Looking for home decorating ideas? You might not think to rummage through the trash. But that’s where Berlin-based WesternTrash finds 100 percent of the materials for designer glassware and light fixtures.

Spring is on the way, and before we know it, summer will be hanging around. If you’re looking for some eco-friendly furnishings to spruce up your kitchen or outdoor entertaining areas, a new start-up out of Berlin, Germany might be worth a peek.

WesternTrash is a designer lighting and glassware company operating under the motto “Something out of nothing.” Although the gorgeous glasses, carafes, vases, and pendant light fixtures they produce rival the wares of any boutique studio, there’s something that makes WesternTrash unique: the raw materials for their products come directly from the streets outside their door.

“Every WesternTrash item is handcrafted with care and precision, explain the designers. “We source recycled bottles from some best Berlin restaurants, carefully selecting our glass by size, color and quality.”

First, the discarded bottles are soaked to remove any labels, then cut to size with a diamond saw. The cut edge is ground until smooth and consistent. Each product is then triple-polished for a brilliant shine, then sandblasted with the company’s logo, the WesternTrash Star (symbolizing a broken window from one of Kreuzberg’s frequent riots). Finally the glass pieces are put through an industrial-grade dishwasher, so they’re ready to face the world–and your kitchen. The finished product is packaged by hand in unbranded, reusable boxes.

“Our handmade glasses pay homage to the defiant spirit of Berlin’s most vibrant district. Think differently and follow your own path – that’s the WesternTrash philosophy,” the designers said.

There’s something especially beguiling about the sleek simplicity of WesternTrash products. They’re unique, yet classic enough to fit in with many different home decorating ideas.

Here are some of our favorites. Use them to inspire your own upcycled home decorating ideas!

The Festi Carafe (pictured with glass) – Easy to hold and easy to pour, this is the ideal jug for casual parties or communal meals on a warm summer day.

Dahme Vase –  With a deep green tint to complement any flower or plant, this vase will impress your guests and add some serious wow-factor to your floral arrangements.

Burgundi Pendant Lamp – Burgundi lives in design studios, coworking offices and the homes of inspired people. Edgy and expressive, it’s the kind of lamp that illuminates creative spaces.

Bordo Pendant Lamp – Bordo’s neutral shape and soft curves will make friends with any interior design. Crafted from a reclaimed bottle, it’s equally at home in a city apartment, bohemian cafe, or rustic old house in the countryside.

Related on Ecosalon

Upcycled Fashion Explores Designer Imagination

Glass Not Dismissed!

Freitag: Creating Sustainable & Upcycled Bags That RIP

Images via WesternTrash

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High-end dining just got a lot higher.

Just when you think going out to eat is losing its magic, these 10 oddly themed restaurants push the envelope and really get you your money’s worth. For some of them, food is secondary to the ambiance, or not even part of the picture. For others, the tastes of the menu items are piqued by the complementary atmosphere. Whatever you’re into – cats, ninjas, or handcuffs – a few of these restaurants are sure to make it to your bucket list.

Yellow Treehouse Café, New Zealand

The Yellow Treehouse offers a unique setting that channels the excitement of your tree-climbing days. Patrons of the restaurant dine in an illuminated pod-shaped structure perched 10-meters high in a Redwood tree. The pod can hold 30 guests at one time. As for the food, it stays grounded – all dishes are fresh, seasonal, and adapt to clients’ needs.

Cabbages & Condoms, Bangkok

As its namesake suggests, the food at Cabbages & Condoms is “guaranteed not to cause pregnancy.” The restaurant was created to support the Population and Community Development Association, an organization that provides sex/AIDS education and awareness. The garden restaurant is an introduction to Thai food – in only the safest way possible – and instead of mint favors on your way out, you’re given a box of condoms.

Calico Cat Café, Tokyo

Imagine going to a café that only serves cat food, but there’s a chance that it’s too crowded to get a seat. The Calico Cat Café in Tokyo is just that popular. The café caters to your love for coddling and feeding cats sans the commitment. Patrons are asked to sanitize their hands and remove their shoes upon entering and to abide by set rules: do not hold or stroke a cat if it resists you, do not wake a napping cat, do not hold cats with scarves around their necks (they are too young), and do not bring cat nip or cat food to the café. For $9 per adorable hour, the café is a bargain. Only, you’ll leave hungry.

Ithaa Undersea Restaurant, Maldives

The magical Ithaa Undersea Restaurant is the first of its kind in the world. The restaurant is located 5 meters (16 feet) under water off the Conrad Maldives Rangali Island and serves contemporary Asian-inspired European cuisine. The restaurant is encased in R-Cast acrylic and can host 14 people at one time, offering a 270° panoramic underwater view.

