Check out the range of talks and discussions this week, treatment there is a chance to vent some anger at some cops in a more legitimate manner than normal as well as plenty of events pushing for action on a deal at the Copenhagen Climate Change Talks.
Architecture and Climate Change – The Sustainable City
Tuesday 3rd November 2009 ?
Acclaimed architect, treat planner and former Mayor of Curitiba, sale Jaime Lerner, discusses his visionary ideas concerning cities and their future. Lerner’s talk will look at design in structuring urban growth as well as focusing on the importance of public transportation as well as engaging with some of the key issues affecting the built and natural environment now and in the future.
Fast Facilitation – An action-packed taster course
Wednesday 4th November 2009
Getting a group together focusing on environmental issues in your neighborhood, or looking to take a new role in a discussion group? This course is suitable for people with little or no experience of facilitation. This course aims to help you design, facilitate and evaluate meetings or workshops that engage and include all participants effectively in order to achieve desired outcomes.
Establishing a food forest: the Permaculture way
Thursday 5th November 2009?
An inspiring and practical film from permaculturist Geoff Lawton about the potential of permaculture forest gardening to design abundant human ecosystems. Part of a programme of film and events to accompany C Words: Carbon, Climate, Capital, Culture – an exhibition by artist-activist group PLATFORM and their collaborators.
Met open discussion about policing of the G20
Thursday 5th November 2009
The Met police will be hosting a public meeting about policing of the G20 demonstrations, chances for people to vet their anger, frustration or glee at seeing protestors get beaten up. The police will be answering questions and making sure the media see they are taking some initiative, although I’m sure continuing their oppressive tactics away from the spotlight.
Time: 9.30am – 12.30pm
Venue: London’s Living Room, City Hall
Climate Emergency Copenhagen forum
Saturday 7th November 2009
Looking everything we need to do to stop climate change in it’s tracks, 10% cuts by end 2010 and the case for emergency action. Creating a million climate jobs by end 2010, decarbonising our transport fast and looking at the Copenhagen talks, and the deal we need and the deal we’re likely to get. Plus plenty of workshops on the day.
Venue: South Camden Community School, Charrington St., London, NW1 1RG
?Time: 12 – 6pm
Website: www.campaigncc.org
Put People First G20 Counter Conference
Saturday 7th November 2009
The Put People First G20 Counter Conference will bring together academics, activists, campaigners, unions and policy makers to debate alternative policies to promote jobs, justice and a safe climate. Following on from earlier this year, where we marched in our tens of thousands to demand the G20 Put People First. However, we’ve seen nothing but a return to business as usual.
Bored with lazy Sunday afternoons? Why not go down to Green Sundays at the Arcola Theatre and explore environmental issues in a relaxed and chilled out manner? The event provides an opportunity for like-minded people to get together to learn about the planet while listening to live world music, film, spoken word, games and discussion.
Installed on the ground floor, drugs the silent sewing machines of Nations are stacked three feet high, unhealthy spinning threads tangles and pools between the machines. The flags of those included in the UN hang from each poised needle. If able to match each flag to the correct country would the viewer see who is excluded from the UN and question on what grounds in today’s society a country is judged for their eligibility to join?
In terms of the textile manufacturing no country has a clear conscious that they have not broken the charter of human rights with regards to the treatment of employees. The exhibition refers to the impact of globalisation; as located within NS Harsha’s words (with thanks to INIVA’s excellent website) “This work took shape after my visit to a local small scale textile factory in which I personally experienced the realities of ‘human labour’. Hierarchies and exploitation are part of today’s global economic order. Nations engages with these socio-political complexities and cultural entanglements.”?
The exhibition is suggestive that as industry is now global, it is not enough to look after one’s own population, by choosing to outsource globally, the boundaries of countries disappear.
Due to the women’s request the film silently traces their steps through the disused building, still occupied by the remains of their industry. Their passage through the space is occasionally interrupted by archive footage of the Taiwan textile boom, the noisy interruption highlighting those abandoned in the aforementioned search for ever cheaper labour.
The women of Factory are physical reminders of those all over the world, whose quality of life has come to depend on the presence of the textile industry within their country. It’s time that these employees were treated to the rights we so often take for granted whether it is something as simple as a lunch break or as fundamental as a living wage.
The exhibition asks us to question both our reliance and ignorance of outsourced workers at the same time as questioning our knowledge of political intricacies and deals made by the UN that effect relationships across the world.
The Headonsim exhibition is hidden in the Embankment Galleries on the lower ground floor of Somerset house, medicine behind the BFC tent. I’ve been down there twice, once on Thursday and once yesterday – and both times it seemed very under attended. Actually, all the exhibitions around the scrum of the registration area seem very quiet but they are all well worth a look, even if it is just to take a closer look at some of the collections as I did upstairs for Louise Amstrup.
Curated by milliner extraordinaire Stephen Jones, the Headonism exhibition is all about the hats and is the only section of London Fashion Week to do so. There are only five exhibitors: J Smith, Little Shilpa, Noel Stewart, Piers Atkinson and Soren Bach, but the difference between the stands is remarkable. The xxxxx has no one manning it, nor does Little Shilpa – merely a book to leave details in and the only exhibitor to have put any real effort into their display is Piers Atkinson but more on him later. The importance of showcasing your wares appropriately at London Fashion Week is shockingly something that many have left to the last minute. Read xxx post on the displays upstairs to find out who did it well.
We were lucky enough to interview two of the exhibitors prior to the show, the first was J Smith Esquire. His exhibit is immediately to your right as you enter the exhibition, displaying his most recent foray into the high street market with a Mister Smith display of flat pack hats in colourful cut out leather. He told us about the collection: ‘Mister Smith is designed to be robust, accessible, affordable millinery with high design values, so everyone can have a J Smith Esquire hat’.
Illustration of J Smith Esquire by Kellie Black
Mixing together the ready-to-wear and couture, J Smiths talent shines with his main collections. Illuminated promises to be VERY eclectic, ‘(it’s) inspired by vintage Italian fashion papers to create a modern-day Edwardian couture, and yes, expect a very colourful collection!’
Illustration of Little Shilpa by Yelena Bryksenkova
Monday saw the fourth day dawn on London Fashion Week and delightfully my first day of intriguing ethical fashion presentations. First up on No. 1 Greek Street was the delightful Lu Flux, try followed in the afternoon by – congratulations! – the Ethical Fashion Forum’s Innovation Award winner Ada Zanditon. –
All photographs by Sally Mumby-Croft
In the run up to London Fashion Week, stomachKatie Antoniou interviewed Ada Zanditon about the trials, tribulations and positive rewards of producing innovative ethical fashion. Often the problem lies in the assumption that ethical fashion is boring and unfashionable – that most heinous of sins! – a situation being speedily rectified with the continuing presence of Estethica’s exhibition and support of young designers exploring the possibility of sustainable fashion at London Fashion Week Exhibition.
Starting at 2pm, Ada Zanditon’s presentation – which in the grand scheme of things was more of catwalk – displayed the designer’s incredible 3D textiles used to embellish the collection of pretty dresses. Utilising her presence at On|Off, Ada showcased the delectability of clothes made through using up-cycled materials. The outcome of which had the group of ladies behind me swooning.
Christopher Raeburn and Lu Flux, (whose review will be appearing later on today…) are but two of Ada Zanditon’s trailblazing contemporaries in the field of ethical fashion. All three designers are successfully proving there need be no distinction between ‘fashion’ and ‘ethical fashion.’
Surely it is time for all designers to take the ethics of their production lines into consideration: namely where the fabrics originate and who is physically making the clothes for commercial consumption.
When answering Amelia’s Magazine’s final question , Zanditon touched upon the difficult reality of encouraging people to achieve not only sustainable fashion, but sustainable lives; “I only think the planet can truly convince people of the importance of sustainability. I’m sure most people living on the coast of Bangladesh are highly convinced that we need to live in a more sustainable way as they are effected daily by climate change.”
A common fault in humanities mentality is our failure to project successfully beyond today, nurtured as we are on natural resources being infinite. It is incredibly hard to convince worldwide populations’ materials are and will become finite, whilst items still appear in their thousands on shop floors. Perhaps it will take empty shelves to convince us of the perils of fast fashion.
Intriguingly Ada Zanditon uses geometric cutting to produce zero waste. Tell us how you do it Ada!
Written by Sally Mumby-Croft on Tuesday September 21st, 2010 12:18 pm
London-based 12-string guitarist is known for his compositions possessing a subtle complexity beyond his twenty something years.
The Hanbury Ballroom inspires a hushed reverence as you enter. It may be not as grand as it sounds but there’s certainly an aura of opulence that prevails. Fitting then for tonight’s solemnization of sound, buy although this transpires to be far from any freak-folk shindig you might expect. Both Blackshaw and Mat Sweet of Boduf Songs are Englishmen recording for revered American labels who both make music often tagged ‘folk’ but there’s a world of difference between them and it made for a compelling performance.
Boduf Songs takes the stage as the Ballroom begins to fill out nicely. The first time I heard Mat Sweet’s music was a few years ago on his debut for Kranky records. A largely acoustic affair, pharmacy interspersed with field recordings, which I expected the same of tonight. Instead, Sweet wields a Fender Jaguar with quietly vicious intent. The set is tense and seethes with the same bottle-up-and-explode bitterness as Elliott Smith. Sweet’s hushed, melodic vocal inflection belies the inherent darkness of his music, punctuated by sparse, minimalist percussion. His ostensibly fragile sound design is disconcerting and eerie like the ominous, quiet rumble of summer thunder. By the time he’s finished, I’m exhausted, in a good way.
James Blackshaw is well on his way to attaining cult status as evidenced by the packed audience and move to Young Gods Records. My only qualm with his recent album, The Glass Bead Game, is that it often drifts into coffee-table-lit, augmented as it is by tremulous vocals, strings and cascading pianos. Tonight, Blackshaw plays unaccompanied and loose. In this context, his new material is imbued with passion and urgency. Cross becomes something akin to a wordless incantation as Blackshaw shreds his 12-string with dexterous and delirious abandon. As Bled plays out in its entire slo-fi splendour, it aches and yearns on ascent to the ballroom’s painted upper limits. Indeed, it’s in this sweaty, spontaneous setting where Blackshaw works best. Here’s hoping he suffuses the subsequent solo works with this kind of relentlessness. After all, it’s obvious this talented artist will be gifting the world plenty more albums.
