Years ago, vegan or faux leather clothing and accessories were stigmatized as lesser quality products. The cheap and often times tacky looking material was a poor alternative to the real thing, and even ethical vegans found it difficult to give up their leather shoes and accessories for lack of quality, cruelty-free options. Fortunately, the past few years has seen a boom in leather alternative textiles, and companies are really showing off their creativity in terms of materials. The current trend is to not only provide an ethical product, but a sustainable one. So what’s the latest? Pineapple. Yes, we’re talking wearable fruit leather that looks, feels, and endures like its animal-based counterpart. Its called Piñatex™, and it is the latest en vogue material in the sustainable fashion world.

Piñatex™ is created with the long stranded fibers of pineapple leaves. Dr. Carmen Hijosa invented this creative material following her years of work in the leather industry. She took a trip to the Philippines in search of more natural products, and discovered that the pineapple leaf fibers could be made into a non-woven textile (translation: fabric that does not need to be knitted or sewn together). Dr. Hijosa implemented a system where the fibers are extracted by the pineapple farm workers, processed into a non-woven textile, then finished in Spain, ready to supply to responsibly-minded retailers. This practice bolsters the local farming economy and promotes sustainability, as pineapple leaves are considered a byproduct of the pineapple harvest and typically discarded. Dr. Hijosa created her consciously-minded company, Ananas Anam, as a way to distribute Piñatex™ globally.

Hipsters for Sisters (HFS) Collective, a Los Angeles based bag company, is an early adopter of pineapple leather and one of the first American companies to incorporate Piñatex™ into their collections. Dedicated to providing the highest quality products using the most sustainable materials, co-founder Rachel Denniston said they have had their eye on Piñatex™ for the past two years. HFS proudly debuted their pineapple leather bag collection in early Fall 2017. The line includes two belt bags (a chic, modern version of the practical fanny pack), a crossbody tote, and a matching zippered wallet. Denniston raved, “The true beauty of this collection stems from the fact that we are combining the rugged, edgy look of Piñatex™with our soft, elegant, eco-suede. The result is a sophisticated, unique collection that goes with just about anything!”

The price for these items reflects the true cost of operating a sustainable business. Unfortunately, the fast fashion industry has popularized the concept of cheap, disposable faux leather products, which has led to some resistance and even sticker shock when a non-leather good costs the same as its leather counterpart. However, it is essential to disrupt this ideology and make an effort to understand what goes into the pricing of these products. A sweat-shop made handbag is not meant to last over the years, and it can be produced quite cheaply and sold at a socially acceptable price point, no eyebrows raised. However, the same handbag made with durable, sustainable material by a worker earning a living wage will cost significantly more. The Piñatex™products at HFS Collective will set you back from $215 for the pocket belt bag and up to $395 for the large crossbody tote. Its true, there is an expense to responsible business practices, but for Denniston, ethics are non-negotiable.

“Simply stated, sustainable and ethical production means being responsible in one’s manufacturing and sourcing of fabric. Not only is it important to have the lightest impact on the planet with your production and sourcing of material, but its equally important to provide the craftsmen and women that make your products with fair, living wages in safe and pleasant working conditions. We try to do it all.”

In addition to HFS Collective, a few other small businesses are beginning to incorporate Piñatex™into their lines. The material is becoming more prevalent through Etsy retailers, and there is hope for larger distribution with big name brands in the future. 

In essence, fashion is an investment. It is not about how many different outfits you have or never wearing the same thing twice; it is about collecting classic, quality pieces that truly shine and make you feel confident. Fashion is not meant to be disposal, it is meant to be treasured and valued. Thanks to the recent innovations in sustainable material, like Piñatex™, quality fashion can now be ethical and sustainable fashion. We’d rather wear fruit than flesh, any day. 

Find Tanya on Instagram and The Vegan Potluck Podcast. 

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The post Wearable Fruit Leather: Pineapple is the New Leather Alternative appeared first on EcoSalon.

The future of fashion is slow and steady, not fast and cheap, a mantra that Ayesha Barenblat, founder of Remake, lives and breathes everyday.

It takes a garment worker 18 months to earn what a fashion brand CEO makes on their lunch break. It takes seventy-five million people to make our clothes, and of those people, 80 percent are women between the ages of 18 and 24. It’s believed that 100 pairs of human hands touch our garments before we ever see them in store or online. And if that’s not enough, it takes 2,720 liters of water to make a t-shirt, which is said to be how much we normally drink in three years. Three years!

Where did I get this information? From Remake, the revolutionary advocacy group on a mission to build a conscious consumer movement.

