Partying (sustainably) for New York City’s Fashion Week.

Put a handful of amazing designers, a community of savvy and conscious-minded individuals, good wine and eco-friendly shopping all in a cool space and what do you get? An EcoSalon fête of course.

To kick off Fashion Week we partnered with the Textile Arts Center to throw a party celebrating conscious fashion and designers. Elizabeth Cline, author of Overdressed, The Shockingly High Cost of Cheap Fashion, was on hand signing copies of her new book, and Francisca Pineda told many about her ethical fashion abroad program working with indigenous artisans from the Talamanca region near Puerto Viejo.

We talked shop with over a dozen designers and got to connect with some of our readers from around the world.

Thanks to all of the amazing brands that kept our party goers hydrated and energized, Conway Family Winery, The Naked Grape, Zhena’s Gypsy Tea and Equal Exchange chocolate, and our eco-beauty gifts from La Bella Figura, Kahina Giving Beauty and Olie Biologique.

(Did we happen to mention there were live rabbits there too?)

Missed out? That’s alright, we took some fun party pictures so you could see what fun we had and why YOU should be there next time!

EcoSalon writer Jennifer Barckley with goodie bag products from Kahina Giving Beauty, La Bella Figura and Olie Biologique

(Left)Designer Eliza Starbuck and (Right) EcoSalon food writer Johanna Kindvall and friend

Designer Eliza Starbuck

Artists Michael Linton Simpson and Derek Weisberg

Treehugger’s Chris Tackett and EcoSalon Marketing Manager and Foodie Underground columnist Anna Brones

Eco-Chick founder/author Starre Vartan and designer Ambika Conroy

Australian fashion writer and proud EcoSalon reader Yatu Hunt (in NYC for her honeymoon!)

Textile Arts Center co-founder Owyn Ruck, designer Nimet Deg of Soham Dave and Becky Bavinger of the New York City Fair Trade Coalition

Meghan Sebold, founder/designer of Afia clothing

Celeste Lilore, Anthony Lilore, Carmen Artigas, Owyn Ruck and friends

UK fashion student, writer and our most beloved wine pourer of the evening, Kathryn Bell

EcoSalon Editor-in-Chief Amy DuFault, Jam Media Collective founder Julie Atherton and EcoSalon Marketing Manager and Foodie Underground Columnist Anna Brones

Handbag designer and InStyle Magazine/Handbag Designer 101 finalist, Jess Rizzuti

Overdressed, The Shockingly High Cost of Cheap Fashion, author Elizabeth Cline and Organic Spa magazine editor, Rona Berg

Brooklyn artists Michael Linton Simpson, Derek Weisberg and EcoSalon EIC, Amy DuFault

Conscious Living TV’s Bianca and Michael Alexander

Author Elizabeth Cline

EcoSalon’s Anna Brones, Eileen Fisher social media maven Casey Jones, EcoSalon fashion and food writer Jennifer Barckley and Eileen Fisher consultant/superstar, Chris Oh

Designer Carrie Parry

Fashion professor and sustainable fashion multi-tasker Carmen Artigas and Eko-Lab designers Xing-Zhen and Melissa Kirgan

Ambika designer, Ambika Conroy and her two fluffy angora rabbits

Thanks to Naked Grape for wine and Equal Exchange for delicious dark chocolate!

The post EcoSalon Throws a Fashion Week Bash (And We’ve Got Pictures to Prove It) appeared first on EcoSalon.

See you tonight!

Join EcoSalon and the Textile Arts Center in Manhattan, tonight from 6:30-9:30, to kick off New York Fashion Week. Talk and shop with over a dozen designers over a Conway Family Winery chardonnay, The Naked Grape Harvest Red and Cabernet Sauvignon, FAIR vodka cocktail or Zhena’s Gypsy Tea and learn about what sustainable fashion means in the midst of a fast fashion crazed society.

Elizabeth Cline, author of Overdressed, The Shockingly High Cost of Cheap Fashion will also be on hand to sign copies of her new book. All purchases the night of the event come with an eco-beauty gift from La Bella Figura, Kahina Giving Beauty, Olie Biologique and Stark Skincare (while supplies last!).

Francisca Pineda will also be on hand to promote her ethical fashion abroad program working with indigenous artisans from the Talamanca region near Puerto Viejo.

Shopping, organic cocktails, a little fashion education and a healthy dose of some of your favorite EcoSalon writers? You’d be crazy not to come and join us!

