One half of the dynamic ethical fashion label, Feral Childe’s Alice Wu, chats with EcoSalon for an inside discussion on their work as made in New York City designers.

Designing all their prints by hand, the bi-coastal team, Moriah Carlson, in Brooklyn, and Alice Wu, in Oakland, are never short of eye-catching designs, easy feminine silhouettes and intelligent ethical values. We sat down with Alice Wu of Feral Childe to talk about their carefully sourced fabrics, ethical production and why having a keen eye for practicality matters for sustainability.

Juliette Donatelli: Feral Childe is best known for its prints and fabrics. Where are the prints made and is there a story behind them?

Alice Wu: Some of the prints are done right in Los Angeles. We use a sample dye house in Marin so we work with our dye guy to create the sample palette for the season. We have our printer print one color and do different dye lots. The same fabric comes out different ways so you get a nice tonal range.

This one is actually printed in Korea. So our silks come from either Korea or India. It depends on what fabric our suppliers have on offer. Everyone has different specialties and fiber qualities. We used a silk linen which was really nice. And for a really vibrant silk, this is digitally printed on a silk cotton.

So we make the image and then we try to find the right fabric partner to do it. Then you have to wrestle with the fabric to make it into the garment. But we try to make it fun altogether.

JD: And all the clothes are made in NYC?

AW: Yes, all the clothes are made either in midtown sewing facilities or we also have started working work sewing contractors in Sunset Park.

JD: When you have a buyer, or the general public come in and see the collection or see the clothing in a store, and then find out they are made in NYC, is that a selling point?

AW: It is. I think people like it. I think it is really wonderful to know the person who made your clothes, to say hello, and thank you for cutting my fabric and putting it together. It adds a very personal touch to something you are going to be wearing for a long time. That is something that is very important to Moriah and me–to try to work with people we can interface with. Even my fabric supplier from India I have met. The first time we worked together was over email, but about a year later he came to New York on business and we met up. It was really wonderful to put a face to all the email correspondences.

JD: How important is it to you to think about where and what fabrics you are using?

AW: For us it is very important to consider materials and where they come from at all steps of the design process. It is choosing materials that have meaning.

In the beginning, whether that meant discovering Garment District castoffs or remnant fabrics, we like to have a story to go along with the fabrics we find. Even though we aren’t necessarily working with remnant fabrics right now–we are creating our own–it is still important for us to have personal connections with the fabric suppliers that we are in contact with each season and to know as much as we can about where the fabrics are coming from, whether they are durable, and are they easy to care for.

It is less important that it is specifically organic — but we try to use organic whenever possible just because it is better for everybody. But for example, even though this is not organic cotton, [this fabric] is woven in Japan working with a small mill that has restored all this vintage production equipment. So you could say it is more of an artisan fabric or made by people who really care.

For instance, take [a product] blend of modal, cotton and polyester. There was a time where I thought, ‘I am never going to make anything with polyester again, I am only going to use natural fibers.’ But if there is a little bit of poly blended with natural fibers it sometimes helps to make the garment withstand more wear and tear. You can throw it in the washing machine, or we have customers that are vegan but want to look nice. So there are lots of things to consider.  But we certainly want to make things to treasure.

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images: photographed by Jonathan Hökklo for the brand

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Designers offer insights on why some styles sell more than others.

Designers will be the first to admit that when it comes to their collections they have their favorites. But does their cloth-crush sometimes outshine the actual needs of the buyer?

A boutique owner has to be part fortune teller, part knowledgeable curator. A smart buyer realizes that above all, they need to be prudent. Getting caught up in the hype of Market Week with a designer telling them something is “Amazing!” and “Will sell through,” can translate to merchandise that doesn’t move.

What this means for you is an uninteresting store selection and a buyer whose investment isn’t going to give much return.

I caught up with a handful of sustainable designers at Market in New York this past week and had them show me a piece they loved, but was it what the buyers were choosing for their Fall 2011 assortments? Not necessarily.

