New Post has been published on http://www.thefairmagazine.com/?p=19281
Vintage Revival
Awareness, demand and acceptance of vintage clothing has increased in recent years. This can partially be accredited to the likes of Julia Roberts and Kate Moss who have worn vintage items, contributing to their visibility and popularity. In addition, the arrival of the internet has been a boon to the vintage clothing industry, increasing availability of rare items and opening up prospective markets for sellers across the globe.
The term “vintage” usually refers to garments from or inspired by the 1920s, although it is used as a broader term to describe anything old, predating the 80’s. Fashion design has always drawn inspiration from previous eras, the demand for vintage indicates that in the fashion industry newer is not necessarily more desirable.
An almost timelessness surrounds the superior quality, fabric and designs found in authentic vintage garments. The diversity in the patterns, details and materials allow vintage-lovers to create and fine tune their own original style and there’s an enchantment that surrounds vintage clothing, “One man’s trash is another man’s treasure” applies here as previously worn and once forgotten items can be revived and loved once more.
Browsing through a vintage store is the modern day equivalent of a fantasy world, a land of decades past, filled by the magic and nostalgia of some of the most romantic periods throughout history. Some of the most popular places to find vintage items include charity-run second hand clothing shops, markets, and specialised vintage clothing stores.
By choosing to wear vintage, you are adopting a more “green” approach, recycling clothing and reducing the impact that mass produced clothes have on the environment.
Another benefit of shopping for vintage is decreasing your expenditure on clothes, as prices are often lower than new garments of equivalent quality. Whilst in comparison, authentic vintage can be costly, as these items are handmade, sometimes rare or even collectibles. If you are after an item from a highly sought after designers which include Coco Chanel , Paul Poiret, Mariano Fortuny, and Cristobal Balenciaga, to name but a few, you should anticipate an extravagant price tag.
Yet the greatest thing about a vintage shopping is the experience. The fun had during shopping for vintage is far better in comparison to a regular shopping excursion, as you can spend hours searching through collections rarely seeing two that are the same, and the excitement of uncovering a rare find is insurmountable.
There’s also a community for vintage shoppers, for women with similar interests in fashion. Numerous blogs, forums and social network groups can be found, dedicated to vintage clothing that include tips, discussions and the best locations for purchase, which are a great source of information and a chance to share your knowledge.
So if you’re after vintage items and are stuck for where to shop, here is a list of remarkable stores to help you:
- Ebay and other online auctions.
- Etsy (a multi-vendor site)
- Special Forums for vintage clothing
- Vintage clothing stores:
- http://vintageclothesireland.com/
- http://lucyslounge-dee.blogspot.ie/
- http://www.vintagetrig.com/
- https://www.facebook.com/shutterbugshop/info
- http://siopaella.com/
- http://www.yelp.ie/biz/eager-beaver-dublin#query:vintage%20clothing
New Post has been published on http://www.thefairmagazine.com/?p=19266
Tap into the Future
All fashion enthusiasts strive towards a style that is both original and distinctive, foregoing generic mainstream fashion concepts in order to stand out. For these the futuristic fashion trend is tailormade.
Alexander McQueen
We cannot predict the future, which allows for creativity and even absurdity when designing items within futuristic guidelines, as futurism serves as the perfect escape from the humdrum of daily life.
When thinking about futuristic fashions, we are most likely to conjure images of a science fiction nature, of robots and aliens, of Karl Lagerfeld’s metallic foil detailing or the reptilian eco-evolutionary creatures created by Alexander McQueen.
There have certainly been various memorable futuristic designs that have emerged such as Junya Watanabe’s Spring/Summer 2013 collection of headwear which comprised of sharp and shiny metallic headwear, attached to and concealing the hair.
Junya Watanabe
Lady Gaga could draw endless inspiration from designer Gareth Pugh, the Paris-based, London-born designer who’s sharp and monochromatic looks are based on the principality of darkness, yet are mesmerizing and almost beautiful. Pugh uses cones and cylindrical objects that are then attached to his clothing to transform his looks into that of futuristic robotic armour.
Similar designs are seen in Dora Mojzes’ collection, entitled Diploma, which sees her production of a hooded insect like armoured jacket, her inspiration for this collection coming from the design of exoskeletons.
Dora Mojzes
Structure and form are represented at their best by designer Winde Rienstra’s striking Spring/Summer 2012 collection, with her use of architectural elements and bridge-like structures that extend over the shoulders, chests and hips. Her collection is based on the obscurity between clothing and objects, resulting in wearable sculptures that fascinatingly transform the body shape.