Current designers available to shop tonight include:

EkoLab
Afia
Carrie Parry
Ambika
Erin Considine
Laura Seigel
Adrienne Antonson
Ilana Kohn
A.D.O
VOZ
Kyler Jewelry
Jess Rizzuti Handbags
Pick-Up Stitch
Soham Dave
NYC Fair Trade Coalition

We look forward to seeing you!

The post Join EcoSalon Tonight in NYC For a Fashion Week Kick-Off Party! appeared first on EcoSalon.

Not just a fashion party, a sustainable fashion party.

Join EcoSalon and the Textile Arts Center in Manhattan, on September 6th from 6:30-9:30, to kick off New York Fashion Week. Talk and shop with over a dozen designers over a Conway Family Winery chardonnay, The Naked Grape Harvest Red and Cabernet Sauvignon, FAIR vodka cocktail or Zhena’s Gypsy Tea and learn about what sustainable fashion means in the midst of a fast fashion crazed society.

Elizabeth Cline, author of Overdressed, The Shockingly High Cost of Cheap Fashion will also be on hand to sign copies of her new book. All purchases the night of the event come with an eco-beauty gift from La Bella Figura, Kahina Giving Beauty, Olie Biologique and Stark Skincare (while supplies last!).

Francisca Pineda will also be on hand to promote her ethical fashion abroad program working with indigenous artisans from the Talamanca region near Puerto Viejo.

Shopping, organic cocktails, a little fashion education and a healthy dose of some of your favorite EcoSalon writers? You’d be crazy not to come and join us!

Current designers available to shop the night of the event include:

EkoLab
Afia
Carrie Parry
Ambika
Erin Considine
Laura Seigel
Adrienne Antonson
Ilana Kohn
A.D.O
VOZ
Kyler Jewelry
Jess Rizzuti Handbags
Pick-Up Stitch
Soham Dave
NYC Fair Trade Coalition

We look forward to seeing you!

The post Come to EcoSalon’s NYC Party and Help Kick Off Fashion Week! appeared first on EcoSalon.

Long midsummer nights require easy-breezy wardrobe staples in subtle, flattering colors.

Traditional Swedish midsummer was celebrated on Friday, although there’s no reason why we shouldn’t continue to celebrate the height of summer. Pure whites, metallics and shades of pink festive and easy to wear and will look great with your summer tan. It’s important that you wear comfortable shoes that don’t have pointy heels, since summer parties are often held on lawns and involve dancing.

Weimar Dress by Prairie Underground
Summer is all about easy shapes that move with you, and this butterfly-sleeve Weimar Dress by Prairie Underground does just that. Made in the USA from 100% organic cotton, it is the perfect warm weather dress. A natural waisted seam flawlessly hugs your curves and is the perfect base for a wide belt.
$162, Juno & Jove

JADEtribe Tie Dye Scarf
Handwoven by a women’s collective in Laos, this tie dye scarf by JADEtribe is a perfect cover-up for those sometimes chilly summer nights. Made from 100% silk, it feels great against warm summer skin too. The tie dye patterns is playful and subtle at the same time — a great way to add some color to your summer wardrobe.
$68, JADEtribe

Kim White Equestrian Belt
This wide equestrian belt is sculpted and contoured in the back to fit your body just right. It’s the perfect way to add some layers to that simple white summer dress. The metallic pewter color leather has just a little bit of shine, and will work with many different pieces in your closet.
$110, Kim White

Neuaura Bell Silver Flats
At some point during those long summer night festivities you’re going to want to be dancing, and that requires some seriously comfy shoes. These jute-wrapped ballerinas by Neuaura are made from silver vegan leather with a flexible rubber sole. The lace-up detail in the front is a subtle nod to summer’s big sportswear trend.
On sale for $79.99, Neuaura

Hand Dyed Tote Bag
The Textile Arts Center recently opened a retail shop in Manhattan. These ecologically sustainable tote bags are hand dyed and hand printed with natural dyes. Logwood, indigo, madder, cutch, walnut, and Brazilwood to create three unique shibori color combinations. All proceeds from handmade TAC products go to support programming for children and adults, aimed at preserving the art of hand-crafts.
$25, Textile Arts Center

Andy Lifschutz Gaia Crystal Studs
Brooklyn-based jewelry designer Andy Lifschutz is always seeking new ways to combine his signature artisan style with raw elements such as reclaimed metals, wood, bone and stone. These studs from the Gaia Crystal collection are handmade in NYC from 100% Reclaimed Sterling Silver. Each piece is custom made and takes about two weeks to make.
$113, Andy Lifschutz

DIY Flower Crown
Finish off your look with a pretty flower crown. With a few simple tools, a bit of patience and a bouquet of great flowers, they’re super easy to make too. Here’s an easy tutorial.

