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PANTONE'S 2017 COLOR OF THE YEAR IS 'GREENERY' (09-12-2016) 

It's been real, Rose Quartz and Serenity. On Thursday, Pantone has announced 2017's Color of the Year and it's... Greenery!

While last year's harmonious duo boasted soothing qualities with their soft and pale hues, Greenery is a vivacious color. Or as Pantone calls it, "a fresh and zesty yellow-green shade." The press release goes on: "new beginnings;" "the first day of spring;" "revive, restore, and renew."

The highly-anticipated, soon-to-be heavily marketed choice is the result of what's aesthetically trending across the fashion, beauty and home decor spectrum. From the spring 2017 runways specifically, designers like Balenciaga, Pucci, Sies Marjan, Michael Kors, Kenzo and Zac Posen created clothes in what Pantone calls "nature's neutral."

Pantone's decision is also a reflection of — and an antidote to — our culture's current mood or climate: "Greenery provides us with the hope we collectively yearn for amid a complex social and political landscape, and symbolizes the reconnection we seek with nature, one another and a larger purpose." That sounds about right. When Hillary Clinton lost the election in November, where did she go to seek refuge? The woods. What has steadily been passed as legal recreation throughout our country? Weed. What meme captures the very essence of humankind? Evil Kermit.

From left, Pucci, Balenciaga and Sies Marjan. Photos: Imaxtree

From left, Pucci, Balenciaga and Sies Marjan. Photos: Imaxtree

Source

 
10 VIETNAMESE TEXTILE TRIBES EVERY FASHION (07-10-2015) 

10 VIETNAMESE TEXTILE TRIBES EVERY FASHION 
1. Red Dao costumes are particularly striking in contrast to the green rice paddy fields they cultivate. Their costumes are trimmed with red and white boarders, their trousers intricately embroidered with motifs of family life, and their headdresses embellished with silver studs, coins and tassels.
top ten textile hill tribes vietnam haute culture

Forget about the couture designers of Paris for one moment and take look at the originators of individuality in South East Asia.

Vietnam has 54 different ethnic minorities, many of whom’s cultural costumes are more creatively crafted and indigenously inventive. So if your visiting Vietnam any time soon, here’s a essential guide to the best fashion show in Asia.

Photo: Lu Hu People at VWM


 Photos: Thy Anh and Rentlaw Snellac

2. The Flower Hmong women of Bac Ha could even give Anna Dello Russo a run for her money. They are by far the most visually attention seeking Hmong group in all Vietnam. Their clashing color combinations and vivid style is a contradictory fashion fusion of both traditional craftsmanship, and modern mass produced materials. Costumes cover women and children from head to toe using heavy pin strip appliqué, hand embroidery and finally fringed with neon beads.

Photos: Nikki Near and Far and Traveling Soulmates

3. The Hoa Devotees use a staggering 57 costumes in their spiritual ceremonies worshiping the Gods of the Four Worlds. Stitching the stories of legends and sorcery into each outfit one of the many gods will come down to earth and possess the spirit medium. Only very special people are chosen by the temple to preform this role. Men will provide the vessel for the female gods and women for the male. Costumes can vary in price depending on the wealth of the temple. The most expensive attire will use the finest silk with majestic motifs hand embroidered in metallic gold threads. A single jacket can range from $50 – $1000.

Hoa Vietnam cultural costume haute culture

Photo: Vietnamese Women’s Museum

4. Ha Nhi tribe are a Tibetan- Burmese speaking minority living in North Vietnam. They have 2 very different cultural costumes. The Lao Cai Ha Nhi wear indigo blue. They hand weave and dye their fabrics before embroidering simple yet pretty linear geometric boarders on the cuffs, sleeves, collar and central panel. The Ha Nhi of Lai Chau wear an exciting combination of multi coloured striped sleeves, silver studded triangle lap and a head dress which is made from beads, ribbons, pom poms and tassels.

Photos: Kimberly Coole and Vietnam Tourism

5. LoLo of Lung Cu are un distinguishable from regular Vietnamese people as they wear regular western style clothes everyday. But a few times a year when they celebrate very special occasions the most elaborate and decorative outfits appear. A wide labour intentisve variety of textiles techniques is employed such as batik, appliqué, embroidery, tassels, ribbons and buttons.