Collaboration between fashion designer Anouk Wipprecht and software developer Daniel Schatzmayr has produced something that is indeed spine-chilling: a robotic spider dress. The limbs that are attached to the dress writhe at any detection of movement. The collaboration stated that the dress was made in order to “give more power and psychological thrills” to those who are wearing it. It may seem the logical step forward to combine technology and fashion, with the results of the spider dress both terrifying and enthralling.
Anouk Wipprecht and Daniel Schatzmayr robot spider dress
Perhaps the most inimitable idea of all is that of London-based designer CJ’s collection of wooden items that are inspired by ancient musical instruments and aptly called “Wood Be”. Her core focus is the exploration of natural materials, including but not restricted to wood, and the relationship and reconnection with nature. This outlook on futuristic design holds a more optimistic viewpoint in comparison with other revolutionary designers’ ideas.
However absurd and impractical these designs may be, the futuristic look can still translate to street wear. With the exclusion of strange headgear, wood and armour; the basic metallic colours, leathers, pleats and chunky jewellery can be transitioned into an everyday, futuristic yet subdued look.
Even Alexander McQueen’s famed footwear, the Armadillo Heel, is wearable; the nightmarish innovations of broken mirror footwear are however not as easily translated.
New Post has been published on http://www.thefairmagazine.com/?p=19252
Galway Street Style
New Post has been published on http://www.thefairmagazine.com/?p=19237
Bigger Boned Beauties
Plus-size modelling: does it hurt or help our self-esteem and body issues?
Some believe that the media has been affecting our body image perception for years, brainwashing us into believing that we must achieve unattainable beauty while we are constantly bombarded by images of impossibly perfect celebrities and models.
In recent years however steps have been taken to celebrate women of all shapes and sizes and introduce them into the fashion industry.
The broadening body-acceptance movement has exposed the general public to a different size of model known as ‘plus size’, a far cry from the size 00 models. Still the nagging thought remains: what defines the border between physically healthy and beautiful?
Plus-size models are being used on a more frequent basis, with recognition that bigger woman are equally beautiful. Europe’s plus size industry has launched the careers of models that have appeared in campaigns and runway shows for famous designers, as well as articles in distinguished magazines. Designers such as JeanPaul Gaultier and John Galliano have both realized the profitability of using plus-size models in their showings. Even television has begun to promote more full-figured women, with the U.S. television program America’s Next Top Model featuring plus-size contestant Whitney Thompson who went on to win season 10 of the show.
Models Ashley Graham, who is perhaps best known as a lingerie model for the plus-size clothing store Lane Bryant, and Tara Lynn, an American best known for her cover of the June 2011 issue of Vogue Italia, are both of a relatively healthy weight. But larger models like Tess Munster, a size 20, and Velvet D’Amour, whilst both undeniably beautiful and inspirational in their own right, are pushing the boundaries of what is considered healthy.
The acceptance and praise of these fuller figured women could result in a crutch for sufferers of overeating disorders. The plus-size industry has received criticism that plus-size models set a poor health example regarding weight management, with rumours that plus size models engage in unhealthy habits such as over-eating salty foods to retain water weight, and fluctuating in size depending on the needs of the client.
A further criticism of plus size modelling is the suggestion that padding is used to make smaller models appear larger to enable them to fit into the bigger clothing sizes, thereby reducing the available work for actual plus size models.
The industry has also been criticized for its lack of racial diversity, with Toccara Jones, who had 14 pages dedicated to her in the July “Black Issue” of Vogue Italia, being one of few well known black plus-size models.
It appears that a happy medium in the fashion industry has not yet been found, however, Audrey Hepburn put it best “I believe that happy girls are the prettiest girls…” Is this not, after all, what truly matters?
New Post has been published on http://www.thefairmagazine.com/?p=19231
The Psychological Impact of Clothing
People often refer to items of clothing as their “lucky jeans” and believe wearing them for important days like interviews or auditions can bring them success. Some people wear outfits that they feel attract others when they wear them. Conversely a bad experience in a certain outfit can lead us to reject that item in the future.
School uniforms serve to identify a specific group and also to counteract competitiveness, it could be argued that uniforms serve to dispense with the individual and create a group identity. When we see someone in the street in uniform such as an Army member or a Garda they immediately stand out and command respect. These kinds of uniforms represent power and respect.
