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 The Textile Arts Center explores retail.

The Textile Arts Center’s Manhattan Studio and online shop recently underwent a (re)launch. On a continual journey to help preserve textiles and fiber hand-crafts, TAC serves as an exceptional resource for designers, artists, and now, curious shoppers who hope to explore their creative ideas. EcoSalon had the opportunity to chat with General Manager Owyn Ruck and hear about the recent happenings and what the future holds for this New York City gem.

What are the new and exciting things we can expect from the Textile Arts Center?

Retail was always the intention for the Manhattan space, we just took a little while to get there. Staying true to our mission, we wanted to have a space where people could find hard-to-find textile materials and equipment, and hand made goods, but also take workshops. Over the summer we’ll continue to add more items, especially materials and kits. To us it doesn’t feel too different, because it was constantly in the back of our minds, but we’re really excited to be offering class options that are project-based, and to have a clear retail platform that supports designers and makers that we work with.

What types of items will be available in the online shop?

Mostly work from local artists and designers. This was one thing we felt was missing from what we had to offer – we haven’t yet had a way to support designers and artisans who want to sell their goods. There are plenty of places out there (Etsy, Poppytalk) but it’s always nice to do it from your own point of view. For the most part we intend for this to be a way to help that community and create a “collective” feeling, selling work from interns, instructors, students, staff, etc. TAC kits this season include a convertible bike bag, summer quilt, spinning, felting, and solar dyeing. Some of the other materials being sold are handspun yarns, natural dyes, and weaving tools. And thanks to Carmen Artigas we have a lovely collection of vintage books, Vogue magazines, and beautiful fabrics and trims.

What classes are set for the summer? Any new options?

This summer we are starting to focus on the shorter and highly affordable workshops. We’re introducing Friday After Workshops, which are 3 hours every Friday. There will be 5 this summer, each $50, and they’ll focus on a different project – which are all pulled from the book we recently wrote The Textile Artists Studio Handbook (due out in mid-July). Otherwise, we’ll have some weekend intensives and 4-week classes on all the favorites – natural dyeing, leather working, weaving, etc.

What do you feel like this new transition into retail means for the future of the Textile Arts Center?

Oh, we’ll have to see! First, we hope that it sets the Manhattan shop apart from the Brooklyn studio. We want to be a place you know you can go for a very unique gift, to pick up the perfect yarn you needed for a handknit hat, or for a fun event on a Friday evening. While it means a new platform to explore for designers and makers, we also hope it takes our own product down a new path. We hope to continue adding new kits and providing fun, educational ways to explore textiles. We also have some very exciting things in the works around a new custom production facility for weaving, natural dyeing, and other processes. This facility would allow us to continue working with independent designers and design houses, but also develop product and materials under the TAC name. And then, we already have a place to sell it!

To watch for upcoming events and happenings this season at the Textile Arts Center, keep an eye on their Events Page.

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7 successful fashion talents we’ll have our eye on this year.

As the ever-wise Alexander McQueen once said, “It’s a new era in fashion – there are no rules. It’s all about the individual and personal style, wearing high-end, low-end, classic labels, and up-and-coming designers all together.” An innovative program launched by the New York City Economic Development Corporation and the Fashion Institute of Technology seems to be embracing this new era McQueen spoke of.

The executive level program – Design Entrepreneurs NYC – will give participants access to high-level industry execs and provide them with a means to further their skills to run a successful fashion or accessories label. Of 165 applicants, 35 emerging designers were hand-picked to join to the Class of 2012. EcoSalon caught up with 7 of the stellar selected designers to hear what’s getting them excited about being a part of this fashion-forward program.

Tara St. James of STUDY NY

“What I’m looking forward to most in participating in this program is that it will force me to sit down and really focus on and plan the future of my business. That’s a luxury I haven’t had until now. I also think it will be great for networking with peers and potential mentors.”

Nimet Degirmencioglu of SOHAM DAVE
“We are looking forward to meeting all other talented designers and very knowledgable advisors. We are hoping that through the program we would be able to reach the investors and capital to carry our brand to the next level. Our artisans and our supply chain in India is ready to produce for department stores and we would like to grow the business.”

