Copenhagen Fashion Summit Sets the Tone for Global Sustainability Agenda

On the eve of the Copenhagen Fashion Summit, 2017, Eva Kruse, CEO & President of Global Fashion Agenda, the driving force behind the now annual summit, spoke of the challenges and opportunities facing the global fashion industry in tackling sustainability issues.

The world’s second most polluting industry after oil and gas, fashion faces the stark reality that by 2030 global garment production will increase by 63%, in response to the planet’s growing population, expected by then to exceed 8.5 billion – an unsustainable quantity that has sparked tomorrow’s summit’s call to action: appealing to fashion brands and retailers to adopt circular systems.  The crux of circular systems is collection, reuse and recycling of garments, feeding them back into the manufacturing process so that the majority of garments no longer go into landfill, ultimately making the existing linear model of “take, make, dispose” obsolete.  By 2030 retailer H&M aims to operate under a fully circular model – that is, only using recycled materials in its garment production.

Important points arising from pre-summit discussions today at the Hotel Skt Petri, a fitting venue, being that the hotel is powered by 100% offshore wind energy, included the need for innovation and collaboration between stakeholders across the fashion industry.  The Pulse of the Fashion Industry report compiled by The Boston Consulting Group and the Global Fashion Agenda will be formally launched and discussed at tomorrow’s summit and will outline where the fashion industry is in terms of sustainability efforts today, and where it needs to be to avoid environmental and humanitarian crises in the future.

Jason Kibbey, CEO of Sustainable Apparel Coalition, underpinned the importance of the Global Fashion Agenda by explaining that it could provide a unified focus amongst hundreds of splintered initiatives on sustainability across the industry.  He went on to say that recycling garments is one of the biggest challenges facing the industry currently, echoing the call for circularity mentioned earlier.

An encouraging discourse was led by Marco Lucietti, Global Marketing Director of ISKO, who outlined the denim manufacturer’s ‘long journey’ towards being fully responsible in manufacturing and sustainability terms, which has led to innovations such as indigo dyeing without the use of water and their Earth Fit collection, which has been created from organic cotton, post-recycled polyester and Lenzing fibres (which are manufactured under a circular business model).  Marco was clear in outlining the role ISKO has in shaping the textile offering to brands and guiding them to make sustainable textile choices.

Marco cited one of the biggest challenges for the sustainability agenda currently as being consumer attitudes towards ‘sustainable garments’ and the false impression that sustainability means a compromise on design and/or quality.  He is calling for a drive to help convince customers of the superiority of sustainable fashion and make it a major purchasing driver for consumers.

Eva Kruse and Marco Lucietti – Image: Techstyler

ISKO’s I-Skool initiative gives fashion students access to their sustainable denim and affords them the knowledge and understanding of how these materials can be integral to the design process, rather than an optional alternative to more polluting ones.  I-Skool is a denim award held in collaboration with Copenhagen Fashion Summit.  It showcased the work of ten fashion students with the eventual winner, Farah Sherif Wali, being chosen by an International judging panel including previous creative director of Oscar De La Renta, Peter Copping and Bandana Tewari, fashion features director at Vogue India.

I-Skool finalist designers included, from top – Annie Ansell (UAL, Chelsea), Quinton Lovelace (FIDM, LA), Elena Turkhina (ESMOD, Berlin), and winner, Farah Sherif Wali (Polimoda, Florence)- Images: Techstyler

Rounding off this pre-summit piece is a brief overview of the two day Youth Fashion Summit which ends today, from which a draft of the first ever UN resolution on fashion will be formed.  In partnership with Swarovski, the collaboration between the Global Fashion Agenda and the Copenhagen School of Design Technology (KEA) has given students the platform to discuss and produce the draft resolution in order to shape the future of the fashion industry and lead the fight for sustainable practices.  Expanding on this, Dax Lovegrove, Global Vice President of Corporate Sustainability and Social Responsibility at Swarovski, stated that the three key topics coming out of the two day Youth Summit had been climate change, a fair deal in the supply chain for all and circular economy.  Dax summarised by saying that solving societal problems and ‘eradicating forced labour’ were also key discussion points.  A promising start to a global summit promising to prove that sustainability is not only an environmental and societal issue, but a business issue too.