Remake’s founder, Ayesha Barenblat, believes that fast fashion is out, and slow fashion is in. With a focus on the millennial woman, her wish is to essentially remake the relationship between the women who make our clothes and the consumers who purchase them. By putting a face, a story, and a name to the ever-anonymous clothing manufacturing industry, Barenblat has been able to create a relatable, human connection that is normally obsolete.

Barenblat’s story is nothing short of eye-opening. From the beginning of a movement to the future of where it’s going, Remake is working tirelessly to put slow fashion permanently on the map.

“On April 24, 2013, Rana Plaza fell down. I was working at Better Work, a partnership between the International Labor Organization and World Bank to improve working conditions inside the fashion industry at the time,” said Barenblat. “As the death toll mounted, and I saw firsthand retailers whose labels were inside Rana Plaza worrying about the legal precedent of compensating the victims families, I was moved to want change sooner and faster.”

 The 2013 Rana Plaza collapse she’s referring to occurred in an eight-story commercial building in Bangladesh due to a structural failure. And, according to Clean Clothes Campaign, it ultimately claimed the lives of 1,134 people, and is considered to be the worst industrial garment-factory accident in history.

“Having worked on the inside of the industry for a long time, I made the business case for retailers to invest in the lives of garment makers. When Rana Plaza fell down, it [became] clear to me that it would take a groundswell of consumer demand to truly move the needle,” says Barenblat.

The inspiration for Remake had been laid, what she needed next was “a people’s movement” that refuses to tolerate deaths, the atrocious human rights abuses, and the extreme environmental degradation in the quest for cheap clothes.  

Today, her vision has grown into something truly admirable. Remake is focused on contributing to the slow fashion movement and educating consumers in three ways, including creating stringent sustainability criteria that sets the tone as a call to action “for what good looks like.” The first of the three includes Remake’s long-term goal for slowing down fashion, which involves immersing millennial fashion designers into maker communities.

The second includes Remake’s grassroots efforts involving stories, films, social media campaigns, and pop-up events aimed at inspiring millennial shoppers to think more consciously.

The third and final element involves a curated capsule collection and brand spotlight that helps take the guesswork out of where to shop ethically. Determined to shatter the myth that slow fashion is neither fashionable nor affordable, Remake is changing the way consumers shop.

If sustainable and ethical fashion is important to you, or you’re just cluing in and want to learn more, Remake is an invaluable resource. Like Barenblat says, “We do all the hard work for you, making the discovery of beautiful, everlasting statement pieces easy. On the backend, we look hard for supply chains that are transparent [and] brands that are not simply greenwashing and running clever marketing.” Akin to the campaign Remake runs, Barenblat’s passion, compassion, and knowledge about the garment industry, and what it takes to make slow fashion mainstream, is as crystal clear as it comes.

A reality not to be taken lightly, Barenblat warns that buying more “is making us unhappy, exploiting women around the world, and degrading our planet at a pace so rapid that we are looking at hard choices by 2030, such as growing cotton or food, giving people access to clean water, or using water for fashion production.” 

“We have to go back to buying fewer, better things,” she says. “That five dollar impulse buy tee won’t make us happy, is filled with chemicals that touch our skin, and is entrapping a generation of women into poverty.”

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The words ‘luxury’ and ‘ethical fashion’ haven’t always gone hand-in-hand, but thanks to designers like Anita Arzé, the world of high-end conscious clothing is more accessible and lovelier than ever.

Inspired by the beautiful mountainside of the Andes, the rich colors and textiles, as well as the deep spirituality of the indigenous people, Bolivia is the common thread connecting Arzé’s designs to her native South American roots.  From early childhood Arzé has been traveling from the U.S. to Bolivia to visit family, setting her up for future inspiration and success in the fashion industry. Although formally educated in New York City, the talented designer and artist cultivates a look of casual luxury that appears organically honed through her experiences and passion for her craft.

With Arzé’s mother introducing her to the creative side of things through painting and ceramics classes and trips to the museum at a very young age, coupled with her grandmother’s fine art skills and keen sense of style and finesse, both women helped to instill a passion for creativity, igniting the desire to make her mark on the world of fashion. In addition to her childhood, Arzé also derives inspiration for current collections from nature, architecture, geometric shapes, and by the art she sees. A true creative at heart, Arzé said “designing became a great platform for me to communicate my creativity and express my individuality.”

As natural and earthy as the countryside from which they come, Arzé’s spring/summer 2016 designs are not only dreamy, with billowy materials and a sort of airy lightness from the sheer weaves, but she also takes pride in her unwavering dedication to accountability. When asked why she chose sustainability over commercial manufacturing, Arzé responded by saying, “There was no choice there. I didn’t want to create just another clothing line. It had to have deeper meaning for me. It had to be socially responsible and sustainable. I care deeply about environmental and social issues.”

