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Invisible T-shirt Breakthrough

An eco-fashion brand has taken an innovative approach to the issue of transparency and traceability within the fashion industry by developing a new fabric that can make t-shirts appear invisible.

In partnership with the University of The Isle of Wight, eco-fashion brand Rapanui has taken the light transmitting properties of optic fibres and woven a jersey fabric to create an invisible t-shirt. The technology captures light on one side of a garment and relays it on to the opposite side.

Martin Drake-Knight, Designer at Rapanui explains:

“The research has been around for a long time but the principle is actually quite simple – to take light from the front of the garment and relay it to the back – and vice versa. Optic fibres are simply light conductive threads. They capture the light in the space immediately surrounding the garment and relay them through the threads. If you can direct this light directly out of the shirt, as we have done, the result is a vivid perception of invisibility.”

The University of The Isle of Wight assisted with the project and hope to develop variants of the fabric for a wide range of applications. However Textiles specialist Professor Barry Green said it would be “quite some time” before the technology could come to market, adding that an early idea would be to make landfill sites invisible: “Sustainability is an out-of-sight, out-of-mind problem. We can throw invisible t-shirts in open-air landfill sites – or even just on the street – and nobody will know they are there.”

In a recent interview fashion designer Wayne Hemmingway spoke of the Award-Winning eco fashion brand:

“What Rapanui is doing is game changing; they are at the forefront of fashion technology. People will see what they are doing and will want to copy it.”

Rapanui Co-founder Rob Drake-Knight comments:

“We are delighted to announce this innovation; we hope it helps to raise awareness of transparency and traceability within fashion.”

Watch a video of the invisible t-shirt and the science behind it here: www.rapanuiclothing.com/opticfibre

Share the video or embed it in your website using this link: http://youtu.be/P6Ul9lPil-A

Cotton, chocolate; children continue to be (ab)used in these supply chains…

http://www.bbc.co.uk/iplayer/episode/b01dz7k6/Our_World_Supply_Chain_Children/

Despite the key roles women play throughout the process of production and consumption of fashion, they are often disadvantaged and undervalued by trade policies (a government’s policy controlling foreign trade) . Trade policies and agreements are often assumed to be gender neutral. Yet, through many instances, the opposite has been proven. Gender neutral policies do not look at the different experiences men and women may have, not only due to their gender, but also due the interaction of gender with other social relations, such as social class, race, caste, generation, ethnicity, religion, and so, which may contribute to one’s subordination. The interaction of two or more social relation manifests discrimination between and among men and women. Inequalities within social relations put women at a subordinated position, and the fashion industry has not made an exception.

According to Zo Randriamaro (2006: 8,) ethical trade ‘promotes the interest of the producers.  It recognises the importance of better integrating primary or local producers into international markets, but sees that an unregulated market is unlikely to distribute the benefits of the trade equally among all those involved in production.  It therefore advocated policies in which those who end up getting poor remuneration for their products are able to claim a greater share in the end sale price.’  Ethical trade would lead to sustainable development, and both men and women who contribute to the production of our clothes would beneficiate from it by working for fair wages, but also by working in compliance with the World Fair Trade Organisation’s ten principles of trading (http://www.wfto.com/index.php?option=com_content&task=view&id=2&Itemid=14).

Worldwide, there is an estimated 40 million people involved in the global textile chain among which women represent a large percentage.  Although we need to take into account that there are significant variances depending on the context, women are often more likely to be discriminated, considered as cheap and flexible labour, and exposed to health and safety risks.  Moreover, women who, in many countries, are less educated than men, have fewer opportunities to ‘walk up the ladder’ due to their lack of qualification and training.  Hence not only men are more likely to have higher positions than women, but also higher wages. 

However, it has been academically acknowledged that women are more likely than men to spend their money on children’s education, health, and improving their household.  Also, earning their own money gives women greater bargaining power within the household, and may result in greater involvement in decision making, reduce violence and so on.  In addition, giving people fair wages for the work provided enables them not only to make a better living but also to reinvest more in their business. 

In order to bring sustainable development in poorer countries, there is therefore a need to involve women in the process as well as men.  The United Nations’ International Trade Centre (ITC) has developed the Ethical Fashion Initiative which aims to use fashion as a tool to bring sustainable development.  Of course it is one among many tools, but it will help to reach a large amount of world citizens who work in the fashion industry. 

Brands such, as the Belgian brand JnJoy (www.jn-joy.com) not only use sustainable textiles, chemical-free dyes and ensure they work with factories that pay fair wages but also support poorer communities by supporting a charity that helps Indian children to have a better life. 

Another example is TRAID (www.traid.org.uk), which raises funds to fight global poverty and injustice through its clothes recycling, charity retail and environmental activities in the UK.  So far £2.5 million have been raised to support projects improving the lives, environment and wages of people working in the global textile supply chain.  Many of these projects have targeted women and children throughout Asia and Africa.

Although ethical trade doesn’t have a particular gender approach, by its ethics, it becomes more gender-aware.  By using organic cotton and chemical-free dyes that won’t put farmers and producers health at stake and ensuring the factories they work with are compliant with the WFTO fair trade principles, fashion companies can start reversing the trends, but it is also up to us, as consumers, to shop ethically and contribute to improving the lives of many in the supply chains.

Article by: Cindy S. KUYLLE

 Bibliography:

Randriamaro, Z. (2006) Gender and Trade: Overview Report. Bridge.  Available from: http://www.bridge.ids.ac.uk/reports/CEP-Trade-OR.pdf [Assessed 7th March 2012]

Instead of simply selling accessories, Funky Jewellery and Bags seeks to promote each of our brands’ efforts to better the individual stories and outcomes of artisans living in emerging countries. Offering more than stylish, well-crafted pieces, Funky Jewellery and Bags works to further the passionate outreach of our brands. We support their efforts to improve the working conditions and livelihoods of a global community of craftspeople and designers.

