ColumnFor fashion label Mikuti, it’s a family affair.

Bombarded with beautiful beaded bangles, there’s an inexplicable awe that comes through observing the brilliant outcome of a designer’s process. Sifting through images from designer Erika Freud – the creative behind breakout accessory label Mikuti – on her most recent journey in East Africa, was like living inside a rainbow. Sourcing materials and producing Mikuti’s adornments through cooperation with artisans in Tanzania, Kenya, and Uganda, Freud has an eye for the standout colors and designs that make a statement.

Growing up in a family of culinary artists, that also held an interest in designing homes and gardens, Freud has creativity flowing through her veins. After spending 3 months in Tanzania with a small group who were working on some economic development projects, Freud and her team realized there was a way to create a bracelet out of banana bark.

“When I saw there was a potential market for it, as well as an opportunity to create jobs for the individuals I was working with and possibly myself, I ran with the idea of starting a company,” Freud tells EcoSalon.

In a few short years since Freud began her business endeavor, Mikuti has quickly become an attention-grabbing accessory brand for fresh fashion designers. Labels such as Mara Hoffman, AFIA, and ChiChia London, have all embraced Mikuti’s bangles as an enhancement for their recent lookbooks and runway events. What do they all have in common? None of them seem to be the least bit intimidated to throw blasts of color and print into their collections.

When Freud journeys to East Africa from her NYC home, she lives her every moment abroad to the fullest. Working on several collections on the same trip, Freud is developing two small, limited edition summer collections focused on color trends – Neons & Neutrals and For The Love Of Fuchsia. “I love color, especially these. It’s a small, fun collection that I think everyone will really like,” Freud says.

The limited number of summer pieces are being created in Kenya from recycled aluminum and beads. “I’ve worked with both materials before, so since I’m familiar with it, it’s made it easy for me to develop new ideas around it,” Freud says.

Working with talented artisans has influenced the creation process for Mikuti. Freud tells EcoSalon about how her beader is a standout individual. “She’s incredibly skilled and really knows how to execute my ideas. Whether it’s going bead shopping or going over color combinations, I genuinely enjoy her. Plus, she has a lot of good ideas for future possible designs. I think creativity breeds creativity. Once you get going with someone, the ideas just start to flow.”

Freud was definitely fed creativity at home growing up, and that knack for imaginative resourcefulness has only evolved in a collaborative relationship with her father. As Freud does the majority of her framework designing in the U.S., having “samples” to share with the artisans abroad can be key.

“By trade, my dad is a highly skilled builder and designer. The week before my trip, my father and I sat together in the garage many nights, cutting pieces of wood from my drawings for me to use as molds,” she explains.

These wood carvings are an ideal way to relay the design direction and aesthetic to her collaborators abroad. Having now worked in East Africa for about 3 years, Freud is quite methodical on how to communicate her ideas. The process begins with a pattern that she sketches. Then, her father creates a model of her design using thin plywood. Freud explains, “I do this because it helps me see the actual size and feel of something and let’s me imagine it to a point in my mind.”

When she travels to East Africa, she brings all of her plywood pieces and shows them to the artisan she has been working with. “He then creates it with whatever metal I choose and together, we fine-tune it. Sometimes this happens in one try, other times it takes 5 tries. It depends on the complexity of the piece. I really value his opinion and genuinely enjoy the collaborative experience we have,” Freud says.

In addition to the fabulous fuchsia and neon/neutral pieces for summer, Freud is also producing her Fall/Winter collection along this journey in East Africa. Inspired by Native American culture, Freud visited an array of museums and exhibits, while extensively researching traditional Native American dress and adornments over the past months.

“There’s something about old cultures and traditions I’m very drawn to. I like learning about them and then taking things from them to create a piece of jewelry. I recall visiting the Native American Museum in Washington, DC to do some research, where I was in awe of all the different shapes of arrowheads exhibited. I also loved looking at the totem poles and pulling ideas from them,” Freud explains.

