ECOALF

Merging old fishing nets with new technology, Spanish brand Ecoalf has developed a brand that recycles what would be landfill and turns it into refined modern day products. Founder Javier Goyeneche tells us how important it is to be persistent while branching out from the norm.

What inspired you to start ECOALF?
I believe that natural resources are not endless and that recycling can be a very good option. Why not try to create recycled products with the aspect and technical properties of the best non-recycled products?

New technology has been your key to creating a sustainable product, how did you come up with the idea of using fishing nets?
We discovered that in many ports there was a lot of discarded nylon fishing nets. Where people find waste, ECOALF finds raw materials!

Has it been difficult starting a company with a strong emphasis on recycling?
It hasn´t been easy as we have had to invest a lot in R&D. The beginning has been slower than we expected. We have had to convince many manufacturers to develop new recycled products with us like laces, linings, labels etc while maintaining the same quality as the non-recycled ones.



How do you develop new products?
We spend a lot of time and resources developing new recycled fabrics, the final look of the end product, the tactile aspect, the technical aspects, and finally, it becomes part of our new collection.

When designing one of your bags, what do you have in mind? How do you start the creative process?
We believe that in order to develop a sustainable product it all starts with the design. Once we have a clear idea of the fabrics and materials that we can use we start designing under the ECOALF life style concept.
We try to design urban, functional, timeless products with the best quality.
Our aim is to prove that a recycled product can be as cool, good looking and technical as a non-recycled.

Can you explain a bit more about what Authenticity means to you?
Authenticity for us is important, our goal is to have 100% recycled products but for the moment that is not possible. We work hard making joint ventures with lots of suppliers to develop all the different components for recycling. ECOALF is not green washing, we believe in what we do and we work hard to make those values be real and authentic.


Where are you based? Does your location effect you/inspire you?
We are based in Madrid, Spain, but we are always ready to travel anywhere in the world to find new materials that we could recycle and turn into one of our products!

What do you hope for the future of fashion?
We have to realize that our natural resources are in great danger; our company thrives to investigate the use of recycling to create fashionable, commercial and successful products that are at the same level as non-recycled products.

You can find out more about Ecoalf here where you can watch how they actually recycle nets and bottles.
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We are ULTRA

We are ULTRA is a sustainable collective for the future. Founded by Tengku Jamidah and Anita Hawkins, two women with an eccentric mix of experiences in design, art and politics. The pair have recently won an Innovation award through the EFF for Ultra 10. A collection designed to be the only items you need for a whole year, it challenges the over flowing wardrobes of most of us! Anita tells us how the concept began.

How did Ultra start?
In 2009 my partner Jamidah and I had come to turning points in our lives. Jamidah had just become a mother and was starting to think about how to make products and a lifestyle that was beneficial for a child; and I had just finished working with UNHCR and had started to think about how I could use my experiences to benefit something larger than myself. Since then we have created artwork, installations, skincare and more, with a future-minded perspective.

Can you expand on the concept behind your 10 piece wardrobe?
It's about addressing the need for conscientious consumption. Thinking about what one really needs and how much use you can get out of well-designed basics and multifunctional clothing. It's compiled of ten pieces designed for a woman to wear for a year, made up of innovative pieces such as a 4-in-1 coat/dress/jacket/skirt. When it launched, Amena from The Wellness Works committed to wearing only the ULTRA 10 and a few basics, donating the rest of her wardrobe to prove the point of conscientious consumerism and simplifying one's life.


Call you tell us a bit more about your yearly exchange and up-cycling service?
We aim to create a refreshed set of ULTRA 10 once a year, which builds on the idea and gives extended options. We offer the owners of the previous ULTRA 10 the option to return their pieces in exchange for a large discount on the newest version. It's an effort to reduce the waste often associated with fashion, we will recycle, upcycle or donate the returned pieces as responsibly as we can.

Where are you based and how does this inform your work?
I am based in Shanghai which as a massive city in a heightened state of flux is highly influential on my own pace of innovation. It helps inform the pace of my work as well as confronts me with the huge state of consumer culture and ensuing environmental effects on a daily basis. It keeps me in check and striving for forward momentum.

What's next for We are Ultra fashion?
We are developing new ways to distribute our clothes and ethos through means that are not so taxing on the world. Downloadable design being one of them. We will also seek to keep refining ideas such as the ULTRA 10 so we can really make an impact on how people view the way that they are consuming fashion. Read more...

Karishma Shahani-The new collection

Karishma Shahani has been busy since graduating from LCF. Living in India, she recently worked with an NGO focusing on empowering village women through skill development. Once completing this project she created her current collection.

The range entitled " Kranti" or "Revolution" is inspired by heroism during revolt and warriors of the past. The range stays true to Shahani's signature style of layering and colour, reflecting the native nomadic costumes of India. With a focus on hand dying and intricate surface techniques, each piece is beautifully rich with detail. Made with devotion and care,the love is passed on from maker to wearer. A talented designer, Karishma blends traditional and contemporary culture without the usual cliches, continuing to pursue a unique aesthetic.

You can read an interview with Karishma in a previous post here.

