The trend for the double cuff makes a strong aesthetic statement and gives a feeling of indestructibility to the wearer.

For the past few seasons, cuffs have been decorating the wrists of fashion’s most stylish models and muses. The big, indestructible-looking bracelets looking like shields of armor, are studded and gilded in gemstones, one on each arm. You’d be forgiven if the trend reminds you of Wonder Woman striking her signature battle pose, crossing her wrists and deflecting bullets with her cuffs.

Coco Chanel’s iconic Maltese Cross Vendura cuffs were inspired by Byzantine artwork discovered during her travels. The cross was the symbol of the Knights of Malta, a Christian military order charged with the defense of the Holy Land after the First Crusade. 

Superhero powers aside, it’s a bold, powerful look that has appealed to warrior women through fashion history. Audacious and assertive, Coco Chanel was rarely photographed without her iconic Maltese Cross cuffs designed for her by Vendura in the 1930s. Matching cuff mainstays moored Harper’s Bazaar editor Diana Vreeland indomitable style through the 1960s. Leading the charge for modern day lionhearted style is Elle’s Kate Lanphear, whose chunky cuffs work to assert her cult androgynous and punky aesthetic.

Elle’s Style Director and modern day fashion icon, Kate Lanphear’s all-black looks are often armored with a mixture of leather studded cuffs.

While combined with other jewelry, the look is most definitely an eccentric style statement. Worn alone, matching cuffs look clean and modern. Match the scale of your cuffs to your sleeves. With a delicate cuff go with a simple sleeve, with ornate, embellished cuffs balance with a strong shoulder or architectural sleeve. Feel the power of an accessory that can transform a look from glamor girl to amazon in a flick of a wrist.

The growing love for cuffs means there are plenty of options to choose from this season, from plain gold or silver to studded and ornate. 

ALSO READ:

Now & Then: The History of Turtlenecks

Now & Then: The History of Tights

Now & Then: The History of Skinny Jeans

Now & Then: The History of the Chevron Stripe

Now & Then: The History of Penny Loafers

Now & Then: The History of Go-Go Boots

Now & Then: The History of the Poet Blouse

Now & Then: The History of Ladylike Gloves

Spread the love this Valentine’s Day by dressing up in head-to-toe red, and adding in a sprinkle of hearts and roses.

However you feel about Valentine’s Day this year —  giddy writing love letters or turning up the volume on that breakup-tunes mixtape — it gives us a chance to break away from the ordinary. And when it comes to fashion, it’s a good excuse for dressing head-to-toe in red and adding in a sprinkle of hearts and roses.

Orla Kiely Prom Dress
This sweet little sleeveless dress by Orla Kiely has a gathered skirt and bow. The pattern, which is actually small coffee cups keeps it from being too cutesy. Made from 100% organic, Fair Trade certified cotton in India.
Approx. $94, People Tree

Tiny Heart Necklace
This tiny heart necklace is sweet and simple, a discreet way to whisper to the world that you still believe in love. Handcrafted in San Francisco, by designer Kris Nations, using recycled 14k or sterling overlay.
$35, BTC Elements

Erica Weiner Sweetheart Necklace
When Erica Weiner found a small quantity of these vintage heart necklaces from the 70s, she thought they seemed to just ache to be inscribed with a message. Make your perfect Valentine’s statement and write your message with teeny tiny letter stamps.
$65-80, Erica Weiner

Apple & Bee Hearts Tote
With inside pockets and lots of great compartments, this super practical organic cotton tote will make a great shopping companion, spreading the message of love wherever you go.
$37, Apple & Bee

Hovey Lee Allott Necklace
This elegant heart-shaped pendant is designed for everyday wear, yet the genuine pink peach shell, lends it a unique glowy sheen. Available with 14kt gold-filled  or sterling silver chain.
$76, Hovey Lee

Alkemie Single Rose Ring
Roses are the ultimate symbol for love, and unlike a dozen red ones this ring will not fade. Handmade in Los Angeles, using 100% reclaimed metal and Austrian Crystal. Available in silver patina as well.
$154, Alkemie

Pink/Red Heart Lady Dragon Shoes
These new Anglomania Lady Dragon shoes by Vivienne Westwood and Melissa brings a more glitzy side with gold edged mirrored hearts that make your feet ready to party. Made from Melissa’s signature earth-friendly rubber.
$230, Vivienne Westwood

Does Edun’s far reaching ad campaign have the ability to change consumer mindsets?

