May 28, 2009

Make Your Own Cutting Edge Fashion

Quick post to grab the moment. I found myself watching this very compelling video in the JC Report. The designer talks about how wasteful the fashion industry is - with products, fabrics and everything going round the world, sitting in transport and so on for only $10 profit. I really do have a problem with our globalised system mainly because of the huge carbon impact of moving all these products around the globe all the time. So this cool very NY label, Sans have started selling their own patterns. You download the pattern and print it off on your home printer, chose the fabric and make it at home. Much more low carbon and much cheaper!

I spent a large part of my teenage years pouring over pattern books at my local Army and Navy department store in Guildford (and yes I did get out too). They don't sell these anymore, though the recession-busting boom in 'crafting' as it's now called may change all that. I learnt much of my sewing skills by sewing my way through mostly uninspiring patterns. The design skills came from being able to look at a normally frumpy pattern and see the potential - adjust it and tweak it to fit my ideas.

On a similar note, I'm slightly embarassed to be infatuated with Kirsty Allsop's Home Made Home. I can't get enough of this crafting. That reminds me that what I should be doing now, instead of blogging, is making bunting. I've nearly finished making 60 metres of bunting for my wedding next week. 

Sissinghurst calls

In the last year I have been journeying through the Edwardian writers.. from Virago Modern Classics (Kate O'Brien) to the Bloomsbury group (Woolf) to the delightful Persephone Books series (do read Miss Pettigrew Lives For a Day). For some reason Vita Sackville-West and Sissinghurst beckoned, repeatedly. I have a lovely old Penguin version of The Edwardians waiting to be read, as are Harold Nicolson's diaries, which my grandfather had. He was also a diplomat and I wonder if they ever met.

However, as soon as I bought 'Sissinghurt, An Unfinished History' I devoured it. I've been so busy with other parts of life to read much recently, but this broke through the workload and brought me into a new world. Written by Adam Nicolson, Vita and Harold's grandson, it was a sublime read. I never quite knew what topography was but Nicolson's writings on the topography of Sissinghurt had me in raptures. For the uninitiated, it's the land. A curious parallel to his grandmother's poem, 'The Land'. The history of the land of this part of England brought in many histories. The history of agriculture, industry & trade, the National Trust, and so on. It was broad, beautiful and romantic.


51qmnNbGhlL._SL500_AA240_

Nicolson is trying to turn Sissinghurt into a locally sustainable business whereby all the food that is served to visitors is grown or reared on the farm, organically. Heroically, this model aims to return the farms to serve the castle, as they did in years before. It's fascinating and somewhat terrifiying to read how quickly a lively integrated estate was broken up and separated out into distinct uncommunicating elements, specialising in different products which came nowhere near the castle kitchen. The kitchen of one of the most famous gardens in the country. How did gardening and food diverge so dramatically that we no longer see the land as a source of food or product but purely an ornament there to be preserved?

April 27, 2009

Sissinghurst calls

In the last year I have been journeying through the Edwardian writers.. from Virago Modern Classics (Kate O'Brien) to the Bloomsbury group (Woolf) to the delightful Persephone Books series (do read Miss Pettigrew Lives For a Day). For some reason Vita Sackville-West and Sissinghurst beckoned, repeatedly. I have a lovely old Penguin version of The Edwardians waiting to be read, as are Harold Nicolson's diaries, which my grandfather had. He was also a diplomat and I wonder if they ever met.

However, as soon as I bought 'Sissinghurt, An Unfinished History' I devoured it. I've been so busy with other parts of life to read much recently, but this broke through the workload and brought me into a new world. Written by Adam Nicolson, Vita and Harold's grandson, it was a sublime read. I never quite knew what topography was but Nicolson's writings on the topography of Sissinghurt had me in raptures. For the uninitiated, it's the land. A curious parallel to his grandmother's poem, 'The Land'. The history of the land of this part of England brought in many histories. The history of agriculture, industry & trade, the National Trust, and so on. It was broad, beautiful and romantic.


51qmnNbGhlL._SL500_AA240_

Nicolson is trying to turn Sissinghurt into a locally sustainable business whereby all the food that is served to visitors is grown or reared on the farm, organically. Heroically, this model aims to return the farms to serve the castle, as they did in years before. It's fascinating and somewhat terrifiying to read how quickly a lively integrated estate was broken up and separated out into distinct uncommunicating elements, specialising in different products which came nowhere near the castle kitchen. The kitchen of one of the most famous gardens in the country. How did gardening and food diverge so dramatically that we no longer see the land as a source of food or product but purely an ornament there to be preserved?