“Clothes make the man, naked people have little or no influence on society.”
A famous psychological experiment by researcher Philip Zimbardo involved giving two groups of people roles as “guards” or “prisoners”. The prisoners were stripped of their regular clothes and given prison style uniforms and ID numbers. These changes isolated the prisoners making it harder for them to be seen as individuals by the guards. The guards had authority and power over the prisoners and treated them badly. The outcome of the experiment resulted in the guards becoming cruel and sadistic towards the prisoners and the prisoners becoming more and more helpless and depressed in their situation. It gives us an insight into how powerful uniform is and how important clothing is to express one’s individuality. (Zimbardo,1971.)
Another experiment carried out by researchers at Northwestern University Illinois divided participants into two groups, each was given a white coat to wear and asked to carry out a simple task. One group were told their coat was a “painter’s smock” and the other a “doctor’s coat”. The group who were told their coat was a doctor’s tended to be more careful and thorough in their task. Certainly our associations with clothing have a powerful effect on our subconscious and psychological processes.
Some people use certain types of clothing to distinguish themselves as part of a certain social group without actually wearing a uniform. For example people who identify with goth culture may wear a lot of black. In Japan the Harajuku district is frequented by teenagers and young people wearing outrageous outfits, very colourful and intricate, usually heavily accessorised and equally dramatic hair and makeup. At a first glance these outfits may all seem similar but there are distinct divides and sub-groups such as “gothic Lolita” “visual kei” and “cosplay”. Different characters, cultures and caricatures are portrayed through their wild costumes. It may look like a fancy dress party on steroids to the outsider but the Harajuku style once a subculture, has attracted a lot of mainstream attention. In her 2004 song Harajuku Girls the stylish Gwen Stefani applauds their style and even incorporated four Harajuku styled dancers and performers into her videos and shows.
Just a regular day in the Harajuku district
Certain colours cause us to have psychological reactions when we see others wearing them. It has been proven that men rate women wearing red as more attractive and more interested in sex. Red is a colour we associate with sexuality and passion. A study of Olympic uniforms by anthropologists at Durham University found that evenly matched athletes in the 2004 Games who wore red in boxing, tae kwon do and freestyle wrestling defeated those wearing blue 60 percent of the time. The researchers suggested that red, for athletes as for animals, symbolizes dominance.
We are generally instructed to wear black to an interview but apparently blue has a pleasing effect and is attributed to interview success. Navy blue is a good choice as it still serious but without being as sombre as black. Black represents power and authority but can make you look unapproachable. We wear black to funerals as a representation of mourning and loss. Black signifies formality, occasion and dignity. Even though it is a dark colour it can be very striking if worn appropriately.
Logos and revealing clothing are another way we draw attention to ourselves. Certain name brands are synonymous with certain social groups and we can use clothing to define ourselves as members of those social groups. Many clothing labels use celebrities to endorse their clothing but some brands have even offered gauche celebrities and reality stars money not to wear their clothes! Many people use designer brands as a means of validation, they feel portraying wealth is a way to be accepted by others.
Others choose casual clothing like tracksuits or even wearing pyjamas and onesies in public as a way of demanding their comfort or rejecting convention. Wearing pyjamas in public either suggests that you are very comfortable with yourself and refuse to get dressed or that you don’t care about your appearance. This has become a common phenomenon in many urban areas with some public places refusing admittance to pyjama-clad people. RTE even commissioned a programme about the “pyjama girls”.
RTE’ s Pyjama Girls
What our clothing says to us and about us is powerful way for us to express ourselves and our personalities. Clothing is how we show the world what we want it to see of us, a hard worker, a wealthy person, a deadbeat, a stylish person, a busy mother. A familiar old item can make you more confident and happy than a brand new ill-fitting garment. Ultimately our clothing is a reflection of our own lifestyles, behaviours and consumer choices. As Mark Twain famously said “Clothes make the man, naked people have little or no influence on society.”
New Post has been published on http://www.thefairmagazine.com/?p=19220
INTERVIEW WITH EDEL HUGHES
Hi Edel! Thank you for taking the time to speak to us. Can you tell us a little bit about your background?