Unsicht-Bar, Cologne and Berlin

Heighten your other senses by taking away one very important one: sight. The Unsicht-Bar, with locations in Cologne and Berlin in Germany, uses the dark to strip patrons of their vision and take them on a culinary adventure that requires they focus more on taste, temperature, texture and smell. All light is forbidden, including that coming from watches and cellphones. The restaurant’s waiters are also either blind or visually impaired. The food, which is described enigmatically to leave an element of surprise, is served in a context-appropriate manner, avoiding a confusion of flavors or a potential mess. The flavors are simple, but profound in that they are enjoyed in an entirely new way – without visual prejudgment.

Ninja New York, New York City

Japanese cuisine just got more interesting. At Ninja New York, diners are wowed, and often at the edge of their seats, with ninjas jumping around, pop rocks on sushi rolls, smoke machine action, magicians, and an overall festive and upbeat atmosphere. The restaurant’s décor aspires to mimic a ninja village from the feudal days, providing patrons with a sense of what it was like back when.

Chill Out, Dubai

As if Dubai has not enough marvels as is, the city offers a unique way to, well, chill out. Chill Out is an architecturally fascinating refrigerator lounge with special lighting and design works that highlight the innovativeness of the frozen structures. Before entering the bar, Patrons are offered thermal clothing – parka, shoes, and gloves – and are then led to the Eskimo oasis. A complimentary mocktail or hot chocolate welcomes you.

Devil Island Prison Restaurant, China

This restaurant was initially conceptualized to scare people from a life of crime. Upon entering this restaurant, patrons are allocated a number, photographed, fingerprinted, and optionally handcuffed. The interior of the restaurant is designed after a prison, with sliding jail doors, metal floors, and rusty iron bars. Patrons dine in a prison cell and are served by waiters dressed in black-and-white striped inmate uniforms. Food includes fried, coffin-shaped bread.

Dinner In The Sky, Worldwide

Suspended 50-meters high by a crane, diners at Dinner in the Sky can host an event practically anywhere. The table is equipped with 22 seats, one chef, one waiter, and one entertainer. Dinner in the Sky operates in more than 15 countries, including the U.S., Canada, Australia, and South Africa. The event can be hosted for up to 8 hours, with the time fragmented – people can come and go at whatever interval of time. As for a bathroom break, have no fear, the crane will lower for relief without interrupting the experience for more than a few minutes.

Marton Theme Restaurant, Taiwan

Originally serving chocolate ice cream in toilet-shaped containers, Marton Theme Restaurant has certainly gained quite the fanfare over the years. There are now Marton restaurants across Taiwan and the company has recently changed the name of its restaurants to “Modern Toilet Restaurant,” all of which offer a full menu that can be enjoyed whilst sitting atop a toilet.

Images: Jeremiah Ro, Meredith P., Carsten Lorenzten, Karendotcom127, Wonder Bus Tours Dubai, Smart Travelers

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Taking art out of the buildings and onto the streets.

Art can be post-modern, conceptual, classic, abstract, or experiential. It can create a narrative, challenge hegemony, or debunk a stereotype. Indeed, art can do all these things, but if it’s stuck behind the walls of an pricey museum entry fee, it can’t do them for everyone.

That is why we love street art. Simultaneously controversial and accessible, rebellious and democratic, street art greets us when we least expect it. It can evoke proletariat angst, urban renewal, or a wicked sense of humor, all while we wait for the bus or walk to work.

Street art is quickly gaining wider recognition as a legitimate art form, much to the distaste of law enforcement and city officials. The first major exhibition of street art appeared last year at the Los Angeles Museum of Contemporary Art (MOCA), followed by similar shows organized by Australia’s National Gallery, the Tel Aviv Museum of Art, and the UK’s Victoria and Albert Museum.

Marcus White, co-creator of the Brooklyn-based All City Street Art app and website, explains how certain neighborhoods end up becoming hot-beds of graffiti creativity.

“Industrial areas have always been good spots for graffiti as they tend to be rather desolate in the off hours, as there are little to no storefront areas or residential spaces, making them perfect for late night bombing missions,” White told EcoSalon. “[They] become areas for artists to have studios and form communities.”

So, in celebration of all things industrial, street-level and beautiful (if not entirely legal) here’s a list of graffiti and street art hot spots around the world:

Athens: With an youth unemployment rate of more than 50 percent, the young people of Greece have plenty to be aggro about. As austerity measures have become more severe, the street art of Athens has flourished, directly addressing themes of government accountability, greed, and high-level thievery.

