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.

Related on EcoSalon

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

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

images: photographed by Jonathan Hökklo for the brand

The post Phenomenal: Alice Wu Discusses Made in New York City Label Feral Childe appeared first on EcoSalon.

Reading is sexy. It expands our minds and imaginations, gets our neurons firing, and come on, who doesn’t love a good story? Bookworms and librarians have always had their own style, and in these days of e-readers and screen-skimming, the staid, page-turning of a tome is the ultimate in luxury. Of course, eco fashion designers know that smart style is sexy, so there’s plenty of stacks’ sartorial choices to be found—if you know where to look. 

Pelican Blazer by Feral Childe

Every woman needs a smart blazer, and the dynamic design duo of Alice Wu and Moriah Carlson who together design the Feral Childe label), know smart clothing. The tailored, sharp simplicity of this piece is just what we mean when we talk about smart style. Wear it over jeans and a white tee or to a business meeting over some killer trousers; either way it’s an investment piece you’ll never get tired of styling. Made in NYC’s Garment Center.

Feral Childe, $425 

Pocket Silk Dress by Isabell de Hillerin

Clean and modest on top, but playful on the bottom, this Isabell de Hillerin dress is for all occasions. Plus, the back’s keyhole feature is a sexy surprise.  Made from fine handwoven organic silk in Berlin, Germany.

A Boy Named Sue, on sale for $350

Jett Classic by Modern Vice

The relatively new brand Modern Vice is making comfortable shoes in one of Manhattan’s only shoe factories. Designed by the stylish sisters Natalie and Dylana Suare (in a collab with Modern Vice), the Jett Classic in Oxblood is certainly a fall staple that will last for many seasons to come.

Modern Vice, $398

Stacks Necklace by Dirty Librarian Chains

Made from salvaged vintage pieces from a shuttered jewelry factory in the Northeastern US, it wouldn’t be an ode to reading without a nod to Dirty Librarian Chains. This necklace is part delicate part grunge, part rebel with a cause—but all class.

Dirty Librarian Chains, $175

Cruisin’ No194 by VuerichB. 

I love the two-tone detail of VuerichB.’s Cruisin’ sunglasses, especially with the fun detail that these sunglasses are made from recycled skateboard maple wood. Who woulda thunk! These upcycled, stylish shades are handmade in Barcelona.

Mahonki, 295 Euros

Want more On Trend? See Also:

Personality Pops With Patterned Pants: On Trend

Classic Trends in Dichromatic Black and White Sophistication: On Trend

Sweet Romantic Organic Bralettes: On Trend

Geometric Fashion Jungle: 7 Ways to Wear it On Trend

images from the brand, collage by Juliette Donatelli

The post Smart Style For Bookworms and Sexy Librarians: On Trend appeared first on EcoSalon.

Feral Childe’s Spring 2013 Collection, The Searchers tells the cautionary tale of a land forgotten. 

We’ve been scratching our heads wondering why the “slow fashion” movement is, well, slower to catch on than its widely embraced cousin, “slow food.”
 One of sustainable fashions most formidable labels, Feral Childe – the print-centric and thoughtful womenswear collaboration between design team, Moriah Carlson and Alice Wu – hopes to connect the dots in its latest collection, The Searchers.

Inspired by the film classics that celebrate the American landscape in all its glory, the pair recreated the story of how the land has sustained people thru the years by evoking the great tradition of home-grown food, migration and homesteading.

“On our reading list were classics such as The Grapes of Wrath, The Good Earth, and My Antonia,” Says Wu. “There is a romantic aspect to all of this but also a darker side. It is extremely difficult for farmers and anyone who makes their livelihood from the land, to grow food successfully, and we are headed for another Dust Bowl if we don’t take care of our natural resources.”

Their latest collection is also a celebration of a long journey taken by Feral Childe that began in 1997. Now producing two collections a year that are designed and made in New York City’s Garment Center with ethically-sourced materials, the label seems to be hitting its stride. Full of the energy of their edgy prints and the comfy brilliance of their signature silhouettes, The Searchers is a strong showing with a series of irresistible outfits for spring.

The water-resistant Trench Coat is a great outerwear pieces for the season.

We caught up with the designers recently, here’s what they had to say:

Rowena Ritchie: Feral Childe has been producing clothing for more than fifteen years now. What have you learned about what women want to wear in the process?

Feral Childe: Throughout our evolution we’ve learned women enjoy wearing comfortable pieces that make them feel confident. We design for women who aren’t afraid to stand out in a crowd, although we always make some “quieter” pieces as well.

