Meet Candle Ray: Winner Redress Design Award 2017

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GreenStitched sits down with the finalists of Redress Design Award 2017 (earlier EcoChic Design Award). Redress 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 Thursday on GreenStitched.

Today we meet Candle, winner of the Redress Design Award 2017!

MeetTheFinalists-Candle Ray Torreverde

What brought you into the world of fashion? That ‘aha’ moment which opened doors to sustainable fashion?
When I was younger, I always enjoyed reading fashion magazines. That developed my interest in fashion and inspired me to sketch and design a lot back then, but I started entertaining the thought that it could be a possible career for me when I was asked to design garments for a pageant. Since then, I’ve been competing in fashion design competitions and I was able to get a scholarship to study Fashion Design and Marketing.

Joining the Redress Design Award opened the door for my development in sustainable fashion. I didn’t know that much about the subject until I decided to join the competition. I remember, when I was doing my entry I went through all the educational materials redress have in their website which introduced me to sustainable fashion and gave me some inspiration about how I can make a difference as a designer. As I continued to learn I’m becoming more interested in it.

What was your inspiration for the Redress Design Award collection?
My inspiration came from the chaos brought about by sea storms. Through my collection I wanted to highlight how vulnerable we were to natural disasters. The consequences on us would be severe if we continued to be insensible towards the environment. I applied the design techniques of up-cycling and reconstruction along with the use of natural dyes to transform secondhand textiles and clothes.

EcoChicDesignAward2017_Finalist_Philippines_CandleRayTorreverde_Full Collection

3 things you learnt from of the challenge?
First, I learnt that we can do a lot of wonderful things with textile waste. It only requires our creativity and our strong will to push it even further to transform all of it.

Second, there are a lot of techniques and options we can use to minimize or even zeroed out environmental impacts. Doing the Redress Design Awards taught me the techniques of zero-waste, up-cycling and reconstruction but I know there are more techniques and technologies we can apply to create every design sustainable. We just need to do more research to look for those existing techniques, technologies or even ideologies and apply them.
Lastly, I also learnt the importance of educating consumers about sustainable fashion and how can they help to minimize environmental impact through re-evaluating their buying habits. If we can let the consumer know that their choices can create a positive impact, for sure we can draw in a lot of people to join the sustainable bandwagon.

How do you think sustainable fashion can move from a niche to the mainstream?
Aside from providing products that are sustainable we also need to educate consumers about sustainable fashion. We should let them know that they can create positive environmental impact through making better choices when buying. Promoting awareness about this wonderful cause will definitely move sustainable fashion into the mainstream.

What is the biggest misconception about sustainable fashion?
The biggest misconception about sustainable fashion is that it is an unpolished handcraft. I think consumers are hesitant because they think that sustainable fashion is uncomfortable because it is made from textile waste but nowadays there has been a lot of eco-friendly technology that can transform textile waste to a comfortable and polished merchandise in line with the traditional fashion items we normally see in stores.

What is your advice for the next breed of fashion designers?
My advice to next breed of fashion designer is that they need reevaluate and incorporate sustainable design techniques to their design processes. They can create positive environmental impact through eliminating waste during the design process. They should be mindful of their material choices. After all, as designers we are equipped with an important strength, which is our creativity, to transform textile waste.

Where do you go from here? What is next in store for you?
After the Redress Design Awards, I am planning to push myself to build a brand which is 100% sustainable. Joining the competition, I have found that it really is possible. There is a lot of textile waste waiting to be discovered and be transformed. As of right now I’m creating a sustainable collection and plan to launch my brand in October. I am currently sourcing my textile waste. In the future I also plan to include accessories into my line using textile waste and I am really excited to do all these things with environmental consciousness.

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You can follow Candle’s work on his Instagram

The Redress Design Award 2018 semi-finalists have just been announced and Redress are asking you to be a judge and vote for your favourite of these 30 emerging sustainable designers from across the world who will be awarded the ‘People’s Choice’. Vote now at

Find a screening of the Frontline Fashion documentary in India here.

Meet Lia Kassif: Winner Redress Design Award 2017

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GreenStitched sits down with the finalists of Redress Design Award 2017 (earlier EcoChic Design Award). Redress 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 Thursday on GreenStitched.
Today we meet Lia, winner of the Redress Design Award 2017!

MeetTheFinalists-Lia Kassif
What brought you into the world of fashion? That ‘aha’ moment which opened doors to sustainable fashion?
Lia: My awareness of the negative impact that the fashion industry has on the environment, humanity and natural resources was raised after attending an inspiring lecture by Orsola de Castro. The lecture with Orsola de Castro as part of a sustainable fashion course in Shankar last year, was a turning point in my view of the world. She was so convincing about other and better ways to work in the fashion world to make this place better and to stop harming our world, and it influenced a change in both my personal and professional life.

What was your inspiration for the Redress Design Award collection?
Lia: For army uniforms, it was because of the fact that every Israeli must serve in the army and wear the uniform for at least 2 years of their lives. I was drawn to wedding dresses, as it is the biggest industry in the fashion scene in Israel, and every girl’s dream. The contrast between those two materials, the roughness versus the softness and gentleness are important to Israeli culture.
My inspiration for the Redress Design Award collection was the famous phrase from the bible Isaiah 2:4 “They will beat their swords into plowshares and their spears into pruning hooks.” It means that mankind, in the apocalypse, will transform their weapons into working tools. In other words, the nations will no longer fight against each other and there will be peace in the world. This is why I chose to transform military uniforms into casual garments for my collection, emphasizing the transformation by using lace and delicate materials as a total contradiction to the army uniform.

EcoChicDesignAward2017_2ndAndSpecialPrizeWinner_Israel_Lia Kassif_Full Collection
3 things you learnt from of the challenge?
Lia: I learnt a lot from the whole experience! I think that now I understand sustainable fashion much better. The movie “The True Cost” really was brought to life when Redress took us to the TAL factory and I saw all the workers and the production process.