6. The Lu people from Lai Chau Province in North Vietnam cultivate both cotton, silk and indigo dye to make their costumes. They select colorful fabrics with bird, tree and flower patterns to patchwork together in long small strips before decorating the jackets with silver studs and coins. The most complicated part of the outfit is the rhombic weaving pattern on the skirt. Lu women are deemed not fit for matrimony until they can make their own clothes.

7. The Flower Lolo of Meo Vac in Ha Giang Province hand appliqués just under 4000 rainbow colored triangles onto each costume. 5 triangles can take up to 2 hours to sew (I know because I’ve done it). Constructing a single costume takes about 1 year to make, outfits are sewn by mothers for their daughters and only worn on best occasions.

flower lolo meo vac vietnam cutural costume tribal textiles

8. Co Tu Ya Ya or Ta Oi live in Central Vietnam. White lead beads are interwoven into geometric patterns consisting of crosses, diamonds, zig zags and stripes. They show off the time consuming textiles on simple silhouettes in a striking color combination of black, white and red.

co tu ya ya hill tribe textiles

9. Glitter girls of Ha Giang dress like disco balls for one reason. To attract the boys. They not be the most skilled with a sewing machine but these girls no how to make a high impacted entrance with minimal effort.

10. The Black Hmong are most identifiable by their indigo saturated fingers. The pride pieces of each outfit are a shiney sleeveless jacket where the hemp has been literally polished to perfection, and the elaborate hand embroidered sleeves, collars and belt sashes.

black hmong sapa cultural costume tribal textiles
Photo: All Points Eas

 
Getting Ahead In Fashion (09-06-2014) 

IT'S the answer to the question that every aspiring fashion student wants to know: how to make it in fashion? At this year's  VOGUE FESTIVAL there were a wealth of experts who were kind enough to share their advice. Invaluable insight, read their tips :


Amanda Harlech, creative consultant

1. Never stop looking.
2. Fashion is change. Embrace change even if it throws you out of an anticipated rhythm - colours that you have grown to love, proportions that you return to, a familiar line of beauty. The most creative moments are when you move into the wonder of the new and original with an understanding of how you got there - how it has evolved, the past.
3. Learn the grammar of fashion before you write your poem.
4. Believe in your passion. Strive to perfect a voice. Be rigorous - if you draw, draw everyday. If you work in film, carry your camera with you always. 
5. Be true to your instinct. Every voice is valid if you know what you want to say.

Daniel Marks, director and partner, The Communications Store

1. Listen: really listen to what other people are saying. They will inspire and challenge you. Don’t be distracted – and don’t start talking until you are sure that they have finished.
2. Look: at situations, people, brands, stores, the media, clothes... You never know where your next idea will come from – it won’t necessarily be from your mobile phone.
3. Learn: I learn something new every day, most especially from my mistakes. Be open to that experience and you will find it exceptionally rewarding. Vertical learning curves, even if exhausting, are the most exciting and beneficial.
4. Lean: you are not on your own. Talk to friends, family and colleagues about your issues and lean on them when you need to. A support network and team are indispensable to a successful career. 5. Love: be passionate about your passions. David Frost said, “Don’t aim for success if you want it; just do what you love and believe in, and it will come naturally.” Naturally, but not necessarily easily – don’t be afraid of hard work

Franca Sozzani, editor-in-chief, Vogue Italia and L’Uomo Vogue & Editorial Director of Condé Nast Italia

1. Fairy tales do come true – always believe in yourself.
2. Please smile - stop complaining and work hard. 
3. Real genius doesn't have an attitude.
4. Read Vogue.
5. Don’t be a fashonista

Lisa Armstrong, fashion editor, The Daily Telegraph

1. Bucket-loads of hard work – and then some.
2. Spell-check: use it. Grammar: if yours is no good, learn it. You cannot hope to write without it. 
3. Willingness to listen and take on constructive criticism.
4. Accuracy, accuracy, accuracy.
5. No waffle, no clichés, no fashion-speak. Ever. If you want to learn how to write, read good writers and try to work out how they do it. If you find that writing comes easily to you, you’re not doing it properly.

