Beej x Raag Workshop: Homage To India's Traditional Textile Skills Heritage

Hanna-Amanda P. G. January 10, 2017

As a brand that proudly celebrates the heritage of Raag workshop with its tradition dating back to 1975, Beej draws upon a modern, moveable take on India's traditional textile skills. Whilst placing the highest importance on sourcing locally from different parts of the country, the uniqueness of Beej lies in making their clothes entirely in-house. The nature of Raag's repertoire of garments enhance a subtle self-confidence and ease of movement. We say 'yes' to wearing traditional feminine enigma paired with flawless fluency.

Foreword:

Beej started with the idea of bringing Raag, started by Asha Sarabhai in 1975 and available in other parts of the world but not yet at home, to India. We are keen to complement the Raag line of clothes with other objects that share its ethos and so created Beej as an umbrella brand under which these products can be sold. We want to celebrate India’s rich heritage, stand for uncompromising quality and a delightful customer experience, and adhere to the highest ethical standards. The Beej and Raag logos, created by Ivan Chermayeff, emphasise the relationship between the two and the fact that we think of ourselves very much as a contemporary brand.

What are the sustainable solutions you have incorporated into the making of your garments?

All Raag clothes are made entirely with handloom fabrics, the production of which keeps alive rich traditions, provides employment opportunities to artisans and is far less resource intensive than mill made fabrics. The environmental impact of our production processes is negligible as our clothes are made by hand.

Our clothes are designed to be durable and make allowances for the wearer to gain or lose a few pounds. Construction techniques and finishing details such as the elimination of seams when possible, addition of gussets for ease of movement and the avoidance of zippers ensure that our clothes last well and give pleasure over the years. We further facilitate their use over time by offering free alterations and repairs for life. Customers who would like to recycle or repurpose an old garment, by making a stole out of a beloved old coat for example, are encouraged to send them to us.

"Overproduction, rampant consumerism and wastefulness, especially in the case of fast fashion, further compounds the adverse global impact that the fashion industry can have."

Where do you see the importance of ethical fashion stand today? Why are we only now starting to open our eyes to the downside of the fashion industry?

The way clothes are produced can often be extremely destructive to the environment and exploitative of the people who make them. Overproduction, rampant consumerism and wastefulness, especially in the case of fast fashion, further compounds the adverse global impact that the fashion industry can have.

An increased awareness about these issues has made people more conscious of the choices they make. The building collapse at a garment factory in Bangladesh, which tragically killed over a thousand workers in 2013, was a watershed moment and resulted in global outrage. It brought to the fore concerns that had been harbored for a long time and which could no longer be ignored.

In light of these realities, and given the huge increase in the number of brands that have launched in the Indian fashion industry in the recent past, an ethical and humane approach to fashion is especially relevant.

What were the main social concerns that led you to inventing a sustainable brand?

We started out with the goal of making simple, durable, quality products, in an ethical manner, that we hope would bring pleasure to their users. We were keen to dispel the notion that good business practices make bad business sense by running a humane and efficient setup.

In the Indian fashion industry, it is common practice for many aspects of production to be outsourced. In such a situation, especially so in a developing country, it is very hard to ensure that the people making your products are working in a wholesome environment and are being treated fairly. We were adamant about wanting to make all our products entirely in-house. It enables us to guarantee that those involved in the making of our clothes get a fair wage and work healthy hours in an environment in which they are treated with dignity and respect. Having direct control over all production processes also enables us to maintain high quality standards. Very few companies, and none amongst our peers that we are aware of, make their own products entirely in-house.

"We were keen to dispel the notion that good business practices make bad business sense by running a humane and efficient setup."

What does the pairing India x Sustainable Fashion tell us today and possibly in the future? Where does its heritage stretch back in time?

We’ve always thought of tradition as a continuous strand, incorporated in the contemporary – that’s what keeps it alive. India has a long tradition of minimizing waste. Recycling has always been an imaginative and inventive art and is very prevalent. Old saris, for example, are turned into quilts when they can no longer be worn. The sari itself, being an unstitched garment, essentially a piece of cloth that is given its dimensionality by the wearer, is an inspired heritage. It can be worn in many different ways, limited only by the imagination of the wearer, and places emphasis on her instead of on a brand. We feel fortunate to be part of this heritage.

Your pieces look modern and comfortable, and not traditional at all! Who is the customer Beej is aimed at?

We hope Beej would appeal to those who have an understanding of detail and the feel of what they wear. Our audience is discerning women (age 25 and above) with a simple, understated aesthetic and a personal sense of style that isn’t dictated by trends. We envision our customers to have a wide range of interests, be global in outlook and have an appreciation and affection for India’s rich cultural heritage.

"The sari itself, being an unstitched garment, essentially a piece of cloth that is given its dimensionality by the wearer, is an inspired heritage."

What's the best opportunity that creating Beej has led you to? What has been the surprise element?