We carry unique pieces from fresh, on-trend suppliers, including Saffron Winds, La Vie Devant Soie, Shiraleah, and Owen Barry. Each boutique company shares our vision of sustainability and complies with fair labour practices. In addition, we offer lines from fully fair trade certified small businesses, including Saffron Winds, Kazuri Beads and Manuhit.

Meet Rachel

Funky Jewellery and Bags was founded by Rachel Davies. With a background in publishing, Davies launched the business after becoming aware of the mountains of unsold, poorly constructed clothing that is discarded about at the end of each fashion season. She wonders, “how long can we continue to pile up mountains of unwanted clothes, which can’t even be given to charity because they just tear off too easily and the fabric can’t be recycled? I feel that these practices are unsustainable in the future.”

In response, Davies solely partners with suppliers who construct quality, long-lasting products in an ethical and sustainable way. She explains, “I strongly believe in ethical fashion and assume that we cannot continue to produce and create fashion without any consideration for the aftermath.”

Her extensive background in the design and manufacture of fashion jewellery and fine jewellery allows her to explore fresh interpretations of traditional techniques in contemporary ways, bringing this vintage look to the modern woman. The result is stunning wearable pieces: light, feminine and delicate; which are created with attention-to-detail craftsmanship using ethical materials.

Products that provide skilled work and livelihoods for women and marginalised communities in some of the poorest countries in the world.

Our collection aims to offer the best in style and quality. Each watch is painstakingly brought back to its original condition and is sold with a 1 year International Guarantee.

Each AURA QUE design is brought to life in a Nepalese factory that employs local people, according to fair trade principles.

Katherine believes in the slow fashion movement and does her own labor and beading, and because of this some of the more detailed gowns take a few months to complete.
Telephone measurements allow her to exactly replicate the clients body on a mannequin which guarantees a perfect fit. No alterations or fittings are required.

Only a limited number of gowns are sewn per year so it is best to contact Katherine early to secure your space.

Available only at katherinefeiel.com.

Worldwide shipping.

Cotton is a soft, fluffy staple fibre that grows in a boll, or protective capsule, around the seeds of cotton plants of the genus Gossypium.  Cotton is an important fibre in the global textile industry and plays a large part in the social and economic progression of developing countries.  There are approximatly 40 million rural households involved in cotton production in some of the poorest countries in the world and for many of them cotton is their only source of income.   Fairtrade cotton is produced predominately in West Africa and India; there are a total of  thirty-three cotton producer groups in Burkina Faso, Cameroon, India, Kyrgyzstan, Mali, and Senegal. 

Photo: Trevor Leighton

Fairtrade certification grants small-scale farmers access to global markets and allows them to earn a sustainable income. It ensures that farmers receive a guaranteed minimum price for their cotton crop, which is calculated in order to cover sustainable production costs. Farmers also receive an additional amount on top of the Fairtrade price, known as the Fairtrade Premium, to invest in community projects. Farmer organisations decide democratically how to invest the premium money –  it could be on a health centre, a school, clean drinking water supplies or on improving agricultural practices. When consumers choose to buy products made from Fairtrade cotton they are doing their bit to fight poverty and make a positive contribution towards sustainable development for some of the poorest cotton farmers in the world. The Fairtrade Foundation has no input in the pricing of Fairtrade garments as prices are set by the market based on supply and quality. The use of Fairtrade cotton does not automatically make garments more expensive than other cotton garments.  The price of cotton products varies considerably depending upon the quality, the point of purchase, the associated brand and the economies of scale in manufacturing. 

 It is important to note that it is the cotton itself that is certified as Fairtrade, not the textile supply chain. There is no physical difference between normal cotton and Fairtrade cotton; the difference is that the producer of the cotton, often the forgotten link at the start of the textile supply chain, has received a fair price for his cotton

Emma Watson for People Tree

To date, thousands of farmers in developing countries have directly benefited from Fairtrade cotton and the awareness and popularity of items made from Fairtrade cotton is increasing every year.  A number of specialist stores and brands dedicated to the promotion of Fair Trade garments and accessories have been formed, such as People Tree, Gossypium and Green Knickers. Now you can even pick up an assortment of Fairtrade cotton items such as t-shirts, polo shirts and cotton wool during your weekly grocery shop at places like Sainsbury’s and Marks & Spencer, fashion items at Top Shop, Top Man, Laura Ashley and Asos and bedlinen at John Lewis. Celebrities such as Lily Cole, Emma Watson, Lisa Butcher, Erin O’Connor and Bono are all involved in promoting Fairtrade cotton clothing or their own Fair trade brands.

 People Trees’ stated mission is to “set an example to business and the government of a Fair Trade model of business based on partnership, people-centred values and sustainability.”

Fairtrade cotton remains an extremely small part of global cotton production despite gaining significant momentum since its introduction in 2005. Hopefully, in the future Fairtrade’s ethos will be better integrated into the textile industry, rather than occupying a small role on the periphery of textile production. Who knows what wonders our wardrobes will hold in another seven years time?

Article by Jessica Leach

Who Made Your Pants is a company based in Southampton that produces lacy knickers.  They buy end of season lace from the lingerie industry.  The amount available varies from lace to lace and although they have perfected one classic style the same sewing pattern cannot always be used.

Have you ever tried on the same dress in two different colours and wondered why they don’t fit the same?  Certain fabrics react differently to different dyes and lace is susceptible to this.  In addition the different lace designs alter the properties of the lace meaning a new pattern is needed for some laces.  The main idea behind the brand is visibility of the supply chain which extends to telling the customer who made their pair of knickers and details of the machinists are on the website.