The post Midsummer Nights appeared first on EcoSalon.

 The Textile Arts Center explores retail.

The Textile Arts Center’s Manhattan Studio and online shop recently underwent a (re)launch. On a continual journey to help preserve textiles and fiber hand-crafts, TAC serves as an exceptional resource for designers, artists, and now, curious shoppers who hope to explore their creative ideas. EcoSalon had the opportunity to chat with General Manager Owyn Ruck and hear about the recent happenings and what the future holds for this New York City gem.

What are the new and exciting things we can expect from the Textile Arts Center?

Retail was always the intention for the Manhattan space, we just took a little while to get there. Staying true to our mission, we wanted to have a space where people could find hard-to-find textile materials and equipment, and hand made goods, but also take workshops. Over the summer we’ll continue to add more items, especially materials and kits. To us it doesn’t feel too different, because it was constantly in the back of our minds, but we’re really excited to be offering class options that are project-based, and to have a clear retail platform that supports designers and makers that we work with.

What types of items will be available in the online shop?

Mostly work from local artists and designers. This was one thing we felt was missing from what we had to offer – we haven’t yet had a way to support designers and artisans who want to sell their goods. There are plenty of places out there (Etsy, Poppytalk) but it’s always nice to do it from your own point of view. For the most part we intend for this to be a way to help that community and create a “collective” feeling, selling work from interns, instructors, students, staff, etc. TAC kits this season include a convertible bike bag, summer quilt, spinning, felting, and solar dyeing. Some of the other materials being sold are handspun yarns, natural dyes, and weaving tools. And thanks to Carmen Artigas we have a lovely collection of vintage books, Vogue magazines, and beautiful fabrics and trims.

What classes are set for the summer? Any new options?

This summer we are starting to focus on the shorter and highly affordable workshops. We’re introducing Friday After Workshops, which are 3 hours every Friday. There will be 5 this summer, each $50, and they’ll focus on a different project – which are all pulled from the book we recently wrote The Textile Artists Studio Handbook (due out in mid-July). Otherwise, we’ll have some weekend intensives and 4-week classes on all the favorites – natural dyeing, leather working, weaving, etc.

What do you feel like this new transition into retail means for the future of the Textile Arts Center?

Oh, we’ll have to see! First, we hope that it sets the Manhattan shop apart from the Brooklyn studio. We want to be a place you know you can go for a very unique gift, to pick up the perfect yarn you needed for a handknit hat, or for a fun event on a Friday evening. While it means a new platform to explore for designers and makers, we also hope it takes our own product down a new path. We hope to continue adding new kits and providing fun, educational ways to explore textiles. We also have some very exciting things in the works around a new custom production facility for weaving, natural dyeing, and other processes. This facility would allow us to continue working with independent designers and design houses, but also develop product and materials under the TAC name. And then, we already have a place to sell it!

To watch for upcoming events and happenings this season at the Textile Arts Center, keep an eye on their Events Page.

The post The Textile Arts Center (re)Launches Their Online Shop & Manhattan Retail Space 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.

ColumnThe connection between the clothes we buy and the clothes we are already wearing.

Julia Ramsey is intent on sharing an awareness about textiles with others. “I think it’s important to know the connection between the materials and the end product and the human and how it all comes together; a lot of times, I think it’s taken for granted.”

In a recent event at The Textile Arts Center in Brooklyn, NY, Ramsey unveiled her freshest fashion endeavor: Pelt. Textiles and their individual stories are integral to the inspiration and creation process for Ramsey. Pelt reveals an experience that weaves together raw materials, innovative construction, and an intimate relationship with your clothing and shelter.

Grounded in ideas of estrangement, Pelt sought to deconstruct society’s tendency to disconnect from the clothing on your back. “Normally, when you’re wearing a sweater, it’s completely devoid of an origin; since I’m inspired by materials that I work with, I think it’s really interesting to make the materials the center of attention.” Each piece of the creamy, cloudy, milky, and comfort-driven collection harbors the potential to perform as a second skin. “They kind of take on a life of their own, and when you’re wearing them, you feel like you have this second skin; it makes you take on another persona and they almost speak for themselves.” For Ramsey, your “pelt” can serve to shelter you or to give you additional strength. Evolved from observations of animal skins, animal hides, and furs, the cozy pieces make you want to curl up in them and hibernate for a long winter ahead.