It has been a tremendous privilege for us to get to work with Asha Sarabhai and to get the opportunity to bring Raag to customers in India. Being a small, and young, company we can be nimble and we want to make the most of this by transforming ourselves with each collection. Our first collection takes inspiration from the Russian artist Kazimir Malevich to reinterpret Raag classics and we have exciting plans for future collections. Each collection, while rooted in the values, sensibilities, and the design language of Raag, will hopefully seem fresh and vital. Exploring a different theme for each collection has been great fun and an intellectually and creatively stimulating experience.

https://www.beejstore.com

HIIS Design Furniture: Interior Solutions with an Eternal Stamp

Hanna-Amanda P. G. January 9, 2017

Looking for something to light up your interior design dreams? Something timeless, yet modern? Something bold, yet subtle? Estonia-based HIIS Design furniture stunned us with their effortlessly elegant design furniture made sustainably, with a dash of care and love. To shed light on HIIS Design’s innovative creations, young furniture maker Tõnis-Sander Maarits opened us a door to his creative workshop...

Words: Johanna Raudsepp

What’s your personal take on furniture? What makes a piece of furniture excellent?

The attractive outline, not only at the shop or in pictures, but in the interior where it’s used. Comfort and simplicity, while having down-to-the-tiny-detail design and quality combined, make a piece of furniture a great one. Something made from heart is not just another piece of furniture, but creates an exquisite experience in a room. Take a table, for example – it’s not just some thing to sit and dine at, but it creates a heartwarming shared experience with your friends and family. Good design can help enhance that feeling.

How does HIIS Design apply ethical practises in your workshop? What’s particularly important for you?

The most important thing in furniture manufacturing is that quality and timeless design [are there]. When a design piece lasts you ages, fitting in with the old and the new, it becomes an environmentally sustainable piece. HIIS Design is for someone who values quality and wants an enduring piece of furniture to bring into their interior that lasts for years. We aim to create furniture that can be the anchor-point in a room, around which you can design everything else.

As wood production can be harmful for our environment, we make sure to use FSC certified wood as our resource. For Hiis Design, it’s of high importance we use consciously produced wood to ensure forests lasts for future generations. That also reflects in our name (’hiis’ in Estonian translates to ’ancient grove’).

"We aim to create furniture that can be the anchor-point in a room, around which you can design everything else."

Is there a personal story… how did HIIS Design come to be?

As a young boy, I used to make ships and other toys in my father’s wood workshop, hammer and chisel in hand. When I was 13, we moved to a new house and I didn’t have any furniture in my new room. That’s when I decided to design and make my own furniture. I made a pretty good bed, which gave me more drive to build other things, like a closet. Every summer I used to earn pocket money from furniture making and restoration. At first, in 2013, fresh out of university, I started my own custom-made furniture workshop, but I always felt like it was not enough for me to build things designed by other people. I began to experiment more with my own designs and one thing led to another, as they say. In spring 2016, HIIS Design was brought to life.

“Take a table, for example – it’s not just some thing to sit and dine at, but it creates a heartwarming shared experience with your friends and family. Good design can help enhance that feeling.”

With regards to environmental protection, how do you imagine the future of furniture design?

Endurance is what makes furniture environmentally friendly. An oak table will last generations, unlike a cheap mass produced equivalent from melamine. A toxin-rich piece of furniture will last 10 years at most. But an oak table will last you until a new, baby-oak is growing, reducing environmental damage. More materials will be used, of course, and a lot of new solutions to battle space deficiency. However, we must not undermine natural materials and living in harmony with nature. I find that people are starting to value earthiness and natural things even more [in furniture design]. Families with kids, especially, want to be able to make more sustainable choices when choosing products for their homes.

If your brand has a soundtrack, then what would it be like and why?

The first song that popped up in my head was ‘Thunderstruck’ by AC/DC. Probably because I often listen to that song, when I start my day at the workshop. It creates a nice energy and gets you going for the day. But that’s only a small part of our brand. HIIS Design’s soundtrack would be ‘Spiegel im spiegel’ by Arvo Pärt (Grammy-winning Estonian composer), because when I listen to that piece I find myself in a powerful state of creativity. As the title suggests, a mirror against a mirror reflects into infinity, the same way inspiration has no boundaries.

"A mirror against a mirror reflects into infinity, the same way inspiration has no boundaries."

Where do you draw inspiration from for new pieces?

