The Essence of Joy

“I'm just a designer, not a psychologists.”

Diane Wallinger is the new force within the fashion scene that aims to challenge existing perceptions of fashion design and sustainability through physical and emotional well-being.

Clothes can bring you joy - we all know that. The feeling of unravelling a brand new pair of boots from between the tissue paper; the smell of fresh leather in the air and the delicate touch of smooth finishings could bring a smile to just about anyone - but that’s just a temporary solution. An instant of gratification and feelings of amusement which are gone by the second or third wear. But what if the clothes were designed specifically to stimulate your feelings of joy, comfort, and empowerment? Ones that would last much longer than your average shopping-high?

Emotional and physical well-being have long often been associated with beauty and fashion industries, in ways to convince you that their product will make your life ‘better’ through ads and marketing - encouraging you to have the same lifestyle as the model of the advert by continuing to  buy the product over and over again to achieve it.  

But one designer has figured out a way to bring the principals of well-being into fashion, which do not involve propaganda and manipulation. Diane Wallinger, a traditional-turned-digital fashion designer, has embraced the latest technologies to pursue her exploration of fashion design for well-being, through sustainability, emotional and physical empowerment.

“A place that is more sustainable; is a happy place”

Considering that 80 per cent of garment impact is locked at the design stage, Diane felt propelled to take action to make sustainability more accessible and in-demand within the fashion industry. “That was an (optimistic and hopeful) lightbulb moment for me,” says Diane, determined to find a solution to our ecological crisis through bettering our own well-being and a change of perspective.

“A place that is more sustainable; is a happy place,” says Diane, “I don’t think we are happy consuming the way we do.” Through the feelings of ‘temporary fixes’ of shopping and buying unnecessary items, which (unsurprisingly) lead to results of dissatisfaction in the long term, Diane begun to think of alternative shopping behaviours that not only give a much longer feeling of fulfilment, but are also beneficial to the environment. 

“It was problematic to define the aspect of well-being,” says Diane, ”because I'm just a designer, not a psychologists.” By adapting the Earth Logic model (developed by Prof. Kate Fletcher), Diane was able to enhance a person’s well-being through garments by modifying "resilience and care of self,” she says. 

Why self-care? Because cultivating and building emotional resilience, Diane believes, is necessary to face the psychological challenges of the inevitable consequences of climate change. And what better way to hone in on those aspects than an object that embodies all these elements: the bed?

“I wanted to keep the energy field strong and empowered,” she says, “it’s not about laziness.” Despite the common misconception, beds are in fact our personal space of tranquility, health, empowerment, and comfort. Her latest digital collection, ‘Care of Self, Care of the World’, is imagined to generate positive emotions through the use of pastel colours, while comfortable shapes of ‘duvet-like’ garments invite the digital wearer to engage in ‘self-care practices’.

Diane invites the collection’s digital wearers to become their own “self-care heroes” and enjoy late mornings in cozy (and ethical) satin pyjamas, as taking care of the world starts with taking care of yourself.

The collection is accompanied by a series of self-care Fashion Meditation videos, lasting five minutes each, to transport you into a glamourised futuristic world of tranquility. Guided through gentle sounds of chimes and crystal singing bowls, it may feel unorthodox to watch a digital rendering of a catwalk show of the collection - but it certainly works.

“be your own self-care hero”

“Mixing the digital platform and physical reality; you don’t really know where the barrier is,” she says. Through designing a digital collection, Diane hopes to encourage wearers (particularly those of ‘influencer’ status) who would normally buy a garment to only wear once, to embrace digital alternatives. “A digital garment is way less impactful,” she says, “it’s incomparable!”

Fashion has been reluctant when it came to embracing new technologies, yet the current coronavirus pandemic has deeply exposed the shortsightedness of the industry. With designers already abandoning the Fashion Week calendar, “digital fashion came back in full-force during the pandemic because it was already pressing us as designers,” Diane explains, “it’s an obvious solution that’s been ignored for too long.”

The industry’s capitalistic roots have come to the surface, which forced many to reevaluate their values and business strategies. “It's astounding how much is wrong within the industry,” she says, “but I like how we can all make a change by working in it. There's so much space for change.” 

Within a short time-frame, designers threw themselves at the possibilities of digital catwalks and presentations to showcase new collections, whether it was through short films or Animal Crossing gaming. The fast-pace of the industry limited the potential for growth with technological advances to be recognised as a benefit. 

“It’s so rewarding to be a part of change as a young person,” she explains, “even though our generation already has enough on its shoulders.” Diane may not be a ‘hard-core’ protestor at climate strikes, but she is making a change through more suitable ways that align with her personality and ability, saying, “I know I’m not perfect, but at least I’m trying my best.”

Through using sustainability, Diane hopes to empower people and drive them forward with means of positive expressions - which she believes, would eventually lead to sustainable behaviours from her consumers, emphasising that “[sustainability] is a way of life.”

Fashion Meditation videos are available to view on the designer’s IGTV channel (@dnwllngr) and the collection ‘Care of Self, Care of the World’ is available to purchase at dress-x.com/collections/dnwllngr.

Slovak Origins: The Handwoven Heritage

Slow-pace and patience with every designed piece, Kristína Šipulová makes garments to last for generations. Debuting as the freshest edition to Slovak Fashion Council’s emerging designers, Šipulová encompasses the raw heritage of Slovakian textile materials through the use of handweaving and wooden loom machines. The designer’s unique craftsmanship brings ancestorial traditions into London Fashion Week and the modern world.

Revealed on 20th February 2021, at Fashion Scout’s Digital Fashion Week, Kristína Šipulová’s short film entitled, ‘Post Process’, was like being transported into tranquil field of melancholy. With precise explanations of her production process, the viewers were able to thoughtfully comprehend the thoroughness, dedication, and uniqueness of her sustainable collections in the three-minute video. From grown crops to wooden loom machines – no process of production is missed by Šipulová.

As Zoom-meetings are part of the everyday, I speak to Kristína prior to her première collection show, her warm, gentle voice, and thoughtful pauses as bewitching in conversation as they are embraced in her collection. What follows is a committed, caring, and thoughtful débutante, with a dedication to bring an emotive connection to our garments.

How does it feel for you to be debiting your first London Fashion Week during the pandemic?

It feels different because of the format, but I feel very grateful that this possibility came - and luckily, during this COVID time, we can really present and bring this message [sustainability] to the public. It's an amazing opportunity thanks to Fashions CAD and Slovak Fashion Council, so I'm really happy that it could happen. And of course, I'm missing the physical format, like the installation itself and the show; working with people physically, but everything happened so fast. It was perfect with all the people who helped me, so I'm really thankful that very prompt and active.

Your work is very intricate. Can you tell me how you make your designs, and why your collections are considered 'one off' pieces?

Yes, so everything starts basically from the yarn - I don't order fabrics. I have two ways of working; one is building the garment from the yarn, and it starts with weaving or other techniques like Macramé or handknitting. As I weave the fabrics for each garment, I often think of the pattern that is going to be directly for trousers or a jumpsuit. So, there is zero production waste. And the second way I work is collecting vintage hand-woven linen canvas. It's a textiles from where I come from in Central Slovakia and they are almost 100 years old. They were hand woven and the linen was hand-spun. So, the yarn itself is completely different quality because the linen in the past is much better quality because the environment was better and the soil was healthier. So, I collect these hand-woven precious textiles and reuse them in garments like coats, blazers, and jackets - giving them a new life. So, there are these two lines one is more like 'one off' from hand woven fabrics, and the second line is this reusing vintage and woven textiles.

It’s like a process of upcycling, that's amazing. And the production process starts even before you start making things because you do your work with zero waste...

Absolutely. First of all, there is the ordering of yarns; I'm combining hand-spun yarns from Japan (when I work with silk mostly), and hand-spun linen from Slovakia. Also, these yarns are vintage yarns. So not only am I recycling fabrics, which have been hand-woven, but I also try to recycle vintage yarns because no one really works with them anymore. But when you combining them with other kinds of qualities, it works really well. 

Then the pattern making comes alongside the weaving, as we can already tell how it will behave. I collaborate with a pattern constructor, who also comes from my village, and craftsmen for when I weave and set up the work, because it's impossible to make it all by yourself. It's better to have more people.

You use a very traditional and old-fashioned handweaving loom machine for your pieces. What urged you to start using this process?

It was during an internship at Beck & Kinch [Danish Studio], where we used hand-waving techniques on the wooden looms for Chanel and Dior.

I was actually going to ask you about that - is that where your interests of traditional weaving techniques began?

Yes. Definitely. While being there, I just realised that craft can be presented differently - that it's not just about using new technologies, or maybe digital looms. It can be very innovative and a smart combination of materials - it's an investment of time, and it lasts longer, making it more sustainable. But yes, it was there, where I realised that this is very interesting to me, and I wanted to examine it further.

How long does each piece take you to make?

It depends, it's really hours and months of work. The setting up of the work; that takes few days, then setting up the looms; another few days, then the weaving itself - I don't know. One piece can take from around four weeks to make.

Because you make everything by hand, there's an aspect of personalisation in your pieces. Do you work closely with your clients?

Usually, I work with made to order model. The sizes of the garments I work with are not traditional sizes, but more suitable for everyone - almost like 'one size'. These are very precious pieces, and I want them to be worn from generation to generation. And that's why I don't want to create a pattern which is specific to a particular body type - it's more relaxed and adjustable, so that it can fit more sizes. That's very important.