Mikuti’s Fall/Winter collection has a material focus of horn and brass, sourced from Kenya and Uganda. Having never worked with either of these materials, Freud has found it exceptionally helpful having worked previously with this artisan in Kenya.

“He’s highly skilled and I enjoy working with him through the product development phase. He excels at taking my drawings and seeing them to fruition,” Freud says.
For the horn pieces, Freud is working with a few different artisans in the Kampala region of Uganda. An agribusiness byproduct, the horn Mikuti features is recycled from local butcheries. For Freud, venturing into Uganda has been a new opportunity to integrate “another sustainable, eco-friendly angle and to work in a new region and support the local artisans.”

Continuously melding innovative angles into her designs, Freud’s creations have depth. She expresses an inspired enjoyment in learning about the spirituality woven into Native American culture.

“Like many old cultures, jewelry played a role in this. So, a lot of my ideas were formed around their spirituality and I tried to bring that to each of my pieces,” she says.
Emotionally, Freud is excited about her upcoming Fall/Winter collection.

“I’ve really stepped out of my comfort zone and feel as though this collection brings everything full circle.”

While many aspects of Freud’s supply chain and design inspirations may have come full circle for her, it seems Mikuti’s distinct presence on the fashion circuit has only just begun.

The post THREADED: Mikuti’s Eye Candy Harbors A Sweet Story appeared first on EcoSalon.

ColumnVogue, Clean by Design and the CFDA collaborate to clean up the fashion industry.

In a new initiative, leaders of the mainstream fashion community from the Council of Fashion Designers of America (CFDA) and Vogue have joined forces with the NRDC’s Clean By Design program in an effort to reduce the impact of the textile industry on the globe’s environmental state. With the backing of Vogue’s “Nuclear Wintour” herself and the CFDA’s President Diane von Furstenberg, could Clean By Design now have the potential to push the issue and bump environmental and social issues associated with the textile industry toward the front of prominent designers’ methodologies? The NRDC’s National Media Director Jenny Powers tells EcoSalon that engaging industry opinion leaders gives them a powerful and enhanced edge.

“Clean By Design aims to make the way we produce our clothing more sustainable by cutting water and energy waste and reducing pollution,” Powers tells EcoSalon. With the intention of utilizing the buying power of multinational corporations as a lever to reduce the environmental impact of their suppliers abroad, Clean By Design is stepping up their media presence and future goals with this recent collaboration. As shown by the above diagram, the spectrum of Clean By Design’s approach to bettering the textile industry’s impact starts with the raw materials and goes full circle through to addressing the way consumers are caring for their finished garments.

Spearheading the research abroad, the director of the NRDC’s health and environment program, Linda Greer has traveled to Asia in hopes to better understand the four core impact areas of the supply chain. Through visiting a range of factories that create clothing for major retailers, Greer has been able to secure pilot programs with The Gap, Levis, H&M, Target, and Wal-Mart, who are all now exploring ways to clean up the factories that supply their clothes. As companies that produce massive quantities each season with loyal global customers, the impact these pilot programs could have on the environment is vast.

Waste water from the discharge pipe at the Youngor Textiles Factory

By focusing on China to begin, the possibility to make a big change exists, as many of these factories produce a large percentage of our mass retail clothes.

“Transforming the way the major players do business can have a ripple effect throughout the industry. Fashion leaders can play an important role in this effort by shaping popular attitudes and creating demand for sustainably produced fashion” says Powers.

One massive waste example that was prevalent throughout Greer’s travels in Asia was leaky tubes. Textile pollution is often associated with the chemical emissions from fabric dying or the number of dirty dozen chemicals that are utilized in conventional cotton production. While these are key issues to address in the raw materials and manufacturing sectors, another often forgotten problem involves tubes with leaking steam that can be found everywhere in fabric dying and printing mills. For instance, a hole in a steam pipe only 2 mm in diameter can cause a textile mill to waste energy equal to more than 10 tons of coal a year.