From the sustainable Alpaca fiber that’s sheared once a year, handpicked and separated into different categories of color and quality, to the pima cotton used for Arzé’s summer line, the materials play a momentous role in her collections. Because of her dedicated use of native materials, Arzé’s company is able to work with indigenous artisans, with close to 80 percent of them being women, many of whom are the sole providers for their households. This not only coincides with the company’s mission and core value of holding social and environmental sustainability to the highest accord, but also works toward the preservation of Bolivia’s strong heritage of knitting and providing job opportunities through this craft.

When women choose to shop her collection, Arzé wants them to “feel elegant, yet relaxed, fashionable and sophisticated while being comfortable,” and her spring/summer 2016 collection appears to achieve exactly that. With a grounded, yet ethereal quality that transcends commercial fashion, it’s difficult to play favorites, but we’ve managed to choose a few while leaving a little something to the imagination for when you do visit the Anita Arzé website.

Tom – The hand loomed long contrast vest pictured above is a beautiful addition to your spring and summer wardrobes. Throw it on over a camisole and skinny jeans, a slip dress, or even a light long sleeve to combat those chilly evenings – ethical fashion has never looked so good!

Richie – Another hand loomed piece designed for spring and summer wear is the beautiful and lightweight striped poncho shown in cream, black, white, and grey. This quick, no-fuss piece is elegant and functional. Pair with leggings, slacks, jeans, or even over the top of a maxi dress as a stylish and simple layer that’s suitable for warmer temps.

Alex – Fun, sheer, and sexy, this cut out tunic can be worn as a dress or with your favorite bottoms. For the daring, choose to layer the tunic over a bandeau top or lacey bralette, and for a more conservative approach, opt for a camisole or short slip instead. The cut out design is very of the moment, but the material and style is classic and timeless.

Luke – This sheer maxi dress is light, airy, and stands on its own beautifully. Wear this over a camisole-style slip and change the length for different looks. Pair with sandals, wedges, or booties, and have fun layering on the accessories – the possibilities are endless.

The ethos driving Arzé is that every dollar counts, particularly when putting them toward socially and ecologically sustainable products, like ethical fashion. It truly does make a difference. Share your thoughts with us on the EcoSalon Facebook page!

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Image of Models in Ponchos via Anita Arzé

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Hailing from the chic streets of New York City and San Francisco, the founders of CHAN+KRYS are offering up a collection ethical fashion essentials for the sleek urban fashionista. The womenswear garments are inspired by the clean-cut and tailored look of menswear combined with the effortless ease of simple, wardrobe basics.

CHAN +KRYS was founded by Chantale and Krystalrae (hence the name), both of whom have strong backgrounds in sewing, art and design. After making their way as designers in the fashion industry in NYC, the duo decided to work together despite the fact that Krestalrae moved to San Francisco and they now live on opposite coasts. After working in an environmentally harmful and ethically unjust industry, the two designers decided that they “couldn’t continue to turn a blind eye to the negative effects of the industry on people and the environment. Our next endeavour had to be ethical, if nothing else.”

With a staunch commitment to creating positive and eco friendly fashion that didn’t sacrifice quality or style, Chantale and Krystalrae decided to take on the production of a collection that was locally and ethically made out of eco-friendly materials. All pieces in their collection are made from a combination of organic cotton, hemp and Cupro that are sourced from local, reliable wholesalers. The entire collection is produced by hand in the New York Garment District through small batch production. Not only is the production process sound, but even the packaging used is recycled and naturally biodegradable, and the label is committed to carbon neutral shipping. The two designers are also committed to a Zero Waste Policy, creatively recycling and repurposing any excess materials that their production processes might incur.

The refined and elegant silhouettes of the CHAN+KRYS collection are artfully combined with edgy and trendy cuts and details for a casual cool look. The concept behind the collection is one of timelessness and seasonless pieces that aim to “reinvent and extend the conventional wardrobe.” Check out the CHAN+KRYS online shop to view their Spring 2015 collection – inspired by new beginnings and looks with meaning + purpose.

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Ever thought about the origins of the term “EcoFashion”? Here’s your daily dose of eco-trivia: It was first coined and trademarked in 1995 by Marci Zaroff, founder of the sustainable lifestyle brand Under the Canopy.

Zaroff is more than just a name behind a name. After speaking with her about her work, I learn that she’s a one-woman machine: One who is responsible for bringing the first sustainable fashion products to Target, Macy’s, Aveda and Whole Foods Market (in fact, she wrote the business plan for Whole Foods to get into textiles).

What she’ll tell you, though, is that no one can do it alone. That’s her mission and mantra: To converge the worlds of fashion and sustainability under the same, well, canopy, Zaroff says, “of the planet’s ecosystem.”

EcoSalon: Tell me a little bit about how you got into EcoFashion. Is that something you were doing before ecofashion was really even a thing, or had a name or label?