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Suzanne Lee: Grow your own clothes | Video on TED.com

Lee has created clothing using bacteria. Check out this interesting TED talk about the process.I have seen some of Lees end results and they are quite beautiful!

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Goodone

On a recent trip to London I was lucky enough to chat with Nin Castle and Clare Farrell about their label Goodone. During a typical grey mid morning we explored the trials, tribulations and revelations of producing a successful independent label out of reclaimed materials. Tents, Tesco’s and Textile waste have all played part in the evolution of this label, proving that unlikely combinations can bring about the best creative work.

Can you start by explaining the concept behind Goodone?
We’re a sustainable fashion label, but our aim is to not look like one or act like one, apart from how we produce our clothes obviously! Our specialisation is up-cycling, so we mix reclaimed fabrics with end of roll industrial waste as well as using new British fabrics and sustainable fabrics. We try to be really design led, it’s important to us that we’re being progressive with our designs as well as with our ethos. The reason for starting Goodone was to try and instigate some positive change, some positive impact on the industry and that’s really what motivates us, however we also want to be seen as designers in our own right rather than just another ‘eco brand’.

You use a unique combination of materials, how do approach the sourcing for each collection?
Well we design in two ways, A- From what we want to make and B- From what we have and what we can get a hold of. There are always things we know we can get, for example we know we can always get jumpers. We handpick these from textile recycling centres, but we don’t pick the acrylic or polyester ones, we pick the fine merinos and cashmeres to make sure we get really good quality fibres that are really soft. We work with the mills in Scotland where we get offcuts of cashmere and we also work with mills to get end of rolls and waste from the knitting machines, which we mix with new fabrics.

Sometimes we get people approaching us saying ‘I’ve got all this stuff, can you use it for something?!” So we design with that in mind. We once did a collection with tents. One person approached us and said that they clear up festivals and end up with loads of tents. We told them to give us all the darker coloured tents and we would try and re-use them.

Do you find having a specific product to re-use is limiting? Does this make you think more creatively?
Yes exactly, it limits you but it also pushes you, it’s actually really nice way of working. I very much see design as a series of problem solving exercises. Clare and I design together and we often talk about how being a designer is not like being an artist, (as a designer) your doing something functional and your creating something for a use. And for us good design, or intelligent design, whatever you want to call it, is actually thinking about the effect that each garment has, the effect on the environment, the social effects and that for us is just as important.

It is obviously challenging to run things with sustainability in mind, why do you do this?
It can be a nightmare! The reason we do up-cycling is because there is just so much waste, we all consume so much. We go to recycling factories and it is just immense the amount of textile waste. And for us the most sustainable fibre you can use is one that already exists. If a garment has already been worn, it has already had life and if it is still in really good condition then it should definitely be used and re-worn.

What are some of the problems you face?
Its really difficult, for example for a time I felt really strongly about making everything in the UK, the studio had to be here and the manufacturing out of London. But we got to the point when we were like you know what? Everybody still wants buy from us if we are made abroad and we would actually have a more affordable product and more people buy it. So we could either continue as we are and dye in a years time or make the change. Now we make things in Bulgaria, we have a girl called Lena that works with us, she is from Bulgaria and overseeing it. We sometimes have to make changes to what we want to do.

For us the standardizing is the really difficult part, because we have so much variability coming through. We need to make clothes that are not identical but need to sit as close as possible. Our ability to do that has allowed us to survive a lot longer than a lot of other up-cycled labels. People start doing it and they don’t quite manage the standardising, but for us it is very much about mixing the new and the old together and I would actually rather sell double the amount of clothing made from 50% new and 50% up-cycled than selling nothing that is 100% up-cycled, using a lot more fabrics allows a lot more scope for the design. You can make a higher quality product, so its really about having a bigger picture and not restricting yourself too much, but knowing your aim is to always make the most sustainable garment items we can and also most well designed as we can.

Our new fabrics are all produced in the UK. This is mainly because we know how it has been dyed because dying regulations in the UK are really strict. We know the conditions people are making it in and there is not much transporting involved. The UK textile industry is dyeing, its actually having a little bit of a resurgence at the moment which is brilliant, but it’s such a small industry so I feel really strongly about supporting the industry even though we don’t still produce here in the UK.

So it’s about being realistic?
Its about picking what you think is most important and what works.

Are you both from London?
No my dad is a pig farmer! I’m a country girl at heart. Clare comes from up north and so not London based at all. We had no fashion contacts or anything like that.

Why London?
I started the business in Brighton but Brighton is so small, it’s a lovely little place but the move to London was one of the best things I have ever done. I lived in New York for 6 months and did an internship with Marc Jacobs and that was great but being British the one place you go to is London, I just love it and I think as long as you have a bike and don’t have to catch public transport that much then its great.


What’s next for Goodone?
Well at the moment we are creating a small capsule collection for Spring/Summer in silks and jerseys which we are actually really pleased about, it’s looking good. At the moment we feel like we are getting better and better but we do so much as a small company; we do a basics range, we do our main collection, we do dresses, tops, jackets, and we have got a point now after doing this for fives years that we need to focus in on what we do, I really like the saying that it is better to do one thing really well than a lot of things badly, I don’t think we do anything badly at the moment but if we focused on one thing we could do something that is even better. So that’s where we are at the moment. We are wanting to do more project work and have different ideas about that too, quite a few possibilities for the future, there are so many different ways you can work things out!

