EcoSalon interviews Lily Piyathaisere, the brains (and hands, and heart) behind  the made in NYC jewelry line, Gamma Folk. 

Juliette Donatelli: What is at the heart of your jewelry line Gamma Folk?

Lily Piyathaisere: Gamma Folk is really about the merging of new materials. So the new collection incorporated ceramics, which is a white earthenware clay, and I like to incorporate that with natural fibers. Everything is naturally dyed using different plant based materials including indigo and log wood. What I love about log wood is that it has a range. You can add modifiers and different things to have a range of purples to grays.

The ceramics are all hand built. It is my first time incorporating ceramics. I love the fibers but I was always looking for weight. It is a comfortable necklace but you want it to hang, and I thought it was a good was to incorporate that.

JD: Is there a history to where the fibers are sourced? Or how they are dyed?

LP:  Well, I do everything myself. I do all the dying in small batches. There are variations that occur and that is what is part of what is beautiful about it. They are all cotton.

JD: How does your customers respond to the specialty and craftsmanship behind each piece?

LP: I think that people who like my stuff, really like my stuff. Meaning they appreciate the handmade quality of it, and that there is variation. There are times I will work with people who are kind of like, “Oh that is too different.” You know, they make that point. And I always say, ‘Variations are natural.’ And that’s how you know it isn’t a good fit. The right people appreciate that. If they want something mass produced they’ve got to go elsewhere.

Part of textile arts in general is the labor part of it and embracing that part.

JD: You participated in the Market 605 pop-up shop in NYC, which brought together conscious designers throughout NYC into a single retail space. In your experience, what has the public response been to Market 605?

LP: The response from the public, whether they have found us online or through press, or even walk-throughs have been really nice. The locals around here get really excited to find something unique in this area because they have a lot of chain stores moving in, so the people that I have met get excited to see something new going on.

images: photographer Christine Han for Gamma Folk

Want More Interviews? See Also

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Nettie Kent: Value Driven Brass Jewelry Designer

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Value driven jewelry designer Nettie Kent talks with EcoSalon about her process, what changing color in brass jewelry really means and why she chooses to hand make her jewelry in New York City. 

Juliette Donatelli: When people find out your line is made in NYC what is the reaction you get?

Nettie Kent: Buyers here [in NYC] care. My showroom is actually in LA, it’s on the west coast, and they don’t care [laughs]. But people here definitely care. And also people that care about sustainable design, where things are made and all that–they definitely care.

One of my biggest selling points is that everything is handmade in my studio, and all my metals are recycled. I work with an amazing caster. This is all brass and he has just the best quality brass. A lot of casting techniques afterwards they rinse the casting in these super gross harsh chemicals– he doesn’t do that. And he doesn’t do that because he necessarily cares about the environment. He is so funny; his name is Frank and it is a family business. His daughters work there and so does his son, and when I first interviewed him — it was important to me — he was like, in this thick Long Island accent, “My family works here! I am not going to put that shit around here, I am not going to expose them to that.” I said I love you we are working together!

So, it’s more work because when my castings come back they are really dirty and it is more work polishing them and cleaning them up. But for me it is worth it. Sometimes is it a curse [laughs] you know. But the color I can achieve from his brass is amazing.

JD: Yeah, I would have never been able to tell it was brass, I thought it was gold. 

NK: Yeah, it is wild, [matches up gold ring against Nettie Kent brass ring] this ring is gold and you can hardly tell the difference.

Also, I don’t do any plating, plating is a really dirty business.

JD: Why is plating a dirty business? What does it entail?

NK: A lot of customers want things to be gold plated; they think it is more valuable and they think it means that it will stay. But what happens when you gold plate something is first it is washed–it has a nickel coating on it and nickel is a white metal, a lot of people are allergic to it, so that is why I say my brass is nickel-free. Because people think they are allergic to brass, it is not actually brass they are allergic to, they are allergic to nickel. So when something is plated it is dipped in a nickel bath and then dipped in the gold. So between the brass and the gold it has this kind of like a poison on it. It is really hard. The only kind of plating that lasts a long time is micron, and  it is a real thick layer. And it very expensive. It is hard actually to find someone in New York that is good at it. Rhode Island is actually the best.

So I just decided not to do it. People ask me too, and I say sorry I just don’t do gold plating. If you me to make it in gold, I would love to make it in gold for you. It is just not part of what I do.

Here I am going to all these lengths to make my jewelry and make my practice clean. And then to cover it in that seemed totally silly.

I love brass, I love how it changes color with the environment and ages. And it is just an interesting metal. It reacts to your body’s pH too. Your body reacts to brass when it is too acidic, like when you are overtired or drinking too much coffee.

I had to learn all this about brass when I switched over. I had to learn this because people would ask me, ‘Why is my brass turning color?’ And I would say, let me figure that out!

I try to have fun with it, and make things I want to wear. I am not a sales person, but I feel like if I believe in it I can recommend it to people.

images from the brand

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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)

Interview: Author Kate Fletcher On New Fashion & Sustainability Book

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

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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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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.