While Ramsey seems clearly comfortable in her own skin, being a “fashion designer” wasn’t something she could always easily identify with. Growing up, she loved to sew and make dresses, but fashion wasn’t really part of her life. “When I went to school, I couldn’t look anyone in the face and say ‘I’m going to be a fashion designer’.” In turn, early in her journey as a designer, she contemplated and analyzed the question of what truly makes a garment special. For her, the fabric is key; even if the design is simply cut, an amazing fabric can elevate a piece to another level. Through studying textile design with a specialization in knitting, Ramsey’s curiosity in the fabric behind her fashion has taken her even deeper into an investigation of the naked elements beneath: the raw material.

Pelt was constructed from a collection of unprocessed sheep’s fleece from around the globe. Ramsey’s design exploration led her to discover wool sourced from a little girl who raises sheep on her parents’ organic farm in Connecticut as well as an organic line of super fine merino wool imported from South America by a U.S. trader company. Wherever the sheep were raised, Ramsey’s wool comes practically direct from the animal’s back to yours. The wool is carded and the fibers aligned, but it’s raw and in a sense, that still maintains its connection to the animal. “It’s animalistic, and wild in a way, because it is so close to the sheep.”

By feeling and touching each pelt, it’s possible to realize that it came from a sheep. “You don’t think about that all the time and I think it’s important to be conscious of it.”

Organics go far beyond the materials for Ramsey. Designing is an evolution that unfolds before her in a very free-flowing and intuitive way. “I like to keep it really hands-on and I like to be making with my hands. I think that’s important: to be close to it.” In Pelt, she began working with a Barbara Walker knitting swatch book and let the shapes develop naturally. “Just putting rectangles [of the knitting patterns] onto the form, they kind of take on a life of their own and I can visualize how to build them out.” Guided by the body and a mixture of the material and the body, Ramsey’s work pairs an interesting balance between emotions of strength and femininity.

Drawing upon the embedded concept of skins, animal hides, and fur, Ramsey’s romanticized photo shoot for the collection took an even further look at the significance of coverings and the meanings behind their expressions. The true model in the images exists behind a styled facade, as in reality, she has long red hair. In addition, her freckling from head -to-toe covers her skin and creates a pattern upon her own body. Layers of coverings – animal and human – overlap and almost become entangled in a merging of raw and wild, comfort and spectacle.

Ramsey’s Pelt undoubtedly connects human with animal; the shearing from a sheep’s coat is woven into a covering to shield a human from the cold. We may not generally think so directly about the origins of the fabrics draped upon our shoulders, but Ramsey’s exploration reminds us that our garments contain stories that have already been written before they reach us. Questioning those stories and pondering their intricacies could aid in reestablishing true and authentic connections with our body coverings.

“I think it’s important to have things that people would love to wear, and are actually wearable, even though they stand out and make an impact.” Ramsey says this collection was potentially her Fall 2012 preview. We hope to soon see her creations available at a nearby boutique; whether it be to shield, shelter, or take on a distinct persona, these coverings are utterly covetable.

The post THREADED: Julia Ramsey Sheds Her Skin About ‘Pelt’ appeared first on EcoSalon.

Revisiting a series that launched a knitwear line, became required reading in some knitting groups, and even got a few off their meds.

When we launched Using Your Hands to Soothe the Brain last January, it was with the goal of educating people about the simple mental health value of keeping their hands moving. Whether knitting, sewing or weaving, chemical changes can in fact occur in the brain to alleviate mood maladies and in some cases, mental illness like depression. The more people we interviewed, the more we discovered. But before it even launched, this series was inspired by two women: A dear friend who overcame depression and anxiety (and consequently two powerful medications for it) with daily knitting, and a blog post by Alabama Chanin designer, Natalie Chanin.

Chanin, a sustainable designer and now gratefully a bi-weekly columnist for EcoSalon, had caught my attention when she cited neuroscientist Kelly Lambert, author of Lifting Depression on the Alabama Chanin blog:

“Lambert shows how when you knit a sweater or plant a garden, when you prepare a meal or simply repair a lamp, you are bathing your brain in feel-good chemicals and creating a kind of mental vitamin. Our grandparents and great grandparents, who had to work hard for basic resources, developed more resilience against depression; even those who suffered great hardships had much lower rates of this mood disorder. But with today’s overly-mechanized lifestyle we have forgotten that our brains crave the well-being that comes from meaningful effort.”

That meaningful effort was explored from two angles in Part 1 with textile artist and sustainable fashion writer Abigail Doan of Ecco Eco and Occupational Therapist and Founder of FiftyRX3 Jill Danyelle. Doan, who was “fortunate to have had the opportunity to work with the soil, build fences, spin wool, and learn a variety of fiber-crafting skills,” growing up on a farm says working with one’s hands creates a “one-to-one relationship that makes everything else simply fade away. It’s a healthy sort of addiction that replaces other forms of disease.”