At the moment we’ve got quite a good reputation and quite a good aesthetic and people know about us, so we need to look at that and go how can we make the most of this now? I suppose we have a bit of a renaissance happening, figuring out who we are.

All photographs by the lovely and very talented Stephanie Sian Smith

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Kowtow

Impermanence, Kowtow Summer 11-12 from Kowtow on Vimeo.

Check out Kowtows new range. The Spring/Summer collection can be broken down into two. The first being 'Metamorphous' a collection focused on versatility, each garment can be transformed into many different garments. The second is "Building Blocks',a more minimal approach, each item is a staple piece that can be easily layered and worn throughout any season. Well done Kowtow, you've done it again!

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Kissin Cussin

A few months ago I had the lovely opportunity to write about Sydney based label Kissin Cussin for Ecouterre. With a new collection full of fresh prints and colour I thought it would be nice for you to hear a bit more about all the good things they do..

What are you up to today?
We're in Bondi at our little studio. We try to keep Friday's a creative day so we're working on creative marketing for on our blogger as well as finalising fabrics and designs for the next collection ...

Can you tell us about the women that make Kissin Cussin clothing?
The women who sew for us in Talalla Bay are absolutely divine and we've built up a very loving and caring relationship with them over the last 3 years. The ladies, were previously unemployed skilled seamstresses and we've offered them an opportunity to work close to their families, which they are very grateful for.

What was the first conversation like between you and the ladies of Talalla bay?
We were very lucky that the lady we chose to head the whole operation seemed to get what we were about instantly, although she / they had never been approached with anything like this before and there was definitely a sense of feeling that 'this is too good to be true' or 'we'll believe it when we see it'this is because their alternatives are pretty dismal. A common option is to work in the capital or overseas for long, long hours, a low wage and to be away from their families ... so 3 years on and we are continuing to employ and grow the employment in the village you can feel their happiness to be able to work from their own village and earn a decent income ... and for this reason they put so much love and care into each garment that they make for us.

What got you into fashion?
It was sort of by accident ... we both had a love of fashion and experimenting with fashion. After we went to Sri Lanka, and spent 8 months there, we were very much inspired by the colourful nature of tropical life and bought a little bit of this back to Australia .. our friends LOVED the clothing, so we decided to make more and that's how Kissin Cussin was born.

What's it like being based in Sydney? Do you spread your time out working in Sri Lanka and Aus?
Yes we are very lucky. We both love being based in Bondi, there's a hub of artistic inspiration from the people and daily environment .... and then just when we're feeling ready to leave it's time to go to Sri Lanka, which gives us a different insight. I think working in Sri Lanka so much (we spend about 4 months intermittently there each year) is very grounding, we get to experience first hand the humble way of living that most of the villagers do, and makes us very grateful for everything that we have.

We also get to spend time in India, which is a huge melting pot of continual inspiration, Jess just got back from there a week ago as she was checking our current fabric production for SS 2011.


When you are not working you are...
Enjoying the outdoor lifestyle that we are lucky enough to have in both countries .... swimming, yoga, whale watching ... and being with our friends.


What's next?
To carry on as we are ... the label has been growing quickly with each year. We are just about to head into production in Sri Lanka and to develop our next collection ... as well as this we are developing elements of label all the time with creative marketing and sourcing new ideas and fabrics .
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A little update

Some of you may have been wondering why there was a lull in regular posts...The hiatus was caused by an impromptu visit to London. My sleepwear label ALAS won a category of the Ethical Fashion Forums Innovation Awards. The EFF are doing amazing things for the Ethical fashion movement, you can check them out here.

While my partner Betony and I spent most of the time running around to meetings, reuniting ourselves with our favourite old haunts and absorbing as much information as we could, I also managed to interview a few designers and make some great contacts for some exciting Transparent Seams articles! So stay tuned..



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Kuwaii

Buses are always late so I am on foot most of the time, half running half walking to here and there, I dont know why- except for pure vanity, but I will never do joggers! It is is hard to find the perfect, practical, good looking shoe.There seems to be an abundant of shoes in the world, so many choices so many styles however it is often hard to find that good quality well designed footwear. An even harder task is finding a shoe produced in Australia. The lovely Melbourne based designer Kristy Barber has added footwear to her womenswear label Kuwaii and in doing so, has rejuvenated my enthusiasm of shoe shopping. Made in a local family run factory with reclaimed leather as well as being beautifully designed, Kuwaiis' new range is extraordinarily tempting.

Why fashion?
I started as a love for making things and an interest in how garments were put together, it was a very natural progression to study fashion and then to start a label.

Can you introduce us to Kuwaii?
Kuwaii is based in Brunswick, Melbourne, and is a personal philosophy of dressing. Each piece is carefully considered- effortless and refined so that these are garments to live in.
Our emphasis is on interesting and meaningful garments. The concept for the label was always a more old Fashioned approach- a return to quality throughout all processes. I wanted to produce beautiful pieces made to last and for their owners to treasure. We focus on workmanship, fabrics, and finishes. Whilst being both stylised and subtly poetic, I hope that Kuwaii garments are intelligent in both their design and production processes. Kuwaii pieces are made locally in Australia, with a strong commitment in excellence in manufacture and supporting the local industry, with the manufacturing process being overseen 100% by Kuwaii to ensure all garments are produced ethically.