Brooklyn: The rich history of New York City’s street art scene is at least partially owed to the subway system, which artists and taggers began using in the 1970s to communicate and spread their work across the city’s five boroughs. However it is in NYC’s most creative borough, Brooklyn, where the modern NYC street art scene is most expressive. Brooklyn’s diverse mix of ethnic backgrounds contributes to this, and the borough’s walls manage to beckon artists from Europe and elsewhere who want to get in on the scene.

London: Thanks to the iconic, elusive, and still anonymous UK artist Banksy, London and street art have become synonymous. There are several neighborhoods to check out, including the Big Smoke’s Brooklyn-equivalent, East London. London is also home to Global Street Art, which is boldly trying to create a “global photographic archive of street art online” and to create more spaces for artists to paint.

Detroit: The newly launched Detroit Beautification Project is using a simple tool to address the chronic problems of what was once America’s most prosperous city: spray paint. In its attempt to revitalize Detroit’s aesthetic through street art, the project has of course gained some critics, but the artists involved insist their intention is simply to create a more beautiful city.

Berlin: Berlin’s street art scene has its roots in the Berlin wall. During its tenure as the dividing line of Europe from 1961 to 1989, the wall’s west side was covered with graffiti conveying messages of politics, revolution, and the state of Germany. When the wall finally came down, Berlin’s street art scene exploded, as artists finally had free reign over an undivided city. Years later, the German city now earned a reputation as “the most bombed city in Europe.”

 

Rio De Janiero: Brazil’s second largest city made the progressive step of legalizing street art in 2009. As the art form has developed there over the last decade, graffiti has become “an agreement between the population and the city,” as one art student put it, and can be spotted throughout the city, from favelas to rich suburbs.

Miami: According to Marcus White of All City Street Art, Miami is home to a fast-emerging and important street art scene. The Wynwood Walls Project, conceived in 2009 by artist Tony Goldman, is an attempt to create a “museum of the streets.” Inviting artists from around the world, Goldman and his co-curators (one of which went on to become the museum director of LA MOCA), see the city’s walls as a giant canvas.

Austin: For a city that’s relatively small, Austin has a particularly vibrant street art scene. Its walls are known to feature the work of famed artist Shephard Fairey (creator of the iconic Obama Hope image and the Obey Giant) from time to time. The city’s Castle Hill neighborhood plays host to both up-and-coming artists and veterans alike.

Images in order: Jaime Rojo via BSA, the euskadi 11, Jaime Rojo via BSA, Global Street Art, Sleazy McCheesy, von_boot, Michelle Young, Wynwood Walls Project, Geoff Hargadon

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ColumnThe capital city’s own mayor puts it best: “Berlin is poor, but sexy.”

In Scott Roxborough’s How Berlin Became the Coolest City on the Planet, he writes that the 3.45 million-person city is everything Germany is not: spontaneous, open, cosmopolitan and exciting. While Roxborough’s summary dismissal of Deutschland might be ungenerous, his synopsis of its capital is unerring. The metropolis defies easy definition – dynamic and polymorphous, Berlin is in perennial state of becoming.

Pop-up restaurants, shops and galleries are the norm; sprawling former warehouses cum all-night dance clubs featuring pulsating electronic beats are open every day of the week; the city streets are a menagerie of graffiti and street art; and internet start-ups are in such abundance that Berlin has been dubbed Europe’s “Silicon Allee.” Young internationals from the creative sector flock here for the cheap rent in the East, allowing them to set-up studios and storefronts at a low cost in a globally-relevant urban center. From an all-vegan supermarket to a remarkable, Finnish-style sauna that literally floats on the Spree Canal bisecting the city, Berlin is a place where radical, even seemingly preposterous ideas have room to germinate, take root and flourish.

Mayor Klaus Wowereit – who, incidentally, happens to be gay, but whose sexual preference is a complete non-issue in this tolerant locale – provided the city with its unofficial motto when he described Berlin as “poor…but sexy.” And it is so. While the country of Germany’s staid, export-driven economy is propping up the euro zone from collapse, Berlin’s unemployment level exceeds 10-percent. It’s not a place for industry, but rather a cultural capital. Its very financial malaise is what makes it a tenable global destination for artists who might have a slim pocketbook, but whose straits energize their creativity – this is where the sexiness comes into play.

Berlin isn’t for everybody. Of all the European cities, it certainly doesn’t place first as one of the most beautiful. Far from the posh digs of Paris, Rome or London, Germany’s capital isn’t a center of high-end fashion or epicurean eats, which is precisely what makes it so attractive. It’s Berlin’s tenuousness and frayed edges that make it sparkle. After The Wall fell, there was a mass exodus from the former Socialist enclave; derelict, care-worn buildings were abandoned and young, downwardly mobile people sought out the empty shell as a playground of their own imagining.