Anne Pachan of CALA OSSIDIANA

“I am really excited to participate in this program and take my business to the next level. Having a company that creates high-fashion swimwear with eco-friendly fabrics – and being able to do all of that within NYC – is what gets me up in the morning. I love the mini-MBA style of the program and how focused it is – with sections on marketing and sales, legal questions for startups, and the financial aspects of running a small business. The other really fantastic part is the group of people participating. I have taken a few business and entrepreneurship courses previously, but never with such a strong group of designers as my peers and classmates – we are all at similar levels, ready to take that next step to success, and will be able to support each other and grow together.”

Sarah Canner of VESPERTINE
“I’m most excited for the opportunity to learn from some of the industry’s top teachers and executives and to be able to directly apply the knowledge and experiences they share into my business plan revision and the day-to-day building of Vespertine.”

Thea Grant of BAZZdeGRANT 
“This program will allow us access to experts and teachers of critical areas of our industry that are often overlooked or forgotten over time by so many talented designers…in so-saying, I am most excited to refocus the passion my partner and I have for our work through the lens of a business professional.”

Graciela Fuentes of TIRANA JEWELRY

“I’m a creative type so my dream was to be a designer, not neccesarily a business owner. Over the years I’ve been honing my design skills, but I’ve come to realize that the key to achieve success is the proper balance between design talent and business acumen. I believe DENYC will provide me with essential skills to further develop my brand so I’m ecstatic to be a part of the 2012 class.”

Anjelika Krishna of A.D.O.
“I truly appreciate the opportunity to participate in the Design Entrepreneurs NYC program, and am most excited to meet the mentors and learn from them on how to successfully grow my sustainable business, A.D.O. I am also excited to meet other entrepreneurs and possibly start some collaborative projects.”

A big congratulations to all selected emerging designers. We’re holding onto our hats in anticipation to see what the future holds for all of them…

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ColumnFor fashion label Mikuti, it’s a family affair.

Bombarded with beautiful beaded bangles, there’s an inexplicable awe that comes through observing the brilliant outcome of a designer’s process. Sifting through images from designer Erika Freud – the creative behind breakout accessory label Mikuti – on her most recent journey in East Africa, was like living inside a rainbow. Sourcing materials and producing Mikuti’s adornments through cooperation with artisans in Tanzania, Kenya, and Uganda, Freud has an eye for the standout colors and designs that make a statement.

Growing up in a family of culinary artists, that also held an interest in designing homes and gardens, Freud has creativity flowing through her veins. After spending 3 months in Tanzania with a small group who were working on some economic development projects, Freud and her team realized there was a way to create a bracelet out of banana bark.

“When I saw there was a potential market for it, as well as an opportunity to create jobs for the individuals I was working with and possibly myself, I ran with the idea of starting a company,” Freud tells EcoSalon.

In a few short years since Freud began her business endeavor, Mikuti has quickly become an attention-grabbing accessory brand for fresh fashion designers. Labels such as Mara Hoffman, AFIA, and ChiChia London, have all embraced Mikuti’s bangles as an enhancement for their recent lookbooks and runway events. What do they all have in common? None of them seem to be the least bit intimidated to throw blasts of color and print into their collections.

When Freud journeys to East Africa from her NYC home, she lives her every moment abroad to the fullest. Working on several collections on the same trip, Freud is developing two small, limited edition summer collections focused on color trends – Neons & Neutrals and For The Love Of Fuchsia. “I love color, especially these. It’s a small, fun collection that I think everyone will really like,” Freud says.

The limited number of summer pieces are being created in Kenya from recycled aluminum and beads. “I’ve worked with both materials before, so since I’m familiar with it, it’s made it easy for me to develop new ideas around it,” Freud says.

Working with talented artisans has influenced the creation process for Mikuti. Freud tells EcoSalon about how her beader is a standout individual. “She’s incredibly skilled and really knows how to execute my ideas. Whether it’s going bead shopping or going over color combinations, I genuinely enjoy her. Plus, she has a lot of good ideas for future possible designs. I think creativity breeds creativity. Once you get going with someone, the ideas just start to flow.”

Freud was definitely fed creativity at home growing up, and that knack for imaginative resourcefulness has only evolved in a collaborative relationship with her father. As Freud does the majority of her framework designing in the U.S., having “samples” to share with the artisans abroad can be key.