You mentioned that you incorporate traditional Slovakian craftsmanship in your collections. Could you tell me more about them?

Yeah, so there is a macrame technique, which I learned from a very old lady - she lives just next to my village in another region - it's very typical for our traditional costumes, an embellishment. It's not like weaving, but what comes at the edge of a garment - like a scarf. It's made with knots, lots of knots by hand. Then there is another craft which I use, that's weaving from corn husk. These leaves from corn are collected, and dried which changes their natural colour from green to beige. This is also a lengthy process. Then, the separate leaves are hand-spun into one long thread, like a small rope, and then it's hand-woven into a shoe form. I collaborated with one craftsmen from south of Slovakia where this craft is typical.

In future collections, I would love to incorporate some embroidery and leather work. These are my small dreams. Also, I collaborated with craftsmen, using a typical craft of making buttons from cow horns, which can also be made from deer horn when they lose is their horns in a natural process. It's a waste material, that is hand-carved. In my coat, there is a button made by this craftsman.

The aspect of sustainability and longevity in garments seems to be very important to you one of your core values. Since everyone has a different idea of what it means, what does sustainability mean to you personally?

I actually started to think about sustainability, when I visited an exhibition at the V&A - "What is Luxury?" in London. It was really inspiring. I remember standing there with my small diary, and writing down all these keywords like, 'legacy', 'heritage', and 'what is new luxury?', for me, sustainability is what was represented there. It's something that's I long-lasting, where I can focus on making fewer pieces, invested more time in their production. I also believe that, as a designer, I don't really want to make so many products, I'd rather focus on making a few, which last longer. Which is why I want to use craft techniques, because for me, that's a representation of quality, and choosing the best materials possible, working with natural materials which are naturally durable, recyclable and organic. It's about the long-lasting and emotive relationship with the garments, as well as making them locally. I want to combine older generations with younger generations, to pass on skills that are disappearing.

There's so many factors, of what it means to me, like the usage of water in organic cotton, which is a huge dilemma. But also, the craftsmanship is a must - with not only the weaving, but also sawing. I am very inspired by traditional folk garments. They've lasted to this day, for hundreds of years. It's something that we value and is super precious for our families for generations, creating a relationship to our ancestors.

Yeah, definitely! I mean, I have clothes and bags passed down from my mom, that she got from her mom, and those are the things I absolutely adore!

Exactly like that, yes! Also, I really believe that the garments from your grandma, were of much better quality of fibres, as the materials were grown in better conditions. I really think that working with yarn, you can really control the process of how you build the fabric, which is the base of the garment. That's my crazy choice of working with yarn.

As you know, many brands now are focusing on sustainability, especially in the last few years. Do you think this aspect of sustainability, craftsmanship, and longevity is the future of fashion?

I wouldn't say that this is the only direction for the future. There are so many interesting biomaterials growing in laboratories, like materials from bacteria - which are so fascinating! Or maybe some futuristic 3D printing with sustainable or recyclable materials. There's so many designers, each with a different direction and taste, but there needs to be a greater variety. I believe that reviving craftsmanship is one of many, as it's impossible in this century to have just one. I'm not an expert, but for me, it's just my choice.

That's so fascinating! And what inspired the cuts and shapes of your current collection?

Well, I always observe the details of folklore clothing - not copying, but more how certain details have been made. I try to think about how to wear a garment for multiple occasions, but still have just one outfit. I would love to show this kind of mentality through my collections, and consider how we use for our requirements and how much do we actually need?

As you said before with zero waste...

Yes, exactly. Also the pattern should be very easy to move. When it's not super fitted to the body, it can be worn for much longer, because it breathes, it moves better, and there's no need to wash it every day, because some materials are able to clean themselves with just the exposure to fresh air.

That's incredible. Who, would you say, are your designs for?

Hmm. I think it's more women with very strong personalities, who have already found their path, and believe in this philosophy. Our clients are like believers - it's not just that they are not buying it, because they look great in it, but because they believe in the philosophy. Once I got an interesting question, "what is the best thing that happened while building the studio?", and I thought - speaking louder in what I believe in and meeting people alongside that. My clients share the same philosophy and that's very meaningful to me.

It's like growing a community, as you said, with the same philosophy and like-minded beliefs, to get a conversation started.

In my village, we have lots of folklore clothing, which we don't wear every day, but you just have it. Years or decades from now, your kids will find a hidden message within it for future generations. It can be something like a souvenir, to keep and to take care of. Just like with the pieces from your grandma; you wear them, but you also value them, and take care of them.

And how have certain moments in your life shape the way that you create now?

Certain moments? I think I absorbed different experiences. I have a certain aesthetic in me, and it created a certain sensitivity within myself, that's brought out through the creation. But I think that it was many experiences which created this particular picture of what I want to create, and it always changes. At the moment, I have a desire for more colourful expression. It changes - sometimes you're more in the shades of white, sometimes it's more contrasting, and sometimes it explodes with colours. It's like when artists have their periods in life.

Lastly, what would you say your biggest milestone has been?

I think the greatest experience for me was when I had the opportunity to teach at the International Fashion Academy IFA in Paris. I didn't feel I was ready. But for me achievements are these situations where you can really do what you love to do, and feel free in it. That was the biggest achievement and privilege in work. That's the lecture.

Post Process made-to-order collection is currently available at Prelude.store online.

Waste, But Make It Fashion

An innovator, an entrepreneur and a force for change in the industry - Olivia Weber rolls up her sleeves and makes it her mission to force fashion to be more inclusive, sustainable, and ethical for all women.

Scissors glide through patterned fabrics and the smell of white chalk hangs in the air. Six women work tirelessly at their allocated spaces, measuring tapes hanging from around their necks, barely noticing my presence. I’m at Trashion Factory, Olivia Weber’s latest sustainable fashion endeavour.

Defining herself as “an inclusive feminist”, Olivia Weber has been a force for change within her borough of Walthamstow. The founder and creative director of Trashion Factory, she provides free upcycling workshops dedicated to supporting women and single-mothers from low-income backgrounds. Weber’s workshops give them the opportunity to find employment with their newly learnt sustainable craftsmanship skills in the highly-competitive fashion industry.

Before her solo endeavour, Weber was part of a trio - JOA (Julia, Olivia, Anna). “We started JOA together,” she explains, “[but] then COVID happened, which made us rethink the way we make, where we live, and how close we are to the people we love.” Olivia’s former partners decided to go back to their home country, to be closer to their family - yet for her, London was home and she wasn’t about to give up on her passion of community engagement.

Her love of upcycling sprung from the loss of her aunt to cancer a few years ago. Unwilling to part with her belongings, she decided to bring them back to life by merging different items to form new designs.

The JOA trio graduated from London College of Fashion in 2019, where the brand won them that year’s Enterprise Challenge Award. Their ethos was (and still is) about using unwanted clothing and repurposing them into personalised bomber jackets.  Championing zero waste and the upcycling of materials, all of their workshops are designed specifically for the local community.

Running different workshops throughout the year (lasting 6-10 weeks each), Olivia’s students have a true opportunity to learn different craft skills; pattern cutting and sawing to kimono design, eventually involving them in Trashion Factory’s branded t-shirt production and design, where chosen designs give profits to their creator “I try to involve them in as many opportunities as possible,” Olivia explains, “nurturing this factory of kindness as a support system.”

Besides providing her students with life-long skills of craftsmanship, Olivia educates them on the matters of sustainability. “It's interesting how fabric is actually quite an easily available material,” she explains, “once you know what you're doing.” Through gathering excess materials from warehouses and reusing unwanted fabrics from friends and family, Olivia has created a stable and sustainable business model for her brand that is truly beneficial for the environment and the local community.

Tired of the so-called ‘craftsmanship’ many companies market themselves with, Olivia explains that in reality “it’s just constant producing and manufacturing”. Many luxury and fast-fashion corporations define themselves as ‘craftsmen’, yet their garments are mass-produced in factories overseas. “I find craft to be people actually making things” she says, “not seeing them as human machines.”

“I’m hoping that in the future, there’s going to be loads of different sizes, designs, style, and diversity.”

— Olivia

The realities of the fashion industry are no secret to anyone - worker exploitation, hazardous chemicals dumped into drinking water, virtual slave labour.  “There’s so much going on in our society that’s illegal,” says Olivia, “and the people know about it, the state knows about it, and they don’t do anything.” Designers like Olivia have had to create their own sustainable fashion future that puts the planet and people first.

As a designer, Olivia doesn’t have experience working for major manufacturers or designers to which she sees a huge benefit. Established designers and fashion houses are sceptical to change, and they don’t realise there may be other options of production that are more sustainable and beneficial. “The design houses and manufacturing are so separate,” she says, “[it] seems to be the common problem where designers are not taking enough responsibility.”

Being a strong advocate for sustainability, Olivia is conscious about her clothing habits. Consumers are so used to buying excess amounts of cheap garments, but for Olivia, making a change primarily comes down to a shift of perspective and appreciation of what you already have.

“I see my clothes almost as people”, she says. “I’ve had some of them for so many years, that I have a wardrobe full of memories.” She puts an emphasis on establishing relationships with the clothing you already have and, if you are adding something new to your current wardrobe, to buy second-hand.