Inspiration can strike at any moment, which is why I always carry a notebook along. Even a quick sketch right there in the moment can be a life-saver of a striking flash-idea. I feel like inspiration is deep inside of us, piling up in our sub-conscience since childhood, and is often brought onto the surface again by some small trigger in our adulthood. It’s important to capture those moments and know how to fuel them. I like to get my creativity flowing by going through old books, magazines and websites. Other times, I draw inspiration when watching a movie or a TV show – like Mad Men, where the 60s American-style surroundings can fire up some great memories.

http://www.hiisdesign.com/

Textile Designer Nelly Rose: Honouring Global Artisanship with a Voice

Hanna-Amanda P. G. January 5, 2017

For the London-based textile designer Nelly Rose, on top of placing elements of traditional craftsmanship and up-cycling in the centre of her eccentric textile artwork, the power of collaboration is key. The main themes running through her expressive textile lines are female empowerment and creating a ‘voice’ through her conscious craftsmanship. Nelly Rose is extremely concerned about the de-valuing and vanishing of traditional techniques that should be cherished and preserved instead. Through her vibrant, empowering prints — forever, if we may.

What led you to sustainable approach in textile design? How unique is your approach in London vs on a wider, global scale?

I have studied Print, Knitwear and Embellishment, and all of these have led me to make more conscious decisions about the materials I was using and where the techniques derived from. In London, my approach is very much inspired by the concept of 'upcycling' and DIY-culture. On a global scale, my work is lead by my curiosity and passion for handcrafts and discovering their origin; nothing excites me more than being able to include them in my collections. I am currently exploring Japan, absorbing the culture and discovering all kinds of beautiful craftsmanship [from the region].

What are the values your brand encompasses? What are the main themes you are keen to explore?

My values as a brand lie in working on projects which focus around female empowerment and creating a voice through a creative medium. I have worked in various projects from ‘shop window stitch-ins’, raising awareness about the Rana Plaza factory collapse, to the first modest wear runway collection in the UK made entirely in artisan houses in Indonesia.

I tend to use a lot of typography in my work, which I guess contributes to the idea of raising a ‘voice’. Overall, the main themes I explore in my work are: Handcraft, Messages and Storylines, Protest and Equality, Printed Textiles, Creative Campaigns.

"The brand I strive to create is my expressive vision of what I consider to be ethical in my own way, whilst still being loud, bold and a little eccentric."

How does Nelly Rose as a person and as a brand differ, if at all? 

Interesting question! I would say my personality as Nelly Rose mainly focuses on networking and bringing people together, who have similar mindsets about changing the world in creative ways. I guess Nelly Rose is my rainbow vision, my compassion and my voice. The brand I strive to create is my expressive vision of what I consider to be ethical in my own way, whilst still being loud, bold and a little eccentric.

Your work was recently showcased at the Green Fashion Week in Milan. What does the experience mean to you?

Green Fashion Week was a brilliant experience as it fused together my interest in global climate change, as well as having fashion at the forefront. The new collection I showed was of hand painted up-cycled garments, ranging from denim to leather, which I salvaged from a textile waste plant. My highlight of the experience was the photo shoot I directed at the Bosco Verticale alongside designer Silvia Giovanardi. It fused the relationship between sustainable fashion and architecture, and it was very inspiring to witness my work being a part of that.

Although I love the ‘calendar’ fashion weeks, I also have to express my love and connection to other global fashion events such as AFWL (Africa Fashion Week London) and the recently participated in GFW. I find that there is an open dialogue and a more personal level of fashion presented.

"I tend to use a lot of typography in my work, which I guess contributes to the idea of raising a ‘voice’."

What are the most meaningful collaborations you have done so far? What do you consider perhaps your biggest accomplishment?

I consider my biggest accomplishment to date the Co-Identity collection which has been showed at the Jakarta Fashion Week and then London Fashion week via Fashion Scout. The collection was a collaboration with Dian Pelangi and Odette Steele in which involved fully immersing myself in Indonesia as an inhabitant and creating the textiles for the full 24 Looks of Modest Womenswear. These consisted of fully hand rendered techniques ranging from hand painted gowns, Batik and Songket weaving.

Making of: Nelly Rose Artisanal Textiles. — *Making of: Nelly Rose Artisanal Textiles.*

What irritates you about the fast fashion industry? Why do we need a slower approach?

The fast fashion industry irritates me mainly because of mass consumption and the de-valuing and plagiarising of traditional techniques. I believe in a slower approach to prevent the de-humanisation of garment workers in the supply chain, thus preventing the capitalisation of poverty. We take such an avid interest in the ingredients that go into our body or our pharmaceuticals, so I don’t understand why we don’t have the same mindset about what we wear on our skin. The industry deliberately makes it hard to question, and easy to ignore, so it is imperative we constantly ask #whomademyclothes.

Do you personally feel it is more difficult to deliver work using ethical and artisanal approach?

I believe that in order to deliver a luxury product, there should be a transparent process. In my personal work, the initial process is more difficult, as it can be more costly as a young emerging designer; however I am constantly trying to inform myself in ways I can maximise the artisanal approach. I have a vision of working with artisan communities across the world to collaborate on beautiful creative outcomes, and I will carry on finding the most efficient ways to deliver these collaborations.

"The fast fashion industry irritates me mainly because of mass consumption and the de-valuing and plagiarising of traditional techniques."