Youth Fashion Summit 2017 – Images: Copenhagen Fashion Summit 

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Header Image:  Copenhagen Fashion Summit 2016

Sadie Williams and Marta Jakubowsi Wield A Sucker Punch Of Colour at London Fashion Week

The ‘insta-fashion’ of today lends a kind of high impact then fast fade to fashion imagery – blink and you’ll miss it.  It occurred to me today that the presentations I have seen at fashion week so far on day one are highly condensed, stringently edited and high impact.  Jammed with colour and unwavering in focus, they are a visual sucker punch that makes for great images ripe for social media – saturated colours, bold sets, texture, drape and exaggeration.  They are a distillation of concentrated strong visual ideas rather than a gently rambling or winding journey.  Kind of like the meat of the story, without the preamble or rounding-off.

Sadie Williams presented a glimmering gang in a folk art disco, mixing old and new on the textile front – 70’s glitter vibes set against retro-reflective ‘high viz’ trousers and corduroy accented with crystals by Swarovski – a pioneer in new technologies with an eye on robotic manufacturing, according to a recent interview with Nadja Swarovski for the McKinsey report on the State of fashion report,2017.  The collection was styled with Converse Chuck Taylors and elastic layered tights and socks smattered with holes by Wolford.  This collection was a fun textile and colour mash-up underpinned by textile mastery.

Marta Jakubowski‘s collection was understated and seriously focussed on turning childhood nostalgia into grown-up elegant tailoring.  The colours were rich and deeply attractive.  On the tube on the way home I considered researching the psychological effects of the deep, warm shades of purple and red in the collection to understand how they somehow ‘fill out’ the aesthetics visually – making the sum of the parts (tailoring and colour) so much greater than either individually.  I bet there’s enlightenment to be found, alas the scope of this piece is short given the gazillion words I want to write about all I have seen so far at London Fashion Week.  Suffice to say, it was beautifully elegant and desirable, not unlike Sade, who not doubt provided aesthetic inspiration for the cutaway polo necks and much of the soundtrack in the form of Sweetest Taboo, Chaka Khan and Tina Turner.  Sometimes simple is best.

Below is a list of the people involved in creating and presenting these collections.  I include these credits, which are on the designer’s printed show notes along with the back story of the collection, because the teams and talent required to realise these collections is huge and diverse.  I type these names to recognise their input (we’ve all been there, working behind the scenes and during the months of preparation) and to show the diversity of backgrounds of London’s fashion creatives.   Long may this diversity continue.

Presentation credits Marta Jakubowski:

Set Design: Gary Card; Styling: Tati Cotliar; Casting: Emilie Astrom; Make-up: Lucy Bridge @ Streeters; Hair: Mari @LGA Management usiing Bumble and Bumble; Nails: Imarni Ashman using Elegant Touch; Music, Elton Gron; Press release: Daryoush Haj-Najafi; Shoes: Jimmy Choo.  Special thanks:  NEWGEN Panel, British Fashion Council, Sarah Mower, Ash Smith, Ella Dror, Jade Willson, Laura Fairfax, Gillian Horsup, Vintage Models, Butler & Wilson.   The Marta Jakubowski team is: Zuzanna Szarlata, Alexandra Sipa, Ines Vilas Boas, Ashley Lee, Ellie Carless, Ash Chari and Audra Kreivyte-Krajewska

Marta Jakubowski showroom:  1-7th March, 3Rue Portefoin, Marais, PARIS, 75003

Presentation credits Sadie Williams:

