InterviewLooking at the entire fashion system and how to incorporate the consumer.

Kate Fletcher is a true pioneer of sustainable fashion. Having started research in the field more than 15 years ago, she is the mind behind the concept of Slow Fashion, and always at the forefront of innovation through directional sustainability projects. A prolific author, she has just published her latest book, co-authored with Lynda Grose called Fashion & Sustainability-Design For Change.

The book was launched in London last week, at the Carnaby Book Exchange, with an introduction by Dilys Wiliams, Director of the Centre for Sustainable Fashion (London College of Fashion), and in conversation with Patrick Laine, Director of Corporate Partnerships, WWF-UK.

EcoSalon had the chance to have a chat with Kate Fletcher during this occasion, to talk about the book and the solutions she presents in it – to create a new fashion system that recognizes sustainability as a fundamental element.

Who is your book aimed at? Who is the target audience, and who is the message for?

Its audience is the design community, but by design community I mean something extremely broad and inclusive. Not just the professionals who have been to design school, but everyone who is trying to change things, in a direction where they see a positive effect. So all of those who are engaging with issues in the area of sustainability. The ambition of the book is to show people a whole diversity of innovations and opportunities around fashion and sustainability, because too often things are framed as “eco-efficiency” opportunities, while that is only just the first step on a very complex journey.

You said you want to create a shift from “adding sustainability to fashion as it currently works” to transforming fashion practices at their core. Do you believe this can evolve from the current situation where a niche movement is trying to take on the whole of the industry?  How else do you think the issue should be tackled?

I think it’s important to be speaking to the mainstream sector, it’s important to be showing them what they can do today, and how they can begin to transform their business, but at the moment that’s what’s happening largely alone, and I don’t think that can’t happen alone. And if a big company doesn’t increment that with a broader vision, you end up always reiterating the same things that have been done in the past.
The problem as I see it, is that we can’t get to sustainability by extrapolating from where we are today, because this is just building in the shortcomings and the problems of the current business models. So we must dream up something as a positive step, ask ourselves “what do we want? What’s a healthy sector like?” And if we can start building from that perspective, then inherently we won’t have the problems that we have today.

Still with regards to the big fashion companies, both high-street retailers and luxury conglomerates: what’s your opinion about their efforts to incorporate sustainability? Do you think their approach is truly felt, or do you see them as token gestures to avoid criticism, and spurred by the fact that sustainability can sell?

I think it is meant and felt, but a lot of people in the industry are deluding themselves that what they’re doing is worthwhile and enough. So a lot of people are still perpetuating the same model, but they substitute one fibre with another, or try to build a more transparent supply chain… Certainly with some of the luxury sector there are some shameful practices that are going on, and blatant greenwashing and bandwagon-jumping. This doesn’t mean that they’re not sincere, but they’re certainly misguided, and that’s the problem.

Author Kate Fletcher with Patrick Laine at her recent book launch

In the UK, recently three TV programs have been aired, showing the efforts of companies that are trying to bring manufacturing back to Britain. Do you think going back to local manufacturing is feasible, is it achievable?

There is evidence this is already happening, even though the move has been driven by economic factors rather than sustainability reasons. There is every reason to ride that wave, as it is going in the same direction that we want, and we should use that energy. Also, “Made in the UK” is not the solution to all problems, firstly because at the moment there’s a major skills gap, and we don’t have a skilled enough workforce to make products the way we want them; and also because in many developing countries a lot of people depend on the manufacturing jobs created by our demands. But I think there is an opportunity there for us to think what we want our sector to be, and try to strike a balance between the two realities. From my personal perspective however, I see localism as a cornerstone idea within sustainability.

You have an important role as an academic, within the CFS at LCF. A lot of universities now offer sustainable fashion courses, forming the designers of tomorrow. But what about the consumer of tomorrow? What do we need to do to engage the young generations, and how do we communicate sustainability to them?

If all we do, like we’re still doing today, is get them to choose between two different products on a shelf, then I don’t think we’re doing the right thing. Part of the problem is that we’re casting people in a very simple way as consumers vs. producers. I think we need to think of what they are in a very different way: as part of the whole process, as engaged persons, who take responsibility, who ask their own questions. Therefore I wouldn’t even talk about them as “consumers,” but rather as “citizens,” as people who are in the system with us, and make their choices part of their lifestyle. Perhaps that’s where the real change lies.