March 26, 2009

Textiles.. what's' next?

I'm aware that I only have one range of fabrics, the tweeds from the Isle of Mull Weavers at Ardalanish Organic Farm. On the face of it, you could say it's limited. People ask me, what's next? Summer collection? Trousers.. I have prototyped a few things, but as you can see haven't launched them. There is obviously the investment side of working on a new product set (the sampling, the shoot, the marketing etc). But, it's clear to me that I've been a little stuck as I find another textile that matches the beauty, quality, integrity and sustainability of my tweeds. 

I've been attending a series of very interesting workshops and masterclasses at the Ethical Fashion Forum, most recently about fabric sourcing. Some of this was not new to me, thankful as I am that I read Kate Fletcher's excellent and definitive book on the subject: Sustainable Fashion and Textiles.

Bookcover4

Much of the focus of the conversations in the eco-fashion community is in the area of organic and fair trade. There are producers in India, Brazil, Peru, all with first-rate credentials and interesting stories. Some is very artisan-based, which of course appeals to me, some is more high-tech eco, some is about reuse or using pre-industrial waste. I have just read and seen the video by Hilary Alexander who was visiting an M&S eco-factory in Sri Lanka. It was very heartening to hear la Alexander speaking so convincingly about climate change. This factory was 96% carbon neutral, which is pretty impressive.

It seems to me, though, that most of the above initiatives are based on an assumption around a globalised economy and production system.  Fair trade is laudable from a human dignity and community perspective and generally organic fabrics are much more respectful of the environment than non-organic. The factory might be 96% carbon neutral, but are the clothes really so? The use of fish-leather from Brazil is a wonderful story of using a resource that wouldn't otherwise be used.

But, but, but, I have this 'climate change' and 'peak oil' mantra ringing in my ears. I can't help feeling that even this Fair Trade, globalised production is based on cheap oil. It really can't be that sustainable. And, sorry, but carbon-offsetting is just not good-enough. After seeing Age of Stupid recently, I kept thinking about the comparison with the Holocaust, and how people didn't stand up and say, no. It meant breaking with societal norms, which does mean standing outside the flow. Sorry to get ogre-of-doom on you, but maybe it's not something I should feel the need to apologise about. Surely, we're going to look back and wonder how blind we all were?

Anyway, the only solution to the above seems to me to be a localised production, even of fabric. I am increasingly coming up against is what seems to be an acceptance that UK production of textiles and clothing is simply unfeasible. I feel a little naive. However, I believe in following where my energy is with something. Even though I can see an entirely UK-sourced production, it could be that many people can't envision this yet. It's true, I've had trouble myself but since I've been getting involved with the Transition Town Movement and probably since I've been reading The Ecologist regularly I can see a clearer picture. When oil costs five times as much as it does now, it will be sobering. All this fabric, and all these factories, however cheap the labour costs, will require stuff being sent around the world. We worry about food security and growing our own food. I'm not so sure clothing security is quite such a life-or-death issue (we've probably all got enough clothes to go round if the borders were closed tomorrow). However, I have hope that we will see a return to a localised source of makers and weavers. I do feel like a lone-voice though.

UK production hasn't entirely disappeared. I recently went to the Textile Forum show, a textile trade show that takes place twice a year in London. It's quite small-scale but I met a few UK manufacturers. Some were weaving fine woollens, some weaving fine cottons. The cotton obviously came from abroad, and much of the wool, though there was some UK wool being woven. One thing I learnt from the Ethical Fashion Forum was that anything that is produced in the UK is generally in a closed-loop process (which means there are no effluents) and the dyeing process is clean. So, whilst they may not necessarily use vegetable dyes, it is a considered and approved process. I found a lot of resistance, however, amongst these producers to organic processes. It seems to me that you have to start afresh, with new ways, rather than wait for ready-established businesses to green up and change. It was the new-kids-on-the-block that pioneered the mobile market, not the old telecoms companies, who were too slow and stuck in their ways.