Nelly Rose, credits: Laila Cohen / Imprint Magazine. — *Nelly Rose, credits: Laila Cohen / Imprint Magazine.*

How would you categorise yourself in the fashion world? What's the most important message you aim to deliver as an artist?

I predominantly refer to myself as a designer because I like to create wearable pieces which tell a story. However, as designer refers to the process prior to a piece being created, I also refer to myself as a creative director because I love to work with a concept in various forms, such as film and installation. Ultimately, I aim to deliver an outcome through the power of collaboration, which reflects the journey and honours the craft.

http://www.nelly-rose.com

Dreams Vs Reality: Kelpman Textile Sustainable Wool Coats

Hanna-Amanda P. G. December 20, 2016

Hailing from Estonia, textile designer Mare Kelpman creates thick blanket-like wool coats that warm up even in the coldest nights of Nordic winter. Kelpman Textile’s latest collection Sophy combines sustainable design, architectural elegance and Nordic simplicity. Her unique patterns laced with asymmetry and artistic colour combinations are beautifully eye-catching. What inspires such magnificent design?, we ask.

Words: Johanna Raudsepp

*Sophy collection wool coats by Kelpman Textile, 2016.*

We love seeing designers with an eco-friendly approach cropping up in the Scandinavian region, but we must admit this way of looking at design has not conquered the world yet. Why have you chosen to pursue sustainable approach in textile design?

For a while I taught at the Estonian Academy of Arts and I always urged my students to think what to do and how to execute it. [I’ve always advised students that] if you don’t have a sustainable idea, then seriously consider, if it’s worth creating at all. Following this path is pricey, which is why it’s marginal – the profit won’t be great nor happen fast. The way I see it, for me there is simply no other way – the joy from creating is far more important than the profit you make. I don’t see any reason to overwhelm the world with even more synthetic things.

What are the setbacks you have experienced following the sustainable route?

I can’t say that I have. More or less so, I have encountered the expected issues of having a small business and finding the right partners, who are flexible to fulfil orders of all sizes. In Estonia, my products were initially received with jaws dropped– what do you mean you’re making wool clothing? Where’s the glamour and affluence usually en vogue in the local fashion scene? I exhibited my products at many foreign fairs and finally got the reassurance I’m doing the right thing. Now I’ve realised that small businesses emphasising natural textiles are emerging, too.

What inspires you in creating different textiles?

Primarily the people who I create for in my head. I feel like I know my potential client quite well. However, focusing only on the commercial side doesn’t work either. I am inspired by rhythms and colours from nature and architecture. What really drives me is conquering technological challenges. You can dream of different fabrics and structures all you want, but it really comes down to the technical ability of the partners. Creating textiles requires a compromise between dreams and reality.

“The joy from creating is far more important than the profit you make.”

What material do enjoy working with the most?

Right now, my favourite is wool, as you can see from my product range. But every material can be challenging to work with, if you choose the right approach. For example, in the summer season I reach for linen and a little bit of silk as well. Wool is a material for which you don’t have to kill or exhaust dry land, as sheep require shearing. Since I only work with European materials, I know where and how the yarn is created, in what conditions and I can be sure that it’s also certified. I produce all my products and fabrics in Europe and I know those small factories well.

“Creating textiles requires a compromise between dreams and reality.”

If you had to compare your design to a natural phenomenon, what would it be and why?

Perhaps the refreshing morning dew before a hot day. Freshens the air.

What can we look forward to in 2017?

Hopefully great execution of some fresh ideas. A year ago, I didn’t even plan on having my own store. Now that has been set up and gotten a lot of positive feedback. I like to let life surprise me and am open to new challenges on the way.

Find Mare Kelpman's designs in Tallinn, Estonia, at the Kelpman Textile store, or online at www.marekelpman.eu.

By Signe: A Danish Brand + Women As Artwork

Hanna-Amanda P. G. December 16, 2016

By Signe is a Danish fashion brand dedicated to catering honest and feminine easywear for the independent and creative woman in a modern society. By Signe stands out not only by its clean candy-coated aesthetics and having the whole honest production process from A to Z taking place under one roof, but also seeing women as artwork that should only be wrapped in the dearest delicate comfort...

How would you classify the woman By Signe is meant for?

Actually, describing a muse like this is a bit unnatural for me, because I never wish to exclude or discriminate. But I am inspired by natural women who are more art than beauty. I am inspired by independent and creative women, and I wish to create healthy and comfortable garments for the natural woman in a modern society.

What was the main catalyst leading you to create a sustainable brand?

I have a huge conscience, so when creating the brand, it was essential for me to create a product that I could vouch for 100 per cent. [I was motivated by the concern that] the fashion industry is one of the most polluting in the world. By setting up my own production in-house, I wish to prove that it is possible to combine design and handcraft based on ethical principles, in order to create a deeper dimension of honesty and soul behind the brand in today’s industry.

"I am inspired by natural women who are more art than beauty."