In two intervening decades, Berlin continues to discover its own vicissitudes, to be carved out by ex-pats and Germans alike. Poor and sexy sure, but also touched with no small dose of both madness and magic. It’s a city of those who are willing to stand on ground that’s not quite solid, but that is rich with the ferment of do-it-yourself derring-do.

Berlin-based Abigail Wick is a contributor to The New York Times and National Public Radio. ‘From an Ex-Pat…with Love’ is her weekly EcoSalon column about cultural dislocation, romantic relationships and lifestyle choices – filtered through the lens of an American woman living and working abroad in Europe.

Berlin Image, Roland Anton Laub; Author Image, Alina Rudya

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ColumnStaving off depression during a dark Berlin winter sometimes means a communal sauna and a cold beer.

In the popular American imagination, Western Europe is still a bastion for in-the-buff recreation. The mere mention of the Mediterranean, for many of us, calls to mind glorified, sun soaked stretches of impossibly beautiful coastline crawling with tan-line-free bodies. Yes, Europeans exhibit a comparatively relaxed approach to sexuality, but for a current generation, nudism is on the downswing – a past time relegated to the territory of grandfathers influenced by hippie zeitgeist now past.

While the growing disinclination to disrobe in public holds true in many countries across the pond, the phenomenon hasn’t fallen out of favor in East Germany – especially not in Berlin. In this former Soviet stronghold, plenty of culturally-enshrined opportunities exist to enjoy oneself sans cumbersome clothing and, oddly enough, this is perhaps best evidenced during winter.

Here, the sauna – in import of the historic Finnish variety – reigns. Typically co-ed, these clothing non-optional environments help stave off the depression that attends not only the grisly German winters, but also dearth of daylight at such a northerly latitude. At the season’s height, daybreak doesn’t come until late morning, and the sun again sets before the end of the work day. With winter comes a world of bone chilling cold and a smothering cloak of darkness seeming without end. The antidote? Frequent trips to one’s neighborhood sauna, where a multi-hour visit costs mere euros – about the same price as a decent bottle of red wine.

In the U.S., saunas are usually a costly luxury and in same-sex company; in Germany, it’s not only a quotidian luxury that comes at little expense, but also one that proffers a mild, mixed gender thrill. Far from the terrain of socially inappropriate lechers, sauna culture is so commonplace that families come with their children, groups of university students gather and hang out, and even business people (although typically groups of men) converge to talk shop and sweat it out together.

And, of course, the body’s fluids must be replenished after subjection to such extreme heat. While an uptight doctor might classify a post-sauna beer as ill advised, rest assured the Germans aren’t wary of its indulgence and, in fact, consider it a tidy closure to the evening. In a land where the average life expectancy is long; the men, brave and strong; and all of the women beautiful – well, they might just be on to something. The sauna isn’t just a recipe for enduring the long slog of winter, but also the crux of enjoying a good life and aging well.

Berlin-based Abigail Wick is a contributor to The New York Times and National Public Radio. ‘From an Ex-Pat…with Love’ is her weekly EcoSalon column about cultural dislocation, romantic relationships and lifestyle choices – filtered through the lens of an American woman living and working abroad in Europe.

Bio Image: Alina Rudya, Article Image: thomaswanhoff

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ColumnJane Austen’s tomes on relationships are revisited with 21st century reading glasses.

“It is a truth universally acknowledged that a single man in good fortune must be in want of a wife.”

These words mark the opening passage of British author Jane Austen’s 1813 novel, Pride & Prejudice. Although the conclusions she draws about love and intimacy are starkly insufficient for contemporary audiences, Austen continues to be fiercely relevant because of her lightning-hot investigative process and sharp social commentary. With a forked tongue pointed directly at the landed English gentry, it’s not so much her what, but rather the derring-do of her how.

For post-modern women, Austen’s world view – with its codified rules and wax seal of matrimony – isn’t so much suspect, but simply quaint. We welcome and also balk at today’s ever changing guard, asking what will become of us in an era defined by what sociologists herald as the End of Masculinity. Boys and girls both are bereft of a compass for navigating the variegated topography of gender, pair bonding, and progeny.

In our era, plurality reigns – rendering outcomes open-ended and unhinged, rather than foregone.

For Jane Austen, the terrain of dating and desire was not simple. Austen, for instance, spurned a suitor once marriage became the relationship’s only inevitability; consequently, she spent the rest of her life alone, but transformed her solitude into a gift – harnessing her time to author Sense & Sensibility, Mansfield Park and Emma. The socially-sanctioned options at her disposal were few, but she certainly gave the finger.

