Oh yes she did send us this picture for her giveaway!

We love Gretchen in all her Project Runway glory and were more than happy to have her reach out to us for this week’s giveaway.

Many of you may not know but Gretchen is currently the only sustainable designer on Project Runway and not only supports local manufacturing and sustainable fabrics for her line Mothlove, but is also using end run fabrics on the show whenever possible. Having limited time when contestants are set to buy fabric at Mood during the show, you may understand the challenges she faces staying as consistent as she wants to be.

Her Pearl Crescent blouse is made from low impact, hand dyed, locally sourced silk and is versatile enough to wear with pencil skirts and heels or torn jeans and sneakers.

Says Gretchen of the blouse: “It’s worthy of a love affair – dress up or down, layer in any season…you’ll be lucky if it ever makes it on a hanger in your closet! Meant to be loved, it’s surely my favorite piece.”

Think it could be one of yours? Well, leave a comment below to try and if you just want to cut to the chase and buy one out right, you can go here, too.

(Legalese: contest rules and FTC compliance.)

The post Gretchen Jones’ Pearl Crescent Blouse Giveaway appeared first on EcoSalon.

I love silk. I love fibers. I love mixing fibers.

Thankfully silk is just one of many fibers I like to wear to add depth to outfits – or when I just want to feel effortlessly sexy and put together.

Since I own an eco-boutique I get lots of women who thumb past the silk section and I hear all kinds of strange things like “My mother wears it so I don’t want to,” “It’s too hard to take care of,” and my favorite, “Where would I wear it?”

Anywhere!

So on my Facebook page the other day I wrote: “Do you think silk is for young women? Seems like so many younger women are afraid to wear it!” And 21 comments later, I was surprised to see some of the responses:

“Afraid to wash it is probably more like it.”

“Silk can’t handle my lifestyle.”

“It’s the stain and care factor that kills me.”

I was happy to see the support for silk too, and the advice the different women – both eco-fashion writers and designers – had for on the fencers.

“Twill silk is a good bet for the wary… a coarser weave, more durable. Maybe it’s washing it that concerns them… it’s best to hand wash (won’t shrink) in lukewarm water with non alkaline soap (baby soap) and a touch of white vinegar in rinse water. Easy!”

“Silk is not that difficult to look after. You can either dry clean or hand wash and iron on low heat. Also satiny silk stains less than most other fabrics.”

“I wear tons of silk, winter and especially summer, my skin seems to love it. I’m not sure what you mean by younger, I’m 33 and wore it throughout my twenties, but then again, I was raised by my grandma who also wore it a lot and taught me how to wash clothes (not just throwing it in the machine!) so I’m more informed than average I think. I really love silk and am wearing a new silk top right now actually! In the summer the perspiration dries really quickly, a godsend for sweaty girls like me!”

Silk is rearing it’s delicate head more and more as seen in the recent sustainable collections of Gretchen Jones’ Mothlove, Dahl by Alison Kelly, H Fredriksson and Feral Childe, each with a very different spin on the fabric.

Obviously young, hip designers are creating and wearing it, but how do you feel about silk? Do you think it’s only for your mom or grandma?

Image: Batik Ella Dress from H Fredriksson

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What hooked me into the fashion world was never labels – it’s always been fashion as an art form. I’m just as wowed by artists’ inspiration as I am at the finished products. Sometimes it’s hard for designers to get their messages across in mere words: ever tried to articulate your love, your vision, your art? It’s not easy.

Here’s a list of some of my mini film favorites of designers sharing their passion. Think of this as a fashion inspiration mix tape, just for you.

Amy’s Mix: Girls on Film

cmarchuska

What can you do with a scarf? See designer Christine Marchuska herself in the last shot lifting her own.

Samantha Pleet

Au Revoir Simone and a cool newspaper-riddled wall is always inspiring.

Reet Aus

She designs for swanky boutiques but also, movies…

Feral Childe

Always quirky and artsy and makes me giggle.

Mothlove

Is just plain beautiful.

