Ethical evolution

Photos: The lovely Vanessa Jackman, who in addition to having a great eye, is one of the nicest street style photographers out there. 

Photos: The divine Dvora of Fashionistable who equals Vanessa in both talent and genuine warmth. 

In the same way that many of the ethical designers I most admire use recycled fabrics in their designs, so this post is a patchwork of the old and new – taking elements of articles I have already written for Oxfam and embroidering them with new skeins of ideas.

To recap briefly, on behalf of Oxfam I covered the ethical exhibition that LFW hosts every season – better known as ‘Estethica’. I like to think of this collection of designers, ranging from the well- established to the newly formed, as being similar to a tree. The main trunk does not change from year to year: attached to a deep-rooted eco-aware ethos. But the branches that spring from this trunk yield slightly different fruit each season. The colours, materials and ideas are renewed every six months or so, and prove to be rich pickings for the press and buyers who click their heels through the halls. It is an exhibition that has ‘sustainable’ sliding through its veins like green sap.

Although I initially talked about a range of designers on the Oxfam blog (and they all deserve admiration for their commitment to sustainability), there were three who completely stood out for me:

Junky Styling displayed a collection that tipped its well-cut collar to classic military and navy shapes. The official theme was ‘Well Dressed Weekend’; composed of a Venn Diagram between blankets and suits, with enough pieces to last for a well dressed month. The rails held the kind of coats that I would love to don for a windy walk (or at least for a blustery photo shoot). Living rurally, I have a habit of attributing anything vaguely warm and woollen looking to Wuthering Heights and Thomas Hardy territory. But then my favourite place to be is between the hills and the finely sourced fabrics.

Henrietta Ludgate’s clothes had a similarly stormy feel. The idea of a hurricane, leaving a ragged train of chaos and shadows behind it, inspired the highly architectural dresses that combined her trademark tubing with smoky colours and well-cut shapes. A collaboration with jeweller Euan McWhirter resulted in Swarovski crystals strung across the fronts in ropes of silver. These are the kind of dresses to wear in a cobweb-clothed mansion as the storm howls through open windows.  

Elemental themes also permeated Ada Zanditon, with the title ‘Simia Mineralis’ referring to the insatiable desire of the human race for technology. The designer was engaging and passionate when talking about the consequence of human consumption on the world that we all inhabit. Dangerous mining takes place every day to source the minerals needed for the latest phone or laptop. This destructive practice was interpreted through clothes with rich patterns that, close up, suggested geological shapes and structures. I was told me that all the pre-collection pieces were named after Shakespearian heroines - but unfortunately there was no ‘Rosalind’ on the rails. You can see the video that is one part ladylike, one part gothic here. 

 To work on and promote a sustainable label is hard – bringing additional challenges and ultimately (one hopes) rewards. But it’s not enough to be merely ‘eco friendly’ – that term is not one to hide behind or use as a defence. The clothes themselves have to be equally as appealing as those presented in the main venues at LFW. These labels must be defined by design, as well as their credentials. As news spirals about the impact of the fashion industry, it becomes all the more important to support and sustain any area that promotes a more holistic approach to production, from the workers creating the clothes through to the dyes used. And yet, to ensure success, what is required is a mainstream appeal and a widespread knowledge of why we should buy ethically. Personally, I would hope one day to see the ‘Estethica’ collection being integrated into the main fashion arena, rather than being separated out.

'Ethical' also brings its own issues, from the perception of the term to the price of the garments; the latter  often being cited as a hindrance. One has to make a conscious choice to spend a little more for something of quality and credentials, and although no bad thing, we (and I include myself here) have an attitude of spending the minimum amount for the maximum gain. This is essentially why the ‘high street’ is so popular – the clothes are cheap, there is plenty of variety, and it is very accessible. This starkly contrasts with previous decades where, as my grandma was telling me recently, “If you wanted shorts for the summer, you didn’t go out and just buy them. You made them.” I’m not suggesting that we all return to our sewing machines and seamstresses (delightful as that sounds as an ideology), but that a little re-adjustment of values might be needed. It is worth the extra expense for a hand-crafted item – such as this mustard and black Goodone jumpsuit that I saved up for, bought and recently wore to LFW, as pictured above (worn with a silk, polka dot vintage Betty Barclay blouse, black Mary Janes by Office, charity shopped belt and vintage 70s bag). It goes back to the tradition of really valuing clothes, rather than treating them as disposable.

Nevertheless, in return for this pledge of support in buying something, the designers out there must reciprocate by providing well-designed clothes, whether wearable or fanciful. Luckily there are designers who are achieving that, such as Goodone, Orsola de Castro and those mentioned above. More of them like that, please. 


Huge thanks to both Dvora and Vanessa for their wonderful photography skills. You can also find each of their blogs in my sidebar list. I was extremely honoured to have been featured on their respective blogs.

Ethical evolution 2012-04-09T12:55:00-07:00 Rating: 4.5 Diposkan Oleh: Unknown