The Redress x Miele Consumer Care Challenge taught me that even Houte Couture dresses could be found in clothing bins, like the Christian Dior dress that we reconstructed – this has made the experience of looking in bins more exciting.
From all the experiences I learned how to work and design with group of people from all around the world that sharing the same passion to make the fashion industry better.

How do you think sustainable fashion can move from a niche to the mainstream?
Lia: The change of sustainable fashion from niche to mainstream is split into two drivers – consumers and manufacturers.

Consumers have to change their habits, by buying less and buying more effectively and avoiding fashion trends. They need to be more aware about their clothes are sourced and made. They need to bring the sustainability issue to the front and combine it with their daily routine.
Manufacturers have to use green technology to produce, they must take action against pollution, and produce less clothes, to launch less collections every year and to increase the awareness of sustainable fashion among their consumers.

What is the biggest misconception about sustainable fashion?
Lia: I believe the biggest misconception of consumers about sustainable fashion is that recycled clothes and sustainable fashion is dirty, worn out and old. They don’t understand that the garments and the materials go through cleaning process before they are reaching the stores.

I believe that sometimes ecologic fashion and recycled materials can look even better than the original garment.

What is your advice for the next breed of fashion designers?
Lia: My advice for the next generation of fashion designers is to increase the awareness to this field to their customers, that they should aim produce less but better – by acting to sustainable principles.

Where do you go from here? What is next in store for you?
Lia: Since the Redress Design Award and after my graduation from Shankar, I have started working on my new sustainable brand ready to wear collection which builds on my collection shown in Hong Kong at the competition finale. Along with this I have just finished working on a new collection for The R Collective, which up-cycles military uniforms from around the world and will be launched soon.

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You can follow Lia’s work on her Facebook and Instagram
The Redress Design Award 2018 semi-finalists have just been announced and Redress are asking you to be a judge and vote for your favourite of these 30 emerging sustainable designers from across the world who will be awarded the ‘People’s Choice’. Vote now at
Find a screening of the Frontline Fashion documentary in India here.

Meet Kate Morris: Winner Redress Design Award 2017

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GreenStitched sits down with the finalists of Redress Design Award 2017 (earlier EcoChic Design Award). Redress 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 Thursday on GreenStitched.

Today we meet Kate, winner of the Redress Design Award 2017!

EcoChic Design Award 2017 1st Prize Winner_Kate Morris

What brought you into the world of fashion? That ‘aha’ moment which opened doors to sustainable fashion?
The time I was getting into fashion design coincided with the Rana Plaza disaster which, like for so many people, really opened up my mind to how critical the problems had gotten in the fashion industry. Part of me wanted to run screaming, but a bigger part of me wanted to design fashion to contribute to change.

What was your inspiration for the Redress Design Award collection?
A lot of my inspiration for my Redress Design Award collection came from my fine art background and through visiting art galleries. I looked at pop art visuals of food and was interested in how people’s attitudes to food have changed in relation to attitudes to fashion.
Cutting out wasted time and energy as well as materials inspired me to create minimal seam silhouettes combined with zero-waste, up-cycling and reconstruction techniques to create a diverse range of knitwear. The concept behind the collection is technology and hand craft working in harmony, I wanted to celebrate the possibilities within digital knitwear production as well as maintaining a tactile connection with the wearer and encouraging people to get making, mending and reusing through the hand-crafted elements.

EcoChicDesignAward2017_1stPrizeWinner_UK_KateMorris_Full Collection

3 things you learnt from of the challenge?
This competition really has been the biggest adventure I have ever been on!
Creating my collection transformed my view of what up-cycling can achieve as well as what’s possible in a small time frame!
I learnt how easy it is to source luxury materials the industry considers waste, companies were really keen to get involved and I was doing them a favour by taking the materials off their hands.
The week of the grand finale hugely broadened my mind-set and horizons alongside meeting so many fantastic people. Winning first prize has bought me confidence, exposure and the valuable opportunity to work and learn with influential platform.

How do you think sustainable fashion can move from a niche to the mainstream?
I predict that sustainable fashion design will become the normal practice and any brand who is not following this will not last very long. Consumers will keep demanding to know more about their clothing and tighter regulations will be put in place for more ethical manufacturing.

What is the biggest misconception about sustainable fashion?
I think the biggest misconception about sustainable fashion is that aesthetics have to be compromised in order to create low impact products. A lot of designers believe it has too many limitations, but it is working within these boundaries that leads the most exciting and rewarding designs for me.

What is your advice for the next breed of fashion designers?
I believe to be a successful fashion designer today you have to be aware of how your design decisions will affect the rest of the supply chain, the planet and creatures within it. I also think that having good time management, organisation, communication and calculation skills are just as important as being creative!
My advice is to try and not feel overwhelmed by all the different factors within sustainable design, start by picking one aspect that you feel most passionate about, for example minimalising waste in fashion, and other elements will lead on from there. Try to see the limitations as opportunities to create unexpected designs that will have a story that consumers can connect to.

Where do you go from here? What is next in store for you?
I just launched a sustainable knitwear ‘Pop’ collection with The R Collective. It is now available to buy at and select pieces will be available exclusively at Lane Crawford, Asia’s leading iconic luxury department store, from March 2018. Working with The R Collective opened up my eyes to the sheer scale of surplus yarn stock that accumulates through current manufacturing systems. We were working with perfect condition, extremely luxury yarns that were considered waste as the result of brands changing their minds after sampling a dye-lot, cancelling orders or miss-calculating, or the aversion to replicating the same colour across two seasons.
I am also hoping to slowly launch my own brand CROP by this year. To enable this, I am currently looking into working with start-up company ‘Kniterate’ who are producing affordable compact digital knitting machines aimed at enabling small labels to create custom made/small runs and bring local manufacturing back to their neighbourhoods. When exploring conventional manufacturing routes, so far, I have been stunted by high minimums and the struggles of maintaining a transparent supply chain/ connection with my product’s story.

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You can follow Kate’s work on her website and Instagram

The 30 Redress Design Award 2018 semi-finalists will be announced on 17 April at when Redress will also open up public judging for the People’s Choice Award.