I then had an interesting Monday this week talking to two of my fellow Transitioners. Firstly I met up with  Caspar Gray from Wax RDC this week to see how we might work together. Wax is a consultancy who have an environmental product design approach, though they work quite broadly and do whole environmental life-cycle analysis. They have quite strong technical skills, which made me reflect on how I generally avoid or mistrust excessive technology. I favour artisan-produced fabrics. Anyway, it got me thinking that we could start a really ambitious project which would model a perfectly sustainably produced garment - from growning the flax or hemp locally to the final usage and disposal. There have been pilot studies on growing hemp in the South East. Then, later that day I chatted to Jonathan, another transitioner, who is actively involved in a Tudor re-enactment group. They hand-stitch their costumes in authentic design (down to the very year no less) and work with textiles of the Tudor era. Of course, there was no cotton: there was wool and linen. Flax was then grown in England (as well as hemp in fact). It gave me an image of what 'locally produced' clothing could be. However, I was still thinking of Caspar's technology perspective and thought of working on something that merged new technology with locally grown hemp or linen.

This, is where I'd like to be in several years' time. I don't plan to launch a summer collection based on locally grown flax or hemp any time soon. I want this to be a beacon of hope. In the meantime, I've decided to work with a range of fabrics that conform to some of my standards. Excitingly also this week I received a parcel of fabric from Les Indiennes. Mary Mulcahy designs the prints and they are all produced in India, in the same way as the time of the East India Company. All organic cotton, hand-woven, hand-blocked with ayurvedic vegetable dyes, and they don't use any electricity. We met last year as Mary won the interiors section of the Land and Sea Competition where I won the fashion prize. Then I'm going to work with hemp. I've made a summer coat from hemp canvas  - produced in Romania I gather. I'm also looking at some nice plain cotton poplins, which are organic and fair trade. I'd like to do some shirting, making in the UK to ensure we get an excellent finish, in the way of men's shirting. Also, I'm weighing up the possibility of using UK wool that isn't necessarily organic but which uses UK wool. It seems to me I have to consider the sustainability in a bigger sense than simply organic. I want to be faithful to the quality of The Isle of Mull Weavers, so I need to keep them as my benchmark against which to assess other textiles.

So, the plan is to have a transitional approach to textiles, working towards a largely UK supply of fabric. Who knows, I may one day have Surrey produced linen? I like to believe it is the future.

March 06, 2009

London Fashion Week.. good buzz

It's taken me a week to make sense, though you're welcome to comment below if the latter is clearly not in evidence. I had a great show and my work has generated a great buzz.

I showed at LFW for the first time this February, in the ethical section Estethica. I was launching my business at a wholesale business as previously discussed. The word was out that buyers were very nervous and not looking at new work. I was not feeling optimistic. I've done loads of consumer shows and so I was glad to have my stand set-up process fairly well perfected. In fact I got lots of complements on my stand.  This time we lugged all sorts of heavy stuff along to get the right look. I was really surprised at the lack of effort put into the look of some stands... why bother if your stand looks like a garment rail and a name? Your stand gives your label and brand all the depth you need to convey. Unloading and security operations during set up, surrounded by an invasion of half-term kids on at the Natural History Museum (yes the endless Darwin*) was somewhat chaotic. I have to say I did wonder that they hadn't perfected the process after 25 years.

Lfw2feb09

So we, the Estethica folks, had a head start with a 'champagne preview'. This followed a catwalk show by Noir and Defra launching it's Sustainable Clothing Action Plan. Not sure why they got a Danish label to showcase this - we thought we'd be having a shared catwalk show. Anyway, the place was  swarming with press and Defra suits. It wasn't hard to spot who was who.  Immediately doyenne of fashion journalism, Hilary Alexander (Telegraph) buzzed into my stand and buzzed away but just giving me time for my elevator pitch on organic tweed. She then sent a photographer who got me posing outside; one doesn't have time for excessive inhibition I noted. Haven't seen the picture in print, but Hilary Alexander gave me a mention in her piece on the event. Not sure about her 'eclectic bunch' approach which focussed on the whackier eco types but it was a good sign to be picked up by la Alexander.  Next up was Lucy Siegle who writes on eco-fashion and ethical lifestyle for the Observer. She described my work as a stand-out in her feature on the best in eco-fashion so that was great. They also sent a photographer round plus nice model and so I got into the Guardian Eco-fashion picture gallery. I also had a good chat with Matilda Lee who is Lifestyle Editor of The Ecologist.