For many women, it’s the sheer abundance of choices that threatens to paralyze momentum; porous lives with few boundaries have their own attendant shortcomings. The introductory statement to a current-day Pride & Prejudice would require radical revision, not least because the very concept of a “universal truth” is an untenable antiquation. Instead of staking out a man of means in want of a wife, I might re-write the text to read as follows:

“That you are wholly and utterly alone is unavoidable; that everything is causal and that we’re all in this together is also inescapable; the rub, whether it be between boys and girls or whatever relationship between two humans, is to harmonize your ultimately abject triviality with your responsibility to change the world, in ways big and small, on a daily basis.”

Berlin-based Abigail Wick is a New York Times and NPR contributor. From an Ex-Pat…with Love is her weekly EcoSalon column about cultural dislocation, romantic relationships and lifestyle choices – filtered through the lens of an American woman living and working abroad.

Image by Kameron Elisabeth

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ColumnNatalie Chanin’s bi-weekly column, Material Witness, offers a seasoned designer’s perspective on the fashion industry, textile history and what happens when love for community trumps all.

Last weekend, I had the opportunity to travel to Berlin and speak at the Hello Etsy conference. Every speaker was incredible and the amount of information and energy that was present during each presentation was astounding. I think that it will take me weeks to process the incredible passion that fueled those days (and nights) in Berlin. It is almost impossible, at present, to string together a cohesive thought as the ideas are still swirling in my mind; however, I keep coming back, over and over again to Charty Durant’s talk and the images she used to illustrate her ideas.

Charty is a former fashion editor of the Sunday Times, The Observer, and British Vogue and a lecturer at the London College of Fashion. Early in her talk, she reminded us that “Our love of adornment and artistry is uniquely human. Other animals don’t do it– you don’t see tigers walking around wearing earrings. It is as natural and necessary to us as breathing. It really is. How can this joyful human expression be driving our destruction?”

She goes on to talk about two photographs that were taken around the turn of the last century: “I love this picture. This is by Henri Lartigue, the great master who documented the last century. It is a picture of his family members. So, this was the beginning of the 19th century. And you can see here that women are wearing corsets, full gowns, very, very complicated stuff. It was the Victorian era.”

“But, you know twenty years later, they looked like this.”

Charty goes on to explain that in this twenty-year span, women went from the extreme constrictions of Victorian purity to “no underwear, suntans, and short hair.” She correctly states, “That is an extraordinary expression of how fast society went in a
twenty year period.”

Around the turn of this new century, I find the promise of such a leap heartening as I think about the throngs of samples now being presented globally in the name of seasonal fashion. The funny thing about seasons now is that there are so many of
them! We went from the four seasons we all know: spring, summer, winter and fall to additional fashion seasons with names like Holiday 1, Holiday 2, Cruise 1, Cruise 2, Pre-Fall, Spring 1, Spring 2, etc.

How encouraging to think that something that was so ingrained – the Victorian-era vision of the perfect woman – melted away in twenty short years into women’s freedom of living a more undressed life. The thought of that sweeping change gives me
incredible hope that the rapidly growing fashion industry will evolve one day soon, too.

Charty also pointed out that our fashion has changed so little in the last twenty years. It feels to me that we are caught up in a Victorian-like cycle of ever-developing seasons (with ever growing closets) that could possibly evolve any moment into a more humane, beautiful and forward-thinking fashion perspective. During her presentation, Charty talked about the joy of longing as she saved her money to purchase a beautiful chandelier from an antique store. She explained that she was not able to afford the piece but went back to the store over and over again to admire its beauty. The shop keeper saw her longing and agreed to sell it to her over time. During the months that she put away funds to buy it, she built a story, a relationship, a conversation with that product and she still loves that piece today. So it could be with fashion as well: we could long and want and save to get that piece that we will be proud to wear in 20 years.

I see our society moving towards a period of undressing. Charty’s comparison between the austere Victorian woman and the freedom of the modern woman is relevant in today’s world. I am beginning to witness such an undressing, a peeling away of cheap layers and transitional garments coupled with a return to the idea that quality clothing can last a lifetime. This undressing also includes the principles of sustainability and slow design. I see the undressing as a sexy and beautiful act, one that truly represents who we are as women today.

My grandmother had two dresses as she was growing up: one for every day of the week and one for Sunday. I am not suggesting that this is practical in our modern lives. My love for clothes could never survive such austerity in my closet. I prefer the thought of longing, saving, receiving and then savoring. As part of her Happiness Project, Gretchen Rubin recently sent out this Bertrand Russell quote: “He forgets that to be without some of the things you want is an indispensable part of happiness.”

Charty said at the beginning of her speech, “I spent 25 years in the fashion industry. I love fashion. I love creativity. I love the beauty and the passion of the industry. The thing I love most about fashion is that it’s a haven for eccentrics and mavericks – and long remained so.” I feel the same way.

