ColumnAn interview with designer Eileen Fisher.

Threads, seams, and sewing machines were familiar and fascinating for Eileen Fisher from a young age. Growing up with a mother who often handmade her brother and sisters’ clothing, Fisher enjoyed filtering through fabrics and selecting her favorites to be worked into her wardrobe. When she found herself more academically enamored by her college roommate’s interior design projects than her math major assignments, she knew design must be a part of her future and focus.

Organic cotton and cashmere cardigan

Fabrics Are Unforgettable

Fisher’s attraction and loyalty to fabrics stemmed from her early years, and has now evolved into one of the grounding forces behind Eileen Fisher, the brand. “You’ll notice we use a lot of the same fabrics over the years. We get really hooked on fabrics, we love the way they feel but we change the proportions to make them feel modern and to give women different ways to mix it up,” Fisher tells EcoSalon. Using this design approach allows women to buy consciously, adding to their wardrobe with staple pieces that will last, in style and quality.

It’s intriguing to realize that the design process for Fisher is integral to extending the lifetime of her pieces. “We’ve never used prints – we value rich color and textures in quality fabrics over patterns and prints. Avoiding prints helped me think about simplicity and how it worked – because when a garment is patterned, it becomes the ‘thing’ and can disguise poor quality,” Fisher explains. Instead, if the concentration is on investing in fabrics, garments will flourish and also maintain their versatility as prints and patterns tend to come and go instantaneously via the land of trends.

Linen and recycled cotton poncho and tencel dress

A Sustainable Mind

For Fisher, she believes her sustainable mind can be somewhat attributed to her roots. “Sustainability goes back to growing up in the Midwest. We didn’t waste things. I don’t like waste so I think clothes should last a really long time,” she says. Whether it be long-lasting, durable fabrics, or thinking more creatively in the way you style pieces, simple shapes make the Eileen Fisher world go ’round. Now a core value for the company, Fisher was inspired by the Japanese aesthetic through her various travels to the country.

“I was very interested in the kimono because for 1,100 years in Japan, people wore nothing but the kimono shape and I thought that was really interesting – what made it timeless, what made it last so long?” This simple art philosophy that has filtered down into Eileen Fisher’s collection is somewhat refreshing and calming amidst the world’s chaos.

Sheer silk georgette box-top with dolman sleeves and silk georgette cropped cargo

Design Without Borders

Global connections are undoubtedly part of the patchwork behind Eileen Fisher; with a team that sources wools from Italy, silks from China, collaborates with artisan groups in India, and develops fabrics in Japan, the accepting and open-armed nature of Eileen Fisher gives it an edge amongst the larger womenswear brands of today.

This spring Eileen Fisher will debut their first piece made in Africa – hand-loomed by a women’s collective in Ethiopia, and for Fall 2012, they will launch their first item made in Spain – artisanal natural-dyed merino knit gloves. In an effort to support the local American culture, Eileen Fisher also produces their garments in NYC and Los Angeles. Literally a quilted work of art, Eileen Fisher is a collage of global cooperative efforts that respect local techniques from the world’s artisans and producers.

The Peru Project

Directly in line with the acknowledging, thought-driven philosophy behind the brand, Fisher asked Julie Ribuner, the sweater knit designer who has been leading The Peru Project for the past few years, to take over for her and answer EcoSalon’s questions.

Born in 2005, this Project evolved out of an interest to boost Eileen Fisher’s use of organic fibers and materials. “After researching options, we turned to Peru because we saw an opportunity to participate in a holistic program – not only do they grow organic cotton locally, they spin the yarn and knit the sweaters creating a sustainable local story,” says Ribuner.

After instigating this venture with one iconic shape – the original box top in a simple reverse jersey stitch – Eileen Fisher has expanded the designs and production in Peru each season, due to their customers’ positive reaction. “Our work in Peru supports the local community – workers are paid fair-trade wages and they collectively reinvest capital into the community,” Ribuner adds.

The above video captures the authenticity and beauty of this project.

Hand-knit kneck warmer in yak yarn

Yak Love

Another fascinating project led by sweater knit designer Mimi Wong, is built around yak yarn.