DVF’s Spring 2012 Collection

With higher profile initiatives like Runway To Green in the past, the NRDC has been on a consistent mission to bring these environmental concerns related to the textile industry to the forefront of high end and mainstream fashion houses. While the CFDA/Vogue/Clean By Design initiative is strongly focused on the environmental impacts and the effects of environmental pollution on human health, it doesn’t focus on social or labor issues.  Powers tells EcoSalon, “Dirty water and dirty air affects us all – humans and critters alike. And the reality is that by cutting waste and making factories run more efficiently, these factory owners are actually saving money in the process.”

With the environment as a starting point, the transparency and exposure of these realities could potentially open designers’ eyes to the way people connected to their supply chains are affected as well. By continuing to work with individual designers on ways in which they can apply the Clean by Design principles to their own operations, the future affects of upcoming and established designers on the globe’s flora and fauna is hopeful.

Image: Greenpeace, H&M

The post THREADED: Cleaning Up The Fashion Industry From The Top Down appeared first on EcoSalon.

ColumnExploring fair trade firsthand.

Fair trade fashion is fashion with meaning, fashion that was created with respect for people and planet. It undeniably has the “moral and just” ring to it, but what does it actually mean? Being inside this industry – talking the ethical fashion talk – can at times lead to a disconnect from what a fair fashion framework actually translates to in the reality of its production.

When it comes to sourcing fabrics, creating garments, and inserting them into the marketplace as competitive and fashionable commodities, getting in on the sourcing journey is integral to a better understanding of the truths behind this mentality. Based here in Ghana for the month, I’m on an eye-opening adventure with Brooklyn-based fashion label Afia. Along this fabric sourcing and production journey, I’ve shared some of the stories that remind me of why “make fashion fair” is my mantra.

Designs Done Right

The fabrics are where it’s at for designer Meghan Sebold who has always fed her self-proclaimed “utilitarian creativity” by styling and altering clothing. For Sebold, “Fashion as art has a practicality to it because clothing is a basic need (or maybe that’s how I excuse myself from being attached to material things). I can look at a painting hanging on my wall and that’s well and good, but it’s more satisfying to me that I can use this shirt every day as something functional and still have created it in a visually pleasing way.” Her fashion label Afia merges a collection of all of her favorite things: challenging comfort zones and norms, intuitive living, predicting trends, fusing worlds, and making a process personal.

Into The Textiles

Sebold’s sourcing expedition begins in the hot, hectic and cacophonous markets of Accra, Ghana. Maneuvering in and out of tiny shops that contain fabric stacks as high as the ceiling, finding the true Ghanaian-made cotton wax prints is something Sebold explains as not as simple as you would expect. “There are many imitations so we’re well-educated on which brands are authentic. New fabric styles are printed every month and when they’ve sold out in the market you may never see them again – that means every one of our pieces is limited edition and a collector’s item after the season is over.”

A continual cultural experience, Sebold selects design silhouettes that honor the textiles; “the fabric is really the main event, I just enhance it and make it wearable.”

Tailored Humor

Making one-of-a-kind pieces that you can covet, but also feasibly afford is something Sebold feels strongly about. The focus of every Afia collection is, “To make it as accessible as possible. Sustainable fashion shouldn’t be a luxury or a sacrifice of personal style.” And wearing that motto on her sleeve goes hand-in-hand with the recurring feeling she attaches to her collections: a sense of humor.

“Humor is the most essential quality to survival. If I didn’t have a sense of humor, I would be curled up in a fetal position in a stairwell,” says Sebold.

Women to Women

Once Afia’s designs and patterns are agreed upon, the next step is traveling to Kpando, a smaller town where Sebold does a large portion of her production. After a 4-hour ride into the countryside, packed into a tro tro (Ghana’s most typical form of transport, which is basically a mini bus), the Afia team arrives at Dzidefo, a women’s sewing cooperative, that sits atop an orphanage managed by the lovely Mama Esi. Mobbed and overwhelmed by the energy and enthusiasm of the children that live there, moments were quickly made that warmed our hearts and left footprints on our souls.

Hands On

An intimate group of seven local women from the community make up the sewing cooperative. From the early rooster call to the rustle of fabric to a baby’s morning cry, these sounds all set the stage for each day’s first stitch from their vintage Singers. The women, with their babies or little ones, bring a homey, relaxed dynamic to the sunlit work environment.