Someone recently told me that they wanted to be buried in an Alabama Chanin garment. And, I can’t tell you how proud that makes me – but I hope that she will also wear the piece while she is alive. Wear it a lot. Because the true beauty of our garments lies in the fact that they grow more beautiful with each wearing.

Natalie Chanin is owner and designer of the American couture line Alabama Chanin and author of three books including Alabama Stitch Book  (2008), Alabama Studio Style (2010) and the upcoming Alabama Studio Sewing + Design which comes out spring 2012. Look for her bi-weekly column, Material Witness here and follow her on Facebook and her own blog at Alabama Chanin.

Top Image: Pennyspitter

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ExclusiveAn interview backstage at Berlin Fashion Week with Swedish sustainable designer, Mika Modiggård.

The industry’s biggest names converged in Germany’s capital last weekend for Mercedes-Benz Fashion Week Berlin. Historically, haute centers like New York, Paris, and Milan have defined global garment trends, and these cities’ gridiron prominence make it difficult for emerging designers to make inroads in high-concept couture. Berlin, still gritty over 20 years after the Wall dividing East and West fell, is a different story altogether, and has become a prime platform for new, less-established designers to showcase their collections on an international stage. Swedish-born, Berlin-based fashion designer Mika Modiggård is one such artist.

With astounding industry momentum and only 23 years under her belt, Modiggård is a rising star in Europe; this year, the Swedish Fashion Council ranked her as one of the best up-and-coming designers at Stockholm Fashion Week, and she presented her business and designs to the Crown Princess of Sweden. On Thursday, Modiggård kicked off the catwalk for the Lavera Showfloor in the Kosmos building on Karl-Marx Allee, a monumental socialist boulevard that divides the Mitte and Friedrichshain boroughs of Berlin. She debuted her collection, Rollercoaster, for over 1,000 attendees, featuring sustainably-produced clothing crafted from upcycled vintage-leather and ethically-sourced silks.

Sweeping change has defined 2011 for Modiggård, a theme that manifests in her latest designs: Her life has been a professional and personal roller coaster this year. Post-runway show, EcoSalon sat down backstage with the designer to talk about her career and latest collection.

Mika Modiggård

Modiggård explained that she has been hand-producing and selling clothing since she was 15 years old, when she began experimenting with a sewing machine and creating projects with scrap and secondhand shop garments she deconstructed for auto-didactic purposes: “My education wasn’t formal, but rather one of reverse engineering,” Modiggård said. Growing up in downtown Stockholm, she would frequent used-clothing stores, picking up items that she would disassemble at home, in the process learning how to recreate the shapes and patterns herself. After “one hundred so-so projects,” she received an internship and, summoning all her young-adult courage, asked if she might sell some of her own designs in the shop.

Out of bits of leftover cloth, she stitched together quirky little wallets with a set sales price of only 10 euros. Later that year, she and her father went out for a quick bite to eat at, of all places, a European McDonald’s. At the eatery, a fashionable young woman stood in line in front of Modiggård; to pay for her meal, the young woman pulled money out of one of the billfolds that Modiggård had sewn. At that moment, the designer said, “I knew that I could make it, and that this is what I was going to do.”

Four years ago, Modiggård relocated to Berlin, a cultural destination for indie artists from around the world, who are attracted by the city’s cheap rent for apartments and studio space. She set up shop in the city’s Neukölln borough, a district with one of Berlin’s highest immigrant populations and began fusing her existing eco-fashion sensibility with a harder-edged style. The result? Rollercoaster, a collection that bespeaks the designers current state of mind.

“The past year has been a figurative roller coaster ride. My designs burst into the public eye, garnering me attention I could never have foreseen. The limelight has been overwhelming, but more so an inspiration to push my work into riskier territory.” With the challenge to up the ante creatively, Modiggård retained her loyalty to Scandinavian minimalism but began fusing this design tradition with influences from Berlin’s burgeoning hip-hop scene and also street fashion, which tends to be hard, dark and with little whimsy.

With Modiggård’s gravitation toward experimentation has also come a deepening of her commitment to ethical production of her garments. Her company motto – Fashion, but not at any price – translates her ecologically-minded philosophy toward her craft, one in which environmental and labor conditions are just as important as developing her unique brand of clothing that gives you extreme street cred.

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Go ahead, live sinfully by eating freshly baked, dark brown bread packed with vital nutrients.