Alice Wu, founder and designer of Feral Childe (above), says the Paganini Practice Shift was her favorite but the more colorful signature prints of her line were buyers’ favorites.

Lara Miller, founder and designer of Lara Miller: “The Callie Flip Cardigan was one of my best sellers and is also one of my favorites. Buyers like that they can wear it more than four different ways and get so much from one piece.”

Tracey Forrest, Owner of True Collaborative Showroom, representing Pendleton’s Portland Collection: “The Cape was placed by every buyer but the men’s pants were sometimes overlooked which typically happens in bottoms that are not denim or khakis-This is often a missed category for men’s clothing.”

Raina Blyer, designer and founder of Creem: “These two were my favorites and the buyers’ because they’re different, but not so different to alienate any type of customer.”

Moriah Carlson, co-designer and founder of Feral Childe, said her Rabbit Bump Dress was a bright spot for buyer’s ordering because she loves it and thankfully, so did they.

Lizz Wasserman, founder and designer behind the line Popomomo, says her A/W ’11 Ferus Shirt is a favorite of hers as well as the buyers: “It’s a shift in silhouette for the buyers but they’re able to see the piece has cross-appeal and accommodates lots of body types.”

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Feral Childe, a bi-coastal collaboration of Oakland, CA, based designer Alice Wu and Brooklynite Moriah Carlson, has sped to the forefront of sustainable design labels, most notably for their refreshing prints and inventive styling details. The brand’s following is comprised of all ages of women who want something unique for their closet and know these two designers will never let them down.

The duo is fortunate enough to be able to manufacture in New York City where Carlson is based – so why would they ever want to produce their line in China? Is the backlash so bad against the entire country that now it’s all Chinese we sneer at? Wu, of Chinese descent, and I recently had a conversation about whether it was insulting, all the negative connotations from the entire sustainable community regarding China.

Offshore manufacturing? That’s just something designers have to do. Many are doing it in China. The best way to look at all this and your feelings on China is to support the handful of designers who are manufacturing from China, the right way.

Alice Wu and Moriah Carlson, designers of Feral Childe

Here’s what Alice Wu had to say about it:

“Our company, Feral Childe, is proud to be able to manufacture our garments in New York City, and hope to do so for as long as we can. I prefer to manufacture in the US but am frequently dismayed that ‘Made in China’ has such negative connotations, especially within the green community. I think that before you dismiss manufacturing in China as completely unethical, you have to look at what ‘Made in China’ really means.

We have all read about worker abuse and fraudulent manufacturing practices, horrific pollution and so on. But these days, it’s almost impossible to have an apparel business without China being involved in some way, simply because we don’t have all of these options domestically. These overseas options can still be eco: many organic and sustainable fabrics are sourced from China, whether from the raw materials or to the milling of the fabric.

Hang tags and labels are often outsourced to China even if you order them from a US-based company. But those can be green too: at least one Chinese company uses non-toxic inks to print hang tags on recycled paper and garment labels made from recycled polyester. I know American eco-designers who have made the choice to produce in China. And they are in China up to six months out of the year, overseeing their production. They tell me that the working conditions are fair and that the sewing is quality top-notch.

Obviously, there are reputable suppliers and manufacturers in China – if we want to do business with China, we are the ones who have to do our homework and steer clear of the bad apples (and there are no doubt a bunch of them) and push China for greener business practices. China is fast and smart and it is in their best interest to clean up their negative image, and they are already working on it. I think we’ll start hearing an explosion of green innovations in China within the next few years. They know the world is watching. It’s going to take awhile for the negative image to go away, but there are a growing number of young Chinese entrepreneurs in various business sectors who care about green, and collectively they can make a difference at home and abroad.”

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I work with many sustainable designers and one of the more common questions I’m asked is usually about who another designer uses for manufacturing or dyeing. I will never forget the loss of a U.S based non-toxic dyeing facility that one of the designers below regularly used – and eventually had to close its doors.

Another designer had asked me to ask her (as if we were in high school) where she did her dyeing and I suggested, “She’s really nice and will tell you. Just ask her.”