London-based 12-string guitarist, illnessJames Blackshaw, ampoule is known for his compositions possessing of a subtle complexity beyond his twenty something years. The Hanbury Ballroom inspires a hushed reverence as you enter and provides the perfect setting to showcase Blackshaw‘s talents. The Ballroom may be not as grand as it sounds but there’s certainly an aura of opulence that prevails. Fitting then for tonight’s solemnization of sound, no rx although this transpires to be far from any freak-folk shindig you might expect. Both Blackshaw and Mat Sweet of Boduf Songs are Englishmen recording for revered American labels who both make music often tagged ‘folk’ but there’s a world of difference between them and it made for a compelling performance.
Boduf Songs take the stage as the Ballroom begins to fill out nicely. The first time I heard Mat Sweet’s music was a few years ago on his debut for Kranky Records. A largely acoustic affair, interspersed with field recordings, which I expected the same of tonight. Instead, Sweet wields a Fender Jaguar with quietly vicious intent. The set is tense and seethes with the same bottle-up-and-explode bitterness as Elliott Smith. Sweet’s hushed, melodic vocal inflection belies the inherent darkness of his music, punctuated by sparse, minimalist percussion. His ostensibly fragile sound design is disconcerting and eerie like the ominous, quiet rumble of summer thunder. By the time he’s finished, I’m exhausted, in a good way.
James Blackshaw is well on his way to attaining cult status as evidenced by the packed audience and move to Young Gods Records. My only qualm with his recent album, The Glass Bead Game, is that it often drifts into coffee-table-lit, augmented as it is by tremulous vocals, strings and cascading pianos. Tonight, Blackshaw plays unaccompanied and loose. In this context, his new material is imbued with passion and urgency. Cross becomes something akin to a wordless incantation as Blackshaw shreds his 12-string with dexterous and delirious abandon. As Bled plays out in its entire slo-fi splendour, it aches and yearns on ascent to the ballroom’s painted upper limits. Indeed, it’s in this sweaty, spontaneous setting where Blackshaw works best. Here’s hoping he suffuses the subsequent solo works with this kind of relentlessness. After all, it’s obvious this talented artist will be gifting the world plenty more albums.
First it was Gap, erectile then Primark, and suddenly every shop on the high street was being accused of exploiting third world workers in Asia , Africa or even Eastern Europe during the 1990s up until today.
The British high street rapidly became synonymous with “cheap clothes, cheap labour”. But what can we do about it? After all, we can’t all afford designer garb or find chic vintage pieces, the likes of Topshop and H&M are to an extent our only choice.
However, in recent years the publicity and focus on fair trade has increased dramatically, as well as a push to improve wages and working conditions. As clothing manufacturers attempt to clean up the face of British fashion. One key factor behind this move has been the Clean Up Fashion project, working closely with the Labour Behind the Label coalition.
The Clean up Fashion website aims to target companies who have made no steps towards better working conditions and pressure them into making the required changes.
The Clean Up Fashion project is a website established to generate awareness of the ongoing and still occurring exploitation of workers within the textile industry. Attempting to combat this through Take a Stand action cards as well as providing frequent reports investigating the deeper issues at hand.
The website provides information about the many companies we buy from. Encouraging readers to contact stores to make them aware that the customer wants their clothes to be made in fair conditions. Alongside this, you can read up on other issues surrounding the garment industry, including what the workers themselves want and their requirements for a better standard of life. Essentially, this project provides education and the opportunity to stand up for people who may be unable to make themselves heard.
Whilst the project hopes to encourage and enact change within the industry, it does not endorse boycotting one store for another because of their ethics. Instead, Clean Up Fashion want to do improve the industry en masse through active consumer role play instead of allowing the situation to continue through passivity.
Just because you don’t eat at McDonalds doesn’t mean that they will stop tearing down rainforests in Brazil to graze their cattle; and in the same way, refusing to buy a sweater from one shop in favour of another won’t stop sweatshop conditions.
Big companies who were targeted in the 90s by protesting customers made steps towards change, and this is what the project hopes to push towards a final conclusion, where all workers are paid and treated to a standard quality of life. As a learning resource, the website gives you the power to make informed complaints about the issues at hand, and to hopefully make someone at the top listen. You can also make yourself and your views heard on the Let’s Clean Up Fashion Blog.
What are the issues at hand? Well, there is the living wage, summed up fantastically by the Human Rights Article 25.1: “Everyone has the right to a standard of living adequate for the health and well-being of himself and of his family”. However simple this might sound, companies and trade unions often disagree over universal living wages.
One way this can be avoided is by allowing workers and employers to decide together on a living wage. The disadvantage is that companies may simply move their workshops to exploit the next unprotected community; so an industry wide agreement is preferable to stop price-lowering competitiveness from cycling out of control.
One country with such problems is Pakistan, where many young girls (80% of the garment work force is female) are the only employable members of their families for their low wages: “We work until 2 am or 3 am during the peak season. We always have to work a double shift. Although we are very exhausted, we have no choice. We cannot refuse overtime work, because our standard wages are so low.”
Piece-rate working is another difficulty, as workers cannot generate enough items per week to secure a living. Clearly, this is something that needs to be addressed quickly.
Another concern for Clean Up Fashion is the necessity of creating trade unions for exploited garment workers to ensure they have a voice within the industry to fight their corner. Trade unions provide security and confidence for people who might otherwise be too scared to speak out or might just be ignored.
The set up of trade unions in Indonesia allows more workers to provide for their families with a higher wage, whereas the lack of them in rural north India allows poor working conditions to continue. Clean Up Fashion highlights the travesty of Cambodia and Turkey where the creation of trade unions has resulted in mass dismissal, an outcome that has since been resolved resolved as a result of active campaigning in the UK encouraged by the project.
In fact, it is estimated some 115 people were murdered for their involvement in trade unions in 2005. Social audits of working conditions have been shown to be useless in implementing change in factories. It is clear then through the concerns and issues raised on Clean Up Fashion that something needs to be done; the website is a fantastic resource to discover what is happening and how you can help.
Despite awareness of these issues, many companies on the high street still refuse to get involved with change; either by lack of acknowledgement or lack of urgency. The project categorises each company by what they have achieved and if it has responded to the campaign in any way.
For example, the website reported the following about Gap’s response: “Gap’s plans remain impressive in depth, with research completed and work now planned in seven countries. It is the one company to ensure that trade union rights are central to its plans, however, it has yet to start any real action on the ground to increase wages and needs to progress more quickly in this area.”
The notion of companies starting steps towards change but still needing a final push is the essential theme behind this campaign, and it is people like us who care about fashion that should be doing something about it to ensure we can wear our Topshop dresses without any pang of guilt.
Do you have a band that soundtrack your life? The music of your memories?
Mine was, curetreatment is and always will be The National, a band who’ve been playing in the background of my first loves, lost loves, sad times, happy times, party times, sleep times, journeys on planes, journeys on trains, moving in-s and moving out-s.
Last night, after almost 5 years of unadulterated adoration and no less than 3 missed opportunities to see them , I finally saw The National, and it was knee-knockingly, breathtakingly amazing.
So amazing in fact, I broke a few of my cardinal “What Not To Do At Gigs” Rules. Nominally, these are:
1. Thou shall not sing along (aloud or mouthing along silently; they’re both as bad as each other)
2. Thou shall not join in group clapping (I’m not really a crowd participation kind of girl)
3. Thou shall not sway with your eyes closed (it looks creepy)
Having left the Royal Festival Hall in between lamenting the loss of my gig misanthropy and watching A Skin, A Night in bed (I really like The National- if you hadn’t noticed by this point) I began to ponder how to write about a band you’ve loved for such a long time, so here it goes.
(A Skin, A Night trailer)
Playing songs from their last two albums (Alligator and Boxer) and an EP (Cherry Tree), as well as covering new songs like the excellent ‘Runaway’, I noticed that one of the most striking thing about The National was their ability to depart from their records, which are, even at their most upbeat are still darkly contemplative and reflective, live however their energy is palpable, their most melancholic songs live are shot through with electricity and flourish. The National are a lot more prolific than the 2007 ‘overnight’ success of Boxer would suggest, and their familiarity with their extensive back catalogue allows them to embellish upon their records, making the live show full of exciting little twists and turns.
Somewhere amidst these sonic twists and turns, I recognised The National’s ability to change the mood of not only what they were playing but also the mood of a packed out auditorium of people. Their music soars and swoops, murmurs with melancholy, heard in both Berringer’s voice and Newsome’s string solos, before crescendo-ing into a clattering wave of emotional intensity on the drums, guitars and brass. ‘Fake Empire’ ; Boxer’s opener starts with a simple, lilting piano melody and builds up to a full orchestral smorgasbord and was definitely a stand out favourite for me alongside ‘About Today’ from the aforementioned Cherry Tree EP whilst faster songs including ‘Mistaken for Strangers’ and ‘All the Wine’ pulsated with a dark emotion. The National are undoubtedly a honed and well oiled team from the drums and brass section to Padma Newsome’s dexterity on the piano and strings and it is this that enabled them to take such hairpin turns throughout their hour and a half long set, whilst retaining the interest of a legion of loyal fans, which is no mean feat.
And what of Mr. Berringer as a front man? I always had a rather specific image of him as a shy and brooding wordsmith, yet he commanded the attention of the crowd with his vocal range; from his trademark seductive baritone murmuring (‘Green Gloves’), to top-of-lungs anguished shouting (‘Abel’).
The National create a totally unique soundscape, both live and on record, a soundscape filled with towering skyscrapers and empty parties, of drunk men in dead end jobs and the women they once loved leaving them. Ok, so it ‘s clearly not the Disneyworld of soundscapes but there is a real honesty and sad beauty to the images they create that inspire empathy and awe (both lyrically and melodically) in the stoniest of hearts.