You have recently added a shoe range to the label. Why the move into footwear?
It was a lucky collaboration really, I met the shoe manufacturer who were keen to work with a more emerging designer to produce a small collection of footwear. I have always wanted Kuwaii to have a more holistic approach – I guess a lifestyle – so the move into footwear has been amazing, and I've just been so proud of the product – how great the quality is, how comfortable they are, how well they wear, and how ethically they are produced. And I've been so happy with the response from my customers too!

Where and who produces your shoes?
They're produced in Melbourne suburb Clifton Hill, by a small, family owned factory who has been operating for 30 years and who of course oversee the entire production process themselves meaning that these shoes are produced in an non-exploitative environment, 100%.

Why Melbourne for production? Why is this important to you?
This week I met with a knit wear manufacturer and it was completely heart wrenching to hear his stories (and see his photo albums) from when he operated a bustling factory in the 90s employing 65 people, and having state of the art knit wear machinery, to now employing 5 people and having to send his knit machines to scrap metal as there is just no use for them anymore. Personally I don't believe we should discard the skill set and trade of our country. I feel very strongly about keeping trade and industry on shore and supporting the industry here. It's a sort of patriotism and wanting to support and build upon the community here within our shores, and not letting go of the rag trade history we've had.

What inspires each collection?
One thing with producing on shore is that we're slightly more limited with the possibilities of producing designs – limited by the machines the factory has available and how long things take to produce. So I definitely work within parameters given to me by the factory. We devise silhouettes, decide on colours, textures, stitiching details, perforations, linings, laces. The inspiration and colours for the footwear definitely reflects Kuwaii's clothing inspiration for the season and the shoes are devised to be pieced back to any of the Kuwaii garments.

What's next for Kuwaii?
We would love to open a flagship store! At the moment we sell out of our showroom space in Brunswick, which our studio is behind, which is a super cute way to meet our customers, but our dream is to open Kuwaii land … We also recently secured our first international stockist!

Find Kuwaii here
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I.C.A Watermelon

Julia Knupfer is the talent behind I.C.A Watermelon, a Berlin based knitwear label. Relishing in the ambiguous nature of dying with plant extracts, each piece is unique. Her collections are full of body and unusual textures. Shape and form are prioritised while faded colours compliment. I.C.A watermelon represents knitwear at its finest, exploring the endless possibilities you have by taking your time, slowing down and continually being inspired by the materials you work with.

Can you explain the philosophy behind I.C.A Watermelon?
I.C.A Watermelon is a contemporary designer line for women with a commitment to sustainability. The subject of nature and environment plays a central role and is conceptually translated into garments. Traditional handicraft especially handmade knitting and crochet is a consistent feature of the collections. My vision is to create sensible and strong pieces that reflect the zeitgeist and last for a long time in terms of material and style.

Why knitting? What motivated you to this traditional craft?
My grandma and my mother taught me knitting and crochet when I was a child and it still gives me a cosy feeling. Wool is such a versatile and expressive material. That's why I love it.

Your designs are always very structural and full of contrasting textures what inspires you to design in this way?
Contrasts are always fascinating. I am often inspired by the huge variety of natural structures. I love to explore different combinations of fabric treatments and techniques such as weaving and braiding to create unusual atmospheres and structures.

Can you tell us more about your natural dying production?
I started natural dying out of a need, because a few years ago it was quite hard to find a suitable colour range of organic fabrics which I liked to work with. Now natural dying is part of my creative process. Dying with plant extracts produces an astounding spectrum of subtle colours. I really enjoy the fact, that depending on time, temperature and concentration the outcome is never clear.

Where are you based? What do you like about living there?
I am based in Berlin and despite of the weather it is a perfect place to live and to work. The design scene is very young and vibrant and moreover housing and living costs are low. I like the creative energy on the streets but also the chilled out and relaxed pace. Then there are many visionary people who are working on a greener industry and created a space for the new green fashion movement here.

What's next for ICA watermelon?
Right now I am working on a seasonless and permanent collection simply with colour and material updates each season. Because, I think it makes sense to slow things down. It allows me to work less wasteful and gives me more time to concentrate on doing great designs with a high quality standard. My personal highlight will be the opening of my own showroom and shop in Berlin at the end of this year.

Find more of the collection here

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Study- Tara St James

Tara St James is an incredible designer and mentor. After working as the creative director for Covet, Tara launched her own label Study in 2009 and has swiftly established herself as a key innovator in the ethical fashion scene. Her intelligent zero waste designs and constant collaborations with artists and textile designers are probably the key components to her success. A firm believer in open sourcing, Tara has also set up the Study Hall project, throwing interns into the deep end. Each intern is given the skills and guidance to create their own collections which they then sell to stockists.

Tara tells us about her latest collaboration and gives us an insight into some exciting new developments she is eagerly experimenting with.