I am 25 years old and from Roscommon originally. When I finished school I moved to Galway for college. Initially I did an art portfolio course in GTI Galway, it was a good grounding in design, but I became slightly frustrated in it as I really wanted to focus on fashion. After the course ended I spent some time working until I got offered a place in NUI Galway to study psychology. I did this course for 3 years while working in fashion retail in my spare time. I loved working in retail and worked fulltime in retail after I finished my degree but I still yearned to do more creative work. I then did an evening course in basic dressmaking at GTI Galway.
When did you first realize that you have a passion for design?
I have always loved making things and ever since I was a small child I’ve been drawing and creating things. I begged my mother to teach me to do crochet, knitting and sewing as I loved making things so much! I won several art prizes at school which inspired me to be even more creative. So, pretty much fresh out the womb haha!
Tell us a little bit about your collection?
I am currently working on my first collection of customised items. It’s inspired by street style, DIY and upcycling old objects, such as cassette tapes into jewellery. So far, I am working on customised canvas runners, cassette tape necklaces, leggings and shorts. I have lots of ideas for my collection however some of them have to be tested before I can sell them. This collection is aimed at young women.
What inspires you? Where do you get your ideas?
I love taking old or mundane objects and making them into something more beautiful or useful. I watched a lot of different DIY tutorials online to get ideas on how to make over old clothing when I was really broke. I’ve picked up a lot of old things in charity shops and gave them a new lease of life which is always fun. It started out as a fun project to amuse myself but I found myself looking for more things to make once I completed one project. I also love checking out individual street style and fashion blogs.
Can you tell us what you are working on right now?
Currently I am working on a very exciting design for denim shorts. It involves creating a lace pattern transfer on the denim. I am trying to make this by using old lace garments and net curtains, pinning them to my material and painting over in fabric or spray painting over them to make a design.
What can we expect to see in the future?
In the future I want to be selling more of my items, getting feedback from my customers and showcasing all the different types of creative work I can do.
Where can a buyer see your designs?
They can check out my blog, Etsy shop, Facebook page or my lookbook
What goes into creative process? How do you pick your fabrics? Is everything hand-made?
Well, usually when I get an idea, I will look at pictures of similar items and decide what kind of item or fabric my design will work best with. At the moment I’m using a lot of fabric paint and studs so I am using cottons and canvas as they work well with these materials. At first it took me a long time to make each item but now I have perfected my staple items like my galaxy shoes and it only takes a few hours. However if I’m working on a new design that I haven’t tried before it can take a few days. All my designs are embellished by hand and custom made.
How can one order something from you?
They can shop from my Etsy shop, mail me through my blog or leave me a comment, email Custom Collective on Facebook or approach me personally. I love getting new orders and feedback from people I’ve sold to.
How would you describe your own style?
I’ve been told my style is quirky! I try and be as individual as I can rather than follow a specific trend or style. I love rock and street style, I have lots of leather, studs and spikes in my wardrobe. I like patterns and colour, the more the better. I don’t like bland colours, I like to be seen haha! I definitely try and take a few risks when I can. I usually am wearing something customised or a second hand item from a charity store also.
What is fashion to you?
The meaning of life! Well, it’s my way of expressing myself! I think fashion is a way to express yourself and your individuality. Fashion is how you choose to draw or deflect attention to yourself. It’s about wearing things that you feel good in rather than things that look good on a hanger.
Thank you again! We can’t wait to see more of your designs!
Oh, thank you! I appreciate the support! Keep an eye on my blogs for more information on my work.
New Post has been published on http://www.thefairmagazine.com/?p=19206
Street style
All images by Anna Formela
New Post has been published on http://www.thefairmagazine.com/?p=19196
Issue Two of The Fair is out today!
Get The Fair on your iPad
New Post has been published on http://www.thefairmagazine.com/?p=19174
Streetstyle
Alice MacNamara
Ann Conroy
Anna
Charlotte Knee
Dallis Op’t Hoog
Emily Brooks
Muireann O’Keefe
All images by Aine Hogan
New Post has been published on http://www.thefairmagazine.com/?p=19145
Streetstyle
All images by our newest streetstyle photographer, the very talented, Oisin Vink
New Post has been published on http://www.thefairmagazine.com/?p=19133
One to Watch: Colin Horgan
Colin Horgan recently snapped up the coveted ‘One to Watch’ award at Kerry Fashion Weekend 2013, has launched a new collection and is still in college!
Horgans ‘FC13’ (first collection 2013) created an interesting take on femininity which taps into a new sense of what is sexy: sheer fabrics give a sense of sensuality which coupled with indelible leather provide strong shape and alluring strength. The duality is a play on modern femininity.