So now as one of the converted to eyes closed, body swaying dancing at gigs, I unabashedly say that The National didn’t let me down live and I will continue to soundtrack a new lot of adventures with their music. Make them yours!
(Video for ‘Apartment Story’)
Monday 10th August
UN Climate Change Talks
The U.N. Climate Change Talks in Bonn, try Germany begin a series of informal intersessional consultations today. These are part of the run-up to Copenhagen in December, page and this particular series can be found webcast live here
The Yes Men film shows the hoaxes perpetrated by two US political pranksters. The promotion team describe the film as “so stupidly entertaining” that it will reach and motivate thousands of people, page thus “adding even more juice into a movement that is trying to save civilization itself, among other modest goals.
Tuesday is the satellite event – live from Sheffield, it’s a simulcast event screening of THE YES MEN FIX THE WORLD and live q&a with the Yes Men beamed via satellites from Sheffield Showroom. Cinema-goers will have the opportunity to put their questions live and direct to the film’s stars from their respective cinema locations.
20.30, at the following London cinemas:
Odeon Panton Street, Clapham Picture House, The Gate Notting Hill, Greenwich Cinema, Ritzy Brixton, Screen-on-the-Green
More cinemas on the screenings page of their website.
Wednesday 12th August
Green Spaces & Sticky Feet
A creative exploration of the nature beneath our feet as we roam around the gardens – to help us understand why green spaces are important and how we can make our buildings greener. This is a workshop for children of all ages, who must be accompanied at all times by an adult.
On Friday the 7th August the bailiffs went in and the occupation of the Vestas wind turbine plant on the Isle of Wight ended.
In response to this a National Day of Action in support of the Vestas workers and to keep the factory open, for Green Jobs and a Green Energy Revolution, was declared. There will be actions all around the country organised by a diverse range of groups.
Or contact your local CCC group, or Union – or if you want to organise something in your area there is some advice from Jonathan Neale, of the CCC Trade Union group
The campaign to Save Vestas has not finished, it has just started and with it comes a campaign for a step change in the creation of Green Jobs and the Green Energy Revolution !
6.30pm
Outside the Department of Energy and Climate Change (DECC)
A spiritual celebration and experience, honouring our regal beauty with sacred song and dance. Dances of universal peace, Taize singing, Bhajans & Kirtan, native American sweat lodge, Zikr & Sufi practice, Breton dancing, Tibetan sound meditation, yoga, tribal dance, ancient ways of the British Isles, chant wave and more…
Let the London Wildlife Trust take you out trapping, identifying and recording moths on the Totteridge Fields Nature Reserve. Come and see how many species of moths visit the fields at night. Please wear warm clothes and sensible footwear. Bring a Torch, Notebook and pen. You may also want to bring a flask.
Free car parking in sports ground car park adjacent to the Hendon Wood Lane entrance.
Nearest tube is Totteridge & Whetstone
251 bus stops on Totteridge Common near the junction with Hendon Wood Lane.
8.30-10.30pm
Hendon wood Lane entrance to totteridge Fields Nature Reserve
Contact – Clive Cohen – 07973 825 165 – notinbooks.conservation@btinternet.com
The National are one of my favourite all time bands. Their music full of deep seductive murmuring and soaring strings, cure The National build a beautiful soundscape full of urban discontent and lost loves.
I wouldn’t blame you for thinking that Devotchka have wandered straight out an Eastern European shtetl with their romani/ klezmer-tastic music. In fact they’re from Colorado and you probably recognise their orchestral treats from Everything is Illuminated and Little Miss Sunshine.
Wednesday 12th August
Woodpigeon at Borderline, London
Woodpigeon is whispery folk with beautiful strings and brass. Perfect for a summer evening.
Thursday 13th August
Circulus at The Lexington, London
Tired of the ins and outs of modern life? Do you want to return to a simpler time? A medieval time? Go see Circulus then! They’re quite obviously as mad as a bag of prog listening cats but they sing about fairies and have lutes- what couldn’t be awesome about that?
Friday 14th August
Forest Fire and Broadcast 2000 at The Luminaire, London
Lovely country folk from Brooklyn’s Forest Fire and tinkly electronica from Broadcast 2000 are set to make this night special!
Saturday 15th August
Spaghetti Anywhere and Colours at Barfly, London
Here at Amelia’s HQ we often find ourselves listening to Spaghetti Anywhere‘s myspace selection of pretty indie pop, and it never fails to brighten up a dreary office day.
Also playing are Colours the South Coast’s answer to My Bloody Valentine, offering up a delicious slice of Shoegaze with Pavement-y undertones. Brilliant stuff all round!
Yet another diverse and inspired collection, the first model appeared wearing a silk muzzle with a graphic pattern. These unusual face decorations featured prominently in the show. Printed, bejewelled, moulded from the shape of the face – it was clear they were making a statement. “It’s my reaction to climate change,” Bernard told me afterwards. It’s a provoking image we’re accustomed to seeing – during the SARS crisis and more recently with the swine-flu pandemic. Chandran has translated this evocative image and created masks of beauty.
Dresses were striking, bold statement pieces, in hues ranging from ochre to pewter. Folds and flaps created geometric silhouettes, showcasing Chandran’s skills as a craftsman, and revealing a possible Hussein Chalayan influence.
Other pieces consisted of simple shift dresses enveloped by folded, dynamically-cut fabric, creating exaggerated shoulders and wing-like forms, apposing the contours of the female form.
I loved this glittered interpretation of the bustier. Fashion-forward women only, need apply:
Patterns on masks and clothing had been translated directly from objects that surround Bernard in his day-to-day life. A stunning linear print in amber and black had been taken directly from “a basket that people give [Bernard} flowers in!” Bernard recalled. Looking again at the print makes sense of it – it appears almost photographic.
Another key look was the Chinese coolie hat, worn by a handful of models. Bernard in interesting in their form. “I like the way they fold, the way they are created – which can be said for a lot of my work,” Bernard told me. “The way an envelope folds, for example – like here,” as he gestured to a photograph on the wall backstage of a structured, geometric dress.
The more feminine consumer need not worry, as the show also included elegantly draped smock dresses and sumptuous blouson skirts, in chiffon, with organic, natural prints. These pieces were the most surprising considering his A/W 09/10 collection was so bold and striking. “Sometimes you just have to,” Bernard laughed.
There were so many different looks in this collection. It may sound as if the pieces were too disparate but this was not the case, as one after the other complimented each other, almost magically. Take the structured dress with exaggerated hips, fast becoming Bernard’s signature, juxtaposed with the softer sheer fabric pieces draped effortlessly over the models; juxtaposed with the hooded smock reminiscent, again, of an envelope; the prints and tones of each piece somehow beautifully transforming into the next.
Soul singer Estelle is a huge fan of Chandran’s work, shunning major fashion houses to wear his looks at awards ceremonies, so it was no surprise to see Destiny’s Child’s Michelle Williams and Beverley Knight wide-eyed on the front row. A Bernard Chandran woman is a glamorous, confident, ostentatious creature. It’s time this design hero took centre stage on-schedule. Sort it out, BFC!
All photographs and text by Matt Bramford The 25th London Fashion Week began yesterday in its new haunt of Somerset House. Turning up to register, viagra there was the expected photo crush as numerous street style photographers selected those most fashionably dressed to stand before their lens. Not surprisingly London Fashion Week has been a lesson on how to be scarily on trend. Leather studded Jackets check. Harem pants in black and multiple prints. Check. Statement shoes check.check.check. Big Power Shoulders. Check. The most amazing outfit –outside the catwalk- was on the front row at Ashley Islam (more to come on this collection later). Sitting next to Michelle Williams from Destiny’s Child immaculat in Vivienne, sildenafil was a rather beautiful man with an Anna Wintour bob,
complete with a dress made from nails. This often disregarded material was transformed into the ultimate disco dress, that tinkled out of shows.
The Prose Studio Collection of bold oil slick printed dresses was first down the catwalk. The feminine fluent dresses billowed around the models, falling down from the neck, along the arms and tacking tightly in at the waist to fall once more to the knees.
Remember blowing paint across water’s surface to create marbling patterns when pressed onto paper? Prose Studio’s harem pants felt as if the fabric had been dipped into the solution and hung out to dry. The drapes of the pants were delicately covered leaving the leg fabric bare.
The collection finished with a free flowing printed white tunic over white marbled dripped leggings.
Next up were Michela Carraro’s deconstructed geishas complete with rags tied into bondage shoes, big 80′s shoulders remain on the catwalk alongside constructed sheer blouses.
The shapes and layering were reminiscent of John Galliano’s personal style and diffusion line with an injection of Vivienne Westwood’s pirate’s collection. As the light blue piece sashayed down the catwalk, it suddenly struck.
What was being offered was a re-invention of a feminine suit, capable of expressing personality rather than smothering it underneath a shapeless blazer. This was a collection representing the intriguing daywear as represented with the gallantly bold, bordering on the garish printed trousers, under tucked beneath the swashbuckling floating blouses held together at the front with delicate stitching. Completed with the bandaged shoes, the piece formed an illustrious silhouette when framed by photographers.
Third was Joanna Wanderpuije’s elegant collection of modern shapes complete with the return of the perspex stars from the A/W collection, for S/S the stars are attached to the hips of the cotton skirt. Plenty of well cut shorts and printed tanks for effortless lux.
Leather bra tops – continuing previous seasons’ trends for underwear as outwear- hardened the collection appearing under a cropped print jacket nestling above the high-waisted cream trouser. A splash of colour was provided with the up-pleated tunic dress. The collection was incredible wearable with Wanderpuije’s prints elegant in their application and beautifully sculpted from material.
Fashion provides the opportunity to dive into new worlds, peer into another’s imagination. It can function similarly to illustration and convey a sense of being in the world and by being idiosyncratic tap into the public consciousness. The last piece from Yang Du‘s collection was one distinctive outfit from the Louis Vitton-esque rabbit ears combined with bold blue and white striped constructed-to-be-slouchy oversized dress.