What was the inspiration behind your latest collection?
I'll talk about my upcoming SS12 season here as the inspiration for that is most prominent on my mind. It started with the work of artist Zhen Chew who developed a series of Blind Train Drawings in her native Australia, which I am using as prints and the main inspiration for textile development for the collection. The New York City subway system is the secondary inspiration for the collection, which compliments Zhen's work and allows us to expand on it in our own textile development using printing, pleating and dyeing to simulate the folds lines of the train tracks. The body shapes are being kept clean and simple to really focus on the textiles.

Can you explain the concept behind your no waste skirt/top and your approach to versatility?
I started Study with an entirely zero-waste collection for SS09 and have continued to use this patternmaking technique in subsequent seasons. In the Spring 11 collection I made a no waste skirt because the fabric - which is a silk ikat that was hand woven in Uzbekistan - is very narrow and can be used without waste.
Every season I repeat a version of the square dress which can be worn in many different way. This is the most basic form of zero waste as it is just a large square of fabric that has intricately placed buttons and buttonholes allowing the customer to play with it and find their ideal shape. Essentially I want my customers to have fun with their clothes and play around, which is why my designs are made to be versatile.

You are very open with your fabric sourcing and production knowledge, why is this important to you?
A lot of the suppliers I work with are small, fair trade companies or mills that work very hard to be sustainable. I want to support them by buying their fabrics. But I also want them to succeed independently of the work they do for me since I'm not big enough to support them all on my own. So I share their contact info with fellow designers who I respect so we can "group fund" them as suppliers. I'm not worried about being open sourced with my supplier info, I'm confident in my designs and know that other designers will be able to make beautiful garments using the same fabrics without the risk of saturating the market.



Can you tell us more about your project "Study Hall"?
Study Hall is an intern project. The idea is for them to design a mini collection, under my supervision, of 3-4 pieces. They will develop their designs, source fabrics, calculate costs, make samples, sell the styles to a retailer, produce the styles and deliver them to the store. All between now and the end of August. It’s doable. A mini version of what designers and big houses do repeatedly every season.We are now on round 2 of Study Hall with 6 interns, each will be doing one item instead of 4, and they will work together to make the complete collection more cohesive. I have 2 textile designers working with me, so they'll be designing their own textiles as well as garments, so I'm very excited about this season of Study Hall!

Why New York?
I love New York. It's as simple as that. There's a fully functioning garment center here where I can develop and manufacture almost everything I need. And I can walk outside my door and be inspired. I tend to draw inspiration from music, art, people and movement, I need to be surrounded by energy, I don't work well when it's too quiet or peaceful.

What's next for Study?
Always a tough question! I want to continue to develop the brand's sustainability and really evaluate my chain of production to see where I can be more transparent and where I can make improvements. I'm also working with AirDye this season to develop a line of printed textiles that require little to no water use in the printing. This has been a big challenge to source a fabric that is suitable for this next level of printing, but I think we have found what we need! Stay tuned...

For information on her projects go to her informative blog here or the Study website here Read more...

Collina Strada

I am always in two minds about buying a leather bag. The debate in a nutshell goes something like this- leather is durable, biodegradable and natural, but it also comes from a dead animal, is often drenched in chemicals and could be replaced with a vegan product. That said I have numerous calico bags looking battered and distraught after only a short period of time and faux leather conjures up petrochemical dreams and an existential lifetime. Bag shopping is a complex decision....

Collina Strada is a label that is tempting me to cross to the other side. Founder and designer Hillary Taymours’ unusual and beautiful designs combined with a sustainable approach is sealing the deal. Her latest collection stays true to her signature style. Rich colour schemes and versatile shapes may perhaps end the eternal search for the perfect handbag. Hillary tells us more about her choice to use leather and how Collina Strada all began.

How did Collina Strada come about?
Collina Strada all happened when I was living in LA and I made a bag for myself in this amazing printed canvas that I had hand drawn. This is now one of my best sellers called the Ferra bag. I was asked everywhere I went who made it and where they could buy it. I realized I had gotten the attention of my fashion peers and decided to move into something more entrepreneurial and start the business.

What was the main inspiration behind your recent collection?
My inspiration behind the Fall 2011 collection is color. I wanted to create my products in great color hues but make them neutral at the same time.

Why do you use leather?
I use leather because it stands the test of time. All of our ancestors used leather for a reason and I just think the synthetic aspect of faux is still harmful to the environment with the chemicals they use and breaks after wear and tear. You do not see many vintage bags out there in great condition made out of faux leather.

Do you know the origin behind the leather you use?
I source all my leather through a very trusty leather man. He tells me what Tannery it comes from and he knows where they buy the raw hides. I know what treatments they do to the leather from start to finish, which allows me to choose the most eco-friendly version.

What do you think about the contemporary leather industry?
To each their own on this one. I think you can do your part to use recycled leathers or vegetable dyes. Most labels choose not too. However, I do believe that amongst the wide variety of selection out there if you do decide to make a purchase infrequently a leather jacket could last 20 years longer than a faux one.