This brings me onto the theme of traceability brought up at one of the keynote speaker talks. The supply chain of any retailer is typically long and ever changing.  Lord Anthony Young , Vice-Chair of the Ethical Trading Initiative (ETI) noted how it is vital to get ‘buy-in’ on ethical trade from upper levels of management.  These people instigate projects but are also important in terms of ensuring buying practices in the company do not undermine ethical trading targets.

It is important to embed an ethical trading culture throughout the company and to all employees as they are the ones who manage day-to-day trading activities.  The first step towards ethical practices is to know who made the clothing something which is not always easy when there can be many levels in the supply chain.  But building a true picture requires mutual trust; potentially a difficult thing to achieve.

Government regulation was suggested as an avenue to take given that voluntary action was not forthcoming in delivery results. One of the main barriers to this would be that regulation requires enforcement.  And regulations require a much deeper understanding of the complex task of achieving ethical conditions throughout the supply chain.

Retailers at the top are ultimately the key to improving worker conditions further down in the supply chain.  Any kind of government enforcement is a long way off and it is up to retailers to act responsibly and take the journey towards ethical trading.

By Laura Russell

 Last year, Andrea and his wife Ansula took a bold step and put their successful careers on hold to start up a new business venture.  Both from Sardinia, they found local artisans making beautiful jewellery and wanted to preserve this threatened traditional craftsmanship by giving it a new lease of life.  KOKKU takes its name from a type of Sardinian amulet for protecting newborns against the “evil eye”,

 KOKKU is an ethical trader fully committed to providing a platform to promote some of the worlds undiscovered

master artisans and traditional crafts brought up to date for the 21^st century – truly modern ethical jewellery.

 KOKKU has chosen to focus its first series of collections on jewellery from Sardinia, showcasing the finest hand-crafted filigree in gold and silver: rings, earrings, necklaces, pendants and bracelets.  Each piece has been carefully chosen not only for its delicate grace and stylish refinement but also, more intimately, for the way the pieces “resonate” with a wealth of personal memories and “touching” moments from key stages in their lives.

Mixed with the traditional are exciting contemporary designs made possible because of a number of significant innovations in filigree metalwork. Indeed, several techniques used for KOKKU’s jewellery are patented and exclusively used by the local manufacturers.  There are two key innovations: the size of the thread used, some can be as thin as 0.25mm and the use of the filigree itself which is used not only decoratively but also as a structural support for the design thereby adding another dimension and also a lightness to the jewellery.

Future Vintazia Friday Night Vintage Fairs in 2012: 24 February, 30 March, 27 April, 25 May, 29 June, 27 July, 31 August, 28 September, 26 October, 30 November.

  ]]> http://www.stylewithheart.com/fashion-compassion/feed/ 0 http://www.stylewithheart.com/everything-must-go/ http://www.stylewithheart.com/everything-must-go/#comments Sun, 22 Jan 2012 13:42:45 +0000 Gillian http://www.stylewithheart.com/?p=2937 Ever since the rise of throw away fashion I have been interested to learn what the effect the clothing we send to charity shops has on the developing world. In an apparent ‘win–win’ situation shoppers can donate their unwanted clothing charity enabling them to buy new clothes to replace them and at the same time raising money for charity. But the story is more complex; this weekend at the Bargehouse, Oxo Tower, London an exhibition called ‘Everything Must Go’ took visitors through the final stages of a garments life once it has been donated to charity.

 As a keen charity-shop shopper I have become increasingly disheartened by the quality of clothing over recent years as I see charity shops full of the same ‘cheap’ brands. Items donated to charity will be kept for a set number of weeks before being sent for recycling. Only half of the stock sent for recycling is of high enough quality to be sold on in its current form, the other half is sent abroad for fibre reclamation.   

 The film ‘Unravel’ by Meghna Gupta follows the story of garments sent for recycling to India. Garments arrive in large bales. The clothes are sorted by colour and slashed to stop people stealing them to sell on in the lucrative second hand clothing markets. The next stage is for the buttons and zips to be shaved off. The fabric left is sent through a rag machine to cut into smaller pieces. Then the scraps of fabric are soaked in oil to loosen the fibres and sent through a teasing machine to loosen the fibres. Fibres are then treated in a similar way to new cotton or wool by which they are carded, spun and the resulting yarn used for weaving into blankets. These blankets are of a very low quality and sold from 50p – £3 to the poor, prisons, hospital or as emergency aid blankets. Working in this environment is very dusty and unhealthy and works earn less than £1.50 per day.

 Frip Ethique, is an initiative from Oxfam which sends clothing to Senegal, West Africa to sell to local second hand clothing merchants. During my first year of university I volunteered in an Oxfam shop and was able to visit the Wastesaver operations in Huddersfield. Here they sort textiles into different qualities and make into bales for export. The poorer grades would be sent for recycling into rags or filling.

 With all this said it doesn’t mean giving to charity is bad thing. Far from it, those garments which are in good condition raise money for the charity and go on to be worn again by someone new. Textiles sent for recycling raises money by the tonne and generate income for both the charity and the overseas country. So next time you decide to discard your worn t-shirt to charity think where it may end up…

 Unravel http://soulrebelfilms.com/project

 Laura Russell

I was introduced to Antoinette by a little blue bird and we have since become good friends.  I’ve been helping her with various aspects of the show and wanted to share with you a little more information about this amazing event that she has created….  After reading this interview with her, I think you’ll agree that it will be a highlight in the London Fashion Week calendar for everyone to enjoy.

Why did you decide to set up The Good Fashion Show?