The Cabbage Dress layered over the Carrot Jean is an easy way to wear spring’s more relaxed fits. 

RR: What’s a fresh way for women to update their style this season?

FC: We’re seeing a refreshing move away from the skinny jean so this season we created our Carrot Jean, which has a relaxed fit and yet is still very polished. The Carrot Jean goes great with any of the tops in our collection and also we show it styled with some of our dresses as well for that layered look we love so much.

The Sticks and Stones print on the Rake Dress combines an ink drawing with shapes cut out from magazines.

RR: You are known for your innovative prints. Tell us about this collection’s prints and how they came about?

FC: Our prints are designed with the same conceptual rigor that we apply to our fine art practice. We have a set of criteria to make sure that our prints stand out from the rest. The image must be generated with hand-made elements – drawing, painting, or collage for instance – and digital manipulation must be used sparingly. We use the prints to tell the story of the collection. So for spring 2013, some prints reflect the landscape during various stages of planting and human occupation.

The Collard Shirtdress shown in Khadi can be worn loose or cinched at the waist and tied in front or the back. 

RR: Feral Childe have an enduring fondness for the shirtdress. Can you tell us why its such a popular silhouette for modern women’s lives.

FC: We love the utility and flexibility of a shirtdress in all of its guises. We make clothes for industrious, intellectually curious women and there is something about a shirtdress that speaks to to that range. You can be tough and glamorous at the same time in a shirtdress.

A spring must-have. Feral Childe’s beautifully fitted Prairie Blazer.

RR: Where will the collection be available?

FC: We’re available at independent retailers throughout the U.S. and in Canada, such as Kaight and Smith+Butler in NYC, Juno and Jove in Sarasota, Green Tree in Ottawa, Myrtle in LA and online at Beklina.com and Summerland. For a full list of retailers you can check out our website at http://www.feralchilde.com.

The Free Range Top (shown here with Carrot jean)  can be styled so many ways. 

RR: What’s next for Feral Childe?

FC: We are always thinking of ways to improve our fit, and create our next print series. We’d love to form partnerships to have our work reach a wider audience. Right now we are a very lean operation, and we’ve been under the radar as we’ve perfected our aesthetic, but we are excited to see where this year takes us and we feel we’re ready to be discovered.

All images courtesy of: Feral Childe

The post The Searchers: Feral Childe’s Spring 2013 Collection appeared first on EcoSalon.

EcoSalon’s favorite fashion designers, jewelry makers and artisans on the nature of creativity. 

“Beauty will save the world,” remarked Dostoevsky in the 19^th century. If ever there was a time to believe in the possibility of that statement, it is now. When our public discourse is reduced to ideological political posturing, the impact of beauty and creativity in our everyday lives offers both a vital opportunity for connection and a prospect for cultural renewal.

Over the years at EcoSalon, we’ve delighted in sharing the stories of the fashion designers, jewelry makers and artisans who are dedicated to creating true objects of beauty while choosing ethically responsible methods and practices that upend the customary business models in fashion, jewelry and art. Why do they do it? We asked them the question, “What compels you to create?” Here’s what they had to say:

Xing-Zhen Chung-Hilyard and Melissa Kirgan, Eko-Lab

“Creativity is a deep unconscious force. A process that reveals the unseen see-able and dreams reality. There’s a peace that comes from designing that in some small way we’re making the every-day more beautiful.”

Joy Opfer, Kyler by Joy O

Elizabeth Gilbert, author of  Eat, Pray, Love, has said that she believes there are currents of creativity and ideas circulating around the planet, looking for people to bring them into physical form. This idea is a lovely way of explaining the process of creativity – I often feel that I do not so much create, as synthesize ideas. When we work hard to be there, to be open and prepared for the muse when she arrives, to welcome her through sweat and tears, ready to manifest the boldest visions, a blend of the hive and our own minds – this is a gift.

Fashion is one of the biggest industries on the planet. To act as though it is frivolous is, at this point, a waste of time. Each person, through their choices can inspire change and awareness – and creating one more choice that supports handcrafted and carefully made goods is one that I am proud to be a part of.

Meghan Sebold, Afia

Life can be nauseatingly tragic with many things feeling out of our control. People can be corrupt, dishonest and disloyal – and often times it seems that those people win out. I see only two ways of dealing with the dark side of life: you can respond to corruption with conniving strategies, dishonesty with lies, attacks with counter attacks – or you can reject it and a attempt to create light and beauty in dark situations.