The outfit instantly burned into the retina, this was something to wear as unemployment rates soar, it’s warm and it’s bright. This was fun fantastical fashion and I loved the oversized knitted bag that followed the models down the catwalk as if a rather petulant child.
As with all three previous designers, at Yang Du it was all about the detailing; tunic dresses were altered with cut away bra holes overlaid with fringing. Grinning cartoon faces contrasted wide blue knitted stripes, tight tight dresses were sent down with bold geometric black and white prints. Not forgetting the head adornments.
A great start to London Fashion Week, a mix of eccentricity and wearable shapes with most importantly the clothes bringing a smile to one’s face.
For me, web the majority of fashion week involved being squished like a sardine in regimented rows watching models strut up and down a well lit runway. While this is all well and good, sometimes it’s fun to break from the norm…
from what I can gauge, Nasir Mazhar is a headwear designer, with very theatrical taste.
To view his presentation at London Fashion Week s/s10 we descended into the vaults of Somerset House, entering a strobe lit room, where at the end of the corridor a stunning and SEXY model posed around a pole in an almost fetichistic nude mask that covered her mouth and eyes……
This was the opening taste of the world of Nasir Mazhar that is visceral, amusing, unique and downright hot. As I am predominately a photographer, I feel the images illustrate the experience better than anything I could write!
All photographs by Elizabeth Johnson
For me, visit web the majority of fashion week involved being squished like a sardine in regimented rows watching models strut up and down a well lit runway. While this is all well and good, sickness sometimes it’s fun to break from the norm…
To view his presentation at London Fashion Week s/s10 we descended into the vaults of Somerset House, entering a strobe lit room, where at the end of the corridor a stunning and SEXY model posed around a pole in an almost fetichistic nude mask that covered her mouth and eyes……
This was the opening taste of the world of Nasir Mazhar that is visceral, amusing, unique and downright hot. As I am predominately a photographer, I feel the images illustrate the experience better than anything I could write!
All photographs by Elizabeth Johnson
The Four Seasons Charity Show was in aid of Oxfam and the British Heart Foundation. The design brief consisted of buying charity shop clothes and styling or adapting them into something new and stylish. As a textiles student I embraced the customisation route: deconstructing, seek reconstructing, find decorating, this site sewing, pleating, ruffling and so on until I could unveil works which were truly mine.
The collection made its way down the catwalk, and to my greatest delight, people enquired about buying the pieces. Encouraged by this I am incorporating a recyclable theme into my A2 textiles, which induced designer research. Focusing on using items considered as junk and turning them into fashionable and hopefully wearable pieces. Some of the designers I investigated include People Tree, Katharine E Hamnett’s slogan t-shirts, and Edun. All of their manifestos contain aspects of Fairtrade, organic resources, sustainability or tackling of other global issues.
Katharine E Hamnett promotes her campaigns on the consumer’s organic cotton (manufactured under tight ethical standards) chest: Free Burma, World Peace to Save the Seas. Hamnett presents her political beliefs and encourages us to do the same.
Edun focuses on creating sustainable employment in developing countries, specifically sub-Saharan Africa. Just from these two brands you can see the multiple schemes that have been put into place to begin tackling global issues – they just need more recognition.
I first experienced the concept of eco-fashion – typically – as a younger sister, when presented with my older sister’s hand-me-downs. At the time, I was probably disappointed by the lack of brand new clothing, and yet now the wearing of second-hand has become more fashionable than ever. Take the explosion of vintage clothing and the increasing presence of designers who re-use old clothes to make new creations, such as the brand Junky Styling. In more recent years my interest in eco-fashion has expanded from an initially disgruntled youth to advocator of Ethical Sustainable Fashion.
This passion for re-making and vintage stems from television shows such as Twiggy’s Frock Exchange, and local fashion workshops, which I help to run as part of The Cambridge Design Collective. The workshops provide tips such as: turning old dresses into handbags, or learning how to distress jeans. The amount of people who have become involved and the techniques I have subsequently learnt demonstrate that we do not need mass production. We just need to get together and be a little more creative!
In Frock Exchange, Twiggy encouraged the mass consumers of the UK to stalk out previously owned garments and transform them into beautiful bespoke items. The moment which propelled me into a world of eco-friendly fashion arrived in the role of a floral, floor-length Laura Ashley dress. The item was altered into the most amazing mini dress before Britain’s eyes. Energised by the programme I began to participate in clothes swaps and search for the independent retailers of my local town who do not mass-produce.
My research revealed sustainable resources, such as the amazing Emporium 61, a boutique charity shop, which stocks vintage and even sells top brands such as Miu Miu and Prada. The shop also sells redesigned second hand clothing under the label 50/50. Cambridge has a lot of charity shops, independent outlets and vintage clothing, and yet so few people seem to know about them – something I hope to change by helping to publicise these stores better.
The achievement you feel when an item is successfully given a new lease of life, or at knowing your small decision is one tiny step towards helping the world (whether it be anti-child labour, or increasing climate change awareness), is definitely motivation to decrease high street consumerism. The High Street may hope it doesn’t use slave labour, child labour, unsustainable resources and more – but can you really imagine anything less fuels this mass producer? And what happens to all the clothes that aren’t sold? Huge piles of waste clothing?
Eco – Fashion requires effort and if we really want to combat climate change and abuse of worker’s rights isn’t it worth it? Especially when you discover a hidden gem such as locally stocked labels: Rutzou or Milly Moy.
I believe eco-fashion can be fashionable: even London Fashion Week has its own eco-friendly selection in its Esthetica exhibition! Of course some charity shops may still bear the stereotypical musty image, but if you look closely enough and do a little transformation you’d be amazed. If you’re not a designer yourself try a clothes swap, or vintage shopping in the beautiful Brick Lane of London – a perfect excuse if ever I heard one.
Written by Camilla Sampson on Wednesday October 7th, 2009 4:29 pm
Last week an email dropped into my inbox announcing that the March 2010 Fashioning an Ethical Industry : Fast Forward conference will be held in London. Fashioning an Ethical Industry -the educational division of Labour behind the Label project- is offering students the opportunity to present ethical and socially responsible research and design projects which address the following key themes at the forum.
• Social responsibility in the garment industry (with an emphasis on garment
workers’ rights)
• Teaching ethics within fashion education
• Approaches to education for sustainable development relevant to fashion
education
Project Abstracts (500-700 words) need to be completed by the 30th October 2009.
Final Papers need to be 5-6000 words long and will be published online under a creative commons license. Each accepted project will have a presentation time of thirty minutes.
The aim of the project (funded by the EU) and the accompanying book: Sustainable Fashion: A Handbook for Educators book (available online here) is to encourage fashion design lecturers to raise student awareness about their responsibility towards the rights and physical exertion of workers who construct garments for the textile industry.
Fashion has the ability to capture the imagination, help it subsequently has the possibility to influence and reflect social change. Think of the Land Girls during the 1940′s and the popularity of Dior’s New Look after the war. Chanel continued championing – arguably as a stylish choice- the right for women to wear trousers; the possibility of not being able to, pilule seems alien today. Fashion changed as Women’s rights developed and it reflected this change through the clothes that became available in the shops. There is nothing to stop it changing now, information pills by reflecting a desire to protect the environment. Moreover the fashion industry must enter discussions surrounding sustainability now, because of the impact of fast fashion and ever changing ‘trends’ on landfills. A conversation Amelia’s Magazine welcomes having long supported sustainable living that does not impede on those who work in the garment industry’s physical health.
The Fashioning an Ethical Industry International conference aims to equip students “with the tools to design the way we make and consume fashion differently… It brings together educators, industry experts, academics and selected students to explore how fashion can be taught to inspire responsibility for the rights of the workers making our clothes.” The site features examples of student’s work exploring the possibilities of ethical fashion from up-cycling to sustainable materials. Earlier this year Amelia’s magazine reported on Fashioning an Ethical Industry’s reassuring research highlighting the increasing interest of fashion students towards using of sustainable materials to create ethical fashion.
The Fashioning an Ethical Industry conference is a great opportunity to become involved with debates on social responsibility. Students should be encourage to utilise the current explosion in internet fashion reportage to press these topics into the public domain. The popularity of fashion, specifically because of it’s potential to help buck the recession in newspapers and magazines features offers designers and students the chance to express the importance of human rights in all aspects of life, including the places where are clothes are made. Katherine Hamnett wears her thoughts on her chest, is it not time we did too?
Natalie Rae graduated from the London College of Fashion 2010 class with a BA in fashion design technology (Womenswear). The designer caught Amelia’s Magazine’s attention for her stance against the use of fur in the fashion industry and the application of embroidery to create stunning textures on jacket shapes based on 1980′s casual wear. Speaking to Natalie was an insight into the difficulties that await any designer (especially for students) branching into sustainable fashion design, symptoms namely the time and cost it takes to source from ethical sources.
With this fantastic collection Natalie blows apart the misconceived assumption that sustainable fashion has no place on the catwalk.
What was the starting point for your collection?
Before embarking on my initial research for my collection concepts, abortion I knew I wanted all of my ideas to centre around sustainability. To be conscious of how I would be producing my garments, using only organic or recycled materials as well as making sure my production methods where compliant with fair trade. This was very important to me through every step of this project. Also craft is something I have always been fascinated with; many different types of crafts, not just related to fashion; this was how I came across Ryan Berkley’s amazing animal portraits. These illustrations gave me a great starting point to help build a story for my collection and opened me up to using lots and lots of colors.
How does your creative process begin?
I work straight into pattern cutting, I collect all my research into one book to refer to and start pulling from each image, creating random sketches and then go straight into sampling either textures, silhouettes or details. I am very visual and hands on about everything I do, I find I absorb ideas better this way. I also don’t like wasting time, I like to get started right away with things, that is way I go straight into patterncutting and sampling. All of this really helps me to create more ideas and to start pulling things together into one cohesive collection of ideas.
What techniques do you use to minimize waste when pattern cutting or constructing the garments?
I try to minimize the amount of fabric and paper I use while patterncutting and sewing by trying to fit my patterns in a way that they don’t waste massive amounts of small bits. This can be really tricky sometimes because in some cases you just can’t help it. I have a box for scraps for both paper and fabric, I use the scrapes usually for sampling ideas or making small details like pockets and such. I also try to reuse my twilling samples for other project as much as i can by refitting them or just cutting them up to create something else.