The initial idea for The Good Fashion Show started to develop when realizing that the amazing progress and innovation one encounters within the sector of ethical and sustainably produced fashion often remains closed within the industry itself.  Ethical fashion has not yet reached the people.  In fact, many consumers still have prejudices and simply ‘wrong’ views about what ethical fashion is: too expensive, not really trendy or chic… and the list could go on.  Clothes are tied to basic human needs.  Here in the UK many of us are in the privileged position to
 make choices about the things we buy and use to dress (up).
  ‘Sustainable’, ethical and responsible options are available but many people are not familiar with them or have prejudices against ‘eco’ and ‘ethical’ fashion.  It is essential to create awareness about these ‘good’ options and, on a more fundamental level, to a make people think about what and how they consume.

 What are the objectives of the show?

The goal of The Good Fashion Show is to create a new platform where public, press and trade can discover and buy the latest ethical, sustainable and responsibly produced fashion from around the globe.  The leading concepts of ethics in commerce, sustainability and respect for people and planet to which ‘good’ fashion relates are further explored through the exhibition of unique artworks and two sections of keynotes keynote speeches.

We believe that enduring changes begin with simple things and should be kept simple to have a chance to endure and flourish. That is why we want the public to see what ‘good’ fashion actually is.  Once consumers know more about ethical and sustainable fashion, they will be more aware of the fact that change can start with one single outfit and that they are an integral part of this process of change since they are the ones who buy and wear clothes.  Thus our motto: ‘Dress Up. Resource Down.™”

‘Good’ fashion can help create sustainable livelihoods and environments and implement fair, traceable and transparent practices of business and trade.

Our aims are:

-  to raise awareness for ethical and sustainable fashion, also amongst younger people

-  to increase the number of buyers of ethical and sustainable fashion

- to showcase and promote designers and producers of ethical and sustainable fashion

- to raise funds to support grassroot projects in which fashion propels social development (in particular empowerment through education, micro-financing and ethical trade) and acts a motor for environmental awareness and change.

 Can you tell us a bit about the day itself?

The 18^th of February will be a busy day!  The Good Fashion Show is London Fashion Week’s largest off-schedule event.  But there is much more to it than just amazing fashion… 25-30 British and international labels show and sell their latest collections. There will be many more good things in our marketplace: makeovers, clothes swishing, sweet things, fruity things, scented things… We will exhibit and sell 100 unique and provocative artworks ranging from fashion photography and illustrations to video installations and pieces of fine art.  There will be key note speakers offering real brainfood for those who wish to engage on another level.

 What are you most looking forward to on the day?

To the smiles and giggles of the people involved and attending.

What will happen at the evening event?

The spectacular evening runway show ‘Transformations’ is not just a collaborative catwalk.   Innovative, ethical, sustainable and responsibly produced fashion will meet worldclass musicians, artists and the models from Eclipse Model Management. The hostess is Nancy Sorrell. Live on stage - UK soul-legend Omar, the rock band Left at the Robot, the Swiss contortionist Nina Burri, the Brazilian fashion performance artist/designer Lisa Simpson, the Indian classical dancer Miti Desai and a surprise guest!

What has been your biggest challenge to date with the show?

To grow to where we are today from a starting budget of £250!

What will the future of the show be?

 The Good Fashion Show will be an annual event.  If we grow, we may tie The Good Fashion Show to both seasons of the international fashion cycle and London Fashion Week.

Future plans also include the possibility to register The Good Fashion Show as a charity to ensure the continuity of our core work at the intersection between ethics, aesthetics and commerce.

ETHICAL SUSTAINABLE RESPONSIBLE FASHION

LONDON HOUSE 18 FEBRUARY 2012

Tickets for both the day event and evening show can be purchased here.

The stunning setting at London House - historic interiors and exhibition rooms.  And why not also taking a sneak peak at the ‘Great Hall’ which will be used for the evening catwalk show?

Floor plans

So I took my pen and paper and started drafting…

The shop 'before'

Henrietta is from Scotland, inspired by her heritage, her chosen theme for her clothes was ‘highlands and caves’.  I designed the tubes around this theme to change the feeling of the space. The shop was quite large, white and cold. I wanted to warm it up making it more cosy, fun, inviting and creative like her clothes.  I designed the tubes in clusters to create abstract-like stalactites.  

The design evolved as I travelled around London to source and gather fabric and carpet tubes to create an ethical and eco friendly space.  

It was important to make the tubes look appealing so we cut and sanded them down to size and then installed them into the space layering them one at a time. Each tube was either a different shade or had a unique pattern on it so instead of trying to conceal or cover the tubes to make them uniform, I worked with the uniqueness of each one to create a fun and organic looking space, like Debbie Allen says ‘out of limitations comes creativity’.

It was very exciting to be able to work on this real life project; I hope that you agree, the result is something quite unique and eye-catching and worth seeing in person if you are visiting Whiteleys in Bayswater, London.

Isil Ramadan, Architect and Designer

www.henriettaludgate.com

Celebrate the New Year in iconic style, with exclusive access to one of London’s most breathtaking views. Live music, DJs, and a whole manner of fun will betaking place across The Clore Ballroom and foyers at Royal Festival Hall. Acts confirmed include Gabby Young & Other Animals, Eliza Carthy’s Motown Ceilidh, plus much more.

Shortly before midnight the party moves outside to an exclusive terrace overlooking the Thames, where you canenjoy London’s spectacular fireworks away from the crowds.

We are giving away a pair of tickets, a framed signed poster of Gabby Young & Other Animal, and a copy of GY&OA’s 2009 album ‘We’re All In This Together’ on CD.  There is no cash alternative.