Without the glossy ad campaigns typically employed by fashion houses, star-ethical line, Edun has managed to become the most well known and celebrity beloved conscious clothing collection out there (having Bono and his wife, Ali Hewson as the line’s founders doesn’t hurt). Posting double digit growth last year and announcing plans that both Bloomingdales and Neiman Marcus will pick up the line, the fast-growing sustainable clothing label has just unveiled their first advertising campaign.

An advance look at the ads reveal Edun’s spring looks shown alongside six species of butterflies indigenous to Africa. According to a WWD interview with Hewson in Africa – where the brand reportedly produces much of its clothing and supports local farming communities and factories – she explains, “We really wanted to capture the essence of Edun, and of what inspires the brand, which is duality and transformation.”

Some of fashion’s hottest design talent was enlisted to create the campaign, Photographer Ryan McGinley was the visionary behind the engaging images, British Dazed and Confused Editor, Jefferson Hack, served as the on-shoot creative director.

Skeptics have pointed out that Edun’s partner company – luxury group LVMH bought a 49% stake in the company in May 2009  - utilizes far from sustainable practices. And a now infamous campaign featuring Bono with Hewson, parading through one of the poorest landscapes in the world carrying LVMH luxury bags, may not have not helped win over the critics either.

What is clearly persuasive is the reach of the label. With the campaign set to break in the March issues of Vogue, Vanity Fair, Dazed & Confused, AnOther, T The New York Times Magazine and the Sunday Times of London, its ability to change mindsets is far-reaching. Also included as part of the campaign, is a launch event set to take place during New York Fashion Week and short “blink videos” that will appear on Edun.com and via social media outlets. The message that “eco-friendly” and “socially-aware” are desirable clothing attributes is about to get some wings.

Versatile basics with edgy details, easy-to-walk-in wedges and an extra-roomy bag are a New York City girl’s best friends.

There’s no doubt that New York City girls have a certain edge to their style. It’s all about basics with unexpected details – and yes, black. Heels are a must and wedges keep things comfortable. And always carry a big, stylish bag – because who has time to go home before the night begins?

Alkemie Ruler Bangle
Although it’s handmade in Los Angeles, this bangle is cast from a vintage NYC-approved ruler (possibly made in Buffalo, NY). It’s made from 100% reclaimed metal and adds just the right amount of unexpected quirk to an outfit.
$154, Alkemie 

Alpaca Slouch Hat by Mayu
A hat is a must for New Yorkers in the winter — to protect ears from sub-zero chills. This slouchy hat is hand-knit with 100% Peruvian Alpaca fiber and made according to fair trade principles.
On sale for $50, Mayu

NYC Necklace
You know you’re proud to be a New Yorker. Show your love for the Big Apple by wearing this necklace, made in Brooklyn from old, recycled records.
$38, Teich 

Thieves Armour Skirt
This high-waist fitted skirt is made from hemp wool suiting (45% hemp, 40% wool & 15% tencel) and covered with beeswaxed organic cotton, which gives it a great “aged leather” look. Definitely not your average pencil skirt, this one brings a fresh supply of attitude.
On sale for $173.25, Thieves

Crewneck Sweater by Edun
This sweater by Ali Hewson’s Edun is a sexy, edgy alternative to the ol’ cashmere basic. The strategic pattern of the knits keep it from becoming too revealing. We all know we need to leave a little for the imagination, right? Wear it to work underneath a blazer and on it’s own for a night on the town.
$312, Juno & Jove 

Sabine Triangle Bag by The Sway
Every girl in NYC needs a big bag that can easily go from day to night and will hold anything from heels and workout clothes to lunch boxes and reading material for the subway. This bucket-style messenger bag is extra-roomy and has both double shoulder straps and a removable cross-body strap. It’s made from soft upcycled patchwork leather and lined with The Sway‘s signature Aboriginal-inspired organic fabric.
$490, The Sway 

Millenium Black Wedges by OlsenHaus
These 100% vegan wedges by OlsenHaus are made from ultra suede and faux leather and feature a blonde pine wooden wedge heel. The mix of materials keep things interesting and the wedge heels ensure that you can walk the entire length of Manhattan if need be.
$300, OlsenHaus 

ColumnIs fast fashion giant H&M really making moves to become more sustainable, or is it all just greenwashing?

