Celebrating transparency and craftsmanship within the industry, the International Woolmark Prize 2021 nominees inspire hope for the future of fashion at time when innovation is needed more than ever.
This year’s theme, ‘Less is More’, focuses on slow, conscious and responsible design. Buzzwords these may be, but this year’s crop of design talent are showing how to put ambitious principles into action. The nominations brings together a group of bright young designers who have built innovative new models from the ground up.
Twin talks to Bethany Williams, Casablanca, Kenneth Ize, Lecavalier, Matty Bovan, Thebe Magugu about putting sustainability first and creating a green hype cycle.
Matty Bovan, United Kingdom
We have always tried to be sustainable, and to question where we source materials and artisan makers. We make everything in the United Kingdom and try and source as much as we can from the UK and even more locally, Yorkshire where we are based. We use deadstock fabrics, deadstock yarns, and end of line pieces alongside stock service fabrics. This is very important to myself, and my business, in a world where we have such huge amounts of materials and garments made every day – it’s important to rework and make something special.
I am very interested in upcycling, whether this be vintage pieces, or end of line, damaged fabrics; it excites me to be able to transform something under an artisan process. We rework all leftover fabric we have each season, alongside any excess yarns we have, nothing is ever disposed of and always reused in some way. Constantly experimenting with craft and process is very important to me and helps aid me in transforming materials that others may disregard. We use screenprinting in-house, embroidery and hand-dying to rework.
We are in a great place in fashion, with people asking more questions about who is making what we buy, who is putting love into these pieces. Traceability has always been very important to me, and I have always found it key to understand who we work with and where they are in the world. I try to work with artisans with hand skills. I try to make and treat a lot of textiles in-house. I like the touch of the hand on everything that comes under Matty Bovan.
If the current state of the world is enough to go on, I think it’s critical for anyone working in creative output of any kind to consider their sustainability practices. We are effectively destroying the world and sustainability is all our pledges to try to counter that destruction as much as possible.
I am very proud of the fact that most of our resources and production are made locally in South Africa. I am excited about the continuation of problem-solving through fashion, and the growing consciousness our industry is having towards its role in solving those problems. This is very particular to the younger generation especially.
As a young generation of creators, we were put in front of a reality that fashion production and consumption was creating a lot of waste. My creativity comes also from a place where I want to make special pieces by reusing discard materials, there is so much material available out there and it is our duty to find new ways to be creative with it. I’m really proud that I have created a unique technique to weave discard leather. There is still so much for us to explore in terms of new weaving technics but also to explore of different fabrics. I’m looking forward to an era where the craftsmanship and savoir-faire will become more present. Fashion has always been about the garment, it’s not only a product and it’s not only hype.
I think it’s important we all play a role in sustainable practices. The fact that we go from the idea to the creation of the garment is very special for me. My most proudest is that I am continuing the techniques of French classic fashion traditions. The whole process of creating the print and the fabrics. In terms of my own designs, I am optimistic about bringing more joy and gratitude through the clothing to people’s lives. I am optimistic that there is going to be more diversity and more acceptance towards people from different backgrounds. I think we have experienced a small part of the ongoing evolution that will create a better a future.
Growing up my mum has always been very socially and environmentally conscious, and very caring, so this has been something that has been of interest to me from a young age. I want to create beautiful things but I always want to create something with a purpose, something that can support and protect the maker and the supply chain it is a part of. Each item we produce is made from recycled, deadstock, or organic materials and made in the UK and Italy. I feel it’s really important to have produce locally or close to home so that you know exactly where your garments are made and who exactly is making them.
I think our most recent collection titled ‘All Our Children’ is what I’m most proud of. Not just because of the outcome of the final collection of garments but also the groups of creatives and like-minded people that worked on the project alongside me. I really like the network of amazing people we are building through each collection and how positive and supportive the network is that we are surrounded by and look to grow and add to this network each season.
I’m always really excited to develop my skills and look forward to introducing new techniques each season, alongside the research into and introduction of new social manufacturing partners. I hope to expand my knowledge of social manufacturing, supply chain, and craft, and strive to share this at every opportunity to help drive change within industry. I feel the presence of change starting to happen within the fashion industry, and I’m optimistic that this will continue and build momentum towards a more environmentally and socially conscious system, however there is a long way to go yet.