Sourch: VOGUE

 
Fashion Industry 2043: Risk Mitigation and Long-Term Competitive Strategy Through Scenario Work (07-06-2014) 

The fashion industry has gone through dramatic changes in the last 20-30 years. Indeed it finds itself in the present at a crossroad: Resource scarcity is triggering shifts in business models and supply chains; waste is the new resource; customers are the sales channel of the future; and legislation is becoming ever more stringent.

Yet few businesses venture to think about how their industry may look in five, 15, or 30 years’ time. Radical changes are bound to happen in our world, and its consumer and sourcing markets, over the course of the next few decades, and we will encounter serious challenges of running businesses if we continue as we have in the last few.

The value of scenario work

Scenario work — the preparation for future industry realities — has proven to be among the most effective tools for sustained business development across all operations. The changes that affect the fashion industry, amongst others, are triggering radical market shifts. Only businesses that can and are willing to anticipate them will survive, remain competitive and thrive in the long run.

Many consider any scenario beyond a five-year horizon to be out of touch with reality. The fact though is: If looking back at predictions of 1950 or 1960, the reality we live in compares best to the predictions that were considered 'totally crazy' in their time. To name but a few: home and Internet shopping — specifically for fashion; abundant use of electronic payment means via cards, tele-banking; space technology; mobile phones and wireless technology … It was all there, akin to how we know it today.

In order to develop successful and meaningful long-term scenarios for the business context, there are three fundamental key points to be considered during elaboration:

Developments of the past are not simply to be prolonged to the future as a logical and successive process. Technologies and societal shifts — embryonic at the time of research — are to be analysed, evaluated and then 'built into' the scenario as the new 'mainstream.' At this stage, a business' own agenda and vision are not admitted for consideration (yet).
Accounts of extreme events of the present are taken as indicators for common events in a couple of decades. There is no limitation in terms of factors and impacts that are taken into consideration — the range of which may reach from resource scarcity to high-tech application in home appliances.
Application of design thinking techniques is essential to assess consumer response and 'the practical use' of the different scenario components. New ways, ultimately, must be useful and desirable — to consumers as much as businesses — in order to become popular and represent a potential 'new status quo.'
Good examples of quality scenario work include Forum for the Future’s work on cotton andconsumers.

At texSture, we researched during Q2 2013, trends, influences and impacts that will impact and shape the fashion and textiles industry in the next 5, 10 and 30 years’ time. From this research we were able to distil three distinct scenario 'story lines':

Scenario 1: “Market inversion”: What if Asia became today's Europe?

The present: 

Asian brands are becoming aspirational for Western consumers and hence compete directly with Western brands. But: Asian brands, just as Western, target primarily Asian consumers. As cost of labour increases in Asia, particularly China, factories relocate to cheaper, more rural areas.

The future: 

Asian manufacturers are traders to African manufacturers and producers, but ethical standards remain low. Workers from Western markets migrate East and are the new “cheap labour.” While Asia has become the main market for European brands, Asian and African culture is shaping the global mainstream.

Practical implications for brands:

Operations: New sourcing channels will have to be built in order to cater to African markets — using specifically local materials. African non-oil countries will become the new sourcing hot spots for cheap labour.
Technology: Control-of-origin systems will be standardised in order to follow orders though production. Increasingly, they will be integrated with tight (international) legal and reporting standards, and industry best-practise requirements.
Business models: Asian manufacturers and brands will compete head-on with Western manufacturers and brands, specifically in the high-end market segment. Mass-customisation is key.
Scenario 2: “Local, high-tech economies:” What if everyone was a maker?

The present: 

“Made in [your country]” is experiencing a revival across all Western markets. Virtual reality — from sampling to dressing rooms — is entering the retail landscape. Raw material prices keep rising. And at a time when 3D printing has finally matured sufficiently to become mainstream, physical and virtual maker markets such as Etsy are popular.

The future: 

The situation is paradox: On the one hand localism reigns, but on the other the world has never been more global. “Made in [your area]” products are sought after, but rather than being a luxury they are the typical way of life. Fragmentation is the key word both for manufacturing and retail: Independent boutiques are proliferating and communities are geographically semi-isolated yet technologically hyper-connected.

Practical implications for brands:

Operations: Shipping of physical goods is progressively only worth it for very high-value items. As a consequence, most production is taken care of by local craftsman, artisan and micro units.
Technology: Distributed working technologies will increasingly be used, and serious results are achieved in their development to better account for and integrate 'inter-human bonds,' specifically for teams.
Business models: Intellectual property (e.g. of designs and patterns) will become a brand's principle 'product.'
Scenario 3: “Collaborative-competitive markets:” What if we didn't buy to own?