“What I find sad at the moment, is that all brands create very similar things,” she says, “and that’s why so many items are thrown away - because it’s not interesting or doesn’t fit right.” The beauty of buying vintage or upcycled clothing from sites like Depop, is the personalisation and range of style from various fashion eras; those iconic flared jeans from the 70s, that altered bomber jacket from the 90s, or that pair of Dr. Marten’s that you’ve wanted for so long, but couldn’t afford.[2]  Instead of being thrown away, the items are repurposed and find a new home, allowing for a circular fashion system.

The constant production of new collections, repetitiveness, and endless seasons contribute to the ‘throw-away culture’ we have succumbed to. “The system is not made for the diversity of human beings we have on our planet”, Olivia explains. We are not all made of identical physiques, each of us is completely different from one aspect to the other,  so why are we letting fashion companies treat us like we’re all one person? “I’m hoping that in the future, there’s going to be loads of different sizes, designs, style, and diversity,” says Olivia, “a very colourful future.”

As Retail Sales Plummet, Are Major Brands Read To Embrace Sustainability?

In the wake of COVID-19 and it’s increasing economic disruptions, fast-fashion giants are beginning to fall one by one into administrations and bankruptcies. Could retailers finally embrace sustainability to recover from the pandemic?

We’ve all been told many times over that the fashion industry is the top pollutant of our planet, but what many may not realise is how some companies are establishing sustainable and value-orientated practices to boost their sales, making vast profits right in the middle of a global pandemic.

Seeming to have fuelled a new eco-consciousness, consumers have begun to increasingly look for sustainable alternatives in the market. Luxury fashion leaders, like Gucci’s Alessandro Michele, have spoken out about the rigorous nature of the fashion business - pledging to going ‘season-less’ and taking on more responsibility within the industry.

Since the stay-at-home orders were enforced in mid-March, consumers increasingly re-evaluated their priorities - particularly when it came to fashion. Encompassed by the trend, which highlighted the troubles facing fast-fashion retailers, more and more shoppers begun demanding sustainable practices and transparency from brands - willing to expose and abandon those who do not oblige.

Illustration by Nienke Creemers

Retail giants like the Arcadia Group, Debenhams, and Victoria’s Secret, have all entered administration after the first lockdown wave. The announcements plastered on every news outlet in the country - but are we really that surprised?

Their business models, like many other fast-fashion brands, prioritise profit over people and planet. During the first wave of the pandemic, they cancelled over £100 million orders from overseas manufacturers - causing much criticism for their behaviour and treatment of the vulnerable manufacturing workers, leaving thousands without income.

Temporary store closures and mass unemployment caused a decline in sales across the whole sector, leaving major companies struggling to sustain their affairs in the wake of the pandemic. Businesses took a huge loss over the whole year, with Kering alone having a £2.9 billion decline in the first 2020 quarter.

For some brands, this was a wake-up call to reformulate their business plans and go back to basics. Earlier this year, Alessandro Michele devised a plan for Gucci to cut down to only two collections per year, saying, “I hope that the choices we do make will respect the actual timing of fashion and factories, and the people who work there.” By reducing the collection output, Michele wants to increase the sustainability of the fashion we buy, and as an industry leader (with a revenue close to £9 billion), other brands are expected to follow soon.

Companies who have embraced sustainable business models earlier in the year have been thriving during the pandemic. Recent statistics show that E.l.f. Cosmetics have generated a 60 per cent surge of new customers - offering high-quality, vegan, cruelty-free, and inclusive beauty at an affordable price point.

“Gen Z consumers are looking to vote [with their wallet] for brands that care about the things that they themselves care about,” says CMO of E.l.f. Cosmetics, Kory Marchisotto. “The strength of our purpose has come up loud and clear from them as one of the features driving our success right now.”

A key player in the race for sustainability has long been held by the high-street brand, H&M, with their Conscious collection - made of at least 50 per cent sustainably sourced or recycled materials. Despite facing backlash for their fast production cycles, which are the very antithesis of sustainable practice, Georgina Waltier, H&M’s sustainability manager in the UK, justifies the brand’s approach by saying, “we want to use our large size and scale to really drive systemic change across the entire industry”. Waltier explains, “we are investing in new innovations to bring more sustainable materials to scale, so [they] can be affordable.”

Illustration by Nienke Creemers

The brand’s strategic decision to keep on track with all its initiatives gave them a strong advantage at the start of the year. The Swedish retailer reported only a 10% loss in the fourth quarter (approximately 8% less compared to other high-street brands), positioning them well in the fight to recover in the industry market post-pandemic.

Their ‘Conscious’ collection and the brand’s sustainability-focused values are their greatest advantage. A survey conducted earlier this year found that 67 per cent of consumers consider the use of sustainable materials as a purchasing factor, while 63 per cent also look at the way the brand promotes sustainability.

A recent study done by MSCI Index found that the COVID-19 pandemic vividly highlighted the intertwined nature of the world’s social and economic systems, showing that sustainable brands with higher environmental, social, and corporate governance (“ESG”) factors provide higher success rates in the long-term. With consumers shopping mindfully and cost-consciously, raising demand for sustainable and value-orientated brands, why aren’t more brands adapting the sustainable model?

Illustration by Nienke Creemers

Having suited their demands and preferences with the times, it is not enough for fashion and beauty brands to just sell high-quality and stylish products. Consumers look for brands who have values and make an impact on society; whether that’s environmental, social, or inclusive ideals, and they are willing to abandon the brands who do not represent and identify with their values.

Balancing the short and long term, is critical for sustainable investment, and finding that balance in the midst of COVID-19 is a real challenge. Businesses who have shown greater resilience against the pandemic implications have been those who demonstrated a nature of sustainable approach on a macro and micro level.

The future of retail, fashion, and beauty past the pandemic remains unpredictable, but with the considerable increase of ‘eco' popularity and the rise of the sustainable consumer, maybe it is time for the major retailers and fashion groups to take note and re-evaluate their business models to fit with the increasing consumer and society demand - if they want to adapt to the ‘new normal’.

TRANSPARENCY reworked

How did you get into sustainability and why did you chose MA Fashion Futures at London College of Fashion (UAL)?

I was looking into sustainability in my third year (BA Marketing), and I got really interested in it. When I started in fashion, I worked at Arcadia and Boohoo fast-fashion companies. I felt like I needed to be part of the different side of fashion - the one that's not doing all of this crazy stuff to the people and planet. I love the outline of the course because it's ‘Fashion Futures,’ not specifically sustainable fashion. It's a really diverse course in how we approach sustainability, no one's got the same perspective of sustainability as anyone else and there's only 15 of us on the MA - we all feel differently about different things.

That's really interesting to see that everyone has very different outcomes of their work. You recently started your upcycling brand, Looped. When did you start that?

We started that with two other girls, as part of the collaborative unit at the university. I really liked the idea of upcycling and I got into it when I was in my undergrad and when I was working in fast fashion. Seeing the number of samples before they even get to any customer or sign off point, there's so much waste already! I wanted to hone in on making use of all of the products that are not being used, that will go straight to landfill otherwise.

We tried to put on an event with a charity, but then everything happened and the world shut down, so we decided to focus on online. We did tutorials of how to dye your clothes with avocados and cocoa - that was really fun to do! It was great to share ways to be creative in lockdown. Looped is doing well, so far. I mean, people are really buying the face-mask, because that's what people need right now! I hope I can expand it a little more soon.

So you're thinking of expanding into a clothing line of various different types of garments?

Yeah, sure. So, one aspect of my face-masks is that they're reversible. I feel like if you've got two in one, then you know it's a more sustainable outfit because you've got two things for your money’s worth.

I'm trying to upcycle things with a bit of meaning as well. I think it's nice to give things a personal story. I try and work with different samples, not fabrics. It's a really different way of working. You've got to get a bit creative and stingy with your materials, as everything's made to order. It's really fun to play around, just chopping up all these samples, then making them into something really cute.

And where do you get those samples from, normally?

I've got quite a lot of personal samples that I've acquired over the last three years in fast fashion - literally boxes and boxes. But apart from that, I do a lot of charity shop runs. I aim to get fast fashion brand clothing, like TopShop or Primark, because I feel like people don't value that as much in charity shops, and it's more likely to go to landfill. I aim for things with cool patterns and fabrics. I go for something different every time but also I reach out to wholesalers and suppliers who have got old samples - which is something that I'm working on expanding, but I've got a lot to go off, at the moment. It's absolutely crazy how many clothes you acquire over a few years!

What is the current project that you're working on, at the moment?

I'm looking at is social media, how we can bridge the gap between what people say they care about in sustainability and how they actually act. I think it's really interesting how people are going to be more engaged in sustainability in a realistic way, and whether people actually want to do it in a way that is fun, gives people the feeling of shopping. I don't think that should go away, but it should come in a different way. With sustainability, it's not that there's a problem, it's just that there's so much going on in the world, it's really difficult for people to prioritise. I think it's quite like intimidating sometimes as well.

I've been listening to podcasts and talks where major companies and even models, like Cara Delevingne, were talking with NGOs about how to make fashion more sustainable. After a few weeks, it just stopped. At least it started the conversation...

I was reading on your website and the article with Imran Amed. That was quite early on, and it was really positive and seeming that everything's going to change. And now I feel like we are going straight back to normal. I can't really believe it's happening.

I had some hope that, through all these talks and webinars they had about fashion sustainability, it seemed something might change in fashion. I mean, I'm not crossing it out yet, but it seems like everything's just going back to the old ways.