How did you become interested in designing sustainable clothes?
It’s my lifestyle essentially. Its somewhat hard to say where it begin because it is something I’ve always agreed with and tried to incorporate into my everyday life. I will admit that when I started fashion design here in London, I became a bit more religious about it and started re-educated myself on the different areas of sustainability but particularly those in fashion and realized there is such massive gap in the fashion industry for it.
How do you think this gap in fashion with regards to sustainability can be closed?
I can honestly say that while I don’t think sustainability will ever take over fashion, it needs to more prominent then it is at the moment, something I believe it can and will be in the near future. It is important not only to create brands that are sustainable, but that existing brands switch to more sustainable practices. These brands already have a place in the market and have seen the industry and its effects, they have the power to modify these existing problems and I feel if they promoted more sustainable/ethical ideals other people will follow. But saying that, I do think new brands coming into the market place promoting sustainable/ethical fashion is important too. Making people aware of the effects of both non-sustainable and sustainable fashion is something that needs to be done, if they can see the before and after, it helps put things in prospective.
I also think design should not be sacrificed when creating sustainable/ethical fashion. Some students at my university still think sustainable fashion feels dated and they always imagine it being another scratchy hemp sack. This is far from the truth, sustainable fashion design and fabrics have come a long way, even brands like H&M and Topshop carry small amounts of sustainable/ethical pieces in their collections that are very on trend. The problem is that people don’t realise it, as it’s not promoted as much as it should be
Where did the idea of embroidery develop from and what is your stance on the use of fur within the fashion industry?
I am very in to surface textiles and I have always loved the use of embroidery in both art and fashion, it reminds me of something that is a bit more special and authentic. The uniqueness and beauty of hand crafted embroidery is hard to copy, so when you buy a piece that has that, you feel special and that you have something no-one else has. Previously I worked at a couture bridal salon, where we would create these beautiful one off gowns with amazingly small details people just loved, I wanted to recreate that idea with my garments, by creating pieces that make you feel special everyday, not just for one.
With the subject of fur, I came into animals rights activism at a young age, I never saw the use of fur as a necessity in fashion. To me the whole concept is really grotesque and I can’t understand it even in the smallest of ways. The production and use for creating fur is so inhumane, we have so many alternatives (and I am not talking about synthetic furs) in fashion for creating warmth but I know that this is not just the issue, people see it as luxury, but how can one see the death of animals as a luxury? Be creative. I wanted to show that you can still have luxury with out death.
Why the illustrations of Ryan Berkley? How were his anthropomorphic illustrations transferred into the collection?
I saw each of Berkley’s illustrations as a great story of each animal. Giving me an insight into their lives, how they dressed themselves and even the expressions on their faces told me that they may be a bit more serious about their daily lives, trying to pass off as proper civilized humans. It reminded me of working class and how we must put on a costume or character for work that is not really who we are; trying to restrain the animal inside. The collection really shows a coming through or breaking out; the wild with the restrained.
Where did the 1980′s american shape of the collection develop from?
I am big on causal attire, anyone that hangs around me will tell you I am a jeans and t-shirt kind of gal! But saying that, I love well tailored pieces that are easy to wear and mix into your wardrobe. I wanted to convey that with this collection. I also needed that concept to fit with my working class animals idea. I found images from the early 80’s of designers I admire such as Calvin Klein and Perry Ellis; I felt that the style of the early 80‘s causal american mixed with a little bit of tailoring was perfect way to show my love for two kinds of style.
Who are Hand and Lock of London?
Hand and Lock are a London based embroidery company that have been around since the mid 1700‘s, and is the merging of two long established embroidery companies. I chose Hand and Lock because of their many, many years of experience and expertise as well as their professionalism and friendliness. They where extremely easy to work with and everything was done in a very timely fashion. When I was searching for embroidery companies, my top priority was for finding fair trade work conditions. Hand and Lock had just opened a factory in India to balance their work load and I was reassured, very adamantly, that the employees are paid fair trade wages and have good quality working conditions. I was very happy in the end that my work would be done in India, where the craft and tradition of embroidery is such an amazing part of the culture and I could promote it and show the beauty of it in a small way.
Where did you source your materials?
The vast majority of my materials came from India, some were sources directly from companies in India and some were from UK companies that supply materials from India. The biggest challenge I came across with using organic materials was finding variations in colours. This was a problem because my collection has so many colours and organic materials rarely come in a vast amount of colorways. I knew all this to begin with and tried to stick with what I could find but silly me! I kept choosing fabrics that came in only one colorway – the base color, which is an un-dyed cream. In the end, I researched the self dying of natural dyes and low impact dyes to solve this problem. I didn’t want to create another step in production that would create more waste but I also wanted to create a beautiful vibrant collection that was sellable and wearable, so I had to make the sacrifice. I was very conscious of my consumption of water and tried my best to conserve as much as I could by minimizing the amount of dying that needed to be done. In the end it wasn’t so terrible but the experience defiantly made me want to research more into the process of fabric dying.
Where the fabric companies you used part of fair trade initiatives? Do you have tips to other fashion students considering using ethical/sustainable fabric?
It can be tricky business finding organic/fair trade suppliers, especially ones that will supply in smaller quantities but they are out there and there are more then people realize. All of the suppliers I used are certified organic fabric suppliers and each company also states their practice fair trade principles. Only some of the companies are part of The Fair Trade Foundation. As far as finding organic/fair trade suppliers, there are sites that will help direct you to suppliers: The Green Directory, Ethical Junction and the Ethical Fashion Forum. Additionally, some suppliers have references to other sites relating to eco suppliers and going to trade shows is very important. I try to attend as many textile trade shows as possible, even ones that don’t say anything about sustainable/ethical fabrics because there are always a few companies that do provide them or are trying to cross over into more sustainable practices. It is important to be able to talk to a rep about the company, as this way you can find out more, about what individual companies consider to be sustainable and see the products in person.
I found all of my fabric suppliers either through tons of research, collecting from fabric libraries or from my work experience with ethical brands. People in ethical fashion are very friendly and very willing to help. Going to any type of ethical fair/ marketplace or event with sustainable brands where you can speak to people is always a good start, most people will give you good tips and suggestions.
Can the same be said of the embroidery through hand and lock?
Unfortunately no. When I came to Hand and Lock my first question to them was about fair trade practices, they could only reassure me that they do pay fair wages and have good working conditions for their employees in India. They seemed very honest and actually happy that someone asked them. I do wish I could say they are part of the fair trade initiative and maybe they will be, as the factory in India is still new. At the time that I choose to work with them, I was very short on time and had to make a quick decision, they are such lovely people that it was hard to say no. As well, one thing I learned from my work experience with sustainable brands is that you can’t tick every box with it comes to being ethical and sustainable, its very difficult and in the end, you can only do the best you can and to be honest every step of the way.
What’s next for Natalie Rae?
I take things day to day and try not to restrict myself from any new ideas. At the moment I am sorting out my next big move, whether I do an MA or gain more work experience. I do want to gain more experience with in the fashion industry before I move on to create my own label in the future. But who knows, things change……
Photography by Sean Michael and the Creative Director was Rob Phillips
Natalie Rae graduated from the London College of Fashion 2010 class with a BA in fashion design technology (Womenswear). The designer caught Amelia’s Magazine’s attention for her stance against the use of fur in the fashion industry and the application of embroidery to create stunning textures on jacket shapes based on 1980′s casual wear. Speaking to Natalie was an insight into the difficulties that await any designer (especially for students) branching into sustainable fashion design, symptoms namely the time and cost it takes to source from ethical sources.
With this fantastic collection Natalie blows apart the misconceived assumption that sustainable fashion has no place on the catwalk.
What was the starting point for your collection?
Before embarking on my initial research for my collection concepts, abortion I knew I wanted all of my ideas to centre around sustainability. To be conscious of how I would be producing my garments, using only organic or recycled materials as well as making sure my production methods where compliant with fair trade. This was very important to me through every step of this project. Also craft is something I have always been fascinated with; many different types of crafts, not just related to fashion; this was how I came across Ryan Berkley’s amazing animal portraits. These illustrations gave me a great starting point to help build a story for my collection and opened me up to using lots and lots of colors.
How does your creative process begin?
I work straight into pattern cutting, I collect all my research into one book to refer to and start pulling from each image, creating random sketches and then go straight into sampling either textures, silhouettes or details. I am very visual and hands on about everything I do, I find I absorb ideas better this way. I also don’t like wasting time, I like to get started right away with things, that is way I go straight into patterncutting and sampling. All of this really helps me to create more ideas and to start pulling things together into one cohesive collection of ideas.
What techniques do you use to minimize waste when pattern cutting or constructing the garments?
I try to minimize the amount of fabric and paper I use while patterncutting and sewing by trying to fit my patterns in a way that they don’t waste massive amounts of small bits. This can be really tricky sometimes because in some cases you just can’t help it. I have a box for scraps for both paper and fabric, I use the scrapes usually for sampling ideas or making small details like pockets and such. I also try to reuse my twilling samples for other project as much as i can by refitting them or just cutting them up to create something else.
How did you become interested in designing sustainable clothes?
It’s my lifestyle essentially. Its somewhat hard to say where it begin because it is something I’ve always agreed with and tried to incorporate into my everyday life. I will admit that when I started fashion design here in London, I became a bit more religious about it and started re-educated myself on the different areas of sustainability but particularly those in fashion and realized there is such massive gap in the fashion industry for it.
How do you think this gap in fashion with regards to sustainability can be closed?
I can honestly say that while I don’t think sustainability will ever take over fashion, it needs to more prominent then it is at the moment, something I believe it can and will be in the near future. It is important not only to create brands that are sustainable, but that existing brands switch to more sustainable practices. These brands already have a place in the market and have seen the industry and its effects, they have the power to modify these existing problems and I feel if they promoted more sustainable/ethical ideals other people will follow. But saying that, I do think new brands coming into the market place promoting sustainable/ethical fashion is important too. Making people aware of the effects of both non-sustainable and sustainable fashion is something that needs to be done, if they can see the before and after, it helps put things in prospective.