My love for the traditional Nigerian design textile culture of Aso Oke. Historically Aso Oke weaving created fabrics that were used to create everyday clothing that lasts for centuries and can be passed down from generation to generation. However, we started seeing less and less use of the textile except in occasion wear. With my brand I hope to bring the use of this textile to the forefront.
I’m also very passionate about the weaving villages we empower, and I hope to do all I can to continue to push opportunities for them to grow and develop
In a collaboration with Nigerian Product design firm nmbello Studio, we were able to redesign the loom. The old loom had never been redesigned or updated, the weavers had complained about the discomfort they felt while using it. By redesigning the loom we were able to birth new life into the industry as a new generation of weavers have come forward with an eagerness to learn and push Aso Oke weaving into a modern era.
I am most optimistic about the economic empowerment that is the bedrock of my atelier. We are currently building a factory to house many of our local artisans, creating more opportunities for local textile designers and establishing a more structured industry within Western Africa.
Earlier this week, Selfridges marked the launch of their new global initiative Project Earth in collaboration with Prada as they inaugurated the new Prada Re-Nylon collection. Presented in the Selfridges Corner Shop in London, the collection is Prada’s line of sustainable products originally launched in 2019, which were all made from unique regenerated nylon obtained through a recycling and purification process of plastic waste from oceans, fishing nets & textile fibre waste. In their commitment to protect the environment, the Prada Group has created a line up of projects with objectives of saving energy and promoting practices of sustainability within the luxury sector.
This latest collaboration with Selfridges is solid proof of such, as they offer up a stylish selection of pieces including boots, backpacks, jumpers, skirts, buckets hats and others. The Corner Shop is an immersive experience of this sustainable Prada world with screening of short films produced in collaboration with National Geographic displayed on scenographic multiscreen large scale arches and the surfaces covered in video wallpaper showcasing the macro animations of natural elements as well as the PRADA Re-Nylon industrial process.
“The Prada Re-Nylon project brings circularity to life by teaming creativity with sustainable product innovation in the Selfridges Corner Shop. Prada brings vision to all elements of its business – sustainability is no exception – I am delighted that through this unique concept developed for our sustainability initiative Project Earth, we are able to share that vision with our customers,” explained Selfridges Executive Buying & Merchandising Director Sebstian Manes. The Prada Re-Nylon experience is currently at Selfridges Corner Shop in London.
Decorum and value: this is where our headspace is at right now. From a tightening of ethics and a loosening of excess – we are paring things back to what we have found bestows upon us a sense of purpose, significance, worth. Le Kasha is a brand that is not about screaming, yet nor is it about ignoring either. It is quiet in its voice, and clear in its motive. As we all take soft steps into a new way of thinking, Le Kasha gives us a new way of seeing too.
How did you come to take over Le Kasha?
Le Kasha was founded in France in 1918 and was part of my family heritage. Le Kasha was originally a revolutionary fabric that was supplied to the big fashion houses of the time (Chanel, Lanvin, Jean Patou) which they used in creating their collections.
The original logo was an illustration by the French poster artist Géo Dorival. It had always intrigued me and I’d always wanted to one day give new life to the story and heritage of the brand. Eventually, 4 years ago, I decided to rework the illustration and to make it a bit more modern and easy to read, marking a new journey for Le Kasha; creating a luxury lifestyle brand inspired by travel and adventure, to offer timeless pieces to wear anytime and anywhere, made only in natural and noble fabrics
What changes did you implement upon becoming creative director of the brand?
The brand had been dormant for more than 50 years. I went through the archives, repurposed the original logo and with these created a completely new story but keeping the essence of the spirit of the original Le Kasha.
Talk us through where you source your fabrics, and the reasoning behind each textile. We use only noble and natural fabrics at Le Kasha. For the cashmere: The fabrics are sourced in the Alashan and Arbus regions of Inner Mongolia, at our Eco Label factory farm. Those regions are acknowledged to be the foremost regions for producing the highest and finest quality cashmere fibres.
Regarding the linen collection, Le Kasha uses only organic, pure linen fabrics. We found a very specific linen which doesn’t crease and you can spend the full day or night wearing the pieces and they remain elegant and comfortable. The 100% Silk fabrics are sourced in Italy and feel incredible against your skin. Both the linen and silk collections are produced locally in our atelier in Paris.
What role does travel play in Le Kasha?
Le Kasha gets it’s inspiration from travel: for the story behind each collection, for the colours, the styles and the spirit.