Marci Zaroff: I actually coined and trademarked the term EcoFashion in 1995. If you would’ve Googled the term when I started, it was just “Marci Zaroff,” or “Under the Canopy” when I started it in 1996. Even today, if you type in ecofashion.com, it goes right to my website. There was no EcoFashion. The reason that I had a vision to create that movement was, I had spent almost a decade in the organic and natural food and beauty worlds. When I was in high school, I got Best Dressed; I always loved fashion. It was just one of my passions. After getting a business degree, I created a school in New York City that was one of the first places that people could go to learn about health and wellness. You could go to art school or law school, but where do you go to learn about healthier cooking? It was called Gulliver’s Living and Learning Center, and it would take people on a journey of self-discovery, of self-realization.

We opened the first Aveda concept salon in the school as the connector between food and beauty, and I saw there was a missing link in the wellness equation. I started to learn a lot of agriculture and the environment, and I had a “woah” moment when I saw that there was a very strong connection between food and fiber. Sixty percent of a cotton plant actually goes into the food stream. When I saw the magnitude and multitude of impacts in cotton, in terms of it being the most heavily-sprayed agricultural crop, it just blew my mind. I said, “What about organic cotton?”, because I knew so much about organic food and beauty products. I couldn’t find anything except crunchy, frumpy, boxy, beige, boring, hemp that, for me, as a fashion consumer, was nothing that I wanted to wear.

Then, I had an epiphany of, “How do I marry these two worlds?” The more research I did, the more disillusioned I was that it didn’t exist, but the more excited I was that it was a white space opportunity.

ES: Tell me a little bit more about your brand Under the Canopy.

MZ: It was founded as a lifestyle brand to break the stigmas that came with organic and sustainable fashion. Because I started it as a mail-order catalogue to go direct to the consumer, and to tell that story, because I knew I had to educate, there were three stigmas that I set as goals to break. That was my mantra.

The first was the stigma that you have to give up style, quality, fit, color or comfort – any of the things you actually want in an apparel or home fashion product – and prove that you can have everything you want, in terms of great product. Under the Canopy was dedicated to lead with great design and quality, from day one. We came out of the gate with women’s clothing, men, baby, home, accessories: A little bit of a lot of categories to reinforce the lifestyle, and that it wasn’t just an apparel brand.

The second stigma was price. There was an assumption – especially because the organic food movement was just starting, and there weren’t really economies of scale – that you were going to have to pay a lot more to get sustainable fashion. At that point in time in the fashion industry, most companies were going to a factory and saying, “This is my product,” and the factory would work backwards in the supply chain to get pricing. Every step of the way, there were brokers involved who were putting markups in the model. Because I wanted to start at the source of the product – I didn’t want to use conventional cotton, I wanted to use organic – I had to go directly to the farms, because I couldn’t go anywhere to buy organic cotton yarn or fabric. I had to create it from the ground-up. By building a model that was farm-to-finished-product, I was able to cut out a lot of the middle-men and inefficiencies in the supply chain, and drive the product up the supply chain so that I could actually create product that was priced competitively with conventional product. The whole thing was, “We’re all about adding value.” It’s not this OR that; it’s this AND that.

Stigma three was, how do you really know if it’s going to be organic and sustainable? I was one of the first people on the Organic Fiber Council of the Organic Trade Association, which governs all organic products in the United States. In the nineties, some of us wrote the first organic fiber standard for the U.S., which then became a global collaboration, and we created one global standard that, today, is recognized as the platinum standard for certified organic textile [the GOT standard, for Global Organic Textile Standard]. All of Under the Canopy’s products are GOT-certified…it’s been a pioneering brand to drive authenticity and transparency, and very hands-on, in terms of developing other standards and working with other standards so that the end consumer can have the confidence that the product is fully traceable.

ES: It’s interesting that you mention assumptions about having to pay a premium for sustainable fashion. You’ve put into practice that, yes, that is a myth. Do you think more people need to be educated about this?

MZ: A billion percent. I mean, my mission is to revolutionize the fashion industry through education, inspiration, collaboration and innovation. Those are the tools that are going to really drive this movement forward. This is the big tipping point year. This year, we’re seeing unbelievable engagement around this movement.

In the early years, people said, “You’re going to lose your trademark if you don’t protect it!” I liked that people were using the word “ecofashion,” because it started to define this movement. Now, if you Google that word, you’re going to get millions of references. To me, it’s here, and it’s here to stay, and it’s only going to get bigger.

ES: Are there any designers we should keep an eye on?

MZ: Stella [McCartney] and Vivienne [Westwood] get the most cache out there, because they’re doing the most, but there are a number of other designers – some of which are doing everything in a sustainable way. Amber Valetta has a website called Master & Muse, where she’s curated really beautiful, high-end EcoFashion from some of the best designers out there.