I’m certainly no hero to the women who produce my line – most of them are suspicious of my intentions. They think I’m there to use them for cheap labor – why else would I cross the world to be there? We stand in a room together across a table, having difficult conversations. Trying to trust each other. Trying to create a product together.

Shannon South, reMade USA

So many of us have the innate desire to create. It is what makes us human and what keeps our species going. It’s what fuels innovation. Those of us who are informed and concerned try to do so in the most thoughtful and sustainable way – a path that is not easiest or the most profitable, yet one that gives meaning and integrity to our vision.

Sasha Duerr, Permacouture Institute

I am a plant dyer because it immediately connects me to time and place, to my environment, to my community, and to indescribable depths of beauty. Plant color can ONLY be created – like an amazing meal you toast  to and savor with friends, or an heirloom peach that came to ripen in the sweetness of a perfect growing season – in that time with those conditions. It is a depth of experience that is often not repeatable – and therefore difficult to commodify.

I am consciously grateful to have chosen to make it my work – beyond promise of financial gain or security. This is why I started Permacouture – experimentation and knowledge needs to be shared if it is ever to be sustainable or regenerative to last beyond our own generation. This love for the wonder of the bigger picture has fueled my passion as both an artist and advocate for slower ways of being and creating. I am always awed by how much there is to learn.

Davora Lindner, Prairie Underground

The idea that “Creativity is it’s own reward” seems like such a universal truism. As designers and manufacturers our role isn’t entirely creative but we feel fortunate to work in an industry that demands this engagement. It has introduced us to the writers at EcoSalon and to like-minded women all over the world. That level of aesthetic communication is startling – it’s this connection that is the inspiration behind Prairie and remains the central theme of our work.

The photo (above) is from when Prairie Underground was still based in our homes.  We had received a large volume of orders for the Hard Times Dress that featured a hand painted print.  I needed to figure out a way to execute this in my studio apartment.  The solution was to paint the textile and feed it out my window to dry, then repeat.  Our passion to create is something that end users don’t often see.  The memories of this time are some of the fondest in my life.

Elizabeth Bruner, Piece x Piece

When you  start to seek out original and handcrafted crafted clothing, it feels like an important revelation. Handcrafted means respecting the time it takes to actually create something. There is meaning in the fact that someone has thought and carried out all the little steps it takes to make a truly unique item.

It’s never been about money for me. I know I’m not going to be a rich woman working with scrap fabrics but what compelled me to start Piece x Piece was the fact that I simply could not ignore what in my heart I knew I could change, if even on the smallest scale.

Alice Wu + Moriah Carlson, Feral Childe, 

When we started Feral Childe, we were young artists trying to make it in the New York art world, trying to fill the emptiness in our own closets, and striving to provide an antidote to fashion’s obsessions with brands, logos and over-consumption. We felt a responsibility to make things that were thoughtfully made, using available materials such as off-cuts and fabric remnants so gnarly and unloved in their raw state, but full of potential beauty in our hands. We believe in the power of the handcrafted to affect one profoundly. When something we have made touches an individual in a way that makes them think differently about the world we live in, we are inspired to continue our work.

Maria Moyer

It’s submission to the process. From inspiration to execution, I have to get out of the way and let my hands and my understanding of material attempt to catch up to some idea of what is possible. The result is always a surprise and that is a delight, sometimes a disappointment and always there’s something to learn. The whole thing is a miraculous privilege.

Kirsten Muenster, Kirsten Muenster Jewelry

I’ve always felt a need to create with my hands. My father helped me make my first ring in our basement when I was a kid. The feeling I had then (and still get today) from translating an abstract or conceptual idea into a tangible object with my hands is indescribably addictive.

Nature, unusual materials, ancient artifacts and crafting techniques inspire my work and process. Creating handcrafted objects is vital because they have the power to tell a story, carry on a tradition and remind us of the connection between every set of hands involved in the process or supply chain. I hope to influence others with my work to keep the cycle going. That’s why it is so important for me to know where my materials come from and whose lives they impact. We’re all connected.

Howard Brown, Stewart+Brown

At Stewart+Brown, the reason we do what we do is because we MUST have a sense of both passion and purpose in our work. And we must have beauty in our lives and not at the expense of the environment or supply chain stakeholders. We could not find that collision of ideals in the corporate world even when working at great companies, so we created it ourselves with our own company. It has been the greatest adventure of our lives. In a world of mass production and consumption there still needs to be value, integrity, humanity, and yes, great design without compromise. That is the goal we work towards every day.