Find a screening of the Frontline Fashion documentary in India here.

Young Consumers Are Essential in the Fight Against Fast Fashion

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Millennial consumers have started to question how their clothes are made but consumers of all ages need to do more to tackle fashion labor abuses, according to a British lawmaker and sustainable fashion campaigner. Baroness Lola Young said young people are increasingly engaged with political and economic issues and willing to fight on social causes – and labor abuses in the garment industry were no exception.

Young said harnessing this energy was vital to revolutionize the fashion industry which has come under pressure since more than 1,100 workers died in the Rana Plaza factory collapse in Bangladesh in 2013. “A lot of young people are very concerned about a whole range of social justice issues and therefore are quite willing to go into the fray when they know what is going on,” said Young, who founded an All-Party Parliamentary Group on Ethics and Sustainability in Fashion.

She further states that transforming consumer behavior in the West and changing the model of the “throwaway disposable society” is an important way to tackle labor abuses, particularly in the fast fashion sector.

Many big fashion brands have been criticized for failing to improve the conditions for workers in their global supply chains – from poor health and safety standards and long working hours to low pay and bans on forming trade unions.

The Way Forward

According to Young, while young people could often not afford more expensive clothing, she hoped exchange ventures at retailers such as Sweden’s H&M – where customers return old clothes for recycling in return for vouchers – could show a new way forward. She said they are also getting more engaged even as many have concerns over a period of global instability.

“Paradoxically, what feels like current political volatility has made some people sit up and think: ‘What are we doing here? We’ve got to take more control over what’s happening in this world and fight some of these injustices much more openly,'” Young said in an interview. She said different sectors of the fashion industry – from fast fashion to haute couture – had different challenges and will have to take different approaches to the problems.

Yet Young added that fully addressing the issues surrounding the supply chain was a “big ask” for the industry as “we need to look again fundamentally at how the garment industry works.” She further noted, “You really need to look at your business models because they’re not delivering this ethical industry that many of us would like to see.”

Young said that while Western awareness of the issues has grown recently, many people still do not think about where their clothes come from until their attention is drawn by a large-scale event such as the Rana Plaza disaster. Young said one of most effective ways to tackle the problems would be to support organizations working on the ground to implement an effective monitoring system that would empower workers and enable them to fight for better conditions.

She emphasized the urgency of tackling these issues. “Time is running out in relation to the environment, time is running in terms of the dreadful impact that it’s having on various communities and individuals around the world. So you’ve got to get on and do something really really quickly,” she said.

*This story first appeared on The Fashion Law
Image: Zara


10 Things You Can Do to Shop More Sustainably

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Small — and big — changes you can make today.

The 2015 documentary The True Cost has largely accomplished what it set out to do: wake up Western consumers to the horrifying impact of the fashion industry on exploited workers and the environment. And more consumers watch it every day.

But there’s one criticism of the movie that rings true: After all the visual carnage, viewers are left with no next steps. If we agree that mass-produced fashion is awful, that garment workers shouldn’t die making our clothes, that rivers should not be poisoned just for a cheap T-shirt, and that 1.715 billion tons of CO2 released a year (or about 5.3 percent of the 32.1 billion tons of global carbon emissions) is way too much, what can we do to change it?

Unfortunately, there’s no equivalent in the fashion industry to Michael Pollan’s sharp, easy-to-remember instructions: “Eat food. Not too much. Mostly plants.” That’s because the fashion supply chain is so confoundingly opaque and complex, that even if you buy a purse that was handcrafted by a Peruvian artisan, the leather tannery might still have poisoned the local river, and the cows that provided the leather might have been abused. It’s exceedingly difficult as a shopper to say with any certainty that you are making the “right” choice when you buy something from a green collection or one that is purported to be fairly made.

Still, once you know all the horrible, awful, no-good things the fashion industry does to the planet (pouring carbon into the atmosphere, dumping increasingly large mounds of waste into landfills) and to (mostly female, mostly brown) workers, it feels wrong to throw up your hands and say, “Welp, everything sucks, and I’m going to do some retail therapy at Forever 21.”

As complicated as it can be, there are still things that you can do to lessen your impact on the planet and, of course, not feel like a total hypocritical dirtbag. Here they are.

According to this analysis, a full 22 percent of a garment’s climate impact comes from the process of a consumer driving to the store to try something on, driving to another store to try that thing on, then bringing their final selection home in their car. If you live in a city where you can walk or take public transportation to a store, then do that!

And don’t feel guilty about ordering items online. First, because a UPS, FedEx, or USPS truck is like public transportation for your clothing: efficient at moving a lot of stuff with minimal fuel. Second, your clothing probably comes through a distribution center, skipping the process of going to the store at all and going straight to you. And according to multiple studies, online shopping has a much lower environmental impact than brick-and-mortar shopping. It may feel wrong to get an item of clothing in a plastic bag in a box, but rest assured that if it goes to a store instead, it’s also showing up in a plastic bag — the bag’s just gone by the time you see it on the rack.

Another benefit of shopping online is the opportunity to be more thoughtful and discerning with what you buy. In a physical store, it might not be possible (or even occur to you) to research every brand you encounter then and there on your phone. But when you’re home and on the internet, you probably have more time, along with more access to resources, to do some deeper digging.

There are some excellent resources documenting the bad, good, and gray areas of shopping. The Good on You app lets you search for a brand’s environmental impact, labor policies, and even animal-friendly considerations, plus makes recommendations in different categories (dresses, hosiery, outerwear) of sustainable and ethical brands. Project JUST does about the same thing — carefully researches the impact and policies of various brands, plus puts out roundups of the most ethical and sustainable brands in categories like athletic wear and denim — but on a website.

There’s also the DoneGood browser extension, which pops up in the corner of your browser when you’re shopping and tells you whether or not the brand site you’re on is sustainable and/or ethical, and links you to alternatives if it’s not. If you’re visiting a conventional webstore, it also highlights which sustainable brands you should check out while you’re there.