Collina Strada is produced sustainably; can you tell us more about this?
I use all organic canvas and print using eco ink to make all my speciality prints. I only use canvas from the US and print in South Carolina. I then make everything handmade in NY by 3 workers. I only use vegetable dyed leather or leather that is dyed using no chrome. Instead of Dust bags I give Organic Grocery Shopper totes with each bag, which is totally re-useable and washable.

Why is this important to you?
Nowadays everyone is starting a line. If you can start one yourself you might as well make it at least somewhat sustainable. Being sustainable is a choice and for the most part it doesn’t even cost more, it just takes a little bit more creativity during production. If you are going to create on this planet I think it is necessary that you do your part to look out for it as well.

Whats next for Collina Strada?
Clothes! Spring 2012 =)

You can find the latest Collina Strada collection here
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Susie Lau- Style Bubble

During Sydney fashion week I was lucky enough to meet the very humble Susie Lau. You are probably aware of her blog, Style Bubble, which has grown to a massive readership of thirty-something-thousand a day. Since 2006, Suzie has guided designers, fashion students and consumers alike to a myriad of labels and trends. I thought it would be interesting to get her opinion on our recent fashion week and the global sustainable fashion movement..

Why fashion?
Fashion has the ability to change the way I'm feeling. We all have to wear clothes of some sort (unless you live in a nudist colony!) so why not make it a tool of personal expression. I'm also drawn to the way it reflects social, economic and cultural change too. It's always interesting to see how something as 'superficial' as clothes reflect the bigger picture...

What were the highlights for you at Sydney Fashion Week?
I loved a lot of shows for different elements... I loved the sensuality of Therese Rawsthorne, the colours of Arnsdorf, the neon pleats in Magdalena Velevska. I loved the luxurious fantasy that Ellery's collection brought, the precise construction and amazing use of materials in Dion Lee and Josh Goot's Richter Gerhard-inspired prints. Overall, I thought Lover's collection was most accomplished in presentation and conception.

After keeping a close eye on the fashion scene for quite a while, can you see more sustainable and socially responsible labels emerging?
Yes definitely. I'm actually seeing more labels try to find ways of being socially responsible or sustainable in small ways whilst not trying to go the full hog as it is virtually impossible to be 100% ethical/organic from raw materials to production to finished product. Every little helps though and I think for labels, small and big it's worth investigating means of keeping things sustainable.


What's your take on ethical fashion?
We went through a phase of labels emerging with a big tag declaring themselves to be ORGANIC, ETHICAL etc with big capital letters without thinking of a desirable final product. Now that is changing and I think by thinking of product first, ethical/sustainability second, the clothes are much better.

Are there any designers you admire that integrate ethical aspects into their label?
I like what Suno are doing in that they're going at it from a socially responsible side, training up factories in Kenya to make their garments providing meaningful employment. The same goes for ASOS Africa's initiative. I like certain upcycling projects by Dr Noki, Victim and Andrea Crews. I also like discovering graduate projects who explore sustainability.... a shoe designer called Helen Furber is doing interesting things. I also like labels like Commuun and Bodkin as sustainable/organic labels with great design. Commuun were just recently nominated in the ANDAM prize too which I think is a great leap...

What's next for Susie bubble?
I'm working on a lot of consulting projects at the moment and doing a lot of freelance writing too but mainly keeping busy with the blog!
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SOSUME

Simply put, Sosume is a label for the future,. With refined collections, high quality products and a transparent sensibility, we can easily see the reasoning behind each process and decision. Alex Trimmer, founder of the Australian based label offers his thoughts on the legality of careless creation, carpooling to work and the benefits of supporting local manufacturers.

Why fashion? How did SOSUME start?
It all started over in NY when I was finishing my degree as an exchange student. I felt there was a gap in the US market for “non-hippy” styled eco-friendly clothing. Everything I was seeing was fairly unimaginative when it came to colour palettes and fabric content. SOSUME was born to show that you can still wear cutting edge designs with amazing fabrics that actually wear and feel better than conventional fabrics. I launched the collection back home in Australia in late 2008.

What’s your opinion on contemporary fashion production?
If you’re referring to fast fashion, I think it’s awful and laws need to be made to stop it happening. Think of what an eighty-nine dollar nylon “leather” jacket does to a landfill and what it did to the local environment to get to the finished product.

How do you start a new collection?
A combination of what I see on the street mixed with traditional cuts and tailoring and ultimately, the fabrics I find. I’m limited to what I can use so I really have to find the fabrics first then think of the best ways to use them. The market for modern, sustainable fabrics is very small but growing so it’s a long process but well worth the effort. There are some remarkable materials out there.

What is your biggest source of inspiration?
As above. The biggest source is the fabric. I’ve always like men’s aesthetics but cut for a woman. I love traditional, timeless pieces and a quality make. When I find a fabric that I love, I try to think of all the different ways that it can be used to bring it to its fullest potential.

How would you describe your latest collection?
Easy, simple, breezy summer. I wanted to extend the jersey basics and introduce woven shirting. I like to build on previous collections and progressively add more and more complicated pieces. Its what makes me look forward to the next season!


