Conservation charity WWF and the fashion industry aim to make desirable clothes that have zero impact on the environment
The circular economy.
Closing the loop.
Cradle to cradle.
These are all phrases you may well have heard of. If not, best to familiarise yourself with them a.s.a.p. As our increasingly consumerist lifestyles reach tipping point, organisations are desperately trying to gather and reuse our rubbish, because otherwise, we may have nothing left to make anything with.
This year’s Copenhagen Fashion Summit was kicked off by someone I had, until that moment, not heard of: Bill McDonough. If you are as clueless as I was, take the next 14 minutes and 30 seconds to get to know him and his ideas a little better. You won’t regret it.
People were still clapping by the time I’d completed my purchase of his book, Cradle to Cradle.
Fashion’s grave reality
McDonough’s work is clearly applicable to the creation of many, if not all, products. But it is particularly relevant to clothing because this industry has arguably one of the most linear and wasteful cycles in modern society. And this cycle’s impact on the environment is exacerbated by its speed and the quantities involved.
The fashion cycle: cradle to grave
With 92 million tonnes of textile waste being produced by the global fashion industry in 2015, corresponding to more than 12 kg per person, it’s clear that we are hemorrhaging valuable resources every second of every day.
So What Exactly is Being Wasted?
In particular, I highlighted popular man-made fibre polyester as the most used in clothing production today.
Polyester is derived from fossil fuels, one of our planet’s none renewable resources. A resource so valuable in fact, that it should be treated as a ‘nest egg’ McDonough suggests.
And yet, not only do we buy cheap, poorly made clothing using this precious resource, but we throw it out in such a way that these valuable materials cannot be retrieved.
Perhaps excavating landfill sites will be a common activity in the future?
How insanely backward would that be?
How Can the Fashion Industry Do It Better?
How can this regressive fashion industry transform itself into a regenerative one?
When it comes to fashion, and the materials we use, we can work to achieve a circular system in two ways:
By creating a “biological” cycle, whereby an item made with 100% natural fibres (wool for example), able to be broken down by bacteria, is reclaimed by nature into its vast ecosystem when we no longer want or require it.
The fashion cycle: cradle to cradle (biological)
Or a “technical” one, whereby the clothing we buy made of man-made fibres is designed in such a way that the fibres can be separated and reused in a never-ending production cycle, whilst not degrading in quality.
The fashion cycle: cradle to cradle (technical)
Some organisations are themselves working on large-scale collection schemes in their shops. These schemes provide them with the raw materials to experiment with ways of recycling fibres.TT
Unintelligent and Inelegant Things…
My favourite phrase from ‘Cradle to Cradle’ is: ‘products that are not designed particularly for human and ecological health are unintelligent and inelegant –what we call crude products’
Everything we buy, and everything we do, is part of a bigger process.
We can’t know everything. But know this: as a wearer of clothes, what you chose to buy and wear really matters. Because with every purchase, you are telling the world who and what you support.
Choose not to buy cheap clothes from people who cannot tell you how or where their products are made.
Chose not to buy clothing from companies who ignore our collective responsibility to address the issues the fashion industry and, by default, we all face.
A product without background, without craftsmanship, made without thought or purpose or regard for the future is a product without beauty, without meaning and without worth.
It’s a crude purchase. Simple.
*This story first appeared on Study 34
Can fashion go hand-in-hand with being environmentally conscious and affordable to the masses? With heavy price tags, swiftly changing trends and lack of recycling options, the clothing industry ranks low on the eco-friendly scale. Moreover, fashion is associated with being accessible only to the elite. These are notions that budding fashion designer Devyani Kharbanda hopes to change for the better.
Raunaq by Devyani is the young designer’s brainchild—a line of ensembles made from kataran, the waste fabric left behind after making a garment.
Devyani, a final year student of fashion designing at Pearl Academy of Fashion, Delhi, began working on the initiative as part of her college curriculum. Her aim was two-fold. One was to bring down the cost of special occasion wear, and the other was to take an eco-friendly approach to design.
“Wedding dresses these days are exorbitantly priced,” she says. “Having elaborate surface work adds up to the cost of the garment along with the kind of fabrics used. Hence I chose kataran to make my garment look more interesting, unique and beautiful. My main aim was to make best use of the waste material available without spending a lot on the beautification of the garment.”