The present: 

Swishing is a new lifestyle, and eBay and Amazon are where people peddle their unused goods. Repair services are part of the offering of certain fashion brands. Car sharing, tool sharing and skill sharing are being rolled out on a large scale. The sharing economy is valued at $460 billion and is expected to grow at least 15% in the next 15 years.

The future: 

Cotton, polyester and most other 'traditional' fibres are difficult to obtain. New-generation fibres cannot cope with the demand. World population has grown to an extent that agricultural activities are geared towards food. Few products are discarded; broken and ripped products are valued as raw material sources. Buy-to-own is not the predominant lifestyle any more, but is considered a luxury. Communities offer rental services for more expensive and rare items, including clothing.

Practical implications for brands:

Operations: Need for diversification of raw materials used in design, and hence products. Search and development of alternative materials for which scaling does not pose any, or at least fewer, long-term problems.
Technology: Refinement of recovery and recycling technologies, specifically in efficiency and complexity terms. 'Closing the loop' acquires proprietary traits (again), so that recycled materials may remain reliably within a specific company's raw materials stream.
Business models: Lease-and-take-back schemes will become popular — even for fabrics. These go hand in hand with recovery and recycling schemes.
The benefits of scenario work

If integrated into corporate strategy development and investment strategies, scenario work helps to illustrate the vulnerabilities of a business, such as lack of agility to react to emerging business models (e.g. shift of B2C to C2C, the impact of 3D printing on consumer demand or the proliferation of forgeries) or input-material sourcing challenges.

Scenario work further encourages and facilitates the collaboration of executives from different departments as it enables development of a common vocabulary around key issues that will become dominant in the mid to long run. Sharing the same vocabulary is of paramount importance to enable shared vision and gain buy-in and support across multiple departments. This is particularly the case for managing change in reaction to short- and mid-term pressures around environmental and labour rights issues.
And last but not least, scenarios are a point of departure that can serve as inspiration on how to turn risks into opportunities. After all, sustainability ultimately is the key ingredient to maintain long-term competitiveness.

Sourch: Pamela Ravasio/ sustainablebrands.com


 
Sustainable Fashion: Trend or Tactic (07-06-2014) 

By Devika Jadhav

Fashion is seldom associated with being environment friendly. Most times, it is accused of being wasteful inconsiderate or even indifferent to the environment. The fashion industry accounted to US$ 284 billion in sales within USA in 2012 alone as well as contributing £20.92 billion to the UK GDP according to the British Fashion Council. A majority of which, again is earned through retail.  Globally, experts have identified a tendency of a life cycle of a clothing product which they have termed as ‘fast fashion’. Customers prefer to spend money on low quality cheap clothing which can be discarded within 7 to 10 washes rather than expensive high quality garments which can last generations. There is a yearning hunger within consumers to look different each time, more often now than in the past thus putting pressures on retailers to change shelf stocks at a dangerously fast pace. Many high street retailers like Zara and H&M products now have a shelf life of as few as two weeks if they want to be on top of their competitors.  Clothing often reaches the dump yard before it is fit to be discarded as new ‘in’ styles make their way onto freshly made up bodies of Kate Moss and Beyonce. Wrap.org reviles that there is £30 billion worth of unused clothing hanging in people’s wardrobes in the UK. Magazines, hoardings and advertisements are all made to make you think you do not have enough, and that you will be more desirable if you buy a certain product. One does not however see a lot of people walking down Juhu Chawpati or Oxford circus wearing runway clothing, rather a good impression of them made popular by the more affordable High Street. Even brands like Dior, Versace or Channel make most of their money via cosmetics and perfumes rather than their expensive clothing.