Sarah Commane met with Colin recently to discuss his continuing success.
First of all, congratulations on your really well deserved success at Kerry Fashion Weekend, how was the experience?
Thank you! It was really amazing experience to be showing at Kerry Fashion Weekend. Opening the show seemed to have a bit of added pressure but thankfully everything (well mostly) got sent out the right way! I didn’t expect to win as the standard this year was just so high. So winning is always a plus!
Can you tell us a bit about yourself and how started designing?
Well I was always creatively ambitious. I guess everything fit into place once I got accepted to Limerick School of Art and Design. I’m currently in my third year out of four and love it here! The tutors are really inspiring both creatively and technically. The foundations of constructing and making garments have heavily influenced my FC13. I also gained experience last year while working in Stockholm, Sweden. The Scandinavian aesthetic always excites me. Clean, directional and polished lines often inspire me and my way of thinking.
Can you describe your ‘FC13’ collection?
FC13 (First Collection 2013) was inspired by a woman fighting back. My influences were defence forces like fencing and railings – pretty much anything that had a repetition of line! FC13, for me, is a way of fighting back, even when risks are involved!
Your collection has a very strong identity and I love the mix of fabrics and the strong shapes you used can you talk about these aspects of your collection?
I wanted to create a story of transition through fabrics. Sheer chiffon and mesh airtech gradually evolve into luxurious jerseys. Perforated lambskin pierce into hard patent leathers to develop shielded armour. The silhouettes are quite masculine with a feminine cut. Tops are cut just under the bust; leathers are applied in strong areas, while zips provide for hard detail.
Who do you see wearing it?
A woman who would wear this collection is strong, confident and daring.
Will your collection be available to buy?
This collection will be available in store Om Diva , Atelier 27 Dublin.
What next for you? And how would you like to see your brand evolving?
Well I am literally off to Copenhagen in a couple of days to work with Danish designer, David Andersen. I will be working on my next collection for KFW2014 when I am not at the company, and then it’s graduate collection! The brand itself is still under construction because I am still in college. But I feel that once I am confident to launch the label and know my customer I will definitely go for it. I cannot wait to begin and looking forward to the future!
Website: http://www.i-m.co/COLINHORGAN/COLINHORGAN/ ,
College Portfolio: colinhorgan.weebly.com
Facebook: @ColinHorgan.
New Post has been published on http://www.thefairmagazine.com/?p=19124
Fashion Forecasting: How does a Creative Idea become a Fashion Trend?
“Two is a coincidence. Three is a trend”
Within moments of showcasing designer collections for the first time during the various international Fashion Weeks, we are bombarded with online fashion magazine reviews of the upcoming seasons “Hottest Trends”. Fashion Editors are quick to identify common themes across different designer collections -be it monochrome stripes or neon shades- and immediately high street designers set to work on the trends they deem most commercially viable to their target market. But how do designers know what’s going to be big for the season? How do these common trends come about?
Instantly the scene springs to mind from The Devil Wears Prada in which Meryl Streep chillingly explains the subconscious influence the industry has on consumer choices. Streep tells Anne Hathaway’s character that her ”blue” sweater is in fact cerulean, a hue first showcased by Oscar de la Renta in 2002 then Yves Saint Laurent before being quickly incorporated into the collections of eight other designers before filtering down through the department stores and onto the High Street. She exclaims that that shade of blue represents millions of dollars and countless jobs and despite the fact that Hathaway thinks she made a choice that exempts her from the fashion industry, in fact she’s wearing a sweater that was selected for her by the very people in that room. However condescending the delivery, this monologue does in fact explain in layman’s terms the way in which an idea quickly becomes a trend.
Designers are very secretive about their collections prior to their show and certainly don’t sit around and chat with other designers about commonalities during their creative process. A fashion trend in fact starts with the fabric company. These companies create fabric collections, working a season ahead of the fashion designers. This in fact restricts the creative capacity of the fashion designer as they are obliged to create their designs using only the limited fabrics made available to them. Very few companies have the luxury of exclusive fabrics and whilst many fashion houses will create in-house prints or dyes, it is a rarity to have fabric woven specially for them. Despite their strict retention of privacy prior to debuting their collections publicly, many designers try to suss out from fabric suppliers what the most popular prints/colours/embellishments are for the season, primarily to increase the commercial viability of their own collections and minimise risk of getting it all wrong. So whilst we, the consumers, spent February 2013 trawling through our favourite fashion sites seeking upcoming catwalk trends for Fall 2013, the designers were already working on their Spring 2014 collections whilst the fabric companies set to work on Fall 2014.
