Organic basics’ circular denim project – Re-designing sustainable denim

Danish brand looks to unpick fashion’s processes and start from scratch with a green supply chain that is transparent about its practices Until 2019, the denim industry was regulated by brands setting their own standards for sustainable and responsible production. However, with the launch of the Jeans Redesign initiative under the Ellen MacArthur Foundation’s Make Fashion Circular, the initiative set the standard for sustainable denim.

We need to care about Indian craftworkers – we need to see the other side of what we like

Haute Couture designer – Rahul Mishra, and the founder of Nest – Rebecca Van Bergen on providing artisans with a favourable working environment. Implementing in homework practices The Fashion Pact, founded last year, has now gone through its one-year review, focusing on biodiversity, climate, and plastics reduction. One of the aspects missing from this year’s review that has attracted criticism is the lack of consideration for the human element of sustainability in fashion – it’s workers.

Is zero waste just a new marketing move or a properly transparent practice?

In conversation with Holly McQuillan, who discusses the misconception in the zero waste term and suggests new machinery and business models as alternatives in promoting the system From sustainability bloggers in 2016 fitting in a year’s worth of waste into a jar to the continuous greenwashing of the fashion industry, zero waste can become another term that gets lost in the sea of sustainability efforts in fashion.

Only 30 percent of the Fashion Pact’s members have mapped their supply chains

Sonia Hylling: The main focus for a sustainable future is creating Net Positive impacts through disruptive innovations in design and system thinking for brands to become regenerative It has been a year since the foundation of the Fashion Pact – an industry-wide movement looking to align itself with the UN Sustainable Development Goals and approach sustainability issues in global supply chains across some of the world’s biggest companies like Kering, Inditex, and Prada.

Edible garments: while eating your hat may not have been a proposition before, it is now

Lecturer Oonagh O’Hagan and researcher Cassandra Quinn from UAL are working on bringing bio-design and edible garments into the industry At a talk on biodegradable fabrics and digital innovations through modular pigment, lecturer Oonagh O’Hagan began talking about the processes yielding the samples in front of her. These were created by the founder of bio-design company C.Q. Studio Cassandra Quinn sitting next to her before opening up a Petri dish and popping the square of fabric in her mouth.

Biomimicry and fashion, a new chapter of a long story – the case of Auroboros

The fashion collective of digital designers, florists and pattern cutters helmed by Paula Sello and Alissa Aulbekova builds up digital garments and structures for in-game avatars and Instagram filters Auroboros is the couture brand from designers Paula Sello and Alissa Aulbekova, who are growing structures onto their garments through physical and digital crystallization. Here they talk about the relationship between technology, science and fashion and the sustainable possibilities of digital.

Mathilde Rougier — an evaluation of virtual clothing and its contribution to sustainability

The future of fashion may just be in virtual technologies. Mathilde Rougier is a modular augmented reality (AR) designer starting out of London’s Central Saint Martins. Spurred by the lockdown and her face filters for Chalayan Studios, she has evolved her upcycling through augmented reality plane tracking that gives outfits virtual combinations through Louis Vuitton leather off-cuts and recycled waste materials.

Alexandra Sipa — transfiguring electrical wires into Eurovision-esque aesthetic dresses

The next designer in this series approaches a different area of waste that she turns into one-of-a-kind couture gowns. Taking old wires from scrap dealers across London, Alexandra Sipa takes inspiration from her kitsch and her Romanian heritage to create wire ‘lace’ based on her grandma’s doilies. A collaboration that resonates with how the Eastern bloc used to work under communism. In conversation with Central Saint Martins Womenswear Design graduate Alexandra Sipa.

Pause or Pay: Should students be able to pause their studies or get their money back?

“It was very weird. Two days before closing they were saying that nothing is going to happen, just be calm, the show will still happen, you will still have the studios and facilities,” a student explains while they and their classmates at UAL have gone through turmoil during the pandemic – classes were called off and moved online, while students had only days to gather years of work into bags and suitcases before the order to “stay home, stay safe” was put in place.

Fashion educators on the Future of Fashion courses after COVID

Many art schools in the UK have continued the courses despite the pandemic, impacting thousands of students who have been left without adequate support and placed in a lurch, similarly to those attending Glasgow School of Art, the RCA and other art schools in the UK where the #pauseorpay initiative is gaining traction. With the lockdown in place since March, UAL students have had to abandon work they had started in their workshops and start from scratch at home.

Aged clothing — genre-less upcycled fashion and silk from parachutes

«I changed to menswear design because, in womenswear, the freedom is over the top». In conversation with Fumika Oshima, founder of Proposition Fumika Oshima is the designer behind Proposition, an upcycling brand she started with Richard Spandler, a vintage clothing dealer working with French workwear and military clothing. Inspired by the work of modern artists like André Butzer and Margiela, Fumika uses a patching technique to carve out stronger squares to work with.

Digital Dressing: How Virtual Clothing Is Changing Fashion As We Know It

Digital Dressing: How Virtual Clothing Is Changing Fashion As We Know It For the first time ever, fashion is posed with a problem – with no one going out, clothing has shuffled to the back of the wardrobe, relegated until the lockdown is lifted. This has made the industry pause, with fashion companies busy making emergency relief gowns for hospitals instead of pushing out their next collections. Designers and consumers have noticed and are calling for a change in how fashion is produced.

Milka Seppänen: “The capacity to adapt is this generation’s biggest asset”

Milka Seppänen won the Designers’ Nest Award for 2020 with a collection of mismatched animal-print mohair cardigans, trousers in distressed leather, lacey crochet sweaters, and kilts straight out of a rock’n’roll Braveheart. Inspired by old photos of her mum’s 1980s punk crowd, Milka’s collection used recycled materials to recall a time when teenagers who were angry at the establishment came together through music and fashion.

Daniela Benaim: “There is no single definition of home”

How do you personally define ‘home’? I migrated to London the year before I started at CSM, and started to question where I considered home to be around that time — was it my flat in London or my house in Venezuela? I knew there was no single answer because you can have multiple notions of home simultaneously. Sometimes home is a safe space, or your body, or your family. Sometimes, your home feels claustrophobic and not like a home at all.

Sloggi "Steady and strong" by MullenLowe Group UK

Sloggi explores gender roles in the campaign for the S by Sloggi line. The underwear brand's artsy campaign was created by students at Central Saint Martins in London. The partnership resulted from MullenLowe Group's longtime sponsorship of the Nova Awards, the school's art degree show. Twelve student teams submitted concepts to Sloggi and the winning idea was by Daniela Benaim and Zofia Zwieglinska, who acted as creatives. MullenLowe produced the work.
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