Part 2 affirmed Doan and Danyelle’s own finds but explored another aspect of hand work: how using our hands not only enhances our sense of well being, but how it also creates a sense of self-sufficiency. Owyn Ruck, one of the founders of Brooklyn’s widely respected Textile Arts Center says “Even in a sense of finances, we are taught to feel that money equals freedom, but what if you didn’t even to need to buy half the things you did, you could make them or simply make something last longer? That’s freedom.”

Designer Titania Inglis enjoys her own fashion freedom by creating a sustainably produced, eponymous clothing line. Having begun her career in the hopes of being a successful graphic designer, Inglis also agrees the positive effects of using our hands to do meaningful tasks can benefit our overall health and well being.

In Part 3, of Using Your Hands to Soothe the Brain, Inglis says “I love clothing design for its communicative and aesthetic possibilities, but also very much for the craft of it. Many designers prefer to simply hand off sketches to a pattern maker, but for me, the process is the design. It feels a bit pompous to talk about the integrity of the piece and purity of form, but those are qualities I strive for, and I really can only get there with my own two hands.”

What can we learn from this sustainable stretching out of the fashion movement that harks back to the glory of heritage and craft? One might say that perhaps we have lost much in the translation of living fast paced lives filled with convenience. That rethinking the use of our hands to create and mend and touch is a missing part of our successful life equation. That, simply put, strands of fiber and our ability to know how to do something with them might ultimately hold the key to our spiritual happiness. At the very least, it’s fun to create our own wardrobe.

Image: Bruce Turner

The post Vintage EcoSalon: Using Your Hands to Soothe the Brain appeared first on EcoSalon.

Textile expressions are shaping next season’s ethical spirit

It is amazing to think that the Spring/Summer 2012 fashion week presentations have been underway for close to a month now. We kicked off the season with our announcement of the Ethical Fashion Show in Paris during the first few days of September, and now things have come full circle with the close of Paris Fashion Week today. Plenty of designer and runway celebrities have reveled in the media spotlight, but some very deserving names on the ethical fashion and textile innovation scene might have slipped under your radar. Read on for highlights of the bright new design stars we currently have our eye on.

New York

Kaelen S/S 2012 with Coclico shoes

EcoSalon was on the scene during New York Fashion Week (NYFW), and for the first time ever a (Sustainable) Fashion’s Night Out at the Textile Arts Center in Manhattan set the stage for fashion as a vibrant community outreach initiative. As a fiber and textile enthusiast, I was rather smitten with Kaelen’s Spring/Summer 2012 collection presented at Drive-In Studios. What’s not to love about cool macramé fringe and pleat dresses presented in a stand of birch trees? Designer Kaelen Haworth made wood nymph chic (and Steve Nicks redux) seem transcendent. The pairing with ethically made Coclico shoes was pure genius as well.

Titania Inglis S/S  2012 organic dip-dyed peak dress

Brooklyn-based designer Titania Inglis had a whole lot of textile brilliance going on with her latest collection featuring natural dye methods, local production collaborations, and zero-waste experimentation. I love that Titania creates garments that are versatile as a suite of designs that dovetail efficiently together.

The above dip-dyed ‘Peak Dress’, created with natural dye expert Isa Rodrigues at the Textile Arts Center, has timeless appeal. The chic styling with Bliss Lau jewelry accents the fluid geometry of the draping. The peak dress was created out of Japanese organic cotton voile with a stripe texture, dip-dyed with logwood for the gray hue, and a mix of natural dyes for the peach hue.

Titania Inglis S/S  2012 collarless jacket and pleat short

This collarless jacket and pleat short are also great investment pieces as separates to re-invigorate an existing wardrobe. Materials include a dip-dyed organic cotton denim pieced with a dead stock cotton twill for the jacket, and the same dead stock cotton twill for the short.

Ivana Helsinki S/S 2012 celebrates ethnic prints for Indian Summer

Another favorite textile-inspired line up at NYFW was Ivana Helsinki’s Indian Summer collection. Finnish designer, Paolo Suhonen’s artistic melding of ethnic patterns and graphic feather motifs pave the way for a trend-free and border-defying form of global nomadism. I like that Suhonen always looks to her Scandinavian roots for ongoing inspiration and indigenous source material as well.