Another great company is Reformation; they deal with the zero-waste issue, as does [designer] Daniel Silverstein. Amour Vert is a great up-and-coming brand.

And this is the power of collaboration. Suzanne, [Lerner], the co-founder of Michael Stars, and I came together and made Under the Canopy their sustainable brand, so that we could be integrating and educating their whole company, as they’re supporting us with all of their expertise. It’s a real win-win.

There are a lot more of these websites popping up that are curating sustainable fashion: Shopethica, Modavanti, Zady, rêve en vert … even Rodale has launched a website that’s getting into EcoFashion.

Everyone takes so many spokes in the wheel of EcoFashion. Depending on what somebody resonates with – the waste issue, the water issue, organic cotton versus conventional, U.S.-made – there are so many different things that fall into the bucket.

ES: The word “green” gets such a bad rap in so many categories. Is greenwashing happening in fashion?

MZ: It definitely is. It’s probably the bane of my existence, which is when companies slap the word “green,” or even the word “organic” on products, and they don’t understand that this isn’t a marketing proposition. It’s a methodology substance, and it’s about being able to back up every claim. Those who don’t ultimately create a compromise for those who do, on many levels. The idea of “green,” for me, is about no compromise; the problem with that word, historically, is there was an assumption that if you throw the word “green” on it, people are going to buy it, regardless of whether it works. It has to lead with great design, it has to be good, quality product, it has to appeal to people’s senses as if it’s not sustainable; then, the green and sustainability has to be a value-add. The product has to be about no compromise. It does frustrate me to see companies misusing those words when, if you really pull the curtain back on what they’re doing, they’re just trying to get some extra credit where credit isn’t due.

ES: So, how do you feel about the future of EcoFashion?

MS: I would say that all of the stars are aligning now. All of the seeds that were planted over the past 20 years that I’ve been doing this are budding and growing. There’s this imminent harvest of EcoFashion that’s taken route now, and amazing efforts from the fashion, product, web and consumer engagement. Check out fashionrevolution.org; it was the consumer-driven movement all over the world that infiltrated 60 different countries this year, where consumers wore their clothes inside-out in honor of the Rana Plaza victims.

ES: And those tools you use to education people: Inspiration, collaboration and innovation…

MZ: I do a couple of things. I do public speaking all over the world, at trade and consumer conferences, all kinds of business events. I write for different media vehicles, and have done a lot of TV and press. I’m just out there, constantly trying to teach this content and am writing a book right now, that’s going to be published next year by Simon & Schuster, called “Eco-Renaissance,” that’s about co-creating a stylish, sexy and sustainable world. I also serve on a number of boards and am constantly connecting the dots on how I can take information from all of them – the Textile Exchange, the Organic Trade Association, Fashion Revolution, Fashion Positive – and move the topic to the frontline. I made a short film series called “Driving Fashion Forward,” with Amber Valetta narrating it, and I have a documentary in play; you can watch the trailer threaddocumentary.com.

ES: Oh, sure. Just “a couple of things.”

MZ: Never a dull moment! People ask, “Do you ever sleep?” It is my calling. My favorite quote, from the book “The Prophet,” is, “Work is love made visible.” If you love your work, it’s not work. You’re just doing it, right?

Say hey to Amanda on Twitter or Instagram

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Image: Marci Zaroff Official Website

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Looking for that special something? That je ne sais quoi certain women seem to be born with? If mad fashion skills aren’t in your genes, never fear. You can easily cultivate your own personal style.

You know her. That woman that always seems to look good. Whether going to a show or coming from the gym, she is always put together.

What does she have that you don’t? One thing. She’s mastered her personal style.

And you can too. Following are five things you need to know when developing your own style.

5 Things You Need to Know to Develop Your Own Personal Style

1 Know what works for you // This sounds broad, but is much simpler than you’d think. Keep this one thing in mind and you are practically golden. Ready? Here it is: Do what works for YOU. Not your sister, not your best friend, not the actress on your favorite TV show. YOU! You know how you don’t necessarily look great in your bestie’s lip shade or love your colleague’s signature scent as much on yourself? Same goes for fashion. It’s ok to copy, just be sure the articles speak your name, not someone else’s. Not everyone can rock fuscia or turquoise. Certain styles look better on one figure over another. Learn what works with your body shape and skin tone.

2 Know your mission // Yes, even fashion speaks of your ideals. Do you want to stick with organic fabrics? Maybe ethically produced garments are important to you. Or perhaps you love vintage and thrift shopping. Figure out what and whom you want to support, learn about it, and buy those who meet your beliefs.