It is impossible to ignore the impact of factories in India, Bangladesh and China have had on clothing industries in the west. It is simply deemed impossible to keep up with the demand, its appropriate pricing and timing if they were to be produced in the west owing to their high wage rate, health and safety regulations and transportation costs. There was a shaking of conscience in the psyche of people after the Rana Plaza collapse in April where more than 1200 paid their lives for a pair of cheap jeans. Even with a disappointing outcome of change, it definitely raised several questions and if nothing, made designers and consumers more aware of the gravity of the issue and the seriousness of inducing change.  As a result of fast fashion there is a huge amount of waste being generated in the world which needs immediate attention. According to the British environmental charity Global Action Plan, 7.5 billion items of clothing are sent to landfills each year worldwide. However lately, there is been a diversion of designers to produce more ethically and sustainably. Designers like Stella McCartney and Edun have been historically famous for their eco- awareness  by their use of organically produced cotton, low wastage of fabrics, bio degradable products and much more. This ideology is now being slowly adopted by the high street as well, with concepts like ‘buying back’ from the consumers, recycling fibres and producing ethically becoming a part of their marketing techniques. Brands like Marks and Spencer’s, Topshop, H&M, River Island are all becoming a part in some way of this new trend. The big question is whether it is just another marketing tactic or are these consumers actually focusing to make their products sustainable. For producing organically and ethically, there main challenge would be to keep the pricing low as costs of production will be much higher and the consumer will automatically feel the pinch. Another challenge would be to create alternative aesthetically appealing clothing without the use of harmful dyes and synthetic fibres that seem to give a distinctive look, feel and fall to popular clothing today.

There is a need therefore for a collective change in ideology from consumers, produces as well as people of the media. We simply cannot compromise our planet to look better for a few hours, there are many success stories and sustainable and ethical production of fashion is indeed possible, if we ultimately all decide make a choice. Or should we say, THE choice.

Source:

  1. http://britishfashioncouncil.com/content.aspx?CategoryID=1745
  2. http://www.britishfashioncouncil.com/uploads/media/62/16356.pdf
  3. http://www.fashionunited.com/global-fashion-industry-statistics-international-apparel
  4. http://www.wrap.org.uk/content/wrap-reveals-uks-%C2%A330-billion-unused-wardrobe
  5. http://www.ethicalfashionforum.com/the-issues/energy-and-waste
Devika Jadhav is a fashion Designer Studying at London College of Fashion, with a devotion to food, a passion for travelling and a yearning to learn about different cultures. Devika is keen to take everything an exciting city like London has to offer, and believes in living moments rather than days. Uniquely placed in an environment where she meets more than 30 people from different countries each day that still manage to make it on one dinner table, oh what eventful conversations that gives rise to!

----------------
Source:theindianeconomist.com


 
Hemp Clothing (09-02-2014) 

Hemp is one of the most environmentally friendly and versatile natural textile plants on Earth - and one of the first textile plants in history.

Hemp is one of the most environmentally friendly and versatile natural textile plants on Earth - and one of the first textile plants in history.

Hemp is incredibly tough; it requires no herbicides as it grows so fast that even weeds can't compete. It requires no pesticides as it is unpalatable to insects, and needs very little water to grow; in comparison, Organic Cotton needs around 20'000 litres of water per 1kg grown. Hemp clothing is UV protective and anti-bacterial and produces 250% more fibre yield per acre than cotton, is more water absorbent and has three times the tensile strength. Clearly Hemp has a lot to offer in the way of eco factoids and for these many reasons, Hemp is used by the designers at Rapanui.

How Hemp fabric is made.

Once harvested, Hemp needs to be softened before being spun. Traditional methods to soften vegetable fibres used acids to remove lignin, a type of natural glue found in many plant fibres - recent technological developments in the processing of hemp into a softer fibre that allowed a modest hemp industry to grow.

You can use it for rope, bags, clothes, hats, insulation, and plasterboard. The first American flag was made from hemp, and Levi Strauss made his first pair of jeans from Hemp too.

Natural Durability

These qualities of durability are seen in the makeup of the fibre; it is thicker and firmer than most fabrics, but this is also its own undoing: Thicker fibres create coarser yarns, meaning Hemp feels coarse when compared to the silk-like quality of Bamboo Clothing or Organic Cotton. For the same reasons, wool jumpers went out of fashion as soon as softer, less itchy alternatives were available. Reviving hemp will require more than a simple marketing exercise: whilst enthusiasts are right to maintain Hemps suitability for a number of clothing styles, the reality is that there are simply more suitable alternatives for casual clothing.