For your chance to win this amazing prize and wear your fantastic New Years Eve outfit, simply answer these questions correctly and you will be entered into the draw:

1. How many brands are featured in the ‘LBD goes green’ blog?

2. Which country is the largest producer of organic cotton?

Email your answers to gillian@stylewithheart.com

The winner will be chosen at random at 12pm on 28th December 2011  GMT and will be notified on 29th December via email.  He or she will need to collect their tickets in person from the Royal Festival Hall Ticket Office before the 31 December.

Good luck!

 http://ticketing.southbankcentre.co.uk/find/dance-performance/tickets/new-years-eve-party-62171

 You could pop down to your local identi-kit high street and buy something ‘off the peg’ and you may see your friend in the same thing or …you could discover some amazing outfits, all available on-line, clothes with a story behind them and designed by people who care about how they are made – ethical evening wear.  And because they’re available on-line you can shop 24/7 regardless of the crowds, snow or rain, sitting in your PJs with a mug of hot chocolate… what more could a girl want? 

 So, to save you time, we’ve tracked down a selection of glamourous LBDs and a couple of options if you don’t fancy a dress this year!  We hope you enjoy the pictures as much as we did shooting them – in the stunning grounds of Goodenough College, London.

Taken in front of the Christmas tree in the grand hall, from left to right: long dress, Outsider; top and skirt, Goodone, long black/white dress, Tammam; long dress, Henrietta Ludgate, short ‘flapper’ style dress, vintage, by Juno says hello.

Antoinette, finished wrapping the presents takes a well deserved rest wearing a magnificent dress by Junky.  If you want to make a real entrance or have an extra special occasion to attend, this is The dress to choose.

The lovely Elli is wearing a top and skirt by Henrietta Ludgate.  Livia Firth wore the same outfit to Henrietta’s shop opening and is beautifully timeless.

Meg wears the shorter version of a dress by Camilla Norbeck.  The gold earrings are handmade by Kate Rodgers.

An ethereal evening dress by Tammam in black silk chiffon over white cotton.

Rachel relaxes in a Junky all in one outfit with matching jacket.  Although the word ‘jacket’ really doesn’t do the design justice.  Rachel is also wearing a necklace made by Batacuda.  Batucada have created a whole new generation of environmentally friendly jewellery, which has a tattoo-like appearance that is both elegant and practical. The handmade jewellery is made in Paris, from an eco-plastic designed to ‘hug’ your skin. It actually adapts to the contours of your body, remembering your shape for a perfect fit.  Each design draws inspiration from nature, using organic shapes and natural colours. Batucada jewellery is durable, flexible, waterproof, non-allergenic and lightweight, so perfect for everyday!

Here, Antoinette wears the long version of the Camilla Norbeck dress.  We all thought this was a stunning dress, with a beautiful dress that could be worn time after time.  It is made from recycled polyester.

Gina wears an embellished lace vintage dress from Juno Says Hello. 

A rather sexy little dress by Junky which can be dressed up or down.

www.ellageorgia.com  Has provided all the lovely jewellery shown (apart from the pearl and white collar necklaces which are vintage). 

www.daisyhillltd.com  Daisy Hill eco-boutique are suppliers of organic clothing for women; allowing you to purchase luxury and ethical clothing at a competitive price.

www.goodone.co.uk  goodone (london) is an award winning sustainable fashion company which creates innovative directional recycled clothing.

www.junkystyling.co.uk  Junky is an innovative design-led label. All garments are made from the highest quality second hand clothing, which is deconstructed, re-cut and completely transformed.

www.junosayshello.com  Juno Says Hello is an online boutique dedicated to the finest selection of luxury vintage dresses.

www.outsiderfashion.com  Ethical renewable clothing designs renewable clothing designed with longevity and style. Sustainable fabrics and Clothing.

www.tammam.co.uk  Tammam designs and produces ethical, sustainable, organic environmentally friendly and stylish wedding and couture gowns.

 Photographer – Ted Chan – www.ftbear.com

Special thanks to Goodenough College for the use of their beautiful grounds and our 5 models:  Elli and Rachel (from Eclipse Model Management) Antoinette, Gina and Meg.

Hair & Make-up: Silvia Saccinto & Cornelia Page

Leona Lewis first took audiences’ breaths away when she appeared on the UK X Factor in 2006 where she was later announced as the winner of the third series. In that time, Leona has become a multi-platinum selling artist, three time Grammy Award nominee and one of the most in demand singers in the world. Leona now has her hands in the design realm and is inviting artists to submit an outfit design that will be created for Leona to wear at a major upcoming performance, which will be seen by millions. True to her compassion and support for animals, Leona has requested that all designs be ethically friendly. The winner will be personally selected by Leona and Jo Elvin, UK Glamour Editor and William Tempest, fashion designer from a shortlist formed from online votes.

Get involved by following the instructions below!

Practically, shopping with brands listed on this site is an option, there are shops scattered around the country and a new opportunity will take place in London in February 2012.  The Good Fashion Show is a not-for-profit event that brings together eco friendly and ethical fashion for sale; a fashion and art relating to issues of sustainability, ethics, trade and green creativity; a catwalk show with live music, talks and if that wasn’t enough, a market selling things made by hand and with love.

Numerous clothing and accessory brands will be showcased in one beautiful building (Goodenough College) and visitors will also a chance to learn and discover more about the ethical and green scene.  If you have any ideas for the talks or suggestions for companies you would like to see on the day, please let me know.  I hope to meet you there… 

Unlike large corporations, small farmers managed to cultivate banana and cocoa whilst preserving the rain forest. They used no chemicals or pesticides, allowing the native flora and fauna to develop and play their natural pest control role. Despite their positive farming methods, the small producers struggled to compete with their giant neighbours for market access until they became organic and fair-trade certified. There is no doubt that those certifications, the added value recognized by the costumers saved their way of life and the forest in which they live.