It's just so daunting as well with how everything is in the market, and we don't know what's going to happen. It's really expensive to be a sustainable brand, in terms of packaging and products, it's almost double the price. You need to be in a good position to be making those decisions as a brand. It’s frustrating that it's still not a priority. There's so much value in sustainable businesses, and it's just really scary what it's going to be like in 10 years, if actions don't happen at a big level. In terms of a social level as well with what happened in Leicester. Whenever something's made in the UK, really often it's made in Leicester. You wouldn't dream of directly handing your money to these exploitative companies, if you saw first-hand the breakdown of costs, because it's really crazy.

I was so shocked to find out it was so close to home. I was actually going to ask you about the Boohoo scandal and your thoughts about why do you think it's been ‘hushed’ under for so many years with no consequences?

From an economics perspective, it's really interesting how Boohoo have spoken about not disclosing their list of supply chain, because it's hundreds of suppliers. A lot of factories are great, not all the suppliers are bad people. They've tried to say that they will lose money if they expose their supply chain, because it's their business secret, and the government didn't question it for one second. That's not how things should work. Any of the conglomerates that own massive chains, they don't make all of that money without their costs being very low. In fashion, the wages are really low across the entire industry - they exploit everyone where they can legally get away with it. So I think it's the legislation that needs to be looked at and what is driving the economy.

Speaking about sustainability, and how everyone has a different meaning of it. What does it mean to you?

For me, it's being more conscious in the ways that you're approaching the product. In terms of an economic and social journey, I've learned to be more aware of the process that might have gone through. But I think it's also just trying to invest in products that you're going to wear. I know there's that whole thing, “make sure you can wear it 30 times,” but I do feel that if you really love something, you should be able to buy it and not have to feel guilty. I think there's so much guilt - we're only human! I think it's taking ownership of something, really making it last, and taking better care of it. Changing our mindset and educating yourself, or educate others in a relatable way, to me, that's what being sustainable is.

How would you describe your brand values from Lopped?

I think the value is trying to look at something in a creative and relevant way. I'm trying to have fun with sustainability and revert these attitudes towards second-hand clothing. I'm trying to put across how much waste there is, that's completely unworn, and it's just going to end up in landfill if we don't do something with it. I think it's just trying to have a new approach to sustainable fashion.

You put an emphasis on personalisation within fashion for sustainability with your one-off pieces. Is that how you're pushing your brand?

Yeah, I'll literally have my fabrics there and video call someone or send them pictures of everything I've got, what I think would work, and get an idea of their style. I think to be involved in the creative process, is what I think is most exciting about upcycling. That's the kind of personalised element that I really want to get going. When you feel like you're part of the production process and love what you're designing, you might be a lot more attached to it. It's a lot more difficult to do on a larger scale, because it's just me. It's a great way to be testing the waters in new ways that we could work. do on a larger scale, as it's just me.

Coming down to London and starting in sustainability compared to fast fashion has been a bit overwhelming, but I’m so surprised with how open everyone is, and everyone wants to genuinely help each other. We're all doing it because this is a really urgent situation, not for the money, and we really care about it. I think it's that genuine care, that is really unique about the industry and the support from other people, everyone is just so willing to answer your questions. Everyone wants to help everyone.

Oh, that's so nice! Well, fashion is known as this ‘cutthroat’ industry - very competitive. It’s so lovely to hear how completely different it is, with the approach from designers and creatives within it.

It's really made me feel like everyone's on the same page. You find people who have the same values as you. It's great to be surrounded by people who actually are in fashion for the same reasons. There's just more honesty and creativity that comes with that as well. I mean, I never did dying until I came to London and started asking some of them about dyeing fabrics and found my little avocado obsession.

I was not expecting an avocado to make that colour, to be honest.

Red sock in the wash!

Love it. How can we, as consumers, increase the life of clothing to decrease the amount of landfill and pollution?

Education is really important. If something rips, most think it's not worth getting it repaired, because in London it's really expensive to get things repaired. Just YouTubing it - that's literally how I learned how to sew and do everything. It's just such an amazing tool for creativity. Empower yourself, don't just think that that's the end of it. I know it's hard to find the time in everything that we need to be part of and educated about today, and that it's just another one of those things that we need to step up on. Try a bit harder, because we could all do a little bit better. I think, myself included, and it's easy to slip into old habits and you just have to think - if it was directly paining you, you wouldn't do it.

Looped Reworked masks are available to order @loopedreworked - just DM!

Embracing The Feminine Silhouette with KNITSS

Taking inspiration from powerful women, the contemporary knitwear brand, KNITSS, brings back the traditional feminine silhouettes of comfort, confidence, and style will certainly boost any mood in the new year.

Throwing 2020 behind us, yet embracing some concepts of simplicity, melancholy, and positively moving forward, the “Beautiful Flora” collection grasps the perfect balance of nature’s colour palette with bohemian style that perfectly reflects the brand’s core values of sustainability and modern sophistication.

Speaking with the Founder and Creative Director, Duygu Boz takes advantage of the world lockdown to absorb and explore her creative reflection. Embodying her Turkish heritage and producing every collection in-house, Duygu emphasises her production process, inspirations, and hopes “for a better world”.

How do you feel about LFW being digital? Do you think or want it you continue past the pandemic?

I feel enthusiastic about what we have seen so far! It’s interesting to see how each designer has adapted in a different and original way. This new format for fashion week provides opportunities for designers to think differently and possibly even more creatively. It can be a real opportunity to reset the industry for the long term and set it up for a more responsible future.

Do you miss the physical shows?

Not so much. We can now take the advantage of the global inclusive reach of digital - whether it be through stills, film, or livestream. As creatives we are always looking for a new way to express ourselves. This is just another avenue for us to do.

How has the pandemic affected you personally and creatively?

I think it’s good for us to recognize that a lot of things can be done in different ways - it’s another way to unlock our imagination about what we do and how we do it. When you think about “creating”, it always comes out of isolation because you need to create a space that is uniquely your own to make something beautiful. I changed my life in a way that can make that different point of view possible. I can say this period made me more mindful and creative in a good way.

What was it like creating on entire new collection during lockdown?

During the beginning of lockdown, I thought ‘how could it be?!’, but after a while it became natural. I just focused around “what the world needs”. For my own life, I see this period as a chance because I had enough time to take a step back and look around and think about. So, I focused and started the new collections with a fresh mind and nice ideas.

 You have a background in Film and TV. What made you want to switch to fashion design?

I studied Film and Television, thankfully, because it helped me to see the world from a different perspective. After a couple years of working in the sector, I jumped to the fashion management and design because of my family business in textiles, but I always took the advantage of studying Film and TV. I like to tell the stories by KNITSS collections in the seasons like shooting a film. That’s a great excitement and motivation for me. That’s the way of my telling story.

Do you see yourself taking influence from film/cinema or tv?

Absolutely! What we see in the film is life itself. You can find the inspiration by a character, period, attitude, costume, decor or whatever. So, I’m always taking influence from these sources.

One of your care values is “corporate responsibility”. What does sustainability mean to you and how important is it to the future of fashion?

Sustainable fashion is gradually growing into a “hot topic”, and the most important aspect is to inform the consumers. İt is really important for consumers to think about how their purchase affects the environment; the lifecycle of their garment, and how to invest in clothes that last longer. After all, as a brand, KNITSS promises to take care of our beautiful world with ethical codes because there is no planet B to live!

Your new collection centres around heritage as well as new and old. What inspired the concept for the ‘Powerful Aluure’ collection?

With the rise of digital world, KNITSS focused this season at combining the new and heritage styles in a strong way. It’s all about the focus on making betterand providing longevity. Inspired by the power of now and affected by the past, with womenswear moving back toward traditional feminine silhouettes offering comfort and a strong style with the effect of digital era.

How do you source your materials?

We only use 100% Italian yarns in the collections. With upcoming pieces, KNITSS is shaping the fashion of tomorrow with unique designs and sustainable collections. Always giving priority to the conservation of natural resources, collective living and developing for a “better tomorrow”. This upcoming collection emphasises exactly that - a brand that is sensitive to recycling and protection of the environment. Our motto is “KNITSS for a better world”.

 What inspires you as a creative?

 I’m always taking inspirations from life itself. Art, hobbies, people, city… Whatever I can find to be inspired by. My most creative moments happened while I was travelling, as if another chakra opens my mind. Most of the time, I visit art galleries and organisations that enter my radar to get inspired with design and collections.

How have certain moments in your life shape the way create?

I grow up in a family which runs a manufactory for international fashion and textile brands. While I was watching the process. I remember that I said one day I will make my own brand and have my own voice. I think childhood period is valuable for the future decisions.

Do you think the pandemic will change the way we produce and consume fashion?

There is no doubt that the pandemic will change the way we produce and consume. I believe that the future of fashion depends on its ability to adapt sustainability and embed this concept in its core. Sustainable fashion has the potential to empower consumers with the feeling of fulfilment, by making more conscious choices and their consumption of sustainable fashion products. Therefore, brands and producers should focus to make it better around the ethical codes for our future.

What are the main issues with fashion today? Who is responsible to fix them?

Certainly, the main issue is sustainability in fashion today, because we all started to be concerned about our future. In this view, all the players in this landscape - including suppliers, manufacturers, regulators, and consumers, work together in synergy and interdependently towards a higher level of welfare.