In a post-Atkins America, many consumers still consider carbohydrates a dirty word and have an uncomfortable (at best) relationship with multi-grain cereals. For others, gluten-intolerance is a hard-hitting reality that requires real lifestyle shifts, as in the wonders of brown rice and quinoa. But, for many of us, the gluten-free everything fad is but another nutritionist trend. Bread-hate is a boon for the processed-foods industry, which harnesses whatever food-fear happens to be en vogue to churn out, and turn a pretty profit on, a dizzying array of packaged edibles.

Americans are seemingly petrified of eating real food and, at the same time, boast some of the highest levels of cardiac disease and obesity in the world. It goes without saying that something’s amiss in our gastronomic culture. As a whole, we are a nation for whom “first-world food scares,” and new-nutrition, trump sensual, traditional wisdom for nourishing our bodies.

There is a disarmingly easy way out: Go on and live in sin, consuming fresh-baked, dark-brown breads daily. All you have to lose are extra pounds, but eating that brown goodness will help you gain vital nutrients you’d be hard-pressed to find elsewhere.

This leads us to the dazzling variety of whole-grain, fresh-daily loaves in bakeries across Berlin, where I’m taking a spring live-work sabbatical. How do the Germans do it? Their rich, vast selections of bread are uniformly dense, weighty, and moist, with a crunchy crust and perfect crumb. This decadent Deutschland staple stimulates my palate, and the unrefined cereal grain, which preserves the plant’s bran and germ, is packed with nutrients.

Conversely, the white-flour milling process strips away everything but the wheat plant’s endosperm. Hello, simple starch! When you eat them, the body quickly metabolizes the resulting carbs into glucose, producing a sudden jolt of energy, followed by a craving for more and storage of unused glucose as fat. No wonder Americans are leery of the carbohydrates prevalent in our industrial diet, these breads leave us feeling tired, hungry, and overweight.

Until as recently as 100 years ago, traditional European diets relied on these unrefined grains, which kept intact the bran and germ. Bran is the hard, outer-layer of the wheat grain and it is replete with B-vitamins, as well as fibers that slow down the rate at which the body metabolizes food. The germ is the wheat seed’s innermost part, is protein-rich, and also contains Omega-3 and 6 essential fatty acids.

In Germany, breads are a traditional, celebrated aspect of their food culture and are taken seriously. In addition to using whole-grain flours, the method includes a slow-baking process in a steam-heated oven with a resulting bread that is nuttier, darker in color, and a splendid combination of firm and moist with a crackling crust. In a word, heaven.

In Berlin, a jaunt to my neighborhood “Backerei” leads me to delicious pumpkin seed-topped or hazelnut-laden breads. Just the sheer array of whole-grain baked goods within one block of my apartment inspires my appetite, but can be somewhat intimidating, given the succulent sensory overload and funny German names. Never fear, next time you’re visiting this cultural capital of the Western world, have heart that you can confidently order the choicest loaves in the bakery—just be sure to have the below complex-carb compendium in tow. Go forth, Americans, into the great, wide world of dark-brown breads!

Pumpernickel
Germany’s most-famous bread, pumpernickel is made with 100-percent rye. It’s rich, deep-mahogany in color, and its intensity makes it only for eaters who are brave of heart.

Landbrot
A traditional German staple, this mostly wheat (with a pinch of rye) bread evokes a rural nostalgia for the European countryside. Landbrot can be literally translated as farm bread.

Sonnenblumenbrot
Topped with browned sunflower seeds, sonnenblumenbrot brings a new meaning to toasted-nut bliss.

Vollkornbrot
A whole-grain and rye blend, these everyday loaves are not uncommon on the tables of a typical German family.

Dreikornbrot
Because this dough includes oats, rye, and wheat, Germans call it three-seed bread.

Fünfkornbrot
A multi-grain combo of wheat, rye, barley, oat and maize gives this loaf the name five-seed bread.

Brezel
An easy English-language cognate, pretzels are a beloved German snack. These fresh-baked delights are everywhere you go, and what distinguishes them is their chewy, bagel-like texture and salty, dark exterior. One bite, and I am moved to speak the truth: “Dear Berlin, I love you.”

Image: jaybergerson, cloudsoup, yisris

The post Living in Sin With Breads From Berlin appeared first on EcoSalon.

With A/W 2011 fashion events currently underway here in Europe, many journalists and reporters are all already rather burnt out from a schedule that just does not quit. Perhaps this is why traveling to some of the other shows provides insight and a tempo that allows one to enjoy the host city at a pace that seems a bit more natural and sustainable. My recent trip to Berlin for a spectrum of sustainable fashion happenings was a great opportunity to learn about both local and international fashion talent, as well as the dynamic agenda of Berlin’s edgy and inviting green scene.