“By trade, my dad is a highly skilled builder and designer. The week before my trip, my father and I sat together in the garage many nights, cutting pieces of wood from my drawings for me to use as molds,” she explains.

These wood carvings are an ideal way to relay the design direction and aesthetic to her collaborators abroad. Having now worked in East Africa for about 3 years, Freud is quite methodical on how to communicate her ideas. The process begins with a pattern that she sketches. Then, her father creates a model of her design using thin plywood. Freud explains, “I do this because it helps me see the actual size and feel of something and let’s me imagine it to a point in my mind.”

When she travels to East Africa, she brings all of her plywood pieces and shows them to the artisan she has been working with. “He then creates it with whatever metal I choose and together, we fine-tune it. Sometimes this happens in one try, other times it takes 5 tries. It depends on the complexity of the piece. I really value his opinion and genuinely enjoy the collaborative experience we have,” Freud says.

In addition to the fabulous fuchsia and neon/neutral pieces for summer, Freud is also producing her Fall/Winter collection along this journey in East Africa. Inspired by Native American culture, Freud visited an array of museums and exhibits, while extensively researching traditional Native American dress and adornments over the past months.

“There’s something about old cultures and traditions I’m very drawn to. I like learning about them and then taking things from them to create a piece of jewelry. I recall visiting the Native American Museum in Washington, DC to do some research, where I was in awe of all the different shapes of arrowheads exhibited. I also loved looking at the totem poles and pulling ideas from them,” Freud explains.

Mikuti’s Fall/Winter collection has a material focus of horn and brass, sourced from Kenya and Uganda. Having never worked with either of these materials, Freud has found it exceptionally helpful having worked previously with this artisan in Kenya.

“He’s highly skilled and I enjoy working with him through the product development phase. He excels at taking my drawings and seeing them to fruition,” Freud says.
For the horn pieces, Freud is working with a few different artisans in the Kampala region of Uganda. An agribusiness byproduct, the horn Mikuti features is recycled from local butcheries. For Freud, venturing into Uganda has been a new opportunity to integrate “another sustainable, eco-friendly angle and to work in a new region and support the local artisans.”

Continuously melding innovative angles into her designs, Freud’s creations have depth. She expresses an inspired enjoyment in learning about the spirituality woven into Native American culture.

“Like many old cultures, jewelry played a role in this. So, a lot of my ideas were formed around their spirituality and I tried to bring that to each of my pieces,” she says.
Emotionally, Freud is excited about her upcoming Fall/Winter collection.

“I’ve really stepped out of my comfort zone and feel as though this collection brings everything full circle.”

While many aspects of Freud’s supply chain and design inspirations may have come full circle for her, it seems Mikuti’s distinct presence on the fashion circuit has only just begun.

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ColumnVogue, Clean by Design and the CFDA collaborate to clean up the fashion industry.

In a new initiative, leaders of the mainstream fashion community from the Council of Fashion Designers of America (CFDA) and Vogue have joined forces with the NRDC’s Clean By Design program in an effort to reduce the impact of the textile industry on the globe’s environmental state. With the backing of Vogue’s “Nuclear Wintour” herself and the CFDA’s President Diane von Furstenberg, could Clean By Design now have the potential to push the issue and bump environmental and social issues associated with the textile industry toward the front of prominent designers’ methodologies? The NRDC’s National Media Director Jenny Powers tells EcoSalon that engaging industry opinion leaders gives them a powerful and enhanced edge.

“Clean By Design aims to make the way we produce our clothing more sustainable by cutting water and energy waste and reducing pollution,” Powers tells EcoSalon. With the intention of utilizing the buying power of multinational corporations as a lever to reduce the environmental impact of their suppliers abroad, Clean By Design is stepping up their media presence and future goals with this recent collaboration. As shown by the above diagram, the spectrum of Clean By Design’s approach to bettering the textile industry’s impact starts with the raw materials and goes full circle through to addressing the way consumers are caring for their finished garments.