One thing I would really suggest to all users of clothes to do, would be to go through their wardrobes and try to remember why they bought each garment, consider what they liked about it and the reason why they chose it. So that they can be reminded of the garment itself, assess its current potential to be worn again, styled with something else, and develop more awareness of what’s already in our wardrobes. We are so overwhelmed by the shopping options out there, and we need to take a moment and re-engage with what we already have.

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Sustainable style news from EcoSalon’s West Coast fashion correspondent.

Heart-Shaped View – Why is now suddenly the perfect time for optimistic, feminine accessories? Maybe staying positive is the most radical approach to dealing with the madness. Sophia Edstrand‘s signature silk embroidery artisanal accessories are notable for their heartfelt and colorful flowers, butterfly and love heart aesthetic. Garnering some major press, the distinctive Sophia 203 line of headbands, necklaces, belts and evening bags is launching this month at The Shop at The Standard in downtown LA.

Guts and Glamour– According to San Francisco-based non-profit Global Action Thru Fashion, the global apparel and accessories market generated total revenues of $1.3 trillion in 2008, yet only around .4% of that is classified as sustainable. Justice in the Fashion Industry, a fundraiser on June 30th at 7pm promises to deliver both green glamor and a call for a bold approach to solutions for the future. EcoSalon will be at the scene for presentations by Eve Blossom of Lulan Artisans and Lynda Grose of CCA,  an ethical fashion installation, a silent auction of eco wear, personal eco styling and a photo booth to capture your eco makeover.

Street Sound–Music and fashion go together like July 4^th and fireworks. Oakcollectiv, the recently opened pop-up store in the heart of downtown Oakland is a collaboration of two seasoned designers, Penelope Adibe and Rachel Konte, both transplants from Europe to the US. Join sultry songstrel Kara Alexis Young for live music this friday to kick off the holiday weekend and shop for sleek street wear and accessories from the designers’ own Nineka and Afrobuddahhot lines.

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Sustainable fashion news from EcoSalon’s West Coast correspondent.

Mellow Yellow — Time for your closet’s annual spring fling? Join fun-loving locavore, Priya Saraswati the designer doyenne behind San Francisco’s Saffron Rare Threads, at the Thursday night launch of her 2011 collection “Delicious Anticipation.” Starting at 7:30 p.m., the fashion show will feature locally manufactured, one-of-a-kind pieces with a timeless and global appeal.  RSVP here to enjoy street food, wine from Alex Sotelo Cellars and 15% off all night.

Future Eco — Spot the next sustainable fashion scene stealer at the College of the Arts annual fashion show on Friday at 8:30 p.m. on the Eighth Street campus. Under the tutelage of inspiring Fashion Design Assistant Professor Lynda Grose, the graduating seniors will present collections designed for the necessity of sustainability. For those student wannabe’s interested in how to implement green practices into their current gig, check out the school’s New Fashion Sustainability Workshop Series, (a personal certificate program is coming up in June).

It’s Absurd — Painted Bird, the Valencia street favorite of San Francisco style rummagers, has a new location for devotees to flock to. Owners Nate and Sunny Archer’s cool curation of consistently fresh and reliably off-kilter vintage clothing is now available to L.A. based thrifters. Suitably located a few blocks from Sunset Junction on Santa Monica Boulevard in Silverlake, the store will sell jewelry and accessories from local designers and a small production footwear line designed by Nate and Sunny themselves.

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Questions over the price of our clothing – be it too cheap, the environmental cost of producing it, consumers shifting ideas about what luxury or true value actually is – all seem to go hand-in-hand when it comes to fashion. Regrettably, I have to admit that the crux of most conversations I have in the world we call “eco”, “fair-trade”, “sustainable”, “green” or (the most un-fun fashion moniker ever) “responsible” fashion always comes down to this, “How much more does it cost?”

With last year’s economic climate, getting more for less was an exceedingly relevant question. However, in 2011, things appear to be looking up. Timed with last week’s high profile Paris Couture Week there were a slew of news reports that customers of flagrantly expensive Haute Couture are increasing and that couture houses are thriving.

For the rest of us, couture fashion runways are an unobtainable but accessible indulgence. It’s when fashion watching goes from merely aiding the delight/dilemma of what to wear daily to the heart-pounding fantasy of a whimsical dreamscape. It’s fascinating to trace couture colors and details as they go on to inform and interpret a broader, mass market fashion story. (Remember Meryl Streep, as the Devil in Prada’s great soliloquy about the origins of skeptical assistant Andy’s cerulean blue sweater?)