Can the future of fashion ever be truly sustainable?

Achieving sustainability by its definition is not possible as the dynamic characteristic of nature defies the concept. A sustainable institution embraces human nature at a very high level, because it has the ability to satisfy both our egoistic and altruistic needs. But in my eyes, I believe that sustainable fashion has a big potential and motivation for all the players in this landscape. Nevertheless, consumers are more aware of the environmental and social issues associates with the production and consumption of fashion than ever before.

What is the most effective way to promote fashion sustainability?

I believe that small steps make a big difference. People should pay close attention to how brands use the term “transparency”. Do they really prove it? Are they committed to ethical sustainable practices? One of the biggest culprits in the fashion industry is “fast fashion” or clothes made cheaply to meet demands for the hot new styles. However, fast fashion is putting our future planet at risk. Therefore, every human being needs to take responsibility for our daily choices; commit to buying less, invest in pieces that last longer - these are the small steps but can make big differences for our future. On the other hand, the fashion industry response will shape the future supply chain. Actions to ensure long-term sustainability will strengthen the resilience of business along the supply chain. At the end of the day, it could be a fair mutual relationship between consumer and the players in the industry for our mother nature to thrive.

Their AW20 collection is available to purchase here: https://www.knitss.com/

The ‘Beautiful Flora’ SS21 collection will be available soon. Keep an eye out!

https://www.knitss.com/

Let's Talk About...Harem London

The Turkish-sister-double-act is taking the sustainability world of fashion by storm with their Harem London SS21 collection, which they presented at the digital London Fashion Week. 

Merging cities of Istanbul and London, the streetwear brand changed up their style for the new season by dip-dying the entire collection by hand in their Dalston studio, allowing for a unique gradient for each piece. The spectrum of colours is hand-crafted from 100% organic and up-cycled materials from their previous collections. 

Minimal – yet vibrant. The SS21 collection is a true ray of joy and comfort for the last few months. Taking their Turkish heritage with a contemporary London spin, the designs are a journey of growth through the lives of Harem London sisters. 

Below, we speak to the design-duo, Dee and Begum Ozturk, about their heritage inspirations, the pressures of design, and the importance of sustainability for the future of the industry. 

How has lockdown treated you both?

Dee Ozturk - In the beginning, it was difficult. When you produce something, you can't really do much at home, but then we got used to it. We try to be cautious at the studio and keep our distance. We’re getting this new system. 

How was it designing an entirely new collection over lockdown? That must have been a challenge... 

DO - That was difficult. As a designer of the collection, I always get my inspiration from the streets. So, whenever I feel like I have the designer's block, I would go out for a walk and be around people, get inspired by the amazing diversity in London. Whenever I wanted to create something new, I would travel back to Turkey; to my roots, and do some research, but obviously I couldn’t travel. Turkey has a huge history; it's made of seven parts, and each part has its own traditions. When I wasn't able to travel, that was very, very difficult. We were even considering maybe skipping this collection because we didn't know what the fashion scene is gonna be. 

Begum Ozturk - We had a different kind of stress compared to the physical shows. This was the very first time that we're doing something very different. We wanted to do something different and bit more interactive, as our physical events are always very interactive, because of my sister's [Dee] theatre background. She always likes to get in touch with the clients and the audience. 

DO - That's another thing whenever you have a live show, you can always improvise if stuff goes wrong. But when it's digital, you're very limited.

BO - Being a small brand, sometimes you have only one shot. And if there's a technical glitch in one person's video...

DO - It's not good for our reputation.

How do you feel about London Fashion Week being digital? Do you think or want it to continue even after the pandemic?

DO - This is interesting. I think there's a good side that London Fashion Week slowed down. But being able to do something live is a completely different feeling. I would much prefer having something live, where I can be present, explain, and answer questions. Every time we try to do something, we create an atmosphere of our environment, our habitat, where we share, but if it's digital, you use less of your senses. Where else if it's a live show - you can smell things, you can hear things, or you can touch things, see the texture. I think that's very important. So, I would love to go back to the live events.

BO - During the physical events, you can see people's faces and how they react, and you can talk to them. It’s really tricky. The advantages are that we can push ourselves to different levels. I think that the industry is out-dated, maybe there's a different world to discover now. But the priority now is obviously everyone's health.

DO - When you think about it, it doesn't have to be either one or the other - you can always mix the two aspects. That means being creative, I think. A good advantage of doing a digital thing is that you're able to reach a wider audience. So, there's pros and cons to both sides, I think.

Images courtesy of Harem London SS21 campaign. 

And do you think the pandemic will affect how we produce and consume fashion?

DO - Oh, 100% Yeah. There's the good side of our industry is that people have slowed down. I believe we were living super-fast and trying to shove everything on social media; show how active you are. There was this kind of greed before. We believe fashion is going to be more seasonless, and I really hope it will be. There's a very big pressure, even if you're a small brand, to create two seasons every year at least. I think this is gonna change. Absolutely, for small brands and big brands in the future.

BO – Now, the demand has fallen dramatically. People are buying less and being more environmentally friendly, which will make small brands like us more appreciated. We put so much effort and consideration into one item, a simple t-shirt. Also, I think seasonless would be great for the designers. The artists' biggest asset is their inspiration, and when you pressure them to deliver they get more stressed and lose their inspiration. I think seasonless is really great - for the sake of art.

DO - After this, everything will reduce, almost equalise [production-wise]. That's the advantage for small brands like us because you can't really compete with them. Once it's about sustainability and ethical producing, it gives me the enthusiasm to not quit and actually do more. I know, I will be appreciated more at one point.

One of your core values in your company is sustainability. What does sustainability mean to you? As a brand, and as a designer?

DO - Sustainability in terms of production, for us, it means there is no waste, as well as labour sustainability, for us, that's really important. We get our fabric from Turkey. We don’t buy factory-made fabric, but organic, ethically produced for us; there is no minimum order with our suppliers, which is also about supplier relationships. That's the side I think is also linked to sustainability - it's material and labour. The great thing is that we have control from the beginning of our production so we can see what's wasted, what's used, so we don't over-order, which also great for the environment. We always recycle and we upcycle.

That's really great. You have put a lot of emphasis on your Turkish heritage in your designs and brand. Do you incorporate any traditional Turkish techniques?

Image courtesy of Harem London SS21 campaign. 

DO - I was planning to include more handcraft, like embroidery or different techniques of metal engraving, but obviously, I couldn’t travel. I usually get inspired by the cuts of the Turkish traditional designs, for example, in our AW20, we got inspired by carpet patterns, which holds so much meaning. I studied what every sign means, then we came up with a design of our own. The collection is going to be on our website in October. I don't want it to look like those super traditional brands, because half of our lives were in Istanbul and half is in London, we're a mix of the two. Neither of them is more than the other to me, weirdly. This cross-culture is also a core element for us. That's why we love diversity and the cross-culture fits between the two cultures that we come from. We like to interpret this in our designs.

As you said, your designs are a mix of London and Istanbul. Which aspects do you take from which city?

DO - I get the biggest inspiration at the starting point of the design from my own culture; my own life and where I was born, then I develop it away as I live in London now. It's like the development of my life, the grand parallel. I take the traditional aspects and make it into a more contemporary and modern version, so it's very variable. My starting point is always the heritage that I try to interpret to my today.

This collection, for the first time we did colours and the colour inspiration was Turkish as well. So again, the starting point is Turkish like the whole set started from colours.

I was about to mention the change of palette because everything you did in your past collections was black and white. What urged you to try the pop of colour?

DO - A few things actually. I think it all depends on the psychology of the designer. I always loved monochrome colour, I was never a colour person. During the pandemic, Begum suggested, "let's do something we've never done before, why don't we make it more positive this year". I started going back to my favourite movies, books, paintings - the obelisk paintings from Harem because I couldn't go [to Turkey]. I selected colours, and we tried it and everything we dyed inside our studio. This was Begum kicking in creatively! 

BO - Ah thank you! [Laughs]

DO - We thought that we have time now, so let's take on this challenge.

Your Interactive lookbook is so unique and fun! How exactly does it work?

DO - This interactive book was an inspiration not for the next collection, actually. But this one is just for you to play with. Every garment will be individually dyed in one colour but it's gonna be available in all seven colours. We wanted to make something more playful, and we wanted to see the reaction of the people, to be honest. We turned it into more like artwork rather than the actual garment.

BO - You had to see the day we had to colour! It was really fun and funny at the same time. They had to do a lot of experimenting, lots of lots of buckets and lots of colours. It was really funny!

What are the factors you look for in when you're sourcing materials?

DO - Sustainability is very important. We never get anything factory-made, like ever. And we try to source from local manufacturers, both for fabric and for embroidery. It's always people that we know what they do; a family business, always local producers. I think that really shows in the material.

BO - It's really important for us to have a relationship with the supplier. All our suppliers, we know them in person, we've been to their factories, we go frequently. Sometimes we talk on WhatsApp with them. It's really important for us that they understand what we do, and they appreciate our work. 

DO - We share the final product with them before we launch anything as well and they give us their feedback. We always try to have this special bond between our suppliers.

What do you think is the most effective way of promoting sustainable fashion?

BO - It's doing its own marketing, to be honest. Especially with the COVID situation, and with the environmentalists going - shouting really, they're not even protesting anymore, they're actually screaming. We must take care of this world, the environment, the climate change. Fashion is the second most polluting industry in the world at the moment, we have to make sure that we produce sustainably in order to make sure that we don't damage the climate anymore. I think people are already aware.