Styling: Poppy Kain at Intrepid; Casting: Frances Odim-Loughlin; Set Design: Sean Thomson assisted by Warwick Turner-Noakes; Hair: Syd Hayes using Babyliss Pro assisted by Paula McCash and Josh Goodwin; Make-up:  Lucy Bridge using Mac Cosmetics; Nails: Pebbles Aikens at the Wall Group using Nailberry assisted by Brigita Backtye and Lyubomira Koukoutar; Soundtrack: Jackson Holmes.  Special thanks:  NEWGEN team, Topship, the BFC, Nadja Swarovski and team, Sarah Mower, Nora Wong, Arabella Williams, Eden Loweth, Francis Williams, Frida Agren, Jackie Lyall, David Lyall, Jess Kerntiff, Joe Williams, Joseph Horton, Justin Mansfield, Rachel Pelly, The team at IPR and all my family and friends, Stephanie Achonwa, Flavia Abbud, Emily Collier, Emily Coveney, Maddie Denman, Jennifer Drouguett, Florence Hutchings, Nadria Khan, Danielle Kidd, Lola Odumosu, Natalia Niclau, Clara Ormieres, Esther Richardson, Justin Rivera, Christina Ryu, Raiesa Salum, Aasia D’Vaz-Sterling, Nick De Vine, Sophia Messina, Dave Olu Ogunnaike, Hetty Mahlich and Eloise Andrews.

Marta Jakubowski and Sadie Williams are recipients of the Topshop NEWGEN award.

Header:  Marta Jakubowski AW17

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Fashion as a Tool For Expressing Identity and Sexuality – Art School Gets Personal at London Fashion Week Men

Fashion as a tool for identity and freedom of expression – Art School presented a mesmerising performance-based presentation in collaboration with director Theo Adams and choreographer Masumi Saito that evolved across several scenes with intertwined couples colliding, canoodling and clashing.  Art imitating life.  It felt like a series of tender and queer moments where not just the clothing, but the personal design philosophy of Eden Loweth, a BA Fashion graduate of Ravensbourne and Tom Barratt, an Art Criticism, Communication and Curation graduate of Central Saint Martins who together form Art School, was on show.  Every vantage point showed different unfolding storylines and it was constantly engaging with only a subtle beginning and faint hint of an ending to this rolling presentation.  This was their first presentation under their label Art School, setting the scene for sexual fluidity in their clothing and an art-driven point of view.  

The show notes cited the modernist Bauhaus collective and Diaghalev’s Ballet Russes alongside Derek Jarman’s Chroma as sources of inspiration for form, colour and pattern.  The notes were accompanied by the Art School Manifesto:

Teaming up with Converse and Swarovski and championed by Vogue and Love Magazine the duo look like they are tender heavyweights already.  I can’t wait for the next chapter, but for now, I have edited down to the shots below from hundreds I took as the gorgeous presentation unfolded.

**Thoughts about how this presentation may look in the future woke me up this morning – way too early – after writing this article last night.  It occurs to me that there will be another relationship to consider if art imitates life.  The relationship between humans, bionic humans and humanoid robots.  Casting my mind to advances in artificial intelligence and the film Ex Machina, and even current robot InMoov created by french sculptor Gael Langevin, it is not difficult to imagine that we will develop emotional bonds with robots in the not too distant future.  What will the dynamic of those relationships be?  How will our behaviours change once robots share our work and interact with us socially?  Forward to a brave new world.

Top, Ex Machina, Dir: Alex Garland.  Below, Gael Langevin and InMoov, photo: Gael Langevin

Credits:

Designers: Eden Loweth and Tom Barratt

Art Director:  Siobhan Cait Farrar

Stylist:  Ai Kamoshita

Makeup:  Rebecca Wordingham and the M.A.C PRO team

Hair:  Jonathan De Francesco for Babyliss

Set Design:  Alice Kirkpatrick

Nails:  Kimberley Nkosi using Elegant Touch and Nails Inc.

Muse and Collaborator:  Hannah Hetherington

Couture Underwear and Personal Mentor:  Lyall Hakaraia

Theo Adams company:

Director:  Theo Adams

Musical Director:  Jordan Hunt

Choreographer:  Masumi Saito

and Mariya Mizuno, Anna Lewenhaupht, Sophia Brown

All photos by Techstyler except where othewise noted

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London Fashion Week Delivers Elegance and Mathematical Proportions

In continuation of London Fashion Week‘s Films, Fraying and Frizz, the second instalment of my fashion week roundup starts at with Belstaff, in collaboration with (an elusive) Liv Tyler.