What are your personal tips for looking good, but consuming less?

I would encourage the consumers to build a beautiful basic wardrobe of organic clothing. These garments, if chosen well, should be long-lasting and live through several seasons. Also, I would ask everyone to recycle and donate instead of throwing anything away.

How does By Signe stand out from other responsible fashion brands out there?

By Signe definitely stands out for having gathered the entire design process under one roof. Our creative studio is located in extension of our production — cutting, finishing and packaging area. This ensures full control of all parameters and the required quality of the entire process.

Our in-house Danish production ensures absolute ethical security in a non-discriminating, healthy and safe environment. We cover everything around the garment sustainably too, such as size and care labels, which are handprinted on organic cotton. All sewing thread is made from organic cotton. Hangtags, printed material and packaging are made from recycled and recyclable paper.

"I wish to prove that it is possible to combine design and handcraft based on ethical principles, in order to create a deeper dimension of honesty and soul behind the brand in today’s industry."

Your branding is sophisticated, yet simple and unique. Where did you take inspiration for Creative Direction for Signe?

My own personal aesthetics are directly reflected in the visual profile of the brand. This comes from constantly being open for inspiration and developing it over time. I find inspiration mostly from old books, poetry, photography and travel, and I combine this with my passion for luxurious soft organic materials and comfort.

"I find inspiration mostly from old books, poetry, photography and travel, and I combine this with my passion for luxurious soft organic materials and comfort."

If you could make one major change in the fashion industry today, what would it be?

This could be really abstract, as my first priority would be to make sure that everyone involved in the entire industry is treated well. It would include many more larger changes, obviously, as all is connected. We strive for all fabrics to be organic and certified by The Global Organic Textile Standard (GOTS) which is recognised as the world's leading processing standard for textiles made from organic fibres. GOTS defines high-level environmental criteria along the entire organic textiles supply chain, and requires compliance with social criteria as well, such as freely chosen employment, no child labour, safe and hygienic working conditions, payment of living wages and reasonable working hours.

http://www.bysigne.com

ELLISS London: Unconsciously Conscious Organic Jersey Wear

Hanna-Amanda P. G. December 13, 2016

ELLISS is a London-based responsible brand focusing on organic jersey wear. The collection 'Unconsciously Conscious' speaks of choosing responsible clothing unconsciously for its aesthetics rather than merely ethical production. Their vintage-inspired jersey wear, using ultra nostalgic silhouettes, sported by vulnerable looking girls, is not only visually appetising, but out-of-this-world comfy, too. Even so much so, we want to keep it close all winter long...

*ELLISS 'Unconsciously Conscious' lookbook, 2016.*

How does ELLISS connect sustainability and fashion?

We use organic materials and manufacture in England to maintain a low carbon footprint and are conscious of every element of the design process to waste as little as possible.

What are the main aspects ELLISS as a responsible fashion brand looks to improve?

I would like to show that sustainable fashion can be stylish. The design is very important to me. I want people to buy the clothes because of the way they look, rather than just because they are consciously made. The collection is called ‘Unconscious Clothing’, I want the women who buy my clothes to not necessarily be looking for something eco-friendly, but to choose a piece because of the design – to unconsciously be conscious.

Why is it so difficult to get something responsible manufactured in Britain?

It isn’t difficult to have things responsibly manufactured in the UK as you can oversee the production. However, it did take time to find the right factory. The options are few, but I am lucky to have found a factory I can work closely with. The price is slightly higher in the UK than abroad, but the quality is fantastic.

What inspired the creative direction for ELLISS? Who is perhaps your muse?

The creative direction has happened very naturally from working with great teams on the shoots. Amy, the model in our lookbook, is incredible — she has the ability to look so vulnerable and confident at the same time. That is something that is important to me, to show women in a natural way. We just released a behind-the-scenes film of the launch presentation, which is a candid look at the girls, the playful, real moments.

"I want the women who buy my clothes to not necessarily be looking for something eco-friendly, but to choose a piece because of the design – to unconsciously be conscious."

What personally bothers you the most about fast fashion? How can we still look good with less?

The waste — the nature of the way people buy clothes needs to change. The best way to shop is to buy less, but pieces you really love. Curate your wardrobe.

How much importance does sustainable living have in your everyday?

It plays a big part in the way that I think. I like to buy vintage clothes – that is one of the reasons I decided to focus on jersey wear. Vintage shopping is great for a trousers and outerwear, but when it comes to lingerie and T-shirts – you want something fresh and new. I love wearing matching jersey underwear and a soft T with a pair of vintage jeans.

"The best way to shop is to buy less, but pieces you really love. Curate your wardrobe."

What makes it tricky to have an entirely Made in Britain clothing brand?