This experience convinced me that there was a more enlightened way of producing goods than mainstream economy suggested and subsequently led me to spend 7 great years working in international development. But the creative bug got into my blood when I was a child and I desperately wanted to create a project of my own. Always on the lookout for exciting ethical products, I became an unconditional fan of sustainable fashion. There was an area though where I couldn’t find what I was looking for: sustainable lingerie and especially structured bras. I started dreaming of finding delicate, comfortable and feminine undergarments in organic cotton. After all, it seemed so logical to pay specific attention to the clothes which are closest to your skin. When the idea became too daunting I enrolled in several courses at the London College of Fashion. There, my vision became clearer; lingerie pieces conceived as a veil of softness against women’s skin, a celebration of femininity and an invitation for women to fulfil their own dreams: In bloom London was born!

If the idea came pretty easily, the execution threw me into the harsh realities of fashion production. I quickly realised that building an effective and sustainable supply chain would be difficult, especially for a product as complex as corsetry – did you know that there are up to 20 different pieces in a bra! The real challenge was the same as for all new fashion labels: to build a supply chain with the same quality, expertise and reactivity as established brands but even more complex as I was looking for higher standards of environmental and social performance as well as greater transparency. It was also a challenge to find environmentally sound fabrics with the same technical specificities and looks as the fabrics women are used to seeing in contemporary underwear. I chose organic cotton as the main fabric for its hypoallergenic attributes and softness. I also found an amazing interlock, Lyocell which has a beautiful transparency and is ideal for supporting environmental innovation in fabric.

Developing the final product range took 6 long months of designing; choosing accessories, fabrics & trimmings; pattern making, fittings and sample development. Thankfully this journey enabled me to carefully select high quality providers with the highest possible levels of certification (all fabrics and trimming are certified Oeko Tex 100 which is the highest safety standard for textiles, the cotton is certified organic by GOTS and all providers are based in Europe). I also found an amazing family run factory in the North of France with an exceptional expertise in corsetry. Knowing that there are only a handful of factories left in France with the ability to make structured lingerie makes working with that manufacturer even more meaningful.

 After a year of hard work, I finally took delivery of In Bloom’s first collection in September.  It’s now available on our website  and in our Notting Hill Boutique (8 Portobello Green, 281 Portobello Road, London, W10 5TZ). We hope that you will love the collection as much as we do and look forward to seeing you in our boutique for a chat about sustainable lifestyles, a lingerie fitting or both!

Why did you set up Makki?

 Makki was born in 2003 with the concept of providing environmentally friendly luxury accessories.  Having lived and worked in South Korea prior to launching Makki, I gained in depth knowledge of the culture, business ethics and design process. We work very closely with our factory and can respond to all the key trends of the fashion industry.

How were the initial products developed?

Makki’s collections have evolved so much since the early days. We were well received and offered something unique that many buyers were looking for, but obviously a young brand launching into an ocean of well established brands was hard. We now have a fantastic relationship with many of our customers and I’m proud to still be working with buyers who bought from us in the early days.

What challenges were overcome when the company was starting out?

I think like many businesses the first 3 years were the hardest. There are many sharks in the fashion industry and as a new business unfortunately you are prey for many of them, PR companies who offer the world (for a fee!) and deliver nothing, agents who are not promoting the brand as you would like and of course other brands who smell success and want a piece of the cake and attempt to replicate your business model.  We have lived and learned…

I would say the biggest challenge now is growing without losing the vision.

How has the product offering changed over the years?

Makki is constantly evolving and introducing new lines for our customers. We are not a company who experiences success and sits back. We are always researching the coming trends to ensure we are able to offer our customers something new and on trend for the following season.

Our Eel Skin ranges have been so successful, we are now combining this wonderful skin with other by product skins, giving Makki a whole new look this season. The Italian Pony Hair was a quick reaction to our visit to the Milan Fashion shows and this luxury hair with the softness of Eel Skin is sure to be a winning combination.

Where do you draw inspiration from when designing?

Makki is typically inspired by past decades and music. We have produced the Electric, Art Deco and the New Wave collections.  Shapes and styles from different eras, whether that’s architecture, fashion or the sounds of the times, all contribute to the changing collections of Makki.

Tell us about your latest collection.

‘Glamour 54’ sees the introduction of other skins with eel skin.  We’re also introducing new shapes to include tote bags and clutches.

What are the future plans for Makki?

Makki has some exciting new developments launching this season. New skins, new styles and new colours.

Some interesting facts about eel skin:

• Eel Skin is a natural by-product of the food industry & not farmed for fashion.
• Eel Skin is known for its softness & also its durability. It is 2-3 times stronger than cow hide.
  • The Eel Skin is dyed in a 24hr barrel process, so the colour does not sit on the surface & transfer.
  • Pony Hair is actually ‘hair of the cow’. The term Pony Hair is used in the fashion industry; again this is a by-product of the food industry.
  • Eel Skin becomes even softer with age.

Our designs are handmade and therefore each one is slightly unique. We use different methods including stencilling, sewing and potato printing to produce cool designs.

Also in an effort to make the world a better place, and to be a responsible business, we will be giving 20% of our post tax profits to environmental and social charities.

www.thelovepeaceandharmonyproject.co.uk

We have a compelling dream: we dream of creating a community of women who, by wrapping themselves every day in beautiful, sustainable and comfortable lingerie pieces, will feel inspired and empowered to achieve their own dreams.