EcoSalon sits down for a fun conversation with jewelry designer Natalie Frigo on her made in New York ethically sourced stones, the three kinds of fashion consumers and what it takes for people to change.

Juliette Donatelli: All your jewelry is made in New York. How important is that to your customer?

Natalie Frigo: I launched my first line in 2010 and I would say that it was made in NYC, and it didn’t matter at all. Nobody cared. There were, like, three people who cared. How could you not care about this? This is awesome! You don’t want something domestic? There would be a couple of stores that would say, ‘Oh, we love that. We will totally promote that.’

So, now people are more excited about it. And I have people who will contact me –buyers and retail customers who will contact me and say, ‘I love your designs, but then I saw it was made in New York, and I knew I wanted to get it.’ And it’s this thing that justifies it to them.

If you are interested in that it matters, but this is not going to convince you to be interested in that.

I definitely still get from buyers, they seem to understand it more, but I do get a resistance on price because my stuff is made domestically. And my stones are ethically sourced. If you don’t know where your stones are coming from, it is like apparel, a little child cut that stone. There is no question in my mind. I would put money on it. Awful. My stones are not like that. They cost more money–two to ten times as much. And so some people are like, ‘Oh yeah, that’s all great but our customer won’t pay more.’ They like the designs but there is a price resistance and they would just rather have a cheaper good. As much as they think that it’s great that it’s made domestically, it’s not worth it to them, or they don’t want to educate their customer or try to get a new customer base.

JD: What do you think it would take?

NF: Really. What could it take? How much more information do you need to make things domestically? The economy fell from underneath us.

There was a woman who came in [to Market 605], she was dressed pretty cute, and she started going through the clothes. I was wearing something from Feral Childe, and I said ‘I love this jacket, I just bought it.’

And she looks at the tag and it’s a four hundred dollar jacket and she’s like, ‘Oh yeah. That’s too expensive.’

And I said, ‘Well, you know, it is an investment piece. I am going to have it for a really long time, it’s very classic, this isn’t going to go out of style.’

And she said, ‘Yeah, I don’t shop like that. I buy multiple things every season and I never invest in anything. I have friends that do that, I am so impressed. But I can’t do that.’

You can do that right this second! You could get that one thing right now and just start. So people who shop like that are also the buyers.

What does it take to change a person?! I feel like some people are just never going to think it matters. And then there are people on the fence, and the more they learn about it they get super excited. And then there are people who have always known about it and they’ve always been into it and they are all about it.

I would say most of my accounts are galleries or local stores that have been in their communities for a long time and are interested in developing relationships.

JD: It’s all about the relationships we build.

NF: Yeah. You don’t have to have everything made domestically but you could have some things. People want to buy domestically, but they are so used to not having to pay for things on that level.

JD: Getting the conversation started is so important. If Michelle Obama, someone who is always being asked who she is wearing, made a simple statement about where it was made, because it was probably made in the USA because of the designers she wears and the quality of the pieces–a little awareness like that could go really far. 

NF: Yes, we need good fashionable ambassadors.

I got into a conversation with this guy, he was one of the workers at a show that I was setting up for. He came over to my booth, and said, ‘Oh your stuff is really cool,’ and I said thanks, it’s made in NYC. He said, ‘That’s awesome. I had to stop buying Carhartt because they don’t make it in America anymore, they make it in Mexico.’

He was amazing! Just this regular guy wearing t-shirt and jeans, and he’s all mad because Carhartt stopped producing domestically. You need people like that in all walks of life. He’s probably lecturing his friend non stop about wearing something made in China!

Related on EcoSalon

The Promising Future of Men’s Fashion: An Interview With the Discerning Brute’s Joshua Katcher

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images from the brand

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Suzanne Rae’s eponymous Spring/Summer 2014 Collection is a look into the (kinder, gentler) future of the modern woman. What does that mean? To designer Rae’s mind, she seeks comfort in simplicity—but style is never a compromise (why should it be?). Almost as if seen through a crystal ball, Rae’s S/S he collection is graceful forward-looking take on sharp day-to-night streetwear for the woman who has more interesting things to do than get dressed twice. 

Rae’s latest collection is inspired by the novel 2150 AD by Thea Alexander, but even without knowing its origins, you can see that the styles are a look into the future—almost robotic in form, but juxtaposing with a soft feminine feel. Suzanne Rae gives us a snippet of utopian (or is it dystopian?) society through her minimalist, well-tailored and boldy accentuated silhouettes. The new collection seamlessly combines imagination and craft.

This redefinition of femininity is exemplified in the black neoprene dress seen below. It is seasonless in a global world that could see you pairing it with sandals and a colorful, oversized clutch on a sunny NYC summer’s day; 48 hours later, paired with a crisp white turtleneck and black tights with boots, it would fit in comfortably on a wintery Sydney day.

Her perfectly volumized shapes (like the one seen above) are the new forms in fashion, the opposite of the current trend for ultra form-fitting everything. Pieces are smart and perfect in their attention to detail, like the black tee with neoprene trim around the sleeves and collar.