This goes some way to answer the question, "If Hemp clothing is so good, why don't we see it more?"As a fabric, it just isn't as comfortable next to skin as alternatives like organic cotton. The secret to our success at Rapanui is designing eco clothing that is cool, and wearable. If a product simply does not fulfil its purpose, it makes no sense to create it for the sake of it being more eco - friendly.

At Rapanui, we won't give up on hemp, we just use it for the correct application: such as outerwear, jackets, jeans and bags.

When you look deeper Hemp is a great fabric that, used for the right application can be outstanding. The naturally sustainable properties of Hemp surprise most people. Hemp makes our jackets, jeans, socks and accessories bombproof.

hemp clothing


Sourch: Rapanuiclothing

 

 
H'Mong people Traditional Textiles (16-12-2013) 

The word Hmong means "Human being" or "Free People" in the Hmong language. Anthropologists trace their heritage as far back as Siberia and Central Asia. Although they lived in China for centuries, often as slaves, they fell victim to genocide and oppression. The Hmong have in time mostly settled in Burma, Laos, Thailand and Vietnam. In 1959 after the French defeat at Dien Bien Phu, Laotian civil war broke out. In addition to this displacement from their homeland, the Vietnam War caused further migration from their settled home. During the Vietnam War the Hmong fought with the United States against the Vietcong. However, after the war, when the United States withdrew from Vietnam and Laos, many of the Hmong escaped to Thailand by crossing the Mekong River. Although the Hmong have been mostly associated with the South East Asian countries, they have struggled to maintain their unique culture with a commitment to remain the "Free People" throughout their history.
Each Quilt Block is a Work of Art
Every square is handmade by a Hmong hilltribe woman living in the remote hills of northern Laos using the reverse applique quilting method. The designs are traditional symbols for love, longevity, and life. Delicate accent embroidery adorns each square.

Providing Supplementary Income
In the majority of cases, the artisans' incomes are based mainly on agriculture. Income from handicrafts provides supplementary income for the artisans and their families. Albeit supplementary, this income may be essential in the provision of life's basic necessities such as food, clothing, medical care, education, transportation, etc. In times of emergency or in the event of a poor harvest, supplementary income can be critically important.
 
 
The Hmong (Paj Ntaub ) Storycloth:
The Hmong did not have any previous written language until thirty-five years ago when Christian missionaries standardized and romanized the Hmong language. Previously, all of their communication was oral and/or pictorial. Many of the oral history traditions have been transcribed pictorially on a story cloth known as a pa’ndau. The pa’ndau, composed of applique, cross-stitches, batik and embroidery, incorporates Hmong personal family history, village life, the death and disturbances of war and emigration, and life in a new land.
 
 

In the upper half of this cloth there are scenes of harvesting corn, pounding rice, and feeding animals. The third tier of images shows shamanistic ceremonies and the bottom tier shows traditional courting customs. The mother of the bride is furious when she learns from a messenger that her daughter has been seduced by her would-be husband and threatens the messenger with a stick.

The Hmong migrated from southern China in the nineteenth century to the mountainous areas of Laos, Vietnam and Thailand. During the Vietnam War the Hmong worked with the American CIA in the "secret war in Laos," and therefore were forced to flee their homeland after the victory of the communists. After spending time in refugee camps in Thailand, many Hmong settled in various countries including Australia.

The Hmong have brought with them a rich visual arts heritage. Paj ntaub or "flower cloth" continues to be produced by Hmong artists in this country. The designs and patterns used are symbolic in Hmong culture and often are derived from forms in nature. Paj ntaub is used to decorate traditional Hmong clothing and are valued as works of textile art.
 
 
 
  
 
 
 
  
 
Sourch: Asiansofasia.com

 

 

  

 
Sustainable Fashion – Why Now? (07-12-2013) 

Sustainable fashion can be described as the ability of a fashion product to endure from source to design concept, manufacture and retail till it gets to the final wearer and is disposed of, without hurting the people it comes in contact with through this entire process, or the environment in which it travels.
Sustainable fashion, eco fashion, ethical fashion, sweatshops, carbon footprints, greenhouse emissions, fast fashion – we have heard them all in the last decade and we are still trying to take them all in. The first thing that comes to mind however, when we hear sustainable fashion and Nigerian fashion industry in the same breadth is: Are we there yet?
The answer is YES and the whole essence of talking about it this month on Style House Files is to raise awareness that we are all stakeholders in the fashion lifecycle – farmer, textile manufacturer, designer, garment manufacturer, retailer, buyer, press, model and consumer. Hence, we should all stand up and face responsibility for the ecological and social impact of the product that have been made, designed, promoted, sold and worn by us or that we have been associated with either directly or indirectly. The future of sustainable fashion lies in this very fact, since it is such human interactions with fashion products that determine the sustainability of not just the fashion product but its production process as well.
 