Images courtesy of Harem London SS21 campaign. 

This year, especially. I've never seen so many designers doing sustainable collections.

DO - Yes! Even just in 2020. Designers who used to do mass production - small brands that we know as well, they started talking about sustainability. It's good to see them change.

BO - A couple of years ago, sustainability was the label of 'luxury branding'. However, now it's becoming more mass as well.

DO - More popular.

BO - I mean, it shouldn't be ‘popular’. It should be something timeless to stay in this industry. As you can see, with COVID especially, a lot of brands had to declare bankruptcy because the way they were doing it was too fast; huge mass production factories. They were so big and couldn't do it sustainably and ethically, so they just crumbled. To stay in this industry and to be honest to your own clients, I think you have to be sustainable. As you said, we see people using these words, just as marketing material. We would love to have you in our studio, you will see we have our own tables, we have our girls doing our stuff, and it's just really like a family - because our name is HAREM, which means family.

Can the future of fashion be truly sustainable?

DO - If we raise our children, the next generations, and the generations after that, and they are taught in a certain way - this has a bigger chance for fashion to be more sustainable. If we can defeat the consuming ideology, then maybe. 

BO - I think there are two aspects to it - business-wise, during this capital economical system, it's impossible because of the supply and demand, and the demand is huge. The current system must change or adapt to become more sustainable. I did my Master's in consumer behaviour, and the consumer’s habits always change. For example, when you buy a new iPhone, at first, it's so difficult, isn't it? But then within two weeks, you get used to it. So, what I'm trying to say is that consumers, if they actually push themselves, and if they want to change, if sustainability becomes a habit to them, then it is possible. In the fashion industry now, all these brands, they are not sustainable. And they cannot be because they have a business plan, and their structure is completely based on the capital of them. To change that, it's really, really difficult. However, if the consumers demand this strongly, which, in my opinion, can happen in the next 20 years, then I think it is possible.

DO - I think that means education and being aware. We need to teach the new generations how this is affecting the climate and the people. Labour and production in countries like China are not humane. I think once people are aware, and if they teach their children, then in the future it might change, but it’s difficult to say. I really wish it would.

BO - It is difficult, financially as well. Some people cannot afford to buy sustainably - for a family with three children, it’s impossible! But for sustainable brands like us, we cannot be sustainable, ethical, and organic, and be cheap. The production costs are not like those mass-produced brands. So, I think it’s important for people to understand why these items may be a bit more expensive. Obviously, there are brands that are completely taking the piss, don’t get me wrong…

It’s about a system that has been going for decades, which simply isn’t working anymore. It is possible to change it, especially nowadays the small up-and-coming brands that are sustainable, when they become the ‘big’ brands they will try to keep sustainable practices. The new generation, our generation, is asking the right questions; about diversity, about inclusivity, environmental issues, climate change. These are the right questions and it shows a bright future ahead of us.

Check out Harem London’s new collection and interactive lookbook here.

Going Beyond the Visuals with HanaCha Studio

Simplicity, theory, and artistic philosophy – HanaCha Studio has returned to London Fashion Week with her latest AW20 collection highlighting the minimalist label of abstract designs and patterns.

Hana Cha is an internationally recognised womenswear label, who gained attention after receiving the “Collection of the Year 2012” award from the V&A Museum. Currently residing in Seoul, South Korea, her pieces centralise around the concepts of “Art inspired fashion. Fashion becomes art”. The fused approach of art with fashion is her signature, but what sets her apart from other contemporary designers is Hana’s theoretical background “highlighting the quintessential identity” within her designs and sculptures. 

The ‘simplification’ and minimalization of intricate patterns and silhouettes, inspired by the works of Picasso and Bauhaus breathes through the entire AW20 collection. The collection may be considered as ‘artistic fashion’ – but they are the piece of art themselves. 

With her exceptionally intellectual – yet innovative mind, we discover how the artist expands her academic approach, through simplification and manifestation of fabrics, into an abstract and sustainable fashion collection. 

London Fashion Week, went digital this year for all the AW20 and SS21 collections. How do you feel about that? Do you want to continue or do you think it will pass the pandemic?

Oh, yes. I would like it to continue. It's weird, but somehow, I feel quite comfy. I don't need to pack all my luggage, no need to have my flight for 11 hours from Korea. So, it's come in handy in a way, I'm quite satisfied with how it turned out. But I do miss the atmosphere of Fashion Week. I can't get any feedback [of the show] right away. I don't know how it's going to be like, but it would be good to have it both ways; digital and the real Fashion Week - to harmonise them. I'm quite happy but I do miss my second city, London, a lot. I miss the autumn weather!

2020 has been quite tough on everyone. How did you deal with the pandemic, personally and creatively?

Yes, I must say that there were lots of differences before the pandemic. It's quite hard this season at the moment; personally, business-wise, in more creative ways. It's hard to broaden my perspective to it as it's different from previous situations. I wish it [the pandemic] could blow over, but I'm not sure it will be exactly the same as before. I think that we should keep these online platforms and digital things. I think it's kind of like our destiny.

Your brand is based in both cities, London and Seoul. Where are you the most time of the year?

I'm based in Seoul at the moment. But, I prefer to present my collections in London, but Seoul as well, because it's my home city. I'm going to have my digital Seoul Fashion Week next month. It's the very first time I’m presenting my collections in Seoul - which is exciting! I like to balance between London and Seoul, because I used to study in Seoul, and I got many experiences in London as well. So, I do like to have some good connections in both ways. That's what I've done so far.

You define yourself as an "interdisciplinary designer and researcher", which certainly comes out in your collections and your artwork. What inspired you for your latest collection?

The title for AW20 was "Assemblage", which is the three-dimensional collage from Picasso's sculptures. The style is Cubist which has simplified shapes, base and figures. I was inspired by that and wanted to reflect these elements in my collections. At this stage, it was art that inspired fashion. For the next stage, I was influenced by my collections for my artworks. It was simplifying the process which was inspired by Picasso's works and has links to Bauhaus' simplicity as well. So, for my collections, I extracted simplified figurations, like steamed lines, scales, and circles, and I just made them into a three-dimensional collage or a sculpture, so it's kind of both; fashion and art - that was the concept for the previous season [AW20].

I noticed that you have begun doing some handcrafted pieces recently.

I discovered these kinds of fabrications in 2012 when I was at the London College of Fashion. They are similar, in a way, in terms of simplified cuts. I made some paintings, which had two-dimensional brush strokes. I extracted this concept and it became those tiny, fluffy, three-dimensional, fringe brush strokes. This is kind of like my symbol, I'd like to say that. I've been sticking my signature as my identity for these collections. 

Amazing. And what usually fuels you creatively?

Obviously, because I've been doing quite similar things, I know what I'd like to do as a clue for my designs, aesthetically speaking. I'm always into art pieces or paintings. It's quite a specific period, from Cubism until Bauhaus, which is right before modernism. Whenever I'm going to galleries or the department store - if I see something elective, I just capture it and try to remember where it was, so that I can use it for my collections or artwork. This is what I've always done. I also like reading books - well, I like the shape of books! I like spending time at the library. Last season, when I was in Paris, and I found some very, very fancy bookstores, like antique books. I was so inspired! I wanted to fill my whole studio with all kinds of books, so that's why I have so many of them behind me!

Do you have a favourite piece from your collection?

I believe the strength of my collection, is the long-fringed coat. The shape is quite strong, but it's also very simple and minimal-line, so it can be masculine, but I do like to add some femininity as well - creating a balance.

You've also mentioned the aspect of "seasonless" in your LFW promo-video. Do you believe that the traditional fashion shows are at an end and that "timeless" collections are the future of fashion?

I think it'll be changing the fashion industry, as fashion is always keen on trends. Fashion goes so fast - we must find a trend that is more sustainable. This is a global issue, regardless of fashion; its science, economy, societies. It’s a very crucial keyword for the future. We haven't got the right answer at the moment but I think we have to chase the answer for the future, and I think fashion can be a clue to this.

One of your main values is 'slow fashion' and 'sustainability'. What does sustainability mean to you and how important is it to the future of the industry?

Sustainability, and craftsmanship, in particular, is very important to me - it the basis for all my projects and collections.

When sourcing your materials for new collections and artwork, what factors are most important to you?

I mostly look out for shapes and composition of the material - and always black & white.

South Korea is the home of fast-fashion production. Do you believe that this could soon change/do you see any change now?

South Korea is very accustomed to IT and technology - everyone is swiping and scrolling non-stop on their phones or other devices. Everyone is also very fashionable and social media influencers are very popular. But because of this, the turnover of garments is so fast - trends do not stay for a very long time. Possibly, if the change was related to technology in some way, the people would follow the 'new trend' of sustainability.

What do you think is the most effective way to promote fashion sustainability?

Big brands and social media influencers hold the most power with the promotion of any product or ideology. They are the ones who hold the biggest following and influence over what happens in fashion; the trends, the politics, and it’s future. But we also need the education; from universities and businesses, from every corner of the fashion society. Their issues of sustainability are getting crucial, but it is a process. Hopefully, we can have something for the future. I’m going to keep doing it. 

Thank you to HanaCha Studio for speaking with us and for providing the visuals.