Gretchen Jones, Gretchen Jones NYC

I believe it is our responsibility (the creative’s of the world) to be an instrument for the greater whole. We were given a gift, but in that gift is responsibility. Responsibility to be a communicator for humanity and the world, as we know it. We transmit cultural movements and the direction life is taking. Without us, we are collectively nothing.

Art in itself is about translating what cannot be translated in words. I take responsibility for that job. My “job” is to learn how to use my gift to better our lives. To open us ALL up to new ways of thinking and enable us all to live more enriched existences. I may need money to survive, but making money from my work is there by default. The passion to create is about the greater whole, not the ego or bank account… and that, is what the life of an artist is all about.

The post Beauty Will Save the World: Sustainability’s Top Makers on What Compels Them to Create appeared first on EcoSalon.

Celebrate the arrival of spring by wearing sustainable pieces in fresh floral patterns.

It seems that spring has sprung early in many parts of the country. Where I live, the air is filled with a sweet scent of orange blossoms and jasmine. Flowers are, indeed, a sign that warmer times are coming in the very near future. Celebrate this by wearing sweet floral prints, which also happens to be one of spring’s hottest trends.

The Cousteau Jacket by Feral Childe 
This little number is a fresh update to the spring jacket. It features one of those great prints that Feral Childe designers Alice Wu and Moriah Carlson are known for (another was famously knocked-off by retail behemoth Forever 21). Made in NYC, from 100% silk crepe.
$320, Kaight

Drip Top by H. Fredriksson
Brooklyn-based designer Helena Fredriksson is also known for her innovative prints, often based on photographs she has taken during her travels. The draping of this top gives it a great fit, sure to flatter most figures. Sustainably made by skilled craftspeople in NYC’s Garment District.
$242, Juno & Jove 

Alkemie Lavender Bangle
We love that this lavender bangle hints at the floral trend without being overt about it. It’s simply a subtle hint to nature. Like all Alkemie’s jewelry, this bangle is handmade in Los Angeles, using 100% reclaimed metal.
$198, Alkemie

People Tree Delicate Flower Shell Top
This sleeveless white peter pan collar top with red and blue mini floral print is a throwback to the 50s, when everything seemed just a bit more polished. Wear it with ankle-length pink pants and pointed-toe kitten heels and you have an outfit worthy of Betty Draper. Perfect paired with jeans or shorts. Made in India from 100% organic cotton.
Approx. $67, PeopleTree

AFIA Goddess One Shoulder Dress
This gorgeous one shoulder dress is just begging to be worn to a springtime garden party where croquet is being played. AFIA designer Meghan Sebold handpicks the cotton wax fabric for all her pieces from the markets in Ghana’s capital city Accra. The clothing is made in sewing cooperatives in Ghana, where artisans are paid a fair wage for their craft.
$200, AFIA

Silver Spoon Jewelry Rose Ring
This rose wrap ring is handmade in the U.S., from antique silver plated demitasse spoon handles. Who says silverware can’t be fashionable? Infinitely adjustable, it fits all sizes and fingers.
$29, FairTribe

Jeffrey Campbell Vegan Sprint Wedge
Part of Jeffrey Campbell’s collection for vegan shoe label Convert, this wedge heel is the perfect mix of springtime color and sporty freshness. Wear it as a way to add interest to any simple outfit, or pair it with other patterned pieces to channel another of spring’s biggest trends.
$120, Convert

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Nine ways to wear one of spring’s hottest trends: ankle-length pants.

Ankle-length pants have been seen on the runways of fashion darlings like Isabel Marant for a few seasons now. This spring, it’s the hottest pant shape. A definite love-it-or-hate-it trend, ankle-length pants are easy to pull off, if you know how. The secret: picking the right shoes. We’ve done the work for you and found nine cropped pants and shoes that will make each look a home-run. Pair with a simple tee and a cropped jacket or long blazer and you’re wearing the spring trend as it should be.

Red is one of the hottest hues this spring when it comes to pants. Get inspired by Isabel Marant’s latest runway collection and pair your skinny ankle-length jeans with black pointed-toe pumps. It’s a fail-safe look.

Eileen Fisher Organic Stretch Twill Slim Ankle Jean in Saffron, $178, Eileen Fisher / Novacas Vegan Olivia Pump, on sale for $39.99, Moo Shoes

Take a walk on the wild side by pairing cropped cigarette jeans from Edun with cruelty-free vegan loafers in leopard print. All hues of pink – from soft pastel to hot fuchsia – are very on trend for spring.