3 Know what works with your lifestyle // Those who work at home likely won’t buy the same items as someone who works in a corporate environment. Some women may feel more comfortable in pants than skirts or dresses. Certain lifestyles don’t lend themselves to heels or chunky jewelry. Give some thought to what you do during your day and dress appropriately. For example, I happen to love jeans but ripped denim doesn’t segue very well into a meeting or appointment. Try white or black denim and dress up your tee with a colorful sweater or pretty scarf.

4 Know how to show something off // I like to think of this in terms of makeup – if you are going with a bold eye, you play down the rest of the face, and bright lips pair well with a neutral eye. Choose one item and go big. A jewel toned blouse, colored jeans, funky arm candy. Going bold in one area while keeping the rest of your look neutral equals tasteful style with a signature look.

5 Know how to Be Authentic // The most important thing in showing off your personal style is confidence. It may be cliché, but feeling good and being comfortable with yourself is key to a great appearance. As fashion great, Diane Von Furstenberg, quotes in her book “The Woman I Wanted to Be”…”The way you look is important, but who you are and how you project it is eventually who you will become and how you will appear.”

Flip through fashion mags, check out blogs, and peruse Pinterest for inspo. Then prepare to get your personal style on.

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Image of woman with style via Shutterstock

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We all know by now that Brooklyn is the center of the universe, and this past weekend, it was the headquarters for ethical fashion.

I arrived at Industry City, a massive warehouse in Sunset Park, Brooklyn, not knowing quite what to expect. I hadn’t heard of any of the designers on the roster, and I was eager to see their offerings.

The first thing I noticed was that this wasn’t like any fashion show I’d attended before – it was the most beautifully diverse scene I’ve ever encountered in the fashion world. Instead of a sea of white people and Anna Wintour clones, multiple races and ethnicities were on the scene and running the show. I liked the vibe immediately. There was a rawness and authenticity you rarely see, even though the event was well-produced and sponsored by the likes of Uber.

After a few cute, quick runway offerings from a dog(!) designer and a children’s clothing line, wearable, sustainable, ethical fashion began to float down the runway. I noted and approved of the fact that it wasn’t just the crowd that was amazingly diverse – the runway was too. The best known designers still can’t get it together around the issue of race – every year they have their token black, brown or Asian face, so they can say they did that. Not here, at Fashion Week Brooklyn – the gorgeous models streaming down the runway came in every possible beautiful hue as they showed us the spring and summer 2015 lines. (Hello, Mercedes-Benz Fashion Week – are you paying attention?)

I am not going to lie to you and pretend I have any journalistic integrity when it comes to fashion – I write about the looks that I feel like I’d want to wear, full stop. The first designer I fell for was Born Again Fashion by Bridgett Artise. She offered gorgeous sustainable looks with a Caribbean flair – all using upcycled vintage materials. My fave was a brightly colored afghan blanket turned into a set of fringed short shorts and a sexy crop top. Taking the best of vintage and turning it into wearable, ethical fashion isn’t a simple task, but Bridgett makes it look easy.

Designer – Born Again Fashion by Bridgett Artise

Next on my most adored list was L-L-B by Lisbeth Lovbak from Norway, offering more upcycled designs with a twist — most of these looks can be worn in multiple ways — like a wearable version of a Swedish Army Knife. This summer collection played on the idea construction/deconstruction, offering a lot of pretty denim vests in different configurations. This was ethical fashion at its cutest.

Finally, I loved the quirky, zero-waste designs from Iliana Quander from her Amparo 3 collection. The Bob Marley dress (top) looked light, airy, whimsical and delicious.

Designer- High School of Fashion Industries

Stefanie Iris Weiss is the author of “Eco-Sex: Go Green Between the Sheets and Make Your Love Life Sustainable”  (Ten Speed Press/Crown Publishing, 2010) and eight other books. Stefanie keeps her carbon footprint small in New York City, where she writes about sustainability, sexuality, reproductive rights, dating and relationships, politics, fashion, beauty, and more for many publications. Follow Stefanie @ecosexuality.

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All Images via (c) Shawn Punch 2014.

Top image:  Designer – Iliana Quander from her Amparo 3 collection

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April 24, 2013 was a horrifying day in fashion history. The catastrophic events of the Rana Plaza disaster in Bangladesh have sparked a momentous movement a year later. That day is now known as Fashion Revolution Day.

More than 1,100 garment workers—a third of those who entered the clothing factories that morning in Bangladesh—died in the collapse of the massive eight-story building. Ordered to come to work despite the warnings that cracks found in the building the day before could lead to an imminent collapse, the fashion industry demands flew in the face of safety, and the factory operators ignored the warnings for fear of losing money and clients.