Manufacturing in the Britain is more expensive, but it means that you have control of the production and can see everything that is going on throughout the process. I think it is important for the customer to know where their products are coming from.

www.elliss.co.uk

Study 34 & The New Crew: Quintessentially British Functional Knitwear

Hanna-Amanda P. G. December 11, 2016

Study 34 is a quintessentially British responsible knitwear brand for the intelligent woman in the know of all things sustainable. Fun fact: it was born from a simple functionality issue - more often than not, functional garments come with all the unnecessary buttons and pockets and keyhole fastenings, leaving little space for beautiful simplicity. We took a glimpse into the world of Eleanor O'Neill, author of Study 34 clothing brand and writer on sustainable fashion, about her latest 'The New Crew' knitwear collection and passion for sustainability...

How did you become interested in all things sustainable? In particular, what led to interest in fashion x sustainability?

The knowledge I have gained has come from talking to lots of people with much more knowledge than me, as well as reading – I do a lot of that!

I’d say I really become interested during my first internship in the fashion industry, which was for the global supply chain manager Li & Fung in New York. Once you’re exposed to the reality of the fashion system, you start to question things more…

What were the main aspects you wanted to improve when starting with your own responsible fashion brand called Study 34?

I think I had quite a few things on my mind at the beginning. Firstly, it was about style. I like simple, timeless, but modern shapes in knitwear and all the pieces I liked were always out of my price range – we’re talking hundreds of pounds. I wanted that aesthetic to be more attainable.

I’m really passionate about the manufacture of clothing, too. I found it quite frustrating sitting at a desk and drawing things, when I was working for larger brands, and never having the chance to improve my knowledge of construction. It seemed silly, I probably always made the same mistakes but never knew because it was someone else’s job to correct them. When I first started STUDY 34, I made everything in my studio with domestic machines and I learnt a great deal about construction during that time.

“The overproduction and consumption of badly made garments has resulted not just in waste but in clothing itself becoming a totally undervalued part of our society. It has become disposable.”

In the intro describing the production process of your new jumper in a British factory you mention many complex issues. In a nutshell, why is it so difficult to get something responsible manufactured in Britain?

It’s not the ‘responsible’ part that’s the problem necessarily; it’s just that when you’re starting out, you’re often working to a factory’s minimums, so it’s hard to get your foot in the door because it doesn’t make you very desirable. You often have to work with what you can get so to speak, which is often not exactly what you wanted…

Who is the woman The New Crew is aimed at?

The STUDY 34 woman is creative, intelligent and interested in the world around her. She’s busy and she needs to be comfortable and look good while she’s going about her day.

“I’m always talking to people and getting their perspective on the fashion industry, as well as meeting people who make amazing things. All of these activities play a huge role in my day.”

What are the main concerns that should be addressed when in comes to fashion industry's irresponsible ways? What personally bothers you the most?

I get asked this a lot and it’s hard to answer because there are so many things to learn and as one person, you can only explore so much at one time. There are a number of things that bother me more than others, though, and the first is working conditions. That anyone can turn a blind eye to what’s happening in a lot of factories I find shocking.

The second is waste. The over production and consumption of badly made garments has resulted not just in waste but in clothing itself becoming a totally undervalued part of our society. It has become disposable.

What's your personal link with leading a sustainable lifestyle? How big is the role it plays in your everyday?

Every day I strive to keep learning and expand my knowledge of different areas of the supply chain, whether it’s to do with materials, water usage, design, washing etc. I’m always talking to people and getting their perspective on the fashion industry, as well as meeting people who make amazing things. All of these activities play a huge role in my day.

What's the best advice you have been given in order not to give up your pursuit of creating clothing Made in Britain?

I’m not sure anyone has ever advised me NOT to give up… our textile industry has so diminished in the UK, it remains very difficult.

How can we make this world a better place and reduce consumption?

Buy thinking before you buy and by valuing the things that you DO buy.

https://www.study34.co.uk

Sleep In Bliss: Responsbily Made Sleeping Masks by ÖÖLOOM

Hanna-Amanda P. G. December 10, 2016

It’s very easy for sleep to become an insignificant, routine activity. Yet we all know that good sleep is essential for our physical well-being and sanity. I am a resident sleepyhead. So when I spotted Estonian brand Ööloom’s (literally ‘night animal’) range at the store, I was immediately in awe. A company dedicated solely to provide people with a great sleeping experience with their soft animal-shaped sleeping masks – what more could you want? To top it all off, their products are responsibly made and locally-sourced. I felt like I needed to introduce Ööloom to all the professional nappers out there. Mihkel Virkus, resident visionary and a rigorous sleeper at Ööloom, answered our most haunting questions.

Words: Johanna Raudsepp

It’s not every day that we see a new brand dedicated to great and sustainable sleeping gear. What inspired you to launch a sleeping mask line?

Quite true. You don’t see many distinct sleeping brands. I guess people tend to take sleep for granted much of the time.