Cropped Cigarette Jean, $198, Edun / Leopard-print Loafers, on sale for approx. $97, Beyond Skin

Most people will look best in a pair of skinny ankle-length pants, simply because they are more flattering and tend to accentuate the curve of the calves. Play with another of spring’s trends – stripes – in these organic cotton leggings by Feral Childe and pink vegan pinup-style sandals with a striped cork wedge heel.

Feral Childe Organic Cotton Chain Link Legging, on sale for $69, Jute & Jackfruit / Vegan Wedge Pindowns, on sale for $99, Fluevog Shoes

We’ve said it before and we’ll say it again, prints are huge for spring. Combine these galaxy/flower print cropped pants with yellow strappy sandals by Cri de Coeur and you’ll nail another hot trend – monochrome.

Low-waisted Skinny Pant, on sale for $112.50, Suno NY / Elegance T-strap Vegan Sandals, on sale for $50, Cri de Coeur

Strike the perfect balance between casual cool and street-savvy elegance by pairing Stewart + Brown’s Organic cotton sweats with shiny black rubber platform heels by Melissa. Top it off with a long black blazer and you may just get away with wearing sweat pants to a fancy dinner.

Stewart + Brown Terry Sweat Pants, $133, Stewart + Brown / Melissa Amazonas Platform Sandals, on sale for $67, Tobi

For a more avant-garde take on the ankle-length pant trend, pair these Organic wool trousers by designer Bruno Pieter’s new line Honest By, with a pair of vegan creepers. Keeping the look simple in all black keeps you from looking like a kid who outgrew his pants.

Adjustable Organic Wool Trousers, approx. $608, Honest By / Novacas Vegan Oxfords, $129.95, Compassion Couture

Keep things easy and breezy by pairing loose-fitting cropped pants by Dace with elegant architectural slingback heels. Add a lace top, sand-colored blazer and or loose-knit sweater and you’ll look like the nature-babe you are.

Dace Timothy Pants, on sale for $122.95, Future:Standard/ Clio Ankle Strap Vegan Wedges, $380, Cri de Coeur

If you’re ready to be totally daring with this trend, pair this printed jumpsuit by Edun with a pair of graphic black and white sandals. You’re guaranteed to turn some heads. Chances are, though, that this look will only work on amazonian model types.

Yoruba Print Jumpsuit, $489, Edun / Charm Bib-front Sandal, on sale for $42.50, Cri de Coeur

The post How To Wear It: Ankle-Length Pants appeared first on EcoSalon.

“The more ephemeral fashion is, the more perfect it is. You can’t protect what is already dead.” – Morand

In a recent blog post, Consumerist fashion: Innovation Repressor, author and fashion pioneer Kate Fletcher wrote that “consumerist fashion not only damages the resource base, workers, consumers, etc., but also – and perhaps more insidiously – represses innovation; stifling anything other than that which benefits those invested in the status quo.”

One of the most obvious manifestations of this is in the immense speed of the fashion cycle, a system so rapidly changing that opportunities for “real innovation” are extremely limiting. The speed of change in fashionable dress is an old grievance of cultural observers. “Ah! Quelle Antiquité!” exclaim the couple in Carle Vernet’s etching dressed in the height of 1793 French fashion – “Oh! Quelle Folie que la Nouveauté!!!” replies the couple dressed in fashionable 1778 dress. The exchange roughly translates to  “Ah! What Antiquity!” and “Oh! What Madness of Innovation!” illustrating the rapid changes occurring in fashion in post-revolutionary France – and as a result the remainder of the fashionable world.

Carle Vernet

This “Madness of Innovation” is what still compels the fashion industry onward today. Author Barbara Vinken describes fashion as “the empire of the ephemeral,” in her book Fashion Zeitgeist and French writer and early Modernist Paul Morand claimed, “The more ephemeral fashion is, the more perfect it is. You can’t protect what is already dead”. Such musings are all well and good, but when the ephemeral nature of fashion leads to seemingly mountainous deposits of undesirable fashion items relegated to landfill – perhaps another attitude needs to be encouraged.

Fletcher describes consumerist fashion as a system that continually needs to “self-justify” itself, creating new styles in ever-faster cycles to replace old ones, which inevitably wear out quickly and were never intended to be mended. The phenomenal speed of this cycle relies on the ability of fashion houses large and small, from the high street to fashion week to copy and be influenced by the existing design work of other designers, either contemporary or historical. I say it “relies on it” because for fashion houses at all levels the development time for collections is growing ever shorter, leaving minimal time for true innovation and the pressure to meet deadlines and profit margins necessitates a degree of copying.