It was great talking to other exhibitors at the show. I was surprised at how many people said "It's not a show for making sales; it's good for press and exposure." I wondered what the point of doing it was? Fortunately, I did make some sales and have others to follow up. At the end of the show, after loads of press came by and I got featured in loads of blogs and webzines it made more sense. There was a really good buzz around my work and this is a fundamental part of the process of connecting with buyers and customers alike. It also gave me a good feeling around my work, that I was doing something new and interesting that sparked the imagination.

The week started off well with the activity of the preview then went fairly medium-level the weekend and things started picking up on Monday. I was filmed by Huw Rees, who is doing a feature on my work for SC4. The last day went with a media flourish. First up was some delightful Vogue folks (including Charlotte Pilcher I seem to recall) who loved my work and were really charming in a not-at-all-Devil-Wears-Prada way. Next up was Tim Blanks from style.com who got the whole concept and was very insightful. I had a good chat with Caryn Franklin who I know from the LCF sustainable fashion conference is a big exponent of sustainable fashion. Then came the filming.. shortly before the show closed. I'm going to be in a BBC documentary on tweed. It is by the same people who produced the Savile Row documentary I blogged about last year. I arranged to be filmed while I talked through my collection with Livia Firth from Eco-Age as they were ordering some garments for their 12 Degrees of Fashion project. We had a great time. They will also be coming to my studio to film me.

My conclusion? It was great - it was right for me now. I feel I have launched myself, but to take it to the next level for buyers and international trade I'll head elsewhere as well. Now I have to decide whether to do a Spring/Summer collection this year or next... Vita Sackville-West is the writer I shall be turning to for inspiration, that is how much I do know.


Lfwfeb09

*p.s. I am fed up with Darwin, and it's only March. Have we got a whole year of this? I shall have to migrate from R4, though fortunately the  Now Show have got fed up too so I don't feel entirely alone. 

p.p.s Some more blogs who wrote about me... thanks very much

Fashion Capital.. I'm one of the fab four

The London Informer, who filmed me so scroll down for my fashion tip of 2009.

Daisy Green

Tonic, a new discovery for me. They only write about good stuff.

and as ever my favourite: The Gin Lady, and this time I got to meet Nicola, the editor. 


January 26, 2009

Sustainable Style: Keeping it Local

Fashion has become so global that I've found it hard to look at it on a local scale. I joined Farnham Transition Town in September and the group has Started Doing Things. Much of the Transition work is around food (in fact, we've just launched a garden share scheme).  So, it was an obvious choice for me to look at clothing.

There is a whole re-skilling side to the Transition approach. It's a little bit too much of a leap to start rearing sheep, growing flax and weaving from scratch, which seems to me what the permaculture folks encourage. I decided to move forward in not-at-all-clear direction and see what emerged. I find it a useful strategy when most flummoxed. Firstly I went to a conference at London College of Fashion about sustainable futures. Secondly, I spoke to a few people to see what they thought about local fashion and sustainability. And, thirdly West Dean College approached me about doing some teaching. 

The conference at LCF gave me so much to think about. Except, interestingly, peak oil and acting locally were not a big items for discussion. One aspect of the conference which really made me think in a newer or deeper way, was when we talked about people and how they interact with fashion, their attitudes and their lost sense of power. It seemed to me that we could help women (and maybe men) get together and become more creative as a community. Women used to dress beautifully without being trend slaves and buying lots of cheap clothes that go into the rubbish. They can use their creativity to style themselves, feel beautiful or whatever they want to feel (yes I do have a grumpy look). I realised I wanted to help get the community talking, supporting, encouraging and dressing in a different way - not just in the way we look but in the way we feel and we have got there.

I've always made clothes, or at least since I was 8 years old which feels like forever. I'm always bemoaning the fact that people don't know how to sew anymore. They don't know how to use a sewing machine. I had very little money as a teenage but this wasn't going to stop me. I was a bit obsessive maybe but everyone knew how to get a sewing machine out in those days. You don't have to get quite as excited as me about making hand-pleated curtain tops, but being able to adjust a skirt or take up your trouser hem is quite motivating.