I also think design should not be sacrificed when creating sustainable/ethical fashion. Some students at my university still think sustainable fashion feels dated and they always imagine it being another scratchy hemp sack. This is far from the truth, sustainable fashion design and fabrics have come a long way, even brands like H&M and Topshop carry small amounts of sustainable/ethical pieces in their collections that are very on trend. The problem is that people don’t realise it, as it’s not promoted as much as it should be
Where did the idea of embroidery develop from and what is your stance on the use of fur within the fashion industry?
I am very in to surface textiles and I have always loved the use of embroidery in both art and fashion, it reminds me of something that is a bit more special and authentic. The uniqueness and beauty of hand crafted embroidery is hard to copy, so when you buy a piece that has that, you feel special and that you have something no-one else has. Previously I worked at a couture bridal salon, where we would create these beautiful one off gowns with amazingly small details people just loved, I wanted to recreate that idea with my garments, by creating pieces that make you feel special everyday, not just for one.
With the subject of fur, I came into animals rights activism at a young age, I never saw the use of fur as a necessity in fashion. To me the whole concept is really grotesque and I can’t understand it even in the smallest of ways. The production and use for creating fur is so inhumane, we have so many alternatives (and I am not talking about synthetic furs) in fashion for creating warmth but I know that this is not just the issue, people see it as luxury, but how can one see the death of animals as a luxury? Be creative. I wanted to show that you can still have luxury with out death.
Why the illustrations of Ryan Berkley? How were his anthropomorphic illustrations transferred into the collection?
I saw each of Berkley’s illustrations as a great story of each animal. Giving me an insight into their lives, how they dressed themselves and even the expressions on their faces told me that they may be a bit more serious about their daily lives, trying to pass off as proper civilized humans. It reminded me of working class and how we must put on a costume or character for work that is not really who we are; trying to restrain the animal inside. The collection really shows a coming through or breaking out; the wild with the restrained.
Where did the 1980′s american shape of the collection develop from?
I am big on causal attire, anyone that hangs around me will tell you I am a jeans and t-shirt kind of gal! But saying that, I love well tailored pieces that are easy to wear and mix into your wardrobe. I wanted to convey that with this collection. I also needed that concept to fit with my working class animals idea. I found images from the early 80’s of designers I admire such as Calvin Klein and Perry Ellis; I felt that the style of the early 80‘s causal american mixed with a little bit of tailoring was perfect way to show my love for two kinds of style.
Who are Hand and Lock of London?
Hand and Lock are a London based embroidery company that have been around since the mid 1700‘s, and is the merging of two long established embroidery companies. I chose Hand and Lock because of their many, many years of experience and expertise as well as their professionalism and friendliness. They where extremely easy to work with and everything was done in a very timely fashion. When I was searching for embroidery companies, my top priority was for finding fair trade work conditions. Hand and Lock had just opened a factory in India to balance their work load and I was reassured, very adamantly, that the employees are paid fair trade wages and have good quality working conditions. I was very happy in the end that my work would be done in India, where the craft and tradition of embroidery is such an amazing part of the culture and I could promote it and show the beauty of it in a small way.
Where did you source your materials?
The vast majority of my materials came from India, some were sources directly from companies in India and some were from UK companies that supply materials from India. The biggest challenge I came across with using organic materials was finding variations in colours. This was a problem because my collection has so many colours and organic materials rarely come in a vast amount of colorways. I knew all this to begin with and tried to stick with what I could find but silly me! I kept choosing fabrics that came in only one colorway – the base color, which is an un-dyed cream. In the end, I researched the self dying of natural dyes and low impact dyes to solve this problem. I didn’t want to create another step in production that would create more waste but I also wanted to create a beautiful vibrant collection that was sellable and wearable, so I had to make the sacrifice. I was very conscious of my consumption of water and tried my best to conserve as much as I could by minimizing the amount of dying that needed to be done. In the end it wasn’t so terrible but the experience defiantly made me want to research more into the process of fabric dying.
Where the fabric companies you used part of fair trade initiatives? Do you have tips to other fashion students considering using ethical/sustainable fabric?
It can be tricky business finding organic/fair trade suppliers, especially ones that will supply in smaller quantities but they are out there and there are more then people realize. All of the suppliers I used are certified organic fabric suppliers and each company also states their practice fair trade principles. Only some of the companies are part of The Fair Trade Foundation. As far as finding organic/fair trade suppliers, there are sites that will help direct you to suppliers: The Green Directory, Ethical Junction and the Ethical Fashion Forum. Additionally, some suppliers have references to other sites relating to eco suppliers and going to trade shows is very important. I try to attend as many textile trade shows as possible, even ones that don’t say anything about sustainable/ethical fabrics because there are always a few companies that do provide them or are trying to cross over into more sustainable practices. It is important to be able to talk to a rep about the company, as this way you can find out more, about what individual companies consider to be sustainable and see the products in person.
I found all of my fabric suppliers either through tons of research, collecting from fabric libraries or from my work experience with ethical brands. People in ethical fashion are very friendly and very willing to help. Going to any type of ethical fair/ marketplace or event with sustainable brands where you can speak to people is always a good start, most people will give you good tips and suggestions.
Can the same be said of the embroidery through hand and lock?
Unfortunately no. When I came to Hand and Lock my first question to them was about fair trade practices, they could only reassure me that they do pay fair wages and have good working conditions for their employees in India. They seemed very honest and actually happy that someone asked them. I do wish I could say they are part of the fair trade initiative and maybe they will be, as the factory in India is still new. At the time that I choose to work with them, I was very short on time and had to make a quick decision, they are such lovely people that it was hard to say no. As well, one thing I learned from my work experience with sustainable brands is that you can’t tick every box with it comes to being ethical and sustainable, its very difficult and in the end, you can only do the best you can and to be honest every step of the way.
What’s next for Natalie Rae?
I take things day to day and try not to restrict myself from any new ideas. At the moment I am sorting out my next big move, whether I do an MA or gain more work experience. I do want to gain more experience with in the fashion industry before I move on to create my own label in the future. But who knows, things change……
Photography by Sean Michael and the Creative Director was Rob Phillips
The two day conference promises to be an exciting informative event continuing the EFF’s excellent work with regards to building links and contacts between designers, suppliers and warehouses who desire to produce sustainable ethical fashion.
The culmination of the 2009 series is The Global Sourcing Marketplace event. As aforementioned the event aims to build links between designers, businesses and entrepreneurs who want to work in an ethical environment. The initiative started as a result of the numerous emails the EFF receives each month from business representatives and social entrepreneurs requesting advice or recommendation for manufacturers, suppliers and cooperatives who work to high ethical standards.
Therefore, if you are looking to produce ethical sustainable fashion but are unsure how, this is the event for you. Likewise if you want to exhibit and discuss the creation of your sustainable products you can participate as part of the exhibition stands. Find out more and how to apply here
Dani the event’s organiser spoke to Amelia’s Magazine about the event, explaining there will be “a series of short seminars during the day, when exhibitors are invited to introduce innovative and exemplary fabrics, components, and manufacturing processes.”
The event is not for profit and all the money raised from the entrance fee will be used to continue the development of sustainable ethical fashion. As the website states the ultimate goal is “to reduce the environmental impact of the industry, support fair and equitable trade, and reduce poverty.” It is held in conjunction with Fairtrade and the World Fairtrade Organisation.
In addition to the aforementioned series and their already well-established EFF Network, a place where like minded people can gather online to discuss ethical fashion initiatives. The EFF have now started a monthly event: The Ethical Fashion Social. The first of which was hosted a few weeks ago in London, Bristol, New Dehli, Narobi and Washington DC.
Joey Instone, the brains behind the meeting spoke to Amelia’s Magazine about her desire to encourage the groundwork established by the online network to move into face to face discussions. The concept for the socials being to pass on individual knowledge regarding the difficulties facing the establishment and development of ethical fashion companies.
Eventually Joey hopes for the socials to be self sufficient happenings across the globe that build ethical communities through a combination of business and social relationships. From my own inbox I can see one has sprung up in New York and having experienced the welcoming atmosphere where everyone was keen to pass on information and discuss the state of the fashion industry. This is one idea that will run and run across the world.
Whilst at the Social I met a range of people who had been involved in all aspects of fashion – from the positive steps being taken by the High Street to witnessing the negative side of environmental pollution created as a result of the unregulated textile companies. It was a really fantastic event, watch the EFF website for future dates across the globe!
Let’s all get involved! If you trying to produce sustainable fashion, this is the event for you! Find out more on the EFF Website.
Watch this space for further news on the EFF Socials, Amelia’s Magazine will be in attendance.
Image courtesy of Rachael Oku depicting the work of Shibin Vasudevan.
The students have taken a variety of approaches to tackle their environmental concerns with the fashion industry, some more successful than others. I wasn’t totally convinced by the practicality and wearability of Shibin Vasudevan’s shirts made from the contents of a hoover bag, though they were very visually stimulating. I was really excited by a number of projects including Shibin’s as his idea was highly innovative.
Handheadheart collection image, courtesy of Anna Maria Hesse.
Anna Maria Hesse utilised her background in knitwear and deep interest in sustainable fashion to produce a collection entitled ‘handheadheart’ that discourages consumerism. Her beautifully subtle, draped garments are made to be worn in a variety of ways – so a top is a dress is a skirt. Her thinking is thus: the more ways you can wear one garment, the less garments you need to buy, and they are timeless, the opposite of disposable fashion. Both the traceability and sourcing of the raw materials used are important to Hesse, who uses only pure alpaca wool farmed sustainably within the UK – resulting in luxuriously soft and hardwearing fibres. The resulting garments are beautiful and wearable, and most importantly have been created to last a lifetime.
Handheadheart collection image, courtesy of Anna Maria Hesse.