“The sweater knit design team was captivated by the beautiful story of Yaks and the nomadic herders of the remote Qinghai-Tibetan plateau,” Wong says.

For these Tibetans, the yak is at the center of their livelihoods, providing them with fibers, shelter, clothing, milk, and yogurt, while also being used in farming and for transportation. With a body makeup designed to survive in frigid, high altitudes, these animals’ long hair and thick overcoat sheds naturally once each year in the springtime. This super-soft-cashmere-like fiber is then spun into yarn. For Eileen Fisher, they blend their un-dyed yak yarn with merino to maintain its luxe touch.

Wong tells EcoSalon, “We like using the fiber of Yaks as it also supports a vanishing way of nomadic lifestyle, traditions and community.”

Sheer silk georgette scoop neck box-top and silk Habutai tiered maxi skirt

Design For All Ages

Eileen Fisher appears to be taking on a younger edge as of late, but maybe it’s less about the garments, and more about the styling. “As a designer, I think my perspective can shift, but I hold onto the core values of simplicity, comfort, ease, versatility and being drawn to beautiful fabrics,” Fisher says.

Some of her designers have been working with the company for years and have a deep history, which according to Fisher, “blends with the new designers fresh out of school.”

In an emergence of design that is in-the-now and transcends time, Eileen Fisher’s cooperative design team seems to really be finding their groove in balancing these distinct angles.

Fisher tells EcoSalon that she consistently finds inspiration in the way different women in their office style the same garment, expressing themselves in an individual way. “For me personally, I have a daughter in college and she’ll take things from my closet, but when she wears them it’s completely different to how I would. We want the line to be intergenerational, to invite more women into the brand.”

Organic cotton knit box-top and tencel linen cropped cargo

Healing The Future Holistically

So what story does Eileen Fisher hope to share with the world?

“I guess it’s really thinking about eco and sustainability in a more holistic way,” Fisher says.

On a practical level, The brand offers wardrobe basics, like organic jeans and organic tees, or a pencil skirt made from recycled garments, but also luxurious silks that are made in a factory that uses fewer chemicals, less water, and less energy. However, for Fisher it’s about moving beyond simply being organic and integrating organic fabrics into your designs.

“It means looking at the supply chain and how companies can make a difference there too, from the factory workers all the way to the end customer. It isn’t easy, but we’re seeing how business can be part of lasting environmental solutions.”

When framed this way, the future of fashion from a holistic approach could prove beneficial for people and the planet. And we hope Fisher’s groundwork is something upcoming designers will embrace and continue to evolve.

The post THREADED: Eileen Fisher – Designing With Depth and Appreciation appeared first on EcoSalon.

ColumnThe Awamaki Lab returns with a Season 2 collection featured at the Textile Arts Center in Manhattan.

Fashion designers Andria Crescioni and Courtney Cedarholm both knew from a young age that designing was integral to their composition. Each grew up with an individual attraction to the tactile and hands-on approach to creative expression. Cedarholm was always especially drawn to fabrics and yarn, and by third grade, had already proclaimed her desire to be a fashion designer.

Crescioni, on the other hand, lived out her early days in the suburbs of Southern California, spending her weekends reconstructing vintage finds from thrift stores and flea markets.

“The process of seeing something go from a vague idea in my head to a tangible piece drives me to continue creating things and exploring new ways of doing so,” says Crescioni.

With the collaborative effort of Awamaki, a non-profit weaving project that works for sustainable community development in Ollantaytambo, Cusco, Peru (and empowers young indigenous women), these two fashion students from Parsons were given an opportune design residency to explore their own garment genesis amidst the Sacred Valley of Peru.

Cedarholm and Crescioni were off on a journey into unfamiliar lands and unknown textile territory. That adventurous spirit subsequently permeated into the depths of their design inspiration.

“The clothing was inspired by the idea of a vintage explorer, especially Hiram Bingham,” says Cedarholm. When reviewing pictures of Hiram Bingham exploring in the 1900s, Crescioni was instantly taken by the garments featured. “I decided to juxtapose the Andean textiles with more casual and tailored sportswear, inspired by vintage explorers, to make them feel more unexpected and modern.” adds Crescioni.