Image: geishaboy500

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Sheena Matheiken, founder of The Uniform Project, has challenged herself to wear the same dress for 365 days as an exercise in sustainable fashion.

To prove her point, she had seven of the exact same dresses created for her (to avoid any stinkiness), that she can accessorize any way she wants – but she has to wear the same dress all year and says at her website she’d like to “think of it as wearing a daily uniform with enough creative license to make it look like I just crawled out of the Marquis de Sade’s boudoir.”

So far, so intriguing.

This exercise is also a worthy fundraiser and all contributions will go toward Akanksha’s School Project to fund uniforms and other educational expenses for slum children in India, where Matheiken was raised and schooled.

Please visit Matheiken’s site to see how you can participate or donate to her cause. At the very least, how you can help the poor girl accessorize enough to put her through a full year of wearing (gulp) the same old, same old.

In the meantime, I wrangled my own posse of designers to answer the question:

In light of The Uniform Project, do you think you could design a dress that could multi-task for a woman for a whole year?

Bahar Shahpar:

I could and I would. Very excitedly so. Repurposing and reimagining beyond a normally acceptable level is right up my alley. In fact, I was just approached by a forward-thinking friend to do just that. But I wouldn’t do a dress. I’m just going to put it out there: Long Live the Onesie.

LAEKEN:

LAEKEN’s vision could absolutely be translated into developing a dress versatile enough to be worn 365 ways, as seen in the Uniform Project. We love the idea of multi-functional pieces. For example: a zipper in the back of a dress so that it may be worn tighter or looser (seen in our fall 2009 collection) or a jacket with removable sleeves so that it may also be a vest (seen in fall 2008) or the Osaka dress from spring 2009 that has two different ways that it can be worn. We would create something very unique, true to LAEKEN’s edgy spirit but simple enough to be accessorized, dressed up or dressed down, comfortable and perfect for the transition from day to night.

Alabama Chanin:

We have been striving to make multitask dresses and clothing since the beginning of the company. I love a dress that can be used as a night gown, for gardening, to go to work, dinner and a party – perhaps with a washing in between.

MothLove:

I believe MothLove dresses are meant to be worn under the same constructs as the Uniform Project. I had no intentions of putting boundaries around my line, as I think that can stunt its potential! What is important to me is that MothLove creates pieces intended to be worn however the wearer chooses, interpreting the “artists” creation in their own way…and even that has cause for constant “re-interpretation.” When that happens the real magic happens and a new spirit evolves…your spirit evolves.

MothLove is highly adaptable, designed in grey scale for wearability and relevance beyond a season or a trend; meant to be the favorite piece you pull out of your closet routinely.  The dresses stand alone, yet are easy to layer and accessorize, keeping the focus on conscious consumption and creativity. I really only meant to make something that allows a woman to feel natural, pure and pretty. I don’t think we allow ourselves that privilege enough. And in that, I hope the wearer can feel the love and devotion I have in making each piece.

cmarchuska:

I think designers will have to view design with more functionality instead of creativity since this one dress uniform will have to last a whole year. In general, I think this is the direction fashion is headed during these tough economic times because consumers want pieces that are classic, affordable and can be worn to various occasions. This also speaks directly to the sustainable fashion movement, which focuses on classic pieces that the customer will want to hold on to for years instead of tossing out trendy clothing each season and contributing to more waste and less sustainability.

The post The Uniform Project Challenges: Could You Work 1 Outfit for an Entire Year? appeared first on EcoSalon.

The more I talk with designers, the more I want you to know what they’re thinking. Here’s some insight.

I recently asked nine various shades of green designers what they thought about the question:

“Does collaborating with big names like Target, Kohl’s or Wal-Mart sound enticing to you?”

Heyne Bogut: I think in order to make that work you need to have a very packaged and defined product that can be understood and categorized quickly and easily. I’m always up for a challenge and I like the idea of contributing to pop culture in any way, shape or form, but it’s tricky to water down what you do enough to make it work in those places.