She began by sourcing the waste fabric. No place abounds in leftover fabrics more than tailoring shops and that’s where Devyani began sourcing. “I went to nearby tailors in and around my colony,” she says. “That was a task, as tailors don’t entertain students easily. Though at some places it was easy, but at times convincing the tailors to take out time and give me all the kataran they had was difficult.”
As she collected the scrap fabrics, she also simultaneously worked on the design element. Her strength as a designer lies in surface ornamentation and her designs showcase the possibilities of using waste fabrics to create eye-catching ornamentation and detailing on the garment.
Devyani conceptualised Raunaq as a collection of five brightly-hued ensembles, celebrating the union of two souls.
She started the design process with a hypothetical celebrity for whom she could make garments to wear at wedding functions. Devyani chose director Kiran Rao as a subject. “Keeping in mind what kind of garments she generally wears, the garments don’t have a lot of bling. According to me it would suit her kind of styling,” she says.
She adds, “The concept of using kataran for beautification is not very common, so a celebrity client would’ve been perfect to probably start a trend of such beautification techniques and spread amongst people as we all generally look up to celebrities and their clothing.”
The vibrant ensembles that make up the Raunak collection also showcases a variety of surface techniques. Devyani used couching, fabric flowers and yoyo flowers in the garments, and also made a lot of tassels using waste fabric.
Devyani admits that while the project seemed easy to start with, she faced many challenges during the process, which have helped her grow as a designer. “The biggest challenge was to bring my thought into reality as most of my garments were hand-done. Procuring the fabric, deciding colour combinations, doing the surface work and giving a finished designer look to the garments, while meeting timelines was another challenge. I even made matching accessories with the garments.” She credits her family and mentor Ambika Magotra for supporting her through the process.”
Devyani’s first designs were showcased, along with other student projects, at the latest edition of Amazon India Fashion Week.
The affordability of the designs made Devyani’s ensembles stand out in the crowd of designer ensembles. She says, “I made sure that I do something to beautify the surface of my garments without spending a lot. Making it eye catching but not having to spend too much on purchasing it was appreciated by everyone.”
The young designer is elated with the response the show has generated. “Post the show, reviews and media have been very encouraging which has boosted my confidence. I received a lot of positive feedback from everyone for my designs and unique idea,” she says.
Once she completes her degree, she hopes to work in an export house and learn about its operations. “I will hopefully one day build my own export house, where I plan to make garments using waste materials, inculcate eco friendly practices and explore further innovative ideas to incorporate in my design process.”
Till then, Devyani is eager to craft garments from kataran on request from interested clients. Invested in combining great design with sustainable practices, she says, “I would love to work on reusing waste fabric and offering something beautiful yet eco friendly. This way,, even though little, I am surely able to do my bit.”
To contact Devyani, click here.
*This story first appeared on The Better India
From the Paris runway to Chennai’s pop up, we trace the journey of Coimbatore industrialist Kavitha Chandran’s brand of bags, Urmi
The colourful koodais (baskets) that your grandmum wove with tubes of plastic just became haute couture. All thanks to Kavitha Chandran and her brand of bags, Urmi. Chandran, who employs women from in and around Coimbatore to hand-weave totes and clutches from recycled plastic, using age-old basket-weaving techniques from the region, says it’s all about women empowerment, sustainability and reviving an almost-forgotten craft.
The stylish Chandran could easily pass for a model herself, but is intensely private and would rather not have her photo taken. “But you are welcome to ask me anything,” she says. Chandran speaks about Urmi’s collaboration with designer Manish Arora at the recently-concluded Paris Fashion Week 2017 (PFW). His models carried Urmi bags, and now, boutiques in New York, Tokyo, Ibiza and Paris are selling them. The bags will also be seen at the London Design Fair in September.
Chandran, who was always fascinated by baskets, says the idea for Urmi was born when she saw an employee’s wife and mother hand-weave baskets. The idea took shape when she got into a discussion with Amirthavalli who ran a small shop near her textile factory in Udumalpet. From her, she learnt about the various weaves. “I learnt about the Malli Muggu (jasmine or flower bud weave), Shiva’s Eye, Star and the regular weave. The Nellikai (gooseberry) and the biscuit weaves are in the pipeline,” she says. Amirthavalli became the first point of contact and she gathered together other women who still practised basketry.