This kind of ties in with the origin story of Ööloom. The thing is, many people view sleeping as a passive act. You just close your eyes, and don’t worry about the rest of it. But the reality is that you actually go on breath-taking adventures inside your own mind. Just because you grow stronger and become rested doing it, doesn’t mean you’re doing nothing.

We think that the dream world and the human capacity for imagination should be celebrated and to that end a regular sleeping mask just won’t do. The Ööloom sleeping mask stands as an active reminder of the silliness that your brain can muster up.

*Ööloom unicorn mask with packaging, 2016.*

Who is Ööloom?

Ööloom is a creature of the night. The friendly kind, of course. He is mysterious, but never frightening, like a hedgehog in the fog. He acts as a sort of an ambassador for the seemingly unreasonable dream-world – delivering fresh and unconventional ideas to our rational and, dare I say, dull reality. The word itself comes from the Estonian language. It loosely translates into “night owl”, a person who tends to stay up quite late. But we ourselves prefer the literal translation – “night beast”.

"The ÖÖLOOM sleeping mask stands as an active reminder of the silliness that your brain can muster up."

I love napping on couches and when I’m travelling. Where is your favourite place to nap?

Ahh yes — couches are fantastic. I’m a big fan. But I’d say it’s not about where you fall asleep that interests me the most. It’s what kind of a world you dream yourself into. I once napped into a parallel reality situated inside the imagination of a blueberry pie. It was a pretty sweet dream.

*Variety of Ööloom sleeping masks, 2016.*

Your products are made in Estonia, using locally sourced materials. Conscious production is something we strongly care about. What is your take on it? Do you think more companies should produce ethically made products?

We at Ööloom spend a great deal of time in the subconscious or unconscious, depending on your understanding of how sleeping works. As a matter of principle, we aim to be very conscious about our actions while we are awake.

A lot of the raw magical power of our products come from the way we make them. The sheep that provide the wool are hand-fed, the felt is hand-made from the wool and the masks are hand-sewn by a small army of lovely ladies. The love and care that is put in, reflects in the finished product.

"Many people view sleeping as a passive act. You just close your eyes, and don’t worry about the rest of it. But the reality is that you actually go on breath-taking adventures inside your own mind."

The importance of locally sourced materials for us is very much a part of the brand. It’s the cold Nordic environment that has made us, Estonians, so creative. The first Estonians that arrived here had to figure out how to build a fire on top of frozen water before they could go to bed. That’s not easy. This has made Estonians more appreciative of sleep and we believe that local materials carry that same appreciation within them.

There is definitely a trend towards more ethical ways of manufacturing. I think it has a lot to do with the ever-growing amount of information available. About the producers as well as to the consumers. It’s easier now to know where, how and by whom, the stuff is actually made.

For us it’s a no-brainer. As a consistent brand that values happiness, we need to know that the journey of the wool from the belly of a sheep to the face of a human is a happy one as well.

You have a few endangered species featured in your line of night animals. Where did that idea stem from and will we see more in the future?

Yes, that’s right. The “endangered species” is a category in the e-store (ooloomstore.com) for the animal sleeping masks that are no longer in active production. The reason is that we want to keep the main collection at 10 different animals, so that the already tired and sleepy person looking for a mask wouldn’t be overwhelmed by choices. We introduce new animals fairly slowly. Maybe one or two new faces a year, the most recent one being a black fox. The older ones fall out of the ‘current collection’ and remain in the ‘endangered species’ category – available only online. We just didn’t have the heart to cancel their production altogether because in our world no animal should go extinct. Imaginary or otherwise.

"It’s not about where you fall asleep that interests me the most. It’s what kind of a world you dream yourself into."

What does Ööloom dream about?

Ööloom dreams about many things. The most common and reoccurring dream is one of total world domination. I’m not an expert in dream interpretation. But this probably reflects the ambition of the company and our own plans for total world domination – achieved not by force, but by the creative use of happiness, whimsy, and dangerously cute sleeping gear.

See more:

Ööloom sleeping masks exclusively featured in our Conscious Gift Guide.

https://ooloomstore.com

Grind and Glaze — Epitome of Feminine and Masculine

Hanna-Amanda P. G. December 8, 2016

Your next must-know eco fashion brand Grind and Glaze tells a thousand stories of the designer's upbringing in rural Ohio. We took an insight into Tessa Clark's vision connecting masculine 'grind' and feminine 'glaze' in every single responsibly made piece. Their minimal, yet aesthetically impressive debut collection simply makes a sustainable masterpiece, and we can't wait to hear what more the brand has on hold.

*Grind & Glaze Debut Collection, 2016. / Photography: Courtney Sinclair / Model: Cheyenne Janelle*

What does Grind and Glaze stand for? What informed the inception of your brand?

Grind and Glaze was originally created for my thesis project as an ode to my parents and my upbringing in rural Ohio. My father is a miller and my mother is a potter. Grind for grain, Glaze for ceramics, a combination of raw and refined elements and aesthetics. I grew up in a creative environment and was a part of their business and entrepreneurial ventures. They inspired me from a young age to be an entrepreneur as well. It was in my blood.

