For further information, visit: @workinfashion.me/store

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#Gallery

A Year in The Life By Yasmin Jones-Henry The beginnings of @workinfashion.me, emerged out of my time working at the Financial Times in London. 2016 was a transformative year for me, it was the year I reconnected with friends, rediscovered my passion for writing, but most importantly recovered from a long term battle with depression and anorexia nervosa. Here is a selection of the photographs I took over the course of that year. #throwback to the journey...

#EarlyMornings #WheresTheTrain #TFLPleaseDontMakeMeLate

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#Gallery

#AndThenTheRainCame #SomeoneCallMeATaxi

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#Gallery

#HOMETIME

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#BlessedToSeeAnotherDay

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#Volunteer #weekendvibes #MyWindowDisplay

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#Gallery

#Birthday #work #love

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#Gallery #cultured #SouthKensington #London

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#Gallery

#harrods #LondoninTheSummer #vibes

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#EmpireStrikesBack #RoyalExchange

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#Gallery

#ThanksForMakingMeDoEconomicsDad

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#ILoveYouLondon

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OUT NOW Visit www.i2musicgroup.com to PREVIEW single Follow on Instagram: @thesoundprinciple Twitter: @ErrolMHenryTSP Facebook: @i2MusicGroup

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With Special Thanks Financial Times Courtney Fingar Sharold Palmer Isabel Berwick Kesewa Hennessey Amanda Shipley Sabine Zetteler & team, Zetteler PR Lucy loveless, Imaginary Isobel Peterson, Milltown Partners Ella Ritchie, Intoart Amaya Ducru Clouthier & Ines Olaechea, 85 Paris Liza Echeverry Sophie Goldzstejn, Heritier Freres Kitty Dinshaw, SubjectMatterArt Olivia Mansson & Lily Edwards, The Maiyet Collective Hannah Rood, Zoe Communications Kat Ashton, The New Craftsmen Sanja VukeliĆ&#x2C6;, SDress Claire O Neil, Mind Charity Rikka Juva Dr. Carmen Hijosa Sarah Mower MBE Orsola de Castro, Fashion Revolution Emma Willis MBE Oliver Wayman, Bottletop Amy Powney, Mother of Pearl Nick Spensley, Mother of Pearl Kate McGuire, The Converted Closet Isabella Macpherson, Platform Presents Nika Diamond-Krendel, Paradise Row Rebecca Myers, Black PR (Mashu) Jordan Robinson Samuel Davies Nisha Sivanathan Errol Michael Henry & Jacqueline Jones-Henry

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#BuildYourBrand

#CreateYourLegacy

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