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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They chow down the same foods we healthy middle-aged women eat: Quinoa, lean proteins, fresh organic produce, water from chic reusable Sigg bottles. They drive hybrids and raise funds for good causes, shun the direct sun, and sometimes even wear secondhand fashion (couture, of course).

But tinsel town celebrities my age, like Demi Moore, who is featured on the cover of W Magazine this month, are not like me or any of my healthy, naturally beautiful women friends. No, unlike the mere mortal soccer moms I rub shoulders with at book club gatherings and parties, Demi shows no signs of age or wear and tear. Where is the emerging turkey neck Nora Ephron wrote about? Where are the sagging eyes? Where are the cottage cheese thighs?

“Her body of work has been notable in no small part because of her notable body,” writes Moore cover story author, Kevin West, adding that, “hers is an undeniably striking version of midlife.” He assures us the striking former brat packer has changed at 47, evidenced by tiny lines when she smiles, but she has not gone under the knife.

“It’s their job to look amazing,” observes my astute 13-year-old daughter, Sydney. She tells me if it were her full time job, she would be flawless, too. Methinks my teenager looks pretty flawless now, but she would be happier with perfect hair and no blemishes, stuff that completes you when you are 13.

It comes down to the perception of perfection, and in achieving it, stars are spoonfed support from trainers and personal chefs. Most turn to plastic surgery, even prematurely, like America’s sweetheart Meg Ryan and highly respected eco goddess Daryl Hannah. In both cases, the surgery changed the lovely features we knew, while their bodies maintain the taut physiques of teens. In all cases, the goal is achieved. Defy age. Look young.

One looming exception is Meryl, but even the consummate thespian had to shape up to play a mature hippie in Mama Mia and Alec Baldwin’s ex and Steve Martin’s lover in It’s Complicated.

Still, Streep, now in her 60’s, is probably aging more naturally than any other major star. She doesn’t succumb to surgery and I haven’t noticed her photographs being altered through Photoshop, the favorite weapon in the arsenal of Hollywood anti-aging defenses. Streep doesn’t maintain a public persona outside of her appearances, stays out of the sun and avoids alcohol. Those are pretty good defenses, too. Bon Apetit, Meryl!

While I’m certain Demi stays gaunt for her industry, the W cover shot is not the body of a 47-year-old mother unaltered. My 47-year-old friends look amazing, but none of them have bodies like that. It’s the body of her daughter Rumer, perhaps.

The cover was as surprising as the Self Magazine issue featuring American Idol Kelly Clarkson, who didn’t actually slim down the way the magazine suggests on the cover, but erased those pounds thorough digital post-production. And how ’bout that ad featuring Ralph Lauren model Filippa Hamilton, who was deemed too fat at 5’10” and 120 pounds and had to be drastically Shopped to cut the mustard?

While the option of doing digital makeovers is the choice of each publication, the star still pays a price in terms of credibility.

I feel compassion when I realize society demands its idols be, well, objects to idolize. Air brushing and retouching are just a few of the finishing tools employed in the land of make believe, the land the media fully endorse because we fully buy into it. But at the end of the day, it just makes us feel sad. We can’t possibly live up to these images of perfection, and frankly, neither can the stars.

The alternative: finding a way to accept ourselves as natural beauties who do the best we can to stay healthy and fit and happy and productive – and admire how we are able to thrive in a world with so much adversity, sickness, hunger and negativity.

The Demoiselles website did a recent feature profiling celebs moving in the direction of self-acceptance, even unlikely candidates such as Kim Karshashian, who posed for the cover of Life & Style Weekly completely unretouched.

When asked by the magazine why she is so open about her body (i.e. showing herself receiving a cellulite treatment on her reality show), Kardashian said she was tired of people pretending they’re perfect and covering up things when in reality we are who we are.

“You can try to improve that, but the reality is, nobody’s perfect.” she declared.

But maybe we are perfect, Kim. Maybe we are perfectly flawed.

This is the latest installment in Luanne’s column, Life in the Green Lane.

Images: W Magazine, Plastic Sergeant, Sony pictures, ABC News, Life & Style Magazine, Luanne Bradley

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