Editor’s Note: This is Jessica Marati’s first column for Behind The Label, which will explore whether brands claiming sustainable initiatives are going green – or just plain greenwashing.

It’s so easy to love and hate H&M. On the one hand, the Swedish fashion chain has played a significant role in democratizing fashion and bringing trends once reserved for the upper classes to the masses. On the other, H&M’s fast fashion model has accelerated the fashion cycle to its current frenetic pace, driving down prices and increasing pressure within the industry to produce more, quicker, with little regard to the people and environments involved.

In recent years, H&M has made efforts to be more transparent with its social responsibility efforts, releasing a hefty Conscious Actions Sustainability Report in 2010 that outlined its sustainability goals and action roadmap. The company also dabbled in small scale sustainable fashion campaigns like a capsule organic cotton line in 2007, a recycled fabric commitment in 2009, and an eco-fiber Garden Collection in 2010, none of which gained much notice.

In 2011, however, H&M stepped up its efforts with the release of a much-anticipated Conscious Collection, a white-hued line of separates made from organic cotton, Tencel®, and recycled polyester. In the fall, they followed up with a romantic floral line inspired by Swedish folklore as well as a holiday party collection. New lines for 2012 haven’t yet been announced, but it appears that H&M is folding its sustainability efforts into more of its products across the board.

But how much of this progress is part of an honest, dedicated commitment to doing good, and how much is just great greenwashing? Let’s have a look at some of the facts behind the marketing.

THE GOOD: In September, H&M surpassed Walmart as the world’s largest buyer of organic cotton, consuming more than 15,000 tonnes in 2010, an increase of 77 percent from the previous year. The milestone is linked to H&M’s aim to source all of its cotton from more sustainable sources by 2020. H&M is also a founding member of the Better Cotton Initiative, which introduces more sustainable practices at every step of the cotton production supply chain. In addition to organic cotton, H&M has also experimented with other eco-fibers, including recycled polyester, recycled polyamide, recycled plastic, organic linen, recycled cotton, recycled wool, Tencel®, and organic hemp.

THE BAD: Although H&M is a member of the Fair Labor Association, which aims to improve working conditions in factories, the company was recently hit with a slew of bad press after a series of mass fainting incidents at partner factories in Cambodia. An investigation from VICE TV explored the impoverished conditions under which many of the young female workers live. And that’s just one of many scandals: a Greenpeace report recently alleged that H&M-affiliated factories are discharging hazardous chemicals into rivers in China. In 2010, the German edition of the Financial Times reported that H&M was knowingly passing off genetically modified cotton as organic. That same year, it was discovered that an H&M store in Manhattan was destroying and discarding bags of excess merchandise. H&M representatives insisted that the incident was isolated, and that company policy is to donate unworn clothing to charity.

THE QUESTIONABLE: H&M’s corporate transparency about its steps toward sustainability are certainly laudable. However, it’s undeniable that H&M’s fast fashion model is in itself wildly unsustainable, with its focus on producing cheap disposable clothing for a world where tastes seem to change by the minute. As a pioneer of this business model, H&M is fast forwarding fashion trends, as well as driving down the costs of clothing to the delight of consumers but the detriment of competitors, including ones that operate more sustainably. One commitment the fast fashion giant might add to its action plan list is reversing that trend.

Images: H&M.

ColumnThe Awamaki Lab returns with a Season 2 collection featured at the Textile Arts Center in Manhattan.