Collaborative Creations

“Collaboration is what it’s all about – but it also takes a lot of navigating and communication to make it a collaboration where people willingly and generously contribute their talents. The process can be uncomfortable at times, but I think that’s how you know you’re onto something. The mindset must be that the teaching and learning goes both ways.” For Sebold, listening and sharing is the way forward in creating beautiful garments together. Working with the women at Dzidefo is both challenging and fulfilling, but connecting across cultural and language barriers provides motivation for both Sebold and the women sewers to learn more from each other and create more gorgeous garments together.

Fashion For The Future

The constant thread woven throughout all of Afia’s work is to showcase how incredibly interconnected we are to people around the world. Sebold explains, “As it relates to fashion, there’s a huge disconnect between the producer and the consumer, mostly because there’s an ugly story behind the $20 shirt being sold to you. I believe in transparency on all levels, and offer Afia to consumers as a stylish and ethically-made option.”

While Afia is just a needle in the hay stack when it comes to fashion brands today, Sebold and her team are stitching a distinct respect, human dignity, and understanding into the composition of their fabrics. This positive, inspiring energy is contagious; its viral potential will always resurface to the forefront of my mind through traveling and exposure to new faces and places.

The post THREADED: Engaging In Afia’s Ghanaian Sourcing & Production Adventure appeared first on EcoSalon.

Column“Drawing lets me explain my feelings, all my happiness, all my sorrows, because drawing is the spirit of expression for all artists.” – Artist Jean-Mark Delphonse

Captured in a sentence, the emotional connection art can have with our souls holds a power that often becomes bigger than any of us. Clothing label Moral Fibers appears to have tapped directly into that internal connection through their mission: “Moral Fibers is a sustainable clothing brand with a commitment to artists in developing countries. We use art and education as tools to grow talent and build financial stability in the poorest communities in the world.”

Co-founded in January 2011 by Matthew Brightman (CEO) and Martin Weiss (COO), Moral Fibers is built upon the idea that international development revolves around employing the unemployed in jobs that require education and art to provide financial stability. Following the 2010 earthquake in Haiti, Brightman traveled to Port-au-Prince to assist with relief work. Upon that adventure, he met Erick Frazier, who has now become Moral Fibers’ local manager, or “Bossman” as they call him.

With the seeds of inspiration planted in Brightman’s mind after his experience in Haiti, he wrote up a business plan and approached Weiss to be his potential partner in crime. As Weiss tells EcoSalon, “He convinced me to come to Haiti with him and find artists. We had no idea how we were going to turn their art into clothing.”

Artist Jean-Mark Delphonse’s artwork and Moral Fibers tee

With the help of “Bossman” Frazier, they identified their first eight Moral Fibers’ artists from his community in Carrefour, Haiti and the surrounding tent areas. Following that groundbreaking trip, Brightman and Weiss mocked up their first tee by artist Jean-Mark Delphonse and got to work sorting out how they were going to make this new dream a reality.

Martin Weiss (COO), Erick Frazier (Moral Fibers’ Haiti “Bossman”), & Matthew Brightman (CEO)

In the course of the next year, Moral Fibers had expanded its artist base to include 15 creative minds, and since then, each of those artists has gradually moved out of their tents and into houses in Carrefour. As Weiss tells EcoSalon, “When an artist is hired, they provide 12 pieces of art monthly, are required to attend school, and give hours of service to their community. If we decide to use a piece of artwork in a piece of clothing going into production, we get our local manager Erick to ask questions to the artist about their ideas and the process of creating the piece.”

While all the company’s current partner artists are based in Haiti, Brightman and Weiss are working with the artists in Carrefour as a test-bed for their international development model. Moral Fibers’ artists receive salaries of five times the average national income, and get to choose from four benefits: education subsidy for one child, home rental subsidy, healthcare subsidy, or an entrepreneurship fund. In exchange, the artists must deliver 12 pieces of art per month, be actively attending school, and volunteer in their community.