So, I met Robert Pulley, director of West Dean College at  Origin in October and the short courses office soon got in touch. It's a beautiful place on the South Downs, near Chichester. I'd often found myself browsing their website, wanting to learn a new skill in such a beautiful setting. They select tutors who are practising artists, writers, designers and so on.  I met the organiser without really knowing what I wanted to do or what they wanted. For some reason teaching tailoring didn't feel right. It was too specialised. We ended up deciding to start a course for Basic Sewing Skills. It was, in fact, what I felt passionate about. The amazing thing about it is the response I get from people when I say I'm doing this; everyone says they want to do the course too. It's a fairly good sign that I'm onto something.

So, I'm teaching a course in June (will post details when they come online) and I'm looking at this as a taster experience for me. I'd really like to kick off a programme of re-skilling locally but also consider having some form of sewing programme which is more closely related to my fashion label. I love the way one of my favourite knitwear labels, Keep and Share has started doing knitting workshops. It seems to respond to a basic desire to be creative. I also think of Hugh Fearnley-Whittingstall and his River Cottage workshops and Andrew Whiteley's bread-making courses . It seems rather a luxury to have the time to make in this way, but if the peak oilist folks in the transition world are right, maybe it's a wise thing to learn. We may have to get back to knitting, baking and growing when we can't cart goods round the world quite so easily. Also, I think that adult education centres, even though I've had good experiences myself, lack an energy. I'd like to create a haven when people can learn to sew again.

As well as the sewing I wanted to find a way of getting people together and being creative. I spoke to Paula Beaumont from Purity, the eco-boutique in Farnham and also my friend Chantelle Znideric who is a very successful stylist and writer. Paula offered the first floor of her shop and Chantelle was very interested too and suggested we hosted a Clothes-Swap party. We met up recently and have put a date in the diary: 5th March Clothes Swap Farnham. It's a start, and we hope to make Purity the venue for a range of events where people do stuff around fashion that is sustainable.

Clothes111

My real interest, I confess, is in the community coming together in a new way. It's an old way really, but there are new mechanisms... do join our Farnham Sustainable Style Group on Facebook. 

December 29, 2008

Time For A Change: Agent4Change

Change is afoot. It has been looming for some time. My initial strategy was to sell direct and now I find myself after less than 18 months in business, showing at London Fashion Week.

The benefit of hindsight, analysis, a leap of faith and a few fortuitous and unfortuitous events have led me to change my approach. At the same time I was really getting noticed and picked up by people but not being in the right shops was preventing me from getting to customers. If you are in the right place people feel comfortable buying your product. Then, in the middle of one of my periods of uncertainty I had a visit from an interesting person called Mica Lamb. Mica was starting up a fashion sales agency specialising in the high-end sustainable sector and she wanted to work with me. She understood what I wanted to achieve and likewise I got her approach and so gradually I made the decision to look at wholesale. In the meantime, Mica launched her business, Agent For Change.

  Agentforchange

When I started out I was too unknown to launch myself as a wholesale business. I hosted events, attended fairs and shows and did a lot of marketing to my network and the blogosphere. I also believed I could circumnavigate shops with their markup. It was a great experience working directly with customers, understanding their needs, desires and concerns. I knew it wasn't going to be the only way. I was competing against highly established brands and also the physical reality of not being in the places the people expect to buy: a shop. It's more of a conceptual leap to buy something from an art gallery, a private house, a craft show (however upmarket). I have come to respect what a long-term commitment stores make to develop relationships and reputations with their customers, how location and environment are key and how customers are trusting their judgement.

So working with Mica we have decided to focus on London Fashion Week and build up shows and ranges over time. Also I'm on an export programme with the UK Trade & Investment department. I've worked out how many garments I can fund through production and have secured a certain amount of fabric from the weavers.

In November I sent the application in for Estethica, the sustainable part of London Fashion Week. Then, just before Christmas I found out that, despite tough competition, I have been selected to exhibit. A little overwhelmed but excited...

Estethica   

It means of course that my retail prices will rise. A tough decision but a necessary one. For this type of craftsmanship it has to be sustainably priced.