Fashion designers Andria Crescioni and Courtney Cedarholm both knew from a young age that designing was integral to their composition. Each grew up with an individual attraction to the tactile and hands-on approach to creative expression. Cedarholm was always especially drawn to fabrics and yarn, and by third grade, had already proclaimed her desire to be a fashion designer.

Crescioni, on the other hand, lived out her early days in the suburbs of Southern California, spending her weekends reconstructing vintage finds from thrift stores and flea markets.

“The process of seeing something go from a vague idea in my head to a tangible piece drives me to continue creating things and exploring new ways of doing so,” says Crescioni.

With the collaborative effort of Awamaki, a non-profit weaving project that works for sustainable community development in Ollantaytambo, Cusco, Peru (and empowers young indigenous women), these two fashion students from Parsons were given an opportune design residency to explore their own garment genesis amidst the Sacred Valley of Peru.

Cedarholm and Crescioni were off on a journey into unfamiliar lands and unknown textile territory. That adventurous spirit subsequently permeated into the depths of their design inspiration.

“The clothing was inspired by the idea of a vintage explorer, especially Hiram Bingham,” says Cedarholm. When reviewing pictures of Hiram Bingham exploring in the 1900s, Crescioni was instantly taken by the garments featured. “I decided to juxtapose the Andean textiles with more casual and tailored sportswear, inspired by vintage explorers, to make them feel more unexpected and modern.” adds Crescioni.

In their own collaborative format, the designers decided to each embrace a particular angle for the collection; Crescioni developed the woven pieces, while Cedarholm concentrated on the knitwear.

“One of the main focuses of the collection is to showcase the traditional hand-woven textiles from the Patacancha Valley,” Crescioni explains. She was also intent on incorporating an element of hand-woven textile into every design, whether it be the entire pattern or an adorning trim.

For Cedarholm, her knitting became an extension of her everyday existence.

“I was quite a fan of carting my knitting everywhere, walking and knitting is my new favorite skill.” As Cedarholm explains it, creating the garment sample was necessary before any of the next steps in production could be tackled. So, for both designers, developing their patterns was key to moving forward in relaying their design framework to the Quechua women weavers for production.

Rooted intentions of showcasing the authentic artisanship of the weavers vibrates throughout Cedarholm and Crescioni’s garments. Cedarholm says: “We did not dictate designs to them [the women weavers] but instead observed them weaving and began to learn it to really understand how much goes into one textile and that turns into a great respect for the material and a true questioning of design to make sure the textile is showcased in its best form.”

The collection’s evolution unfolded atop a table of collaboration in genius and resourcefulness – designers and artisans learning and sharing with each other along the way. As Crescioni says, “This hands-on experience really gave us the opportunity to design pieces that compliment the way they [Quechua women weavers] work, rather than hinder it.”

The cultural exchange of working with the women weavers of Awamaki undeniably affected Crescioni and Cedarholm’s design process. “I think the limitation on materials in terms of diversity was the biggest challenge, yet at the same time helped narrow things down,” Cedarholm says.

As the saying goes, less is more sometimes. For Crescioni, this idea of reducing the options almost calmed her creative process. “When you are working in a city like New York, there are no limits, which can sometimes be overwhelming for me. In Peru, you are forced to simplify, to be creative with less, not only when it comes to making clothing but in day to day life.”

Crescioni’s own reaction to the differing lifestyles of these locations inadvertently comments on the consumptive culture of the U.S. Through the art of the Sacred Valley of Peru’s local culture, themes of simplicity and necessity simply surface. Design in this context could potentially symbolize larger lessons and reflections of the societies in which they are harbored.

Experiences from the Awamaki Lab relationship fosters rewards that extend far beyond an exchange of creative innovations. For Crescioni, one of the most rewarding parts of the project is the direct relationship that one gets to have with the weavers at Patacancha.

Cedarholm reflects on her time spent working closely with the women.

“Beginning to know them more has given me such a curiosity and respect for those who are behind the actual making of a garment. And in thinking about who made a garment you also think of who designed it. They are usually on the higher end of the food chain, but this collection attempts to disregard any mention of food chain.”