Also, look through the About section or — even better — the sustainability or social responsibility section of a brand’s site to see if they say anything about how items are made. (If they don’t, it’s a bad sign. Skip ahead to step #7 and reach out to your favorite brands.) Google the brand’s name and look for recent news. And finally, check and see if it’s in the Sustainable Apparel Coalition, a trade group that requires its members to quantify their supply chains’ impact on the environment and is funding some really cool initiatives along the way. (It’s not the same as a third-party certification like the ones mentioned below, but does indicate that a company is serious about making changes.)

Of course, all of this supposed efficiency will be negated if you’re the kind of person who buys a dozen things from a dozen different stores and returns 11 of them. All of this advice really only works if you’re the type of person to use the internet to buy smarter, rather than impulsively.

Look for certifications.

There are a few gold-standard certifications that indicate that an objective deep dive into a product’s supply chain has been conducted. OEKO-TEX is an independent test and certification system for textiles, and it offers multiple levels of certification, the most basic of which indicates that the product is free of hazardous chemicals. The next level up concerns whether the textiles are made in socially and environmentally responsible conditions. GOTS (Global Organic Textile Standard) is a certification for textiles that contain “a minimum of 70% organic fibers.”

Forest Stewardship Council certification indicates that any trees involved (yup, some fabrics are made from trees — more on that later) were sustainably harvested. Fair Trade certification indicates that the factory workers are paid at least the minimum wage, and that the working conditions are safe.

Avoid these fabrics.

I’ll keep it short: Polyester is made from oil (it’s basically a plastic thread) and all synthetic fibers (excepting a few alternatives mentioned in this piece) shed microfibers into waterways. (You’ve probably ingested these fibers in your last seafood meal.) Acrylic is even more toxic to produce than polyester. Viscose rayon (this includes bamboo rayon) turns plants into a textile through a toxic, polluting process and is contributing to the disappearance of rainforests.

Conventional cotton relies on pesticides and herbicides which are improperly, excessively, and dangerously applied in underdeveloped countries, and might have led to the worldwide decline of insect populations. The typical leather tanning process is so toxic that 90 percent of the people who live in the leather-tanning neighborhoods in Bangladesh die before they reach 50.

A man shopping for rings
Photo: Thomas Barwick/Getty Images

Look for these fabrics.

It’s pretty hard to avoid polyester altogether, especially if you enjoy athleisure clothing, swimsuits, or anything with stretch. So look for polyester that’s made of recycled water bottles, fishing nets, carpet, and other post-consumer products. These products financially support the recycling industry and help to keep plastic waste from the landfill and ocean.

Tencel is a viscose rayon alternative by the Austrian company Lenzing made from sustainably-sourced eucalyptus trees in a closed-loop process that ensures no toxins are released into waterways. Silk, hemp, linen, and wool are all natural, low-impact textiles. (Just watch out if you’re vegan — the typical silk thread process kills the silkworms, and wool-producing sheep aren’t always treated the best, especially in Australia.)

Vegetable tanned leather doesn’t use heavy metals in the process (but as an FYI, that means it’ll take longer to soften up and break in). More leather alternatives are coming, but right now the best new alternative available for purchase is Piñatex, which is made from pineapple leaf waste.

Seek out brands that pay their artisans fairly.

Understanding the environmental impact of your garment’s entire supply chain is nearly impossible — all the variables (production, dying, finishing, shipping), debates (are GMOs bad or not?), and scientific reports can lead to a mental burnout on the whole idea of conscious consumption. But picturing the positive social impact of a fairly-made garment is much more inspiring — and easy.

Many fair trade brands, like LemlemVozSiizuBrother VelliesPar en ParAce & JigUniformManos Zapotecas, and more, have photos and information on their websites of the women and men who hand-make the garments or the factories they use. Other brands, like Reformation and Saint James, give factory tours. Still others, like Naja and Nisolo, give you a report on working conditions, pay, and benefits, plus how getting paid to use their community’s traditional skills positively impacts a worker’s community.

We could argue all day about relative merits of recycled polyester versus organic cotton, or how much you’re benefiting the environment by paying more for organic cotton, but it’s hard to argue with a mother getting paid a fair wage in safe working conditions. It feels a lot more rewarding, too, which can help keep you motivated.

Buy secondhand.

There is a glut of secondhand fashion in the West. Secondhand shops can only resell about 20 to 45 percent (75 percent on a really good day) of unwanted threads — the rest is downcycled into insulation, carpeting, or rags, or (if it’s still wearable) shipped to developing countries to be resold for a few dollars.

This overabundance of orphaned clothing makes secondhand the perfect solution for fashion addicts who feel guilty about their waste and wallet. It prevents production of toxic or exploitative new clothing, and it keeps textiles out of the landfill or from being shipped overseas. Secondhand stores are almost all charitable, locally, or family-owned, so you direct your dollars away from multinational corporations and to small business. And best of all, it’s a way to get fresh threads (sometimes with the tags still on!) for fast-fashion prices.

If you have something really specific in mind and find the chaos of the thrift store intimidating, you could shop online at affordable sites like ThredUp and Tradesy, or Vestiaire Collective and The RealReal for upscale and designer items.

Show your favorite brands you care.

Not ready to pass up on that so cute ruffled viscose top from J.Crew? Curious where it’s made? Email or tweet at the brand! “Consumers think their voices don’t matter, but they do,” says Jessica Radparvar, the founder of the social impact communications consultancy Reconsidered. “Tweets, emails, questions asked in retail stores — if frequent enough, these communications get laddered up. I know many Corporate Social Responsibility teams that then use these anecdotes as ‘proof points’ to show that consumers are demanding transparency,” she says. “That can in turn help them get buy-in, approvals, and funding for projects they want to push forward.”

Again, that only works if the brand has a team like that instated. If they don’t answer, and you can’t find any information anywhere about attempts to go sustainable or ethical, you might want to cross them off your shopping list.

Capsule your wardrobe.

The best thing you can do is just buy less stuff. And you can buy less stuff if you buy things that are timeless and high-quality enough to last a long time.