FDC Armenia Leads A Young Generation of Talent to Sustainable Fashion

Despite the potential grim outlook on this year’s London Fashion Week SS21 digital-only shows, a few young designers took it upon themselves to advocate for a change in the fashion industry with their sustainable collections presented in a series of films and photo stills that went live on Fashion Scout’s website on the 18th September.

 Sprouting from a single event in 2017, FDC Armenia grew into a collective of over 200 talented designers, companies, and artisans, who have displayed their work in Mercedes Benz Kiev Fashion Days, and now, thirteen of them at London Fashion Week.

 Each designer has their own unique style, from Armenian heritage weaving and biodegradable materials, to original printed photos on denim jackets. For some, it is their first time displaying their collections to the public. But unfortunately, due to current pandemic restrictions, the designers were unable to join the celebrations in London, but instead their own homes in Armenia.

 Speaking in-between the digital shows about some of their designers with Fashion & Design Chamber (FDC) of Armenia president, Vahan Khachatryan, and Elen Manukyan, co-founder of Loom Weaving, we explore the future of fashion in the next generation of Armenian designers through ways of sustainability and ethical manufacturing, and how they feel about the digital Fashion Week.

2020 has obviously been a difficult year for many around the world. How have the designers coped with the pandemic?

 VK - I guess everyone in the world is going through the same problems now. For us - as an organisation, we had a lot of physical events that were either cancelled or postponed to next year. We were supposed to be in London right now, but we’re sitting in our office in Armenia. We're glad that at least in digital format, we're still able to participate in this amazing event.

As for the designers, it's been really tough. It's a very big blow for the industry here [in Armenia], because it is still very young. It's just starting to grow and, in this stage, to get a blow like this, it's almost like going back to square one. Even those who have been in the industry for a long time and had some financial means to support themselves, are facing big problems - a lot of shops closed, which is a very big loss, because I think that it's important to have the physical service. That's why we're really hoping that even though we have the digital platform [of LFW], this will help them open some new markets, attract new buyers, anything that can help them in this situation. We launched an online e-commerce shop today. The first 13 designers participating in Fashion Week are already represented on the e-commerce platform. So, people who watch the videos, they can directly go to the ecommerce website and buy the collections now.

We hope this is going to help. This is also a part of our support programme, where we help them with their sales. Hopefully, in February for the next season, things will go back to normality and we will come to London.

 You've mentioned the digital aspect of Fashion Week. So how do you feel about Fashion Week being digital and do you think/want it to continue after the pandemic?

VK - The good side of the coin is that we're learning how to present our goods in a different manner, something we haven't done before. Of course, we've always been doing photo shoots, and videos, but this is completely different. We’re used to touching the clothes and looking inside, how things are made, what's the quality. It's really difficult to show these things in a photo or on a video. So, this makes us come up with new solutions. Obviously, it's pricey. I've seen some really exciting ideas which we couldn't afford, because virtual reality is getting really big. So, the VR shows that people are doing, it's a lot of investment that we don't have at this moment. But I think that in the future, it will be a mix. Obviously, not everyone will want to stay in the digital format, but I'm sure that this is going to become a part of fashion reality in the future. I'm seeing so many brands who started doing digital clothing - you don't even buy the clothes anymore, you just buy the digital version of the clothing and you get it photoshopped on your avatar or in your photo.

I don't know if it's too early for this because I think we're still living in a quite normal world, especially in Armenia. We're really not that technological. I see some Russian designers, like Alena Akhmadullina, already selling digital clothing on her website, as well as the founder of Mercedes Benz Kiev Fashion Days, Daria Shapovalova (Paskal). They work with different designers around the world and have an online shop where they also sell digital. I think that's the future, but it's a bit further from where we're standing right now. I think it's good because you learn, you're seeing all these possibilities, and especially with our sustainability programme and trying to introduce sustainable fashion in Armenia. Obviously, digital fashion is much more sustainable, and it's less waste. But it's going to be a long way before we get there.

One of the main concepts for FTC Armenia collective was 'sustainability'. So, what does sustainability in fashion mean to you? And how important is it for the future of fashion?

VK - Again, for me, personally, everything started I think, three years ago. I have been in the industry for so long, and I do consider myself a more traditional designer. I like a lot handcraft and artisans, upcycling and recycling, I use old materials or curtains, tablecloths, whatever, can be channelled into a dress. I’ve never given labels to the sustainability process until a few years ago. I found out about the Green Carpet Fashion Awards (GCFA) competition organised by Eco Age UK, where I was in the semi-finals and invited to go to Milan. I met a lot of designers, other semi-finalists, who were working in sustainable fashion. It was a completely new world for me! I learned things I had never heard of before like pineapple leather, or recycled fishing nets. I was blown away by everything that has been done in sustainability – the part of fashion I didn’t know much about. So again, when we got the grant from the UK embassy, we thought that we should really focus on sustainability. The UK has such a big experience in recycling and climate change. We teamed up with Eco-Age UK and tried to focus on the biggest problem that we have now in the textile industry, which is the waste management. So, we’re trying to organise the recycling, fabric waste. Hopefully in the future, we will also start dealing with the other aspects of sustainability.

 And do you think that pandemic will change the way we produce and consume fashion?

 VK - I hope, but we can never tell until the time will show. Hopefully, people will be more aware of what they're buying, and how they're spending their money. But people have the tendency to go back to the easy ways. There has been so much talk about sustainability, especially among the fashion society now [during the pandemic]. To educate the customer, we should firstly educate ourselves. It is important that the designers hear about these things to start realising the importance of sustainability in the industry, and then they can educate their customers. So hopefully, at least, they've used these months sitting at home with some use and participated in online talks. I hope that they've really been engaged and that things will start changing, at least among the designers, and then for the general public.

 Loom Weaving has deep connections in their Armenian Heritage. Does she ever feel pressure to design for a more kind of 'Westernised' audience?

 EM - I'm not a designer, I have been working in the business sector within the Ministry of Economy for a long time and working with start-ups. My sister – she's the designer, and she was trying to open a business, for like six years. I supported her because she couldn't do anything apart from creating clothes! Maybe this was my purpose when I entered the business sector. From her perspective, when she [Inga] started her business, she was always thinking to do something that has never been done in Armenia before. And for a long time, she was doing her research on how to start it. I think it was the best idea that she could propose because at that time, no one in Armenia was using the old Armenian weaving techniques – which was the key idea that we used to establish the business. We started with handmade workers, who are in their 60s (about our mother's age), who are knitting and who know the techniques, but they don't use it in fashion. There is the added value that we put in making these old clothes fashionable. Her niche technique and product are what she is famous for.

 VK - It's always difficult when you have a niche product for the market. When we were in Milan, anticipating one of the trade shows, there was big interest from Germans and Latvian buyers, because I think it was something they would use throughout the year.

 Also, in Armenia, things are changing slowly. Before, knitwear was considered something your grandmother would wear or make, so it wasn't considered 'cool'. But times are changing. It's becoming something that is trendy and that young people wear. But it's not just knitwear, I think every niche product is going through the same path.

Damien (aka. Damink) is basically a one-man show. He does photography, art, film designs - he's doing so much! How does he keep up with everything?

VK - That's, again, a big problem for most of the designers and I don't think it's just a problem in Armenia. You have these designers trying to do everything because they cannot afford hiring other people to work for them - which is good, because you learn, you grow. But on the other hand, you cannot do everything. Just one person is not capable. And at some point, some of the aspects start limping. He's a photographer, who started using his photos on T-shirts. And then from t-shirts, he went to jackets, denim, pants and it became something more serious than just memorabilia.

On the other hand, because he's doing photography, cinematography, and short videos for advertising, and he does his own videos for the Fashion Week. But when it comes to administrative stuff, he does nothing, really. So, we try to help him with that fragment. But even if you go on our ecommerce website, you know, all the designers have uploaded their prices, they're ready to sell, and for Damien, you only have the pictures, because we didn't receive any pricing or a description of the items. You really have to sit him down to do it. But he has no time, he’s taking photos and doing a million other things. So, there is this problem of creative people when they have a lot of creativity they want to work with. They need a business person right next to them to help them with that part. And that's something we're trying to teach. In fact, you don't have to do everything yourself because sometimes it's more damaging than doing good. Hopefully they will start listening.

Do you think he will continue with designing or is he more set on photography?

EM - I think he will continue. His work is very exciting. When we bring his items to sell to international buyers, all of them are taking them, trying them on and taking photos. 

VK - The core of his collection are the photos. I'm sure that his brand is going to evolve but, more or less, it will be probably looking the same for a few years from now. He doesn't have to sit down and design a full collection of 60 pieces every season. Of course, he doesn't consider himself as a designer – he always says that.

Z.G.EST has raised a lot of attention during this Fashion Week…

EM - Yes, Alla is the owner of this brand. She’s from finance sector, she worked in banking for a long time but she was very interested in fashion and she’s doing a good business. She’s not a designer, but she is a good manager and she’s one of two designers that are working on collection but she sells very good in our media and now she’s doing an international online shop and works with different online platforms.

I think she will succeed because she knows all the management of business and art. Now she has taken the road of sustainability which is the key, she puts a lot of emphasis on these materials. Yes

VK - She’s very clever. Even if you don’t call these ‘designer’ pieces, these are pieces that almost every woman can buy and have in every wardrobe on daily basis in almost all body shapes, so it’s a very good sellable product. .