A homage or just plain knocking off? From left to right: East West Musical Instruments Co., Balenciaga, and Urban Outfitters

A good friend who was working for a fast fashion producer in London replied to an email I had sent her about my own work addressing sustainable fashion design, production and consumption systems. Describing the design process in the company she worked for she wrote “I don’t actually design them. But, in the loosest sense of design, I ‘adjust.’ Are you laughing??? I do most days. I correct appalling fit, I decided on length/print/colourways. I rip out a Lacroix skirt (out of Vogue) that I love with loads of lace and send it out to the factory with a line drawing and basic spec, cross my fingers and hope that something nice comes back.”

Current international law regarding the protection of fashion designs in theory allows designers to protect their designs, usually through the application of design patents or “trade dress,” and in the case of copyright automatically protects the patterns, textile design and sketches relating to any design and long as it is original. But what is original? The fashion zeitgeist can be described as a continuous line, a progression of ideas for which most are traceable through a cyclical lineage which marries other contemporary designers work with historical dress and often street fashion. As a result the difficulty in proving originality of idea in its entirety is immense.

An added complexity is the evolution of the fashion industry from being a relatively simple “trickle-down” procession of ideas to the non-linear system we have today where fashion ideas appear to come from anywhere. When writing about and discussing Zero Waste Fashion Design with others, I often need to point out that what I do also isn’t new. Zero-waste pattern cutting has been around for thousands of years in the form of Kimono and other historical costume, and more recently many designers worldwide such as Issey Miyake, Timo Rissanen, Mark Liu, Yeohlee Teng and Zandra Rhodes have been engaging with it.

Writer and designer Holly McQuillan at the traveling Yield Zero Waste Exhibit she curates

Miucci Prada famously said, “We let others copy us. And when they do, we drop it”. This altruistic attitude only works when the copied designer is already desirable to fashion consumers and the designer has generated income from being the first to produce the design. However since the advent of the Internet and improvements in manufacturing, the translation from high fashion to high street now only takes weeks, explaining why copying is so much more of a problem now.

Previously high fashion and couture houses were relatively unconcerned by copies as they would only be on the market after the original designs had had their moment and they had made a return on their investment. Indeed the copies indirectly drive later sales due to the obsolescence they induce. The Internet, whilst making fashion more accessible to consumers worldwide, has also made it very easy for fast fashion houses to translate consumer interest into new variations.

Anna Sui spring 2007 RTW on left and Forever 21′s Maven Top on right

Once styles are gleaned from the internet and processed by the design room, manufacturing advances mean that fast fashion firms such as Zara can take as little as 14 days from design room to retail floor – consequently taking income away from the designers that invested in developing the idea in the first place. Contemporary fashion moments pass by so quickly as to negate much of the need to protect individual designs – by the time designers patent their work, the fashion value of that piece is likely to have diminished if not dissolved completely. The result is that the majority of the fashion world treats their outputs as Creative Commons – “shared resources that can be freely reused, recreated and recombined” with a mostly self-governing “shame-police.”

Instead of legislating the rights of designers, fashion savvy consumers and observers can spot, and through blogs, out an overt copy, or as it is more euphemistically labeled “homage.” The loss of reputation can be damaging so most high-end designers try to avoid intentionally referencing other designers work too heavily. The situation becomes much more complex when well known designers copy little known players in the industry. It has been argued that this “referencing” aids the original designer, by giving them publicity which they may have otherwise never received, a convenient viewpoint for those with power in the fashion industry.

Feral Childe Teepee Print

Forever 21 Knockoff Print

Despite the potential benefit to society there appears to be little motivation from either designers or consumers to slow down the rate of change and so-called “innovation” in the fashion industry. The financial benefit from the current system is great. The specter of the derivative-driven fashion cycle is however something that should concern sustainable fashion designers. Indeed if the fashion industry as a whole aims to eventually be sustaining and follow best practice then the rampant excesses of consumption need to be addressed, something that companies such as Marks & Spencer who, whilst making great leaps forward in providing organic product ranges and other sustainable initiatives, fail to address. There are few design companies who actively encourage their consumers to buy less.

There are other ways to measure success. The fashion industry could protect and nurture up and coming designers, it could develop better pay and working conditions for the millions of its workers, it could move toward being an industry which values truly innovative design and prevents the proliferation of so-called “new or innovative” products purely for the sake of a quick return.