The Rana Plaza collapse triggered protests and riots in Bangladesh over fashion factory working conditions. On June 5^th, police in Bangladesh opened fire on protestors who were demanding back pay and compensation that had been promised by the Bangladesh Garments Manufacturers and Exporters Association and the government. Several months later, more protests over wages led to fighting and gunfire from police.

No garment is worth this price.

The idea for Fashion Revolution Day was born out of the atrocity in Bangladesh and countless other conditions around the world that exist in the name of cheap, fast fashion. Fair Trade pioneer Carry Somers, fashion activist Lucy Siegel and Livia Firth came up with the idea to redefine the day and empower those lives lost in Bangladesh as a means to prevent more unnecessary tragedy. The event “will keep the most vulnerable in the supply chain in the public eye,” FRD says on its website. “Fashion Revolution Day is the day on which we will celebrate fashion as a positive influence, and all those who contribute to making it so. It will rally the high street, the high end, the new, the ancient, the innovators, the buyers, the shoppers, the media, the commentators, the activists and everyone in between.”

“We want people talking about the provenance of clothes,” Somers told Vogue, “raising awareness of the fact that we aren’t just purchasing a garment, but a whole chain of value and relationships. FRD will become a platform for best practice – for brands to show off what they are doing to improve things.”

But, Firth warns that we should be wary of greenwashing. “A paper bag here, an organic T-shirt there – some brands tick a couple of boxes and ignore the main issue,” she says. “Some mega brands still don’t give a damn but there are brilliant examples like Paul Smith who is absolutely in charge of his production chain.”

“As consumers, we want people to re-engage with fashion, slow things down a bit, love the clothes we buy more,” adds Firth. “Care about how they are made and by whom.”

It used to be this way. People we knew made our clothes, or people who sold the clothes to us knew who made them. Garments had tremendous value. Clothing, blankets, accessories, were made to last—and they did, for decades, generations. They were handmade, crafted with time and precision, not against corporate deadlines, ignoring safety and human decency.

Cate Blanchett told Vogue that garment manufacture demands the same attention as we’ve been giving to climate change, an issue she’s extremely passionate about. “If you offer options then it’s not sacrifice, it’s choice,” she says. “As well as the fundamental improvement to our spiritual health, buying with conscience is about the option to buy something for £1 that has the potential to blind 15 children as a result of an inhumane production line – or something else for £1.50 that will have a positive effect. Like climate change – we need to change the way we consume fashion. And if more individuals do then we make a change collectively.”

To participate in Fashion Revolution Day, people are being urged to wear one article of clothing inside out to signify their support of ethical fashion and more transparency in production. Take a picture or video of yourself in the inside out clothing and post online to Instagram or Twitter to @Fash_Rev with the hashtag #InsideOut. The campaign is also urging people to get in touch with the brands that make their favorite clothes and ask the question: “Who Made Your Clothes?”

“Perhaps one of the most surprising aspects of the Rana Plaza disaster was that, even a week later, many brands did not know whether or not they had been producing clothing within the building,” the campaign explains. “The theme for the first year brings the consumer to the forefront and tell brands that they want to know who made their clothes.”

The fallout from Rana Plaza has brought attention to the discussion about why “ethical fashion” needs to come to have the same definition as simply “fashion”—all fashion should be produced ethically, all the time. No one should be forced into working conditions that are unethical, unhealthy and unfair. If that’s the price of clothing—if we can’t do better than this—then perhaps we should wear nothing at all. “This is a global problem – we need to question how loyal we are to all brands to flush out sweatshops all over the world, even in developed countries, on our doorstep,” says Firth. “If we imagine we are voting every time we buy something, and we use our purchase power, then things will change.” They just have to.

Find Jill on Twitter @jillettinger

Related on EcoSalon

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Image credit via Fashion Revolution Day

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Jewelry designer, Susan Domelsmith of Dirty Librarian Chains crafts handmade jewelry and elegant accessories out of second market materials from past jewelry factories on the eastern seaboard. Materials dating back to as early as the sixties have found new ways to shine through in Susan’s collections. EcoSalon caught up with Susan to discover more about her craft, upcycling process and made in NYC appeal.

Juliette Donatelli: Your line is produced in New York City?

Susan Domelsmith: Yes, by me.

JD: Do you do all the labor yourself?

SD: Yeah pretty much. I have a few assistants that come in and I teach them as well. It’s like continuing the manufacturing process and trying to keep it here.

But I also work with materials that were primarily made in the United States. I shop at factories that have shut down in Providence Rhode Island, and components from the sixties to the eighties. Second market

JD: Are all of those factories closed down now?

SD: A lot of the production has moved overseas since primarily the mass market stuff is made in China now. But I feel like there is a resurgence where people are starting to care more where their products are made and who makes them. So I feel like there are some new ones that are opening back up.