London

Mary Katrantzou S/S 2012 takes digital printing for a bold ride

Designers at London Fashion Week certainly were not shy about bold innovation in textile printing technologies, and many would agree that Mary Kantrantzou is still a clear frontrunner in the wild abstraction and remixing of patterns that are mind-blowing on the runway as well as hot on the retail scene. Spring/Summer 2012 was no exception for Katrantzou, although some felt that her pop art ‘brushstrokes’ were a bit too broad this time around. Regardless, I like that this designer pushes her medium to create textiles that fuse repeat patterns in nature with a textured maps of metallic car parts.

Ada Zanditon S/S 2012 ethically-produced Poseidon Dress

Ada Zanditon was, as usual, a must-see show on the ethical fashion circuit, and in keeping with the current trend to host film or installation projects in lieu of a full-blown runway show, Zandition’s Poseisus collection did not disappoint. The pièce de résistance was this Poseidon Dress, which pays homage to the principles of biomimicry as well as the plight of endangered seahorse species off the south coast of London.

Felicity Brown S/S 2012 marries Victorian grace with hand-dyed tribal patterns

One of the most romantic expressions at the London shows was Felicity Brown’s S/S12 exquisitely dyed and adventurously draped dresses. The designer describes her intent best: “Taking inspiration from Victorian lady explorers in Africa, such as Mary Kingsley, Felicity imagined how the influence of the tribes’ women would infuse into their dresses and create a hybrid of the two opposing cultures. The stiff rigidity of the neckline and corseted bodice is reworked with fluid, laser cut silk jersey tubes that have been hand dyed with a deconstructed tribal pattern. The contrast and tension between soft femininity and strong cage like structures are another theme that resonates powerfully throughout Felicity’s work.” – S/S12 press release

Michelle Lowe Holder’s zero-waste designs at Estethica

On the accessorizing frontier, Michelle Lowe-Holder created a stunning showcase of her zero-waste cuffs, collars, and neckpieces crafted out of fabric and textile wastage for London Fashion Week’s Estethica. I also love that this designer also styles her look book shoots in a manner that defies gender, age, and racial stereotypes – totally modern, in the best sense of the word.

Milan

I am basically going to skip over the Guccis, Puccis, and The Sartorialist street style shots from Milan Fashion Week. We know that the Italians are unbearably stylish when it comes to making upcycled boyfriend jeans and cobble-crushing stilettos look killer. I am married to someone who was born in Milano, and trust me, he can make a plain white shirt look like a million bucks.

Km/a’s recycled parachute coat melds materials and conceptual storytelling

I do want to call out one of my favorite labels, km/a of Vienna, who exhibited again this season at WHITE Milano. Sass Brown has profiled them in the past on Eco Fashion Talk, and they have also been standout exhibitors at The KEY.TO during Berlin Fashion Week. Km/a’s novel approach to fusing art, fashion, and the recycling of parachute materials as well as military blankets puts whole new spin on surplus chic and textured storytelling.

Paris

With Paris Fashion Week coming to a conclusion today, I am happy to report that there appears to be a new wave of locally made, ethical fashion in France. Hélène Sananikone, owner and proprietor of Green in the City in the Marais, shared news that, now more than ever, ready-to-wear ethical brands are increasingly available and with colorful and vibrant hues for the upcoming season.

Hélène wrote to us, “When I opened my boutique only three years ago, I could hardly fill my store with French ready-to-wear brands. It was also not very easy to find these designers at the shows that I visited in Paris, and it honestly seemed as if all of the eco fashion was happening abroad. Now, more and more French eco designers have their place at the most fashionable fairs. They can develop fabrics with their manufacturers, particularly exclusive prints with Oeko-Tex dyeing. For a long time they had to be careful and propose basic colors. Now for Spring/Summer as well as for Autumn/Winter, they can dare to add colors and unique prints. Eco fashion need not envy fashion anymore. It is fashion.”

Parisian label ‘Ambryn Tribu Urbaine’ creates hand-drawn whimsy for textiles

Ambryn’s A/W 2011 illustrates eco-luxurious hues and trans-seasonal appeal

Green in the City carries French-made Ambryn Tribu Urbaine in their boutique and for Spring/Summer 2012, this indie label is offering a unique interpretation of ‘Behind the Garden’ with hand-illustrated prints and ethically-sourced fabrics. I am still savoring Ambryn’s Fall 2011 pieces – particularly the hand worked green collar on the above piece for autumn.

EELD S/S 2012 ‘Bird of Paradise’ bio-silk top made locally in France

Also not to be missed on the broadening ethical fashion scene in Paris is the new French-made label, EELD. Designer Chloe Bourrioux recently debuted her bio-silk and eco-friendly dyed pieces for S/S 2012. Added details like her support of traditional lace making techniques from the world famous Calais region and silk from Lyon makes EELD a genuinely French expression of textile rich fashion and local goodness.