What are the key sustainability principles you follow?

My goal is to remain ethically grounded while creating garments that are elevated, but inspired by casual-wear. As my brand grows, my goal is to keep all production fair-waged and to remain aware of the working conditions my clothes are being produced in. I also use only organic cotton and other eco-friendly textiles, such as hemp, silk, recycled polyester (made from plastic bottles), and tencel. I also try to use as much of the fabric as possible. For example, I found that one of my designs was creating a lot of fabric waste, so I re-patterned the top and now it doesn't waste as much fabric. The fabric that is left over, I use for my neck-cuff designs.

What inspired your first collection? Are there any restrictions that make producing ethically difficult?

All of my collections and designs refer back to my original inspiration and grounding aesthetics for Grind and Glaze. Grind: grain, rough, raw, masculine, natural. Glaze: refined, glossy, feminine, minimal.

My goal with everything I design is that I want it to be timeless, ageless, wearable, and eco-conscious. Right now because my production is so small, it is not difficult to produce ethically. If I keep production in the USA, I will be able to visit the factory, and make sure proper labor laws are being followed. I refuse to sacrifice price for what is morally right.

"Sustainability and ethical thinking should be at the forefront of everyone’s agenda in the industry."

Why is ethical thinking important for you personally and on a wider global scale?

On a personal level, I find it empowering to be aware of where my clothes come from and to choose where my money is going. Fast fashion was created for corporations to make money by pressuring consumers into thinking they have to have every trendy article of clothing out there. A lot of these garments are made in countries with loose environmental regulations and labor laws, in turn allowing the garments to be produced and sold cheaply. After learning about these processes, I made the decision to make more conscious purchases. Quality over quantity.

Fashion is a huge industry. And it’s the second pollutant behind oil in the world (ref. The True Cost movie). A lot of what is being produced and sold is harmful to the environment. Sustainability and ethical thinking should be at the forefront of everyone’s agenda in the industry.

"I refuse to sacrifice price for what is morally right."

What's your relationship with today's speed culture that encourages us to bombard others with our digital presence, constantly share photos, and forget the actual meaning instantly? Have you ever thought about embracing a slower lifestyle?

I'm guilty of being sucked into the speed culture, as I'm sure a lot of Instagram and Facebook users are. I’ve been trying to view Instagram as a visual archive for myself and my brand. I follow a lot of fashion and design accounts and screenshot what I find inspirational. I'm trying to view it as an interactive, in-flux moodboard. I've thought about embracing a slower lifestyle and I've tried to create that opportunity for myself by recently moving to Hawai’i. I decided that moving to a big city and working for a corporation was not where I would find my happiness. I very much desire a slower paced lifestyle. I may need my big city fix sometimes, but like all things, it's about balance.

"I decided that moving to a big city and working for a corporation was not where I would find my happiness. I very much desire a slower paced lifestyle. I may need my big city fix sometimes, but like all things, it's about balance."

Do you feel that today's digital culture has made it harder/easier to reach your audience?

Easier! Social Media platforms are amazing for reaching an audience worldwide! It's free marketing.

What are your plans with Grind and Glaze going forward?

I'm planning my e-commerce presence currently. I’d love to be stocked in more boutiques and my dream is to open my own concept brick and mortar store or workshop, and in some way incorporating education of the industry to aspiring designers and those interested in learning more about fashion, design, and textiles.

More of Grind and Glaze:

http://www.grindandglaze.com

From Love of Hair to Fear and Love: Your Culture Guide to December

Sophie Breitsameter December 1, 2016

Eat - Noble Rot Wine Bar & Restaurant. We love the Parisian style wine bar and restaurant Noble Rot. Head over to enjoy their vast wine list, served with a succinct, seasonal British menu. 51 Lamb's Conduit Street, WC1N 3NB.

See – Hair by Sam McKnight, Somerset House. Is there anywhere more inviting than Somerset House at Christmas? Enjoy an afternoon at the Hair by Sam McKnight exhibition celebrating McKnights 40 year career. Until 12th March 2017.

Visit – Claridges. December is the time to treat yourself. Don’t miss the spectacular room-size Christmas installation designed by Sir Jony Ive, Chief Design Officer at Apple and Marc Newson, one of the world’s most influential industrial designers in collaboration with renowned British set designer Michael Howells.

Do – Design Museum. Following a five-year building project, the remarkable new Design Museum in Kensington has opened its doors. The current exhibition ‘Fear and Love: Reactions to a Complex World’ will occupy the space at the museum until 23rd April 2017.

Read - Art House, Assouline. Art House takes readers on a breathtaking visual tour of five residences designed to house six hundred works of art, including masterpieces by Marcel Duchamp, Andy Warhol, Donald Judd, Louise Nevelson, Diane Arbus, and Frank Stella.