For her, the intention of the Awamaki Lab Season 2 collection was to just work together to create something fresh and new.

Due to the way Crescioni and Cedarholm approached their adventure abroad, they were able to absorb authentic and intimate connections. Their openness allowed for true dialogue outside of the daily design activities, such as time spent in the homes of the Quechua families, learning their crafts and sharing meals with them. Crescioni reminisces about one weekend in November when a weaver in Patacancha taught them her age-old methods. “It was an intimate experience, walking through the surrounding hillside with her and her children while their sheep grazed. As we walked, we would take a seat, set up our back-strap looms and weave, enjoy the view, and chat. It was an incredible example of life and craft coinciding together.”

For Cedarholm, the garments largely represent that comfortable, content, and serene atmosphere. “We want the clothing to feel like home, you can just climb into them and live.”

Meditating on the process, Crescioni says, “I have a deep respect for the artisans that create the textiles and I hope the garments we’ve created allow the weavers’ unique vision of life to be appreciated in a new context.”

The Awamaki Lab Season 2 Collection will be unveiled in its entirety on Friday, January 27th at the Textile Art Center‘s Manhattan location. Featured alongside the garments will be a backpack collection; Brooklyn-based pattern maker Hannah Flor volunteered with the Awamaki Lab this season, developing a project with the sewing co-op in which each weaver designed their own backpack.

Let your inner green girl shine through in delicious shades of olive.

Green is gorgeous, I think we all agree on that. For a shade that will look great on anyone and go with anything, try donning delicious hues of olive. Pair with other jewel-tones for a personal take on the color-blocking trend or with blacks, grays and browns for a more subtle look.

H Fredriksson Dolman Cardigan
This 100% Alpaca Hand knit Dolman Cardigan is Fairtrade and organic, made in Bolivia in a small mountain village women’s collective. It’s the warmest softest fiber around, and you can wash it in the machine.
$396, H Fredriksson 

Hearts of Darkness Possess Slit-back Bootie
The tonal mix of faux leather and suede bring distinction to these vegan booties. A slit detail in the back brings some added flair. Also available in black, gray and chocolate. Made in an ethical, sweat-shop free factory in China.
$130, Cri De Coeur 

San Isabel Necklace by Green Diva
This sweet little necklace is made with Fair Trade recycled glass, Fair Trade Tagua nut and 100% recycled sterling and fine silver chain and findings. Green Diva Jewelry is a member of 1% For The Planet, which means they donate 1% of their profit to environmental causes.
$95, Green With Glamour 

Begonia Clay Organic Cotton Tank Top by IDEO
This tank top is a great a wardrobe basic, but pretty subtle tone on tone sparkle details on shoulders make it a little more fun. Ethically made in India under fair labor standards using SKAL certified production processes using ECOCERT label Organic cotton and water-based, PVC-free dyes.
$23, Fairtribe

Mujus Piel Ring
This ring by Brooklyn and Lima – a Peru based earth-friendly company – uses the intricate patterns of the bark from the Tagua seed as a design element. Each ring has a unique shape making each of them one of a kind.
$25, Mujus 

Pendleton Portland Collection Shorts
These hot, little shorts from Pendleton’s Portland Collection will look great now with tights and by themselves as the weather gets warmer. Details like slanted pockets at the sides, zipper and button closure and belt loops make them even more gorgeous. Made in the USA from 100% virgin wool.
On sale for $89.60, Kaight 

ColumnThe connection between the clothes we buy and the clothes we are already wearing.

Julia Ramsey is intent on sharing an awareness about textiles with others. “I think it’s important to know the connection between the materials and the end product and the human and how it all comes together; a lot of times, I think it’s taken for granted.”

In a recent event at The Textile Arts Center in Brooklyn, NY, Ramsey unveiled her freshest fashion endeavor: Pelt. Textiles and their individual stories are integral to the inspiration and creation process for Ramsey. Pelt reveals an experience that weaves together raw materials, innovative construction, and an intimate relationship with your clothing and shelter.