Plus, there’s the quality end to consider, and the concern for what conditions it’s made under. So, basically, the idea is intriguing, but a lot depends on what these partners are like to work with. I know people who design product for Wal-Mart and the process is living hell. I’ve been approached in the past by mass producers and have found the attempted collaborations uneven and unsatisfying.

Mociun: I think collaborating with someone like Eastpac or Keds would be great. Or some company that makes things I don’t. I would love to have a printed backpack or something like that. So I guess I would be more interested in doing a collaboration with a company where I could design print one of their products. And doing something with a company like Target could be cool, just to get exposure and see what production on a really large scale would be like.

Harper Della-Piana:  There would be positives connected to working with companies like that, of course. The prospect of making a large-scale impact on my company’s finances; provided the pieces I design for a company like that are made in the U.S. or by ethical workrooms would be part of the guarantee. I would not work on a project with a company like that if it didn’t have a positive impact on the workers or the environment in some way.

Alison Kelly/Dahl: Collaborating with larger corporations is at once appealing and unappealing. First, you will have to mass produce your collection in a ghastly inexpensive manner. Department stores like these aspire for quantity, not quality, which leads you to the question of whether or not you’ll want to forfeit the integrity of your designs by having to use cheaper textiles, eliminate important design elements and manufacture in China. I have a friend who just turned down an Anthropologie deal because they would not succumb to her eco-friendly standards. It becomes a question of morality.

Cmarchuska: I have mixed views about collaborating with big names like Wal-mart or Target. Ultimately, I feel  there could be some great opportunities for exposure and marketing when combining efforts with a major retailer.  However, it is tough as a small start-up/new designer to find favorable agreements for both parties. I think I would work with a major retailer if the terms were right.

Souchi: I understand why designers are enticed by these types of collaborations but I have no interest in this avenue of exposure. The type of collaborating that would excite me would be to work with artists I admire in all mediums. I think Marc Jacobs is fantastic with this. His collaborations with Stephen Sprouse and Murakami were great because they were new and unexpected for a house that traditionally was about the brown and camel logo. Or when Hermes hired Martin Margiela to be its house designer. For me, it would be a combo of materials – mixing yarn ideas with metal smiths or painters.

AK Vintage: Enticing?  Yes. Very much so, in fact. I’m interested in building my business and doing it as green as possible. I think if big box stores like these were ever to approach me they would obviously be interested in the sustainability of my product/brand just as much as my ability as a designer, because that is part of the identity I’m creating for my lines as well as for myself.  And, under these circumstances, I would absolutely be open to having that conversation.

Mothlove: I grew up in a small town, where my quaint little downtown full of mom & pop shops not only supported its community, but was supported by its community. Wal-Mart arrived in our town, and that sad story we’ve already heard started playing. A small, yet thriving community ceased to exist. Those small shops now represent the individually-owned boutiques I pursue as a designer.

I believe in the independent, the well-crafted and the local. I also believe that the designer-to-boutique, boutique-to-customer [relationship] creates community; communities with consumer awareness, communities that self sustain and support. Of course, financially the idea of big box collaboration is tempting, but I’d lose my story. And the consumer would lose its culture.

Aster And Sage: Collaborating with Target or Wal-Mart is definitely an enticing idea. I daydream about my imaginary Target collection all the time. Mmmm, yes.

Read more candid thoughts from eco designers.

Image: j.reed

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You like to buy U.S. designed and manufactured clothing, but how do designers feel about their roles in it?

11 designers would like to tell you.

Emily Katz: I enjoy being able to talk with my contractors, meet with them when need be to make sure they are doing the quality that I require, and know that they are only a few miles away. I could bike to 2 out of 3 of my sewers’ workplaces. I think it is important to know how the garments are being made and to have a hand in it. However, we still need to find cheaper ways to produce locally. It is difficult to compete with big brands who are “luxury” and are charging the same amount as small eco designers who manufacture domestically. They have a much higher profit margin, and that can be the difference from staying in the mainstream consciousness, or going out of business.

Angel Court Jewels: To me, an eco line is about a concern for the whole. Producing in the U.S. is the same sentiment. Production in the U.S. helps us all just as producing and buying eco helps us all.