The more often that products are released to the public, the more often the consumers feel the need for change, and the faster that consumers get bored with current offerings. This could be attributed to the idea (as French provocateur Jean Baudrillard stated) that we consume as we lack any other real purpose in our lives. So we need alternatives.

Kate Fletcher writes: “To this, the response of those of us who love nature and the creative and cultural power of fashion and design can only be to invigorate innovation of these alternatives and develop a different plan of action.”

Image: Fashion Bomb Daily

The post The Hypocrisy of Fashion ‘Innovation’ appeared first on EcoSalon.

Eight eco-friendly dresses, in flattering shades of red.

The holidays are here and that means a lot of parties. This year skip the standard LBD and put on a LRD (Little Red Dress) instead. Dressing in brighter colors just seems more festive, doesn’t it? But, instead of Santa-red, go for a darker shade, such as ruby, bordeaux, rust or maroon this year. Here are our top eight eco-friendly LRDs, in no particular order. Of course, you can also use them year-round.

1. Feral Childe’s Goldbird Shift
Elegant with personality, this shift dress by Feral Childe will take you through any day and night with great style. Made in New York, from 100% hammered silk, this lovely piece works just as well as a dress as it does a tunic.
$242, Embodies

2. Prairie Underground’s Fringe Tribe
This one is for those nights you know you’ll end up dancing to the wee hours. The three tiers of fringe in front (and two in the back) will move with you. Made in Seattle from 100% Organic cotton.
On sale for $185, Embodies

3. Prairie Underground’s Basque Dress
Sweet and flirty, this dress by Prairie Underground will carry you through the seasons in ethical style. Features a soft draped neckline and close fit. Made ethically in Seattle from 100% organic cotton.
On sale for $79, Equita

4. Clothes by Majestic’s Button Down Charlie Dress
For the more casual family gatherings, this comfy dress from Clothes by Majestic is a perfect fit. Made in Portugal from a fabric made up of 40% Linen, 40% Lyocell, and 20% Cashmere. The check pattern gives it a hint of that Lumberjack Girl style we talked to you about last week.
On sale for $185, Juno & Jove

5. H. Fredriksson’s Drip Dress
Featuring a great pattern and skillful draping, this dress can easily take you from a day at the office to a night of festivities. Designed by Helena Fredriksson of H. Fredriksson, it’s made in New York from 100% silk.
On sale for $260, Juno & Jove

6. Indigenous Designs’ Organic Cotton Little Knit Dress
Perfect for a holiday party, or a hot date, this pretty little dress is hand knit by a women’s weaving cooperative in Peru. Indigenous Designs has a longstanding commitment to the environment and to the communities in which they work, which means everything they make is Fair Trade. This dress is made from organic cotton and tencel and dyed using certified, eco-friendly dyes.
On sale for $89, Jute & Jackfruit

7. Suzabelle’s Alexandria Dress
Suzabelle creates timeless pieces that are guaranteed to make every woman feel a little bit more like a lady. Each piece is ethically crafted by hand and to help offset the impact of production and transportation, designer Suzanne Jaberg donates a portion of all profits to Conservation International.
$189, Olivine

8. Stewart + Brown’s Jersey Gown
The simple, elegant draping in front and back and a subtle side slit makes this maxi dress by Stewart + Brown a good choice for the most glamorous of holiday parties. Made from 96% hemp and 4% spandex jersey it’s also insanely comfortable. Stewart + Brown are members of the 1% for the Planet Foundation, which means that 1% of total sales is donated to charity.
$210, Beklina

The post On Trend: 8 Little Red Dresses for the Holidays appeared first on EcoSalon.

10 Holiday dresses that will take you from the company party to year-round glam girl.

Holiday dresses can be the bane of our December existence. If you’re lucky, you’re able to swap frocks with a friend or know of a fabulous consignment boutique that helps justify buying something new for a single party. Why not think even further with your purchase this year and how you could wear it year round? We’ve found 10 dresses that can do just that and with just a spark of creativity, can be the dress that keeps on giving.

Carrie Parry’s Red Bow Dress

Carrie Parry’s Red Bow Dress made from 100% organic wool is a feminine, shift dress with a removable bow collar that “transitions easily from a day at the office to a night on the town.” We love the festive red tights for the holidays as they add a fun style element to what could otherwise be a boring shift with safe, black tights and shoes.

(Also available in black.)