Going back to the more ethical side of things..your label seems to have a sustainable element, why is this important?
Because it’s the only way forward. SOSUME proves you don’t have to wear a potato sack or sacrifice your style in order to wear something that is sustainable. The whole basics line uses micro modal, which only uses a tenth of the amount of water to produce each item than its cotton counterpart. The fabric feels sublimely soft, doesn’t effect the skin, will hold shape twice as long as cotton and also will hold its colour for twice as long too. It also is biodegradable so won’t fill up the dump at the end of the product life. This is a major concern with “fast fashion”.


You mention you garments are both organic and natural, roughly what percent is organic?
Actually, it depends on seasons. Some seasons I use organic cotton and organic wool among other natural or man-made fabrics while other seasons we just use man-made and natural. These new, modern man-made fabrics are actually the greatest thing the industry has seen as far as I know. They are created with the environment in mind and are designed to replace their harmful cousins such as rayon, viscose and others. The entire collection, doesn’t matter which season, is always made from only natural and organic fabrics. I just hope that the mills out there keep developing unique and beautiful fabrics to use!

Why produce in Australia? Why is this important and how does it affect your process?
Quality control. Simple as that. I also think it’s vital to support the industry that supports you. The manufacturing industry in Australia seems to be ailing but there are some great makers out there and it feels good to support them. It makes the process much quicker. If there needs to be an alteration, it’s easily done through a phone call and a visit. I couldn’t imagine the drama one would face when working with overseas factories. I like to work closely with my makers to develop the very best product.

What do you hope for the future of fashion?
For all labels to try and minimise their impact on the environment, whether it’s through their fabrics, their supply chains, their stock management, or even their employees’ carpooling to work! Every change for good makes a difference. It’s simple.

Check out Alex's website here, you can find out all his collections,fabric and production info..truly the way it should be...



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Araks

Dreamy underwear in dusty blues, grape and cream create a nice alternative to the racy rouge and harsh blacks that lingerie habitually consists of. Araks is a label comprising of ready to wear and a simple elegant line of lingerie. Designed with comfort and beauty in mind, Araks Yeramyan tells us about her design process and the challenges of creating a luxury organic line.

When and why did you start your label?
I started my collection in 2000, designing underpinnings. The idea behind my designs is to capture elements of all things beautiful and reinterpret what remains with me. I have a strong commitment to creating collections that have women feel beautiful and confident, beginning with the most intimate and personal layer. This was the most relevant. Ready to wear was a natural progression,it was launched in 2006.

How did you learn the skills needed for a lingerie line?
Practice makes perfect. Lingerie has a lot of rules; you can’t just do anything you want. It has to fit well, make you look good, and be able to be worn underneath clothes with out too much distraction. Ready to wear, with fewer rules, gives room for endless possibilities and exploration. I enjoy the challenge.

Can you tell us how you go about creating collection?
I always start with the inspiration/mood and then go to color and silhouette. Once I am clear about that, it grows from there.

Who and what influences these collections?
It is always the same girl. I do get a lot of inspiration from artists; sometimes films, or other random elements around me. It can be anything really; it is where you take it.

The choice of color combination is quite unique, what inspires you?
I love color. I usually choose a color or two that I am drawn to from my inspiration. A lot has to do with my mood. When I'm designing a collection I am living with it for a while, each day I feel a bit different. At the end I always have to add in one color that throws the whole thing off.

What led you to a more sustainable option?
I was raised that way. That is how I live my life. When organic fabrics and practices became an option, it was only natural to go in that direction.

What are some of the pros and cons to going organic?
I think the pros are obvious; it’s the cons that make the whole thing complicated. If I could, I would have a whole collection of organic and/or environmentally responsible fabrics. It is a challenge to find Organic fabrics that are interesting, refined, and sophisticated for the person buying into luxury. I think as a society we don’t see a direct correlation as to why we should buy organic clothing. This makes it harder to grow an industry and have more sustainable options, although, I do feel we are becoming more aware.

Do you believe fashion reflects the issues of our times? If so how?
I think so. I can’t imagine anyone not being affected or influenced by their surroundings.

When you’re not working on your label what do you love to do?
I have two boys. I love to do anything they love to do.

You can check out Araks inspiring blog "Shaping Beauty" which documents all the lovely things that catch her eye here.

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Titania Inglis

So frequently we hear about the influences or muse behind designers. But not too often do we hear ‘zero waste’ on their list of inspirations.New York based designer Titania Inglis seems to be saying just that. Of course she is still inspired by the usual suspects of visual and musical culture but she is deeply motivated to create the perfect minimum waste garment.

Why fashion?
I started at design school planning to do graphic design but it was the tangible aspects that drew me to fashion; the feel of different fabrics, the satisfaction in creating a row of precise stitches, the magic of going from a vague idea in your head to a physical creation that you can wear every day. I also love fashion as communication, how people choose to portray themselves to the world through clothes. I keep my own wardrobe tightly edited but within that there’s a lot of room for play. I can be ladylike and vintage-inspired one day, deconstructed and super-modern the next.