Spearheading the research abroad, the director of the NRDC’s health and environment program, Linda Greer has traveled to Asia in hopes to better understand the four core impact areas of the supply chain. Through visiting a range of factories that create clothing for major retailers, Greer has been able to secure pilot programs with The Gap, Levis, H&M, Target, and Wal-Mart, who are all now exploring ways to clean up the factories that supply their clothes. As companies that produce massive quantities each season with loyal global customers, the impact these pilot programs could have on the environment is vast.

Waste water from the discharge pipe at the Youngor Textiles Factory

By focusing on China to begin, the possibility to make a big change exists, as many of these factories produce a large percentage of our mass retail clothes.

“Transforming the way the major players do business can have a ripple effect throughout the industry. Fashion leaders can play an important role in this effort by shaping popular attitudes and creating demand for sustainably produced fashion” says Powers.

One massive waste example that was prevalent throughout Greer’s travels in Asia was leaky tubes. Textile pollution is often associated with the chemical emissions from fabric dying or the number of dirty dozen chemicals that are utilized in conventional cotton production. While these are key issues to address in the raw materials and manufacturing sectors, another often forgotten problem involves tubes with leaking steam that can be found everywhere in fabric dying and printing mills. For instance, a hole in a steam pipe only 2 mm in diameter can cause a textile mill to waste energy equal to more than 10 tons of coal a year.

DVF’s Spring 2012 Collection

With higher profile initiatives like Runway To Green in the past, the NRDC has been on a consistent mission to bring these environmental concerns related to the textile industry to the forefront of high end and mainstream fashion houses. While the CFDA/Vogue/Clean By Design initiative is strongly focused on the environmental impacts and the effects of environmental pollution on human health, it doesn’t focus on social or labor issues.  Powers tells EcoSalon, “Dirty water and dirty air affects us all – humans and critters alike. And the reality is that by cutting waste and making factories run more efficiently, these factory owners are actually saving money in the process.”

With the environment as a starting point, the transparency and exposure of these realities could potentially open designers’ eyes to the way people connected to their supply chains are affected as well. By continuing to work with individual designers on ways in which they can apply the Clean by Design principles to their own operations, the future affects of upcoming and established designers on the globe’s flora and fauna is hopeful.

Image: Greenpeace, H&M

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ColumnExploring fair trade firsthand.

Fair trade fashion is fashion with meaning, fashion that was created with respect for people and planet. It undeniably has the “moral and just” ring to it, but what does it actually mean? Being inside this industry – talking the ethical fashion talk – can at times lead to a disconnect from what a fair fashion framework actually translates to in the reality of its production.

When it comes to sourcing fabrics, creating garments, and inserting them into the marketplace as competitive and fashionable commodities, getting in on the sourcing journey is integral to a better understanding of the truths behind this mentality. Based here in Ghana for the month, I’m on an eye-opening adventure with Brooklyn-based fashion label Afia. Along this fabric sourcing and production journey, I’ve shared some of the stories that remind me of why “make fashion fair” is my mantra.

Designs Done Right

The fabrics are where it’s at for designer Meghan Sebold who has always fed her self-proclaimed “utilitarian creativity” by styling and altering clothing. For Sebold, “Fashion as art has a practicality to it because clothing is a basic need (or maybe that’s how I excuse myself from being attached to material things). I can look at a painting hanging on my wall and that’s well and good, but it’s more satisfying to me that I can use this shirt every day as something functional and still have created it in a visually pleasing way.” Her fashion label Afia merges a collection of all of her favorite things: challenging comfort zones and norms, intuitive living, predicting trends, fusing worlds, and making a process personal.

Into The Textiles

Sebold’s sourcing expedition begins in the hot, hectic and cacophonous markets of Accra, Ghana. Maneuvering in and out of tiny shops that contain fabric stacks as high as the ceiling, finding the true Ghanaian-made cotton wax prints is something Sebold explains as not as simple as you would expect. “There are many imitations so we’re well-educated on which brands are authentic. New fabric styles are printed every month and when they’ve sold out in the market you may never see them again – that means every one of our pieces is limited edition and a collector’s item after the season is over.”

A continual cultural experience, Sebold selects design silhouettes that honor the textiles; “the fabric is really the main event, I just enhance it and make it wearable.”