How you launder it, how you dispose of it, even where it’s shipped from — all these factors are a sliver of the total impact of a typical garment. But most of the impact comes from the very fact that it was produced. The longer you use a garment, and the more times you wear it, the lower the impact. This doesn’t necessarily mean you have to go out and buy exclusively locally-made, organic fashion that costs well in the hundreds of dollars. Whatever it is, if you think you will wear it 30 times or more, that’s definitely a sustainable choice.

One popular notion in the conscious fashion world is the idea of a capsule wardrobe: an extremely edited collection of versatile pieces that can be endlessly mixed and matched, so that you get maximum use out of minimal possessions. If you want some guidance in this area, try the app Cladwell, which helps you discern your style, whittle down your wardrobe, donate or sell what you don’t love anymore, and come up with interesting new combinations.

The goal is to stop getting tossed about on the expensive seas of new trends, and confidently stand in your own personal style, with a closet full of (and only of) pieces that make you feel like your best self. If you love your closet and can easily put together a great outfit, you’ll never say, “I have nothing to wear!” and run out to buy something last minute to make you feel beautiful again, nor will you be tempted by whatever fun cheap thing is in the window at Forever 21, because you already have everything you need, thank you!

Try renting.

If you’re keen to try out a new trend, have a special event coming up, or you’re just bored with your closet but on a budget, renting lets you feel fabulous while using fewer resources. You can try Style Lend, which lets you rent luxury fashion from real women’s closets; Le Tote, which sends you a box of everyday items to try; or the OG of renting, Rent the Runway.

Donate to NGOs and watchdogs.

Don’t stop at conscious consumption! Direct your dollars to organizations that are trying to create systemic change. You can help send a Bangladeshi garment worker to college, fund Canopy’s efforts to save the rainforest from destruction by rayon-viscose pulping mills, donate to Greenpeace or Natural Resources Defense Council, which respectively combat toxic garment factory effluent and increase the energy efficiency of factories, or become a supporter of Project JUST and their deep research on the sustainability and ethicality of large brands.

The main thing to know is that you can take or leave any of these tips and build a sustainable wardrobe that feels right for your lifestyle, your budget, and your personal style. There’s no one way to be a conscious consumer, just like there’s no one way to dress yourself. And as the sustainable fashion movement grows and evolves, dressing yourself with thought will hopefully only get easier with time.

*This story first appeared on Racked

Can Rent the Runway Replace Fast Fashion?

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With a new same-day delivery service, it’s going to try.

By Eliza Brooke


Rent the Runway’s new service could expand to cities like Chicago, LA, and DC. Photo: Rent the Runway


When Rent the Runway launched in 2009, offering shoppers a relatively inexpensive way to rent out designer clothing for a few days, customers booked their outfits for weddings and special occasions three weeks ahead. Eight years later, that window has narrowed to days and, in many cases, hours.

“Our customers’ entire lives are on-demand,” says CEO Jennifer Hyman. “They’re not planning anything in advance.”

So to meet the wants of those Hotel Tonight-ing, Seamless-ing, Uber-ing shoppers, Rent the Runway is going on-demand, too. Today, it’s launching same-day delivery in New York, promising to deliver orders to shoppers by 5 p.m. if they book by noon.

You could say that Rent the Runway is trying to compete with Net-a-Porter and Barneys, both of which offer same-day delivery in parts of New York, or that it’s trying to get a slice (a sliver, really) of Amazon’s Prime Now action. But Hyman says that it’s mainly looking to cut into fast fashion’s stranglehold on day-of purchases. For women who work and live within subway distance of a Zara, it’s all too easy to put off buying something for a nice event until the very last minute, because you know that when you walk through those doors you’ll be able to find something that’s on-point and inexpensive, fast.

“Today, the only real options from a value perspective and a distribution perspective are H&M, Zara, T.J. Maxx, and Forever 21,” Hyman says. “If I get asked on a date tonight, the probability that I’m going to go all the way to Saks and spend $1,000 on that outfit is zero.”

Rent the Runway offers product from high-end designers like Oscar de la Renta, Giambattista Valli, and Proenza Schouler, but some of its dresses hit as low as $30. That’s the price point that could persuade people to test out its same-day service instead of hitting up a chain store. And for anyone who feels gross about the disposable clothing culture attached to the fast fashion industry, buying into Rent the Runway’s cycle of reuse (which does incur the environmental costs of dry cleaning) may be extra appealing.

In recent years, the startup has been trying to cement itself as a go-to for everyday clothing as well as event dressing, and it’s expanded its assortment accordingly with trousers and tops and rompers. Same-day delivery helps push it toward that goal.

Hyman says Rent the Runway is looking to expand same-day delivery to other major cities by the fall. If all goes well, Chicago, DC, LA, and San Francisco could be up next.

*This story first appeared on Racked

Fashion Must Fight the Scourge of Dumped Clothing Clogging Landfills

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By Lucy Seigle

Every year millions of garments are discarded as consumers ditch fast-fashion styles for a new wardrobe. At last the industry is acting – but more has to be done

Stella McCartney’s winter 2017 collection was modelled against the backdrop of a landfill site. Photograph: Harley Weir and Urs Fischer for Stella McCartney

Facebook users will be familiar with the On This Day feature. From time to time it greets you with a blast from your relatively recent past. Some find it unnerving, especially if it’s a picture with an ex, for example. But my eye is always drawn to the clothes. Whatever happened to that handbag? Do you still wear those jeans?

If it’s an image from more than three years ago, then the answer is probably “no”. According to a recent report from Wrap (the Waste and Resources Action Programme), the average piece of clothing in the UK lasts for 3.3 years before being discarded. Other research puts the lifespan of UK garments at 2.2 years. For a younger demographic, you can probably halve that. A UK-based fashion company tells its buyers to remember that a dress will stay in the owner’s wardrobe for only five weeks.