Can you tell us more about your minimal waste design process?
For my Spring/Summer 2011 collection, the Almost Zero collection, I took two approaches to zero waste. One was to use bias cuts. Because woven fabric stretches on the diagonal, known as the bias, I turned the fabric diagonally and was able to make garments out of triangles and rectangles without leaving much in the way of scrap. The other approach was to use 3-D origami folding, taking an entire rectangle of fabric and pinning and draping it onto the form to create geometric shapes

Why sustainability?

I grew up in a hippie town and have been a lifelong environmentalist. There’s a lot of room for improvement within the fashion industry. If I can do my tiny part to advance sustainable practices by showing the world that a line can be both thoughtfully produced and beautifully designed, it’ll have been more than worth my time.

Why is this all important to you?
One reason I love making clothes is that they’re universal; virtually everyone wears clothes every day. That being said, the worldwide garment industry is huge and has a correspondingly huge impact on the world’s environment. For example, the blue-dyed rivers in China are a result of terrible industry practices and it doesn’t have to be that way. The world is so overflowing with stuff right now, with cast-off products of our society, that I was a bit reluctant to start a business creating products at all. But in the end I realized that it was possible to run my business in such a way that does good rather than harm. So I choose to support fabric mills that make organic fabrics and I choose to support craftsmanship by hiring skilled craftspeople, sewers and cutters and pattern graders, to create my clothes.

Does this sustainable concept flow into your daily life?
If anything, it’s that my daily life flows into my design. I try to waste as little as possible in life as well as in design. I recycle religiously, including my fabric scraps; I compost, I ride my bike almost everywhere, I turn off lights and computers, and I try to eat locally grown food whenever possible.

What else inspired your most recent collection?
For Fall/Winter 2011, the mood was inspired by the Lykke Li and xx albums I listened to while designing it. The color palette came from the gloriously mossy colors I saw on a trip to Iceland this winter.

To create the silhouettes, I delved deeper into minimalism, playing with cutting away and paring back: I literally cut out the back of last fall’s Wrap Jacket to make the new Cutaway Jacket, and then echoed that silhouette in the Arc Skirt. The Swing Top was my first attempt to drape a top in one piece and then I riffed on that to create the Slash Back Top and the Shift Dress.

You have a very keen eye for unusual construction. What inspires you to create these shapes?
Because I use mostly organic fabrics I’m forced to start my designs with new fabrics each season as there’s so little out there to choose from. I spend a great deal of my time searching for new, beautiful, and sustainably produced fabrics to put into the collection. The few fabrics I fall in love with become the basis for the new collection.

Growing up as an architect’s daughter, I learned a lot from my dad about experimenting with materials to create new forms. I believe in using the properties of the material to push the boundaries of what it can do, rather than forcing things to be what they’re not. So for example, my circle skirt and circle dress from FW10 came from playing with shapes I could create with a single piece of fabric. Using heavier fabrics, I also made the origami bustle skirts from SS11 and the funnel skirt from FW11 from a single pattern piece; while the bias tees from SS11 were an attempt to take a very 1930s technique and turn it to a more contemporary purpose, the archetypal T-shirt.

Whats next?
Even though it bears my name, I started this line partly as a platform to collaborate with some of the talented people around me. As the line grows and develops, I’m planning to branch out next season into working with more of Brooklyn’s incredible creative types, including natural dyers, accessory designers, and set designers.

Check out Titanias blog it has some great info about what’s going on in the world, in Brooklyn and all of her inspiration.

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Andrea Crews

With the world over run by boring repetitious design and business structures, it’s easy to fall head over heels for Parisian collective Andrea Crews. Sustainability and clothing has never been so enjoyable.

How did Andrea Crews start?
In 2002 the collective was founded by Maroussia Rebecq for the recycling workshop exhibition at Palais de Tokyo.

What inspired Andrea Crews to have a social and ecological conscience?
It came from the exciting hunt of finding the treasure in the mountain of trash.It is a statement on the fashion industry, an example of how to recycle and how to make something new with waste.

You refer to your design process as a game with clothing codes. Could you elaborate on this?
It is all about attitude and body language which in turn creates the style. It's influenced by the adventures we are living and the people we meet. It's in between DIY, sculpture, art and play.

Andrea Crews collaborates with a lot of artists in different creative disciplines. Why is this important? How do you initiate your projects?
Because ANDREA CREWS is a collective experience, collaborating is a way to share the energy that feeds the creativity. We are showing an idea of a new system, a process, a life style. So it's important to share it with lot's of different people who can bring another vision to it.New projects are often coming up by themselves and if we think it's exciting it’s like ‘ let's go!’

Andrea Crews is anything but a stagnant and traditional label, how do you make it a viable business/collective?
We are selling our creativity & energy.

Do you have a favourite source of ideas and inspiration?
Our inspiration is always visually strong, such as tribal cultures, amazons, Japanese baby dolls but also Mormon people.

How does living in Paris, known for its traditional prêt a porter and couture houses affect your label and yourselves?
It’s nice, we also like pret a porter and it makes us different.

What next for Andrea Crews?
We just moved to open a new space in Belleville 25 rue de vaucouleurs 75011.It's our fashion workshop, creative studio and art gallery we opened with the exhibition of Neil Beloufa a young french artist, and we are gonna show more and more!

Above pics by Hélèné Giansily

www.andreacrews.com

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