Aside from the limitations in choosing fabrics, fashion designers are free to create colour palettes and silhouette stories to their own taste. Most designers seek inspiration from their surrounding environment, be that through the medium of art exhibitions; design; architechture; performance artists; new bands; current movies or by taking ”inspiration trips” to foreign countries to lap up the local culture, tastes and colours. Designers are thus equally exposed to similar ideas and popular cultural influences and this is the primary reason for common trends across their collections. It is then the job of the Fashion Editor who attends these shows to quickly spot these commonalities and present them in a way in which their reader can identify.
It is interesting to track fashion trends through the ages and note the current events that accounted for such trends, be they for reasons of practicality or because they were visually exciting at the time. Coco Chanel demonstrated the practical influence the war had on fashion in the 1920s, introducing two-piece jersey suits for women, worn without corsets and stays, allowing freer movement for those involved in war work to walk, use bicycles and ride buses during their husband’s absence. A more recent example of the influence of popular culture on fashion can be seen at Dior’s 2007 Spring Summer Couture show where the recent release of the film Memoirs of a Geisha had an obvious direct influence on Galliano’s collection.
Whilst most high end brands use their own initiative and surrounding environment to inspire their upcoming collections, some invest in the luxury of using a Fashion Forecaster to minimise risk and predict future trend concepts. Fashion forecasting agencies such as WGSN and Trendstop take inspiration in the same way as the designer does to predict the colours and styles for future runway seasons across all levels of the industry- from Haute Couture to High Street. When scanning the market, fashion forecasters must track demographics whilst examining the impact of economic, political, environmental and cultural events on the fashion industry and its consumers. Whilst demographic and psychographic changes will affect consumer’s needs and thus a fashion company’s business in the long term, current events and trends in popular culture are examined to identify possible short term trends that can be communicated to the consumer through seasonal colour palettes, prints and silhouette shapes.
Jacqui Lividini, Fashion Director at Saks Fifth Avenue knows the importance of staying a step ahead of the trend “You want to have what she wants before she knows she wants it. If you’re behind her, you’ve lost her. If you’re in step, she’s not excited.”
But will the ever-increasing efficiency of Internet searches and rapid transfer of information mean this meticulous business of fashion forecasting will soon result in the extinction of designer’s creativity? Lividini assures us this will never be the case. “No matter how much forecasting we do, the most thrilling moment is sitting in a show and you see something that you’ve never seen, something surprising, amusing. And that’s what fashion is about — that moment of excitement, of fantasy. That’s what we’re after.”
Regardless of the increasing pre-planning and pressure put on designers to stay one step ahead, for the most part the consumer remains obliviously unaffected. In fact, the increasing measures to ensure designs meet the highest level of commercial demand only means that we as consumers are more and more likely to impulsively want the designs of the future, whether we’re aware of it or not. So although you may not know where you’ll be living, working or what you’ll be doing come winter 2014, rest easy in the knowledge that somebody somewhere knows exactly what you’ll be wearing for it.
New Post has been published on http://www.thefairmagazine.com/?p=19112
St Patricks Day Streetstyle
Fatima from Spain
Jenny from London
Maggy and John from Dublin
Mattia from Italy
Miriam from Spain
Sara from France
New Post has been published on http://www.thefairmagazine.com/?p=19107
Modavantis’ David Dietz talks ethical living to Ali Sheridan
Before founding the high-end eco-friendly and ethical fashion line Modavanti David Dietz was a freelance journalist covering the Arab Spring. The Fairs Ali Sheridan finds out how Dietz went from Arab Spring to the Spring Collection.
A.S: Where did the inspiration for Modavanti come from?
D.D: Modavanti came about because of a desire to have a social impact through business. What we wear is a part of who we are and how we see ourselves and there is a growing need for sustainable fashion. The fashion industry is incredibly wasteful and while the transition to a more sustainable mindset has occurred in other lifestyle arenas it has yet to come to fashion. We believe that’s about to change – and more importantly, that it must change – and we want to be leading the movement.
A.S: Tell us about your sustainability badges?