“It’s been an excellent year for couture,” Sidney Toledano, CEO of Christian Dior, was heard saying from the sidelines of John Galliano’s runway show. “The young generation, even if they don’t buy, they want to go to the Internet and see the couture shows…The image is so strong, and this generation is looking for strong images.”

Back home in Northern California, I recently came across a look book of a sustainable line that is as substantial and arresting as the appeal Mr. Toledano speaks of. Sonoma County sustainable designer Emily Melville’s eponymous line was not originally conceived as “eco-fashion.” For her, “sustainability is actually a byproduct of my interest in creating the highest quality locally designed and produced, made-to-order luxury clothing. I don’t feel like there is always a clear dividing line between sustainable fashion and “conventional” fashion. Good design, good quality clothing, creating a connection between the consumer and the creator… these are the things I’m interested in.” With that in mind, I was delighted to ask Emily (currently taking some time out to have her first child) about the role price has in creating a strong brand image.

Vivienne Westwood was recently quoted saying “I was on the bus on Saturday going down to Whitehall. I just looked at everybody and there wasn’t one person who had a silhouette or stood out. They all looked like babies who had come out from a big washing machine – all easy-care jerseys and tights.” Your designs are the antithesis of this.

What a great quote. This is something I’ve observed as well, how there is this trend towards shabby, comfy, sloppy clothing. Where is the glamour? Where is the drama?  At the same time, I have to admit that I tend to dress for comfort a lot of the time too. I think some of it has to do with what a fast pace we are all expected to live by these days.

But there have always been people who just wear clothes rather than fashion. I am very inspired by the blog The Sartorialist; it captures images of women around the world who do stand out, who do find ways to create the glamour and the drama. I am always interested in looking at the way that women combine items, new pieces with vintage items, low price things with high price things. As a designer you create whole new looks every season, but that is not the way most women actually dress. That is something I like to keep in mind as I design – how will this jacket fit into her entire wardrobe, not just into my collection.

What are the eco credentials of your line? Who inspired you to design sustainably?

All my clothes are locally designed and produced here in Sonoma County. I’m creating garments that are made-to-order which hugely reduces the amount of waste I create. I strive to create timeless designs, and use the highest quality construction to ensure the longevity – and isn’t that what sustainable actually means? Whenever possible, I try to focus on natural, biodegradable, and fair-trade fabrics. I save all of my sample and production fabric scraps, which I either reuse or donate to a local charity.

The biggest challenge for any small designer just starting out, whether their focus is sustainable fashion or not, is fabric. My vision required me to look beyond what was available in the “eco” fabric market and instead try to find what was the best quality in the fibers, finishes, and colors. Someday I dream of being able to find organic wools and cruelty-free silks that behave like luxury fabrics and that I can get dyed to any color with a natural dye. And hopefully my line will be become big enough that I can demand that kind of product in the market.

While I was studying for my MFA from the Academy of Art University in San Francisco, I took a course in Sustainable Fashion taught by Lynda Grose. That was probably the most challenging classes I took the whole time I was at AAU. Lynda is always questioning, always pushing you to think deeper about sustainability, and constantly pointing out how there are so many “catch-22’s” in the world of eco-fashion. That course sparked in me the desire to focus on small fashion, slow fashion, local production, hand-made garments. At the same time, I was being encouraged by my other instructors to cultivate my high-end designer sensibilities.

I love your classic color palette of charcoals, olives, steel gray and pale lemon. Did you intend to create a timeless, heirloom quality in a world of fast, disposable fashion?

That is exactly my intention. Clothes that will last for years, clothes that won’t ever go out of style, clothes that can work with other things in your wardrobe, clothes that you will pass on to your children… that is what I’m aiming for. There is no way that I could compete with the fast fashion that is out there. The only option for a small designer like myself it to aim for the opposite of that, to design for a woman who doesn’t want to change her entire wardrobe twice a year.

What is your price point? How do you persuade a customer to spend more on sustainable fashion?

My price points put me in the high-end, luxury market $600- $5000, depending on the piece. The question to me is less about persuading them to spend on “sustainable” and more about spending for quality and design. My hope is to create a relationship directly with the customer, so they feel like they understand where the garment is coming from, what the story is behind it.  When someone can see the hand of the designer in a garment, it takes on much more meaning, becomes more important to them and therefore is worth the extra money.

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