What comes to mind when you hear the term upcycled fashion? Cycling gear for uphill travel? Wedding dresses made of newspaper or perhaps a patchwork number resembling Joseph’s Technicolor Dreamcoat? The fact is, there are some beautiful upcycled clothes out there that people need to know about, and here’s why… The term upcycling was famously defined in the 2002 book Cradle to Cradle: Remaking the Way we Make Things by Michael Braungart and William McDonough as preventing the waste of potentially useful materials by making use of existing ones, reducing the energy consumption of new raw materials. Although upcycled fashion is not a new concept, it was propelled into the limelight when Livia Firth wore an upcycled wedding dress to the 2010 Golden Globes, as part of The Green Carpet Challenge. Her dresses have continued to increase awareness of this growing green phenomenon.

Alongside this, Estethica was in its 11th season at London Fashion Week (September 2011). This was co-founded by From Somewhere designer Orsola de Castro to showcase the work of other fantastic ethical fashion designers. All designers must adhere to at least one of three design principles in the production process: fair trade and ethical practice; the inclusion of organic fibres; the use of upcycled and recycled materials and fabrics. In addition to the rise in popularity for handcrafted items and vintage clothes, combined with many of us having a greener conscience, a number of designers are ‘cottoning on’ to the aesthetic potential of creating a desirable, wearable product out of something that would otherwise be thrown away. Making something beautiful out of unwanted materials and objects poses a welcome challenge to designers because they can use their creativity to find a solution to a problem – be it utilising vintage fabrics, leftover off cuts from fashion warehouses or any pre and post consumer clothing. One could argue that the notion of ‘upcycled fashion’ is a contradiction in terms. The upcycled dress is a bespoke item, designed to be treasured for life. It doesn’t adhere to fast-moving and transient trends, only to be discarded after one season. At the same time however, there is no reason why the shape, length and design of a garment cannot be ‘refashioned’ specifically to resemble something on the catwalk and made immediately current – a unique hybrid of the old and the new.

The craft boom has resulted in a wealth of fantastic upcycled clothes on sites like Etsy and Folksy. Handmade bespoke items may currently have higher production costs than the mass produced items found on your local high street, but beautiful upcycled jewellery, clothing and accessories at affordable prices most certainly do exist. What’s more, upcycling is something you can learn to do yourself. Collectives such as Remade in Leeds (www.remadeinleeds.org), Fabrications (www.fabrications1.co.uk) and Stitched Up (www.stitchedupuk.blogspot.com) run workshops on DIY upcycling, encouraging people to do something with a favourite dress or jacket rather than throw it away.

In order to bring upcycled clothes to a wider audience and deter consumers from fast fashion, more attention needs to be drawn to those designers who make beautiful, high-quality, wearable pieces. For those unfamiliar with the pioneers of beautiful upcycled design, below are just a few of the designers who are getting it right.

By Antonia Edwards – Upcyclist – www.upcyclist.co.uk

See also: Christopher Raeburn,  Goodone, Michelle Lowe Holder,  Lost Property of London,  Julia Crew, Mayer: Peace Collection,  Junky Styling,   See more examples of beautiful upcycled art, fashion and design on www.upcyclist.co.uk.

 The first ready-to-wear collection focuses on tailored day and eveningwear dresses alongside a classically styled double-breasted trench coat.

 Maiya use a range of organic, fair trade and vintage fabrics, energy conscious and waste reducing initiatives to create elegant, desirable fashion.

 UK production is key to the Maiya philosophy. It ensures the safeguarding of livelihoods and continues the heritage of quality British craftsmanship.

We know fashion can better than that.

Antiform, our in-house brand, is manufactured in Leeds from unwanted materials sourced from the local area encouraging the creative re-use of clothing, as well as making use of the considerable skills and untapped resources available in Leeds. We are proud to have created a fashion brand that promotes both personal style, and a sustainable approach. We put a lot of energy into the Antiform brand, but our commitment to sustainable fashion does not end there.

Further to the production of Antiform, the activities of ReMade in Leeds are diverse and plentiful. Our aim is not just to design and make upcycled fashion; we aim to inspire a change in our customer, encourage their interest in how clothing is produced, and share skills in garment repair and clothing re-use. We have created a service approach to sustainable fashion, offering short courses in recycled fashion, a monthly clothes exchange, a monthly sewing cafe, a repair and restoration service and many other one off events.

We hope to engage communities, both locally and on a larger scale, in thinking differently about fashion. Saturdays needn’t be spent trawling through uninspiring high street shops, when they could be spent learning a new skill or reconnecting with a favourite old garment as part of a customisation workshop. Through Antiform, we hope to demonstrate just what’s possible with upcycling, and then invite you take part in one of ReMade’s workshops to discover exactly how you can take control of your own wardrobe revival.

Are you an out and out fast fashion lover? Do you bat away questions regarding ethics with responses such as; if we didn’t buy it how would those communities survive? or it can’t be all that bad, or even a brutally honest I don’t care as long as I look good and it’s cheap.

Maybe you dip your toe into ethical waters, look for organic cotton, or Fair Trade labels. Decide to boycott a store when the papers reveal their working practices.

Or are you attempting to go deeper into ethical fashion and find yourself overwhelmed by the different labels / backgrounds/ assessments / certifications etc ? Should you shop sustainable or ecological or Fair Trade? Should you stop clothes shopping at all and get into the upcycling vibe? Should you only buy from charity shops?

Are you a kick ass fashion eco warrior who can tell her People Tree from her Topshop?

I think I’m number three, because the ethical fashion world is expanding, far quicker than I think many people could have imagined. Every time I go on twitter or Google I come across something new, be it a designer or an article. This can be intimidating for some, do you have to know every angle of ethical fashion to engage successfully with its practises? Well in a perfect world, yes. But only because in a perfect world we would be able to track everything we own, to know where it came from, how it was made and by whom. From food stuffs to bed linen to the shoes on our feet, we have become far too removed from the means of production. However in the real world, no. No you don’t need to be utterly consumed by, well, your attitude to consumption. It’s taken me 28 (nearly 29) years to work out that you don’t have to be perfect. And you don’t have to hide that imperfection.