I was impressed with both the concept and design behind Julia Crew’s collection of man bags labelled i.did.nee.ken (taken from the Scottish colloquialism meaning ‘I didn’t know’). Taking a threefold approach to the design process, Julia has ensured each product fits the criteria of a) durable design b) responsible sourcing and c) sustainable lifestyle. Essentially the bags are made to last, they have a low environmental impact and they can be used as part of a sustainable lifestyle. Designed with the concerns and requirements of a cyclist in mind, the i.did.nee.ken accessories are urban, utilitarian, and feature beautiful soft leather combined with waxed canvas, with graphical touches such as the reflective material around zips – ticking every box a cyclist could ask for.
Backpack courtesy of Julia Crew, photographer Sally Cole.
Another project that interested me was that of Energy Water Fashion. With an aim to create directional garments made from lovely fabrics such as Lamb’s wool and Merino, Energy Water Fashion creates garments that are naturally odour resistant therefore requiring less washing and general maintenance. The designer, Emma Rigby’s environmental concerns relate to the exorbitant figures regarding how much water we use in laundering our clothes (mentioned at length in Amelia’s magazines coverage of the LCF Centre for Sustainable Fashion’s Fashioning The Future Awards, where Emma Won the prestigious award in the Water category). Successfully designing a capsule wardrobe that offers real solutions in reducing our water consumption, there seems no end to Emma’s talents.
Emma Rigby presentation, photographed by Rachael Oku.
By staging exhibitions like this for the public, it’s good to know that Fashion colleges and indeed designers alike are addressing the need to develop more sustainable, less environmentally impacting methods. There are now a growing number of fashion labels devoted to seeking out cleaner, greener processes, which is great to see. I am continually impressed by two companies in particular whose truly sustainable approach and great designs mean consumers don’t have to choose between looking good and staying true to their environmental conscience and ethics.
Outdoor lifestyle brand Howies produce simple, functional pieces and pay attention to the little details. They use only the best in organic cotton, hemp and sustainable materials such as Merino and Lamb’s wool. The second brand is fair-trade fashion label People Tree, who offer a wide range of affordable fashion forward garments with a continual offering of designer collaborations including Richard Nicholl, Jessica Ogden and Bora Aksu to name but a few. This season, to appeal to a younger audience Emma Watson of Harry Potter fame has collaborated on a range, of which I have my eye on the organic cotton blue and white stripe Breton top (only £25!).
Breton stripe top by People Tree, image courtesy of PR shots.
So, until these talented, forward thinking MA graduates gain backing and start producing their collections for real, there are options – getting less limited by the day.
The inaugural round of graduates from London College of Fashion’s new MA course entitled Fashion and the Environment, sildenafil exhibited their findings this weekend within the Southbank Centre’s Queen Elizabeth Hall.
Image courtesy of Rachael Oku depicting the work of Shibin Vasudevan.
The students have taken a variety of approaches to tackle their environmental concerns with the fashion industry, some more successful than others. I wasn’t totally convinced by the practicality and wearability of Shibin Vasudevan’s shirts made from the contents of a hoover bag, though they were very visually stimulating. I was really excited by a number of projects including Shibin’s as his idea was highly innovative.
Handheadheart collection image, courtesy of Anna Maria Hesse.
Anna Maria Hesse utilised her background in knitwear and deep interest in sustainable fashion to produce a collection entitled ‘handheadheart’ that discourages consumerism. Her beautifully subtle, draped garments are made to be worn in a variety of ways – so a top is a dress is a skirt. Her thinking is thus: the more ways you can wear one garment, the less garments you need to buy, and they are timeless, the opposite of disposable fashion. Both the traceability and sourcing of the raw materials used are important to Hesse, who uses only pure alpaca wool farmed sustainably within the UK – resulting in luxuriously soft and hardwearing fibres. The resulting garments are beautiful and wearable, and most importantly have been created to last a lifetime.
Handheadheart collection image, courtesy of Anna Maria Hesse.
I was impressed with both the concept and design behind Julia Crew’s collection of man bags labelled i.did.nee.ken (taken from the Scottish colloquialism meaning ‘I didn’t know’). Taking a threefold approach to the design process, Julia has ensured each product fits the criteria of a) durable design b) responsible sourcing and c) sustainable lifestyle. Essentially the bags are made to last, they have a low environmental impact and they can be used as part of a sustainable lifestyle. Designed with the concerns and requirements of a cyclist in mind, the i.did.nee.ken accessories are urban, utilitarian, and feature beautiful soft leather combined with waxed canvas, with graphical touches such as the reflective material around zips – ticking every box a cyclist could ask for.
Backpack courtesy of Julia Crew, photographer Sally Cole.
Another project that interested me was that of Energy Water Fashion. With an aim to create directional garments made from lovely fabrics such as Lamb’s wool and Merino, Energy Water Fashion creates garments that are naturally odour resistant therefore requiring less washing and general maintenance. The designer, Emma Rigby’s environmental concerns relate to the exorbitant figures regarding how much water we use in laundering our clothes (mentioned at length in Amelia’s magazines coverage of the LCF Centre for Sustainable Fashion’s Fashioning The Future Awards, where Emma Won the prestigious award in the Water category). Successfully designing a capsule wardrobe that offers real solutions in reducing our water consumption, there seems no end to Emma’s talents.
Emma Rigby presentation, photographed by Rachael Oku.
By staging exhibitions like this for the public, it’s good to know that Fashion colleges and indeed designers alike are addressing the need to develop more sustainable, less environmentally impacting methods. There are now a growing number of fashion labels devoted to seeking out cleaner, greener processes, which is great to see. I am continually impressed by two companies in particular whose truly sustainable approach and great designs mean consumers don’t have to choose between looking good and staying true to their environmental conscience and ethics.
Outdoor lifestyle brand Howies produce simple, functional pieces and pay attention to the little details. They use only the best in organic cotton, hemp and sustainable materials such as Merino and Lamb’s wool. The second brand is fair-trade fashion label People Tree, who offer a wide range of affordable fashion forward garments with a continual offering of designer collaborations including Richard Nicholl, Jessica Ogden and Bora Aksu to name but a few. This season, to appeal to a younger audience Emma Watson of Harry Potter fame has collaborated on a range, of which I have my eye on the organic cotton blue and white stripe Breton top (only £25!).
Breton stripe top by People Tree, image courtesy of PR shots.
So, until these talented, forward thinking MA graduates gain backing and start producing their collections for real, there are options – getting less limited by the day.
The inaugural round of graduates from London College of Fashion’s new MA course entitled Fashion and the Environment, mind exhibited their findings this weekend within the Southbank Centre’s Queen Elizabeth Hall.
Image courtesy of Rachael Oku depicting the work of Shibin Vasudevan.
The students have taken a variety of approaches to tackle their environmental concerns with the fashion industry, some more successful than others. I wasn’t totally convinced by the practicality and wearability of Shibin Vasudevan’s shirts made from the contents of a hoover bag, though they were very visually stimulating. I was really excited by a number of projects including Shibin’s as his idea was highly innovative.
Handheadheart collection image, courtesy of Anna Maria Hesse.
Anna Maria Hesse utilised her background in knitwear and deep interest in sustainable fashion to produce a collection entitled ‘handheadheart’ that discourages consumerism. Her beautifully subtle, draped garments are made to be worn in a variety of ways – so a top is a dress is a skirt. Her thinking is thus: the more ways you can wear one garment, the less garments you need to buy, and they are timeless, the opposite of disposable fashion. Both the traceability and sourcing of the raw materials used are important to Hesse, who uses only pure alpaca wool farmed sustainably within the UK – resulting in luxuriously soft and hardwearing fibres. The resulting garments are beautiful and wearable, and most importantly have been created to last a lifetime.
Handheadheart collection image, courtesy of Anna Maria Hesse.
I was impressed with both the concept and design behind Julia Crew’s collection of man bags labelled i.did.nee.ken (taken from the Scottish colloquialism meaning ‘I didn’t know’). Taking a threefold approach to the design process, Julia has ensured each product fits the criteria of a) durable design b) responsible sourcing and c) sustainable lifestyle. Essentially the bags are made to last, they have a low environmental impact and they can be used as part of a sustainable lifestyle. Designed with the concerns and requirements of a cyclist in mind, the i.did.nee.ken accessories are urban, utilitarian, and feature beautiful soft leather combined with waxed canvas, with graphical touches such as the reflective material around zips – ticking every box a cyclist could ask for.
Backpack courtesy of Julia Crew, photographer Sally Cole.
Another project that interested me was that of Energy Water Fashion. With an aim to create directional garments made from lovely fabrics such as Lamb’s wool and Merino, Energy Water Fashion creates garments that are naturally odour resistant therefore requiring less washing and general maintenance. The designer, Emma Rigby’s environmental concerns relate to the exorbitant figures regarding how much water we use in laundering our clothes (mentioned at length in Amelia’s magazines coverage of the LCF Centre for Sustainable Fashion’s Fashioning The Future Awards, where Emma Won the prestigious award in the Water category). Successfully designing a capsule wardrobe that offers real solutions in reducing our water consumption, there seems no end to Emma’s talents.
Emma Rigby presentation, photographed by Rachael Oku.
By staging exhibitions like this for the public, it’s good to know that Fashion colleges and indeed designers alike are addressing the need to develop more sustainable, less environmentally impacting methods. There are now a growing number of fashion labels devoted to seeking out cleaner, greener processes, which is great to see. I am continually impressed by two companies in particular whose truly sustainable approach and great designs mean consumers don’t have to choose between looking good and staying true to their environmental conscience and ethics.
Outdoor lifestyle brand Howies produce simple, functional pieces and pay attention to the little details. They use only the best in organic cotton, hemp and sustainable materials such as Merino and Lamb’s wool. The second brand is fair-trade fashion label People Tree, who offer a wide range of affordable fashion forward garments with a continual offering of designer collaborations including Richard Nicholl, Jessica Ogden and Bora Aksu to name but a few. This season, to appeal to a younger audience Emma Watson of Harry Potter fame has collaborated on a range, of which I have my eye on the organic cotton blue and white stripe Breton top (only £25!).
Breton stripe top by People Tree, image courtesy of PR shots.