Speaking of her first lot, Chandran says, “I showed the first batch of bags at ‘Who’s Next Paris 2015’ and people loved it.” She was flooded with enquiries from across the world, and that got her thinking. “It was not just about a fashion accessory,” she says, “but one that ties in with my commitment to sustainability and women empowerment.” Chandran, who recently received the Astitva Samman Award by the PHD Chamber of Commerce and Industry, was the President of the FICCI Ladies Organisation in 2012. “We provide women the opportunity of working from home, as for many, stepping out to work is not an option. They are given the raw material and specifications. The bags can take anything between eight to 22 hours to weave,” says Chandran, who now employs 40 women in Udumalpet and Coimbatore.
The Urmi collection has evening clutches, box clutches, shoppers, tote bags and casual bags. The next big thing is going bigger with events like the Amazon Fashion Week and Lakme Fashion Week.
Urmi is available on 16 stores online, besides their outlets in Puducherry, Kochi, Delhi and Jaipur. Bags are in the ₹3,200 – ₹5,000 price range. The Chennai pop up is at The Amethyst Room, from April 5 to 15.
*This story first appeared in The Hindu
Through the next two months, GreenStitched sits down with the finalists of EcoChic Design Award 2015/16. EcoChic Design Award is a sustainable fashion design competition organised by Redress, inspiring emerging fashion designers and students to create mainstream clothing with minimal textile waste.
The interviews with these young designers will be posted every Wednesday on GreenStitched.
Today we meet Annie, a Fashion Design student at Central Saint Martins.
What brought you into the world of fashion? That ‘aha’ moment which opened doors to sustainable fashion?
Annie: Honestly I am completely appalled and disgusted by the fashion industry. It is infuriating to see how such a natural and beautiful craft has turned into a wasteful, environmentally and humanly-damaging mess that only cares for the gain of money and popularity, as with most things in the world.
I am trying my best to develop my own practice of work to be as environmentally aware as possible is really the least I can do. I want to be a sustainable fashion designer to raise awareness and change the way people think about consumption and waste and I want to develop alternatives to an industry that is primarily based on ephemeral trends and mass production.
What was your inspiration for the EcoChic Design Award collection?
Annie: The collection was inspired by paintings by Karel Appel, Kandinsky, Kirchner and Matisse, and in particular one of Matisse’s paintings in which naked bodies recline and walk freely around a garden. My collection was based on a series of textiles I created which used up all the waste from the collection by cutting up and fraying all the off cuts and painting over them. These decorated simple silhouettes and all the fabrics used were obtained from old furnishings or off cuts.
3 things you learnt from of the challenge?
– Considering the human conditions of production are just as important as the environmental impact when designing. Because I have never had to design on a huge scale, I had never really thought about how mass production factories work, but visiting one of the largest shirt producing factories in the world during the Ecochic Design Award was incredibly eye opening and shocking.
– There are so many aspects beyond the garment itself that need to be taken into consideration when designing. For instance will the user need to wash or iron the garment often? Is the garment easy to dispose of or transform into something else?
– There are always so many ways to improve the sustainability of a design, so it is a process that keeps growing.
How do you think sustainable fashion can move from a niche to the mainstream?
Annie: There are very few new and exciting designers who genuinely care about sustainability, and it would be great for this to change. Large designers are often guilty of green-washing consumers, or making poor attempts at sustainability that make this branch of design seem like a joke or a fad. Then of course, there is the problem since brands have to sell to make money ; nobody wants to slow down the pace of fashion, or create fewer, longer lasting garments. The whole attitude towards consumption needs to change, and consumers need to start appreciating craftsmanship and slow fashion more.
What is the biggest misconception about sustainable fashion?
Annie: The biggest problem in my opinion is green-washing, and large companies using sustainability as way of advertising and marketing. This sort of false “sustainability” or “eco-friendly” clothing is damaging to those who genuinely care about the environment and workers rights.
What is your advice for the next breed of fashion designers?
Annie: Start learning about ways to be more sustainable as early on in your education as possible.
What is next in store for you?
Annie: This year I will be interning for Bernhard Willhelm, Vivienne Westwood and then a new brand in Shanghai, after which I will go back to university to begin my final collection.
You can follow Annie on Instagram.
Watch Frontline Fashion, a documentary following these talented Asian and European emerging fashion designers determined to change the future of fashion. As they descend into Hong Kong for the design battle of their lives, all eyes are on the first prize; to design an up-cycled collection for China’s leading luxury brand, Shanghai Tang. This documentary is available on iTunes here.
The next cycle of the EcoChic Design Awards is open for application from 3 January to 3 April 2017. Interested students can find more details here.