The way we get dressed now has virtually nothing in common with the behaviour of previous generations, for whom one garment could be worn for decades. Wrap estimates that we purchased 1.13m tonnes of new clothing last year in the UK. While an estimated £30bn-worth hangs about gathering dust – Tinie Tempah’s refrain “I have so many clothes, I keep some at my aunt’s house” was spot on – an unpalatable quantity goes in the bin. A survey commissioned by Sainsbury’s last spring found that 235m items ended up on landfill sites as people readied their wardrobes for summer. Surely we can do better than this?

Vivienne Westwood – never one to miss an opportunity to call her legion of fans to action – thinks we can. “It’s about quality, not quantity – not landfill,” she said recently at one of her own shows. Hot on her heels, Vetements, very much the “it” brand of our times, made its own statement last week. The label filled the windows of Saks Fifth Avenue in New York – one of the commercial hotspots of global fashion retail – not with its latest collection, but with waste garments en route to a recycling charity.

But it was Stella McCartney who really upped the ante, electing to shoot her latest collection on a Scottish landfill site. Models lay across the rusted husks of old cars and languished on top of household waste. From a sustainability perspective, Stella McCartney is the luxury Kering group’s top-performing brand. Much of this success is based on McCartney’s own personal resolve. It’s clear that the landfill backdrop is not just an interesting aesthetic to her.

Now there’s an obvious contradiction between selling fashion and instructing us to buy less, but what these designers are calling for is some sanity in an industry now rated as the fifth-most polluting on the planet.

The fashion industry has developed a pretty terrible reputation – not least for exploitation of human capital, outsourcing production to the world’s lowest-wage economies. Four years ago, 1,133 garment workers were killed in Dhaka, Bangladesh, while producing clothing for high-street brands and their subsidiaries. After that, many worried what was next.

For those in and around the industry, garment waste has long been rumoured to be the next big scandal. Globally, levels of production and consumption are forecast to increase as fashion waste becomes an environmental crisis to rival plastic pollution in oceans. This is a tale of over-production and supply, powered by the relentless “fast fashion” system of production that over the past three decades has revolutionised both the way we dress and the way clothing is produced – and not often for the better.

Much of the waste in the fashion industry is hidden along a chaotic supply chain and doesn’t make it into the environmental accounting that underpins a Wrap report. Perhaps the worst of it comes in the form of readymade garments, assembled and sewn but discarded because of an order mistake or an issue with the colour. According to industry insiders, this waste represents 3-5% of every factory’s inventory (and a large factory in Dhaka can produce 240m pieces a year).

There is no verified figure for the amount of clothing produced globally each year (predominantly in low-wage textile hotspots like Dhaka without waste management systems) but my own research puts it between 80bn and 100bn garments. That means a lot of hidden fashion waste.

Stella McCartney
Stella McCartney: according to parent company Kering, her brand is its best-performing subsidiary from a sustainability perspectiv. Photograph: Andreas Rentz/Getty Imaages for P&C and Fashion ID

Where it becomes highly visible is on the outskirts of big production areas, such as the garment districts of Dhaka. This is where the production waste leaves the factories and is absorbed by the air and earth in the local community. Waste from the cutting room (called jhut) often ends up in so-called go-downs. These makeshift sorting operations are the stuff of legend in Dhaka, with fires a regular occurrence. But what happens to all the rest?

“You don’t even want to know,” says Estonian designer and clothing waste researcher Reet Aus, who spends a lot of time following unwanted garments out of factory gates. “You see it by the side of the road being sold, or just dumped, but a lot is burned,” she says. “I know a brick factory near the garment district where the main fuel is garment waste. You can’t really see anything around there, the pollution is terrible. Remember that thanks to the chemicals and finishing agents, used textile waste is basically toxic waste.”

Meanwhile, the urge to buy grows stronger as clothes shopping takes on a quasi-addictive quality. And let’s be honest here, are the fast-fashion corporations with their extraordinary profits likely to do anything about consumption, the driver of waste and the driver of the industry’s impact? Their business model, after all, depends on it.

Increasingly these brands are signposting a way of allowing us to have our cake and eat it. They are buying into recycling schemes and investing in competitions to close the loop on textile fibres. The idea is that if they can collect waste garments and regenerate fibres to be used in new garments, the impact of fast fashion can be negated.

The trouble is, it’s hard to buy into. I have been critical of brands overclaiming in this area before, particularly when I looked at the numbers around H&M’s recycling week in 2016. In truth, there are quite a few technical barriers to closing the fashion loop – that is, regenerating fibre from an old, unloved outfit, spinning and making it into something else, all within a timeframe and quality that’s interesting to the consumer.

“Every fabric is different,” says Aus, “so one garment might contain a blend of different fabrics. On top of that, you have to strip out the zippers and buttons inherent in post-consumer fashion waste.” So while a consumer may believe that a loved jumper or sundress is going to be magically regenerated into a new item, in practice your old T-shirt is probably going into a well-worn recycling network.

She and her team have developed software to keep track of potential garment waste data during production, which she is trialling with a large manufacturer: Beximco in Bangladesh. By getting information about the volume and material of leftover textiles, she can design that material back into a product before it becomes waste. “I’d rather not produce waste in the first place,” she reasons. “Plus, this is a better system for large brands who find recycling and regeneration difficult. That is easier for smaller, more agile companies.” This means some of fashion’s big lessons about its waste may come from unlikely parts of the apparel world. For once, the smaller companies have a chance to steal.

Tom Kay, the founder of Cornish outdoor brand Finisterre, is addressing a waste problem highly relevant to his customer and doesn’t care that it might seem niche to the rest of us. “The average neoprene wetsuit only lasts two years,” he says. “We’ve redesigned with wider seam tape and better stitching but it still only lasts probably for three. It would be disastrous for these things to be dumped, but there’s nowhere for them to go. That’s why you see them piled up in people’s garages.”

Last week, he launched an intriguing job advert in partnership with Exeter University: a £26,000-a-year position, paid by Finisterre, to be filled by a materials scientist who shares his dream of making wetsuits from wetsuits. “We don’t know how it will go, but I’m excited,” he said.

The Figures

■ Last year 1,130,000 tonnes of new clothing was purchased in the UK – an increase of 200,000 tonnes since 2012.