That designer never did and so the business went under.

I wonder how many more stories are out there where designers were too nervous to ask about production and so stayed mum.

Mom always told me, the dumbest question was the one that never got asked.

I caught up with six top sustainable designers to ask them a simple question: Do you think the more sustainable designers share their sources, the stronger their field will become?

Here’s what they had to say.

Nicole Bridger, I think it’s great for us eco designers to work together and help each other out. We are stronger as a collective for sure. The only thing to be careful of is that we don’t all end up using the same fabrics and colors, the different lines can end up looking the same. So for that reason it is important to keep your individual aesthetic. But I think its possible for us to work together and be mindful not to have the same fabrics.

Celeste Lilore, RESTORE Barriers for entry become points of “cooperation” when sourcing is shared. It takes a village and building community will help move sustainable fashion to mainstream.

Davora Lindner, Prairie Underground Most designers in this category share a short list of resources. Sourcing unique sustainable textiles is more about buying power than availability. Purchasing greater quantities increases your options and makes the price per yard less expensive. The ability to source overseas expands your options a good deal, but again these are custom production orders with high minimum yardage.  We focus on textile categories in our small collection to ensure that we can move forward with new fabrications in a manner that is realistic for production.

Alice Wu, Feral Childe Yes, if designers collaborate on sustainable sourcing, the field will be stronger. Currently the variety of sustainable fabrics available to independent and emerging designers is fairly limited since not only is there not that much variety in color and fabrication, it can be difficult to meet a 1,000 yard opening order minimum that some suppliers demand. If suppliers see that sustainable designers have staying power in the marketplace it may encourage them to lower their minimums and offer greater product variety. There is a golden opportunity out there for a U.S-based independent sustainable fabric sales rep to connect the dots – someone who’s got the relationships both with designers and suppliers who can help us pool together our needs for new fabric production orders as well as find takers for production overrun fabric.

Tara St. James, Study NY My short answer is yes. Absolutely. To elaborate, I am a huge proponent of open source material and transparency in manufacturing. Luckily most sustainable designers seem to agree with me and are very forthcoming with their resources and ready to share their contacts. It allows independent designers to share resources without the burden of production minimums, while affording them lower costs and share shipping. If only the rest of the fashion industry were to adopt the same philosophy, it would allow for not only larger exposure for sustainable textile vendors, but more demand on traditional manufacturers to implement sustainable practices.

Gretchen Jones Yes and No. Collaborations are all about the partners. Is each artist bringing to the table some new perspective and referential material?  Can the collaboration maintain each others individual voices, while supporting the complimentary elements?

To me, as a designer whom struggles with the connection to sustainability and ethical business practices vs. my high fashion, yet independent aesthetics. I believe the success of a collaboration would and will only be successful [and heighten the eco movement] by walking the tight rope between style and morals. I want to diversify, I want to diffuse. I know my strengths, and am very aware of my weaknesses. Collaborations are about building each other up. I think, when done thoughtfully and with intention to elevate, collaborations can certainly lead to progression for sustainability.

I personally believe the only way we will make a change, is to create and manufacturer competitive, forward and quality goods.  The sustainable design community must produce with the focus on ‘fashion first,’ after all, we are a part of the fashion industry, we will always be able to do so ethically, the challenge is in creating at the high caliber design of those competing with out their environmental in mind. We change minds through changing perspectives. Collaborations could and will, create opportunity to express with support, deliver with quality and produce competitively. In turn – we change minds and grow our community through shared experience and story – not just a dress.

Image by Pheezy

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You know warm days are truly coming to an end when fashion packs are racing around New York City’s famed fashion week dressed in fall looks determining what we’ll be wearing the following spring. Next week, sustainable style gets its day in the sun when the Now spring ’11 showcase goes on display. Showing menswear, womenswear and accessories from a strong bunch of independent, consciously-minded labels, the NOW Showcase has grown substantially since they launched – going from nine designers to eighteen.