Berliners definitely love fashion despite their beloved city’s industrial gray palette and bone-chilling temperatures. During my excursions out and about the town, not a single cab driver held back from commenting on the sartorial goings on. Posters everywhere also featured Mercedes Benz Fashion Week ads side by side with eco fashion billing. Even cooler? The organizers of Lavera Showfloor Berlin’s runway events opened up many of their evening shows to the public. This in my opinion is a great way to energize a city’s populus in the depths of winter as well as helping to spread the message of sustainable fashion goodness.

THE KEY.TO showroom floor (photo: Abigail Doan)

My agenda while in Berlin was to attend the GREENshowroom at Hotel Adlon and THEKEY.TO‘s ethical and sustainable fashion showcase. Both events are now regular fixtures during Berlin Fashion Week, although with a focus that differs somewhat in my opinion. The GREENshowroom puts more of an eco-luxe spin on their designer presentations, due in part to the posh setting in suites at the Hotel Adlon, just around the corner from the historic Brandenburg Gate. THE KEY.TO’s venue is a more of a raw space with a grassroots ‘conspiracy vibe’ pumping through the open hall. Both were well curated and offered a mix of old and new names, with attendees who seemed more informed than ever about the current state of eco fashion and the resourceful methods that designers are now experimenting with.

Isabell de Hillerin‘s A/W 2011 runway presentation (photo: Abigail Doan)

Isabell de Hillerin runway finale (photo: Abigail Doan)

I was fortunate to also catch local designer Isabell de Hillerin‘s evening runway presentation – staged in a renovated transformer station that was lit up like a mise-en-scène film set. Everywhere I ventured, the message seemed clear: art, fashion, and sustainable enterprises make for great dialogue provided that you can actually take the time to get to know the folks around you. Berlin is not really a scene for air-kissing fashion experts, and this is rather refreshing given the work that still has to get done on the sustainable fashion frontier.

Magdalena Shaffrin collection

Here are a few key things that I concluded during a three day span that seemed way too short to absorb the energy and creative spirit that was surely just revealing itself to me:

1) People love fashion, and we should not assume that they do not want to be a part of or participate in current initiatives. If we really want to create a “conspiracy” in (sustainable) fashion, then we should continue to find revolutionary ways to democratize fashion and future fashion week events.

ELEMENTUM Collection by Daniela Pais

2) There are indeed new markets for creating pieces that do more, while also looking genuinely chic and original. The European-made label, ELEMENTUM by Daniela Pais, is proof that six pieces can indeed by cleverly transformed into totally wearable ensembles. One simply needs to take the time to play with and accessorize one’s wardrobe. Garment construction that aims for zero waste can also be extremely wearable and trend defying.

KM/A design exhibited at THEKEY.TO showcase (photo: Abigail Doan)

3) In addition to recycling garments and textile waste materials, we have now entered an era where every single scrap counts. Designers can create the most remarkable and innovative designs out of seemingly useless bits and pieces that fall to the studio floor. This requires supreme technical artistry, though, not just a desire to be “thrifty” or “crafty”. The phenomenon of studio materials being factored in from start to finish is upon us. KM/A studio in Vienna demonstrates this with their hand-crafting of exquisite frocks and overcoats hand crafted out of 60s parachute textile scraps as well as recycled wool military blankets.

KM/A recycled military blanket coats

Additionally, Estonian designer Reet Aus has created a new platform, called Trash to Trend, where manufacturers and shops can submit information on their industrial leftovers and unsold garments. Sustainable fashion designers can then access this information and use desired raw material for their own collections.

Reet Aus recycled textiles collection at THEKEY.TO’s runway show

4) As the conversation about storytelling in clothing and the development of personal style continues, sustainable fashion designers are increasingly thinking and working as modern day anthropologists who now consider every aspect of how their design is used, interpreted by the wearer, and then continually updated to fit with each person’s lifestyle. As street style websites also continue to proliferate (though perhaps they have reached their peak?), we are more than ever considering what impressions we make and what narrative journey we embark on as we walk out the door. Knowing and working with your personal style is as vital to (sustainable) fashion as knowing what options there are for environmentally-friendly and socially-responsible designs.

5) And perhaps this is obvious, but there is never a substitute for quality. Several of the designers at this past week’s event have been working for years to create an ideal design equation that combines impeccable tailoring, innovative pattern cutting, attention to detail, the highest quality sustainable fabrics available, as well as a mission that addresses sustainable living and design. Collections by Camilla Norrback, Magdalena Shaffrin, Rianne de Witte, Isabell de Hillerin, and Reet Aus will never go out of style, and we should continue to support these refined fashion efforts and unique creative explorations. Fashion will reach the people if the story is a shared and lasting experience.

Main image courtesy of Elementum by Daniela Pais; Reet Aus runway image courtesy of THEKEY.TO and the designer

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