I also love the idea that Le Kasha pieces are what you chose to travel with. The sweater that you always carry in your bag and follows you everywhere. Not just a random sweater; but a travel companion that carries with it the memories of all your travels and keeps you warm and soft on all your trips.
What projects are on the horizon for Le Kasha?
A complete men’s collection is on it’s way.. Le Kasha is also due to open a shop « Boutique de Voyage » in a new luxury hotel in the South of France by next year.
Is there a beauty in specialisation?
Specialisation can allow you to take time to make sure to do that thing really well and properly; release only the best possible version of products to the market.
It’s also more sustainable as you can focus on one supplier, one factory, and avoid the waste of a high volume of shipments and working with too many fabrics.
What principles are at the heart of your brand?
Quality & authenticity
What changes do you want to see in the fashion landscape post COVID19?
I hope there will be less pressure on brands to create and produce so quickly; giving more time to designers who aren’t given the time to be creative because there is always more and more pressure to be quick.
I hope people will realise that they need less clothes and will chose to buy with more consciousness. Which in turn will also be with a respect to the environment.
Late last year graphic design & textile design duo Lisa Favreau and Lisa Guedel-Dolle launched their luxury sustainable brand from the coast of Marseille, France. Dubbed AZUR, the brand prides itself in the design and production of high quality fashionable clothing and accessories using processes and techniques which are ethically and environmentally compatible. Each piece is made from a mix of natural fibres, antique 20th century textiles and luxury materials sourced in France. Textiles and buttons are naturally dyed with with plants, labels are made in Italy from recycled plastic bottles & packaging is crafted from recycled & recyclable textiles. The scale of production is closely monitored to match demand and to ensure that each garment pockets its own unique story with fabrics that hold their own history. Twin sat down with the design duo, to find out some more about their process.
What sparked the idea of launching a sustainable brand ?
During the past years we were less and less comfortable with the fact that what we were doing was often too far from our beliefs. We thought that we could use our creative skills and energy for a more positive purpose. Step by step the project started to take shape in our minds.
Long before turning into a clothing project, Azur was first and foremost a strong desire to change the way we were working and creating, to go towards more sustainable practices. At first we didn’t know if it was going to turn into objects, furniture or pieces of clothing. Making truly ethical and eco-conscious clothing ended up being the most challenging of them all.
Why did you decide on naming the brand Azur ?
Azur is the color that is often described as the color of the sky on a clear day.
We were deeply touched by the way Paul Virilio, a french philosopher, evokes nature and colours while talking about l’azur:
«L’azur c’est l’épaisseur optique de l’atmosphère, la grande lentille du globe terrestre, sa brillante rétine. De l’outremer à l’outre-ciel, l’horizon départage la transparence de l’opacité. De la matière-terre à l’espace-lumière, il n’y a qu’un pas, celui du bond ou de l’envol capables de nous affranchir un instant de la gravité.»
Paul Virilio in La vitesse de la libération.
We also liked that Azur is a much-used word in south of France for any kind of brand or business. It gives the brand a déjà vu feeling while remaining quite mysterious and poetic.
How long did it take to create an entire collection using completely sustainable techniques and materials?
To avoid overproduction and enhance existing raw materials, we source high quality natural antique fabrics woven in France in early 20th century. Fabrics and buttons are naturally hand-dyed with dye plants by us in our studio, using no chemicals or heavy metal. Our 100% cotton thread and natural corozo buttons are made by the last French sewing thread mill and the last button manufacturer in France. Except our labels which are made in Italy from recycled plastic bottles, we avoid any plastic. The lining of our clothes is made of cotton without glue and our packaging is made in France with recycled and recyclable materials. Each piece is sewn in Marseille by our prototypist or a garment workshop run by a mother and daughter. Our silk pieces are hand-pleated in Marseille in an atelier running by two sisters and own by their family since 1937. Everything is made by us, craftsmen or small companies located as close as possible from Marseille.
Every step of the production process is meticulously watched out by the two of us, to be fundamentally respectful of the environment and others.
It took about a year to set up our sourcing and production processes : finding the best materials, the right partners and finally the proper way to combine them all.
Once all these parameters settled, create an entire collection made in a sustainable way sure takes a longer time than in an ordinary way, but still allows to create a full collection, even in significant quantities.
What was the most difficult part of the process ?