Grounded in ideas of estrangement, Pelt sought to deconstruct society’s tendency to disconnect from the clothing on your back. “Normally, when you’re wearing a sweater, it’s completely devoid of an origin; since I’m inspired by materials that I work with, I think it’s really interesting to make the materials the center of attention.” Each piece of the creamy, cloudy, milky, and comfort-driven collection harbors the potential to perform as a second skin. “They kind of take on a life of their own, and when you’re wearing them, you feel like you have this second skin; it makes you take on another persona and they almost speak for themselves.” For Ramsey, your “pelt” can serve to shelter you or to give you additional strength. Evolved from observations of animal skins, animal hides, and furs, the cozy pieces make you want to curl up in them and hibernate for a long winter ahead.

While Ramsey seems clearly comfortable in her own skin, being a “fashion designer” wasn’t something she could always easily identify with. Growing up, she loved to sew and make dresses, but fashion wasn’t really part of her life. “When I went to school, I couldn’t look anyone in the face and say ‘I’m going to be a fashion designer’.” In turn, early in her journey as a designer, she contemplated and analyzed the question of what truly makes a garment special. For her, the fabric is key; even if the design is simply cut, an amazing fabric can elevate a piece to another level. Through studying textile design with a specialization in knitting, Ramsey’s curiosity in the fabric behind her fashion has taken her even deeper into an investigation of the naked elements beneath: the raw material.

Pelt was constructed from a collection of unprocessed sheep’s fleece from around the globe. Ramsey’s design exploration led her to discover wool sourced from a little girl who raises sheep on her parents’ organic farm in Connecticut as well as an organic line of super fine merino wool imported from South America by a U.S. trader company. Wherever the sheep were raised, Ramsey’s wool comes practically direct from the animal’s back to yours. The wool is carded and the fibers aligned, but it’s raw and in a sense, that still maintains its connection to the animal. “It’s animalistic, and wild in a way, because it is so close to the sheep.”

By feeling and touching each pelt, it’s possible to realize that it came from a sheep. “You don’t think about that all the time and I think it’s important to be conscious of it.”

Organics go far beyond the materials for Ramsey. Designing is an evolution that unfolds before her in a very free-flowing and intuitive way. “I like to keep it really hands-on and I like to be making with my hands. I think that’s important: to be close to it.” In Pelt, she began working with a Barbara Walker knitting swatch book and let the shapes develop naturally. “Just putting rectangles [of the knitting patterns] onto the form, they kind of take on a life of their own and I can visualize how to build them out.” Guided by the body and a mixture of the material and the body, Ramsey’s work pairs an interesting balance between emotions of strength and femininity.

Drawing upon the embedded concept of skins, animal hides, and fur, Ramsey’s romanticized photo shoot for the collection took an even further look at the significance of coverings and the meanings behind their expressions. The true model in the images exists behind a styled facade, as in reality, she has long red hair. In addition, her freckling from head -to-toe covers her skin and creates a pattern upon her own body. Layers of coverings – animal and human – overlap and almost become entangled in a merging of raw and wild, comfort and spectacle.

Ramsey’s Pelt undoubtedly connects human with animal; the shearing from a sheep’s coat is woven into a covering to shield a human from the cold. We may not generally think so directly about the origins of the fabrics draped upon our shoulders, but Ramsey’s exploration reminds us that our garments contain stories that have already been written before they reach us. Questioning those stories and pondering their intricacies could aid in reestablishing true and authentic connections with our body coverings.

“I think it’s important to have things that people would love to wear, and are actually wearable, even though they stand out and make an impact.” Ramsey says this collection was potentially her Fall 2012 preview. We hope to soon see her creations available at a nearby boutique; whether it be to shield, shelter, or take on a distinct persona, these coverings are utterly covetable.

Is it just us, or does that red carpet look a little greener?

Tonight, while most people will tune into the 69th Golden Globes to see if The Help will beat out Moneyball for Best Picture, our eyes will be trained on the red carpet pre-show coverage to see Livia Firth kick off her annual Green Carpet Challenge. What can we say? She has us hooked.