Tailored Humor

Making one-of-a-kind pieces that you can covet, but also feasibly afford is something Sebold feels strongly about. The focus of every Afia collection is, “To make it as accessible as possible. Sustainable fashion shouldn’t be a luxury or a sacrifice of personal style.” And wearing that motto on her sleeve goes hand-in-hand with the recurring feeling she attaches to her collections: a sense of humor.

“Humor is the most essential quality to survival. If I didn’t have a sense of humor, I would be curled up in a fetal position in a stairwell,” says Sebold.

Women to Women

Once Afia’s designs and patterns are agreed upon, the next step is traveling to Kpando, a smaller town where Sebold does a large portion of her production. After a 4-hour ride into the countryside, packed into a tro tro (Ghana’s most typical form of transport, which is basically a mini bus), the Afia team arrives at Dzidefo, a women’s sewing cooperative, that sits atop an orphanage managed by the lovely Mama Esi. Mobbed and overwhelmed by the energy and enthusiasm of the children that live there, moments were quickly made that warmed our hearts and left footprints on our souls.

Hands On

An intimate group of seven local women from the community make up the sewing cooperative. From the early rooster call to the rustle of fabric to a baby’s morning cry, these sounds all set the stage for each day’s first stitch from their vintage Singers. The women, with their babies or little ones, bring a homey, relaxed dynamic to the sunlit work environment.

Collaborative Creations

“Collaboration is what it’s all about – but it also takes a lot of navigating and communication to make it a collaboration where people willingly and generously contribute their talents. The process can be uncomfortable at times, but I think that’s how you know you’re onto something. The mindset must be that the teaching and learning goes both ways.” For Sebold, listening and sharing is the way forward in creating beautiful garments together. Working with the women at Dzidefo is both challenging and fulfilling, but connecting across cultural and language barriers provides motivation for both Sebold and the women sewers to learn more from each other and create more gorgeous garments together.

Fashion For The Future

The constant thread woven throughout all of Afia’s work is to showcase how incredibly interconnected we are to people around the world. Sebold explains, “As it relates to fashion, there’s a huge disconnect between the producer and the consumer, mostly because there’s an ugly story behind the $20 shirt being sold to you. I believe in transparency on all levels, and offer Afia to consumers as a stylish and ethically-made option.”

While Afia is just a needle in the hay stack when it comes to fashion brands today, Sebold and her team are stitching a distinct respect, human dignity, and understanding into the composition of their fabrics. This positive, inspiring energy is contagious; its viral potential will always resurface to the forefront of my mind through traveling and exposure to new faces and places.

The post THREADED: Engaging In Afia’s Ghanaian Sourcing & Production Adventure appeared first on EcoSalon.

ColumnSometimes the best design is in the details.

Constructing a 100 percent sustainable fashion collection may never be possible, but having a team 100 percent committed to designing clothing that women can feel good about wearing is achievable; and fashion designers Daniel Silverstein and Marge Bacon of 100% NY are putting their sewing machines where their mouths are to do just that. Founded in 2011, 100% NY strives to use a selection of organic, recycled, and ethical materials throughout their luxury sportswear collections that they produce entirely in New York.

Designer Daniel Silverstein

Design Destiny

Silverstein tells EcoSalon, “Designing has always been a part of my life. I have been drawing, taping, and sewing since I can remember, and my parents were very supportive in helping me turn my passion for using my hands into a set of marketable skills.” Nurturing his inner calling for the tactile aspects of designing, Silverstein began his first true sewing instructions in a summer program at age 11. By the time he had graduated from his teens, he was attending Saturday Live classes at FIT for high school students. Now, as a graduate of FIT in International Fashion Design with a year abroad studying in Milan, Italy, Silverstein is breaking the mold as to what luxury fashion means in today’s market.

Autumn/Winter 2012

Inspiration

100% NY’s most recent collection for Autumn/Winter 2012  called Aquarius, drew upon renderings rooted in the zodiac sign mixed with images from Greek and Roman mythology. Designers Silverstein and Bacon are both Aquarius, and as time would have it, the collection was born under this astrological association as well. For another layer of musings, Silverstein tells EcoSalon, “We also brought in work by Picasso for linear inspiration as well as images from the Beatnik movement for inspiration for the proportions and silhouettes.”

Spring/Summer 2012

Source to Style

For 100% NY, their sourcing and creation process is based upon a general framework rooted in beginning locally and expanding from that out of the U.S. only if necessary.