Aster and Sage: I’m in New Jersey and my products are made by me or by my stitchers in New England. UPS ground guarantees next day delivery, so I can get stuff to or from them overnight. I can visit them easily (though I wish I did that more often). I think it’s a little like buying fruits and vegetables; I may think globally, but I try to eat and manufacture locally.

Filly: I benefit from manufacturing in the USA by being able to connect with my manufacturer. I know her. Her name is Mary. She lives in San Francisco. She drives a Mercedes. And she likes my designs. She is beautiful and kind and rooting for me. Neither of us is exploiting the other but we are both benefiting from our relationship.

cmarchuska: I benefit from having my line manufactured in the U.S. for numerous reasons; some of the most notable would be:

– quality control standards – I am able to be involved actively in every aspect of the manufacturing process and to make sure the pieces are put together according to my standards.

-shorter runs/on-demand runs – Manufacturing in the U.S. provides you with the luxury of being able to produce smaller run sizes and on-demand runs which is very important in this tough economy.

-fair trade/fair labor/eco-friendly processes – I guess this relates more to start-ups and smaller companies, but you are able to oversee the operation (as mentioned in my first point) versus working with China/India where you might just be entrusting another individual on these very important issues.  This was one of my main reasons for manufacturing domestically here in NYC.

Souchi: I love that our production is not only made in the U.S. but that 100% of our line is made in our studio in Portland, Oregon. The benefits are on many levels: creating jobs in the town I live in, overseeing quality on each piece, cutting shipping costs which  lowers fuel costs.

Figs and Ginger: We benefit from feeling good about supporting our local economy.  There’s nothing better than feeling good about yourself!  Also we have much more control of the quality of our products because we’re making it ourselves in the U.S. and not having it produced overseas.

Kate Organic: Producing Kate Organic in the U.S. 45 minutes from our house has a lot of positives and negatives. We like being in control from start to finish, but, we hate being in charge from start to finish. Every decision is ours. Every choice that is right or wrong is ours. No excuses! When we made the line overseas, sometimes it felt like flipping a coin and whatever you got, you got.

It is nice to keep as much money in the U.S. as possible. But, since it is made in the U.S. the costs are so much higher. Stores do not like that the costs go up. They want it made in the U.S., but they want it at a lower price point, so it gets rough. At this point our biggest issue is keeping stores in business.

Feral Childe: Feral Childe works with printers, dye houses, cutters and sewers within a 50-mile radius! Brooklyn, Queens, Manhattan, Long Island and Paterson, New Jersey are also frequent stops. We want to support our local garment industry and have become so friendly with our suppliers and contractors that it would break our hearts to get our clothes produced elsewhere. The New York City Garment District is totally unique. Where else can you get your clothes cut and sewn on the sixth floor, run across the street when you discovered you’ve run out of elastic, dash back upstairs and then scoop everything up to get the snaps put on by the guys on the sixth floor? Not to mention our accountant and our favorite fabric showroom are across the hall from one another in yet another tall building! It’s one-stop shopping. Business is very much done by word of mouth here so everyone really counts on one another – it really is a community. We love the history of the Garment District and we are proud to produce Feral Childe in New York City.

Mothlove: The costs I face as a small/independent and American-made designer currently outweigh the benefits. The average citizen has been so spoiled by low-cost, poorly-made and outsourced products, reluctance to truly support local artisans remains. Education is key; re-learning the importance of not only locally-made, but well [made] – and with environmental/economical consciousness comes cost. Costs to the designer (especially small-scale designers) in supplies and production equal higher price tags, especially in independently owned/operated boutiques – the new “mom & pop” shops that support them. Without supporting the boutiques, we don’t support the local economy. Without supporting our local economy, we lack the support for the artisan. And without the local artistic community, we lack culture.

Kim White: Number one, my buyers care. They ask where my stuff is made. Number two, locally made means I can see production and catch mistakes. I don’t get production from, say China, and it’s done wrong. Quality Control is waaaay easier.

Image: The Shopping Sherpa

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