So, until these talented, forward thinking MA graduates gain backing and start producing their collections for real, there are options – getting less limited by the day.
Illustration by Vanessa Morris
Planting trees is EXHILERATING! So so underrated. Last Saturday I was gardening for the first time in my life at the Community Orchards project, online organised by BTCV’s Carbon Army and managed by Camden Council. I mentioned the project briefly in my Green Gyms feature a couple of weeks ago. BTCV have 22 dates scheduled to plant ten orchards in housing estates and sheltered housing across Camden. The project’s aim is to promote local interest in food growing and provide the opportunity for community groups to develop communal gardening projects. Gardening and growing your own food is great, prostate as I discovered, find and it doesn’t only have to be for people with their own gardens.
Smiles all round. Photo by Chris Speirs.
I went along last Saturday to Taplow Estate in Camden, to witness how the scheme works. Feeling rather worse for wear, I was convinced I’d only stay for an hour or two and then go home to sleep. Being hung-over does not exactly get you in the mood for planting community gardens. Or so I thought. Fast forward to four hours later, and I was feeling energised, ridiculously happy, surrounded by great people, and I’d planted the first tree I’ve ever planted IN MY LIFE! Everyone should try this truly underrated source of pure joy at least once in their lives, however hippy you may previously have thought that sounds. Do it in the name of food democracy, fitness, and plain old happiness. I mean it.
Photo: Zofia Walczak
My first task after I’d met the group of 20-or-so volunteers, who were already busy at work, was to help in the removing of turf from one side of the green area. After this the soil was turned over and mixed with compost to get it ready for planting seeds. It is unbelievable how clueless I felt when I was given a huge heavy spade. Yes, a spade. That humble tool you’d think you’d know how to use. The others were quick to help me though and within two hours I went from total cluelessness to being able to plant a cherry tree, by myself!! My arms and back once again felt like they were getting the best workout they’ve ever had. Goodbye push-ups and weights, hello spades, forks and hoes.
Photo: Zofia Walczak
Lunch was served to us by residents of the estate: delicious homemade soup and fresh baguette. I spoke to one resident, Ian, who explained that the orchard is being created on previously unused green space. He’d been pushing for the creation of garden space on the estate for four years, looking for funding, and is glad the scheme is now finally up and running. Using Taplow Estate in Camden as an example, the local gardening club are already working together to apply for grants to improve other under-utilised green spaces on the estate, and BTCV hope to be able to come back later in the year to give them a helping hand.
Photo: Chris Speirs
The Community Orchards project is being managed by Camden Council, and BTCV’s Carbon Army have been commissioned to co-ordinate and facilitate the events. Camden Council have been canvassing local interest, with the key pre-requisite being that local residents take ownership of their new orchard. The Carbon Army are focusing on engaging as many residents from the local communities as possible in the preparation and planting. Local residents will also be offered follow-up training to ensure they know how to care for, prune and make the most of their new local food resource.
If you want to go along to the next session, check out the website and sign up, everyone is welcome. You won’t regret it one bit, especially on a groggy Saturday morning.
Planting trees is EXHILERATING! So so underrated. Last Saturday I was gardening for the first time in my life with Carbon Army’s Community Orchards project, drugs which I mentioned in my Green Gyms feature a couple of weeks ago. BTCV (the British Trust for Conservation Volunteers) have 22 dates scheduled to plant ten orchards in housing estates and sheltered housing across Camden. The project’s aim is to promote local interest in food growing and provide the opportunity for community groups to develop communal gardening projects. Gardening and growing your own food is great, approved as I discovered, and it doesn’t only have to be for people with their own gardens.
I went along last Saturday to Taplow Estate in Camden, to witness how the scheme works. Feeling rather worse for wear, I was convinced I’d only stay for an hour or two and then go home to sleep. Being hung-over does not exactly get you in the mood for planting community gardens. Or so I thought. Fast forward to four hours later, and I was feeling energised, ridiculously happy, surrounded by great people, and I’d planted the first tree I’ve ever planted IN MY LIFE! Everyone should try this truly underrated source of pure joy at least once in their lives, however hippy you may previously have thought that sounds. Do it in the name of food democracy, fitness, and plain old happiness. I mean it.
My first task after I’d met the group of 20-or-so volunteers, who were already busy at work, was to help in the removing of turf from one side of the green area. After this the soil was turned over and mixed with compost to get it ready for planting seeds. It is unbelievable how clueless I felt when I was given a huge heavy spade. Yes, a spade. That humble tool you’d think you’d know how to use. The others were quick to help me though and within two hours I went from total cluelessness to being able to plant a cherry tree, by myself!! My arms and back once again felt like they were getting the best workout they’ve ever had. Goodbye push-ups and weights, hello spades, forks and hoes.
Lunch was served to us by residents of the estate: delicious homemade soup and fresh baguette. I spoke to one resident, Ian, who explained that the Orchard is being created on previously unused green space. He’d been pushing for the creation of garden space on the estate for four years, looking for funding, and is glad the scheme is now finally up and running. Using Taplow Estate in Camden as an example, the local gardening club are already working together to apply for grants to improve other under-utilised green spaces on the estate, and BTCV hope to be able to come back later in the year to give them a helping hand.
The Community Orchards project is being managed by Camden Council, and BTCV’s Carbon Army have been commissioned to co-ordinate and facilitate the events. Camden Council have been canvassing local interest, with the key pre-requisite being that local residents take ownership of their new orchard. The Carbon Army are focusing on engaging as many residents from the local communities as possible in the preparation and planting. Local residents will also be offered follow-up training to ensure they know how to care for, prune and make the most of their new local food resource.
If you want to go along to the next session, check out the website and sign up, everyone is welcome. I definitely recommend it, you won’t regret it one bit, especially on a groggy Saturday morning.
As the American teeny popper Jesse McCartney sang in 2004′s ‘Beautiful Soul’: ‘I don’t want another pretty face/ I don’t want just anyone to hold/ I don’t want my love to go to waste/ I want you and your beautiful soul’.
The Miss Butterfly collection (SS10), salve imagery throughout courtesy of Beautiful Soul.
If only London-based designer Nicola Woods had created her label Beautiful Soul back then, ambulance he’d have realised you can have the eponymous as well as the aesthetic quality. Indeed, this is less about a label being ethical – although, of course that matters greatly – so much as the fact it would be a travesty for Beautiful Soul not to up-cycle some of the gorgeous vintage kimonos and saris which it makes use of. As it is, Woods was at that time in the midst of an 11 year career as an insurance broker, after which she won a place at the London College of Fashion.
Celebrating its first birthday this month, Beautiful Soul was born of Nichola’s invitation to spend summer 2008 in South Africa with community-focussed charity, Tabeisa. While there, she helped establish a small cooperative, Umdoni Creek, from whom she sources the embellishments and accessories for Beautiful Soul.
Rei Coat, taken from Smallprint collection AW09/10).
Once back in London, the garments are produced by a registered women’s project. Beautiful Soul’s debut A/W 09 collection ‘Smallprint’ included Fair Trade cotton and satin and jersey made from sustainable bamboo alongside up-cycled kimono fabric from the 1940s. Swathes of fabric in muted, patterned materials are gathered into rouching, and structured collars add definition to compelling silhouettes. The collection precipitated a run of awards, including Ethical Fashion Forum’sInnovation Award in February 2009 and more recently the brand won a Future 100s Budding Entrepreneur on the Horizon 2009 recognition.
Yoshie Coat, taken from Smallprint collection AW09/10).
Beautiful soul’s critically acclaimed second collection ‘Miss Butterfly’, was shown at London Fashion Week’s Estethica with a more colourful direction. Each style in the Madame Butterfly-inspired S/S 10 collection is named after a famous Japanese geisha; Korin is a turquoise shift evocative of a waterfall, the Satoka coat is a fabric-heavy shrug while the Mineko skirt is a structural dream with high, thick waistband and tulip gathering at the hem.
Izuko blouse and Kimie skirt taken from the Miss Butterfly collection (SS10).
Nichola believes Beautiful Soul’s target audience to be women ‘aware of the importance of originality and quality in a garment, relishing also the story behind each creation’. It’s a formula which has proved popular, as this spring Beautiful Soul adds the V&A to its list of stockists, which also includes Ascension Boutique and Junky Styling. Not bad, we’re sure you’ll agree, for a one-time city insurance broker.
Kimina dress and Cio Cio coat taken from the Miss Butterfly collection (SS10).
Written by Ali Schofield on Wednesday February 3rd, 2010 4:47 pm
As a fashion capitol, London loves looking for the next big thing.
Season after season fashion stars of the future ascend in the strangest of places: spontaneous off-schedule shows, worn-down warehouses, hidden headquarters. The freshest, often cash-strapped design talent explodes onto the scene with experimental aplomb, giving little more than an eccentric knowing nod to the establishment.
This September seems no different. FaCshion is a two-day exhibition for trade buyers and consumers looking for that elusive fashion edge. Held perhaps predictably in The Old Truman Brewery, on the 13th and 14th of September FaChion invite new & brilliant designers working across knitwear, lingerie, footwear and accessories, to showcase their wares to the world, at a fraction of the cost normally involved in staging a memorable catwalk show.
The event, determined to rip up London’s fashion rule book once again, is billed as a brilliant way for buyers to source new collections and shoppers to source a design hit.
Sensing a change in shopping sensibilities for the upcoming season, the organisers are keen to expose the ethical edge of the event. An array of modern design heroes from the eco age are lined up to attend. Recycled jewellery and reworked vintage nestle against second hand style and organic cotton pieces. With emerging brands like Lalesso and TraSsh already challenging the design status quo, this event aims to show how conscious clothing continues to shake up the hard-ass fashion clichés that haunt the industry.
Two days spent at FaCshion, dipping in and out of the stalls and catching a catwalk show, reintroduces London’s fashionista to the idea of experimenting. Designers are selected for their fresh approach, excellence and innovation.
FaCshion are currently looking for more designers to exhibit at the two day event, so if you feel you have what it takes and are interested in submitting your work, check out the website for more details on how to participate. For the rest of you – why not come and look again at what British talent can create. You might even find the next big thing.