She’s obviously very rooted in sustainability and ethics in fashion. How does she source her up-cycled materials?

VK - When she started, she would turn shirts into dresses that would be quite versatile, which lead to bigger collections. The idea of having an element of a shirt in almost every piece has always been the philosophy of the brand.

Is she intending to eventually source materials from Armenia to completely minimise her carbon footprint?

VK - It’s not possible to source the materials because we don’t produce materials. That’s a big problem. So, if we’re talking about raw materials, and we always have to buy them from somewhere. If we’re talking about upcycling stuff, it’s obviously possible to buy stock pieces from Armenia. It’s very sad, but we have zero production of any kind of raw materials. The easiest way to make the footprint less is to buy from Turkey, which is our neighbouring country. But we have a bad history with Turkey. Also, Turkish materials are not really considered very high quality, and many of them don’t have the certification of sustainability, because they source their materials from Pakistan, which come with child labour, forced labour and all the other negativity. So that’s why we try to focus on European made fabric. That’s the least that we can do. Maybe in the future, things will change.

It’s hard at the moment. Even though sustainability has been around for so long, it’s only just starting to be really acknowledged in fashion. Do you know if any of the FDC designers plan to expand to the UK?

VK - That's the ideal, the dream! But it depends how things will work out. For example, I was talking to one of our designers, who's Iranian-Armenian. She sells both here [Armenia] and in Iran. I was talking to her and she said that there has been great interest from the UK media, some of which is paid media, and some are for free. But she said that she's going to advertise in Vogue UK and Tatler UK soon.

 There was another designer, who said that she hopes this, together with a showcase at Fashion Scout, will really help her to get into the market. Some people are really taking this seriously, while for some it's the first time, so they don't really know what to do or how to do it. They're in the very beginning of their own career. So, this might be a good showcase, but business wise, it's very different. We hope that at least a few of them will really use this opportunity to grow the business.

 EM - Z.G.EST is currently selling with Wolf&Badger in the UK, an online store. I as far as I knows, it's selling very good. Last month she sold about 20 pieces through them. Pretty good, considering she's presented with them for only about three months.

 What do you think is the most effective way of promoting sustainable fashion?

 EM - In our country, the textile industry is on the rise, because a lot of big companies are now actively working. So, from one point, we are working with these big companies and manufacturers, and have an established network for our designers. And from the other point, the company benefits from receiving a 'sustainability' badge, which is very important for them, and it will raise the level of their company as a more sustainable approach manufacturer. They mostly produce for the Russian market in big quantities, but they're also interested in the European market.

 VK - I think that the best way to market sustainability, is to spread the meaning of it - as meaning is very new. People [in Armenia] don't have an idea about what their inner production or designs are about. It's a very good time now, if we're just starting with that, from the rights end. I think that the USP (unique selling point) for Armenian fashion would be that it's, in many cases, artisanal. It's definitely Fairtrade, it's very inclusive, there's no slavery, child labour, and it's fair pay. So, people are paid quite fairly for what their labour, at least for the local market.

 EM - The big companies are in the regions, which is another opportunity for regional people to be employed, with good working conditions.

 VK - We don't have all the negative aspects that many countries like Bangladesh, or China or other countries have. A unique selling point would still be the fact that it's never mass-produced. So we don't get things that are like 1000, 10,000, or 100,000. Everything is in a very limited quantity, so you get something quite unique. In the end, the pricing is very fair, so you don't pay the price you would pay for an international design effort but you still get the quality.

 The problem, which is also something we're trying to understand how we can solve this problem, is the fact that we're not very far from Europe, but the shipment is a big problem for us. So the companies, like DHL or UPS, charge a lot for shipment which is sometimes not reasonable. But for the rest, I hope that people would find something interesting in Armenian fashion.

 Do you think the future of fashion can be truly sustainable?

 VK - Can the future of fashion be truly sustainable? Completely, 100%, No. But if we're being realistic, even if it's 50% sustainable, that's already a very big achievement, because it's going to be almost impossible to be able to be 100% sustainable in this industry. I mean, even in Armenia, there has so much production, which is underground, let's say in that small workshops, which are not sweatshops, these are still places where people get paid, but just avoid paying taxes, which means they're not registered. This makes it almost impossible to measure how they work, whether they are working in a sustainable way or not. And if you go to countries like China or Bangladesh, it's the same but on a much bigger scale. You may be able to monitor the official part of fashion, but the dark side is always going to stay in the shades.

Check out all of FDC Armenia’s designer products here, and their campaigns on Fashion Scout’s website here.

All photo credits are courtesy of the designers.

Why is Everyone Suddenly Talking ‘Sustainability’ in Fashion?

“The Fashion Industry was ‘working’ because nothing ever disrupted the business before”

— Casey Legler

Photo by Anna Sullivan on Unsplash.

Our system is broken. It has been for many years. So why, only now, are designers, editors and directors of major fashion brands talking about sustainability and system change?

Over the last few weeks, social media platforms have been boosting with a range of content coming from the most honoured fashion personalities in the industry. Edward Enninful OBE, editor-in-chief of British Vogue, hosted an hour-long conversation on Instagram’s IGTV with Grace Coddington casually debating the state of the fashion and magazine industry of ‘post-corona’ life. Cara Delevingne followed the trend and spoke ‘sustainability’ with Greenpeace, and Imran Ahmed, founder and editor of Business of Fashion (BoF), outlined the implications the pandemic has caused to re-envision our future. Everyone, from models to editors of pioneering magazines, is concerned with the environmental and humanitarian impact the industry has on the planet, but why are they only openly talking about it now?

The unethical conditions of workers in countries like India and Bangladesh, to just name a few, are no secret of the industry. Rana Plaza first came to the attention of media after a garment factory collapsed at the rate of just 90 seconds, killing over 1,100 people inside - most of whom were young women manufacturers. The “mass industrial genocide” forced brands to act immediately. Presumably, Primark and Matalan were amongst the retailers who manufactured garments in the building, yet the full list is unknown to this day. 

Seven years after the collapse and re-evaluation of ethical and safety standards of workers in developing countries, the same battles still forge the debates of transparency and human rights issues. Manufacturers in factories still work for the lowest wage in the world (starting at equivalent to £25/month), with children as young as six years old forced to work instead of going to school. Poverty is still a huge concern in what is called the ‘most glamorous’ industry, yet the reality is far from it. 

Due to the global shutdown, manufacturing workers have been left on the side of the curb with no income to support themselves or their families. Over 90% of garment workers have no possibility to negotiate their wages or working conditions and in the eyes of their governments, they’re technically unemployed and do not qualify for any government ‘furlough’ schemes. Nearly 60 million garment workers in India have been left without work resulting in the hardest collision of the health system and pandemic crisis. 

Imran Ahmed in BoF Live talk with Casey Legler, a French-American writer and model, outlined his vision of the future of fashion through enforcing sustainability, reducing carbon footprint and “giving back to the people,” by offering the workers adequate pay for their labour and establishing worker’s rights. He outlined that the companies should be held responsible for their factory workers during a global crisis, like this one.  Casey Legler expressed her hopes that the pandemic “will put a magnifying glass on the fashion industry’s issues and rewire”.

Fashion Revolution estimated that the global lockdown resulted in over $3.8 billion cancelled store orders, with tons of material laying in factory-houses from the Spring/Summer collections that were presented in Fashion Week in February 2020. The Business of Fashion editor, Imran Ahmed, scrutinised the fashion industry for the waste and pollution they cause to the environment on a regular basis. Luxury and high-street brands are suspected to burn their collections and excess textile materials that have not made it into retailers and shops around the world, resulting in 1.2 billion tons of CO2 emissions on a yearly basis. The fashion industry is already known as one of the major environmental pollutants in the world, from crops and water to air and soil, but with the excess garment stock, Imran Ahmed believes there will be three times more waste produced globally.

The disruption levels on the fashion industry have reached an all-time high, from factory closures to retailers and design production, the whole supply chain has been shattered. Grace Coddington, a legendary model and US Vogue’s creative director, in a conversation with Edward Enninful on IGTV stated: “I’m not a religious person, but I feel like God is telling us to slow down”. The endless collections and fashion weeks that have been pioneering the world of fashion glamour for nearly a century will come to an end as we know it. With the current technological advances, major fashion houses such as Marc Jacobs have spoken out about the excessive-ness of so many fashion shows in Vogue Global Conversations webinar, and suggested to only have two fashion shows a year - “The amount of stuff we make and the quantity we make and the amount of time it’s shown – it’s just so excessive”. 

Casey emphasises that the current system “was ‘working’ because nothing ever disrupted the business” and with the present disorder and uncertainty, the industry as a whole, is forced to reassess the traditional craftsmanship and embrace technological innovation.

Earlier this month, the British Fashion Council’s chief executive, Caroline Rush released a statement saying that London Fashion Week in June will merge womenswear and menswear shows and will be accessed online-only as the lockdown endures. Caroline told the Guardian “by creating a cultural fashion week platform, we are adapting digital innovation to best fit our needs today and enacting something to build on as a global showcase for the future”.

The disintermediation will provide a chance for a new beginning for the fashion industry with a higher potential for sustainable and ethical working conditions and production. The possibilities are available, now more than ever with technological advances. However, the question we should be asking is whether the fashion industry, which is so stubborn to change out of its traditional ways, will be willing to adapt to the new normal?