As a fashion forward race, we have an insatiable appetite for consumption of goods. We see this everyday in the non-stop buying of fashion products as often and as quickly as possible (no thanks to the media and fashion industry), the subconscious desire to always have something brand new and shiny as long as it comes with a hefty price without caring where it comes from and in the case of fast fashion, buying goods so dirt cheap without a thought for who had to slave or practically work for free so we can actually buy fashion products at such a ridiculous price in the first place!

There is no doubt that the notion of our taking responsibility for the future of fashion and invariably our environment and people, really sounds daunting! What then must we do? Go back to the beginning like it was in the Garden of Eden when Adam was unaware of what clothes were? Or post fall of Adam from Eden when leaves were seen as covering? Sustainable fashion is not as complicated as it sounds and quite a number of us probably already make sustainable choices when designing and or buying. This will be a fantastic opportunity for the fashion cognoscenti to educate us all on sustainable choices they make in fashion, so we can utilise them as tools of cementing long term development in a growing industry.

Style House Files will explore the following angles as sustainable fashion choices we can make:

  • Fashion products made from organic, recycled fabrics
  • Handmade or handcrafted goods
  • Vintage fashion products
  • locally sourced and produced clothes
  • clothes made well- which cost more but last longer-
  • products sales that benefit charities, causes and less privileged societies
Whatever choice or choices we embrace, please bear in mind that the whole essence of this is to give meaning to a fashion product beyond just wearing, it is to embrace the psychological impact of what wearing that fashion product means to us in terms of celebrating culture, craft and meaning in our everyday style.
 
Sourch: Stylehousefiles
 

 
Sustainable fashion or Eco-fashion (05-12-2013) 

Thegioidep.info - Thế giới đẹp
 
Sustainable fashion also called eco-fashion, is a part of the growing design philosophy and trend of sustainability, the goal of which is to create a system which can be supported indenfinitely in terms of environmentailism and social responsibility.
 
Sustainable fashion is part of the larger trend of sustainable design where a product is created and produced with consideration to the environmental and social impact it may have throughout its total life span, including its "carbon footprint".
According to the May 2007 Vogue, sustainable fashion appears not to be a short-term trend but one which could last multiple seasons.
While environmentalism used to manifest itself in the fashion world through a donation of percentage of sales of a product to a charitable cause, fashion designers are now re-introducing eco-conscious methods at the source through the use of environmentally friendly materials and socially responsible methods of production.
According to Earth Pledge, a non-profit organization (NPO) committed to promoting and supporting sustainable development, "At least 8,000 chemicals are used to turn raw materials into textiles and 25% of the world's pesticides are used to grow non-organic cotton. This causes irreversible damage to people and the environment, and still two thirds of a garment's carbon footprint will occur after it is purchased."

Materials

There are many factors when considering the sustainability of a material. The renewability and source of a fiber, the process of how a raw fiber is turned into a textile, the working conditions of the people producing the materials, and the material's total carbon footprint.

Natural fibers

Natural Fibers are fibers which are found in nature and are not petroleum-based. Natural fibers can be categorized into two main groups, cellulose or plant fiber and protein or animal fiber.
Cellulose

Cotton is one of the most widely grown and chemical-intensive crops in the world. Conventionally grown cotton uses approximately 25% of the worlds insecticides and more than 10% of the worlds pesticides. Other cellulose fibers include: Jute, Flax, Hemp, Ramie, Abaca, Bamboo (used for viscose), Soy, Corn, Banana, Pineapple, Beechwood (used for rayon).

Protein

Wool, Silk, Angora, Camel, Alpaca, Llama, Vicuna, Cashmere, Mohair

Manufactured

From natural materials: Lyocell, Polylactic acid or PLA (Corn Polymer)

Recycled fibers

Recycled or reclaimed fibers are made from scraps of fabrics collected from clothing factories, which are processed back into short fibres for spinning into a new yarn. There are only a few facilities globally that are able to process the clippings and variations range from a blend of recycled cotton fibers+added rePET yarns for strength to recycled cotton fibres+virgin acrylic fibers which are added for color consistency and strength.