“Since we started two years ago, we have doubled in size. I think our success is due to the honest community we have formed. Many of the designers return each season and really like the atmosphere and vibe of the show. We are non-competitive and all support and help each other out throughout the year. We have a loyal following of buyers as well as designers, its become a place people come to because they know they will see old and new friends,” says Creem designer, Raina Blyer.

Knowing that there’s enough love and goodwill to power most of New York City at NOW, we turn to the designers to ask them one question: “What was your favorite part of designing spring 11?”

Here’s what they had to say.

modaspia

“Sewing the collection up was fun but nothing compared to styling the pieces for the look book. A sexy, ethereal sort of 20’s vibe came through when we shot it. I stayed up the night  before stringing necklaces from African beads that we draped on the model. It was a great look and different from anything we’d done previously.” – Designer Ursula Dean

Kelly Lane

“One of my favorite parts of the design process is the development of a new print for the collection and how the print then influences the creation of new styles, while also breathing new life into past styles.

Each season, the collection, and especially the print, are created with a particular theme in mind. This season we found our inspiration in butterflies and all of their beautiful stages.

Instead of working with literal shapes emerging from the forms, or even the movement of butterflies, we cast the woman as the ultimate polymorphic creature. The print was created to be a second skin, cloaking the wearer in series of hand-drawn circles that reflect the ultimate feminine form and symbol for transformation.” – Designer Kelly Lane

Creem

“This season has been exciting for me because I am working on expanding my Creem collection which is a relatively new project for me. It’s been fun to switch heads and switch customer. The concept of Creem collection is to remain seasonless, so the collections will all blend into each other and pieces will remain relevant. My favorite place on earth is the beach and being near the ocean. My goal as been to bring the wonderful feeling of calm and openness that the ocean gives me into the collection. It has been great fun spending the summer at my studio dreaming of the beach all day.” – Designer Raina Blyer

Feral Childe

“Our favorite part of designing Spring 11 is when we get together at my studio in Oakland to make the drawings and collages that will become the prints. We start each collection this way. Moriah and I live on opposite coasts, so we love the stretch of studio time we get, and the chance to catch up on each others’ lives. It’s like a working retreat. We draw and talk all day, go on hikes, and eat and drink heartily to celebrate each day’s work.

This season we wanted to make a print that would more directly relate to the construction of a garment, rather than another allover print. We knew we loved the imagery from this book TARQUINIA that’s been sitting on our studio shelf for years now. In the book there are photos of ancient tomb paintings and bronzes that we felt would look great as the cutouts you see on the print. We also wanted to create a textile print that wasn’t just another allover image; we wanted to make a print with narrative elements yet change depending on construction of the garment. I also loved making the props for the spring 11 photo shoot. I took elements from our drawings and prints, and turned them into larger-than-life 3D objects. ” – Designers Alice Wu and Moriah Carlson

Turk + Taylor

“The most exciting part of designing for spring is color and fabric. We couldn’t be more thrilled with the outcome. It started out with a thought: “What if we made clothes out of an old hot air balloon?” And that’s what we did. Windbreakers and poncho-y dresses that are uber fun, totally out of the box showstoppers. Seams and color vary with each piece, so all are one-of-a-kind.
In addition to the balloon, we designed an oversized buffalo plaid in a similar color palate – pink, orange, yellow and blue. It’s truly amazing and perfect for a western shirt and cinched caftan tunic. We rounded out the fabrics with another custom-milled boardshort plaid, striped linen and a selection of vintage yardage.” – Designers Mark Lee Morris and Andrew Wayne Soernsen

Rebe

“My favorite part was creating pieces from mill ends that were playful and practical. I was inspired by “dots and dashes” bringing together my past designs with present concepts.” – Designer Debra Weiss

Feisty Elle

“My favorite part of designing spring 11 was challenging myself to design necklaces, something I’d never done before. I sought to use felt and bamboo in unique ways and succeeded in making some really fun, lightweight statement designs.” – Designer Leslie Yang

(Stay tuned for a second post on the NOW Showcase designers this week)

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