■ Fashion in the UK lasts an average of 3.3 years before a garment is discarded.

■ Extending the life of a garment by an extra nine months reduces its environmental impact by 20-30%.

■ Providing one tonne of clothing for direct re-use by giving it to a charity shop or selling it online can result in a net greenhouse gas saving of 11 tonnes of carbon dioxide equivalent.

*This story first appeared on The Guardian

Cradle to Cradle: Fashion’s Grave Reality

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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.

Interesting, right?

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.

take make dispose clothing lifecycle fashion

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?

I recently wrote about the differences between natural and man-made fibres, and the importance, as a consumer, of understanding where these different fibres come from.

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.

clothing fashion lifecycle cradle to cradle biodegradable

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.


fashion clothing lifecycle recycle circular cradle to cradle

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

Sustainability And The Role Of A Fashion Designer

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Ethical Fashion Forum has launched a new series looking at what sustainability means to different job roles within the fashion industry. In this second instalment, they speak with six fashion designers, from independent to high street brands, about what they do.

Image Courtesy: BHAVA
Image Courtesy: BHAVA
  • Julia Ison-Stierer at activewear brand Sweaty Betty
  • Clare Farrell owner of stylish cycling gear brand No Such Thing
  • Valerie Goode founder of luxury womenswear brand Kitty Ferreira
  • Francisca Pineda footwear designer and owner of BHAVA
  • Sally, a freelance consultant accessories designer

What is a fashion designer’s role?

The role and responsibilities of a designer seems obvious but you might be surprised to hear just how diverse a designer’s job can be. Of course, it’s about the creative and technical aspects of designing products but it might also entail research, sourcing, textile science, creating new processes, sales thinking and more.

If you’re an independent designer then the chances are you’re running the whole show, from accounting to marketing, as well as designing your products. In fact, designing often becomes secondary to these other responsibilities, with time for design resolved to nights and weekends when other priorities take over.

A diverse role

For Julia at Sweaty Beatty, her day-to-day involves trade meetings with the sales team, researching and putting together mood boards, designing and design meetings, fabric and trim sourcing, and meeting with fabrics and prints suppliers. For research, Julia likes to visit Sweaty Beatty shops, speak to the in-store teams and to customers directly to find out what’s working, what’s not, and what they want to buy that they can’t yet find.

She also goes to fitness classes to see what people are wearing depending on the different exercise activity. During the year, Julia might travel to visit factories or to source fabrics, mainly in East Asia or southern Europe. Sometimes, she gets to go on design inspiration trips to places like Brazil.

Sally who specialises in accessories and jewellery works as a freelancer, often within big high-street brands. She spent three and half years as a handbag and accessories designer at Liberty. Sally’s design role entails creative strategy, working hand-in-hand with the buying and range planning teams. She also does trend and market research and goes on inspiration trips. She manages and resources new factories, mainly in the Far East, and will travel to visit producers.

Clare Farrell worked in big fashion brands and a few smaller ethical brands before launching her own brand, No Such Thing. She was turned off by her experience working with one well-known corporate British brand. She didn’t like producing in such an unethical and wasteful way. As Clare now works independently towards building her own brand. She is responsible for all aspects of running the business – from financial accounting to sales and marketing. It’s a joy when she gets time to work on designing products. Clare shows how challenging it can be to balance priorities when first starting out.

No Such Thing

Like Clare, Francisa set out on her own after having worked for years within big American fashion brands. She worked her way up to Director of Accessories for one of the biggest brands in the U.S. and then had a severe allergic reaction to leather products. She began getting headaches, which then progressed to seizures. She developed a chemical sensitivity that people can get from exposure to paint and VOCs. Her medical condition developed over the years and finally took its toll causing Francisca to quit her job. She had no idea that the chemicals she worked with to develop accessories had such a toxic potential.

Francisca started vegan women’s shoe brand BHAVA in 2013 after quitting her corporate career and has since founded the Ethical Fashion Academy in New York City. Like Clare, she works independently and is responsible for all aspects of running the business, including sketching, designing, creative strategy and more.

Valerie Goode, of UK-made luxury womenswear brand Kitty Ferreira, has a similar story. She worked for many years as a Senior Womenswear Designer for suppliers to European high street chains in Guangzhou, China and was affected by the widespread pollution of the industry. Valerie launched her brand in 2012 because she loves fashion but wants to change it. Like Clare and Francisa, her role is comprehensive but she has a special focus on designing clothing that uses naturally dyed, organic and cruelty free silk.

How does sustainability relate to the fashion designer’s role?

Social and environmental issues can be quite relevant to a designer’s day-to-day work, depending on how much autonomy the designer has in making critical product designs. How designers create products can have a huge impact on the people who manufacture it and the products’ resulting impact on the environment.

For Julia at Sweaty Beatty, sustainability is “about choosing fabrics that are recycled – organic cotton content, making choices that are better, naturally based, as far as possible with a clean supply chain, choosing factories and suppliers who are conscious of their waste and water.” For Julia, It’s not always about choosing the cheapest option. She believes that designers have a “huge responsibility to ask questions, suppliers simply react to demand… if you don’t ask those details they won’t tell you.”

For Sally the freelance accessories designer, “it has meant very different things depending on the price level of product that I’m creating. High end product is made to last, and can be more sustainable, whereas high street has a level of throw-away.” Sally works mainly with leather and PU, so she tends “to look at more organic dyeing methods such as veg dyes.” She also tries to “work with UK production and products so we have more awareness and control of what the materials are and who they are made by.”

To Valerie Goode of Kitty Ferreira, “the ideas of ethics and sustainability are an extension of yourself – these values come from the heart.” To her, sustainability in practice is an antithesis to fast, throw- away fashion.

As well as sourcing, Valerie produces exclusively in London. Keeping the brand’s carbon footprint as low as possible throughout the supply chain. “Sustainability not only runs through the business model but through the products themselves; manufacturing with high end finishing to promote durability and longevity,” she says.

Kitty Ferreira

For Fransisca of BHAVA, sustainability for the fashion industry at the “most basic level you’re trying to avoid materials that are trying to kill people and animals, sustain life.” She also “strives to make long lasting and high quality shoes, using as least toxic materials as I can.”