D.D: The trouble with the term ‘sustainability’ is that it carries a different meaning to different people — it has yet to be codified, certainly in the mind of the general public. Recognizing this lack of concrete meaning led us to develop the badge system. We have 8 badges because we want to promote and reward the many (and varied) steps designers have taken to be more sustainable in their practices. It’s important to recognize the many facets of sustainability, which is why our badges are based on two main categories: eco-friendly and ethically sourced. We used these two to guide the rest of the badges (eco-friendly: recycled, eco-conscious, energy efficient, organic; ethically-sourced: made in USA, handmade, fair-trade).
A.S: How do you select your suppliers?
D.D: We have a great fashion team that takes a lot of care in selecting our brands. We understand that the clothes are the most important thing on our site, so we only choose brands that fit our aesthetic. Our goal is to curate the very best of sustainable fashion and bring it into the mainstream. The hardest thing, of course, is doing the research to find out whether brands are sustainable or not.
A.S: Why should people shop at Modavanti?
D.D: Because you’ll look good, feel good and do good! The clothes are fantastic, they’re of high quality and built to last, they’re trendy and you are helping to turn around an extraordinarily wasteful industry. Did you know, for example, that it takes almost 400 gallons of water to produce enough cotton to make just a single cotton t-shirt? The fashion industry is one of the most unsustainable industries in the world, but we can change that if we can prove to designers that customers are willing to buy sustainable. Plus, we give away 2% of every sale (revenue, not profit) to charity, so we put our money where our mouth is too!
A.S: What do you think is the biggest obstacle for sustainable fashion?
D.D: The biggest obstacle is the perception that sustainable fashion is not trendy; that the first words people think of when they hear “sustainable fashion” is hemp, hippie, crunchy etc. We have to turn that attitude upside down – it’s our greatest challenge, but also our greatest opportunity.
A.S: What is Modavanti doing to change people’s perceptions of sustainable fashion and help make it more mainstream?
D.D: Our goal is to take sustainable fashion into the mainstream and to do that we have adopted a ‘fashion first’ approach. We want to have a finely curated selection of clothing and accessories that represent the very best in sustainable fashion. To achieve this broad appeal we recognize that no matter how good a product is from an environmental or labor perspective, nobody is going to wear it unless they look great.
But this approach also is reflected in our site design and our messaging. We deliberately eschewed anything that might look “crunchy”. We also set out to have an overwhelmingly positive take on sustainability, recognizing that people don’t like being lectured to. We want those people who come to our site for the first time, and who have no knowledge about our mission, to not immediately recognize that we are a sustainable retailer. We want them to come to our site because they love the look of it, and love the clothes. Then, once we’ve got them in, we can teach them about sustainable fashion.
A.S: Do you think that sustainable fashion is just another trend for the industry?
D.D: No we don’t. We think – and certainly hope! – that years from now it will be the non-sustainable brands and retailers that will be the outliers. We believe that ethical and sustainable practices in the fashion industry are the next big wave to affect consumers directly. More and more people are starting to demand to know where and how their clothes are made. This shift is real and permanent.
A.S: Modavanti donates 2% of profits to charities. Tell us a little bit about these charities and how you are involved with them.
D.D: Our causes are chosen because they help solve some of the myriad problems we’ve identified with the fashion industry. For example, Charity Water helps bring clean water to underdeveloped villages across the world, and the fashion industry is one of the world’s biggest users and polluters of water (one fact that startled me is that it takes 400 gallons of water to grow enough cotton to produce just one cotton t-shirt). We support Nest because they promote fair labor and the ancient traditions of artisans in countries such as India. Nest gives these women training and access to markets that they would otherwise not have access to. We partnered with 19th Amendment because their mission is to keep the next generation of fashion designers producing sustainably right here in America — a goal that very much aligns with our ethos.
A.S: What advice would you give to sustainable fashion designers trying to break into the industry?
D.D: First piece of advice – just do it. More and more consumers are becoming socially aware and care about where they are spending their money and they are looking around for designers that meet their values. But you must always produce with the fashion at the forefront of your mind.
A.S: And finally, what things do you do in your own life to improve the environment and live more sustainably?
D.D: We have 5 different trash bins setup in the office so we can properly allocate our recycling efforts – metals, plastic, compost, glass, paper. It’s really confusing for first-time visitors! Living in New York City also allows us to not own a car so we can take public transport everywhere. We’re conscious of our resource usage – turn the heater on only occasionally, use natural sunlight during the day, keep our showers short. It’s the little things that build up when done repeatedly over time by a lot of people that make a difference.