In their own collaborative format, the designers decided to each embrace a particular angle for the collection; Crescioni developed the woven pieces, while Cedarholm concentrated on the knitwear.

“One of the main focuses of the collection is to showcase the traditional hand-woven textiles from the Patacancha Valley,” Crescioni explains. She was also intent on incorporating an element of hand-woven textile into every design, whether it be the entire pattern or an adorning trim.

For Cedarholm, her knitting became an extension of her everyday existence.

“I was quite a fan of carting my knitting everywhere, walking and knitting is my new favorite skill.” As Cedarholm explains it, creating the garment sample was necessary before any of the next steps in production could be tackled. So, for both designers, developing their patterns was key to moving forward in relaying their design framework to the Quechua women weavers for production.

Rooted intentions of showcasing the authentic artisanship of the weavers vibrates throughout Cedarholm and Crescioni’s garments. Cedarholm says: “We did not dictate designs to them [the women weavers] but instead observed them weaving and began to learn it to really understand how much goes into one textile and that turns into a great respect for the material and a true questioning of design to make sure the textile is showcased in its best form.”

The collection’s evolution unfolded atop a table of collaboration in genius and resourcefulness – designers and artisans learning and sharing with each other along the way. As Crescioni says, “This hands-on experience really gave us the opportunity to design pieces that compliment the way they [Quechua women weavers] work, rather than hinder it.”

The cultural exchange of working with the women weavers of Awamaki undeniably affected Crescioni and Cedarholm’s design process. “I think the limitation on materials in terms of diversity was the biggest challenge, yet at the same time helped narrow things down,” Cedarholm says.

As the saying goes, less is more sometimes. For Crescioni, this idea of reducing the options almost calmed her creative process. “When you are working in a city like New York, there are no limits, which can sometimes be overwhelming for me. In Peru, you are forced to simplify, to be creative with less, not only when it comes to making clothing but in day to day life.”

Crescioni’s own reaction to the differing lifestyles of these locations inadvertently comments on the consumptive culture of the U.S. Through the art of the Sacred Valley of Peru’s local culture, themes of simplicity and necessity simply surface. Design in this context could potentially symbolize larger lessons and reflections of the societies in which they are harbored.

Experiences from the Awamaki Lab relationship fosters rewards that extend far beyond an exchange of creative innovations. For Crescioni, one of the most rewarding parts of the project is the direct relationship that one gets to have with the weavers at Patacancha.

Cedarholm reflects on her time spent working closely with the women.

“Beginning to know them more has given me such a curiosity and respect for those who are behind the actual making of a garment. And in thinking about who made a garment you also think of who designed it. They are usually on the higher end of the food chain, but this collection attempts to disregard any mention of food chain.”

For her, the intention of the Awamaki Lab Season 2 collection was to just work together to create something fresh and new.

Due to the way Crescioni and Cedarholm approached their adventure abroad, they were able to absorb authentic and intimate connections. Their openness allowed for true dialogue outside of the daily design activities, such as time spent in the homes of the Quechua families, learning their crafts and sharing meals with them. Crescioni reminisces about one weekend in November when a weaver in Patacancha taught them her age-old methods. “It was an intimate experience, walking through the surrounding hillside with her and her children while their sheep grazed. As we walked, we would take a seat, set up our back-strap looms and weave, enjoy the view, and chat. It was an incredible example of life and craft coinciding together.”

For Cedarholm, the garments largely represent that comfortable, content, and serene atmosphere. “We want the clothing to feel like home, you can just climb into them and live.”

Meditating on the process, Crescioni says, “I have a deep respect for the artisans that create the textiles and I hope the garments we’ve created allow the weavers’ unique vision of life to be appreciated in a new context.”

The Awamaki Lab Season 2 Collection will be unveiled in its entirety on Friday, January 27th at the Textile Art Center‘s Manhattan location. Featured alongside the garments will be a backpack collection; Brooklyn-based pattern maker Hannah Flor volunteered with the Awamaki Lab this season, developing a project with the sewing co-op in which each weaver designed their own backpack.

The post THREADED: The Awamaki Lab Places Peruvian Handwoven Textiles Front & Center appeared first on EcoSalon.