For Clare of No Such Thing, sustainability is about not wasting materials and understanding the provenance of products. It’s about having more respect for how things are made. Her work with high street companies “showed the vast disconnect between people and their stuff. Such disconnections – they’re producing crap which is going to sell, then will end up reduced in the sale, and then in landfill – constantly moving on to the next thing. It’s frightening how people don’t really think about that.”

How do designers incorporate sustainability practices in their work?

For her stylish women’s cycling gear, Clare uses organic and fair-trade certified cotton sourced from Turkey and end-of-roll or deadstock Tyvek. She also spent a lot of time seeking out non-toxic alternatives to waterproofing finishes. This is, of course, crucial to well performing cycling wear. She tries to source everything as close to her home as possible.

Before joining Sweaty Betty, Julia worked for Adidas where she had much less control over the design and product development process. At Adidas, there was a library of recycled and organic materials to choose from, though they often came at a higher cost. She was sometimes quite limited to certain price points but there was a general mentality at Adidas that doing things better was possible.

At Sweaty Betty, the company doesn’t really focus on sustainability. It’s more Julia’s personal interest than something the business actively engages with. You might think that yogi’s would be more sustainability-aware consumers, but interestingly their customer feedbacks suggests the contrary.

BHAVA is a vegan footwear brand, so Francisca never uses leather and this can be a sustainability challenge. Leather alternatives are often plastic-based and not inherently sustainable, so she looks to work with carbon-neutral manufacturers. She use organic cotton for the shoe lining. Paying attention to quality is also super important to ensure she’s making a product that lasts and won’t be thrown away easily.


Valerie from Kitty Ferreira strives to use natural, non-toxic materials and processes. She sources and produces as close to the UK as possible in order to minimise the brand’s carbon footprint. She also looks to reuse materials or to use dead stock fabrics in order to tackle waste issues.

Sally works with leather and PU, which has unique challenges that don’t apply to other materials or processes. In addition to looking for good veg-tanned leathers, she’s excited about how 3D printing could revolutionise the accessories market in future, in a way that could drastically reduce waste.

The role of the designer in the future

“Making small changes in materials we use and the way we produce could make a massive impact. People are aways looking for the next best thing. I think that people are becoming more aware of the impacts that we are having on our environment. People are also getting bored of throw-away fashion and want something that lasts a little longer,” says Sally.

Francisa Pineda sees how designers, especially independent ones who are building their brand like she is, will increasingly need to adopt strong marketing skills. Today’s internet-driven world, sharing your daily experience online is important. Designers are already seen as the spokesperson for the company. As a person, they can drive brand image. For example, if she’s in Bali at an eco resort, she should be sharing photos from her trip with her customers and community. It shows that BHAVA is more than just a product, it’s part of a lifestyle.

Clare from No Such Thing wants to see other designers better understand the implications of the decisions they make and to think about their fabric choices with sustainability in mind.

Julie from Sweaty Betty sees sports and activewear as market that’s going to keep on growing. Their customers are certainly becoming a lot more aware of their sports gear and care more about technical fabrics and the performance of their clothing. Plus, they want something that looks good too. There aren’t many brands cornering this part of the market yet and doing it well.

Julia also sees high street brands coming out with sustainably-made collections is proof that things are changing. She sees this drive happening due to consumer demand and companies’ need to offer these products. “If people could come in and ask about sustainable products and if your customers are not bothered by price, then why not?”

This article was written by Sarah Ditty, Editor-in-Chief and Stephanie Lau, Editorial Researcher from the Ethical Fashion Forum.

Read the first installment What Does Sustainability Mean To a Garment Technologist?

Activists Slam Ralph Lauren at CFDA Awards for Contributing to Deforestation

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By Lainie Lamicella

This year’s Council of Fashion Designers of America (CFDA) Fashion Awards in New York City Monday, not only recognized fashion designers, journalists and influencers, but activists who interrupted the event shed some light on one of the biggest names in fashion reportedly contributing to forest destruction.

Dressed in formal wear for the event, activists from Rainforest Action Network’s (RAN) Out of Fashion campaign, displayed a large banner and handed out balloons and business cards printed with a parody logo of the demonstration’s target, Ralph Lauren. The logo features the brand’s name in its iconic navy and tan but positioned on a circular saw. RAN is accusing the luxury brand of making clothes at the expense of deforestation and human rights abuse and is urging it to adopt new policies that commit to using only forest-friendly fabrics in its products.

“Every year, millions of trees are turned into clothing through the use of forest fabrics like rayon and viscose,” Brihannala Morgan, RAN’s senior forest campaigner, said. “This scandal has been hidden in plain sight for too long, but no more. The time has come for the fashion industry, and in particular Ralph Lauren, to take responsibility for its impacts on people and the planet and to publicly adopt binding policies that prevent deforestation, human rights abuses and climate pollution from being woven into the fabrics Americans wear everyday.”

Morgan added, “There are some brands that are taking action on this issue, like H&M and Stella McCartney, but Ralph Lauren isn’t one of them, and there’s just no excuse. As one of the biggest fashion brands in the world, Ralph Lauren has the ability and resources to ensure that human rights abuses and forest destruction won’t be a part of their next collection.”

In addition to their live protest at the awards, RAN also called out Ralph Lauren over Twitter.Screen-Shot-2015-06-02-at-12.55.11-PM Many supporters of the organization’s campaign chimed in as well.

Screen-Shot-2015-06-02-at-12.55.31-PMRalph Lauren is just one of the brands among the “Fashion 15” group of companies RAN is urging to take responsibility for their supply chains, including Prada, LVMH, Tory Burch, Michael Kors, Vince, Guess, Velvet, L Brands, Forever 21, Under Armour, Footlocker, Abercrombie and Fitch, GAIAM and Beyond Yoga. RAN said it wants the brands to identify negative manufacturing components and develop commitments to protecting forests and human rights.

** This post first appeared on Sourcing Journal here.