Firth, who runs Eco-Age and is married to actor Colin Firth, started the Green Carpet Challenge in 2009 to bring attention to her work in ethical and sustainable fashion. That year, she pledged to only wear upcycled, vintage, and eco-friendly outfits while accompanying her husband on the red carpet during awards season. The following year, the challenge picked up speed when Colin was the Best Actor pick across awards shows for his performance in The King’s Speech. Livia was by his side the whole way through, notably in a gorgeous upcycled Gary Harvey dress at the Oscars.

This year, Firth has recruited an impressive roster of designers who will dress her for awards season in accordance with GCC’s strict ethical and sustainable standards. The list includes Tom Ford, Chanel, Giorgio Armani, Gucci, Yves Saint Laurent, and Stella McCartney.

Tonight’s gown was designed by Giorgio Armani with eco-friendly materials, and Firth has been involved in its creation from day one. Firth described the process as “unreal” and writes on her blog:

To work with Armani was a real lesson in the design process. Everything begins with the material. Fortunately, Giorgio loved the eco material and knew he could work with it. The passion and efficiency of Giorgio’s team has been infectious.

Just before the show kicks off, Livia will release photos of and details about her dress on her Green Carpet Challenge blog at VOGUE UK. We’ll be there too.

Images: VOGUE UK.

Liven up your monochromatic winter wardrobe with pops of mustard yellow.

Even though bright yellow seems to work best in summer, you can still sport some sunny color right now, if you just tone down the saturation a bit. Mustard-yellow hues happen to work very well with grays and blacks, which is good news for those of us who tend to buy our winter staples in dark monochromatic colors.

Stewart + Brown Knit Panel Zip Pant
These edgy pants are a take on the classic moto riding pant, but with Stewart+Brown’s signature feminine touch. They’ll become a wardrobe staple because they will go so well with all those neutrals you already have. I love the silver hardware and french terry-detail on the inside pant legs. Made in the USA from 100% organic cotton polished twill.
On sale for $122, Stewart + Brown

Envelope Cosmetic Bag by Apple & Bee
This charming envelope make-up bag by Australian company Apple & Bee is designed to fit in all your essentials and can also double as a cute mini-clutch. The outside is made from organic cotton and the inside is lined with hemp. Available in two additional patterns.
$28, Olivine

Amber Recycled Glass Earrings
These earrings are made from recycled glass bottles, individually selected and hand-cut into this circular design. Designed by Kathleen Plate from Atlanta, Georgiia, each one is hand-crafted and one-of-a-kind, which means they will vary slightly in size and shape.
$42, Jute & Jackfruit

Mischa Lampert Nolita Wool Hat
A great hat can work wonders for any outfit. Mischa Lampert‘s hand-knit wool hats are unique, stunning and warm. They’re made from organic merino wool that is naturally dyed and spun by hand in Lambert’s NYC studio (meaning she doesn’t use any electricity). Availability of styles vary.
$93.73 – $131.50, Kaight

Rickshaw Musette Bag
This medium-sized tote bag is made to fit your most important items, like a note book, newspaper, magazine and iPad. It is printed, cut and sewn in San Francisco, featuring made-in-USA fabric — Rickshaw’s signature Performance Tweed fabric made from recycled PET (plastic bottles).
$15, Rickshaw Bagworks

Julie Park Dolman T Dress & Yesstadt Millinery Hat
This comfy, casual dress by Julie Park is made from tissue-weight Organic cotton grown in Australia. The diagonal seam along the front and the somewhat shorter back give a great textured, layered effect. It’s the perfect complement to this lemon-colored hat, handmade in NYC by Yesstadt Millinery, using traditional, old-world millinery techniques. A high-quality hat like this is sure to last a lifetime.
Dress, on sale for $80 & hat, on sale for $190, both from Beklina.

El Naturalista Taiga Boot
These boots from Spanish shoe label El Naturalista are a freakish hybrid of styles that somehow just works. The lace-up detail on the bottom adds interest and ensures that they work with any kind of pants or skirts. The delicious mustardy hue is called “Leaves Mostaza,” which only makes me want them more.
On sale for approx. $238, El Naturalista