Camilla Norback’s Butterfly Sleeve Dress

If you opt for a LBD this year, try stepping outside the straight and narrow you’re seeing in popular department store windows and add a little flounce and flair. Swedish designer Camilla Norback offers up this lacy dress that is just as much country as rock and roll.

Feral Childe’s Pleated Prokofiev Dress

Known for their graphic prints and seamless melding of color and shapes, Feral Childe always produces collections with at least one truly  stand out dress. This Prokofiev Dress in their Orchestra Print is that one. What can’t you do with this dress for a holiday party or, better yet, year round?

Dahl by Alison Kelly

Alison Kelly’s dresses are just as pretty as she is. Feminine, playful and at times glamorous, Dahl dresses come in a variety of colors (see site for more), and with 10 styles to choose from, you’re bound to find a style just for you.

Kelly Lane’s Galaxy Dress

Kelly Lane’s Galaxy dress is part funk, part lady. While the top part of the dress echoes the lines of a built in shrug, the rest of the dress is a basic shift that flatters. Worn with black opaque tights for a holiday party or teal tights for a night out, this dress will shape shift its way into your style universe.

Popomomo Palazzo Pantso

H

It’s not a dress or a skirt, but these Palazzo Pants from Popomomo are a perfect fill in for holiday parties with a sexy cropped top and statement piece of jewelry or, just kicking back. The drawstring waist is an additional selling point for those holiday parties don’t come without their fair share of eating (and stomach expansion).

H Fredriksson’s Drip Dress

H Fredriksson’s Drip Dress drapes where it should and is made from a buttery soft silk. Contrast the shine of the fabric with a knitted tight post-party, add boots and a fitted black t-shirt and you have a whole other date in your Drip Dress.

Prairie Underground’s Austen Blouse

Not all parties you go to this holiday season are going to be under dim lights with a live band playing Duke Ellington. This Austen Blouse by Prairie Underground is actually long enough to wear as a dress (albeit mini), and looks great with patterned tights and a pair of shimmering flats or after your holidays are over with purple tights and heeled brown booties. This is also a great neckline to show off your favorite necklace.

Allison Parris’ Sammi Feather Dress

This is the dress that is made specifically for everything fun and fabulous that you do. Made from a raw organic silk, the Sammi Dress from Allison Parris will elevate you to a new level of sustainable with a fashion-forward feather crinoline skirt to balance out the industrial, exposed zipper on the back. Can you wear this dress again? Of course, but it better be in another state.

Lina Rennell Check Cocktail Dress

You didn’t wait all year to make a New Year’s resolution to start working out or intensifying your yoga practice, no, you did it faithfully – all year. Slip that toned body into Lina Rennell’s Check Cocktail Dress and watch how the other party goers keep using you as a gauge for how much they shouldn’t eat. This dress is for year-round and has so many possibilities for cardigan sweaters and boyfriend blazers, sandals and platform heels, this dress just brings it.

Top image: Allison Parris

The post 10 Holiday Party Dresses (You Can Use Year-Round) appeared first on EcoSalon.

Sustainable style news from EcoSalon’s West Coast Fashion Editor.

Africa Outlook – Shop San Francisco-based Wildlife Works’ Kukhanga collection, the recent relaunch features extracted elements from the vibrant prints found on the traditional Khangas worn on East African Women. The easy-to-wear line of tops, jackets and accessories are certified organic, handmade and hand screen printed by local women at their carbon neutral EcoFactory built next to the wildlife sanctuary Wildlife Works started. Thought that was impressive? The conscious company also offsets their carbon emissions throughout the entire manufacturing process through REDD (Reducing Emissions from Deforestation and Forest Degradation), which aids local wildlife preservation.

Hot Childe In the City – There’s a reason why we can’t stop loving on Feral Childe, they’re talented, original and prepared to put their money where their mouths are. Meet delectable designers Moriah Carlson and Alice Wu at their fall trunk show at SALA Boutique in Berkeley on Saturday, October 15^th. My advice? Snap up one of their flattering silk georgette dresses in the orchestra print, sure to be the sustainable must-have of the season.

LA Stories – There’s just something about California (and its not the cheese). A new exhibition “Pacific Standard Time: Art in L.A., 1945-1980″ at L.A.’s Getty Museum explores the eternal appeal of the Golden State, which influenced celebrated artists like David Hockney and Ed Ruscha. But wait, there’s more… the exhibit kicks off 60 further shows all over Southern California over the next six months, including a massive public sculpture and performance art event that will take place during an 11-day festival in January.

The post Eco Style West Vol. 31 appeared first on EcoSalon.