Ethical fashion is difficult in the sense that it contains layers upon layers, you could go so deep as to travel the world watching the production of one garment of clothing. However ethical fashion also has to be practical. In order for it to tip the balance and become standard practise it has to be something which consumers can slot into their lives. I’m not letting us off the hook completely, there will still be an element of discovery from the buyer’s end, which trust me is really exciting.

Plus all the old stereotypes are falling away, no you don’t have to wear hemp (although it’s had a pretty radical make over), or floral smocks, or fall off the edge of the style globe.

And you can start at any of the steps, just look for the organic label, or search for fair trade, check out your local vintage market or charity shops. Don’t let the intensity that can be surrounded by doing the right thing scare or dissuade you from involving yourself with it. And on the same note, don’t let anybody else talk you out of it, mock your decisions or belittle your beliefs. Because as trite as this may sound, one person can make a difference. As the good old Dalai Lama points out, all change has to start from within, that doesn’t just account for personal change but global and societal.

 I guess what I’m trying to say is I know it can be tough and maybe overwhelming, but that can’t be an excuse to avoid getting involved.

Just pick your moment, make your choices and see where it takes you.

My mission was to create a brand that successfully raised the profile of hemp as a sustainable textile within the fashion industry. By ensuring his designs are always edgy, I want to show the industry that hemp is a force to be reckoned with. Collaborations with renowned graffiti artist Mau Mau has re-enforced the message that hemp is best! When 55% hemp is used instead of 100% conventionally grown cotton, over 2500 litres of water can be saved per t-shirt.  My understanding of hemp as a fabric has influenced others with over 20 clothing labels across Europe adopting hemp as a base fabric.

Livia Firth in THTC

THTC clothing is produced in factories that are regularly monitored, which adhere to the international labour organisation (ILO) and are a member of the See Companies (www.seecompanies.com), requiring THTC’s production to be fully accountable and traceable through the whole supply chain.

Over the past decade, THTC has become a respected urban clothing brand, producing clothing ranges for The Ecologist Magazine, Maharishi Clothing, C.A.L.M (NHS Charity), The Burma Campaign UK, Zulu Nation UK, Trojan Sound System, Morcheeba (band), Asian Dub Foundation (Band), Renegade Hardware (Record Label) and many more.

www.thtc.co.uk

Sandblasting is used to create a ‘worn’ look mainly on denim garments. An abrasive similar to sand is sprayed onto jeans with force to remove surface dye. This abrasive contains silica, a mineral which has been found to cause the often fatal disease silicosis. Silicosis has three levels of severity; chronic, accelerating and acute. The latter can develop from only a few weeks to 5 years of exposure to high concentrations of silica and is the most frequent form identified in garment sandblasting operatives.

A number of retailers have taken the action to totally ban sandblasting. However, a ban on sandblasting is only the first step; implementation and monitoring of the ban will be the challenging part. If we look back to 2008 when the Environmental Justice Foundation (EJF) highlighted the practice of forced child labour in the cotton fields of Uzbekistan, many retailers were quick to call for a ban on cotton from the country. But how easy was that ban to monitor and enforce? The constant hurdle that retailers face in implementing such changes is their distance from manufacture and transparency of their supply chains. If carried out using the correct equipment and protective clothing sandblasting can be a safe practice. The problem is that this equipment is expensive and employees are not trained in the dangers of sandblasting thus at times do not use protective equipment even where provided. To further complicate matters this is often a process subcontracted from the factory making the jeans to a different wash plant.

Unfortunately the alternatives for distressing denim also come with hazards. Potassium Permanganate, a chemical which can be used to strip the dye from denim, is a very cheap alternative, but if not handled correctly can have its own adverse health effects. The use of sandpaper either by machine or hand will create the same effect but dust is also produced. Finally lasers can be used to burn the top layer denim, but these are very expensive. 

One method of enforcing a ban on sandblasting is to audit factories. As mentioned previously this is difficult when sandblasting is outsourced or subcontracted to other factories. There can also be an element of keeping auditors happy by showing the correct ways of working during the audit but going back to unsafe conditions after auditors have left. Intertek have launched a Sandblasting Assessment and Management programme (SAM) to help brands assess their supply chain and implement change.

A number of Swedish and UK retailers including Arcadia Group (Topshop, Dorothy Perkins, Burton), Aurora Fashions (Oasis, Warehouse, Karen Millen), French Connection and Superdry interviewed by the CCC claimed not to use any sandblasting in their manufacture, stating that the design did not call for this process. I find this a difficult conclusion to reach easily. Each year the fashion on denim changes but the ‘worn in’ look is often desirable.

H&M have been working to improve the conditions for workers sandblasting their denim since 2006 but have now chosen to ban the practice after concluding that necessary safety measures could not be guaranteed. The CCC report “Killer Jeans: A Report on Sandblasted Denim” details retailers’ response to the campaign.

In March 2009 the Turkish government banned all materials containing silica to sandblast denim. It is action like this from governments which is vital in the campaign to rule out sandblasting completely, but again needs to be effectively monitored.

 If you’re a consumer wanting to choose jeans which have not been sandblasted you can start by looking at the CCC list, but remember retailers need to be able to effectively enforce the ban. Alternatively if you’re looking for a more unique look, you could customise your own jeans – bleach and sand paper can be rather effective.

Photos of sandblasting units by Allison Joyce

guardian.co.uk