Designers

Designers say that they are trying to incorporate these sustainable practices into modern clothing, rather than producing "hippie clothes.”

Due to the efforts taken to minimize harm in the growth, manufacturing, and shipping of the products, sustainable fashion is typically more expensive than clothing produced by conventional methods.

Celebrities, models, and designers such as Stella McCartney, Amour Vert, Edun, Stewart+Brown, Shalom Harlow and Summer Rayne Oakes have recently drawn attention to socially conscious and environmentally friendly fashion. "Portland Fashion Week", which has featured sustainable designers and apparel since 2005, has also attracted international press for its efforts to sustainably produce a fashion week that showcases 100% eco-friendly designs.

In Europe renowned trademarks are Armedangels from Cologne, Germany,Ajna-Organic fashion from Germany, Nudie Jeans from Sweden, Pelechecoco From Denmark, KamiOrganic from Paris, Pants to Poverty or Po-Zu shoes from London, room to roam (reversible clothes) from Munich, Royal Blush accessories from Switzerland or the Bio Shirt Company Berlin.

In Costa Rica and Italy, Generation Pacifique is an active player in a new holistic movement aimed to raise human consciousness and eco-conscious clothing.

A new interesting part of sustainable fashion is the so-called prison couture.[7] The first Eastern European prisoners are designing sustainable prison fashion in Latvia and Estonia under the Heavy Eco label.[8]

Organizations

There are some organizations working to increase opportunities for sustainable designers. The National Association of Sustainable Fashion Designers is one of those organizations. Its purpose is to assist entrepreneurs with growing fashion related businesses that create social change and respect the environment. Sustainable Designers provides specialized triple bottom line education, training, and access to tools and industry resources that advance creative, innovative and high impact businesses. The organization’s mission is to create social change through design and fashion related businesses by providing education, training and programs that are transformative to the industry and to cultivate collaboration, sustainability and economic growth. Undress Brisbane is an Australian fashion show that sheds light on sustainable designers in Australia.

Controversy

Though all cotton has a large carbon footprint for its cultivation and production, organic cotton is considered a more sustainable choice for fabric, as it is completely free of destructive toxic pesticides and chemical fertilizers. Many designers have begun experimenting with bamboo fibre, which absorbs greenhouse gases during its life cycle and grows quickly and plentifully without pesticides. Even with this, bamboo fabric can cause environmental harm in production due to the chemicals used to create a soft viscose from hard bamboo.

Some believe hemp is one of the best choice for eco fabrics due to its ease of growth, though it remains illegal to grow in some countries. These facts regarding production of new materials make recycled, reclaimed, surplus, and vintage fabric arguably the most sustainable choice, as the raw material requires no agriculture and no manufacturing to produce.

Recently, another alternative to sustainable fashion has emerged that uses synthetic fibers with a process called AirDye technology that eliminates all water from the dyeing and printing process. While critics still point to the chemicals used in making synthetic materials, this method significantly reduces water consumption and pollution, while cotton (organic or not) uses a tremendous amount of water during the growth and dyeing phases

Future of fashion sustainability

On May 3, 2012, the world's largest summit on Fashion Sustainability was held in Copenhagen, gathering more than 1,000 key stakeholders in the industry to discuss the importance of making the fashion industry sustainable. Copenhagen Fashion Summit has since then gathered thousands of people form the Fashion industry in their effort to create a movement within the industry.

In July 2012, the Sustainable Apparel Coalition launched the Higg Index, a self-assessment standard designed to measure and promote sustainable supply chains in the apparel and footwear industries. Founded in 2011, the Sustainable Apparel Coalition is a nonprofit organization whose members include brands producing apparel or footwear; retailers; industry affiliates and trade associations; the U.S. Environmental Protection Agency, academic institutions and environmental nonprofits.

Sustainable labour costing in fashion

In 2013 Doug Miller of Northumbria University discussed specific features of buying behaviour in the UK fashion retail industry. Examining ongoing wage defaulting and import price deflation in the global apparel industry a case is made that an absence of labour costing defeat compliance benchmarks.
 
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