December 17, 2008

Lovely Place In Wales

Just wanted to share a wonderful holiday destination in Wales. I needed to get away and do some planning and sometimes it's easier to do this away from my studio. Fortunately, the Strategic Advisor thought it would be a good idea too. So, although there were times when we worked very hard, we had a lovely time in a beautiful part of Wales I had never visited before. It's near a place called Llandysul, between Cardigan and Lampeter. Here is the cottage:

P1030843

I found it on The Gin Lady. It was all very sustainable and even had a compost toilet, which I confess, I was a little too cold to venture out to use. Next time I shall go in milder weather.

You may think early December a funny time to go but it was perfect. No-one was on the beaches or the National Trust walks - we felt we had the place to ourselves. Also, although it was icy cold, the sun shone gloriously every day and it was a treat. I know summer will be glorious but I can't help feeling that I shall find the presence of others somewhat irksome. Off-season is wonderful.

So, walks and business planning but also, what a delight to find that the National Wool Museum was around the corner. There was also a real mill there - though there was something a little depressing about this being a museum and 'heritage' site rather than a normally functioning operation. It's clearly the only way it can survive but it seemed a little lifeless compared to my weavers. I liked the 'welsh tapestry' and the flannel. Both gave me ideas.


As for the business planning, I am changing my approach. I had made this decision a while ago, but really wanted to go away and get a spreadsheet out and see if it made sense. Blessed with the Strategic Advisor to guide me through this, we came up with a plan. Then we went for a walk. I'll be writing about the change in my next post.

P1030827


November 24, 2008

Sustainable Futures Conference at LCF

At the end of last month I went to a conference at the London College of Fashion who have a new department called the Centre For Sustainable Fashion. A day full of interesting folks and so much conversation I walked out in a zombified state with sustainability joy ethics adornment bamboo externalities and all sorts concepts clouding my mind for a few days. One thing was clear: people are keen. The other, that there were few people talking of real alternative solutions to our mass-market, globalised, cheap-oil production process. It's seems we are cleaning up our act, having a conscience. 'Systemic change' was muttered but not explored. I guess it's over-whelming.

First up was Colin McDowell of the Sunday Times amongst other activities too numerous to mention. Colin was most memorable to me later in the day for his firebrand damning of manufacturing under the aegis of corrupt governments and the impact this has on the industry. For some reason, such fervour came as a surprise to me from someone so exquisitely attired.  We then had Michael McDonough, architect and green-thinker. His take was  that sustainability (just when I was getting into sustainable over organic or ethical) was tired and that durable is the word. He spoke well, philosophically. I loved his affirmation that we are primarily driven by what we see and we constantly seek to look at the world in novel ways and therefore we adorn ourselves in a need to display. He spoke of disposability and the world of cheap oil.

Michael's mantra was "Be where you are and don't be afraid of technology". He viewed technology is an extension of nature. I find the respect for technology much higher with Americans. Yes, yes, I know it's a gross generalisation, but I keep noticing this. Us Brits are rather disdainful of science and technology at times. Bamboo seemed to be the solution. But bamboo, most of it is cultivated in China, has gentle alarm bells ringing for me.

We then heard from Sungjoo Kim. Sungjoo didn't speak about sustainability but I found her inspirational  for her ethical perspective.  She is primarily a luxury-brand supremo though she has trod her path and achieved her success largely due to her firm commitment to business ethics and charitable work. It seemed a little 'old school' in that there was no talk of the environment. However, I liked her belief in drawing energy from your inner self and having the confidence develop deep personal values, take a long term perspective and be faithful to this in all your practices. It is this that enables you to gain the trust of your consumers, your colleagues and your business partners. I find so often people think you have to compromise all of this to be successful or you're just a bit idealistic and dumb if you have values. In fact, she endorsed my view that these are key.

The next speaker was Anthony Klonthaus of the WWF deeper luxury report, which he co-wrote. I highly recommend this. I learnt about the term 'externalities' which is toxins, waste, pollution and all this other bad stuff that we generate when we produce. Seemingly that's where you get the profit. Why, though, are we doing all this if, as he reported, with an income above $13,000 we aren't any happier? What got us into this fix is that we are in this perpetual striving for growth. Apparently venerable economists and fathers of capitalism JM Keynes and  Adam Smith did not believe that growth should be our sustaining economic principle. So, Klonthaus recommended we try and achieve a "steady state economy". I agree but hearing according to Robert Peston if we don't get 2-3% growth then we start getting unemployment. Hmm. 