“We’re actively trying to improve our artist development model,” says Weiss.

While both men are full of passion for international development, Weiss and Brightman are also both intent on continuously evolving their model to improve the quality of life and lifetime earning potential for their artists.

“We strive to make the best fashion, and our artists strive to make the best artwork,” says Weiss.

In just a year since their initial launch, Moral Fibers has already embraced a massive shift in perspective.

“The Fall Collection is the embodiment of a large step forward. Moral Fibers was founded as a t-shirt brand that wanted to change what a clothing brand could be, and our artists were found as inhabitants of a tent city in a failed state that wanted to change what art could be,” says Weiss.

Sharing the intimate stories behind the artwork is something key to the DNA of Moral Fibers.

13-year-old artist Jean Daniel Maurilus tells his story

While the profiled artwork originates in Haiti, Moral Fibers does much of the the behind-the-scenes work designing in their Montreal headquarters, and has manufactured their past collections locally in Montreal. Recently, their team has been working on a new initiative, which involves manufacturing at INDEPCO in Haiti. Some of their upcoming Spring designs, launching in April, have been made at this non-profit group of Ateliers that are based in Cité Soleil, Port-au-Prince.

Spring 2012 teaser, launching in April 2012

Managed by Hans Garoute, Haiti’s 2010 entrepreneur of the year, INDEPCO has a 20-year operating history of success, and is funded by the Clinton-Bush Haiti Foundation and USAID. As Weiss tells EcoSalon, “Garoute pairs clients like Moral Fibers with ateliers who focus on low-to-medium quantity, high-quality fashion production, and who will scale with their clients.”

A graduate of New York City’s Fashion Institute of Technology and a former buyer for Macy’s, Garoute is all about incentives for his employees. Offering free sewing classes to all of his workers to increase their skills, Garoute also presents his “sewing graduates” with their very own sewing machine upon completion of his courses.

Moral Fibers sees value in producing their garments at INDEPCO for two reasons. “While a ‘Made in Haiti’ tag adds intangible value to Moral Fibers’ brand image by further supporting economic and infrastructure development in the company’s pilot country, outsourcing sewing to INDEPCO saves Moral Fibers an average of 35-50% on the total cost of goods of each piece sewn in Haiti before shipping expenses,” says Weiss.

Additionally, further investing in generating more job opportunities through manufacturing in Haiti gives Moral Fibers an added-value edge.

By artist Victor Phalange

For Moral Fibers, being a for-profit business in their sector means upholding a responsibility of creating “real social good” that’s sustainable. Shamelessly, Weiss mentions a Men in Black quote when asked about the message he hopes to share via Moral Fibers: “A person is smart. People are dumb, panicky dangerous animals and you know it.”

For Weiss, “this quote kind of sums up the problem that you encounter when you generalize about ‘people in developing countries’ or try to teach a crowded classroom instead of an individual.” Experiencing so many aspects of life in Haiti, Weiss has realized directly that individuals are smart, but a lot of them are simply dealt terrible lives, without the opportunity for education, safety, happiness, food, or shelter.

For Weiss, companies like Toms Shoes use a model that is less-than-sustainable. “The ‘Buy One, Give One’ model accomplishes the goal of charity, but will never work for development—no matter how many shoes you send to Africa. You will never succeed in substantially improving the quality of life for anyone there simply by shipping goods.”

On the contrary, Weiss pushes the fact that if you “build a shoe factory, train a foreman and workers, and produce Toms shoes there, you will.” Unfortunately, he explains, Toms Shoes are made in China because production costs are low and workers are already trained.

What Toms Shoes is doing is considered international development and it is doing social good. But, Weiss emphasizes that “Moral Fibers is trying to change this paradigm of sending the excess products of our industrialized world to developing countries and counting it as social good. Our model of international development revolves around employing the unemployed in jobs that require education and art to provide financial stability.”

While it’s all a journey of self discovery, Moral Fibers seems to be treading a particularly positive path, using art as the driving force.

The post THREADED: Moral Fibers – Wearable Art With A Focus On International Development 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.