Trying to be fundamentally respectful of the environment and people impact a lot our designs and the creative direction of our brand in general. The major part of our creative result is inherent to the artisanal process and the sustainable approach we have set up.
The sourcing of our raw materials is the biggest constraint and restricts many of our desires. We have to reverse the usual creative process. First we list what and how we can produce following our ethos, and then, we start the creative process.
It was important to us to make clothes that you can keep for a long time and make compatible to every wardrobe. We create mainly unisex pieces, with simple cuts but unique details, which can fit most bodies.
We are aware that not everything can be produced within our constraints, which can be frustrating sometimes, but which is also really challenging and exciting.
Do you think the industry in general is on its way to becoming less wasteful?
People are now more aware and concerned about the environmental issues, and big brands have to follow this movement and adapt themselves to the new consumers expectations. Most of the time it’s unfortunately more about their image rather than real commitments.
On an other hand, many independents and emerging fashion brands are really active and aware when it comes to sustainability, and are opening a new path. Through Azur we hope to show in some way that you can make truly eco-conscious and ethical clothes that can also be luxurious.
No one has the perfect formula, and both makers and designers should work together to build fairer and cleaner making processes.
How many collections can we expect a year from Azur?
We don’t follow the exact same calendar as the fashion industry. We will launch 2 collections per year, and the rest of the time will be punctuated by few drops, according to our desires and fabrics we find.
Where can one buy the products?
You can buy the collection online on our website at azur.world
In February we will move into an atelier-boutique where you will be able to see and try the collection and unique pieces that will not be available online. The address is 19 rue du Chevalier Roze, 13002 Marseille, France. We’re currently working on supplying to shops internationally for our next few collection.
Keep up with the brand via instagram on @AzurWorld
As the ultimate antidote to Black Friday and Cyber Monday consumption, over the weekend Filippa K presented the results of their two year sustainable research project ‘Circular Design Speeds’, in collaboration with Mistra Future fashion, at an exhibition at UAL.
2018 has been the year that fashion finally woke up to its responsibilities. And as fast fashion, and the waste produced by the fashion industry more widely, have come under increasing scrutiny, Swedish brand Filippa K has worked to find a solution.
The results of the project are not only exciting from an environmental perspective, but also in terms of style. Both the 100% recycled and recyclable coat and the biodegradable dress maintain Filippa K’s classic, timeless aesthetic and high quality, while taking the conversation forward.
Crucially this new research comes from a major fashion brand rather than an experimental and emerging designer. The learnings and results show that when companies choose to put their resources into sustainable innovation, the results can be truly impactful and redirect the standardised path.
These first creations, as well as the research process, were shown at the ‘Disrupting Patterns’ exhibition at the University of Arts in London, alongside a series of talks and lectures aimed at sharing the findings of their projects with the larger fashion community.
In order to transform the linear (thinking) production cycle into a circular system we need understandable and simple examples, role models. Upcycling waste into beautifully naturally dyed dresses is just one of many fruitful ways of doing it – hopefully it will plant a seed to transformation,” explained Marie-Louise Hellgren, Designer at Heart & Earth Production at Filippa K.
As the fashion industry is forced to address the mounting crisis that its practice is contributing to, championing brands that embrace cyclical production is no longer a nicety, but a necessity.
A pioneer of sustainable fashion, Bethany Williams puts a social conscience at the heart of her work; the last collection ‘Breadline’, worked alongside the Vauxhall food bank and Tesco to highlight the poverty crisis hidden in plain sight in the UK. Here the collection was developed around food waste, and Tesco recycled cardboard. The results were not only socially aware and environmentally friendly, but also innovative, avant-garde and sculptural – a hybrid of responsible and covetable which is glaring absent for the most part in the British fashion industry.
Her latest collection ‘Women of Change’ put women’s rehabilitation at the heart of her collection. The designer worked with female prisoners and the San Patrignano drug dependancy program, subverting the gender narrative to bring men into fore of the solution through her designs. Each piece was created from 100% organic or recycled, even down to the buttons which are handmade in the Lake District by Jean Wildish, who plants her own trees for the production of wooden buttons, and handmade in the UK and Italy.
The collection was shown at London Fashion Week Mens through a film, directed by Crack Stevens, along with a live presentation with models from TIH – a new modelling agency that supports young Londoners affected by homelessness.
One of the most exciting designers on the London menswear scene, Bethany Williams is offering a vision for the future which fashion desperately needs. We can’t wait to see what comes next.
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