JD: When bring your handmade jewelry to a buyer or the larger public, and they find out it is made in NYC, is that an appeal to them?

SD: Yes definitely. I do a lot of markets where I am selling straight to the customer and they definitely love meeting the maker and knowing there is a nice person who made the jewelry, infusing it with good energy, rather than someone being forced into this kind of way to make a living. Which you know, some people still have to do in other parts of the world.

If they can identify with the way of life of the maker then I think that’s nice for the customer.

JD: Are more jewelers using reclaimed materials?

SD: Yes. When I first started — I’ve had my line for almost ten years — so when I first started I saw that was not really something people were doing. But it has definitely become more of a common way of designing and producing jewelry. I am really happy a lot more people are taking the more environmentally conscious route, because then it takes all the chemicals that are involved in plating and the mining of the materials as well — it takes that out of the equation, and it is still nice things that are beautiful to wear. So I am happy that that’s becoming more of a movement.

Related on EcoSalon

Hannah Jones, Nike VP of Sustainable Business: Behind-The-Scenes Interview (Part 1)

Interview: Nike’s VP of Sustainable Business Hannah Jones (Part 2)

Interview: Author Kate Fletcher On New Fashion & Sustainability Book

Author Interview: Elizabeth Cline of Overdressed The Shockingly High Cost of Cheap Fashion

Interview: Jessica Alba Is Saving The World One Chemical At A Time

images from the brand

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EcoSalon caught up with fashion designer Tara St. James of Study NY on her latest socially conscious collaboration with prison women in Mexico, ethical fashion and what made in NYC really means.

Juliette Donatelli: Your newest work involves a collaboration with a women’s prison in Mexico. How are you working together and how did the partnership evolve?

Tara St. James: On a recent trip to Oaxaca I discovered a shoe line that I really loved called Taller Nu. I got along very well with the designers, they invited me to their workshop in Mexico City, so we decided to do a collaboration together. They work with a women’s prison group. They train them to do cross-stitch on leather, and they use that cross-stitch for their shoes. What I did was send them an image of one of the sweater knits that I am doing from Peru, and I asked them to reinterpret that knit pattern into a cross-stitch. So they did the interpretation themselves, I approved it and we designed the shoes and the bag together. That will be for late summer, fall delivery because of the lead time. I will be working directly with the designers and the collaboration co-op.

JD: The cross-stitch is done in Mexico. Are the shoes also made in Mexico?

TSJ: Yeah, everything is done in Mexico. They source the leather there, it is all domestic leather. They have it perforated so the cross-stitch can be done more easily. They bring just the panels to the prison and give them the instruction.

What is really kind of interesting that I love about it, is that if you look inside the panels each one has a different finishing on the inside. You can tell it is done by different women, and it’s just the way they interpret it. So on the outside they are all uniform, but on the inside they all have this signature.  I love that. And I love that you can see that.

And the only other thing I am importing are these alpaca knits from Peru. I have been working with this women-run co-op there for about a year now and this is the first development that we have done together.

And then the rest of the collection is made here in NYC.

The other thing that I am launching for this year, which will be early than fall, it will be a spring launch, is the open back shirt dress style that I always do. But instead of one piece, I am doing it as a piece that can be worn different ways, and convertible. So you can mix and match the fabric and remove certain panels or add on other panels.

JD: What about made in NYC? Is that a selling point for your brand?

TSJ: As far as wholesale buyers are concerned, I find the reaction not super encouraging. They are not all that inspired by it, although I think they like having the story to tell to their customers. Because I do see the reaction, you know when we had this space [Market 605] as a retail space, people coming in, whether they were tourists or New Yorkers, loved the fact that everything was made here. And so I think having that story associated with the brand, or even part of the brand, is important for the buyers, not for themselves necessarily, although some of them really care, but they like to communicate that to their customers.

I am not sure a lot of people are seeking it out yet, but they are definitely interested in it.

I have always felt the same way about the sustainability of the brand: I don’t think people really care about organic cotton, as long as it felt good and could be worn easily and washed easily and cared for easily. So it was really my responsibility to make it sustainable, but also my responsibility to make the design last long and be a quality good. And part of that is making it here in New York, I think the workmanship here is just good. I am lucky, I have a great factory that I work with and they do a really great job. I am not going to lie, I have had great factories in China too that do a really really great job but if I can get that quality and workmanship here then why shouldn’t I?

Want more interviews? See also:

Hannah Jones, Nike VP of Sustainable Business: Behind-The-Scenes Interview (Part 1)

Interview: Nike’s VP of Sustainable Business Hannah Jones (Part 2)

Interview: Author Kate Fletcher On New Fashion & Sustainability Book

Author Interview: Elizabeth Cline of Overdressed The Shockingly High Cost of Cheap Fashion

images: Study NY

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