C.L.A.S.S. founder Giusy Bettoni is educating the next generation of sustainable designers and entrepreneurs this week in NYC with a packed program that includes workshops on the latest in sustainable fabrics and natural dyes, to an eco-scavenger hunt through New York City’s garment district.

Fashion Institute of Technology is hosting Connecting the Dots, a forward-thinking three-day symposium for business owners, industry workers and students to learn about the positive impacts of taking a more sustainable design approach to the fashion, beauty, and health industries.

Beginning Wednesday, July 10, the event includes 

workshops, demonstrations, panels, an eco-fashion show, and a sustainable fashion tour around Manhattan. “I am very excited that we are able to offer 3 days of events around sustainable fashion, health and beauty,” said Christine Helm, Director of the Enterprise Center at FIT, “We are building on the excitement, exchange of ideas and knowledge that we started with last year’s event.”

In addition to running a textile, fashion, home and design business, Bettoni (left) is also the Green Carpet Challenge’s (founded by Livia Firth, right) go-to woman. (Image: FIT )

Milan-based Giusy Bettoni, cofounder of C.L.A.S.S., an international eco-platform that promotes environmentally friendly products and Livia Firth’s co-collaborator on the Green Carpet Challenge, will provide the keynote address entitled, “Welcome to the Third Dimension, Where Design and Innovation Meet Responsibility.”

We caught up with Bettoni to learn more about sustainable design:

Rowena Ritchie: What do you want people to know about the fashion, home and design products they currently buy? 

Giusy Bettoni: I believe it would be absolutely great for them to discover the majority of products they desire are not just performing from a design and functional perspective, but also from an environmental level which is incredibly low.

RR: Can you tell us about what led you to set up C.L.A.S.S. and how your organization creates more environmentally friendly products for the fashion, home and design industries? 

GB: I have a 30 year-long background in raw materials, fibers, yarns and fabrics. My goal was to turn them into something beautiful, precious, innovative and most importantly, eco-friendly. I founded C.L.A.S.S. to concretely prove that these new horizons of sustainable fashion textiles are not just possible, but actually represent a new step in the value chain. We have now created  “ecolibraries“ where brands and designers can source new, high-tech and responsible materials coming from natural, organic, recycled and renewable resources—each fabric meets our criteria of design, innovation and responsible certification.

The missing ingredient in today’s design world is products that are designed responsibly. There’s real added value and competitive market advantage available to us by promoting these qualities to the consumers; that’s the other dimension I’ll be discussing at the symposium.

RR: Why are educational events like FIT’s symposium so important?

GB: Sharing information and experiences is key to this new way of working with textiles. Education is so important. It’s what C.L.A.S.S. is really all about. We are really pleased and honored to be invited by FIT to be part of this symposium, and will do our best to disseminate what we have learned in the last years. I truly believe sharing and networking is the key to this movement’s success.

RR: Do you think there is a difference in the way eco-friendly fashion is received by consumers in Europe versus the U.S?

GB: Each country has his own lifestyle and culture, but I have to admit that the perception of eco-friendly fashion is quite the same everywhere and the perception is not as good, unfortunately. That is why a symposium like this one is so vital.  We need to show that responsible innovation in fashion creates a competitive business advantage, and not just a nice story.

RR: Tell us about your latest project with Livia Firth’s Green Carpet Challenge?

GB: The Green Carpet Challenge is a fantastic exercise, and we are always working at something special… I cannot go into detail now as it is early days, but I can say we are preparing something amazing for the next London Fashion Week!

 To learn more about Connecting the Dots: A Sustainable Fashion, Health and Beauty Symposium or to register for the event, click here, or call (212) 217-4000. 



Top Image: courtesy C.L.A.S.S.

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Using patented no-waste technology, knitwear brand Kotoba makes pieces that are as conscious as they are covetable.

At New York Fashion Week, knitwear seemed to make an appearance in some form on just about every runway. On Thursday, collective knitwear brand Kotoba celebrated the launch of their Spring/Summer 2013 collection with a fun, low-key presentation at The Maritime Hotel in the Meatpacking District.

Kotoba is the Japanese word for language and the collection, designed by Melinda Danko and Lindsay Mann, featured timeless pieces in simple, versatile silhouettes enhanced by unexpected structural details and textures. Basics in black, taupe and ivory were complemented by pieces in bright and playful colors, particularly orange and mint green, two of the most on trend hues this fall and going into spring.

“We were inspired by multiple things, but it all came down to leisure activity,” says Melinda Danko. “We thought about the one thing that people forget to do, which is how to enjoy themselves – how to have fun doing sport activities, going to the beach, taking care of environment – things that are important in life.” This playful spirit was evident in the presentation, as the models were given props like footballs, skateboards and baseball bats.