The collection materializes the new definition and role of the modern woman, but also challenges and then recreates the fabrics it is constructed from. Fabrics like neoprene, usually used for wetsuits, are poetically constructed to appear quite mysterious. Crinkled silk organza evokes the beauty of a pearl even with its wrinkled texture. (Plus, it would be a wonderful piece to travel with because you don’t have to worry about ironing it!)

Not only is Suzanne Rae a brilliant young designer, she is dedicated to manufacturing in the city she lives in: All of her clothing is produced in the Garment District in Manhattan and reflects the true cost of clothing production by skilled workers—something the industry—and our communities could use more of!

Get an inside look and feel into Suzanne Rae’s SS14 Collection through this video created by her team.

You can find Suzanne Rae’s styles throughout small boutiques like Kaight, Steven Allan, Joinery and Henrik Vibskov.

 Related on Ecosalon: 

NYFW: Suzanne Rae’s Minimalistic Take on Feminism and Beauty

The Ultimate List of Sustainable Fashion Designers, from A to Z

The post Suzanne Rae S/S 14 Collection at NYFW: Futuristic Minimalism for the Modern Woman appeared first on EcoSalon.

These made in NYC, zero-waste designs pack a punch of Caribbean flair combined with funky Brooklyn edge for gorgeous sustainable fashion.

Tabii Just is a Brooklyn-based zero-waste, womenswear brand that epitomizes the concept of casual cool through sustainable fashion. Simple but sexy, designer Tabitha St. Bernard’s creations are flirty and fun, but made with ethical and environmental practices in mind. Tabii Just clothes are made to allow women to feel beautiful and chic from within, realizing that a sustainable garment plays a part in a conscious dresser’s confidence.

A graduate of New York’s Fashion Institute of Technology, Tabitha co-founded Tabii Just in 2012 after sharpening her skills at Vivienne Tam and Tahari ASL. After learning that more than 15 percent of factory fabric is discarded into landfills, she decided to set up a label on her own terms. “Instead of looking for a fashion house that was in line with my ideals, I decided to create one from the ground up,” Tabitha says.

All Tabii Just clothes are designed to be zero-waste as any excess fabric from garment production is used to make shopping bags, makeup bags, pocket squares, etc… Any excess scraps from these accessories are then donated to Bramcracker Baby to be used in their stuffed animals. All Tabii Just collections are made in New York City in order to personally maintain quality control over garment production, monitor fair labor conditions and to proudly be able to sell locally produced clothes.

The Spring/Summer 2013 collection is chic but unique, as Tabitha’s mix of NYC style and Trinidadian heritage make for a colorful, feminine and foxy set of ensembles. The skirts, dresses and super cute crop tops are perfect for the city or the seaside, and can easily be dressed up or down.  The prints are earthy but accentuated with bright colors that definitely demand some attention – these clothes are for a vibrant woman that likes to be noticed!

Find Tabii Just garments through their online shop, at Modavanti’s online shop or at Kaight NYC in Brooklyn.

Images: Tabii Just 

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Show off your best color and shine like the sun in bright yellow hues this summer.

Fashion has been all about bright color for a while now, and that’s not going to change this summer. As nature blooms and shows off her best colors, so should you. Yellow is one of those hues that makes you instantly happy – it’s like wearing sunshine on your sleeve. Dare to be bright and don’t be scared of mixing different hues of yellow either. This summer, it’s time to shine like the sun.

H Fredriksson Fold Neon Dress
This simple, yet bright and fun, neon washed silk dress is just the perfect frock for summer. It’s elegant yet effortless, much thanks to designer Helena Fredriksson’s masterful draping. Made locally in NYC from natural fabrics.
On sale for $215, H Fredriksson

Yellow Translucent Spikey Necklace by Thea Grant
If you don’t want to go all in with yellow, try adding a statement-making accent piece, like this dramatic spikey necklace with bronze beaded balls and chain fringe by Thea Grant, a Brooklyn-based designer who decorates her pieces with vintage and antique objects, fobs, curios and charms found throughout New York and beyond.
$265, Juno & Jove

Organic by John Patrick Shirttail
A bright yellow tee will make for a great closet staple this summer. Wear it with everything from patterned skirts to denim cutoffs. This fitted short sleeve by Organic by John Patrick is a great choice. Made from 100% organic cotton.
$74, Conifer

Baggu Leather Tote
A simple tote bag is the only thing you need to carry your essentials around this summer. Choosing one in bright yellow ensures that no matter what you wear with it, you’ll look very on trend. Made in NYC from soft natural milled leather.
$160, Baggu

Sleeveless Belted Dress by Carrie Parry
This classic buttercup yellow sleeveless shirt dress by Carrie Parry has a feminine Peter Pan collar – button it all the way up or leave a few open – and flattering belt detail. Made in New York City from 100% Bemberg Cupro. 20% of the sale of this dress goes toward supporting the non-profit Trees for the Future
$285, Carrie Parry

The post On Trend: Sunshine Yellow appeared first on EcoSalon.

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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