Lead image: Michelle Lowe Holder, Kaelen photo by Jeannine Tan via Kaelen’s blog, Titania Inglis photos by Evan Browning,  Mary Katrantzou via Style.com, Ada Zanditon photo by Sarah Brimley, Michelle Lowe Holder photo via Oxfam.

The post An International Fashion Week Playback For Spring/Summer 2012 appeared first on EcoSalon.

Yield’s “Making Fashion Without Waste” exhibit, a closer look at an art and a movement.

In the midst of Fashion Week here in New York, it might seem contradictory to go to a show on producing less waste when all around, fashion is flying. In eco-fashion, however, it’s always good to keep things in balance and to have a reality-grounded perspective about the fashion industry. However beautiful, however sustainable, designers have got to keep themselves in check when it comes to the waste they produce with every collection.

Some designers are better at this than others.

The Textile Arts Center launched Yield: Making Fashion Without Waste, on Friday night at their Brooklyn location, featuring zero waste designers Holly McQuillan, Caroline Priebe, Timo Rissanen, Julian Roberts, Tara St. James, David Telfer, Yeohlee Teng, Jennifer Whitty, Natalie Chanin, Carla Fernandez, Sam Formo, and Julia Lumsden.

Holly McQuillan, Yield Curator, designer and lecturer in the fashion design program at Massey University’s College of Creative Arts in Wellington, New Zealand was available to answer some questions pre-show about the exhibit and just how zero waste can be that when by the simple act of design and creation, there is excess.

Here’s what she had to say.

Yield curator and designer, Holly McQuillan

Would you consider zero waste design an art?
No, it’s a technique. Painting is a technique and can be an art form or a way to decorate your home. It depends on what you do with it, like any technique, its up to the practitioner. So some zero waste design could be considered art, but much of it is commercial design.

Julian Roberts and Holy McQuillan

Why don’t more designers use it if it helps maximize fabric use and create less waste?
Primarily for 2 reasons.
A: When you first start it is difficult to do well. Like any new skill that requires a bit of effort, zero waste can begin badly, many students try it once, it doesn’t meet their expectations and they assume its not possible. The reality is that it’s a technique, like standard pattern cutting and draping on a dress form and sewing, learning it takes time.

B: Because of this, the assumption is that you have no control over the aesthetic – something all designers want. The more you practice zero waste fashion the more you can shape the outcomes. Many good designers have spent 3-4 years being taught the skills of traditional fashion design (sketching, design development, drape, pattern cutting, construction) and then go into industry and continue to have at least some of these skills developed. This enables designers/pattern cutters to have control over the outcomes; a layman has a great deal more difficulty resolving a garment design because they don’t have the skill base.

Julian Roberts

Designers want to be able to immediately be as good at zero waste design as they already are at the traditional models, but of course most won’t be as they haven’t had years of learning in education or industry. So they assume the outcomes they initially see from their attempts are all they will be able to achieve. They also assume that the outcomes they see out there by existing zero waste designers are all that can be achieved, but every designer approaches it differently and therefore has different outcomes.

Recently I’ve been in conversation with one of the worlds best known producers of clothing about implementing a zero waste fashion collection to their ranges. If these guys can do it, anyone can.

Timo Rissanen

Can you talk about “cultural memory” inherent in our clothing and how that ties into zero waste?
I stumbled into zero waste while completing my Masters of Design at Massey University in 2004/2005. My masters (called First Son) wasn’t on zero waste fashion at all – it was exploring the role clothing can play in communicating cultural and collective memory. How clothing can tell a story and the appropriateness of garments as a medium for that. I was interested in the flexibility inherent in cloth, the intimacy of wearing clothing next to the skin, its ability to tell people about who or what you are, the multi-layered, adaptable possibilities of cloth and garments, and importantly the way garments, more than most other personal items, seem to be able to ‘hold’ the memory of the person who wore them.

Sam Formo

All of this combined into a collection of five garments that told a story collected from a group of people about a person important in my life – my father. He was an ordinary husband, father, farmer and friend who grew up in post WWII New Zealand and died in 1993 after a battle with cancer. I was using his life and the memories people had of him as representative of (masculine) culture in post war New Zealand and testing how clothing could be used to transcend time, to communicate narratives and loss to contemporary New Zealanders.