The Belstaff presentation could scarcely have been more different from the others I have experienced.  It occurred to me that a show format would have made it easier to see the clothes.  Being a bigger brand with a larger captive audience, it was in a basement sauna of winter woolies and leathers with a biker-lite /polar vibe and a melee of guests enjoying the wares and fizz.  The show notes stated that the collection was inspired by ‘female pioneers venturing into the earth’s most bleak and hard-to-reach locations in the most challenging of conditions’.  Polar pioneer Christina Franco was named as a special guest, which I only discovered after re-reading the show notes for this article.  I can think of at least a dozen questions about protective clothing and design I’d have fired off in her direction.  I bumped into a couple of old friends and had a chat with Jonathan Saunders (whose mate designed the collection) on the way out, so it was suitably fashion-y and fizzy.

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Belstaff AW16 and projected inspiration imagery

Huishan Zhang offered up the most elegant and serene of presentations at The Connaught in what felt like the coming together of two perfect halves – the romantic decadence of the location and the gently elegant and luxuriously refined clothing.  The clothes screamed, or rather elegantly asserted, a grown-up ladylike appeal and I passed Linda Fargo on my way out, further confirming their level on the elegance stakes.  Look out for Huishan Zang in Bergdorf Goodman next season?

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Huishan Zhang AW16 

Production: Rachel Pelly and Pearl Van Den Ende – Stylist: Maya Zepinic @ LGA Management – PR: Saturday Group, Beatrice Savoretti – Music: Leslie Deere – Shoes: Jimmy Choo – Casting: Shelley Durkan – Show Photographer: Piers Cunliffe – Show Videographer: Jacob Fn Photography – Backstage Photographer: Liam Fuller – Hair: Bianca Tuovi @ CLM – Makeup: Mel Arter @ CLM – Head of Nails: Roxanne Campbell

The highlight of the day came in the form of Sid Neigum‘s mathematics-inspired and mostly monochrome collection.  Chatting to Sid I learned that the starting point for silhouette development for the collection was a measurement of a shoulder line, say 30 cm for example, which was then multiplied by Da Vinci’s golden ratio (1.6), applied rigorously by Le Corbusier and a hallmark of his modulor proportions, to determine the opposite shoulder line length, creating a harmonious set of measurements that formed naturally aesthetically pleasing proportions.

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The best way to describe the experience of seeing the collection is to say that it all felt “right”.  It was at ease.  The lengths, the volumes, the textiles.  Not forced, but lovingly calculated and evolved from a series of applied multiplications, which led Sid to his final silhouettes.  Sid is a patter-cutter who designs in 2D by working back from a 3D ‘mental rendering’ of what he’s imagining he will make.  He rarely sketches his designs, but rather sketches pattern piece shapes which he can mentally assemble before doing so physically.  Brilliant.  I plan to talk in more depth with Sid and bring you a more studied summation of his technique, but until then, enjoy the collection images.

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Sid Neigum AW16. Shots of Sid and I by Moin Islam.

Finally, we dashed to the 100 Club on Oxford Street for a slice of Mary Benson magic, only to discover we’d missed the show and caught the party.  Here are the post show leftovers and gif-ified show images thanks to Village PR:

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Mary Benson AW16

Styling: Louby McLoughlin – Hair: Jose Quijano @ D+V Management using Bumble and Bumble – Makeup: Marie Bruce using Urban Decay – Casting: Aamo – Production: Lizzie Cardwell – Press Release: Ione Gamble – Music: Twin//Venus with backing vocals by Kit Brown – Set Design: Dora Miller – Embroidery Collaboration: Aniela Fidler – Millinery Collaboration: Stephen Jones – Crystals: Swarovski – Jewellery: Sarah McCormack – Shoes: Converse – Headphones: Beats by Dre – Film: Trudy Barry – DJs: Emily Rose England, Matthew Johnson, Jon Beagley, Ben Gregory, Joe Skilton, Jamie Shaw.

I’ll be popping in to see Mary and chat about a very special collaboration she did on a Bruise suit  – cue geek-out technical textiles session.  More Techstyling soon.  Stay tuned.

Header Image: Sid Neigum AW16

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