“Lindsay and I developed the collection very organically,” says Danko. “We just burst out ideas and silhouettes and with the yarns we have it just came together. We started with one design and it all just fell into place after that”

All the pieces in the collection are produced using WHOLEGARMENT technology, a patented production technique derived from Shima Seiki, a Japanese knitwear machine manufacturer that has been around for fifty years, but has more recently, in the past five years, developed knitting machines for making clothing. It’s an innovative way of producing knitwear that is lightweight and stretchy and made virtually without any waste.

“We wanted to bring back crafts and trade and the sustainability aspect to the U.S. domestic market,” says Danko. “Everything we make is seamless, there’s no waste in the production, and the entire collection (except the yarns, which are from Italy) is made in America”

Kotoba’s spring collection is everything I love about sustainable fashion – it’s locally and ethically produced (in NYC’s Garment District), using innovative technology, but it’s also fun, sexy, wearable and timeless.

Danko says: “We make qaulity garments that, yes, you are going to spend more money on. But the lifetime and durability makes them pieces that you can have in your wardrobe and love for years.”

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After a rough patch, business in NYC’s Garment District is starting to pick up.

For decades, fashion mavens and budding designers have flocked to the quadrant between 34th and 42nd Streets, hedged in by 5th and 9th Avenues. Here, in New York City’s Garment District, fabric can be purchased, patterns made, pieces sewn, trimming added, and dreams realized, all in the space of a few blocks. Designers like Donna Karan, Calvin Klein, and Oscar de la Renta have all made the Garment District their home at a point in their careers, and countless others got their start in the neighborhood. At one time, the Garment District was the global hub of textile manufacturing. But not anymore.

“The only thing that has not changed is the location,” says Anthony Lilore, owner of RESTORE Clothing and a founder of the Save the Garment Center movement. “The physical appearance has gone from streets packed with garment racks and push carts, to some racks, some push carts, and some rickshaws with tourists.”

Indeed, over the past fifty years, the Garment District has seen a steady decline in business, owing primarily to overseas outsourcing, mostly to China. When that picked up in the early 1990s, family-owned companies in business for generations were forced to shut their doors, and designers, burdened by the higher rents and rising costs of working in midtown Manhattan, moved elsewhere. Most of those who have survived the downturn and recession say they’re hanging on by a hair.

“At this point, it’s a labor of love,” says Maria Lipari-Bertone, whose family has run Quality Patterns, which specializes in grading and marking, for more than forty years. “This is our bread and butter. Many of us came from overseas, and we made our lives in the Garment District.”

But there are signs of revitalization. At New York’s first City Source Expo, held January 10 at the Fashion Institute of Technology, more than fifty producers, suppliers, and pattern makers turned out to field questions and take orders from attendees interested in local production. Several vendors said that they’re starting to see an uptick in sales, mostly due to China’s rising “minimums” for new orders, a weak dollar, and higher shipping costs. Lipari-Bertone says that many new designers can no longer afford to work in China, so they’re starting to inquire into local production again.

Plus, in recent years groups like Save the Garment Center, Made in Midtown, and the Garment Industry Development Corporation have surfaced to advocate for Garment District preservation and serve as a resource for designers interested in manufacturing there. Backed by New York fashion industry vets like Nanette Lepore, Anna Sui, Jason Wu, and Yeohlee Teng, these groups emphasize the district’s historical, creative, and economic value to the city of Manhattan.

Made in Midtown says:

Ultimately, this story is about much more than fashion. It’s about one of the last neighborhoods in Manhattan that has not yet been remade by recent waves of new development. It’s about jobs and immigrant workers. It’s about the decisions city officials make to support certain kinds of businesses.

And for designers interested in sustainability, a one-stop-shop like the Garment District means a more compact production process, which eliminates the costs, both financial and environmental, of working with subcontractors in different parts of the world.

“The quality of craftsmanship and the concentration of schools, designers, sample rooms, showrooms, production, and stores make the Garment Center the only one of its kind anywhere,” says Lilore.

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Launched on Valentine’s Day 2005, New York City-based Stephanie Doucette and Annebet Duvall launched Doucette Duvall, a dress and coat line seeking to fill a fashion void in their own wardrobes. Embodying the “wit and elegance of their mothers, grandmothers and aunties,” the line strongly encourages personal interpretation of each piece.

I always refer to the line as “bratty,” and it is. Wearing it makes you sassy, flirty and even a little brazen, which is a great way to feel in a piece of clothing.

Leopard A-lines, couture rompers, high necked silk blouses with drapey sleeves? It’s like being invited into your grandmother’s closet with revamped fashions that are forward for 2010. Not many designers can get away with some of the lines and fabric choices that Doucette Duvall does, which makes it all the more appealing.

Doucette Duvall also practices environmental and social responsibility by manufacturing the entire collection in New York City’s historic garment district and use pre-existing fabric and trim.

Their website says “dd pieces must be as memorable as a first kiss – for girls (and boys) – so that they get way more life than just a season or two. We essentially long to create trend-less, green beauties for dd girls everywhere.”

And they do and we love them for it.

Want to meet them? Come to EcoSalon Shops! in NYC, say hello, and pick up a silky frock while you’re at it!

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