To achieve this I used a process of cutting 2D cloth (landscape) without cutting any part off, and transforming the cloth into five different garment designs that told a different story about my father and the time he lived in. The garments are not fixed, they can be ‘unmade’ and ‘made’ again and again using the relatively complex fastenings, folds and twists, so to be able to make them the way I intended them you need to know the story behind them. However, someone else could make a completely different garment with a different interpretation of a similar ‘story.’’ The garments were zero waste because nothing in memory or time is cut off and removed, nothing is ‘wasted,’ it all comes together to make us who we are, what our cultures are, both good and bad, whether we like it or not.

I didn’t know what zero waste fashion was, my manifestation of what we now call Zero Waste Fashion came about from my research into memory and a chance encounter with a pattern for a Kimono (which are usually zero waste). There were no sustainable goals in my master project, just a respect for craft, time, landscape and a desire to communicate an idea.

Yeohlee Teng

Do all the designers featured design with zero waste in mind all the time or was this just a challenge for some for Yield?
Not all the designers are always zero waste designers. All but Julian Roberts had garments that were zero waste in some way, which is why they were selected back in early 2010. Julian Roberts uses a technique he invented called Subtraction Cutting which lends itself well to zero waste fashion, and has been inspirational to Timo and myself in the work we do. So we challenged Julian to attempt a zero waste piece for this exhibition, it is not quite zero waste, but a vast improvement on his usual yield.

David Telfer explores a range of innovative approaches, one of which is zero waste design. Yeohlee Teng and Zandra Rhodes do not always design with zero waste in mind, but are always extremely mindful of how they use cloth. The garments in YIELD are demonstrations of what is possible. Today we could add many more examples, as more and more designers attempt this process, but that’s a whole other project.

Carla Fernandez

How does a fashion designer one day decide to call what they are creating “zero waste” when by the very act of designing they are creating waste?

I’m not even sure where the term came from! It should probably be called Zero Waste Garment Design or Zero Waste Pattern Design. We intentionally didn’t call our exhibition Zero Waste Fashion because not all the designers are zero waste fashion designers, so instead it’s YIELD: Making Fashion Without Making Waste. So when we make the garments in the show we don’t make any (or much) waste. It’s the easiest way to explain what the premise for the show is, and for what we do in general, so it seems to stick.

Principals of waste management ask that you first don’t produce any waste, then you reduce waste, then you reuse it and then you recycle it. So this process targets the first step in waste management, we don’t produce waste in production. Now a company/designer/consumer can choose to follow through with other equally important steps to reduce their environmental impact, or not. Obviously I’d prefer they used organic, recycled or otherwise sustainable fabrics. That they designed timeless garments that encouraged their consumers to buy less and local, That they transported their locally made garments in biodegradable packaging using transportation methods with minimized impacts on the environment.

Natalie Chanin

I’d like it if they encouraged their consumers to wash less, in cold water, and to not use the dryer. I would encourage designers and consumers to support mending services and local craft. And, when the garment can no longer be mended, for it to be reused in another capacity until its eventual disposal – ideally being recycled or composted. Zero Waste Fashion is one step in a possible series of steps. Zero waste fashion can also be about using the scraps for other purposes – such as what Natalie Chanin does, or designers could use textiles that can be recycled into new fabrics. Sustainable designers need to deal somehow with the resources they waste in the production of their garments. There are so many opportunities for designers, consumers and retailers to make a difference, zero waste fashion is one such opportunity.

Tara St James

There a number of important repercussions from designing in this way also:

Designing a zero waste garment is slower: It would be extremely difficult have a lead-time (from design to delivery) of 14 days (such as Zara has) for all but the most simple zero waste fashion design. While the waste reduction from this process would benefit from the vast scale of fast fashion – the more zero waste garments you make the greater the reduction of waste – the negative impacts of fast fashions speed of change would cancel this out. It’s quite the conundrum and something I struggle with a lot. I guess it depends if you believe its possible for designers to stop people from consuming/disposing of clothing the way they currently do.

It requires all members of a design team to consider every decision they make. The production of clothing has long separated out the roles of design and production. To successfully achieve a zero waste garment either the line needs to be developed by a person with strength in pattern cutting, 3D design and construction, or the team needs to work as one in a truly collaborative way. The pattern for a zero waste garment is the 3D design, the pattern and the marker all in one – the design is not a sketch.

You can’t copy an existing design easily: following fads can be difficult. The value in a zero waste design is its originality, its craft and its embedded energy. Garments designed through a zero waste design process will have moments that are unexpected, they wont look exactly like everything else you see in stores because it is difficult to draw a design or to look at an existing garment and say “I want to design something like that.”

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