“Bacon is the more tactile inclined of the two of us, she uses our mutual approach of starting with what we can find domestically, and then expanding to what we can source from other countries that is organic,” says Silverstein. Overall, 100% NY works diligently to use U.S.-made goods whenever possible to keep production local and CO2 emissions lower.

A glimpse inside 100% NY’s studio

Waste Not, Want Not

Zero-waste design is undoubtedly generating a buzz in the ever-evolving conscious fashion design community. This philosophy is embraced in distinct ways by different brands; for 100% NY, their staple piece is the Spine TM.

“We use all of our extra fabric, which would ordinarily be trimmed off of the pieces, to create a repetitious rectangular applique that resembles the discs of a human spine,” says Silverstein, adding that from that point, every piece is intricately hand turned and stitched in their Brooklyn-based studio to create an effortlessly chic bodycon dress.

Actor Jennifer Hudson rocking the Spine Dress

Edgy Comfort

An “edgy aesthetic” often triggers more sharp, harsh images than soft and ease-infused feelings. But for 100% NY, they have captured a distinct look that fuses true comfort with an edgy sex appeal. Silverstein tells EcoSalon, “We think in New York, you need to be ready for anything at any moment. Even your yoga pants should be cool.”

Designers and friends: Daniel Silverstein & Marge Bacon

Fashion For Your Friends

Looking cool and feeling good about what you’re wearing is a refreshing mantra. Silverstein says he’s inspired by his friends and wants to create clothing that they would want to wear. Silverstein tells EcoSalon that his message via 100% NY is all about, “creating clothing at a contemporary price point that you can look sexy in, feel great in and still maintain your New York City edge while being socially and ecologically responsible.”

Sounds like a win, win in our book.

The post 100% NY Focuses On the Details That Connect Us To Our Clothing appeared first on EcoSalon.

Column10 finalists compete to have their design produced in The IOU Project’s “Made in NYC” Capsule Collection.

The DIY with IOU Sustainable Design Competition recently announced their 10 finalists in the race to have their fashionable creation produced as part of The IOU Project‘s inaugural “Made in NYC” Capsule Collection. Known for their transparent approach about their supply chain, The IOU Project’s products are traceable so purchasers of their fashionable frocks can find out how their garment was produced, where it was made, and who was part of the creation process. Organized in collaboration with Source4Style, the finalists are now in pattern+sample mode, constructing their final entries, which can be either a garment or accessory. For a look at the varying aesthetics these designers harbor, a look from each finalist is showcased below.

Tara St. James

Swati Argade

Lara Miller

Emily Saunders

Minna K

Lisa Linhardt

Francisca Pineda 

Marina Davis

Carrie Parry

Aga Smiechowska

Get Your Madras On

With a variation of The IOU Project‘s statement handwoven madras fabric in hand, each innovative and mindful designer is currently in their zone, on their way to present the final pieces by the end of the month. The fashion designer behind The IOU Project, Kavita Parmar, began the story’s label with handwoven madras fabric from Chennai (which was previously known as Madras). According to Source4Style’s Summer Rayne Oakes, “Kavita met with each and every artisan that The IOU Project currently works with to understand their needs – and to share in the beauty of their craft. The iconic material has such a rich history and an incredibly powerful story; it’s meaningful to share in that with other designers.”

Entrant Jessica Hosoi’s sketches; Oakes tells EcoSalon, “I enjoyed the designers who took the time to submit sketches of products… it showed that they put in thought and effort.”

The IOU Project’s madras will be available on the Source4Style platform after the winner is announced, so any designer will have the option to join in the checked fun. The winning design will be selected on March 29th, and not only will be produced as part of The IOU Project’s “Made in NYC” Capsule Collection, but the standout designer will receive 50% of the profits and have the chance to showcase their piece at a trunk show at ABC Carpet & Home, and sell it on www.TheIOUProject.com and Fab.com.

For Oakes, this competition is all about portraying to the inner and outer sustainable design community that, “there is much joy and reward that comes in valuing the process of making a garment as well as the people along the way.”

The post 10 Finalists Are Off & Designing For The DIY With IOU Competition appeared first on EcoSalon.