At an instinctual level I believe that when we go beyond a human-sized scale, this is when things start messing up. We start living beyond our means, lose the human dimension to our work and hence satisfaction and we start eating into our resources as we've lost a connection to them. Maybe I'm a neo-medievalist. We should be reducing our carbon emissions by 80% and a medieval approach to life is probably a good model for that. Plus in my not very humble opinion, it can be fun, especially if you read Tom Hodgkinson's How To Be Free

However romantic a medieval life is, it may be something to which we can aspire for the time being. In the interim, Klonthaus made these recommendations:  a) avoid flights b) get more efficient vehicles c) use the car lless. And, if we are businesses we need to think in three ways:

1. innovation: doing things in different ways or using technology to reduce our impact.

2. choice editing: that's beginning to veto certain practises and brands.

3. choice influence: start to educate customers, consumers, business partners.

After this we broke out into groups. I joined one called Better Lives which was run by Kate Fletcher, who wrote the most excellent book Sustainable Fashion and Textile Design Journeys. Also organising our group was broadcaster Caryn Franklin who terrified us with trend frenzy and Lucy Shea from Futerra who encouraged us with positive solutions such as clothes swapping parties.

We looked at how people's lives are poor because we're beholden to the influence of magazines, media and retailers who push us stuff we feel we ought to have, made in dubious circumstances and how we've lost connection to it all. We appear to have lost an internal sense of contentment that the fashion industry seems to think it can replace. Instead, we pictured a world where there is more joy, creativity and a sense of empowerment. We can adorn ourselves without being a slave to a mass market which drives our employment choices so we can keep up, our eating habits so we can keep thin and our happiness. We want to foster an environment where people are educated to know when they are being manipulated by advertising, where they can re-skill to be able to produce or re-style clothes and where they go into shops and the sales staff are on their side and give them support rather than intimidate them with choice and trends. We want to return to a cottage industry and a community spirit in which there are millions of markets rather than markets of millions.

In the same way as Jamie Oliver and Hugh Fearnley-Whittingstall are trying to get the nation to learn how to cook and grow food, I feel we need to learn how to sew again. That way we'll have a connection to how clothes are made and we'll know why a £3 pair of jeans is unfair. We'll develop a healthier relationship with our clothes and at the same time maybe we'll develop the confidence to restyle our clothes and keep them alive longer. In the middle ages most people would make their own clothes. It doesn't mean we have to dress in handloom cloth and wear sacks, but, if we know how to make, mend,  adjust and style ourselves creatively, at least we can take back some of that power.

My little sub-group came up with a manifesto - or a nice person called Natasha Freestone did - and I really liked it. Literary and conceptual but it worked for me as a way of looking at Better Lives. She quoted Henry James, on the subject of writing: "To be finely aware and richly responsible". Yes, this is how we can have better lives.

All through the day I kept feeling that the transition approach is so interesting but wasn't really a part of this debate when someone piped up and mentioned it as a model for how communities are doing something for themselves. It seems an industry-led approach is not the only way, and the systemic change will happen anyway and we need to envisage a brighter future both from a community perspective and an industry perspective at the same time.

Now, nearly a month since the conference, I can see a little more clearly. What I'm doing from my brand and product perspective are right for me. It's me pushing my product to the world, in a top-down approach. The place I want to move next is around 'local'. In line with my transition work. I want to work as much at a local level on sustainable fashion initiatives. That seems to be the missing link. So, more of this in my next post...

November 05, 2008

Edinburgh Show and Boys In My Jackets

Gosh, I feel a gentle rush of pride and emotion looking at my work in a shop window. They made this rather nice autumnal window with logs suspended from the ceiling.

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Fiona McIntosh and James McDonald started the shop 8 years ago to create a venue for Scotland-based designers. Fiona, pictured below at the preview, is a textile designer who has a label called Tessuti was also at  Origin.


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James pictured below wearing Toklas (yes the ladies' version) hand weaves scarves.

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We had a great preview evening, including a visit from Alex from the weavers. Yet again, we had a load of guys asking me if I did menswear and eyeing, or even trying Toklas ...

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Anyway the collection will be available for the month of November. Please get in touch if you want me to send up any styles that are not there.

And, yes, we did have ladies there trying them on too. Here is lovely Lorna in Elizabeth II in cream & fawn herringbone:

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